title: Ottoman claim to Roman succession

text: The Ottomans equated the title "padişah" with emperor, but early Ottoman historians primarily used three different terms when discussing the Byzantine emperors: "tekfur", "fasiliyus" and "kayser". "Tekfur" was the most common. The etymology of "tekfur" is disputed, whereas the majority view is that it is derived from the Armenian "taghavor" (meaning "crown-bearer") some historians believe that it is ultimately derived from a misspelling of the name Nikephoros (deriving from the Byzantine emperor Nikephoros II Phokas). The term is used in pre-1453 sources to refer to Byzantine government servants of all ranks, from lowly governors and commanders to emperors, and thus had a demeaning connotation, equating the emperors with the lower-ranking officers. "Fasiliyus" is a transliterated form of the Byzantine "basileus", a title reserved only for the Byzantine emperor in Byzantine imperial ideology. "Kayser" is derived from the ancient Roman name and title "Caesar", which depending on the time period had wildly different political implications in the Roman and Byzantine world. Just as the title entered the Slavic world in the form "tsar", it entered the Turkish and Persian worlds in the form "kayser". Some Ottoman historians, such as Tursun Beg, used the more elaborate "kayser-i Rûm" (""Caesar" of Rome") for the Byzantine emperors. Though recognition of the Byzantine Empire as being the Roman Empire had gradually faded away in Western Europe after the 9th century, Muslims in the Middle Ages continually recognized the Byzantine Empire as the Roman Empire. In early Muslim sources, the term "Rūmī" is used for Christians in general, but later on it became restricted to just refer to the Byzantines.


title: Ottoman claim to Roman succession

text: After the Mehmed II's conquest of Constantinople in 1453, the sultans of the Ottoman Empire embraced the legacy and heritage of the Byzantine emperors and began fashioning themselves as their heirs. As claimant Roman emperors, the sultans also viewed themselves as inheriting the Byzantine and Roman claim to universal power. In the immediate aftermath of the conquest, Mehmed proclaimed himself "kayser-i Rûm". He was at some point prior to 1474 also recognized as "basileus" by the Ecumenical Patriarchate of Constantinople. Despite this, Mehmed rarely used either "kayser" or "basileus" in his official documents, neither in those written in Greek or those written in other languages. Instead, Mehmed's official titulature followed closely that of his father Murad II. His most commonly used Greek-language title was "o megas authentis kai megas amiras soultanos o Mechemetpeis" ("great ruler, great emir and sultan Mehmed"). Perhaps the lack of official use of "basileus" and "kayser" under Mehmed resulted from a wish to not simply be seen as an imitation of the Byzantine emperors. One title that was used more commonly by Mehmed, with clear Roman connotations, was "ruler of the two seas and the two continents", which referred to his claim to rule both the Black Sea and the Mediterranean, as well as both Europe and Asia. In Turkish, Arabic and Persian, the sultans most commonly used the titles "padişah" and "Sultan".


title: Ottoman claim to Roman succession

text: The early Ottoman sultans after 1453 intended to restore something akin to the Byzantine Empire under themselves. According to Arnold J. Toynbee, Mehmed and his immediate successors could thus be seen as "being as much a regenerator of the Byzantine Empire as its executioner". Under Mehmed's successor Bayezid II (), "basileus" entered official usage. Bayezid, his successor Selim I () and Selim's successor Suleiman I () all used "basileus" as their primary title in Greek-language documents. Mehmed's "kayser-i Rûm" also became an integral part of the Ottoman imperial title. When issuing documents in Serbian, Mehmed II, Bayezid II and Selim I are typically referred to under the title "great and mighty "tsar"", in this case deriving from their use of "kayser". In addition to adopting various titles, the Byzantine-oriented political identity of the early Ottoman sultans after 1453 also manifested itself in an increase in protocols, court ceremonies, architecture and symbols borrowed from Byzantium. Both Selim and Suleiman at times employed the style "Emperor of Constantinople", the title previously commonly used in diplomacy for the Byzantine emperors by Western Europeans. Suleiman sometimes used the extended version "Emperor of Constantinople and Trebizond". In Turkish, "Emperor of Constantinople" was rendered as "padişah-i Kostantiniye". The version "Emperor of the Romans", "padişah-i Rûm", is also attested as being used by the sultans.


title: Ottoman claim to Roman succession

text: In Latin documents, issued for diplomatic correspondence with rulers in Western Europe, the Ottoman sultans frequently used the Latin title "imperator". In a 1489 peace treaty between Bayezid II and Poland, the sultan titled himself as "Dei gratia Asia, Grecie etc. Imperator Maximus" ("by the grace of God the great emperor of Asia, Greece etc."). In a later 1494 peace, Bayezid referred to himself as "Dei gracia Imperator ambarum terrarum, Asiae atque Europae et marium Magnus Sultanus" ("by the grace of God the emperor of the two continents, Asia and Europe, and of the [two] seas, the great sultan"). A 1519 peace treaty between Poland and Selim I, written in Italian, titles the sultan as "Per la Divina favente clementia Grande Imperator di Constantinopoli, di Asia, Europa, Persia, Soria et Egipto et Arabia et de li mari etc." ("by the grace of God the great emperor of Constantinople, Asia, Europe, Persia, Syria, Egypt and Arabia and the two seas etc.").


title: Ottoman claim to Roman succession

text: Mehmed and his immediate successors took many steps in order to legitimize their rule as Roman emperors. Among other acts, they designated Constantinople as the capital and promoted many Greek aristocrats to elite government positions. Between 1453 and 1516, the Ottoman grand viziers, the highest government office other than sultan, were of various ethnic and religious origin. The holders of the office during this time period included Zagan Pasha (a formerly Christian renegade) and Mahmud Pasha Angelović (a Serbian aristocrat descended from the Byzantine imperial Angelos dynasty). From 1453 onwards, the Ottomans referred to Constantinople as Istanbul, a name derived from the Greek phrase "eis tin polin" ("to the city"). Formally and officially, the city's name remained Constantinople however, rendered as "Kostantiniyye" in Turkish, until 1930, after the fall of the Ottoman Empire. The choice to make Constantinople the capital derived from the imperial history and strategic location of the city. Even after his death, Mehmed continued to insist that he was Roman emperor: in his will he chose the site of his burial to be Constantinople, rather than the older site of burial of Ottoman sultans, Bursa. Mehmed's burial ceremony in 1481 was modelled on that of Constantine the Great. Under the last decades of Byzantine rule, the population of Constantinople had decreased dramatically but under the Ottomans, it increased again due to the efforts of the sultans, populated not only by Turks but by diverse people moved there from across the empire. By the late 16th century, the city's population may have reached as high as 250,000, making it the biggest city in Europe. Constantinople remained multiethnic and multireligious throughout much of Ottoman history, in an age when many other governments in Europe enforced national identities and religious beliefs.


title: Ottoman claim to Roman succession

text: The claim of the Ottoman sultans to be Roman emperors was used to justify expansionism into former Roman lands. In 1480, Mehmed launched an unsuccessful invasion of Italy, the intended first step in a campaign to eventually capture Rome itself. Under Suleiman, the Ottoman claims to Roman legitimacy reached their peak. Writing concerning Suleiman's 1529 siege of Vienna, the contemporary Italian historian Paolo Giovio claimed that Suleiman believed that all of Western Europe was rightfully his since he was the legitimate successor of Constantine the Great. In Suleiman's wars against the powers of Western Europe, a common battle cry was "To Rome! To Rome!". During his attack on the Venetian-held island of Corfu in 1537, Suleiman, like Mehmed before him, also pondered invading mainland Italy to capture Rome. Suleiman arranged parades in Constantinople that were consciously modelled on the triumphs of ancient Rome, and also constructed the Süleymaniye Mosque, intended to equal the splendor of the Hagia Sophia. The contemporary Ottoman jurist Ebussuud Efendi compared Suleiman to both Julius Caesar and the ancient Achaemenid ruler Cyrus the Great, writing that Suleiman was a "Caesar of Caesars" and a "Cyrus of Cyruses", and even going as far as stating that he was a "breaker of Caesars" and "the one who casts dust in the faces of Cyrus and Caesar". In an inscription from Bender, Moldova, Suleiman used the title "şeh-i Bagdad ve 'Iraq kayser-i-Rûm Mısra sultanım" ("Shah of Baghdad and Iraq, "Caesar" of Rome and Sultan of Egypt").


title: Ottoman claim to Roman succession

text: The Ottoman political identity as founded on the idea that their empire was the successor or continuation of the Byzantine Empire gradually faded away. As the Ottomans conquered more land in the Levant, Arabia and North Africa in the early 16th century, the Islamic identity of the empire and its rulers was increased as a result of its now majority Muslim population. Conflict and rivalry with the Safavid Empire in Iran, which followed Shia Islam, also led the sultans to more strongly embrace and stress their Sunni Islam faith. As a result of these factors, the 16th century saw a major shift in the collective identity of the Ottoman Empire, from a multi-religious state to a more traditional orthodox Sunni one. Still, a large number of Christians continued to live within the borders of the empire and in international diplomacy, the sultans had to deal with Christian monarchs. This meant that although the sultans became less pragmatic and tolerant, Christian and Greco-Roman ideas of legitimacy could not be dropped completely.


title: Ottoman claim to Roman succession

text: As part of the increasing orientation towards Islamic political identity, the Ottoman court stopped to officially issue documents in scripts other than Arabic in 1525. Though translations of official documents were made and issued by lower officials and governors, as well as for purposes of diplomacy, they no longer carried the tughra (the sultan's signature), which only appeared in Arabic documents. As such, the sultans stopped to officially use titles such as "basileus", "imperator" and "tsar" themselves, instead only in most cases only using "Sultan" and/or "padişah". Eventually, the Ottoman sultans apparently forgot that foreign titles such as "basileus" had ever been used by their predecessors officially. At the same time, they continued to deny other monarchs the style of "padişah" in correspondence, meaning that while the foreign titles themselves were forgotten, their implications were not. Though no longer using "basileus" themselves, the Ottoman sultans after the reign of Suleiman I at times still maintained that they were Roman emperors. Ahmed I () referred to himself in his titles as "sahib-kıran-i memalik-i-Rûm ve 'Acem ve 'Arab" ("the lord of the fortunate conjunction of the Roman, Persian and Arab kingdoms"). The later Mehmed IV () used the style "ferman-ferma-yi memalik-i-Rûm ve 'Arab ve 'Acem" ("the one who issues orders to the Roman, Arab and Persian kingdoms"). The style "kayser" or "kayser-i Rûm" remained in use by the sultans as late as the 18th century.


title: Ottoman claim to Roman succession

text: After 1525, the Greek-language translations of official Ottoman documents by governors and officials continued to style the sultans as "basileus". A late such example comes from the historical writings of the Greek poet Kaisarios Dapontes (1713–1784), who in his history of the late 17th century Ottoman Empire, written at the request of the Wallachian prince Constantine Mavrocordatos, calls Mehmed IV "basileus". The practice of referring to the sultan as "basileus" in this fashion came to its decisive end in December 1876, when the Ottoman constitution ("Kanun-i esasi") was officially translated into Greek and the terms sultan (Σουλτάνος, "soultanos") and "padişah" (ΠΑΔΙΣΑΧ, "padisach") were used consistently, rather than terms like "basileus" or "kaisar" (the Greek version of "Caesar").


title: Ottoman claim to Roman succession

text: Ottoman sultans resumed using "imperator" in the 19th century for the purposes of international diplomacy. The use of the term this time no longer reflected the Ottoman sultans viewing themselves as superior over other monarchs and as the only true emperors, but instead reflected their wishes for equal recognition among the other rulers of Europe. By this point, numerous other European monarchs had begun to refer to themselves as emperors, including not only the German and Austrian emperors, but also the rulers of France, Russia and Britain.


title: Ottoman claim to Roman succession

text: Although western authors from the foundation of the Ottoman Empire referred to the empire as "Turkish" and its inhabitants as "Turks", this was not the identity adopted by the empire itself or its populace. Though early sultans had at times emphasized their descent from the Oghuz Turks when competing with other Anatolian beyliks, the emphasis on Turkish identity by the sultans and their subjects rapidly faded away after they began claiming the inheritance of the Greco-Roman world. "Turk" and "Turkish" became derogatory terms, used by the Ottoman elite for nomadic Turkic peoples and the Turkish-speaking peasants in Anatolia; calling the Muslim inhabitants of Constantinople "Turks" would thus have been regarded as insulting. In the early modern period, many Ottoman Turks, especially those who lived in the cities and were not part of the military or administration, instead commonly self-identified as Romans ("Rūmī", رومى), as inhabitants of former Byzantine territory.' As applied to Ottoman Turks, "Rūmī" began to fall out of use at the end of the 17th century, and instead the word increasingly became associated only with the Greek population of the empire, who had continually maintained Roman identity since 1453, a meaning that it still bears in Turkey today.'


title: Ottoman claim to Roman succession

text: The term "Ottoman Empire" was never used officially by the Ottoman state internally. It derives from the 19th-century French designation "l’Empire Ottoman", which was used in international diplomacy, but there was no corresponding concept within the empire. Different aspects of the state, people and territory were termed "Devlet-i Âliyye-i Osmaniye" ("the Exalted Ottoman State/Dynasty"), "Âl-i Osman" ("the Family/Dynasty of Osman"), "tebaa" ("the subjects/flock") and "Memâlik-i Mahrûse" ("the Well-Protected Domains"). In earlier centuries, several names used for the Ottoman state reflected its assumption of Roman heritage. In the Ottoman historian Mustafa Ali's 1581 work "Nuṣḥatü's-selāṭīn" ("counsel for sultans"), several terms are used for the empire, including "memalik-i Osmaniye" ("Ottoman realms"), "âl-i Osman", "diyar-i Rûm" ("lands of Rome"), "memalik-i Rum" ("Roman realms"), "milket-i Osman" ("attributes of Osman") and just "Rûm" ("Rome").


title: Ottoman claim to Roman succession

text: In Byzantine imperial ideology, possession of Constantinople was the key legitimizing factor for an emperor, as rulers who did not control the city but claimed the title of emperor was seen as acting unnaturally. Despite the obvious territorial decline of the Byzantine Empire over the course of their history, something the Byzantines were well aware of themselves, the Byzantines at no point believed their empire would come to an end, as it was thought that the Roman Empire was destined to endure until the Second Coming of Christ. As the Ottomans could be seen as having obtained Constantinople through the right of conquest, much of the Christian populace of both Constantinople and the wider Ottoman Empire saw Mehmed II as the legitimate new Roman emperor from 1453 onwards. Acting in this role as emperor, Mehmed appointed a new Patriarch of Constantinople, Gennadios II Scholarios, with all the pomp and ceremony previously associated with the appointment of patriarchs during Byzantine rule. Appointing Gennadios gave Mehmed further legitimacy in the eyes of his Christian subjects, and also gave the Ottoman sultans a certain level of control over the Eastern Orthodox Church. By 1474, the Ecumenical Patriarchate of Constantinople had recognized Mehmed as "basileus", as a synodal register from that year applies this title to the sultan. Recognition as "basileus" is significant since Byzantine historians never applied this term to usurpers or illegitimate rulers, who were instead referred to as "tyrants". Nevertheless, among the late and post-Byzantine historians, only a small minority used the term basileus for the Ottoman sultans while the majority of this small minority consists of such figures as Kritovoulos and George of Trebizond who served the Ottoman Sultan Mehmed II. The few other Greeks who used the term for Ottoman Sultans, such as Laonikos Chalkokondyles, used it in order to criticize the Byzantine emperors themselves.


title: Ottoman claim to Roman succession

text: Despite the assumption of Byzantine heritage and recognition by the patriarchate and the wider populace, Greek historians after the fall of Constantinople rarely applied the term "basileus" to the Ottoman sultans. Broadly speaking, there are three general views concerning the Ottomans in post-1453 Greek histories. The first view was that the Ottomans were infidels, barbarians and illegitimate tyrants, a view best known from the writings of Doukas and Bessarion, Byzantine refugees who had fled to Catholic lands and hoped to inspire an anti-Ottoman crusade. The second view, promoted by the Ecumenical Patriarchate, did not deny that Ottoman rule was illegitimate or tyrannical, but promoted the idea that the sultans were divinely ordained in order to punish the sins of the Byzantine populace and that they thus had to be tolerated. In essence, this theological explanation for Ottoman rule painted the sultans as sent by God to safequard the people of the empire against the attempts by the Palaiologos emperors to reunify the Eastern Orthodox Church with the Catholic Church. The third and least widespread view among historians was an acceptance of state of affairs, viewing the Ottoman sultans as legitimate rulers and in some cases going as far as to refer to them as "basileus". In most cases, the historians who express this view are those who either directly served or were associated with the Ottoman regime. Among the historians who served the Ottoman regime were figures such as George of Trebizond and Michael Critobulus, both of whom used "basileus" for the sultans. Also among those who called the sultan "basileus" were those historians who were critical of the late Palaiologos emperors, such as Laonikos Chalkokondyles. George of Trebizond wrote eulogies for Mehmed upon the latter's death in 1481, wherein the sultan is called "autokrator" and "basileus basileon" (emperor of emperors). In the mind of George of Trebizond, it was the possession of Constantinople that made Mehmed the legitimate Roman emperor: "no one can doubt that he is emperor of the Romans. He who holds the seat of empire in his hand is emperor of right; and Constantinople is the centre of the Roman Empire". Chalkondyles is inconsistent in whether the sultan is called simply "basileus" or ""basileus" of the Turks". Perhaps "basileus" without qualifiers was meant to imply universal power. George Amiroutzes, another historian who served Mehmed, described the sultan in his writings as ""basileus" of the Greeks and Romans".


title: Ottoman claim to Roman succession

text: Acknowledging Ottoman rule, per the second and third views, was not simply opportunistic. The fall of Constantinople had contributed to widespread pessimism among the Greek populace and unlike the fall of the city to the Fourth Crusade in 1204, there was no possibility for the empire to be kept alive in exile, nor for it to be restored in the near future. Though the Ottoman Empire, as a result of the assumption of the heritage of the preceding Byzantine Empire, was not regarded as a completely new state by the Christian populace but it was also impossible to view it as the seamless continuation of the Byzantine Empire. In the minds of the Christians, the former empire had far too deep theological roots to be compatible with a foreign Muslim ruler. The Ottoman Empire was instead often seen as the Byzantine Empire's successor and heir, through the concept of "translatio imperii", inheriting its political legitimacy and its right to universal rule, but not its other theological implications.


title: Ottoman claim to Roman succession

text: The Ottoman dynasty claimed Byzantine ancestry from at least the 16th century onwards, claiming that Ertuğrul, the father of the dynasty's founder Osman I, was the son of Suleyman Shah, who was in turn supposedly the son of John Tzelepes Komnenos, a renegade prince of the Komnenos dynasty and a grandson of Emperor Alexios I. Due to the chronological distance between some of the supposed ancestors, this particular line of descent is unlikely and the supposed Komnenos ancestry was probably created as a legitimizing device in regards to the many Orthodox Christians the Muslim Ottomans ruled. Some of the Christian subjects of the Ottoman Empire accepted the claim of Komnenos descent. Among contemporary historians, it was advanced by the Greek Theodore Spandounes in the 16th century, and by the Wallachian chronicler Radu Popescu in the 18th century. In this way, a handful of Christian Ottoman subjects saw the Ottomans not as foreign conquerors, but Byzantine imperial descendants with a rightful claim to the empire.


title: Ottoman claim to Roman succession

text: The Ottomans were widely recognized as "Romans" in the Islamic world. In the 16th to 18th centuries, Ottoman administrators sent to govern Egyptian and Arabian territories are almost always referred to by contemporary Arab writers as "Arwam" (Romans).' The emperors of the Mughal Empire recognized the Ottomans as Roman emperors; several Mughal documents refer to the Ottoman sultans as "Qaiser-i-Rum", "Sultan-i-Rum" ("Sultan of Rome") or "Khawandkar-i-Rum" ("Lord of Rome"). A handful of sources from outside the Islamic world also connected the Ottomans with the Romans. 16th-century Portuguese sources refer to the Ottomans they battled in the Indian Ocean as "rumes"' and the Chinese Ming dynasty referred to the Ottomans as "Lumi" (魯迷), a transliteration of "Rūmī", and to Constantinople as "Lumi cheng" (魯迷城, "Lumi city", i.e. "Roman city").


title: Ottoman claim to Roman succession

text: It appears that Western Europeans recognized the Ottoman sultans as emperors, but not as Roman emperors, the same approach they had to the preceding Byzantine emperors. Whether the Ottomans were seen as legitimate successors of the Byzantine emperors varied. Some writers recognized the sultans in this way: the 15th-century Italian antiquarian Cyriacus of Ancona, for instance, saw Mehmed II as the new emperor in Constantinople, and recognized him as inheriting the imperial legacy of the Byzantine emperors. The claim of the Ottomans to be Roman emperors was challenged by the rulers of the Holy Roman Empire, who had long maintained (in opposition to the Byzantine emperors) that this dignity belonged to them, as well as the Russian emperors, who saw Moscow, by virtue of being the strongest remaining seat of the Eastern Orthodox Church, as the Third Rome, in succession to Rome and Constantinople. Despite being Christian and possessing considerable prejudice against the Turks, there does not appear to have been widespread support for either claim among the populace of other states in Western Europe. In 16th and 17th-century Polish sources, discussing the long rivalry between the Holy Roman emperors and the Ottoman sultans, the political language only refers to both as foreign rulers, both are considered emperors but neither is seen as "Roman": the Holy Roman emperors are referred to as "Christian emperors" and the sultans are called "Turkish emperors".


title: Ottoman claim to Roman succession

text: As part of their claim to be emperors and their claim to universal rule, the Ottoman sultans regarded few foreign monarchs as their equals. The Holy Roman emperors were seen as "kings of Vienna" rather than emperors. Due to longstanding diplomatic relations and several alliances against the Habsburgs, the only foreign rulers the Ottomans recognized as "padişah" were the kings of France, who did not themselves claim to be emperors. Requests from other monarchs to be treated as equals were ignored or outright rejected. The 1533 Treaty of Constantinople between Sultan Suleiman I and Holy Roman Emperor Charles V explicitly forbade any of its signatories to refer anyone but the Ottoman sultan as emperor. After this treaty, Suleiman viewed himself as formally having wrestled the title of Roman emperor from his rival. After the inconclusive Long Turkish War in 1606, Sultan Ahmed I was forced to be slightly more generous than his predecessor in the titles applied to Holy Roman Emperor Rudolf II in the Peace of Zsitvatorok. Rudolf would not accept the title of "King" but Ahmed would not concede the style "kayser" or "padişah". The compromise devised by the Ottomans was to recognize Rudolf as "imperator", interpreted by the Habsburg Monarchy as a great symbolic victory. It is unlikely that Ahmed himself viewed this as recognition that Rudolf held equal status to him, given that the Ottomans by this point had disassociated themselves from the style of "imperator" and would not have seen its attribution to a ruler viewed as inferior and an infidel as something hurting Ahmed's dignity. Ahmed also kept the titles "kayser" or "padişah" solely for himself.


title: Bryan Trottier

text: Bryan John Trottier (born July 17, 1956) is a Canadian-American former professional ice hockey centre who played 18 seasons in the National Hockey League (NHL) for the New York Islanders and Pittsburgh Penguins. He won four Stanley Cups with the Islanders, two with the Penguins and one as an assistant coach with the Colorado Avalanche. He shares the NHL record for points in a single period with six (four goals and two assists) in the second period against the Rangers on December 23, 1978. He is also one of only eight NHL players with multiple five-goal games. On August 4, 2014, Trottier was announced as an assistant coach for the Buffalo Sabres. In 2017 Trottier was named one of the "100 Greatest NHL Players" in history.


title: Bryan Trottier

text: Trottier grew up in the town of Val Marie, Saskatchewan, Canada, located between Swift Current and the Montana border with his parents and four siblings. His father is of Cree Métis descent, and his mother is of Irish origin. Growing up in the 1960s, Trottier wanted to be like his idol Jean Béliveau. When he was learning to skate, his father would clear out the dam on the creek across their home with a machete, to create a surface to practice on.


title: Bryan Trottier

text: As a child, Trottier played for the Climax Hockey Team in Climax, Saskatchewan and for the Swift Current Broncos as a junior.


title: Bryan Trottier

text: Trottier has one older sister, Carol, and three younger siblings, Kathy, Monty and Rocky. Monty played professional minor league hockey, and Rocky played in 38 games for the New Jersey Devils.


title: Bryan Trottier

text: Trottier claims that without his friend Tiger Williams, he would have dropped out of hockey due to homesickness. Trottier and Tiger became best friends due to the special bond they built early on in their careers/academy.


title: Bryan Trottier

text: Nicknamed "Trots," Trottier was drafted in the second round, 22nd overall, by the New York Islanders in the 1974 NHL Entry Draft, the team he played his first 15 seasons in the NHL with. He set an NHL rookie record of 95 points and won the Calder Memorial Trophy as the NHL's rookie of the year in 1975–76, though the record was later broken by Peter Šťastný of the Quebec Nordiques in 1980–81.


title: Bryan Trottier

text: Trottier's best offensive season was 1978–79 when he scored 134 points, earning him the Art Ross Trophy as the League's top scorer, as well as the Hart Memorial Trophy as NHL MVP. In winning the Art Ross, he became the first player from a post-Original Six expansion team to win the award. In that same season, he led the NHL in assists with 87, which he had also done the year before with 77.


title: Bryan Trottier

text: Trottier was one of the core players on the Islanders' dynasty teams from the 1980s. He won four Stanley Cups during his time with the Islanders from 1980 to 1983. During New York's first Stanley Cup in 1980, he won the Conn Smythe Trophy as playoff MVP. In 1981–82, Trottier scored 50 goals, the highest single-season total of his career.


title: Bryan Trottier

text: During the early 1980s, when Wayne Gretzky set numerous scoring marks, Islanders broadcaster Stan Fischler and head coach Al Arbour nonetheless maintained that Trottier was the league's best player over Gretzky. Trottier was described as a forward possessing an all-around game including ruggedness and defensive responsibility, and there have been comparisons to Milt Schmidt and Gordie Howe. Arbour stated, "Gretzky is an offensive genius for sure. But at this stage Trots gives you more things. Defensively, he's outstanding. And he's physically tough. He comes up with his 100 points a year, automatically, along with everything else!"


title: Bryan Trottier

text: Trottier was often referred to as the "glue" on the Islanders team, centring his fellow stars Clark Gillies and Mike Bossy on a line known as "The Trio Grande." While the 1977–78 season was Bossy's rookie year, the Trio Grande at one point led the NHL in scoring above the top lines of the Montreal Canadiens and the Colorado Rockies. Other linemates that played with Trottier included John Tonelli, Bob Bourne and Bob Nystrom. Trottier, however, was most known for his dynamic on-ice partnership with Mike Bossy during his prime years with the Islanders until Bossy's early retirement at the end of the 1987 season.


title: Bryan Trottier

text: Undaunted by heavy criticism from fellow Canadians, Trottier chose to play for the United States in the 1984 Canada Cup tournament, after having previously represented Canada in 1981, because he wanted to pay back the country in which he lived and because his wife was American. He was able to obtain the necessary U.S. citizenship in July 1984 because he had Métis ancestry on his father's side (Cree/Chippewa). His North American Indian Card (for which he qualified because his grandmother was a Chippewa) entitled him to citizenship in both the U.S. and Canada, as well as a U.S. passport, which was all he needed for tournament eligibility.


title: Bryan Trottier

text: Unlike other star centremen, longevity was not Trottier's hallmark. Following his 13th season, his skills seemed to deteriorate precipitously, decreasing from 82 points in 1988 to 45 points just one year later, and 24 points in 1990. After that low output, Islanders management released Trottier from his contract, believing that his best years were behind him and that younger centers such as Pat LaFontaine and Brent Sutter should get his ice time. He ranks second in Islanders history in goals, and first in assists and points. It could be noted, however, that even as Trottier's scoring declined, he remained a strong defensive player and team leader.


title: Bryan Trottier

text: The Pittsburgh Penguins signed Trottier as a free agent to provide experience and leadership to a young team. He won the Stanley Cup for the fifth and sixth times with Pittsburgh in 1991 and 1992, respectively. Trottier took the 1992–93 season off, returning to the Isles in a front-office capacity, but financial troubles, stemming from poor investments, forced Trottier to return to the ice with the Penguins for the 1993–94 season. He retired again following a disappointing final season where he scored just four goals in 41 games. At the time of his retirement, his point total ranked sixth in NHL history.


title: Bryan Trottier

text: Following his retirement, Trottier played for the Pittsburgh Phantoms of the Roller Hockey International league in its 1994 season.


title: Bryan Trottier

text: After many of his Islander teammates, including linemates Mike Bossy and Clark Gillies, were honored by the Islanders organization by having their numbers retired, Trottier was expected to be next; his number 19 was eventually raised to the rafters on October 20, 2001.


title: Bryan Trottier

text: On March 4, 2006, the Islanders celebrated the 26th anniversary of the team's first Stanley Cup championship. Trottier, apparently forgiven for his coaching stint with the rival New York Rangers, was given one of the largest ovations of the evening. He gave a familiar salute to the fans who lined up to watch a pre-game "Walk of Champions" entering the building, raising both hands high above his head, reminiscent of his days playing on the Island where he would do the same to the fans cheering him on. The Islanders played against the Philadelphia Flyers that night, who, coincidentally, was the team that the Islanders faced in the Finals during their first Stanley Cup championship. The Islanders won by a score of 4–2. On June 1, 2006, Trottier returned to the Islanders as the team's executive director of player development.


title: Bryan Trottier

text: Trottier is currently ranked 17th all-time in NHL regular-season points. He is ninth all-time in playoff points and remains the Islanders' all-time leader in assists and points. Trottier was named by Islanders fans as the second greatest player in franchise history, ahead of Denis Potvin and behind Mike Bossy.


title: Bryan Trottier

text: Early on in Trottier's life, his mother, Marry Trottier, taught him an important lesson that would establish who he is. At a young age, Trottier faced discrimination and racism due to his native heritage. Trottier was called offensive things such as "half-breed". His mother's lesson to be proud of his native heritage is the reason that during his hall of fame induction speech, he decided to bring light to the issue. Trottier now travels to aboriginal communities and teaches kids about his heritage, and shares why it is special to be confident in today's world as an aboriginal. He believes that teaching them leadership skills and the ability to believe in who they are is vital for success in any field they choose to be in.


title: Bryan Trottier

text: After serving as an assistant coach with the Pittsburgh Penguins until 1997, he took a similar position with the Colorado Avalanche, where he won his seventh career Stanley Cup in 2001.


title: Bryan Trottier

text: Trottier was named as head coach of the New York Rangers in 2002, much to the ire of Islander fans. However, his brief stint with the Rangers lasted only 54 games, slightly longer than the halfway mark of the season. In addition to receiving criticism from Isles fans who labeled him a traitor, he drew the rage of Ranger fans as well, who felt he misused his offensively-gifted players—such as Eric Lindros and Pavel Bure—by having them play the neutral-zone trap (a defensive tactic used to slow down the opponent, but also limiting the user's offensive chances). At the time of his dismissal at the hands of General Manager Glen Sather, Trottier had coached 54 games, posting a 21–26–6–1 record and a .454 winning percentage. On July 29, 2014, Trottier was hired as an assistant coach for the Buffalo Sabres.


title: Bryan Trottier

text: Steve Yzerman, who was also renowned for his strong two-way play, considered Trottier his favourite player, donning the number 19 in honour of Trottier.


title: Bryan Trottier

text: Of Trottier's 18 seasons in the NHL, he missed taking part in the post-season only once in 1988–89 after his Islanders team failed to qualify for the playoffs. Trottier sits 11th all-time with 184 playoff points on the strength of 71 goals (tied for 16th) and 113 assists (15th) in 221 games played (10th). As of the end of the 2012–13 season, there are no active NHL players in the top 25 all-time in playoff points to challenge Trottier's position.


title: Holstein

text: Holstein (; ; ; Latin and historical ) is the region between the rivers Elbe and Eider. It is the southern half of Schleswig-Holstein, the northernmost state of Germany.


title: Holstein

text: Holstein once existed as the German County of Holstein (; 811–1474), the later Duchy of Holstein (; 1474–1866), and was the northernmost territory of the Holy Roman Empire. The history of Holstein is closely intertwined with the history of the Danish Duchy of Schleswig (). The capital of Holstein is Kiel.


title: Holstein

text: Holstein's name comes from the Holcetae, a Saxon tribe mentioned by Adam of Bremen as living on the north bank of the Elbe, to the west of Hamburg. The name means "dwellers in the wood" (Northern Low Saxon: ; ).


title: Holstein

text: After the Migration Period of the Early Middle Ages, Holstein was adjacent to the Obotrites on the coast of the Baltic Sea and the land of the Danes in Jutland.


title: Holstein

text: With the conquest of Old Saxony by Charlemagne "circa" 800, he granted the land north of the Eider River (Schleswig) to the Danes by the Treaty of Heiligen signed in 811. The ownership of what would late become eastern Holstein (districts of Plön and Ostholstein) was given to the Obotrites, namely the Wagrians, and the Saxon elite was deported to various areas of the empire. After 814, however, the Saxons were restored to Western Holstein. The Wagrians were pushed out of the Limes Saxoniae - the new border running from the Elbe River near Boizenburg northwards along the Bille River to the mouth of the Schwentine at the Kiel Fjord and the Baltic Sea. For the following 300 years, Holstein continued to be a part of Saxony.


title: Holstein

text: The new county of Holstein was established in 1111; it was first a fief of the Duchy of Saxony, then of the Duchy of Saxe-Lauenburg, and finally of the Prince-Bishopric of Lübeck. With the establishment of the new territorial unit, expansion to the East began and the Wagrians were finally defeated in 1138.


title: Holstein

text: The County of Holstein was ruled by the House of Schaumburg; the first count was Adolf I, Count of Holstein. Holstein was temporarily occupied by Denmark after the Battle of Stellau (1201), but was reconquered by the Count of Schauenburg and his allies in the Battle of Bornhöved (1227).


title: Holstein

text: The Counts of Schauenburg and Holstein partitioned Holstein several times among the inheriting sons into up to six lines, named after their towns of residence:


title: Holstein

text: In 1386 King Oluf II of Denmark and his mother-regent, Queen Margaret I, enfeoffed in Nyborg Gerhard VI, Count of Holstein-Rendsburg and his cognatic successors with the Duchy of Schleswig. He thus became as Gerhard II duke of Schleswig. Until 1390 the Rendsburg branch united by inheritance all branches except of that of Holstein-Pinneberg.


title: Holstein

text: When the Holstein-Rendsburg line of the Schauenburg counts became extinct with the death of Adolf VIII of Holstein-Rendsburg (and in personal union as Adolf I Duke of Schleswig) in 1459, Christian I of Denmark inherited – from his maternal uncle Adolf I – the Duchy of Schleswig, a Danish fief. Through the Treaty of Ribe (1460) Christian was elected Count of Holstein-Rendsburg, then still a Saxe-Lauenburgian subfief within the Holy Roman Empire.


title: Holstein

text: In 1474 Lauenburg's liege lord, the German Emperor Frederick III, elevated Christian I as Count of Holstein-Rendsburg to Duke of Holstein, thus becoming an immediate imperial ("reichsunmittelbar") vassal (see imperial immediacy). The Duchy of Holstein retained that status until the dissolution of the Empire in 1806.


title: Holstein

text: In 1490, the Duchy of Holstein was divided into Holstein-Segeberg and Holstein-Gottorp. Holstein-Segeberg remained with the Danish king and was also known as Royal Holstein; later it came to be known as Holstein-Glückstadt. Holstein-Gottorp, also known as Ducal Holstein, was given to a cadet branch of the House of Oldenburg, to which the kings of Denmark belonged.


title: Holstein

text: Between 1533 and 1544 King Christian III of Denmark ruled the entire Duchies of Holstein and of Schleswig also in the name of his then still minor half-brothers John the Elder and Adolf. In 1544 they partitioned the Duchies of Holstein (a fief of the Holy Roman Empire) and of Schleswig (a Danish fief) in an unusual way, following negotiations between the brothers and the Estates of the Realm of the duchies, which had constituted in 1460 by the Treaty of Ribe and strictly opposed a factual partition. The elder three brothers determined their youngest brother Frederick for a career as Lutheran administrator of an ecclesiastical state within the Holy Roman Empire.


title: Holstein

text: So the revenues of the duchies were divided in three equal shares by assigning the revenues of particular areas and landed estates to each of the elder brothers, while other general revenues, such as taxes from towns and customs dues, were levied together but then shared among the brothers. The estates, whose revenues were assigned to the parties, made Holstein and Schleswig look like patchworks, technically inhibiting the emergence of separate new duchies, as intended by the estates of the duchies. The secular rule in the fiscally divided duchies thus became a condominium of the parties. As dukes of Holstein and Schleswig the rulers of both houses bore the formal title of "Duke of Schleswig, Holstein, Ditmarsh and Stormarn". The three shares are usually called:


title: Holstein

text: The dynastic name Holstein-Gottorp comes as convenient usage from the technically more correct Duke of Schleswig and Holstein at Gottorp. Adolf, the third son of Duke and King Frederick I and the second youngest half-brother of King Christian III, founded the dynastic branch called House of Holstein-Gottorp, which is a cadet branch of the then royal Danish House of Oldenburg. The Danish monarchs and the Dukes of Holstein-Gottorp ruled both duchies together as to general government, however, collected their revenues in their separate estates. John the Elder conveniently called Duke of Schleswig-Holstein-Haderslev produced no issue, so no branch emerged from his side.


title: Holstein

text: Similar to the above-mentioned agreement Christian III's youngest son John the Younger gained for him and his heirs a share in Holstein's and Schleswig's revenues in 1564, comprising a third of the royal share, thus a ninth of Holstein and Schleswig as to the fiscal point of view. John the Younger and his heirs, however, had no share in the condominial rule, so they were not ruling but mere titular dukes.


title: Holstein

text: The share of John the Elder, who died in 1581, was halved between Adolf and Frederick II, thus increasing again the royal share by a fiscal sixth of Holstein and Schleswig. As an effect the complicated fiscal division of both separate duchies, Holstein and Schleswig, with shares of each party scattered in both duchies, provided them with a condominial government binding both together, partially superseding their legally different affiliation as Holy Roman and Danish fiefs.


title: Holstein

text: The County of Holstein-Pinneberg, which had remained a separately ruled territory in Holstein until its line was extinct in 1640, was merged into the then royal share of the Duchy of Holstein. The Duke of Holstein-Gottorp became emperor of Russia in 1762 as Peter III and was planning an attack on Denmark to recover the Holstein-Gottorp lands possessions in Schleswig, which were seized by the Danish king in 1713. Although Peter was soon overthrown by his wife, Catherine the Great, the Danes determined to rid themselves of this problem. In 1773, they exchanged the County of Oldenburg for the Gottorp lands in Holstein, bringing all of Holstein under their control. Thus, Holstein was again united in one state.


title: Holstein

text: The territory of Holstein was enlarged by the conquest of the independent Republic of Dithmarschen in 1559, which was divided among the three ducal houses. After 1581 the southern part remained to the Danish Crown, the northern part was ruled by the House of Gottorp until 1773.


title: Holstein

text: With the dissolution of the Holy Roman Empire in 1806 Holstein's imperial vassal status turned void. It thus became a sovereign state. Because of its personal union with Denmark, the Duchy of Holstein did not come under French occupation during the Napoleonic era (however, the neighboring duchy of Lauenburg was annexed by France in 1811 and became a part of Bouches-de-l'Elbe). From 1815 to 1864 it was a member of the German Confederation, though still in personal union with Denmark (the King of Denmark being also Duke of Holstein).


title: Holstein

text: However, the duchies were not given to the Duke of Augustenborg. In 1865 an arrangement was worked out between Prussia and Austria where the Austrians occupied and administered Holstein, while the Prussians did the same in Schleswig. This arrangement came to an end with the Austro-Prussian War of 1866, which resulted in Schleswig and Holstein both being incorporated into Prussia as the Province of Schleswig-Holstein. Holstein, meanwhile including former Saxe-Lauenburg (as of 1876) and the former Free and Hanseatic City of Lübeck and Region of Lübeck (both as of 1937) regained statehood, now united with Schleswig, in 1946, when the British occupation government elevated the province to the State of Schleswig-Holstein, followed by the official dissolution of Prussia in 1947.


title: Holstein

text: For a list of rulers, see "Counts of Schauenburg and Holstein" and "List of rulers of Schleswig-Holstein".


title: Holstein

text: As of 1864, Holstein bordered Denmark in the north, the Principality of Lübeck (formerly the Prince-Bishopric of Lübeck, an exclave of the Grand Duchy of Oldenburg), the Free and Hanseatic City of Lübeck, and the Duchy of Saxe-Lauenburg in the east, and the Kingdom of Hanover and the Free and Hanseatic City of Hamburg in the south. It also borders the North Sea in the west and the Baltic Sea in the east. Its only major island is Fehmarn, originally a part of the Duchy of Schleswig until 1867.


title: Holstein

text: Cities in Holstein included Kiel, Altona, Glückstadt, Rendsburg, Segeberg, Heiligenhafen, Oldenburg in Holstein, and Plön. It had an area of 8,385 km.


title: The Roof Is on Fire

text: "The Roof Is on Fire" is a song by Rock Master Scott & the Dynamic Three, released as a single in 1984. It reached number five on the "Billboard" Hot Dance Music/Maxi-Singles Sales chart. It is known for its chorus:


title: The Roof Is on Fire

text: It is also known for the lyric "Now throw your hands in the air and wave 'em like you just don't care" which, like the title lyric, has been interpolated in many other songs and used as a meme in pop culture in general.


title: The Roof Is on Fire

text: The intro of "The Roof Is on Fire" is sampled by the Chemical Brothers in their song "Hey Boy Hey Girl", and the chorus is interpolated in the Bloodhound Gang's "Fire Water Burn", Coal Chamber's "Sway", Rancid's "Burn", Quad City DJ's "Party Over Here", YACHT's "Dystopia (The Earth Is on Fire)", The Soca Boys' "Follow the Leader" and Bratmobile's "Polaroid Baby".


title: The Roof Is on Fire

text: The riff was parodied by Uncle Jamm's Army and the California Cat Crew (produced by Rodger Clayton) as "The roach, the roach, the roach is on the wall, we don't need no Raid, let the silly sucker crawl."


title: Hpnotiq

text: Hpnotiq (pronounced "hypnotic") is an alcoholic beverage. It is native to New York, but bottled in France by Heaven Hill Distilleries, made from fruit juices, vodka and cognac. It is 34 proof (17% ABV) and is available in over 70 countries.


title: Hpnotiq

text: Hpnotiq was created in 2001 by Raphael Yakoby, a college dropout living with his parents on Long Island, New York. After seeing a blue perfume at Bloomingdale's, he decided to create a blue liqueur. Raphael Yakoby raised money to start the new company receiving $200,000 from his brother Solomon Yakoby who in return received a 50% ownership in the company. Through Solomon Yakoby's contacts, Solomon and Raphael Yakoby met Nick Storm.


title: Hpnotiq

text: Nick Storm, a Yonkers, N.Y., native, partnered with Yakoby to promote it. Yakoby and Storm failed to sell the concept to major beverage manufacturers. They then promoted the drink in clubs and bars through a series of promotional events and parties that worked Storm's music industry contacts. The big break came when hip-hop impresario Sean "Diddy" Combs agreed to sell the drink in his restaurant chain Justin's in New York.


title: Hpnotiq

text: Urban and hip-hop groups began to promote the brand in music videos, on stage, and in rap lyrics from Kanye West, R. Kelly, Ludacris, Missy Elliot, Jay-Z, Lil’ Kim, Fabolous and Diddy. Fabolous was instrumental in their success. He mentioned it in at least four songs on his album, "Street Dreams". On his 2002 hit single "This Is My Party", Fabolous started his first verse with:"Ain't no tellin' what this Hpno' will do to me." A cocktail called "Incredible Hulk", whose color was reminiscent of the comic book hero, was made at Combs' Justin's restaurants.


title: Hpnotiq

text: The brand was originally distributed by Wingard Inc. of Great Neck, New York; in January 2003, Yakoby's trademark and the distribution rights were acquired by Heaven Hill Distilleries. The brand earned Yakoby a reported $50 million. Hpnotiq is bottled in France's Cognac region and made with cognac and triple-distilled French vodka. It is the fourth best-selling imported liqueur in the United States, according to Adams Beverage Media.


title: Hpnotiq

text: In September 2015, Hpnotiq launched an advertising campaign entitled "#Since2001”, named after Hpnotiq's birth year. Heaven Hill, Hpnotiq’s parent company, partnered with New York-based consumer marketing agency Team Epiphany to create the campaign, which enlisted rapper Cam’ron, visual artist Naturel, rapper and visual artist Yung Jake, and New York-based DJ and entrepreneur Va$htie Kola to help bring attention to themes and content inspired by the year 2001.


title: Light Years (Kylie Minogue album)

text: Light Years is the seventh studio album by Australian singer Kylie Minogue. Mushroom Records released it on 22 September 2000 in Australia; Parlophone released it on 25 September 2000 in the United Kingdom. Following the commercial failure of "Impossible Princess" (1997), Minogue left Deconstruction Records and took a hiatus from recording music. She signed with Parlophone in June 1999 and decided to return to her pop roots. She worked with various writers and producers, including Steve Anderson, Johnny Douglas, Robbie Williams, Guy Chambers, and Mark Picchiotti.


title: Light Years (Kylie Minogue album)

text: "Light Years" is a dance-pop, disco, and Europop album that refers to music from the 1970s. Lyrically, the album touches upon themes of women's empowerment, celebration, and sex, in a cheeky and campy approach. Music critics provided positive reviews, complimenting Minogue's return to pop despite them being ambivalent towards the lyrical content. Retrospectively, "Light Years" has been recognized as one of Minogue's strongest releases. The album won the ARIA Award for Best Female Artist and Best Pop Release at the 2001 ceremonies. "Light Years" peaked in the top position on the Australian Albums Chart, Minogue's first number-one album in her native Australia. It reached the top 10 in Scotland, New Zealand, and on the UK Albums Chart.


title: Light Years (Kylie Minogue album)

text: Five singles were released from "Light Years", including the Australia number-one singles "Spinning Around" and "On a Night Like This", as well as the top 20 entries "Kids" and "Please Stay". All peaked inside the top 10 in the UK. The final single, "Your Disco Needs You" was only released in Australia and Germany. "Light Years" was further promoted with the On a Night Like This Tour, which visited Europe and Australia from March to May 2001. The tour was the biggest by a solo artist in Australia, grossing U.S. $5 million. The album was re-issued in Europe in 2018 and returned to the UK Albums Chart and the Scottish Albums Chart.


title: Light Years (Kylie Minogue album)

text: In 1997, Kylie Minogue released her sixth studio album, "Impossible Princess". The album represented a drastic change in the singer's musical direction, incorporating elements of electronica and alternative music. The British public was unimpressed with her new musical direction, viewing it as a trend-chasing attempt, and failed to identify with her new intimate image as "IndieKylie". The backlash resulted in "Impossible Princess" having little impact on British record charts—it peaked at number 10 on the UK Albums Chart and sold only 18,000 copies in the first two weeks of release. After embarking on a successful promotional tour, Minogue left Deconstruction Records and BMG in November 1998, ending their six-year relationship.


title: Light Years (Kylie Minogue album)

text: Following the split, Minogue took a break from recording music to focus on her acting career. She spent several months in Barbados performing Miranda in Toby Gough's production of "The Tempest" during an annual operatic festival. She also starred in the Australian films "Cut" and "Sample People", both released in 2000. She gave several live performances in Australia, including the 1998 Sydney Gay and Lesbian Mardi Gras, the opening ceremonies of Melbourne's Crown Casino and Sydney's Fox Studios in 1999. Minogue performed Duran Duran's 1984 single "The Reflex" on the tribute complication "Undone: The Songs of Duran Duran" (1999), and collaborated with the Pet Shop Boys on a duet, titled "In Denial", on their 1999 studio album "Nightlife".


title: Light Years (Kylie Minogue album)

text: Following "In Denial", Parlophone—a British record label the Pet Shop Boys had been with since 1985—decided to sign Minogue in June 1999. She announced she would start working on a new album, saying: "I took my time in choosing a new label [...] there is much I hope to achieve with my next album and I believe that anything is possible with this new partnership." Parlophone A&R executive Miles Leonard commented: "I believed that [Minogue] was still very strong vocally, and still definitely a star... I believed in her as an artist and I knew that with the right project, the right songwriters, the right producers, the right team, she would still have a fanbase out there."


title: Light Years (Kylie Minogue album)

text: In an early meeting with Parlophone to discuss which direction Minogue intended to pursue, the singer decided to return to her pop roots, saying "I should do what I do best... [Pop music] is the kind of music that people want from me." Minogue believed the album was a new beginning, as she started singing pop music again. Minogue was inspired by the music of the 1970s, which she discovered when she was a child via her parents' record collection, including the soundtrack from "Grease" (1978), Donna Summer's "Bad Girls" and "Dim All the Lights" (both in 1979). The label did not want to make another Pete Waterman Limited (PWL) record, but quality pop music with the help of great contributions and collaborations. Her team approached PWL owner Pete Waterman, who had worked with Minogue earlier in her career, during the production. However, the collaboration did not happen.


title: Light Years (Kylie Minogue album)

text: Minogue enjoyed making "Light Years"; she got a chance to work with people who were certain how they wanted her to sound. She felt that working with different producers would help the album have a diverse feeling. She wanted the album to be song-driven and explained the musical styles to the producers with three keywords: "poolside", "disco", and "cocktails". Minogue worked on "Light Years" in Sydney, London, and Los Angeles, where she put the final touches on the album. Before signing with Parlophone, Minogue spent a week with her frequent collaborator Steve Anderson at Real World Studios in Box, Wiltshire, where most of the production of "Impossible Princess" was done. Three tracks were chosen from the session: "So Now Goodbye", "Butterfly", and "Bittersweet Goodbye". Minogue picked "Bittersweet Goodbye" when she was deep in the production process, saying it made her feel calm. A string arrangement by Wil Malone was added to the track, while Anderson kept Minogue's vocals from the original demo. Chicago-based DJ Mark Picchiotti flew to Los Angeles to record Minogue's vocals for "Butterfly", and then produced the track in his hometown.


title: Light Years (Kylie Minogue album)

text: Former Take That member Robbie Williams contributed three songs with his songwriting partner Guy Chambers: "Loveboat", "Your Disco Needs You", and "Kids". Minogue shared the songwriting credit on the first two. She found in Williams her ideal male counterpart based on their similar musical output; she felt the work between Williams and Chamber was extraordinary. Chamber co-wrote another track with Minogue titled "I'm So High". They were among the earliest collaborations, which Minogue felt were a good foundation for the album. Minogue wrote the lyrics to "Light Years" with Biffco's songwriters Richard Stannard and Julian Gallagher in 10 minutes. The demo, originally titled "Light Relief", was unexpectedly favoured by the label and was picked up for the final tracklist. The songwriters also collaborated on "Please Stay".


title: Light Years (Kylie Minogue album)

text: Minogue made several demos with a set of writers and producers arranged by Brian Rawling, including Steve Torch, Graham Stack, and Mark Taylor. She ended up recording "On a Night Like This", a song written originally for the Swedish recording artist Pandora for her 1999 album "No Regrets". In New York, A&R executive Jamie Nelson pitched a demo of "Spinning Around" to Minogue and she agreed to record it. The track—written by Ira Shickman, Osborne Bingham, Kara DioGuardi, and Paula Abdul—was originally intended to be featured on Abdul's studio album, but it was given to Minogue after the album failed to materialise. Minogue recorded "Under the Influence of Love", a song written by Paul Politi and Barry White that Love Unlimited covered in 1974. The track reminded Minogue of her previous songs, despite having not heard it before the production of "Light Years". Johnny Douglas wrote and produced "Password", "Disco Down", and "Koocachoo"; he also produced "So Now Goodbye", a track that Minogue wrote with Anderson.


title: Light Years (Kylie Minogue album)

text: Music critics have characterised "Light Years" as a dance-pop, disco, and Europop album. The album marked a return to her signature pop style, following the experimental record "Impossible Princess". A reviewer from "Sputnikmusic" and Nick Levine of Digital Spy commented that Minogue made a serious change in terms of musical direction, emphasising elements of disco, the 1970s and early 2000s music. AllMusic's Chris True noted the album reflects the late 1990s teen pop movement, and the new material is superior than her previous dance-pop work with Stock Aitken Waterman. Yahoo! Music's Gary Crossing referred to the album as a "largely undemanding collection of disco, Hi-NRG, Ibizan trance, funk, 60s film and TV themes and Latin-flavoured tunes". Elements of house, electronica, psychedelic pop, Eurodisco, and French Touch were highlighted by Nick Smith of "musicOMH" and Ian Gormely of "Exclaim!". Described the album as being filled with "crisp rhythm sections, melodic orchestral passages and vivid grooves", "Albumism"s Quentin Harrison also noted influences from 1970s artists Cheryl Lynn, Tina Charles, and The Hues Corporation.


title: Light Years (Kylie Minogue album)

text: The opening track, "Spinning Around", is a string-laden dance-pop song with prominent influences from disco music. "The Guardian"s Betty Clarke opined that the track sets the tone for "Light Years" and compared it to Minogue's "Hand on Your Heart" (1989). "So Now Goodbye"—a track that blends house, disco, and electronica elements—draws inspiration from Gloria Gaynor's "I Will Survive" (1978), Madonna's "Lucky Star" (1983) and the work of American band Earth, Wind & Fire. The bittersweet "Disco Down" was compared to the work of Giorgio Moroder and featured Christmassy church bells during the chorus. Michael Dwyer of "The Age" found Minogue goes "hardcore Mardi Gras" on the contemporary house and electronic dance track "Butterfly". "On a Night Like This" has a darker, more Europop edge, which was compared to Spiller's "Groovejet (If This Ain't Love)" (2000).


title: Light Years (Kylie Minogue album)

text: Backing vocals and the arrangement of strings and fluttering flutes drive the fifth track, "Loveboat". The song features funky light guitar and faux-French effects. "Loveboat" was compared to the work of Barry Manilow, Minogue's "I Don't Need Anyone" (1997), and Williams's "Millennium" (1998). "Koocachoo" has elements of jazz and the 1960s music, and built around a chirping synth and horn arrangement. The track contains a groovy bass riff, retro guitar tone, sitar, keyboard sound effects, and "ba baba ba" harmonies in the chorus. English bassist Paul Turner contributed bass and guitars to the track. "Your Disco Needs You" is a disco track that is heavily influenced by Village People's "Go West" (1979). Minogue sings in a serious tone, accompanied by a brass section, regal horns, a male chorus, and high soprano back-up vocals. Cameron Adams from the "Herald Sun" felt that the song is a hybrid between Village People's "Y.M.C.A." (1978) and Queen's "Bohemian Rhapsody" (1975), while Chris Charles of the BBC News described it as "ABBA and the Pet Shop Boys getting down at the hottest gay club in town".


title: Light Years (Kylie Minogue album)

text: The samba-infused "Password" was used as a pregap hidden introductory track. "Please Stay" features Latin pop, soft acoustic, and flamenco elements. Crossing found "Bittersweet Goodbye", the album's only sentimental ballad, to be a "strange concoction" of Olivia Newton-John, Kate Bush and Cocteau Twins. It is followed by Minogue's cover of "Under the Influence of Love" (1967), in which her vocals are double-tracked for the bridge. Smith referred to the track as "Saint Etienne meets the best of the Nolans". The guitar-driven pop track "I'm So High" contains a subtle and slowly building melody. Dwyer wrote songs like "I'm So High" help Minogue "leave the club floor for car radio with equally enjoyable results". The penultimate track is "Kids", a joyous pop duet with Williams. It has funky groove rhythms and a distorted, guitar-driven euphoric chorus with soft guitars, synths, and vocal crescendos. English musicians Chris Sharrock and Neil Taylor played percussion and guitars on "Kids", respectively. "The Village Voice" Emma Pearse felt that the song helps Minogue transport her energy "into Prince and Beck territory". The post-disco title track is an homage to Summer's "I Feel Love" (1977), featuring harmonies and electronic touches. The track reminds Clarke of Brotherhood of Man's "Angelo" (1977).


title: Light Years (Kylie Minogue album)

text: Minogue called "Light Years" an uplifting and vibrant record, with mostly happy songs that reflect her easy nature when she was making the album. She said listening to it felt like being on a summer holiday. Lyrically, Minogue said that she was "really going for it... [without] holding back", with several songs containing cheekiness, showgirl images, or camp elements. The songs were written from her imagination, rather than the autobiographical style of songwriting that she had experimented with on her previous record "Impossible Princess". Minogue recalled writing each song as if it was a scene from a film or a video and trying to interpret and convert the idea into a song. Harrison highlighted Minogue's ability to focus on themes of flirtation, fun, and romance "without undercutting her previous growth as an artist" on "Impossible Princess".


title: Light Years (Kylie Minogue album)

text: Betty Clarke of "The Guardian" identified the theme of women's empowerment and celebration. She called "Light Years" "an album that celebrates being a girl", and commented that "not since the Spice Girls has the capacity to fill a dress been so celebrated". "Spinning Around" declares Minogue has changed and learned from her past mistakes. True and Smith interpreted it as Minogue's move away from her more experimental work on "Impossible Princess". Pam Avoledo of "Blogcritics" found the amorous song depicted a woman who is expressing herself and taking control of her life. Clarke viewed "On a Night Like This" and "So Now Goodbye" as the up-tempo disco antics that successfully depict the notions of "grabbing the best looking man in the club, then ditching him when you feel like it". "Butterfly" discusses the spiritual freedom and joy of life, while "Bittersweet Goodbye" is a stripped-back ode to love. Smith viewed the track as a tribute to her former lover Michael Hutchence, who died in November 1997.


title: Light Years (Kylie Minogue album)

text: Writing for "The Sydney Morning Herald", Catherine Keenan wrote the album is "full of gay club anthems and not short on sex". Minogue calls for the listener to join her on the dance floor on "Your Disco Needs You". At one point, she delivers a military-like spoken interlude in French: "Vous êtes jamais seuls / Vous savez ce qu'il faut faire / Ne laissez pas tomber votre nation / La disco a besoin de vous!" ("You are never alone / You know what to do / Don't let your nation down / The disco needs you!") "Loveboat" is an homage to the 1970s television series of the same name, while referencing martinis, bikinis and James Bond in its lyrics. It contains several French phrases and cheeky lines such as "Rub on some lotion / The places I can't reach." Levine referred to the lyrics of "Loveboat" as a sensual couplet. Smith felt that the track is a mixture of kitsch and tropicana, and Minogue sounds ebullient. The penultimate track is "Kids", a joyous pop duet with Williams. The track references to the careers of both Minogue and Williams, with Minogue singing the line: "I've been dropping beats since "Back in Black"." On the title track, Minogue plays an air hostess on a fictional KM-Air flight. Adams found Minogue devoted to the erotic track.


title: Light Years (Kylie Minogue album)

text: German fashion photographer Vincent Peters shot the artwork for "Light Years", while Mark Farrow was selected to design the cover. The shoot took place in Ibiza, a place that Minogue felt "has a magical quality" to it. On the cover, wearing a blue chiffon swimsuit, Minogue stares into the distance. The cover has a backdrop of the sky and the sea, with a glimpse of a golden sunset filtering through. Parlophone dropped Minogue's surname on the cover, brand it as a "Kylie" album. Minogue wanted the cover to capture the music's essence: sunshine, beach, fun, and glamour. She thought the photoshoot was extraordinary, and the "lightness of the chiffon matched [her] mood and desire". Another picture from the photoshoot saw a head-to-knees Minogue wearing nothing but a towel. Peters felt Minogue has a strong sense of self, which sets her apart from other celebrities he had worked with. William Baker, who helped through the album process, said that he wanted a cover that was "a visual statement about [Minogue] reclaiming the throne of the Princess of Pop" and the result shows she has "returned to her rightful place!"


title: Light Years (Kylie Minogue album)

text: Crossing found the glossy sleeve artwork "leaves very little to the imagination" and that Minogue is "unashamedly playing [her] 'never mind the book, have a gander at the cover' card". Clarke wrote "Light Years" was packaged "with male hormones in mind". Charles found it tacky, while John Earls of "Classic Pop" noted its commercialized nature, commenting that the artwork is better suited for a Ministry of Sound compilation and the cover is the only dull aspect of "Light Years". From the same publication, Christian Guiltenane wrote Minogue created "a stunning fantasy figure" with the sunset's glow behind her. Writing for "Idolator", Mike Wass commented that the "camp, fun and flirty" cover successfully captured the music of "Light Years".


title: Light Years (Kylie Minogue album)

text: Minogue titled the album "Light Years" describing her career journey, which she believes will continue as she has just begun to discover herself. She said: "I feel like I've come a long way... I think some other forces know where I'm going, but I'm not meant to know–that would've ruined it." Clarke felt the title was Minogue's response to "Ray of Light", a similarly named 1998 album by Madonna. The album includes "Password", a hidden introductory track in the pregap portion of the CD. The listener can only hear the track by rewinding the opening song "Spinning Around". Robbie Williams, who usually has hidden tracks at the end of his albums, inspired this. Minogue said that although she was making a grown-up album, she wanted to keep a sense of enjoyment. She admitted the method is "a bit odd and silly, but that's the fun of it". Smith felt the track was hard to find, while Earls commented the decision was made at "the peak of the CD boom" and "Password" is a worthy reward.


title: Light Years (Kylie Minogue album)

text: Mushroom Records first released the album in Australia on 22 September 2000. Parlophone released it on 25 September 2000 in the UK. On the German, Spanish and Japanese versions of the album, the original French spoken interlude of "Your Disco Needs You" was translated into their respective languages. EMI released the album in Canada on 26 September 2000 and distributed the album in North America. A special tour edition package was released in the UK on 5 March 2001, containing a second disc featuring various remixes. For the Australian tour edition, additional remixes were included as well as Minogue's cover of Olivia Newton-John's "Physical" (1981), which she performed during the tour. The album was re-issued by Parlophone in Japan in 2003, 2007, 2009, and 2011. In 2018, "Light Years" was re-released by BMG as a blue vinyl exclusively through Sainsbury's supermarket chain in Europe, limited to 2500 copies.


title: Light Years (Kylie Minogue album)

text: Shortly after signing with Parlophone, Minogue and Baker released an elaborate art book titled "Kylie". The photography-only book celebrates fan memorabilia, commentary, and Minogue's life. The book contains a nude sketch of Minogue, and several celebrities such as Elle MacPherson, fashion designer Vivienne Westwood, actor Barry Humphries, and singer Boy George. Minogue appeared on the controversial cover of the June issue of "GQ" shot by Terry Richardson, wearing a white tennis dress showing her naked bottom with the banner "Kylie: At Your Service".


title: Light Years (Kylie Minogue album)

text: Minogue did an extensive promotion campaign for the album, appearing on various television programs and at music festivals. On 17 June 2000, before the album's release, Minogue appeared specially at London's G-A-Y nightclub where she performed several songs, including "Spinning Around", "Better the Devil You Know" and "Step Back in Time". In July, she performed at Party in the Park in Hyde Park and Mardi Gras London in Finsbury Park. Wearing a pink showgirl costume, she performed ABBA's "Dancing Queen" (1976) and "On a Night Like This" to an audience of 100,000 people at the 2000 Sydney Olympics closing ceremony in October. Later that month, she sang "Waltzing Matilda", "Celebration" (1992), and "Spinning Around" at the 2000 Summer Paralympics opening ceremony.


title: Light Years (Kylie Minogue album)

text: Minogue promoted the album with her sixth concert tour, called On a Night Like This Tour. She performed in Europe in March 2001, before visiting Australia in April and May. Broadway shows and the musicals of the 1930s inspired the tour's style. In the United Kingdom, the tour sold 140,000 tickets in one weekend. In Australia, Minogue played a record-breaking nine concerts at the Sydney Entertainment Centre, beating the previous record held by AC/DC for the most dates performed at the venue in a single tour. It was the biggest tour by a solo artist in the country, grossing U.S. $5 million from sales of 200,000 tickets. Minogue's concert on 11 May 2001 was filmed and released on home video under the title "Live in Sydney".


title: Light Years (Kylie Minogue album)

text: "Spinning Around" was released as the lead single from "Light Years" in June 2000. Two previously unreleased tracks, the alternative dance "Cover Me With Kisses" and acoustic track "Paper Dolls", were included on the single's B-side. Liz Collins shot the single's artwork, which captured Minogue dressed in pastel pink clutching a hula hoop. Directed by Dawn Shadforth, the music video features Minogue in revealing gold hotpants. The song entered the Australian Singles Chart at number one, becoming the singer's first chart-topper since "Confide in Me" (1994). The song debuted at number one in the United Kingdom, making her only the second artist to have a number-one single in three consecutive decades (after Madonna). It was her fifth number-one single in the UK and her first in a decade, following "Tears on My Pillow" (1990).


title: Light Years (Kylie Minogue album)

text: The second single, "On a Night Like This", was released in September, with the ballad "Ocean Blue" as the B-side track. It debuted at number one in Australia, making it her sixth number-one in that region; it also gave her the record for having the most singles debuting at number one with five entries. On the UK Singles Chart, the single debuted at number two. An accompanying music video, directed by Douglas Avery, was filmed in Monte Carlo in July. The plot is loosely based on Martin Scorsese's 1995 crime drama movie "Casino", with Minogue portraying a trophy wife; Dutch actor Rutger Hauer served as her on-screen husband. An accompanying cover sleeve was taken from the booklet of "Light Years", featuring Minogue lying on a marble surface before a sea front.


title: Light Years (Kylie Minogue album)

text: "Kids" was released as the third single from "Light Years" and as the second from Williams' album "Sing When You're Winning" in October. Four original tracks by Williams appeared as B-side tracks: "John's Gay", "Often", "Karaoke Star", and "Kill Me or Cure Me". The music video, directed by Simon Hilton, contains choreography taken from "Grease" and references to Busby Berkley. The single peaked at number fourteen in Australia and at number two in the United Kingdom. Released on December, the fourth single "Please Stay" peaked at number 10 on the UK Singles Chart, her 20th top 10 entry, and number 15 on the Australian Singles Chart. It was the final release from "Light Years" in the UK, and was backed by two B-side tracks: a cover of "Santa Baby" and the previously unreleased track "Good Life". The music video saw Minogue sliding down a fireman's pole and dancing on top of a pool table.


title: Light Years (Kylie Minogue album)

text: "Your Disco Needs You" was chosen as the final single, released only in Australia and Germany. It includes specially commissioned mixes of the track and "Password". Hugely popular as an album track, it was never released as a single in the UK because the content was considered "too gay" and "too camp". The decision sparked protests and petitions from fans lobbying for its release. A music video featuring scenes of Minogue dancing in formation accompanied the single's release in Germany. The track peaked at number 20 in Australia and number 31 in Germany. "Butterfly", a track that was in the running to be the fourth single, was remixed and issued in the US as a promotional single by Pichotti's Blue Plate Records in November 2001. It peaked at number fourteen on the "Billboard" Hot Dance Club Play chart.


title: Light Years (Kylie Minogue album)

text: "Light Years" received generally positive reviews from contemporary music critics. "The Guardian" assigned a normalized rating out of 10 to reviews from UK mainstream critics—the album has an average score of 5.8 based on 6 reviews. "NME" wrote ""Light Years" is all you need to know about Kylie in less than an hour: fun, perfectly-formed, not too taxing and occasionally annoying". Dorian Lynskey of "Select" called it "an unrelenting hoot" that is filled with potential singles and fearlessly derivative. Clarke praised Minogue's newfound confidence, noting she has "her tongue firmly in her cheek for this camp slice of epic disco". Dwyer praised the "breezy disco hedonism" nature of "Light Year", while Pearse wrote the album is among "some decidedly classy classic pop creations".


title: Light Years (Kylie Minogue album)

text: Several reviewers were displeased with the album's non-substantive production. Andrew Lynch of "entertainment.ie" viewed the album as inconsequential and uneven, although he considered it "a much better record [as a whole] than most critics would like to admit". Crossing found the album well-produced, but was critical of the songwriting effort and its cheeky content. Charles thought that Minogue "has become a parody of herself" with an album filled with catchy, throwaway pop songs. Bernard Zuel of "The Sydney Morning Herald" wrote Williams and Chambers' contributions keep "Light Years" from being completely disposable. In their negative reviews, T'Cha Dunlevy of "The Gazette" and Sandra Sperounes of "Edmonton Journal" dismissed the record as lightweight and unimaginative, and said that Minogue "is still doing her best Madonna's impression."


title: Light Years (Kylie Minogue album)

text: Retrospectively, "Light Years" is generally considered to be one of Minogue's strongest releases. It was one of three of Minogue's studio albums to receive a four-star rating from British writer Colin Larkin in the "Encyclopedia of Popular Music" (2011) with "Rhythm of Love" (1990) and "Fever" (2001). He classified it as "high standard". Smith praised Minogue's confidence, calling the album a game-changer and her most accessible work since "Rhythm of Love". Levine commented that "as far as fruity little party records go, "Light Years" is an absolute peach". In 2018, Sal Cinquemani of "Slant Magazine" ranked "Light Years" as Minogue fourth-best studio album for its outstanding production. Harrison praised Minogue's spirited vocal performance, and concluded that besides its carefree appeal, "Light Years" has an "unrecognized compositional breadth and vitality that affirms Minogue's ongoing commitment to music excellence".


title: Light Years (Kylie Minogue album)

text: Upon its release, "Light Years" debuted in second position on the ARIA Charts the week of 8 October 2000, denied the top position by "The Games of the XXVII Olympiad: Official Music from the Opening Ceremony", the official album of the 2000 Summer Olympics opening ceremony. In its third charting week, it rose to number one, becoming Minogue's first number-one album in her home country, 12 years after her debut album was released. The album remained within the top 20 for over 30 consecutive weeks, from October 2000 to June 2001. It fell off the chart for the first time in July 2001, before re-entering at number 40 in October when "Fever" was released. In total, "Light Years" spent 43 weeks on the top 50 chart, beating "Impossible Princess" as Minogue's longest-charting album at the time. Within the year 2000, the album was certified quadruple platinum by the Australian Recording Industry Association (ARIA) for sales exceeding 280,000 copies. It appeared on the ARIA year-end album charts for 2000 and 2001 at number seventeen on both, and the decade-end chart at number 69. In New Zealand, the album debuted and peaked at number eight the week of 22 October; "Light Years" remained on the chart for a total of five weeks.


title: Light Years (Kylie Minogue album)

text: The album debuted at number two on the UK Albums Chart during the week of 7 October 2000, behind Madonna's "Music". On 9 February 2001, it was certified platinum by the British Phonographic Industry (BPI) for shipments of more than 300,000 units. It was Minogue's most successful album sales-wise since "Enjoy Yourself" (1989). When "Fever" was released in October 2001, "Light Years" had remained in the top 100 for 27 non-consecutive weeks. From January to May 2002, the album re-entered the chart, staying for 11 weeks. In 2018, the reissue of "Light Years" peaked at number 36 on the UK Albums Chart on 7 June; it was the third best-selling vinyl album of the week. That same week, the reissue also appeared on the Scottish Albums Chart, reaching number 21—"Light Years" had previously peaked at number 3 there after its original release in 2000. In Ireland, the album spent five weeks on the chart and peaked at number 13. "Light Years" had sold 498,337 copies in the UK by October 2020.


title: Light Years (Kylie Minogue album)

text: According to "Music & Media", "Light Years" peaked at number 10 on the European Top 100 Albums chart. The album peaked within the top 40 in several European countries, including Belgium, Finland, Germany, Hungary, Poland, Sweden, and Switzerland. "Light Years" also reached number 50 in France, and number 71 in Netherlands. In South Africa, the album peaked at number 11 and was certified double platinum by the Recording Industry of South Africa for shipments of 100,000 copies.


title: Light Years (Kylie Minogue album)

text: "Spinning Around" earned nominations for Best Female Artist and Best Pop Release at the 2000 ARIA Music Awards show, winning the latter. In the following ceremony, "Light Years" garnered four nominations, winning Minogue's first Best Female Artist and the second-consecutive Best Pop Release, while losing both Highest Selling Album and Album of the Year to Powderfinger's "Odyssey Number Five" (2000). That same year, "On a Night Like This" was also nominated for Highest Selling Single and Single of the Year. Phonographic Performance Company of Australia recognized Minogue as the seventh-most broadcast artist of 2001, while three tracks from "Light Years" appeared on the top 100 Most Broadcast Recordings of 2001: "Spinning Around" (number 12), "On a Night Like This" (number 15), and "Kids" (number 163).


title: Light Years (Kylie Minogue album)

text: Music critics recognized "Light Years" for reviving Minogue's career and reestablishing her to the public. The music video for "Spinning Around" led to her bottom and the revealing hotpants gaining extensive coverage in the media, referring to it as one of her trademark looks. Jaelani Turner-Williams of "Stereogum" and Clarke credited the album for introducing a more sophisticated side of disco-pop for the new century. Minogue went on to make six more studio albums with Parlophone until 2016, her longest label residency after Mushroom Records.


title: Light Years (Kylie Minogue album)

text: Critics also highlighted "Light Years" impact on the music scene. Cinquemani stated house tracks "On a Night Like This" and "Butterfly" predicted the rise of EDM music and created the template for Minogue's releases over the next 15 years. True commented Minogue is finally comfortable with who she is and praised the album as one of the best disco records since the 1970s. A reviewer from "Sputnikmusic" credited the album for bringing nu-disco to the public, predicting the direction for her later releases, and influencing pop projects for two decades—namely Madonna's "Confessions on a Dance Floor" (2005), Arcade Fire's "Reflektor" (2013), and Carly Rae Jepsen's "Julien" (2019). In a 2010 article, Karina Halle of "Consequence" noted Minogue's flamboyant musical style has been passed down to contemporary pop artists like Lady Gaga.


title: Princess Eléonore of Belgium

text: Princess Eléonore of Belgium ("Eléonore Fabiola Victoria Anne Marie"; born 16 April 2008) is the younger daughter and the youngest of four children of King Philippe and Queen Mathilde of Belgium. She is currently fourth in line to the throne of Belgium after her older siblings Princess Elisabeth, Duchess of Brabant, Prince Gabriel, and Prince Emmanuel. She likes to play violin and to draw.


title: Princess Eléonore of Belgium

text: Princess Eléonore was born on 16 April 2008 at 4:50 at the Erasmus Hospital, the teaching hospital of Université libre de Bruxelles in Anderlecht. She is the twelfth and youngest grandchild of King Albert II and Queen Paola. She was baptised on 14 June 2008 in the chapel of Ciergnon Castle in the Belgian Ardennes, by Cardinal Godfried Danneels, the Archbishop of Mechelen-Brussels. Her godparents are Crown Princess Victoria of Sweden, Princess Claire of Belgium, and Count Sébastien von .


title: Princess Eléonore of Belgium

text: Princess Eléonore attended primary school at the Dutch speaking school Sint-Jan Berchmanscollege in central Brussels. As of September 2020, she attends Heilig Hart College, a Dutch language secondary school in the Wezembeek-Oppem. French and English are also part of her education, she lives with her parents, her sister Elisabeth and her two brothers Gabriel and Emmanuel at the Royal Palace of Laeken.


title: Princess Eléonore of Belgium

text: Princess Eléonore plays the violin. She likes reading and drawing. She likes to practice cycling, swimming, skiing and sailing.


title: Fillmore East

text: The Fillmore East was rock promoter Bill Graham's rock venue on Second Avenue near East 6th Street in the (at the time) Lower East Side neighborhood, now called the East Village neighborhood of the borough of Manhattan of New York City. It was open from March 8, 1968, to June 27, 1971, and featured some of the biggest acts in rock music at the time. The Fillmore East was a companion to Graham's Fillmore Auditorium, and its successor, the Fillmore West, in San Francisco, Graham's home base.


title: Fillmore East

text: The theatre at 105 Second Avenue that became the Fillmore East was originally built as a Yiddish theater in 1925–26 – designed by Harrison Wiseman in the Medieval Revival style – at a time when that section of Second Avenue was known as the "Yiddish Theater District" and the "Jewish Rialto" because of the numerous theatres that catered to a Yiddish-speaking audience. Called the Commodore Theater, and independently operated, it eventually was taken over by Loews Inc. and became a movie theater, the Loews Commodore. It later became the Village Theatre, owned by Roger Euster, with on-site management by Ben Barenholtz. When Bill Graham took over the theatre in 1968, it was unused and had fallen into disrepair. Despite the deceptively small front marquee and façade, the theater had a substantial capacity of almost 2,700.


title: Fillmore East

text: The venue provided Graham with an East Coast counterpart to his existing Fillmore in San Francisco, California. Opening on March 8, 1968, the Fillmore East quickly became known as "The Church of Rock and Roll," with two-show, triple-bill concerts several nights a week. Graham would regularly alternate acts between the East and West Coast venues. Until early 1971, bands were booked to play two shows per night, at 8 pm and 11 pm, on both Friday and Saturday nights.


title: Fillmore East

text: Among the notable acts to play the Fillmore East was Jimi Hendrix. His album "Band of Gypsys" was recorded live on New Year's Day 1970. British blues-rock trio Cream played the Fillmore East when it was called the "Village Theater" on September 20 & 23, 1967. On February 21-22, 1969, The Mothers of Invention, Buddy Miles Express, and Chicago played on the same bill. The Kinks played October 17 & 18, 1969, supported by the Bonzo Dog Band. Ike & Tina Turner played on January 9 & 10, 1970, supported by Fats Domino. John Lennon and Yoko Ono sat in with Frank Zappa and the Mothers of Invention at the theater on June 6, 1971. The Allman Brothers Band played so many shows at Fillmore East that they were sometimes called "Bill Graham's house band"; additionally, the Grateful Dead played a total of 43 concerts at the theater from June 1968 through April 1971. Jefferson Airplane performed six shows and Taj Mahal played eight shows at the venue, while Crosby, Stills, Nash and Young did four shows in September 1969 and six performances in June 1970. Led Zeppelin made four appearances in early 1969, opening for Iron Butterfly. Amateur film footage of their January 31 performance can be viewed at the Led Zeppelin website.


title: Fillmore East

text: The Joshua Light Show, headed by Joshua White, was an integral part of many performances, with its psychedelic art lighting on a backdrop behind many live bands. From the summer of 1970, the Pig Light Show, under the direction of Marc L. Rubinstein, performed at the theater, becoming the de facto house light show.


title: Fillmore East

text: National Educational Television taped a show on September 23, 1970, for broadcast. It featured The Byrds, Elvin Bishop Group, Albert King, Sha Na Na, Van Morrison with psychedelic light show by Joe's Lights (what The Joshua Light Show became known as after Joshua left in 1970). The Allman Brothers were also taped for broadcast but due to technical difficulties, the segment with them was not aired. The show, "Welcome To Fillmore East" was aired on WNET channel 13 in NYC and simulcast on WNEW-FM radio on October 10, 1970, at 10:00 pm in the NYC area. A thirty-minute clip from that show of the Allmans can be seen on YouTube.


title: Fillmore East

text: As the Bill Graham's original Fillmore Auditorium on the West Coast, the Fillmore East quickly became an important venue on the fledgling rock music circuit in the late sixties. Because of its excellent acoustics, the enthusiastic and attentive audiences and Graham's innovative way of handling the concert environment, the hall became a favorite spot for the recording of many live albums. Gregg Allman and Dickey Betts, on why they recorded their first live album there: 'We realized that we got a better sound live and that we're a live band. (...) And we realized that the audience was a big part of what we did. (...) There was no question about where to record a concert. New York crowds have always been great, but what made the Fillmore special was Bill Graham. He was the best promoter rock has ever had and you could feel his influence in every little single thing at the Fillmore. It was just special. The bands felt it and the crowd felt it and it lit all of us up. The Fillmore was the high octane gig to play in New York - or anywhere else, really. (...) It was a great sounding room with a great crowd. (...) The Fillmores were so professionally run, compared to anything else at the time. And he would gamble on acts, bringing in jazz and blues (...) and he had taken a chance on the Brothers. '


title: Fillmore East

text: Because of changes in the music industry and large growth in the concert industry (as exemplified by the increased prevalence of arena and stadium bookings), Graham closed the Fillmore East after only three years. The final concert took place on June 27, 1971, with three billed acts (The Allman Brothers Band, The J. Geils Band, Albert King) and special surprise guests (Edgar Winter's White Trash, Mountain, The Beach Boys, Country Joe McDonald) in an invitation-only performance.


title: Fillmore East

text: The concert was simulcast live by New York City radio stations WPLJ and WNEW-FM, with between-set banter by many of New York's then-trend-setting disc jockeys (including WPLJ's Dave Herman and Vin Scelsa and WNEW-FM's Scott Muni and Alison Steele) among them.


title: Fillmore East

text: The Allman Brothers Band set was released as the second disc of the deluxe edition/remastered version of their "Eat a Peach" (1972 and 2006) album. In 2014, a six-disc set featuring the Allman Brothers Band's early and late shows at the Fillmore East of March 12 and 13, 1971 and including their performance on the venue's final night of June 27, 1971 was issued as "The 1971 Fillmore East Recordings".


title: Fillmore East

text: On November 17, 1972, the Fillmore East reopened as Villageast with "Virgin: A New Rock Opera Concert by The Mission". After a short run the Rock Opera closed and on December 15, 1972, Jerry Fuchs presented the opening night of concerts with a performance featuring Bloodrock, Elephants Memory and Trapeze. On December 16, 1972, the bill was Bloodrock, Foghat and The Fabulous Rhinestones. Fuchs went on to present several other concerts at Villageast including the New York Dolls and Teenage Lust on December 23, Chuck Berry and Bo Diddley on December 27, Steve Miller Band and Seatrain on December 28 and Roy Buchanan and Crazy Horse on December 30 and 31, 1972.


title: Fillmore East

text: On December 7, 1974, Barry Stuart (Stein), reopened the venue as the NFE Theatre ("NFE" stood for "New Fillmore East") with a concert presenting Bachman-Turner Overdrive. On December 31, 1974, the Ike & Tina Turner Revue headlined a bill that included Quicksilver Messenger Service and Hidden Strength. It operated through 1975, but was renamed the "Village East", supposedly due to objections from Bill Graham over the use of the Fillmore name.


title: Fillmore East

text: From 1980 to 1988, the renovated venue was home to The Saint, an early gay superclub. As of 2013, the former lobby building is owned by the Apple Bank for Savings, which has a branch at street level, and the rest of the interior of the auditorium has been demolished and replaced with an apartment complex, Hudson East, with its entrance at 225 East 6th Street. The building at 105 Second Avenue is now part of the East Village/Lower East Side Historic District, created in October 2012. In October 2014, the Greenwich Village Society for Historic Preservation unveiled a historic plaque on the building at a ceremony featuring Joshua White of the Joshua Light Show and critic/guitarist Lenny Kaye.


title: Fillmore East

text: Live Nation resurrected the Fillmore East name by rebranding the renovated Irving Plaza as "The Fillmore New York at Irving Plaza" on April 11, 2007, with English pop music singer and songwriter Lily Allen as the opening act. However, in May 2010 Live Nation conceded that the new name had not caught on and due to "unrelenting demand" the name "Irving Plaza" was restored beginning on June 23, 2010.


title: Gallatin School of Individualized Study

text: The Gallatin School of Individualized Study (commonly referred to as Gallatin) is a small interdisciplinary college within New York University (NYU). Students at Gallatin design an interdisciplinary program that meets their specific interests and career goals. Coursework can be taken at any of the schools that compose NYU, in addition to the school's offerings.


title: Gallatin School of Individualized Study

text: Founded in 1972 as the University Without Walls, the school was renamed the Gallatin Division in 1976 after Albert Gallatin, Secretary of the Treasury under Thomas Jefferson and the founder of NYU. In 1995, the school took its current name, the Gallatin School of Individualized Study.


title: Gallatin School of Individualized Study

text: Herbert London was the school's first dean through 1992. The Gallatin building is situated within the campus of New York University just east of Washington Square Park, at 1 Washington Place in Manhattan, New York City.


title: Gallatin School of Individualized Study

text: The Gallatin School's facilities on the corner of Washington Place and Broadway underwent a redesign in 2007–8. It was the first renovation project at NYU to achieve LEED certification. The project earned a LEED Gold certification for renovating five floors (approximately 32,000 square feet) of the existing building, including the construction of a theater, art gallery, classrooms, studios, and offices. The main building is named after Georgina Bloomberg.


title: Gallatin School of Individualized Study

text: Gallatin students develop a concentration, as opposed to a major, that is individualized to suit their interests and goals. A concentration can encompass multiple areas of study and often involves taking courses in various schools within NYU. There are, however, general requirements for graduation. These start with foundation courses and end with an intensive oral examination.


title: Orange Democratic Movement

text: The Orange Democratic Movement (ODM) is a centre-left political party in Kenya. It is the successor of a grassroots people's movement which was formed during the 2005 Kenyan constitutional referendum campaign. This movement separated in August 2007 into the Orange Democratic Movement Party of Kenya and the Wiper Democratic Movement – Kenya (formerly the Orange Democratic MovementKenya, known as ODM–Kenya).


title: Orange Democratic Movement

text: The name "orange" originates from the ballot cards in the referendum, in which the banana represented a "yes" vote, and the orange represented a "no" vote. Thus, the parties demonstrates that it supported a no vote in the 2005 referendum. The original linchpins of the ODM were Uhuru Kenyatta's KANU party and Raila Odinga's LDP. While Kenyatta left KANU, Odinga remained and now leads ODM.


title: Orange Democratic Movement

text: In the 2005 Kenyan constitutional referendum, the "no" vote, which the ODM campaigned for, won with 58.12% of Kenyans voting down the proposed constitution. Following this, President Mwai Kibaki dismissed his entire cabinet. The response of the ODM was to say that this was a step in the right direction and to call for an immediate general election, claiming that the Kibaki regime, which had campaigned vigorously in favour of a yes vote in the referendum, had lost its mandate.