History.

Crazy Bones was inspired by a children's game played in Ancient Greece and Rome called 'Astragal' (Knucklebones), where children played a similar game using sheep's knucklebones. This ancient pastime is also known as Tabas. Games played are reminiscent of marbles and jacks. Crazy Bones is a modern version of this game, played with characters molded from plastic. There are hundreds of individual characters, each character having a unique face and name. Each series has a number of 'rare' (referred to as 'wanted','most wanted' or 'w' on trading cards.) pieces that are sought after by collectors and are sold on numerous websites for many times their original value.  Crazy Bones was launched in the United States by Peter Gantner after witnessing the success of Barcelona-based GoGos in Spain, which had sold over 350 million packs from its inception in 1996 to 1997. Gantner formed Toy Craze in December 1997 with his brother David Gantner and businessman Scott Harris, and the company acquired the distribution rights in the US. Some sources indicate Bill Flaherty, who became President of Toy Craze, also founded the company. Gogos agreed to provide him with inventory with no upfront costs in return for 50% of all profits. This deal was later renegotiated, and the manufacturer was later paid a royalty of sales. A small company at the time of inception, Crazy Bones became a popular fad in the late 90s. The product was aggressively marketed to children, and promotional events took place in scout meetings, club groups, fairs, and shows, where free sample packs were distributed. Toy demos have also taken place in SkyDome, where children were given free packs and taught how to play Crazy Bones. This promotion was organized by the Canadian marketers of Crazy Bones, a joint venture by Wayne Fromm and Eric Segal of All 4 Fun Consumer Products Ltd. All 4 Fun Toy Products Ltd. also created a series of Crazy Bones for the Toronto Blue Jays, a cereal promotion with Cap'n Crunch and another with Wrigley. In 1999 and 2000 Fromm and Segal created one of Canada's largest collectible fad in the toy industry.. Fromm conceived of a musical band based on Crazy Bones in 2000, called B2Krazy. This was a joint venture between Fromm, Segal and Iron Music. Nearly four million free packs have been distributed. Crazy Bones secured a number of high-profile partners, including McDonald's, which included the product as Happy Meal toys nationwide. These Crazy Bones were significantly larger than the normal toys, possibly to reduce risk of choking among young children.  Within two years, the company's revenues had grown to nearly $17 million. By favoring tours of scout meetings and the like over television and print advertisements, Toy Craze has also kept its marketing costs to around 10%.  Crazy Bones were originally distributed in Canada through the Concord, Ontario-based company Playtoy Industries, where they enjoyed similar success. Playtoy Industries declared bankruptcy in December 1999 and Wayne Fromm and Eric Segal catapulted Crazy Bones through a joint venture (www.frommtoys.com)  Crazy Bones enjoyed incredible popularity in the late 1990s. From 1998-2000, 31.5 million packages were sold. Over 23 million figurines were sold in the UK and Spain in a recent relaunch between March and December 2008.  Crazy Bones were banned in many schools, as they were blamed for encouraging theft, arguments, and in-class distractions.

Gogo's Crazy Bones in America.

US.

Crazy Bones was first released by an American company HotShots.  HotShots later lost or sold the Crazy Bone patent. Toy Craze then obtained, distributed and licensed it, with Magic Box int. manufacturing them.  The original bones were small plastic figurines made with faces. Each bone had a different name and personality. The long line of characters included the well known Jaws, Top Hat, and Eggy. Slight variations in design with a shift to a more spooky nature, of 59-78, led to production of the Mutant set of bones. On the other hand, Things, Ghost, Aliens, Buddies, and Sports were intended as each containing brand new characters.  "Sports" included 40 sports-uniformed Crazy Bones characters, whilst "Buddies" included 58 Gogos, each, like the past series, with its own function and design including: Liberty, Bookworm and Slick. In the "Things" series (60 units), all the bones are shaped like various everyday objects such as: a TV, a couch and a book, but as with the other series they had smiley faces. In the "Aliens" series, there are 60 different anthropomorphic figures of a classic grey, big eyed, alien. Some of the designs included: Salad Head (Caesar), Cyclops, Boris, Tut and others. A "Third" series of Crazy Bones (in the old packaging and design) named "The New Generation" was later released, including 120 all new characters. Some seem to be variations of the originals, or mutant original, but they are all meant as new characters to the series. A second sports series was released, but instead of uniformed characters, it features characters from the Original, Buddies, and Mutants series performing a sport (Eggy playing basketball or Speedy driving a car). There was also a series with magnetic characters, which are incredibly difficult to find. Rockers are music themed characters.  As of October 2010, the current distributor for Gogo's Crazy Bones in the US (as well as Canada) is Jonic Distribution North America.

Canada.

The Classic series was available in Canada in the 1990s. The rebranded Gogo's Crazy Bones series 1 was sold in Canada in 2009. Series 2 became available in May 2011, then came series 3 and now series 4.

Gogo's Crazy Bones in Europe.

In Europe Crazy Bones are released in different sets for different countries.

UK.

Sets.

The following sets have been released:

Specials.

In March 2009, to mark the release of the "Explorer" series in the UK, the "Daily Mirror" newspaper ran a week-long promotion where they gave away free figurines, stickers and sticker books. Two of the figurines were exclusive to this giveaway  In April 2009, the Entertainer toy shop in Kingston upon Thames held a'swap day'. Every swapper received a special 'Laser Mosh' - Mosh is the first bone in the original series. The Laser Mosh is lime green, and carries the same coating as the Explorer special Gogos.

Gogo's Mega Metropolis.

In January 2010, Gogo's Crazy Bones Mega Metropolis was re-released in the UK after an earlier trial in selected areas. A Partwork, the magazine features a new 'Mega Gogo' each week. Starting with Mosh (Gogo #1 from series 1), the Mega versions are thus far all from series 1. After that, the others have been released in a different order (1,8,3,9 etc.) Each Mega Gogo has a flip-top head which opens to reveal an evolution series 2 bone. The Mega Bones' heads are also removable, allowing different versions to be created once other models have been collected. Each Mega Bone comes in several colour variants, some of which do not match the original colours from the series. The Mega Bones are contained in a hexagonal 'pod'. These are connectible and also have different colours to collect. It is possible to pull these apart to make multi-colour pods.

Gogo's Trading Card Game.

From January 21, 2011, Magic Box International added a new Gogo's Crazy Bones Trading Card Game. This new trading game complemented the range of Gogo collectable figurines and created an exciting new way to play and collect Gogos. There were 160 cards to collect, including 32 special prismatic 'Leader' cards. Packets of the Gogo's Crazy Bones Trading Card Game contain 6 cards, including 1 special card and were priced at 50p. A Starter Pack was also available containing a Collector Album for storing the cards, a full game guide, checklist and 3 packets of cards. The Starter Pack was priced at £3.99. As with all Gogo's Crazy Bones collections, an extensive marketing campaign was in place to support the launch. This included a large TV advertising campaign and product sampling via the Gogo's Crazy Bones Comic.

Gogo's Crazy Bones in South Africa.

Gogo's Crazy Bones Series 1 was released in South Africa in October 2009. The collectables are available as 4 product variations:  In December 2009, the largest South African Sunday newspaper listed the toy as the top gift for boys between the ages of 6 and 8. Four months after release the sales exceeded 200,000 units.  Gogo’s Crazy Bones Series 2 was released on March 18, 2010. The South African distributors and licensors of the toy are Blowfish Entertainment.

Gameplay.

Other than the collectible nature of Crazy Bones there are multiple games that can be played with the figurines including:

Other merchandise.

European Crazy Bones, Evolution, Explorer and Superstar packets also contain stickers. These can be collected in sticker albums which are sold separately.  Series 4 Power Gogo's replace stickers with cards. There is a collector's folder with transparent sleeves for all cards. Released February 2011, The trading cards also have a collector's folder, sold with a free pack of cards @ £3.99.  Magic Box Int has also created various collector tins, bags (blue and green) and containers for the gogos.  In August 2009, plush toys of three types were released: All plush designs are based on bones from series 1  In March 2010, the 'England dugout 2010' was released to store the England 2010 collection.

Similar products.

During the mid 1990s, Coca-Cola released a similar brand of toys named "Hielocos" in Mexico, Colombia, Venezuela, Ecuador, Costa Rica and "Geloucos" in Brazil (translated to 'Crazy Ice Cubes').  Since the resurgence of the European Gogo's Crazy Bones, several similar products have entered the market;

Gogo's Crazy Bones (also referred to as Crazy Bones or Gogo's) are small, collectible figurines that became a popular fad during the late 1990s through the 2000s. They are produced by Spanish company Magic Box Int., and PPI Worldwide Group, the sole distributor in North America.

Gougouni jsou tři až pět centimetrů vysoké hrací figurky vyráběné katalánskou firmou Magic Box International. Jednotlivé figurky se liší tvarem i barvou a jsou určené pro různé hry, při kterých se hází a nebo třeba cvrnkají podobně jako kuličky.


Background and recording.

In 2009, Thirty Seconds to Mars released their third studio album "This Is War". The album saw a new direction taken by the band, employing darker lyrical themes, a louder sound and "much more electronic and experimental, with lots of vintage synths." "This Is War" has since sold over four million albums and one million singles solicited from the album worldwide, making the album the band's most commercially successful so far. The tour that followed, the Into the Wild Tour, Hurricane Tour and Closer to the Edge Tour, spanned two years and broke the Guinness World Record for the "Longest Concert Tour by a Rock Band", playing a total of 309 shows.  To follow up "This Is War", the band began to work on their fourth studio album immediately after the conclusion of the Closer to the Edge Tour. Frontman Jared Leto wanted "an album that has ebb and flow and content and structure.", a sharp contrast to the band's previous work. Leto began writing for the album in December 2011, and by the time the band started the recording sessions for "Love, Lust, Faith and Dreams" in April 2012, he had amassed a total of 50 songs.  On April 23, 2012, "Rolling Stone" released an article revealing that Thirty Seconds to Mars was currently in the studio recording a fourth LP. According to the article, the band previewed some of the new material in their April 27 VyRT stream, including a song called "Witness". It also stated that they were interested in working with other artists for the album. The band's official Twitter account confirmed this news. On April 25, 2012 MTV Buzzworthy confirmed that they are working with famed record producer Steve Lillywhite, who had previously worked with U2, Peter Gabriel, and The Killers, among others.  The recording sessions for "Love, Lust, Faith + Dreams" took place from April to December 2012, at the Laboratory in Los Angeles, U.S.A. In September 2012, "The Summit", an event where fans are invited to contribute chorus vocals to tracks on the album and previously held to record choral vocals for "This Is War" in 2009, was held. Unlike "This Is War", where an entire audience-sized crowd took part in the recording, the summit that took place for the recording of "Love, Lust Faith and Dreams" was more stripped-down and organic, with only 20 to 25 people contributing vocals to the record.

Concept.

"Love, Lust, Faith and Dreams" is a concept album revolving around the themes after which the album is named. The album is divided into four segments, each named "Love", "Lust", "Faith" and "Dreams", respectively, with the beginning of each segment declared by a female voice proclaiming the name of the segment before the beginning of a song or at the end of an interlude which introduces the next segment of the album.  A more specific album concept can be seen inside the CD. It is recognized by four colors, with the color red standing for "Love", yellow for "Lust", green for "Faith", and blue for "Dreams". "LOVE" contains "Birth" and "Conquistador". "LUST" contains "Up in the Air", "City of Angels", "The Race", "End of All Days" and "Pyres of Varanasi". "FAITH" contains "Bright Lights", "Do or Die" and "Convergence". "DREAMS" contains "Northern Lights", and "Depuis Le Début". Stylistically, "Love, Lust, Faith and Dreams" has been described as experimental rock, electronic rock, and art rock.

Packaging.

The artwork for "Love, Lust, Faith and Dreams" features Damien Hirst's 2011 gloss-on-canvas work, entitled "Isonicotinic Acid Ethyl Ester". The painting is part of Hirst's spot painting series. It has also been announced that a second piece of artwork from Hirst, a signwriting-on-canvas piece entitled "Monochromatic Sectors from Primary, Secondary & Tertiary Colour Ring, Dark Centre" will appear inside the booklet of the Compact Disc version of the album. This art is actually featured on the CD itself.

Promotion.

Early promotion for the album during its latter recording stages were two programs on the online premium Streaming media website VyRT, a service which was founded by the band themselves in the latter stages of the "This Is War" album cycle. The two programs, "The Mars Laboratory" and "The Mars Laboratory II" showed members of VyRT an insight into the band's activity during the recording of the album and also debuted acoustic versions of brand new songs from "Love, Lust, Faith and Dreams". "The Mars Laboratory" aired on April 27, 2012 while "The Mars Laboratory II" aired during post-production of the album on December 1, 2012.  On May 2, 2013, the band's Twitter hashtag, "#MARSmay21st", successfully reached the worldwide trending hashtags on the social platform. As a way of saying thanks to their fans, the band released the lyric video for "Conquistador" on Vevo the same day, two weeks before the album's release.

Singles.

"Up in the Air" was released as the lead single from "Love, Lust, Faith and Dreams" on March 19, 2013. It was announced it would be the first single from the new album on February 28 via Twitter. A CD copy of the single was sent to NASA and SpaceX for launch aboard the Dragon spacecraft on SpaceX CRS-2. The mission was launched atop a Falcon 9 rocket on March 1, 2013, sending the first ever commercial copy of music into space. The spacecraft berthed and docked with the International Space Station on March 3, 2013, making the single available to play by the Expedition 35 crew aboard the station. The song made its worldwide debut aboard the station on March 18, 2013 and was released as a Digital download single on iTunes the next day. The music video was released on April 19, 2013 worldwide on Vevo.  "City of Angels" was sent to US Modern rock radio as a promotional single from "Love, Lust, Faith and Dreams" on July 23, 2013. A music video for "City of Angels", featuring Bartholomew Cubbins as director, was released onto YouTube on October 29, 2013. It was shot over two days on August 18 and 19, 2013, in Los Angeles, California.  Despite not being released as an official single, "Conquistador" was used in a trailer promoting the upcoming video game "WWE 2K14."  "Do or Die" was released as a promotional single from "Love, Lust, Faith and Dreams" on September 9, 2013 in Europe. During the Summer European Tour, Jared confirmed the band was recording footage for a live video for the song. The music video was released on August 5, 2013 worldwide on Vevo.

Critical reception.

"Love, Lust, Faith and Dreams" received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 62, based on 11 reviews. Emily Zemler from "Billboard" praised the stylistic variety and experimentation, writing that the album "invests itself fully and artfully in its own vision" infused with "an even fuller sense of grandeur than heard on past releases", and "offers an opportunity to explore the boundaries of rock". AllMusic senior editor Stephen Thomas Erlewine acknowledged the band's musical adventurousness, describing the record as "galvanized for the present, pushing its thick processed guitars, chanted choruses, and clanging keyboards to the forefront, flirting with taboos underneath its shining surface". He felt that the group's "loosening of their stylistic confines" results in their "boldest, brightest, most imaginative record". Andy Ritchie of "Rock Sound" complimented Jared Leto's vocal performance and the group's musicianship, praising the "massive choruses" and "titanic climaxes," and stated that the album reaffirms that Thirty Seconds to Mars is in a class of its own. In a four-and-a-half star review, Ryan Jones of Alternative Addiction commended the album's lyrical content and musical style, calling the new sounds "deep and plush", and wrote that the "entire record feels like an amazing journey".  Ian Winwood, writing for "Kerrang!", found the album "lavish but not cloying, expansive yet often economical, approachable without being familiar", calling it a "release that defies genre" and deeming it as a "grand achievement befitting this most grandiose of bands". Kyle Anderson of "Entertainment Weekly" gave the record an "A–", writing that it displays "throbbing modern-rock anthems" which "offer visceral, hands-up hedonism", although he found the album's narrative inexplicable. Dan Slessor of "Alternative Press" commended the band's capacity for writing "titanic choruses full of sweeping drama in a manner that is almost untouchable", but felt that with "shorter songs and more restrained production" the album lacks the "epic quality" of its predecessor "This Is War". In his review for "Sound & Vision", Ken Richardson noticed the band's ambition and commended the album's concept. Brent Faulkner of PopMatters gave a mixed response, stating that the album has "its finer moments as well as moments that are overwrought, overextended, and overproduced". "Q" magazine found it "empty in the extreme", while "Uncut" called it "wildly overcooked and deeply derivative". John Watt from Drowned in Sound wrote that the album "is a disappointingly tepid affair". Andy Baber of musicOMH felt that the record descends into "something of a mess" despite "starting with what sounded like a clear direction".

Accolades.

"Love, Lust, Faith and Dreams" was named one of the best albums of 2013 by a number of publications, including Alternative Addiction (number two), "Melodic" (no order), and "Under the Radar" (number six). It was ranked as the best album of the year by "The Scene Magazine", with critic Shayla Miller writing, "This album’s flow is top-notch, making it quite a neat experience. It’s meant to be listened to as a whole. It is a complete piece of music, and it’s breathtaking." The singles "Up in the Air", "Do or Die", and "City of Angels" were included in 91X's year-end top songs list at number 44, 39 and 33, respectively. "Love, Lust, Faith and Dreams" received a nomination in the category of Best International Rock/Alternative at the 2014 Echo Awards, but lost to "Outlaw Gentlemen & Shady Ladies" by Volbeat. It was the band's second consecutive nomination for the Echo Music Prize. "Love, Lust, Faith and Dreams" was nominated for Best Album at the 2014 World Music Awards, but lost to "Coup d'Etat" by G-Dragon. The album also earned the band the MTV Europe Music Award for Best Alternative in two consecutive years in 2013 and 2014.

Commercial performance.

In the United States, "Love, Lust, Faith and Dreams" debuted at number six on the "Billboard" 200, selling 53,000 copies in its first week of release according to Nielsen SoundScan. It became the band's first album to reach the top ten of the chart and was also their second-largest sales week in the nation, behind their 2009 album "This Is War" which opened with 69,000 copies. The album entered both the "Billboard"<nowiki>'</nowiki>s Alternative Albums and Rock Albums charts at number three. It also debuted at number six on the magazine's Tastemaker Albums. In March 2014, it re-entered the "Billboard" 200 at number 25 with sales of over 186,000 copies, following a promotion by the iTunes Store. By the end of 2013, "Love, Lust, Faith and Dreams" was included among the best-selling rock albums of the year.  In the United Kingdom, "Love, Lust, Faith and Dreams" entered the national albums chart at number five and debuted at the top spot of the UK Rock Chart. During its first week, the songs "Conquistador" and "City of Angels" appeared in lower regions of the rock chart due to strong digital sales from the album. In December 2013, "Love, Lust, Faith and Dreams" was certified silver by the British Phonographic Industry (BPI) for shipments of 60,000 units in the country. In Australia, the album entered the ARIA Charts at number four with first week sales of 4,814 copies. In Russia, it debuted at number five, earning a gold certification in its first week of sales.  In Portugal, "Love, Lust, Faith and Dreams" debuted at number three behind Daft Punk's "Random Access Memories" and The National's "Trouble Will Find Me". After fluctuating down the chart, the album reached the top spot on the issue dated July 15, 2013 and was certified two-times platinum by the Associação Fonográfica Portuguesa (AFP), with sales of over 40,000 copies. In Germany, the album debuted at number three and has since been certified gold by the Bundesverband Musikindustrie (BVMI), denoting shipments of over 100,000 units throughout the country. "Love, Lust, Faith and Dreams" also reached the top ten in Austria, Italy, Poland, Switzerland, Canada, Finland, Norway, Spain, Czech Republic, Estonia, and Ireland.

Credits and personnel.

Credits adapted from "Love, Lust, Faith and Dreams" album liner notes.

Certifications.

!scope="row"|United States

Love, Lust, Faith and Dreams (stylized as LOVE LUST FAITH + DREAMS) is the fourth studio album by American rock band Thirty Seconds to Mars, released through Virgin Records in the Netherlands on May 17, 2013, in the UK on May 20 and in the US on May 21. It is their first album in four years, following "This Is War" (2009), as well as their last album released through Virgin.

Love Lust Faith + Dreams je čtvrté studiové album americké rockové skupiny 30 Seconds to Mars. Album vyšlo 17. května 2013 prostřednictvím vydavatelství Virgin Records a EMI Records. Jeho producentem je frontman skupiny Jared Leto a Steve Lillywhite.


History.

Lovebugs was founded in 1992 by Adrian Sieber, Sebastian "Baschi" Hausmann and Julie Lagger, after Adrian placed an ad in a music shop: "Drummer Wanted". They won a local talent contest which enabled them to record their first album. One year later, the drummer, Julie, left the band and was replaced by Simon Ramseier.  In 1994 their first album, "Fluff", was released.  In 1995 they went on their first tour which included shows around Europe. Their second album, "Tart", was released the same year.  In 1996 they got their first breakthrough when their single "Fantastic" reached number 40 in the Swiss charts. They signed to BMG Ariola.  In 1998 an additional guitarist, Thomas Riechberger, joined the band.  In 2000 they had another major break-through with the album "Transatlantic Flight", which reached number 3 in the Swiss album charts. It was their first release under Warner Music label. This was followed by "Awaydays", which was the band's first number 1 album. The single "Music Makes My World Go Round" reached number 6. Bassist Sebastian left the band to dedicate himself to the glam-rock project 'Fucking Beautiful. He was replaced by Florian Senn. At the same time, Stefan Wagner joined the band on keyboards.  After a short break, Lovebugs were back in 2003 with the album "13 Songs With A View" which contained the singles "A Love Like Tides" and "'72". The album was not as successful as the two earlier albums and only reached number 7 in the Swiss charts. The next album, "Naked", was a live and unplugged album. It was their second number 1 album. It was produced by Chris von Rohr, former member of fellow Swiss band Krokus.  In 2006 another successful album that reached the top of the Swiss charts was released. It was called "In Every Waking Moment" and contained some Lovebugs' most popular songs, such as The Key and Avalon. The song "Avalon" featured the Norwegian singer Lene Marlin. The song reached number 10 in the Swiss charts and number 27 in the Norwegian charts.  After 2006, Lovebugs took a break, partly for recovery and partly because the singer Adrian Sieber wanted to carry out a long-planned solo career under the name "Adrian Solo".  In 2009 Lovebugs were chosen to represent Switzerland at the Eurovision Song Contest in Moscow, Russia. They presented the song "The Highest Heights", but did not qualify for the finals even though they were considered favourites and were confident during the rehearsals. They ended up 14th in the first semi-final held on Tuesday, 12 May 2009, out of 18 contestants. They had some sound problems during the Eurovision and Sieber later said in an interview that Lovebugs were primarily a live band, and weren't used to all the cameras.  At the same time, a new album, "The Highest Heights", was released. The album reached 2nd place in the Swiss charts. The first single "21st Century Man" reached number 55 in Switzerland. The second single and Eurovision entry, "The Highest Heights", reached 25th in Switzerland and 57th in Sweden.

Line-up.

The current line up consists of:  Adrian Sieber writes most of the band's songs. Simon Ramseier directs the band's promo videos.

The Lovebugs are a Swiss rock band from Basel, Switzerland founded in 1992. They are one of Switzerland's most successful bands with three number one albums in the Swiss charts.

Lovebugs (též The Lovebugs) je švýcarská britpopová kapela. Od svého založení v roce 1992 vydali množství alb, z nichž 3 obsadily první místo švýcarské hitparády.


Music.

The Queers play a Ramones-derived style of pop punk. Much like The Ramones, common lyrical themes are of girls, love, drugs, alcohol and having fun. Musically the band deviates slightly from the driving rhythm guitar sound of the Ramones and augments their songs with harmony vocals and guitar solos. They have been described as "The Ramones meets The Beach Boys". Ben Weasel of Screeching Weasel infrequently collaborates on songwriting with Joe Queer. The band is well known for the variety of cover versions they include on their records and during live performances. Bands/artists covered by The Queers include The Beach Boys, Ramones (including a complete re-recording of the "Rocket to Russia" album), Unnatural Axe, The Nobodys, Angry Samoans, The Mr. T Experience, Skeeter Davis, The Fantastic Baggys, The Who, The Undertones, The Hobos, Tommy James and The Shondells, Helen Love, The Catalogs (from Hawaii, featuring Les Hernandez of The Quintessentials), The Banana Splits and many more.

Controversy.

Joe Queer has been publicly outspoken against Nazism and white supremacy over the years as expressed in various interviews and in the song "You're Tripping" off of the 1993 Lookout Records release "Love Songs for the Retarded". The lyrics state "I hate white power... Can't you see, this ain't Nazi Germany".  In a 2014 open letter, Joe Steinhardt of Don Giovanni Records called on Asian Man Records and Recess Records to drop The Queers after Joe Queer made public statements in support of Ferguson police officer Darren Wilson. Artist Mitch Clem, who had previously done work for the band, publicly broke ties as well. Steinhardt later apologized for the open letter, stating "I remain personally appalled by Joe Queer's defense of Darren Wilson, his use of the term Obongo regarding the president...at the same time, I recognize that a better way to go about this would be more thoughtful discussion directly with the people involved." Joe Queer later called Steinhardt a 'gutless wimp' and challenged him to a face to face debate to be filmed and put online. Steinhardt has yet to respond.  In an interview with Noisey, after their February 2016 show was cancelled due to a call for a petition to boycott the show from a local collective, Babely Shades, Joe Queer voiced his opinion when asked if he "supports racist, misogynistic or homophobic values?" he replied "Of course not. What normal minded person does? My closest pals here in Atlanta are Chris and Chester, two gay black guys. I was actually working a part time job. I was one of two white people on the whole job. If I was so racist, I wouldn't have worked there or be living in Atlanta! The whole city is predominantly black." He also voiced his opinion of the activist group Black Lives Matter, stating "Black Lives Matter doesn't care about black people, they just want to cause trouble and hate white people. If they truly cared they'd be in the ghettos of America trying to help there instead of screaming about white America. That's where the murders of black people are happening, but according to BLM it's all white cops who are doing it! It's insane thinking and not getting to the root of the problem at all. All lives matter."  In a 2017 interview, Joe Queer stated "“I get called a Nazi and racist because of our name, and then because I had an opinion about the Ferguson thing,” he says. “I’m liberal as hell, and I was taken aback by how quickly people attacked me. To this day, I’ll get snide comments. I was jumped by Nazis as a gay person, even though I’m not gay. I fought Nazis, so to be called a Nazi is lame by this alt-left." In the same interview he states that humor is a way to social change, we shouldn't take ourselves so seriously and that many people are looking for a reason to be offended, "“In the old days of punk rock, all these bands were laughing at themselves, and they got their point across through humor,” King says. “The Dead Kennedys, Black Flag, the Circle Jerks, the Dickies, the Angry Samoans, Flipper, X — they were funny, but they had a message. They were laughing at themselves. I don’t think the new liberals are really offended. I think they’re just looking for a reason to say they’re offended. They completely take everything out of context. It’s so insincere, this faux outrage."

Band members.

Since its formation, the band has gone through a few line-up changes, with Joe Queer as the only constant member. The band currently consists of Joe Queer (guitar/vocals), Cheeto Bandito (bass), and Hoglog Rehab (drums). The first line-up was Joe Queer, Tulu, Keith Hages and Wimpy Rutherford. The mid-1980s line-up was Joe Queer, JJ Rassler, Hugh O'Neill with Kevin Kecy or Evan Shore. The best known line-up is from the 1990s Lookout Records era: Joe Queer, B-Face and Hugh O'Neill. After leaving Lookout Records, B-Face and Hugh O'Neill left and Dangerous Dave joined. The Queers continue to actively tour and a new record is in the works.

The Queers are an American punk rock band, formed in 1981 by the Portsmouth, New Hampshire native Joe P. King (a.k.a. Joe Queer) along with Scott Gildersleeve (a.k.a. Tulu), and Jack Hayes (a.k.a. Wimpy Rutherford). With the addition of Keith Hages in 1982 the band started playing their first live shows. The band originally broke up in late 1984, but reformed with Joe Queer and a new line-up in 1986. In 1990, the band signed with Shakin' Street Records and released their first album "Grow Up". The album earned the band notability within New England, but with the release of their next album 1993's "Love Songs for the Retarded", on Lookout! Records, their following grew larger.

The Queers je americká punkrocková skupina založená v roce 1981 v Portsmouthu v americkém státě New Hampshire. Původní sestavu skupiny tvořil zpěvák a kytarista Joe Queer (vlastním jménem Joe King), baskytarista Tulu (vlastním jménem Scott Gildersleeve) a bubeník Wimpy Rutherford (vlastním jménem Jack Hayes). V této sestavě skupina existovala do roku 1984, kdy se rozpadla. Poprvé byla obnovena v roce 1986, ale z původní sestavy zde byl pouze Queer. V roce 1990 byla obnovena podruhé a od té doby existuje dodnes. Ve skupině se prostřídalo mnoho dalších hudebníků a jediným stálým členem je Queer.


Etymology.

The term Mokpo (木浦 in Hanja) literally translates as "the harbour with a large portion of forests". This terminology initially appeared in the "Goryeosa" ("History of Goryeo"). Therefore, some historians

History.

Mahan and Three Kingdoms eras.

Mokpo belonged to the Mahan confederacy during the early era of the three Han confederacies during the Samhan period, and was called Mul'ahye-gun while under the control of the Baekje kingdom. After Silla defeated Baekje, Mokpo's region was absorbed, and its name was changed to Myeonju. In 946, its name was

Goryeo and Joseon dynasties.

What is today known as Mokpo had its origins in the Goryeo period. That dynasty's founder, Wang Geon, was serving as a general for later Goguryeo (also known as Taebong), ruled by Gung Ye. Taebong covered the central area of the Korean peninsula including current-day Gaeseong, which was then called Song'ak.  As a naval power, Wang Geon was ordered to attack the kingdom of Later Baekje, which, like later Goguryeo, was a kingdom

Open port.

On October 1, 1897, Mokpo became an open port, fifteen years after the opening of the port of Incheon. For Japan, Mokpo held a geographical advantage being located midway between Nagasaki, Japan, and the Chinese mainland. Japan also valued Mokpo for its proximity to the abundant crops of the Jeolla provinces. After its opening, housing for Japanese settlers was rapidly developed in order to establish self-government. The Japanese settled predominately in what is today the Yudal-dong neighborhood, close to the main port. The Japanese consulate

Under Japanese rule.

Mokpo's status as an open port made it a viable option to use the nearby county of Wando as a link to the region's many offshore islands. In 1914, the completion of the Honam railway line connected the city to Daejeon. On April 1, 1914, the county of Mokpo-bu was divided into several administrative sections. Only the county's urban downtown area, Bunae-myeon, became what is today Mokpo City. Following Order Number 11 of

After independence.

In 1949, Mokpo Bu attained the title of Mokpo-si ("si" meaning "city"), after the SOC government altered the administrative region. In 1973 and 1987, large areas were added to Mokpo city, including one of the most famous tourist spots, Samhakdo (which means "three cranes laid above the sea"). Samhakdo was reclaimed by connecting a series of islands, a process of landfill operations which lasted from 1968 to 1973. The island is divided into three major sections, and over six years the city constructed five bridges to link those three sections. In 2000, the city initiated a plan to restore a

Administration.

Mayor.

Mokpo began its local government in 1994. In July 1995 it inaugurated its first mayor, Gwon I Dam, who had been the president of the Munhwa broadcasting corporation. The city's lack of supply in the past caused Gwon to focus on improving the city's water supplies. In 2000, the mayor officially provided aid for North Korea in the form of rice shipments. However, Gwon came into conflict with the leaders of the Democratic Party over fair election practices, causing him to leave the party. He filed a lawsuit against the Democratic Party, which the courts subsequently rejected.  Jeon Tae Hong, the

Disputes upon merge.

In 2004, civil groups promoted merging the three adjacent communities: Sinan, Muan and Mokpo. On September 25, 2009,

Population.

In 2007, Mokpo population had increased to 90,000 households, with an average of 2.7 people per household. The population density was the 10th highest in

Government bureaus.

Mokpo is home to several government branches and bureau offices.

Education.

One of the oldest elementary schools, Bukgyo, was established in 1897 for the aristocracy during the Joseon Dynasty, following Order No. 145 of the Gojong of the Korean Empire. However, after its annexation by Japan, education in Mokpo was directed towards Japanese students.  Mokpo Commercial high school opened in 1920 as the first secondary-level school. Its name was later changed to Jeonnam Jeil high school. Former president Kim Dae Jung graduated from Jeil.

Universities.

Mokpo National University (MNU) became a nationally supported school in 1976, after 30 years of existence. The school has become regionally famous for its shipbuilding research and other culturally related fields of study. A

Economy.

The harbor began operations earlier than other port cities on the Korean peninsula, allowing the city to experience growth, whereas growth in the country since its independence has concentrated on the Yeongnam area, where trade with Japan and Russia are viable due to the access of coastal routes. The addition of the Chinese economy into the local trade prospects increases the city's potential as a trade center via the Yellow Sea.

Commerce.

Until late 1980s, commerce had been concentrated around the original downtown near Mokpo Station. In the late 1990s, large residential areas were built in Yeonsan dong and Hadang, resulting in a significant outflow of the population of the city. This resulted in the city council adopting a bylaw to support the old downtown area, however, the outward flow has only worsened.

Companies.

Companies with operations in Mokpo include the Bohae brewing company and Haengnam chinaware. Bohae brewing company produces a brand of soju from the Honam area, of which the best selling product is maple soju (), the first company to utilizing maple in the brewing of soju. Bohae also entered into a joint development with Asahi Breweries in Japan to expand its soju production operations. In 2008, Bohae became the first Korean brewing company to open up wine sales in the United

Farming and fishing.

Mokpo is made up of sparsely populated farmland, with 1,326 households under a half hectare. The area produces high quantities of rice, barley, and beans, with greens and fruits such as tomatoes, cucumbers, and oriental melons increasing in popularity since 2001.  Ships from the

Industries.

The regional economy relies heavily on the Daebul industrial complex and Hyundai Samho Heavy Industries located near Yeongam. The imports of merchandise support the local economy of Mokpo as they pass through its harbor. The Halla group was the initial owners of Heavy Industries, until they

Geography.

Mokpo sits at the southern end of the Muan peninsula, although the city lies within Sinan county, which mostly consists of 1004 islands. Its neighbor, Muan county, extends northeastward, separated from Mokpo by the Yeongsan river. Yudal mountain (228m) sits at the center of old downtown, and is a source of pride within the city. Its nickname is Gaegol (), meaning weird-shaped rocks and peaks. The side of the mountain caused roads around the downtown area to have a hilly aspect. Nojeokbong is a historic site where General Yi Soon Shin made use of its shape during the Japanese invasion. The city has small mountains nearby: Mt. Ibam (121m) to the east, and Yangeul (156m) and Daebak (156m) to the north. The mouth of the Yeongsan River flows along the southern side of the city, containing 13 islands. The existence of a natural seawall created a natural safe harbor.  Most of the area of Mokpo consists of land reclamation, including Samhakdo, North harbor (), and the new city of Hadang. According to the research by Mokpo National University, tributaries of the Yeongsan river crossed the central area of old downtown. This can be seen in the historic names of the Mokone Dong area: Namgyo-dong (southern side of bridge) and Bukgyo-dong (Northern side of bridge). Both names contained "gyo" (), meaning the bridge, indicating a bridge used to link the areas. Tideland reclamation projects removed large amounts of mud flats, including Daebandong, Baekryundong and the coastal shore around Gatbawi. Additionally, the municipal boundaries include 7 desert islands.  The wall at the end of the Yeongsan river prevented damage from flooding during harsh typhoons. Meanwhile, the water quality of the river has worsened to the point where the ministry in charge of environmental protection began studying the impacts made by man-made structures. In 2010, the report identified the environmental issue in that a widened seawall should be constructed, and dirty water pumped out of the riverbeds and into the harbor.

Climate.

Mokpo's weather station was built along with five other sites in Korea, and began observing weather conditions on March 25, 1904. Mokpo's climate features a short spring and autumn, and it is cold and dry in the winter and warm and humid with seasonal winds in the summer. There is also significant rain in the summer, averaging. Mokpo is usually windy and foggy in the spring and autumn due to its location near the ocean. Mokpo's long period (annual average of 223 days) without frost creates suitable conditions for rice farming. However, its seacoast location and the influence

Transportation.

Railroad.

Mokpo Station opened May 15, 1913, it is the final destination of Honam Line and accommodates over 1.2 million annually, as well as cargo shipments.  The station is located near Yudal mountain, in the southwestern part of the city. The railroad ends inside the station, although a freight-only line continued on to Samhakdo, carrying coal for the industrial factories. Because of potential danger, the city removed the rail extension in 2011.  On April 1,

Inland road.

The Seohaean Expressway connects Mokpo to Seoul via a 4-hour car ride. The Muan-Gwangju expressway was opened in 2008 to ease access to the Muan international airport. In 2012, the Mokpo to Gwangyang Highway opened, connecting the eastern and western

Bus.

Two companies provide most of the bus service in the local area. Since 2005, the companies and the city council agreed to expand the number of buses fueled by natural gas (NG), following a 3-year negotiation. The city agreed to assist the companies with a 21,000 US dollar per bus subsidy for each bus equipped with the NG equipment. As of 2006, 32 buses had been retrofitted with the natural gas equipment. The growing suburbs around the city created a demand for additional lines, but there

Airport.

Muan International Airport is the airport serving Mokpo. Previously, Mokpo Airport operated as the region's airport. The crash of Asiana Airlines Flight 733 in 1993 increased concerns about the airport, resulting in extending the runway 50 meters. However, the site still had fundamental drawbacks due to common foggy weather and the

Sea.

Mokpo has three harbors: one each for ferry service, trading and fishing. The main harbor is used to ferry customers and cargoes around nearby islands, while North harbor conducts ferry service to Nonghyup. Additionally, the newly built harbor is used for container shipping to China.  Over 80 sea-going lines have been available, notably for Heuksando, Hongdo and Jeju, as well as ferries linking Sinan county. In 2002, the first cruise-line to Shanghai was opened for operation, however, bankruptcy concerns forced the discontinuance of the cruise line after only

Culture.

Festivals.

A flower festival is held at Yudal mountain every April and May. The festival of Largehead Hairtail () takes place around Yeongsan Lake every October. The festival is extremely popular among fishing fans and family tourists. A fishing contest is

City of Light.

The city has a plan for promoting tourism in the old downtown, and South Jeolla province agreed to offer support for the city's plan. This city's population decline has resulted in the closure of many shops, as well as a drastic reduction in the city's school system. For example, student enrollment at Sanjeong Elementary School has dropped to below 300

Islands offshore.

Outside of the harbor, thousands of islands dot the Yellow Sea, several of which are actually part of Mokpo. The government has promoted a program of constructing infrastructure on each island. With the slogan of "Lovely island, Uai-dal", Hanok residences on these islands, each with a saltwater

Museums.

Many museums in Mokpo are located near Gatbawi street, due to the city concentrating its investment to exhibition space in this area. The National Maritime museum is one of the oldest museums dedicated to the Korean naval and shipping traditions. The museum changed its name in 2009 to the Research Institute for Maritime History, due to its broadened function. The Institute conducts surveys and research related to ancient ships, trade routes and relics, and is the only research institute for maritime relics in South Korea.  The Mokpo Natural History Museum has a large collection of fossils from all over the world. It originally began as a single building, but has expanded into a second building, the Cultural Heritage Hall, which specializes in local relics

Cuisine.

Mokpo is famous for hongeo-hoe (), a strong smelling fermented cuisine featuring the skate, a kind of ray fish. Other delicacies of Mokpo

Facilities for sports and cultural entertainment.

Yudal Stadium is located next to the 100 Year Memorial Avenue. The stadium consists of ballpark and an eight lane track. Behind the stadium, local groups are able to use public tennis courts. The ground floor of the stadium houses committees of diverse sports.  The city has attracted many athletes to train in the area during the winter, due to sunny and warm weather, and numerous accommodations. The city has been very successful in reaching agreements with 127 teams, totaling almost 6,000 athletes, who trained during the winter in 2004. Since 2005, the focus has been on track and field sports in order to boost the number of visiting athletes.  Recreational parks are located sparsely around Yudal mountain, while

Media.

Branch offices of KBS and MBC exist in Mokpo. KBS Mokpo was established in 1942, at a location close to the Yeon dong area, prior to its move next to the current city hall in Yongdang. MBC Mokpo was initially planned as a radio station when it opened

Health care.

As of 2008, the number of doctors per capita was 11.41 per thousand, increasing from 10.45 of the prior year. The council of doctors in Mokpo city has stated that the ongoing economic improvement, as well as the growing populations, will cause the need for

Mokpo (; "Mokpo-si") is a city in South Jeolla Province, South Korea, located at the southwestern tip of the Korean Peninsula, close to Yudal mountain. Mokpo has frequent high-speed train services to Seoul, and is the terminus for a number of ferry routes serving islands in the adjacent Yellow Sea and Dadohae National Maritime Park.

Mokpcho je město v Jižní Koreji v provincii Jižní Čolla. Nachází se v severozápadním výběžku Korejského poloostrova. Za japonské okupace Koreje v letech 1910-1945 se jednalo o důležité přístavní město, za což vděčilo výhodné poloze mezi Japonským souostrovím, Koreou a Čínou. Má také dobrý přístav chráněný před vysokým přílivem a tsunami množstvím ostrovů a ostrůvků, které město obklopují. Po odchodu Japonců ale význam města postupně upadal. Dnes je tu k vidění historické centrum a hora Judal, na které se každoročně koná květinový festival.


History.

The Archies first appeared in a comic book, "Life with Archie" #60 (April 1967). The fictional band was inspired by the success of the 1966 TV series "The Monkees". The early stories copied the TV show's fast cuts and action: "there were pages that had no panel-to-panel continuity at all, just pure strings of nonsense, fantasy, fourth-wall breaking, and exasperated commentary from Betty and Veronica." The feature ended in issue #66.

Fictional line-up.

The Archies play a variety of contemporary popular music, consistent with the era in which the comic is drawn. Every member sings vocals, with Jughead handling the bass voice on a few tracks. Though their singing voices were soft and appropriate for pop vocals, their speaking voices are much different. The roles the teens played in the fictional band were:  One distribution mode for the Archies' music was embossing cardboard records directly onto the back of cereal boxes, which were cut out and played on a turntable (although their music was also available on standard issue LPs and 45s)..  Though the group no longer appears in animation, they are still frequently used in stories published by Archie Comics. In 2020, the group made its second live action appearance on "Riverdale", with Kevin Keller replacing Reggie Mantle as the new bassist of the band.

Production.

A set of studio musicians was assembled by Don Kirshner in 1968 to perform various songs. The most famous is "Sugar, Sugar", written by Jeff Barry and Andy Kim, which went to number one on the pop chart in 1969, sold over six million copies, and was awarded a gold disc. In the "Billboard" Hot 100, it was ranked as the No. 1 song of that year, the only time a fictional band has ever claimed "Billboard"s annual Hot 100 top spot. Other Top 40 songs recorded by the Archies include "Who's Your Baby?" (U.S. No. 40), "Bang-Shang-A-Lang" (U.S. No. 22), and "Jingle Jangle" (U.S. No. 10). "Jingle Jangle" also sold over one million copies, garnering a second gold disc award.  Male vocals for the fictional Archies group were provided by The Cuff Links' lead singer Ron Dante and female duet vocals were provided by Toni Wine. Wine, who was only paid for the recording session and quit the group when the song became a huge hit, was succeeded in 1970 by Donna Marie, who in turn was replaced on the final recordings by Merle Miller. The only Archies song not to feature Ron Dante on lead was 1971's "Love Is Living In You", sung by Bob Levine (co-author of the song) and produced by Ritchie Adams. The last single, released 1972, was "Strangers in the Morning"; its B-side song was "Plum Crazy".  Jeff Barry, Andy Kim, Ellie Greenwich, Susan Morse, Ritchie Adams, Maeretha Stewart, Bobby Bloom and Lesley Miller, contributed background vocals at various times, with Barry contributing his trademark bass voice (portrayed as being sung by Jughead in the cartoon) on cuts such as "Jingle Jangle", "Rock 'n' Roll Music", "A Summer Prayer For Peace" (which hit number one in South Africa and Scandinavia in 1971), and "You Little Angel, You". Musicians on Archies' records included guitarists Hugh McCracken and Dave Appell, bassists Chuck Rainey and Joey Macho, keyboard player Ron Frangipane, and drummers Buddy Saltzman and Gary Chester.  The Archies' records were initially released on the Calendar Records label, but the name was shortly thereafter changed to Kirshner Records.  The sound engineer was Fred Weinberg, who was Jeff Barry's and Andy Kim's favorite, and who also recorded Barry's other hits "Be My Baby", "Baby, I Love You", and Kim's "Rock Me Gently". Fred Weinberg is an award-winning composer and producer in his own right. However, the music for "The U.S. of Archie" TV show which aired in 1974, was produced by Jackie Mills, a Hollywood producer, who also produced Bobby Sherman and the Brady Kids. The vocalist for these shows was Tom McKenzie, who also sang on some "Groovie Goolies" segments, and was a regular member of the popular singing group, Doodletown Pipers.  Legendary animator Don Bluth worked on the show, providing layouts for the series.  Some of the group songs have appeared on episodes of The CW televisions series "Riverdale". The group made its debut in "Riverdale", in the musical episode "", for only the second time in an live action adaptation after the television film "" in 1990. It includes KJ Apa as Archie, Cole Sprouse as Jughead, Lili Reinhart as Betty, Camila Mendes as Veronica and Casey Cott as Kevin Keller. For the first time, Kevin Keller is part of the group, replacing Reggie Mantle (played by Charles Melton) as the bassist. The song "Midnight Radio" is appeared in the series' musical episode soundtrack released by WaterTower Music, on April 15, 2020.

The Archies is an American fictional band that featured in the animated TV series "The Archie Show". In the context of the series, the band was founded by vocalist/guitarist Archie Andrews, bassist Reggie Mantle, drummer Forsythe "Jughead" Jones, vocalist/keyboardist Veronica Lodge and vocalist/lead guitarist/percussionist Betty Cooper. In the cartoons, Veronica is shown playing a large keyboard instrument styled after the X-66, a then-current top-of-the-line organ made by the Hammond Organ Company.

The Archies byla fiktivní americká bubblegumová studiová skupina sestavená producentem Donem Kirshnerem pro potřeby kresleného televizního seriálu "The Archie Show". (obdobně předtím založil sk. Monkees)


Early years.

Harold Floyd Brooks was born in Fayetteville, North Carolina, and was the brother of David "Bubba" Brooks. The nickname "Tina", pronounced "Teena", was a variation of "Teeny", a childhood moniker. His favourite tune was "My Devotion". He studied harmony and theory with Herbert Bourne.  Initially, he studied the C-melody saxophone, which he began playing shortly after he moved to New York with his family in 1944. Brooks' first professional work came in 1951 with rhythm and blues pianist Sonny Thompson, and in 1955 Brooks played with vibraphonist Lionel Hampton. Brooks also received less formal guidance from trumpeter and composer "Little" Benny Harris, who led the saxophonist to his first recording as a leader. Harris, in fact, was the one who recommended him to Blue Note producer Alfred Lion in 1958.

Recordings.

Brooks is best known for his work for the Blue Note label between 1958 and 1961, recording as a sideman with Kenny Burrell, Freddie Hubbard, Jackie McLean, Freddie Redd, and Jimmy Smith. Around the same period, Brooks was McLean's understudy in "The Connection", a play by Jack Gelber with music by Redd, and performed on an album of music from the play on Felsted Records, a session which also featured Howard McGhee.  Brooks recorded five sessions of his own for Blue Note (including one jointly with McLean). The first session was recorded on March 16, 1958 at the Van Gelder Studio in Hackensack, New Jersey, and featured trumpeter Lee Morgan alongside seasoned professionals such as Sonny Clark, Doug Watkins and Art Blakey. Despite the calibre of the players and the quality of the output, "Minor Move" was not released for more than two decades, several years after Brooks had died. This started an unfortunate trend, as the other three of his four other sessions ("Street Singer", "Back to the Tracks" and "The Waiting Game") did not appear during his lifetime. The exception was "True Blue", a session recorded on June 25, 1960 with Freddie Hubbard, Duke Jordan, Sam Jones and Art Taylor. The release of "True Blue" coincided with the release of Hubbard's Blue Note debut album, "Open Sesame" (also featuring Brooks, who wrote the opening title track as well as "Gypsy Blue"), and was not actively promoted.  Brooks did not record after 1961. Plagued by heroin dependency, and gradually deteriorating health, he died of liver failure aged 42.

Legacy.

Michael Cuscuna in 1985, through Mosaic Records, released a boxset of Brooks' recordings as leader; the limited edition is out of print. The interest in Brooks' music has also led to releases of the unissued sessions through Blue Note Japan and on CD in Blue Note's Connoisseur series.  In the liner notes for the CD release of "Back to the Tracks", Cuscuna wrote: "Far lesser talents have been far more celebrated" and that Brooks "was a unique, sensitive improviser who could weave beautiful and complex tapestries through his horn. His lyricism, unity of ideas and inner logic were astounding."  David Rosenthal in his book "Hard Bop: Jazz and Black Music 1955-1965" wrote about Brooks. Of his composition "Street Singer", Rosenthal wrote that it is "an authentic hard-bop classic" where "pathos, irony and rage come together in a performance at once anguished and sinister."  The official Blue Note website says of Brooks, "With a strong, smooth tone and an amazing flow of fresh ideas every time he soloed, tenor saxophonist Tina Brooks should have been a major jazz artist, but his legacy is confined to a series of dates that he did for Blue Note as a sideman and leader" and that he "was one of the most brilliant, if underrated, tenor saxophonists in modern jazz."

Discography.

All on Blue Note Records, unless otherwise indicated.

As sideman.

With Kenny Burrell  With Freddie Hubbard  With Howard McGhee  With Jackie McLean  With Freddie Redd  With Jimmy Smith  With Sonny Thompson

Harold Floyd "Tina" Brooks (June 7, 1932 – August 13, 1974) was an American hard bop, blues, and funk tenor saxophonist and composer.

Tina Brooks (7. června 1932 Fayetteville, Severní Karolína, USA − 13. srpna 1974 New York City, New York, USA) byl americký jazzový saxofonista a hudební skladatel. Profesionálním hudebníkem se stal v roce 1951, kdy hrál s Sonny Thompsonem a od roku 1955 hrál s Lionelem Hamptonem. V pozdějších letech spolupracoval s mnoha dalšími hudebníky, mezi které patří Freddie Hubbard, Jimmy Smith, Kenny Burrell, Howard McGhee nebo Jackie McLean. Rovněž vydal několik vlastních alb, na kterých ho doprovázeli například Lee Morgan, Sonny Clark, Art Blakey, Blue Mitchell, Paul Chambers nebo Kenny Drew.


Life.

Family and childhood.

Grothendieck was born in Berlin to anarchist parents. His father, Alexander "Sascha" Schapiro (also known as Alexander Tanaroff), had Hasidic Jewish roots and had been imprisoned in Russia before moving to Germany in 1922, while his mother, Johanna "Hanka" Grothendieck, came from a Protestant family in Hamburg and worked as a journalist. Both had broken away from their early backgrounds in their teens. At the time of his birth, Grothendieck's mother was married to the journalist Johannes Raddatz and his birthname was initially recorded as "Alexander Raddatz." The marriage was dissolved in 1929 and Schapiro/Tanaroff acknowledged his paternity, but never married Hanka.  Grothendieck lived with his parents in Berlin until the end of 1933, when his father moved to Paris to evade Nazism, followed soon thereafter by his mother. They left Grothendieck in the care of Wilhelm Heydorn, a Lutheran pastor and teacher in Hamburg. During this time, his parents took part in the Spanish Civil War, according to, as non-combatant auxiliaries, though others state that Sascha fought in the anarchist militia.

World War II.

In May 1939, Grothendieck was put on a train in Hamburg for France. Shortly afterwards his father was interned in Le Vernet. He and his mother were then interned in various camps from 1940 to 1942 as "undesirable dangerous foreigners". The first was the Rieucros Camp, where his mother contracted the tuberculosis which eventually caused her death and where Alexander managed to attend the local school, at Mende. Once Alexander managed to escape from the camp, intending to assassinate Hitler. Later, his mother Hanka was transferred to the Gurs internment camp for the remainder of World War II. Alexander was permitted to live, separated from his mother, in the village of Le Chambon-sur-Lignon, sheltered and hidden in local boarding houses or pensions, though he occasionally had to seek refuge in the woods during Nazis raids, surviving at times without food or water for several days. His father was arrested under the Vichy anti-Jewish legislation, and sent to the Drancy, and then handed over by the French Vichy government to the Germans to be sent to be murdered at the Auschwitz concentration camp in 1942. In Chambon, Grothendieck attended the Collège Cévenol (now known as the Le Collège-Lycée Cévenol International), a unique secondary school founded in 1938 by local Protestant pacifists and anti-war activists. Many of the refugee children hidden in Chambon attended Cévenol, and it was at this school that Grothendieck apparently first became fascinated with mathematics.

Studies and contact with research mathematics.

After the war, the young Grothendieck studied mathematics in France, initially at the University of Montpellier where he did not initially perform well, failing such classes as astronomy. Working on his own, he rediscovered the Lebesgue measure. After three years of increasingly independent studies there, he went to continue his studies in Paris in 1948.  Initially, Grothendieck attended Henri Cartan's Seminar at École Normale Supérieure, but he lacked the necessary background to follow the high-powered seminar. On the advice of Cartan and André Weil, he moved to the University of Nancy where he wrote his dissertation under Laurent Schwartz and Jean Dieudonné on functional analysis, from 1950 to 1953. At this time he was a leading expert in the theory of topological vector spaces. From 1953 to 1955 he moved to the University of São Paulo in Brazil, where he immigrated by means of a Nansen passport, given that he refused to take French Nationality. By 1957, he set this subject aside in order to work in algebraic geometry and homological algebra. The same year he was invited to visit Harvard by Oscar Zariski, but the offer fell through when he refused to sign a pledge promising not to work to overthrow the United States government, a position that, he was warned, might have landed him in prison. The prospect did not worry him, as long as he could have access to books.  Comparing Grothendieck during his Nancy years to the École Normale Supérieure trained students at that time: Pierre Samuel, Roger Godement, René Thom, Jacques Dixmier, Jean Cerf, Yvonne Bruhat, Jean-Pierre Serre, Bernard Malgrange, Leila Schneps says:  His first works on topological vector spaces in 1953 have been successfully applied to physics and computer science, culminating in a relation between Grothendieck inequality and the Einstein-Podolsky-Rosen paradox in quantum physics.

IHÉS years.

In 1958 Grothendieck was installed at the Institut des hautes études scientifiques (IHÉS), a new privately funded research institute that, in effect, had been created for Jean Dieudonné and Grothendieck. Grothendieck attracted attention by an intense and highly productive activity of seminars there ("de facto" working groups drafting into foundational work some of the ablest French and other mathematicians of the younger generation). Grothendieck himself practically ceased publication of papers through the conventional, learned journal route. He was, however, able to play a dominant role in mathematics for around a decade, gathering a strong school.  During this time, he had officially as students Michel Demazure (who worked on SGA3, on group schemes), Luc Illusie (cotangent complex), Michel Raynaud, Jean-Louis Verdier (cofounder of the derived category theory) and Pierre Deligne. Collaborators on the SGA projects also included Michael Artin (étale cohomology) and Nick Katz (monodromy theory and Lefschetz pencils). Jean Giraud worked out torsor theory extensions of nonabelian cohomology. Many others like David Mumford, Robin Hartshorne, Barry Mazur and C.P. Ramanujam were also involved.

"Golden Age".

Alexander Grothendieck's work during the "Golden Age" period at the IHÉS established several unifying themes in algebraic geometry, number theory, topology, category theory and complex analysis. His first (pre-IHÉS) discovery in algebraic geometry was the Grothendieck–Hirzebruch–Riemann–Roch theorem, a generalisation of the Hirzebruch–Riemann–Roch theorem proved algebraically; in this context he also introduced K-theory. Then, following the programme he outlined in his talk at the 1958 International Congress of Mathematicians, he introduced the theory of schemes, developing it in detail in his "Éléments de géométrie algébrique" ("EGA") and providing the new more flexible and general foundations for algebraic geometry that has been adopted in the field since that time. He went on to introduce the étale cohomology theory of schemes, providing the key tools for proving the Weil conjectures, as well as crystalline cohomology and algebraic de Rham cohomology to complement it. Closely linked to these cohomology theories, he originated topos theory as a generalisation of topology (relevant also in categorical logic). He also provided an algebraic definition of fundamental groups of schemes and more generally the main structures of a categorical Galois theory. As a framework for his coherent duality theory he also introduced derived categories, which were further developed by Verdier.  The results of work on these and other topics were published in the "EGA" and in less polished form in the notes of the "Séminaire de géométrie algébrique" ("SGA") that he directed at the IHÉS.

Political activism.

Grothendieck's political views were radical and pacifist, and he strongly opposed both United States intervention in Vietnam and Soviet military expansionism. He gave lectures on category theory in the forests surrounding Hanoi while the city was being bombed, to protest against the Vietnam War. He retired from scientific life around 1970, having found out that IHÉS was partly funded by the military. He returned to academia a few years later as a professor at the University of Montpellier.  While the issue of military funding was perhaps the most obvious explanation for Grothendieck's departure from the IHÉS, those who knew him say that the causes of the rupture ran deeper. Pierre Cartier, a "visiteur de longue durée" ("long-term guest") at the IHÉS, wrote a piece about Grothendieck for a special volume published on the occasion of the IHÉS's fortieth anniversary. The "Grothendieck Festschrift", published in 1990, was a three-volume collection of research papers to mark his sixtieth birthday in 1988.  In it, Cartier notes that as the son of an antimilitary anarchist and one who grew up among the disenfranchised, Grothendieck always had a deep compassion for the poor and the downtrodden. As Cartier puts it, Grothendieck came to find Bures-sur-Yvette ""une cage dorée"" ("a gilded cage"). While Grothendieck was at the IHÉS, opposition to the Vietnam War was heating up, and Cartier suggests that this also reinforced Grothendieck's distaste at having become a mandarin of the scientific world. In addition, after several years at the IHÉS, Grothendieck seemed to cast about for new intellectual interests. By the late 1960s, he had started to become interested in scientific areas outside mathematics. David Ruelle, a physicist who joined the IHÉS faculty in 1964, said that Grothendieck came to talk to him a few times about physics. Biology interested Grothendieck much more than physics, and he organized some seminars on biological topics.  In 1970, Grothendieck, with two other mathematicians, Claude Chevalley and Pierre Samuel, created a political group called "Survivre"—the name later changed to "Survivre et vivre". The group published a bulletin and was dedicated to antimilitary and ecological issues, and also developed strong criticism of the indiscriminate use of science and technology. Grothendieck devoted the next three years to this group and served as the main editor of its bulletin.  Although Grothendieck continued with mathematical enquiries his standard mathematical career, for the most part, ended when he left the IHÉS. After leaving the IHÉS Grothendieck became a temporary professor at Collège de France for two years. He then became a professor at the University of Montpellier, where he became increasingly estranged from the mathematical community. He formally retired in 1988, a few years after having accepted a research position at the CNRS.

Manuscripts written in the 1980s.

While not publishing mathematical research in conventional ways during the 1980s, he produced several influential manuscripts with limited distribution, with both mathematical and biographical content.  Produced during 1980 and 1981, "La Longue Marche à travers la théorie de Galois" ("The Long March Through Galois Theory") is a 1600-page handwritten manuscript containing many of the ideas that led to the "Esquisse d'un programme". It also includes a study of Teichmüller theory.  In 1983, stimulated by correspondence with Ronald Brown and Tim Porter at Bangor University, Grothendieck wrote a 600-page manuscript titled "Pursuing Stacks", starting with a letter addressed to Daniel Quillen. This letter and successive parts were distributed from Bangor (see External links below). Within these, in an informal, diary-like manner, Grothendieck explained and developed his ideas on the relationship between algebraic homotopy theory and algebraic geometry and prospects for a noncommutative theory of stacks. The manuscript, which is being edited for publication by G. Maltsiniotis, later led to another of his monumental works, "Les Dérivateurs". Written in 1991, this latter opus of about 2000 pages further developed the homotopical ideas begun in "Pursuing Stacks". Much of this work anticipated the subsequent development of the motivic homotopy theory of Fabien Morel and Vladimir Voevodsky in the mid-1990s.  In 1984, Grothendieck wrote the proposal "Esquisse d'un Programme" ("Sketch of a Programme") for a position at the Centre National de la Recherche Scientifique (CNRS). It describes new ideas for studying the moduli space of complex curves. Although Grothendieck himself never published his work in this area, the proposal inspired other mathematicians' work by becoming the source of dessin d'enfant theory and Anabelian geometry. It was later published in the two-volume "Geometric Galois Actions" (Cambridge University Press, 1997).  During this period, Grothendieck also gave his consent to publishing some of his drafts for EGA on Bertini-type theorems ("EGA" V, published in Ulam Quarterly in 1992-1993 and later made available on the Grothendieck Circle web site in 2004).  In the 1,000-page autobiographical manuscript "Récoltes et semailles" (1986) Grothendieck describes his approach to mathematics and his experiences in the mathematical community, a community that initially accepted him in an open and welcoming manner but which he progressively perceived to be governed by competition and status. He complains about what he saw as the "burial" of his work and betrayal by his former students and colleagues after he had left the community. "Récoltes et semailles" work is now available on the internet in the French original, and an English translation is underway. Parts of "Récoltes et semailles" have been translated into Spanish and into Russian and published in Moscow.  In 1988 Grothendieck declined the Crafoord Prize with an open letter to the media. He wrote that established mathematicians like himself had no need for additional financial support and criticized what he saw as the declining ethics of the scientific community, characterized by outright scientific theft that, according to him, had become commonplace and tolerated. The letter also expressed his belief that totally unforeseen events before the end of the century would lead to an unprecedented collapse of civilization. Grothendieck added however that his views are "in no way meant as a criticism of the Royal Academy's aims in the administration of its funds" and added "I regret the inconvenience that my refusal to accept the Crafoord prize may have caused you and the Royal Academy."  "La Clef des Songes", a 315-page manuscript written in 1987, is Grothendieck's account of how his consideration of the source of dreams led him to conclude that God exists. As part of the notes to this manuscript, Grothendieck described the life and work of 18 "mutants", people whom he admired as visionaries far ahead of their time and heralding a new age. The only mathematician on his list was Bernhard Riemann. Influenced by the Catholic mystic Marthe Robin who was claimed to survive on the Holy Eucharist alone, Grothendieck almost starved himself to death in 1988. His growing preoccupation with spiritual matters was also evident in a letter titled "Lettre de la Bonne Nouvelle" sent to 250 friends in January 1990. In it, he described his encounters with a deity and announced that a "New Age" would commence on 14 October 1996.  Over 20,000 pages of Grothendieck's mathematical and other writings, held at the University of Montpellier, remain unpublished. They have been digitized for preservation and are freely available in open access through the Institut Montpelliérain Alexander Grothendieck portal.

Retirement into reclusion and death.

In 1991, Grothendieck moved to a new address which he did not provide to his previous contacts in the mathematical community. Very few people visited him afterward. Local villagers helped sustain him with a more varied diet after he tried to live on a staple of dandelion soup. At some point, Leila Schneps and Pierre Lochak located him, then carried on a brief correspondence. Thus they became among "the last members of the mathematical establishment to come into contact with him". After his death, it was revealed that he lived alone in a house in Lasserre, Ariège, a small village at the foot of the Pyrenees.  In January 2010, Grothendieck wrote the letter "Déclaration d'intention de non-publication" to Luc Illusie, claiming that all materials published in his absence have been published without his permission. He asks that none of his work be reproduced in whole or in part and that copies of this work be removed from libraries. A website devoted to his work was called "an abomination." This order may have been reversed later in 2010.  On 13 November 2014, aged 86, Grothendieck died in the hospital of Saint-Girons, Ariège.

Citizenship.

Grothendieck was born in Weimar Germany. In 1938, aged ten, he moved to France as a refugee. Records of his nationality were destroyed in the fall of Germany in 1945 and he did not apply for French citizenship after the war. He thus became a stateless person for at least the majority of his working life, traveling on a Nansen passport. Part of this reluctance to hold French nationality is attributed to not wishing to serve in the French military, particularly due to the Algerian War (1954–62). He eventually applied for French citizenship in the early 1980s, well past the age that exempted him from military service.

Family.

Grothendieck was very close to his mother to whom he dedicated his dissertation. She died in 1957 from the tuberculosis that she contracted in camps for displaced persons. He had five children: a son with his landlady during his time in Nancy, three children, Johanna (1959), Alexander (1961) and Mathieu (1965) with his wife Mireille Dufour, and one child with Justine Skalba, with whom he lived in a commune in the early 1970s.

Mathematical work.

Grothendieck's early mathematical work was in functional analysis. Between 1949 and 1953 he worked on his doctoral thesis in this subject at Nancy, supervised by Jean Dieudonné and Laurent Schwartz. His key contributions include topological tensor products of topological vector spaces, the theory of nuclear spaces as foundational for Schwartz distributions, and the application of L spaces in studying linear maps between topological vector spaces. In a few years, he had turned himself into a leading authority on this area of functional analysis—to the extent that Dieudonné compares his impact in this field to that of Banach.  It is, however, in algebraic geometry and related fields where Grothendieck did his most important and influential work. From about 1955 he started to work on sheaf theory and homological algebra, producing the influential "Tôhoku paper" ("Sur quelques points d'algèbre homologique", published in the Tohoku Mathematical Journal in 1957) where he introduced abelian categories and applied their theory to show that sheaf cohomology can be defined as certain derived functors in this context.  Homological methods and sheaf theory had already been introduced in algebraic geometry by Jean-Pierre Serre and others, after sheaves had been defined by Jean Leray. Grothendieck took them to a higher level of abstraction and turned them into a key organising principle of his theory. He shifted attention from the study of individual varieties to the "relative point of view" (pairs of varieties related by a morphism), allowing a broad generalization of many classical theorems. The first major application was the relative version of Serre's theorem showing that the cohomology of a coherent sheaf on a complete variety is finite-dimensional; Grothendieck's theorem shows that the higher direct images of coherent sheaves under a proper map are coherent; this reduces to Serre's theorem over a one-point space.  In 1956, he applied the same thinking to the Riemann–Roch theorem, which had already recently been generalized to any dimension by Hirzebruch. The Grothendieck–Riemann–Roch theorem was announced by Grothendieck at the initial Mathematische Arbeitstagung in Bonn, in 1957. It appeared in print in a paper written by Armand Borel with Serre. This result was his first work in algebraic geometry. He went on to plan and execute a programme for rebuilding the foundations of algebraic geometry, which were then in a state of flux and under discussion in Claude Chevalley's seminar; he outlined his programme in his talk at the 1958 International Congress of Mathematicians.  His foundational work on algebraic geometry is at a higher level of abstraction than all prior versions. He adapted the use of non-closed generic points, which led to the theory of schemes. He also pioneered the systematic use of nilpotents. As 'functions' these can take only the value 0, but they carry infinitesimal information, in purely algebraic settings. His "theory of schemes" has become established as the best universal foundation for this field, because of its expressiveness as well as technical depth. In that setting one can use birational geometry, techniques from number theory, Galois theory and commutative algebra, and close analogues of the methods of algebraic topology, all in an integrated way.  He is also noted for his mastery of abstract approaches to mathematics and his perfectionism in matters of formulation and presentation. Relatively little of his work after 1960 was published by the conventional route of the learned journal, circulating initially in duplicated volumes of seminar notes; his influence was to a considerable extent personal. His influence spilled over into many other branches of mathematics, for example the contemporary theory of D-modules. (It also provoked adverse reactions, with many mathematicians seeking out more concrete areas and problems.)

"EGA", "SGA", "FGA".

The bulk of Grothendieck's published work is collected in the monumental, yet incomplete, "Éléments de géométrie algébrique" ("EGA") and "Séminaire de géométrie algébrique" ("SGA"). The collection "Fondements de la Géometrie Algébrique" ("FGA"), which gathers together talks given in the Séminaire Bourbaki, also contains important material.  Grothendieck's work includes the invention of the étale and l-adic cohomology theories, which explain an observation of André Weil's that there is a connection between the topological characteristics of a variety and its diophantine (number theoretic) properties. For example, the number of solutions of an equation over a finite field reflects the topological nature of its solutions over the complex numbers. Weil realized that to prove such a connection one needed a new cohomology theory, but neither he nor any other expert saw how to do this until such a theory was found by Grothendieck.  This program culminated in the proofs of the Weil conjectures, the last of which was settled by Grothendieck's student Pierre Deligne in the early 1970s after Grothendieck had largely withdrawn from mathematics.

Major mathematical contributions.

In Grothendieck's retrospective "Récoltes et Semailles", he identified twelve of his contributions which he believed qualified as "great ideas". In chronological order, they are:  Here the term "yoga" denotes a kind of "meta-theory" that can be used heuristically; Michel Raynaud writes the other terms "Ariadne's thread" and "philosophy" as effective equivalents.  Grothendieck wrote that, of these themes, the largest in scope was topoi, as they synthesized algebraic geometry, topology, and arithmetic. The theme that had been most extensively developed was schemes, which were the framework ""par excellence"" for eight of the other themes (all but 1, 5, and 12). Grothendieck wrote that the first and last themes, topological tensor products and regular configurations, were of more modest size than the others. Topological tensor products had played the role of a tool rather than a source of inspiration for further developments; but he expected that regular configurations could not be exhausted within the lifetime of a mathematician who devoted himself to it. He believed that the deepest themes were motives, anabelian geometry, and Galois–Teichmüller theory.

Influence.

Grothendieck is considered by many to be the greatest mathematician of the 20th century. In an obituary David Mumford and John Tate wrote: Although mathematics became more and more abstract and general throughout the 20th century, it was Alexander Grothendieck who was the greatest master of this trend. His unique skill was to eliminate all unnecessary hypotheses and burrow into an area so deeply that its inner patterns on the most abstract level revealed themselves–and then, like a magician, show how the solution of old problems fell out in straightforward ways now that their real nature had been revealed.  By the 1970s, Grothendieck's work was seen as influential not only in algebraic geometry, and the allied fields of sheaf theory and homological algebra, but influenced logic, in the field of categorical logic.

Geometry.

Grothendieck approached algebraic geometry by clarifying the foundations of the field, and by developing mathematical tools intended to prove a number of notable conjectures. Algebraic geometry has traditionally meant the understanding of geometric objects, such as algebraic curves and surfaces, through the study of the algebraic equations for those objects. Properties of algebraic equations are in turn studied using the techniques of ring theory. In this approach, the properties of a geometric object are related to the properties of an associated ring. The space (e.g., real, complex, or projective) in which the object is defined is extrinsic to the object, while the ring is intrinsic.  Grothendieck laid a new foundation for algebraic geometry by making intrinsic spaces ("spectra") and associated rings the primary objects of study. To that end he developed the theory of schemes, which can be informally thought of as topological spaces on which a commutative ring is associated to every open subset of the space. Schemes have become the basic objects of study for practitioners of modern algebraic geometry. Their use as a foundation allowed geometry to absorb technical advances from other fields.  His generalization of the classical Riemann-Roch theorem related topological properties of complex algebraic curves to their algebraic structure. The tools he developed to prove this theorem started the study of algebraic and topological K-theory, which study the topological properties of objects by associating them with rings. Topological K-theory was founded by Michael Atiyah and Friedrich Hirzebruch, after direct contact with Grothendieck's ideas at the Bonn Arbeitstagung.

Cohomology theories.

Grothendieck's construction of new cohomology theories, which use algebraic techniques to study topological objects, has influenced the development of algebraic number theory, algebraic topology, and representation theory. As part of this project, his creation of topos theory, a category-theoretic generalization of point-set topology, has influenced the fields of set theory and mathematical logic.  The Weil conjectures were formulated in the later 1940s as a set of mathematical problems in arithmetic geometry. They describe properties of analytic invariants, called local zeta functions, of the number of points on an algebraic curve or variety of higher dimension. Grothendieck's discovery of the l-adic étale cohomology, the first example of a Weil cohomology theory, opened the way for a proof of the Weil conjectures, ultimately completed in the 1970s by his student Pierre Deligne. Grothendieck's large-scale approach has been called a "visionary program." The l-adic cohomology then became a fundamental tool for number theorists, with applications to the Langlands program.  Grothendieck's conjectural theory of motives was intended to be the "l-adic" theory but without the choice of "l", a prime number. It did not provide the intended route to the Weil conjectures, but has been behind modern developments in algebraic K-theory, motivic homotopy theory, and motivic integration. This theory, Daniel Quillen's work, and Grothendieck's theory of Chern classes, are considered the background to the theory of algebraic cobordism, another algebraic analogue of topological ideas.

Category theory.

Grothendieck's emphasis on the role of universal properties across varied mathematical structures brought category theory into the mainstream as an organizing principle for mathematics in general. Among its uses, category theory creates a common language for describing similar structures and techniques seen in many different mathematical systems. His notion of abelian category is now the basic object of study in homological algebra. The emergence of a separate mathematical discipline of category theory has been attributed to Grothendieck's influence, though unintentional.

In popular culture.

The novel "Colonel Lágrimas" ("Colonel Tears" in English, available by Restless Books) by Puerto Rican - Costa Rican writer Carlos Fonseca is a semibiographic novel about Grothendieck.

Alexander Grothendieck (; ; ; 28 March 1928 – 13 November 2014) was a mathematician who became the leading figure in the creation of modern algebraic geometry. His research extended the scope of the field and added elements of commutative algebra, homological algebra, sheaf theory and category theory to its foundations, while his so-called "relative" perspective led to revolutionary advances in many areas of pure mathematics. He is considered by many to be the greatest mathematician of the 20th century.

Alexander Grothendieck (28. března 1928 v Berlíně – 13. listopadu 2014 v Saint-Girons) byl francouzský matematik německého původu, který se výrazně podílel na rozvoji algebraické geometrie. Mezi jeho nejznámější úspěchy patří důkazy většiny Weilových domněnek (poslední z nich později dokázal jeho žák Pierre Deligne), ovšem podstatnější je jeho celkový vliv na rozvoj oboru, na algebraickou geometrii, homologickou algebru, topologii i funkcionální analýzu. Byl jedním z členů skupiny Nicolas Bourbaki. V roce 1966 byl oceněn Fieldsovou medailí. V druhé části života se vědy vzdal ve prospěch politického aktivismu a v závěru života se u něj patrně rozvinula psychóza.


Life and career.

Born to a Jewish family in Frankfurt am Main, Kracauer studied architecture from 1907 to 1913, eventually obtaining a doctorate in engineering in 1914 and working as an architect in Osnabrück, Munich, and Berlin until 1920.  Near the end of the First World War, he befriended the young Theodor W. Adorno, to whom he became an early philosophical mentor. In 1964, Adorno recalled the importance of Kracauer's influence:  From 1922 to 1933 he worked as the leading film and literature editor of the "Frankfurter Zeitung" (a leading Frankfurt newspaper) as its correspondent in Berlin, where he worked alongside Walter Benjamin and Ernst Bloch, among others. Between 1923 and 1925, he wrote an essay entitled "Der Detektiv-Roman" ("The Detective Novel"), in which he concerned himself with phenomena from everyday life in modern society.  Kracauer continued this trend over the next few years, building up theoretical methods of analyzing circuses, photography, films, advertising, tourism, city layout. In 1927, he published the work "Ornament der Masse" (published in English as "The Mass Ornament") which emphasizes the tremendous value of studying the masses and popular culture. His essays in "Ornament der Masse" shows Karacauer's fascination with popular culture, particularly within the capitalist society of the United States.  In 1930, Kracauer published "Die Angestellten" ("The Salaried Masses"), a critical look at the lifestyle and culture of the new class of white-collar employees. Spiritually homeless, and divorced from custom and tradition, these employees sought refuge in the new "distraction industries" of entertainment. Observers note that many of these lower-middle class employees were quick to adopt Nazism, three years later. In a contemporary review of "Die Angestellten", Benjamin praised the concreteness of Kracauer's analysis, writing that "[t]he entire book is an attempt to grapple with a piece of everyday reality, constructed here and experienced now. Reality is pressed so closely that it is compelled to declare its colors and name names."  Kracauer became increasingly critical of capitalism (having read the works of Karl Marx) and eventually broke away from the "Frankfurter Zeitung". About this same time (1930), he married Lili Ehrenreich. He was also very critical of Stalinism and the "terrorist totalitarianism" of the Soviet government.  With the rise of the Nazis in Germany in 1933, Kracauer migrated to Paris. In March 1941, thanks to the French ambassador Henri Hoppenot and his wife, Hélène Hoppenot, he emigrated to the United States, with other German refugees like John Rewald.  From 1941 to 1943 he worked in the Museum of Modern Art in New York City, supported by Guggenheim and Rockefeller scholarships for his work in German film. Eventually, he published "" (1947), which traces the birth of Nazism from the cinema of the Weimar Republic as well as helping lay the foundation of modern film criticism.  In 1960, he released "Theory of Film: The Redemption of Physical Reality", which argued that realism is the most important function of cinema.  In the last years of his life Kracauer worked as a sociologist for different institutes, amongst them in New York as a director of research for applied social sciences at Columbia University. He died there, in 1966, from the consequences of pneumonia.  His last book is the posthumously published "History, the Last Things Before the Last" (New York, Oxford University Press, 1969).

Theories on memory.

Siegfried Kracauer's theories on memory revolved around the idea that memory was under threat and was being challenged by modern forms of technology. His most often cited example was the comparison of memory to photography. The reason for this comparison was that photography, in theory, replicates some of the tasks currently done by memory.  The differences in the functions of memory and the functions of photography, according to Kracauer, is that photography creates one fixed moment in time whereas memory itself is not beholden to a singular instance. Photography is capable of capturing the physicality of a particular moment, but it removes any depth or emotion that might otherwise be associated with the memory. In essence, photography cannot create a memory, but rather, it can create an artifact. Memory, on the other hand, is not beholden to one particular moment of time, nor is it purposefully created. Memories are impressions upon a person that they can recall due to the significance of the event or moment.  Photography can also work to record time in a linear way, and Kracauer even hints that floods of photographs ward off death by creating a sort of permanence. However, photography also excludes the essence of a person, and over time photographs lose meaning and become a "heap of details." This isn't to say that Kracauer felt that photography has no use for memory, it is simply that he felt that photography held more potential for historical memory than for personal memory. Photography allows for a depth of detail that can be to the advantage of a collective memory, such as how a city or town once appeared because those aspects can be forgotten, or overridden throughout time as the physical landscape of the area changes.

Reception.

Although he wrote for both popular and scholarly publications throughout much of his career, in the United States (and in English) he mainly concentrated on philosophical and sociological writings. This attracted some criticism from American scholars who found his style difficult to penetrate. At the time of his death in 1966, Kracauer was somewhat marginal in both American and German intellectual contexts. He had long ago abandoned writing in German, yet his research remained difficult to place within American scientific and academic categories.  In the decades following Kracauer's death, translations of his earlier essays and works, such as "The Mass Ornament," and the publication of his letters in German, revealed a fuller portrait of Kracauer's style and gradually brought greater recognition in the United States. His former colleague from Frankfurt, Leo Löwenthal, expressed pleasant surprise at the newfound fame that seemed to accumulate around Kracauer in his death. Since the 1980s and 1990s a new generation of film theorists and critics, including Gertrud Koch, Miriam Hansen, Tom Levin and Thomas Elsaesser have interpreted and introduced his work for a new generation of scholars.

Siegfried Kracauer (; ; February 8, 1889 – November 26, 1966) was a German writer, journalist, sociologist, cultural critic, and film theorist. He has sometimes been associated with the Frankfurt School of critical theory. He is notable for arguing that realism is the most important function of cinema.

Siegfried Kracauer (8. února 1889, Frankfurt nad Mohanem – 26. listopadu 1966, New York) byl německo-americký filmový a kulturní teoretik, sociolog, spisovatel a novinář židovského původu. Byl volně napojený na tzv. Frankfurtskou školu sociální kritiky. Jeho nejslavnější prací jsou dějiny německého filmu, jež vyšly pod názvem "From Caligari to Hitler: A Psychological History of the German Film" roku 1947.


Background.

The hit singles from this album include "On Fire", "I'm So Fly", and "Karma". Features on this album include 50 Cent, Tony Yayo, Young Buck, Eminem, Snoop Dogg, Nate Dogg, and The Game.  During the first week of "The Hunger For More"'s release, a distribution house in Manhattan was robbed of approximately eight boxes of the CDs (200 copies). A New York record store had nearly 100 copies of the CD stolen from its racks by a single perpetrator on the album's first day in stores, though they were later recovered.

Concept.

During an interview Lloyd Banks explained the reason behind naming the album. He said:

Reception.

Critical response.

Upon its release, "The Hunger for More" received positive reviews from most music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 66, based on 10 reviews, which indicates "generally favorable reviews".

Commercial performance.

It was released in 2004 and debuted at number 1 on the "Billboard" 200 chart, with week-one sales topping 433,000. The album remained at #1 on the Billboard 200 in the 2nd week, selling close to 164,000 copies in the United States. "That's the kind of debut that veteran artists have," says Banks. "That showed me that following 50's moves and studying the way that he played the game had put me in an incredible position." The album has since been certified Platinum by the RIAA. The album also achieved Platinum status in Canada

The Hunger for More is the debut album by Lloyd Banks, released June 29, 2004 on G-Unit Records and Interscope Records.

The Hunger for More je debutové studiové album amerického rappera Lloyda Bankse, vydané 29. června 2004 u nahrávacích společností G-Unit Records a Interscope Records.