title: Guardians of the Galaxy (1969 team)

text: Wanting to expand the guardians to a multiple-team organization, Martinex eventually leaves to look for additional members for a second unit, the Galactic Guardians.


title: Guardians of the Galaxy (1969 team)

text: During their second mission, the team that was to become the Earth-616 incarnation of the guardians discover a time-displaced Vance Astro in a block of ice floating in space. It is his introduction as "Major Victory of the Guardians of the Galaxy" that inspires the team to take up the name. In issues #7 and #16 of the series, it was revealed a great "error" in the present day has caused the future to be destroyed; Starhawk is constantly trying to prevent it by time travel, causing the future (and the Guardians) to be altered. Only Starhawk, who is changed with each reboot but is "one who knows" about the changes, realizes anything is different, but each change still ends in a cataclysm. In issue 17, the universe of the Guardians' future had been taken over by the alien race called the Badoon, and only a small portion remained undestroyed. The Guardians sent a warning to the present day, though at the cost of the end of their own universe.


title: Guardians of the Galaxy (1969 team)

text: The Vance Astro of the modern-day Guardians is revealed to be a Major Victory from one of these altered futures, rather than the original. A second alternate Vance Astro appears in #17.


title: Guardians of the Galaxy (1969 team)

text: In #18, a third version of the Guardians' future was shown, this time led by Killraven against the Martians.


title: Objectivity (philosophy)

text: In philosophy, objectivity is the concept of truth independent from individual subjectivity (bias caused by one's perception, emotions, or imagination). A proposition is considered to have objective truth when its truth conditions are met without bias caused by the mind of a sentient being. Scientific objectivity refers to the ability to judge without partiality or external influence. Objectivity in the moral framework calls for moral codes to be assessed based on the well-being of the people in the society that follow it. Moral objectivity also calls for moral codes to be compared to one another through a set of universal facts and not through subjectivity.


title: Objectivity (philosophy)

text: Plato considered geometry to be a condition of idealism concerned with universal truth. In "Republic", Socrates opposes the sophist Thrasymachus's relativistic account of justice, and argues that justice is mathematical in its conceptual structure, and that ethics was therefore a precise and objective enterprise with impartial standards for truth and correctness, like geometry. The rigorous mathematical treatment Plato gave to moral concepts set the tone for the western tradition of moral objectivism that came after him. His contrasting between objectivity and opinion became the basis for philosophies intent on resolving the questions of reality, truth, and existence. He saw opinions as belonging to the shifting sphere of sensibilities, as opposed to a fixed, eternal and knowable incorporeality. Where Plato distinguished between how we know things and their ontological status, subjectivism such as George Berkeley's depends on perception. In Platonic terms, a criticism of subjectivism is that it is difficult to distinguish between knowledge, opinions, and subjective knowledge.


title: Objectivity (philosophy)

text: Platonic idealism is a form of metaphysical objectivism, holding that the ideas exist independently from the individual. Berkeley's empirical idealism, on the other hand, holds that things only exist as they are perceived. Both approaches boast an attempt at objectivity. Plato's definition of objectivity can be found in his epistemology, which is based on mathematics, and his metaphysics, where knowledge of the ontological status of objects and ideas is resistant to change.


title: Objectivity (philosophy)

text: In opposition to philosopher René Descartes' method of personal deduction, natural philosopher Isaac Newton applied the relatively objective scientific method to look for evidence before forming a hypothesis. Partially in response to Kant's rationalism, logician Gottlob Frege applied objectivity to his epistemological and metaphysical philosophies. If reality exists independently of consciousness, then it would logically include a plurality of indescribable forms. Objectivity requires a definition of truth formed by propositions with truth value. An attempt of forming an objective construct incorporates ontological commitments to the reality of objects.


title: Objectivity (philosophy)

text: The importance of perception in evaluating and understanding objective reality is debated in the observer effect of quantum mechanics. Direct or naïve realists rely on perception as key in observing objective reality, while instrumentalists hold that observations are useful in predicting objective reality. The concepts that encompass these ideas are important in the philosophy of science. Philosophies of mind explore whether objectivity relies on perceptual constancy.


title: Objectivity (philosophy)

text: The term "ethical subjectivism" covers two distinct theories in ethics. According to cognitive versions of ethical subjectivism, the truth of moral statements depends upon people's values, attitudes, feelings, or beliefs. Some forms of cognitivist ethical subjectivism can be counted as forms of realism, others are forms of anti-realism. David Hume is a foundational figure for cognitive ethical subjectivism. On a standard interpretation of his theory, a trait of character counts as a moral virtue when it evokes a sentiment of approbation in a sympathetic, informed, and rational human observer. Similarly, Roderick Firth's ideal observer theory held that right acts are those that an impartial, rational observer would approve of. William James, another ethical subjectivist, held that an end is good (to or for a person) just in the case it is desired by that person (see also ethical egoism). According to non-cognitive versions of ethical subjectivism, such as emotivism, prescriptivism, and expressivism, ethical statements cannot be true or false, at all: rather, they are expressions of personal feelings or commands. For example, on A. J. Ayer's emotivism, the statement, "Murder is wrong" is equivalent in meaning to the emotive, "Murder, Boo!"


title: Objectivity (philosophy)

text: According to the ethical objectivist, the truth or falsehood of typical moral judgments does not depend upon the beliefs or feelings of any person or group of persons. This view holds that moral propositions are analogous to propositions about chemistry, biology, or history, in so much as they are true despite what anyone believes, hopes, wishes, or feels. When they fail to describe this mind-independent moral reality, they are false—no matter what anyone believes, hopes, wishes, or feels.


title: Objectivity (philosophy)

text: There are many versions of ethical objectivism, including various religious views of morality, Platonistic intuitionism, Kantianism, utilitarianism, and certain forms of ethical egoism and contractualism. Note that Platonists define ethical objectivism in an even more narrow way, so that it requires the existence of intrinsic value. Consequently, they reject the idea that contractualists or egoists could be ethical objectivists. Objectivism, in turn, places primacy on the origin of the frame of reference—and, as such, considers any arbitrary frame of reference ultimately a form of ethical subjectivism by a transitive property, even when the frame incidentally coincides with reality and can be used for measurements.


title: Objectivity (philosophy)

text: Moral objectivism is the view that what is right or wrong doesn't depend on what anyone thinks is right or wrong. Moral objectivism depends on how the moral code affects the well-being of the people of the society. Moral objectivism allows for moral codes to be compared to each other through a set of universal facts than "mores" of a society. Nicholas Reschar defines "mores" as customs within every society (i.e. what women can wear) and states that moral codes cannot be compared to one's personal moral compass. An example is the categorical imperative of Immanuel Kant which says: "Act only according to that maxim [i.e., rule] whereby you can at the same time will that it become a universal law." John Stuart Mill was a consequential thinker and therefore proposed utilitarianism which asserts that in any situation, the right thing to do is whatever is likely to produce the most happiness overall. Moral relativism is the view where a moral code is relative to an agent in their specific moral context. The rules within moral codes are equal to each other and are only deemed "right" or "wrong" within their specific moral codes. Relativism is opposite to Universalism because there is not a single moral code for every agent to follow. Relativism differs from Nihilism because it validates every moral code that exists whereas nihilism does not. When it comes to relativism, Russian philosopher and writer, Fyodor Dostoevsky, coined the phrase "If God doesn't exist, everything is permissible". That phrase was his view of the consequences for rejecting theism as a basis of ethics. American anthropologist Ruth Benedict argued that there is no single objective morality and that morality varies with culture.


title: Objectivity (philosophy)

text: History as a discipline has wrestled with notions of objectivity from its very beginning. While its object of study is commonly thought to be the past, the only thing historians have to work with are different versions of stories based on individual perceptions of reality and memory.


title: Objectivity (philosophy)

text: Several history streams developed to devise ways to solve this dilemma: Historians like Leopold von Ranke (XIX century) have advocated for the use of extensive evidence –especially archived physical paper documents– to recover the bygone past, claiming that, as opposed to people's memories, objects remain stable in what they say about the era they witnessed, and therefore represent a better insight into objective reality. In the XX century, the Annales School emphasized the importance of shifting focus away from the perspectives of influential men –usually politicians around whose actions narratives of the past were shaped–, and putting it on the voices of ordinary people. Postcolonial streams of history challenge the colonial-postcolonial dichotomy and critique Eurocentric academia practices, such as the demand for historians from colonized regions to anchor their local narratives to events happening in the territories of their colonizers to earn credibility.


title: Objectivity (philosophy)

text: All the streams explained above try to uncover whose voice is more or less truth-bearing and how historians can stitch together versions of it to best explain what "actually happened."


title: Objectivity (philosophy)

text: The anthropologist Michel-Rolph Trouillot developed the concepts of historicity 1 and 2 to explain the difference between the materiality of socio-historical processes (H1) and the narratives that are told about the materiality of socio-historical processes (H2). This distinction hints that H1 would be understood as the factual reality that elapses and is captured with the concept of "objective truth", and that H2 is the collection of subjectivities that humanity has stitched together to grasp the past. Debates about positivism, relativism, and postmodernism are relevant to evaluating these concepts' importance and the distinction between them.


title: Objectivity (philosophy)

text: In his book "Silencing the past", Trouillot wrote about the power dynamics at play in history-making, outlining four possible moments in which historical silences can be created: (1) making of sources (who gets to know how to write, or to have possessions that are later examined as historical evidence), (2) making of archives (what documents are deemed important to save and which are not, how to classify materials, and how to order them within physical or digital archives), (3) making of narratives (which accounts of history are consulted, which voices are given credibility), and (4) the making of history (the retrospective construction of what The Past is).


title: Objectivity (philosophy)

text: Because history (official, public, familial, personal) informs current perceptions and how we make sense of the present, whose voice gets to be included in it –and how– has direct consequences in material socio-historical processes.


title: Objectivity (philosophy)

text: Thinking of current historical narratives as impartial depictions of the totality of events unfolded in the past by labeling them as "objective" risks sealing historical understanding. Acknowledging that history is never objective and always incomplete has a meaningful opportunity to support social justice efforts. Under said notion, voices that have been silenced are placed on an equal footing to the grand and popular narratives of the world, appreciated for their unique insight of reality through their subjective lens.


title: Czarface

text: Czarface () is an American hip hop supergroup formed in 2013 by underground hip hop duo 7L & Esoteric and Wu-Tang Clan member Inspectah Deck. They released their acclaimed debut studio album, "Czarface", February 19, 2013.


title: Czarface

text: The album was followed by "Every Hero Needs a Villain" in 2015 and "A Fistful of Peril" in 2016, both of which were also praised by critics.


title: Czarface

text: Inspectah Deck told Paul Meara of "HipHopDX" in February 2013, that the album had no goals, but to "create something worth listening to". Inspectah Deck had worked with 7L & Esoteric on tour and two previous tracks, the duo's song "Speaking Real Words" from the 2001 album "The Soul Purpose" and "12th Chamber" from their 2010 album "1212". Esoteric spoke of the album's origin as fun between friends, which ultimately led to a character that represented all three members.


title: Zoë Robins

text: Zoë Robins is a New Zealand actress, who played Hayley Foster in "" and Nynaeve al'Meara in "The Wheel of Time".


title: Zoë Robins

text: Robins had her first acting role at age 12 in "The New Tomorrow". She attended The Actor’s Program, an acting course in Auckland. Her first major role was as the White Ranger in "Power Rangers Ninja Steel". In August 2019 she was cast as Nynaeve al'Meara in Amazon's adaptation of "The Wheel of Time". The series premiered in 2021.


title: Mimeograph

text: A mimeograph machine (often abbreviated to mimeo, sometimes called a stencil duplicator) is a low-cost duplicating machine that works by forcing ink through a stencil onto paper. The process is called mimeography, and a copy made by the process is a mimeograph.


title: Mimeograph

text: Mimeographs, along with spirit duplicators and hectographs, were common technologies for printing small quantities of a document, as in office work, classroom materials, and church bulletins. Early fanzines were printed by mimeograph because the machines and supplies were widely available and inexpensive. Beginning in the late 1960s and continuing into the 1970s, photocopying gradually displaced mimeographs, spirit duplicators, and hectographs.


title: Mimeograph

text: Use of stencils is an ancient art, butthrough chemistry, papers, and pressestechniques advanced rapidly in the late nineteenth century:


title: Mimeograph

text: A major beneficiary of the invention of synthetic dyes was a document reproduction technique known as stencil duplicating. Its earliest form was invented in 1874 by Eugenio de Zuccato, a young Italian studying law in London, who called his device the Papyrograph. Zuccato's system involved writing on a sheet of varnished paper with caustic ink, which ate through the varnish and paper fibers, leaving holes where the writing had been. This sheet – which had now become a stencil – was placed on a blank sheet of paper, and ink rolled over it so that the ink oozed through the holes, creating a duplicate on the second sheet.


title: Mimeograph

text: The process was commercialized and Zuccato applied for a patent in 1895 having stencils prepared by typewriting.


title: Mimeograph

text: Thomas Edison received US patent 180,857 for Autographic Printing on August 8, 1876. The patent covered the electric pen, used for making the stencil, and the flatbed duplicating press. In 1880, Edison obtained a further patent, US 224,665: "Method of Preparing Autographic Stencils for Printing," which covered the making of stencils using a file plate, a grooved metal plate on which the stencil was placed which perforated the stencil when written on with a blunt metal stylus.


title: Mimeograph

text: Dick received Trademark Registration no. 0356815 for the term "mimeograph" in the US Patent Office. It is currently listed as a dead entry, but shows the A.B. Dick Company of Chicago as the owner of the name.


title: Mimeograph

text: Over time, the term became generic and is now an example of a genericized trademark. ("Roneograph", also "Roneo machine", was another trademark used for mimeograph machines, the name being a contraction of "Rotary Neostyle".)


title: Mimeograph

text: In 1891, David Gestetner patented his Automatic Cyclostyle. This was one of the first rotary machines that retained the flatbed, which passed back and forth under inked rollers. This invention provided for more automated, faster reproductions since the pages were produced and moved by rollers instead of pressing one single sheet at a time.


title: Mimeograph

text: By 1900, two primary types of mimeographs had come into use: a single-drum machine and a dual-drum machine. The single-drum machine used a single drum for ink transfer to the stencil, and the dual-drum machine used two drums and silk-screens to transfer the ink to the stencils. The single drum (example Roneo) machine could be easily used for multi-color work by changing the drum – each of which contained ink of a different color. This was spot color for mastheads. Colors could not be mixed.


title: Mimeograph

text: The mimeograph became popular because it was much cheaper than traditional print – there was neither typesetting nor skilled labor involved. One individual with a typewriter and the necessary equipment became their own printing factory, allowing for greater circulation of printed material.


title: Mimeograph

text: The image transfer medium was originally a stencil made from waxed mulberry paper. Later this became an immersion-coated long-fibre paper, with the coating being a plasticized nitrocellulose. This flexible waxed or coated sheet is backed by a sheet of stiff card stock, with the two sheets bound at the top.


title: Mimeograph

text: Once prepared, the stencil is wrapped around the ink-filled drum of the rotary machine. When a blank sheet of paper is drawn between the rotating drum and a pressure roller, ink is forced through the holes on the stencil onto the paper. Early flatbed machines used a kind of squeegee.


title: Mimeograph

text: The ink originally had a lanolin base and later became an oil in water emulsion. This emulsion commonly uses turkey-red oil (sulfated castor oil) which gives it a distinctive and heavy scent.


title: Mimeograph

text: One uses a regular typewriter, with a stencil setting, to create a stencil. The operator loads a stencil assemblage into the typewriter like paper and uses a switch on the typewriter to put it in stencil mode. In this mode, the part of the mechanism which lifts the ribbon between the type element and the paper is disabled so that the bare, sharp type element strikes the stencil directly. The impact of the type element displaces the coating, making the tissue paper permeable to the oil-based ink. This is called "cutting a stencil".


title: Mimeograph

text: A variety of specialized styluses were used on the stencil to render lettering, illustrations, or other artistic features by hand against a textured plastic backing plate.


title: Mimeograph

text: Mistakes were corrected by brushing them out with a specially formulated correction fluid, and retyping once it has dried. (Obliterine was a popular brand of correction fluid in Australia and the United Kingdom.)


title: Mimeograph

text: Stencils were also made with a thermal process, an infrared method similar to that used by early photocopiers. The common machine was a Thermofax.


title: Mimeograph

text: Another device, called an electrostencil machine, sometimes was used to make mimeo stencils from a typed or printed original. It worked by scanning the original on a rotating drum with a moving optical head and burning through the blank stencil with an electric spark in the places where the optical head detected ink. It was slow and produced ozone. Text from electrostencils had lower resolution than that from typed stencils, although the process was good for reproducing illustrations. A skilled mimeo operator using an electrostencil and a very coarse halftone screen could make acceptable printed copies of a photograph.


title: Mimeograph

text: During the declining years of the mimeograph, some people made stencils with early computers and dot-matrix impact printers.


title: Mimeograph

text: Unlike spirit duplicators (where the only ink available is depleted from the master image), mimeograph technology works by forcing a replenishable supply of ink through the stencil master. In theory, the mimeography process could be continued indefinitely, especially if a durable stencil master were used (e.g. a thin metal foil). In practice, most low-cost mimeo stencils gradually wear out over the course of producing several hundred copies. Typically the stencil deteriorates gradually, producing a characteristic degraded image quality until the stencil tears, abruptly ending the print run. If further copies are desired at this point, another stencil must be made.


title: Mimeograph

text: Often, the stencil material covering the interiors of closed letterforms (e.g. "a", "b", "d", "e", "g", etc.) would fall away during continued printing, causing ink-filled letters in the copies. The stencil would gradually stretch, starting near the top where the mechanical forces were greatest, causing a characteristic "mid-line sag" in the textual lines of the copies, that would progress until the stencil failed completely.


title: Mimeograph

text: Compared to spirit duplication, mimeography produced a darker, more legible image. Spirit duplicated images were usually tinted a light purple or lavender, which gradually became lighter over the course of some dozens of copies. Mimeography was often considered "the next step up" in quality, capable of producing hundreds of copies. Print runs beyond that level were usually produced by professional printers or, as the technology became available, xerographic copiers.


title: Mimeograph

text: Mimeographed images generally have much better durability than spirit-duplicated images, since the inks are more resistant to ultraviolet light. The primary preservation challenge is the low-quality paper often used, which would yellow and degrade due to residual acid in the treated pulp from which the paper was made. In the worst case, old copies can crumble into small particles when handled. Mimeographed copies have moderate durability when acid-free paper is used.


title: Mimeograph

text: Gestetner, Risograph, and other companies still make and sell highly automated mimeograph-like machines that are externally similar to photocopiers. The modern version of a mimeograph, called a digital duplicator, or copyprinter, contains a scanner, a thermal head for stencil cutting, and a large roll of stencil material entirely inside the unit. The stencil material consists of a very thin polymer film laminated to a long-fibre non-woven tissue. It makes the stencils and mounts and unmounts them from the print drum automatically, making it almost as easy to operate as a photocopier. The Risograph is the best known of these machines.


title: Mimeograph

text: Although mimeographs remain more economical and energy-efficient in mid-range quantities, easier-to-use photocopying and offset printing have replaced mimeography almost entirely in developed countries. Mimeography continues to be used in developing countries because it is a simple, cheap, and robust technology. Many mimeographs can be hand-cranked, requiring no electricity.


title: Mimeograph

text: Mimeographs and the closely related but distinctly different spirit duplicator process were both used extensively in schools to copy homework assignments and tests. They were also commonly used for low-budget amateur publishing, including club newsletters and church bulletins. They were especially popular with science fiction fans, who used them extensively in the production of fanzines in the middle 20th century, before photocopying became inexpensive.


title: Mimeograph

text: Letters and typographical symbols were sometimes used to create illustrations, in a precursor to ASCII art. Because changing ink color in a mimeograph could be a laborious process, involving extensively cleaning the machine or, on newer models, replacing the drum or rollers, and then running the paper through the machine a second time, some fanzine publishers experimented with techniques for painting several colors on the pad.


title: Mimeograph

text: In addition, mimeographs were used by many resistance groups during World War Two as a way to print illegal newspapers and publications in countries such as Belgium.


title: Don Revie

text: Donald George Revie (10 July 1927 – 26 May 1989) was an England international footballer and manager, best known for his successful spell with Leeds United from 1961 until 1974, which immediately preceded his appointment as England manager.


title: Don Revie

text: A forward, he began his career with Leicester City in August 1944, before a £19,000 move to Hull City in November 1949. He was sold on to Manchester City in October 1951 for a fee of £25,000, where he became the main focus of the "Revie Plan" which saw him named as FWA Footballer of the Year in 1954–55 after innovating the role of the first deep-lying centre forward in England. He won the FA Cup in 1956, having finished on the losing side in the 1955 final. He was bought by Sunderland for £22,000 in October 1956, before moving on to Leeds United in November 1958 for a £14,000 fee. In total he scored 108 goals in 501 league and cup appearances in an 18-year professional career, also scoring four goals in six England appearances as well as winning representative honours for the Football League XI and the England B team.


title: Don Revie

text: In March 1961, Revie was appointed player-manager of Leeds United, then a Second Division club who had never won a major trophy. Under Revie's management, Leeds became a major force in English football, winning the Second Division in 1963–64, the First Division in 1968–69 and 1973–74, the FA Cup in 1972, the League Cup in 1968, the FA Charity Shield in 1969, and the Inter-Cities Fairs Cup in 1968 and 1971. Additionally, Leeds were First Division runners-up five times, three times FA Cup runners-up and runners-up in the Inter-Cities Fairs Cup and the European Cup Winners' Cup. In July 1974 he accepted the job as England manager, but had an unsuccessful three years in the role before quitting in highly controversial circumstances to take up the management role with the United Arab Emirates. He later had spells in Middle Eastern club football with Al-Nasr and Al-Ahly.


title: Don Revie

text: As Leeds manager he was criticised for the physical and often negative approach of his teams, though the period was noted for its highly physical football across the country. His resignation as England manager fuelled criticism of him as money-obsessed, and unproved allegations of bribery and financial misconduct also tarnished his reputation. He retired in 1984, but was diagnosed with motor neurone disease in May 1987, which led to his death two years later. He remains a highly popular figure in Leeds, and has a stand named after him at Elland Road as well as a statue outside the ground.


title: Don Revie

text: Revie was born in Middlesbrough, North Riding of Yorkshire, on 10 July 1927. His father, also named Donald, was a joiner who found himself frequently out of work during the Great Depression. His mother, a washerwoman, died of cancer when he was 12. He played youth football for Newport Boys' Club and then Middlesbrough Swifts, who were coached by influential manager Bill Sanderson. He learnt the rudiments of the game using a small bundle of rags in the tiny yard behind his home. This influenced his thinking in later life, and he argued that young players should learn using smaller footballs, on smaller pitches, so they would be more adept in control when progressing to a bigger football.


title: Don Revie

text: He signed as a professional footballer for Leicester City in August 1944, choosing them ahead of local club Middlesbrough primarily due to the close links between Middlesbrough Swifts and Leicester City; he also worked as an apprentice bricklayer. Leicester originally thought him not good enough to turn professional, but he was taken under the wing of Leicester player Sep Smith who mentored Revie on many of his ideas about the game. Smith instructed Revie that "When not in position, get into position; never beat a man by dribbling if you can beat him more easily with a pass; it is not the man on the ball but the one running into position to take the pass who constitutes the danger; and the aim is to have a man spare in a passing move. Soccer would then become easy." He played in the wartime league, before making his debut in the Football League on the opening day of the 1946–47 season, a 3–0 defeat to Manchester City, who would go on to win the Second Division that season. He showed good form at Filbert Street before breaking his right ankle in three places after a tackle from Tottenham Hotspur's Ron Burgess; the injury could have ended his career, but he recovered to full fitness within 19 weeks.


title: Don Revie

text: Manager Johnny Duncan identified Revie as the player to build his team around for the 1947–48 and 1948–49 seasons, and though the Foxes fared poorly in the league they managed to reach the 1949 FA Cup Final. Revie scored the opening goal of the semi-final victory over First Division champions Portsmouth, having been told pre-match that opposition goalkeeper Ernest Butler tended to palm the ball over the attacker's head before reclaiming possession Revie positioned himself to take advantage of the situation when teammate Jack Lee challenged Butler for the ball, leaving Revie with a simple conversion. However Revie suffered a nasal haemorrhage caused by a burst vein one week before the final, and the condition became so severe it would threaten his life and see him miss his first chance to play at Wembley. He could only listen on the radio as Leicester lost 3–1 to Wolverhampton Wanderers in the final. Revie decided to leave Leicester after Duncan left the club, having already been dissatisfied with the club's lack of progress in the league.


title: Don Revie

text: In November 1949 he joined Second Division club Hull City for a transfer fee of £19,000. He chose to join the Tigers ahead of bigger clubs like Arsenal and Manchester City who had shown interest in signing him due to the fact that Hull were managed by Raich Carter, who had been a great player before and after World War II. Carter did improve Revie's game but was not a success as Hull manager, as City finished mid-table in 1949–50 and 1950–51, before becoming involved in a relegation battle in 1951–52. Teammate Andy Davidson later said Revie failed to fulfil his potential at Boothferry Park as he was not a tough player, and the rest of the Hull team were not physically dominant enough to protect him and allow him to dictate play with his accurate passing. As at Leicester, Revie felt the time had come for him to move on and handed in a transfer request once Carter departed.


title: Don Revie

text: Revie was sold to First Division side Manchester City for £25,000 (including a part-exchange for Ernie Phillips, valued at £12,000) in October 1951. The Citizens struggled in the 1951–52 season, and then went on to finish just one place above the relegation zone in the 1952–53 campaign. Revie was often isolated from the rest of the team due to his lack of pace. The sale of Ivor Broadis then allowed Revie to drop deeper down the field, and allowed manager Les McDowall to put Revie in what eventually proved to be a pivotal role, introducing to English football the position of deep-lying centre forward. This evolved into the so-called "Revie Plan", with Revie as the central figure. His role derived from the more traditional inside right position, and was based on the style of the successful Hungarian national team, and in particular Nándor Hidegkuti, who invented the role. Revie devoted 20 pages to analysing and explaining the plan in his autobiography "Soccer's Happy Wanderer" written in 1955.


title: Don Revie

text: Revie had improved his goal tally to 13 in the 1953–54 season, but only once the Revie Plan was implemented in the 1954–55 campaign were Manchester City able to fully make use of his abilities. The new tactic opened with a 5–0 defeat to Preston North End, but then Ken Barnes replaced John McTavish at inside-forward and the team clicked. Though the tactic was named after Revie, it had initially been introduced at reserve team level by Johnny Williamson, though Revie's superior passing talents meant Williamson was overlooked for the position at first team level. City's league title campaign fell away but they went on to reach the 1955 FA Cup Final at Wembley, where they were beaten 3–1 by Newcastle United; a first-half injury to Jimmy Meadows left City down to ten men and unable to compete effectively. At the end of the season Revie was named as FWA Footballer of the Year.


title: Don Revie

text: McDowall fined Revie £27 for missing two weeks of training for a family holiday in Blackpool, which infuriated him as he had already won permission from trainer Laurie Barnett and had promised to train whilst on holiday. McDowall dropped Revie for much of the 1955–56 season, preferring instead to play Bobby Johnstone. Revie played only one FA Cup match that season before being named in the team for the 1956 FA Cup Final against Birmingham City, with Johnstone being moved to the wings. He provided the assist for Joe Hayes's opening goal, and instructed Ken Barnes to deviate from the manager's instructions at half-time, with the result being a more dominant second half display and a 3–1 victory; Revie was named as Man of the Match. However the rift with his manager was not forgotten, and he was moved to right-half in the 1956–57 campaign, leaving him to seek a move away from Maine Road.


title: Don Revie

text: In October 1956, Sunderland manager Bill Murray bought Revie for a £22,000 fee. Poor results left the Black Cats facing relegation towards the end of the 1956–57 campaign, but a late seven-game unbeaten run lifted them to safety, just one place above relegated Cardiff City. A financial scandal over illegal payments to players resulted in harsh sanctions at Roker Park from The Football Association and forced Murray's resignation. His replacement, Alan Brown, preferred a more physical style of play that did not suit Revie. Sunderland suffered relegation from the First Division for the first time in the club's history in the 1957–58 season, and Revie was dropped for the 1958–59 Second Division campaign in favour of a youth policy. In September 1958, he rejected the opportunity to sign for hometown club Middlesbrough – had he joined the club then he would have played alongside captain Brian Clough and goalkeeper Peter Taylor.


title: Don Revie

text: Revie returned to the First Division when he joined Leeds United in November 1958 for a £14,000 fee. Manager Bill Lambton had hoped that Revie's creativity would help the Peacocks to turn their poor form around, and appointed him as captain. Leeds avoided relegation in 1958–59, but new manager Jack Taylor took Leeds down in the 1959–60 campaign with the division's worst defensive record. Revie recognised his playing days were coming to an end and relinquished the captaincy to Freddie Goodwin.


title: Don Revie

text: In October 1953 he was called up to The Football League XI to face the League of Ireland XI at Maine Road, and scored a hat-trick in a 9–1 victory. He went on to play for the England B team in March 1954. He scored on his England debut on 2 October 1954, in a 2–0 British Home Championship victory over Northern Ireland at Windsor Park. He also scored during his second appearance on 2 April 1955, a 7–2 victory over Scotland at Wembley Stadium. He made three further appearances that year, playing in defeats to France at the Stade Olympique Yves-du-Manoir and Wales at Ninian Park, and scoring twice in a 5–1 win over Denmark at Idrætsparken. His sixth and final cap came in a 1–1 draw with Northern Ireland on 6 October 1956.


title: Don Revie

text: He was one of many signatories in a letter to "The Times" on 17 July 1958 opposing 'the policy of apartheid' in international sport and defending 'the principle of racial equality which is embodied in the Declaration of the Olympic Games'.


title: Don Revie

text: Revie was made player-manager at Leeds United in March 1961 following the resignation of Jack Taylor, who left after Leeds found themselves struggling in the Second Division. He had initially applied for the vacant job at Bournemouth & Boscombe Athletic, but they were unable to find the £6,000 Leeds demanded, and the Leeds directors decided to instead appoint Revie as manager. At the time the club was in debt and was located in a rugby league territory, with very little football tradition. Less than 7,000 turned out for the final home game of the 1960–61 season while Leeds's championship game of the 1960–61 Rugby League season had an attendance of over 50,000. He immediately began to institute radical changes such as ensuring the players stayed at higher quality hotels. He instilled a "family atmosphere" at Elland Road, making sure to take an interest in the lives of everyone at the club from the cleaning staff to the star players and ensuring there were no "big egos" at the club. He showed trust in his players, leaving them mainly to their own devices though he always made sure he was fully informed as to what they were up to off the pitch, even going so far as to tell them to dump their girlfriends if he viewed them as unsuitable. He also introduced lengthy dossiers on opposing teams to ensure his players knew every detail about the opposition and were able to exploit weaknesses and nullify threats. Other changes were based on some of his many superstitions, such as his belief that birds were bad luck which resulted in him getting rid of the owl on the club badge and the discontinuation of the Peacocks nickname in favour of the Whites.


title: Don Revie

text: Leeds struggled in the 1961–62 season, as aside from Billy Bremner and Jack Charlton his playing squad was filled with journeymen pros; he did though inherit a good coaching staff that included Les Cocker, Maurice Lindley and Syd Owen who would all spend many years with Revie at Leeds. He developed a youth policy at the club, notable graduates of which would be Eddie Gray, Norman Hunter, Peter Lorimer and Paul Reaney. He had a difficult task in persuading young players to join Leeds over more glamorous clubs but made sure he put in extra effort to make the youngsters feel happy at Leeds, and in one instance drove to Scotland to talk to Bremner's girlfriend to successfully persuade her to encourage Bremner to stay at Leeds rather than return to Scotland to be with her. Revie played his last game in March 1962 before concentrating entirely on management.


title: Don Revie

text: After new investment at board level Revie was able to spend £25,000 on Everton's Scotland international Bobby Collins, who he installed as captain. Other arrivals included former Manchester City teammate Billy McAdams, forward Ian Lawson and left-back Cliff Mason. He spent £53,000 to bring John Charles back from Juventus, and though he proved not to be as effective as during his first spell at Leeds, Revie was able to sell him on to Roma for a £17,000 profit within just a few months. Leeds pushed for promotion in 1962–63, but the harsh winter caused many postponements and a backlog of games at the end of the season proved too much for Leeds, who fell away to finish in fifth place.


title: Don Revie

text: United secured promotion as champions of the Second Division in 1963–64, helped by the late signing of striker Alan Peacock from Middlesbrough for £53,000. However the overly physical approach typified by captain Collins earned Leeds a reputation as "dirty" that would shadow the club throughout Revie's tenure as manager and continue to this day. Leeds adapted well to the First Division early in the 1964–65 campaign, but caused controversy in Collins's return to Goodison Park as the game against Everton descended into a brawl and the referee ordered the players off the field after 35 minutes to prevent further violence. Leeds went on to maintain a strong title challenge, finishing second to rivals Manchester United on goal average after failing to beat Birmingham City on the last day of the season. They also reached the final of the FA Cup, losing 2–1 to Liverpool at Wembley after extra-time.


title: Don Revie

text: Revie felt he did not have to strengthen his squad for the 1965–66 campaign, and made no new signings. With Leeds in the Inter-Cities Fairs Cup he showed his gamesmanship, sending his team out against Italian club Torino wearing unfamiliar numbers in an attempt to confuse the Italian club's tight man-marking system. However Collins had his leg broken by Torino's Fabrizio Poletti, meaning Revie had to partner Giles and Bremner in central midfield and sign Huddersfield Town winger Michael O'Grady for £30,000. Although Collins would be missed the partnership of Giles and Bremner would prove highly effective. Leeds again finished second in the league, trailing Liverpool by six points. They reached the semi-finals of the Inter-Cities Fairs Cup, losing on aggregate to Spanish side Real Zaragoza despite Revie ordering the fire brigade to flood the pitch before the replay at Elland Road.


title: Don Revie

text: Leeds struggled at the start of the 1966–67 season, though despite winning just three of their opening eleven games they went on to finish in fourth place. They reached the semi-finals of the FA Cup, losing 1–0 to Chelsea at Villa Park. They reached the final of the Inter-Cities Fairs Cup against Yugoslavian side GNK Dinamo Zagreb, but were unable to scout the opposition due to Syd Owen having his flight cancelled on him; Leeds lost 2–0 on aggregate and Revie was criticised for his negative tactics.


title: Don Revie

text: With his team coming close but failing to land a trophy he brought in a gypsy to lift a curse he believed had been placed on Elland Road so that there would be no bad luck for the 1967–68 season. A more practical measure he took to increase United's fortunes was to nearly double the club's record transfer to buy Sheffield United centre-forward Mick Jones for £100,000, who would replace the frequently injured Peacock as the main striker. Soon after the purchase Leeds recorded a 7–0 victory over Chelsea, though ironically Jones was not on the score-sheet. Revie's first trophy would be the League Cup, as they eliminated Luton Town, Bury, Sunderland, Stoke City and Derby County to reach the final against Arsenal; Terry Cooper scored the only goal of what was a dour and tense final as Revie told his players to "shut up shop" and defend their 1–0 lead. This success did not immediately translate into league and FA Cup success however, as they finished in fourth place and were beaten in the FA Cup semi-finals by Everton. They instead reached a second successive Inter-Cities Fairs Cup final, beating CA Spora Luxembourg (Luxembourg), FK Partizan (Yugoslavia), Hibernian (Scotland), Rangers (Scotland), and Dundee (Scotland) to reach the final against Hungarian club Ferencvárosi. Leeds won the first leg 1–0, and a month later defended their lead with a 0–0 draw in Budapest, by which time Jimmy Greenhoff, a substitute in the first leg, had been sold to Birmingham City.


title: Don Revie

text: Having found success in both domestic and European cup competitions, Revie took the decision to focus exclusively on the league for the 1968–69 campaign. They went the rest of the season unbeaten in the league following a 5–1 defeat to Burnley at Turf Moor on 19 October, and secured the title with a 0–0 draw with challengers Liverpool at Anfield; after the game Revie led his team back out onto the pitch to applaud the Liverpool supporters, who in turn applauded the Leeds team. His team set a number of records: most points (67), most wins (27), fewest defeats (2), and most home points (39); a still-unbroken club record is their 34 match unbeaten run that extended into the following season.


title: Don Revie

text: Revie strengthened his front line by breaking the British transfer record with a £165,000 purchase of Allan Clarke from Leicester City, who would partner Mick Jones up front. This allowed him to sell O'Grady to Wolverhampton Wanderers for £80,000 and move Lorimer to a more attacking role. He targeted the treble in 1969–70 and came close to achieving his aim only to fail on all three fronts in a congested close season, finishing second in the league to Everton, losing the 1970 FA Cup Final to Chelsea (after a replay), and exiting the European Cup with a semi-final defeat to Celtic in front of a competition record crowd of 136,505 at Hampden Park.


title: Don Revie

text: Rejecting a £100,000 four-year contract offer to manage Birmingham City, Revie instead elected to remain at Leeds and stick with the same squad for the 1970–71 campaign. Leeds and Arsenal soon pulled away from the rest of the pack, though it would be the Gunners who would claim the league title, finishing one point ahead of Leeds after the latter lost to West Bromwich Albion following a controversial offside goal in front of the "Match of the Day" television cameras late in the season. United were embarrassed in the FA Cup, being knocked out by Fourth Division side Colchester United in a famous "giant-killing". Leeds again found success in the Inter-Cities Fairs Cup though, beating Sarpsborg FK (Norway), Dynamo Dresden (East Germany), AC Sparta Prague (Czechoslovakia), Vitória (Portugal) and Liverpool to reach the final against Juventus. They drew 2–2 at the Stadio Olimpico di Torino before claiming the trophy on away goals after a 1–1 draw at Elland Road.


title: Don Revie

text: The previous season's defeat to West Bromwich Albion led to Revie criticising referee Ray Tinkler. As punishment, Leeds were forced to play their first four home games of the 1971–72 season at a neutral venue; they played at Huddersfield's Leeds Road and boasted four wins and two draws from the opening seven matches. Leeds played good football, particularly winning praise for their 7–0 and 6–1 wins over Southampton and Nottingham Forest respectively, but again could only finish as runners-up after a late collapse and final day defeat at Wolves, allowing Derby County to claim the title by a single point. Revie had attempted to strengthen his squad before the final run-in with a £177,000 bid for Asa Hartford, but the deal was cancelled by the medical team who spotted a heart defect in the attacker's medical records. United reached the 1972 FA Cup Final after beating Bristol Rovers, Liverpool, Cardiff City, Tottenham Hotspur and Birmingham City, and lifted the trophy after a 1–0 victory over Arsenal in the final.


title: Don Revie

text: Looking for a successor to Jack Charlton, early in the 1972–73 season he signed Gordon McQueen from St Mirren for £30,000. He also spent £100,000 on defender Trevor Cherry and £35,000 on centre-half Roy Ellam, both from Huddersfield Town, and started playing young Scottish forward Joe Jordan more regularly. Leeds again came close to a Treble, but their league title campaign tailed off and they finished third, some seven points behind champions Liverpool. They did reach the 1973 FA Cup Final to face Second Division Sunderland, but despite manager turned pundit Brian Clough's remark that "there is no way Sunderland can beat Leeds", United lost 1–0. Leeds also reached the final of the European Cup Winners' Cup against Italian club A.C. Milan at the Kaftanzoglio Stadium, where they were beaten 1–0 following some controversial refereeing from Christos Michas which eventually saw Norman Hunter sent-off after he reacted badly to being consistently fouled by pushing Gianni Rivera to the ground. In 2009, Yorkshire and the Humber MEP Richard Corbett unsuccessfully petitioned the European Parliament to reverse the result of the match over allegations that Michas accepted a bribe from the Italian side.


title: Don Revie

text: Revie was offered a five-year £100,000 contract (plus £50,000 signing-on fee) by Everton in the summer, but remained with Leeds after the move broke down due to a new law introduced in Parliament that prevented wage rises to curb inflation. He chose to continue with largely the same line-up for the 1973–74 season. He told his squad that the aim for the season would be to go unbeaten throughout the campaign. Though Leeds failed to achieve this as they lost three successive games in February/March, they did secure the title with a five-point lead over Liverpool. Completely focused on the league, and finally accepting that he was asking too much of his players to try and win every competition he played weakened teams to allow an early exit from the UEFA Cup. He chose to take the job of England national football team manager ahead of leading a European Cup challenge at Leeds and breaking up the ageing team he had stuck with for many years, and though he was well loved at the club he was not popular with the Leeds boardroom members, who appointed Brian Clough, a fierce critic of Revie as his successor. Despite lasting just 44 days in the job, Clough spent more in transfer fees than Revie had in his 13 years at the club.


title: Don Revie

text: In July 1974, Revie accepted the offer of the England manager's job, succeeding Alf Ramsey and caretaker-manager Joe Mercer. The Football Association, particularly Ted Croker, were impressed with Revie's personality and ideas. He was a popular appointment with the press and supporters; noted journalist Brian Glanville wrote that "Revie was the obvious choice". Revie attempted to build a relationship with the media, and also invited 81 prospective and established England players to a meeting in Manchester to make everyone feel included, where he announced that he would establish extra pay for international players as well as bonus payments for wins and draws. He held a meeting with Alan Hardaker, chairman of the Football League, but Hardaker had long resented Revie and was very reluctant to accept his proposal to rearrange league fixtures to benefit the England team. He also had difficult relationships with figures within the FA, most notoriously with chairman Sir Harold Thompson, who allegedly attempted to influence Revie's team selections and undermine him publicly. As well as this he found difficulty in his attempts to introduce the Leeds traditions into the England camp, such as carpet bowls and bingo, which were met with resentment and disdain by some England internationals. Colin Todd stated that Revie was ill-suited to the England job, with his strengths lying in the day-to-day contact found only in club management rather than the politics and committee meetings of international management.


title: Don Revie

text: For UEFA Euro 1976, England were drawn in a tough qualification group including Czechoslovakia, Portugal and Cyprus, with only the winner progressing to the finals. England began the campaign well with a 3–0 victory over Czechoslovakia at Wembley, Mick Channon and Colin Bell scoring the goals. However a 0–0 home draw with Portugal was a minor setback, despite Malcolm Macdonald scoring all the goals in a 5–0 win over Cyprus following a morale boosting 2–0 friendly win over 1974 FIFA World Cup champions West Germany. Kevin Keegan scored the only goal of the game at the Tsirion Stadium to secure maximum points in Cyprus, and leave England in a strong position going into the two tough final group games in Czechoslovakia and Portugal. Though only drawing with Wales and Northern Ireland, a 5–1 victory over Scotland secured England the 1974–75 British Home Championship title and left England in confident mood for the crucial qualifying games. However, despite Channon opening the scoring they fell to a 2–1 defeat to the Czechoslovakians in Bratislava after playing with what was for Revie uncharacteristic attacking tactics. A 1–1 draw in Lisbon then allowed Czechoslovakia to clinch the group with a win over Cyprus. Czechoslovakia then went on to win the whole tournament. Revie was criticised for his constant changing of players during the qualifying group, particularly his decision to drop captains Emlyn Hughes and Alan Ball from his squad entirely, his mistrust of flair players like Charlie George and Alan Hudson, and his willingness to play players out of position.


title: Don Revie

text: With England unseeded, Revie was handed opponents for qualifying for the 1978 World Cup of Italy, Finland and Luxembourg. Only the winner would progress to the finals. Just before the campaign began England suffered a 2–1 defeat to Scotland to finish second in the 1975–76 British Home Championship. England made heavy work of both Finland and Luxembourg, winning 4–1 away and 2–1 at home against the Finns and 5–0 at home and 2–0 away against the Luxembourgers. The failure to inflict heavier defeats on these sides was ultimately the reason why Italy qualified for the finals on goal difference alone. England fell to a 2–0 defeat in Rome where Revie was criticised for his previously untested back four selection of Emlyn Hughes, Dave Clement, Roy McFarland, and Mick Mills; he also played Trevor Brooking out of position and surprised many by selecting Stan Bowles ahead of Stuart Pearson. Sensing that he was disliked by FA chairman Sir Harold Thompson, and with further criticism coming his way after England could only finish third in the 1976–77 British Home Championship, Revie began to look for a way out. He missed a friendly with Brazil in Rio de Janeiro for what he claimed was a scouting assignment on the Italians, when in fact he had travelled to Dubai for contract negotiations with the United Arab Emirates. Revie asked for his contract with England to be cancelled, which the FA refused to do and the FA offered Revie their full support despite having already approached Bobby Robson to replace him. The game with Brazil ended in a 0–0 draw, and their tour of South America concluded with draws with Argentina and Uruguay. On 12 July 1977, Revie revealed in an exclusive to the "Daily Mail" that he was quitting the England job to become manager of the UAE. The FA suspended Revie from football for ten years on a charge of bringing the game into disrepute; Revie contested his suspension in a lawsuit against the FA, and the court overturned the suspension after ruling that the FA had overreached its powers.


title: Don Revie

text: At the time of Revie's departure, England were three points behind Italy in the qualification group, with two matches remaining, including an encounter with the Italians at Wembley. Revie's replacement Ron Greenwood led the national team to victory in both remaining matches. England thus finished level with the Italians on points, but behind them on goal difference. Since only the winner of the group qualified for the finals, England missed their second consecutive World Cup tournament.


title: Don Revie

text: His contract at the United Arab Emirates ensured him a £340,000 four-year contract, though caused irreparable damage to his reputation in England. Selling the story to the "Daily Mail" also earned him £20,000, but only furthered the criticism that he was a "mercenary". UAE finished sixth in the seven team 1979 Gulf Cup of Nations in Iraq, but it was his work in helping to improve the footballing facilities in the country in the long-term that were more important, helping the UAE qualify for the 1990 FIFA World Cup. He left the UAE coaching role in May 1980 as the UAE searched for an Arabic speaking manager. He returned to club management with Al-Nasr of the UAE Arabian Gulf League, but was sacked in 1984 with the club sitting third in the league. The next year he had a brief stint with Egyptian Premier League club Al-Ahly of Cairo, but did not settle in Egypt and returned home to England. He was approached to replace Alan Mullery as Queens Park Rangers manager by chairman Jim Gregory, but the deal was not completed and Revie never worked in football again.


title: Don Revie

text: Revie married Elsie, the niece of Leicester City's Scottish manager Johnny Duncan, on 17 October 1949. They had a son Duncan and daughter Kim. Elsie died of cancer on 28 March 2005 at the age of 77.


title: Don Revie

text: He published an autobiography, "Soccer's Happy Wanderer", in 1955. He was appointed an OBE for his services to football. In April 1974, shortly before departing from Leeds for the England job, Revie was a special guest on the TV guest show "This Is Your Life". Revie was an active freemason attending Leodiensis Lodge No. 4029 from 1965 until his death.


title: Don Revie

text: After two years of living in Surrey, in the Spring of 1986 Revie moved to Kinross, Scotland, where he intended to retire, but he was diagnosed with motor neurone disease in May 1987. Revie publicly announced his illness in August of that year, and made his final public appearance on 11 May 1988 at Elland Road in a wheelchair, at a charity football match held to raise money for research into motor neurone disease. He died in his sleep in Murrayfield Hospital in Edinburgh on 26 May 1989, aged 61, and was cremated four days later at Warriston Crematorium in Edinburgh. Though his funeral was well attended by representatives of Leeds United and many others involved in football such as Kevin Keegan, Brian Moore, Lawrie McMenemy, Denis Law and Alex Ferguson, The Football Association did not send any officials to the funeral.


title: Don Revie

text: The family atmosphere Revie instilled at Elland Road ensured that many Leeds United players remained firm friends and fiercely loyal to Revie long after their playing days had ended; his players also generally avoided financial, addiction or family problems, enjoying largely stable lives even after retirement. In May 2012, a statue of Revie was unveiled outside Elland Road. The North Stand of Elland Road is formally known as the Revie Stand.


title: Don Revie

text: In a survey of leading football writers, historians and academics by "Total Sport" magazine, Revie's Leeds United were voted as one of the 50 greatest football teams of all time. James Corbett of the Guardian wrote that "[Revie] had been the most innovative manager of his generation" and "not until Arsène Wenger would a manager exert such a profound influence on his club - and the English game as a whole".


title: Don Revie

text: The combative nature of his teams earned United the moniker of "dirty Leeds", as key player Eddie Gray admitted that "it was brutal stuff and, definitely win-at-all-costs". Alan Peacock said that one of the attractions for joining Leeds was that he would not have to play against them and "then they won't be kicking me". In 1963 Leeds were labelled by the Football Association's own "FA News" as "the dirtiest [team] in the Football League". On more than one occasion referees had to order Leeds players off the pitch for a break mid-match to break up mass brawls. His teams were also notorious for dour play and playing to defend 1–0 leads, though he did allow a more attacking style later in his career. Nevertheless, the unpopularity and poor reputation stuck with Leeds throughout Revie's time as manager and even was in evidence after his death. George Best said that he "hated playing against them" and that the only time he needed to wear shinpads was when he was playing against Leeds.


title: Don Revie

text: One of Revie's most notable critics was Brian Clough, who initially gave some degree of praise to Leeds following the 1969–70 season, commenting that 'they have made the season'. However, Clough's attitude soon changed as the competition between their clubs intensified and over the course of subsequent seasons he would use his newspaper columns to attack Revie and Leeds, particularly in August 1973 in which he branded the Leeds players "cheats" and called for the club to be relegated to the Second Division on disciplinary grounds, though Clough would surprisingly succeed Revie as Leeds manager in an ill-fated tenure that lasted only 44 days. In 2009, Revie was portrayed by Colm Meaney in the film "The Damned United", which focused on Clough's reign as manager of Leeds United.


title: Don Revie

text: Revie's reputation suffered in the late 1970s after his highly controversial England resignation. Both the "Daily Mirror" and "The Sunday People" claimed that Revie had attempted to bribe Wolverhampton Wanderers players to lose a crucial match in May 1972. The papers quoted Wolves midfielder Danny Hegan and former Leeds United goalkeeper Gary Sprake's claims that Revie's captain Billy Bremner had tried to arrange a bribe. Bremner sued for libel and won £100,000 libel damages, along with legal costs, after both Hegan and Sprake refused to repeat their allegations under oath in court. Wolves player Derek Dougan, who had scored against Leeds in the match in question, testified that he had heard no mention of the alleged bribes. Neither the police nor FA investigations found any evidence of wrongdoing.


title: Don Revie

text: Additionally Bob Stokoe would later claim that while managing Bury on Good Friday 1962, Revie had offered him a bribe of £500 to "go easy" on his Leeds side who were at the time struggling against relegation to the Third Division and that he had become enraged when Revie responded to his refusal to accept the bribe by asking "in that case, may I speak to your players?". Alan Ball also alleged that Revie made an illegal approach for him, and despite pocketing the £300 bribe he signed for Everton instead of Leeds; both men were charged with bringing the game into disrepute. The allegations of corruption earned him the nickname of "Don Readies". Though Mr Justice Cantley lifted the FA's ten-year ban on Revie, during his conclusion of the case the judge said that Revie "lacked candour", was "greedy" and "prickly", focused on "imagined wrongs" and his resignation as England manager showed a "sensational, outrageous example of disloyalty, breach of trust, discourtesy and selfishness".


title: ATLiens

text: ATLiens is the second studio album by American hip hop duo Outkast. It was released on August 27, 1996, by Arista Records and LaFace Records. From 1995 to 1996, Outkast recorded "ATLiens" in sessions at several Atlanta studios—Bosstown Recording Studios, Doppler Recording Studios, PatchWerk Recording Studio, Purple Dragon Studios, and Studio LaCoCo—as well as Chung King Recording Studio and Sound On Sound Recording in New York City.


title: ATLiens

text: The record features outer space-inspired production sounds, with Outkast and producers Organized Noize incorporating elements of dub and gospel into the compositions. Several songs feature the duo's first attempts at producing music by themselves. Lyrically, the group discusses a wide range of topics including urban life as hustlers, existential introspection, and extraterrestrial life. The album's title is a portmanteau of "ATL" (an abbreviation of Atlanta, Georgia) and "aliens", which has been interpreted by critics as a commentary about the feeling of being isolated from American culture.


title: ATLiens

text: "ATLiens" debuted at number two on the US "Billboard" 200 chart, and it sold nearly 350,000 copies in its first two weeks of release. The album was very well received by music critics upon its release, who praised its unique sound and lyrical content. It has been certified double platinum by the Recording Industry Association of America (RIAA), for shipments of two million copies in the United States. The album spawned the singles "Elevators (Me & You)", "ATLiens", and "Jazzy Belle". Since its release, "ATLiens" has been listed by several magazines and critics as one of the greatest hip hop albums of all time.


title: ATLiens

text: In 1994, Outkast released their debut album, "Southernplayalisticadillacmuzik", which was recorded when members Big Boi and André 3000 were eighteen years old. Bolstered by the success of the single "Player's Ball", the record established Outkast as prominent figures in the Southern hip hop scene. After the album was certified platinum, LaFace Records gave Outkast more creative control and advanced money for their 1996 follow-up album "ATLiens". The duo took the opportunity to recreate their image. On a trip to Jamaica with producer Mr. DJ, the two decided to abandon their cornrow hairstyles in favor of a more natural aesthetic, vowing to stop combing their hair. Dungeon Family member Big Rube observed an increase in the duo's confidence after returning from their first tour, remarking, "They started understanding the power they had in their music. They started showing a swagger that certain artists have—the ones that are stars." The members also underwent changes in their personal lives; in 1995, Big Boi's girlfriend gave birth to their first child and André 3000 and Total's Keisha Spivey ended their two-year relationship.


title: ATLiens

text: Despite its success, "Southernplayalisticadillacmuzik" had some detractors, including hip hop tastemakers who were unaccustomed to the album's style. As the East Coast and West Coast hip hop scenes were already well-established at the time, many did not view the South as a legitimate and respectable scene. At the 1995 Source Awards, an award ceremony held by "The Source" magazine, Outkast won in the "Best Newcomer" category, but were booed upon taking the stage and delivering their acceptance speech; Big Boi managed to deliver his shout outs, while André 3000 was nervous and said, "The South got somethin' to say." The latter recalled how the album was received by some listeners, "People thought that the South basically only had bass music. At first people were looking at us like 'Um, I don't know.'" Taken aback by the backlash, André 3000 and Big Boi channelled their frustration in the studio to improve upon their debut.


title: ATLiens

text: After acquiring their own recording studio, the duo immediately started working on new material and assimilated themselves with music recording and studio equipment, as they sought to become more ambitious artists and less dependent on other producers. The two also became more accustomed to playing live, particularly Big Boi, and André 3000 significantly changed his lifestyle, as he adopted a more eccentric fashion sense, became a vegetarian (he has since resumed eating meat), and stopped smoking marijuana. Having dropped out months before graduation, André 3000 also returned to high school to earn his diploma during the recording of "ATLiens".


title: ATLiens

text: Before beginning work on "ATLiens", André 3000 purchased an SP1200 drum machine, an MPC3000 sampler, a TASCAM mixing board, and turntables with stacks of classic records. Although he had never produced a song before, he used techniques learned from observing the Dungeon Crew at work. "Elevators (Me & You)" was the first song the duo created together for the album. The duo refrained from sampling on the album, with Big Boi explaining "I feel like you cheat the listener when you sample. If it's an old school jam, leave it to the old. We wanna have our own school of music."


title: ATLiens

text: Outkast recorded the album in sessions at several Atlanta studios—Bosstown Recording Studios, Doppler Recording Studios, PatchWerk Recording Studio, Purple Dragon Studios, and Studio LaCoCo—as well as Chung King Recording Studio and Sound On Sound Recording in New York City. For "ATLiens", the band aimed for a consistent set of songs in which a listener would not need to skip tracks; Outkast wrote around 35 songs for the album and reduced them to fourteen. The duo's songwriting style for the album had no solid structure and was mostly spontaneous; Big Boi noted, "Stuff'll just come to you. I'll be sittin' in the truck, and I'll start rhymin'. People look at me like I'm crazy, but that's how it starts."


title: ATLiens

text: Two-thirds of the album is produced by Organized Noize, Outkast's primary production team. The rest is produced by Earthtone III, a production team that includes Outkast themselves and Mr. DJ. André 3000 and Big Boi produced the songs "Jazzy Belle" and "Elevators (Me & You)". It also has a notably more laid-back, spacey production sound, which they expanded upon on their follow-up album "Aquemini". Although the group drew from George Clinton's outer-space inspired compositions, the band utilizes a more laid-back style as opposed to Clinton's hard funk leanings. Many tracks feature strong echo and reverb, taking influence from dub and reggae. Andrea Comer of the "Hartford Courant" perceives an "extraterrestrial feel" in the record's production.


title: ATLiens

text: MTV wrote that the album's production "built giddy, chaotic hooks around throbbing bass grooves, neck-snapping drums and bits of backwoods country and psychedelic rock for good measure." Outkast also incorporated elements of gospel into the music; being from the South, the group felt obligated to "stay close to [their] slave roots". The album's introduction track "You May Die" has been described as "churchy". "Elevators (Me & You)" contains atmospheric elements including echoes, dub-influenced bass, organ riffs, and telephone tones. "13th Floor/Growing Old" contains a spoken word introduction from Big Rube, somber soul vocals from Debra Killings, and a "Prince-ish" piano riff, while "Wheelz of Steel" features "furious" turntable scratching by Mr. DJ. "Extraterrestrial" offers a break in the continuity of the record as it features no drum beat.


title: ATLiens

text: Lyrically, André 3000 and Big Boi abandon the "hard-partying playa characters" of their debut album in favor of more spacey, funky, and futuristic personas on "ATLiens". With their lyrics, the duo hoped to reflect on maturity in the wake of the birth of Big Boi's daughter. André 3000 explained, "It's like everybody's talking about sipping champagne and being big time, so we just took it upon ourselves to do something new ... I want my children to say, 'Daddy really said something, he wasn't just trying to brag on himself.'" Many songs on "ATLiens" feature more unconventional subject matter for hip hop. The lyrical content ranges from addressing urban life as hustlers and pimps to extraterrestrial life and space travel. The title track's chorus expresses Southern pride, while its verses feature André 3000 explaining his newly adopted drug-free lifestyle.


title: ATLiens

text: "Elevators (Me & You)" illustrates Outkast's rise to fame, and was inspired by a show the band played at Howard University with P. Diddy in the audience. The song also discusses the unlikely partnership of André 3000 and Big Boi, and uses the metaphor of an elevator for the ups and downs of fame. The final verse illustrates André 3000 dealing with a fan who pretends to have been childhood friends with him. It also references Southern culture, including mentions of Cadillacs and extended family gatherings. "Babylon" reflects on religious attitudes towards sex and illustrates André 3000's upbringing and his forbidden attractions throughout childhood. "Jazzy Belle" discusses the group's "increasingly enlightened" view regarding women: "Went from yellin' ... bitches and hoes to queen thangs". The album's closer "13th Floor/Growing Old" is a meditation on aging and emphasizes Southern hip hop's legitimacy.


title: ATLiens

text: "ATLiens" was released on August 27, 1996, by LaFace Records. In September, LaFace created a promotion for the record in conjunction with Blockbuster in which customers could enter to win a 1970s Cadillac car, emphasizing Outkast and Cadillac's connection with the Southern lifestyle. The record's inner booklet features a 24-page comic strip foldout starring the members, who must defend "positive music" against the villain Nosamulli. The strip continues in the artwork for each single released from "ATLiens" except for "Elevators (Me & You)".


title: ATLiens

text: The album's title is a portmanteau of "ATL" (an abbreviation of Atlanta, Georgia) and "aliens". In his book "Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture", author T. Hasan Johnson interprets the album's title as "partly a statement about being from Atlanta, while also signifying on the theme of the group's name (by using the term "aliens") framing themselves as societal outcasts." Mark Bould, author of "The Routledge Companion to Science Fiction", observes that the title symbolizes Outkast's "estrangement from American society", suggesting that "the inner city of their formative years is out of this world and its hostile conditions."


title: ATLiens

text: The album debuted at number two on the US "Billboard" 200 chart, and it sold nearly 350,000 copies in its first two weeks of release. It ultimately spent 33 weeks on the "Billboard" 200 chart. Three singles were released for the album—"Elevators (Me & You)" on July 5, 1996, "ATLiens" in November 1996, and "Jazzy Belle" in April 1997. "Elevators (Me & You)" reached number 12 and spent 20 weeks on the "Billboard" Hot 100 chart. It was certified Gold by the Recording Industry Association of America (RIAA) on September 13, 1996, for shipments of 500,000 copies in the United States. "ATLiens" reached number 35 and spent 17 weeks on the Hot 100, and "Jazzy Belle" spent 14 weeks and peaked at number 52 on the Hot 100. The album was certified Platinum by the RIAA on November 6, 1996, for shipments of one million copies in the US. By 1998, it had sold over 1.2 million copies. On June 24, 2003, the RIAA certified "ATLiens" double platinum, having shipped two million copies in the US.


title: ATLiens

text: "ATLiens" received critical acclaim. Andrea Comer of the "Hartford Courant" felt that Outkast's "lyrical acumen shines through" despite "Heltah-Skeltah mumbling and Southern slang", and stated, "after a few rotations, the alien feeling wears away, and [the album is] just out of this world." Sonia Murray of "The Atlanta Journal-Constitution" called the album "more thoughtful" than its predecessor, noting, "What the second album lacks in adventurous arrangements it more than makes up for in lyrical dominance." "The Source"s Allen S. Gordon observed "growth" from Outkast and Organized Noize, and stated, "Big Boi and Dre have gone out of this world into a new dimension of sight, sound and mind".


title: ATLiens

text: Kevin Powell of "Rolling Stone" felt that, like Outkast's debut album, "ATLiens" is "a gritty document of what's happening here and now, an up-to-the-minute briefing on Southern black ghetto life on which Outkast members Andre and Big Boi cast their feelings of alienation in familiar, realistic characterizations". Powell asserted that unlike East Coast hip hop's "hedonistic materialism" or "the gunplay and pimpism" of West Coast hip hop, "Andre and Big Boi display a unique ability to describe ghetto life while offering up life-affirming possibilities, something all too rare in today's hip-hop nation." Richard Harrington of "The Washington Post" enjoyed the record's "more serious and focused lyrical sensibility", explaining, "The raps are generally inventive, clever without being cloying, more proof (if any were needed) that hip-hop innovation isn't just an East-West thang."


title: ATLiens

text: In a retrospective review, AllMusic editor Steve Huey viewed the album as Outkast's "most focused work" and commented that "In addition to the striking musical leap forward, Dre and Big Boi continue to grow as rappers; their flows are getting more tongue-twistingly complex, and their lyrics more free-associative". RapReviews critic Steve Juon recommended it to listeners who "want to be challenged by [their] hip-hop" and wrote of the album's aesthetic:


title: ATLiens

text: In "The Rolling Stone Album Guide" (2004), Roni Sarig felt that, strong rapping notwithstanding, the album's music "suffers as the duo make their first attempt at self-producing" and stated, "Although "ATLiens" promised expanded vistas with its interstellar motif, the record delivered something of a sophomore slump ... At best, "ATLiens" is the sound of an ambitious group searching for its voice."


title: ATLiens

text: In 1998, the album was selected as one of "The Source"s "100 Best Rap Albums". In 2000, "Exclaim!" listed the album on their "100 Records That Rocked 100 Issues of "Exclaim!"" list. "Hip Hop Connection" ranked it number six on their list of "The 100 Greatest Rap Albums 1995–2005". "Complex" ranked the album fifth on their list of "The 50 Greatest Sophomore Albums in Hip-Hop History", its title 15th on "The 50 Best Rap Album Titles Ever", and the title track's beat 91st on "The 100 Greatest Hip-Hop Beats of All Time". Rappers Isaiah Rashad, Wiz Khalifa and Dom Kennedy, and DJ Jesse Marco have named "ATLiens" as one of their favorite albums.


title: Shades of Deep Purple

text: Shades of Deep Purple is the debut studio album by the English rock band Deep Purple, released in July 1968 on Tetragrammaton in the United States and in September 1968 on Parlophone in the United Kingdom. The band, initially called Roundabout, was the idea of former Searchers drummer Chris Curtis, who recruited Jon Lord and Ritchie Blackmore before leaving the project. The Mk. I line-up of the band was completed by vocalist/frontman Rod Evans, along with bassist Nick Simper and drummer Ian Paice, in March 1968.


title: Shades of Deep Purple

text: After about two months of rehearsals, "Shades of Deep Purple" was recorded in only three days in May 1968 and contains four original songs and four covers, thoroughly rearranged to include classical interludes and sound more psychedelic. Stylistically, the music is close to psychedelic rock and progressive rock, two genres with an ever-growing audience in the late 1960s.


title: Shades of Deep Purple

text: The album was not well received in the UK, where it sold very few copies and did not chart. In the US, on the other hand, it was a success and the single "Hush", an energetic rock track written by Joe South and originally recorded by Billy Joe Royal, became very popular at the time, reaching number 4 on the US "Billboard" Hot 100 chart. The good sales of the album and the intense radio play of the single contributed largely to the attention Deep Purple would get in their early US tours and also during the 1970s. Modern reviews of the album are generally positive and consider "Shades of Deep Purple" an important piece in the history of Deep Purple.


title: Shades of Deep Purple

text: When Deep Purple's first line-up came together in 1967, there was a moment of transition for the British music scene. Beat was still popular, especially in dance halls and outside the capital, but the tastes of young people buying records and filling up the clubs was rapidly changing in favour of blues rock, progressive rock and psychedelic rock. New bands like The Moody Blues, Procol Harum, and The Nice were pioneers in combining classical music with rock, using complex and daring arrangements. At the same time, psychedelia was making strides in the hedonistic swinging London society, where bands like Pink Floyd, The Pretty Things, The Jimi Hendrix Experience, Traffic and Cream experimented with different forms of drug-induced rock music, in line with the hippie subculture coming from the USA. Many well-known acts, including The Beatles, The Rolling Stones and The Who, were influenced by the changing feel and added many elements of progressive and psychedelic rock to their albums of that period.


title: Shades of Deep Purple

text: During this time of great creativity for the British musical scene in the summer of 1967, Chris Curtis, former drummer of the beat band The Searchers, contacted London businessman Tony Edwards to find financing for a new group he was putting together, to be called Roundabout. The name meant that the group would contain a revolving cast of non-permanent members getting on and off the stage like a musical roundabout, with only Curtis as mainstay and singer. Impressed with the plan, Edwards agreed to finance and manage the venture with two business partners, Ron Hire and John Coletta, and the three of them founded Hire-Edwards-Coletta (HEC) Enterprises.


title: Shades of Deep Purple

text: In September 1967, the first successful Roundabout recruitment was Curtis' flatmate, the classically trained Hammond organ player Jon Lord; he had most notably played with The Artwoods, a band led by Art Wood, brother of future Rolling Stones guitarist Ronnie Wood, and featuring Keef Hartley. At that time, Lord was playing in a band backing the successful pop vocalists The Flower Pot Men called The Garden, which also included bassist Nick Simper and drummer Carlo Little. Simper and Little were alerted by Lord of the Roundabout project and remained in standby for an eventual involvement. They recommended to Lord the guitarist Ritchie Blackmore, whose playing Chris Curtis had appreciated when his band The Searchers had played at the Star-Club in Hamburg, Germany. Blackmore had been a member of The Outlaws and had played as session and live musician with many beat, pop and rock acts, including Screaming Lord Sutch and the Savages, where he had met Little. Curtis contacted Blackmore to audition for the new group and persuaded him to move from Hamburg, where he was hanging out in local clubs. The guitarist came back to England for good to join the group in December 1967. Meanwhile, Curtis' erratic behaviour and his sudden loss of interest in the project he had started slowed down any development, forcing his financiers, HEC Enterprises, to drop him and entrust Lord and Blackmore with the task of filling out the rest of the band.


title: Shades of Deep Purple

text: Lord signed up as bassist his friend Simper, whose fame at the time came from his membership in the rock and roll group Johnny Kidd & The Pirates and for having survived the car crash in 1966 that killed Kidd. The line-up of Roundabout was completed by drummer Bobby Woodman, recruited by Blackmore. Dave Curtiss, an acquaintance of Woodman, was at first considered as singer, but he left to fulfill previous commitments. According to Simper, Ian Gillan, the singer of the band Episode Six, was also contacted for an audition, but declined the offer.


title: Shades of Deep Purple

text: Roundabout moved into Deeves Hall, a rented old farmhouse near the village of South Mimms, Hertfordshire in late February 1968. There, while waiting for the arrival of new musical instruments and equipment, they continued the search for a singer through an advertisement in the British music paper "Melody Maker". Rod Stewart was among the dozens of aspiring vocalists that were considered for the auditions, but was not up to the standards the band required. They chose Rod Evans instead, who was already the singer of the club band The Maze. Evans brought along after the audition his 19-year-old bandmate Ian Paice, a drummer whom Blackmore recognised from his days in Hamburg. They quickly improvised an audition for Paice and he was chosen on the spot to replace Woodman behind the drum kit. Woodman was unhappy with the direction the band was heading and the other members thought that he was not suited for their sound.


title: Shades of Deep Purple

text: The first rehearsals of what would be known as the Mk. I line-up of Deep Purple involved mostly jamming and some work on the instrumentals "And the Address" and "Mandrake Root", which Blackmore and Lord had written earlier that year. Mandrake Root was also the name of an earlier band that Blackmore had been trying to form in Germany, before being contacted by Roundabout's management. After the two instrumentals, the first proper song to be arranged was "Help!", a Beatles cover that Chris Curtis wanted to include in an eventual album. Evans wrote some lyrics for "Mandrake Root" and reduced to one the number of instrumental tracks. Having arranged and rehearsed the first three songs, the musicians focused their attention on "I'm So Glad", a song by Skip James which had earlier been covered by Cream and The Maze. The next addition during rehearsals was "Hey Joe", a song originally, but disputably, written by Billy Roberts and mistakenly credited to Deep Purple on original releases of the album. The main inspiration for the new arrangement of the song was the 1966 hit version by American guitarist Jimi Hendrix, but the track length was stretched with the inclusion of classical-influenced instrumental sections. The band also selected a pop rock song called "Hush", written by Joe South for Billy Joe Royal the previous year, which Blackmore had heard while in Germany.


title: Shades of Deep Purple

text: With a possible set list shaping up during rehearsals, Blackmore convinced a friend of his, Derek Lawrence, to be the band's producer. They had met years before, when both worked for producer Joe Meek and Lawrence ran an independent production company that recorded singles for release in the United States. Lawrence had many contacts in the US and was present at some of Roundabout's sessions, remaining impressed.


title: Shades of Deep Purple

text: Through Lawrence, HEC Enterprises contacted the new American record label Tetragrammaton Records, which was looking for a British band to work with. HEC arranged for the band to cut some demos for the American label in late March and early April at Trident Studios in London. They taped two of their previously developed songs, "Hush" and "Help!", as well as two new songs: "Love Help Me" had already been developed before Evans and Paice joined, while "Shadows" was quickly written and arranged by the band for those recording sessions. Lawrence also played the demo of "Help!" to the British recording company EMI, which offered a deal for distribution in Europe with its sub-label Parlophone. All the demos, with the exception of "Shadows", were sent to Tetragrammaton for approval.


title: Shades of Deep Purple

text: The recording of the demos was followed by a short promotional tour of eight dates in Denmark and Sweden through April and May, booked as Roundabout by a friend of Lord. The band name was changed at this time, after Blackmore suggested the title of his grandmother's favourite song, "Deep Purple" by Peter DeRose. Deep Purple played their first gig at the venue of Vestpoppen - a club set up on Parkskolen - a school and youthclub on 76 Parkvej in Taastrup, Denmark on 20 April 1968 and the live set comprised all the new songs and the cover of "Little Girl", originally by John Mayall and Eric Clapton. When they returned to England, Tetragrammaton confirmed the decision to sign the band. This was a saving grace, because HEC had spent nearly all their budget for promotion and equipment. The band relocated to Highleigh Manor, in Balcombe, West Sussex, because Deeves Hall was no longer available.


title: Shades of Deep Purple

text: While the band was on tour, some studio time had been booked and on Saturday, 11 May 1968, Deep Purple went into Pye Studios at ATV House in London. There, with Lawrence producing and Barry Ainsworth acting as engineer, they recorded the recently gigged material using a four-track tape machine. It was custom in those years, especially for debut bands, to have small production budgets, which allowed very limited time in the recording studio. Under these conditions it was difficult to do many overdubs and the songs were recorded live in one or two takes. "And the Address" and "Hey Joe" were cut first, followed by "Hush" and "Help!" later the first day. On Sunday, "Love Help Me", "I'm So Glad" (with a classical music prelude entitled "Happiness") and "Mandrake Root" were recorded. Finally, on Monday, 13 May, "One More Rainy Day" was cut, completing the recording of the album. Sound effects extracted from a BBC album were added as transitions between songs during mixing, which was completed later the same day.


title: Shades of Deep Purple

text: The finished album was taken to Tetragrammaton's representatives in London, who approved its release. After the final approval, the band members were dressed in fashionable costumes at the Mr. Fish Emporium, where they did a photo-shoot. The resulting shots were shipped with the master tapes to America where Tetragrammaton began production and distribution of the album. The cover design by Les Weisbrich allegedly cost half a million dollars.


title: Shades of Deep Purple

text: The single "Hush" was released overseas in June 1968 and it turned out to be a huge success, garnering the band considerable attention and peaking at No. 4 on the US charts and at No. 2 on the Canadian charts. The label's reluctance to release "Help!" as the promotional single and instead go for "Hush", proved ingenious. Widely distributed and hyped, the song was played on radios all over the US, particularly the West Coast, and the band's fame grew considerably. The album was released in the United States in July 1968 and reached No. 24 on the Billboard Pop Chart.


title: Shades of Deep Purple

text: "Hush" was released in the UK in late July, but it did not attract much interest. In August, an appearance on British TV at the "David Frost Show" to lip-sync the song was shot with the roadie Mick Angus standing in for an unavailable Blackmore. However, their presence on TV did not help the sales of the single in the UK and made Parlophone postpone the release of the album.


title: Shades of Deep Purple

text: The band recorded some radio sessions for the John Peel's "Top Gear" radio show on BBC, but otherwise, England in general was not their priority. Those recordings recently resurfaced and are included in the compilation album "BBC Sessions 1968–1970". "Shades of Deep Purple" was finally released in the United Kingdom with much simpler cover art in September 1968 and went almost unnoticed there. Jon Lord, in an interview with the magazine "Beat Instrumental", reflected on the scarce receptivity of England to his group and on how lucky the band was to be signed to an American label that gave Deep Purple "far greater freedom both financially and artistically" than they "could ever have got with a British company", which "as a rule won't spend any time or effort with you until you're an established name".


title: Shades of Deep Purple

text: A monaural pressing of the album was released in the UK and Europe, which was simply a fold-down of the stereo mix.


title: Shades of Deep Purple

text: "Shades of Deep Purple" was reissued many times all over the world, often in a set with the two following albums recorded by the Mk. I line-up. Besides the original issues, the most significant version of the album is the Remastered CD edition released in 2000 by EMI, which contains as bonus tracks previously unreleased recordings from the first demos in April 1968 and from TV show appearances. All the songs were digitally remastered and restored by Peter Mew at Abbey Road Studios in London, cutting off the sound effects used as transitions in the original edition.


title: Shades of Deep Purple

text: Deep Purple's members were experienced musicians with different musical backgrounds: Lord had trained in classical music and had played in jazz and blues rock ensembles, Blackmore and Simper came from session work in pop rock, Paice and Evans from beat bands. However, no one was an accomplished songwriter. The only one with experience in musical composition was Lord, who wrote the arrangements and the bulk of the music for the first album, with some guitar riffs added by Blackmore. The album shows the potential of the band but does not focus on a distinct sound. Clearly identifiable on the album are the musical styles which were developing in the UK in that period and that influenced the young musicians in Deep Purple, a mix of psychedelic rock, progressive rock, pop rock and hard rock, the latter mostly evident in Blackmore's guitar parts.


title: Shades of Deep Purple

text: Traces of the heavy sound that would mark the production of Deep Purple's "Mk. II" line-up (when Evans and Simper were replaced by Gillan and Roger Glover) can already be heard in the opening instrumental "And the Address" and in "Mandrake Root". The main riff of the latter is very similar to the one in the song "Foxy Lady", a testimony of Blackmore's admiration for Jimi Hendrix. The other original compositions, the ballad "One More Rainy Day" and "Love Help Me", are pop rock songs that enhance the commercial appeal of the album, but are considered by critics less interesting than the cover songs.


title: Shades of Deep Purple

text: The use of so many cover songs to fill up the album was a common feature at the time, because of the short time given to bands for songwriting and for the rushed schedules of production. The songs covered in the album were all treated with new arrangements to be considerably longer and sound more grandiose than the originals, in an attempt to emulate the American rock band Vanilla Fudge, which many Deep Purple members admired. "Hush" and "Help!" are clear examples of the "Vanilla Fudge style of slowing a song down and bluesing it up" to get a more psychedelic sound. The sound of the band was also heavily influenced by classical music: "I'm So Glad" is introduced by "Prelude: Happiness", featuring an electric arrangement inspired by the first movement of Nikolai Rimsky-Korsakov's symphonic suite "Scheherazade"; the cover of "Hey Joe" was arranged inserting parts taken from the Miller's Dance, suite no. 2, part 2 of "El sombrero de tres picos" ballet by Manuel de Falla, on a rhythm reminiscent of the "Boléro" by Maurice Ravel.


title: Shades of Deep Purple

text: Deep Purple's live shows were from the start very loud and hard rocking and their stage set included stacks of custom purple vinyl Marshall amps and fancy dresses. The dualism between Blackmore's flamboyant guitar playing, which he had honed in many years of daily practice and experimented on tour with Sutch, and Lord's rocking Hammond solos was still in an embryonic stage, but it would soon become an integral part of the band's dynamics.


title: Shades of Deep Purple

text: Deep Purple debuted at The Roundhouse Theatre in London on 6 July 1968, opening for The Byrds, before The Gun and The Deviants. Their performance was badly received by the audience and by other attending musicians, including Mick Jagger. In spite of this, the band went on playing their live set in local pubs and festivals, but were received coldly and ignored by the press. In an interview with "Melody Maker", Ian Paice explained that their lack of touring and promotion in England was due to the low wages they were offered and to the fact that they had very few danceable numbers to attract audience. He stressed that "we make a point of warning promoters that we are not a dancing group."


title: Shades of Deep Purple

text: Waiting to start their first US tour and in need of new material to be offered on the American market and to beef up their live show, the band returned to the studio with producer Derek Lawrence to record their second album, "The Book of Taliesyn", in August 1968. The new album was recorded before the release of "Shades of Deep Purple" in the UK.


title: Shades of Deep Purple

text: By October, Deep Purple set off to the States to start their US tour. The success of "Hush" was a giant boost in America and from their first gigs they received all the attention they had not been given in England. The first dates were at The Inglewood Forum on 18 and 19 October 1968, supporting Cream in their farewell tour. A recording of those live performances was released in 2002 with the title "Inglewood – Live in California". The band played at many different locations, including festivals, bars and even at the "Playboy After Dark" TV show, alongside Hugh Hefner and a bunch of dancing women.


title: Shades of Deep Purple

text: The songs of this album were performed regularly by the Mk. I formation of Deep Purple, but only "Hush", "Help!" and "Hey Joe" found space for a limited time in the live shows of the Mk. II line-up in 1969. However, "Mandrake Root", in an expanded and mainly instrumental version, was a staple in Mk. II live shows up until 1972, and the instrumental sections of the song survived even longer, being annexed to live versions of the "Machine Head" recording "Space Truckin'". The opening chords of "And the Address" were used into the Mk. II era as an introduction to the song "Speed King". "Hush" was re-recorded in 1988 and is still an integral part of the live set of the current formation of the band.


title: Shades of Deep Purple

text: Despite being presented as a "polished commercial group" in their radio appearances, Deep Purple's stage excesses and success in the US did not make a good impression on British audiences. The Deviants frontman and later journalist Mick Farren described Deep Purple's music as "a slow and pompous din, somewhere between bad Tchaikovsky and a B-52 taking off on a bombing run". They were also criticised for being too American and the "poor man's Vanilla Fudge". As Brian Connolly of Sweet recalled, "they were so out of place that you really felt sorry for them."


title: Shades of Deep Purple

text: By contrast, in the US the band was often introduced as "the English Vanilla Fudge" and massive radio coverage of their songs granted success for both the album and tour. Ian Paice said of their success in the US versus their lack of it back home, "We have been given proper exposure over there. The Americans really know how to push records."