title: The Color of Pomegranates

text: In 2014 the film was digitally restored and re-edited to be as close as possible to the director's original vision and world premiered at the 67th Cannes Film Festival. The US premiere took place on 20 September 2014 at The Academy at Los Angeles County Museum of Art (LACMA) and was introduced by Martiros Vartanov. The East Coast premiere took place at the 52nd New York Film Festival on 2 October 2014, and was introduced by Scorsese. The restoration was completed by Martin Scorsese's Film Foundation in conjunction with Cineteca di Bologna, and was, described by critic and Toronto festival programmer James Quandt as "a cinematic Holy Grail". Martin Scorsese received the 2014 Parajanov-Vartanov Institute Award for the restoration of "The Color of Pomegranates".


title: The Color of Pomegranates

text: A Blu-ray of the restoration was released in the UK on 19 February 2018, and an American release by Criterion with Mikhail Vartanov's 1969 documentary "The Color of Armenian Land" on 17 April 2018.


title: The Color of Pomegranates

text: Madonna's 1995 music video "Bedtime Story" restages some content from the movie (such as the scene of a young child lying in a fetal position on a pentagram on the floor while an adult covers it with a blanket, and another where a naked foot crushes a bunch of grapes lying on an inscribed tablet), among other artistic inspiration depicting dreams and surrealist artwork in the video.


title: The Color of Pomegranates

text: Without permission Nicolas Jaar released, in 2015, the album "Pomegranates", described as an "alternative soundtrack" for the movie. A screening of the film with a live performance of by Jaar was scheduled at Cinefamily in Los Angeles for February 22, 2017, but the performance was replaced with the original soundtrack due to objections from the Parajanov-Vartanov Institute and The Film Foundation that the live performance would not present the film as Parajanov intended it.


title: Northern Trains

text: Northern Trains, branded as Northern, (legally Northern Trains Limited) is a publicly owned train operating company in England. It is owned by DfT OLR Holdings for the Department for Transport (DfT), after the previous operator Arriva Rail North had its franchise terminated at the end of February 2020.


title: Northern Trains

text: Northern Trains commenced operating the Northern franchise on 1 March 2020, taking over from Arriva Rail North. The prior operator had its franchise terminated early by the DfT in January 2020 amid widespread dissatisfaction over its performance, particularly in respect to poorly-implemented timetable changes. The DfT had opted to hand the operation of the franchise over to the operator of last resort. At the commencement of operations, Northern Trains publicly stated that its immediate aims were to improve service reliability and to proceed with the introduction of new rolling stock. For the latter, both the Class 195 diesel multiple units and Class 331 electric multiple units were brought into service fully during December 2020.


title: Northern Trains

text: Services have been disrupted by wider events, particularly the COVID-19 pandemic. Northern Trains is also being impacted by the 2022 United Kingdom railway strike, the largest national rail strike in the UK in three decades.


title: Northern Trains

text: In December 2015, the Department for Transport (DfT) awarded Arriva a contract to operate the Northern franchise as Arriva Rail North. It commenced in April 2016 and was originally scheduled to run until March 2025. Within two years, the franchise was being widely criticised, in particular for troubled implementation of a new timetable in May 2018 that resulted in widespread delays and cancellations. Later in 2018 performance continued to suffer, with many passengers protesting and a reduced service on Saturdays due to industrial action. By November 2018, Arriva were re-evaluating their future involvement in the franchise due to a combination of declining passenger numbers as a result of the chaotic May 2018 timetable change and increasing compensation claims as a result of falling punctuality.


title: Northern Trains

text: In June 2019, the DfT's operator of last resort, DfT OLR Holdings, conducted due diligence into the franchise believing the both operational and financial performance to be "unsustainable". In October 2019, the Secretary of State for Transport, Grant Shapps, issued a request for proposals to incumbent operator Arriva and the operator of last resort, which would result in termination of the franchise with either Arriva to be awarded a short-term management contract or the operator of last resort to take over. In January 2020, Shapps publicly criticised Arriva's operation of the Northern franchise and suggested that the Government may step in to revoke its franchise agreement, bluntly referring to the service as "completely unacceptable".


title: Northern Trains

text: On 29 January 2020, the DfT announced its decision to terminate Arriva Northern's franchise and that the operator of last resort would take over. This was the first time that a franchise has been removed from a train operating company due to poor performance since Connex South Eastern in 2003. On 1 March 2020, the franchise became directly operated by DfT OLR Holdings for the DfT, adopting the brand name 'Northern Trains", with the stated objective to "stabilise performance and restore reliability for passengers".


title: Northern Trains

text: By mid-2020, Northern Trains had considerably curtailed its services in response to the significant decline of passenger travel amid the COVID-19 pandemic. From 15 June 2020, both passengers and staff on public transport in England, including Northern Trains services, were required to wear face coverings while travelling, and that anyone failing to do so would be liable to be refused travel or fined.


title: Northern Trains

text: Northern Trains is one of several train operators impacted by the 2022 United Kingdom railway strike, which was the first national rail strike in the UK for three decades. Its workers are amongst those who voted to take industrial action due a dispute over pay and working conditions. Northern Trains urged the travelling public to avoid travelling on its services on any of the planned dates for the strikes, being only capable of operating a very minimalist timetable due to the number of staff involved.


title: Northern Trains

text: Below is a simplified list of frequent off-peak services, per December 2022 timetables. Due to the extensive nature of the network, it has been split by region, then majority rail line.


title: Northern Trains

text: Twice weekly on Saturday mornings, once in each direction, Northern operates a parliamentary train on the Stockport–Stalybridge line between and calling at , , and . From 1992 until 2018, this service ran once weekly.


title: Northern Trains

text: Multiple campaigns were conducted to request increase in services to the line, but in 2022, Transport for Greater Manchester published two surveys in relation to the line.


title: Northern Trains

text: Since 1993, three trains from every Saturday extend beyond and terminate at , and vice versa. The service was suspended between January and October 2022 due to concerns related to the COVID-19 pandemic.


title: Northern Trains

text: Northern Trains took over all of the rolling stock operated by its predecessor, namely Class 142, 144, 150, 153, 155, 156, 158, 170 and 195 diesel multiple units and Class 319, 321, 322, 323, 331 and 333 electric multiple units. All Class 321 and 322s were withdrawn in mid-2020 and moved to Greater Anglia. All Class 153s were sent to storage by December 2021.


title: Northern Trains

text: 17 Class 323s are to be transferred from West Midlands Trains. This will result in the withdrawal of all Class 319 units. 15 Class 156s are to transfer from East Midlands Railway, which includes the 9 Class 156/9s formerly used by Greater Anglia, although they will be renumbered back to 156/4s before they are transferred. For the December timetable change in 2022, five more Class 156 units were transferred. The transferral of these units is already underway, with more to follow.


title: Northern Trains

text: Northern Trains currently has depots for its train crew at Barrow-in-Furness, Blackburn, Blackpool North, Buxton, Carlisle, Darlington (drivers), Doncaster, Harrogate, Huddersfield, Hull, Liverpool Lime Street, Leeds, Manchester Piccadilly, Manchester Victoria, Middlesbrough (conductors), Newcastle, Sheffield, Skipton, Wigan Wallgate, Workington and York.


title: Jack Eichel

text: John Robert Eichel (born October 28, 1996) is an American professional ice hockey center for the Vegas Golden Knights of the National Hockey League (NHL). Eichel was selected second overall in the 2015 NHL Entry Draft by the Buffalo Sabres. Before entering the league, Eichel was described at the age of 17 as "the new face of American hockey," and he was considered a member of a rising class of generational talents in the sport.


title: Jack Eichel

text: Eichel was the recipient of the 2015 Hobey Baker Award, given to the top National Collegiate Athletic Association men's ice hockey player. He was the second freshman to win the award, the other being Paul Kariya in 1993.


title: Jack Eichel

text: Eichel was born in Lowell, Massachusetts and grew up in North Chelmsford, Massachusetts. He played for the USA Hockey National Team Development Program team during the 2012–13 and 2013–14 seasons, and was recognized for his outstanding play during the 2013–14 season when he was named to the United States Hockey League Second All-Star Team. After his second season within the Development Program, Eichel signed a letter of intent to commit to Boston University of the Hockey East on April 29, 2014.


title: Jack Eichel

text: On April 10, 2015, Eichel became the second freshman to win the Hobey Baker Award, which was previously won by Paul Kariya in 1993. In 40 games with Boston University, Eichel led the nation in scoring with 26 goals, 45 assists, and 71 points. Eichel was also the Hockey East scoring champion, Player of the Year, Rookie of the Year, First Team Hockey East and a member of the All-Rookie Team, and was named MVP of the conference tournament. Eichel was projected to be the second overall selection in the 2015 NHL Entry Draft behind projected first overall pick Connor McDavid.


title: Jack Eichel

text: On June 26, 2015, Eichel was selected second overall by the Buffalo Sabres in the 2015 NHL Entry Draft, one pick after the Edmonton Oilers selected Connor McDavid. In the months leading up to the draft, considerable interest and hype arose surrounding Eichel and McDavid, both seen as generational talents. For example, the sports section of the "Buffalo News" regularly published the "McEichel Derby," a graphic of the teams at the bottom of the standings. On July 1, 2015, Eichel signed a three-year entry-level contract with the Sabres.


title: Jack Eichel

text: On August 13, 2015, Eichel signed a sponsorship deal with Bauer Hockey, which states Eichel will wear its equipment exclusively and Bauer will provide him with its apparel.


title: Jack Eichel

text: Eichel scored his first NHL goal on October 8, 2015, becoming the youngest player in Sabres history to do so, in his first game in the NHL against the Ottawa Senators. He finished his rookie campaign with 24 goals and 56 points in 81 games, being the Sabres' top goalscorer and second in points (after Ryan O'Reilly) and second in both criteria among rookies, after Artemi Panarin. On October 12, 2016, Eichel suffered a severe high ankle sprain to his left ankle in practice and had to be helped off of the ice; he missed the first two months of the season before making his season debut on November 29. He finished the year with 24 goals and 33 assists in just 61 games.


title: Jack Eichel

text: Before the 2017–18 season, on October 3, 2017, the Sabres signed Eichel to an eight-year, $80 million contract extension worth $10 million annually which began at the start of the 2018–19 season. On December 15, 2017, Eichel scored his first career hat trick against the Carolina Hurricanes in a 5–4 loss. On January 11, 2018, Eichel was selected as the sole representative of the Sabres for the 2018 NHL All-Star game. This was the first NHL All-Star game of Eichel's career. During a game in February against the Boston Bruins, Eichel sprained his ankle and was ruled out for 4–6 weeks. He returned 15 games later to help the Sabres beat the Chicago Blackhawks for the first time since 2009. Eichel finished the 2017–18 season with 25 goals and 39 assists for a total of 64 points in only 67 games.


title: Jack Eichel

text: During the summer before the 2018–19 season, Eichel changed his jersey number from 15 to 9, the same number he wore at Boston University. On October 3, 2018, before the beginning of the regular season, Eichel was named the captain of the Sabres. On March 10, 2019, Eichel was suspended for two games for illegally checking Colorado Avalanche player Carl Söderberg in the head. On March 28, 2019, Eichel scored his 100th career goal in a 5–4 overtime loss to the Detroit Red Wings.


title: Jack Eichel

text: On November 16, 2019, Eichel scored four goals in a 4–2 win over the Ottawa Senators. He was the seventh Sabres player to record four goals in one game and first since Thomas Vanek did it on April 10, 2010. On December 7, Eichel recorded two assists to reach 300 career points in a 6–5 overtime loss to the Vancouver Canucks. On January 2, 2020, Eichel became the first player in Sabres history to score a penalty shot goal in overtime, and also set a franchise record for goals scored in overtime, as the Sabres won 3–2 against the Edmonton Oilers. On February 1, Eichel scored the eighth overtime goal of his career in a 2–1 win over the Columbus Blue Jackets, improving the previous franchise record for most regular-season overtime goals.


title: Jack Eichel

text: On April 14, 2021, it was announced that Eichel would miss the remainder of the 2020–21 season to recover from surgery to repair a spinal disc herniation. In May, Eichel, along with Sam Reinhart, expressed their frustration with the Sabres. He stated, "I have a lot of thinking to do in this offseason... there's a lot I have to consider."


title: Jack Eichel

text: Eichel's relationship with the Sabres failed to improve, and on September 23, 2021, Eichel was stripped of the team captaincy as a result of failing his physical and being placed on long-term injured reserve.


title: Jack Eichel

text: On November 4, 2021, Eichel was traded, along with a third-round draft pick, to the Vegas Golden Knights in exchange for Alex Tuch, Peyton Krebs, and first-round and second-round draft picks. His new team allowed Eichel to undergo his preferred surgery, and following recovery he began training with the team. He made his debut with the Golden Knights on February 16, 2022, a 2–0 loss to the Colorado Avalanche. This was Eichel's first NHL game in almost a year, and he remarked that "I was having a pretty fun time out there," adding that he expected returning to competition would be a process. He scored his first goal with the Golden Knights on February 20, a 4–1 victory over the San Jose Sharks, notching an assist as well in the game. On March 10, he made his first appearance with the Golden Knights in Buffalo, where he was greeted with consistent booing from the crowd, notably when Tuch, who had been part of the trade, stripped the puck from him and scored to complete the Sabres' 3–1 victory. Eichel remarked, "This is about the loudest I've heard this place ever. Really. After it took seven years, and me leaving for them to get into the game." Eichel would ultimately finish the season with twelve goals and ten assists in 33 games, generally deemed a successful return, but the Golden Knights struggled with injuries to numerous core players and ultimately missed the playoffs for the first time in franchise history. This turn of events would also be greeted with jeers among many Sabres fans.


title: Jack Eichel

text: The 2022–23 season would begin on a much better note for the Golden Knights, with new coach Bruce Cassidy's arrival shifting the team's playing style and calling on Eichel to assume heavy responsibilities in the defensive zone. In the first 23 games of the season, Eichel registered 26 points, a career-high pace, while the Knights took a clear lead in the Pacific Division. His second return to Buffalo would be a much greater success than the first, scoring a hat trick and also managing an assist while leading the Golden Knights to a 7–4 victory.


title: Jack Eichel

text: As a 15-year-old Eichel represented the United States at the 2012 Winter Youth Olympics. He won a bronze medal with Team USA at the 2013 World U-17 Hockey Challenge and a silver medal at the 2013 IIHF World U18 Championships. The following season he helped the USA squad capture the gold medal at the 2014 IIHF World U18 Championships, and he competed as a 17-year-old as Team USA's youngest player at the 2014 World Junior Ice Hockey Championships. Eichel represented Team USA in the 2015 World Junior Ice Hockey Championship.


title: Jack Eichel

text: At the conclusion of his freshman season with the Terriers, Eichel was named to make his full international debut with Team USA at the 2015 World Championships. Eichel scored 2 goals, including a game winner in the group stage against Slovakia, and 5 assists during the tournament, where Team USA won bronze. Eichel was selected to the 2017 Team USA IIHF World Championship roster. Team USA was eliminated in the quarter finals and placed fifth overall. Eichel recorded zero goals and five assists in eight games at the championship.


title: Jack Eichel

text: On April 19, 2019, Eichel was selected to represent Team USA at the 2019 IIHF World Championship, held in Bratislava and Kosice, Slovakia.


title: From Elvis in Memphis

text: From Elvis in Memphis is the tenth studio album by American rock and roll singer Elvis Presley. It was released by RCA Records on June 17, 1969. It was recorded at American Sound Studio in Memphis in January and February 1969 under the direction of producer Chips Moman and backed by its house band, informally known as "The Memphis Boys". Following the success of Presley's TV special "Elvis" and its soundtrack, the album marked Presley's return to non-soundtrack albums after the completion of his film contract with Paramount Pictures.


title: From Elvis in Memphis

text: Presley's entourage convinced him to leave the RCA studios and record this album at American Sound, a Memphis studio at the peak of a hit-producing streak. The reason for going to Moman's studio was for the soul sound of the house band, The Memphis Boys. The predominance of country songs among those recorded in these sessions gave them the feel of the ""country" soul" style. This impression was emphasized by the frequent use of the dobro in the arrangements. The Memphis Boys had a solidly southern soul sound.


title: From Elvis in Memphis

text: "From Elvis in Memphis" was released in June 1969 to favorable reviews. The album peaked at number 13 on the "Billboard" 200, number two on the country charts and number one in the United Kingdom, and its single "In the Ghetto" reached number three on the "Billboard" Hot 100. The album was certified gold by the Recording Industry Association of America in 1970. In later years, it garnered further favorable reviews, while it was ranked number 190 on "Rolling Stone" magazine's 2003 list of the 500 greatest albums of all time.


title: From Elvis in Memphis

text: After Presley's 1960 return from military service, his manager, Colonel Tom Parker, shifted the focus of the singer's career from live music and albums to films and soundtracks. In March 1961, he performed what would become his last live concert for the next eight years: a benefit for the construction of the USS "Arizona" Memorial at Boch Arena in Pearl Harbor, Hawaii. During the first half of the 1960s, three of Presley's soundtrack albums reached number one on the pop charts and a number of his most popular songs were from his films, including 1961's "Can't Help Falling in Love" and 1962's "Return to Sender".


title: From Elvis in Memphis

text: After 1964, Parker decided that Presley should only record soundtrack albums. He viewed the films and soundtracks as complementary, with each helping to promote the other. As it turned out, the commercial success of Presley's films and soundtracks steadily diminished ("Paradise, Hawaiian Style"; "Easy Come, Easy Go"; "Speedway"), while he was increasingly disappointed with the quality of his work. From 1964 to 1968, Presley had just one top-ten hit: "Crying in the Chapel" (1965), a gospel number recorded in 1960. Only one LP of new material by Presley was issued: the gospel album "How Great Thou Art" (1967), which won him his first Grammy Award in the Best Sacred Performance category.


title: From Elvis in Memphis

text: In 1968, Colonel Parker arranged a deal with NBC for a Christmas television special starring Presley in front of a live audience. Parker originally planned to have Presley sing Christmas carols only, but producer Steve Binder convinced the singer to perform songs from his original repertoire. The high ratings received by the special and the success of its attendant LP re-established Presley's popularity. During the making of the special, Presley said to Binder: "I'll never sing another song that I don't believe in, I'm never going to make another movie that I don't believe in." As part of his decision to refocus on music rather than film, Presley decided to record a new album.


title: From Elvis in Memphis

text: Presley left his usual musicians and studios (Radio Recorders in Hollywood, California and RCA Studio B in Nashville, Tennessee), recording new material in Memphis. After the special he approached Scotty Moore and D. J. Fontana, who had played with Presley during his early hit-making career, and who rejoined him on the television show. Presley asked Moore about using Music City Recorders in Nashville, but that suggestion never came to fruition.


title: From Elvis in Memphis

text: During a January 1969 meeting at Graceland, Presley told his usual producer, Felton Jarvis, that he did not want to record his next album at RCA Studios. Two of Presley's friends, DJ George Klein and Marty Lacker, suggested that he use American Sound Studio, an up-and-coming studio with which Lacker was involved. RCA contacted the studio's producer Chips Moman. Willing to work with Presley, Moman postponed a session with Neil Diamond after being asked to produce the sessions with Felton Jarvis as second producer. It was agreed that Presley's recordings would take ten days and cost $25,000. He would be backed by the studio's house band, the 827 Thomas Street Band (informally known as "The Memphis Boys"), which consisted of Reggie Young on guitar, Tommy Cogbill and Mike Leech on bass, Gene Chrisman on drums, Bobby Wood on piano, and Bobby Emmons on organ.


title: From Elvis in Memphis

text: Although RCA Records oversaw their company policy to record only in their own studios, the label sent their personnel out to American Sound. Recording began on January 13, 1969, when Presley arrived at the studio nursing a cold. In addition to his personal entourage, he was accompanied by Hill & Range publisher Freddy Bienstock, Colonel Parker's assistant Tom Diskin, producer Felton Jarvis, executive Harry Jenkins and engineer Al Pachucki, representing RCA Records. With Pachucki on the board, American Sound engineer Ed Kollis joined the musicians on harmonica. The session, which produced recordings of "Long Black Limousine", "Wearin' That Loved On Look" and several non-album songs, continued until 5:00 am. After the first day's recording, Moman and his colleagues expressed discomfort with the size of Presley's entourage, and the singer was accompanied by fewer people for the remaining sessions.


title: From Elvis in Memphis

text: The next day Presley recorded "I'm Moving On" and "Gentle on My Mind", leaving the studio while working on the latter to rest his throat. The following night, he did not appear, as his cold worsened, and on January 15 and 16 the house band recorded backing tracks for subsequent sessions. Presley returned on January 20, recording "In the Ghetto" in 23 takes and finishing the vocal track for "Gentle on My Mind". On January 22, he recorded Eddy Arnold's "I'll Hold You in My Heart (Till I Can Hold You in My Arms)" and the non-album single "Suspicious Minds". Presley then took a break from recording for a vacation trip to Aspen, Colorado to celebrate his daughter Lisa Marie's first birthday.


title: From Elvis in Memphis

text: During Presley's absence, Moman was approached by Bienstock, who was concerned about possible future disputes concerning the songs' publication. Moman and Presley decided not to record Hill & Range compositions, instead using songs by American Sound writers. Bienstock, particularly interested in the non-album "Suspicious Minds" and "Mama Liked the Roses", warned that Moman would have to surrender the publishing rights to release the songs. In response, Moman told Bienstock to take all the recordings and leave the studio. RCA vice-president Harry Jenkins interceded, siding with Moman and ordering Bienstock to stay away from the studio and let Presley work with the staff. Meanwhile, Diskin informed Presley about the publishing issues. Presley supported Moman, assuring Diskin that he and the producer would handle the session work. Diskin contacted Parker, who told him to return to California. Moman retained the publishing rights, and the sessions were scheduled to resume several weeks later.


title: From Elvis in Memphis

text: Presley returned on February 17, recording "True Love Travels on a Gravel Road" and "Power of My Love", and Eddy Arnold's "After Loving You" and "Do You Know Who I Am?" the following day. On February 19, he devoted most of the session to the non-album single "Kentucky Rain", one of the few Hill & Range songs used on the American Sound recordings. Presley followed with a recording of "Only the Strong Survive", a hit for Jerry Butler the previous year, which took twenty-nine takes. On February 20, he recorded Johnny Tillotson's "It Keeps Right on a Hurtin'" in three takes and "Any Day Now" in six. Presley's final session was on February 22, when he recorded vocal overdubs for "True Love Travels on a Gravel Road" and "Power of My Love" and vocals for several non-album cuts. The following month, Mike Leech and Glenn Spreen began work on the string and horn overdubs to finish the album; several brass overdubs were recorded by The Memphis Horns.


title: From Elvis in Memphis

text: Moman moved away from the usual Presley pop recordings aimed at an established audience. A developer of the Stax Records sound, he incorporated a Memphis sound integrating soul, country, gospel and rural and electric blues. Many arrangements lean heavily on the rhythm section, with lesser contributions from strings, brass and woodwinds. Arrangers Glenn Spreen and Mike Leech changed Presley's image on the tracks with the addition of violas, cellos and French horns. The arrangers intended to blend the tracks for a distinctive sound; the strings are used in counterpoint, rising when the track fades and vice versa. The violas play the same lines as the French horns, with cello used for darker tones. Syncopation was incorporated by bowing.


title: From Elvis in Memphis

text: The twelve tracks on the album were selected from thirty-four which were recorded in the American Sound sessions. The first song, "Wearin' That Loved On Look" features an electric-bass lead for the first time in a Presley recording. The second is "Only the Strong Survive", with Presley backed by bass and drums. He plays piano on the third track, the country song "I Hold You in My Heart ('Till I Can Hold You in My Arms)". Presley's voice is roughened by a cold on the fourth song, the country-rhythm-and-blues "Long Black Limousine" featuring a trumpet solo. The fifth song, Johnny Tillotson's traditional country-western "It Keeps Right on A-Hurtin'", was arranged to sound more like Memphis soul. Side one ends with a version of Hank Snow's country-western "I'm Moving On" with a strong bass line and driving rhythm.


title: From Elvis in Memphis

text: Side two begins with Florence Kaye and Bernie Baum's "Power of My Love". The song has a blues-based sound, with Presley backed by a brass section, drums and electric guitar and organ. The lyrics include double entendres ("Crush it, kick it / You can never win / I know baby you can't lick it/ I'll make you give in)", with groans by backing female singers emphasizing sexuality. The second track, a cover of John Hartford's "Gentle on My Mind" follows. The string-laden arrangement was inspired by Glen Campbell's 1967 Grammy-winning version of the song. The next song, Eddy Arnold's 1962 hit "After Loving You", is arranged in a 12/8 tempo. Elvis plays guitar throughout the song including the intro. This is followed by Dallas Frazier's "True Love Travels on a Gravel Road" and Chuck Jackson's 1962 hit, "Any Day Now".


title: From Elvis in Memphis

text: The twelfth and final song of the album, selected as a single, is Mac Davis' "In The Ghetto". The song was chosen by Billy Strange, who had previously picked material for other Presley sessions. The protest song denounces the consequences of poverty, with compassion for inner-city youth. Because of "In the Ghetto"'s lyrics, controversial for its time, Presley originally did not plan to record the song because he thought it might alienate fans. After Moman said he might give the song to Rosey Grier, Presley's friends convinced the singer to record it.


title: From Elvis in Memphis

text: The album cover is a still from the "Trouble"-"Guitar Man" production number of NBC's "Elvis" special. Presley is featured with a red electric guitar, wearing a black leather suit with a red scarf around his neck, with silhouettes of guitar players at the back of the set. "From Elvis in Memphis" became one of American Sound Studio's best-known productions, with Dusty Springfield's "Dusty in Memphis"; both albums reflected similar times and musical trends on the Memphis scene.


title: From Elvis in Memphis

text: The single "In the Ghetto" was released on April 15, 1969, with 300,000 copies shipped by RCA. In its second week after release, it entered the charts, where it remained for thirteen weeks (reaching number three on June 14). The single sold a million copies in the United States. Meanwhile, it reached number two on the British Singles chart. However, its success triggered a confrontation between RCA and American Sound. During the sessions, Presley's usual producer, Jarvis, grew increasingly worried about losing control of Presley and his recordings. During its first two weeks on the chart, "In the Ghetto"'s production was credited to Jarvis. Lacker then called "Billboard" and had them correct the producer credit to Moman. During the fourth week, Parker asked "Billboard" to remove the production credit from the song's entry entirely (arguing that Presley's records did not traditionally list a producer credit).


title: From Elvis in Memphis

text: "From Elvis in Memphis" was released in June 1969. The album topped the UK Albums Chart, disposing for one week Jethro Tull's "Stand Up". In the United States, it reached number thirteen on "Billboard"s Top LP's, and was ranked number seventeen on the magazine's Top Country albums of 1969. By January 28, 1970, the album was certified gold by the Recording Industry Association of America after selling over 500,000 copies.


title: From Elvis in Memphis

text: On July 12, 1969, Presley was featured on the cover of "Rolling Stone", with the album receiving the lead review. Peter Guralnick, the magazine's reviewer, described it as "great ... Flatly and unequivocally the equal of anything (Presley) has ever done" and praised the "evident passion which (Presley) has invested in this music", adding: "(he) is trying, and trying very hard, to please us. He needs to have our attention ... It is his involvement after all which comes as the surprise." "Billboard" also published a positive review, saying that Presley had "never sounded better, and the choice of material is perfect". "High Fidelity" wrote, "Elvis has been through a number of stages, and his latest is the best".


title: From Elvis in Memphis

text: The "Los Angeles Times" delivered a mixed review: Critic Pete Johnson praised Presley's voice, which he considered it had gone back "down to grittiness". Meanwhile, Johnson critisized the music arrangements that he considered inconsistent with the original Sun Records style of Presley, or the contemporary Memphis Sound produced by Stax Records. He pointed that the rhythm section "rarely gets off the ground", called the use of the horns "scarse and generally insipid", the arrangements "Hollywoodish", and he attributed to "laziness" the production of the more scarcely backed tracks to Moman and arrangers Spreen and Leech. Johnson concluded the review by noting that Presley's voice "arrived in Memphis" but "no one else concerned with the LP did". For the Associated Press, the album presented "quality country" and Presley's voice featured "depth" and "feeling". "The Pittsburgh Press" felt that it was a "typical" Presley album that featured a "rock 'n' roll style" that later morphed into "love portions". "Detroit Free Press" considered that Presley's style appeared "brand new" in "From Elvis in Memphis" that featured lyrics that were "country hip" and a beat that was "1969 all the way".


title: From Elvis in Memphis

text: "From Elvis in Memphis" has continued to receive praise in retrospective reviews. In 2009 "Rolling Stone" described it as "extraordinary" and attributed the sessions' success to Presley's "newfound maturity and soulfulness" and Moman's "warm, distinctly Southern musical backing". AllMusic gives it five stars out of five, and highlights it as an "AllMusic album pick". Critic Bruce Eder said that together with 1956's "Elvis Presley", "From Elvis in Memphis" was Presley's "greatest album". Eder called it "one of the greatest white soul albums (and one of the greatest soul albums) ever cut", with Presley "rejuvenated artistically (while) he's supported by the best playing and backup singing of his entire recording history". Richie Unterberger of the same website cited the album as a return to rock music for Elvis and called it "reasonably gutsy late-'60s pop/rock".


title: From Elvis in Memphis

text: "PopMatters" has described "From Elvis in Memphis" as "some of the best music Elvis Presley ever made". Sputnik Music's reviewer considered that the album "rivaled" Presley's early recordings in "terms of historical importance and innovation", and was "downright essential, for any Elvis fan and for any music fan".


title: From Elvis in Memphis

text: Following the American Sound sessions, Presley returned to Hollywood. Between March–April 1969, he recorded the soundtrack and starred in his thirty-first and last motion picture as an actor, "Change of Habit".


title: From Elvis in Memphis

text: When the album was due for release, Parker arranged Presley's return to performing live. He made a deal with Kirk Kerkorian, owner of the Las Vegas International Hotel for Presley to play the newly built, 2,000-seat showroom for four weeks (two shows per night, with Mondays off) for $400,000. For his appearance, he assembled a band later known as the TCB Band: James Burton (guitar), John Wilkinson (rhythm guitar), Jerry Scheff (bass-guitar), Ronnie Tutt (drums), Larry Muhoberac (piano) and Charlie Hodge (rhythm guitar, background vocals). The band was complemented by the backing vocals of The Sweet inspirations and The Imperials. His initial Las Vegas show attracted an audience of 101,500, setting a new Vegas performance record. By 1970, Presley began to tour the United States for the first time in thirteen years.


title: From Elvis in Memphis

text: "Don't Cry Daddy" reached No. 6 on the Billboard Hot 100. "Kentucky Rain" was a minor hit in 1970, but "Suspicious Minds" became one of Presley's signature songs and was the final chart-topper of his career.


title: From Elvis in Memphis

text: In 2003, the album was number 190 on "Rolling Stone"s list of the 500 greatest albums of all time, maintaining the rating in a 2012 revised list, then dropping to number 322 in a 2020 revised list.


title: From Elvis in Memphis

text: In 2000 RCA released a remastered compact disc of "From Elvis in Memphis", including six bonus tracks (released as A- or B-sides) recorded during the album sessions. The reissue received five stars out of five from "Rolling Stone". In 2009, Sony Music Entertainment issued a Legacy RCA Edition of the album for its 40th anniversary: two discs ("From Elvis In Memphis" and the studio disk of "From Memphis To Vegas/From Vegas To Memphis"), four outtakes and ten tracks originally released as monaural singles (including "Suspicious Minds" and "Kentucky Rain"). In 2013 "From Elvis in Memphis" was reissued on the Follow That Dream label in a special two-disc edition that contained the original album tracks along with numerous alternate takes. The 1970 Quadraphonic eight-track release of the album has never been reissued.


title: Pat Harrington Jr.

text: Daniel Patrick Harrington Jr. (August 13, 1929 – January 6, 2016) was an American Emmy Award-winning stage and television actor, best known for his role as building superintendent Dwayne Schneider on the sitcom "One Day at a Time" (1975–1984). His father Pat Harrington Sr. was also an actor.


title: Pat Harrington Jr.

text: His father was a song and dance man who worked in vaudeville and performed on the Broadway stage. Harrington attended a Catholic military school, La Salle Military Academy in Oakdale, New York. then graduated from Fordham University in 1950 with a bachelor of arts and subsequently received a master's degree in political philosophy, also from Fordham. During the Korean War, Harrington served as an intelligence officer with the United States Air Force, where he achieved the rank of first lieutenant.


title: Pat Harrington Jr.

text: Following in his father's footsteps, he pursued a career in entertainment after graduating from college and completing military service. He took a job at NBC in New York City. He then began acting on stage and toured North America with a number of plays, eventually performing on Broadway.


title: Pat Harrington Jr.

text: Harrington became known in the 1950s as a member of Steve Allen's television comedy troupe, the "Men on the Street" (which included Don Knotts, Tom Poston and Louis Nye). He made many appearances as the comedic Italian immigrant golf pro Guido Panzini on "The Jack Paar Show" in the mid-1950s. In the 1959–60 season, he played the recurring role of Pat Hannigan in 11 episodes of Danny Thomas's sitcom "The Danny Thomas Show".


title: Pat Harrington Jr.

text: In the 1964–1965 television season, he guest-starred on numerous programs, including the sitcom "The Bing Crosby Show" and "Kentucky Jones" (starring Dennis Weaver). In a 1965 episode of "The Man from U.N.C.L.E." ("The Bow-Wow Affair"), Harrington reprised his role as Guido Panzini (who he also played in the February 8, 1966, episode of "McHale's Navy" "McHale's Country Club Caper"). On April 6, 1965, Harrington appeared in an episode of "Mr. Novak" (starring James Franciscus) titled "There's a Penguin in My Garden." He also guest-starred on two episodes of "The Munsters".


title: Pat Harrington Jr.

text: In 1967, he appeared in the Elvis Presley film "Easy Come, Easy Go". He also parodied "Get Smart" in an episode of "F Troop", in which he played secret agent "B Wise". From 1971 to 1974, he appeared in 11 episodes as District Attorney Charlie Giannetta of the ABC legal drama "", starring Arthur Hill in the title role.


title: Pat Harrington Jr.

text: Harrington worked as a voice actor, including Ray Palmer/the Atom and Roy Harper/Speedy on "The Superman/Aquaman Hour of Adventure" in 1967. From 1965 to 1969, Harrington portrayed the voices of both The Inspector (a character inspired by Inspector Jacques Clouseau) and his sidekick Deux Deux in all of the original 34 animated episodes of the character's eponymous series, created by Mirisch Films and DePatie-Freleng and released via United Artists. They later were shown as part of the Pink Panther cartoon TV show. Another cartoon voice he did was Jon's father on "A Garfield Christmas Special".


title: Pat Harrington Jr.

text: In 1974, he appeared with Peter Falk and Robert Conrad in the "Columbo" episode "An Exercise in Fatality". Harrington is best known for his role as building superintendent Dwayne Schneider on the 1975–1984 television sitcom "One Day at a Time". He won both an Emmy Award and a Golden Globe Award for his work on this series. In 1979, Harrington appeared as a celebrity guest star/game show contestant on "Password Plus". He reprised his role as Schneider in a series of commercials in the late 1980s for Trak Auto Parts after the show ended. He appeared in an episode of "The King of Queens" in 2006.


title: Pat Harrington Jr.

text: Harrington twice appeared on former co-star Valerie Bertinelli's television shows. In 1990, he appeared on "Sydney" and in 2012 he appeared, in his final acting role, on "Hot in Cleveland".


title: Pat Harrington Jr.

text: Harrington married Marjorie Ann Gortner in 1955; the couple had four children, including tennis player Mike Harrington. They divorced in 1985. He married Sally Cleaver, an insurance executive, in 2001.


title: Pat Harrington Jr.

text: Harrington, who had Alzheimer's disease, fell in early November 2015. He suffered a small brain hemorrhage and spent three weeks in a hospital and nursing home. Harrington's children announced his death on January 6, 2016, aged 86. He died on co-star Bonnie Franklin's birthday, though she predeceased him in 2013.


title: Arthur Lee (musician)

text: Arthur Taylor Lee (born Arthur Porter Taylor; March 7, 1945 – August 3, 2006) was an American singer-songwriter who rose to fame as the leader of the Los Angeles rock band Love. Love's 1967 album "Forever Changes" was inducted into the Grammy Hall of Fame, and it is part of the National Recording Registry.


title: Arthur Lee (musician)

text: Lee was born in Memphis, Tennessee, on March 7, 1945, in John Gaston Hospital, to Agnes (née Porter), a school teacher, and Chester Taylor, a local jazz musician and cornet player. As an only child, Lee was known by the nickname "Po", short for Porter, and was looked after by additional family members so his mother could proceed with her teaching career. With his father being his first connection with a musician, Lee was fascinated by music at a young age. He would sing and hum along to blues musicians such as Howlin' Wolf and Muddy Waters on the radio. At the age of four, Lee made his debut on the stage at a Baptist church, reciting a small poem about a red telephone.


title: Arthur Lee (musician)

text: In the early 1950s, his parents separated as his father "refused or neglected to provide for her", the divorce petition states. Lee only remembered seeing his father three times during his entire life. Subsequently, Lee and his mother packed their things and took a train to California, while his father was at work. Lee and his mother resided in Los Angeles permanently in 1952. In 1953, their divorce was granted and his mother married Clinton Lee, a successful construction worker, on April 23, 1955. Lee was formally adopted by Clinton Lee on June 6, 1960, legally acquiring his surname, after filing for an adoption notice in 1958. His mother was able to resume her teaching career, enabling the family to buy a new home in the West Adams area of South Central Los Angeles. The neighborhood was also home to Johnny Echols, who attended the same schools as Lee and would later be the lead guitarist for Love.


title: Arthur Lee (musician)

text: Lee attended Sixth Avenue Elementary School and excelled in athletics but was behind academically. Being known as "the toughest kid in the neighborhood", Lee was pressured into succeeding in school by his great aunt, a former school principal, but showed interest in sports, music, reading, and animals. Lee later attended Mount Vernon Junior High, where his interest in music would soon outweigh his focus on sports.


title: Arthur Lee (musician)

text: Lee's first musical instrument was the accordion, which he took lessons in from a teacher. He adapted to reading music and developed a good ear and natural musical intelligence. While he was never formally taught about musical theory and composition, he was able to mimic musicians from records and compose his own songs. Eventually, he persuaded his parents to buy him an organ and harmonica. Graduating from Susan Miller Dorsey High School, Lee's musical ambitions found opportunities between his local community and classmates. As opposed to attending a college under a sports scholarship, he strived for a musical career. His plan of forming a band was under the influence of Echols, after seeing him perform "Johnny B. Goode" with a five-piece band at a school assembly.


title: Arthur Lee (musician)

text: His first known recording is from 1963. "The Ninth Wave" was released by his first band, the instrumental outfit called The LAGs, a Booker T & The MG's type of unit which included Johnny Echols (future co-founder, guitarist, and vocalist of Love), Lee (organ), Allan Talbert (saxophone), and Roland Davis (drums).


title: Arthur Lee (musician)

text: As a songwriter, Lee composed the surf songs "White Caps" and "Ski Surfin' Sanctuary". "My Diary" is the first Lee composition that came near to being a hit. It was written when Arthur was a teenager, about his teenage sweetheart Anita Billings. Later it was the R&B singer Rosa Lee Brooks who performed and recorded it for Revis Records. This recording included Jimi Hendrix on electric guitar. In a 2005 interview, Lee stated that he was looking for a guitarist with a Curtis Mayfield-like feel, and Hendrix was recommended for the session by label owner Billy Revis.


title: Arthur Lee (musician)

text: Lee wrote "I've Been Tryin'" for Little Ray. "Luci Baines", a song about President Lyndon Johnson's daughter, was performed and recorded with Lee's new band, The American Four. He composed "Everybody Jerk" and "Slow Jerk" for Ronnie and the Pomona Casuals, a band that put out an LP on the Donna label featuring some vocals by Lee. These early recordings are very rare but have been collected on a 1997 bootleg CD. The American Four however have since been reissued as a 45 and are also available now on iTunes.


title: Arthur Lee (musician)

text: Lee said when he first heard The Byrds he felt vindicated since he'd already been writing music that had a similar folk rock sound. In 1965 the Grass Roots, his folk rock unit, changed their name to Love because there was already a signed act called The Grass Roots.


title: Arthur Lee (musician)

text: Lee's early appearances were at clubs in Hollywood, including the Brave New World; Hullabaloo; Bido Lito's; and the Sea Witch. At Bido Lito's, a tiny hole-in-the-wall club located on a cul-de-sac known as Cosmo's Alley, Lee first showed his potential for excellence. The Bido Lito's audience was sometimes dotted with celebrities, including actor Sal Mineo, and rock stars Mick Jagger, Brian Jones, Bob Dylan, and Jimi Hendrix, who would go on to collaborate with Lee on future recording projects. Lee then got the opportunity to play the larger Whisky a Go Go on Los Angeles' Sunset Strip, after which Love received a recording contract by Elektra Records. Love received a lot of air play in Los Angeles, and performed several times in 1967 at the Cheetah nightclub in Venice, California.


title: Arthur Lee (musician)

text: Love's music has been described as a mixture of folk-rock, psychedelic rock, baroque pop, Spanish-tinged pop, R&B, garage rock, and even protopunk. Lee has been regarded as "the first punk rocker" but wasn't flattered by the phrase as he thought the term punk meant "being somebody's bitch or something like that." Though Lee's vocals have garnered some comparisons to Johnny Mathis, his lyrics often dwell on matters dark and vexing, but often with a wry humor. The group's cover of the Burt Bacharach/Hal David composition "My Little Red Book" (first recorded by Manfred Mann for the soundtrack of "What's New, Pussycat?") received a thumbs-down from Bacharach: Love had altered the song's chord changes. Nonetheless, the record was a Southern California hit and won Lee and Love a spot on "American Bandstand".


title: Arthur Lee (musician)

text: "Love" (1966) included their cover of "My Little Red Book". "Emotions", an instrumental track from the album, is used in the opening credits of the 1969 movie "Medium Cool". Their second album, "Da Capo" (1966), featured just one song, "Revelation" on side two. The first side contained six individual songs, including their only single to achieve any success in the Billboard Top 40 chart: "7 and 7 Is". "Forever Changes" (1967) followed, the album a centerpiece of the group's psychedelic-tinged sound, bolstered by David Angel's arrangements. "Forever Changes" sold moderately in its time (reaching #154 on the Top 200 albums, and stayed on the charts for 10 weeks, without the benefit of a hit single), although it reached the top 30 in the UK. Nonetheless, its cult status grew.


title: Arthur Lee (musician)

text: After "Forever Changes", the band managed to record one more non-album single ("Your Mind and We Belong Together" b/w "Laughing Stock") which was released in June 1968 and failed to chart. Love then dissolved due to drug and money issues, only to have Lee revive the group name shortly thereafter. The new Love featured a lineup consisting of Lee on vocals and guitar, Jay Donnellan on guitar, Frank Fayad on bass, and George Suranovich on drums despite a few tracks featuring The Crazy World of Arthur Brown drummer Drachen Theaker. Lee signed a record deal with Bob Krasnow's Blue Thumb label during this time, but without mentioning to Krasnow that he was technically still signed to Elektra Records. Lee had wanted out of his Elektra deal since 1966 (the year the self-titled debut was released).


title: Arthur Lee (musician)

text: Elektra founder Jac Holzman did not want to let Lee out of his contract as he admired his talents but he also did not want to keep an artist under contract who did not want to stay, so a deal was worked out that allowed Lee to record for Blue Thumb with Holzman getting his choice of ten of the resulting songs to fulfill the Elektra contract of a fourth album. That album would become "Four Sail" (1969), Lee's pun on his original title "For Sale". A mere three months after the release of "Four Sail", Blue Thumb records released their Love album, "Out Here", using remaining tracks from the sessions.


title: Arthur Lee (musician)

text: "Out Here" featured the same musicians as "Four Sail" with the addition of Gary Rowles, who played on one track. Lee felt that Donnellan was getting a little too egotistical for his tastes. The new lineup consisted of musicians who were not fans of "Forever Changes", resulting in a harder-edged rock sound. During the initial "Four Sail/Out Here" sessions, Krasnow approached Lee about the possibility of rounding up the original members of Love. Krasnow felt there was some magic missing with the new line up. Lee obliged him, and started rehearsing and even recording some with original members Echols, Forssi, and Stuart (MacLean had turned him down).


title: Arthur Lee (musician)

text: Heroin proved to be too dominant in the lives of Echols and Forssi. Both men were constantly pawning off the rented equipment for drug money and were eventually let go yet again. Love also toured both "Four Sail" and "Out Here" for their first trip to Europe, where they were always more popular, and went on to do a nationally televised performance on Dutch television which also featured promotional videos for older songs from the Elektra years. "Out Here" managed to chart at #29 in the UK in May 1970.


title: Arthur Lee (musician)

text: The next album to appear from Love was "False Start" (1970) which continued on with the heavier sonic direction of acid rock, in addition to featuring elements of classic R&B. One new member was added to this incarnation of Love, a vocalist/guitarist named Nooney Rickett. The album's opening track, "The Everlasting First", features Jimi Hendrix on guitar.


title: Arthur Lee (musician)

text: Lee met Hendrix while in England, and they decided to record at Bob Krasnow's expense. For years there were rumors that Arthur and Jimi recorded an entire record together, but the truth surfaced in 2009 when an acetate from Blue Thumb made rounds and it was revealed that there was only a long jam session (titled "Jam" on the actual acetate, to accompany "The Everlasting First" and an early version of the Hendrix song "Ezy Rider"). According to legend, Arthur overheard Bob Krasnow telling someone that if the "False Start" album did not crack the top 10 he was going to release the band from its contract. Moreover, Arthur made Krasnow give him that in writing. The album did not even reach the top 200 on the Billboard charts.


title: Arthur Lee (musician)

text: In 1971, Lee was signed to Columbia Records and spent the better part of the summer recording; all of the songs were deemed unworthy of issue (the entire Columbia project, along with a handful of demos, was released for the first time in 2009 on Sundazed Records as "Love Lost").


title: Arthur Lee (musician)

text: In July 1972, Lee released his first solo album, "Vindicator", on A&M Records, featuring a new group of musicians also playing as the band Love. At one point in time they would use the name Bandaid, a name originally suggested by Jimi Hendrix for a briefly considered lineup of himself, Lee, and Steve Winwood. This album failed to chart. Lee recorded a second solo album in 1973 entitled "Black Beauty" for Buffalo Records, but the label folded before the album was released. Lee contributed the title track to the 1974 blaxploitation film "Thomasine & Bushrod". Lee's next move was to credit the backing group for "Black Beauty" with the addition of guitarist John Sterling as a new Love for "Reel to Real" (1974).


title: Arthur Lee (musician)

text: A new Lee solo album, called just "Arthur Lee", appeared on Rhino Records in 1981, featuring covers of The Bobbettes' "Mr. Lee" and Jimmy Cliff's "Many Rivers to Cross" and musicians Sterling (guitar), George Suranovich (drums), and Kim Kesterson (bass), as well as some of the members from "Reel to Real".


title: Arthur Lee (musician)

text: Throughout the 1970s and 1980s, there were various attempts to reunite the original Love lineup. At the suggestion of guitarist John Sterling who first joined Arthur for "Reel To Real", one such show from the Whisky in October 1978 was recorded by Sterling on cassette. It featuring Lee and Bryan MacLean with Sterling (guitar), George Suranovich (drums), and Kim Kesterson (bass), and was released on Rhino as a live album picture disc entitled "Love Live" (1980) on Rhino Records. In 1982, MCA released "Studio/Live", which was a collection of tracks from the early 1970s incarnation of Love coordinated by rock lawyer/journalist Stann Findelle, including never before heard tracks recorded from Bill Graham's Fillmore East.


title: Arthur Lee (musician)

text: Apart from the "Studio/Live" package on MCA, the 1980s were a mostly fallow period for Lee. According to him: "I was gone for a decade. I went back to my old neighborhood to take care of my father, who was dying of cancer. I was tired of signing autographs. I was tired of being BS'd out of my money...I just got tired." Alice Cooper did record a cover version of Lee's "7 and 7 Is" on a 1981 album, "Special Forces".


title: Arthur Lee (musician)

text: Lee re-emerged musically in 1992 with a new album entitled "Arthur Lee & Love -{Five String Serenade}" on the French New Rose label. The title track, "Five String Serenade", was later recorded by Mazzy Star and Jack White of The White Stripes. The album also featured a new artist he discovered from San Francisco, Keith Farrish aka Demian X Diamond. He performed live around this time in Paris, London, and Liverpool. In 1993 he played shows in New York and England. The following year he released a 45rpm single, "Girl on Fire" backed with "Midnight Sun", on Distortions Records. He began to tour regularly with a backup band comprising former members of Das Damen, and LA group Baby Lemonade. In 1995, Rhino Records released the compilation "Love Story". The album was a two-disc set with extensive liner notes that chronicled the period of 1966–1972.


title: Arthur Lee (musician)

text: In late 1996, Lee was sentenced to 12 years for the negligent discharge of a firearm. California's three strikes law meant Lee was forced to serve a prison term, having previously served two years in jail for arson, and having been charged with various drug, driving and assault offenses.


title: Arthur Lee (musician)

text: Lee denied that he had fired the gun, and visiting fan Doug Thomas who had denied involvement when the police responded later confessed to the deed. A year-delayed analysis of a gunpowder residue test conducted on Lee produced a negative result. Had he pleaded guilty, Lee would have been sentenced to nine months in jail, instead he chose a jury trial and was convicted. His sentence was pronounced at 12 years in prison.


title: Arthur Lee (musician)

text: While in prison Lee refused visitors and interviews. "I thought I would beat this case, so why would I want to broadcast it? This has been so humiliating to me."


title: Arthur Lee (musician)

text: Former bandmates Bryan MacLean and Ken Forssi both died while Lee was incarcerated, ending any speculation as to a full-fledged Love reunion.


title: Arthur Lee (musician)

text: On December 12, 2001, Lee was released from prison, having served 5½ years of his original sentence. With the trial prosecutor having been found guilty of misconduct, a federal appeals court in California reversed the charge of negligent discharge of a firearm.


title: Arthur Lee (musician)

text: Following Lee's release from prison, he put together a new incarnation of Love and planned a "Forever Changes" 35th Anniversary Tour, to kick off at the Royal Festival Hall in London. The Make-Up released a song calling for Arthur Lee's release, called "Free Arthur Lee".


title: Arthur Lee (musician)

text: Two Love tracks, "My Little Red Book" (from "Love") and "Always See Your Face" (from "Four Sail"), were included on the soundtrack of John Cusack's adaptation of Nick Hornby's "High Fidelity". Lee's songs have been heard in other films as well, notably "7 & 7 Is" in both 1990's "Point Break" and 1996's "Bottle Rocket".


title: Arthur Lee (musician)

text: In 2002, Lee began touring in earnest under the name "Love with Arthur Lee". He performed throughout Europe, North America, and Australia. This incarnation of Love was composed of the members of the band Baby Lemonade, who had first performed with Lee in May 1993 at Raji's. The band began performing the "Forever Changes" album in its entirety, often with a string and horn section. A live CD and DVD of this material was released in 2003.


title: Arthur Lee (musician)

text: Johnny Echols joined the new group for a special "Forever Changes" 35th Anniversary Tour performance at Royce Hall, UCLA, in the spring of 2003. Lee and the band continued to tour throughout 2003 and 2004, including many concerts in and around hometown Los Angeles, notably a show at the outdoor Sunset Junction festival, the San Diego Street Scene, and a headlining date with The Zombies at the Ebell Theatre. Echols occasionally joined Lee and the group on the continuing and final tours of 2004 to 2005. They played a well received date at the Fillmore in San Francisco with the full string and horn section.


title: Arthur Lee (musician)

text: At this time, Lee had been diagnosed with (acute myeloid leukemia). Choosing not to reveal his illness to the band, Lee announced that he would not be able to participate in the final tour in July 2005. Since no one in the band knew the basis of his absence, Lee's decision to forgo the final tour was met with mixed reactions. The remaining members of the band, along with Echols, continued to perform at the venues of the last tour (July 2005) without Lee, under the name The Love Band. At the end of September 2005, Lee moved to Memphis, Tennessee, where he planned to continue to make music using the name Love. Joining him was to be drummer Greg Roberson (Reigning Sound, Her Majesty's Buzz, Compulsive Gamblers) to put together a new line-up in Memphis, which was to include Adam Woodard, Alex Greene (The Reigning Sound, Big Ass Truck), Jack "Oblivian" Yarber, Alicja Trout, and Johnny Echols from the original Love line-up. Ultimately Arthur's ill health prevented this from happening.


title: Arthur Lee (musician)

text: In April 2006, it was publicly announced that Lee was ill. A tribute fund was set up shortly after the announcement, with a series of benefit concerts to be performed to help pay medical bills. The most notable of these concerts was produced by Steve Weitzman of SW Productions at New York's Beacon Theater on June 23, 2006, and featured Robert Plant, Ian Hunter, Ryan Adams, Nils Lofgren, Yo La Tengo, Garland Jeffreys, Johnny Echols (Love's original lead guitarist), and Flashy Python & The Body Snatchers (featuring Alec Ounsworth of Clap Your Hands Say Yeah). Backed by Ian Hunter's band, Plant performed 12 songs, including four Led Zeppelin songs and five recorded by Love in the 1960s ("7 and 7 Is", "A House Is Not A Motel", "Bummer in the Summer", "Old Man", and "Hey Joe"). A benefit concert was held in Dublin, Ireland.


title: Arthur Lee (musician)

text: Lee underwent several months of treatment for leukemia, to include chemotherapy and an experimental stem cell transplant using stem cells from an umbilical cord blood donor. Despite treatment, his condition continued to worsen, and he died from complications of leukemia in Memphis, Tennessee on August 3, 2006, at the age of 61.


title: Arthur Lee (musician)

text: Barclay James Harvest's song a "A tale of Two Sixties" from the 1978 album "XII. contains the lines "Give me the sound of Arthur Lee, with Forever Changes I remember, "andmoreagain ", don't leave me ever."


title: Arthur Lee (musician)

text: Robyn Hitchcock's 1993 song "The Wreck of the Arthur Lee" from the Robyn Hitchcock and the Egyptians album "Respect" was written as a tribute to the singer.


title: Arthur Lee (musician)

text: Arthur Lee is mentioned in the song "Are You Ready to Be Heartbroken", by Lloyd Cole & the Commotions, as well as in the song "Mate of the Bloke", by Half Man Half Biscuit. His prison term is the subject of "The Prison's Going Down" by ex-Stranglers singer and guitarist Hugh Cornwell. Lee is the subject of the song "Byrds Turn to Stone" (originally titled "Mr Lee") by Liverpool band (and former Arthur Lee backing group) Shack.


title: Arthur Lee (musician)

text: Rival Schools and Quicksand frontman Walter Schreifels paid tribute to Arthur Lee on his 2010 solo album "An Open Letter to the Scene" with a track titled "Arthur Lee's Lullaby".


title: Arthur Lee (musician)

text: The 2009 "Communion" album by the Swedish band The Soundtrack of Our Lives features a song entitled "The Fan Who Wasn't There" which was based on a conversation singer Ebbot Lundberg had with Lee.


title: Arthur Lee (musician)

text: Directors Mike Kerry and Chris Hall managed to persuade Arthur Lee to cooperate in the making of a UK documentary film "Love Story" (2006), successfully recording the last interviews with a reflective Arthur Lee, before he was diagnosed with leukemia. The film shows interviews with key individuals from some of the line-ups of Love and Elektra management and studio engineers.


title: Arthur Lee (musician)

text: Rapper Mac Miller covered Lee's 1972 song "Everybody's Gotta Live" on his posthumous sixth studio album "Circles" (2020), on the song "Everybody."


title: Arthur Lee (musician)

text: In 2012, "Rolling Stone" magazine ranked "Forever Changes" 40th in its list of the 500 greatest albums of all time. The album was inducted into the Grammy Hall of Fame in 2008. It was entered into the National Recording Registry in May 2012.


title: Stateless society

text: A stateless society is a society that is not governed by a state. In stateless societies, there is little concentration of authority; most positions of authority that do exist are very limited in power and are generally not permanently held positions; and social bodies that resolve disputes through predefined rules tend to be small. Stateless societies are highly variable in economic organization and cultural practices.


title: Stateless society

text: While stateless societies were the norm in human prehistory, few stateless societies exist today; almost the entire global population resides within the jurisdiction of a sovereign state, though in some regions nominal state authorities may be very weak and wield little or no actual power. Over the course of history most stateless peoples have been integrated into the state-based societies around them.


title: Stateless society

text: Some political philosophies, particularly anarchism, consider the state an unwelcome institution and stateless societies the ideal, while Marxism considers that in a post-capitalist society, the state would be unnecessary and wither away.


title: Stateless society

text: In archaeology, cultural anthropology and history, a stateless society denotes a less complex human community without a state, such as a tribe, a clan, a band society or a chiefdom. The main criterion of "complexity" used is the extent to which a division of labor has occurred such that many people are permanently "specialized" in particular forms of production or other activity, and depend on others for goods and services through trade or sophisticated reciprocal obligations governed by custom and laws. An additional criterion is population size. The bigger the population, the more relationships have to be reckoned with.


title: Stateless society

text: Evidence of the earliest known city-states has been found in ancient Mesopotamia around , suggesting that the history of the state is less than 6,000 years old; thus, for most of human prehistory the state did not exist.


title: Stateless society

text: Generally speaking, the archaeological evidence suggests that the state emerged from stateless communities only when a fairly large population (at least tens of thousands of people) was more or less settled together in a particular territory, and practiced agriculture. Indeed, one of the typical functions of the state is the defense of territory. Nevertheless, there are exceptions: Lawrence Krader for example describes the case of the Tatar state, a political authority arising among confederations of clans of nomadic or semi-nomadic herdsmen.


title: Stateless society

text: Characteristically the state functionaries (royal dynasties, soldiers, scribes, servants, administrators, lawyers, tax collectors, religious authorities etc.) are mainly not self-supporting, but rather materially supported and financed by taxes and tributes contributed by the rest of the working population. This assumes a sufficient level of labor-productivity per capita which at least makes possible a "permanent" surplus product (principally foodstuffs) appropriated by the state authority to sustain the activities of state functionaries. Such permanent surpluses were generally not produced on a significant scale in smaller tribal or clan societies.


title: Stateless society

text: The archaeologist Gregory Possehl has argued that there is no evidence that the relatively sophisticated, urbanized Harappan civilization, which flourished from about in the Indus region, featured anything like a centralized state apparatus. No evidence has yet been excavated locally of palaces, temples, a ruling sovereign or royal graves, a centralized administrative bureaucracy keeping records, or a state religion—all of which are elsewhere usually associated with the existence of a state apparatus. However, there is no recent scholarly consensus agreeing with that perspective, as more recent literature has suggested that there may have been less conspicuous forms of centralisation, as Harappan cities were centred around public ceremonial places and large spaces interpreted as ritual complexes. Additionally, recent interpretations of the Indus Script and Harappan stamps indicate that there was a somewhat centralised system of economic record keeping. It remains impossible to judge for now as the Harappan civilization's writing system remains undeciphered. One study summarised it best, “Many sites have been


title: Stateless society

text: excavated that belong to the Indus Valley civilization, but it remains unresolved whether it was a state, a number of kingdoms, or a stateless commonwealth. So few written documents on this early civilization have been preserved that it seems unlikely that this and other questions will ever be answered.”


title: Stateless society

text: In the earliest large-scale human settlements of the Stone Age which have been discovered, such as Çatalhöyük and Jericho, no evidence was found of the existence of a state authority. The Çatalhöyük settlement of a farming community (7,300 BCE to BCE) spanned circa 13 hectares (32 acres) and probably had about 5,000 to 10,000 inhabitants.


title: Stateless society

text: Modern state-based societies regularly pushed out stateless indigenous populations as their settlements expanded, or attempted to make those populations come under the control of a state structure. This was particularly the case on the African continent during European colonisation, where there was much confusion about the best way to govern societies who, prior to European arrival, had been stateless. Tribal societies, on first glance appearing to be chaotic, often had well-organised societal structures that were based on multiple undefined cultural factors – including the ownership of cattle and arable land, patrilineal descent structures, honour gained from success in conflict etc.


title: Stateless society

text: Uncontacted peoples may be considered remnants of prehistoric stateless societies. To varying extents they may be unaware of and unaffected by the states that have nominal authority over their territory.


title: Stateless society

text: Some political philosophies consider the state undesirable, and thus consider the formation of a stateless society a goal to be achieved.


title: Stateless society

text: A central tenet of anarchism is the advocacy of society without states. The type of society sought for varies significantly between anarchist schools of thought, ranging from extreme individualism to complete collectivism. Anarcho-capitalism opposes the state while supporting private institutions.


title: Stateless society

text: In Marxism, Marx's theory of the state considers that in a post-capitalist society the state, an undesirable institution, would be unnecessary and wither away. A related concept is that of stateless communism, a phrase sometimes used to describe Marx's anticipated post-capitalist society.


title: Stateless society

text: Anthropologists have found that social stratification is not the standard among all societies. John Gowdy writes, "Assumptions about human behaviour that members of market societies believe to be universal, that humans are naturally competitive and acquisitive, and that social stratification is natural, do not apply to many hunter-gatherer peoples."


title: Stateless society

text: The economies of stateless agricultural societies tend to focus and organize subsistence agriculture at the community level, and tend to diversify their production rather than specializing in a particular crop.


title: Stateless society

text: In many stateless societies, conflicts between families or individuals are resolved by appealing to the community. Each of the sides of the dispute will voice their concerns, and the community, often voicing its will through village elders, will reach a judgment on the situation. Even when there is no legal or coercive authority to enforce these community decisions, people tend to adhere to them, due to a desire to be held in esteem by the community.


title: Bloating

text: Abdominal bloating (or simply bloating) is a short-term disease that affects the gastrointestinal tract. Bloating is generally characterized by an excess buildup of gas, air or fluids in the stomach. A person may have feelings of tightness, pressure or fullness in the stomach; it may or may not be accompanied by a visibly distended abdomen. Bloating can affect anyone of any age range and is usually self-diagnosed, in most cases does not require serious medical attention or treatment. Although this term is usually used interchangeably with abdominal distension, these symptoms probably have different pathophysiological processes, which are not fully understood.


title: Bloating

text: The first step for the management is to find a treatment for the underlying causes that produce it through a detailed medical history and a physical examination. The discomfort can be alleviated by the use of certain drugs and dietary modifications.


title: Bloating

text: Bloating can also be caused by chronic conditions and in rare cases can be a reoccurring life-threatening problem.


title: Bloating

text: The most common symptom associated with bloating is a sensation that the abdomen is full or distended. Rarely, bloating may be painful or cause shortness of breath.


title: Bloating

text: Pains that are due to bloating will feel sharp and cause the stomach to cramp. These pains may occur anywhere in the body and can change locations quickly. They are so painful that they are sometimes mistaken for heart pains when they develop on the upper left side of the chest. Pains on the right side are often confused with problems in the appendix or the gallbladder.


title: Bloating

text: One symptom of gas that is not normally associated with it is the hiccup. Hiccups are harmless and will diminish on their own; they also help to release gas that is in the digestive tract before it moves down to the intestines and causes bloating. Important but uncommon causes of abdominal bloating include ascites and tumors.


title: Bloating

text: There are many causes of bloating, including: diet, irritable bowel syndrome, lactose intolerance, reflux, and constipation.


title: Bloating

text: Specific medical conditions like Crohn's disease or bowel obstruction can also contribute to the amount of stomach bloating experienced.


title: Bloating

text: Every person produces gases in their body during the digestion of food, such as methane, hydrogen, carbon dioxide, and nitrogen. And some of them are released outside the body, sometimes in small quantities that one does not notice and sometimes in larger quantities that may affect the normal course of life.


title: Bloating

text: Most cases of stomach bloating are due to improper diet. Gas occurs because of the bacteria in the colon and is a by-product of soluble fiber digestion. Inadequate or irregular intake of fiber and water will cause a person to experience bloating or constipation. The most common natural sources of fiber include fruits and vegetables as well as wheat or oat bran. These fibers are most likely to cause flatulence. Fiber is made by plants and is not easily digested by the human gastrointestinal tract. There are two main types of dietary fiber: soluble and insoluble fiber. Soluble fiber is prebiotic and readily fermented in the colon into gases, while insoluble fiber is metabolically inert and absorbs water as it moves through the digestive system, aiding in defecation. Most types of fiber (insoluble) are attached to body water in the intestine and increase the volume of stools.


title: Bloating

text: Gas in the gastrointestinal tract has only two sources. It is either swallowed air or is produced by bacteria that normally inhabit the intestines, primarily the colon.


title: Bloating

text: Belching or burping is a universal ability that works by removing gas from the stomach through the mouth. The stomach can become bloated when too much air is swallowed during eating and drinking too quickly. As the stomach swells, belching removes the gas and alleviates the pain associated with it. Burping can also be used as a form of relief from abdominal discomfort other than too much gas in the stomach.


title: Bloating

text: Flatulence, or farting, provides relief of much the same kind as burping, but involves the passage of gas from the body via the anus, not the mouth. Bacteria present in the intestinal tract cause gas that is expelled from the anus. They produce the gas as food is digested and moved from the small intestine. This gas builds up and causes swelling or bloating in the abdominal area before it is released.


title: Bloating

text: A common gastrointestinal problem is constipation—infrequent bowel movements, hard stools, or strain during the movements—which causes serious cases of bloating. Since most cases of constipation are temporary, simple lifestyle changes, such as getting more exercise and increasing one's intake of fiber, can contribute to alleviating constipation. Some cases of constipation will continue to worsen and require unconventional methods to release the feces and reduce the amount of stomach bloating. Blood in the stool, intense pain in the abdomen, rectal pain, unexplained weight loss, and continued bloating and constipation not relieved by the above lifestyle changes should be reported to a doctor. Bloating consistently accompanies constipation, and they will not develop without an underlying cause.


title: Bloating

text: Painful burning sensations in the chest that are caused by gastroesophageal reflux is known as heartburn. Reflux is the backflow of gastric acid juices from the stomach into the oesophagus. Heartburn has different triggers, including certain foods, medications, obesity, and stress. These triggers are different for each individual. Gastroesophageal reflux disease or GERD is a chronic condition that can lead to more serious complications like esophageal cancer. Treatment options are available to treat the symptoms and the condition, but there is no cure for the disease. Symptoms include burping, abdominal and stomach bloating, along with pain and discomfort. Heavy meals, lying down or bending over after eating should be avoided to help prevent reflux from occurring. The stomach bloating experienced with reflux is intense and will remain until the food is digested all the way.


title: Bloating

text: Postmortem bloating occurs in cadavers, due to the formation of gases by bacterial action and putrefaction of the internal tissues of the abdomen and the inside of the intestines.


title: Bloating

text: Conditions that are related to bloating include constipation, lactose intolerance, and acid reflux disease. All of these conditions share the same symptoms and can share the same causative agents. These causes include unhealthy diet, smoking, alcohol consumption, low amount of exercise, and overall health. Each of these conditions can be experienced as a symptom of the others and is also a cause for each of them. In most cases where one of the conditions is present, there is at least one if not two of the others. Treatment for each condition is performed using the same medications and recommended dietary changes like increased fiber intake and reduced fat intake. If the conditions develop into diseases such as gastroesophageal reflux disease or chronic constipation, additional medications will be required. Bloating and flatulence are sometimes related to constipation, and treating the underlying condition may be helpful.


title: Bloating

text: Promising evidence on the potential efficacy of the low-FODMAP diet in functional abdominal bloating is provided by the reduction of the bloating which has been observed in some studies on patients with irritable bowel syndrome. Regarding the gluten-free diet, there is insufficient scientific evidence to recommend it to reduce bloating and abdominal distension.


title: Bloating

text: As regards the FODMAP diet, this should be provided by experts in nutrition to reduce the risks associated with elimination diets.


title: Bloating

text: Food enzymes can be found in some products that will help break down the sugars found in grains, vegetables and dairy products. They can be taken before food is consumed or added to the food that causes the gas and bloating. The most common treatment is antacids. These medications have no effect on the gas that is present in the intestines but enable gas build-up to be belched away more easily, reducing the amount of bloating that develops. Another treatment is simethicone, an oral anti-foaming agent that helps the body to expel the gas more quickly.


title: Bloating

text: Combinations of prokinetics, such as domperidone + metoclopramide + diphenhydramine (the latter for the prevention of extrapyramidal reactions, especially acute dystonic reactions) + proton pump inhibitors (PPIs), have dramatic effects on bloaters and belchers especially.


title: A Place Further than the Universe

text: Mari Tamaki is a second-year high school student who wants to make the most out of her youth but is usually too afraid to do so. One day, she meets Shirase Kobuchizawa, a girl who has been saving up to travel to Antarctica, where her mother disappeared three years ago. Joined by two other girls, Hinata Miyake and Yuzuki Shiraishi, they join an expedition headed towards the Antarctic.


title: A Place Further than the Universe

text: The 13-episode original anime television series by Madhouse was first announced by Kadokawa during Anime Expo 2017 in July. The series was directed by Atsuko Ishizuka with Jukki Hanada writing the scripts and Takahiro Yoshimatsu designing the characters. Yoshiaki Fujisawa composed the music. The series aired in Japan between January 2 and March 27, 2018 and was simulcast by Crunchyroll. The opening theme is "The Girls Are Alright!" by Saya, while the ending theme is by Inori Minase, Kana Hanazawa, Yuka Iguchi, and Saori Hayami. On November 18, 2022, Anime Limited announced at Anime NYC that they will be releasing the series on a collector's edition Blu-ray. The Blu-ray release will feature an English dub, produced by Studio Nano, which will premiere at Anime NYC on November 19, 2022.


title: A Place Further than the Universe

text: A manga adaptation illustrated by Meme Yoimachi was serialized in Media Factory's "Monthly Comic Alive" manga anthology from December 27, 2017 to February 27, 2019. It was compiled into three volumes.


title: A Place Further than the Universe

text: The anime was selected by "The Verge" as one of the best anime of 2018, saying that it is "genuine", and by "The New York Times" as the #8 International Show of the Year, with TV critic Mike Hale describing it as "a funny and moving coming-of-age story that should translate across all boundaries of age or culture." Otaku USA praised the characterization and humor and added that "directing helps a lot of the comedic timing stand out and makes some of the more familiar punchlines feel fresh".


title: A Place Further than the Universe

text: In 2019, Crunchyroll included the anime in their "Top 25 Anime of the 2010s" list, describing it as a "heartfelt series about chasing dreams, learning to break out of self-imposed boundaries, and living a life full of adventure". IGN also listed it among the best anime of the 2010s.


title: Abjection

text: Abjection is a concept in critical theory referring to becoming cast off and separated from norms and rules, especially on the scale of society and morality. The term has been explored in post-structuralism as that which inherently disturbs conventional identity and cultural concepts. Julia Kristeva explored an influential and formative overview of the concept in her 1980 work "Powers of Horror: An Essay on Abjection", where she describes subjective horror (abjection) as the feeling when an individual experiences or is confronted by the sheer experience of what Kristeva calls one's typically repressed "corporeal reality", or an intrusion of the Real in the Symbolic Order.


title: Abjection

text: Kristeva's concept of abjection is used commonly to analyze popular cultural narratives of horror, and discriminatory behavior manifesting in misogyny, homophobia and genocide. The concept of abjection builds on the traditional psychoanalytic theories of Sigmund Freud and Jacques Lacan, whose studies often narrowed in on the experience of the disintegration of personal distinctions, through neurosis in Freud and psychosis in Lacan.


title: Abjection

text: Drawing on the French tradition of interest in the monstrous (e.g., novelist Louis-Ferdinand Céline), and of the subject as grounded in "filth" (e.g., psychoanalyst Jacques Lacan), Julia Kristeva developed the idea of the abject as that which is rejected by or disturbs social reasonthe communal consensus that underpins a social order. The "abject" exists accordingly somewhere between the concept of an object and the concept of the subject, representing taboo elements of the self barely separated off in a liminal space. Kristeva claims that within the boundaries of what one defines as subjecta part of oneselfand objectsomething that exists independently of oneselfthere resides pieces that were once categorized as a part of oneself or one's identity that has since been rejectedthe abject.


title: Abjection

text: However, Kristeva created a distinction in the true meaning of abjection: "It is thus not the lack of cleanliness or health that causes abjection but what disturbs identity, system, and order. What does not respect borders, positions, rules. The in-between, the ambiguous, the composite." Since the abject is situated outside the symbolic order, being forced to face it is an inherently traumatic experience, as with the repulsion presented by confrontation with filth, waste, or a corpsean object which is violently cast out of the cultural world, having once been a subject. Thus the sense of the abject complements the existence of the superegothe representative of culture, of the symbolic order: in Kristeva's aphorism, "To each ego its object, to each superego its abject."


title: Abjection

text: From Kristeva's psychoanalytic perspective, abjection is done to the part of ourselves that we exclude: the mother. We must abject the maternal, the object which has created us, in order to construct an identity. Abjection occurs on the micro level of the speaking being, through their subjective dynamics, as well as on the macro level of society, through "language as a common and universal law". We use rituals, specifically those of defilement, to attempt to maintain clear boundaries between nature and society, the semiotic and the symbolic, paradoxically both excluding and renewing contact with the abject in the ritual act.


title: Abjection

text: The concept of abjection is often coupled (and sometimes confused) with the idea of the uncanny, the concept of something being "un-home-like", or foreign, yet familiar. The abject can be uncanny in the sense that we can recognize aspects in it, despite its being "foreign": a corpse, having fallen out of the symbolic order, creates abjection through its uncanninesscreates a cognitive dissonance.


title: Abjection

text: "Abjection" is often used to describe the state of often-marginalized groups, such as women, unwed mothers, people of minority religious faiths, sex workers, convicts, and poor and disabled people. From a deconstruction of sexual discourses and gender history Ian McCormick has outlined the recurring links between pleasurable transgressive desire, deviant categories of behaviour and responses to body fluids in 18th and 19th-century discussions of prostitution, sodomy, and masturbation (self-pollution, impurity, uncleanness). The term space of abjection is also used, referring to a space that abjected things or beings inhabit.


title: Abjection

text: Organizational theory literature on abjection has attempted to illuminate various ways in which institutions come to silence, exclude or disavow feelings, practices, groups or discourses within the workplace. Studies have examined and demonstrated the manner in which people adopt roles, identities and discourses to avoid the consequences of social and organizational abjection. In such studies the focus is often placed upon a group of people within an organization or institution that fall outside of the norm, thus becoming what Kristeva terms "the one by whom the abject exists," or "the deject" people. Institutions and organizations typically rely on rituals and other structural practices to protect symbolic elements from the semiotic, both in a grander organizational focus that emphasizes the role of policy-making, and in a smaller interpersonal level that emphasizes social rejection. Both the organizational and interpersonal levels produce a series of exclusionary practices that create a "zone of inhabitability" for staff perceived to be in opposition to the organizational norms.


title: Abjection

text: One such method is that of "collective instruction," which refers to a strategy often used to defer, render abject and hide the inconvenient "dark side" of the organization, keeping it away from view through corporate forces. This is the process by which an acceptable, unified meaning is createdfor example, a corporation's or organization's mission statement. Through the controlled release of information and belief or reactionary statements, people are gradually exposed to a firm's persuasive interpretation of an event or circumstance, that could have been considered abject. This spun meaning developed by the firm becomes shared throughout a community. That event or circumstance comes to be interpreted and viewed in a singular way by many people, creating a unified, accepted meaning. The purpose such strategies serve is to identify and attempt to control the abject, as the abject ideas become ejected from each individual memory.


title: Abjection

text: Organizations such as hospitals must negotiate the divide between the symbolic and the semiotic in a unique manner. Nurses, for example, are confronted with the abject in a more concrete, physical fashion due to their proximity to the ill, wounded and dying. They are faced with the reality of death and suffering in a way not typically experienced by hospital administrators and leaders. Nurses must learn to separate themselves and their emotional states from the circumstances of death, dying and suffering they are surrounded by. Very strict rituals and power structures are used in hospitals, which suggests that the dynamics of abjection have a role to play in understanding not only how anxiety becomes the work of the health team and the organization, but also how it is enacted at the level of hospital policy.


title: Abjection

text: The abject is a concept that is often used to describe bodies and things that one finds repulsive or disgusting, and in order to preserve one's identity they are cast out. Kristeva used this concept to analyze xenophobia and antisemitism, and was therefore the first to apply the abject to cultural analysis. Imogen Tyler sought to make the concept more social in order to analyze abjection as a social and lived process and to consider both those who abject and those who find themselves abjected, between representation of the powerful and the resistance of the oppressed. Tyler conducted an examination into the way that contemporary Britain had labelled particular groups of peoplemostly minority groupsas revolting figures, and how those individuals revolt against their abject identity, also known as marginalization, stigmatizing and/or social exclusion.


title: Abjection

text: Exploration has also been done into the way people look at others whose bodies may look different from the norm due to illness, injury or birth defect. Researchers such as Frances emphasize the importance of the interpersonal consequences that result from this looking. A person with a disability, by being similar to us and also different, is the person by whom the abject exists and people who view this individual react to that abjection by either attempting to ignore and reject it, or by attempting to engage and immerse themselves in it. In this particular instance, Frances claims, the former manifests through the refusal to make eye contact or acknowledge the presence of the personal with a disability, while the latter manifests through intrusive staring. The interpersonal consequences that result from this are either that the person with a disability is denied and treated as an 'other'an object that can be ignoredor that the individual is clearly identified and defined as a deject.


title: Abjection

text: By bringing focus onto concepts such as abjection, psychotherapists may allow for the exploration of links between lived experience and cultural formations in the development of particular psychopathologies. Bruan Seu demonstrated the critical importance of bringing together Foucauldian ideas of self-surveillance and positioning in discourse with a psychodynamic theorization in order to grasp the full significance of psychological impactors, such as shame.


title: Abjection

text: Concerning psychopathologies such as body dysmorphic disorder (BDD), the role of the otheractual, imagined or fantasizedis central, and ambivalence about the body, inflated by shame, is the key to this dynamic. Parker noted that individuals suffering from BDD are sensitive to the power, pleasure and pain of being looked at, as their objective sense of self dominates any subjective sense. The role of the other has become increasingly significant to developmental theories in contemporary psychoanalysis, and is very evident in body image as it is formed through identification, projection and introjection. Those individuals with BDD consider a part of their body unattractive or unwanted, and this belief is exacerbated by shame and the impression that others notice and negatively perceive the supposed physical flaw, which creates a cycle. Over time, the person with BDD begins to view that part of their body as being separate from themselves, a rogue body partit has been abjected.


title: Abjection

text: There are also those who experience social anxiety, who experience the subjectification of being abject is a similar yet different way to those with BDD. Abject, here, refers to marginally objectionable material that does not quite belong in the greater society as a wholewhether this not-belonging is real or imagined is irrelevant, only that it is perceived. For those with social anxiety, it is their entire social self which is perceived to be the deject, straying away from normal social rituals and capabilities.


title: Abjection

text: Studying abjection has proven to be suggestive and helpful for considering the dynamics of self and body hatred. This carries interesting implications for studying such disorders as separation anxiety, biologically centered phobias, and post traumatic stress disorder.


title: Abjection

text: The roots of abject art go back a long way. The Tate defines abject art as that which "explore themes that transgress and threaten our sense of cleanliness and propriety, particularly referencing the body and bodily functions." Painters expressed a fascination for blood long before the Renaissance but it was not until the Dada movement that the fascination with transgression and taboo made it possible for abject art, as a movement, to exist. It was influenced by Antonin Artaud's "Theatre of Cruelty". The Whitney Museum in New York City identified abject art in 1993.


title: Abjection

text: It was preceded by the films and performances of the Viennese actionists, in particular, Hermann Nitsch, whose interest in Schwitter's idea of a gesamtkunstwerk (total artwork) led to his setting up the radical theatre group, known as the Orgien-Mysterien-Theater. The group used animal carcasses and bloodshed in a ritualistic way. Nitsch served time in jail for blasphemy before being invited to New York in 1968 by Jonas Mekas. Nitsch organised a series of performances which influenced the radical New York art scene. Other members of the Viennese Actionists, Gunter Brus, who began as a painter, and Otto Muehl collaborated on performances. The performances of Gunter Brus involved publicly urinating, defecating and cutting himself with a razor blade. Rudolf Schwarzkogler is known for his photos dealing with the abject.


title: Abjection

text: In the late 1960s, performance art become popular in New York, including by Carolee Schneemann. Mary Kelly, Genesis P. Orridge and GG Allin did this type of art.


title: Abjection

text: In the 1980s and 1990s, fascination with the "Powers of Horror", the title of a book by Julia Kristeva, led to a second wave of radical performance artists working with bodily fluids including Ron Athey, Franko B, Lennie Lee and Kira O' Reilly. Kristeva herself associated aesthetic experience of the abject, such as art and literature, with poetic catharsisan impure process that allows the artist or author to protect themselves from the abject only by immersing themselves within it.


title: Abjection

text: In the late 1990s, the abject became a theme of radical Chinese performance artists Zhu Yu and Yang Zhichao. The abject also began to influence mainstream artists including Louise Bourgeois, Helen Chadwick, Gilbert and George, Robert Gober, Kiki Smith and Jake and Dinos Chapman who were all included in the 1993 Whitney show. Other artists working with abjection include New York photographers, Joel Peter Witkin, whose book "Love and Redemption" and Andres Serrano whose piece entitled "Piss Christ" caused a scandal in 1989.


title: Kip Winger

text: Charles Frederick Kip Winger (born June 21, 1961) is an American bass guitarist and singer, active as a member of the rock band Winger and as a solo artist. He initially gained notability as a member of Alice Cooper's band, contributing bass and vocals to his "Constrictor" and "Raise Your Fist and Yell" albums.


title: Kip Winger

text: Winger was born in Colorado to parents who were both musicians. At age 16, Winger began studying classical music after hearing the works of composers such as Debussy, Ravel, and Stravinsky in ballet class. At that time he sent a demo tape to Alan Parsons, from whom he received a personal reply.