Reception.

Critical reception.

"Goodbye" is generally considered a pop-dance track. J!-ENT described the song as "an upbeat, addictive track utilizing the classic 1969 Steam track “Na Na Hey Hey Kiss Him Goodbye”. A wonderful debut single for Kristinia." "People" magazine praised the song and compared it to recent releases by Rihanna, stating "First single 'Goodbye', an undeniable dance-pop confection, recalls Rihanna's 'S.O.S. (Rescue Me)', reworking Steam's 1969 hit 'Na Na Hey Hey Kiss Him Goodbye' much like 'S.O.S. (Rescue Me)' did 'Tainted Love'." Meanwhile, upon the song's UK release, noted R&B writer Pete Lewis of the 'Blues & Soul' referred to it as "a punchy, upbeat single whose hook prominently samples the familiar hook from Steam's 1969 American Number One 'Na Na Hey Hey Kiss Him Godbye'". Nick Levine of Digital Spy said, "Like a low calorie chocolate bar, 'Goodbye' is sweet enough in the moment, but it doesn't have enough substance to leave you feeling really satisfied."  Glenn Gamboa of "Newsday" said that "DeBarge comes across as a streetwise Jordin Sparks on the "stomping smash". "People" called the song "an undeniable dance-pop confection". "Time" said that the song is "so enjoyably trashy, it's a wonder no one thought of it before."  "Goodbye" received generally mixed reviews from critics. Commonsensemedia praised the song, stating "It's quite a feat to breathe new life into a song that has taken on such a life of its own. But DeBarge is able to make this song uniquely her own and put a funky dance twist on a classic. This young singer appears to have inherited the family talent for mass-appeal music with an easygoing style." DigitalSpy said of the single, "Honestly, you wait years for someone to sample the hook from 'Na Na Hey Hey Kiss Him Goodbye', and then everyone does it at once! It backs Wale and Lady GaGa on 'Chillin', Jay-Z uses it to shoo off pop's most controversial vocal effect on 'D.O.A. (Death of Auto-Tune)', and here's US newbie Kristinia DeBarge swallowing it whole on her debut single. Blame it on the over-familiarity of the sample, or maybe the fact that DeBarge nicks a trick from Rihanna's 'SOS (Rescue Me)' here, but the result isn't quite the pop smash it could be. The crux of the issue? Like a low calorie chocolate bar, 'Goodbye' is sweet enough in the moment, but it doesn't have enough substance to leave you feeling really satisfied."  HeavenlyReviews praised the song as well, stating ""Goodbye", this song is one of those strong anthem breakup songs that the rhythm just kinds gets stuck in your head and for the next seven days you will be singing this song, humming this song, and thinking about this song." Bisaidso were very critical of DeBarge, commenting "Damn, we can’t go five years without a new DeBarge trying to break into the music biz, can we? Her debut album (written and produced by Babyface) should out this summer. Let’s hope young Kristinia doesn’t end up with a rap sheet like some of her family members."

Commercial performance.

"Goodbye" was met with commercial success in the US as well as in the international music market. In the United States, the single debuted at number 75 on the "Billboard" Hot 100 singles chart, and later reached a peak of number 15 on the chart. The song was also a hit on the Dance Music charts in the US, where it reached a peak of 3 on the "Billboard" Hot Dance Club Play singles chart. "Goodbye" later went on to peak at number 90 on the Hot 100 Year End Chart. Outside of the US, the single performed moderately well. In Australia, the single failed to impact the main singles chart. However, it did reach a height of 16 on the Hitseekers chart, as well as number 41 on the Australian Airplay singles chart. In Sweden, the single rose to a peak of 26 on the official singles chart. The single was also a success in Canada, where it reached a peak of number 15 on the Canadian Hot 100. The song also charted in Brazil's dance chart and peaked at #13.

Live performances.

DeBarge chose to promote the album mainly through live performances. She appeared on So You Think You Can Dance and "Live With Regis and Kelly" to perform "Goodbye". The same single was also performed live on the "Wendy Williams Show". During both performances, DeBarge was accompanied by several female back-up dancers. DeBarge also began performing live in several stores and at city fairs, performing songs such as "Speak Up" and "Future Love". At several of these shows, the ballads from the album were performed acoustically, with DeBarge singing along with one man playing a guitar behind her. DeBarge also performed several songs from the album at Jingle Ball 2009. During the performances, DeBarge had male back-up dancers in the background.  Aside from network appearances, DeBarge also opened up for pop singer Britney Spears, during her 2009 world tour,. Before starting the tour, DeBarge stated "Joining Britney Spears for her Circus tour will be an amazing and surreal experience for me," she said in a statement posted on Spears' site. "I have been dreaming of an opportunity like this forever, and can't wait." During the shows (DeBarge opened up for all of the North American shows) DeBarge performed "Goodbye", along with "Sabotage" and "Future Love".

Music video.

A music video, directed by Ray Kay, was released to promote the song. It starts with DeBarge and her friends watching her ex-boyfriend park his car, which they then steal after he leaves it. DeBarge then flirts with several other men, including those she meets while at a restaurant and bicycling on a sidewalk, and enters their numbers into her cell phone. She is then seen at a house party, dancing around with party-goers. At the end of the video, her ex-boyfriend attends the party. When she sees him, she gives him the peace sign with her fingers and leaves.  During an interview with "Seventeen" magazine, DeBarge said of the video, "It's young, fun, and sexy. It starts off with me and my girlfriends just being mischievous. We're checking out whether my ex-boyfriend is home, because we're about to steal his car. The car in the video is a 1996 convertible Mustang, and it's red! I had to get a classic in there, since a new car is just what you'd expect. I worked out really hard to be in good shape for the video, too. My best friend is in the passenger seat with me, and everyone at the house are my friends. It gives the video more energy." The video was met with generally positive reviews. "NeonLimeLight" said of the video, "Everybody wants a nice fling for the summer, but when you can’t have love, what’s better than a little revenge? Hot newcomer Kristinia DeBarge knows all about that. In the video for her smokin’ hot debut single, “Goodbye,” Kristinia gets her ex where it hurts the most by stealing his car with a few friends to ride around town and scope out potential replacements. She caps off her day of sun and fun by throwing a packed house party. “Single girl swag” is what she calls it. So check the video for what’s sure to become the anthem of the summer for the single ladies!"

Track listing.

Remixes released July 7, 2009  US Promo Remixes  UK Promo CD

"Goodbye" is the first single released by the American recording artist Kristinia DeBarge from her first studio album "Exposed". It was released digitally in the United States on April 7, 2009, to US radio on April 28, 2009, and in the UK on August 10, 2009. The song contains a sample of Steam's "Na Na Hey Hey Kiss Him Goodbye". An uptempop dance pop track, the lyrics of the song deal with DeBarge getting over her ex-boyfriend. A music video was released to promote the song, which features DeBarge and her friends stealing her ex-boyfriend's car and driving to various locations, including a house party. Throughout the video, DeBarge is seen flirting with several men in an attempt to get back at her ex-boyfriend.


Royal Navy recruiting and desertion.

Working and living conditions for the average sailor in the Royal Navy in the 18th century were harsh by modern standards. Naval pay was attractive in the 1750s, but towards the end of the century its value had been eroded by rising prices. Sailors' pay on merchant ships was somewhat higher during peacetime, and could increase to double naval pay during wartime.  Until 19th-century reforms improved conditions, the Royal Navy was additionally known to pay wages up to two years in arrears, and it always withheld six months' pay to discourage desertion. Naval wages had been set in 1653, and were not increased until April 1797 after sailors on 80 ships of the Channel Fleet based at Spithead mutinied.  Despite this, there were many volunteers for naval service. The work for individual sailors was less than on merchant ships as the naval crew size was determined by the number needed to man guns, around four times the number of crew needed to sail the ship. While the food supplied by the Navy was plentiful and good by the standards of the day, shipowners and governments routinely estimated that 50% of the sailors on a given voyage would die due to scurvy.  The main problem with recruitment, though, was a shortage of qualified seamen during wartime, when the Navy quickly had to recruit an extra 20,000 (early 18th century) to 40,000 men (late 18th century). Privateers, the Royal Navy, and the Merchant Navy all competed for a small pool of ordinary and able seamen in wartime, and all three groups were usually short-handed. The recruitment figures presented to Parliament for the years 1755–1757 list 70,566 men, of whom 33,243 were volunteers (47%), 16,953 pressed men (24%), while another 20,370 were also listed as volunteers separately (29%). Although there are no records that explain why volunteers were separated into two groups, it is likely these were pressed men who became "volunteers" to get the sign-up bonus, two months' wages in advance and a higher wage; it is known large numbers did do this. Volunteering also protected the sailor from creditors, as the law forbade collecting debts accrued before enlistment. The main disadvantage was that volunteers who subsequently deserted were liable to execution if captured; whereas pressed men would simply be returned to service. Other records confirm similar percentages throughout the 18th century.  Average annual recruitment 1736–1783 All three groups also suffered high levels of desertion. In the 18th century, British desertion rates on naval ships averaged 25% annually, with slight difference between volunteers and pressed men. The rate of desertion started high, then fell heavily after a few months on board a ship, and generally became negligible after a year — because Navy pay ran months or years in arrears, desertion might mean not only abandoning companions in the ship's company, but also the loss of a large amount of money already earned. If a naval ship had taken a prize, a deserting seaman would also forfeit his share of the prize money. In a report on proposed changes to the RN written by Admiral Nelson in 1803, he noted that since 1793 more than 42,000 sailors had deserted.

The Impress Service and impressment at sea.

The Impress Service (colloquially called the "press-gang") was formed to force sailors to serve on naval vessels. There was no concept of "joining the navy" as a fixed career-path for non-officers at the time, since seamen remained attached to a ship only for the duration of its commission. They were encouraged to stay in the Navy after the commission but could leave to seek other employment when the ship was paid off. Impressment relied on the legal power of the King to call men to military service, as well as to recruit volunteers (who were paid a bounty upon joining, unlike pressed men). Seamen were not covered by Magna Carta and "failure to allow oneself to be pressed" was punishable by hanging, although the punishment became less severe over time.  In Elizabethan times a statute regulated impressment as a form of recruitment, and with the introduction of the Vagabonds Act in 1597 men of disrepute (vagrants) found themselves drafted into service. In 1703 an act passed limiting the impressment of men under 18 years of age to those who were not apprenticed. A further act in 1740 raised the maximum age to 55. Although no foreigner could normally be pressed, they lost their protection if they married a British woman or had worked on a British merchant ship for two years. Some governments, including Britain, issued "protections" against impressment which protected men had to carry on their person at all times; but in times of crisis the Admiralty would order a "hot press", which meant that no-one remained exempt.  The Royal Navy also impressed seamen from inbound British merchant ships at sea, though this was done by individual warships, rather than by the Impress Service. Impressment, particularly "press gangs", became consistently unpopular with the British public (as well as in the American colonies), and local officials often acted against them, to the point of imprisoning officers from the Impress Service or opposing them by force of arms.

Basis.

At the time of the Battle of Trafalgar over half the Royal Navy's 120,000 sailors were pressed men. The power of the Impressment Service to conscript was limited by law to seafarers, including merchant seamen, longshoremen and fishermen. There is no basis to the widespread impression that civilians without any seafaring background were randomly seized from home, country lane or workplace by press gangs or that the latter were employed inland away from coastal ports. However, convicted petty criminals were often given the option of volunteering for naval service as unskilled "quota men" by inland courts (see below).  There were occasions when the local populace would band together to oppose the activities of the press. One such incident, the Easton Massacre in 1803, resulted in a press gang firing on a crowd, killing four people in the village of Easton on the Isle of Portland, where they were trying to impress the quarrymen. In 1808, Thomas Urquhart was saved from a press gang of three or four men when London passersby intervened. Urquhart complained to local officials, identified at least one of the men involved and successfully sued for damages in the Court of King's Bench. He went on to lobby for changes in law and practice, publishing "Letters on the evils of impressment: with the outline of a plan for doing them away, on which depend the wealth, prosperity, and consequence of Great Britain" in 1816.  Patrolling in or near sea ports, the press gang would try to find men aged between 15 and 55 with seafaring or river-boat experience, but this was not essential; those with no experience were called "landsmen". From 1740, landsmen were legally exempt from impressment, but this was on occasion ignored in wartime unless the person seized was an apprentice or a "gentleman". Two landsmen were considered by captains to be the equivalent of one able seaman. If a landsman was able to prove his status to the Admiralty he was usually released. Court records do however show fights breaking out as people attempted to avoid what was perceived as wrongful impressment, and the London "Times" reported occasions when press gangs instituted a "hot press" (ignoring protections against impressment) in order to man the navy. Merchant seamen ashore from their ships (and usually conspicuous by their clothing and general appearance) were however another matter. Anyone with seafaring experience encountered in the street would first be asked to volunteer for naval service. If the potential recruit refused he was often plied with alcohol or simply seized and taken. A commonly held belief is that a trick was used in taverns, surreptitiously dropping a King's shilling ("prest money") into a man's drink, as by "finding" the shilling in his possession he was deemed to have volunteered, and that this led to some tavern owners putting glass bottoms in their tankards. However, this is a legend; press officers were subject to fines for using trickery and a volunteer had a "cooling-off" period in which to change his mind.  The great majority of men pressed were taken from merchant ships at sea, especially those homeward bound for Britain. This was legal as long as the Navy replaced the man they took, and many Naval captains would take the best seamen, replacing them with malcontents and landsmen from their own ship. It was also common for "trusted" volunteers to act as substitutes; they would then desert as soon as the merchant ship docked, and return to their Navy ship.  Outbound merchant ships, officers and apprentices were exempt from impressment. When war broke out the Navy would deploy frigates and vessels off the coast to intercept inbound merchantman. Reportedly some merchant captains redirected their ships to Irish ports to offload favoured crewmen, before making final land-fall in England. In 1740, a merchantman fired on a cruiser attempting to impress its crew; threats of similar violence to avoid sailors being pressed were supposedly not uncommon, especially with the East India ships whose crews had been away from their families and England for a considerable time. In times of an extreme shortage of men, the Navy would "embargo" the coast for a short time; merchantmen had to supply a portion of their crew in exchange for permission to sail. Many merchant ships had hiding places constructed where their best crew could hide when approached by a Naval vessel.  In addition to impressment, Britain also used the Quota System (or "The Quod") from 1795 to 1815, whereby each county was required to supply a certain number of volunteers, based on its population and the number of its seaports. Unlike impressment, the Quota System often resulted in criminals serving on board ships as counties who failed to meet their quota offered prisoners the option of completing their sentence or volunteering. Apart from the probably lower quality of recruits taken by this means, another downside of the Quota System was the frequent introduction of disease, especially typhus, to healthy ships.

In Ireland.

Ireland formed a separate but subordinate state, the Kingdom of Ireland, between 1534 and 1800. All of Ireland was united to Great Britain to form the United Kingdom of Great Britain and Ireland between 1801 and 1922. The Royal Navy recruited heavily in Ireland during this period, including using impressment. For example, in 1734, impressment took place in Wicklow. Impressment was also common during the Napoleonic wars, although poverty in Ireland made sure that volunteers were usually available.

British North America.

One of the largest impressment operations occurred in the spring of 1757 in New York City, then still under British colonial rule. Three thousand British soldiers cordoned off the city, and plucked clean the taverns and other sailors' gathering places. "All kinds of tradesmen and Negroes" were hauled in, nearly eight hundred in all. Four hundred of these were "retained in the service".  The Royal Navy also used impressment extensively in British North America from 1775 to 1815. Its press gangs sparked resistance, riots, and political turmoil in seaports such as Halifax, St John's, and Quebec City. Nevertheless, the Royal Navy extended the reach of its press gangs into coastal areas of British North America by the early 19th century. In response, sailors and residents fought back with a range of tactics. They sometimes reacted violently. The riots in St John's in 1794 and Halifax in 1805 led to a prohibition on impressment on shore for much of the Napoleonic Wars. The protest came from a wide swath of the urban community, including elites, rather than just the vulnerable sailors, and had a lasting negative impact on civil–naval relations in what became Canada. The local communities did not encourage their young men to volunteer for the Royal Navy.

Continental Navy.

The American Continental Navy impressed men into its service during the American Revolutionary War. The Continental Congress authorized construction of thirteen frigates, including in 1775. The senior captain of the Continental Navy, James Nicholson, was appointed to command "Virginia". When it was fitted out in 1777, Nicholson received orders to sail to Martinique. Many of Nicholson's crew had deserted to sign on as privateers, for higher pay at less risk. Therefore, Nicholson impressed about thirty citizens of Baltimore, an act expressly forbidden by Maryland law. Maryland governor Thomas Johnson demanded immediate release of the impressed men and Congress convinced Nicholson to release them all. Nicholson avoided impressment on land and instead stopped two American merchant ships at sea in 1780, to impress men from their crews.  The individual states did not deny the concept of impressment for their own navies, but were reluctant to grant the right to the Continental Congress. The concept of drafting men into armed service remained contentious, even after adoption of the federal constitution.  There is one documented case of a British seaman impressed by the US Navy in 1810.

Conflict with the United States.

In 1795, the Jay Treaty went into effect, addressing many issues left unresolved after the American Revolution, and averting a renewed conflict. However, the treaty's neglect to address British impressment of sailors from American ships and ports became a major cause of complaint among those who disapproved of it. While non-British subjects were not impressed, Britain did not recognize naturalised American citizenship, and treated anyone born a British subject as still "British"; as a result, the Royal Navy impressed over 9,000 sailors who claimed to be American citizens.  During the wars with France (1793 to 1815), the Royal Navy aggressively reclaimed British deserters on board ships of other nations, both by halting and searching merchant ships, and, in many cases, by searching American port cities. Although this was illegal, Jefferson ignored it to remain on good terms with Britain as he was negotiating to obtain "the Floridas". This changed in 1805 when the British began seizing American merchantmen trading with the West Indies and condemning the ships and their cargoes as a prize and enforcing impressment on their crews. Under the Rule of 1756, in times of war, direct trade between a neutral European state and a British colony was forbidden if such trade had not existed in time of peace. The Americans had found a way around this by "landing" cargoes from Europe in the United States and issuing certificates that duty had been paid. The ship would then sail, with the cargo never having been offloaded or duty actually paid, as now bona fide commerce between neutral America and the West Indies. The British became aware of the practice during the court case involving the seizure of the "Essex". The court ruled that the cargo of the "Essex" had never been intended for American markets so the voyage had not been "broken" and could thus be considered continuous. The end result was the blockade of New York Harbor by two British frigates, the "Cambrian" and the "Leander", which provoked public demonstrations.  For the next year scores of American ships were condemned in admiralty courts and American seamen were impressed with increasing frequency until, in the early summer of 1807, when three deserters from the British frigate lying in Chesapeake Bay enlisted on the American frigate. After searching the "Chesapeake", the deserters, David Martin, John Strachan, and William Ware, were found to be native-born Americans who had been wrongly impressed. The search also established that another crew member listed as Jenkin Ratford, was actually a British deserter, but he could not be found. Admiral Berkeley angrily issued an order to all commanders in the North Atlantic Squadron to search the "Chesapeake" if encountered on the high seas. Eight miles southeast of Cape Henry a boat from the British frigate intercepted her but Commodore Barron declined to permit his crew to be mustered. The "Leopard" began approaching and the commander shouted a warning to which Barron replied "I don't hear what you say". The "Leopard" then fired two shots across the bow and almost immediately poured a broadside into the American ship. The "Chesapeake" did not return fire but the British ship fired another two broadsides. Three crew were killed and eighteen wounded. The British boarding party not only arrested the British deserter but also the three Americans. The "Chesapeake"–"Leopard" Affair provoked an outcry for war from all parts of the country and Jefferson later wrote: "The affair of the "Chesapeake" put war into my hand, I had only to open it and let havoc loose". He ordered the state governors to ready their militias but the Embargo Act of 1807 he eventually passed only ordered all British armed vessels out of American waters and forbade all contact with them if they remained.  As a cause of the War of 1812, the impressment and ship seizures caused serious diplomatic tension, and helped to turn American public opinion against Britain. Impressment was widely perceived as humiliating and dishonoring the U.S. because it was unable to protect its ships and sailors.

End of impressment.

Britain fought the war against Napoleon on the high seas, enlarging its Royal Navy from 135 ships in 1793 to 584 in 1812, and expanding personnel from 36,000 seamen in 1793 to 114,000 in 1812. In spring 1814 Napoleon surrendered, the allies restored the Bourbon kings to the throne, and France was no longer an enemy of Great Britain. The naval war was over and Britain could now sharply reduce its Royal Navy. It had no need to impress sailors, and never again used that means of forced recruitment, although it did not officially renounce the practice. By the time of Britain's next major war, against Russia in 1853, a new system of fixed-term engagements had given the Royal Navy a sufficient number of volunteer recruits to meet its manpower needs. Throughout the remainder of the 19th century changes in manpower needs and improved conditions of service permitted the Royal Navy to rely on voluntary enlistment to meet its requirements, augmented by the recall of reservists when necessary. This continued to be the case until World War I, when organised conscription was introduced in 1916 for all the military services.

English and later British naval impressment laws.

The first Act of Parliament legalising this practice was passed in the reign of Queen Elizabeth in 1563 and was known as "An Act touching political considerations for the maintenance of the navy". It was renewed many times until 1631. In the Vagabonds Act 1597, several lists of persons were subject to impressment for service in the fleet. Following the execution of King Charles I, the Rump Parliament passed several acts in 1649 and 1650 concerning the encouragement of officers, mariners and for the impressment of seamen (e.g. 22 February 1648/9). In 1695 an Act was passed to build a permanent register of 30000 men for ready call-up by the navy, "without having recourse to the barbarous and unconstitutional practice of pressing". The act also established basic rules and benefits for all types of seamen, including access to Greenwich Hospital.  With wars raging in Europe and in America the Navigation Act 1703 (2 & 3 Ann. c. 6) was passed "for the of Seamen and better Encouragement of Navigation, and the Protection of the Coal Trade". This act gave parish authorities the power to indenture and apprentice boys to the sea, from as young as 10, until age 21; it also reaffirmed that rogues and vagabonds were subject to be pressed into the navy. The act establishes administration and regulations for the act, including youth who volunteer for the indenture and certain seamen engaged in the coal trade supplying cities, are exempt from impressment for three years. This act was followed by the Recruiting Act 1703 (2 & 3 Ann. c. 13), which allows impressing able-bodied men into the army and navy who did not have visible means of subsistence; also as a wartime measure the act relaxes English crewing requirements under the Navigation Acts, to make experienced English seamen more available to serve on ships of war. In 1740, impressment was limited to men between 18 and 45, and it also exempted foreigners.  As part of a wider effort to build colonial capability and harass its enemies, Parliament passed the Trade to America Act 1707 (6 Ann. c. 64). Section 9 mandated that mariners serving on board privateers and trading ships in any part of America, and those on shore, are not liable for impressment. Lingering questions remained whether the law applied only to the navy, or to civil authorities as well, and whether it applied only to the current war or to all future wars. Two attorneys-general of Great Britain, one in 1716, and another in 1740, issued opinions that the 1707 Act was no longer in effect, but many American colonists disagreed.  Despite doubts over the continuing legality of impressment in continental waters, but for similar reasons, Parliament passed the Sugar Trade Act 1746 (19 Geo. 2 c. 30) stating that impressment was forbidden in the West Indies, but it added certain exceptions and made no specific mention of America. This would lead to the Knowles Riot in Boston the following year, and continuing colonial questions, particularly in heavily maritime New England.  The last law was passed in 1835, in which the power to impress was reaffirmed. This limited the length of service of a pressed man to five years, and added the provision that a man could not be pressed twice. Although Britain abandoned the practice of impressment in 1815, impressment remained legal until the early 1900s, and the various laws authorising impressment have never been repealed.

British army impressment laws.

Starting in 1645, the New Model Army raised by Oliver Cromwell to overthrow Charles I during the English Civil War was largely manned by impressment. After the restoration of the monarchy, impressment into the army was discontinued.  During the American Revolutionary War, after the losses at the Battle of Saratoga and the impending hostilities with France, the existing voluntary enlistment measures were judged to be insufficient. Between 1775 and 1781, the regular army increased from 48,000 to 110,000. Two acts were passed, the Recruiting Act 1778 and the Recruiting Act 1779, for the impression of individuals into the British Army. The chief advantages of these acts was in the number of volunteers brought in under the apprehension of impressment. To avoid impressment, some recruits incapacitated themselves by cutting off the thumb and forefinger of the right hand, making it impossible to use a musket or sword. The Recruiting Act of 1779 was repealed on 26 May 1780, and army impressment was permanently discontinued.  During the experiment, the British government allowed army impressment under severely restricted circumstances — both acts emphasized volunteering over impressment, and offered strong incentives to volunteers as a "carrot and stick" tactic, to encourage the men to volunteer lest they be pressed instead. The impressment portion of the 1778 Act applied only to Scotland and the area around London, excluding Wales and the rest of England, to avoid interfering with harvesting. The 1779 Act applied to all of Great Britain, but was initially suspended everywhere except the area around London, and actually applied to all of Great Britain for only six months, until the 1779 act was repealed in May 1780, and army impressment ceased in Britain.  Unlike naval impressment, army impressment applied only to "able-bodied idle, and disorderly Persons, who could not, upon Examination, prove themselves to exercise and industriously follow some lawful Trade or Employment, or to have some Substance sufficient for their Support and Maintenance", as well as smugglers, according to the 1778 law, but excluding from that any men who were voters, or harvest workers. The 1779 law extended impressment also to "incorrigible rogues" who had abandoned their families, and left them as expenses on the parish. Impressed apprentices were released under appeal from their masters, and impressed foreigners were released when requested by their countries' embassies.

In popular culture.

Literature  Poetry  Music  Cinema

References.

Informational notes Citations

Impressment, colloquially "the press" or the "press gang", is the taking of men into a military or naval force by compulsion, with or without notice. European navies of several nations used forced recruitment by various means. The large size of the British Royal Navy in the Age of Sail meant impressment was most commonly associated with Great Britain and Ireland. It was used by the Royal Navy in wartime, beginning in 1664 and during the 18th and early 19th centuries as a means of crewing warships, although legal sanction for the practice can be traced back to the time of Edward I of England. The Royal Navy impressed many merchant sailors, as well as some sailors from other, mostly European, nations. People liable to impressment were "eligible men of seafaring habits between the ages of 18 and 55 years". Non-seamen were impressed as well, though rarely.


History.

Colonial era.

The first showing of films in the Dutch East Indies was in 1900, and over the next twenty years foreign productions – generally from the United States – were imported and shown throughout the country. Domestic production of documentaries had begun in 1911 but were unable to compete with imported works. By 1923 a local feature film production spearheaded by the Middle East Film Co. was announced, but the work was not completed.  The first domestically produced film in the Indies was in 1926: "Loetoeng Kasaroeng", a silent film by Dutch director L. Heuveldorp. This adaptation of the Sundanese legend was made with local actors by the NV Java Film Company in Bandung and premiered on 31 December 1926 at the Elite and Majestic Theatres in Bandung. The following year, G. Krugers – who had served as a technician and cinematographer for "Loetoeng Kasaroeng" – released his directorial debut (the second film in the Indies), "Eulis Atjih". Owing to "Loetoeng Kasaroeng" limited release, Kruger was able to advertise his film as the colony's first. A year later, the second novel to be adapted to film in Indonesia, "Setangan Berloemoer Darah", was produced by Tan Boen Soan.  Ethnic Chinese directors and producers, capitalising on the success of films produced in Shanghai, China, became involved in the colony's cinema beginning in 1928, when Nelson Wong completed "Lily van Java". Although the Wongs went on hiatus, other ethnic Chinese became involved in film. Several Chinese owned start-ups are recorded from 1929 on, including Nancing Film with "Resia Boroboedoer" (1928) and Tan's Film with "Njai Dasima" (1929). By the early 1930s Chinese-owned businesses were the dominating force in the country's film industry.  After the Great Depression reached the Indies, production slowed tremendously. The Dutch East Indies government collected higher taxes and cinemas sold tickets at lower prices, ensuring that there was a meagre profit margin for local films. As a result, cinemas in the colony mainly showed Hollywood productions, while the domestic industry decayed. The Teng Chun, who had made his debut in 1931 with "Boenga Roos dari Tjikembang", was the only producer able to release films during 1934 and early 1935: his low budget but popular films were mainly inspired by Chinese mythology or martial arts, and although aimed at ethnic Chinese proved popular among native audiences because of their action sequences. In an attempt to show that locally produced, well-made films could be profitable, the Dutch journalist Albert Balink, who had no formal film experience, produced "Pareh" in 1935 in collaboration with Nelson Wong and his brothers. Though the film, costing 20 times as much as most contemporary productions, was an ultimate failure, it affected The Teng Chun's directorial style; the latter took less traditional stories. Balink's next attempt, "Terang Boelan", was released two years later. Unlike "Pareh", "Terang Boelan" was a marked commercial success, earning 200,000 Straits dollars (then equivalent to US$ 114,470) in two months. These two films are, according to American visual anthropologist Karl G. Heider, Indonesia's most important films of the 1930s.  The triple successes of "Terang Boelan", "Fatima" (1938), and "Alang-Alang" (1939) revived the domestic film industry. Four new production houses were established in 1940, and actors and actresses previously attached to theatrical troupes entered the film industry, which was reaching new audiences. The new works, fourteen in 1940 and thirty in 1941, generally followed the formula established by "Terang Boelan": songs, beautiful scenery and romance. Others, such as "Asmara Moerni", attempted to reach the growing native intelligentsia by drawing journalists or figures from the growing nationalist movement into cinema.

Japanese occupation.

After its genesis during the Dutch colonial era, the Indonesian film industry was coopted by the Japanese occupiers during the Second World War as a propaganda tool. The first thing the Japanese did was to halt all film production in Indonesia. Then the "Office of Cultural Enlightenment" () headed by Ishimoto Tokichi appropriated facilities from all filmmaking organisations consolidating them into a single studio which became the Jakarta branch of "The Japan Film Corporation" () or "Nichi'ei". The majority of films made in Indonesia under the Japanese were educational films and newsreels produced for audiences in Japan. The Jakarta branch was strategically placed at the extreme southern end of Japan's empire and soon became a centre of newsreel production in that region. Popular news serials such as "News from the South" and "Berita Film di Djawa" were produced here. Japanese newsreels promoted such topics as conscripted "romusha" labourers (, 1944), voluntary enlistment into the Imperial Japanese Army (, 1944), and Japanese language acquisition by Indonesian children (, 1944).  The great victory in Japan's occupation of the Indonesian film industry did not lie in financial gain. Local Japanese-sponsored film production (other than newsreels) remained essentially negligible, and the domestic exhibition market was too underdeveloped to be financially viable. However, "Nichi'ei"'s occupation of the Indonesian film industry was a strategic victory over the West, demonstrating that a non-Western Asian nation could displace Hollywood and the Dutch. Indonesia was one of the last areas in the empire to surrender, and many who worked at "Nichi'ei" stayed on after defeat to work for Indonesian independence from the Dutch.  Korean director Hae Yeong (aka Hinatsu Eitaro) was one such person who migrated to Java from Korea in 1945, where he made the controversial "documentary" "Calling Australia" (, 1944). After the war, Hae changed his name to Dr. Huyung, married an Indonesian woman with whom he had two sons, and directed three films before his death in 1952, "Between Sky and Earth" (1951), "Gladis Olah Raga" (1951), and "Bunga Rumar Makan" (1952). "Calling Australia" was commissioned by the Imperial Japanese Army and depicted Japanese prisoner of war camps as if they were country clubs showing prisoners feasting on steak and beer, swimming, and playing sports. After the war, the film caused such a stir that The Netherlands Indies Film Unit rushed into production "Nippon Presents" which used some of the P.O.W.s from "Calling Australia" to expose that film as Japanese lies. In 1987, Australian filmmaker Graham Shirley assembled the remaining survivors to make yet another documentary about how both regimes had conspired to exploit the prisoners each for their own purposes.

After independence.

After independence, the Sukarno government used it for nationalistic, anti-imperalist purposes and foreign film imports were banned. After the overthrow of Sukarno by Suharto's New Order regime, films were regulated through a censorship code that aimed to maintain the social order and regime grip on society. Usmar Ismail, a director from West Sumatra, made a major imprint in Indonesian film in the 1950s and 1960s. Djamaluddin Malik's Persari Film often emulated American genre films and the working practices of the Hollywood studio system, as well as remaking popular Indian films.

1980s.

The industry reached its peak in the 1980s, with successful films such as "Naga Bonar" (1987) and "Catatan si Boy" (1989). Warkop's comedy films, directed by Arizal also proved to be successful. The industry has also found appeal among teens with such fare as "Pintar-pintar Bodoh" (1982), and "Maju Kena Mundur Kena" (1984). Actors during this era included Deddy Mizwar, Eva Arnaz, Lidya Kandou, Onky Alexander, Meriam Bellina, Rano Karno, and Paramitha Rusady. The film Tjoet Nja' Dhien (1988) winning 9 Citra Awards at the 1988 Indonesian Film Festival. It was also the first Indonesian movie chosen for screening at the Cannes Film Festival, where it was awarded Best International Film in 1989.

1990s.

By the 1990s, imports of foreign films resumed, and the artistic quality of Indonesian films was reduced due to competition, especially from the US and Hong Kong. The number of movies produced decreased significantly, from 115 in 1990 to just 37 in 1993. Rampant counterfeiting and television also contributed to the degradation of Indonesian cinema. In this decade, Indonesian cinema was dominated by serial electronic cinema ("sinetron"). Multivision Plus under Raam Punjabi, controlled one of many cinema companies who produced "sinetron". The majority of films produced were exploitive, adult-themed B-movies shown in budget cinemas and outdoor screenings or direct-to-video or television. In 1996, 33 films were made in Indonesia, with the majority of the films produced were filled with adult-themed content, and later on, decreased significantly. Only seven domestic films were made in 1999.

2000s.

Under the "Reformasi" movement of the post-Suharto era, independent filmmaking was a rebirth of the film industry in Indonesia, where films started addressing topics which were previously banned such as religion, race, love and other topics.  In 2002, the number of domestic films made increased from only six in 2001 to ten. It continued to increased significantly as the years passed on.  Recent notable films include "Ada Apa dengan Cinta?" directed by Rudi Soedjarwo in 2002, Eliana Eliana, directed by Riri Riza, and "Arisan!" starring Tora Sudiro, which was released in 2005, "Beauty and Warrior", Indonesia's first animated feature film was released. That same year "Gie" ( Riri Riza), based on a biopic of Indonesian activist Soe Hok Gie, was also released.  The release of "Ayat-Ayat Cinta", directed by Hanung Bramantyo, attracted one segment of audience like never before in the Indonesian film history. The melodramatic story did not give new approaches to cinematic storytelling, but the crossover between Islam and modern-romance story has succeeded in luring Muslims around the country into cinemas.  In 2009, Infinite Frameworks released their first full-length animation movie, "Sing to the Dawn" (""Meraih Mimpi"" in Indonesian). The movie itself is almost Indonesian-made since some of the top members are foreigners. However, all artists and dubbers are Indonesian, and most of the dubbers are top celebrities such as Gita Gutawa, Surya Saputra, and Jajang C. Noer.

2010s.

Between 2010 until 2011, due to the substantial increase in value-added tax applied to foreign films, cinemas no longer have access to many foreign films, including Oscar-winning films. Foreign films include major box offices from the West and other major film producers of the world. This has caused a massive ripple effect on the country's economy. It is assumed that this increases the purchase of unlicensed DVDs. However, even copyright violating DVDs now take longer to obtain. The minimum cost to view a foreign film not screened locally is IDR one million. This is equivalent to US$100, as it includes a plane ticket to Singapore.  The Indonesian film market is in the C, D, E classes, and due to this, foreign porn stars such as Sasha Grey, Vicky Vette, Maria Ozawa, Sora Aoi, and Rin Sakuragi have been invited to play a part in movies. Most locally made movies are low-budget horror films.  Locally made film quality has gone up since 2011, this was attested by the international release of films such as "The Raid" (2011) and its 2014 sequel, "Modus Anomali" (2012), "Dilema" (2012), "Lovely Man" (2012), "Java Heat" (2013) and "Pengabdi Setan" (2017).

Film festivals.

The major film festival of Indonesia is the Jakarta International Film Festival (JiFFest) held every year in December since 1998. The eighth festival began on 8 December 2006 with "Babel", a film starring Brad Pitt and Cate Blanchett. The 9th JiFFest was held on 7–16 December 2007.  Jakarta also hosted film festivals such as the 52nd Asia-Pacific Film Festival (APFF) on 18–22 November 2008.  Another event is the Indonesian Film Festival (Festival Film Indonesia/FFI), which has been held intermittently since 1955. From 1973 to 1992, the festival was held annually and then discontinued until it was later revived in 2004. It hosts a competition, which hands out the Citra Award.

Movie theatres.

Record shows there were movie theatres named as Oriental and Elita during 1926 in Bandung. The earliest cinema hall in Jakarta was Alhamra at Sawah Beasar which was established in 1931. Other old cinema halls in Jakarta were Astoria, Grand, Metropole, Rex, Capitol, Rivoli, Central, Orion etc. As of 2018, there are about 1700 screens in Indonesia, which is expected to reach 3000 by 2020. Cineplex 21, CGV Cinemas and Cinemaxx currently dominate the movie theatre industry in Indonesia with 1,003, 275 and 203 screens, respectively.  The largest cinema chain in Indonesia is 21 Cineplex, which has cinemas spread throughout thirty cities on the islands of Sumatra, Java, Kalimantan, Bali, Sulawesi, Moluccas, and Papua. It has three separate brands to target different markets, namely Cinema 21, Cinema XXI,and The Premiere. Since 2012, Cinema 21 outlets are gradually being renovated to become Cinema XXI.  Another cinema chain is Blitzmegaplex, which opened its first location in 2006. In 2017, the brand name was changed to CGV. As of January 2019 it has already opened 57 theaters with 249 screens in 21 cities across Indonesia. Its Megaplex at Grand Indonesia in Jakarta is dubbed Indonesia's largest cineplex by the MURI (Indonesian Record Museum).  Cinemaxx, launched by Lippo Group, opened its first cinema at The Plaza Semanggi on 17 August 2014. Cinemaxx currently operates 45 cinemas with more than 200 screens in Indonesia. It expects to open 300 cinemas with 2,000 screens spread across 85 cities in the next ten years.  In May 2017, Agung Sedayu Group opened FLIX Cinema, with its first outlet at PIK Avenue, North Jakarta. Three months later, it opened its second outlet at Grand Galaxy Park, Bekasi. It plans to open outlets at District 8 Shopping Centre, South Jakarta and Mall of Indonesia, North Jakarta (replacing CGV).  Many smaller independent cinemas also exist, such as Platinum, New Star, BES Cinema, Surya Yudha Cinema, and Dakota Cinema.

Cinema of Indonesia has a long history dated back to 1900. Until the 1920s, cinema in Indonesia belonged only to the Europeans, with silent documentaries and feature films imported from France and the United States. Documentaries about the nature and life of Indonesia, sponsored by the Dutch East Indies government were made by the Dutch people or Europeans. Domestic production of documentaries had begun in 1911. During that time, there was a film called Onze Oost or Timur Milik Kita (1919). However, the first domestically produced film in the Dutch East Indies was in 1926: "Loetoeng Kasaroeng", a silent film, which was an adaptation of the Sundanese legend of the sane name. During 1926, there were movie theatres named as Oriental and Elita in Bandung. The first movie theatre in Jakarta was Alhamra, which was opened in 1931.


Plot summary.

This story begins with an argument between high school classmates Ginnie Mannox and Selena Graff, who both attend Miss Basehoar’s school in Manhattan. Ginnie confronts Selena about Selena’s habit of leaving Ginnie to pick up the cab fare after the two play tennis each Saturday. Selena tries to explain to Ginnie that her mother has pneumonia and that Selena would rather bring the money to class later, but Ginnie insists that Selena reimburse her immediately. This dispute takes the two girls to Selena’s apartment, where Selena goes inside to get money from her mother, leaving Ginnie in the living room alone.  Most of the narrative follows Ginnie’s conversation with Franklin, Selena’s irreverent older brother, whom Ginnie meets while Selena is inside. Ginnie appears repulsed by Franklin, who slinks into the room wearing pajamas and a bandage around his finger, which he accidentally cut in the bathroom. During their conversation, Franklin reveals that he once met Ginnie’s sister, Joan, and considers her the “Queen of the goddam snobs.” He also mentions that his unexplained heart troubles prohibited him from entering the Army, and that he has been working in an airplane factory for the past thirty-seven months. Because it is lunch time, Franklin offers Ginnie half of his chicken sandwich, and then goes inside to get ready for his friend Eric’s arrival. Eric and Franklin have plans to see Cocteau’s "Beauty and the Beast", which Eric considers brilliant. While he is gone, Eric arrives and complains to Ginnie at length about his roommate, who is a writer. When Selena comes back to the living room with the money, Ginnie insists that Selena keep it. Ginnie also says she may come over later that afternoon, despite previously suggesting that she already had plans for that evening. During her walk to a bus stop, Ginnie considers throwing away the chicken sandwich Franklin gave her, but ultimately decides not to, remembering how it once took her three days to throw away a dead Easter chick.

Analysis.

Many critics note the biblical symbolism that appears throughout this story. James E. Bryan argues that Franklin can be viewed as a Christ figure, in the same manner as the Fat Lady from Salinger’s Franny and Zooey, for Franklin is literally bleeding when Ginnie first meets him. Ginnie’s eventual acceptance of Franklin’s chicken sandwich, associated with her inability to discard a dead Easter chick, serves as her symbolic acceptance of Christ.

"Just Before the War with the Eskimos" is a short story by J. D. Salinger, originally published in the June 5, 1948 issue of "The New Yorker". It was anthologized in Salinger's 1953 collection "Nine Stories", and reprinted for Bantam in "Manhattan: Stories from the Heart of a Great City" in 1954. It is a tale of adolescent alienation and redemption in a post-World War II setting. It focuses primarily on fifteen-year-old Ginnie Mannox's meeting with her classmate Selena Graff's older brother, Franklin.


Design and description.

"Hogue" was designed to displace. The ship had an overall length of, a beam of and a deep draught of. She was powered by two 4-cylinder triple-expansion steam engines, each driving one shaft, which produced a total of using steam provided by 30 Belleville boilers. The engines were designed to give a maximum speed of, although "Hogue" reached with on her sea trials. She carried a maximum of of coal and her complement ranged from 725 to 760 officers and enlisted men.  Her main armament consisted of two breech-loading (BL) Mk X guns in single gun turrets, one each fore and aft of the superstructure. They fired shells to a range of. Her secondary armament of twelve BL 6-inch Mk VII guns was arranged in casemates amidships. Eight of these were mounted on the main deck and were only usable in calm weather. They had a maximum range of approximately with their shells. A dozen quick-firing (QF) 12-pounder 12 cwt guns were fitted for defence against torpedo boats, eight on casemates on the upper deck and four in the superstructure. The ship also carried three 3-pounder Hotchkiss guns and two submerged 18-inch torpedo tubes.  The ship's waterline armour belt had a maximum thickness of and was closed off by transverse bulkheads. The armour of the gun turrets and their barbettes was 6 inches thick while the casemate armour was 5 inches thick. The protective deck armour ranged in thickness from and the conning tower was protected by of armour.

Construction and service.

"Hogue", named after the 1692 Battle of La Hogue, was laid down on 14 July 1898 by Vickers, Sons & Maxim at their Barrow-in-Furness shipyard and launched on 13 August 1900. She arrived at Plymouth to begin fitting out in September 1901, and commenced her sea trials in early December. "Hogue" was completed on 19 November 1902 and assigned to the Channel Squadron under the command of Captain John Locke Marx. On 11 March 1904 she collided with the merchant ship off Europa Point. Later that year she was transferred to the China Station after a refit.  Two years later "Hogue" became the boys' training ship for the 4th Cruiser Squadron on the North America and West Indies Station. She was reduced to reserve at Devonport in 1908 and then assigned to the reserve Third Fleet at the Nore the next year. On 26 November 1909 a coal bunker explosion killed two crewmen. The ship received a lengthy refit at Chatham Dockyard in 1912–13 and was assigned to the 7th Cruiser Squadron shortly after the outbreak of World War I in August 1914.  The squadron was tasked with patrolling the Broad Fourteens of the North Sea in support of a force of destroyers and submarines based at Harwich which protected the eastern end of the English Channel from German warships attempting to attack the supply route between England and France. During the Battle of Heligoland Bight on 28 August, the ship was part of Cruiser Force 'C', in reserve off the Dutch coast, and saw no action. "Hogue" did, however, tow the heavily damaged light cruiser, flagship of the commander of the Harwich Force, Commodore Reginald Tyrwhitt, back to port after the battle was over.

Fate.

On the morning of 22 September, "Hogue" and her sisters, and, were on patrol without any escorting destroyers as they had been forced to seek shelter from bad weather. The three sisters were in line abreast, about apart, at a speed of. They were not expecting submarine attack, but they had lookouts posted and had one gun manned on each side to attack any submarines sighted. The weather had moderated earlier that morning and Tyrwhitt was en route to reinforce the cruisers with eight destroyers.  "U-9", commanded by "Kapitänleutnant" Otto Weddigen, had been ordered to attack British transports at Ostend, but had been forced to dive and take shelter from the storm. On surfacing, she spotted the British ships and moved to attack. She fired one torpedo at 06:20 at "Aboukir" that struck her on the starboard side; the ship's captain thought he had struck a mine and ordered the other two ships to close to transfer his wounded men. "Aboukir" quickly began listing and capsized around 06:55. As "Hogue" approached her sinking sister, Captain Wilmot Nicholson realized that it had been a submarine attack and signalled "Cressy" to look for a periscope although his ship continued to close on "Aboukir" as her crew threw overboard anything that would float to aid the survivors in the water. Having stopped and lowered all her boats, "Hogue" was struck by two torpedoes around 06:55. The sudden weight loss of the two torpedoes caused "U-9" to broach the surface and "Hogue"s gunners opened fire without effect before the submarine could submerge again. The cruiser capsized about ten minutes after being torpedoed as all of her watertight doors had been open and sank at 07:15. "Cressy" attempted to ram the submarine, but did not hit anything and resumed her rescue efforts until she too was torpedoed at 07:20. She too took on a heavy list and then capsized before sinking at 07:55. Several Dutch ships began rescuing survivors at 08:30 and were joined by British fishing trawlers before Tyrwhitt and his ships arrived at 10:45. The combined total from all three ships was 837 men rescued and 62 officers and 1,397 enlisted men lost. Of these, "Hogue" lost a total of 48 men.  In 1954 the British government sold the salvage rights to all three ships to a German company and they were subsequently sold again to a Dutch salvage company which began salvaging the wrecks' metal in 2011.

HMS "Hogue" was a armoured cruiser built for the Royal Navy around 1900. Upon completion she was assigned to the Channel Fleet and the China Station. In 1906 she became a training ship for the North America and West Indies Station before being placed in reserve in 1908. Recommissioned at the start of World War I, she played a minor role in the Battle of Heligoland Bight a few weeks after the beginning of the war. "Hogue" was sunk by the German submarine "U-9", together with two of her sister ships, on 22 September 1914. Unlike her sisters, only 48 of her crew were killed in the attack.


History.

Born Leonid Molodozhanyn in Polonne, Russian Empire (now Ukraine), and raised in Russia (Krasnoyarsk, Prokhladny, Nalchik and Leningrad), Mol learned the art of ceramics in his father's pottery workshop. As a young man, he wanted to study painting in Vienna and spent several years studying there under the tutelage of Wilhelm Frass. With Frass's recommendation, Mol was then hired by the sculptor Frans Klimsh, who would support his application to the Berlin Academy. Mol also studied sculpture at the Leningrad Academy of Arts from 1936 to 1940.  Following the German invasion of the Soviet Union he deported to Germany where he was influenced by Arno Breker. In 1945, he moved to The Hague, and in December, 1948, he and his wife, Margareth (whom he married in 1943), emigrated to Winnipeg, Manitoba in 1948. In 1949, he held his first ceramics exhibition in Winnipeg.  Mol was known for his sculptures of square dancers, skiers, aboriginals, and wildlife. Mol also completed more than 80 stained-glass windows in churches throughout Winnipeg.  More than three hundred of Mol's works are displayed in the 1.2 hectare Leo Mol Sculpture Garden in Winnipeg's Assiniboine Park which comprises a gallery, a renovated studio, and an outdoor display. The garden was unveiled on June 18, 1992 and has been expanded twice since. It is supported by private donations, and Mol personally donated 200 bronze sculptures to the city of Winnipeg. The sculptures are of religious leaders, prominent people, the human form, and wildlife. Mol died July 4, 2009, at St. Boniface Hospital in Winnipeg, Manitoba. He was 94.

Works.

In 2002, his monumental bronze sculpture "Lumberjacks" (1990), which now stands in Assiniboine Park was featured on a 48¢ Canadian postage stamp in the sculptors series. Mol's small bronze sculpture of lumberjacks (1978) was his inspiration for a monumental bronze sculpture.  He was always known as a particularly prolific artist and some of his most famous works include likenesses of three different Popes which stand in museums in the Vatican. He also has a sculpture of Taras Shevchenko on display on Washington’s Embassy Row.  Other important subjects who Mol sculpted include members of the Group of Seven, A. J. Casson, A.Y. Jackson and Frederick Varley. Mol also sculpted Sir Winston Churchill 1966, Winnipeg editorial cartoonist Peter Kuch (1917-1980), Dwight D. Eisenhower 1965, John F. Kennedy 1969, Elizabeth Bradford Holbrook ca. 1970, Terry Fox 1982. On Parliament Hill in Ottawa stands his impressive over life-size standing portrait figure of Prime Minister John George Diefenbaker 1985 Also on Parliament Hill stands an impressive bronze statue of Queen Elizabeth II. The maquette of Sir William Stephenson C.C. (code-named "Intrepid") is displayed in a place of honour within CIA Headquarters, Langley, VA, USA

Honours.

In 1989, he was made an Officer of the Order of Canada. In 2000, he was awarded the Order of Manitoba. He was a member of the Royal Canadian Academy of Arts.  He received honorary degrees from the University of Winnipeg, the University of Alberta and the University of Manitoba.  Mol was also made an honorary academician of the Canadian Portrait Academy (Hon. CPA) in 2000.  Leo Mol's papers are held by the University of Manitoba Archives and Special Collections.

Leonid Molodozhanyn, known as Leo Mol, (January 15, 1915 – July 4, 2009) was a Ukrainian Canadian stained glass artist, painter and sculptor.


Story.

The film begins with Mr. and Mrs. DeBolt traveling from their home in California to New York, where they will adopt their 19th child, a blind and physically disabled teen named "J.R." The adoption process for J.R., his integration into the family, and his struggle to develop sufficient physical strength to climb the staircase inside the family home are used as a unifying device for telling the story of how the DeBolts became involved in the adoption of "special needs" children and showing how the family approaches the challenges of raising their unusual family.  During her first marriage, Dorothy had five biological children with Ted Atwood and adopted two children from Korea. After her husband's death, she adopted two boys from Vietnam (she relates in the film that many are surprised to learn that she did not ascertain before the adoption whether the children were from North Vietnam or South Vietnam). Following Atwood's marriage to Bob DeBolt, who had one biological daughter from a previous marriage, the couple went on to adopt 10 more children from Korea, Vietnam, the United States, and Mexico — the last was adopted after the initial film was made and is not included in the "19 kids" of the title.  The film introduces the adopted children, shows many details of how they accomplish everyday tasks and household chores, portrays special family events, and includes interviews with some of the older children and with Bob's biological daughter. The DeBolts' web site notes that five members of the production crew lived with the family for 21⁄2 years while filming the movie.

Preservation.

The Academy Film Archive preserved "Who Are the DeBolts?" in 2007.

Who Are the DeBolts? And Where Did They Get Nineteen Kids? is a 1977 documentary film about Dorothy and Bob DeBolt, an American couple who adopted 14 children (12 at the start of filming), some of whom are severely disabled war orphans (in addition to raising Dorothy's five biological children and Bob's biological daughter). VHS and DVD releases use the shortened title Who Are the DeBolts?


Process.

Firstly, the production designer will read the script and break it down into categories such as interior, exterior, location, graphic, vehicles, etc., which will be highlighted for better following. Depending on the scene, the production designer will have different approach and focus, thus, discussing with the director is essential and always done in the beginning of the process.  Secondly, the PD will move to researching which is important in every design process. They will use mood board which consists of images, sketches, inspiration, color swatches, photos, textiles, etc. that help with the ideation. Learning about the time period, the place and the culture also assists with coming up with an idea. Moreover, the PD has to plan to create a convincing space within a budget, therefore, it is important that the space can speak about the character or enhance the flow of the story, rather than being filled with unnecessary decoration. Additionally, it also affects the location of filming, whether it is in a studio or at a specific location.  Finally, the PD will ensure that every visuals is made and ready to be used or re-used or re-made. It is their responsibility to be at the set all the time. A production designer never works in isolation. They are the head of a team of people known as the art department, which they lead along with the art director, who has a role much like that of a project manager. This is when all other creative artists come in to help. The art director’s role is to manage the realization of the production designer’s vision and deal with the many and varied logistics of filmmaking including, schedules, budgets, and staffing. Depending on the size of the production the rest of the team can include set decorators, buyers, dressers, runners, graphic designers, draftspeople, props makers, and set builders.

The Importance of Production Design.

Production design plays an essential role in storytelling, for instance, in the movie Titanic, when the characters Jack and Rose are in the cold water after the ship sank, we know that they are cold because of the setting: it is nighttime and there is ice on their hair. A more specific example is "The Wizard of Oz", in which we know the story takes place on a farm because of the bale of hay Dorothy leans on and the animals around, as well as the typical wooden fence. In the scene in which Dorothy’s dog is taken away, we know that it happens in her aunt and uncle’s house, which adds more tension because her beloved friend, Toto is not killed, lost or kidnapped on the street, but is forced to leave by an outsider, Ms. Gulch, who enters Dorothy’s private and safe zone (her home). Jane Barnwell states that the place the characters exist in gives information about them and enhances the fluency of the narrative (175). Imagine Dorothy’s home was dirty and everyone in her house were dressed untidily, the viewer would have supported the outsider instead, perhaps thinking that the outsider in a way, rescued the dog from an unhealthy environment. Additionally, the characters’ clothing, especially that of Ms. Gulch, makes the description “own half the county” more reliable in portraying Ms. Gulch, and also supports the reason why Dorothy cannot rebel against Ms. Gulch by making the dog stay. However, this does not mean that the setting or costume should be extremely detailed and cluttered with information. The goal is to not let the viewer notice these elements, which, however, is how production design works. Jon Boorstin states in his book, "Making Movies Work Thinking Like a Filmmaker", that the background, the camera motion or even the sound effect is considered well-done if the viewer does not notice their appearance.

Societies and trade organizations.

In the United States and British Columbia, production designers are represented by several local unions of the International Alliance of Theatrical Stage Employees (IATSE). Local 800, the Art Directors Guild, represents production designers in the U.S., with the exception of New York City and its vicinity. Those members are represented by Local 829, the United Scenic Artists. In the rest of Canada, production designers are represented by the Director's Guild of Canada. In the United Kingdom, members of the art department are represented by the non-union British Film Designers Guild.  The production design credit must be requested by a film's producer, prior to completion of photography, and submitted to the Art Directors Guild Board of Directors for the credit approval.

In film and television, a production designer is the person responsible for the overall visual look of the story. The production design gives the viewers a sense of the time period, the location where the protagonist is existing, what the characters are doing or feeling and why. Working directly with the director, cinematographer, and producer, they have a key creative role in the creation of motion pictures and television. The term "production designer" was coined by William Cameron Menzies while he was working on the film "Gone with the Wind". Previously (and often subsequently) the people with the same responsibilities were called "art directors"; however, accurately, production designers decide the visual concept and manage the budget to create it while the art directors manage the process of making the visuals, which is done by graphic designers, set designers, costume designers, lighting designers, etc.


Background.

In 2004, Jackson performed at the Super Bowl XXXVIII halftime show with guest artist Justin Timberlake, who accidentally exposed her right breast at the end of their performance. A month later, she released her eighth studio album, "Damita Jo". The album debuted at number two on "Billboard" 200, was certified Platinum by the Recording Industry Association of America (RIAA), and sold over three million copies worldwide. However, its singles received minimal airplay due to a blacklist of Jackson's music and videos on many music channels and radio formats caused by legalities surrounding the incident. At the end of 2004, Jackson announced that she intended to start work on a new album project in the coming year. It would involve her then boyfriend—record producer Jermaine Dupri, who was commissioned to executive produce the project—in addition to a roster of other producers. Dupri said at the time,  "For this record, it's gonna be all dance, though. It's gonna be straight 'Control', 'Nasty', hard-ass beats, memorable melodies. It's directed to her fans, people who miss dancing, people who miss seeing videos with dancing. These [younger artists] are sloppy, they don't take it as serious as she do. They don't rehearse for the hours she do. It's serious business for her and her family and her brothers. It's important for kids to see that and bring that back to life".  "20 Y.O." became Jackson's final album with Virgin Records, and marked the end of an thirteen-year recording history with the label. Following the album's release Kwamé Holland, a producer who worked on the original "20 Y.O." concept prior to Dupri's involvement, stated, "the finished project we had before Jermaine took everything over is crazy. Ask Jimmy & Terry how they felt when Jermaine came in and changed almost everything." In 2005, Jackson initially worked with various producers, including The Neptunes, Dr. Dre, Kwamé, and Polow Da Don, but the concept was changed when Dupri was selected to manage the project after becoming a division president at Virgin Records. After the album's release, Dupri was condemened for his production and misguidance of the album, and subsequently was removed from his position at Virgin Records.

Development.

For the album, Jackson reunited with longtime collaborators Jimmy Jam and Terry Lewis to work with her and Dupri. Conversations between the group began before December 2005, when they elaborated the first themes, and songwriting and recording began in earnest in February. The discussion turned to how Jackson was feeling during the recording of her third studio album "Control" in 1986. "I started asking questions like, 'What was the feeling of life when you were 20?' I was so intrigued with what was going on in her life then that I just thought her album should be called that", Dupri said. Jam agreed, saying it made sense as a concept because it meant a sense of rejuvenation for her. A sense of that excitement that people have when they are 20 years old, when their life are beginning. He finished saying Jackson had that same sense of hunger and excitement than she had when she was younger. Jackson wanted to create an R&B and dance album, but with an emphasis on dance. Rather than contribute to separate songs for the album, Dupri Jam and Lewis decided to collaborate. According to the group, the process caused ego and procedural conflicts, but they complemented each other. Jam said: "The great thing about working with Jermaine, he came in with total respect for us, we had total respect for him. The fact is that we were fans of each other and for Janet". The singer stated,  "This time it was four of us collaborating – Jimmy Jam, Terry Lewis, Jermaine and myself. But it was the same process: Everyone getting all of their thoughts and ideas out on the table, then talking about which ideas to keep or throw out. Johntá Austin also played a part in the album. It was really a collaborative effort, and that's what made it so nice. Jermaine would run into the studio and talk about the songs Jimmy and Terry had done on someone's album. Then Jimmy would start playing the song, and Jermaine would say, 'You know what? Let's do something kind of along those lines as a bas'e. He understood them, he understood me and vice versa".  "20 Y.O." was recorded chiefly at Jam and Lewis' Flyte Tyme Studios in Los Angeles and Dupri's Southside Studios in Atlanta, with some sections undertaken at The Village in Los Angeles and the Hit Factory in Miami. The concept of "20 Y.O." is a celebration of what was happening musically when "Control" was released. The addition of Dupri, quotes Jackson as saying, "It's an edge, an attitude, an exciting vibe that's assertive. It's about taking charge. It says, 'Here I am. I'm coming on. Musically, I have it. You want it. And I'm giving it to you.'" With the album Dupri wanted to reconnect Jackson with her urban fan base without losing her pop and dance audience she had built during the last two decades before the album's release. "Times have changed from when Michael and Janet were out in the '80s", he noted, pointing to the fact that urban artists no longer had to cross over to pop genres before achieving maximum exposure and sales. "Janet shouldn't be changing or trying to change to get on pop radio", the producer completed.  Dupri also demonstrated the possibility for a duet with Jackson and American singer Mariah Carey for the album. Carey commented in April 2006, "He never talked to me about that, but if Jermaine has a concept, we should go and write something. I love Janet. I’ve been a big fan of Janet since 'Con-tro-ol!'". Later, Dupri said that the closer he got to Jackson and Mariah's duet, the more he knew where it should be at, elaborating that he felt it was going to happen. "It depends on how quick my mind moves. We’re mixing records for ["20 Years Old"]. We’re not done yet. When I did Usher's "My Way" album, the last record I created was 'You Make Me Wanna...'. I'm thinking I might go back in, and I might tamper with it. [...] We gotta try to figure it out", he commented. However, the duet never came to fruition.

Composition.

"20 Y.O." is composed by eleven songs, an introduction, three interludes and an outro. It starts off with Jackson stating "There's something to be said for not saying anything. I've covered a lot in my 20 years. And I've uncovered a lot" in its intro. The opening song, second single "So Excited" featuring rapper Khia, is a hip hop track which samples the drum break and turntable scratches from Herbie Hancock's 1983 song "Rockit". In the song, Jackson promises submission for her lover, singing, "If you like it then I’ll do it/I’ll go head to toe" and "I'm-a keep your body thumping, baby". "Show Me" follows, with Jackson spelling its title throughout the song. The fourth song, "Get It Out Me", is a dance song which was noted to feature Jackson's vocals sounding like her brother Michael's ones. The following song is "Do It 2 Me". It marks a return to Jackson's conversational style; in the song, She is searching for her lover: "My first and only call is to you, time after time, babe, throughout my life". Its music is punctuated by handclaps and by low swoops of a string section. Sixth song "This Body" lyrically is about men who have appreciation with Jackson's appearances in magazines. She addresses her fans in the line "Just had to buy me, had to try me, oooh, you're in love with the hottest girl in the magazine". The song brings sinuous and dark beats incorporating a rhythmic pattern of heavy breathing and the sound of a jet taking off, which was noted to be a metaphor.  An interlude is the opening for eighth track "With U", which was described as "the follow-up to 1986's 'Let's Wait Awhile'", where a couple postpone intimacy. "With U" takes place after the act, which results in romantic confusion. In it, she sings, "I wish you were the one the one I could be with forever". "Call on Me" is the ninth song and lead single from "20 Y.O." It features Nelly, and samples The SOS Band's 1983 song "Tell Me If You Still Care". It includes whispered vocals from both Jackson and Nelly. Second interlude finds Jackson remembering her "Good Times" days as Penny. "Daybreak", the eleventh song, begins with fairy tale infused chimes before introducing electronic soul handclaps before Jackson starts singing. It has a few lyrics which deal about sex. The following track, "Enjoy", is composed by piano and bass. In the song, Jackson's vocals were heavily treated. Both songs have additional carnival charms, sing-along melodies, and a children's chorus at its end of the latter. An interlude follows, with Jackson calling her lover, asking him to come home. Fourteenth song "Take Care" is a love song which finds the singer pleasuring herself while she waits for her lover. The last song from the album, "Love 2 Love" was recorded by Jackson with her brother Michael in mind. She sings, "We are a couple / Which love knows no bounds". An outro closes the album.

Titling and artwork.

In February 2006, Dupri revealed the album's title as "20 Years Old", making reference to her third studio album, "Control" (1986), which commemorated its twentieth release anniversary in 2006. The singer, who at that date was 40 years old, confessed she felt half her age. However, Jackson changed the title to "20 Y.O." after a fan suggestion. Eric Henderson from Slant Magazine heavily criticized the title, saying it did not "let on whether the first letter is plural or singular, whether it's a noun or an adjective. And it would make all the difference". He declared that if it was supposed to stand for "years", it was a forgivable conceit. However, the reviewer feared the acronym was for "20-Year-Old", which would mean a "misguided" move from a woman who was 40, and would illustrate everything wrong with Jackson's direction with the album. He later joked that his third interpretation and his personal favorite was the title to be read phonetically "I'm 20, yo".  A contest for fans to create an album cover image for "20 Y.O." was announced on July 18, 2006, through Yahoo!. Fans were able to create and submit their own album-cover design, with four winners being chosen by Jackson herself. The first million copies of the album would be published with these fan-created covers. The concept of the contest was to create an image that best celebrated Jackson's past twenty years. The singer hand-picked dozens of images that span over twenty years of Jackson's career were made available for download for use in creating the design. "They told me that I should pick maybe 20, 30 photos, but I think I went a little crazy. I picked way more than that. I gave them some of the new stuff I just shot for the album cover shoot. So they have some really recent photos as well as some stuff from 20 years ago", Jackson confessed. For the official artwork for the album, Jackson appears sporting big hair and a wrist full of bracelets.

Critical reception.

"20 Y.O." received generally mixed 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 52, based on 14 reviews, which indicates "mixed or average reviews". Andy Kellman of AllMusic gave the album a three-and-half out of five-star rating, writing that "with only a few exceptions, 20 Y.O. provides further refinements of the fun, flirtatious, midtempo songs of her past several albums. This is not a problem." "The New York Times" music critic Jon Pareles had mixed feelings, saying "Janet is as crafty and poised as ever. Her flirtations are still a pleasure, but an overly familiar one. She's done these same slinky moves too often to surprise listeners now." "Newsday"s Glenn Gamboa gave the album a grade of A-, and said that Jackson "may not want to dwell in that past, either. After all, "20 Y.O." shows that her future could be even better." Richard Cromelin from "Los Angeles Times" was positive saying that "20 Y.O."'s sex themes were slightly toned down from its predecessor, "Damita Jo", and, "In the opening set of songs alone, Jackson promises to do it all [...] And she manages to do this without sounding especially raunchy."  Eric Henderson from Slant Magazine said that the saddest thing about "20 Y.O." was Jackson's decision to make a terrible R&B instead of great dance music, which would likely pay off. He also referred to Jam and Lewis's production as "ice-cold beats [that] have melted into a lugubrious, lukewarm pudding—at under an hour, it still feels almost twice as long as "Janet." and "The Velvet Rope"." With a C+ rating, Thomas Inskeep from Stylus Magazine called it "half-decent" and went to say, "there's precious little to get, well, excited about here. Janet commits the ultimate sin of making an album that’s thoroughly mediocre. Apart from the sticky ear-candy of "So Excited," there’s little I’d miss here if I went six months without it. This doesn’t sound like rejuvenation—it sounds like the beginning of the end." "The Village Voice"'s music critic Miles Marshall Lewis commented that Jackson's last two albums also talked excessively about sex, and with the new release, it was getting tired. Evan Serpick from "Rolling Stone" disagreed with the album's reference to Control, saying "If we were her, we wouldn't make the comparison." Angus Batey, writing for Yahoo! Music UK, remarked that in Jackson's producers desire to take Jackson back to her roots, they made not a great album for Jackson, but a facsimile of one; correct in all the details, but lacking substance and soul. Robert Christgau gave it a "dud" score (). Additionally, "20 Y.O." earned a Grammy Award nomination for Best Contemporary R&B Album in 2007.

Promotion.

On May 1, 2006, a web-only song called "Weekend" was made available as a "gift" to fans to download via Jackson's official website. The song is a remake of "Lookout Weekend", a 1984 single by Debbie Deb. It was soon removed from the site and although not included on the album, footage of Jackson recording the track can be seen in the "20 Y.O. The Project" piece on the deluxe edition bonus DVD. A MySpace account for Jackson was also set up with new music and videos to promote "20 Y.O." In the lead up to the album's release, Jackson shot covers for "Us Weekly", "Vibe", "Billboard", "FHM", "GIANT", "W", "Jezebel", "OK!", "Ebony", "King", "Sophisticates Black Hair", "Movieline's Hollywood Life", "Hype Hair", "Men's Fitness", "Unleashed", "Upscale", and "In Touch". Her "Us Weekly" cover became the biggest-selling issue in the magazine's history, selling 1.4 million copies. Jackson's "Vibe" issue also received attention from the media after she appeared topless on the August cover.  On September 9, 2006, Jackson went to France to perform "So Excited" at NRJ's Back to School concert, along with past single "Nasty". While on "The Oprah Winfrey Show", she was interviewed and performed both tracks again. The show aired on September 25. Jackson held an album signing in Times Square at the Virgin Megastore on September 26, the album's release date. Jackson performed live on the "Today" show — as part of their Concert Series — three days later. In October, she traveled to Japan to promote the album and wore a red kimono during a press conference there. In November, Jackson performed on "The Ellen DeGeneres Show", while she was interviewed on "The Tyra Banks Show" to further promote the album. On December 4, the singer opened the 2006 "Billboard" Music Awards with a medley of "The Pleasure Principle" and "So Excited". During rehearsals for the awards two days prior, she taped a performance featuring two classic singles from her catalog, "Nasty" and "Let's Wait Awhile", which was streamed on American Express' website.  Jackson planned to embark on a tour to promote "20 Y.O." after the album's release around March 2007, with rehearsals beginning in the end of the previous year. According to a "Billboard" report in September 2006, she and her choreographers were working on ideas for a world tour, but the singer was still not prepared to share these ideas. However, the unnamed tour was canceled after she signed a record deal with Island Records, and company executives asked her to record a new album instead, which became "Discipline". Jackson stated, "I was supposed to go on tour with the last album [...] We were actually in full-blown tour rehearsals at that point... learning numbers, getting everything together, set designs [...] I had to kind of shut everything down and go into the studio."

Chart performance.

"20 Y.O." debuted on the US "Billboard" 200 at number two with 296,000 copies sold at its first week, being beaten by Ludacris' album "Release Therapy", which sold 309,000 copies. This was considerably lower than Jackson's previous release, "Damita Jo", which also opened at number two with 381,000 copies sold across the United States in 2004. "20 Y.O." became her smallest first week sales since "The Velvet Rope" (1997), which reached number one with 202,000 copies. However, the effort debuted at the top on the Top R&B/Hip-Hop Albums. In its second week, the album fell to number nine, selling 77,000 units, representing a 74% drop in sales. It additionally reached number two and number three on Top Digital Albums and Top Tastemaker Albums charts, respectively. On November 13, 2006, the album was certified platinum by the Recording Industry Association of America (RIAA) for shipments of one million copies within the country. As of January 2008, the estimated sales of the album in the US were 679,000 copies.  On the Australian Albums Chart, it peaked at number 55. It became her lowest-peaking album in the region since "Control" in 1986, which reached number 25. In Japan, the album debuted at the number 12 on the Oricon Albums Chart selling 20,380 copies in its first week. It ultimately peaked at number seven in the region. A few weeks after, the Recording Industry Association of Japan (RIAJ) certified "20 Y.O." gold for shipments of 100,000 copies.  In the Flemish region of Belgium, "20 Y.O." debuted at number 67 on October 7, 2006, moving to its peak of number 58 the next week, and staying on the charts for five weeks. In contrast, it reached number 22 in the Walloon region of that country. The album entered the French Albums Chart at number 32 in the week dated September 30, 2006, this being its peak. It lasted on the chart for four weeks, felling off the chart on October 21, 2006, at number 175. "20 Y.O." debuted and peaked at number 46 on October 6, 2006 in Germany, next week the album fell to number 96 before falling off the charts. On the Italian Albums Chart it fared better, reaching number 21. In Switzerland, the album debuted and peaked at number 35 on the Swiss Albums Chart and stayed on the charts for four weeks. In the United Kingdom, the album peaked at number 63 on its album chart. In the Netherlands, "20 Y.O." debuted and peaked at number 34, the issue dated September 30, 2006. Almost one month after, it fell out of the chart at number 93. On the European Top 100 Albums, the record reached number 43. The album had sold an estimated 1.5 million copies worldwide.

Singles.

The album's first single, "Call on Me", was released to US radio on June 19, 2006. It received mixed reviews from critics. The song was a success on the charts, becoming her most successful single in some countries since "All for You" in 2001. It peaked at number 25 on the "Billboard" Hot 100. Additionally, it spent two non-consecutive weeks at number one on the Hot R&B/Hip-Hop Songs chart, making it Jackson's sixteenth R&B chart-topper and thirtieth top ten single. Internationally, the song peaked inside the top-twenty in Italy, New Zealand and the United Kingdom. The music video for "Call on Me" was directed by Hype Williams and took ten days to be completed. The music video incorporates Indian, Asian, and African styles, with a mixture of outfits and hairstyles, with a total of five wardrobe changes. "Call on Me" is one of the most expensive music videos of all time, with a production cost of over US$1,000,000. Following its release, it was reported that the video was blacklisted by MTV following her incident at the Super Bowl halftime show, which was co-produced by the network.  The second single, "So Excited", was released on August 28, 2006. Like the previous single, the song also was met with mixed reviews from music commentators, with some considering the song the highlight from "20 Y.O." while others found it disappointing. "So Excited" peaked at number 90 on the Hot 100, and also became her 39th top forty single on the Hot R&B/Hip-Hop Songs chart, reaching number 34. Additionally, on the Hot Dance Club Play chart, "So Excited" became Jackson's 22nd consecutive top ten single and her 17th number-one hit on the chart. It was well also received in Europe. In Finland, "So Excited" peaked at number nine, while in Italy, it reached number 28, and peaking at number 13 in Spain. Director Joseph Kahn directed its accompanying music video. It decipts Jackson's clothes disappearing through a complex dance routine with female dancers. Also, occasional skeleton people appear in an X-ray effect, and images of Khia appearing in a small TV in an empty room. Due to her diminished role in the music video, she criticized Jackson online. The third single in North America was "With U", which was released to radio on December 11, 2006. Well received by critics, the song managed to reach number 65 on the region's Hot R&B/Hip-Hop Songs chart. "Enjoy" was released only as a promotional single in Japan and received no commercial release.

Track listing.

Additional credits

20 Y.O. is the ninth studio album by American singer Janet Jackson. Released on September 20, 2006, by Virgin Records, the title makes reference to her third studio album "Control" which was released in 1986, a commemoration to its twentieth anniversary. "20 Y.O." represents the "celebration of the joyful liberation and history-making musical style" of "Control". An R&B and dance album, Jackson enlisted a range of producers to work on material with, including LRoc, Manuel Seal, The Avila Brothers and No I.D., in addition to her longtime partners Jimmy Jam and Terry Lewis and then-boyfriend Jermaine Dupri.