title: Degrassi Junior High

text: The theme song that accompanies the opening sequence is an upbeat track sung by show co-composer Wendy Watson, in the key of C major and driven by synthesizers and guitars. It begins with a pessimistic tone, with the narrator feeling uncertain about going to school. The lyrics turn optimistic as the narrator notices "that someone is smiling right at me". It concludes with the lyrics "Everybody can succeed, all you need is to believe/Be honest with yourself, forget your fears and doubts/Come on give us a try at Degrassi Junior High!". Anne Weiss of Cinema Canada magazine described the theme song as having a "chirpy, almost inane melody". Shamus Kelley of Den of Geek called it ""inspirational", and said: "For a show that’s all about slice of life and dealing with big problems, it’s perfect." but had mixed feelings about the visuals, feeling that its emphasis on random shots of characters did not properly establish them. An instrumental variation of the opening theme is used in the end credits. The theme song was later reworked with different lyrics for "Degrassi High".


title: Degrassi Junior High

text: In an unconventional practice for television, "Degrassi Junior High" did not have a makeup and wardrobe department. The cast would usually wear their own clothes and apply their own makeup, although the art department would tweak their appearances for continuity purposes. Neil Hope, who played Derek "Wheels" Wheeler, stated: "It's looking phony. [...] When you look more natural, its helping the show." Some of the clothing choices however were not of the actors; actress Nicole Stoffman did not dress like her sexually provocative character Stephanie Kaye. However, the "outrageously-coiffed" hair of character Christine "Spike" Nelson, was the real hair of actress Amanda Stepto, who was an avid fan of punk rock music.


title: Degrassi Junior High

text: Degrassi Between Takes is a half-hour documentary special that aired on 30 October 1989, a week before the premiere of the sequel series "Degrassi High", on CBC. The documentary is a behind-the-scenes look at "Degrassi Junior High", shot during the show's third season and narrated by Peter Gzowski. The special focuses on the development and impact of the series, with footage of the cast at the Gemini Awards, working on set, socializing in public and on publicity tours.


title: Degrassi Junior High

text: The series premiered on CBC on 18 January 1987 and concluded on 27 February 1989. From its debut, the show ran on Sundays at 5:00p.m. Starting from its second season, due to a budget squeeze, it was then moved to Monday nights at 7:30p.m, and then later by then-new CBC programming chief Ivan Fecan, who championed the series to primetime at 8:30p.m, between the popular American series "Kate & Allie" and "Newhart". Fecan was one of the biggest proponents of the series and viewed it as a standard for Canadian television writers; in 1988, he stated that there was "nothing bogus about that show", and that he wished that he had "20 more shows like it". When Fecan called Schuyler to inform her of the move, she reportedly disagreed, feeling that the series wasn't ready for prime time. She eventually agreed to the decision, under the condition that if the move was unsuccessful, the series wouldn't be cancelled and instead be moved back to its original timeslot. Following its move to prime time, the viewership increased 40 percent.


title: Degrassi Junior High

text: In the United States, the Public Broadcasting Service (PBS) debuted the series on 26 September 1987. On PBS, the show aired on Saturdays at 7:00p.m. In New York City, the series aired on Tuesdays at 6:00p.m. on WNET starting from 22 September 1987. The first two thirteen-episode seasons were aired as one twenty-six-episode season during the 1987–88 television season. The third season premiered in the United States on 10 December 1988 with the series finale airing on 15 April 1989. The program was distributed through PBS member station WGBH-TV in Boston, who also offered financial support for the show. Due to PBS's lack of commercials, the American airings often featured scenes that were not seen in Canada.


title: Degrassi Junior High

text: By November 1988, Degrassi Junior High was being shown in over forty countries, including Australia, Greece, China, France, and the United Kingdom. In the United Kingdom, where it began airing on the BBC starting from 5 April 1988, several episodes from the first season were banned, including several episodes about Spike's pregnancy and the episode "Rumour Has It", which involved rumors of a teacher and a student being homosexual. Despite the banned episodes airing on DEF II on BBC2, the rest of the series was not aired. The series concluded its BBC run on 10 May 1988, with re-runs of the aired episodes from the first season continuing into 1989. In Australia, the show debuted on ABC TV on 8 February 1988, as part of "The Afternoon Show" hosted by James Valentine, where it aired at 5:00p.m. The series finale aired in Australia on 10 October 1989.


title: Degrassi Junior High

text: In France, "Junior High" and "High" were aired under the banner "" (The College Years) on Antenne 2 starting from September 10, 1988.


title: Degrassi Junior High

text: In Canada, the series re-ran on CBC starting from summer 1991. On 1 September 1997, the show began to air in re-runs on Showcase. In the United States, the series was rerun on Showtime starting from 14 August 1994, in its original 1987 CBC timeslot. Starting from 8 October 2005, coinciding with the premiere of "Degrassi: The Next Generation"'s fifth season, the show along with its sequel debuted on the Noggin block The N with a two-hour block, followed by standard re-runs.


title: Degrassi Junior High

text: In Australia, re-runs aired starting on ABC from 1992. It later re-ran on ABC1's Rollercoaster and ABC2. By 2001, it had been syndicated in over seventy countries. In the United Kingdom, UK Gold screened "Degrassi Junior High" daily starting from its launch in 1992. Later in the mid-1990s, "Degrassi Junior High" later reran on The Children's Channel.


title: Degrassi Junior High

text: The series was often shown in schools as part of health and sex education curricula. Educational materials relating to the series were released by WGBH in the United States during its original run, including discussion & activity guides. 25,000 copies of the "Degrassi Junior High Discussion and Activity Guide" were distributed to educators. In 1989, ten schools in Omaha, Nebraska were reported as using the first season of the series in their seventh and eighth grade human growth and development curriculum.


title: Degrassi Junior High

text: The series has seen multiple home video releases as well as releases to streaming. In the United States, the series is distributed on home video by WGBH Boston Home Video, who released a twenty-one volume VHS boxset in 2000. WGBH would later release it on DVD in Region 1 in 2005. Each season was released separately followed by a complete 9-disc boxset. The 2005 WGBH box set, as well as the individual sets, include various special features, including the "Degrassi Talks" series, the 1989 "Degrassi Between Takes" documentary, printable materials, wallpapers, and a pop quiz.


title: Degrassi Junior High

text: In Region 4, the show's home media releases are distributed by Beyond Home Entertainment (under the imprint Force), who released a seven-disc set in 2006, including an extra disc containing special features. The special features are similar to the Region 1 box set, omitting the pop quiz. The series was also made available on YouTube.


title: Degrassi Junior High

text: "Degrassi Junior High" was a critical and commercial success as well as a cultural phenomenon in Canada, where it is considered one of the country's greatest television achievements. It established the franchise's popularity and longevity. According to American psychiatrists David A. and Beatrix Hamburg, research on adolescent reactions to the series found that young viewers found it "exceptionally appealing", highly effective in presenting their issues, and successful in stimulating in-depth discussion. Favourable reviews regularly came from critics from the "Toronto Star", the "Globe and Mail", the "Ottawa Citizen", and the "Montreal Gazette". The Canadian press, including CBC itself, celebrated the series and its international success and considered it to be one of the most groundbreaking and one of the greatest children's television series of all time. In particular, "Toronto Star" film and television critic Jim Bawden's regular championing of the series was credited by cast member Stefan Brogren with influencing its move to prime time. After its move to prime time, critics felt it had been well deserved.


title: Degrassi Junior High

text: It was also a cult hit and received favourable reviews in the United States. Speaking of the show's upcoming premiere on PBS, Fred M. Hechinger of the "New York Times" pondered whether the show's then-uncommon way of addressing adolescent issues would have an impact; "Can teen-agers be won over to entertainment that is not mindless, violent or sexually irresponsible?". In 1989, in the lead-up to the premiere of its third season, the series was profiled by John Fisher Burns, also of the "New York Times", who asserted it was "remolding the pat-a-cake image of what the industry, with at least some sense of paradox, likes to call <nowiki>"</nowiki>children's television.'" Writing for New Jersey's "The Record", Joel Pitsezner remarked that he was so impressed with the series that he skipped two press conferences to watch more episodes, citing in particular the "intelligent and sensitive writing" of Yan Moore, the "believable interplay" between the actors, and in particular the portrayal of the "pain and awkwardness of the early teen years", the latter of which he believed to be its best quality.


title: Degrassi Junior High

text: Praise for the series was often directed to its portrayal of controversial topics, its casting choices, character development, balance of comedy and drama, cinematography, writing and low-budget production, which critics felt offered a more sincere and realistic depiction of adolescence in opposition to other youth and family-focused television programs of the period, which were widely viewed as trivializing serious issues and leaning heavily towards moralism. Writing for the "Edmonton Journal", Bob Remington described the show and its characters as an exception to the "unrealistically antiseptic" television series such as "The Cosby Show" and "Our House". Dave Rhein, in a review for wire service Gannett, declared that it "put to shame" other efforts to make a realistic show targeted towards teenagers. Other critics, including Janice Kennedy of the "Montreal Gazette", who also often covered the series in her "Children's Television" column, and Anne Weiss of "Cinema Canada" magazine, praised the show's cinematography; Kennedy praising the producer's decision to shoot on film instead of video tape, and Weiss suggesting its "highly developed psychological use of the camera" was influenced by soap operas. The portrayal of the characters was praised by Steve Sonsky of the "Miami Herald", who felt that it differentiated the series from others with teenage characters that were less realistically problematic.


title: Degrassi Junior High

text: Retrospectively, the series has continued to receive critical acclaim. Ian Warden of "The Canberra Times", speaking of the show's continued reruns on ABC-TV, asserted in 1995 that it was "perhaps the best sustained piece of children's television drama ever made". In 2000, Leah McLaren of the "Globe and Mail" would recall disliking the series with her friends as a teenager, before later appreciating the "raw beauty" of the series as an adult. In addition, McLaren called it "way ahead of its time, both aesthetically and conceptually". "Ottawa Citizen" critic Tony Atherton, in a mixed review of the of "Degrassi: The Next Generation," made numerous comparisons between the characters of the older and newer series, and felt that due to the "deluge of teen dramas since". "Next Generation" would not make the same impact as the "groundbreaking" original series. David Berry of the "National Post" noted the difference between the show and the "slicker" "Next Generation", saying that it was "like someone snuck a piece of avant-garde socialist realism onto mainstream network airwaves".


title: Degrassi Junior High

text: Reviewing the DVD release of its first season in 2007, Andrew Mickel of "Den of Geek" felt the show still held up twenty years after its debut, and singled out the character of Joey Jeremiah, which he compared to Ferris Bueller, as being a "big casting draw". Although also praising the series for its realism and sincerity, "Exclaim!"'s Noel Dix felt that the DVD release leaned too much towards having an educational purpose rather than having "the fans in mind". Brodie Lancaster of the "Sydney Morning Herald" commented on the age-appropriate casting, calling it a "rare occurrence in the genre" of teen drama.


title: Degrassi Junior High

text: In Canada, the show reached a quarter of the adolescent viewing audience aged 12 to 17. In total, it received a 4 percent share of the viewing audience, which translated to several million viewers, despite minimal funding from the US public broadcasting system. By season two, "Degrassi Junior High" was receiving an average of 1.4 million viewers with a peak of 1.9 million, aided by its move to a prime time slot. The show's season 3 premiere, the two-parter "Can't Live With 'Em", drew 1.7 million viewers. The number accounted for 21 percent of the entire audience during that slot. By 1988, Degrassi Junior High was the highest-rated drama series in Canada.


title: Degrassi Junior High

text: In the United Kingdom, the series drew in six million followers by 1988, making it the highest-rated children's television series in the country, despite the BBC banning several of its episodes.


title: Degrassi Junior High

text: "Degrassi Junior High" has received twenty-eight awards, including eight Gemini Awards, three Parents' Choice Awards, three Chris Awards, and one International Emmy Award. The series won a Rockie Award for Best Continuing Series at the Banff Television Festival in 1988, where it drew praise from MTM Enterprises senior vice president and judge Laurence Bloustein, and marked the first time it had won an award outside of children's categories. Despite the win, the next year's festival saw an episode that addressed AIDS unanimously rejected for being "sloppily executed". The episode "It's Late" won the International Emmy Award for Children & Young People in 1987, and the series was nominated again for the award in 1988 for the second season episode "Great Expectations".


title: Degrassi Junior High

text: Out of the eight Gemini Awards won by the series, including one won in 1987 for Best Children's Series, it won four in 1988, including Best Continuing Dramatic Series, and Best Direction in a Dramatic Comedy Series for Kit Hood. When one award was announced, thirty four cast members took the stage. Furthermore, actors Pat Mastroianni and Stacie Mistysyn won the Best Leading Actor and Best Leading Actress in a Dramatic Role awards in 1988 and 1989 respectively. Mastroianni's win in particular was considered an upset, as he had beaten several established Canadian actors such as Scott Hylands and Donnelly Rhodes. Nineteen members of the cast, including Mastroianni, Mistysyn, Amanda Stepto, Stefan Brogren and Neil Hope were nominated for the Young Artist Award for Outstanding Young Ensemble Cast in 1990, but lost to "A Mother's Courage: The Mary Thomas Story."


title: Degrassi Junior High

text: "Degrassi Junior High" was one of the first drama series in Canada to exclusively target teenage audiences. Michelle Byers. editor of "Growing Up Degrassi", states that while largely excluded from most discussions about teen television, "Degrassi" was "probably one of the earliest examples of the genre". According to the book "The Greatest Cult Television Shows of All Time," the series was a trailblazer for future teen-oriented drama series "mainly because it understood teenage culture better than almost any other show produced before or since". The series is widely described as an early teen drama and an influence on several key series of the genre. most specifically "Beverly Hills, 90210," which "Degrassi Junior High" is frequently compared to. For many years, an urban legend, supported by Pat Mastroianni, circulated that American television producer Aaron Spelling had attempted to adapt the series for a US audience, but was unsuccessful, and instead created "Beverly Hills, 90210." Linda Schuyler denied the rumor in 2008, but indicated Spelling may have been aware of "Degrassi". "The Guardian"s Sarah Hughes suggested that "Beverly Hills, 90210" was "Spelling's answer" to "Degrassi Junior High". Writing about the death of actor Neil Hope, the "New York Times"s Paul Vitello said the show anticipated "Beverly Hills 90210" as well as the MTV's "The Real World". It has also been named as an influence on "Dawson's Creek", "7th Heaven", and "Felicity". Various academic studies have been written about the comparison between "Degrassi" and American teen drama series.


title: Degrassi Junior High

text: The cast members became national celebrities as a result of the show's success. They would often embark on promotional tours across North America and even in Europe for the series during its run. They were primarily accompanied by Kathryn Ellis, who acted as the publicist. When travelling by plane, one of the actors would be in charge of checking the others through the airport. They were warmly received in most places, and participated in various cultural activities. The actors frequently visited Halifax, Nova Scotia in particular.


title: Degrassi Junior High

text: The success of the show led to the actors making appearances at public service events. For instance, Bill Parrott, who played Shane McKay, co-hosted the launch of the Kids Help Phone hotline in Toronto. The actors often participated in meet-and-greets and book signings at shopping malls and other places, where they drew a reaction comparable to Beatlemania. The actors were also sometimes conflated with their characters by fans and viewers. Amanda Stepto, who portrayed Spike, was mistaken for being pregnant like her character, and often received baby products and toys. Kit Hood expressed his concerns over the fan reactions: "That's what scares me is that the audience sometimes expects the kids to have knowledge about their characters that they don't have in real life".


title: Degrassi Junior High

text: Despite their international fame, and an on-set tutor, the actors were still required to attend school, and some recalled their teachers not being lenient about their busy schedules. Pat Mastroianni recalled that his geography teacher gave him a low grade despite succeeding in other subjects; Rebecca Haines recalled her parents threatening to remove her from the show if her grades were low enough. Speaking to the Edmonton Journal, Haines stated: "Some teachers can be jerks about it. [...] When you get home at eight at night, after working all day, you don't feel like writing an essay".


title: Degrassi Junior High

text: In 1989, UNICEF Canada entered a partnership with "Degrassi Junior High", with the cast being named UNICEF Goodwill Ambassadors. The cast members would make various appearances and appear in several public service announcements. Pat Mastroianni and Amanda Stepto flew to New York City to tour the Headquarters of the United Nations and meet other ambassadors. That same year, coinciding with the Convention on the Rights of the Child (which was ratified by Canada in 1991), a ten-minute video called "The Degrassi Kids Rap On Rights" that was distributed in Canadian schools nationwide. The video, narrated by Amanda Stepto, focused on the impending ratification of the Convention and highlighted the childhood experiences of several cast members in refugee camps and natural disasters.


title: Degrassi Junior High

text: American filmmaker Kevin Smith was a particular fan of "Degrassi Junior High", having discovered it while working at a convenience store in New Jersey, and acknowledged an infatuation with Stacie Mistysyn and her character Caitlin Ryan. Smith wrote a piece about his enthusiasm for the series for Details magazine in November 1996, where it is claimed that he spent $3,000 on the series on home video. Smith has referenced the series several times in his work, including Clerks, which features a character named Caitlin Bree, and "Chasing Amy". He attempted to cast Mistysyn in his 1995 film Mallrats in the role of Rene Mosier, but was denied by Universal Pictures, who wanted a better-known name. As a compromise, Smith made Shannen Doherty, who got the role, wear a "Degrassi" jacket for the character. Smith, along with Jason Mewes, guest-starred on and wrote several episodes of "Degrassi: The Next Generation," in which they play fictional versions of themselves filming a Jay and Silent Bob movie at the school. Smith later wrote the introduction to "The Official 411: Degrassi Generations" by Kathryn Ellis.


title: Degrassi Junior High

text: Reviewing the 2005 film "Harry Potter and the Goblet of Fire", Boston Globe critic Ty Burr quipped that it sometimes felt like ""Degrassi Junior High" with dragons".


title: Degrassi Junior High

text: The series endured a significant cult following after its initial broadcast. Throughout the 1990s, an online fan community emerged, with the creation of various fansites about "Degrassi Junior High" and its sequel series. The fan sites, part of a webring created by Mark Aaron Polger, featured multimedia related to the show and spawned fan fiction, including a 1998 story called "Degrassi: The Next Generation" that centred around Spike's daughter Emma and included a character named Paige, similar to the that debuted in 2001. In 1996, a website named "Degrassi Update" appeared which chronicled public sightings of the "Degrassi Junior High" cast and drew mixed responses from cast members. A small reunion was organized on 24 August 1999 at Centennial College where the sequel series was filmed, and the cast reunited on the CBC youth show Jonovision, hosted by Jonathan Torrens, on 24–25 December 1999. The Jonovision reunion, which according to Torrens saw in-studio viewers attend from as far as San Francisco, served as a catalyst for the development of "Degrassi: The Next Generation."


title: Degrassi Junior High

text: Epitome Pictures (the company that eventually produced "Next Generation") would later send Polger a draft statement of claim over his use of the "Degrassi" name, claiming he was confusing the public, and threatening legal action. After he sent various media outlets a press release, and garnered support from other fans of the series, Epitome withdrew the claim. Polger criticized Epitome Pictures for showing a lack of gratitude for the online community's impact on the show's continued success.


title: Degrassi Junior High

text: In 2017, the series was named by the Toronto International Film Festival as one of Canada's 150 most significant contributions to the cinematic landscape. Pat Mastroianni, after appearing at numerous fan conventions, later organized "Degrassi Palooza," a convention celebrating the legacy of the 1980s "Degrassi" series and featuring a reunion of 26 cast and crew members"," at the Westin Toronto Airport Hotel in mid-June 2019.


title: Degrassi Junior High

text: Starting from 1988, a series of mass-market paperback novelizations were released by James Lorimer & Co. The books would often centre on a particular character on the show and expanded upon storylines from the series, although the novel "Exit Stage Left," which centres around various students as they organize a school play, is original. A thirteenth book, based on the characters Arthur Kobalewscuy and Yick Yu and written by Kathryn Ellis, remains unreleased.


title: Degrassi Junior High

text: The books were also published in other places; in Australia, they were published by ABC in November 1990, with more published in January 1991. The books also saw French Canadian releases by Les Éditions de Minuit.


title: Rachel Lindsay (television personality)

text: Rachel Lynn Lindsay-Abasolo (born April 21, 1985) is an American media personality and attorney. She is best known for her role as a contestant on the twenty-first season of ABC's "The Bachelor" and as the lead of its spinoff, "The Bachelorette", in its thirteenth season. She was the first African-American lead in the Bachelor franchise. Lindsay is married to the winner of her "Bachelorette" season, chiropractor Bryan Abasolo. She is a correspondent for "Extra" as well as a co-host of the "Higher Learning" podcast alongside Van Lathan on The Ringer platform. Lindsay was also a partial owner of the FCF Shoulda Been Stars Indoor Football Team.


title: Rachel Lindsay (television personality)

text: Born and raised in Dallas, Lindsay is the daughter of beauty consultant and former computer programmer Kathy and federal judge Sam A. Lindsay. She has an older sister, Constance, and a younger sister, Heather.


title: Rachel Lindsay (television personality)

text: Lindsay obtained her Bachelor's degree from The University of Texas at Austin where she studied kinesiology and sports management and is a member of Delta Sigma Theta sorority. She received her J.D. degree from Marquette University in Milwaukee, Wisconsin. Lindsay became licensed to practice in the state of Texas on November 4, 2011.


title: Rachel Lindsay (television personality)

text: Lindsay worked as a legislative intern for Texas State Senator Royce West and had interned with the Milwaukee Bucks. She then worked at the law firm Cooper & Scully, P.C.


title: Rachel Lindsay (television personality)

text: In July 2018, Lindsay was a guest host on ESPN's "First Take". Later that year, she started hosting "Football Frenzy", a new ESPN radio show, alongside former Dallas Cowboys Linebacker Bobby Carpenter.


title: Rachel Lindsay (television personality)

text: In May 2020, Lindsay launched a podcast "Higher Learning" with co-host Van Lathan. She has also been a co-host of the Bachelor Happy Hour podcast since it debuted in July 2019.


title: Rachel Lindsay (television personality)

text: On January 25, 2022, she released her book, "Miss Me With That: Hot Takes, Helpful Tidbits, and a Few Hard Truths".


title: Rachel Lindsay (television personality)

text: Lindsay was a contestant on Nick Viall's season of "The Bachelor". She received the first impression rose on night one. She placed third overall, losing to runner-up Raven Gates and winner Vanessa Grimaldi.


title: Rachel Lindsay (television personality)

text: Lindsay was announced as the Bachelorette on February 13, 2017, while she was still in contention for Nick Viall's final rose. For Lindsay's season ABC had cast the most diverse cast in Bachelor franchise history. In the end, Lindsay chose Miami native Bryan Abasolo, a doctor of chiropractic, over Peter. The engaged couple lived in Dallas before moving to Miami in early 2019. They married in August 2019.


title: Rachel Lindsay (television personality)

text: Lindsay returned with Abasolo during Becca Kufrin's season of "The Bachelorette" to host the first group date. She also made an appearance during season 16 of The Bachelorette which first featured Clare Crawley as the lead followed by Tayshia Adams.


title: Rachel Lindsay (television personality)

text: Lindsay appeared in one episode of "The Bachelor Winter Games" where she judged a kissing contest along with JoJo Fletcher and Arie Luyendyk.


title: Rachel Lindsay (television personality)

text: On September 10, 2019, "" premiered on MTV, the series is hosted by Lindsay alongside artist and actor Travis Mills. In this series, Mills and Lindsay assist people in confronting former friends or partners after being ghosted.


title: Rachel Lindsay (television personality)

text: In May 2020, it was announced that Lindsay was in talks with 20th Television to host and co-executive produce a syndicated court show, "Judge Rachel's Court", expected to debut in September 2021.


title: Rachel Lindsay (television personality)

text: Lindsay started working for Extra as a special correspondent in 2019. In August 2020, it was announced that she would be a full-time correspondent for season 27. She started her tenure on September 8.


title: Rachel Lindsay (television personality)

text: Lindsay is married to Bryan Abasolo, who won Season 13 of "The Bachelorette". She and Abasolo married on August 24, 2019 in Cancun, Mexico.


title: Cameron–Clegg coalition

text: The Cameron–Clegg coalition was formed by David Cameron and Nick Clegg when Cameron was invited by Queen Elizabeth II to form a new administration, following the resignation of Prime Minister Gordon Brown on 11 May 2010, after the general election on 6 May. It was the UK's first coalition government since the Churchill caretaker ministry in 1945. The coalition was led by Cameron as Prime Minister with Clegg as Deputy Prime Minister and composed of members of both Cameron's centre-right Conservative Party and Clegg's centrist Liberal Democrats.


title: Cameron–Clegg coalition

text: The Cabinet was made up of sixteen Conservatives and five Liberal Democrats, with eight other Conservatives and one other Liberal Democrat attending cabinet but not members. The coalition was succeeded by the single-party, second Cameron ministry after the 2015 election.


title: Cameron–Clegg coalition

text: The previous Parliament had been dissolved on 12 April 2010 in advance of the general election on 6 May. The election resulted in a hung parliament, no single party having an overall majority in the House of Commons, the Conservatives having the most seats but 20 short of a majority.


title: Cameron–Clegg coalition

text: In the Conservative–Liberal Democrat coalition agreement of 11 May 2010, the two parties formed a coalition government. The new Parliament met on 18 May for the swearing-in of Peers in the House of Lords and newly elected and returning Members of Parliament in the House of Commons, and the election for the Speakership of the House of Commons. The Queen's Speech on 25 May set out the government's legislative agenda. Of the 57 Liberal Democrat MPs, only two refused to support the Conservative Coalition agreement, with former leader Charles Kennedy and Manchester Withington MP John Leech both rebelling.


title: Cameron–Clegg coalition

text: The Liberal Democrats had five Cabinet members, including Nick Clegg as Deputy Prime Minister – though after the Cabinet and ministerial reshuffle, David Laws, who was a minister of state, was allowed to attend the Cabinet but was not a full member. If a Liberal Democrat minister resigned or was removed from office, another member of the same party would have had to be appointed to the Cabinet.


title: Cameron–Clegg coalition

text: Each cabinet committee had a chair from one party and a deputy chair from the other; there was also a cabinet committee specifically overseeing the operation of the coalition. Both parties' ministers shared collective responsibility for the government's positions, although the coalition agreement detailed several issues on which the parties agreed to differ; the Liberal Democrats abstained from voting in such cases. Clegg, as Deputy Prime Minister, took Prime Minister's Questions (PMQs) when Cameron was unavailable.


title: Cameron–Clegg coalition

text: Key decisions were made by a core group called the "Quad", made up of Cameron, Clegg, Chancellor of the Exchequer George Osborne and Chief Secretary to the Treasury Danny Alexander, which decided "all major matters of policy" and resolved disputes between the two parties.


title: Cameron–Clegg coalition

text: While the government's front benchers sat together in the House of Commons and the two parties acted as a bloc during PMQ, the Liberal Democrat and Conservative backbenchers sat apart and each had their own whips, and the two parties competed in by-elections. On 4 September 2012, David Cameron reshuffled his cabinet for the first time. He reshuffled his cabinet for the second time on 14 July 2014.


title: Isabella Sermon

text: Isabella Sermon (born 8 July 2006) is a British actress who is known for her role as Maisie Lockwood in the "Jurassic Park" film series.


title: The Fixx

text: The Fixx are a rock band from London, England, founded in 1979. The band's hits include "One Thing Leads to Another", "Saved by Zero", "Are We Ourselves?", and "Secret Separation", each of which charted in the Top 20 of the Billboard Hot 100, as well as mainstream rock chart hits "Red Skies", "Stand or Fall", "Driven Out" and "Deeper and Deeper", which was featured on the soundtrack of the 1984 film "Streets of Fire".


title: The Fixx

text: College friends Cy Curnin on vocals and Adam Woods on drums formed the group in London in 1979, initially calling themselves Portraits. The pair placed an ad for additional members, and recruited keyboardist Rupert Greenall, guitarist Tony McGrail and bassist Russell Mckenzie, the last of whom was later replaced by Charlie Barrett. Portraits issued two singles for Ariola Records: "Little Women" (1979), and "Hazards In The Home" (1980).


title: The Fixx

text: Later in 1980, McGrail left. At this point, the band added guitarist Jamie West-Oram (formerly of Phillip Rambow's band) and changed their name to The Fix. This version of the band recorded for 101 Records, releasing their first single ("Lost Planes") in February 1981. This track, along with several live tracks issued by 101 on various compilations, received some radio exposure on the BBC. In these early days, West-Oram was billed simply as 'Jamie West'.


title: The Fixx

text: The Fix's raised profile eventually led to the group being offered a contract by MCA Records. Worried about the potential drug-user implication of the band's name, MCA insisted on a name change before signing them to the label. A compromise was reached as the band altered the spelling of their name to The Fixx, and a deal was duly inked.


title: The Fixx

text: Barrett left The Fixx just after the recording of their first album, "Shuttered Room", in 1982. This album featured the band's initial hits, "Stand or Fall" and "Red Skies", both of which charted in the US and the UK. The band found particular success in Canada, where "Stand or Fall" reached No. 37. "Stand or Fall" entered the charts in the US on 30 October 1982.


title: The Fixx

text: Barrett was replaced on bass by Alfie Agius for the "Shuttered Room" tour. Agius' stay in the band was short-lived, though, as he left during the 1983 recording of their next album "Reach the Beach", after having recorded four tracks. Agius is credited as co-writer on all the album's tracks, but the group for this album was officially credited as a quartet (Curnin, Greenall, West-Oram and Woods). Agius went on to briefly tour with the hard rock/heavy metal band Fastway that same year.


title: The Fixx

text: "Reach the Beach", produced by star producer, Rupert Hine, became the group's most commercially successful album and was certified Platinum by the RIAA on 5 January 1984. Agius' bass work is featured on the album's first two singles "Saved by Zero" and "One Thing Leads to Another." Both these singles cracked the US top 40, and "One Thing Leads To Another" became the band's biggest-ever hit (No. 1 Canada, No. 4 US). It was during these sessions that bassist Dan K. Brown joined the band. Brown played bass on the third top 40 single from the album, "The Sign Of Fire" and continued with the band on its subsequent tour. Brown became a full member of the band thereafter.


title: The Fixx

text: Curnin and West-Oram played on "I Might Have Been Queen" and "Better Be Good To Me" by Tina Turner on her 1984 album "Private Dancer".


title: The Fixx

text: The 1984 album "Phantoms" contained the hits "Are We Ourselves?" (#29 Can.), the first video in which a mobile phone ever appeared (a modified Motorola KR999), and "Sunshine In The Shade." Another single, "Deeper And Deeper," was initially released as the B-side of "Are We Ourselves?" (and also appeared in an edited version on the soundtrack for the film "Streets of Fire"). This track received substantial airplay on U.S. and Canadian modern rock radio stations.


title: The Fixx

text: In 1985 the Fixx recorded the song "A Letter to Both Sides" for the soundtrack of the film "Fletch". In 1986, they released their fourth album, "Walkabout", featuring "Secret Separation" (No. 1 on "Billboard" Magazine's "Album Rock" chart, No. 49 in Canada) and "Built for the Future." The 1987 album "React", was a compilation of both live and new studio material, after which the band would depart MCA Records.


title: The Fixx

text: In 1989, the Fixx released their first album in nearly three years and only release on RCA Records, "Calm Animals", which contained another hit "Driven Out" (another No. 1 on Billboard's "Album Rock" chart).


title: The Fixx

text: The band returned to MCA for their next album, 1991's "Ink". The album featured "How Much Is Enough?" (No. 27 Canada, No. 35 US).


title: The Fixx

text: Dan K. Brown took a hiatus from the band in 1994. He was not officially replaced, and the band used session musicians on bass in his stead, with Chris Tait playing bass on most recordings and live shows from 1995 through the early 2000s. The four-man line-up (with contributions from Tait and other sessioneers) recorded 1998's "Elemental", as well as the 1999 album "1011 Woodland", on which they re-recorded a selection of previous hits and album tracks.


title: The Fixx

text: In 2002, the Fixx performed Nancy Sinatra's 1960s classic "These Boots Are Made for Walkin'" for an album of cover versions of songs from the 1960s to 1990s called "When Pigs Fly".


title: The Fixx

text: In 2003, the band released their ninth studio album, "Want That Life". Gary Tibbs (formerly a member of Roxy Music, The Vibrators and Adam and the Ants) played bass for this album.


title: The Fixx

text: Long-time bassist Dan K. Brown rejoined the band in 2008, replacing Tibbs. They celebrated 25 years of making music together, with the release of the double-CD "Twenty-fifth Anniversary Anthology" compilation.


title: The Fixx

text: With the classic lineup back intact, the Fixx released their 10th studio album, "Beautiful Friction", on 17 July 2012. The Fixx regularly tour the world.


title: The Fixx

text: On 5 November 2021, The Fixx announced on their website a new single called "Wake Up". The song also featured on their most recent album, "Every Five Seconds", released 3 June 2022. "Woman of Flesh and Blood" and "Closer" are two more singles from the album.


title: On the Jewish Question

text: "On the Jewish Question" is a response by Karl Marx to then-current debates over the Jewish question. Marx wrote the piece in 1843, and it was first published in Paris in 1844 under the German title "Zur Judenfrage" in the "Deutsch–Französische Jahrbücher."


title: On the Jewish Question

text: The essay criticizes two studies by Marx's fellow Young Hegelian Bruno Bauer on the attempt by Jews to achieve political emancipation in Prussia. Bauer argued that Jews could achieve political emancipation only by relinquishing their particular religious consciousness since political emancipation requires a secular state, which he assumes does not leave any "space" for social identities such as religion. According to Bauer, such religious demands are incompatible with the idea of the "Rights of Man". True political emancipation, for Bauer, requires the abolition of religion.


title: On the Jewish Question

text: Marx uses Bauer's essay as an occasion for his own analysis of liberal rights, arguing that Bauer is mistaken in his assumption that in a "secular state" religion will no longer play a prominent role in social life, and giving as an example the pervasiveness of religion in the United States, which, unlike Prussia, had no state religion. In Marx's analysis, the "secular state" is not opposed to religion, but rather actually presupposes it. The removal of religious or property qualifications for citizens does not mean the abolition of religion or property, but only introduces a way of regarding individuals in abstraction from them.


title: On the Jewish Question

text: On this note Marx moves beyond the question of religious freedom to his real concern with Bauer's analysis of "political emancipation". Marx concludes that while individuals can be "spiritually" and "politically" free in a secular state, they can still be bound to material constraints on freedom by economic inequality, an assumption that would later form the basis of his critiques of capitalism.


title: On the Jewish Question

text: A number of scholars and commentators regard "On the Jewish Question", and in particular its second section, which addresses Bauer's work "The Capacity of Present-day Jews and Christians to Become Free", as antisemitic; however, a number of others disagree.


title: On the Jewish Question

text: In Marx's view, Bauer fails to distinguish between political emancipation and human emancipation. As noted above, political emancipation in a modern state does not require Jews (or Christians) to renounce religion; only complete human emancipation would involve the disappearance of religion, but that is not yet possible "within the hitherto existing world order".


title: On the Jewish Question

text: In the second part of the essay, Marx disputes Bauer's "theological" analysis of Judaism and its relation to Christianity. Bauer states that the renouncing of religion would be especially difficult for Jews. In Bauer's view, Judaism was a primitive stage in the development of Christianity. Hence, to achieve freedom by renouncing religion, Christians would have to surmount only one stage, whereas Jews would need to surmount two.


title: On the Jewish Question

text: In response to this, Marx argues that the Jewish religion does not have the significance Bauer's analysis attributes, because it is merely a spiritual reflection of Jewish economic life. This is the starting point of a complex and somewhat metaphorical argument that draws on the stereotype of "the Jew" as a financially apt "huckster" and posits a special connection between Judaism as a religion and the economy of contemporary bourgeois society. Thus, the Jewish religion does not need to disappear in society, as Bauer argues, because it is actually a natural part of it. Having thus figuratively equated "practical Judaism" with "huckstering and money", Marx concludes, that "the Christians have become Jews"; and, ultimately, it is mankind (both Christians and Jews) that needs to emancipate itself from ("practical") Judaism.


title: On the Jewish Question

text: "Zur Judenfrage" was first published by Marx and Arnold Ruge in February 1844 in the "Deutsch–Französische Jahrbücher", a journal which ran only one issue. From December 1843 to October 1844, Bruno Bauer published the monthly "Allgemeine Literatur-Zeitung" (General Literary Gazette) in Charlottenburg (now Berlin). In it, he responded to the critique of his own essays on the Jewish question by Marx and others. Then, in 1845, Friedrich Engels and Marx published a polemic critique of the Young Hegelians titled "The Holy Family". In parts of the book, Marx again presented his views dissenting from Bauer's on the Jewish question and on political and human emancipation.


title: On the Jewish Question

text: A French translation appeared 1850 in Paris in Hermann Ewerbeck's book "Qu'est-ce que la bible d'après la nouvelle philosophie allemande?" ("What is the Bible according to the new German philosophy?").


title: On the Jewish Question

text: In 1879, historian Heinrich von Treitschke published an article "Unsere Aussichten" ("Our Prospects"), in which he demanded that the Jews should assimilate into German culture, and described Jewish immigrants as a danger for Germany. This article stirred up controversy, to which the newspaper "Sozialdemokrat", edited by Eduard Bernstein, reacted by republishing almost the entire second part of "Zur Judenfrage" in June and July 1881.


title: On the Jewish Question

text: The entire essay was republished yet again in October 1890 in the "Berliner Volksblatt", then edited by Wilhelm Liebknecht.


title: On the Jewish Question

text: In 1926, an English translation by H. J. Stenning, with the title "On the Jewish Question", appeared in a collection of essays by Marx.


title: On the Jewish Question

text: Another English translation of "Zur Judenfrage" was published (along with other articles written by Marx) in 1959, and titled, "A World Without Jews". The editor, Dagobert D. Runes, intended to demonstrate Marx's alleged antisemitism. This edition was criticized because the reader is not informed that the title has been altered from Marx's original title, and for other distortions in the text.


title: On the Jewish Question

text: In his 1984 article "Marxism vs. the Jews" for "Commentary", English journalist Paul Johnson references the second part of Marx's essay as evidence of Marx's antisemitism:


title: On the Jewish Question

text: Let us consider the actual, worldly Jew – not the Sabbath Jew, as Bauer does, but the everyday Jew. Let us not look for the secret of the Jew in his religion, but let us look for the secret of his religion in the real Jew.


title: On the Jewish Question

text: What is the secular basis of Judaism? Practical need, self-interest. What is the worldly religion of the Jew? Huckstering. What is his worldly God? Money[...] An organization of society which would abolish the preconditions for huckstering, and therefore the possibility of huckstering, would make the Jew impossible[...] The Jew has emancipated himself in a Jewish manner, not only because he has acquired financial power, but also because, through him and also apart from him, money has become a world power and the practical Jewish spirit has become the practical spirit of the Christian nations. The Jews have emancipated themselves insofar as the Christians have become Jews[...] Money is the jealous god of Israel, in face of which no other god may exist. Money degrades all the gods of man – and turns them into commodities[...] The bill of exchange is the real god of the Jew. His god is only an illusory bill of exchange[...] The chimerical nationality of the Jew is the nationality of the merchant, of the man of money in general.


title: On the Jewish Question

text: Antisemitism scholar Robert Wistrich stated "the net result of Marx's essay is to reinforce a traditional anti-Jewish stereotype – the identification of the Jews with money-making – in the sharpest possible manner". Bernard Lewis described "On the Jewish Question" as "one of the classics of antisemitic propaganda".


title: On the Jewish Question

text: Hal Draper (1977) observed that the language of Part II of "On the Jewish Question" followed the view of the Jews' role given in Jewish socialist Moses Hess's essay "On the Money System". According to Edward Flannery, Marx considered Jews to be enthusiastic capitalists.


title: On the Jewish Question

text: Hyam Maccoby argued that "On the Jewish Question" is an example of what he considers to be Marx's "early antisemitism". According to Maccoby, Marx argues in the essay that the modern commercialized world is the triumph of Judaism, a pseudo-religion whose god is money. Maccoby suggested that Marx was embarrassed by his Jewish background and used Jews as a "yardstick of evil". Maccoby writes that in later years, Marx limited what he considers to be antipathy towards Jews to private letters and conversations because of strong public identification with antisemitism by his political enemies both on the left (Pierre-Joseph Proudhon and Mikhail Bakunin) and on the right (aristocracy and the Church).


title: On the Jewish Question

text: For sociologist Robert Fine (2006) Bauer's essay "echoed the generally prejudicial representation of the Jew as 'merchant' and 'moneyman, whereas "Marx's aim was to defend the right of Jews to full civil and political emancipation (that is, to equal civil and political rights) alongside all other German citizens". Fine argues that "[the] line of attack Marx adopts is not to contrast Bauer's crude stereotype of the Jews to the actual situation of Jews in Germany", but "to reveal that Bauer has no inkling of the nature of modern democracy". Sociologist Larry Ray in his reply (2006) to Fine acknowledges Fine's reading of the essay as an ironic defense of Jewish emancipation. He points out the ambiguity of Marx's language. Ray translates a sentence of "Zur Judenfrage" and interprets it as an assimilationist position "in which there is no room within emancipated humanity for Jews as a separate ethnic or cultural identity", and which advocates "a society where both cultural as well as economic difference is eliminated". Here Ray sees Marx in a "strand of left thinking that has been unable to address forms of oppression not directly linked to class".


title: On the Jewish Question

text: In Abram Leon's 1946 book "The Jewish Question", Leon examines Jewish history from a materialist perspective. According to Leon, Marx's essay uses the framing that one "must not start with religion in order to explain Jewish history; on the contrary: the preservation of the Jewish religion or nationality can be explained only by the 'real Jew', that is to say, by the Jew in his economic and social role".


title: On the Jewish Question

text: Isaac Deutscher (1959) compares Marx with Elisha ben Abuyah, Baruch Spinoza, Heinrich Heine, Rosa Luxemburg, Leon Trotsky, and Sigmund Freud, all of whom he thinks of as heretics who repudiate Jewry, yet still belong to a Jewish tradition. According to Deutscher, Marx's "idea of socialism and of the classless and stateless society" expressed in the essay is as universal as Spinoza's "Ethics and God". By framing his revolutionary economic and political project as a liberation of the world from Judaism, Marx expressed a "messianic desire" that was itself "quite Christian," according to David Nirenberg.


title: On the Jewish Question

text: Shlomo Avineri (1964), while regarding Marx's antisemitism as a well-known fact, points out that Marx's philosophical criticism of Judaism has often overshadowed his forceful support for Jewish emancipation as an immediate political goal. Avineri notes that in Bauer's debates with a number of Jewish contemporary polemicists, Marx entirely endorsed the views of the Jewish writers against Bauer. In a letter to Arnold Ruge, written March 1843, Marx writes that he intended to support a petition of the Jews to the Provincial Assembly. He explains that while he dislikes Judaism as a religion, he also remains unconvinced by Bauer's view (that Jews should not be emancipated unless they abandon Judaism). However, he also clarifies in the letter that his support of the petition is merely tactical, to further his efforts at weakening the Christian state.


title: On the Jewish Question

text: David Nirenberg sees Marx as having used antijudaism as a theoretical framework for making sense of the world and critically engaging with it.


title: On the Jewish Question

text: In his 1965 book "For Marx", Louis Althusser say that "in "On the Jewish Question", "Hegel's Philosophy of the State", etc., and even usually in "The Holy Family" that "... Marx was merely applying the theory of alienation, that is, Feuerbach's theory of 'human nature', to politics and the concrete activity of man, before extending it (in large part) to political economy in the "Manuscripts"". He opposes a tendency according to which ""Capital" is no longer read as 'On the Jewish Question', 'On the Jewish Question' is read as 'Capital. For Althusser, the essay "is a profoundly "ideological text", "committed to the struggle for Communism", but without being Marxist; "so it cannot, theoretically, be identified with the later texts which were to define historical materialism".


title: On the Jewish Question

text: David McLellan argued that "On the Jewish Question" must be understood in terms of Marx's debates with Bruno Bauer over the nature of political emancipation in Germany. According to McLellan, Marx used the word "Judentum" in its colloquial sense of "commerce" to argue that Germans suffer, and must be emancipated from, capitalism. The second half of Marx's essay, McLellan concludes, should be read as "an extended pun at Bauer's expense".


title: On the Jewish Question

text: Stephen Greenblatt (1978) compares the essay with Christopher Marlowe's play "The Jew of Malta". According to Greenblatt, "[b]oth writers hope to focus attention upon activity that is seen as at once alien and yet central to the life of the community and to direct against that activity the antisemitic feeling of the audience". Greenblatt attributes to Marx a "sharp, even hysterical, denial of his religious background".


title: On the Jewish Question

text: Feminist Wendy Brown argues that "On the Jewish Question" is primarily a critique of liberal rights, rather than a criticism of Judaism, and that apparently antisemitic passages such as "Money is the jealous god of Israel, in face of which no other god may exist" should be read in that context.


title: On the Jewish Question

text: Yoav Peled (1992) sees Marx "shifting the debate over Jewish emancipation from the plane of theology... to the plane of sociology", thereby circumventing one of Bauer's main arguments. In Peled's view, "this was less than a satisfactory response to Bauer, but it enabled Marx to present a powerful case for emancipation while, at the same time, launching his critique of economic alienation". He concludes that "the philosophical advances made by Marx in 'On the Jewish Question' were necessitated by, and integrally related to, his commitment to Jewish emancipation".


title: On the Jewish Question

text: Francis Wheen says: "Those critics, who see this as a foretaste of 'Mein Kampf', overlook one, essential point: in spite of the clumsy phraseology and crude stereotyping, the essay was actually written as a defense of the Jews. It was a retort to Bruno Bauer, who had argued that Jews should not be granted full civic rights and freedoms unless they were baptised as Christians". Although he claimed to be an atheist, Bruno Bauer viewed Judaism as an inferior religion.


title: On the Jewish Question

text: Jonathan Sacks, former Chief Rabbi of the United Kingdom, regards application of the term "antisemitism" to Marx as an anachronism because when Marx wrote "On the Jewish Question", virtually all major European philosophers expressed similar views, and the word "antisemitism" had not yet been coined, let alone developed a racial component. Sacks says that little awareness existed of the depths of European prejudice against Jews. Marx thus simply expressed the commonplace thinking of his era, according to Sacks.


title: On the Jewish Question

text: The political-scientist Professor Iain Hamphsher-Monk wrote in his textbook: "This work ["On The Jewish Question"] has been cited as evidence for Marx's supposed antisemitism, but only the most superficial reading of it could sustain such an interpretation."


title: On the Jewish Question

text: Hal Draper (1977) observed that the language of Part II of "On the Jewish Question" followed the view of the Jews' role given in Jewish socialist Moses Hess' essay "On the Money System".


title: On the Jewish Question

text: The appreciation of Müntzer's position has been interpreted as a sympathetic view of Marx towards animals. It is also possible that Müntzer was referring to the temerity of sovereign rulers who would take even that which God had created (for all of mankind and the world) as their very own. Müntzer was a theologian after all, and was quoting from the same Biblical passage in the Book of Isaiah that would similarly resonate for an observant Jew, which Marx was not.


title: Landmark 81

text: Landmark 81 is a supertall skyscraper in Ho Chi Minh City, Vietnam. The investor and primary developer for the project is Vinhomes, a Vietnamese corporation that is also the country's largest real-estate company. Landmark 81 is the tallest building in Vietnam, the second tallest building in Southeast Asia, and the 17th tallest building in the world.


title: Landmark 81

text: The tall, 81-story building is built on the western banks of the Saigon River in the city's Binh Thanh District, located just north of Ho Chi Minh City's historic center and to the immediate south of Saigon Bridge. The tower is at the heart of the $1.5 billion high-end mixed-use urban area called "Vinhomes Central Park". The development comprises hotel and conference facilities, luxury apartments, high-end retail spaces, restaurants, bars, and a multi-story observation deck.


title: Landmark 81

text: The ground-breaking ceremony for the tower was held on 13 December 2014. In October 2017, construction reached floor 69, and with a height of , it surpassed the Bitexco Financial Tower to become the tallest building in Ho Chi Minh City. By January 2018, construction had finished on all floors, with only the spire and crown remaining to be built. On 10 April 2018, the last segment of the crown spire was added, architecturally completing Landmark 81. The building's base, which takes up 6 floors with a total space of , was opened officially on 27 July 2018 to mark the 25th anniversary of its owner's parent company, Vingroup. The observation deck, named "Skyview", opened on 28 April 2019. The deck, spanning from floor 79 at to floor 81 at , is currently Vietnam's highest observation deck. Ticket ranges from 405,000 VND (17.4 USD) for children to 810,000 VND (US$34.8) for adults.


title: Landmark 81

text: At around 15:48 on 11 August 2018, a fire occurred on the 64th floor caused by welding activities. The fire was quickly controlled and did not cause any damage to the property.


title: Payola

text: Payola, in the music industry, is the illegal practice of paying a commercial radio station to play a song without the station disclosing the payment. Under US law, a radio station must disclose songs they were paid to play on the air as sponsored airtime. The number of times the songs are played can influence the perceived popularity of a song, and payola may be used to influence these meters. The Federal Communications Commission (FCC) treats payola as a violation of the Sponsorship Identification Rules, which requires any broadcast of paid material to include a disclosure.


title: Payola

text: The term "payola" is a combination of "pay" and "ola", which is a suffix of product names common in the early 20th century, such as Pianola, Victrola, Amberola, Crayola, Rock-Ola, Shinola, or brands such as the radio equipment manufacturer Motorola.


title: Payola

text: Prior to the 1930s, there was little public scrutiny of the reasoning behind a song's popularity. The advertising agencies which sponsored NBC's radio/TV show "Your Hit Parade" refused to reveal the specific methods that were used to determine top hits. Only general and vague statements were offered; that determining top hits was based on "readings of radio requests, sheet music sales, dance hall favorites and jukebox tabulations". Early attempts to stop payola were met with silence by publishers.


title: Payola

text: Prosecution for payola in the 1950s was in part a reaction of the traditional music establishment against newcomers. The emergence of hit radio had become a threat to the wages of song-pluggers and publisher's revenue streams. By the mid-1940s, three-quarters of the records produced in the United States went into jukeboxes. Attempts were made to link all payola to rock-and-roll music. In the 1950s, independent record companies or music publishers frequently used payola to promote rock and roll on American radio. This practice promoted cultural diversity because disc jockeys (DJs) were less inclined to indulge their own personal and racial biases.


title: Payola

text: While the amount of money involved remains largely unpublished, Phil Lind of Chicago's WAIT disclosed in Congressional hearings that he had taken US$22,000 to play a record.


title: Payola

text: The first US Congressional Payola Investigations occurred in 1959, carried out by the House Subcommittee on Legislative Oversight into payola, and prompted by a parallel investigation in the US Senate.


title: Payola

text: DJ Alan Freed, who was uncooperative in committee hearings, was fired as a result. Dick Clark also testified before the committee, but avoided repercussions, partially due to the fact that he had divested his ownership interest in music-industry holdings.


title: Payola

text: Following the investigation, radio DJs were stripped of the authority to make programming decisions and payola became a misdemeanor offense. Programming decisions became the responsibility of station program directors. However, this had the result of simplifying the process of payola: instead of reaching numerous DJs, record labels only had to persuade the station's program director. Labels could circumvent payola allegations by utilizing independent third parties (see below).


title: Payola

text: In 1976, inner-city urban soul DJ Frankie Crocker was indicted in a payola scandal, causing him to leave New York radio, where his influence was greatest. The charges were later dropped and he returned to New York, hosting MTV's video jukebox.


title: Payola

text: Following the creation of music sharing websites in the late 1990s, the power of independent promoters declined and labels returned to dealing with stations directly.


title: Payola

text: Payola is used by record labels to promote their artists, and can be in the form of monetary rewards or other types of reimbursement. This can include purchasing advertising, requiring bands to play station-sponsored concerts, or paying stations to hold "meet the band" contests. In exchange, the band gains a place on a station's playlist or a lesser-known band of the label may gain air time.


title: Payola

text: A loophole in US payola laws is for labels to utilize a third-party or independent promoter (not to be confused with independent record label). The promoter would offer "promotion payments" to station directors for putting their client's artists on the station's playlist, sidestepping Federal Communications Commission (FCC) regulations. As it was seen as falling outside the payola rules, stations did not deem it necessary to report to authorities. This practice became widespread until a 1986 NBC News investigation called "The New Payola" instigated another round of Congressional investigations.


title: Payola

text: In 2002, investigations by the office of then-New York District Attorney Eliot Spitzer uncovered evidence that executives at Sony BMG music labels had made deals with several large commercial radio chains. Spitzer's office settled out of court with Sony BMG Music Entertainment in July 2005, Warner Music Group in November 2005 and Universal Music Group in May 2006. The three conglomerates agreed to pay $10 million, $5 million, and $12 million respectively to New York State non-profit organizations that will fund music education and appreciation programs. EMI remains under investigation.


title: Payola

text: Concerns about contemporary forms of payola in the US prompted an investigation during which the FCC established firmly that the "loophole" was still a violation of the law. In 2007, four companies (CBS Radio, Citadel, Clear Channel, and Entercom) settled on paying $12.5 million in fines and accepting tougher restrictions for three years, although no company admitted any wrongdoing. Due to increased legal scrutiny, some larger radio companies (including industry giant Clear Channel) now refuse to have any contact with independent promoters.


title: Payola

text: Clear Channel Radio, through iHeartRadio, launched a program called "On the Verge" that required the stations to play a given song at least 150 times in order to give a new artist exposure. Brand managers at the top of the Clear Channel chain, after listening to hundreds of songs and filtering them down to about five or six favorites from various formats, send those selections to program directors across the country. These program directors vote on which ones they think radio listeners will like the most. Songs that benefited with the exposure were Iggy Azalea's "Fancy", Tinashe's "2 On", Anthony Lewis' "Candy Rain", and Jhené Aiko's "The Worst". Tom Poleman, president of national programming platforms for the company, stated that the acts selected are based solely on the quality of their music and not on label pressure.


title: Payola

text: On Spotify, labels can pay for tracks to appear in user play-lists as "Sponsored Songs". It is possible for users to opt out of this in their account settings.


title: Payola

text: In Mexico, South America, and some regions along the US southern border, payola is used to launder money from illegal operations. In this practice, unknown "new artists" will suddenly appear on multiple formats and be aggressively promoted by producers of dubious origin, then disappear from the music scene or change their stage name.


title: Payola

text: On 25 September 2007, the U.S. Congress held a hearing on hip hop music entitled "From Imus to Industry: The Business of Stereotypes and Degrading Images". In her testimony, Lisa Fager Bediako, co-founder and President of media watchdog group Industry Ears, argued that misogynistic and racist stereotypes permeate hip hop music because record labels, radio stations, and music video channels profit from allowing such material to air while censoring other material. In that context, Fager stated:


title: Payola

text: In 1960, Stan Freberg did a parody on the Payola Scandal, by calling it "Old Payola Roll Blues", a two-sided single, where the promoter gets an ordinary teenager, named Clyde Ankle, to record a song, for Obscurity Records, entitled "High School OO OO", and then tries to offer the song to a jazz radio station with phony deals that the disc jockey just won't buy it. It ends with an anti-rock song, saying hello to jazz and swing, and goodbye to amateur nights, including rock and roll.


title: Payola

text: The Vancouver new wave band the Payola$ chose their moniker during the punk explosion of the late 1970s.


title: Payola

text: The practice is criticized in the chorus of the Dead Kennedys song "Pull My Strings", a parody of the song "My Sharona" ("My Payola") sung to a crowd of music industry leaders during a music award ceremony.


title: Payola

text: The They Might Be Giants song "Hey, Mr. DJ, I Thought You Said We Had a Deal" is about the practice. It is narrated from the point of view of a naive and inexperienced musician who has been coerced by a disc jockey into paying for airplaythe disc jockey then disappears and does not deliver on his promise.


title: Payola

text: The practice is satirized in song "Payola Blues" by Neil Young, from his 1983 album "Everybody's Rockin'". It opens by saying "This one's for you, Alan Freed" and then states Cause the things they're doing today would make a saint out of you", implying that Payola corruption is bigger now (or was bigger in the 1980s) than it was in the 1950s.


title: Payola

text: Payola is referenced in Billy Joel's song "We Didn't Start the Fire", during the verse dealing with the events of 1960.


title: Payola

text: On a Washington, D.C. radio station in 1999, the disc jockeys announced that they were debuting the Lou Bega song "Mambo Number 5", by saying that they had accepted a large amount of payola to play the song. Ironically, if they had actually been paid to play the song on the air, it would not have been payola, because payola is the "unannounced" acceptance of a payment to run a song. If the song is identified before being played as being done because the talent or station is being paid to do so, the playing of the song and acceptance of money to do so is perfectly legal, and does not constitute payola.


title: Payola

text: Payola was depicted in the film "The Harder They Come," released in 1972, where a record producer, not the recording artist, controls the airwaves. The portrayal of its protagonist (Jimmy Cliff) as an aspiring musician who is forced to sign away his rights to make a hit record depicts the role of record producers and radio DJs as a dominance – the musician ends up with no aspirations or living the same lifestyle, as in the case of the film "Rockers".


title: Payola

text: In an installment of "Mathnet" from PBS's Square One Television, the detectives George Frankly and Pat Tuesday investigated a case of suspected payola by forming a fictitious group called "The Googols" and creating their own song titled "Without Math". Payola was eventually ruled out as a cause of increased sales of particular songs at a company.


title: Payola

text: The FCC and the Communications Act of 1934 both have strict requirements and rules regarding payola. These demand that:


title: Payola

text: Even with these requirements in place, however, record companies have found loopholes within the phrasing of the regulations to continue the practice. These loopholes have created a situation which isolates independent artists from mainstream media. A current example of this is the lengths that artists Macklemore and Ryan Lewis went to get their music heard. Because Lewis and Macklemore belonged to an independent label, they feared payola laws would interfere with their airtime. So they hired an independent arm of Warner Music Group, the Alternative Distribution Alliance, which assists independent acts to get their music on radio. Zach Quillen, manager of Macklemore and Ryan Lewis, discussed how "they paid the alliance a flat monthly fee to help promote the album."


title: Payola

text: One side effect of the vagueness of the law and the creation of the loophole is the expansion of the concept at the hands of online music sharing websites. In 2009, the website Jango created a plan to accept promotion fees legally by disclosing that they are paid to play the songs. "For as little as $30, a band can buy 1,000 plays on the music-streaming service, slotted in between established artists. The artists themselves choose what other music they'd like to be played next to."


title: Carillon

text: A carillon is a pitched percussion instrument that is played with a keyboard and consists of at least 23 cast-bronze bells. The bells are hung in fixed suspension and tuned in chromatic order so that they can be sounded harmoniously together. They are struck with clappers connected to a keyboard of wooden batons played with the hands and pedals played with the feet. Often housed in bell towers, carillons are usually owned by churches, universities, or municipalities. They can include an automatic system through which the time is announced and simple tunes are played throughout the day.


title: Carillon

text: Carillons come in many designs, weights, sizes, and sounds. They are among the world's heaviest instruments, and the heaviest carillon weighs over . Most weigh between . To be considered a carillon, a minimum of 23 bells are needed; otherwise, it is called a chime. Standard-sized instruments have about 50, and the world's largest has 77 bells. The appearance of a carillon depends on the number and weight of the bells and the tower in which it is housed. They may be found in towers which are free-standing or connected to a building. The bells of a carillon may be directly exposed to the elements or hidden inside the structure of their tower.


title: Carillon

text: The origins of the carillon can be traced to the Low Countries—present-day Belgium, the Netherlands, and the French Netherlands—in the 16th century. The modern carillon was invented in 1644 when Jacob van Eyck and the Hemony brothers cast the first tuned carillon. The instrument experienced a peak until the late-18th century, a decline during the French Revolution, a revival in the late 19th century, a second decline during the First and Second World Wars, and a second revival thereafter. UNESCO has designated 56 belfries in Belgium and France as a World Heritage Site and recognized the carillon culture of Belgium as an intangible cultural heritage.


title: Carillon

text: According to counts by various registries, there are about 700 carillons worldwide. Most are in and around the Low Countries, though nearly 200 have been constructed in North America. Almost all extant carillons were constructed in the 20th century. Additionally, there are about 500 "non-traditional" carillons, which due to some component of its action being electrified or computerized, most registries do not consider to be carillons. A plurality are located in the United States, and most of the others in Western Europe. A few "traveling" or "mobile" carillons are fixed to a frame that enables them to be transported.


title: Carillon

text: The word "carillon" is a loanword from the French language dating to the late 18th century. It is derived from the Old French (an alteration of ) . The word originates from the Latin ; from . It is often stated that "carillon" may have referred originally to a set of four forestrike bells whose melodies announced the time signal of public hour bells, but this is not confirmed by archival sources. There is convincing evidence that the term referred initially to the medieval custom of chiming on sets of four church bells by pulling the clappers by means of ropes. In German, as well as using the French term, a carillon is sometimes called a (), which should not be confused with the identically named glockenspiel. Dutch speakers use the word , which has an uncertain etymology.


title: Carillon

text: A musician who plays the carillon is commonly called a carillonneur ( , ), also loaned from French. It and "carillon" were adopted by English speakers after the introduction of the instrument to British troops following the War of the Spanish Succession in the 18th century. Though the word "carillonneur" literally refers to carillon players that are men, the French to denote women is not used in English. Another common term is carillonist, which some players of the carillon have wished to replace "carillonneur" because of the former's gender inclusivity, simple spelling, and unambiguous pronunciation. In 2018, the World Carillon Federation adopted "carillonist" as the preferred term for its communications.


title: Carillon

text: The carillon is a keyboard instrument. Though it shares similarities with other instruments in this category, such as the organ or pedal piano, its playing console is unique. Playing is done with the hands on a manual keyboard composed of rounded, wooden batons. The manual has short chromatic keys (i.e. "black keys") raised above the diatonic keys ("white keys") and arranged like a piano; however, they are spaced far apart, and the chromatic keys are raised above the rest, about . To operate, the keys are depressed with a closed fist. The lowest 1.5 to 2.5 octaves of the manual are connected to a pedal keyboard played with the feet. The connection is direct, meaning that when a pedal is pressed, its corresponding key on the manual is pulled down with it. Since the mid-20th century, there have been two competing keyboard design standards for a carillon's console: the North American standard and the North European standard. They differ over several design elements, such as whether the outer pedals curve toward the center or the specific distance a key is depressed. In 2006, the World Carillon Federation developed the WCF Keyboard 2006, which is a compromise between the two standards. The organization recommends that its keyboard standard be used as a guideline when constructing new carillons or renovating existing keyboards.


title: Carillon

text: Each key is connected to a transmission system via a wire, usually made of stainless steel. When a particular key is depressed, it pulls on the wire which, after interacting with other wires and pulleys, causes a clapper to swing towards the inner wall of the key's corresponding bell. At rest, these clappers are about away from the bell wall. Small bells are fitted with springs to pull their clappers back immediately after the stroke, so that the bell is not sounded more than once with each keystroke. This is not necessary for large bells, which have sufficiently heavy clappers. Immediately above each key is a wire adjuster called a turnbuckle. These allow the performer to adjust the length of the wire, which often changes with temperature fluctuations.


title: Carillon

text: The carillon's cast bronze, cup-shaped bells are housed at the top of a tower in a structure typically made of steel or wooden beams. The arrangement of the bells depends on the space, height and construction of the tower, and the number and size of bells. When the heaviest bells are especially large, they are usually placed below the playing cabin to achieve a better tonal distribution. The bells themselves do not move during operation, only the clappers. With some instruments, the heaviest bells may be outfitted with a mechanism enabling them to swing.


title: Carillon

text: Carillons may also feature an automatic mechanism by which simple tunes or the Westminster Quarters are played on the lower bells. The mechanism on European carillons is often a playing drum, which is a large metal cylinder connected to a clock mechanism. Metal pegs are screwed onto the outside of the drum. When the clock mechanism sets the drum in motion, the pegs catch onto levers, connected to hammers that rest just a short distance from the outside of the bell. The hammers are briefly raised, and then fall onto the bell as the peg continues to rotate away from the lever. The pegs are arranged such that simple tunes can be programmed to play at specific quarter hours. In North America, automatic playing drum systems are not common; instead, carillons may have pneumatic systems which ring the instrument.


title: Carillon

text: Carillons produce sound by striking stationary bells, categorizing them as percussion idiophones in the Hornbostel–Sachs classification of musical instruments (111.242.222 – sets of bells with internal strikers). Carillon bells are made of bell bronze, a specialized copper–tin alloy used for its above-average rigidity and resonance. A bell's profile (shape) and weight determine its note and the quality of its tone. Therefore, apart from changes in its profile, such as chipping or corrosion, a bell will never lose its original sound. It produces a sound with overtones, also known as partial tones, which are not necessarily harmonically related. To produce a pleasing, harmonically related series of tones, the bell's profile must be carefully adjusted. Bellfounders typically focus on five principal tones when tuning, most notably the minor third overtone called the tierce, which gives rise to the unique sound of carillons and has been the subject of further research, such as the major third bell. Since the casting process does not reliably produce perfectly tuned bells, they are cast slightly thicker and metal is shaved off with a lathe. On older European carillons, bells were tuned with each other by using the meantone temperament tuning system. Modern carillons, particularly those in North America, are tuned to equal temperament.


title: Carillon

text: The carillon has a dynamic range similar to a piano, if not more versatile. Through variation of touch, performers can express many volumes. The larger the bell, the larger its dynamic range. Bigger bells will also sound naturally louder than smaller, higher-pitched bells.


title: Carillon

text: Along with pipe organs, carillons are one of the world's heaviest musical instruments. Most carillons weigh (counting only the weight of the bells) between , with extremes ranging from very light instruments to the world's heaviest at over —the Laura Spelman Rockefeller Memorial Carillon of the Riverside Church in New York City, US. Its bourdon, or largest bell, is the largest tuned bell ever cast for a carillon. It sounds a full octave below most other bourdons. The entire ensemble of fixed and swinging bells, clappers, and steel framework weighs more than .


title: Carillon

text: A carillon's range is directly proportional to the number of bells it has. The number of bells usually depends on funds available for the creation of the instrument: more money allows more bells to be cast, especially the larger, more costly ones. It is generally accepted that a carillon must have a minimum of 23 bells, or else it is called a chime. There is no standard pitch range for the carillon, so several subcategories are used to categorize them:


title: Carillon

text: The title of "world's largest carillon by number of bells" is shared between two instruments: the carillon of the Kirk in the Hills Presbyterian Church in Bloomfield Hills, Michigan, US, and the carillon at Daejeon Institute of Science and Technology in Daejeon, South Korea; both have 77 bells.


title: Carillon

text: Since a carillon is seldom played in concert with other instruments, its bourdon may be any pitch—whichever is advantageous for the location and funds available; to simplify the writing and playing of music, keyboards often have a C-compass. As a result, many carillons are transposing instruments, especially those that are small, have many bells, or were constructed on limited funds. The transposition can be anywhere from down a perfect fourth to up an octave. In North America, an increasing number of new carillons have been installed in concert pitch as a result of the desire to establish the carillon as a full-fledged concert instrument.


title: Carillon

text: Many carillons, according to a C-compass, are missing the lowest C and E bells (equating to the second- and fourth-largest bells if they were included). The reason is often financial: by omitting these bells, the construction of a carillon can be reduced significantly, sometimes by 20 percent for large installations. Since the early 1900s, European installations will often reintroduce the E bell, and instead of adding the C bell, they will include a B bell (which is a major second below the C-compass bell).


title: Carillon

text: The carillon originated from two earlier functions of bells: ringing bells to send messages and ringing bells to indicate the time of day.


title: Carillon

text: In the Middle Ages, bellringers attached ropes to the clappers of swinging bells and rung them while stationary in a technique called chiming. Chiming bells gave the ringer more control compared to swinging bells, and so was used to send messages to those within earshot. For example, sounding bells was often used to warn of a fire or impending attack. At celebratory events, a bellringer could gather ropes together to chime multiple bells in rhythmic patterns. By the end of the 15th century, chimers are recorded to have used their technique to play music on bells. A 1478 chronicle recounts a man in Dunkirk having made a "great innovation in honor of God" by playing melodies on bells. Another recounts in 1482 a jester from Aalst playing bells in Antwerp with ropes and batons, the latter term suggesting the existence of a keyboard.


title: Carillon

text: In the 14th century, the newly developed escapement technology for mechanical clocks spread throughout European clock towers and gradually replaced the water clock. Since the earliest clocks lacked faces, they announced the time by striking a bell a number of times corresponding to the current hour. Eventually, these striking clocks were modified to make a warning signal just before the hour count to draw the attention of listeners to the incoming announcement. This signal is called the forestrike (). Originally the forestrike consisted of striking one or two bells, and the systems slowly grew in complexity. By the middle of the 15th century, forestrikes, with three to seven bells, could play simple melodies.


title: Carillon

text: As late as 1510, these two functions were combined into one primitive carillon in the Oudenaarde Town Hall. One set of nine bells were connected to both a keyboard and to the clock's forestrike. The Low Countries—present day Belgium, the Netherlands, and the French Netherlands—were most interested in the potential of using bells to make music. In this region, bellfounding had reached an advanced stage relative to other regions in Europe.


title: Carillon

text: The new instrument developed in the favorable conditions in the Low Countries during the 17th century. Bellfounders found increased financial and technological support as the region traded by sea through ports. Moreover, the political situation under Margaret of Austria and Holy Roman emperor Charles V brought relative wealth and power to cities. Carillons quickly became a fashionable symbol of civic prestige. Cities and towns competed against one another to possess the largest, highest-quality instruments. The demand was met by a successful industry of bellfounding families, notably the Waghevens and Vanden Gheyns. Together, they produced over 50 carillons during the 16th and early 17th centuries. By 1600, the primitive carillon had become an established feature of the region.


title: Carillon

text: A critical development for the modern carillon occurred in the 17th century, which involved a partnership between Pieter and François Hemony and Jacob van Eyck. The Hemony brothers were prominent bellfounders known for their precise tuning technique. Van Eyck was a renowned blind carillonneur of Utrecht, who was commissioned by several Dutch cities to maintain and make improvements to their clock chimes and carillons. He was particularly interested in the sounds of bells. In 1633, he developed the ability to isolate and describe a bell's five main overtones and discovered a bell's partial tones can be tuned harmoniously with each other by adjusting the bell's thickness. The Hemony brothers were commissioned in 1644 to cast 19 bells for Zutphen's with Van Eyck as their consultant. By tuning the bells with the advice from Van Eyck, they created the first carillon by the modern definition. According to carillonneur John Gouwens, the quality of the bells was so impressive that Van Eyck recommended casting a full two octaves, or 23 bells. This range has been considered the standard minimum range for carillons ever since. During the next 36 years, the Hemony brothers produced 51 carillons. Carillon culture experienced a peak around this time and until the late-18th century.


title: Carillon

text: The French Revolution had far-reaching consequences on the Low Countries and the carillon. The French conquered and annexed the Austrian Netherlands in 1795 and the United Provinces in 1810. After publishing instructions for extracting copper from bell bronze, the French First Republic sought to dismantle local carillons to reduce its copper shortage. Carillon owners resisted by, for example, petitioning the new governments to declare their instruments as "culturally significant" or by disconnecting the bells and burying them in secret. During this period, there were as many as 110 carillons. About 50 of them were destroyed as a result of war, fire, and dismantling. The majority were melted down to produce cannons for the French Revolutionary Wars.


title: Carillon

text: Between 1750 and the end of the 19th century, interest in the carillon declined greatly. An increasing number of households had access to grandfather clocks and pocket watches, which eroded the carillon's monopoly on announcing the time. As a musical instrument, the carillon lagged behind during the Romantic era, which featured music of a wandering, story-like nature. Many carillons were tuned using meantone temperament, which meant they were not suited for the chromaticism of the newer musical styles. The production of new musical works for the instrument essentially came to a standstill. The standard skill level of carillonneurs had also dropped significantly, so much so that in 1895, the music publisher Schott frères issued Matthias Vanden Gheyn's 11 carillon preludes for piano with a foreword claiming "no carillonneur of our time knows how to play them on the carillon". Also, with a reduced demand for new carillons, the tuning techniques developed by the Hemony brothers, but not Van Eyck's underlying theory, were forgotten. Subsequent carillons were generally inferior to earlier installations.


title: Carillon

text: In the early 1890s, an English change ringer and canon Arthur Simpson published a set of articles on bell tuning, where he argued bell founders had been complacent with their poor tuning methods and proposed solutions to the existing problems. John William Taylor, who had been trying to replicate the tuning techniques of the Hemony brothers and the Vanden Gheyns at his foundry, began working with Simpson. In 1904, they founded the first tuned bells in over a century. The rediscovery initiated a revival of carillon building.


title: Carillon

text: In Mechelen, Belgium, Jef Denyn was a major figure in the carillon's revival as a musical instrument. In 1887, after his father had become completely blind, Denyn took over as the city carillonneur and was responsible for playing the carillon in the tower of St. Rumbold's Cathedral. From the beginning of his career, Denyn advocated for better playability of the instrument. He further developed the tumbler rack system of transmission cables that his father had installed on the cathedral carillon. This allowed the player to have better control over dynamic variations, fast musical passages and tremolos. Tremolos offered a solution to a Romantic-era limitation of the carillon: its inability to expressively sustain the sound of individual notes.


title: Carillon

text: With his improving skills as a carillonneur and the upgraded cathedral carillon, Denyn's performances began attracting crowds of listeners. He established regular Monday night concerts at the suggestion of the city council. On 1 August 1892, Denyn hosted the first carillon concert in history. From this point forward, the instrument garnered a reputation as a concert instrument, rather than as an instrument tasked with providing background music.


title: Carillon

text: Because of his concerts, Denyn met William Gorham Rice, an American state and federal government official from Albany, New York, US. Having traveled to The Hague and been exposed to the carillon, Rice was regularly touring the region to interview carillonneurs for his research. After Denyn's 18 August 1913 evening concert, he and Rice exchanged ideas about the societal and educational value of carillon performances for large audiences. Rice's book "Carillons of Belgium and Holland", the first in the English language written specifically about carillons, was published in December 1914 and reprinted three times. The book painted an idealized picture of the region that resonated with the American public, particularly in light of the rape of Belgium. Its success motivated Rice to publish two more books in 1915 and 1925. Rice became an authority on carillons in the United States; besides his books, he gave 35 lectures in several cities, published articles in magazines, spoke on radio programs, and presented exhibition material on the subject between 1912 and 1922. In 1922, Rice garnered financial support from Herbert Hoover and John D. Rockefeller Jr. to establish a carillon school in Mechelen with Denyn as its first director. It was later named the Royal Carillon School "Jef Denyn".


title: Carillon

text: Stephen Thorne of the Canadian military history magazine "Legion" writes that the Allied Powers of World War I and of World War II saw the destruction of carillons during the respective wars as a "brutal annihilation of a unique democratic music instrument". The destruction was highly publicized among the allies of Belgium and the Netherlands. In the latter war, British investigators claimed Nazi Germany seized two thirds of all bells in Belgium and every bell in the Netherlands. Between 1938 and 1945, 175,000 bells were stolen and stored in (). Some 150,000 were sent to foundries and melted down for their copper. Following the war, with the bells out of their towers, E. W. Van Heuven and other physicists could research the tonal qualities of bells in laboratory conditions and with modern electrical sound-analyzing equipment. Percival Price, Dominion Carillonneur at the Peace Tower, was tasked with repatriating as many surviving bells as possible. He also used the opportunity to publish similar research. Now, every bellfounder could learn how to cast the highest-quality bells, and the increase in new carillons was greater than ever.


title: Carillon

text: Between 1922 and 1940, bellfounders installed 43 carillons in the United States and Canada. The flood of carillons onto the continent is attributed to Rice's widely popular books and persistent education in the United States. His romanticized depiction of the cultural instrument prompted wealthy donors to purchase carillons for their own civil and religious communities. Price was appointed to play the carillon at the Metropolitan United Church in Toronto, Canada (before working as Dominion Carillonneur); Mary Mesquita Dahlmer was appointed to play at Our Lady of Good Voyage Church in Gloucester, Massachusetts, US. Both were the first professional carillonneurs in their respective countries. In 1936, The Guild of Carillonneurs in North America was founded at Parliament Hill in Ottawa, Canada. Following the deaths of Denyn in 1941 and Rice in 1945, North American carillonneurs, through their new organization, sought to develop their own authority on education and performance. In the 1950s and 1960s, a distinct North American style of carillon music emerged at the University of Kansas. Led by Ronald Barnes, the university's carillonneur, he encouraged his peers to compose for the carillon and produced many of his own compositions.


title: Carillon

text: In the 1970s, the idea for a global carillon organization took shape, and the was later formed as the central organization of carillon players and enthusiasts. It is a federation of the preexisting national or regional carillon associations that had been founded throughout the 20th century.


title: Carillon

text: In 1999, UNESCO designated 32 bell towers in Belgium as a World Heritage Site, in recognition of their architectural diversity and significance. The list was expanded in 2005 to include 23 in France, as well as the tower of Gembloux, Belgium. In 2014, UNESCO recognized the carillon culture of Belgium as an intangible cultural heritage, stating that it "recognizes the creativity of carillonneurs and others who ensure that this cultural form remains relevant to today's local societies."


title: Carillon

text: In 2008, the carillon was featured in the film "Welcome to the Sticks", a box office success as the highest-grossing French film ever released in France


title: Carillon

text: In 2019, playing the carillon of St. Coleman's Cathedral in Cobh, Ireland, was recognized by the Irish government as key element of the country's living cultural heritage.


title: Carillon

text: The carillon repertoire skews heavily toward newer works in stark contrast to that of its relative the organ repertoire. Some 15 collections of carillon music written in the 17th and 18th centuries are known to exist. Like with the pipe organ, early carillon performances consisted mostly of improvisations. In the late Renaissance and early Baroque eras, keyboard music was not written for one instrument or another, but rather was written to be played on keyboard instrument. For this reason, much of the carillon's repertoire in its early history was likely the same as that of the harpsichord, organ, and piano. One of the few surviving examples is the De Gruytters carillon book, dated 1746. The music is arranged for, rather than composed for, performance on the carillon and could easily be played on other keyboard instruments. Baroque keyboard music is well suited for carillon transcription, particularly the works of Bach, Corelli, Couperin, Handel, Mozart, and Vivaldi.


title: Carillon

text: The earliest known original compositions specifically for the carillon, and not simply any keyboard, are the 11 preludes of Matthias Vanden Gheyn. The structure of his works suggests he had been playing non-specific keyboard music on the carillon for many years and that he wanted to play music that is idiomatic to the instrument. Technically challenging, his preludes have been the standard repertoire among carillonneurs since the early 1900s.


title: Carillon

text: Jef Denyn made many public statements about what music should be performed on the carillon, and he persuaded several composers of the time to write for it. Among those composers were his students, like , Léon Henry, and , and composers for other instruments, such as Jef van Hoof. The carillon school began publishing carillon music in 1925. Through his school, Denyn was the early proponent of the "Mechelen style" of carillon music, which consists of virtuosic flourishes, tremolos, and other Baroque and Romantic elements.


title: Carillon

text: Ronald Barnes was the leading figure behind the North American style of carillon music, which developed in the 1950s and 1960s. He encouraged his University of Kansas peers to compose for the carillon, and he produced many of his own compositions. Barnes' campaign was most successful with Roy Hamlin Johnson, a piano professor who introduced a whole category of music exclusively native to the carillon featuring the octatonic scale. Many of Johnson's works are acknowledged as masterpieces. Barnes produced 56 original compositions and hundreds of arrangements to expand the available repertoire. Other major 20th-century contributors were Albert Gerken, Gary C. White, Johan Franco, John Pozdro, and Jean W. Miller. The new American style developed into the antithesis of the Mechelen style: instead of exciting, tremolo-filled performances that demonstrate the showmanship of the carillonneur, it features slow passages, sparse harmonies and impressionist themes to draw the listener's attention to the natural sound of the bells.