title: Salar de Uyuni

text: The Salar was formed as a result of transformations between several prehistoric lakes that existed around forty thousand years ago but had all evaporated over time. It is now covered by a few meters of salt crust, which has an extraordinary flatness with the average elevation variations within one meter over the entire area of the Salar. The crust serves as a source of salt and covers a pool of brine, which is exceptionally rich in lithium. The large area, clear skies, and exceptional flatness of the surface make the Salar ideal for calibrating the altimeters of Earth observation satellites. Following rain, a thin layer of dead calm water transforms the flat into the world's largest mirror, across.


title: Salar de Uyuni

text: The Salar serves as the major transport route across the Bolivian Altiplano and is a prime breeding ground for several species of flamingos. Salar de Uyuni is also a climatological transitional zone since the towering tropical cumulus congestus and cumulonimbus incus clouds that form in the eastern part of the salt flat during the summer cannot permeate beyond its drier western edges, near the Chilean border and the Atacama Desert.


title: Salar de Uyuni

text: Salar has been used as a filming location for movies such as "" (2017; as planet Crait), "The Fall" (2006), "Salt and Fire" (2016), "The Unseen" (2017), and several others.


title: Salar de Uyuni

text: Salar de Uyuni is part of the Altiplano of Bolivia in South America. The Altiplano is a high plateau, which was formed during uplift of the Andes mountains. The plateau includes fresh and saltwater lakes as well as salt flats and is surrounded by mountains with no drainage outlets.


title: Salar de Uyuni

text: The geological history of the Salar is associated with a sequential transformation between several vast lakes. Some 30,000 to 42,000 years ago, the area was part of a giant prehistoric lake, Lake Minchin. Its age was estimated by radiocarbon dating shells from outcropping sediments and carbonate reefs and varies between reported studies. Lake Minchin (named after Juan B. Minchin of Oruro) later transformed into Paleo Lake Tauca having a maximal depth of , and an estimated age of 13,000 to 18,000 or 14,900 to 26,100 years, depending on the source. The youngest prehistoric lake was Coipasa, which was radiocarbon dated to 11,500 to 13,400 years ago. When it dried, it left behind two modern lakes, Poopó and Uru Uru, and two major salt deserts, Salar de Coipasa and the larger Salar de Uyuni. Salar de Uyuni spreads over 10,582 km, which is roughly 100 times the size of the Bonneville Salt Flats in the United States. Lake Poopó is a neighbor of the much larger Lake Titicaca. During the wet season, Titicaca overflows and discharges into Poopó, which in turn, floods Salar De Coipasa and Salar de Uyuni.


title: Salar de Uyuni

text: Lacustrine mud that is interbedded with salt and saturated with brine underlies the surface of Salar de Uyuni. The brine is a saturated solution of sodium chloride, lithium chloride, and magnesium chloride in water. It is covered with a solid salt crust varying in thickness between tens of centimeters and a few meters. The center of the Salar contains a few islands, which are the remains of the tops of ancient volcanoes submerged during the era of Lake Minchin. They include unusual and fragile coral-like structures and deposits that often consist of fossils and algae.


title: Salar de Uyuni

text: The area has a relatively stable average temperature with a peak at in November to January, and a low of in June. The nights are cold all through the year, with temperatures between . The relative humidity is rather low and constant throughout the year at 30% to 45%. The rainfall is also low at per month between April and November, but it may increase up to in January. However, except for January, even in the rainy season the number of rainy days is fewer than 5 per month.


title: Salar de Uyuni

text: Located in the Lithium Triangle, the Salar contains a large amount of sodium, potassium, lithium and magnesium (all in the chloride forms of NaCl, KCl, LiCl and MgCl, respectively), as well as borax. With an estimated 9,000,000 t, Bolivia holds about 7% of the world's known lithium resources; most of those are in the Salar de Uyuni.


title: Salar de Uyuni

text: Lithium is concentrated in the brine under the salt crust at a relatively high concentration of about 0.3%. It is also present in the top layers of the porous halite body lying under the brine; however, the liquid brine is easier to extract, by boring into the crust and pumping out the brine. The brine distribution has been monitored by the Landsat satellite and confirmed in ground drilling tests. Following those findings, an American-based international corporation has invested $137 million to developing lithium extraction. However, lithium extraction in the 1980s and 1990s by foreign companies met strong opposition from the local community. Locals believed that the money infused by mining would not reach them. The lithium in the salt flats contains more impurities, and the wet climate and high altitude make it harder to process.


title: Salar de Uyuni

text: No mining plant is currently at the site, and the Bolivian government does not want to allow exploitation by foreign corporations. Instead, it intends to reach an annual production of 35,000 t by 2023 in a joint venture with ACI Systems Alemania GmbH.


title: Salar de Uyuni

text: Salar de Uyuni is estimated to contain 10 billion tonnes (9.8 billion long tons; 11 billion short tons) of salt, of which less than 25,000 t is extracted annually. All miners working in the Salar belong to Colchani's cooperative. Because of its location, large area, and flatness, the Salar is a major car transport route across the Bolivian Altiplano, except when seasonally covered with water.


title: Salar de Uyuni

text: "Salar" means salt flat in Spanish. "Uyuni" originates from the Aymara language and means a pen (enclosure); Uyuni is a surname and the name of a town that serves as a gateway for tourists visiting the Salar. Thus "Salar de Uyuni" can be loosely translated as a salt flat with enclosures, the latter possibly referring to the "islands" of the Salar; or as "salt-flat at Uyuni (the town named 'pen for animals')".


title: Salar de Uyuni

text: Aymara legend tells that the mountains Tunupa, Kusku, and Kusina, which surround the Salar, were giant people. Tunupa married Kusku, but Kusku ran away from her with Kusina. Grieving Tunupa started to cry while breastfeeding her son. Her tears mixed with milk and formed the Salar. Many locals consider the Tunupa an important deity and say that the place should be called Salar de Tunupa rather than Salar de Uyuni.


title: Salar de Uyuni

text: The Salar is virtually devoid of any wildlife or vegetation. The latter is dominated by giant cacti ("Echinopsis atacamensis pasacana", "Echinopsis tarijensis", etc.). They grow at a rate of about 1 cm/a to a height of about . Other shrubs include Pilaya, which is used by locals to cure catarrh, and Thola ("Baccharis dracunculifolia"), which is burned as a fuel. Also present are quinoa plants and queñua bushes.


title: Salar de Uyuni

text: Every November, Salar de Uyuni is the breeding ground for three South American species of flamingo feeding on local brine shrimps: the Chilean, Andean, and rare James's flamingos. About 80 other bird species are present, including the horned coot, Andean goose, and Andean hillstar. The Andean fox, or culpeo, is also present, and islands in the Salar (in particular Incahuasi Island) host colonies of rabbit-like viscachas.


title: Salar de Uyuni

text: Salar de Uyuni is a popular tourist destination, and consequently a number of hotels have been built in the area. Due to lack of conventional construction materials, many of them are almost entirely (walls, roof, furniture) built with salt blocks cut from the Salar. The first such hotel, named Palacio de Sal, was erected in 1993–1995 in the middle of the salt flat, and soon became a popular tourist destination. However, its location in the center of a desert caused sanitation problems, as most waste had to be collected manually. Mismanagement caused serious environmental pollution and the hotel had to be dismantled in 2002.


title: Salar de Uyuni

text: at the eastern edge of Salar de Uyuni, 25 km away from the town of Uyuni. The sanitary system has been restructured to comply with the government regulations. The hotel has a dry sauna and a steam room, a saltwater pool and whirlpool baths.


title: Salar de Uyuni

text: One major tourist attraction is an antique train cemetery. It is outside Uyuni and is connected to it by the old train tracks. The town served in the past as a distribution hub for the trains carrying minerals en route to Pacific Ocean ports. The rail lines were built by British engineers arriving near the end of the 19th century and formed a sizeable community in Uyuni. The engineers were invited by the British-sponsored Antofagasta and Bolivia Railway Companies, now Ferrocarril de Antofagasta a Bolivia. The rail construction started in 1888 and ended in 1892. It was encouraged by Bolivian President Aniceto Arce, who believed Bolivia would flourish with a good transport system, but it was also constantly sabotaged by the local Aymara indigenous Indians who saw it as an intrusion into their lives. The trains were mostly used by the mining companies. In the 1940s, the mining industry collapsed, partly because of mineral depletion. Many trains were abandoned, producing the train cemetery. There are proposals to build a museum from the cemetery.


title: Salar de Uyuni

text: Unfortunately accidents are not uncommon in the salt flats. Poorly maintained vehicles, untrained drivers, speeding, disregard for poor conditions, and the lack of regulation for tour companies continues to occur despite many fatal accidents.


title: Salar de Uyuni

text: Salt flats are ideal for calibrating the distance measurement equipment of satellites because they are large, stable surfaces with strong reflection, similar to that of ice sheets. As the largest salt flat on Earth, Salar de Uyuni is especially suitable for this purpose. In the low-rain period from April to November, due to the absence of industry and its high elevation, the skies above Salar de Uyuni are very clear, and the air is dry (relative humidity is about 30%; rainfall is roughly per month). It has a stable surface, smoothed by seasonal flooding — water dissolves the salt surface and thus keeps it leveled.


title: Salar de Uyuni

text: As a result, the variation in the surface elevation over the area of Salar de Uyuni is less than normal to the Earth's circumference, and there are few square kilometers on Earth that are as flat. The surface reflectivity (albedo) for ultraviolet light is relatively high at 0.69 and shows variations of only a few percent during the daytime. The combination of all these features makes Salar de Uyuni about five times better for satellite calibration than the surface of an ocean. Using Salar de Uyuni as the target, ICESat has already achieved the short-term elevation measurement accuracy of below .


title: Salar de Uyuni

text: By using data from MISR to perform passive optical bathymetry when the flat is flooded and calibrating the resultant water depth model with topographical data from the laser altimeter of ICESat, it has been shown that the Salar de Uyuni is not perfectly flat. The 2006 analysis revealed previously missed features: ridges between 20 and 30 centimetres in height that are roughly sinusoidal with a wavelength of 5 km (clearly visible in 1973 and 1975 LandSat images, and still in the same places decades later), and a moat around the periphery that is 1–3 km wide and 20 to 50 cm deep. They originate from the variation in material density, and thus the gravitational force, beneath the Salar's sediments. Just as the ocean surface rises over denser seamounts, the salt flat surface also rises and falls to reflect the subsurface density variations.


title: Tim Considine

text: Timothy Daniel Considine (December 31, 1940 – March 3, 2022) was an American actor, writer, photographer, and automotive historian. He was best known for his acting roles in the late 1950s and early 1960s.


title: Tim Considine

text: Considine was born in Los Angeles on December 31, 1940. His mother, Carmen (Pantages), was the daughter of theater magnate Alexander Pantages; his father, John W. Considine Jr., was an Oscar-nominated movie producer for "Boys Town". Considine's grandfather, John Considine, was Alexander Pantages' rival vaudeville impresario, while one of his uncles, Bob Considine, was a columnist and author. He had two siblings: John, who was also an actor, and Erin.


title: Tim Considine

text: Considine made his film debut in 1953, co-starring with Red Skelton in "The Clown", a remake of the 1931 movie "The Champ". Credited as Timmie Considine, a review by "The New York Times" characterized his performance as "properly wistful, serious, and manly".


title: Tim Considine

text: Considine's best known acting roles were in the 1955–1957 Disney TV serials "Spin and Marty" (he played Spin) and "Hardy Boys" (he played older brother Frank opposite Tommy Kirk as Joe), both of which appeared in 15-minute segments on "The Mickey Mouse Club". He also appeared in the Disney show "The Swamp Fox" as Gabriel Marion, nephew of Francis Marion; in the Disney motion picture "The Shaggy Dog"; and as the eldest son, Mike Douglas, in the first years of the long-running television series "My Three Sons", when it aired on ABC. In both "The Shaggy Dog" and "My Three Sons", he starred with Fred MacMurray. In 1957, Considine played the role of Ted Nickerson in a television pilot made for CBS based on the popular "Nancy Drew" series of books by Carolyn Keene. He co-starred with Roberta Shore and Frankie Thomas.


title: Tim Considine

text: On December 31, 1959, his 19th birthday and before the debut of "My Three Sons", Considine appeared as Jamie Frederick in the episode "Bound Boy" on CBS's "Johnny Ringo" western television series, starring Don Durant in the title role. In the story line, a rancher is investigated for turning orphaned boys into virtual slaves. The following year, Considine played the role of Franklin D. Roosevelt's eldest son James between ages 14 and 17, in the 1960 feature film "Sunrise at Campobello". In a 1966 episode of "The Fugitive" he acted as a helper for Dr. Kimble. He played young rebel Billy Penn in the "Bonanza" episode "The Reluctant Rebel", which aired on November 21, 1965. Considine played the role of "Scott Coleman" in the 1970 Gunsmoke television film series (S16.E6 and S16.E7), "Snow Train" parts 1 and 2. Considine later featured in the 1970 film "Patton", portraying the shell-shocked soldier slapped by General George S. Patton, Jr. The role is credited as "Soldier Who Gets Slapped".


title: Tim Considine

text: As an adult, Considine was an automobile historian, photographer, and writer who specialized in motor sports. He was the author of "The Photographic Dictionary of Soccer" (1979, ), "The Language of Sport" (1982, ), and "American Grand Prix Racing: A Century of Drivers and Cars" (1997, ). He also filled in for the late William Safire as writer of the "On Language" column in "The New York Times Magazine".


title: Tim Considine

text: In 2000, Considine and David Stollery, his co-star in the "Spin and Marty" serials, made cameo appearances in "The New Adventures of Spin and Marty: Suspect Behavior", a made-for-TV movie on the ABC network. A DVD version of the "" was released in December 2005 as part of the fifth wave of the "Walt Disney Treasures" series. On the 50th anniversary of the serial's premiere, Considine and Stollery were interviewed by Leonard Maltin as a DVD bonus feature about their experiences filming the hit series. Considine later participated in the "My Three Sons" 50th-Anniversary Reunion at the Paley Center for Media in Beverly Hills, California, on June 19, 2010. He was a panelist at the event alongside most of the surviving cast members.


title: Tim Considine

text: Considine married his first wife, Charlotte Stewart, in 1965. They did not have children, and divorced in 1969. Ten years later, he married Willett Hunt. They remained married until his death, and had one son, Christopher.


title: John (given name)

text: John (; "") is a common male given name in the English language of Semitic origin. The name is the English form of "Iohannes" and "Ioannes", which are the Latin forms of the Greek name Ioannis (Ιωάννης), originally borne by Hellenized Jews transliterating the Hebrew name "Yochanan" (), the contracted form of the longer name (), meaning "Yahweh is Gracious" or "Yahweh is Merciful". There are numerous forms of the name in different languages; these were formerly often simply translated as "John" in English, but are increasingly left in their native forms (see sidebar).


title: John (given name)

text: It is among the most commonly given names in Anglophone, Arabic, European, Latin American, Persian and Turkish countries. Traditionally in the Anglosphere, it was the most common, although it has not been since the latter half of the 20th century. John owes its unique popularity to two highly revered saints, John the Baptist (forerunner of Jesus Christ) and the apostle John (traditionally considered the author of the Gospel of John); the name has since been chosen as the regnal or religious name of many emperors, kings, popes and patriarchs. Initially, it was a favorite name among the Greeks but it flourished in all of Europe after the First Crusade.


title: John (given name)

text: The name John is a theophoric name originating from the Hebrew name (), or in its longer form (), meaning "Yahweh has been gracious". Several obscure figures in the Old Testament bore this name, and it grew in popularity once borne by the high priest Johanan and especially by King John Hyrcanus In the second temple period, it was the fifth most popular male name among Jews in Judaea and was borne by several important rabbis, such as Yochanan ben Zakai and Yochanan ben Nuri.


title: John (given name)

text: The Germanic languages (including German, English and Scandinavian) produced the masculine Johann (also Johan (Dutch)), Joan, Jan and Janke (Dutch), Jannis, Jens (Danish and Frisian), Jóhannes, Jóhann, (Icelandic and Faroese), Jön (Swedish), Hans (German, Dutch and Scandinavian)


title: John (given name)

text: John was the most popular name given to male infants in the United States until 1924, and though its use has fallen off gradually since then, John was still the 20th most common name for boys on the Social Security Administration's list of names given in 2006.


title: John (given name)

text: "John" was also among the most common masculine names in the United Kingdom, but by 2004 it had fallen out of the top 50 names for newborn boys in England and Wales. By contrast Jack, which was a nickname for John but is now established as a name in its own right, was the most popular name given to newborn boys in England and Wales every year from 1995 to 2005.


title: Wall of Sound

text: The Wall of Sound (also called the Spector Sound) is a music production formula developed by American record producer Phil Spector at Gold Star Studios, in the 1960s, with assistance from engineer Larry Levine and the conglomerate of session musicians later known as "the Wrecking Crew". The intention was to exploit the possibilities of studio recording to create an unusually dense orchestral aesthetic that came across well through radios and jukeboxes of the era. Spector explained in 1964: "I was looking for a sound, a sound so strong that if the material was not the greatest, the sound would carry the record. It was a case of augmenting, augmenting. It all fit together like a jigsaw."


title: Wall of Sound

text: A popular misconception holds that the Wall of Sound was created simply through a maximum of noise and distortion, but the method was actually more nuanced. To attain the Wall of Sound, Spector's arrangements called for large ensembles (including some instruments not generally used for ensemble playing, such as electric and acoustic guitars), with multiple instruments doubling or tripling many of the parts to create a fuller, richer tone. For example, Spector often duplicated a part played by an acoustic piano with an electric piano and a harpsichord. Mixed well enough, the three instruments would then be indistinguishable to the listener.


title: Wall of Sound

text: Among other features of the sound, Spector incorporated an array of orchestral instruments (strings, woodwind, brass and percussion) not previously associated with youth-oriented pop music. Reverb from an echo chamber was also highlighted for additional texture. He characterized his methods as "a Wagnerian approach to rock & roll: little symphonies for the kids". The combination of large ensembles with reverberation effects also increased the average audio power in a way that resembles compression. By 1979, the use of compression had become common on the radio, marking the trend that led to the loudness war in the 1980s.


title: Wall of Sound

text: The intricacies of the technique were unprecedented in the field of sound production for popular music. According to Beach Boys leader Brian Wilson, who used the formula extensively: "In the '40s and '50s, arrangements were considered 'OK here, listen to that French horn' or 'listen to this string section now.' It was all a definite sound. There weren't combinations of sound and, with the advent of Phil Spector, we find sound combinations, which—scientifically speaking—is a brilliant aspect of sound production."


title: Wall of Sound

text: During the late 1950s, Spector worked with Brill Building songwriters Jerry Leiber and Mike Stoller during a period when they sought a fuller sound by the use of excessive instrumentation, using up to five electric guitars and four percussionists. Later this evolved into Spector's Wall of Sound, which Leiber and Stoller considered to be very distinct from what they were doing, stating: "Phil was the first one to use multiple drum kits, three pianos and so on. We went for much more clarity in terms of instrumental colors, and he deliberately blended everything into a kind of mulch. He definitely had a different point of view."


title: Wall of Sound

text: Spector's first production was the self-penned 1958 song "Don't You Worry My Little Pet", performed with his group the Teddy Bears. The recording was achieved by taking a demo tape of the song and playing it back over the studio's speaker system to overdub another performance over it. The end product was a cacophony, with stacked harmony vocals that could not be heard clearly. Spector spent the next several years further developing this unorthodox method of recording.


title: Wall of Sound

text: In the 1960s, Spector usually worked at Gold Star Studios in Los Angeles because of its exceptional echo chambers. He also typically worked with such audio engineers as Larry Levine and the conglomerate of session musicians who later became known as The Wrecking Crew.


title: Wall of Sound

text: Andrew Loog Oldham coined the phrase "Phil Spector's Wall of Sound" within advertisements for the Righteous Brothers 1964 single "You've Lost That Lovin' Feelin'". An earlier usage of the phrase "wall of sound" was made in reference to the instrumentation of jazz artist Stan Kenton, who utilized numerous brass instruments to create a vibrating sound that jolted human ears.


title: Wall of Sound

text: The process was almost the same for most of Spector's recordings, with Spector starting by rehearsing the assembled musicians for several hours before recording. The backing track was performed live and recorded monaurally; a bass drum overdub on "Da Doo Ron Ron" was the exception to the rule.


title: Wall of Sound

text: Songwriter Jeff Barry, who worked extensively with Spector, described the Wall of Sound as "by and large ... a formula arrangement" with "four or five guitars ... two basses in fifths, with the same type of line ... strings ... six or seven horns adding the little punches ... [and] percussion instruments—the little bells, the shakers, the tambourines".


title: Wall of Sound

text: Bob B. Soxx & the Blue Jeans' version of "Zip-A-Dee-Doo-Dah" formed the basis of Spector and Levine's future mixing practices, almost never straying from the formula it established. For the recording of "You've Lost That Lovin' Feelin'", engineer Larry Levine described the process thus: they started by recording four acoustic guitars, playing eight bars over and over again, changing the figure if necessary until Spector thought it ready. They then added the pianos, of which there were three, and if they didn't work together, Spector started again with the guitars. This is followed by three basses, the horns (two trumpets, two trombones, and three saxophones), then finally the drums. The vocals were then added with Bill Medley and Bobby Hatfield singing into separate microphones and backing vocals supplied by the Blossoms and other singers.


title: Wall of Sound

text: Daniel Lanois recounted a situation during the recording of the track "Goodbye" from Emmylou Harris's "Wrecking Ball": "We put a huge amount of compression on the piano and the mandoguitar, and it turned into this fantastic, chimey harmonic instrument. We almost got the old Spector '60s sound, not by layering, but by really compressing what was already there between the melodic events happening between these two instruments." Nonetheless, layering identical instrumental parts remained an integral component of many of Spector's productions, as session musician Barney Kessel recalled:


title: Wall of Sound

text: All early Wall of Sound recordings were made with a three-track Ampex 350 tape recorder. Levine explained that during mixing, "I [would] record the same thing on two of the [Ampex machine's] three tracks just to reinforce the sound, and then I would erase one of those and replace it with the voice. The console had a very limited equalizer for each input ... That was basically it in terms of effects, aside from the two echo chambers that were also there, of course, directly behind the control room."


title: Wall of Sound

text: Microphones in the recording studio captured the musicians' performance, which was then transmitted to an echo chamber—a basement room fitted with speakers and microphones. The signal from the studio was played through the speakers and reverberated throughout the room before being picked up by the microphones. The echo-laden sound was then channeled back to the control room, where it was recorded on tape. The natural reverberation and echo from the hard walls of the echo chamber gave Spector's productions their distinctive quality and resulted in a rich, complex sound that, when played on AM radio, had a texture rarely heard in musical recordings. Jeff Barry said: "Phil used his own formula for echo, and some overtone arrangements with the strings."


title: Wall of Sound

text: During the mixing for "Zip-A-Dee-Doo-Dah", Spector turned off the track designated for electric guitar (played on this occasion by Billy Strange). However, the sound of the guitar could still be heard spilling onto other microphones in the room, creating a ghostly ambiance that obscured the instrument. In reference to this nuance of the song's recording, music professor Albin Zak has written:


title: Wall of Sound

text: Levine disliked Spector's penchant for mic bleeding, accordingly: "I never wanted all the bleed between instruments – I had it, but I never wanted it – and since I had to live with it, that meant manipulating other things to lessen the effect; bringing the guitars up just a hair and the drums down just a hair so that it didn't sound like it was bleeding." In order to offset the mixing problems percussion leakage caused, he applied a minimal number of microphones to the drum kits, using Neumann U67s overhead and RCA 77s on the kick to establish a feeling of presence.


title: Wall of Sound

text: According to Zak: "Aside from the issues of retail and radio exposure, mono recordings represented an aesthetic frame for musicians and producers, who had grown up with them." Despite the trend toward multi-channel recording, Spector was vehemently opposed to stereo releases, claiming that it took control of the record's sound away from the producer in favor of the listener, resulting in an infringement of the Wall of Sound's carefully balanced combination of sonic textures as they were meant to be heard. Brian Wilson agreed, stating: "I look at sound like a painting, you have a balance and the balance is conceived in your mind. You finish the sound, dub it down, and you’ve stamped out a picture of your balance with the mono dubdown. But in stereo, you leave that dubdown to the listener—to his speaker placement and speaker balance. It just doesn't seem complete to me."


title: Wall of Sound

text: It has been inaccurately suggested in critical shorthand that Spector's "wall of sound" filled every second with a maximum of noise. Levine recalled how "other engineers" mistakenly thought that the process was "turning up all the faders to get full saturation, but all that achieved was distortion." Biographer David Hinckley wrote that the Wall of Sound was flexible, more complex, and more subtle, elaborating:


title: Wall of Sound

text: The Wall of Sound has been contrasted with "the standard pop mix of foregrounded solo vocal and balanced, blended backing" as well as the airy mixes typical of reggae and funk. Musicologist Richard Middleton wrote: "This can be contrasted with the "open" spaces and more "equal" lines of typical funk and reggae textures [for example], which seem to invite [listeners] to insert [themselves] in those spaces and actively participate." Supporting this, Jeff Barry said, "[Spector] buried the lead and he "cannot stop" himself from doing that ... if you listen to his records in sequence, the lead goes further and further in and to me what he is saying is, 'It is "not" the song... just listen to those "strings". I want "more" musicians, it's "me".'"


title: Wall of Sound

text: Closer reflection reveals that the Wall of Sound was compatible with, even supportive of, vocal protagonism. Such virtuosity was ultimately serving of Spector's own agenda—The Righteous Brothers' vocal prowess provided him a "secure and prosperous headrest", such as in Bobby Hatfield's rendering of "Unchained Melody".


title: Wall of Sound

text: According to author Matthew Bannister, Spector's Wall of Sound is distinct from what's typically characterized as a "wall of sound" in rock music. Bannister writes that, during the 1980s, "Jangle and drone plus reverberation create[d] a contemporary equivalent of Spector's 'Wall of Sound' – a massive, ringing, cavernous noise and a device used by many indie groups: Flying Nun, from Sneaky Feelings' "Send You" to Straitjacket Fits and the JPS Experience". He cites 1960s psychedelic and garage rock such as the Byrds' "Eight Miles High" (1966) as a primary musical influence on the movement.


title: Wall of Sound

text: The Wall of Sound forms the foundation of Phil Spector's recordings. Certain records are considered to have epitomized its use. Spector himself is quoted as believing his production of Ike and Tina Turner's "River Deep, Mountain High" to be the summit of his Wall of Sound productions, and this sentiment has been echoed by George Harrison, who called it "a perfect record from start to finish".


title: Wall of Sound

text: Outside of Spector's own songs, the most recognizable example of the "Wall of Sound" is heard on many classic hits recorded by The Beach Boys (e.g., "God Only Knows", "Wouldn't It Be Nice"—and especially, the psychedelic "pocket symphony" of "Good Vibrations"), for which Brian Wilson used a similar recording technique, especially during the "Pet Sounds" and "Smile" eras of the band. Wilson considers "Pet Sounds" to be a concept album centered around interpretations of Phil Spector's recording methods. Author Domenic Priore observed, "The Ronettes had sung a dynamic version of The Students' 1961 hit 'I'm So Young', and Wilson went right for it, but took the Wall of Sound in a different direction. Where Phil would go for total effect by bringing the music to the edge of cacophony – and therefore rocking to the tenth power – Brian seemed to prefer audio clarity. His production method was to spread out the sound and arrangement, giving the music a more lush, comfortable feel."


title: Wall of Sound

text: According to Larry Levine, "Brian was one of the few people in the music business Phil respected. There was a mutual respect. Brian might say that he learned how to produce from watching Phil, but the truth is, he was already producing records before he observed Phil. He just wasn't getting credit for it, something that in the early days, I remember really used to make Phil angry. Phil would tell anybody who listened that Brian was one of the great producers."


title: Wall of Sound

text: After Sonny Bono was fired from Philles Records, he signed up with Atlantic Records and recruited some of Spector's colleagues to create "I Got You Babe" (which went to No. 1 on "Billboard" Hot 100) and "Baby Don't Go" (No. 8), both of which featured elements of the Wall of Sound, among other songs. Similarly, when the Righteous Brothers ended their relationship with Spector and signed with Verve/MGM Records in 1966, they released "(You're My) Soul and Inspiration", which Medley produced using this approach and also reached No. 1 on the "Billboard" Hot 100, and stayed at the top for three weeks.


title: Wall of Sound

text: One of the earliest persons outside of Spector's talent pool to adopt the Wall of Sound approach was British producer Johnny Franz, specifically his work with Dusty Springfield and the Walker Brothers, with songs such as "I Only Want to Be with You" and "You Don't Have to Say You Love Me" for the former and "Make It Easy On Yourself" and "The Sun Ain't Gonna Shine (Anymore)" for the latter (both of which were No. 1 hits in the United Kingdom).


title: Wall of Sound

text: Another was the productions of Shadow Morton, such as his work with the Shangri-Las, one of which, "Leader of the Pack", went to No. 1 in the United States. According to Billy Joel (who played piano in another Shangri-Las song, "Remember (Walking in the Sand)"), Morton aspired to become the Phil Spector of the East Coast.


title: Wall of Sound

text: Another prominent example that reached the top of the "Billboard" Hot 100 was Simon and Garfunkel's "Bridge over Troubled Water", which utilized the Wall of Sound with great effect towards the end, with the help of the Wrecking Crew. The production was modeled on the Righteous Brothers' version of "Old Man River", and Art Garfunkel has explicitly compared it to the Spector-produced "Let It Be". Spector's work with the Righteous Brothers also influenced the R&B band Checkmates, Ltd., with songs such as "I Can Hear the Rain", "Please Don't Take My World Away", and "Walk in the Sunlight". It was because of such experiments that their manager sought to secure Spector's involvement for their second album, "Love Is All We Have to Give".


title: Wall of Sound

text: In 1973, British band Wizzard revived the Wall of Sound in three of their hits "See My Baby Jive", "Angel Fingers" and "I Wish It Could Be Christmas Everyday". "See My Baby Jive" later influenced ABBA's song "Waterloo".


title: Wall of Sound

text: ABBA also utilized the technique for songs starting with "People Need Love" and fully realized with songs such as "Ring Ring", "Waterloo", and "Dancing Queen"; prior to recording "Ring Ring", engineer Michael B. Tretow had read Richard Williams' book "Out of His Head: The Sound of Phil Spector", which inspired him to layer multiple instrumental overdubs on the band's recordings to simulate an orchestra, becoming an integral part of ABBA's sound. Bruce Springsteen also emulated the Wall of Sound in his album "Born to Run", starting with the titular song, backed by the E Street Band. The E Street Band would become famous practitioners of this method, with songs such as Ronnie Spector's cover of Billy Joel's "Say Goodbye to Hollywood" (itself conceived as a tribute to the Ronettes).


title: Wall of Sound

text: Jim Steinman and Todd Rundgren, composer and producer of Meat Loaf's "Bat Out of Hell", respectively, utilized the Wall of Sound for the album. Steinman composed the songs based on Spector's productions as well as Wagner and Springsteen (also including the E Street Band's Roy Bittan and Max Weinberg on piano and drums, respectively), with the title track also being influenced by songs such as "Leader of the Pack". As with Brian Wilson, Steinman had aimed to create "anthems to the kind of feeling you get listening to ‘Be My Baby’" for the album. Steinman would later similarly utilize such instrumentation in his own productions for other songs, such as Bonnie Tyler's "Total Eclipse of the Heart" (produced specifically in Spector's model), to the point that his discography ranging from Air Supply ("Making Love Out of Nothing at All") to Celine Dion ("It's All Coming Back to Me Now") has been described as an "alternate-universe Wall of Sound". When asked about his involvement with Dion for songs such as "River Deep – Mountain High" in the album "Falling Into You", Spector denounced Steinman and other producers as "amateurs, students, and bad clones of yours truly", to which Steinman responded, "I’m thrilled to be insulted by Phil Spector. He’s my God, my idol. To be insulted by Phil Spector is a big honor. If he spits on me I consider myself purified."


title: Wall of Sound

text: The Wall of Sound was also utilized by The Jesus and Mary Chain ("Just Like Honey"), Mark Wirtz ("Excerpt from A Teenage Opera"), The Kursaal Flyers ("Little Does She Know"), The Alan Parsons Project ("Don't Answer Me"), Spiritualized ("Ladies and Gentlemen We Are Floating in Space", "Let It Come Down") and Eiichi Ohtaki ("Niagara Calendar").


title: Wall of Sound

text: Wagnerian rock derives its characterization from a merge between Spector's Wall of Sound and the operas of Richard Wagner.


title: Field marshal (United Kingdom)

text: Field Marshal (FM) has been the highest rank in the British Army since 1736. A five-star rank with NATO code OF-10, it is equivalent to an Admiral of the Fleet in the Royal Navy or a Marshal of the Royal Air Force in the Royal Air Force (RAF). A Field Marshal's insignia consists of two crossed batons surrounded by yellow leaves below St Edward's Crown. Like Marshals of the RAF and Admirals of the Fleet, Field Marshals traditionally remain officers for life, though on half-pay when not in an appointment. The rank has been used sporadically throughout its history and was vacant during parts of the 18th and 19th centuries (when all former holders of the rank were deceased). After the Second World War, it became standard practice to appoint the Chief of the Imperial General Staff (later renamed Chief of the General Staff) to the rank on his last day in the post. Army officers occupying the post of Chief of the Defence Staff, the professional head of all the British Armed Forces, were usually promoted to the rank upon their appointment.


title: Field marshal (United Kingdom)

text: In total, 141 men have held the rank of field marshal. The majority led careers in the British Army or the colonial Indian Army, rising through the ranks to eventually become a field marshal. Some members of the British Royal Family—most recently Prince Edward, Duke of Kent, and Charles III—were promoted to the rank after shorter periods of service. Three British monarchs—George V, Edward VIII, and George VI— assumed the rank on their accessions to the throne, while Edward VII and Charles III were already field marshals, and two British consorts—Albert, Prince Consort and Prince Philip, Duke of Edinburgh—were appointed by their respective queens. Other ceremonial appointments were made as diplomatic gestures. Twelve foreign monarchs held the honour, though three (Wilhelm II, German Emperor; Franz Joseph I, Austrian Emperor; and Hirohito, Emperor of Japan) were stripped of it when their countries became enemies of Britain and her allies in the two world wars. Also awarded the rank were one Frenchman (Ferdinand Foch) and one Australian (Sir Thomas Blamey), honoured for their contributions to World War I and World War II respectively, and one South African statesman (Jan Smuts).


title: Field marshal (United Kingdom)

text: A report commissioned by the Ministry of Defence in 1995 made a number of recommendations for financial savings in the armed forces' budget, one of which was the abolition of the five-star ranks. Part of the rationale was that these ranks were disproportionate to the size of the forces commanded by these officers and that none of the United Kingdom's close allies, such as the United States (which reserves the rank of general of the army for officers who have commanded large armies in major wars), used such ranks. The recommendation was not taken up in full, but the practice of promoting service chiefs to five-star ranks was stopped and the ranks are now reserved for special circumstances. Sir Peter Inge was, in 1994, the last active officer to be promoted to the rank. Inge relinquished the post of Chief of the Defence Staff (CDS) in 1997 and his successor, Sir Charles Guthrie, was the first officer not to be promoted upon appointment as CDS, although he was promoted to the honorary rank of field marshal in June 2012.


title: Field marshal (United Kingdom)

text: The most recent promotions to field marshal came in 2012, eighteen years after the moratorium on routine promotions to the rank, when Queen Elizabeth II promoted Prince Charles, her son and heir apparent, to the five-star ranks in all three services, in recognition of support provided for her in her capacity as Head of the British Armed Forces. At the same time, Guthrie, who relinquished the post of CDS and retired from active service in 2001, was promoted to honorary field marshal. In June 2014 former Chief of the Defence Staff Lord Walker of Aldringham was also promoted to honorary field marshal.


title: Field marshal (United Kingdom)

text: Although the rank of field marshal is not used in the Royal Marines, the insignia is used on the uniform of the Captain General, the ceremonial head of the corps (equivalent to colonel-in-chief).


title: Field marshal (United Kingdom)

text: The rank insignia of a field marshal in the British Army comprises two crossed batons in a wreath of laurel leaves, with a crown above. In some other countries, historically under the sphere of British influence, an adapted version of the insignia is used for field marshals, often with the crown being replaced with an alternative cultural or national emblem. On appointment, British field marshals are awarded a gold-tipped baton which they may carry on formal occasions.


title: Field marshal (United Kingdom)

text: The vast majority of officers to hold the rank of field marshal were professional soldiers in the British Army, though eleven served as officers in the British Indian Army. At least fifty-seven field marshals were wounded in battle earlier in their careers, of whom 24 were wounded more than once, and eight had been prisoners of war. Fifteen future field marshals were present at the Battle of Vitoria, where the Duke of Wellington earned the rank, and ten others served under Wellington at the Battle of Waterloo. However, only thirty-eight held independent commands in the field, and just twelve served as Commander-in-Chief of the Forces (the pre-1904 professional head of the army) or Chief of the Imperial General Staff during a major war.


title: Field marshal (United Kingdom)

text: Four field marshals—Sir Evelyn Wood, Sir George White, Earl Roberts, and Lord Gort—had previously received the Victoria Cross (VC), the United Kingdom's highest and most prestigious award for gallantry "in the face of the enemy". Wood, a famously injury-prone officer, was awarded the VC for two actions in 1858 in which he first attacked a group of rebels in India and later rescued an informant from another group of rebels. White, a cavalry officer, led two charges on enemy guns in Afghanistan in 1879, while Gort, of the Grenadier Guards, commanded a series of attacks while severely wounded during the First World War in 1918. Roberts received his VC for actions during the Indian Mutiny.


title: Field marshal (United Kingdom)

text: Wellington, 44 at the time of his promotion, was the youngest non-royal officer to earn the rank of field marshal. Charles Moore, 1st Marquess of Drogheda was the oldest, promoted at the age of 91, while a further twenty-three officers were promoted to field marshal in their eighties. Wellington was also the only field marshal to become Prime Minister of the United Kingdom.


title: Field marshal (United Kingdom)

text: No officer whose career was spent in the British Army has ever reached the rank of field marshal without having served in the cavalry, infantry, Royal Armoured Corps, Royal Artillery or Royal Engineers. One non-British officer has been appointed field marshal in the British Army—Ferdinand Foch of France, in recognition of his contributions in the First World War—while one, Sir William Robertson, held every rank in the British Army, from private soldier to field marshal.


title: Stetson Bennett

text: Stetson Fleming Bennett IV (born October 28, 1997) is an American football quarterback for the Georgia Bulldogs. Nicknamed "the Mailman," he started his career as a walk-on at Georgia before transferring to Jones County Junior College. Bennett transferred back to Georgia and won a National Championship in 2022.


title: Stetson Bennett

text: Bennett was born on October 28, 1997, in Atlanta, Georgia. In first grade, his family moved from Atlanta to Nahunta, Georgia. In eighth grade, his family moved to Blackshear, Georgia, where he played high school football at Pierce County High School. There, he led the school to three consecutive state playoff appearances, throwing for 3,724 yards, running for 500 more and scoring 40 total touchdowns as a senior. Bennett was merely a two-star quarterback coming out of high school and his only FBS scholarship offer came from Middle Tennessee State as coaches thought he was too short and too light—he was and at the time.


title: Stetson Bennett

text: He did not take a snap the whole season. After five-star high school quarterback Justin Fields committed to Georgia in 2018, Bennett decided to transfer to Jones County Junior College.


title: Stetson Bennett

text: After his transfer, Bennett played in 12 games and threw for 16 touchdowns for 1,840 yards. After his lone season at Jones County he entered the transfer portal for a second time. He was a three-star prospect heading into his transfer. He was about to join the Louisiana Ragin' Cajuns, but he ended up returning to Georgia. The Bulldogs were in need of a backup quarterback after Fields transferred to Ohio State. Georgia offered Bennett a scholarship. He accepted and became Georgia's second-string quarterback.


title: Stetson Bennett

text: As Jake Fromm's backup, Bennett had two touchdowns and one interception on the season. He also had one rushing touchdown. He most notably appeared in the SEC Championship Game when Fromm went down with an injury.


title: Stetson Bennett

text: Heading into his junior season, Bennett started the season as a backup quarterback to D'Wan Mathis. Mathis was named the starter after Jamie Newman, the planned starter, opted out of the season. Bennett became the starter after poor play from Mathis. A few months later, USC transfer JT Daniels took the starting job.


title: Stetson Bennett

text: Bennett began the season as the backup to JT Daniels. He made his first appearance and first start of the 2021 season against the UAB Blazers after Daniels went down with an oblique injury. In that game, Bennett tied the record for most touchdowns in a game by a Georgia quarterback, with five. Bennett was trusted with the starting job for the rest of the season, and he led the Bulldogs to a 12-0 record. He finished the season with 29 touchdowns and seven interceptions.


title: Stetson Bennett

text: On December 4, 2021, Bennett threw for three touchdowns and two interceptions in the 41-24 loss in the SEC Championship Game against the Alabama Crimson Tide. He was criticized for the loss, leading many to believe that JT Daniels should get the start against Michigan in the Orange Bowl. Despite the loss, Bennett led the Bulldogs to a victory in the 2022 College Football Playoff National Championship game in a rematch against Alabama. It was Georgia's first national title since 1980.


title: Stetson Bennett

text: On January 20, 2022, just ten days after winning the National Championship and amid speculation that he would transfer, Bennett announced his return to Georgia. In the preseason Adam Rittenberg named Bennett a Heisman Trophy candidate.


title: Stetson Bennett

text: During the 2022 regular season, Bennett led Georgia to a 13−0 record, including an SEC Championship. During the 2022 SEC Championship Game, he passed for four touchdowns and 274 yards, being named the game's MVP in a 50−30 victory. Bennett finished the year throwing for 20 touchdowns, 3,425 yards, and six interceptions while rushing for seven touchdowns. On December 5, 2022, Bennett was named a finalist for the Heisman Trophy.


title: Stetson Bennett

text: Stetson Bennett IV is the son of Denise and Stetson Bennett III. His parents met at and graduated from the University of Georgia College of Pharmacy. Bennett is the grandson of Buddy Bennett, who played quarterback for the University of South Carolina Gamecocks from 1958 to 1960 and later was a coach.


title: Nitesh Tiwari

text: Nitesh Tiwari is an Indian film director, screenwriter, and lyricist known for his works in Bollywood. He debuted as a co-director in "Chillar Party" (2011) which won the National Film Award for Best Children's Film for that year. He then helmed the supernatural political drama "Bhoothnath Returns" (2014).


title: Nitesh Tiwari

text: In 2016, Tiwari scripted and directed "Dangal" which was screened at the Beijing International Film Festival in April 2017 and second BRICS festival in June 2017. The film is the highest-grossing Indian film and the fifth highest grossing non-English film, having collected over of which more than 1,200 crore was earned in China, where it has emerged as one of the top 20 highest-grossers of all time. Tiwari has garnered the Filmfare Award for Best Director at the 62nd Filmfare Awards, and the Telstra People's Choice Award at the 2017 Indian Film Festival of Melbourne. His next was the blockbuster comedy-drama film "Chhichhore" (2019), earning him wider critical acclaim.


title: Nitesh Tiwari

text: He has also co-founded Earthsky Pictures which has produced several ad films and Break Point, a docu-series based on Tennis legends, Mahesh Bhupathi and Leander Paes.


title: Nitesh Tiwari

text: Tiwari was born in Madhya Pradesh to B. D. Tiwari. He has a brother and a sister. He graduated from the Indian Institute of Technology Bombay in 1996 with a bachelor's degree in Metallurgy and Material Science engineering. Tiwari worked as a creative director at Leo Burnett before he entered Bollywood. Tiwari's early childhood was spent in a small town in MP called Ganj Basoda. He studied in Bharat Mata Convent School until class 8th. He also did a small play in his school cultural event titled “Tapori-Mughal-e-Azam”


title: Nitesh Tiwari

text: He is married to Ashwiny Iyer Tiwari, who was his colleague and creative director at Leo Burnett. She is also a film director, producer and writer.


title: Maryse Mizanin

text: Maryse Mizanin (; née Ouellet; born January 21, 1983) is a Canadian professional wrestler, actress, and glamour model. She is currently signed to WWE, appearing on the Raw brand alongside her husband The Miz, under the ring name Maryse. After spending years modeling, including winning Miss Hawaiian Tropic Canada in 2003, Ouellet participated in the WWE Diva Search competition and was hired by WWE in 2006. She spent time in developmental territories Ohio Valley Wrestling and Florida Championship Wrestling, before being assigned to the SmackDown brand in 2008. That year, Maryse won her first WWE Divas Championship.


title: Maryse Mizanin

text: In 2009, she was drafted to the WWE Raw brand, and won the Divas Championship for the second time in 2010, making her the first woman to hold it more than once. In 2010, she co-hosted "NXT" and managed Ted DiBiase, prior to her release from the company in 2011. In 2016, she returned to the company and became the manager of her husband The Miz. That year, she joined the cast of the reality show "Total Divas". In 2018, WWE announced a spin-off show titled "Miz & Mrs.", which stars Ouellet. She and her husband also serve as executive producers.


title: Maryse Mizanin

text: Ouellet was born in Montreal, Quebec, but grew up in Edmundston, New Brunswick. In high school, Ouellet was the only girl in her class, and ran the school's fashion show. She also began developing a range of makeup products. Ouellet began her modeling career as a beauty pageant contestant, winning Miss Hawaiian Tropic Canada 2003 and finishing second at the International Finals of Miss Hawaiian Tropic 2004. She was also on the cover of "Playboy"<nowiki>'</nowiki>s 2007 Girls of Canada calendar.


title: Maryse Mizanin

text: In mid-2006, Ouellet tried out for World Wrestling Entertainment (WWE)'s "Diva Search". She made the final cut and was one of the top eight contestants, but was the second person eliminated on July 24. Despite her elimination, she was invited to observe workouts and the training facility at WWE's developmental territory, Ohio Valley Wrestling (OVW), along with Brooke Adams. Ouellet later said that she was "very, very excited", as it was her "dream to become a WWE Diva".


title: Maryse Mizanin

text: Ouellet was officially signed to a WWE developmental contract on August 24, 2007, and was assigned to OVW for training. She made her in-ring debut at an OVW live event in December 2006. In March 2007, she began wrestling in dark matches prior to the OVW television tapings. In mid-2007, Ouellet began managing Sylvain Grenier. When Florida Championship Wrestling (FCW) opened in mid-2007, Ouellet was transferred to the new developmental facility, and on September 25, she made her FCW debut as the valet of Ryan O'Reilly along with Lacey Von Erich. Ouellet then started competing in singles and tag team competition, before managing Ted DiBiase, Jr. in December 2007, and was at ringside when he captured the FCW Southern Heavyweight Championship.


title: Maryse Mizanin

text: On the September 22, 2006, episode of "SmackDown!", Ouellet, known as simply Maryse, was shown on the TitanTron welcoming the Montreal viewers in French to the season premiere of "SmackDown!" on the CW Network. Maryse made her first official televised appearance on the May 21, 2007, episode of "Raw" to present American rapper Timbaland's new music video for the single "Throw It on Me", in which she had appeared.


title: Maryse Mizanin

text: By the time she began appearing regularly on "SmackDown" at the beginning of 2008, she had adopted a snobby attitude and become a villainous character. On the March 7, 2008, episode of "SmackDown", Maryse competed in a swimsuit contest against Victoria, Michelle McCool, Cherry, and Eve Torres, which ended in a brawl between Maryse and Torres. The following week, she was the first eliminated from another swimsuit competition. On March 28, Maryse competed in a "Wet and Wild" match, teaming with Victoria against Cherry and McCool in a losing effort. On a "SmackDown after the bell" video on WWE's website, the tag team Deuce 'n Domino dumped Cherry, who had been their manager, and replaced her with Maryse. Maryse then insulted Cherry, only for Cherry to slap her. On the May 16 episode of "SmackDown", Maryse made her in-ring debut in a loss to Cherry, though she defeated Cherry in a rematch the following week. On the June 6 episode of "SmackDown!", SmackDown General Manager Vickie Guerrero announced the creation of the WWE Divas Championship, and that same night the Divas competed in a Golden Dreams match to qualify for the championship match at The Great American Bash, which was won by Natalya. On the July 4, 2008, episode of "SmackDown!", she competed again in another Golden Dreams match to face Natalya for the championship, however she failed to win. For several weeks, Maryse competed in six-person tag team matches with Victoria and Natalya against Cherry, Michelle McCool and Maria. She suffered a minor broken nose after receiving a bulldog from Maria in August 2008.


title: Maryse Mizanin

text: Maryse began a rivalry with Michelle McCool in September 2008, challenging her for the WWE Divas Championship at Unforgiven, and in a rematch the following week on "SmackDown", but failed to win on both occasions. On the September 23 episode of "ECW", Maryse defeated McCool in a non-title match. After a month-long absence, Maryse returned at Survivor Series pay-per-view event in November, participating in a five-on-five Divas elimination tag team match, eliminating Kelly Kelly, Mickie James and Candice Michelle; Maryse was the sole survivor of her team, but was ultimately eliminated by Beth Phoenix. At the Armageddon pay-per-view on December 14, Maryse teamed up with Jillian Hall, Victoria and Natalya in a losing effort to McCool, Maria, Kelly Kelly and Mickie James in an Eight-Diva Santa's Little Helper tag team match. On December 19, Maryse pinned Maria to become the number one contender for Michelle McCool's Divas Championship. The following week on "SmackDown", Maryse defeated McCool, with Maria as the special guest referee, to win her first Divas Championship. On December 28, at a house show in Raleigh, North Carolina, Maryse dislocated her knee in a tag team match against The Bella Twins (Nikki and Brie). It was later announced that the injury was not major, and therefore only missed a few weeks action. On the January 23, 2009, episode of "SmackDown", Maryse returned and sat at ringside commentating during a Divas' tag team match. She returned to in-ring action on February 20, teaming with Michelle McCool in a win against Maria and Eve Torres, where she pinned Torres.


title: Maryse Mizanin

text: Maryse made her first appearance on "Raw" on March 2, as a commentator for a match involving the WWE Women's Champion Melina, with Maryse attacking her after the match. The following week, Maryse made her in-ring debut on "Raw" in a champion vs champion lumberjill match, which she defeated Melina. The rivalry extended to a tag team match on "SmackDown" on March 13, where Melina and Maria defeated McCool and Maryse. On March 27 episode of "SmackDown", Maryse made her first championship defense, losing by disqualification after the returning Gail Kim attacked Maryse and McCool, and thus retained the championship. On April 5, Maryse competed in a 25-Diva Miss WrestleMania battle royal at WrestleMania XXV, but she was eliminated by Beth Phoenix and the match was won by Santina Marella (Santino Marella dressed in drag). Maryse made her last appearance on "SmackDown" on April 24, retaining her championship against Gail Kim.


title: Maryse Mizanin

text: As part of the 2009 WWE Draft on April 13, Maryse was drafted to the "Raw" brand, and in the process, the Divas Championship became exclusive to "Raw". She made her first appearance as part of the brand on April 27, teaming with Beth Phoenix, Rosa Mendes, and Jillian Hall in a loss to Santina Marella, Mickie James, Brie Bella and Kelly Kelly. Maryse then began feuding with Mickie James after she cost James a number one contender's battle royal, which was eventually won by Kelly Kelly, by spraying hairspray in her eyes. The following week, Maryse lost a championship match against Kelly by disqualification, meaning the championship did not change hands, and won a subsequent rematch by pinfall two weeks later on June 8. At Night of Champions on July 26, Maryse lost the Divas Championship to James. Despite being only the second Divas champion, her reign of 216 days remained the longest in the title's history for nearly five years, until AJ Lee surpassed her reign in January 2014.


title: Maryse Mizanin

text: After losing the championship, Maryse underwent a legitimate knee surgery. She returned on the November 23 episode of "Raw", disguised as The Gobbledy Gooker, as the guest timekeeper for a Thanksgiving-themed 6-Divas tag team match. After the match, she revealed herself by attacking the Divas Champion Melina. The following week, Maryse made her in-ring return teamed with Jillian Hall in a tag team match against Melina and Gail Kim, where Maryse pinned Melina. On the December 7 episode of "Raw", Maryse defeated Gail Kim by dirty tactics, and following the match, Maryse proceed to attack Kelly Kelly, who was working as ring announcer, ordering her to announce she was the next Divas Champion, but was stopped by Melina.


title: Maryse Mizanin

text: In early 2010, a tournament was held for the newly vacated WWE Divas Championship due to Melina's injury. Maryse entered the tournament, and defeated Brie Bella and Eve Torres in the first round and semi-finals, respectively, to advance to the finals. The tournament's finals were originally scheduled for Elimination Chamber on February 21; instead, the match was changed by the "SmackDown" General Manager Vickie Guerrero to an interbrand tag team match, where Maryse teamed with her scheduled opponent Gail Kim against LayCool (Michelle McCool and Layla), which was won by LayCool as a result of Maryse abandoning Kim during the match. The following night on "Raw", Maryse defeated Kim in the finals to win the championship, becoming the first Diva to have held it twice.


title: Maryse Mizanin

text: On March 15 episode of "Raw", Maryse defeated Kelly Kelly in a non-title match, attacking her after the match before being attacked by Eve Torres and Gail Kim, and saved by LayCool, then joining with them and Vickie Guerrero. On March 26 episode of "SmackDown", Maryse teamed up with LayCool, Guerrero and Alicia Fox defeating Beth Phoenix in a 5-on-1 handicap match before being attacked by Kim, Eve, Kelly and Mickie James. At WrestleMania XXVI, on March 28, she was part of the winning team of a 10-Diva tag team match with LayCool, Fox and Guerrero against Phoenix, James, Kim, Torres and Kelly Kelly, but the following night on "Raw", she was pinned by Torres in a rematch. Maryse lost the Divas Championship two weeks later to Eve Torres on the April 12 episode of "Raw", and was unsuccessful to regain it at Over the Limit pay-per-view in May. At Fatal 4-Way on June 20, Maryse failed to regain the title in a Fatal Four-Way match that also involved then-champion Eve, Gail Kim, and Alicia Fox, which Fox would win pinning her to become the champion.


title: Maryse Mizanin

text: On the June 21 episode of "Raw", after Ted DiBiase fired Virgil, Maryse became DiBiase's new personal assistant. At Money in the Bank, on July 18, Maryse accompanied DiBiase in his Money in the Bank ladder match for the WWE Championship contract, which she tried to pick the briefcase, but was stopped by John Morrison. Along with DiBiase, Maryse was announced as a mentor for Brodus Clay for the fourth season of "NXT" on November 30. On "Raw", on December 13, Maryse was involved in a battle royal to determine the winner of the Diva of the Year Slammy Award, but was eliminated by Natalya. Clay traded his mentors, Maryse and DiBiase, for Alberto Del Rio on the January 25, 2011, episode of "NXT". In late September 2010, Maryse was involved in an storyline with Goldust, in which he stole the Million Dollar Championship from DiBiase, and lost a subsequent mixed tag team match against Goldust and Aksana on October 26.


title: Maryse Mizanin

text: On March 8, Maryse became the co-host of "NXT", alongside Matt Striker. As part of "NXT Redemption", Maryse was involved in several romantic storylines, most notably with Yoshi Tatsu, Lucky Cannon, and Hornswoggle. In April, DiBiase made an ultimatum to Maryse for her to choose to continue on the "NXT" or continue with him. The following week, Maryse chose to continue appearing on "NXT", disbanding their alliance in the process. In August, Maryse underwent surgery for an abdominal hernia and took time off WWE programming. After two months of inactivity, Maryse was released from her WWE contract on October 28.


title: Maryse Mizanin

text: On October 5, 2012, Maryse appeared at the Family Wrestling Entertainment (FWE) event "Back 2 Brooklyn", performing live commentary. She began appearing regularly for FWE, where she commentated during women's matches.


title: Maryse Mizanin

text: On April 4, 2016, episode of "Raw", the episode after WrestleMania 32, Maryse returned during a WWE Intercontinental Championship match between the champion Zack Ryder and her husband, The Miz. During the match, Maryse slapped Ryder's father, who was in the front row, in order to distract Ryder and allowed Miz to capture the championship for the fifth time, thus becoming his manager in the process, where the two then became an on-screen power couple. She formally re-introduced herself three days later on the April 7 episode of "SmackDown" before once more helping Miz to retain his championship over Ryder.<ref name="Smackdown 08/04/16"></ref> She then began to cut various promos with Miz as his host during the "Miz TV" segments, while calling themselves the "It" Couple. Following a hiatus due to the , Maryse returned to WWE television on the June 27 episode of "Raw", where she helped Miz to retain his championship against Kane after she faked an ankle injury.


title: Maryse Mizanin

text: After being drafted to "Smackdown" as part of the 2016 WWE draft which took place on July 19, she helped her husband to retain the title on several occasions.


title: Maryse Mizanin

text: On February 2017, Maryse was involved in her first feud since her return when she and The Miz feuded with the also real-life couple Nikki Bella and John Cena. This culminated in a mixed tag team match at WrestleMania 33, where Maryse and Miz would lose in what was Maryse's first match in over six years. On April 10, Maryse was drafted to the "Raw" brand along with Miz as part of the "Superstar Shake Up". On June 4, at Extreme Rules, Maryse was in Miz's corner when he won the WWE Intercontinental Championship for the seventh time by defeating Dean Ambrose. In September, following her pregnancy announcement, Maryse stopped appearing on television. On November 19, 2017, she made an appearance on the Survivor Series pay-per-view crowd watching Miz fight United States Champion Baron Corbin.


title: Maryse Mizanin

text: On January 22, 2018, in the "Raw" 25 Years special episode, Maryse was honored as part of a segment involving women considered legends that contributed to the company's success, including the Bella Twins, Kelly Kelly, Lilian Garcia, Torrie Wilson, Michelle McCool, Terri Runnels, Maria Kanellis and the Hall of Famers Jacqueline and Trish Stratus. Later she started making backstage promotional videos with Miz supporting him in the WWE Mixed Match Challenge, in which he won alongside Asuka in April in support of the charity Rescue Dogs Rock.


title: Maryse Mizanin

text: Maryse returned to "Smackdown" to manage The Miz in July 2018. Following Maryse's interference in The Miz vs. Daniel Bryan match at Summerslam, Maryse and Miz were put in a mixed tag match by the "SmackDown" General Manager Paige against Brie Bella and Daniel Bryan at Hell in a Cell on September 16 and won. On the September 11 edition of "SmackDown Live", Maryse competed in her first singles match in over 8 years, losing to disqualification to Brie Bella. Following this match, Maryse would again stop appearing on television as Miz began a storyline with Shane McMahon. At Elimination Chamber Maryse returned as a face announcing she and The Miz are having their second child. Although Miz was drafted to SmackDown during the 2019 WWE Draft, Maryse went undrafted. Her first post-draft appearance occurred during a pre-recorded segment on "SmackDown" in December 2019 for Miz's feud with "The Fiend" Bray Wyatt, where she appeared with Miz at their home. Maryse returned to "Raw" on April 12, 2021, as part of "Miz TV". On the same episode, Maryse accompanied and helped The Miz and John Morrison to defeat Damian Priest in a handicap match.


title: Maryse Mizanin

text: On November 29, 2021, Maryse made a surprise return to Raw, where she accompanied The Miz and confronted Edge in the middle of his first promo after being drafted back to Raw. She made multiple appearances on Raw in the following weeks, including attempting to interfere in the match between Edge and The Miz at Day 1, where Beth Phoenix returned to confront her. On the following week Raw, Edge and Beth Phoenix challenged The Miz and Maryse to a mixed-tag team match at the Royal Rumble, which The Miz accepted. On January 17, 2022, Maryse attempted to persuade Beth Phoenix to cancel their match at the Royal Rumble, and attacked her with a brick in her purse when she refused. The feud concluded in a mixed tag team match at Royal Rumble where Maryse and The Miz lost the match.


title: Maryse Mizanin

text: Throughout her career, Maryse has been noted for generating heat due to her snobby persona and bossy attitude in the ring, as well as for her comedy skits that often come unexpectedly during her matches and promos.


title: Maryse Mizanin

text: In April 2007, she appeared alongside fellow WWE Divas Ashley, Torrie Wilson, Brooke Adams, Layla, and Kelly Kelly in Timbaland's music video "Throw It On Me" featuring The Hives.


title: Maryse Mizanin

text: Ouellet also made an appearance in the January 2009 issue of "Muscle & Fitness", along with Eve Torres and Michelle McCool. She and John Morrison were interviewed on "Eurosport" in the same year. She also made a special appearance on "Redemption Song", which was hosted by WWE wrestler Chris Jericho, along with Candice Michelle, Mickie James, and Eve Torres. She has also appeared in several newspaper interviews, including "Tokyo Headline", and was on the cover of "Sessions Magazine" in October 2010.


title: Maryse Mizanin

text: In 2012, Maryse was featured on the cover of "Le Journal de Montréal", and on "MDA Show of Strength" with The Miz and other celebrities. In 2015, Ouellet had roles in "" and in "Santa's Little Helper", the latter starring The Miz. In the same year, she appeared on the E! reality television series "WAGS". In 2016, it was announced that Maryse would appear as a main cast member on the sixth season of "Total Divas", which prompted her return to WWE. In June 2017, Maryse along with Miz were on the cover of "DUB Magazine" with a Jeep car.


title: Maryse Mizanin

text: Maryse has appeared in seven WWE video games. She made her in-game debut at "WWE Smackdown vs. Raw 2010", later appearing in "WWE Smackdown vs. Raw 2011", "WWE '12", and returned in "WWE 2K18", "WWE 2K19", "WWE 2K20", "WWE 2K22", and "WWE 2K Battlegrounds".


title: Maryse Mizanin

text: In 2018, Maryse and her husband Mike appeared in a reality television series titled "Miz & Mrs." It was later announced on July 26 that Maryse would not be returning for the eighth season of "Total Divas".


title: Maryse Mizanin

text: Following her release from WWE in 2011, Ouellet announced her plans for a clothing and jewelry line named House of Maryse.


title: Maryse Mizanin

text: Beginning in late 2013, Ouellet began working as a realtor in Los Angeles after spending a year earning her real estate license.


title: Maryse Mizanin

text: Ouellet is a native speaker of French, fluent in English, and she is able to read Spanish, although she cannot speak it.<ref name="Kapur-12/12"></ref> Ouellet has a tattoo of her late father's name, Guy, on her left wrist. She has a degree in business administration, and holds a black belt in Kyokushin Karate. Her favorite actress is Scarlett Johansson, her favorite bands are Simple Plan and Nickelback, and she loves techno music. Ouellet is vegetarian.


title: Maryse Mizanin

text: She was inspired to become a professional wrestler by Lita. She cites Lita and Victoria as her dream opponents.


title: Maryse Mizanin

text: In 2013, Ouellet got engaged to longtime boyfriend and fellow wrestler Mike Mizanin, better known by his ring name, The Miz. The two were married in The Bahamas on February 20, 2014.


title: Maryse Mizanin

text: During Elimination Chamber on February 17, 2019, the couple announced they are expecting their second child, due in September. Their daughter Madison Jade Mizanin was born on September 20, 2019.


title: Maryse Mizanin

text: On June 27, 2018, Ouellet officially became an American citizen. The couple resides in Thousand Oaks, California as of 2019.


title: Prince Hisahito of Akishino

text: Hisahito was born at 08:27 JST (23:27 UTC) on 6 September 2006 at Aiiku Hospital, Tokyo. He was delivered by Caesarean section, two weeks early, after complications in the pregnancy.


title: Prince Hisahito of Akishino

text: Hisahito is the only son and youngest child of Fumihito, Prince Akishino, and Kiko, Princess Akishino. He has two older sisters, Mako Komuro and Princess Kako of Akishino. He was first seen in public on 15 September 2006, outside Aiiku Hospital.


title: Prince Hisahito of Akishino

text: Hisahito, the Prince's personal name, chosen by his father, means "serene and virtuous", according to the Imperial Household Agency. An alternative translation is "virtuous, calm, everlasting".


title: Prince Hisahito of Akishino

text: Hisahito was the first male child born to the Imperial House of Japan since his father in 1965. In January 2007, the Prime Minister of Japan, Shinzō Abe, announced that he would drop an earlier proposal to alter the Imperial Household Law so as to allow females to inherit the throne. The proposal had been made on the basis of the fact that the brother and two sons of Emperor Akihito had, at the time, no sons of their own. Given Hisahito's birth, it now seems increasingly unlikely that the laws will be changed to allow Hisahito's cousin, Princess Aiko, daughter of the Emperor Naruhito, to become a reigning Empress and thus end the Japanese succession debate. The supporters of changes criticized the current law as it placed a burden on the few aging males old enough to perform royal duties as females left the family.


title: Prince Hisahito of Akishino

text: In the spring of 2010, Prince Hisahito began kindergarten at a school affiliated with Ochanomizu University in Tokyo; on 14 December 2012, the Imperial Household Agency announced he would enter Ochanomizu University Elementary School in April 2013 so he could be with many of his friends from kindergarten. The prince thus became the first member of the Imperial House of Japan to receive his education at a school other than Gakushūin Primary School, which is also in Tokyo. By his second year, he was reported to be doing well at school, helping to look after first-year pupils and playing with his friends. In April 2019, Hisahito was enrolled in Ochanomizu University Junior High School. Police reports indicate that there was an assassination attempt on him there in May 2019. In March 2021, he was awarded a second-place prize in the junior high student category of Kitakyushu's 12th Children's Nonfiction Literature Awards.


title: Jon Lord

text: John Douglas Lord (9 June 194116 July 2012) was an English orchestral and rock composer, pianist, and Hammond organ player known for his pioneering work in fusing rock with classical or baroque forms, especially with the British rock band Deep Purple. He also spent time in the bands Whitesnake, Paice Ashton Lord, The Artwoods, The Flower Pot Men and Santa Barbara Machine Head. In 1968, Lord co-founded Deep Purple, a hard rock band of which he was regarded as the leader in its early years. Together with the other members, he collaborated on most of his band's most popular songs. Lord's distinctive organ playing during Deep Purple's hard rock period was essential to the band's signature heavy sound and contributed to the early development of heavy metal. He and drummer Ian Paice were the only continuous presence in the band between 1968 and 1976, and also from when it was re-established, in 1984, until Lord's retirement in 2002. On 11 November 2010, he was inducted as an Honorary Fellow of Stevenson College in Edinburgh, Scotland. On 15 July 2011, he was awarded an honorary Doctor of Music degree at De Montfort Hall by the University of Leicester. Lord was posthumously inducted into the Rock and Roll Hall of Fame on 8 April 2016 as a member of Deep Purple.


title: Jon Lord

text: Lord was born in Leicester on 9 June 1941 to Miriam (1909–1995; née Hudson) and Reginald Lord, growing up at 120 Averil Road and retaining a strong bond with the city throughout his life. His father was an amateur saxophonist and encouraged Lord from an early age. He studied classical piano from the age of five, with a local teacher, Frederick Allt, and this focus on a classical grounding to his material was a recurring trademark in his work, both in composition, arranging and his instrumental solos on piano, organ and electronic keyboards. In particular his influences ranged from Johann Sebastian Bach (a constant reference in his music and in his keyboard improvisation) to Medieval popular music and the English tradition of Edward Elgar. He attended Wyggeston Grammar School for Boys between 1952 and 1958 where he gained O Level passes in French, music and mathematics, participated in amateur dramatics and the school choir alongside his organ and piano studies and then worked as a clerk in a solicitor's office for two years.


title: Jon Lord

text: Lord absorbed the blues sounds that played a key part in his rock career, principally the raw sounds of the great American jazz and blues organists, such as Wild Bill Davis, Jimmy Smith, Jimmy McGriff and "Brother" Jack McDuff ("Rock Candy"), as well as the stage showmanship of Jerry Lee Lewis and performers like Buddy Holly, whom he saw perform at the De Montfort Hall in Leicester in March 1958. The jazz-blues organ style of black R&B organ players in the 1950s and 1960s, using the trademark blues-organ sound of the Hammond organ (B3 and C3 models) and combining it with the Leslie speaker system (the well-known Hammond-Leslie speaker combination), were seminal influences on Lord. Lord also stated that he was heavily influenced by the organ-based progressive rock played by Vanilla Fudge after seeing that band perform in Great Britain in 1967, and earlier by the personal direction he received from British organ pioneer Graham Bond.


title: Jon Lord

text: Lord moved to London in 1959–60, intent on an acting career and enrolling at the Central School of Speech and Drama, in London's Swiss Cottage. Following a celebrated student rebellion he became a founder of Drama Centre London, from where he graduated in 1964. Small acting parts followed, including in the British TV series, Emergency - Ward 10 and Lord continued playing the piano and the organ in nightclubs and as a session musician to earn a living. He started his band career in London in 1960 with the jazz ensemble The Bill Ashton Combo. Ashton became a key figure in jazz education in Britain, creating what later became the National Youth Jazz Orchestra. Between 1960 and 1963, Lord and Ashton both moved on to Red Bludd's Bluesicians (also known as The Don Wilson Quartet), the latter of which featured the singer Arthur "Art" Wood, brother of guitarist Ronnie Wood. Wood had previously sung with Alexis Korner's Blues Incorporated and was a junior figure in the British blues movement. In this period, Lord altered the spelling of his name from his birth name "John" to "Jon" and his session credits included playing the keyboards in "You Really Got Me", The Kinks number one hit of 1964 however in a "Guitar World" interview Ray Davies of The Kinks stated it was actually Arthur Greenslade playing piano on that particular track.


title: Jon Lord

text: Following the break-up of Redd Bludd's Bluesicians in late 1963, Wood, Lord, and the drummer Red Dunnage put together a new band, The Art Wood Combo. This also included Derek Griffiths (guitar) and Malcolm Pool (bass guitar). Dunnage left in December 1964 to be replaced by Keef Hartley, who had previously replaced Ringo Starr in Rory Storm and the Hurricanes. This band, later known as "The Artwoods", focused on the organ as the bluesy, rhythmic core of their sound, in common with the contemporary bands The Spencer Davis Group (Steve Winwood on organ) and The Animals (with Alan Price). They made appearances on the BBC's "Saturday Club" radio show and on such TV programs as "Ready Steady Go!". It also performed abroad, and it appeared on the first "Ready Steady Goes Live", promoting its first single the Lead Belly song "Sweet Mary" — but significant commercial success eluded it. Its only charting single was "I Take What I Want", which reached number 28 on 8 May 1966.


title: Jon Lord

text: This band regrouped in 1967 as the "St. Valentine's Day Massacre". This was an attempt to cash in on the 1930s gangster craze set off by the American film "Bonnie and Clyde". Hartley left the band in 1967 to join John Mayall & the Bluesbreakers. Lord next founded the blues-influenced Santa Barbara Machine Head, featuring Art's brother, Ronnie Wood, writing and recording three powerful keyboard-driven instrumental tracks, giving a preview of the future style of Deep Purple. Soon thereafter, Lord went on to cover for the keyboard player Billy Day in The Flower Pot Men, where he met the bass guitarist Nick Simper along with drummer Carlo Little and guitarist Ged Peck. Lord and Simper then toured with this band in 1967 to promote its hit single "Let's Go to San Francisco", but the two men never recorded with this band.


title: Jon Lord

text: In early 1967, through his roommate Chris Curtis of the Searchers, Lord met businessman Tony Edwards who was looking to invest in the music business alongside partners Ron Hire and John Coletta (HEC Enterprises). Session guitarist Ritchie Blackmore was called in and he met Lord for the first time, but Chris Curtis's erratic behaviour led the trio nowhere. Edwards was impressed enough by Jon Lord to ask him to form a band after Curtis faded out. Said Edwards, "I couldn't really cope with [Curtis] but I had a great rapport with Jon Lord; here was somebody sensible, somebody I could communicate with on my level." Simper was contacted, and Blackmore was recalled from Hamburg. Although top British player Bobbie Clarke was the first choice as drummer, during the auditions for a singer, Rod Evans of "The Maze" came in with his own drummer, Ian Paice. Blackmore, who had been impressed by Paice's drumming when he met him in 1967, set up an audition for Paice as well. The band was called the "Roundabout" at first and began rehearsals at Deeves Hall in Hertfordshire. By March 1968, this became the "Mark 1" line-up of "Deep Purple": Lord, Simper, Blackmore, Paice, and Evans.


title: Jon Lord

text: Lord also did session work in the late 1960s with the band "Boz", along with Blackmore (guitar) and Paice (drums), given that Boz was being produced by Derek Lawrence who produced Deep Purple's first three albums. Boz was led by Boz Burrell (vocals/guitar, later bassist for King Crimson and Bad Company) and also included Chas Hodges (bass guitar).


title: Jon Lord

text: It was in these three years that Lord's trademark keyboard sound emerged. Ignoring the emergence of the Moog synthesizer, as pioneered in rock by such players as Keith Emerson, Lord began experimenting with a keyboard sound produced by driving the Hammond organ through Marshall amplifiers in an effort to match the attack and volume of Blackmore's guitar. Lord's version was heavier than a blues sound, and it often featured distortion and a far harder, industrial type sound that became the trademark Jon Lord organ sound. Both Emerson and Rick Wakeman publicly expressed admiration for Lord's mould-breaking work on the organ. This delivered a rhythmic foundation to complement Blackmore's speed and virtuosity on lead guitar. Lord also loved the sound of an RMI 368 Electra-Piano and Harpsichord, which he used on such songs as "Demon's Eye" and "Space Truckin'".


title: Jon Lord

text: In 1973 Lord's original Hammond C3 gave out and he bought another from Christine McVie of Fleetwood Mac. Also around this time, Lord and his keyboard technician, Mike Phillips, combined his Hammond C3 Organ with the RMI. Lord kept this particular Hammond C3 until his retirement from the band in 2002, when he passed it to successor Don Airey. That instrument was retired from stage use a few years later, as it had become "pretty knackered" according to Airey.


title: Jon Lord

text: By pushing the Hammond-Leslie sound through Marshall amplification, Lord created a growling, heavy, mechanical sound which allowed him to compete with Blackmore as a soloist, with an organ that sounded as prominent as the lead guitar. Said one reviewer, "many have tried to imitate [Lord's] style, and all failed." Said Lord himself, "There's a way of playing a Hammond [that's] different. A lot of people make the mistake of thinking that you can play a Hammond with a piano technique. Well, you can, but it "sounds" like you are playing a Hammond with a piano technique. Really, you have to learn how to play an organ. It's a legato technique; it's a technique to achieve legato on a non-legato instrument."


title: Jon Lord

text: In early Deep Purple recordings, Lord had appeared to be the leader of the band. Despite the cover songs "Hush" and "Kentucky Woman" becoming hits in North America, Deep Purple never made chart success in the UK until the "Concerto for Group and Orchestra" album dented the UK charts in early 1970. Lord's willingness later to play many of the key rhythm parts gave Blackmore the freedom to let loose both live and on record.


title: Jon Lord

text: On Deep Purple's second and third albums, Lord began indulging his ambition to fuse rock with classical music. An early example of this is the song "Anthem" from the album "The Book of Taliesyn" (1968), but a more prominent example is the song "April" from the band's self-titled third album (1969). The song is recorded in three parts: (1) Lord and Blackmore only, on keyboards and acoustic guitar, respectively; (2) an orchestral arrangement complete with strings; and (3) the full rock band with vocals. Lord's ambition enhanced his reputation among fellow musicians, but caused tension within the group. Simper later said, "The reason the music lacked direction was Jon Lord fucked everything up with his classical ideas." Blackmore agreed to go along with Lord's experimentation, provided he was given his head on the next band album.


title: Jon Lord

text: The resulting "Concerto For Group and Orchestra" was one of rock's earliest attempts to fuse two distinct musical idioms. Performed live at the Royal Albert Hall on 24 September 1969 (with new band members Ian Gillan and Roger Glover, Evans and Simper having been fired), it was recorded by the BBC and later released as an album in December 1969. The Concerto gave Deep Purple its first highly publicised taste of mainstream fame and gave Lord the confidence to believe that his experiment and his compositional skill had a future, as well as giving Lord the opportunity to work with established classical figures, such as conductor Sir Malcolm Arnold, who brought his skills to bear by helping Lord realise the work and to protect him from the inevitable disdain of the older members of the orchestra.


title: Jon Lord

text: Purple began work on "Deep Purple in Rock," released by their new label Harvest in 1970 and now recognised as one of hard rock's key early works. Lord and Blackmore competed to out-dazzle each other, often in classical-style, midsection 'call and answer' improvisation (on tracks like "Speed King" and "Bloodsucker"), something they employed to great effect live. Ian Gillan said that Lord provided the idea on the main organ riff for "Child in Time" although the riff was also based on It's a Beautiful Day's 1969 psychedelic hit song "Bombay Calling". Lord's experimental solo on "Hard Lovin' Man" (complete with police-siren interpolation) from this album was his personal favourite among his Deep Purple studio performances.


title: Jon Lord

text: Deep Purple released another six studio albums between 1971 ("Fireball") and 1975 ("Come Taste the Band"). Gillan and Glover left in 1973 and Blackmore in 1975, and the band disintegrated in 1976. The highlights of Lord's Purple work in the period include the 1972 album "Machine Head" (featuring his rhythmic underpinnings on "Smoke on the Water" and "Space Truckin'", plus the organ solos on "Highway Star", "Pictures of Home" and "Lazy"), the sonic bombast of the "Made in Japan" live album (1972), an extended, effect-laden solo on "Rat Bat Blue" from the "Who Do We Think We Are" album (1973), and his overall playing on the "Burn" album from 1974.


title: Jon Lord

text: Roger Glover would later describe Lord as a true "Zen-archer soloist", someone whose best keyboard improvisation often came at the first attempt. Lord's strict reliance on the Hammond C3 organ sound, as opposed to the synthesizer experimentation of his contemporaries, places him firmly in the jazz-blues category as a band musician and far from the progressive-rock sound of Keith Emerson and Rick Wakeman. Lord rarely ventured into the synthesizer territory on Purple albums, often limiting his experimentation to the use of the ring modulator with the Hammond, to give live performances on tracks like Space Truckin' a distinctive 'spacey' sound. Instances of his Deep Purple synthesizer use (he became an endorser of the ARP Odyssey) include "'A' 200", the final track from "Burn", and "Love Child" on the "Come Taste the Band" album.


title: Jon Lord

text: Lord continued to focus on his classical aspirations alongside his Deep Purple career. The BBC, buoyed by the success of the Concerto, commissioned him to write another piece and the resulting "Gemini Suite" was performed by Deep Purple and the Light Music Society under Malcolm Arnold at the Royal Festival Hall in September 1970, and then in Munich with the Kammerorchester conducted by Eberhard Schoener in January 1972. It then became the basis for Lord's first solo album, "Gemini Suite", released in November 1972, with vocals by Yvonne Elliman and Tony Ashton and with the London Symphony Orchestra backing a band that included Albert Lee on guitar.


title: Jon Lord

text: Lord's collaboration with the highly experimental and supportive Schoener resulted in a second live performance of the Suite in late 1973 and a new Lord album with Schoener, entitled "Windows", in 1974. It proved to be Lord's most experimental work and was released to mixed reactions. However, the dalliances with Bach on "Windows" and the pleasure of collaborating with Schoener resulted in perhaps Lord's most confident solo work and perhaps his strongest orchestral album, "Sarabande", recorded in Germany in September 1975 with the Philharmonia Hungarica conducted by Schoener. Composed of eight pieces (from the opening sweep of Fantasia to the Finale), at least five pieces form the typical construction of a baroque dance suite. The key pieces (Sarabande, Gigue, Bouree, Pavane and Caprice) feature rich orchestration complemented sometimes by the interpolation of rock themes, played by a session band comprising Pete York, Mark Nauseef and Andy Summers, with organ and synthesizers played by Lord.


title: Jon Lord

text: In March 1974, Lord and Paice had collaborated with friend Tony Ashton on "First of the Big Bands", credited to 'Tony Ashton & Jon Lord' and featuring a rich array of session talent, including Carmine Appice, Ian Paice, Peter Frampton and Pink Floyd saxophonist/sessioner, Dick Parry. They performed much of the set live at the London Palladium in September 1974.


title: Jon Lord

text: This formed the basis of Lord's first post-Deep Purple project Paice Ashton Lord, which lasted only a year and spawned a single album, "Malice in Wonderland" in 1977, recorded at Musicland Studios at the Arabella Hotel in Munich. A second album was begun but subsequently abandoned. He created an informal group of friends and collaborators including Ashton, Paice, Bernie Marsden, Boz Burrell and later, Bad Company's Mick Ralphs, Simon Kirke and others. Over the same period, Lord guested on albums by Maggie Bell, Nazareth and even folk artist Richard Digance. He also guested as one of several keyboard players on the live performance of David Bedford's The Odyssey at the Royal Albert Hall in 1977. Eager to pay off a huge tax bill upon his return the UK in the late-1970s (Purple's excesses included their own tour jet and a home Lord rented in Malibu from actress Ann-Margret and where he wrote the Sarabande album), Lord joined former Deep Purple band member David Coverdale's new band, Whitesnake in August 1978 (Ian Paice joined them in 1980 and stayed until 1982).


title: Jon Lord

text: Lord's job in Whitesnake was largely limited to adding colour (or, in his own words, a 'halo') to round out a blues-rock sound that already accommodated two lead guitarists, Bernie Marsden and Micky Moody. He added a Yamaha CP-70 electric piano to his set-up and finally a huge bank of synthesizers onstage courtesy of Moog (Minimoog, Opus, Polymoog) so he could play the 12-bar blues the band often required and recreate string section and other effects. Such varied work is evident on tracks like "Here I Go Again", "Wine, Women and Song", "She's a Woman" and "Till the Day I Die". A number of singles entered the UK chart, taking the now 30-something Lord onto "Top of the Pops" with regularity between 1980 and 1983. He later expressed frustration that he was a poorly paid hired-hand, but fans saw little of this discord and Whitesnake's commercial success kept him at the forefront of readers' polls as heavy rock's foremost keyboard maestro. His dissatisfaction (and Coverdale's eagerness to revamp the band's line-up and lower the average age to help crack the US market) smoothed the way for the reformation of Deep Purple Mk II in 1984.


title: Jon Lord

text: Jon Lord's last Whitesnake concert took place in the Swedish TV programme "Måndagsbörsen" on 16 April 1984.


title: Jon Lord

text: During his tenure in Whitesnake, Lord had the opportunity to record two distinctly different solo albums. 1982s "Before I Forget" featured a largely conventional eight-song line-up, no orchestra and with the bulk of the songs being either mainstream rock tracks ("Hollywood Rock And Roll", "Chance on a Feeling"), or – specifically on side two – a series of very English classical piano ballads sung by the mother and daughter duo Vicki Brown and Sam Brown (wife and daughter of entertainer Joe Brown) and vocalist Elmer Gantry as well as piano and synthesiser instrumentals such as Burntwood, named after Lord's stately Oxfordshire home at the time. The album also boasted the cream of British rock talent, including the session drummer (and National Youth Jazz Orchestra alumnus) Simon Phillips, Cozy Powell, Neil Murray, Simon Kirke, Boz Burrell and Mick Ralphs.


title: Jon Lord

text: Additionally, Lord was commissioned by producer Patrick Gamble for Central Television to write the soundtrack for their 1984 TV series, "Country Diary of an Edwardian Lady", based on the book by Edith Holden, with an orchestra conducted by Alfred Ralston and with a distinctly gentle, pastoral series of themes composed by Lord. Lord became firmly established as a member of UK rock's "Oxfordshire mansion aristocracy" – with a home, Burntwood Hall, set in at Goring-on-Thames, complete with its own cricket pitch and a hand-painted Challen baby grand piano, previously owned by Shirley Bassey. He was asked to guest on albums by friends George Harrison ("Gone Troppo" from 1982) and Pink Floyd's David Gilmour (1984's "About Face"), Cozy Powell ("Octopuss" in 1983) and to play on an adaptation of Kenneth Grahame's classic, "Wind in the Willows". He composed and produced the score for "White Fire" (1984), which consisted largely of two songs performed by Limelight. In 1985 he made a brief appearance as a member of The Singing Rebel's band (which also featured Eric Clapton, George Harrison and Ringo Starr) in the Dick Clement and Ian La Frenais-scripted film "Water" (1985) (Handmade Films).


title: Jon Lord

text: In the 1980s he was also a member of an all-star band called Olympic Rock & Blues Circus fronted by Pete York and featuring a rotating line-up of the likes of Miller Anderson, Tony Ashton, Brian Auger, Zoot Money, Colin Hodgkinson, Chris Farlowe and many others. Olympic Rock & Blues Circus toured primarily in Germany between 1981 and 1989. Some musicians, including Lord, took part in York's TV musical extravaganza "Superdrumming" between 1987 and 1989.


title: Jon Lord

text: Lord's re-emergence with Deep Purple in 1984 resulted in huge audiences for the reformed Mk II line-up, including 1985's second largest grossing tour in the US and an appearance in front of 80,000 rain-soaked fans headlining Knebworth on 22 June 1985, all to support the "Perfect Strangers" album. Playing with a rejuvenated Mk. II Purple line-up (including spells at a health farm to get the band including Lord into shape) and being onstage and in the studio with Blackmore, gave Lord the chance to push himself once again. His 'rubato' classical opening sequence to the album's opener, "Knocking at Your Back Door" (complete with F-Minor to G polychordal harmony sequence), gave Lord the chance to do his most powerful work for years, including the song "Perfect Strangers". Further Deep Purple albums followed, often of varying quality, and by the late-1990s, Lord was clearly keen to explore new avenues for his musical career.


title: Jon Lord

text: In 1997, he created perhaps his most personal work to date, "Pictured Within", released in 1998 with a European tour to support it. Lord's mother Miriam had died in August 1995 and the album is inflected at all stages by Lord's sense of grief. Recorded largely in Lord's home-away-from-home, the city of Cologne, the album's themes are Elgarian and alpine in equal measure. Lord signed to Virgin Classics to release it, and perhaps saw it as the first stage in his eventual departure from Purple to embark on a low-key and altogether more gentle solo career. One song from "Pictured Within", entitled "Wait A While" was later covered by Norwegian singer Sissel Kyrkjebø on her 2003/2004 album "My Heart".