title: Dream On (Aerosmith song)

text: In 2022, at rapper Eminem’s Rock and Roll Hall of Fame induction concert, Tyler performed the introductory line and the chorus to Dream On, along with Eminem as he performed his 2002 hit "Sing for the Moment", which used the former’s chorus as its chorus.


title: Dream On (Aerosmith song)

text: A coinciding video directed by Marty Callner was also created at the MTV 10th anniversary special performance with the orchestra.


title: Tracheomalacia

text: Tracheomalacia is a condition or incident where the cartilage that keeps the airway (trachea) open is soft such that the trachea partly collapses especially during increased airflow. This condition is most commonly seen in infants and young children. The usual symptom is stridor when a person breathes out. This is usually known as a collapsed windpipe.


title: Tracheomalacia

text: The trachea normally opens slightly during breathing in and narrows slightly during breathing out. These processes are exaggerated in tracheomalacia, leading to airway collapse on breathing out.


title: Tracheomalacia

text: If the condition extends further to the large airways (bronchi) (if there is also bronchomalacia), it is termed tracheobronchomalacia. The same condition can also affect the larynx, which is called laryngomalacia. The term is from "trachea" and the Greek μαλακία, "softening"


title: Tracheomalacia

text: Tracheomalacia occurs when the walls of the trachea collapse. This can happen because the walls of the windpipe are weak, or it can happen because something is pressing on it. This may include hypotonia of the trachealis muscle. The whole windpipe can be affected, or only a short piece of it. If the collapsed part of the windpipe goes past the area where the windpipe branches off into the two lungs, it is called bronchomalacia.


title: Tracheomalacia

text: This problem causes noisy or difficult breathing in the first 1 to 2 months after birth. This is called congenital tracheomalacia (it was present at birth). It is not very common. Babies born with tracheomalacia may have other health issues like a heart defect, reflux or developmental delay. Some children get tracheomalacia because of other health issues. Symptoms can be mild to severe.


title: Tracheomalacia

text: Symptoms inside the lung include noisy breathing that may get better when you change your baby's position or while he or she is asleep. Breathing problems that get worse during coughing, crying, feeding or colds. High-pitched sound during breathing (stridor).


title: Tracheomalacia

text: There is no standardized, defined set of diagnostic criteria for the diagnosis of tracheomalacia, mainly due to the nonspecific symptoms associated with it. Current diagnostic approaches include pulmonary function testing which shows a characteristic reduction in peak expiratory flow (PEF), physical examination, and imaging such as computed tomography (CT) or magnetic resonance imaging (MRI), fiberoptic bronchoscopy (FB) is considered the best diagnostic method because an inserted camera down the throat shows a direct view of the airways and lungs, detecting changes in the size or appearance of the trachea's lumen and mucosa and any signs of inflammation, fistulas, or external compressions to precisely determine the location and severity of the malacia. Cross-sectional radiological images are important in detecting mediastinal structures involved in TM prior to surgery. Tracheography/Bronchography is no longer a preferred diagnostic method. Bronchography provides an accurate measurement of the airway lumen with a dynamic and morphological evaluation of the tracheobronchial tree. However, this requires the injection of contrast material within the narrowed airway. Risks include allergic reaction, airway plugging, or complete airway obstruction.


title: Tracheomalacia

text: According to the 2012 Cochrane review, there is no evidence supporting medical therapy over surgical therapy for significant tracheomalacia, or vice versa. Current recommendations for mild to moderate non-life-threatening tracheomalacia focuses on symptom management.


title: Tracheomalacia

text: Life is usually saved if the airway is opened via a hole in the throat. If a person survives, they may have symptoms, but usually will get better after the airway is reopened. If the symptoms are severe enough, treatment may be needed. These range from medical management over mechanical ventilation (both continuous positive airway pressure (CPAP), or bi-level positive airway pressure (BiPAP) to tracheal stenting and surgery.


title: Tracheomalacia

text: Surgical techniques include aortopexy, tracheopexy, tracheobronchoplasty, and tracheostomy. The role of the nebulised recombinant human deoxyribonuclease (rhDNase) remains inconclusive.


title: Iko Iko

text: "Iko Iko" () is a much-covered New Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts.


title: Iko Iko

text: The song first became popular in 1965 by the girl group the Dixie Cups, who scored an international hit with "Iko Iko". In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song. In 1972, Dr. John had a minor hit with his version of "Iko Iko". In the UK, a version recorded by Scottish singer Natasha England in 1982 made it to the top 10. "Iko Iko" became an international hit twice more, the first being the Belle Stars in June 1982 and again with Captain Jack in 2001. An adaptation by Papua New Guinea artist Justin Wellington under the title "Iko Iko (My Bestie)" featuring the Solomon Island duo Small Jam became an international hit in 2021 after a successful TikTok challenge.


title: Iko Iko

text: The song was originally recorded by and released as a single in November 1953 by James Crawford as "Sugar Boy and his Cane Cutters", on Checker Records (Checker 787). The single features Dave Lastie on tenor saxophone. Crawford's version of the song did not make the charts. The story tells of a "spy boy" (i.e. a lookout for one band of Indians) encountering the "flag boy" or guidon carrier for another "tribe". He threatens to "set the flag on fire". Crawford set phrases chanted by Mardi Gras Indians to music for the song. Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo", but the title was misheard by Chess Records and Checker Records president Leonard Chess, who misspelled it as "Jock-a-mo" for the record's release.


title: Iko Iko

text: The Dixie Cups' version was the result of an unplanned jam in a New York City recording studio where they began an impromptu version of "Iko Iko", accompanying themselves with drumsticks on an aluminum chair, a studio ashtray and a Coke bottle. After their producers cleaned up the track and added the backup vocals, bass and drums to the song, the single was then released in March 1965. The Dixie Cups scored an international hit single with "Iko Iko" in May 1965 on the "Billboard" Hot 100 chart where their version peaked at number 20 and spent 10 weeks on the Top 100. The song also charted at number 23 on the UK Singles Chart and peaked at number 20 on the R&B Chart. In Canada "Iko Iko" reached number 26 on the "RPM" Chart. It was the third single taken from their debut studio album "Chapel of Love" issued on Red Bird Records in August 1964.


title: Iko Iko

text: The Dixie Cups had learned "Iko, Iko" from hearing the Hawkins sisters' grandmother sing it, but they knew little about the origin of the song and so the original authorship credit went to the members, Barbara Ann Hawkins, her sister Rosa Lee Hawkins, and their cousin Joan Marie Johnson.


title: Iko Iko

text: The Dixie Cups' version was later included on the soundtrack to the 1987 film "The Big Easy". This same version was also used on the soundtrack of the 2005 film "The Skeleton Key". In 2009, a version based on the Dixie Cups' was used in an ad for Lipton Rainforest Alliance Ice Tea.


title: Iko Iko

text: After the Dixie Cups version of "Iko Iko" was a hit in 1965, they and their record label, Red Bird Records, were sued by James Crawford, who claimed that "Iko Iko" was the same as his composition "Jock-a-mo". Although the Dixie Cups denied that the two compositions were similar, the lawsuit resulted in a settlement in 1967 with Crawford making no claim to authorship or ownership of "Iko Iko", but being credited 25% for public performances, such as on radio, of "Iko Iko" in the United States. A comparison of the two recordings demonstrates the shared lyric and melody between the two songs, though the arrangements are different in tempo, instrumentation and harmony. Crawford's rationale for the settlement was motivated by years of legal battles with no royalties. In the end, he stated, "I don't even know if I really am getting my just dues. I just figure 50 percent of something is better than 100 percent of nothing."


title: Iko Iko

text: In the 1990s, the Dixie Cups became aware that another group of people were claiming authorship of "Iko Iko". Their ex-manager Joe Jones and his family filed a copyright registration in 1991, alleging that they wrote the song in 1963. Joe Jones successfully licensed "Iko Iko" outside of North America. The Dixie Cups filed a lawsuit against Joe Jones. The trial took place in New Orleans and the Dixie Cups were represented by well-known music attorney Oren Warshavsky before Senior Federal Judge Peter Beer. The jury returned a unanimous verdict on March 6, 2002, affirming that the Dixie Cups were the only writers of "Iko Iko" and granting them more money than they were seeking. The Fifth Circuit Court of Appeals upheld the jury verdict and sanctioned Joe Jones.


title: Iko Iko

text: New Orleans singer and pianist Dr. John covered "Iko Iko" in 1972 for his fifth studio album "Dr. John's Gumbo". Released as a single in March 1972 on Atco Records, his version of the song charted at number 71 on the "Billboard" Hot 100 chart. It was produced by Jerry Wexler and Harold Battiste. The "Iko Iko" story, is told by Dr. John in the liner notes to his 1972 album, "Dr. John's Gumbo", in which he covers New Orleans R&B classics:


title: Iko Iko

text: Dr. John, playing himself, performs the song in the "movie" "Polynesian Town" on the May 22, 1981, episode of the Canadian comedy show SCTV.


title: Iko Iko

text: Dr. John performed the song during halftime of the 2008 NBA All-Star Game in New Orleans and again in 2014.


title: Iko Iko

text: The most successful charting version in the UK was recorded by the Scottish singer Natasha (full name Natasha England), whose version reached number 10 on the UK singles chart in 1982. Natasha's single was one of two competing versions of "Iko Iko" in the Official Singles Chart Top 40 of week ending 19 June 1982, a chart run-down which saw Natasha at number 24, eleven places higher than the version released by The Belle Stars on Stiff Records. The song also charted highly in Ireland, Israel and New Zealand. The single was produced by Tom Newman. A remix of the single was released in 2007, and Natasha's version enjoyed a resurgence in 2014 when it was included on the soundtrack to the highest-grossing Italian film of 2014, "A Boss in the Living Room" ("Un Boss in Salotto").


title: Iko Iko

text: In 1989, the British girl group the Belle Stars had a US chart hit with their cover of "Iko Iko", which reached number 14 on the "Billboard" Hot 100 chart in March, after it was included on the soundtrack of the film "Rain Man", starring Tom Cruise and Dustin Hoffman. The single was issued on Capitol Records. Their song is in the opening scene of the 1988 film.


title: Iko Iko

text: It was originally released several years earlier on Stiff Records in 1982 as a single in the UK, where it peaked at a modest number 35 on the UK Singles Chart in June 1982. The track was produced by Brian Tench and was also featured on the band's eponymous debut album, "The Belle Stars", which reached number 15 on the UK Albums Chart.


title: Iko Iko

text: The Belle Stars version was also included in the 1997 film "Knockin' on Heaven's Door" and "The Hangover" in 2009.


title: Iko Iko

text: A music video was used to promote the single. The music video features scenes from the "Rain Man" movie as well as Belle Stars lead singer Jennie McKeown wearing a black outfit with blue dangling treble clefs and bleach blond dreadlocks. Jennie is also accompanied by four dancing girls in colorful outfits and a dancing man trying to persuade a subdued man. The original music video uses the 1989 remix which samples Woo! Yeah! from Lyn Collins's Think (About It). On the bridge, a line from the Thunderbirds episode "Ricochet" is also heard on the remix.


title: Iko Iko

text: The German Eurodance act Captain Jack recorded a cover version of "Iko Iko" for their fourth studio album, "Top Secret" in 2001. It was released on E-Park Records. The single was produced by Udo Niebergall and Eric Sneo. Captain Jack's version was a hit in several countries, reaching number 22 in Germany, number 62 in Switzerland and peaking at number 16 in Austria.


title: Iko Iko

text: Papua New Guinean singer Justin Wellington recorded his version of "Iko Iko" in 2017, featuring Solomon Islands group Small Jam. It was not a strict cover but rather an adaptation. The track was released by Sony Music UK on June 3, 2019, and started to gain popularity in 2021 after it went viral on social platform TikTok. This version makes various changes to the lyrics of some verses, and has its own musical original sections, but keeps the chorus the same. It was later added alongside the TikTok dance into the video game "Fortnite Battle Royale". The track has proven very successful charting high internationally in many countries.


title: Iko Iko

text: Linguists and historians have proposed a variety of origins for the seemingly nonsensical chorus, suggesting that the words may come from a melange of cultures.


title: Iko Iko

text: Linguist Geoffrey D. Kimball derives the lyrics of the song in part from Mobilian Jargon, an extinct American Indian trade language consisting mostly of Choctaw and Chickasaw words and once used by Native Americans, Blacks, and European settlers and their descendants in the Gulf Coast Region. In Mobilian Jargon, (interpreted as "jockomo feeno") was a commonly used phrase, meaning 'very good'.


title: Iko Iko

text: Chickasaw words ('it's good') and ('very'), Creole from French Creole ('at the back'), and the Creole from the French ('year').


title: Iko Iko

text: In a 2009 "OffBeat" article, the Ghanaian social linguist Evershed Amuzu said the chorus was "definitely West African", reflecting the tonal patterns of the region. He notes that the phrase —often doubled as —is a popular chant meaning 'well done', or 'congratulations' among the Akan and Ewe people in modern-day Togo, Ghana, and Benin. Both groups were frequently taken in the slave trade, often through Haiti to Louisiana. Ewes in particular are credited with bringing West African cultural influences like Vodun rites to Haiti and on to New Orleans.


title: Iko Iko

text: Musicologist Ned Sublette has backed the idea that the chorus might have roots in Haitian slave culture, considering that the rhythms of Mardi Gras Indians are nearly indistinguishable from the Haitian Kata rhythm. "Yaquimo", he has also noted, was a common name among the Taíno inhabitants of Haiti in the early years of the slave trade. is also, whether coincidentally or not, the phrase "The black cat is here" in Bambara, a West African Manding language.


title: Iko Iko

text: In a 1991 lecture to the New Orleans Social Science History Association, Sybil Kein proposed the following translation from Yoruba and Creole:


title: Iko Iko

text: Louisiana Voodoo practitioners would recognize many aspects of the song as being about spirit possession. The practitioner, the horse, waves a flag representing a certain god to call that god into himself or herself. Setting a flag on fire is a curse. The man in green, who either changes personality or whose appearance is deceiving, would be recognized in Voodoo as possessed by a peaceful Rada spirit, inclining to green clothes and love magic. The man in red, who is being sent to kill, would likely be possessed by a vengeful Petwo spirit.


title: Iko Iko

text: Haitian ethnologist Milo Rigaud published a transcription in 1953 of a Voodoo chant, "Crabigne Nago". This chant to invoke the Voodoo mystère Ogou Shalodeh is similar to "Iko, Iko" in both pentameter and phones.<poem lang="ht">


title: Swing music

text: Swing music is a style of jazz that developed in the United States during the late 1920s and early 1930s. It became nationally popular from the mid-1930s. The name derived from its emphasis on the off-beat, or nominally weaker beat. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, known as the swing era. The verb "to swing" is also used as a term of praise for playing that has a strong groove or drive. Musicians of the swing era include Duke Ellington, Benny Goodman, Count Basie, Cab Calloway, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Harry James, Lionel Hampton, Glenn Miller, Artie Shaw and Django Reinhardt.


title: Swing music

text: Swing has its roots in 1920s dance music ensembles, which began using new styles of written arrangements, incorporating rhythmic innovations pioneered by Louis Armstrong, Coleman Hawkins, Benny Carter and other jazzmen. During the World War II era Swing began to decline in popularity, and after war, bebop and jump blues gained popularity.


title: Swing music

text: Swing blended with other genres to create new musical styles. In country music, artists such as Jimmie Rodgers, Moon Mullican, Milton Brown and Bob Wills introduced elements of swing along with blues to create a genre called "western swing". Famous roma guitarist Django Reinhardt created gypsy swing music and composed the gypsy swing standard "Minor Swing". In the late 1980s to early 1990s, new urban-styled swing-beat emerged called new jack swing (New York go-go), created by young producer Teddy Riley. In the late 1990s and into the 2000s, there was a swing revival, led by Squirrel Nut Zippers, Brian Setzer orchestra and Big Bad Voodoo Daddy.


title: Swing music

text: Developments in dance orchestra and jazz music during the 1920s both contributed to the development of the 1930s swing style. Starting in 1923, the Fletcher Henderson Orchestra featured innovative arrangements by Don Redman that featured call-response interplay between brass and reed sections, and interludes arranged to back up soloists. The arrangements also had a smoother rhythmic sense than the ragtime-influenced arrangements that were the more typical "hot" dance music of the day. In 1924 Louis Armstrong joined the Henderson band, lending impetus to an even greater emphasis on soloists. The Henderson band also featured Coleman Hawkins, Benny Carter, and Buster Bailey as soloists, who all were influential in the development of swing era instrumental styles. During the Henderson band's extended residency at the Roseland Ballroom in New York, it became influential on other big bands. Duke Ellington credited the Henderson band with being an early influence when he was developing the sound for his own band. In 1925 Armstrong left the Henderson band and would add his innovations to New Orleans style jazz to develop Chicago style jazz, another step towards swing.


title: Swing music

text: Traditional New Orleans style jazz was based on a two-beat meter and contrapuntal improvisation led by a trumpet or cornet, typically followed by a clarinet and trombone in a call-response pattern. The rhythm section consisted of a sousaphone and drums, and sometimes a banjo. By the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the sousaphone. Use of the string bass opened possibilities for 4/4 instead of 2/4 time at faster tempos, which increased rhythmic freedom. The Chicago style released the soloist from the constraints of contrapuntal improvisation with other front-line instruments, lending greater freedom in creating melodic lines. Louis Armstrong used the additional freedom of the new format with 4/4 time, accenting the second and fourth beats and anticipating the main beats with lead-in notes in his solos to create a sense of rhythmic pulse that happened between the beats as well as on them, i.e. swing.


title: Swing music

text: In 1927 Armstrong worked with pianist Earl Hines, who had a similar impact on his instrument as Armstrong had on trumpet. Hines' melodic, horn-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes". His approaches to rhythm and phrasing were also free and daring, exploring ideas that would define swing playing. His approach to rhythm often used accents on the lead-in instead of the main beat, and mixed meters, to build a sense of anticipation to the rhythm and make his playing swing. He also used "stops" or musical silences to build tension in his phrasing. Hines' style was a seminal influence on the styles of swing-era pianists Teddy Wilson, Art Tatum, Jess Stacy, Nat "King" Cole, Erroll Garner, Mary Lou Williams, and Jay McShann.


title: Swing music

text: Black territory dance bands in the southwest were developing dynamic styles that often went in the direction of blues-based simplicity, using riffs in a call-response pattern to build a strong, danceable rhythm and provide a musical platform for extended solos. The rhythm-heavy tunes for dancing were called "stomps". The requirement for volume led to continued use of the sousaphone over the string bass with the larger ensembles, which dictated a more conservative approach to rhythm based on 2/4 time signatures. Meanwhile, string bass players such as Walter Page were developing their technique to the point where they could hold down the bottom end of a full-sized dance orchestra.


title: Swing music

text: The growth of radio broadcasting and the recording industry in the 1920s allowed some of the more popular dance bands to gain national exposure.


title: Swing music

text: The most popular style of dance orchestra was the "sweet" style, often with strings. Paul Whiteman developed a style he called "symphonic jazz," grafting a classical approach over his interpretation of jazz rhythms in an approach he hoped would be the future of jazz. Whiteman's Orchestra enjoyed great commercial success and was a major influence on the sweet bands. Jean Goldkette's Victor Recording Orchestra featured many of the top white jazz musicians of the day including Bix Beiderbecke, Jimmy Dorsey, Frank Trumbauer, Pee Wee Russell, Eddie Lang, and Joe Venuti. The Victor Recording Orchestra won the respect of the Fletcher Henderson Orchestra in a Battle of the Bands; Henderson's cornetist Rex Stewart credited the Goldkette band with being the most influential white band in the development of swing music before Benny Goodman's. As a dance music promoter and agent, Goldkette also helped organize and promote McKinney's Cotton Pickers and Glen Gray's Orange Blossoms (later the Casa Loma Orchestra), two other Detroit-area bands that were influential in the early swing era.


title: Swing music

text: As the 1920s turned to the 1930s, the new concepts in rhythm and ensemble playing that comprised the swing style were transforming the sounds of large and small bands. Starting in 1928, The Earl Hines Orchestra was broadcast throughout much of the midwest from the Grand Terrace Cafe in Chicago, where Hines had the opportunity to expound upon his new approaches to rhythm and phrasing with a big band. Hines' arranger Jimmy Mundy would later contribute to the catalog of the Benny Goodman Orchestra. The Duke Ellington Orchestra had its new sounds broadcast nationally from New York's Cotton Club, followed by the Cab Calloway Orchestra and the Jimmie Lunceford Orchestra. Also in New York, the Fletcher Henderson Orchestra featured the new style at the Roseland Ballroom and the swing powerhouse Chick Webb Orchestra started its extended stay at the Savoy Ballroom in 1931. Bennie Moten and the Kansas City Orchestra showcased the riff-propelled, solo-oriented form of swing that had been developing in the hothouse of Kansas City. Emblematic of the evolving music was the change in the name of Moten's signature tune, from "Moten Stomp" to "Moten Swing". Moten's orchestra had a highly successful tour in late 1932. Audiences raved about the new music, and at the Pearl Theatre in Philadelphia in December 1932, the doors were let open to the public who crammed into the theatre to hear the new sound, demanding seven encores from Moten's orchestra.


title: Swing music

text: With the early 1930s came the financial difficulties of the Great Depression that curtailed recording of the new music and drove some bands out of business, including the Fletcher Henderson Orchestra and McKinney's Cotton Pickers in 1934. Henderson's next business was selling arrangements to up-and-coming bandleader Benny Goodman. "Sweet" dance music remained most popular with white audiences but the Casa Loma Orchestra and the Benny Goodman Orchestra went against that grain, targeting the new swing style to younger audiences.


title: Swing music

text: In 1935 the Benny Goodman Orchestra had won a spot on the radio show "Let's Dance" and started showcasing an updated repertoire featuring Fletcher Henderson arrangements. Goodman's slot was on after midnight in the East, and few people heard it. It was on earlier on the West Coast and developed the audience that later led to Goodman's Palomar Ballroom triumph. At the Palomar engagement starting on August 21, 1935, audiences of young white dancers favored Goodman's rhythm and daring arrangements. The sudden success of the Goodman orchestra transformed the landscape of popular music in America. Goodman's success with "hot" swing brought forth imitators and enthusiasts of the new style throughout the world of dance bands, which launched the "swing era" that lasted until 1946.


title: Swing music

text: A typical song played in swing style would feature a strong, anchoring rhythm section in support of more loosely-tied woodwind and brass sections playing call-response to each other. The level of improvisation that the audience might expect varied with the arrangement, song, band, and band-leader. Typically included in big band swing arrangements were an introductory chorus that stated the theme, choruses arranged for soloists, and climactic out-choruses. Some arrangements were built entirely around a featured soloist or vocalist. Some bands used string or vocal sections, or both. Swing-era repertoire included the Great American Songbook of Tin Pan Alley standards, band originals, traditional jazz tunes such as the “King Porter Stomp”, with which the Goodman orchestra had a smash hit, and blues.


title: Swing music

text: Hot swing music is strongly associated with the jitterbug dancing that became a national craze accompanying the swing craze. Swing dancing originated in the late 1920s as the "Lindy Hop," and would later incorporate other styles including The Suzie Q, Truckin', Peckin' Jive, The Big Apple, and The Shag in various combinations of moves. A subculture of jitterbuggers, sometimes growing quite competitive, congregated around ballrooms that featured hot swing music. A dance floor full of jitterbuggers had cinematic appeal; they were sometimes featured in newsreels and movies. Some of the top jitterbuggers gathered in professional dance troupes such as Whitey's Lindy Hoppers (featured in "A Day At the Races", "Everybody Dance", and "Hellzapoppin'"). Swing dancing would outlive the swing era, becoming associated with R&B and early Rock&Roll.


title: Swing music

text: As with many new popular musical styles, swing met with some resistance because of its improvisation, tempo, occasionally risqué lyrics, and frenetic dancing. Audiences used to traditional "sweet" arrangements, such as those offered by Guy Lombardo, Sammy Kaye, Kay Kyser and Shep Fields, were taken aback by the rambunctiousness of swing music. Swing was sometimes regarded as light entertainment, more of an industry to sell records to the masses than a form of art, among fans of both jazz and "serious" music. Some jazz critics such as Hugues Panassié held the polyphonic improvisation of New Orleans jazz to be the pure form of jazz, with swing a form corrupted by regimentation and commercialism. Panassié was also an advocate of the theory that jazz was a primal expression of the black American experience and that white musicians, or black musicians who became interested in more sophisticated musical ideas, were generally incapable of expressing its core values. In his 1941 autobiography, W. C. Handy wrote that "prominent white orchestra leaders, concert singers and others are making commercial use of Negro music in its various phases. That's why they introduced "swing" which is not a musical form" (no comment on Fletcher Henderson, Earl Hines, Duke Ellington, or Count Basie). The Dixieland revival started in the late 1930s as a self-conscious re-creation of New Orleans jazz in reaction against the orchestrated style of big band swing. Some swing bandleaders saw opportunities in the Dixieland revival. Tommy Dorsey's Clambake Seven and Bob Crosby's Bobcats were examples of Dixieland ensembles within big swing bands.


title: Swing music

text: Between the poles of hot and sweet, middlebrow interpretations of swing led to great commercial success for bands such as those led by Artie Shaw, Glenn Miller and Tommy Dorsey. Miller's trademark clarinet-led reed section was decidedly "sweet," but the Miller catalog had no shortage of bouncy, medium-tempo dance tunes and some up-tempo tunes such as "Mission to Moscow" and the Lionel Hampton composition “Flying Home”. "The Sentimental Gentleman of Swing" Tommy Dorsey made a nod to the hot side by hiring jazz trumpeter and Goodman alumnus Bunny Berigan, then hiring Jimmie Lunceford's arranger Sy Oliver to spice up his catalog in 1939.


title: Swing music

text: New York became a touchstone for national success of big bands, with nationally broadcast engagements at the Roseland and Savoy ballrooms a sign that a swing band had arrived on the national scene. With its Savoy engagement in 1937, the Count Basie Orchestra brought the riff-and-solo oriented Kansas City style of swing to national attention. The Basie orchestra collectively and individually would influence later styles that would give rise to the smaller "jump" bands and bebop. The Chick Webb Orchestra remained closely identified with the Savoy Ballroom, having originated the tune "Stompin' at the Savoy", and became feared in the Savoy's Battles of the Bands. It humiliated Goodman's band, and had memorable encounters with the Ellington and Basie bands. The Goodman band's 1938 Carnegie Hall Concert turned into a summit of swing, with guests from the Basie and Ellington bands invited for a jam session after the Goodman band's performance. Coleman Hawkins arrived back from an extended stay in Europe to New York in 1939, recorded his famous version of “Body and Soul”, and fronted his own big band. 1940 saw top-flight musicians such as Charlie Parker, Dizzy Gillespie, Don Byas, Charlie Christian, and Gene Ramey, whose careers in swing had brought them to New York, beginning to coalesce and develop the ideas that would become bebop.


title: Swing music

text: The early 1940s saw emerging trends in popular music and jazz that would, once they had run their course, result in the end of the swing era. Vocalists were becoming the star attractions of the big bands. Vocalist Ella Fitzgerald, after joining the Chick Webb Orchestra in 1936, propelled the band to great popularity and the band continued under her name after Webb's death in 1939. In 1940 vocalist Vaughn Monroe was leading his own big band and Frank Sinatra was becoming the star attraction of the Tommy Dorsey Orchestra, inciting mass hysteria among bobby-soxers. Vocalist Peggy Lee joined the Goodman Orchestra in 1941 for a two-year stint, quickly becoming its star attraction on its biggest hits. Some big bands were moving away from the swing styles that dominated the late 1930s, for both commercial and creative reasons. Some of the more commercial big bands catered to more "sweet" sensibilities with string sections. Some bandleaders such as John Kirby, Raymond Scott, and Claude Thornhill were fusing swing with classical repertoire. Lower manpower requirements and simplicity favored the rise of small band swing. The Savoy Sultans and other smaller bands led by Louis Jordan, Lucky Millinder, Louis Prima, and Tony Pastor were showcasing an exuberant "jump swing" style that would lead to the postwar rise of R&B. In a 1939 "Downbeat" interview, Duke Ellington expressed dissatisfaction with the creative state of swing music; within a few years he and other bandleaders would be delving into more ambitious, and less danceable, forms of orchestral jazz and the creative forefront for soloists would be moving into smaller ensembles and bebop. The Earl Hines Orchestra in 1943 featured a collection of young, forward-looking musicians who were at the core of the bebop movement and would in the following year be in the Billy Eckstine Orchestra, the first big band to showcase bebop. As the swing era went into decline, it secured legacies in vocalist-centered popular music, "progressive" big band jazz, R&B, and bebop.


title: Swing music

text: The trend away from big band swing was accelerated by wartime conditions and royalty conflicts. In 1941 the American Society of Composers and Producers (ASCAP) demanded bigger royalties from broadcasters and the broadcasters refused. Consequently, ASCAP banned the large repertoire they controlled from airplay, severely restricting what the radio audience could hear. ASCAP also demanded pre-approval of set lists and even written solos for live broadcasts, to assure that not even a quoted fragment of ASCAP repertoire was broadcast. Those restrictions made broadcast swing much less appealing for the year in which the ban was in place. Big band swing remained popular during the war years, but the resources required to support it became problematic. Wartime restriction on travel, coupled with rising expenses, curtailed road touring. The manpower requirements for big swing bands placed a burden on the scarce resources available for touring and were impacted by the military draft. In July 1942 the American Federation of Musicians called a ban on recording until record labels agreed to pay royalties to musicians. That stopped recording of instrumental music for major labels for over a year, with the last labels agreeing to new contract terms in November 1944. In the meantime, vocalists continued to record backed by vocal groups and the recording industry released earlier swing recordings from their vaults, increasingly reflecting the popularity of big band vocalists. In 1943 Columbia Records re-released the 1939 recording of “All or Nothing at All” by the Harry James Orchestra with Frank Sinatra, giving Sinatra top billing ("Acc. Harry James and his Orchestra"). The recording found the commercial success that had eluded its original release. Small band swing was recorded for small specialty labels not affected by the ban. These labels had limited distribution centered in large urban markets, which tended to limit the size of the ensembles with which recording could be a money-making proposition. Another blow fell on the market for dance-oriented swing in 1944 when the federal government levied a 30% excise tax on "dancing" nightclubs, undercutting the market for dance music in smaller venues.


title: Swing music

text: Swing bands and sales continued to decline from 1953 to 1954. In 1955, a list of top recording artists from the previous year was publicly released. The list revealed that big band sales had decreased since the early 1950s. However, big band music saw a revival in the 1950s and 1960s. One impetus was the demand for studio and stage orchestras as backups for popular vocalists, and in radio and television broadcasts. Ability to adapt performing styles to various situations was an essential skill among these bands-for-hire, with a somewhat sedated version of swing in common use for backing up vocalists. The resurgent commercial success of Frank Sinatra with a mildly swinging backup during the mid-1950s solidified the trend. It became a sound associated with pop vocalists such as Bobby Darin, Dean Martin, Judy Garland, and Nat King Cole, as well as jazz-oriented vocalists such as Ella Fitzgerald and Keely Smith. Many of these singers were also involved in the "less swinging" vocal pop music of this period. The bands in these contexts performed in relative anonymity, receiving secondary credit beneath the top billing. Some, such as the Nelson Riddle and Gordon Jenkins Orchestras, became well known in their own right, with Riddle particularly associated with the success of Sinatra and Cole. Swingin' pop remained popular into the mid-1960s, becoming one current of the "easy listening" genre.


title: Swing music

text: Big band jazz made a comeback as well. The Stan Kenton and Woody Herman bands maintained their popularity during lean years of the late 1940s and beyond, making their mark with innovative arrangements and high-level jazz soloists (Shorty Rogers, Art Pepper, Kai Winding, Stan Getz, Al Cohn, Zoot Sims, Serge Chaloff, Gene Ammons, Sal Nistico). Lionel Hampton was a leader in the R&B genre during the late 1940s then re-entered big band jazz in the early 1950s, remaining a popular attraction through the 1960s. Count Basie and Duke Ellington had both downsized their big bands during the first half of the 1950s, then reconstituted them by 1956. Ellington's venture back into big band jazz was encouraged by its reception at the 1956 Newport Jazz Festival. The Basie and Ellington bands flourished creatively and commercially through the 1960s and beyond, with both veteran leaders receiving high acclaim for their contemporary work and performing until they were physically unable. Drummer Buddy Rich, after briefly leading one big band during the late 1940s and performing in various jazz and big band gigs, formed his definitive big band in 1966. His name became synonymous with the dynamic, exuberant style of his big band. Other big jazz bands that drove the 1950s–60s revival include those led by Thad Jones, Mel Lewis, Quincy Jones, and Oliver Nelson. Big band jazz remains a major component of college jazz instruction curricula.


title: Swing music

text: In country music Jimmie Rodgers, Moon Mullican, and Bob Wills combined elements of swing and blues to create a Western swing. Mullican left the Cliff Bruner band to pursue solo career that included many songs that maintained a swing structure. Artists like Willie Nelson and Asleep at the Wheel have continued the swing elements of country music. Asleep at the Wheel has also recorded the Count Basie tunes “One O'Clock Jump”, “Jumpin' at the Woodside”, and “Song of the Wanderer” using a steel guitar as a stand-in for a horn section. Nat King Cole followed Sinatra into pop music, bringing with him a similar combination of swing and ballads. Like Mullican, he was important in bringing piano to the fore of popular music.


title: Swing music

text: Gypsy swing is an outgrowth of the jazz violin swing of Joe Venuti and Eddie Lang. In Europe it was heard in the music of guitarist Django Reinhardt and violinist Stéphane Grappelli. Their repertoire overlaps 1930s swing, including French popular music, gypsy songs, and compositions by Reinhardt, but gypsy swing bands are formulated differently. There is no brass or percussion; guitars and bass form the backbone, with violin, accordion, clarinet or guitar taking the lead. Gypsy swing groups generally have no more than five players. Although they originated in different continents, similarities have often been noted between gypsy swing and Western swing]l, leading to various fusions.


title: Swing music

text: Rock music hitmakers like Fats Domino and Elvis Presley included swing-era standards in their repertoire, making crooning ballads “Are You Lonesome Tonight” and “My Blue Heaven” into rock and roll-era hits. The doo-wop vocal group the Marcels had a big hit with their lively version of the swing-era ballad “Blue Moon”.


title: Swing music

text: Multi-genre mandolinist Jethro Burns is widely known for playing Swing, Jazz, and many other forms of the genre on the mandolin. He has produced many albums that feature Jazz rhythms and swing chord progressions. He is often considered "The Father of Jazz Mandolin".


title: Swing music

text: Though swing music was no longer mainstream, fans could attend "Big Band Nostalgia" tours from the 1970s into the 1980s. The tours featured bandleaders and vocalists of the swing era who were semi-retired, such as Harry James and vocalist Dick Haymes. Historically-themed radio broadcasts featuring period comedy, melodrama, and music also played a role in sustaining interest in the music of the swing era.


title: Swing music

text: Dan Hicks and His Hot Licks, and later David Grisman, presented adaptations of Gypsy Swing, rekindling interest in the musical form. Other swing revivals occurred during the 1970s. The jazz, R&B, and swing revival vocal group Manhattan Transfer and Bette Midler included swing era hits on albums during the early 1970s. In Seattle the New Deal Rhythm Band and the Horns O Plenty Orchestra revived 1930s swing with a dose of comedy behind vocalists Phil "De Basket" Shallat, Cheryl "Benzene" Bentyne, and six-foot-tall "Little Janie" Lambert. Bentyne would leave the New Deal Rhythm Band in 1978 for her long career with Manhattan Transfer. Founding leader of the New Deal Rhythm Band John Holte led swing revival bands in the Seattle area until 2003.


title: Swing music

text: A Swing Revival occurred during the 1990s and 2000s led by Royal Crown Revue, Big Bad Voodoo Daddy, The Cherry Poppin' Daddies, Squirrel Nut Zippers, Lavay Smith, and Brian Setzer. Many of the bands played neo-swing which combined swing with rockabilly, ska, and rock. The music brought a revival in swing dancing.


title: Swing music

text: In 2001 Robbie Williams's album "Swing When You're Winning" consisted mainly of popular swing covers. The album sold more than 7 million copies worldwide. In November 2013, Robbie Williams released "Swings Both Ways".


title: Swing music

text: Another modern development consists of fusing swing (original, or remixes of classics) with hip hop and house techniques. "Swing house" was particularly popular during the late 1980s and early 1990s. Influences incorporated into it include Louis Jordan and Louis Prima. Electro swing is mainly popular in Europe, and electro swing artists incorporate influences such as tango and Django Reinhardt's gypsy swing. Leading artists include Caravan Palace and Parov Stelar. Both genres are connected with a revival of swing dances, such as the Lindy hop.


title: Kirk Kerkorian

text: Kerkor Kerkorian (; June 6, 1917 – June 15, 2015) was an American businessman, investor, and philanthropist. He was the president and CEO of Tracinda Corporation, his private holding company based in Beverly Hills, California. Kerkorian was one of the important figures in the shaping of Las Vegas and, with architect Martin Stern Jr., is described as the "father of the mega-resort". He built the world's largest hotel in Las Vegas three times: the International Hotel (opened in 1969), the MGM Grand Hotel (1973) and the MGM Grand (1993). He purchased the Metro-Goldwyn-Mayer movie studio in 1969.


title: Kirk Kerkorian

text: Of Armenian descent, Kerkorian provided over $1 billion for charity in Armenia through his Lincy Foundation, which was established in 1989 and particularly focused on helping to rebuild northern Armenia after the 1988 earthquake. Kerkorian also provided money to ensure that a film based on the history of the Armenian genocide would be made. The resulting film, called "The Promise", premiered in April 2017 in the United States. In 2000 "Time" magazine named him the 10th largest donor in the US. Kerkorian was declared an honorary citizen of Armenia. He was bestowed the title of National Hero of Armenia, the highest state award.


title: Kirk Kerkorian

text: Kerkor Kerkorian was born on June 6, 1917 in Fresno, California, to Armenian parents who escaped present-day Turkey via cattle boat during the Armenian Genocide. Armenian was his first language and he "didn't learn the English language until he hit the streets." His family moved to Los Angeles following the depression of 1920–21. Dropping out of school in eighth grade, Kerkorian became a fairly skilled amateur boxer under the tutelage of his older brother Nish Kerkorian, fighting under the name "Rifle Right Kerkorian" to win the Pacific amateur welterweight championship. Kirk Kerkorian also had an older sister, Rose Kerkorian.


title: Kirk Kerkorian

text: Sensing the onset of World War II, and not wanting to join the infantry, Kerkorian learned to fly at the Happy Bottom Riding Club in the Mojave Desert—adjacent to the United States Army Air Corps's Muroc Field, now Edwards Air Force Base. In exchange for flying lessons from pioneer aviator Pancho Barnes, he agreed to milk and look after her cattle.


title: Kirk Kerkorian

text: On gaining his commercial pilot's certificate in six months, Kerkorian learned that the British Royal Air Force was ferrying Canadian-built de Havilland Mosquitos over the North Atlantic to Scotland. The Mosquito's fuel tank carried enough fuel for , while the trip directly was . Rather than take the safer Montreal–Labrador–Greenland–Iceland–Scotland route (although, going further north could mean the wings icing, and the plane crashing), Kerkorian preferred the direct "Iceland Wave" route, which blew the planes at jet-speed to Europe—but it wasn't constant, and could mean ditching. The fee was $1,000 per flight. Although accounts claim the risk was that one in four planes failed to make it, the actual rate was closer to one in "forty". In May 1944, Kerkorian and his Wing Commander John de Lacy Wooldridge rode the wave and broke the old crossing record. Wooldridge got to Scotland in six hours, 46 minutes; Kerkorian, in seven hours, nine minutes. In two and a half years with RAF Ferry Command, Kerkorian delivered 33 planes, logged thousands of hours, traveled to four continents and flew his first four-engine plane.


title: Kirk Kerkorian

text: After the war, having saved most of his wages, Kerkorian spent $5,000 on a Cessna. He worked as a general aviation pilot and made his first visit to Las Vegas in 1944. After spending much time in Las Vegas during the 1940s, Kerkorian quit gambling and in 1947 paid $60,000 for Trans International Airlines, which was a small air-charter service that flew gamblers from Los Angeles to Las Vegas. He then bid on some war surplus bombers, using money on loan from Seagram's. Gasoline, and especially airplane fuel, was in short supply at the time, so he sold the fuel from the planes' tanks, paid off his loan, and still had the airplanes. He operated the airline until 1968 when he sold it for $104 million to the Transamerica Corporation.


title: Kirk Kerkorian

text: In 1962, Kerkorian bought in Las Vegas, across the Las Vegas Strip from the Flamingo, for $960,000. This purchase led to the building of Caesars Palace, which rented the land from Kerkorian; the rent and eventual sale of the land to Caesars in 1968 made Kerkorian $9 million ($70 million today).


title: Kirk Kerkorian

text: In 1967, he bought of land on Paradise Road in Las Vegas for $5 million and, with architect Martin Stern Jr., built the International Hotel, which at the time was the largest hotel in the world; The first two performers to appear at the hotel's enormous "Showroom Internationale" were Barbra Streisand and Elvis Presley. Presley brought in some 4,200 customers (and potential gamblers), every day, for 30 days straight, breaking in the process all attendance records in the county's history. Kerkorian's International Leisure also bought the Flamingo Hotel; eventually, both hotels were sold to the Hilton Hotels Corporation and were renamed the Las Vegas Hilton and the Flamingo Hilton, respectively.


title: Kirk Kerkorian

text: After he purchased the Metro-Goldwyn-Mayer movie studio in 1969, Kerkorian (with architect Martin Stern Jr.) opened the original MGM Grand Hotel and Casino, larger than the Empire State Building and the largest hotel in the world at the time it was finished. On November 21, 1980, the original MGM Grand burned in a fire that was one of the worst disasters in Las Vegas history. The Clark County Fire Department reported 84 deaths in the fire; there were 87 deaths total, including three which occurred later as a result of injuries sustained in the fire. After only 8 months the MGM Grand reopened. Almost three months after the MGM fire, the Las Vegas Hilton caught fire, killing eight people.


title: Kirk Kerkorian

text: In 1986, Kerkorian sold the MGM Grand hotels in Las Vegas and Reno for $594 million to Bally Manufacturing. The Las Vegas property was subsequently renamed Bally's. Spun off from Metro-Goldwyn-Mayer, MGM Resorts International owns and operates several properties, including the Bellagio, the current MGM Grand, The Mirage, the New York-New York, Circus Circus, Mandalay Bay, The Luxor, Excalibur, Park MGM and the CityCenter complex in Las Vegas.


title: Kirk Kerkorian

text: MGM sold its Treasure Island Hotel and Casino property to billionaire and former New Frontier owner Phil Ruffin for $750 million.


title: Kirk Kerkorian

text: In 1969, Kerkorian appointed James Thomas Aubrey Jr. as president of MGM. Aubrey downsized the struggling MGM and sold off massive amounts of historical memorabilia, including Dorothy's ruby slippers from the 1939 film "The Wizard of Oz", the majority of the studio's backlots in Culver City and overseas operations such as the British MGM studio at Borehamwood. Kerkorian sold MGM's distribution system in 1973, and gradually distanced himself from the daily operation of the studio. He also owned minority interest in Columbia Pictures but his holdings were thwarted by the Justice Department who filed an antitrust suit due to his owning stock in two studios. In 1979, Kerkorian issued a statement claiming that MGM was now primarily a hotel company; however, he also managed to expand the overall film library and production system with the purchase of United Artists from Transamerica in 1981, becoming MGM/UA Entertainment Company. In March 1986, he sold MGM to Ted Turner. After the purchase was made, Turner sold the United Artists subsidiary back to Kerkorian.


title: Kirk Kerkorian

text: Turner kept ownership of MGM from March 25 to August 26, 1986. He racked up huge debts and Turner simply could not afford to keep the studio under those circumstances. To recoup his investment, Turner sold the production/distribution assets and trademarks of MGM (including its post-May 1986 libraries) to United Artists, while retaining the pre-May 1986 MGM, Associated Artists Productions (the pre-1950 Warner Bros. library and Fleischer Studios/Famous Studios "Popeye" cartoons) and RKO Radio Pictures libraries as well as "Gilligan's Island" and its animated spin-offs "The New Adventures of Gilligan" and "Gilligan's Planet". The studio lot was sold to Lorimar-Telepictures, which was later acquired by Warner Bros.; in 1990, the lot was sold to Sony Corporation's Columbia Pictures Entertainment in exchange for the half of Warner's lot that it had rented since 1972. Also in 1990, the MGM studio was purchased by Italian financier Giancarlo Parretti, who then merged the former Cannon with the MGM purchase to create the short-lived MGM-Pathé Communications. Parretti defaulted on the loans he'd used to buy the studio, leaving the studio in the hands of the French bank, Crédit Lyonnais. Crédit Lyonnais invested significant sums to revive the moribund studio and eventually sold it back to Kerkorian in 1996. Kerkorian soon expanded the company, purchasing Orion Pictures, The Samuel Goldwyn Company and Motion Picture Corporation of America from John Kluge's Metromedia in 1997, and bought the pre-1996 PolyGram Filmed Entertainment library in 1999 from its parent Philips, which was in process to sell PolyGram to Seagram.


title: Kirk Kerkorian

text: In 2005, Kerkorian sold MGM once more to a consortium led by Sony. He retained a 55% stake in MGM Mirage.


title: Kirk Kerkorian

text: On November 22, 2006, Kerkorian's Tracinda investment corporation offered to buy 15 million shares of MGM Mirage to increase his stake in the gambling giant from 56.3% to 61.7%, if approved.


title: Kirk Kerkorian

text: In May 2009, following the completion of a $1 billion stock offering by MGM Mirage, Kerkorian and Tracinda lost their majority ownership of the gaming company, dropping from 53.8 percent to 39 percent and even after pledging to purchase 10 percent of the new stock offering they now remain minority owners.


title: Kirk Kerkorian

text: Kerkorian had an on-again/off-again relationship with the American auto industry. His involvement began in 1995 when with the assistance of retired Chrysler chairman and CEO Lee Iacocca, Kerkorian staged a takeover attempt of the Chrysler Corporation. Chrysler's management treated the takeover as hostile, and after a lengthy battle, Kerkorian canceled his plans and sold his Chrysler stake in 1996. As part of the settlement, Iacocca was placed under a gag order forbidding him from discussing Chrysler in public or print for five years. Two years later, Chrysler management agreed to be acquired by German automaker Daimler-Benz. Kerkorian always drove an American vehicle, including a Ford Taurus and Jeep Cherokee.


title: Kirk Kerkorian

text: Kerkorian once owned 9.9 percent of General Motors (GM). According to press accounts from June 30, 2006, Kerkorian suggested that Renault acquired a 20 percent stake in GM to rescue GM from itself. A letter from Tracinda to Rick Wagoner was released to the public, to pressure GM's executive hierarchy, but talks failed. On November 22, 2006 Kerkorian sold 14 million shares of his GM stake (it is speculated that this action was due to GM's rejection of Renault and Nissan's bids for stakes in the company as both of these bids were strongly supported by Kerkorian); the sale resulted in GM's share price falling 4.1% from its November 20 price, although it remained above $30/share. The sale lowered Kerkorian's holding to around 7% of GM. On November 30, 2006 Tracinda said it had agreed to sell another 14 million shares of GM, cutting Kerkorian's stake to half of what it had been earlier that year. By the end of November 2006, he had sold substantially all of his remaining GM shares. After Kerkorian sold, GM lost more than 90% of its value, falling as low as $1/share by May 2009, and filed bankruptcy on June 1, 2009.


title: Kirk Kerkorian

text: On April 5, 2007, Kirk Kerkorian made a $4.58 billion bid for the Chrysler Group, the U.S. arm of Daimler-Chrysler. After Daimler-Chrysler announced they were interested in selling the Chrysler division on February 14, large investors such as Cerberus Capital Management, The Blackstone Group and Magna International each announced intentions to bid on the company. Kerkorian's bid, while not expected, was not surprising given his long involvement in the U.S. automobile industry. During the bidding process, he sought the aid of his close associate Jerome York who was a former CFO at both Chrysler and IBM. On May 14, 2007 80% of the Chrysler arm of Daimler-Chrysler was sold to Cerberus for $7.4 billion.


title: Kirk Kerkorian

text: Kerkorian began buying Ford Motor Company stock in April 2008, and spent about $1 billion to accumulate a 6% stake in the automaker. By October 2008, the investment had lost two-thirds of its value, and he began selling. Tracinda explained, "In light of current economic and market conditions, it sees unique value in the gaming and hospitality and oil and gas industries and has, therefore, decided to reallocate its resources and to focus on those industries."


title: Kirk Kerkorian

text: On October 21, Tracinda sold the 7.3 million Ford shares at an average price of $2.43, and said it planned to cut further its existing 6.1 percent stake in Ford, for a potential total loss of more than half a billion dollars. Kerkorian sold his remaining stake in Ford on December 29, 2008.


title: Kirk Kerkorian

text: Kerkorian's net worth in 2008 was $16.0 billion according to "Forbes" magazine, making him the 41st richest person in the world and the richest person in California at that time. By 2011, Kerkorian was among those hardest hit by stock market recession as his net worth tumbled to $3.2 billion. In 2013 he was listed as the 412th richest person with a net worth of $3.9 billion.


title: Kirk Kerkorian

text: Kerkorian was an "intensely private person". He almost never gave interviews and seldom appeared in public. "Kerkorian rarely attended board meetings and never gave speeches. He was shy, but was a tough negotiator. Those who knew him describe him not as a Hughesian hermit, but as a gentle, gracious, normal guy."


title: Kirk Kerkorian

text: Kerkorian was an avid tennis player, played in tournaments, associated with other players like Lornie Kuhle, and routinely played with Alex Yemenidjian, a former MGM executive, and former owner of the Tropicana Las Vegas resort. He had a penchant for expensive clothes (especially custom-made outfits by Italian designer Brioni), but drove relatively low cost vehicles, such as a Pontiac Firebird, Jeep Grand Cherokee and a Ford Taurus.


title: Kirk Kerkorian

text: Kerkorian died in Beverly Hills, California on June 15, 2015, nine days after his 98th birthday. He is buried at Inglewood Park Cemetery in Inglewood, California near Los Angeles.


title: Kirk Kerkorian

text: Kerkorian was married four times, first to Hilda Schmidt from 1942 to 1952. His next marriage, to Jean Maree Hardy, lasted from 1954 to 1984. The two had met at the Thunderbird resort in Las Vegas. Hardy, a dancer from England, traveled the world instructing dance troupes. They met and fell in love while she was sent to check opportunities to choreograph a performance in Las Vegas. The marriage produced Kerkorian's two daughters, Tracy and Linda, whose names serve as a portmanteau for Kerkorian's personal holding company, Tracinda Corporation, and his charitable organisation, the Lincy Foundation. Although divorced, they remained close friends and confidants.


title: Kirk Kerkorian

text: Kerkorian's short-lived third marriage (1999) was to professional tennis player Lisa Bonder, 48 years his junior, which lasted only one month. The two had signed a prenuptial agreement before marrying. Kerkorian subsequently was involved in a breach of privacy suit filed against him by Steve Bing. Kerkorian claimed Bing was the father of Bonder's daughter, an allegation which was later confirmed by DNA paternity testing. On August 10, 2006, the "Los Angeles Times" reported that Kerkorian's attorneys were being sued by Bonder because of their connection to former high-profile private investigator Anthony Pellicano, who in 2008 began serving a fifteen-year prison sentence for running a wiretapping scheme. Bonder's attorney alleged that Kerkorian's lawyers hired Pellicano to wiretap telephone calls between him and Kerkorian's ex-wife in order to gain a tactical advantage in the divorce proceedings, an allegation that was later proven true. Pellicano also took a strand of Bing's used dental floss (surreptitiously acquired from rubbish) and used it to prove that it was Bing and not Kerkorian who fathered Bonder's daughter. Attorney Terry Christensen was subsequently convicted of racketeering for hiring Pellicano to tap Bonder's phone, and received a three-year prison sentence that was confirmed on appeal.


title: Kirk Kerkorian

text: Kerkorian's short-lived fourth marriage (2014) was to Una Davis, born in 1966. The marriage lasted only 57 days and divorce proceedings were underway when Kerkorian died in June 2015.


title: Kirk Kerkorian

text: Kerkorian was active in philanthropy through his charitable foundation, The Lincy Foundation, named after his daughters, Linda and Tracy. The foundation reportedly donated more than $1 billion, though Kerkorian never allowed anything to be named in his honor. The foundation covered half of the cost of an 80-kilometer highway in Armenia. Over the next decade, Kerkorian financed more than $200 million of infrastructure projects in Armenia, including $60 million to the reconstruction of schools and streets and the renovation of many museums, theaters and concert halls.


title: Kirk Kerkorian

text: The Lincy Foundation was dissolved in 2011 after 22 years of charitable activities after dispensing its last $200 million to University of California, Los Angeles. Half was earmarked for medical research, scholarships and other projects while the other half was earmarked to create the "Dream Fund" for charitable causes around the country.


title: Kirk Kerkorian

text: Most of the $2 billion estate was left to charity, with a three-person committee left to distribute the funds within three years. In December 2018 the estate settled with his 4th wife for $12.5 million, along with $10.0 million and $50.0 million for two philanthropic foundations, advised by his 4th wife.


title: Kirk Kerkorian

text: Armenia issued a Kirk Kerkorian stamp in 2017. The city of Gyumri unveiled a statue of Kerkorian in 2018.


title: Gottmik

text: Kade Gottlieb (born August 19, 1997), better known as Gottmik, is an American drag performer and make-up artist. He became the first openly trans man to compete on "RuPaul's Drag Race", tying for 3rd place on the thirteenth season.


title: Gottmik

text: Gottmik was born in Arizona and later adopted by a conservative family in Scottsdale, and attended Notre Dame Preparatory High School. He began experimenting with drag at the age of eighteen. After high school, he pursued a career in the fashion industry by relocating to Los Angeles, where he transitioned and developed his cosmetics and drag skills. He earned a degree in product development from the Fashion Institute of Design & Merchandising.


title: Gottmik

text: Gottlieb is a drag performer and make-up artist. He has done makeup for Cindy Crawford, Todrick Hall, Paris Hilton, Heidi Klum, Adam Lambert, French Montana, and Tinashe, as well as "Drag Race" contestants Alaska Thunderfuck, Detox Icunt, Gia Gunn, Shangela, Violet Chachki, and Willam Belli. His work, described by "Out" Rose Dommu as "[ranging] from highly conceptual to urbane", has appeared in the magazines "Flaunt", "Nylon", and "Paper". He did makeup for Amanda Lepore and Pabllo Vittar for their covers on "Gay Times". In 2020, Gottlieb did Lil Nas X's makeup for Halloween, when he dressed as Nicki Minaj. He also did the makeup for the celebrities who were featured in Taylor Swift's 2019 single You Need to Calm Down.


title: Gottmik

text: In 2021, Gottmik became the first trans man to compete on "RuPaul's Drag Race", appearing on the thirteenth season. She performed well in the competition, winning two challenges (the ball and the Snatch Game, performing as Paris Hilton), and ultimately reaching the top four alongside Kandy Muse, Symone, and Rosé. She was eliminated during the finale episode in a lip sync for your life to the song "Gimme More" against the season's eventual winner, Symone, ultimately tying with Rosé as second/third runner up.


title: Gottmik

text: After competing on "Drag Race", Gottmik signed with Voss Events talent management, and will be traveling the United States with Voss' COVID-19 pandemic-compliant drive-in drag show, Drive 'N Drag Saves 2021. Gottlieb will also join Voss' 2022 European tour, Rupaul's Drag Race Werq the World tour.


title: Gottmik

text: In October 2021, Gottmik performed alongside fellow drag race alumni Violet Chachki, Alyssa Edwards, Aquaria, Jaida Essence Hall, Kandy Muse, Plastique Tiara, Rosé, and Kim Chi on Voss Event's "Night of the Living Drag" Halloween tour.


title: Gottmik

text: Gottmik launched a YouTube channel in January 2021. Gottlieb has also appeared on the Gigi Gorgeous, Pearl, James Charles and World of Wonder channels. Gottlieb was featured on the cover of "Attitude" for its April Style issue in 2021. "Cosmopolitan" invited Gottlieb to demonstrate how he transforms into Gottmik.


title: Gottmik

text: In a July 2021 interview with "Entertainment Weekly", it was revealed that the producers of the 2022 remake of "Hellraiser" auditioned Gottlieb for the role of the film's most iconic character, Pinhead. Gottlieb had previously worn a black-and-white-themed runway look inspired by Pinhead in the season 13 finale of "RuPaul's Drag Race".


title: Gottmik

text: In September 2021, Gottlieb started the YouTube and Podcast series "No Gorge" with fellow drag race alum Violet Chachki, where they discuss "all things fashion, life, and artistry." Gottmik is one of the most-followed queens of "Drag Race", with more than 1.3 million Instagram followers as of October 2021.


title: Gottmik

text: In September 2022, Gottmik appeared in the music video for Sam Smith and Kim Petras' song Unholy alongside Violet Chachki.


title: Gottmik

text: "Out" described Gottmik as "someone transmasculine who does high femme drag". Gottlieb uses "she/her" pronouns when portraying Gottmik, and "he/him" pronouns out of drag.


title: Gottmik

text: Gigi Gorgeous is among Gottmik's best friends; the two have appeared on magazine covers and launched merchandise together. Gigi also helped to fund Gottmik's chest reconstruction.


title: Hygrometer

text: A hygrometer is an instrument used to measure the amount of water vapor in air, in soil, or in confined spaces. Humidity measurement instruments usually rely on measurements of some other quantities such as temperature, pressure, mass, a mechanical or electrical change in a substance as moisture is absorbed. By calibration and calculation, these measured quantities can lead to a measurement of humidity. Modern electronic devices use the temperature of condensation (called the dew point), or they sense changes in electrical capacitance or resistance to measure humidity differences. A crude hygrometer was invented by Leonardo da Vinci in 1480. Major leaps came forward during the 1600s; Francesco Folli invented a more practical version of the device, while Robert Hooke improved a number of meteorological devices including the hygrometer. A more modern version was created by Swiss polymath Johann Heinrich Lambert in 1755. Later, in the year 1783, Swiss physicist and Geologist Horace Bénédict de Saussure invented the first hygrometer using human hair to measure humidity.


title: Hygrometer

text: The maximum amount of water vapor that can be held in a given volume of air (saturation) varies greatly by temperature; cold air can hold less mass of water per unit volume than hot air. Temperature can change humidity.


title: Hygrometer

text: Prototype hygrometers were devised and developed during the Shang dynasty in Ancient China to study weather. The Chinese used a bar of charcoal and a lump of earth: its dry weight was taken, then compared with its damp weight after being exposed in the air. The differences in weight were used to tally the humidity level.


title: Hygrometer

text: Other techniques were applied using mass to measure humidity, such as when the air was dry, the bar of charcoal would be light, while when the air was humid, the bar of charcoal would be heavy. By hanging a lump of earth and a bar of charcoal on the two ends of a staff separately and adding a fixed lifting string on the middle point to make the staff horizontal in dry air, an ancient hygrometer was made.


title: Hygrometer

text: The metal-paper coil hygrometer is very useful for giving a dial indication of humidity changes. It appears most often in inexpensive devices, and its accuracy is limited, with variations of 10% or more. In these devices, water vapor is absorbed by a salt-impregnated paper strip attached to a metal coil, causing the coil to change shape. These changes (analogous to those in a bimetallic thermometer) cause an indication on a dial. There is usually a metal needle on the front of the gauge that will change where it points to.


title: Hygrometer

text: These devices use a human or animal hair under some tension. The hair is hygroscopic (tending toward retaining moisture); its length changes with humidity, and the length change may be magnified by a mechanism and indicated on a dial or scale. In the late 17th century, such devices were called by some scientists "hygroscopes"; that word is no longer in use, but "hygroscopic" and "hygroscopy", which derive from it, still are. The traditional folk art device known as a weather house works on this principle. Whale bone and other materials may be used in place of hair.


title: Hygrometer

text: In 1783, Swiss physicist and geologist Horace Bénédict de Saussure built the first hair-tension hygrometer using human hair.


title: Hygrometer

text: The pulley is connected to an index which moves over a graduated scale (e). The instrument can be made more sensitive by removing oils from the hair, such as by first soaking the hair in diethyl ether.


title: Hygrometer

text: A psychrometer, or a wet and dry-bulb thermometer, consists of two calibrated thermometers, one that is dry and one that is kept moist with distilled water on a sock or wick. At temperatures above the freezing point of water, evaporation of water from the wick lowers the temperature, such that the wet-bulb thermometer will be at a lower temperature than that of the dry-bulb thermometer. When the air temperature is below freezing, however, the wet-bulb must be covered with a thin coating of ice, in order to be accurate. As a result of the heat of sublimation, the wet-bulb temperature will eventually be lower than the dry bulb, although this may take many minutes of continued use of the psychrometer.


title: Hygrometer

text: Relative humidity (RH) is computed from the ambient temperature, shown by the dry-bulb thermometer and the difference in temperatures as shown by the wet-bulb and dry-bulb thermometers. Relative humidity can also be determined by locating the intersection of the wet and dry-bulb temperatures on a psychrometric chart. The dry and wet thermometers coincide when the air is fully saturated, and the greater the difference the drier the air. Psychrometers are commonly used in meteorology, and in the HVAC industry for proper refrigerant charging of residential and commercial air conditioning systems.


title: Hygrometer

text: A sling psychrometer, which uses thermometers attached to a handle is manually spun in free air flow until both temperatures stabilize. This is sometimes used for field measurements, but is being replaced by more convenient electronic sensors. A whirling psychrometer uses the same principle, but the two thermometers are fitted into a device that resembles a ratchet or football rattle.


title: Hygrometer

text: Dew point is the temperature at which a sample of moist air (or any other water vapor) at constant pressure reaches water vapor saturation. At this saturation temperature, further cooling results in condensation of water. Chilled mirror dewpoint hygrometers are some of the most precise instruments commonly available. They use a chilled mirror and optoelectronic mechanism to detect condensation on the mirror's surface. The temperature of the mirror is controlled by electronic feedback to maintain a dynamic equilibrium between evaporation and condensation, thus closely measuring the dew point temperature. An accuracy of 0.2 °C is attainable with these devices, which correlates at typical office environments to a relative humidity accuracy of about ±1.2%. These devices need frequent cleaning, a skilled operator and periodic calibration to attain these levels of accuracy. Even so, they are prone to heavy drifting in environments where smoke or otherwise impure air may be present.


title: Hygrometer

text: More recently, spectroscopic chilled-mirrors have been introduced. Using this method, the dew point is determined with spectroscopic light detection which ascertains the nature of the condensation. This method avoids many of the pitfalls of the previous chilled-mirrors and is capable of operating drift free.


title: Hygrometer

text: For applications where cost, space, or fragility are relevant, other types of electronic sensors are used, at the price of a lower accuracy. In capacitive hygrometers, the effect of humidity on the dielectric constant of a polymer or metal oxide material is measured. With calibration, these sensors have an accuracy of ±2% RH in the range 5–95% RH. Without calibration, the accuracy is 2 to 3 times worse. Capacitive sensors are robust against effects such as condensation and temporary high temperatures. Capacitive sensors are subject to contamination, drift and aging effects, but they are suitable for many applications.


title: Hygrometer

text: In resistive hygrometers, the change in electrical resistance of a material due to humidity is measured. Typical materials are salts and conductive polymers. Resistive sensors are less sensitive than capacitive sensors – the change in material properties is less, so they require more complex circuitry. The material properties also tend to depend both on humidity and temperature, which means in practice that the sensor must be combined with a temperature sensor. The accuracy and robustness against condensation vary depending on the chosen resistive material. Robust, condensation-resistant sensors exist with an accuracy of up to ±3% RH (relative humidity).


title: Hygrometer

text: In thermal hygrometers, the change in thermal conductivity of air due to humidity is measured. These sensors measure absolute humidity rather than relative humidity.


title: Hygrometer

text: A Gravimetric hygrometer measures the mass of an air sample compared to an equal volume of dry air. This is considered the most accurate primary method to determine the moisture content of the air. National standards based on this type of measurement have been developed in US, UK, EU and Japan. The inconvenience of using this device means that it is usually only used to calibrate less accurate instruments, called Transfer Standards.


title: Hygrometer

text: An optical hygrometer measures the absorption of light by water in the air. A light emitter and a light detector are arranged with a volume of air between them. The attenuation of the light, as seen by the detector, indicates the humidity, according to the Beer–Lambert law. Types include the Lyman-alpha hygrometer (using Lyman-alpha light emitted by hydrogen), the krypton hygrometer (using 123.58 nm light emitted by krypton), and the differential absorption hygrometer (using light emitted by two lasers operating at different wavelengths, one absorbed by humidity and the other not).


title: Hygrometer

text: Aside from greenhouses and industrial spaces, hygrometers are also used in some incubators, saunas, humidors and museums. They are also used in the care of wooden musical instruments such as pianos, guitars, violins, and harps which can be damaged by improper humidity conditions. Hygrometers play a big part in firefighting as the lower the relative humidity, the more vigorously fuels may burn. In residential settings, hygrometers are used to assist in humidity control (too low humidity can damage human skin and body, while too high humidity favors growth of mildew and dust mite). Hygrometers are also used in the coating industry because the application of paint and other coatings may be very sensitive to humidity and dew point.


title: Hygrometer

text: Humidity measurement is among the more difficult problems in basic metrology. According to the WMO Guide, "The achievable accuracies [for humidity determination] listed in the table refer to good quality instruments that are well operated and maintained. In practice, these are not easy to achieve." Two thermometers can be compared by immersing them both in an insulated vessel of water (or alcohol, for temperatures below the freezing point of water) and stirring vigorously to minimize temperature variations. A high-quality liquid-in-glass thermometer if handled with care should remain stable for some years. Hygrometers must be calibrated in air, which is a much less effective heat transfer medium than is water, and many types are subject to drift so need regular recalibration. A further difficulty is that most hygrometers sense relative humidity rather than the absolute amount of water present, but relative humidity is a function of both temperature and absolute moisture content, so small temperature variations within the air in a test chamber will translate into relative humidity variations.


title: Hygrometer

text: In a cold and humid environment, sublimation of ice may occur on the sensor head, whether it is a hair, dew cell, mirror, capacitance sensing element, or dry-bulb thermometer of an aspiration psychrometer. The ice on the probe matches the reading to the saturation humidity with respect to ice at that temperature, i.e. the frost point. However, a conventional hygrometer is unable to measure properly under the frost point, and the only way to go around this fundamental problem is to use a heated humidity probe.


title: Hygrometer

text: Accurate calibration of the thermometers used is fundamental to precise humidity determination by the wet-dry method. The thermometers must be protected from radiant heat and must have a sufficiently high flow of air over the wet bulb for the most accurate results. One of the most precise types of wet-dry bulb psychrometer was invented in the late 19th century by Adolph Richard Assmann (1845–1918); in English-language references the device is usually spelled "Assmann psychrometer." In this device, each thermometer is suspended within a vertical tube of polished metal, and that tube is in turn suspended within a second metal tube of slightly larger diameter; these double tubes serve to isolate the thermometers from radiant heating. Air is drawn through the tubes with a fan that is driven by a clockwork mechanism to ensure a consistent speed (some modern versions use an electric fan with electronic speed control). According to Middleton, 1966, "an essential point is that air is drawn between the concentric tubes, as well as through the inner one."


title: Hygrometer

text: It is very challenging, particularly at low relative humidity, to obtain the maximal theoretical depression of the wet-bulb temperature; an Australian study in the late 1990s found that liquid-in-glass wet-bulb thermometers were warmer than theory predicted even when considerable precautions were taken; these could lead to RH value readings that are 2 to 5 percent points too high.


title: Hygrometer

text: One solution sometimes used for accurate humidity measurement when the air temperature is below freezing is to use a thermostatically-controlled electric heater to raise the temperature of outside air to above freezing. In this arrangement, a fan draws outside air past (1) a thermometer to measure the ambient dry-bulb temperature, (2) the heating element, (3) a second thermometer to measure the dry-bulb temperature of the heated air, then finally (4) a wet-bulb thermometer. According to the World Meteorological Organization Guide, "The principle of the heated psychrometer is that the water vapor content of an air mass does not change if it is heated. This property may be exploited to the advantage of the psychrometer by avoiding the need to maintain an ice bulb under freezing conditions.".


title: Hygrometer

text: Since the humidity of the ambient air is calculated indirectly from three temperature measurements, in such a device accurate thermometer calibration is even more important than for a two-bulb configuration.


title: Hygrometer

text: Various researchers have investigated the use of saturated salt solutions for calibrating hygrometers. Slushy mixtures of certain pure salts and distilled water have the property that they maintain an approximately constant humidity in a closed container. A saturated table salt (Sodium Chloride) bath will eventually give a reading of approximately 75%. Other salts have other equilibrium humidity levels: Lithium Chloride ~11%; Magnesium Chloride ~33%; Potassium Carbonate ~43%; Potassium Sulfate ~97%. Salt solutions will vary somewhat in humidity with temperature and they can take relatively long times to come to equilibrium, but their ease of use compensates somewhat for these disadvantages in low precision applications, such as checking mechanical and electronic hygrometers.


title: Slowthai

text: Tyron Kaymone Frampton (born 18 December 1994), better known by his stage name Slowthai (stylised in lowercase), is a British rapper. Raised in Northampton, he rose to popularity in 2019 for his gritty and rough instrumentals and raw, politically charged lyrics, especially around Brexit and Theresa May's tenure as British prime minister. Slowthai placed fourth in the BBC Sound of 2019 and followed up in the same year with his debut studio album, "Nothing Great About Britain." The album was nominated for the Mercury Prize; at Slowthai's 2019 Mercury Prize ceremony performance, he held a fake severed head of British prime minister Boris Johnson on stage, prompting controversy.


title: Slowthai

text: Tyron Kaymone Frampton was born on 18 December 1994 in Northampton to Gaynor, a teenage mother of Barbadian descent. Frampton, his sister, and his brother were raised by their single mother in a council estate in the Lings area of Northampton. His younger brother Michael died shortly after his first birthday, which greatly affected Frampton. Frampton attended Northampton Academy and in 2011 attended Northampton College, where he studied for a BTEC in Music Technology. Tyron has ADHD.


title: Slowthai

text: Frampton frequently skipped school during his years at Northampton Academy and often spent time at a nearby underground "recording studio" at his friend's house, only stopping when his mother was forced to attend a compulsory court hearing. After college, Frampton had multiple short stints in employment, working as a labourer, a plasterer, and at a branch of Next before being fired for breach of contract after he gave his friend employee discounts.


title: Slowthai

text: The name Slowthai originates from his childhood nickname given to him due to his slow speech and drawled tone: "slow ty". In 2016, he released his breakout single, "Jiggle", produced by Sammy Byrne.


title: Slowthai

text: In 2017, Slowthai partnered up with indie record label Bone Soda to release his I WISH I KNEW EP, Murder and T N Biscuits. Later in the same year, Slowthai signed his recording contract with Method Records and since has released his RUNT EP and debut studio album, "Nothing Great About Britain", which peaked at number 9 on the Official Charts on the week of release.


title: Slowthai

text: In addition to being included in the BBC's Sound of 2019 poll and "NME"'s NME 100 list, Slowthai as well received acclaim from publications such as "DIY", Vevo and "Metro". Alongside that, his debut album was nominated for a Mercury Music Prize.


title: Slowthai

text: Slowthai contributed additional, uncredited vocals on the song "WHAT'S GOOD" from Tyler, the Creator's album "Igor". He is also featured on "Heaven Belongs To You" from Brockhampton's album "Ginger" and later joined their HBTY North American tour in 2019 as the special guest.


title: Slowthai

text: In January 2020, Slowthai was featured alongside UK punk band Slaves on Gorillaz's single "Momentary Bliss". The single was the first "episode" of their "Song Machine" project.


title: Slowthai

text: On 12 February 2020, after winning the Hero of the Year award at the NME Awards, Slowthai made sexual comments about host Katherine Ryan. After audience members began shouting at him, Slowthai dropped his microphone into the crowd, which was then thrown back at him along with a drink. Slowthai then threw his own drink and jumped into the crowd. Slowthai has since apologised, while Ryan has said the situation was taken the wrong way.


title: Slowthai

text: On 15 September 2020, Slowthai released the single "Feel Away" featuring James Blake and Mount Kimbie. The song was said to be a tribute to his brother, for the anniversary of his death. On 19 November, Slowthai released the single "nhs" alongside a tracklist for his album "Tyron", releasing 5 February 2021, which was then delayed a week, and planned to release 12 February 2021.


title: Slowthai

text: On 18 December 2020, Slowthai released "Thoughts" as a single, along with a lyric video that featured local police responding to a complaint of a social gathering.


title: Slowthai

text: On 12 February 2021, Slowthai released the album "Tyron", which has features including Skepta, Dominic Fike, James Blake, A$AP Rocky and Denzel Curry.


title: Slowthai

text: On the 9th of November 2022, slowthai released "i know nothing" similar to his last album "TYRON" he released "Thoughts" an audio diary to set the tone before the album rollout.


title: Slowthai

text: Slowthai is a supporter of his hometown football team Northampton Town, with parts of the music video for "Gorgeous" having been filmed at Northampton Town's Sixfields Stadium. He has also stated that he supports Liverpool F.C.


title: Slowthai

text: In the summer of 2020, Slowthai got engaged to Russian singer and model Katya Kischuk, former member of the Russian girl group Serebro, whom he met online. On 18 June 2021, Kischuk gave birth to the couples' son.


title: Slowthai

text: His music has been categorised as grime and hip hop. He often includes elements of punk rock, leading to the categorisation of grime-punk. In a 2019 article for the BBC, Kev Geoghegan described him as "either a grime MC making punk music or a punk making rap music". In an article for Vice Media, Niloufar Haidari described his music as "caustically witty bars over abrasive beats that blend grime, trap, Soundcloud rap and even punk and screamo".


title: Slowthai

text: He has cited as musical influences Gesaffelstein, Juelz Santana, Elliott Smith, Radiohead, Nirvana, Mount Kimbie, Alex Turner of Arctic Monkeys, Jay-Z, Sex Pistols, Justice, Oasis and Die Antwoord.


title: 1 Timothy 2:12

text: 1 Timothy 2:12 is the twelfth verse of the second chapter of the First Epistle to Timothy. It is often quoted using the King James Version translation:


title: 1 Timothy 2:12

text: The verse is widely used to oppose ordination of women as clergy, and to oppose certain other positions of ministry and leadership for women in large segments of Christianity. Many such groups that do not permit women to become clergy also cite and . Historically, the verse was used to justify legal inequality for women and to exclude women from secular leadership roles as well.


title: 1 Timothy 2:12

text: For most of the history of Christian theology the verse has been interpreted to require some degree of subordination of women to men. Some theologians, like Ambrosiaster in the 4th century and John Knox in the 16th century, wrote that it requires very strict domination of women in every sphere of life. Others, like John Chrysostom and Martin Luther, write that it excludes women from teaching, praying, or speaking in public but grant some freedom to women in the home. During first wave feminism in the 19th century, women criticized the verse as sexist.


title: 1 Timothy 2:12

text: Today, some scholars argue that the instruction is directed to the particular church in Ephesus and must be interpreted in a contemporary context. Others interpret the text as a universal instruction. Christian egalitarians maintain that there should be no institutional distinctions between men and women. Complementarians argue that the instructions contained in 1 Timothy 2:12 should be accepted as normative in the church today.


title: 1 Timothy 2:12

text: The traditional view is that the words "I suffer not a woman..." are Paul's own words, along with the rest of the epistle. A minority of modern scholars, such as Catherine Kroeger, support this traditional view.


title: 1 Timothy 2:12

text: The consensus view among modern scholars of 1 Timothy is that the epistle was not written by Paul, but dates to after Paul's death and has an unknown author. As a pseudepigraphical work incorrectly attributed to Paul, the verse is often described as deutero-Pauline literature or as a pastoral epistle.


title: 1 Timothy 2:12

text: New Testament scholar Marcus Borg contends that this verse fits poorly with Paul's more positive references to Christian women and may be a later interpolation rather than part of the original text.


title: 1 Timothy 2:12

text: In his 4th century Latin commentary on the epistles, Ambrosiaster viewed 1 Timothy 2:12 as requiring a strict system of patriarchy. He writes that women "were put under the power of men from the beginning" and should be severely subjugated to men. Ambrosiaster's strictly patriarchal understanding was copied by "Glossa Ordinaria" and most other medieval interpretations of the verse in the Latin Church. In the Greek-speaking church, John Chrysostom wrote that the verse prohibits women from teaching the public or making public speeches.


title: 1 Timothy 2:12

text: The verse was widely used to oppose all education for women, and all teaching by women, during the Renaissance and early modern period in Europe. It was cited frequently by those who wished to condemn women or believed them inferior to men. Ambrosiaster and 1 Timothy 2:12 were cited by John Knox in "The First Blast of the Trumpet Against the Monstruous Regiment of Women", a 1558 book attacking the idea of rule by queens and women in leadership on biblical grounds.


title: 1 Timothy 2:12

text: Martin Luther wrote that "man" in this verse specifically refers to a husband, meaning that wives should never appear wiser or more knowledgable than their husbands, neither in public nor at home. Luther contends that, because of this verse and nearby verses in 1 Timothy, women should not speak or teach in public and must remain completely quiet in church, writing "where there is a man, there no woman should teach or have authority." On this basis, parts of Lutheranism today do not allow women into church leadership.


title: 1 Timothy 2:12

text: Female theologians faced a dilemma in staying true to this scripture while acting as teachers. Teresa of Ávila wrote that women must teach through their actions because they were both prohibited from and incapable of teaching with words. Though she did produce theological writing, she was careful to efface herself as foolish and weak.


title: 1 Timothy 2:12

text: During the 1637 trial of Anne Hutchinson for illegal theological teaching, magistrate John Winthrop (who was both Hutchinson's accuser and the judge in her trial) admonished Hutchinson with 1 Timothy 2:12, demanding her silence because he felt she was too outspoken in defending herself.


title: 1 Timothy 2:12

text: In the 19th century the verse was frequently employed to justify the inferior legal status of women. For example, Meyrick Goulburn argued the verse clearly excludes women from all public offices or roles, including secular ones, and that women are only fit for domestic labor.


title: 1 Timothy 2:12

text: Today it is still used to exclude women from religious education or teaching. For example, Southern Baptist institutions in the United States have fired women teachers because of the verse. The verse is used in excluding women from the Catholic priesthood and is considered by Catholics to prohibit women from performing priest-like teaching roles, such as giving homilies.


title: 1 Timothy 2:12

text: Interpretation of this passage is almost universally considered to be complex. N. T. Wright, former Bishop of Durham, says that 1 Timothy 2 is the "hardest passage of all" to exegete properly. A number of interpretive approaches to the text have been made by both complementarians and egalitarians. The 1 Timothy 2:12 passage is only one "side" of a letter written by Paul, and is directed at a particular group. Therefore, interpretations are limited to one-sided information with no record of the associated correspondence to which Paul was responding. Theologian Philip Payne, a Cambridge PhD and former Tübingen scholar, is convinced that 1 Timothy 2:12 is the "only" New Testament verse that "might" explicitly prohibit women from teaching or having authority over men, though he writes that he does not think that is what it means. Moore maintains that "Any interpretation of these portions of Scripture must wrestle with the theological, contextual, syntactical, and lexical difficulties embedded within these few words".


title: 1 Timothy 2:12

text: Wheaton scholar and professor Gilbert Bilezikian concludes that although it may seem that Paul is laying down an ordinance that has the character of a universal norm for all Christians in all ages, that view does not survive close scrutiny. After extensive research, he has reached these conclusions:


title: 1 Timothy 2:12

text: Bilezikian concludes that the exceptional character of the emergency measures advocated by Paul serves as evidence that women could indeed teach and hold leadership positions under normal circumstances.


title: 1 Timothy 2:12

text: Egalitarian and complementarian interpretive approaches to the text typically take the following forms:


title: 1 Timothy 2:12

text: Christian Egalitarians believe that the passage does not carry the same "meaning" for the modern church when interpreted in light of the socio-cultural situation of Paul's time; that a key word in the passage should be reinterpreted to mean something other than "exercising authority". Some recent scholarship is believed to show that Paul never intended his first letter to Timothy to apply to the church at all times and places. Instead, it was intended to remediate a state of acute crisis being created by a "massive influx of false teaching and cultic intrusions" threatening the survival of the very young Church at Ephesus.


title: 1 Timothy 2:12

text: The egalitarian socio-cultural position has been represented prominently by classicist Catherine Kroeger and theologian Richard Kroeger. They believe the author of 1 Timothy was refuting false teaching, rather than establishing a narrow restriction on women's role. The Kroegers maintain that Paul was uniquely addressing the Ephesian situation because of its feminist religious culture where women had usurped religious authority over men. They cite a wide range of primary sources to support their case that the Ephesian women were teaching a particular Gnostic notion concerning Eve. They advocate that ancient Greco-Roman world thought patterns faced by the writer of the Pastoral Epistles are germane to interpreting his writings.


title: 1 Timothy 2:12

text: However, their conclusions have been rejected by certain historians as well as by some complementarians. I. H. Marshall cautions that "It is precarious, as Edwin Yamauchi and others have shown, to assume Gnostic backgrounds for New Testament books. Although the phrase, 'falsely called knowledge', in contains the Greek word , this was the common word for 'knowledge'. It does seem anachronistic to transliterate and capitalize it 'Gnosis' as the Kroegers do. They thus explain verse 13 as an answer to the false notion that the woman is the originator of man with the Artemis cult in Ephesus that had somehow crept into the church, possibly by way of the false teaching. However, this explanation cannot be substantiated (except from later Gnostic writings)". Streland concludes that "Kroeger and Kroeger stand alone in their interpretation".


title: 1 Timothy 2:12

text: According to Thomas Schreiner, "The full-fledged Gnosticism of later church history did not exist in the first century 21 AD. An incipient form of Gnosticism was present, but Schmithals makes the error of reading later Gnosticism into the first century documents. Richard and Catherine Kroeger follow in Schmithals's footsteps in positing the background to 1 Timothy 2:12. They call the heresy 'proto-Gnostic', but in fact they often appeal to later sources to define the false teaching (v.23). External evidence can only be admitted if it can be shown that the religious or philosophical movement was contemporary with the New Testament". In his critique of the Kroegers' book, J. M. Holmes' opinion is that "As a classicist ..., [Catherine Kroeger]'s own contributions are reconstruction of a background and choices from linguistic options viewed as appropriate to that background. Both have been discredited".


title: 1 Timothy 2:12

text: Many contemporary advocates of Christian Egalitarianism do find considerable value in the Kroegers' research. Catherine Kroeger, in one of her articles, points out that is a rare Greek verb found only here in the entire Bible. She writes that in extra-biblical literature—the only other places it can be found, the word is ordinarily translated "to bear rule" or "to usurp authority". Yet, a study of other Greek literary sources reveals that it did not ordinarily have this meaning until the third or fourth century, well "after" the time of the New Testament. Prior to and during Paul's time, the rare uses of the word included references to murder, suicide, "one who slays with his own hand", and "self-murderer". Moeris, in the second century, advised his students to use another word, , as it was less coarse than . The Byzantine Thomas Magister reiterates the warning against using the term, calling it "objectionable". Kroeger writes that St. John Chrysostom, in his "Commentary on I Timothy 5.6", uses to denote "sexual license". He argues that too often we underestimate the seriousness of this problem for the New Testament church, and concludes that it is evident that a similar heresy is current at Ephesus, where these false teachers "worm(ed) their way into homes and gain control over gullible women, who are loaded down with sins and are swayed by all kinds of evil desires, always learning but never able to come to a knowledge of the truth" ().