title: Beaver Island (Lake Michigan)

text: The island is long, wide, and is part of Charlevoix County, Michigan. It is mostly flat and sandy, with large forested tracts. According to data of the US census, it has of land, and a permanent population of 657 as of 2010. The more densely populated part, which comprises a mere 6% of total insular land, is within Saint James Township on the northern part of the island. The census of 2010 reported its population as 365. St. James Township also includes Garden Island, High Island, Hog Island and several minor islands in Lake Michigan, which are all permanently uninhabited Peaine Township, which comprises the remaining 94% of insular land, contains large parcels of state land which are managed as part of the Beaver Islands State Wildlife Research Area. The research area is mostly undeveloped, with some relictual homesteads within the township that were constructed in the clearings of successful farms of the nineteenth century. In 2010 the township had a population of 292.


title: Beaver Island (Lake Michigan)

text: The island has several small to moderately sized lakes, including Lake Geneserath in the southeast, Greenes Lake and Fox Lake in the central part, and Font Lake, Egg Lake, Round Lake and Barneys Lake in the northern part. There are only two named streams: Jordan River that flows into Sand Bay on the eastern part of the island and Iron Ore Creek that flows into Iron Ore Bay on the southern part.


title: Beaver Island (Lake Michigan)

text: The island is within a climatic region that has great seasonal differences in temperature, with warm to hot, and often humid, summers and cold, even severely cold, winters. According to the Köppen Climate Classification system, it has a humid continental climate, which is abbreviated "Dfb" on climatic maps.


title: Beaver Island (Lake Michigan)

text: Historically, the primary industries in the island are fishing, logging and farming. Presently the economy centers in governmental services, tourism and residential and cottage construction. Recreational opportunities abound in the insular harbor, beaches, inland lakes and the state forest that includes much of the island. A golf course, nature trails, restaurants, hotels, a marina and other amenities are available.


title: Beaver Island (Lake Michigan)

text: The island describes itself as "America's Emerald Isle" in allusion to the Irish ancestry of many of its residents.


title: Beaver Island (Lake Michigan)

text: Central Michigan University owns and operates a research facility in the island, denominated the "CMU Biological Station". The station hosts classes and workshops for students and researchers. CMU also owns a former Coast Guard Boathouse on Whiskey Point in the northern part of the island and part of Miller's Marsh.


title: Beaver Island (Lake Michigan)

text: Two small airlines serve the island: Island Airways and Fresh Air Aviation. Airplanes are twin engine propeller airplanes for 6–10 passengers. The flight to the island takes approximately 20 minutes, are available multiple times a day throughout the year and reservations often are accepted with only brief notice. Luggage generally is included in the cost of a ticket, with a "pounds per person" limit, and additional luggage is charged according to its weight in pounds. Pets may be transported also, with prices of such tickets premised on the size of pets. Island Airways' airplanes depart from Charlevoix to Welke Airport (6Y8), a privately owned yet publicly accessible airport in Peaine Township that is approximately one mile (1,600 meters) south of St. James. Fresh Air Aviation's airplanes depart from Charlevoix to the public airport of Peaine Township (KSJX), which is on the Western side, a little over 4 miles from St. James.


title: Beaver Island (Lake Michigan)

text: Beaver Island Boat Company operates a scheduled automobile ferry service from Charlevoix during most of the year. Daily service is available from May through September, and a more limited service is available October through mid-December. The ferry runs on a seasonal schedule where the amount of daily trips ranges from one to four trips departing from Charlevoix to the island. The ferry is closed from January through March. Travelers are advised to verify the weather before boarding because rough waves can cause sea sickness. Visitors wishing to transport their own vehicles must make reservations in advance as ferry space is limited. Two ferry boats are in service, "The Emerald Isle" and the "Beaver Islander", the latter of which is smaller. The journey is slightly more than two hours to two and one half hours, contingent on weather and which ferry is ridden. Dogs, bikes, canoes, kayaks, boats, and motorcycles can be transported aboard the ferry for a fee.


title: Beaver Island (Lake Michigan)

text: The islands of the Beaver Islands archipelago include, in approximate order of size from largest to smallest:


title: Beaver Island (Lake Michigan)

text: Gull, Hat, Pismire, and Shoe Islands comprise the Lake Michigan division of the Michigan Islands National Wildlife Refuge and are administered as a satellite of the Seney National Wildlife Refuge. Pismire and Shoe Islands are also part of the Michigan Islands Wilderness Area.


title: Beaver Island (Lake Michigan)

text: Beaver Island is a part of the Dark Sky Sanctuary which is designated to only 14 locations in the whole world. The Dark Sky Sanctuary is used as a way to raise awareness for the benefits of reducing light pollution. The Dark Sky Sanctuary is not only a way to promote appreciation for the environment, but it also allows for the exploration of the night sky. In honor of Beaver Island being involved in the Dark SKy Sanctuary, Beaver Island Community Center creates events to bring the community together to view constellations, meteor showers, the Northern Lights, etc.


title: Beaver Island (Lake Michigan)

text: The Beaver Island Music Festival brings music artists from around the world to perform in the wilderness of Beaver Island. Founded in 2003, the festival is centered around combining music and wilderness together. The Festival is catered to all ages, but is centered around nature at the core. The festival is typically during the third week of July, and it lasts three days. Some of the well known performers of the festival include Sponge, an American rock band founded in Detroit; Lipstick Jodi; The Burney Sisters; etc. The Beaver Island Music Festival involves local businesses and community members to establish itself as a community-wide organization.


title: Beaver Island (Lake Michigan)

text: The Beaver Island Bike Festival allows bikers to enjoy the scenery of Beaver Island at their own leisure. The festival occurs during the third week of June. Biker can bike 20 to 42 miles of self-paced biking. Campgrounds, rest stops, food, drinks, and restrooms are provided for those attending. Bikers can also visit the scattered historical sights and monuments throughout the island. There is also a downtown party to conclude the festival where music and entertainment is provided.


title: Beaver Island (Lake Michigan)

text: Founded in 2001, Baroque on Beaver is an event where orchestral and vocal performers come to Beaver island during the end of July and beginning weeks of August. This event is presented by the Beaver Island Performing Arts Alliance (BIPAA), where they strive to bring traditional classical music to this remote Great Lakes island.


title: Beaver Island (Lake Michigan)

text: Beginning in 2019, the Beaver Island Irish Féile showcases the Irish heritage of Beaver Island. The event takes place during the second week of September. The event includes music and activities that center around the unique history of the Island.


title: Parmish Verma

text: Parmish Verma (born 3 July 1990) is an Indian singer, rapper, director and actor associated with the Punjabi Music and Punjabi Film Industry. He started his career as a video director then singer, and later debuted as an actor with the film "Rocky Mental".


title: Parmish Verma

text: Parmish started his career as a director with "zimmewari bhukh te doori" which was the story of an adolescent boy based on the life of Verma where he described the hard time which he faced while living in Australia and about the advice given to him by Gurikk Maan.


title: Parmish Verma

text: Verma debuted as an actor from the movie "Rocky Mental" in 2017. He also acted in the lead role in movies like "Dil Diyan Gallan (2019)" which he also wrote and directed. Later he released more movies such as ""Singham", and most recently, "Jinde Meriye".


title: Parmish Verma

text: Verma was born in Patiala, in a Punjabi Hindu family to Satish Verma, a theatre artist and writer, and Paramjit Verma, a professor.


title: Parmish Verma

text: Parmish was shot by Punjab gangster Dilpreet Baba in Mohali on his way back home from a party, which he later recovered.


title: Parmish Verma

text: He married his longtime girlfriend Canadian politician Guneet Grewal on 20 October 2021. On 30 September 2022 they had a daughter named Sadaa.


title: Parmish Verma

text: Parmish has directed several music videos for various artists like Sharry Mann, Ninja, Akhil, Mankirat Aulakh and Dilpreet Dhillon Mohammed Mehabin . Most of them are filmed in Chandigarh and Mohali . Below are only few selected videos directed by Parmish Verma.


title: Sanskritisation

text: Sanskritisation (or Sanskritization) is a term in sociology which refers to the process by which castes or tribes placed lower in the caste hierarchy seek 'upward' mobility by emulating the rituals and practices of the dominant castes or upper castes. It is a process similar to "passing" in sociological terms. This term was made popular by Indian sociologist M. N. Srinivas in the 1950s.


title: Sanskritisation

text: In a broader sense, also called Brahmanisation, it is a historical process in which "local" Indian religious traditions become syncretised, or aligned to and absorbed within the Brahmanical religion, resulting in the pan-Indian religion of Hinduism.


title: Sanskritisation

text: In this process, local traditions ("little traditions") become integrated into the "great tradition" of Brahmanical religion, disseminating Sanskrit texts and Brahmanical ideas throughout India, and abroad. This facilitated the development of the Hindu synthesis, in which the Brahmanical tradition absorbed "local popular traditions of ritual and ideology."


title: Sanskritisation

text: According to Srinivas, Sanskritisation is not just the adoption of new customs and habits, but also includes exposure to "new" ideas and values appearing in Sanskrit literature. He says the words "Karma", "dharma", "paap", "maya", "samsara", and "moksha" are the most common Sanskrit theological ideas which become common in the talk of people who are sanskritised.


title: Sanskritisation

text: Srinivas first propounded this theory in his D.Phil. thesis at Oxford. The thesis was later brought out as a book, which was an ethnographical study of the Kodava (Coorgs) community of Karnataka. Srinivas writes:


title: Sanskritisation

text: The book challenged the then prevalent idea that caste was a rigid and unchanging institution. The concept of "sanskritisation" addressed the actual complexity and fluidity of caste relations. It brought into academic focus the dynamics of the renegotiation of status by various castes and communities in India.


title: Sanskritisation

text: According to , a similar heuristic was previously described by Ambedkar (1916, 1917). Jaffrelot goes on to say, "While the term was coined by Srinivas, the process itself had been described by colonial administrators such as E. T. Atkinson in his "Himalayan Gazetteer" and Alfred Lyall, in whose works Ambedkar might well have encountered it."


title: Sanskritisation

text: Virginius Xaxa notes that sometimes the anthropologists also use the term "Kshatriyisation" and "Rajputisation" in place of Sanskritisation.


title: Sanskritisation

text: Sanskritisation is often aimed to claim the "Varna" status of Brahmin or Kshatriyas, the two prestigious Varna of the Vedic-age Varna system. One of the main example of it is various non-elite pastoral communities like Ahir, Gopa, Ahar, Goala etc. who adopted the Yadav word as part of Sanskritisation effort to gain upward mobility in society during late 19th century to early 20th century. Similar attempts were made by communities who were historically classed as non-elite tillers like Kurmi and various communities like Koeri, Murao etc. from the late 19th century onwards through their caste organisations by claiming higher social status. Kalwar caste is traditionally involved into distillation and selling of liquor, but around the start of the 20th century, various organisations related to the caste sought to redefine the image of their community through this process.


title: Sanskritisation

text: Another example in North India is of Rajput. According to historical evidence, the present day Rajput community varies greatly in status, comprising those with royal lineage to those whose ancestors were petty tenants or tribals who gained land and political power to justify their claim of being Kshatriya.


title: Sanskritisation

text: One clear example of Sanskritisation is the adoption, in emulation of the practice of twice-born castes, of vegetarianism by people belonging to the so-called "low castes" who are traditionally not averse to non-vegetarian food.


title: Sanskritisation

text: One more example is of Hindu Jat in rural North India who did Sanskritisation with the help of Arya Samaj as a part of a social upliftment effort.


title: Sanskritisation

text: An unsuccessful example is the Vishwakarma caste's claim to Brahmin status, which is not generally accepted outside that community, despite their adoption of some Brahmin caste traits, such as wearing the sacred thread, and the Brahminisation of their rituals. Srinivas juxtaposed the success of the Lingayat caste in achieving advancement within Karnataka society by such means with the failure of the Vishwakarma to achieve the same. Their position as a left-hand caste has not aided their ambition.


title: Sanskritisation

text: Srinivas was of the view that Sanskritisation was not limited to the Hindu castes, and stated that the "semi–tribal groups" including Himalayas's Pahadis, central India's Gonds and Oraons, and western India's Bhils also underwent Sanskritisation. He further suggested that, after going through Sanskritisation, such tribes would claim that they are castes and hence Hindus.


title: North American FJ-1 Fury

text: The North American FJ-1 Fury was the first operational jet aircraft in United States Navy service, and was developed by North American Aviation as the NA-135. The FJ-1 was an early transitional jet of limited success which carried over similar tail surfaces, wing, and canopy derived from the piston-engined P-51D Mustang. The evolution of the design to incorporate swept wings would become the basis for the land-based XP-86 prototype - itself originally designed with a very similar straight-wing planform to the FJ-1 airframe - of the United States Air Force's enormously influential F-86 Sabre, which in turn formed the basis for the Navy's carrier-based North American FJ-2/-3 Fury.


title: North American FJ-1 Fury

text: Ordered in late 1944 as the XFJ-1 in competition with proposals from Douglas and Vought, the Fury began as a straight-wing, tricycle gear fighter with a single turbojet passing through the fuselage. The wing, empennage, and canopy strongly resembled that of the piston-engined P-51D Mustang, North American Aviation's highly successful World War II fighter, enclosing a relocated cockpit accommodation further forward in relation to the Mustang's design, to ensure good forward pilot visibility for carrier operations.


title: North American FJ-1 Fury

text: The first flight of the prototype XFJ-1 took place on 11 September 1946, with the first of 30 deliveries beginning in October 1947. Flown by Navy squadron VF-5A, the FJ-1 made the USN's first operational aircraft carrier landing with a jet fighter at sea on 10 March 1948 aboard , pioneering US jet-powered carrier operations and underscoring the need for catapult-equipped carriers. The Fury was capable of launching without catapult assistance, but on a crowded flight deck the capability was of limited use. Taking off without a catapult launch limited the FJ-1 to a perilous, slow climb that was considered too risky for normal operations.


title: North American FJ-1 Fury

text: As German research into swept wing aerodynamics was not yet available when the design was finalized, the FJ-1 used a straight wing. No provision for wing-folding had been made as dive brakes mounted in the wings made that option unfeasible. In order to conserve carrier deck space, a unique "kneeling" nose undercarriage along with a swivelling "jockey wheel" allowed the FJ-1 to be stacked tail-high, close to another FJ-1.


title: North American FJ-1 Fury

text: Although ordered into production, the initial order for 100 units was trimmed to only 30 aircraft which were mainly used in testing at NAS North Island, California. VF-5A, soon redesignated as VF-51, operated the type in service beginning in August 1948. Although VF-51 went to sea on "Boxer" by May 1949, the FJ-1s were phased out in favor of the new F9F-2 Panther.


title: North American FJ-1 Fury

text: Ending its service career in U.S. Naval Reserve units, the FJ-1 eventually was retired in 1953. The one highlight in its short service life was VF-51's win in the Bendix Trophy Race for jets in September 1948. The unit entered seven FJ-1s, flying from Long Beach, California to Cleveland, Ohio, with VF-51 aircraft taking the first four places, ahead of two California Air National Guard Lockheed F-80 Shooting Stars.


title: World of Wonder (company)

text: World of Wonder Productions is an American production company founded in 1991 by filmmakers Randy Barbato and Portsmouth-born Fenton Bailey. Based in Los Angeles, California, the company specializes in documentary television and film productions with a key focus on sexuality, erotica, and the sexual subculture. Together, Bailey and Barbato have produced programming through World of Wonder for HBO, Bravo, HGTV, Showtime, the BBC, Netflix, and VH1 with credits including the "Million Dollar Listing" docuseries, "RuPaul's Drag Race", and the documentary films "" (2016) and "The Eyes of Tammy Faye" (2000).


title: World of Wonder (company)

text: World of Wonder is perhaps best known for its contributions towards LGBTQ programming, for which they won an Outfest Annual Achievement Award in 2011. Their most well known LGBTQ production is "RuPaul's Drag Race", having managed the career of drag queen and titular host RuPaul for many years before this, eventually producing the franchise alongside the majority of its live shows, podcasts, television specials, and conventions.


title: World of Wonder (company)

text: Bailey and Barbato co-founded World of Wonder after meeting in NYU's graduate film program in the mid 1980s, where they initially formed a disco pop rock duo called the Fabulous Pop Tarts under their record label, World of Wonder (with the name coming from a British comic book Bailey used to get as a child). Bailey and Barbato began performing regularly at Danceteria and other clubs in downtown New York City. They produced two albums, "Age of the Thing" which included their hit single "New York City Beat", and "Gagging on the Lovely Extravaganza", which included guest appearances by Lady Miss Kier, RuPaul, Martyn Phillips, and Filthy the Dog.


title: World of Wonder (company)

text: World of Wonder initially acted as a management vehicle for the Fabulous Pop Tarts, organising projects in television production and licensing, documentary filmmaking, and the career expansion of their friends and fellow artists, particularly RuPaul, whom they met in Atlanta in the 1980s and have continued to work with. They produced RuPaul's first album, "RuPaul is StarBooty", in 1986, and became his manager shortly after launching World of Wonder in 1991. They have since produced all of his television shows, his DragCon bi-coastal conventions and music productions, and have earned multiple Emmy Awards.


title: World of Wonder (company)

text: World of Wonder shares its name with one of its early television documentaries, "Died on the 4th of July: Nelson Sullivan's World of Wonder". Nelson Sullivan was a central figure in the downtown New York City art and club scene of the 1980s, obsessively videotaping everyone and everything he saw before dying of a heart attack on July 4, 1989. Sullivan left behind over 1200 hours of video footage taken over the last decade of his life. From this archive, World of Wonder created a one-hour documentary portrait of Sullivan, which aired on UK's Channel 4, and was also included on the DVD release of "". Based, in part, on this documentary, Sullivan continued to gain posthumous respect as a noted historian, with his videos gaining a younger and wider viewership following their upload to YouTube. The early focus on Sullivan formed the basis of the company's ongoing interest in documentary filmmaking. In 2014, Bailey and Barbato were honored with the IDA Pioneer Award, "celebrating exceptional achievement, leadership, and vision in the nonfiction and documentary community".


title: World of Wonder (company)

text: World of Wonder operates out of a historical art-deco building on Hollywood Boulevard. Designed by architects S. Tilden Norton and Fredrick H. Wallis and erected in 1930, the building served as the original home of the Directors Guild of America. The World of Wonder Storefront Gallery now occupies the ground floor retail space, with production and management offices occupying the upper three stories. The basement, once home to the punk rock club The Masque, now houses the company's video archive and a soundstage.


title: World of Wonder (company)

text: World of Wonder primarily produces television content for networks in the US and UK, including BBC, Channel 4, FIVE, HBO, Cinemax, TLC, PBS, Showtime, A&E, MTV, VH1 and Bravo. Productions over the past three decades include RuPaul's Drag Race, Manhattan Cable with Laurie Pike, The Adam and Joe Show,"", Good Work, Million Dollar Listing, docuseries, Heli-Loggers, Pam Anderson: Girl on the Loose, , and Island Hunters. World of Wonder also produced the documentary series One Punk Under God, Sex Change Hospital, and TransGeneration, one of the first unscripted television shows to focus on the Trans community, which won the 2006 GLAAD Award for Outstanding Documentary.


title: World of Wonder (company)

text: Another franchise by WOW, "Million Dollar Listing", debuted in LA in 2006 and has since expanded to include New York, San Francisco and Miami series. The spin-off, "Sell It Like Serhant", featuring one of "Million Dollar Listing New York"'s top broker, Ryan Serhant launched in 2018. In 2021, World of Wonder produced "" also directed by Bailey and Barbato, and "" for HBO. The company have also received several Emmy nominations for their documentary programming.


title: World of Wonder (company)

text: The production company produced "The RuPaul Show", hosted by RuPaul. RuPaul pitched a show with World of Wonder to Logo TV, and they immediately picked the show up for a season. The reality television was called: "RuPaul's Drag Race", which aired in February 2009. They also produced a spinoff series called, "RuPaul's Drag U", which only lasted for three season. RuPaul's Drag Race: All Stars was produced by World of Wonder, and was released through Logo TV." ", a behind-the-scenes after show which is aired following each new episode of the original series.""


title: World of Wonder (company)

text: World of Wonder's work in television has been honored with over two dozen Emmy nominations and multiple wins for "RuPaul's Drag Race", including awards for best overall in the reality category and best host.


title: World of Wonder (company)

text: World of Wonder has produced many feature-length documentaries on provocative subjects over the years, several of which have garnered industry awards and nominations. These include "Inside Deep Throat", which premiered at Sundance; the HBO biopic "Wishful Drinking", starring Carrie Fisher and received two Emmy nominations; and "Becoming Chaz", which premiered at Sundance as the OWN network's first-ever documentary and was nominated for three Emmys. They also produced the feature films "Party Monster" starring Macaulay Culkin and Seth Green, and "" starring Courtney Love, Nico Tortorella, Benito Martinez and Myko Olivier.


title: World of Wonder (company)

text: Bailey and Barbato have produced a host of other original documentaries, including "Party Monster: The Shockumentary", which won an editing Emmy; "The Eyes of Tammy Faye, Monica in Black and White"", Gender Revolution" with Katie Couric, and "The Last Beekeeper". In 2017, "Out of Iraq", their documentary chronicling the relationship between two enlisted men serving in Iraq won a daytime Emmy for Logo TV. In March 2018, the documentary "When the Beat Drops", directed by Jamal Sims, premiered at the Miami International Film Festival, where it won the Knight Documentary Achievement Award. In 2018, World of Wonder produced and directed an HBO documentary examining the history of the Statue of Liberty, “Liberty: Mother of Exiles.” The company was also commissioned by YouTube to create "Stonewall Outloud", a documentary based on the Stonewall gay rights protests of 1969, using the audio recordings of StoryCorps founder, Dave Isay.


title: World of Wonder (company)

text: Over the years, World of Wonder expanded its presence into new media types, including conventions, video-on-demand, social media, and blogging. "The WOW Report", a blog providing daily coverage of the pop culture and nightlife sectors and was named Best Counter Culture Blog by "LA Weekly" in 2011.


title: World of Wonder (company)

text: In 2015, World of Wonder added conventions to their portfolio, which started the launch of RuPaul's DragCon LA, located at the Los Angeles Convention Center. The largest celebration of drag art and culture in the world with over 50,000 attendees, they launched RuPaul's DragCon NYC in the city's Javits Convention Center in 2017, where it was a complete sell-out. In 2020, they have expanded to London, which they launched RuPaul's DragCon UK in 2020. Due to the COVID-19 pandemic, "RuPaul's DragCon LA" went online as "Digital DragCon".


title: World of Wonder (company)

text: In 2018, World of Wonder hosts their own award show called, the "WOWIE Awards", which celebrates "the very best in entertain(t)ment, LGBTQ + artistry, glamazonian realness, and thirst traps". In January 2020, the production company began their first Las Vegas Strip residency called: "RuPaul's Drag Race Live!", where former drag queen contestants from the Drag Race franchise performed at the Flamingo Las Vegas, directed by RuPaul and Jamal Sims.


title: World of Wonder (company)

text: World of Wonder has a YouTube channel with the name, "WOWPresents", which features over 3,000 videos and has more than 1.7 million subscribers.


title: World of Wonder (company)

text: In November 2017, World of Wonder launched the subscription streaming service WOW Presents Plus. The service contains a multitude of original series and live events, along with new original material spanning the realm of pop culture and LGBTQ society. Its exclusive original series include: "Sketchy Queens", "UNHhhh", and "Painted with Raven". The service is also the main international distributor in some regions for "RuPaul's Drag Race" and its international incarnations of the franchises. It also includes many web series found on WOWPresents' YouTube channel, such as "Detox's Life Rehab" and "La Vida de Valentina."


title: Egyptian blue

text: Egyptian blue, also known as calcium copper silicate (CaCuSiO or CaOCuO(SiO) (calcium copper tetrasilicate)) or cuprorivaite, is a pigment that was used in ancient Egypt for thousands of years. It is considered to be the first synthetic pigment. It was known to the Romans by the name "caeruleum". After the Roman era, Egyptian blue fell from use and, thereafter, the manner of its creation was forgotten. In modern times, scientists have been able to analyze its chemistry and reconstruct how to make it.


title: Egyptian blue

text: Egyptian blue is a synthetic blue pigment produced from a mixture of silica, lime, copper, and an alkali. Its color is due to a calcium-copper tetrasilicate CaCuSiO of the same composition as the naturally occurring mineral cuprorivaite. It was first synthesized in Egypt during the Fourth Dynasty and used extensively until the end of the Roman period in Europe, after which its use declined significantly.


title: Egyptian blue

text: The term for it in the Egyptian language is "ḫsbḏ-ỉrjt", which means artificial lapis lazuli ("ḫsbḏ"). It was used in antiquity as a blue pigment to color a variety of different media such as stone, wood, plaster, papyrus, and canvas, and in the production of numerous objects, including cylinder seals, beads, scarabs, inlays, pots, and statuettes. Sometimes, it is referred to in Egyptological literature as blue frit. Some have argued that this is an erroneous term that should be reserved for use to describe the initial phase of glass or glaze production, while others argue that Egyptian blue is a frit in both the fine and coarse form since it is a product of solid state reaction. Its characteristic blue color, resulting from one of its main components—copper—ranges from a light to a dark hue, depending on differential processing and composition.


title: Egyptian blue

text: Apart from Egypt, it has also been found in the Near East, the Eastern Mediterranean, and the limits of the Roman Empire. It is unclear whether the pigment's existence elsewhere was a result of parallel invention or evidence of the technology's spread from Egypt to those areas.


title: Egyptian blue

text: The ancient Egyptians held the color blue in very high regard and were eager to present it on many media and in a variety of forms. They also desired to imitate the semiprecious stones turquoise and lapis lazuli, which were valued for their rarity and stark blue color. Use of naturally occurring minerals such as azurite to acquire this blue was impractical, as these minerals were rare and difficult to work. Therefore, to have access to the large quantities of blue color to meet demand, the Egyptians needed to manufacture the pigment themselves.


title: Egyptian blue

text: The earliest evidence for the use of Egyptian blue, identified by Egyptologist Lorelei H. Corcoran of The University of Memphis, is on an alabaster bowl dated to the late pre-dynastic period or Naqada III ("circa" 3250 BC), excavated at Hierakonpolis, and now in the Museum of Fine Arts, Boston. In the Middle Kingdom (2050–1652 BC) it continued to be used as a pigment in the decoration of tombs, wall paintings, furnishings, and statues, and by the New Kingdom (1570–1070 BC) began to be more widely used in the production of numerous objects. Its use continued throughout the Late period and Greco-Roman period, only dying out in the fourth century AD, when the secret to its manufacture was lost.


title: Egyptian blue

text: No written information exists in ancient Egyptian texts about the manufacture of Egyptian blue in antiquity, and it was first mentioned only in Roman literature by Vitruvius during the first century BC. He refers to it as "caeruleum" and describes in his work "De architectura" how it was produced by grinding sand, copper, and natron, and heating the mixture, shaped into small balls, in a furnace. Lime is necessary for the production as well, but probably lime-rich sand was used. Theophrastus gives it the Greek term κύανος ("kyanos", blue), which originally probably referred to lapis lazuli. Finally, only at the beginning of the nineteenth century was interest renewed in learning more about its manufacture when it was investigated by Humphry Davy in 1815, and others such as W. T. Russell and F. Fouqué.


title: Egyptian blue

text: Several experiments have been carried out by scientists and archaeologists interested in analyzing the composition of Egyptian blue and the techniques used to manufacture it. It is now generally regarded as a multiphase material that was produced by heating together quartz sand, a copper compound, calcium carbonate, and a small amount of an alkali (ash from salt-tolerant, halophyte plants or natron) at temperatures ranging between (depending on the amount of alkali used) for several hours. The result is cuprorivaite or Egyptian blue, carbon dioxide, and water vapor:


title: Egyptian blue

text: In its final state, Egyptian blue consists of rectangular blue crystals together with unreacted quartz and some glass. From the analysis of a number of samples from Egypt and elsewhere, the weight percentage of the materials used to obtain Egyptian blue in antiquity was determined usually to range within these amounts:


title: Egyptian blue

text: To obtain theoretical cuprorivaite, where only blue crystals occur, with no excess of unreacted quartz or formation of glass, these percentages would need to be used:


title: Egyptian blue

text: However, none of the analyzed samples from antiquity was made of this definitive composition, as all had excesses of silica, together with an excess of either CuO or CaO. This may have been intentional; an increase in the alkali content results in the pigment containing more unreacted quartz embedded in a glass matrix, which in turn results in a harder texture. Lowering the alkali content (less than 1%), though, does not allow glass to form and the resultant Egyptian blue is softer, with a hardness of 1–2 Mohs.


title: Egyptian blue

text: In addition to the way the different compositions influenced texture, the way Egyptian blue was processed also had an effect on its texture, in terms of coarseness and fineness. Following a number of experiments, Tite "et al." concluded that for fine-textured Egyptian blue, two stages were necessary to obtain uniformly interspersed crystals. First, the ingredients are heated, and the result is a coarse-textured product. This is then ground to a fine powder and water is added. The paste is then reshaped and fired again at temperatures ranging between 850 and 950 °C for one hour. These two stages possibly were needed to produce a paste that was fine enough for the production of small objects. Coarse-textured Egyptian blue, though, would not have gone through the second stage. Since it usually is found in the form of slabs (in the dynastic periods) and balls (in the Greco-Roman period), these either could have been awaiting to be processed through a second stage, where they would be ground and finely textured, or they would have been ground for use as a blue pigment.


title: Egyptian blue

text: The shade of blue reached was also related to the coarseness and fineness of Egyptian blue as it was determined by the degree of aggregation of the Egyptian blue crystals. Coarse Egyptian blue was relatively thick in form, due to the large clusters of crystals which adhere to the unreacted quartz. This clustering results in a dark blue color that is the appearance of coarse Egyptian blue. Alternatively, fine-textured Egyptian blue consists of smaller clusters that are uniformly interspersed between the unreacted quartz grains and tends to be light blue in color. Diluted light blue, though, is used to describe the color of fine-textured Egyptian blue that has a large amount of glass formed in its composition, which masks the blue color, and gives it a diluted appearance. It depends on the level of alkali added to the mixture, so with more alkali, more glass formed, and the more diluted the appearance. This type of Egyptian blue is especially evident during the eighteenth dynasty and later, and probably is associated with the surge in glass technology at this time.


title: Egyptian blue

text: If certain conditions were not met, the Egyptian blue would not be satisfactorily produced. For example, if the temperatures were above 1050 °C, it would become unstable. If too much lime was added, wollastonite (CaSiO) forms and gives the pigment a green color. Too much of the copper ingredients results in excesses of copper oxides cuprite and tenorite.


title: Egyptian blue

text: The main component of Egyptian blue was the silica, and quartz sand found adjacent to the sites where Egyptian blue was being manufactured may have been its source, although no concrete evidence supports this hypothesis. The only evidence cited is by Jakcsh "et al.", who found crystals of titanomagnetite, a mineral found in desert sand, in samples collected from the tomb of Sabni (sixth dynasty). Its presence in Egyptian blue indicates that quartz sand, rather than flint or chert, was used as the silica source. This contrasts with the source of silica used for glass-making at Qantir (New Kingdom Ramesside site), which is quartz pebbles and not sand.


title: Egyptian blue

text: It is believed that calcium oxide was not added intentionally on its own during the manufacture of Egyptian blue, but introduced as an impurity in the quartz sand and alkali. As to whether the craftsmen involved in the manufacture realized the importance of adding lime to the Egyptian blue mixture is not clear from this.


title: Egyptian blue

text: The source of copper could have been either a copper ore (such as malachite), filings from copper ingots, or bronze scrap and other alloys. Before the New Kingdom, evidence is scarce as to which copper source was being used, but it is believed to have been copper ores. During the New Kingdom, evidence has been found for the use of copper alloys, such as bronze, due to the presence of varying amounts of tin, arsenic, or lead found in the Egyptian blue material. The presence of tin oxide could have come from copper ores that contained tin oxide and not from the use of bronze. However, no copper ores have been found with these amounts of tin oxide. Why a switch from the use of copper ores in earlier periods, to the use of bronze scrap during the Late Bronze Age is unclear as yet.


title: Egyptian blue

text: The total alkali content in analyzed samples of Egyptian blue is greater than 1%, suggesting the alkali was introduced deliberately into the mixture and not as an impurity from other components. Sources of alkali either could have been natron from areas such as Wadi Natroun and El-Kab, or plant ash. By measuring the amounts of potash and magnesia in the samples of Egyptian blue, it is generally possible to identify which source of alkali had been used, since the plant ash contains higher amounts of potash and magnesia than the natron. However, due to the low concentration of alkali in Egyptian blue, which is a mere 4% or less, compared to glass, for example, which is at 10–20%, identifying the source is not always easy. The alkali source likely was natron, although the reasons for this assumption are unclear. However, analysis by Jaksch "et al." of various samples of Egyptian blue identified variable amounts of phosphorus (up to 2 wt %), suggesting the alkali source used was in actuality plant ash and not natron. Since the glass industry during the Late Bronze Age used plant ash as its source of alkali, a link in terms of the alkali used for Egyptian blue before and after the introduction of the glass industry might have been possible.


title: Egyptian blue

text: In the excavations at Amarna, Lisht, and Malkata at the beginning of the twentieth century, Petrie uncovered two types of vessels that he suggested were used in antiquity to make Egyptian blue: bowl-shaped pans and cylindrical vessels or saggers. In recent excavations at Amarna by Barry Kemp (1989), very small numbers of these "fritting" pans were uncovered, although various remaining pieces of Egyptian blue 'cake' were found, which allowed the identification of five different categories of Egyptian blue forms and the vessels associated with them: large round flat cakes, large flat rectangular cakes, bowl-shaped cakes, small sack-shaped pieces, and spherical shapes. No tin was found in the samples analyzed, which the authors suggest is an indication that use of scrap copper was possible instead of bronze.


title: Egyptian blue

text: In the 1930s, Mahmud Hamza excavated a number of objects related to the production of Egyptian blue at Qantir, such as Egyptian blue cakes and fragments in various stages of production, providing evidence that Egyptian blue was actually produced at the site. Recent excavations at the same site uncovered a large copper-based industry, with several associated crafts, namely bronze-casting, red-glass making, faience production, and Egyptian blue. Ceramic crucibles with adhering remains of Egyptian blue were found in the excavations, suggesting again it had been manufactured on site. These Egyptian blue 'cakes' possibly were later exported to other areas around the country to be worked, as a scarcity of finished Egyptian blue products existed on site. For example, Egyptian blue cakes were found at Zawiyet Umm el-Rakham, a Ramesside fort near the Libyan coast, indicating in fact that the cakes were traded, and worked at and reshaped away from their primary production site.


title: Egyptian blue

text: Egyptian blue is closely related to the other vitreous materials produced by the ancient Egyptians, namely glass and Egyptian faience, and it is possible that the Egyptians did not employ separate terms to distinguish the three products from one another. Although it is easier to distinguish between faience and Egyptian blue, due to the distinct core of faience objects and their separate glaze layers, it sometimes is difficult to differentiate glass from Egyptian blue due to the very fine texture that Egyptian blue occasionally could have. This is especially true during the New Kingdom, as Egyptian blue became more refined and glassy and continued as such into the Greco-Roman period.


title: Egyptian blue

text: Since Egyptian blue, like faience, is a much older technology than glass, which only begins during the reign of Thutmose III (1479–1425 BC), changes in the manufacture of Egyptian blue undoubtedly were associated with the introduction of the glass industry.


title: Egyptian blue

text: Analysis of the source of copper used in the manufacture of Egyptian blue indicates a relationship with the contemporaneous metal industry. Whereas in the earlier periods, it is most probable that copper ores were used, during the reign of Tutmosis III, the copper ore is replaced by the use of bronze filings. This has been established by the detection of a specific amount of tin oxide in Egyptian blue, which only could have resulted from the use of tin bronze scraps as the source of copper, which coincides with the time when bronze became widely available in ancient Egypt.


title: Egyptian blue

text: Egyptian blue was found in Western Asia during the middle of third millennium BC in the form of small artifacts and inlays, but not as a pigment. It was found in the Mediterranean area at the end of the Middle Bronze Age, and traces of tin were found in its composition suggesting the use of bronze scrap instead of copper ore as the source of copper. During the Roman period, use of Egyptian blue was extensive, as a pot containing the unused pigment, found in 1814 in Pompeii, illustrates. It was also found as unused pigment in the tombs of a number of painters. Etruscans also used it in their wall paintings. The related Chinese blue has been suggested as having Egyptian roots.


title: Egyptian blue

text: Around the turn of the eras, Roman sources report that a certain Vestorius transferred the production technology from Alexandria to Pozzuoli near Naples (Campania, Southern Italy). In fact, archaeological evidences confirm production sites in the northern Phlegraean Fields and seem to indicate a monopoly in the manufacture and trade of pigment spheres. Due to its almost exclusive use, Egyptian blue is the blue pigment par excellence of Roman antiquity; its art technological traces vanish in the course of the Middle Ages.


title: Egyptian blue

text: In 2021, Early Medieval Egyptian blue (fifth/sixth century AD) was identified on a monochrome blue mural fragment from the church of St. Peter above Gratsch (South Tyrol, Northern Italy). By a new analytical approach based on Raman microspectroscopy, 28 different minerals with contents from the percent range down to 0.1 permille were identified. Inclusion of knowledge from neighbouring disciplines made possible to read out the information about the type and provenance of the raw materials, synthesis and application of the pigment and ageing of the paint layer preserved in the previously not accessible trace components, and thus to reconstruct the individual "biography" of the Egyptian blue from St. Peter. This paradigm shift in the research history of Egyptian blue provided natural scientific evidences for the production in the northern Phlegraean fields (agreement with trace minerals found in the beach sands at the Gulf of Gaeta), the use of a sulphidic copper ore (instead of often-mentioned metallic copper or bronze), and plant ash as flux in the raw material mixture. Furthermore, indications for a synthesis predominated by solid state reactions were found, while the melting of the raw materials into glass most likely played a negligible role.


title: Egyptian blue

text: A follow-up study on Roman Imperial pigment balls excavated in Aventicum and Augusta Raurica (Switzerland; first to third century AD) confirmed the results in 2022. The consistent composition of around 40 identified minerals establishes a connection to the northern Phlegraean Fields; a sulphidic copper ore and plant ash have also left their marks. Thus, the Roman production monopoly probably existed for centuries. In addition, the analyses revealed unwanted by-products of the synthesis, locally limited to micorparticles on the sphere's surfaces, which can be traced back to suboptimal burning times or mixing ratios, respectively: a cuprorivaite with crystal defects in its layer structure and a copper-bearing green glass phase, characterised by Raman spectroscopy for the first time.


title: Egyptian blue

text: Egyptian blue's extremely powerful and long-lived infrared luminescence under visible light has enabled its presence to be detected on objects which appear unpainted to the human eye. This property has also been used to identify traces of the pigment on paintings produced as late as the sixteenth century, long after its use was presumed to have died out. The luminescence in the near-infrared, where neither fat nor hemoglobin show high absorption coefficients, in conjunction with the capacity of Egyptian blue to delaminate by splitting into nanosheets after immersion in water, also indicates it may have several high-technology applications, such as in biomedicine (e.g. bioimaging), telecommunications, laser technology, and security inks.


title: Egyptian blue

text: Researchers at the Lawrence Berkeley National Laboratory discovered that Egyptian blue pigment absorbs visible light, and emits light in the near-infrared range. This suggests that Egyptian blue pigment could be used in construction materials designed to cool rooftops and walls in sunny climates, and for tinting glass to improve photovoltaic cell performance.


title: Polar desert

text: Polar deserts are the regions of Earth that fall under an ice cap climate ("EF" under the Köppen classification). Despite rainfall totals low enough to normally classify as a desert, polar deserts are distinguished from true deserts (' or ' under the Köppen classification) by low annual temperatures and evapotranspiration. Most polar deserts are covered in ice sheets, ice fields, or ice caps, and they are also called "white deserts".


title: Polar desert

text: Polar deserts are one of two polar biomes, the other being Arctic tundra. These biomes are located at the poles of Earth, covering much of the Antarctic in the southern hemisphere, and in the northern hemisphere extending from the Arctic into North America, Europe and Asia. Unlike the tundra that can support plant and animal life in the summer, polar deserts are largely barren environments, comprising permanent, flat layers of ice; due to the scarcity of liquid water, the same is also true of the few ice-free areas. However, there is evidence of some life in this seemingly inhospitable landscape: sediments of organic and inorganic substances in the thick ice hosting microbial organisms closely related to cyanobacteria, able to fix carbon dioxide from the melting water.


title: Polar desert

text: Temperature changes in polar deserts frequently cross the freezing point of water. This "freeze-thaw" alternation forms patterned textures on the ground, as much as in diameter.


title: Polar desert

text: Most of the interior of Antarctica is polar desert, despite the thick ice cover. Conversely, the McMurdo Dry Valleys of Antarctica, although they have had no ice for thousands of years due to katabatic wind but contain ephemeral streams and hypersaline lakes characteristic of extreme non-polar deserts, are not necessarily polar desert.


title: Polar desert

text: Climate scientists have voiced concerns about the effects of global warming to the ice poles in these polar biomes.


title: California-class cruiser

text: The "California" class was a pair of nuclear-powered guided-missile cruisers operated by the United States Navy between 1974 and 1998. Other than their nuclear power supply and lack of helicopter hangars, ships of the "California" class were comparable to other guided-missile cruisers of their era, such as the . The class was built as a follow-up to the nuclear-powered , , and classes. Like all of the nuclear cruisers, which could steam for years between refuelings, the "California" class was designed in part to provide high endurance escort for the navy's nuclear aircraft carriers, which were often limited in range due to their conventionally powered escorts continuously needing to be refueled.


title: California-class cruiser

text: The second "California"-class cruiser, , was the fifth nuclear-powered cruiser in the US Navy. Other than the four ships of the Soviet Navy's , which were actually built with a combination of nuclear and fossil-fuel propulsion, no other country has launched nuclear-powered cruisers.


title: California-class cruiser

text: Only two ships of the class were built, "California" and "South Carolina", and both were decommissioned in late 1999. These ships were followed on by the four nuclear-powered cruisers of the . These cruisers were named for states because they were seen as quite large, powerful, capable and survivable ships. Also, in the meantime, the names of cities had been given to the nuclear submarines in the very large , which eventually expanded to 62 boats, all (but one) named for American cities.


title: California-class cruiser

text: "California" and her sister ship, "South Carolina", were equipped with two Mk 13 launchers, fore and aft, capable of firing the Standard SM-1MR or SM-2MR surface-to-air missiles, one Mk 112 launcher for ASROC missiles, and eight Mk-141 launch tubes for Harpoon missiles. They were equipped with two Mk 45 5-inch rapid-fire guns, fore and aft. Four 12.75-inch torpedo launchers (two on each side, protruding from their magazine space on the main deck) were fitted for light weight anti-submarine torpedoes. Two Mk 15 Phalanx 20 mm gun systems were fitted in the 1980s.


title: California-class cruiser

text: The ships were originally designed to carry and launch the Mark 48 torpedo from a large space beneath the flight deck aft. Although a surface-launched version of the Mk 48 was never produced, the ships retained this large magazine space until their retirement.


title: California-class cruiser

text: Both ships underwent a mid-life refueling and overhaul in the early 1990s to give them a further 18 years active service. This modernization upgraded their two 150 MW D2G reactor plants with new 165 MW D2W reactor cores, installed the New Threat Upgrade (NTU) to improve their anti-aircraft warfare (AAW) capability, and removed their anti-submarine warfare (ASW) capability, which involved disabling their SQS-26 sonar and removing their ASROC anti-submarine weapons, though the two triple Mk 32 ASW torpedo launchers were retained. External differences resulting from this modernization included the removal of the ASROC launcher and the large deckhouse forward of it that served as the ASROC magazine, replacement of the SPS-40 radar antenna with the SPS-49 antenna, and replacement of the SPS-48C with the larger SPS-48E antenna. Both ships retained the bulbous sonar domes at the forefoot (beneath the waterline) until retirement, even after their sonar systems were disabled. While the ships were as modernized as much as possible, and were capable of service until 2010; they still were only capable of firing SM-2MR missiles from their Mk-13 launchers, and their high cost of operation made them targets for early retirement, and as such they were both decommissioned in 1999.


title: Buick Lucerne

text: The Buick Lucerne is a full-size car manufactured by General Motors from 2005 to 2011. Named for the city of Lucerne, Switzerland, it served as Buick's top-of-the-line sedan until it was replaced by the second generation Buick LaCrosse.


title: Buick Lucerne

text: The Lucerne replaced both the full-size LeSabre and top-of-the-line Park Avenue in the Buick lineup. It was based on a revised G platform, though GM continued to refer to it as the H.


title: Buick Lucerne

text: It was introduced with the standard 3.8 liter Buick V6 (also known as the "GM 3800 engine"), and with a 4.6 liter Cadillac "Northstar LD8" V8 and the Chevrolet Corvette's Magnetic Ride Control active suspension available as options. All General Motors 3.8 L V6 powered cars become the first SULEV-compliant vehicles.


title: Buick Lucerne

text: Reviving a Buick tradition, the Lucerne featured a faux row of exhaust vents, marketed as "Ventiports," on the front fenders, corresponding to the number of cylinders in the engine — three on each side for the V6 or four for the V8. The CXL trim package added numerous premium features.


title: Buick Lucerne

text: The Lucerne was manufactured at GM's Detroit/Hamtramck Assembly Plant alongside the Cadillac DTS. The plant won Initial Quality Awards from J.D. Power and Associates from 2004 through 2006. GM also lead all other automakers in Strategic Vision's Total Quality Index (TQI)


title: Buick Lucerne

text: The "Super" trim level was introduced at the 2007 New York Auto Show, featuring the 4.6 liter "Northstar L37" V8; revised trim; an increase of horsepower, and revised front styling and a rear spoiler.


title: Buick Lucerne

text: All Lucernes received modest mid-cycle updates in 2008, adding optional blind spot monitoring and lane departure warning system and revised exterior colors. Two new trim levels, CXL Special Edition (with more standard features than regular CXL) and Super, were added for 2008.


title: Buick Lucerne

text: The 2009 Lucerne received small upgades, including a new base engine, the 3.9 L "GM High Value LZ9" V6, Bluetooth phone connectivity, and XM NavTraffic. Flex-fuel technology was made available at no additional cost.


title: Buick Lucerne

text: The 2011 Lucerne was largely unchanged. The last was built on June 15, 2011. The second generation LaCrosse replaced it as Buick's flagship sedan for 2012.


title: Buick Lucerne

text: The Buick Lucerne earns a "Good" overall score in the Insurance Institute for Highway Safety (IIHS) front impact test, and an "Acceptable" score in the side impact test. The IIHS also found that 2006-08 model year Lucerne had the highest fatality rate in the large 4-door car class.


title: Nightclubbing (Grace Jones album)

text: Nightclubbing is the fifth studio album by Jamaican singer and songwriter Grace Jones, released on 11 May 1981 by Island Records. Recorded at Compass Point Studios with producers Alex Sadkin and Island Records' president Chris Blackwell, as well as a team of session musicians rooted by rhythm section Sly and Robbie, the album marked her second foray into a new wave style that blends a variety of genres, including reggae, art pop, dub, synth-pop and funk. The album has cover versions of songs by Bill Withers, Iggy Pop, Astor Piazzolla, and others, and original songs, three of which co-written by Jones.


title: Nightclubbing (Grace Jones album)

text: The album received positive reviews upon its release, including being voted best album of the year by writers of the UK music magazine "NME", and has continued to be praised by critics over time, with some reviewers commending the singer's unique sound and organic fusion of genres. The album entered in the top 10 in five countries, and became Jones' highest-ranking record on the US "Billboard" 200 and R&B charts. Six singles were released from the album, including the hits "Pull Up to the Bumper" and "I've Seen That Face Before (Libertango)".


title: Nightclubbing (Grace Jones album)

text: Critics and scholars have noted the album's influence on popular music, citing its unique sound that has been emulated by both pop and alternative acts, and how the persona Jones adopted – deeply inspired by art and fashion – has had an enduring influence on modern female pop singers. Around the time of the album's release, she adopted her characteristic androgynous look which would become popular in fashion. "Nightclubbing" is now widely considered Jones' magnum opus and the record that cemented her pop icon status.


title: Nightclubbing (Grace Jones album)

text: Jones was a popular fashion model and Studio 54 habituée before starting her recording career. Her first three albums "were heavily influenced by disco and cemented her presence in the club scene." These records "operated around the camper end of the spectrum," and built a large gay cult following around the singer. According to "Pitchfork", these albums "were fun but somewhat facile, cover-filled reflections of the druggy hedonism of the disco era". T. Cole Rachel writes: "For someone whose very image was seen as somehow deeply transgressive, Jones' music had not yet caught up." When her 1977 rendition of Edith Piaf's "La Vie en rose" was an international hit, she caught the interest of Chris Blackwell, the founder of Island Records. After Jones' 1979 album "Muse" found little success in nightclubs and charts, he took over as her producer. He sought to "treat her not as a model, but to involve her as a musician", and wanted "her to feel as though she were a member of a band, and record her the way bands used to make albums, with the singer and the players doing their thing all at once." Blackwell assembled a sextet of studio ringers at his Nassau studio, Compass Point, pulling together a band that included Sly and Robbie (consisting of bass guitarist Robbie Shakespeare and drummer Sly Dunbar), French keyboardist Wally Badarou, guitarists Mikey Chung and Barry Reynolds, and percussionist Uziah Thompson. Jones has described the group as "the united nations in the studio".


title: Nightclubbing (Grace Jones album)

text: As the disco backlash began in earnest, Jones veered towards the contemporary new wave style. Blackwell had been impressed by Black Uhuru's 1980 album "Sinsemilla" and, along with engineer Alex Sadkin, decided that Jones' new sound should take elements from that record's sonority. Besides reggae, the band also incorporated dance music. Sly Dunbar said, "We loved dance music, we'd listen to "everything", because we were always working and wanting the reggae we did to move a bit forward, so anything that we could drag to it, we would bring that – as ideas, or as musicians coming to play with us." Ditching the camp quality of Jones' previous work, Blackwell realised new forms around the likes of The Pretenders' "Private Life", Roxy Music's "Love Is the Drug" and The Normal's "Warm Leatherette"; Ian Wade of "The Quietus" writes: ""Nightclubbing" was where all these ideas coalesced into perfection." The band Blackwell assembled later became known as the "Compass Point Allstars", taking up residency in the Bahamian studio and animating hits by Tom Tom Club, Robert Palmer, Joe Cocker and Gwen Guthrie, among others.


title: Nightclubbing (Grace Jones album)

text: The recording sessions "moved with disarming speed and ease"; Blackwell recounts: "If Grace or the group hadn't nailed a song by the third take, it was dropped and they'd move to the next number." Although the band was initially called upon in early 1980 to work on a single album, they ended up recording far more material than could fit one LP. As a result, these sessions resulted in two studio albums: "Warm Leatherette" – released in 1980 – and "Nightclubbing". Final overdubs and additional songs were recorded during 1981. Wally Badarou has recognised Jones' active role in the sessions, stating: "Grace was there even during most instrumental overdubbing sessions. She was a part of the sound and the spirit that came out almost from nowhere. We all knew we were in for something quite experimental."


title: Nightclubbing (Grace Jones album)

text: Continuing the orientation of Jones' previous release "Warm Leatherette", "Nightclubbing" is a pop album that forays into new wave and dance, while in terms of rhythm it is, ostensibly, a reggae record. John Daniel Bull of "The Line of Best Fit" felt the album "[pinpointed] the peak of [Jones'] Jamaican influences, by way of reggae rhythms blended with R&B beats." However, Treble writes: "in terms of atmosphere and melody, there's nothing roots or rude-boy about it." The magazine also considered "Nightclubbing" to be an important exponent of sophisti-pop, placing it "somewhere between art-pop and dub"; it also described its sonority as "a lush landscape of surrealist synth-pop." The Style Con's Erich Kessel felt the album was an influential exponent of art-pop. "Nightclubbing" also incorporates elements of electro, and New York club music.


title: Nightclubbing (Grace Jones album)

text: A post-disco album, "Nightclubbing" features a distinct and unprecedented sound that also incorporates rock, funk and post-punk music. "The Rolling Stone Album Guide" (1992) reads: "Leavening their sprung riddims with a salty dash of funk, Sly and Robbie hipped Jones to rock's new wave on "Warm Leatherette" and "Nightclubbing"." According to John Doran of BBC Music, "Nightclubbing" is a "post-punk pop" album that, "delved into the worlds of disco, reggae and funk much more successfully than most of her 'alternative' contemporaries, while still retaining a blank-eyed alienation that was more reminiscent of David Bowie or Ian Curtis than most of her peers." The influence of David Bowie (Who co-wrote the title track) was also noted by Joe Muggs of "Fact".


title: Nightclubbing (Grace Jones album)

text: The "languid reggae-influenced" tracks allowed Jones to showcase her singular vocal style, characterized by low alto singing and a Jamaican style of vocal delivery – "that of 'chatting' over onto tracks" – within a framework of androgyny. This style of delivery has been likened to that of The Velvet Underground's Lou Reed, Blondie's Debbie Harry, the New York City punk scene, and Gil Scott-Heron in "The Revolution Will Not Be Televised". "Pitchfork" described Jones' voice as a "flat monotone speak-singing." T. Cole Rachel, writing for the same publication, argued that Jones succeeds not by the power of her voice, but by the power of her persona, writing: "As she would go on to prove in later efforts, it was the monolithic force of her personality—imperious, feral, queer in the truest sense of the word—that would make these songs so compelling. She is, to put it simply, impossible to ignore."


title: Nightclubbing (Grace Jones album)

text: The original version of "Libertango" was discovered by Jones's boyfriend at the time, artist Jean-Paul Goude, and the video for the song was filmed on the outdoor terrace of Jones's penthouse apartment on 16th Street in New York. The song also features a verse sung in French: the text was translated for Jones by Blackwell's girlfriend, actress Nathalie Delon, for which Delon received a writing credit. Two of the album's tracks, "I've Done It Again" and "Demolition Man" were written specifically for Jones to record on "Nightclubbing". The latter song was written by Sting and would also be recorded in a more uptempo style by his band the Police for their album "Ghost in the Machine", released six months after "Nightclubbing".


title: Nightclubbing (Grace Jones album)

text: The remaining three new compositions on the record were all co-written by Jones. "Pull Up to the Bumper" began as an instrumental track by the Compass Point Allstars rhythm section Sly and Robbie (credited on the track under their collective alias "Koo Koo Baya"), and provisionally called "Pour Yourself Over Me Like Peanut Butter". Jones's friend, singer Dana Mano, came up with the song's new title, which inspired the two women to write a set of suggestive lyrics for the track. Despite this, Jones denied that the lyrics were explicitly sexual, insisting that she felt the words were just written to suit the music, but stated that she was happy to accept whatever interpretation someone might put on the lyrics, saying, "I don't want to sing sweet things, though I don't mind sweetness so long as it has a little sour meaning underneath". Jones admitted that "Art Groupie" was highly autobiographical as many of her boyfriends had been artists and she was attracted to the whole art scene.


title: Nightclubbing (Grace Jones album)

text: "Nightclubbing"s iconic artwork is a 1981 painted photograph titled "Blue-Black in Black on Brown", created in New York by Goude. This was the singular image that accompanied the original LP, as it "was concealed in a plain, black inner sleeve, no lyrics and with no photo on the back cover." Composed by right angles, the photograph shows Jones cut to waist, bare chested, and dressed in an Armani man's wide shouldered suit, with an unlit cigarette aiming downward from her lip. She is shot with her signature flat top haircut and her chest bones showing; her dark skin confers upon the image a violet, blue-black colour. The image is noted for its androgyny, with Jones not only "[unpicking] some of the boundaries of unconventionality, but [choosing] to confuse such boundaries." Rick Poynor writes: "Goude admired Jones for her mixture of beauty and threat, and the "Nightclubbing" portrait expresses this duality with absolute composure and no false histrionics." Piers Martin of "Uncut" felt the cover was "arresting", and wrote: "the indigo mood, cool gaze and cigarette suggested Marlene Dietrich, the gender-bending a touch of Bowie."


title: Nightclubbing (Grace Jones album)

text: In 2015, "Dazed" included the album cover in an article dedicated to their "favourite Armani cult crossovers." Biju Belinky wrote:


title: Nightclubbing (Grace Jones album)

text: Although Armani became known for deconstructing the suit, removing the over-the-top padding and offering a relaxed option to formalwear in "American Gigolo", the cover for Grace Jones' iconic 1981 album "Nightclubbing" plays up with the angles like nothing else before it. Hailed as a pioneer of the androgynous look, with a cigarette dangling from her mouth and a flattop haircut, complemented by the padded shoulders of an Armani jacket, the avant-garde singer's album cover became known for years to come.


title: Nightclubbing (Grace Jones album)

text: Writing for "DIY", Simon Russell Beale listed the album cover as one of the greatest of all time, highlighting Jones' "smouldering noir-bisexuality". Graphic designer Storm Thorgerson included the picture in his 1999 book, "100 Best Album Covers". Moreover, "American Photo" placed it in its list of The 30 Best Album Covers. "NME" included it in its list of 20 Original Album Covers That Are Actually Works of Art, with the entry reading: "Can any other artist boast as many iconic album covers? Grace is a work of art herself, as are the covers for "Island Life", "Slave to the Rhythm" and "Living My Life", but best of all is the louche image of "Nightclubbing" by Jean-Paul Goude, part Tretchikoff's "Green Lady", part the best advert for smoking you've ever seen." "Time Out" listed the image as one of the "sexiest album covers of all time", with Brent DiCrescenzo writing: "[Grace Jones] was a work of art, a statue." According to "i-D", "it was a series of consistently stellar album artwork that helped propel [the singer] from musician to icon." The artwork was held in display at the Padiglione d'Arte Contemporanea in Milan, Italy, as part of the 2016 "So Far So Goude" exhibition, focused on the French artist.


title: Nightclubbing (Grace Jones album)

text: According to Barry Waters of "The Pitchfork Review", "Jones' singular appearance and meticulously crafted presentation made her a natural fit for the burgeoning music video medium, especially in its early, experimental days." Jean-Paul Goude directed the music videos for "I've Seen That Face Before (Libertango)" and "Pull Up to the Bumper", as well as the celebrated 1982 VHS release "A One Man Show". The latter – a montage of still photography, concert footage and music videos – "asserted [Jones] as an astute visual artist" and was nominated for Best Long Form Music Video at the 26th Annual Grammy Awards. Nelson George, reviewing the release for "Billboard" in early 1983, called it "one of the more fascinating and defiantly visual concert videos yet produced." According to Ernest Hardy of CraveOnline, the film "seamlessly blends cabaret, performance art and underground nightclub cool."


title: Nightclubbing (Grace Jones album)

text: "Nightclubbing" became Jones' chart breakthrough and remains one of the greatest commercial triumphs of her entire career. It entered the top five in no less than four countries, and became the singer's highest-charting record on the US "Billboard" mainstream albums and R&B charts. The album brought Jones from being a former disco diva with a loyal cult following but dropping sales figures to an international star with mainstream chart success. It later formed the basis of her groundbreaking concept tour A One Man Show.


title: Nightclubbing (Grace Jones album)

text: Release of a two-disc deluxe set, containing most of the 12" single versions of singles, plus two unreleased tracks from the "Nightclubbing" sessions, occurred on 28 April 2014, and Jones enjoyed a UK top 50 chart placing the following week – her first since 2008.


title: Nightclubbing (Grace Jones album)

text: To promote the album, Jones appeared on various TV shows in 1981, including the French "Palmarès", the Spanish "Esta noche",


title: Nightclubbing (Grace Jones album)

text: The lead single from the album was "Demolition Man". The single was not a commercial success and did not chart, although would later become one of Jones' signature songs. "I've Seen That Face Before (Libertango)" was released as the second single and became one of the most commercially successful songs in Jones' repertoire. It secured top 20 positions in several European countries and became another signature song for Jones.


title: Nightclubbing (Grace Jones album)

text: The R&B-dance track "Pull Up to the Bumper" was a quick follow-up to "Libertango". It met with a great success on the US club market, but turned out a modest hit in Europe upon original release. The song would re-emerge in Europe in 1985 as a major success, especially in the UK, where backed with "La Vie en rose" it became one of Jones' highest-charting singles in that country.


title: Nightclubbing (Grace Jones album)

text: "Use Me" and "Feel Up" were then released as singles, but were unsuccessful in the charts. The final single off "Nightclubbing", "Walking in the Rain", was a minor chart success.


title: Nightclubbing (Grace Jones album)

text: In the UK Adrian Thrills of "NME" said, "I spent an otherwise-miserable weekend afternoon with the sound of Grace swirling around my little earphones, grooving on songs effortlessly sung but put together with a jeweller's eye for detail", and stated that the musicians "combine to etch out a shifting, soulful surface, an exotic ice-water backdrop for Grace's vocal veneer", noting that "the only times Grace seems ill-at-ease are as she swops Trenchtown patois with, presumably, the sharp-lipped Sly and then tries to rock out on Sting's 'Demolition Man'". Roz Reines of "Melody Maker" called it "an album with something for everyone: reggae, electronics, disco, blues – even a snatch of salsa funk. The incredible thing is that it all gels together so well – the common denominator is the danceability, which lasts all the way through: changes in tempo and pace only help to sustain the energy level." Deanne Pearson of "Smash Hits" said that Jones' voice has "neither range nor power", but "the arrangements and production almost make up for this." "Record Mirror" critic Simon Ludgate found that Jones transcends her vocal limitations through "her character and sense of the surreal".


title: Nightclubbing (Grace Jones album)

text: Andy Kellman of AllMusic praised the album in a retrospective review, stating: "Sly & Robbie provide ideal backdrops for Jones yet again, casting a brisk but not bristly sheen over buoyant structures. Never before and never since has a precisely chipped block of ore been so seductive." Mark Coleman wrote in "The Rolling Stone Album Guide" that Sly and Robbie's introduction of new wave rock to Jones and the "throbbing polyrhythmic" covers of rock songs suited her better than the Edith Piaf-meets-Barry White routines" of her records. Robert Christgau was less enthusiastic. He was unmoved by Jones' own songs and said while the covers on "Warm Leatherette" were superior to the originals simply because of her "weird force of personality", she could not match "Use Me" and the title track.


title: Nightclubbing (Grace Jones album)

text: "Nightclubbing" continued to gather favorable reviews with the release of the deluxe edition in 2014. Andy Beta from "Pitchfork" labeled the album's reissue as "Best New Reissue", describing the album as "the record that further cemented her iconic status in pop culture". He also stated: "She treats each cover not as a singer tackling a song, but as an actor inhabiting the skin of a role". "Mojo" called it "probably the greatest of Grace Jones' Compass Point trio". "Uncut"s Piers Martin called "Nightclubbing" "the album that came to define Jones as the complete performer, in her own way, as singer, muse, actress, alien and androgyne. Its sound, a sublime mix of reggae, funk, new wave and disco, was as arresting as its cover image... No one had seen or heard anything quite like this". In "Record Collector" Kris Needs said that ""Nightclubbing" still sounds like nothing else released during the 80s, though its colossal influence repeatedly reveals itself". John Harris of "Q" wrote that "the music on "Nightclubbing" is as stripped-down and full of space as Jones's "froideur" demanded. Then again, when it evokes more emotional qualities, it also triumphs."


title: Nightclubbing (Grace Jones album)

text: "Nightclubbing" distinctive amalgamation of rock, funk, post-punk, pop and reggae set Jones apart from other musical acts of the 1980s. It is considered one of the early convergences of "fashion, art, and music". According to "Pitchfork"s Andy Beta, it "altered the face of modern pop". He further argued that the album's musical and visual influence is easily palpable in the musical landscape of the 21st century, specially among female musicians such as Lady Gaga, Rihanna, Nicki Minaj, M.I.A., Grimes and FKA Twigs, among others. Other acts influenced by the record include Róisín Murphy, Janelle Monáe, Azealia Banks and Adam Lambert. Beyond pop music, the template set by Jones and her Compass Point backing band was also influential to alternative music, including Massive Attack, Todd Terje, Gorillaz, Hot Chip, and LCD Soundsystem – who "emulate those rubbery yet taut grooves of Sly & Robbie and cohorts". In "Q", John Harris wrote: "The fact that this music was first released 33 years ago beggars belief: it showcases great minds alighting on the future, and points the way to Madonna, Björk, Lady Gaga, Gorillaz, M.I.A. and more." According to Molly Beauchemin, Jones "pioneered the way for Shamir, Stromae, and countless other dance mavericks of today – not just with her bewitching candor but through her use of androgynous innuendo". "Polari Magazine" considered "Nightclubbing" to be "a defining moment in the history of pop music".


title: Nightclubbing (Grace Jones album)

text: The album further cemented Jones' pop icon status. According to Erich Kessel, "[the singer's] performances were a source of rich critiques on race, gender, and blackness." Her pioneering androgynous aesthetic – conceived alongside Jean-Paul Goude – had a strong impact on the pop culture of the 1980s; for example, it was a precursor to Annie Lennox's persona. According to Abigail Gardner, "Jones was an androgynous audiovisual experience, one who sat comfortably within the context of early 1980s pop, where image had become even more central to pop performance through the emergence of MTV." She further argued that the singer "problematises ideas of black feminine in performance art that contributed to a reconceptualisation of Afrocentric culture and identity." Miriam Kershaw positioned Jones "not as a singer or a diva, but as a piece of art", and argued that she "worked to destabilise racist and sexist clichés as she charted a dynamic course through the history of the Black diaspora, to celebrate its vibrant contemporary form." The singer's gender-bending and unrestrained sexuality also won the acclaim of the gay community, being included in "Out" "The 100 Greatest, Gayest Albums of All Time" and "Attitude"s "Top 50 Gay Albums of All Time". "i-D" writes: "Jones transcended definition in almost every realm of her life. She is often referred to as a queer icon. [...] She rejects all labels of sexuality, and her musical output is similarly fluid, switching from pop and disco to dub and reggae without hesitation."


title: Nightclubbing (Grace Jones album)

text: In "The Village Voice"s Pazz & Jop critics' poll of 1981, "Nightclubbing" placed at number 31, while "Pull Up to the Bumper" was voted the year's 11th best single. It also appeared in the year-end lists of "Sounds", "Rockerilla", "OOR", "The Face", "Melody Maker" and "NME" – the latter considering it the best album of 1981. "Slant Magazine" listed "Nightclubbing" as the 40th best album of the 1980s, with Henderson writing it "performs double duty, building up the singer's legend even as it makes attempts at deconstructing it." "NME" included the album in its list of The 500 Greatest Albums of All Time, with its entry stating: "A glimpse into the sordid disco depravities behind the velvet rope at Studio 54, "Nightclubbing" and its standout smash "Pull Up to the Bumper" shunted new wave, reggae and disco firmly into the seductive neon '80s with a single arse/car metaphor." "The Guardian" listed "Nightclubbing" as one of the "1000 albums to hear before you die".


title: Nightclubbing (Grace Jones album)

text: The information regarding lists including "Nightclubbing" is adapted from Acclaimed Music, except where otherwise noted.


title: Jordan Lukaku

text: Jordan Zacharie Lukaku Menama Mokelenge (born 25 July 1994) is a Belgian professional footballer who plays as a left back for Spanish club SD Ponferradina. His older brother, Romelu, is also a footballer.


title: Jordan Lukaku

text: Starting his professional career at R.S.C. Anderlecht, he made nine appearances for the first team, before joining Oostende in 2013, where he became a regular player. He was signed by Lazio in 2016. Lukaku made his senior international debut for Belgium in 2015 and was part of their squad at UEFA Euro 2016.


title: Jordan Lukaku

text: Despite interests from Premier League side Arsenal, Jordan signed his first professional contract with the club, keeping him until 2013.


title: Jordan Lukaku

text: Having previously trained with the first team in the 2010–11 season, along with his brother (who then left the club for Chelsea at the time), Lukaku was first included in a senior matchday squad on 1 December 2011, remaining an unused substitute in Anderlecht's 2–1 win at AEK Athens in the group stage of the season's UEFA Europa League. His debut came the following on 21 March 2012 against Zulte Waregem, which saw Anderlecht win 2–1; Lukaku later said after the match: "it was the best day of his life". Then on 6 April when he started in a goalless Pro League game at Standard Liège; he totalled six appearances as his team won the league that season.


title: Jordan Lukaku

text: However, he did not play at all as they retained the title the following campaign, only making the bench twice. During the season, he missed out the start of the season, due to suffering a stress fracture. As he struggled in the first team, Jordan was linked with a loan move to an unknown club in Eredivisie, but rejected the move and was sent to the reserve team instead.


title: Jordan Lukaku

text: On 21 July 2013, he came on as an 87th-minute substitute for Matías Suárez as Anderlecht won the year's Belgian Super Cup 1–0 against Genk at the Constant Vanden Stock Stadium. However, after appearing two matches at the start of the season, Jordan announced his desire to leave the club to get regular first team football.


title: Jordan Lukaku

text: Soon after playing in the Belgian Super Cup, Lukaku left Anderlecht to join Oostende on loan until the end of the season.


title: Jordan Lukaku

text: Lukaku made his Oostende debut, where he came on as a substitute in the second half and played 45 minutes, in a 1–0 loss against Lokeren on 31 August 2013. Since making his Oostende debut, Lukaku established himself as a regular in the first team, even he was in the substitute and in a match against Genk on 23 November 2013, he set up one of the goals, in a 4–0 win. However, Lukaku's last appearance for the club came on 25 January 2014 against Waasland-Beveren. Lukaku never made another appearance for the club again, as he suffered a pubalgia that kept him out of the season. Despite this, Lukaku went on to make fifteen appearances in all competitions.


title: Jordan Lukaku

text: With his contract expiring at Anderlecht at the end of the season, Lukaku joined Oostende on a permanent basis, signing a four-year contract. Lukaku's first game after signing for the club on a permanent basis came on 1 August 2014, playing his former club, Anderlecht, in a 2–0 loss. Lukaku continued to be in a regular in the first team at Oostende despite being absence on two occasions, including his sending off against Gent on 25 January 2015. In his first permanent season at the club, Lukaku went on to make thirty appearances in all competitions.


title: Jordan Lukaku

text: In the 2015–16 season, Lukaku started the season well when he set up one of the goals, in a 3–1 win over Mechelen in the opening game of the season, followed up by scoring his first goal for the club, in a 2–1 win over Westerlo, which he was named Team of the Week. Lukaku continued to be in the first team until he was absence from late-2015, due to injuries. Lukaku then scored his second goal of the season on 31 January 2016, in a 3–3 draw against Mouscron. After returning from injury in early-May, Lukaku scored from his injury, in a 2–1 win over Genk on 14 May 2016. Lukaku finished his second season, making thirty-four appearances and scoring three times in all competitions.


title: Jordan Lukaku

text: With a hint from the club's president, stating that Lukaku could leave the club in the summer, it was announced on 22 July 2016, he signed with Italian club Lazio for €4 million plus a reported €1 million in performance-related bonuses. Upon joining the club, Lukaku was given a number six shirt and was presented to the club several days later.


title: Jordan Lukaku

text: Lukaku made his Lazio debut, where he made his first start and played the whole game, in a 4–3 win over Atalanta in the opening game of the season. He continued to remain in the first team until he suffered an injury during an international break that kept him out for a month. It was not until on 27 November 2016 when he made his return from injury, coming on as a substitute in the second half, in a 1–0 win over Palermo.


title: Jordan Lukaku

text: In the 2017 Supercoppa Italiana, Lukaku came on as a late substitute in a 3–2 win over Juventus at the Stadio Olimpico. On 23 December that year, he scored his first goal for the club, finishing from a Ciro Immobile pass to open a 4–0 home win over Crotone.


title: Jordan Lukaku

text: Injury problems during the 2018–19 season meant Lukaku only started three games in all competitions before a loan deal until the end of the season was agreed with English club Newcastle United on 24 January. However, the deal was called off the following day after the Belgian reportedly failed a medical.


title: Jordan Lukaku

text: On 5 October 2020, Lazio confirmed that Lukaku had joined Belgian club Royal Antwerp F.C. on a one-year loan.


title: Jordan Lukaku

text: On 26 August 2022, free agent Lukaku signed a contract with Spanish Segunda División side SD Ponferradina.


title: Jordan Lukaku

text: After previously representing Belgium U15, Belgium U16, Belgium U18 and Belgium U19, Jordan rejected a chance to play for DR Congo, in favor of playing for Belgium instead. It came after when Lukaku was called up by the national side in late-2011.


title: Jordan Lukaku

text: Following his impressive performance at Oostende, Lukaku was called by the senior team for the first team. On 10 October 2015, Lukaku made his senior debut for the national team in a 4–1 win in a Euro 2016 qualification match against Andorra; the victory qualified his team to the finals. In his next game on the following 29 March, he replaced Guillaume Gillet in the 59th minute of a friendly away to Portugal in Leiria, and sent in the cross that was headed in by his brother as consolation in a 2–1 loss.


title: Jordan Lukaku

text: After being included for the a 24-man preliminary squad, Lukaku was selected for Euro 2016 squad, wearing shirt number 21. He made one appearance in the tournament, playing 75 minutes in place of the injured Jan Vertonghen in Belgium's 3–1 quarterfinal defeat to Wales.


title: Jordan Lukaku

text: In May 2018, he was named in Belgium's preliminary squad for the 2018 World Cup in Russia. However, he did not make the final 23.


title: Jordan Lukaku

text: Regarded as a promising player in his youth, Lukaku is a quick, hard-working, and powerful left-footed attacking full-back. He primarily plays as a left-back, but has demonstrated he is capable of playing anywhere along the left side of the pitch as a wing-back, as a wide midfielder, or even as a winger in an attacking trident. He is particularly well known for his outstanding pace, as well as his technique, crossing ability, physical strength, and stamina, which enables him to cover the flank effectively, get forward, exploit spaces, take on opponents, retain possession, and create chances for his teammates. He has drawn criticism at times from pundits over his tactical sense and the defensive aspect of this game, which have been cited as areas which have room for improvement. He has also struggled with injuries which have limited his playing time.


title: Jordan Lukaku

text: Lukaku was born in Antwerp. His father is Roger Lukaku, who played professional football and was capped at international level by Zaire. He has an older brother, Romelu Lukaku, who also progressed through the youth academy at Anderlecht. Their cousin Boli Bolingoli-Mbombo plays for KV Mechelen.


title: Jordan Lukaku

text: While at the youth academy at Anderlecht, Jordan, along with Romelu, used to be picked by their father and took them to training every morning. Unlike his older brother, Jordan grew up supporting Arsenal. Around 2012, Jordan became a victim of fake profiling. It came after he was involved in a controversial circumstances, prompting angry response from social media.


title: Jordan Lukaku

text: In December 2014, Jordan Lukaku was charged with speeding and had his driving license revoked for fifteen days, as well as, being fined €600. The following month, his closest friend, Junior Malanda, was killed in a car crash. Three months later, he was charged with the same offence and was banned from driving for a year. He was given a final warning and told that if he did it again, he would be jailed. The following year, he was charged with the same offence for the third time and was banned from driving for fifteen months.


title: Younger Than Yesterday

text: Younger Than Yesterday is the fourth album by the American rock band the Byrds and was released on February 6, 1967 on Columbia Records. It saw the band continuing to integrate elements of psychedelia and jazz into their music, a process they had begun on their previous album, "Fifth Dimension". In addition, the album captured the band and record producer Gary Usher experimenting with new musical textures, including brass instruments, reverse tape effects and an electronic oscillator.


title: Younger Than Yesterday

text: The album also marked the emergence of the band's bass player Chris Hillman as a talented songwriter and vocalist. Prior to "Younger Than Yesterday", Hillman had only received one shared writing credit with the Byrds, but this album saw him credited as the sole composer of four songs and a co-writer of "So You Want to Be a Rock 'n' Roll Star". Byrds expert Tim Connors has remarked that two of Hillman's compositions on "Younger Than Yesterday" exhibited country and western influences and thus can be seen as early indicators of the country rock experimentation that would feature—to a greater or lesser degree—on all of the Byrds' subsequent albums.


title: Younger Than Yesterday

text: Upon release, the album peaked at number 24 on the "Billboard" Top LPs chart and reached number 37 on the UK Albums Chart. It was preceded by the "So You Want to Be a Rock 'n' Roll Star" single in January 1967, which reached the Top 30 of the "Billboard" Hot 100. Two additional singles taken from the album, "My Back Pages" and "Have You Seen Her Face", were also moderately successful on the "Billboard" singles chart. However, none of the singles taken from the album charted in the United Kingdom. Music critics Richie Unterberger and David Fricke have both remarked that although it was largely overlooked by the public at the time of its release, the album's critical standing has improved over the years and today "Younger Than Yesterday" is considered one of the Byrds' best albums. The title of "Younger Than Yesterday" is derived from the lyrics of "My Back Pages", a song written by Bob Dylan, which was covered on the album.


title: Younger Than Yesterday

text: The Byrds had initially come to international prominence in mid-1965, when their folk rock interpretation of Bob Dylan's "Mr. Tambourine Man" reached number 1 on both the U.S. "Billboard" Hot 100 chart and the UK Singles Chart. Further commercial successes followed, with the band releasing two hit albums and reaching number 1 for a second time in the U.S., with a cover version of Pete Seeger's "Turn! Turn! Turn! (to Everything There is a Season)". Throughout the latter half of 1965, the band enjoyed tremendous popularity among teenage pop fans and their music received widespread airplay on Top 40 radio. In early 1966, the Byrds' principal songwriter, Gene Clark, departed the band, leaving Jim McGuinn, David Crosby, Chris Hillman, and Michael Clarke to complete the band's third album, "Fifth Dimension", without him. Upon release, "Fifth Dimension" received a mixed critical reception and was less commercially successful than the band's earlier albums. As a result, the Byrds' popularity began to wane and by late 1966, they had been all but forgotten by mainstream pop audiences.


title: Younger Than Yesterday

text: Shortly after the release of "Fifth Dimension", the Byrds found themselves without a record producer, when Allen Stanton, who had worked with them on that album, left Columbia Records to work for A&M. The band chose to replace Stanton with Gary Usher, a former songwriting partner of Brian Wilson of the Beach Boys, who had recently co-produced Clark's debut solo album, "Gene Clark with the Gosdin Brothers". In addition to producing the recording sessions for "Younger Than Yesterday", Usher would produce the band's next two albums. The Byrds' biographer Johnny Rogan states that Usher's wealth of production experience and love of innovative studio experimentation would prove invaluable as the group entered their most creatively adventurous phase. Author David N. Howard has also remarked that despite the hodgepodge of styles and genres present on "Younger Than Yesterday", Usher's studio expertise gives the album an impressively uniform consistency.


title: Younger Than Yesterday

text: Following an intensive period of rehearsal at their Sunset Boulevard headquarters, the Byrds completed the entire "Younger Than Yesterday" album at Columbia Studios, Hollywood, during a work-intensive, eleven-day period, starting on November 28 and finishing on December 8, 1966. The original working title for the LP was "Sanctuary", but ultimately this was dropped in favor of a title inspired by the chorus lyrics of the album's Bob Dylan cover, "My Back Pages":


title: Younger Than Yesterday

text: Although Clark had left the Byrds prior to completion of the "Fifth Dimension" album, he did participate in the recording of the songs "Eight Miles High" and "Captain Soul" from that record. As a result, "Younger Than Yesterday" was the first album to be entirely recorded by the Byrds without Clark's participation. As on "Fifth Dimension", guitarists McGuinn and Crosby continued to hone their songwriting skills in an attempt to fill the void left by Clark's departure.


title: Younger Than Yesterday

text: However, the most surprising development within the Byrds at this time was the emergence of bass player Chris Hillman as both a lead vocalist and the band's third songwriter. Prior to the recording of "Younger Than Yesterday", Hillman had never sung lead vocals on a Byrds' recording and his only writing contribution with the band had been a shared credit for the instrumental track "Captain Soul". On this album, however, he is credited as the sole songwriter of "Have You Seen Her Face", "Time Between", "Thoughts and Words", and "The Girl with No Name", with all four tracks featuring him as the lead vocalist. Hillman is also credited as the co-writer of "So You Want to Be a Rock 'n' Roll Star", which he sings with McGuinn and Crosby.


title: Younger Than Yesterday

text: "Younger Than Yesterday" found the Byrds expanding their musical style in several different directions. Music critic John Harris has described the album as the Byrds' "West Coastified version of the "Revolver" aesthetic", with reference to the Beatles' 1966 album. Chris Hillman contributed two country rock-flavored songs with "Time Between" and "The Girl with No Name", the latter of which was inspired by a young lady with the unusual moniker of Girl Freiberg. "Time Between", on the other hand, was a Paul McCartney-influenced pop song and the result of Hillman's first ever attempt at writing a song on his own. Both songs featured the country-style guitar playing of session musician Clarence White, who would go on to become a full member of the Byrds' latter-day line-up from 1968 through to 1973. Byrds expert Tim Connors has suggested that the pop-country sound of "Time Between" and "The Girl with No Name"—like "Mr. Spaceman" from the band's previous album—anticipated the experimentation with country music that would color the Byrds' subsequent albums.


title: Younger Than Yesterday

text: In addition to these two country-tinged songs, Hillman also contributed the LSD-influenced "Thoughts and Words", a metaphysical meditation on human relationships that featured the sitar-like sound of backwards guitar effects. A fourth Hillman-penned song on the album, the British Invasion-influenced "Have You Seen Her Face", was considered commercial enough to be issued as a single in the U.S. some months after the release of the album. Tim Connors had remarked on his Byrdwatcher website that these four melodic, romantically themed Hillman songs brought to the album elements that had largely been missing from the band's recordings since Clark's departure.


title: Younger Than Yesterday

text: Hillman also had a hand in writing the album's opening track, "So You Want to Be a Rock 'n' Roll Star". With its satirical and sarcastic lyrics, the song was an acerbic, but good-natured swipe at the success of manufactured pop bands like the Monkees. However, Connors has stated that "So You Want to Be a Rock 'n' Roll Star" also suggests certain ironies due to pre-fabricated aspects of the Byrds' own origin, including drummer Michael Clarke having been initially recruited for his good looks, rather than for his musical ability. As a result of this, music journalist David Fricke has said that some fans have mistaken "So You Want to Be a Rock 'n' Roll Star" for an autobiographical song. Hillman's driving bassline and McGuinn's chiming twelve-string Rickenbacker guitar riff form the core of the song, with the production being rounded off by the sound of screaming teenage fans, which had been recorded at a Byrds' concert in Bournemouth during the band's 1965 English tour. South African jazz musician Hugh Masekela contributed the trumpet solo featured in the song, which represented the first use of brass on a Byrds' recording. Masekela and the Byrds would later perform "So You Want to Be a Rock 'n' Roll Star" together at the Monterey Pop Festival on June 17, 1967.