title: Alfred Deakin

text: The government was brought down in 1890, over its use of the militia to protect non-union labour during the maritime strike. In addition, Deakin lost his fortune and his father's fortune in the property crash of 1893, and had to return to the bar to restore his finances. In 1892, he unsuccessfully defended the mass murderer Frederick Bailey Deeming and assisted the defence in the 1893–94 libel trial of David Syme.


title: Alfred Deakin

text: After 1890, Deakin refused all offers of cabinet posts and devoted his attention to the movement for federation. He was Victoria's delegate to the Australasian Federal Conference, convened by Sir Henry Parkes in Melbourne in 1890, which agreed to hold an intercolonial convention to draft a federal constitution. He was a leading negotiator at the Federal Conventions of 1891, which produced a draft constitution that contained much of the Constitution of Australia, as finally enacted in 1900. Deakin was also a delegate to the second Australasian Federal Convention, which opened in Adelaide in March 1897 and concluded in Melbourne in January 1898. He was somewhat out of sympathy with the tendency of the convention, and sided with the majority in only 55 percent of divisions; fewer occasions than all but five delegates. He supported wide taxation powers for the federal government, successfully opposed conservative plans for the indirect election of senators, and attempted to weaken the powers of the Senate, in particular seeking to prevent it from being able to defeat money bills. He had told the National Australasian Convention of 1891 'To introduce an American Senate into a British constitution is to destroy both'. Deakin often had to reconcile differences and find ways out of apparently impossible difficulties. Between and after these meetings, he travelled through the country addressing public meetings and he was partly responsible for the large majority in Victoria at each referendum.


title: Alfred Deakin

text: In 1900 Deakin travelled to London with Edmund Barton and Charles Kingston to oversee the passage of the federation bill through the Imperial Parliament, and took part in the negotiations with Joseph Chamberlain, the Colonial Secretary, who insisted on the right of appeal from the High Court of Australia to the Privy Council. Eventually a compromise was reached, under which constitutional ("inter se") matters could be finalised in the High Court, but other matters could be appealed to the Privy Council.


title: Alfred Deakin

text: Deakin defined himself as an "independent Australian Briton," favouring a self-governing Australia but loyal to the British Empire. He certainly did not see federation as marking Australia's independence from Britain. On the contrary, Deakin was a supporter of closer empire unity, serving as president of the Victorian branch of the Imperial Federation League, a cause he believed to be a stepping stone to a more spiritual world unity.


title: Alfred Deakin

text: In 1901 Deakin was elected to the first federal Parliament as MP for the Division of Ballaarat, and became Attorney-General of Australia in the ministry headed by Edmund Barton. He was active, especially in drafting bills for the Public Service, arbitration and the High Court. His second reading speech on the Immigration Restriction Bill to implement the White Australia policy was notable for its blatant racism, including arguing that it was necessary to exclude the Japanese because of their good qualities, which would place them at an advantage over European Australians. His March 1902 speech in favour of the bill establishing the High Court of Australia helped overcome significant opposition to its establishment.


title: Alfred Deakin

text: Deakin attempted to resign from cabinet in April 1902, writing two letters of resignation to Barton. The primary cause was his opposition to the government's proposed 50% pay rise for MPs, but his wife had also been in poor health. He wrote to Barton that "my retirement will be a relief from a strain which has been severe at times", and hoped to still assist the government as a backbencher. Barton replied that his departure would "break my heart" and "wreck the ministry". He agreed to drop the proposed pay rise and Deakin agreed to continue as a minister.


title: Alfred Deakin

text: In May 1902, Barton left the country to attend the coronation of Edward VII and 1902 Colonial Conference. Deakin served as Acting Prime Minister of Australia until Barton's return in October 1902. During this time he dealt with the resignation of Governor-General Lord Hopetoun over a salary dispute and conflict with the South Australian government over the external affairs power, which was resolved in favour of the federal government. He also secured the passage of the "Customs Tariff 1902", which the Senate had twice returned to the House with a series of proposed amendments. In view of the urgent need for government revenue, Deakin successfully convinced the House and his fellow ministers to accept the amendments, but in a way that avoided setting a new constitutional precedent over money bills.


title: Alfred Deakin

text: Deakin continued his efforts to establish a federal judiciary when parliament resumed in May 1903. The government eventually passed a compromise bill, the "Judiciary Act 1903", which established a High Court of three judges. Concessions were made on the number of judges (three rather than five) as well as their salary and pension entitlements. In July 1903, Deakin was tasked with securing the passage of the Conciliation and Arbitration Bill which had been drafted by Charles Kingston. He made the second reading speech on the bill at short notice, following Kingston's surprise resignation from cabinet. He argued the bill, which would introduce a compulsory arbitration scheme for industrial disputes, would "bring both employer and employee before the bar of a tribunal which would mete out even-handed justice". However, in early September the government unexpectedly abandoned the bill. The ALP, with the "mischievous support" of the opposition, had passed an amendment extending its provisions to state railway workers, which Deakin regarded as unconstitutional. He received much of the criticism for the decision to withdraw the bill.


title: Alfred Deakin

text: After the passage of the "Judiciary Act", cabinet began to consider who would fill the newly created seats on the High Court. Encouraged by his colleagues, Barton decided to retire from politics and accept appointment to a puisne justiceship. Deakin was his presumed successor and faced no significant opposition from the government and its supporters. The only obstacle was his own willingness to take on the role, and he expressed doubts about his suitability for the position in diary entries and letters to friends. He seriously considered allowing William Lyne to take over the government, but Lyne proved unable or unwilling to do so. After cabinet confirmed Barton's appointment to the High Court, Deakin was sworn in as prime minister on 24 September 1903 at Government House, Melbourne. He relinquished the attorney-generalship and took on Barton's external affairs portfolio. The new ministry was unchanged apart from the additions of Austin Chapman and Thomas Playford to replace Barton and Richard O'Connor (another High Court appointee). Lyne was given second rank in cabinet.


title: Alfred Deakin

text: Parliament was dissolved a month after Deakin took office, with the 1903 Australian federal election called for mid-December. He was the first prime minister to call an early election, to catch his opponents off guard and take advantage of a large number of urban educated female voters who could cast a ballot for the first time.


title: Alfred Deakin

text: Deakin outlined the government's platform at a speech in Ballarat on 29 October 1903. He called on voters to unite behind "fiscal peace and preferential trade for a White Australia". The "fiscal peace" to which he referred was an end to conflict over the recently enacted tariff, while "preferential trade" referred to the idea of Imperial Preference, which Deakin hoped would bring Australia closer to Britain and the rest of the Empire. Reid continued to campaign on unrestricted free trade, while the ALP focused on class issues, particularly the need for compulsory arbitration, and was rewarded with large gains in both houses. The final result in the House was an effective three-way tie between Deakin's Liberal Protectionists, Reid's Free Traders, and Chris Watson's Labor Party.


title: Alfred Deakin

text: Inspired by the ongoing Ashes series, in a January 1904 speech Deakin used an uncharacteristic sporting analogy to call for the establishment of majority government and a two-party system:


title: Alfred Deakin

text: What kind of a game of cricket could you have, if you had three elevens in the field instead of two, and one sometimes played on one side, sometimes on the other, and sometimes for itself?


title: Alfred Deakin

text: He went on to call it "absolutely essential" for the three parties to be reduced to two "as soon as possible", although he stated that he was unsure which parties should merge. Deakin's analogy passed into common usage to describe the unstable party system in the first decade after Federation. However, according to the analogy was imperfect, as realistically the Labor Party and Free Traders would never agree to an alliance; Deakin's party was an obligatory partner in any coalition government.


title: Alfred Deakin

text: Deakin sought to form an "understanding" with the ALP during the parliamentary recess after the election, but made little progress. When parliament resumed in March 1904, he introduced a modified Conciliation and Arbitration Bill, but ignored Labor's requests for its provisions to be extended to state public servants. He believed that the government did not have the constitutional authority to do so, whereas the ALP (and some radicals within his own party) thought the issue should be determined by the High Court. On 22 April, Andrew Fisher moved for the bill to be amended to cover state public servants. The amendment passed by 38 votes to 29, which Deakin treated as a motion of no confidence in his government. He tendered his resignation as prime minister on the same day and was formally succeeded by Watson on 27 April.


title: Alfred Deakin

text: Deakin's motivations for relinquishing office have been debated. He was under no obligation to resign, as the ALP had not intended for the amendment to be treated as a confidence motion. It has been suggested he thought forcing Watson into office unprepared would demonstrate the ALP's weakness as a party of government. However, his diaries also suggest he was under considerable personal strain and could have been "simply courting defeat to relieve himself of the burden of office".


title: Alfred Deakin

text: Deakin promised to extend "the utmost fair play" to the new Watson Government, and allowed H. B. Higgins to join the government as attorney-general. The Liberal Protectionists were divided between radicals seeking an alliance with the ALP and anti-socialists seeking an alliance with the Free Traders; Reid continued as leader of the opposition. Despite the party's lack of a majority, the ALP caucus did not immediately authorise Watson to seek an alliance, and Deakin instead negotiated a draft agreement with the Free Traders in which Reid would become prime minister. Deakin himself would remain party leader but retire to the backbenches, as he did not wish to be bound by cabinet solidarity. The Liberal Protectionists rejected the agreement, according to John Forrest out of reluctance to serve in a ministry Deakin did not lead.


title: Alfred Deakin

text: Watson attempted to form an alliance with the Liberal Protectionists in June 1904, but was rebuffed. Deakin felt that the power of the Protectionists would be diminished by Labor's party discipline. He elaborated on his decision-making in an August speech to the National Political League, a newly anti-socialist organisation in Ballarat. His speech did not attack the government on policy grounds but condemned the ALP's principles of caucus solidarity and organisational control over the parliamentary party. He saw himself as a progressive liberal torn between conservative obstructivism on one hand and Labor's materialist collectivism on the other. Two days later "The Age", edited by his friend David Syme, published a scathing editorial calling his speech "transcendental musings" and stating he had "lost himself in the clouds amongst politico-philosophical questions" instead of offering substantive leadership. This led to a major falling-out between the two, with Deakin writing to Syme that he had "been more deeply upset by this incident than by any during my political life".


title: Alfred Deakin

text: The Watson Government fell less than two weeks after Deakin's speech in Ballarat, which may have been taken by Reid as a cue to challenge the status quo. While debating the revived Conciliation and Arbitration Bill, a majority of the Liberal Protectionists joined with the Free Traders in opposing a procedural motion on an amendment. Watson took the vote as a motion of no confidence and resigned. Many ALP members felt betrayed by Deakin, and Billy Hughes accused him of hypocrisy in speeches which he later told Atlee Hunt had been deliberately provocative. Deakin in response made personal attacks on Hughes, comparing him to an "ill-bred urchin one saw dragged from a tart shop kicking, screeching and scratching". He eventually apologised in the House for his reaction. Deakin declined to join the Reid Government, but lent his support and encouraged Protectionists (including his former treasurer George Turner) to accept ministerial posts; others within the party joined the crossbench. He and Reid agreed to a "fiscal truce" in which the issue of the tariff would not be raised until the next election.


title: Alfred Deakin

text: Deakin maintained an "enigmatic public silence" on the Reid Government's actions, particularly during the long parliamentary recess from December 1904 to June 1905. During this time he seriously considered leaving politics. He had been engaged to write monthly anonymous articles for the "National Review", in addition to his weekly articles for the "Morning Post". However, his primary interest was in religion, particularly the role of the preacher. He met with Salvation Army founder William Booth on a number of occasions, even chairing one of Booth's meetings at the Royal Exhibition Building. In his notebooks he drafted sermons and "weighed the religious against the political life, the preacher against the legislator, and both against the ultimate purpose of existence". Late in 1904, Deakin purchased at Point Lonsdale. He named the property "Ballara" and moved a wooden house onto the land, which served as a holiday home for the rest of his life.


title: Alfred Deakin

text: Deakin's supporters began to lobby him to seek a return to government in 1905. He was reinvigorated by a trip to Western Australia early in the year, where he was struck by the development of the Eastern Goldfields and received encouragement from John Forrest and Austin Chapman. Most importantly, Chris Watson wrote privately that he would have the "active support" of the Labor Party if he resumed office.


title: Alfred Deakin

text: On 24 June 1905, the weekend before parliament resumed, Deakin delivered a two-hour speech to his constituents in Ballarat. He claimed the pragmatic middle ground for his party, criticising the policies of Labor and the Free Traders as vague and impractical, and further accused Reid of breaking their fiscal truce. The significance of his address was elevated two days later when "The Age" stated that "Mr Deakin's Ballarat speech, read in any light, is a notice to Mr Reid to quit". Although Deakin denied that this interpretation was correct, Reid took it to mean he had withdrawn his support and stated as such in parliament. Deakin then successfully moved an amendment to the address-in-reply, while denying it had been premeditated. By convention, this was treated as a motion of no confidence. Reid sought a dissolution and early election, but was refused by the Governor-General, Lord Northcote; Deakin was then commissioned to form a new government.


title: Alfred Deakin

text: Deakin resumed office in mid-1905, and retained it for three years. During this, the longest and most successful of his terms as Prime Minister, his government was responsible for much policy and legislation giving shape to the Commonwealth during its first decade, including bills to create an Australian currency. The Copyright Act was passed in 1905, the Commonwealth Bureau of Census and Statistics was established in 1906, Commonwealth Bureau of Meteorology was established in 1908 and the Quarantine Act was passed in 1908.


title: Alfred Deakin

text: In 1906 Deakin's government amended the Judiciary Act to increase the size of the High Court to five judges, as envisaged in the constitution, and appointed Isaac Isaacs and H. B. Higgins to fill the two additional seats. The first protective Federal tariff, the Australian Industries Protection Act was passed. This "New Protection" measure attempted to force companies to pay fair wages by setting conditions for tariff protection, although the Commonwealth had no powers over wages and prices.


title: Alfred Deakin

text: The Papua Act of 1905 established an Australian administration for the former British New Guinea and Deakin appointed Hubert Murray as Lieutenant-Governor of Papua in 1908, who ruled it for a 32-year period as a benevolent paternalist. His government passed a bill for the transfer of control of the Northern Territory from South Australia to the Commonwealth, which became effective in 1911. As prime minister Deakin championed the "Seat of Government Act 1904", that had ordained the establishment of the Commonwealth's capital at Dalgety, and vigorously, if unsuccessfully, fought the move to relocate the capital to the Canberra area.


title: Alfred Deakin

text: In December 1907, he introduced the first bill to establish compulsory military service, which was also strongly supported by Labor's Watson and Billy Hughes. He had long opposed the naval agreements to fund Royal Navy protection of Australia although Barton had agreed in 1902 that the Commonwealth would take over such funding from the colonies. In 1906 he announced that Australia would purchase destroyers, and in 1907 travelled to an Imperial Conference in London to discuss the issue, without success. In 1908 he invited Theodore Roosevelt's Great White Fleet to visit Australia, in a symbolic act of independence from Britain. The Surplus Revenue Act of 1908 provided £250,000 for naval expenditure, although these funds were first applied by the Andrew Fisher Labor government, creating the first independent navy in the British empire.


title: Alfred Deakin

text: In 1908, Deakin was again forced from office by Labor. He then formed a coalition, the "Fusion", with his old conservative opponent George Reid, and returned to power in May 1909 at the head of Australia's first majority government. The Fusion was seen by many as a betrayal of Deakin's liberal principles, and he was called a "Judas" by Sir William Lyne.


title: Alfred Deakin

text: Deakin was sworn in as prime minister for a third time on 2 June 1909. The Third Deakin Ministry contained five first-time appointees, reflecting the need to balance the competing interests within the new party.


title: Alfred Deakin

text: In a letter to his sister, Deakin described the legislative achievements of 1909 as "the finest harvest of any session". Acts were passed authorising the creation of a separate Australian coinage, establishing compulsory military training for young men, defining the extent of the future Australian Capital Territory, and creating the office of the Australian High Commissioner to the United Kingdom, Australia's first official diplomatic posting. Bills were also introduced to create the Inter-State Commission and formalise federal control over the Northern Territory, but were not progressed and were passed by the succeeding ALP government.


title: Alfred Deakin

text: Deakin and Forrest negotiated the Financial Agreement of 1909 with the state governments, which distributed surplus federal revenues to the states as per-capita grants and became the model for intergovernmental financial relations. This replaced the interim arrangements provided by Section 87 of the Constitution of Australia. Deakin subsequently sought to enshrine the agreement in the constitution, at the urging of state premiers. This step was seen as unnecessary by many, including within his own party, but a second proposed amendment allowing the federal government to take over state debts was less controversial. Two referendums were held simultaneously with the 1910 federal election, with the state debts amendment being accepted and the surplus revenues amendment being rejected. The Financial Agreement nonetheless remained in place until 1927, and was seen by Deakin as one of his most important accomplishments.


title: Alfred Deakin

text: Deakin did not call an early election, allowing the parliament to run to its maximum permissible length. He expected a "sweeping victory", anticipating that after being confirmed in office he could complete his legislative agenda, attend the 1911 Imperial Conference and then hand over to a successor. The April 1910 federal election was the first to present a straight choice between two alternative parties. To Deakin's surprise, the ALP won a clear majority, gaining 16 seats in the House and sweeping the Senate. In what he called "the Waterloo of the Liberal Party", many former Protectionists lost their seats, and Deakin himself won by fewer than 500 votes. While there were a number of factors in Labor's victory, Deakin's perceived hypocrisy in the creation of the Fusion was frequently brought up in the campaign and likely cost the Liberals the votes of many of his former supporters.


title: Alfred Deakin

text: After the 1910 election, Deakin had less influence than any previous opposition leader, with the ALP holding clear majorities in both houses. His diaries indicate that he would have preferred to resign and retire from politics, but he was asked to stay on in the absence of an obvious successor. He led the campaign against the Fisher Government's proposed constitutional amendments in 1911, which would have significantly expanded the powers of the federal government. He spent two months campaigning for the "No" vote, visiting every state except Western Australia which turned out to be the only state to vote "Yes". The result was regarded as a triumph for the opposition.


title: Alfred Deakin

text: By 1912, Deakin had "lost all zest for public life and was trudging on until he could retire". He made his final speech to parliament on 18 December 1912 and publicly announced his intention to retire on 8 January 1913, after informing Joseph Cook a day earlier. His last action as leader of the Liberal Party was to oversee the election of his successor, held on 20 January. He supported Cook, who defeated John Forrest by a single vote. Deakin retired from parliament at the 1913 federal election held in May, which saw Cook and the Liberals form government with a bare one-seat majority in the House.


title: Alfred Deakin

text: After the 1913 election, Cook offered Deakin the position of chairman of the Interstate Commission, but he declined. In 1914, following the outbreak of World War I, he did accept a request to chair a royal commission into food supply during the war. Deakin's final public engagement was as leader of the Australian delegation to the 1915 Panama–Pacific International Exposition in San Francisco. He was offered the role initially by Cook and then by Andrew Fisher, who returned as prime minister in September 1914. The appointment was entirely ceremonial and had the support of both Fisher and his deputy Billy Hughes. However, Deakin's involvement was subject to political interference from external affairs minister Hugh Mahon, and he decided on an early return to Australia.


title: Alfred Deakin

text: The final years of Deakin's political career coincided with the early stages of a degenerative neurological condition, with memory loss as the primary feature. In his personal diaries he meticulously documented his loss of function and increasing anguish at his decline. Other health records suggest he also suffered from chronic hypertension. He had hoped that his symptoms were due to stress and leaving politics would aid his recovery, but instead found that "when I stepped out of Parliament in some mysterious fashion all my memories commenced to die or disappear". Contemporary doctors were unable to give him a clear diagnosis, other than a 1913 opinion of "hyperneurasthenia". Later writers have suggested vascular dementia, early-onset Alzheimer's disease, neurosyphilis, and Vitamin B deficiency from vegetarianism as possible causes of his illness.


title: Alfred Deakin

text: In October 1914, Deakin wrote that he had "no continuity of memory or argument" and relied upon "impressions that fade or are forgotten in a few minutes and often in a few seconds". In November 1915, he wrote that he could remember what he had read for only a few hours and that "no collapse could be ghastlier". The following month, he wrote that "I have now become a mere juggler with myself [...] my helpless attempts to read the riddle of my mind and thought must be frankly abandoned". At her urging, Deakin and his wife left Australia in September 1916 to seek advice from specialists in England and the United States, and also to visit their daughter Vera in London. They returned to Australia in early 1917, after which he was generally confined to his home in South Yarra and only saw family members.


title: Alfred Deakin

text: Deakin died at his home on 7 October 1919, aged 63. His official cause of death was given as meningoencephalitis. He was granted a state funeral at Queen's Hall in Parliament House, Melbourne, after a period lying in state. He was interred next to his parents in the non-denominational section of St Kilda Cemetery, joined by his widow Pattie following her death in 1934.


title: Alfred Deakin

text: In his youth, Deakin published "Quentin Massys", a drama in five acts. Deakin attempted to burn the prints. However some survived and the play was reprinted 1940, as an example of Australian verse.


title: Alfred Deakin

text: Deakin continued to write prolifically throughout his career. He was a member of the Eclectic Association; fellow members included authors Theodore Fink, Arthur Topp, Arthur Patchett Martin and David Mickle. Deakin wrote anonymous political commentaries for the London "Morning Post" even while he was Prime Minister. His account of the federation movement appeared as "The Federal Story" in 1944 and is a vital primary source for this history. His account of his career in Victorian politics in the 1880s was published as "The Crisis in Victorian Politics" in 1957. His collected journalism was published as "Federated Australia" in 1968.


title: Alfred Deakin

text: He was active in the Theosophical Society until 1896, when he resigned on joining the Australian Church led by Charles Strong.


title: Alfred Deakin

text: Though Deakin always took pains to obscure the spiritual dimensions of his character from public gaze, he felt a strong sense of providence and destiny working in his career. Like Dag Hammarskjöld much later, Deakin's sincere longing for spiritual fulfillment led him to express a sense of unworthiness in his private diaries, which mingled with his literary aspirations as a poet.


title: Alfred Deakin

text: His private prayer diaries, like those of Samuel Johnson, express a profound contemplative (though more ecumenical) Christian view of the importance of humility in seeking divine assistance with his career. "A life, the life of Christ," Deakin wrote, "that is the one thing needful—the only revelation required is there... We have but to live it." In 1888, as an example relevant to his work for Federation, Deakin prayed: "Oh God, grant me that judgment & forsight which will enable me to serve my country—guide me and strengthen me, so that I may follow & persuade others to follow the path which shall lead to the elevation of national life & thought & permanence of well earned prosperity—give me light & truth & influence for the highest & the highest only." As Walter Murdoch pointed out, "[Deakin] believed himself to be inspired, and to have a divine message and mission."


title: Alfred Deakin

text: Historian Manning Clark, whose "History of Australia" cites extensively from his studies of Deakin's private diaries in the National Library of Australia, wrote: "By reading the world's scriptures and mystics a deep peace had settled far inside [Deakin]: now he felt a 'serenity at the core of my heart.' He wanted to know whether participation in the world's affairs would disturb that serenity... he was tormented by the thought that the emptiness of the man within corresponded with the emptiness of society at large where Mammon had found a new demesne to infest."


title: Alfred Deakin

text: Deakin processed a deep spiritual conviction and read widely on the subject. His daughter Vera Deakin (Lady White) said in a 1960 ABC radio interview "He had tremendously deep religious views, I'm sure of that. He read to us on Sundays from the Bible, from great preachers, and he was deeply, always deeply conscious of being, as he put it, 'a tool for providence to work through'. Any powers he had he felt he owed to the divine one and it was not his doing."


title: Alfred Deakin

text: Deakin was almost universally liked, admired and respected by his contemporaries, who called him "Affable Alfred." He made his only real enemies at the time of the Fusion, when not only Labor but also some liberals such as Sir William Lyne reviled him as a traitor. He is regarded as a founding father by the modern Liberal Party of Australia.


title: Alfred Deakin

text: Deakin generally rejected honours during his lifetime. He was first offered a knighthood at the 1887 Colonial Conference, aged 30, but declined to accept. On three separate occasions – in 1900, 1907, and 1913 – he refused appointment to the Privy Council, which would have entitled him to be styled "The Right Honourable". His refusal was "singular, indeed unique, among Australian politicians of comparable prominence". Except for Chris Watson, who was never offered the appointment, Deakin was the only Australian prime minister not to be a privy counsellor until Gough Whitlam in the 1970s. He also refused to accept any honorary degrees as prime minister, believing they should only be awarded based on academic prowess. He rejected honorary Doctor of Civil Law degrees from the University of Oxford in 1900 and 1907, and an honorary Doctor of Laws degree from the University of Cambridge in 1912. Deakin generally only accepted honours when he believed it would advance Australian interests, or if rejection could be taken as an insult. While visiting England as prime minister in 1907, he was made an honorary freeman of the cities of London and Edinburgh and an honorary bencher of Gray's Inn. The one honorary degree he did accept was from the University of California in 1915, when he was representing Australia at the Panama–Pacific International Exposition.


title: Alfred Deakin

text: Since Deakin's death, a number of places have been named in his honour. Educational institutions that bear his name include Melbourne's Deakin University, Canberra's Alfred Deakin High School, Deakin House at Melbourne Grammar School, and Deakin Hall at Monash University. He is one of only two prime ministers to have a university named in his honour, along with John Curtin (Curtin University). Other places named after Deakin include the Canberra suburb of Deakin and the Division of Deakin in the House of Representatives, located in Melbourne's eastern suburbs. In 1969, Australia Post honoured him on a postage stamp bearing his portrait.


title: Pillowtalk (song)

text: "Pillowtalk" (stylised in all caps) is the debut solo single by English singer and songwriter Zayn, from his debut solo studio album "Mind of Mine". He co-wrote the track with Anthony Hannides, Michael Hannides, Joe Garrett, and its producer Levi Lennox. The song was released as the lead single from the album on 26 January 2016 along with its own music video, which featured his girlfriend at the time, American model Gigi Hadid. It is Zayn's first single released after his departure from One Direction in March 2015. It debuted at number one on the UK Singles Chart and the US "Billboard" Hot 100, making Malik the first British artist to debut at number one in the US with a debut single. It reached 1 billion views in YouTube on 23 September 2020.


title: Pillowtalk (song)

text: After signing a recording deal with RCA Records, Zayn gave several interviews with music magazines, such as "The Fader" and "Billboard", to talk about his debut record. He stated "life experiences have been the influences for the album and just stuff that I've been through, especially in the last five years." He said the record will musically lean towards R&B, but will also have some tunes leaning towards R&B-rock or reggae. Zayn's solo debut album "Mind of Mine" was released on 25 March 2016. On 24 January 2016, Zayn revealed the release date and promotional cover-art of the lead single "Pillowtalk" through Twitter. It is Zayn's debut solo single after he left One Direction in March 2015. Zayn wrote the song shortly after leaving the group, in collaboration with co-writers Mike and Anthony Hannides. Speaking about his new single with "The Sunday Times", Zayn said that "Pillowtalk" was written about sex, which he described as "so pure, so dirty and raw," adding, "everybody has sex, and it’s something people wanna hear about. It’s part of everybody’s life, a very big part of life. And you don’t want to sweep it under the carpet." The song was inspired about and written shortly before he split from his ex-fiancé, Little Mix's Perrie Edwards. Subsequently, "Pillowtalk" was made available for digital download in most countries worldwide via the iTunes Store on 29 January 2016. It achieved worldwide success by topping the charts in a variety of markets, with combined sales and track-equivalent streams of 8 million units according to IFPI.


title: Pillowtalk (song)

text: On Snapchat, Zayn revealed a snippet of a "Pillowtalk" remix featuring American rapper Lil Wayne, which was later released as "Pillowtalk Remix" for digital download on 25 February 2016; it is a hip hop remix with rapping by Wayne along with a rap verse from Wayne and an extra rap-sing verse by Zayn. The song has the first line of the second verse of the original song when Zayn says "Pillow talk" and then replaces the rest of the second verse to Wayne's verse. It replaces the bridge of the original song to a rap-sing verse from Zayn and then after Zayn's rap-sing verse to Wayne's bridge recapping the original chorus line from Zayn, "Its our paradise and its our war zone" twice.


title: Pillowtalk (song)

text: An alternate version of the remix was leaked in May 2016. This version replaced Zayn's rap-sing verse with a verse from Tory Lanez. It is not an official remix. The original version of "Pillowtalk" has been included in the compilation album "Now That's What I Call Music! 93".


title: Pillowtalk (song)

text: "Pillowtalk" is an R&B slow jam, being the genre showcased in form of alternative R&B. Also described as a downtempo electronic, it features a smooth pop-R&B production, and heavy beats. According to music critics, the song represents a change from the mainly pop influences of his previous releases as a boyband member.


title: Pillowtalk (song)

text: "Pillowtalk" was written in common time in the key of B major, with a moderate tempo of 126 beats per minute. The verses center around the chords of E major and F major, with the vocal melody in the verses being pentatonic. Zayn's vocal performance makes use of ad-libs, at points using triplets against the prevailing tempo. The song demonstrates Zayn's tenor vocal range, particularly with the chorus.


title: Pillowtalk (song)

text: Its lyrics discuss the way that love and passion can turn abruptly into recklessness, described by "The Guardian" as a "theatrical interpretation of intimacy and romance." Zayn uses billowy vocals and buttery voice in the song. He goes from soft lines in the pre-chorus, "I love to wake up next to you," to explicit content in the chorus: "in the bed all day / fucking and fighting on / It's a paradise and it's a war zone;" he sings about the pain that comes with being lovers.


title: Pillowtalk (song)

text: "Pillowtalk (the living room session)" features Malik's vocals with an acoustic guitar backing. "Pillowtalk Remix" is a hip hop remix that features rapping by Lil Wayne as well as rapping and rap-singing by Zayn, while the beats and melody have also been reworked to a hip hop style with additional hip-hop producer Jaegen.


title: Pillowtalk (song)

text: "Pillowtalk" received highly positive reviews from music critics for its production and the Zayn's vocals. Writing for "Forbes", Hugh McIntyre commented the song "is decidedly grown up, complete with plenty of x-rated words and adult imagery and themes. This isn’t another simple tune about broken hearts; it’s about love being both a paradise and a warzone. The song may be about similar situations, but Zayn is feeling—or expressing—things differently now." Fuse<nowiki>'</nowiki>s Jason Lipshutz described "Pillowtalk" as "a sexy, engrossing R&B track." Brennan Carley of "Spin" praised the lyrics and Zayn's vocals, stating he "demonstrates a mastery on modern R&B within seconds. There’s passion in his voice, an instrument unencumbered and unshaven for the first time." For "The Guardian"<nowiki>'</nowiki>s Harriet Gibsone, it is a "slow, minimalist and lusty explosion of testosterone, a fountain of champagne and dodgy aftershave. It is a deliberate – and understandable – step into a more austere artistic guise." "The Guardian" chose "Pillowtalk" as their pick of the week, stating that "against all odds, Zayn Malik’s debut single is shockingly good." "The Irish Times" also chose it as their track of the week, describing it as "slick" and "nouveau R&B (like Miguel) with a blogwave backing."


title: Pillowtalk (song)

text: For Stereogum, Tom Breihan called it a "sleek, immaculately constructed piece of moody." In Digital Spy, Lewis Corner gave the song four-out-of-five stars, writing "Zayn's clear vocal tone – at its very best on this – along with a big chorus and brain-niggling melody, keeps it sexy and fun without being sordid." He musically compared the "seductive R&B" track to The Weeknd's sounds and Justin Timberlake's early solo work, and concluded it isn't the "same old pop shit" but "the new British male superstar you hadn't realised you've been waiting for." Lucas Villa of "AXS" wrote that the song "might not be [Zayn's] Justin Timberlake 'Cry Me a River' breakthrough just yet but it's a sweet something that will surely satisfy his older fans in the meanwhile." Brittany Spanos in "Rolling Stone" called it a "smooth, sexy pop song." Joe Lynch of "Billboard" noted that the song drops "One Direction's MOR pop for the more critically respected PBR&B". Another "Billboard" review wrote that "Malik has left bubblegum pop behind" and from "here on, it's slick R&B."


title: Pillowtalk (song)

text: Alex Abad-Santos of "Vox" found that the topic contains "shopworn clichés, making the song feel like it's marketed and packaged for young ears" but concluded "Zayn's billowy, swirling vocals sell it so well that 'Pillowtalk' becomes something better than it first set out to be." Christopher Weingarten in "Rolling Stone" wrote "there's nothing particularly special about his single" and found the lyrics "awkward" but concluded the song may be "important for R&B's future" as it "proves that the watery sound of alternative-leaning R&B has way more legs than the cult of personality built around the Weeknd." "Newsweek" said the "track has an epic crashing chorus that’s raunchy and romantic in equal measure, with jazzy electronic elements that don’t overpower the 23-year-old’s formidable vocal chops." AllMusic said the song features "his strong vocals over distinctly more adult-themed alt-R&B similar to The Weeknd and Miguel." Magdalen Jenne of "PopMatters" said "Pillowtalk" is "hands down the best pop single of 2016 so far." "Rolling Stone" named "Pillowtalk" one of the 30 best songs of the first half of 2016, writing "Like his AWOL boy band forefathers, Zayn Malik decided to use R&B and sex appeal to launch his post-One Direction. This Number One hit is a smooth, seductive lover's croon." "Billboard" ranked "Pillowtalk" at number 37 on their "100 Best Pop Songs of 2016" list. "Spin" staff ranked it as the 16th best boy-band solo debut single.


title: Pillowtalk (song)

text: "Pillowtalk" debuted at number one on the UK Singles Chart, with 112,497 sales and about 4.972 million streams for the week, Its subsequent UK sales were 82,264 copies in its second week, 71,578 copies in the third week, 58,732 copies the fourth week, and 49,604 copies the fifth week.


title: Pillowtalk (song)

text: Overseas, it debuted at number one in Ireland and Australia, where it is the year's first song to enter at the top of the singles chart, and it debuted at number one on the Finland download chart. It also debuted at number one in Canada, Greece, Portugal, and Slovakia, and reached number one in Hungary, New Zealand, Singapore and Sweden. Worldwide, Zayn had the highest first-day and weekly streams for a debut artist. As of 20 April 2016, the song has received 330 million streams on Spotify and Shazam.


title: Pillowtalk (song)

text: "Pillowtalk" debuted atop the US "Billboard" Hot 100 for the chart issue dated 20 February 2016, becoming the 25th song ever to debut at number one on the chart. This makes him the first UK artist to debut at number one on the Hot 100 with a first charted single, and the third UK act to start at the summit (following Elton John's "Candle in the Wind 1997" and Adele's "Hello"). It also marks the first number one debut for an artist's first Hot 100 entry since Baauer's "Harlem Shake" (2 March 2013). "Pillowtalk" charted higher than any One Direction single, the highest being number two for "Best Song Ever" in 2013. Zayn is the first one-time member of a Hot 100-charting boy band to score a number one with a debut single since George Harrison, the former Beatle who launched with "My Sweet Lord" in 1970. The single's performance propelled Zayn to number six on the "Billboard" Artist 100 chart. "Pillowtalk" replaced Justin Bieber's "Love Yourself" at the summit of the Hot 100 for one week, before dropping to number seven the following week, and then rebounding to number six for the next five weeks. Following the release of "Mind of Mine", "Pillowtalk" rebounded to number four on the Hot 100. It reached the Mainstream Top 40 top spot for the chart issue dated 7 May 2016, surpassing One Direction's number-three peak (with "What Makes You Beautiful" in 2012). Zayn is the first former boy band member to top the Mainstream Top 40 with a debut entry since former Menudo member Ricky Martin's "Livin' la Vida Loca" in 1999.


title: Pillowtalk (song)

text: In the United States, "Pillowtalk" sold 267,000 copies in its first week, along with 22.3 million streams, the fourth-largest streaming start ever, opening atop the Digital Songs and Streaming Songs charts; it also debuted at number one on the subscription services-based On-Demand Songs chart, with 12.7 million on-demand streams. It garnered 5.9 million in all-format radio audience in the first three days of the Hot 100's airplay tracking week, and boasted 17 million in radio audience for the week. It was the year's second biggest first-week seller. "Pillowtalk" had the fastest airplay gain on radio in its second week, when it gained 64% on the Radio Songs chart with 29 million audience impressions, and had 16.9 million streams that week, followed by 17.4 million streams and 38 million audience impressions in its third week, 46 million audience impressions in the fourth week, and 17.2 million streams and 53 million audience impressions the fifth week. It became the top Airplay Gainer in its sixth week, with a 21 percent gain to 65 million audience impressions, followed by 69 million audiences impressions in its seventh week, and 17 million streams in its eighth week. By June 2016, it had sold 1.288 million in the US, according to Nielsen SoundScan.


title: Pillowtalk (song)

text: Directed by Bouha Kazmi, the accompanying music video for "Pillowtalk" premiered on YouTube on 29 January 2016. Gigi Hadid and Zayn appear in the clip, which features retro graphics, kaleidoscopic and shattered-mirror effects. The music video finds Zayn navigating a sexual fantasia, with a flower covering a mysterious woman's genitals and female silhouettes ogling each other, the former played by actress Jodie Turner-Smith. Hadid appears swirling around the singer, hypnotises him and eventually provokes technicolour tears. They navigate a kaleidoscopic dreamscape, where they make out, make up and cry black tears as Zayn sings.


title: Pillowtalk (song)

text: "Forbes"s contributor Hugh McIntyre praised the visuals, writing "The dripping, trippy visuals match the rock and roll energy of the song perfectly, with the viewer spending as much time with guitars being smashed as they do with Zayn crying black tears." For Lily Harrison from E! Online the video "it's not only extremely seductive, but it's very artistic," while Erica Gonzales from "Harper's Bazaar" wrote "the visuals are dark yet psychedelic." Lucas Villa of "AXS" commented "The debut clip seems to reflect the singer's artsy side. The action here is not as steamy between the two as the song suggests but it's still a NSFW video." "Time"<nowiki>'</nowiki>s Nolan Feeney thought "Zayn seems determined to break with his boy-band image." The music video topped the UK TV Airplay Chart, and reached number two on the Israel TV airplay chart. Online, the video received more than 25 million views in three days, and 247 million views after one month. , it has received over 1 billion views on YouTube.


title: Pillowtalk (song)

text: Cover versions of "Pillowtalk" have been uploaded to YouTube by SoMo, Niki and Gabi, Conor Maynard, Tanner Patrick, The Vamps, Alex Aiono, Julio D, and Boyce Avenue. JoJo performed a live rendition at concerts in Cologne and London. Låpsley performed a cover version on BBC Radio 1's Live Lounge. Shaun Reynolds and Kaycee da Silva uploaded a cover version of "Pillowtalk" on YouTube. The Gregory Brothers uploaded a tongue-in-cheek, uptempo cover to YouTube as part of their "Happy Sad Songs" series. It is re-envisioned as an alternative electro rock song, partially inspired by The Strokes. Stwo released a remix of "Pillowtalk" on SoundCloud. In season 10 of "The Voice", contestant Bryan Bautista performed a rendition of "Pillowtalk". American rapper Tyler, The Creator released a remix of "Pillowtalk" in June 2016. It was danced by Terrell Owens and his partner on Dancing with the Stars (U.S. season 25)


title: Kull of Atlantis

text: Kull of Atlantis or Kull the Conqueror is a fictional character created by writer Robert E. Howard. The character was more introspective than Howard's subsequent creation, Conan the Barbarian, whose first appearance was in a re-write of a rejected Kull story.


title: Kull of Atlantis

text: His first published appearance was "The Shadow Kingdom" in "Weird Tales" (August, 1929). Kull was portrayed in the 1997 film "Kull the Conqueror" by actor Kevin Sorbo.


title: Kull of Atlantis

text: Kull was born in pre-cataclysmic Atlantis c. 100,000 BC, depicted as inhabited at the time by barbarian tribes. East of Atlantis lay the ancient continent of Thuria, of which the northwest portion is divided among several civilized kingdoms. The most powerful among these was Valusia; others included Commoria, Grondar, Kamelia, Thule, and Verulia. Note that the word "Thuria" never appears in any of the Kull stories. Howard coined the term while tying Kull's world to Conan's in the 1936 essay "The Hyborian Age".


title: Kull of Atlantis

text: Kull was born into a tribe settled in the Tiger Valley of Atlantis. Both the valley and tribe were destroyed by a flood while Kull was still a toddler, leaving the young Kull to live as a feral child for many years. Kull was captured by the Sea-Mountain tribe and eventually adopted by them. In "Exile of Atlantis", an adolescent Kull grants a woman a quick death so that she will not be burned to death by a mob. For this selfless act, Kull is exiled from Atlantis.


title: Kull of Atlantis

text: Kull attempted to reach Thuria, but was instead captured by Lemurian Pirates. He spent a couple of years as a galley slave before regaining his freedom during a mutiny.


title: Kull of Atlantis

text: He tried the life of a pirate between his late adolescence and his early twenties. His fighting skills and courage allowed him to become captain of his own ship. Soon, Kull gained a fearsome reputation for himself in the seas surrounding Atlantis and Thuria. Kull lost his ship and crew in a naval battle off the coast of Valusia, but once again survived. He settled in Valusia as an outlaw. However, his criminal career proved to be short-lived as he was soon captured by the Valusians and imprisoned in a dungeon. His captors offered him a choice: execution or service as a gladiator. He chose the latter. After proving to be an effective combatant and gaining fame in the arenas of the capital, a number of fans helped to regain his freedom.


title: Kull of Atlantis

text: Kull never left Valusia or returned to the life of an outlaw. Instead, he joined the Royal army as a mercenary, pursuing elevation through the ranks. In "The Curse of the Golden Skull" Kull, approaching his thirties, is recruited by King Borna of Valusia in a mission against the ambitious sorcerer Rotath of Lemuria. Kull proves to be an effective assassin.


title: Kull of Atlantis

text: Borna promoted Kull into the general command of his mercenary forces. Borna himself, however, had gained a reputation for his cruelty and despotism. There was discontent with Borna's rule among the nobility, leading eventually to a civil war. The mercenaries proved more loyal to Kull than any other leader, allowing him to become first the leadership in their revolt and then King. Kull killed Borna and took the throne while he was still in his early thirties. In "The Shadow Kingdom", Kull has spent six months upon the Valusian throne and faces the first conspiracy against him.


title: Kull of Atlantis

text: The series continued with Kull finding that gaining the crown was easier than securing it. He faces several internal and external challenges throughout the series. The conspiring of his courtiers leaves Kull almost constantly threatened with loss of life and throne. The aging King is ever more aware of the Sword of Damocles that he inherited along with the crown.


title: Kull of Atlantis

text: "The Mirrors of Tuzun Thune" finds Kull reaching his middle forties and becoming progressively more introspective. The former barbarian is left lost in contemplations of philosophy. At this point, the series ends. His fate is left uncertain.


title: Kull of Atlantis

text: In the Conan the Barbarian story "Shadows of the Skull", it is revealed that Conan is a direct descendant of Kull.


title: Kull of Atlantis

text: Several characters reoccur throughout the series. The best known is his trusted ally Brule the Spear-slayer, a pre-cataclysmic Pict. First Councillor Tu is a trusted administrator, but also a constant reminder of the tradition bound laws and customs of Valusia. Ka-Nu (sometimes named Kananu), the Pictish Ambassador to Valusia and wise man, is responsible for the friendship between Kull and Brule despite the ancient enmity between Atlanteans and Picts. Kull's mortal enemy is the sorcerer Thulsa Doom.


title: Kull of Atlantis

text: Kull is Conan the Barbarian's direct literary forerunner. Conan's first story (both as a written piece and a published one), "The Phoenix on the Sword", is a rewriting of an earlier Kull story "By This Axe, I Rule". The Conan version has a completely new backstory, less philosophy, more action, and various supernatural elements. Many passages of both stories still match word for word.


title: Kull of Atlantis

text: One notable difference between Kull and Conan is their respective attitudes towards women. While Conan is a notable womanizer, finding a new love interest in nearly each of his stories, Kull is repeatedly mentioned as uninterested in having any such attachment. While highly chivalrous and on several occasions helping pairs of star-crossed lovers reach a happy consummation, he is never mentioned as having himself any relationship with a woman. Nor is Kull showing any interest in marrying and founding a dynasty, as Conan does in "The Hour of the Dragon", and none of Kull's wise advisors ever mentions this issue.


title: Kull of Atlantis

text: Kull has been adapted to comics by Marvel Comics with three series between 1971 and 1985. The first was drawn by Marie Severin and her brother John Severin. He also appeared several times in "The Savage Sword of Conan" series and other anthology books. Another graphic novel, "Kull: The Vale of Shadow", was published in 1989.


title: Kull of Atlantis

text: In 2006, Dark Horse Comics bought the rights to use Kull. The first series, titled "Kull", was based on "The Shadow Kingdom". , three mini-series were published, "Kull", "Kull: The Hate Witch", and "Kull: The Cat and the Skull". Dark Horse also re-published the Marvel stories into two different Kull collections. The Marvel color comics were collected into five volumes titled "The Chronicles of Kull", and the Marvel magazine format, black and white stories were collected into two volumes titled "The Savage Sword of Kull". Additional reprints were published in "Robert E. Howard's Savage Sword".


title: Kull of Atlantis

text: In 2017, IDW Publishing got the license and began publishing "Kull Eternal", using The Mirrors of Tuzun Thune as a story foundation of Kull in a modern setting.


title: Kull of Atlantis

text: The 1997 film "Kull the Conqueror" starred Kevin Sorbo in the title role. The film was originally intended to be a Conan film and some elements of this remain. The story's basis and several names can be directly traced to the Conan story "The Hour of the Dragon".


title: Kull of Atlantis

text: The 1982 "Conan the Barbarian" film starring Arnold Schwarzenegger borrowed many elements from Howard's Kull stories. The main villain Thulsa Doom was from the Kull series, as was the serpent cult. Conan's early life as a slave and gladiator in the movie borrows heavily from Kull's origin story and only shares minor details with Conan's literary origins; Conan was never a slave or a gladiator in Howard's stories, and left Cimmeria on his own will.


title: Kull of Atlantis

text: Kull may have been the source of the name of King Kull, a Fawcett Comics supervillain and foe of Captain Marvel, later acquired by DC Comics. This King Kull combines barbarian elements with the bizarre science-fiction elements common in Captain Marvel stories of the Golden Age of comic books.


title: Kull of Atlantis

text: In Robert E. Howard's story "Kings of the Night", a character living in the time of the Roman Empire states that a contemporary of Kull's "has been dead a hundred thousand years as we reckon time."


title: Kull of Atlantis

text: The name Kull was registered as a trademark by Kull Productions in 1985. The trademark is now owned by Robert E. Howard Properties.


title: Kull of Atlantis

text: The Australian site of Project Gutenberg has many Robert E. Howard stories, including several Kull stories. This indicates that, in their opinion, the stories hosted on the site are free from copyright and may be used by anyone, at least under Australian law. Subsequent stories written by other authors are subject to the copyright laws of the relevant time.


title: James Tillis

text: James Tillis (born July 5, 1957) is a retired American professional boxer and actor. Known as "Quick", he was known for his fast hand speed, quite astonishing for a man of his size and build. A natural southpaw, Tillis turned around to orthodox midway in his amateur career. His left remained the stronger hand and for that reason, he had a powerful jab and left hook, together with the ability to switch stances while fighting. Tillis challenged for the WBA world heavyweight title in 1981, but was defeated in a fifteen round unanimous decision fight against Mike Weaver. Tillis was the first man to go the distance with Mike Tyson in 1986, breaking his knockout-streak and giving him a relatively close fight, nearly a draw, with two of three judges scoring the fight . (in the words of "Hall of Fame's" Gil Clancy, Tillis was "one punch" away from victory.) He holds notable wins over Ron Stander by TKO in the 7th round in 1980, and the hard punching Earnie Shavers by ten-round decision in 1982. Tillis fought for the last time in 2001 at the age of 44.


title: James Tillis

text: A native of Tulsa, Oklahoma, he was the firstborn son of James Tillis and wife Rose. Tillis attended Mclain High School and grew up in a very religious southern family, with an alcoholic father and a deeply religious mother. His mother would later join First Baptist Mohawk Church under the leadership of Pastor Clint Simmons. He dreamed about being a professional prize fighter and was given the nickname "Quick" by his first cousin Keith Reed.


title: James Tillis

text: "Quick" was influenced to begin training to become a boxer after he listened to the 1964 bout between Muhammad Ali and Sonny Liston on the radio. He enlisted the help of noted trainer Ed Duncan, by becoming involved in the sport at the O'Brien Park recreation center in north Tulsa. Tillis' amateur record of 92–8 led to his being considered for the United States Olympic team. Due to an illness, he was unable to compete in the Olympic trials.


title: James Tillis

text: However, his impressive amateur career included three state Golden Gloves and four state AAU titles. He lost to future pro opponent Greg Page at the 1976 National Golden Gloves, and to Charles Singleton at the 1978 National Golden Gloves in Albuquerque, New Mexico. At the 1977 USA–USSR Duals in Milwaukee, Wisconsin, he lost on points to the Soviet light heavyweight David Kvachadze. He also managed to beat future pro contender Renaldo Snipes, who he later turned pro with on the same card in 1978.


title: James Tillis

text: Tillis began his professional boxing career in 1978, with a first-round knockout of Ron Stephany. He won his first 20 fights with 16 knockouts. One of his most impressive early victories was a seventh-round knockout of Ron Stander in 1980. Stander had once challenged Joe Frazier for the world title and was regarded as one of boxing's most durable fighters. Other notable wins included a knockout of the South American champion Domingo D'Elia, and a points win over the sometimes dangerous fringe contender Mike Koranicki. His co-managers were Beau Williford and Gary Bentley.


title: James Tillis

text: In 1981, Tillis fought "Hercules" Mike Weaver for the WBA World Heavyweight title. After a strong start, Tillis tired. The fight would become famous for trainer Angelo Dundee imploring Tillis to do something, asking the fighter, "Do you want to be a bum all your life?" Ultimately, Tillis lost a close points decision.


title: James Tillis

text: In June 1982, Tillis came off the floor to outpoint the hard-hitting legend Earnie Shavers. He blew that momentum only a few months later, being upset by late substitute (and future world champion) Pinklon Thomas. In November 1982, Tillis fought former amateur rival Greg Page for the USBA Heavyweight title. He knocked Page down, but again tired and was the victim of an eighth-round knockout loss. Page would go on to win the world title.


title: James Tillis

text: Having scored four wins, Tillis challenged future two-time world champion Tim Witherspoon in September 1983, for the vacant North American Boxing Federation title. Tillis was shockingly bombed out in one round, apparently slipping on a wet spot in the ring as Witherspoon hit him. After the fight, Tillis' trainer Angelo Dundee left him and advised him to retire, as he had just suffered his third defeat in thirteen months.


title: James Tillis

text: Tillis got a new team and put together four wins in 1984, before challenging Carl Williams in a world title eliminator. Having decked Williams twice in the opening round, Tillis tired and was outpointed. In 1985, under the guidance of trainer Drew Bundini Brown, he fought Joe Frazier's son and top contender Marvis Frazier. In a recurring theme, he had Frazier down in the second round, but again ran out of gas and was outpointed. A few months later, he traveled to South Africa to fight hard-hitting ex-champ Gerrie Coetzee. Tillis lost a unanimous decision, but sent Coetzee to hospital with stitches and missing teeth.


title: James Tillis

text: After extensive medical examination, Tillis' strange recurrent fatigue midway through fights was found to derive from a severe allergy to the classic fighter's diet of milk and eggs. A doctor provided Tillis with a more suitable diet, in the training for his upcoming fight with Mike Tyson, a red-hot prospect with a 19–0 (19 knockouts) record. Tillis appeared to be a new man, as he exchanged with Tyson and gave the future two-time champion a very tough fight. Although ultimately outpointed, he was the first person ever to take Iron Mike to the distance. Surprisingly, Tillis' heart and will to fight has been questioned quite frequently by boxing analysts, even his co-manager Beau Williford told to the press the night before the fight considering that James was on a three-times-in-a-row losing streak, that his professional career as a boxer would be ended most likely if stopped by Tyson. Trainer Angelo Dundee, who worked with Tillis for the Weaver fight and some subsequent fights, finally gave up his job, he said: "James had no spirit to fight." In the pre-fight interview he told the ESPN staff that he found that spirit. To prove Dundee was wrong, Tillis violated almost all the Dundee "No-Nos" in the Tyson fight:


title: James Tillis

text: Culminative moment of the fight came at 2:45 of the fourth round, when Tillis charged at Tyson with a leaping left hook, missed, and went off-balanced while pivoting on his left foot. Tyson slipped the punch and promptly switched to orthodox, throwing a leaping left hook of his own that landed right to the Tillis' chin, Tillis went down immediately. Tillis got up quickly at the count of "Two." That was the only knockdown during the entire fight, it cost Tillis a point, and subsequently a round on all the three judges' scorecards, and eventually the fight, which otherwise would have been ended a draw.


title: James Tillis

text: Initially, the crowd was rooting for Tyson, but in the later rounds it turned somewhat against Tyson due to him being unable to knock Tillis out, and after the ring announcer Paul LeFlore announced the judges' decision, pronouncing Tyson as the winner by a unanimous decision, the crowd booed wildly when referee Joe Cortez raised Tyson's hand. Being interviewed by the ABC Sports Network staff, Tyson himself said he just "fought a guy who was up for this fight, in the greatest shape in his life."


title: James Tillis

text: The new Tillis was short-lived, however, as he traveled to Australia and lost a decision to veteran Joe Bugner. In 1987, he was upset in eight rounds, as underdog (and regular Tyson sparring partner) Michael Williams came off the floor to stop Tillis. Later in the same year, he was stopped in five rounds on cuts by future champ Frank Bruno in London, and then knocked out in 10 rounds by hard-hitting Johnny DuPlooy in South Africa.


title: James Tillis

text: Having failed to secure a rematch with Tyson in 1988, this time for the undisputed heavyweight championship, he made one last attempt at the big time. Tillis was brought in to fight reigning cruiserweight world champion Evander Holyfield, who was making a high-profile move into the heavyweight ranks. Holyfield outpunched Tillis in five one-sided rounds.


title: James Tillis

text: Tillis resurfaced in 1991. However, his days even as a journeyman appeared over, as hard-hitting (and future WBO World Champion) Tommy Morrison stopped him out in one round.


title: James Tillis

text: Tillis fought on and off until 2001. Although he still was able to outpoint former top-flight amateur Craig Payne, a 39-year-old Tillis was stopped in six rounds by Cliff Couser in 1996.


title: James Tillis

text: In retirement he wrote an autobiography, "Thinkin Big: The Story of James Quick Tillis, the Fightin' Cowboy".


title: James Tillis

text: James Tillis received catBOX Entertainment, Inc.’s Lifetime Sports Achievement Award. Tillis, whose fighting prowess named him “quick” and “the fighting cowboy”, was honored with the catBOX Entertainment, Inc.’s Lifetime Sports Achievement Award, before the main event at catBOX’s professional fight card set for February 11, 2010 at Remington Park Casino in Oklahoma City, Oklahoma.


title: James Tillis

text: On February 12, 2010, the State of Oklahoma honored one of its favorite sons, James “Quick” Tillis of Tulsa. Gov. Brad Henry signed a declaration making Feb 12 James “Quick” Tillis Day in Oklahoma.


title: James Tillis

text: His daughter Iciss played basketball at Duke University as a center, and was on the United States National Team for the 2003 Pan American Games. Iciss was later selected in the first round by the Detroit Shock during 2004 WNBA Draft. She later played for the New York Liberty in 2006.


title: James Tillis

text: On September 22, 2017 Tillis was honored by the city of Tulsa with honorary signs renaming a section of E. Virgin St "Quick Tillis Way" from N. Garrison Ave – N. Frankfort Ave.


title: James Tillis

text: On November 5, 2011, James "Quick" Tillis was Inducted into the Rochester Boxing Hall of Fame, receiving the "John Mastrella Integrity Award".


title: James Tillis

text: Tillis places the priorities in his life as "Serving The Lord Jesus Christ, Cowboy-ing and volunteering with amateur boxing clubs".


title: James Tillis

text: Bringing to fruition film adaptation of his autobiography, "Thinkin Big: The Story of James Quick Tillis, the Fightin' Cowboy", is his pet project.


title: Charles Williams (British writer)

text: Charles Walter Stansby Williams (20 September 1886 – 15 May 1945) was a British poet, novelist, playwright, theologian, literary critic, and member of the Inklings, an informal literary discussion group associated with C. S. Lewis and J. R. R. Tolkien at the University of Oxford.


title: Charles Williams (British writer)

text: Charles Williams was born in London in 1886, the only son of (Richard) Walter Stansby Williams (1848–1929) and Mary (née Wall). His father Walter was a journalist and foreign business correspondent for an importing firm, writing in French and German, who was a 'regular and valued' contributor of verse, stories and articles to many popular magazines. His mother Mary, the sister of the ecclesiologist and historian J. Charles Wall), was a former milliner (hatmaker), of Islington. He had one sister, Edith, born in 1889. The Williams family lived in 'shabby-genteel' circumstances, owing to Walter's increasing blindness and the decline of the firm by which he was employed, in Holloway. In 1894 the family moved to St Albans in Hertfordshire, where Williams lived until his marriage in 1917.


title: Charles Williams (British writer)

text: Educated at St Albans School, Williams was awarded a scholarship to University College London, but he left in 1904 without attempting to gain a degree due to an inability to pay tuition fees.


title: Charles Williams (British writer)

text: Williams began work in 1904 in a Methodist bookroom. He was employed by the Oxford University Press (OUP) as a proofreading assistant in 1908 and quickly climbed to the position of editor. He continued to work at the OUP in various positions of increasing responsibility until his death in 1945. One of his greatest editorial achievements was the publication of the first major English-language edition of the works of Søren Kierkegaard. His work was part of the literature event in the art competition at the 1924 Summer Olympics.


title: Charles Williams (British writer)

text: Although chiefly remembered as a novelist, Williams also published poetry, works of literary criticism, theology, drama, history, biography, and a voluminous number of book reviews. Some of his best known novels are "War in Heaven" (1930), "Descent into Hell" (1937), and "All Hallows' Eve" (1945). T. S. Eliot, who wrote an introduction for the last of these, described Williams's novels as "supernatural thrillers" because they explore the sacramental intersection of the physical with the spiritual while also examining the ways in which power, even spiritual power, can corrupt as well as sanctify.


title: Charles Williams (British writer)

text: All of Williams's fantasies, unlike those of J. R. R. Tolkien and most of those of C. S. Lewis, are set in the contemporary world. Williams has been described by Colin Manlove as one of the three main writers of "Christian fantasy" in the twentieth century (the other two being C.S. Lewis and T. F. Powys). More recent writers of fantasy novels with contemporary settings, notably Tim Powers, cite Williams as a model and inspiration.


title: Charles Williams (British writer)

text: W. H. Auden, one of Williams's greatest admirers, reportedly re-read Williams's extraordinary and highly unconventional history of the church, "The Descent of the Dove" (1939), every year. Williams's study of Dante entitled "The Figure of Beatrice" (1944) was very highly regarded at its time of publication and continues to be consulted by Dante scholars today. His work inspired Dorothy L. Sayers to undertake her translation of "The Divine Comedy". Williams, however, regarded his most important work to be his extremely dense and complex Arthurian poetry, of which two books were published, "Taliessin through Logres" (1938) and "The Region of the Summer Stars" (1944), and more remained unfinished at his death. Some of Williams's essays were collected and published posthumously in "Image of the City and Other Essays" (1958), edited by Anne Ridler.


title: Charles Williams (British writer)

text: Williams gathered many followers and disciples during his lifetime. He was, for a period, a member of the Salvator Mundi Temple of the Fellowship of the Rosy Cross. He met fellow Anglican Evelyn Underhill in 1937 and would later write the introduction to her published "Letters" in 1943.


title: Charles Williams (British writer)

text: When World War II broke out in 1939, Oxford University Press moved its offices from London to Oxford. Williams was reluctant to leave his beloved city, and his wife Florence refused to go. From the nearly 700 letters he wrote to his wife during the war years, a generous selection has been published — "primarily… love letters," the editor calls them.


title: Charles Williams (British writer)

text: But the move to Oxford did allow him to participate regularly in Lewis's literary society known as the Inklings. In this setting Williams was able to read (and improve) his final published novel, "All Hallows' Eve", as well as to hear J. R. R. Tolkien read aloud to the group some of his early drafts of "The Lord of the Rings". In addition to meeting in Lewis's rooms at Oxford, they also regularly met at The Eagle and Child pub in Oxford (better known by its nickname "The Bird and Baby"). During this time Williams also gave lectures at Oxford on John Milton, William Wordsworth, and other authors, and received an honorary M.A. degree.


title: Charles Williams (British writer)

text: Williams is buried in Holywell Cemetery in Oxford. His headstone bears the word "poet" followed by the words "Under the Mercy", a phrase often used by Williams himself.


title: Charles Williams (British writer)

text: In 1917 Williams married his first sweetheart, Florence Conway, following a long courtship during which he presented her with a sonnet sequence that would later become his first published book of poetry, "The Silver Stair". Their son Michael was born in 1922.


title: Charles Williams (British writer)

text: Williams was an unswerving and devoted member of the Church of England, reputedly with a tolerance of the scepticism of others and a firm belief in the necessity of a "doubting Thomas" in any apostolic body.


title: Charles Williams (British writer)

text: Although Williams attracted the attention and admiration of some of the most notable writers of his day, including T. S. Eliot and W. H. Auden, his greatest admirer was probably C. S. Lewis, whose novel "That Hideous Strength" (1945) has been regarded as partially inspired by his acquaintance with both the man and his novels and poems. Williams came to know Lewis after reading Lewis's then-recently published study "The Allegory of Love"; he was so impressed he jotted down a letter of congratulation and dropped it in the mail. Coincidentally, Lewis had just finished reading Williams's novel "The Place of the Lion" and had written a similar note of congratulation. The letters crossed in the mail and led to an enduring and fruitful friendship.


title: Charles Williams (British writer)

text: Williams developed the concept of co-inherence and gave rare consideration to the theology of romantic love. Falling in love for Williams was a form of mystical envisioning in which one saw the beloved as he or she was seen through the eyes of God. Co-inherence was a term used in Patristic theology to describe the relationship between the human and divine natures of Jesus Christ and the relationship between the persons of the blessed Trinity. Williams extended the term to include the ideal relationship between the individual parts of God's creation, including human beings. It is our mutual indwelling: Christ in us and we in Christ, interdependent. It is also the web of interrelationships, social and economic and ecological, by which the social fabric and the natural world function. But especially for Williams, co-inherence is a way of talking about the Body of Christ and the communion of saints. For Williams, salvation was not a solitary affair: "The thread of the love of God was strong enough to save you and all the others, but not strong enough to save you alone." He proposed an order, the Companions of the Co-inherence, who would practice substitution and exchange, living in love-in-God, truly bearing one another's burdens, being willing to sacrifice and to forgive, living from and for one another in Christ. According to Gunnar Urang, co-inherence is the focus of all Williams's novels.


title: DS 3

text: The DS 3 (formerly known as Citroën DS3 and DS 3 Crossback) is a luxury supermini initially produced by the French automobile manufacturer Citroën and officially launched in January 2010. This was the first and entry-level model from the DS premium sub-brand (pronounced "déesse", which is French for "goddess"), which was spun-off in 2016 into DS Automobiles.


title: DS 3

text: Originally manufactured as a three-door supermini hatchback with a convertible variation from 2009 to 2019, the second generation became a five-door Crossover SUV, named as "DS 3 Crossback" from 2018 to 2022.


title: DS 3

text: The model was named "2010 Car of the Year" by "Top Gear", awarded first supermini four times in a row by the JD Power Satisfaction Survey UK and second most efficient supermini (Citroën DS3 1.6 e-HDi 115 Airdream: ) by "What Car?" behind the Citroën C3. In 2013, it was again the most sold premium subcompact car with 40% of these market shares in Europe.


title: DS 3

text: The original Citroën DS3 design was first introduced as a concept car named Citroën DS Inside, unveiled on February 5, 2009 at the Geneva Motor Show, introducing both the 2009 Citroën logo redesign and their DS sub-brand.


title: DS 3

text: Citroën revamped their DS3 line for the summer of 2011 with a new, limited edition model, a new colour and a new decal on the roof. The new colour is brun Hickory, a shade of dark brown that recently made its debut on the DS3's bigger sibling, the DS4. One of the DS3's strongest selling points is the ability for a customer to personalize their car when they order it by mixing and matching body and roof colours, decals, and so on. This new colour helps that by bringing the total amount of available body colours to ten.


title: DS 3

text: The DS3 features prominently in the video for the Pixie Lott song "What Do You Take Me For". It is the first car that has had product placement in a British music video.


title: DS 3

text: The DS3 range received a mild facelift in 2014, with revised engines and new design of Xenon-LED headlights for the top of the range models. The new BlueHDi diesel, available in two states of tune, has a low emissions level of 79g/km. It received a new facelift in 2016, completely dropping any reference to Citroën and its logo.


title: DS 3

text: A version, the DS3 Racing, was introduced at the 2010 Geneva Motor Show. It is the road version of Citroën's rally specification car DS3 R3. The new 0-62 mph time is 6.5 seconds and the increased top speed is .


title: DS 3

text: The DS3 Racing was offered in only two colours, white with grey accents or black with orange accents including roof, wheels and interior. Besides these unique colour schemes, the DS3 Racing is distinguished from other trim levels by the use of real carbon fibre on the front splitter, grill, wheel arches and rear diffuser. Additionally, carbon fibre is prominently featured on the interior.


title: DS 3

text: In October 2011, Citroën announced that they were planning on building a total of 2,400 DS3 Racings, significantly more than the 1,000 initially planned in 2010.


title: DS 3

text: The Citroën DS3 WRC was used by the Citroën World Rally Team in WRC competitions between 2011 and 2016.


title: DS 3

text: Citroën unveiled the DS3 Cabrio at the Paris Motor Show in September 2012, with sales commencing in 2013.


title: DS 3

text: As a fixed profile convertible, the DS 3 retains its side bodywork, allowing for a roll back center fabric sunroof – similar to other fixed profile convertibles including the Fiat 500 (2007), Nissan Figaro (1991), Citroën 2CV (1948–1990) and the Nash Rambler Convertible "Landau" Coupe (1950).


title: DS 3

text: Citroën announced the "Matière Grise" limited edition of 750 cars for the European market. It is finished in flat grey paint with chromed mirrors, chromed door trim and chromed tail light surrounds. The roof can be ordered in either white or black and the only available wheels are 17″ alloys, also available in white and black.


title: DS 3

text: In February 2016, the facelifted DS 3 was announced by DS Automobiles, as part of their separation from Citroën to become a standalone brand. The new DS 3 was launched at that year's Geneva Motor Show. The revised model no longer featured Citroën badges, with the DS badge now featuring prominently on the front grille. The trim level names were also changed from DSign, DStyle and DSport and re introduced as Chic, Elegance and Prestige. An Ultra Prestige model was also added.


title: DS 3

text: The facelifted model is identified by a revised front and rear design, plus the new range of PSA engines incorporating the 1.2-litre three cylinder PureTech petrol engines (available in normally aspirated 82 bhp and turbocharged 110 and 130 bhp variants), the 1.6-litre THP turbocharged petrol engine with 165 bhp, and 1.6-litre BlueHDi turbo diesel engines with 100 and 120 bhp. In addition, a new DS 3 Performance model was introduced with the THP engine uprated to 210 bhp, with a 0–100 km/h time of 6.5 seconds.


title: DS 3

text: In June 2016, DS partnered with French luxury fashion and perfume company Givenchy and launched the DS 3 Givenchy Le MakeUp special edition. A total of 500 Givenchy models were built and include unique features such as a textured matt white body with metallic purple roof and door mirrors, a rose pink dashboard strip and a make-up storage kit in the front central armrest. It is available with the PureTech 110 engine in manual or automatic transmission, and is based on the mid range Elegance trim level.


title: DS 3

text: The DS Performance Line was launched in September 2016, enabling the DS customer to have performance styling without any mechanical upgrades. DS 3 Performance Line includes aesthetics such as gloss black alloy wheels, black contrasting roof colour, exterior stripe graphics and interior coloured stitching.


title: DS 3

text: The second generation of DS 3 was presented for the first time on 13 September 2018, with public premiere is at the 88th Paris Motor Show in October 2018. Although keeping some key design elements from the previous generation - such as the floating roof and the partial B-pillar - its body style became a 5-door crossover SUV and the model changed its name to DS 3 Crossback. The SUV is the first DS vehicle based on the PSA EMP1 platform shared with the Peugeot 208. Powertrains include a range of petrol and diesel engines and an electric version.


title: DS 3

text: A fully electric version, known as "E-Tense", is also sold. In January 2020, monthly sales of the electric version were over 700 units.


title: DS 3

text: The facelift was introduced on 26 September 2022 alongside Paris Fashion Week, with its name changed back into DS 3 (but marketed as "New DS 3").


title: DS 3

text: The grille is restyled with emphasis on gloss black with subtle chromed-diamond tips. The DS Wings have been tweaked to join the grille and headlamps, which have a more dynamic design on the inside with bigger LEDs - two LED lines are vertically-arranged on either side of the front.


title: DS 3

text: The E-Tense version had a slightly bigger 54kWh battery (50.8kWh usable) with liquid cooling and a heat pump. It recharges either at a DC 100 kW (0-80% in 25 minutes) or at AC 11 kW (0-100% in 5 hours). The powertrain has 156 hp (115 kW) and 260Nm. DS claims a WLTP combined cycle of up to 402 km and more than 500 km in city traffic, where the new DS 3 can leverage the efficiency of its motor, its ability to recover energy, and the heat pump and thermal pre-conditioning, as well as the new, more efficient LED lights and lowered ground clearance.


title: Ink Master (season 2)

text: The second season of the tattoo reality competition "Ink Master" premiered on Spike on October 9 and concluded December 18, 2012 with a total of 13 episodes. The show is hosted and judged by Jane's Addiction guitarist Dave Navarro, with accomplished tattoo artists Chris Núñez and Oliver Peck serving as series regular judges. The winner received a $100,000 cash prize, a feature in "Inked" Magazine and the title of Ink Master.


title: Ink Master (season 2)

text: The winner of the second season of "Ink Master" was Steve Tefft, with Sarah Miller being the runner-up.


title: Singles: Original Motion Picture Soundtrack

text: Singles is the soundtrack album of the 1992 film "Singles", released on June 30, 1992, almost three months before the film. It is primarily focused on the ascendant Seattle grunge scene of the early 1990s, but also features contributions from past Seattle artists Jimi Hendrix and The Lovemongers (Heart's Ann and Nancy Wilson, the latter of whom was the wife of the film's director Cameron Crowe at the time), Chicago's The Smashing Pumpkins, and the first solo material from Minneapolis' Paul Westerberg after the breakup of The Replacements.


text: The album has been certified two times platinum by the RIAA, indicating sales of at least two million copies in the United States. In April 2019, it was ranked No. 19 on Rolling Stone's "50 Greatest Grunge Albums" list.


text: A Deluxe Edition of the album featuring a bonus disc with 18 additional tracks was released on May 19, 2017, one day after the death of Soundgarden frontman Chris Cornell, whose music is featured prominently on the soundtrack and who has a cameo in the film; this was only a coincidence, as the album's release date had been announced in January. Songs used in the movie, but not included on either edition of the soundtrack, are: "Three Days" by Jane's Addiction, "Little Girl" by Muddy Waters, "Dig for Fire" by the Pixies, "Radio Song" by R.E.M., "Blue Train" by John Coltrane, "Family Affair" by Sly & The Family Stone, "She Sells Sanctuary" by The Cult, and "Jinx" by Tad.


text: The soundtrack is considered to have helped open the door to the explosive popularity of Seattle grunge in the early 1990s. According to Steve Huey of AllMusic, ""Singles" helped crystallize the idea of the 'Seattle scene' in the mainstream public's mind, and it was also one of the first big-selling '90s movie soundtracks (it went platinum and reached the Top Ten) to feature largely new work from contemporary artists ... it's a milestone in the breakthrough of alternative rock into mainstream popular culture, neatly and effectively packaging the Seattle phenomenon for the wider national consciousness."


text: On May 19, 2017, a remastered Deluxe Edition of the album was released to commemorate the original album's 25th anniversary. In addition to the original 13-song soundtrack on either one CD or two LPs, this release included new liner notes and track-by-track descriptions by Cameron Crowe and a bonus CD consisting of 18 additional tracks. The bonus material included a track each from Truly and Blood Circus, live tracks by Alice in Chains and Soundgarden that were recorded during their performances in the film, and demos and instrumentals by Mudhoney, Paul Westerberg, Chris Cornell, and members of Pearl Jam. Of these tracks, seven were previously-unreleased, and five had never been released on CD. Also included is "Touch Me I'm Dick" by Matt Dillon’s fictional band in the film, Citizen Dick, which was recorded by Pearl Jam's Eddie Vedder, Stone Gossard, and Jeff Ament.


title: ID3

text: ID3 is a metadata container most often used in conjunction with the MP3 audio file format. It allows information such as the title, artist, album, track number, and other information about the file to be stored in the file itself.


title: ID3

text: There are two unrelated versions of ID3: ID3v1 and ID3v2. ID3v1 takes the form of a 128-byte segment at the end of an MP3 file containing a fixed set of data fields. ID3v1.1 is a slight modification which adds a "track number" field at the expense of a slight shortening of the "comment" field. ID3v2 is structurally very different from ID3v1, consisting of an extensible set of "frames" located at the start of the file, each with a frame identifier (a three- or four-byte string) and one piece of data. 83 types of frames are declared in the ID3v2.4 specification, and applications can also define their own types. There are standard frames for containing cover art, BPM, copyright and license, lyrics, and arbitrary text and URL data, as well as other things. Three versions of ID3v2 have been documented, each of which has extended the frame definitions.


title: ID3

text: ID3 is a "de facto" standard for metadata in MP3 files; no standardization body was involved in its creation nor has such an organization given it a formal approval status. It competes with the APE tag in this arena.


title: ID3

text: Lyrics3v1 and Lyrics3v2 were tag standards implemented before ID3v2, for adding lyrics to mp3 files. The difference with ID3v2 is that Lyrics3 is always at the end of an MP3 file, before the ID3v1 tag.


title: ID3

text: The MP3 standard did not include a method for storing file metadata. In 1996 Eric Kemp had the idea to add a small chunk of data to the audio file, thus solving the problem. The method, now known as ID3v1, quickly became the "de facto" standard for storing metadata in MP3s.


title: ID3

text: The ID3v1 tag occupies 128 bytes, beginning with the string "TAG" 128 bytes from the end of the file. The tag was placed at the end of the file to maintain compatibility with older media players. Some players would play a small burst of static when they read the tag, but most ignored it, and almost all modern players will correctly skip it. This tag allows 30 bytes each for the title, artist, album, and a "comment", four bytes for the year, and a byte to identify the genre of the song from a predefined list of 80 values (Winamp later extended this list to 148 values).


title: ID3

text: One improvement to ID3v1 was made by Michael Mutschler in 1997. Since the comment field was too small to write anything useful, he decided to trim it by two bytes and use those two bytes to store the track number. Such tags are referred to as ID3v1.1.


title: ID3

text: Strings are either space- or zero-padded. Unset string entries are filled using an empty string. ID3v1 is 128 bytes long.


title: ID3

text: ID3v1 pre-defines a set of genres denoted by numerical codes. Winamp extended the list by adding more genres in its own music player, which were later adopted by others (though some are of dubious value: e.g. "Primus" is one specific band, not a genre, and "Negerpunk" appears to be a racist joke in Swedish). However, support for the extended Winamp list is not universal. In some cases, only the genres up to 125 are supported.


title: ID3

text: The Enhanced tag is an extra data block before an ID3v1 tag, which extends the title, artist and album fields to 60 bytes each, offers a freetext genre, a one-byte (values 0–5) speed and the start and stop time of the music in the MP3 file, e.g., for fading in. If none of the fields are used, it will be automatically omitted.


title: ID3

text: Some programs supporting ID3v1 tags can read the extended tag, but writing may leave stale values in the extended block. The extended block is not an official standard and is only supported by a few programs, not including XMMS or Winamp. The Enhanced tag is sometimes referred to as the "extended" tag.


title: ID3

text: ID3v1.2 purpose is to add small improvements to ID3v1.1 informal standard without breaking the ID3v1 informal standard


title: ID3

text: Genres 142–147 were added in the 1 June 1998 release of Winamp 1.91; genres 148–191 were added in Winamp 5.6 (30 November 2010).


title: ID3

text: In 1998, a new specification called ID3v2 was created by multiple contributors. Although it bears the name ID3, its structure is very different from ID3v1.


title: ID3

text: ID3v2 tags are of variable size, and usually occur at the start of the file, which aids streaming media as the metadata is essentially available as soon as the file starts streaming instead of requiring the entire file to be read first as is the case with ID3v1. ID3v2 tags consist of a number of "frames", each of which contains a piece of metadata. For example, the "TIT2" frame contains the title, and the "WOAR" frame contains the URL of the artist's website. Frames can be up to 16MB in length, while total tag size is limited to 256MB. The internationalization problem was solved by allowing the encoding of strings not only in ISO-8859-1, but also in Unicode.


title: ID3

text: However, mojibake is still common when using local encodings instead of Unicode. In particular, some Japanese editors are known to use Shift JIS encoding, which usually has disastrous effects: it will not work with any standard-compliant software regardless of local settings (since it is not supported by the standard), will not work outside Japan (since Shift JIS has very little support outside Japan), and will not even work on all Japanese computers even with a specifically non-compliant reader (as it is software-dependent and settings-dependent).


title: ID3

text: There are 83 types of frames declared in the ID3v2.4 specification, and applications can also define their own types. There are standard frames for containing cover art, , copyright and license, lyrics, and arbitrary text and URL data, as well as other things.


title: ID3

text: There is a loose "de facto" standard for implementation of song ratings. Most apps will display 0 to 5 stars for any given song, and how the stars are expressed can vary. For instance, when rating a song in iTunes, the rating is not embedded in the tag in the music file, but is instead stored in a separate database that contains all of the iTunes metadata. Other media players can embed rating tags in music files, but not necessarily the same way, so as a result a song which is rated on one media player sometimes won't display the rating the same way, or at all, when played on other software or mobile device.


title: ID3

text: However, there is a "Popularimeter" frame in the ID3v2 specification meant for this purpose. The frame is called POPM and Windows Explorer, Windows Media Player, Winamp, foobar2000, MediaMonkey, and other software all map roughly the same ranges of 0–255 to a 0–5 stars value for display.


title: ID3

text: The 0 is the play counter portion of POPM as per the ID3v2 POPM specification, which is not to be confused or conflated with the PCNT frame, which is a separate frame meant entirely for playcounts. If an app supports granularity however, it should write 1 for one full star, and then 2–31 would be granular points under one full star. Notably, the ID string Windows uses is not an email address, as called for in the specifications. Further, Windows Explorer and Windows Media Player up to and including Windows 7 and WMP 12 (possibly beyond) contain a bug such that, if one were to use them to rate files, any Replay Gain tags one would have will be corrupted. WMP also writes the same values as described above, and reads the same way as well, EXCEPT for the cutoff between 4 and 5 stars, which is slightly different and basically of no consequence. WMP uses 221/222 instead, for reasons that are not clear.


title: ID3

text: The ID3v2 Chapter Addendum was published in December 2005 but is not widely supported as yet. It allows users to jump easily to specific locations or chapters within an audio file and can provide a synchronized slide show of images and titles during playback. Typical applications include Enhanced podcasts and it can be used in ID3v2.3 or ID3v2.4 tags.


title: ID3

text: The metadata can contain an "Attached Picture" ID3 frame ('PIC' or 'APIC') containing an image. A field in this frame can indicate the picture type. The following types are defined:


title: ID3

text: Version 2.4 of the specification prescribes that all text fields (the fields that start with a "T", except for TXXX) can contain multiple values separated by a null character. The null character varies by character encoding.


title: ID3

text: ID3 tags may be edited in a variety of ways. On some platforms the file's properties may be edited by viewing extended information in the file manager. Additionally most audio players allow editing single or groups of files. Editing groups of files is often referred to as "batch tagging". There are also specialized applications, called taggers, which concentrate specifically on editing the tags and related tasks. Some, such as puddletag, offer advanced features such as advanced batch tagging or editing based on regular expressions.


title: ID3

text: ID3 tags were designed with MP3 in mind, so they would work without problems with MP3 and MP3Pro files. However, the tagsets are an independent part of the MP3 file and should be usable elsewhere. In practice, the only other formats that widely use ID3v2 tags are AIFF and WAV. In AIFF, the tag is stored inside an IFF chunk named "ID3". Windows media ASF files (WMA, WMV) have their own tagging formats but also support ID3 Tags embedded as attributes.


title: Nick Mancuso

text: Nicodemo Antonio Massimo Mancuso (born May 29, 1948) is an Italian-Canadian actor, artist, playwright, and director. Beginning his career as a stage actor, he had his breakthrough role in the 1981 drama "Ticket to Heaven", for which he won the Genie Award for Best Performance by a Leading Actor. He has over 155 film and television credits, including a starring role on the NBC series "Stingray" (1985–87) and as antichrist Franco Macalousso in the "Apocalypse" film series.


title: Nick Mancuso

text: Mancuso was born May 29, 1948 in Mammola, Calabria, Italy. His family emigrated to Canada in 1956 via Naples, when he was eight years old. He grew up in Ontario and began acting in high school. On graduation, he studied psychology at the University of Toronto, but left to pursue acting full time.


title: Nick Mancuso

text: Mancuso began his professional career by performing in theatres across Canada such as the Vancouver Playhouse, Neptune Theatre, Centaur Theatre and Halifax's Pier One experimental theatre, where he was also an associate artistic director for one season. He went on to perform in various independent theatre companies including the Toronto Free Theatre, Canadian Stage Company, Factory Theatre, and the Theatre Passe Muraille. He had his first voice screen role debut with an uncredited role in the 1974 slasher film "Black Christmas," as the voice of the stalking murderer Billy. He spent a season in 1976 at the Stratford Festival, with leading roles in "The Merchant of Venice", "Antony and Cleopatra", and "A Midsummer Night's Dream", and landed his first screen appearance in a supporting role in Allan Eastman's debut film, "A Sweeter Song".


title: Nick Mancuso

text: In 1979, his American stage debut working directly with Tennessee Williams, starring in "Tiger Tail" and "The Night of the Iguana" in Atlanta. During this time, he came to the attention of producers at Columbia Pictures. Martin Ransohoff and Arthur Hiller were instrumental in getting Mancuso for the lead in the horror-thriller "Nightwing", directed by Hiller and co-starring David Warner. Ransohoff and Hiller hoped "Nightwing" would be a hit and be a breakthrough role for Mancuso, but it failed at the box office.