title: DCI-P3

text: A more practical gamut is that of "reflected surface colors" which is described by Pointer's gamut. In this case, DCI-P3 covers 86.9% of Pointer's gamut. Rec.709/sRGB only covers 69.4%.


title: DCI-P3

text: While DCI-P3 was developed by the Digital Cinema Initiatives (DCI) organization, many of the relevant technical standards are published by the Society of Motion Picture and Television Engineers (SMPTE) such as SMPTE EG 432-1 and SMPTE RP 431-2.


title: DCI-P3

text: On November 10, 2010, SMPTE published SMPTE EG 432-1:2010, which includes a variant of the color space using a D65 white point (about 6503.51 K) instead of the ~6300 K white point of DCI-P3.


title: DCI-P3

text: On April 6, 2011, SMPTE published SMPTE RP 431-2:2011 which defines the reference viewing environment.


title: DCI-P3

text: Initially, DCI-P3 was available with theatrical xenon-arc projection systems. This emerging technology presented challenges for filmmakers working with digital media on desktop workstations—that is, how to accurately view the colorspace of the theatrical viewing environment during the production and post production process.


title: DCI-P3

text: In 2008, HP released the first "HP DreamColor" monitor which could display 97% of DCI-P3 color space.


title: DCI-P3

text: In 2015, Apple's iMac desktop became the first consumer computer with a built-in wide-gamut display, supporting the P3 color space. Apple's implementation, known as Display P3, uses a D65 white point, and uses the sRGB TRC (sometimes referred to as gamma).


title: DCI-P3

text: In 2016, the UHD Alliance announced their specifications for Ultra HD Premium which requires devices to display at least 90% of the DCI-P3 color space (in area, not volume).


title: DCI-P3

text: DCI-P3 specifications are designed for viewing in a fully darkened theater environment. The projection system uses a simple 2.6 gamma curve, the nominal white luminance is 48 cd/m with the white point defined as a correlated color temperature of ~6300 K. It is incorrect to refer to this as "D63" as this white point is not a CIE standard illuminant, and is not on the Planckian locus. Instead, the white point is slightly greener. This resulted from optimizing for best light output with the xenon arc lamp projectors commonly used in theaters.


title: DCI-P3

text: Display P3 is a color space created by Apple Inc. It uses the DCI-P3 primaries, but instead of the ~6300 K white point, Display P3 uses the CIE standard illuminant D65 as the white point, which is the most common standard for self-illuminated displays and devices (sRGB and Adobe RGB both use D65). Also, unlike the DCI-P3 projection gamma of 2.6, Display P3 uses the sRGB transfer curve, which is approximately equivalent to a display with a 2.2 gamma. Display P3's gamut is approximately 50% larger than sRGB in volume and 25% in surface.


title: DCI-P3

text: P3-D65 with the PQ TRC is also used for some of Netflix deliverables, including HDR and without BT.2020 container, but later Netflix added BT.2020 primaries too. Red of P3 is slightly outside BT.2020 triangle.


title: DCI-P3

text: An expanded gamut known as the DCI-P3+ color space is also available, which in turn is a smaller version of the Cinema Gamut color space. DCI-P3+ uses the same ~6300 K white point as DCI-P3. Cinema Gamut is specified as having a D65 white point.


title: São Tomé

text: São Tomé is the capital and largest city of the Central African island country of São Tomé and Príncipe. Its name is Portuguese for "Saint Thomas". Founded in the 15th century, it is one of Africa's oldest colonial cities.


title: São Tomé

text: Álvaro Caminha founded the colony of São Tomé in 1493. The Portuguese came to São Tomé in search of land to grow sugarcane. The island was uninhabited before the arrival of the Portuguese sometime around 1470. São Tomé, situated about north of the equator, had a climate wet enough to grow sugarcane in wild abundance. 2,000 Jewish children, eight years old and under, were taken from the Iberian peninsula for work on the sugar plantations. The nearby African Kingdom of Kongo eventually became a source of slave labor as well. The island of São Tomé was the main center of sugar production in the sixteenth century; it was overtaken by Brazil by 1600.


title: São Tomé

text: São Tomé is centred on a sixteenth-century cathedral, that was largely rebuilt in the 19th century. Another early building is Fort São Sebastião, built in 1566 and now the São Tomé National Museum. On July 9, 1595, a slave revolt led by Rei Amador took control of the capital; they were subjugated in 1596. In 1599, the Dutch took the city as well as the islands for two days; they re-occupied it in 1641 for a year. The city served as the capital of the Portuguese colony of São Tomé and Príncipe and, from São Tomé and Príncipe's independence in 1975, as capital of the sovereign nation.


title: São Tomé

text: Important as a port, São Tomé is located on Ana Chaves Bay in the northeast of São Tomé Island, and Ilhéu das Cabras lies nearby offshore. São Tomé is located northeast of Trindade, southeast of Guadalupe and northwest of Santana. It is linked to these towns by a highway which encircles the entire island of São Tomé. It is linked to Cape Verde by a weekly ferry.


title: São Tomé

text: Features of the town include the Presidential Palace, the cathedral, and a cinema. The city is also home to schools, and middle schools, high schools, one polytechnic, two markets, three radio stations, the public television station "TVSP", several clinics and hospitals, the country's main airport - São Tomé International Airport (with direct regular scheduled flights to Angola, Gabon, Ghana and Portugal as well as occasional domestic flights to Príncipe), and many squares ("praças"). São Tomé also serves as the centre of the island's road and bus networks The town is well known for the tchiloli playing.


title: São Tomé

text: São Tomé is served by São Tomé International Airport with regular flights to Europe and other African Countries.


title: São Tomé

text: São Tomé features a tropical wet and dry climate (Köppen "As"), although it is not far above a semi-arid climate ("BSh") due to the influence of the cold Benguela Current, which makes even the wettest months drier than would be expected for such a low latitude but at the same time makes the city very cloudy and foggy even during the almost rainless dry season mid-year. The city has a relatively lengthy wet season from October through May and a short dry season. São Tomé sees on average just under of rainfall per year. Temperatures in the city are relatively constant, with average high temperatures usually around and average low temperatures around .


title: São Tomé

text: Sports clubs based in the city include Sporting Praia Cruz and Vitória FC based in the neighborhood of Riboque. All clubs play at Estádio Nacional 12 de Julho.


title: São Tomé

text: Among the places of worship, they are predominantly Christian churches and temples : Roman Catholic Diocese of São Tomé and Príncipe (Catholic Church), Universal Church of the Kingdom of God, Assemblies of God.


title: Never Let Me Down

text: Never Let Me Down is the 17th studio album by English musician David Bowie, released on 20 April 1987 through EMI America Records. After a series of miscellaneous projects, Bowie hoped to make his next record differently following his disappointment with "Tonight" (1984). It was recorded at Mountain Studios in Montreux, Switzerland and the Power Station in New York City from September to November 1986. It was co-produced by Bowie and David Richards and featured contributions from Peter Frampton on guitar. Musically, "Never Let Me Down" has been characterised as pop rock, art rock and hard rock; Bowie himself considered the record a return to rock and roll music. The cover artwork features Bowie surrounded by numerous elements from the songs.


title: Never Let Me Down

text: Released with different runtimes on vinyl and CD, "Never Let Me Down" was a commercial success, peaking at No. 6 in the UK. Three singles were released, all of which reached the UK Top 40. Despite this, the album was poorly received by fans and critics, with its production singled out for criticism. Bowie supported it on the Glass Spider Tour, named after one of the tracks, a world tour that was at that point the biggest, most theatrical and elaborate tour he had undertaken in his career. The tour, like the album, was commercially successful but critically panned. The critical failure of the album and tour were factors that led Bowie to look for a new way to motivate himself creatively, leading him to create the rock band Tin Machine in 1989; he did not release another solo album until "Black Tie White Noise" in 1993.


title: Never Let Me Down

text: Retrospectively, "Never Let Me Down" is generally regarded as one of Bowie's weakest releases, although his biographers consider it superior to "Tonight". One track, "Too Dizzy", has been deleted from subsequent reissues due to Bowie's dislike of it. Throughout his lifetime, Bowie was critical of "Never Let Me Down", distancing himself from the arrangement and production of the finished album. He expressed a desire to remake it numerous times, eventually remixing "Time Will Crawl" for inclusion on his career retrospective "iSelect" (2008). Its remixer, Mario J. McNulty, brought Bowie's idea to remake the whole album to fruition in 2018. Released as part of the box set "Loving the Alien (1983–1988)", "Never Let Me Down 2018" features new production and instrumentation over Bowie's original vocals. Reviewers consider the new version an improvement over the original album.


title: Never Let Me Down

text: Following the rise in fame and success from his 1983 album "Let's Dance" and its subsequent Serious Moonlight Tour, David Bowie felt disconnected from his newfound fanbase. After the poor reception of follow-up "Tonight" (1984), he worked on a series of miscellaneous projects that included collaborations with the Pat Metheny Group for "This Is Not America" (from the soundtrack to the film "The Falcon and the Snowman") and Mick Jagger for "Dancing in the Street". He also continued acting and composing for film soundtracks such as "Absolute Beginners" (1985) and "Labyrinth" (1986).


title: Never Let Me Down

text: In 1985, after his successful performance at Live Aid, Bowie's label, EMI, were eager for another record. They compiled a compilation of 12" mixes from "Let's Dance" and "Tonight", titled "Dance", that reached the artwork stage before being shelved. In mid-1986, Bowie collaborated with his old friend Iggy Pop for his solo album "Blah-Blah-Blah", producing and co-writing multiple tracks. He then worked with Turkish musician Erdal Kızılçay for the title song of the 1986 film "When the Wind Blows", before returning to the studio to record this album.


title: Never Let Me Down

text: Bowie spent the middle of 1986 in his home in Switzerland writing songs with Iggy Pop. He bought a Foster 16-track and AHB mixing console to record elaborate home demos, which he recorded with Kızılçay before beginning work on the new record with the full band. Having worked together sporadically since 1982, Bowie greatly appreciated Kızılçay's musicianship, stating, "He can switch from violin to trumpet to French horn, vibes, percussion, whatever...His knowledge of rock music begins and ends with the Beatles! His background is really jazz." During the sessions, Kızılçay played keyboards and synthesisers and, according to biographer Chris O'Leary, "provided any sound" Bowie requested. Unlike the sessions for "Tonight", Bowie wanted to encourage collaboration for the new album's sessions, stating: "I made demos of everything before we went in, and I played them to everybody and I said, 'I want it to sound exactly like this, but better!'"


title: Never Let Me Down

text: "Never Let Me Down" was recorded between September and November 1986. The sessions began at Mountain Studios in Montreux, Switzerland, and completed at the Power Station in New York City. The album was co-produced by Bowie and David Richards, who had engineered ""Heroes"" (1977) and co-produced "Blah-Blah-Blah". It was engineered by "Let's Dance" engineer Bob Clearmountain, who, according to Bowie, was responsible for the album's "great, forceful sound". Returning from the "Tonight" sessions was regular collaborator Carlos Alomar on guitar, Carmine Rojas on bass and a group of saxophonists called the Borneo Horns. Along with Kızılçay, they were joined by Peter Frampton, a former classmate of Bowie's, on lead guitar. Bowie phoned Frampton after listening to his latest record "Premonition" (1986), stating at the time, "I always thought it'd be good to work with him 'cause I was so impressed with him as a guitarist at school." Frampton played on all but three of the album's tracks. Sid McGinnis, a some-time member of David Letterman's band, played lead guitar on three tracks: "Day-In Day-Out", "Time Will Crawl" and a cover of Iggy Pop's "Bang Bang". For the first time since "Scary Monsters", Bowie played instruments in addition to singing. He played keyboards, synthesiser and rhythm guitar on some tracks, and played lead guitar on two: "New York's in Love" and "87 and Cry". According to Kızılçay, they worked from 10 a.m. to 8 p.m. while recording, adding that Bowie "was very disciplined" during recording and "was always trying something new".


title: Never Let Me Down

text: Bowie, Richards and Kızılçay recorded backing tracks at Mountain for the first two weeks, after which Alomar and Frampton were flown in for guitar overdubs. Sessions then moved to the Power Station, where horns and backing vocalists were added, along with additional percussion from Errol "Crusher" Bennett. According to Richards, these were elements that Bowie said: "you can only get in New York". Regarding Bennett's contributions, Richards recalled: "[He]set all his 'bangers' and 'scrapers' on a table, which I miked at each end. So whenever he moved around, the sounds would pan with him, creating some strange spatial effects." The majority of Bowie's vocals were taken from guide vocals recorded at Mountain, although some were later re-recorded at the Power Station. Richards explained: "David always sang a guide vocal very early on in the recording process...Most of these vocals were so good and had such great spontaneity that they ended up on the record." "Never Let Me Down" was a last-minute addition to the album, written and recorded in one day during the last week of mixing at the Power Station. Actor Mickey Rourke asked Bowie to be involved in one of the songs, the two having met in London where Rourke was based while filming "A Prayer for the Dying" (1987). Bowie had him perform the mid-song rap for "Shining Star (Makin' My Love)". Two tracks were recorded that ended up as B-sides, "Julie" and "Girls", the latter of which was briefly considered for inclusion on "Never Let Me Down" in late 1986.


title: Never Let Me Down

text: The music on "Never Let Me Down" has been characterised as pop rock, art rock and hard rock. During its making, Bowie stated he felt that the sound and style was reminiscent of his 1980 album "Scary Monsters (and Super Creeps)" and less like its immediate predecessors. He also acknowledged that the songs lacked a cohesive musical style, which he said reflected his eclectic musical tastes at the time, and stated that the album was "a reflection of all the styles of writing I've used over the last few years." When promoting the record, he described it as "an eclectic hybrid of long-standing influences and personal nostalgia." At the time, a writer for the Canadian Press considered the record "a basic serving of high-energy, guitar rock", representing a departure from his "adventurous" late 1970s works and the "R&B-flavoured" "Let's Dance". Biographer Paul Trynka writes that the record contains mostly "conventional music, lyrics and sounds".


title: Never Let Me Down

text: "Day-In Day-Out" reflected Bowie's concerns about the treatment of the homeless in Los Angeles. Author James Perone states that the song is a good example of Bowie's experimentation with the R&B genre. "Time Will Crawl", which Bowie named as his favourite track from the album, was inspired by the Chernobyl disaster and the idea that someone from one's own neighborhood could be responsible for the end of the world. Compared to Prince's "1999", Bowie said his vocals on the song "owed a lot to Neil Young", and noted that the variety of voices he used on the album were a nod to the musicians who had influenced him in the past. Bowie called "Beat of Your Drum" a Lolita song, a "reflection on young girls... 'Christ, she's only 14 years old, but jail's worth it!'" Biographer Nicholas Pegg, who called the song one of the better tracks on the album, noted that it could be called a "direct ancestor", both lyrically and musically, to Tin Machine's 1991 song, "You Belong in Rock n' Roll". Perone finds it resembles the contemporary techno craze, while further exhibiting punk rock influences.


title: Never Let Me Down

text: The title track is about Bowie's long-time personal assistant, Coco Schwab. Bowie wrote the song as a direct reference to his relationship with Schwab as a counterpoint to the rest of the songs on the album, which he felt were mostly allegorical. Bowie attributed his vocal performance on the track to John Lennon. One reviewer later called it one of Bowie's "most underrated songs." "Zeroes", which "Rolling Stone"s Steve Pond called the most heartening and successful track on the album, is, according to Bowie, a nostalgia trip: "I wanted to put in every 60s cliche I could think of! 'Stopping and preaching and letting love in,' all those things. I hope there's a humorous undertone to it. But the subtext is definitely that the trappings of rock are not what they're made out to be." Musically, the track features a sitar reminiscent of George Harrison's work with the Beatles. The song also references Bowie's earlier songs "Diamond Dogs" (1974) and "Heroes" (1977) in its music and title, respectively.


title: Never Let Me Down

text: "Glass Spider" marks a return to the electronica of Bowie's late 1970s Berlin Trilogy, as well as influences of psychedelic folk and heavy metal. It presents a mythological story based on a documentary Bowie had seen about black widow spiders, describing how they lay the skeletons of their prey out on their webs. Echoing "Future Legend" from "Diamond Dogs" (1974), he thought that the Glass Spider's web would make a good enclosure for the tour, thus giving the supporting tour its name and stage dressing. Bowie described "Shining Star (Makin' My Love)" as one that "reflects back-to-street situations, and how people are trying to get together in the face of so many disasters and catastrophes, socially around them, never knowing if they're going to survive it themselves. The one thing they have got to cling on to is each other; although it might resolve into something terrible, it's the only thing that they've got. It's just a little love song coming out of that environment." He rejected the notion that his "high, little" voice (which he attributed to Smokey Robinson) in the song was a new character, instead saying it was just what the song needed, as he had tried the song in his regular voice and did not like the outcome: "That never bothered me, changing voices to suit a song. You can fool about with it." "New York's in Love" is a dance track that Bowie described as a sarcastic song about the vanity of big cities. Pegg later called it "a strong contender for the... wooden spoon" of the album.


title: Never Let Me Down

text: "'87 & Cry" was written as a statement about then-UK Prime Minister Margaret Thatcher. The song referred to the distinction between the authoritarian government and the citizens, and Bowie admitted that the lyrics verged on the surreal, describing people "eating the energies of others to get to what they wanted." "Too Dizzy" was the first song Bowie and Kızılçay wrote together for the album and was written in homage to the 1950s. Bowie said, "a real Fifties subject matter was either love or jealousy, so I thought I'd stick with jealousy because it's a lot more interesting". Iggy Pop's version of "Bang Bang" flopped when originally released as a single, and Bowie covered it for "Never Let Me Down" as he felt it could be a hit. For his version, Bowie imitated Pop in his vocal performance, while lyrically, it contains themes present in other album tracks. Perone compares Bowie's version to the work of Talking Heads' David Byrne.


title: Never Let Me Down

text: "Day-In Day-Out" was released by EMI America Records as the lead single to the album on 23 March 1987, with "Julie" as the B-side. The single performed decently in both the UK and the US, peaking at Nos. 17 and 21, respectively. The song's music video, directed by Julien Temple, contained controversial content, causing it to be banned by some networks. A version of the song sung in Spanish, recorded to promote Bowie's first-ever concerts in Spain during the Glass Spider Tour, was released for the first time in 2007 when the "Day-In Day-Out" EP was released digitally.


title: Never Let Me Down

text: EMI America issued "Never Let Me Down" on 20 April 1987, with the catalogue number AMLS 3117 (LP) and CDP 7 46677 2 (CD). It was released in a variety of different formats, and was the first Bowie record to feature simultaneous releases on vinyl and CD. Both of these formats had different lengths in the runtime, with four tracks on the CD release up to a minute longer. In Australia, the album appeared on blue vinyl and in Japan, a Japanese vocal version of the outtake "Girls" was included. The cover artwork was designed by Mike Haggerty, who designed the artworks for "Let's Dance" and "Tonight", and taken by photographer Greg Gorman. It was described by Bowie as being in a "vaudevillian" style. It depicts the long-haired Bowie jumping through a circus ring surrounded by elements from the album's songs, including a drum, a skyscraper, a "candyfloss" cloud, and an angel from the "Day-In Day-Out" music video.


title: Never Let Me Down

text: Initial sales of the album were strong, peaking at No. 6 on the UK Albums Chart, but dropped off disappointingly. Bowie was not concerned with the album's relative poor performance in the charts, saying "I've made about 20 albums during my career, and so far this is my third biggest seller. So I can't be that disappointed, yet, it is a letdown that it hasn't been as buoyant as it should be... But I don’t really feel that negative about it. As far as I'm concerned it's one of the better albums I've made. As I've said. "Never Let Down" has been a pretty big seller for me. So I'm quite happy." "Time Will Crawl" was released as the second single from the album in June 1987, backed by "Girls". It stalled on the UK Singles Chart, peaking at No. 33. Bowie pre-recorded a performance of the song for the BBC television programme "Top of the Pops", although it was not aired at the time, as the single subsequently fell down the charts. Its accompanying music video was directed by Tim Pope and previewed some of the choreography of the upcoming tour.


title: Never Let Me Down

text: The title track was released as the album's third single in August 1987, with "'87 and Cry" as the B-side. It peaked at No. 34 in the UK and No.  7 in the US. Its accompanying music video was directed by Jean-Baptiste Mondino and was described by Bowie as "experimental". "Shining Star" was one of Bowie's early choices to be a single, but the idea was rejected by EMI. A 12" remix of the song was made available on iTunes when the "Never Let Me Down" EP was released digitally in 2007. EMI briefly considered "Too Dizzy" for release as a fourth single, instead appearing as a promo release in the US.


title: Never Let Me Down

text: Contemporary reviews of the album were mixed. In "Trouser Press", Ira Robbins wrote, "although this casual loud-rock outing... seems on first blush to be slapdash and slight, the first side is actually quite good, offering provocative pop-culture lyrics delivered with first-take enthusiasm and carefree backing." The Canadian Press's Tim O'Connor praised "Never Let Me Down" as an improvement over the "unfocused disaster" "Tonight", finding the musical styles "suit[s] him well" and concluded: "It's not so dazzling or powerful an album that it will set any styles, but it's good to hear Bowie kicking out the jams again." In "Billboard", Steve Gett hailed the record as "unquestionably" Bowie's finest work up to that point, highlighting "Day-In Day-Out", "Time Will Crawl", the title track and "Shining Star". Another reviewer called it "a welcome return to form for the ever-ambitious Bowie". The magazine's year-retrospective issue called it "arguably the year's most underrated release" and considered the album a "Critic's Choice" for the year.


title: Never Let Me Down

text: Other reviews were more negative. Chris William of the "Los Angeles Times" primarily criticised the lack of innovation, finding elements from Bowie's entire career. He further stated that none of the tracks are among Bowie's best—calling "Day-In Day-Out" "the most useless single of Bowie's career"—and ultimately expected more from the artist. In "Smash Hits", Tom Hibbert deemed the album dull and full of "contrived studio jams", giving sole praise to "Bang Bang". Glenn O'Brien of "Spin" magazine called the album "an inspired and brilliantly crafted work. It's charged with a positive spirit that makes art soul food; imbued with the contagious energy that gives ideas a leg to dance on", but two years later a different reviewer from the same magazine called it "disappointing". "Rolling Stone" Steve Pond called the work an "odd, freewheeling pastiche of elements from all the previous Bowies", "unfocused", and possibly "the noisiest, sloppiest Bowie album ever... Being noisy and sloppy isn't necessarily a bad thing, but sad to say, "Never Let Me Down" is also something of a mess." In his review for "The New York Times", Jon Pareles also recognised elements of Bowie's previous works in "Never Let Me Down" and felt it was Bowie's "most serious statement" since "Scary Monsters". In "Creem", Roy Tarkin felt that the album represented a creative low point for Bowie, in that all the songs musically looked back on his career up to that point, but were executed poorly. Tarkin ended his review stating "I guess you could say "Never Let Me Down" did just that; let me down."


title: Never Let Me Down

text: To support the album, Bowie embarked on the Glass Spider Tour, which began on 30 May 1987 and ended on 28 November the same year. Bowie knew he'd be taking the album on tour, and in early interviews said "I'm going to do a stage thing this year, which I'm incredibly excited about, 'cause I'm gonna take a chance again", but when pressed for details, he refused to give up any, saying "I'll just be doing what I always did, which is keeping things interesting."


title: Never Let Me Down

text: Bowie performed several of the album's songs during a press tour that preceded his highly theatrical Glass Spider Tour, which played to a combined audience of as many as six million fans. Bowie wanted to produce a live show that picked up where his aborted 1974 Diamond Dogs Tour left off. Although considered financially successful and well attended, the tour itself was critically dismissed. Bowie designed his next few tours specifically to avoid the problems that the Glass Spider Tour was criticised for by avoiding overly theatrical stage presentations and focusing on his music. However, no song from "Never Let Me Down" was performed on any of Bowie's tours after 1987.


title: Never Let Me Down

text: At the conclusion of the Glass Spider Tour, Bowie began to reevaluate where he was at in his career. The tour had taken a toll on him, as he found it hard to maintain the stadium rockstar lifestyle. Due to the poor critical reception of the tour and "Never Let Me Down", he decided to rejuvenate himself creatively and artistically, forming the rock band Tin Machine with guitarist Reeves Gabrels, whom he met through the tour, creating a partnership that lasted the rest of the 1990s. Bowie also effectively cut ties with Alomar, whom he had worked with since the mid-1970s (starting with 1975's "Young Americans"), although Alomar played on the Outside Tour in 1995 and on a few tracks for "Outside" (1995), "Heathen" (2002) and "Reality" (2003).


title: Never Let Me Down

text: Although he was initially proud of the finished product, Bowie's views on "Never Let Me Down" soured as the years passed. By 1993, he remarked that he played the role of a session musician in the studio and allowed others to take control of the production and arrangements rather than being more involved himself, resulting in a final product he felt was "a bitter disappointment". Upon the launch of his personal website BowieNet in 1998, "Never Let Me Down" became the artist's only studio album excluded from his official career biography on the site. In 1995, he acknowledged "Never Let Me Down" as his "nadir":


title: Never Let Me Down

text: Retrospectively, "Never Let Me Down" has received unfavourable reviews, with many criticising its production, and is generally considered one of Bowie's weakest releases. Critic Charles Shaar Murray told journalist Dylan Jones in the 2010s that he thought "Never Let Me Down" was "just awful" compared to "Tonight", which he called "an album of classy filler with no center". In "The Rolling Stone Album Guide", the magazine also compared the album to its predecessor, writing: ""Tonight" was an expensive quickie padded with lame covers, while "Never Let Me Down" made things even worse with originals." Writing for AllMusic, Stephen Thomas Erlewine stated that "while it's not as consistent as "Tonight", ["Never Let Me Down" is] far more interesting". Reviewing the album's 2018 remaster, O'Leary summarised: "For all of its flaws, "Never Let Me Down" has a unity – the album has a somewhat charming period – piece feel to it now. It's one of the most time-stamped '1987' records ever made." Looking back in 2019, "Ultimate Classic Rock"s Patrick Moran considered "Never Let Me Down" to be "far from being the nadir of Bowie's long stretch between "Let's Dance" in 1983 and "Outside" in 1995," although it still remains one of his worst. Calling it "an undigested mix of ideas, time signatures and grooves that never quite comes together", Moran concluded: ""Never Let Me Down" can boast a handful of tracks that are a credible mix of the commercial and the experimental, a characteristic which has always been the mainstay of Bowie's best work."


title: Never Let Me Down

text: Many commentators agree that the album's poor production choices marred what they considered good songwriting. Chris Ingalls of "PopMatters" named "Time Will Crawl" and "Zeroes" among those affected by the "headache-inducing [and] overstuffed with garnish" production. Author Marc Spitz noted "Day-In Day-Out", "'87 and Cry", "New York's in Love" and "Time Will Crawl" as tracks that are hampered by poor production. Perone contends that the production on "Zeroes" and "Beat of Your Drum" make the tracks sound too much like other contemporary pop of the era "to stand out as distinctive". Dave Thompson highlights "Zeroes", the title track, "Glass Spider" and particularly "Time Will Crawl" as standout tracks from the record, finding Bowie's initial dismissive attitude towards the project "galling" when considering the "strength" of these tracks. Journalist Sean Doyle, editor of the website "The Worst Albums Ever", similarly stated that "Never Let Me Down" is "produced to death": "The extravagant production clashes sharply with the album's often socially minded lyrics, so much so that they become entirely flippant and insincere."


title: Never Let Me Down

text: Bowie's biographers have given "Never Let Me Down" mixed assessments, but most consider it better than "Tonight". Buckley calls "Never Let Me Down" more focused and coherent than its predecessor, but finds that it suffers from overproduction. O'Leary similarly calls it Bowie's "ugliest-sounding record" since "Diamond Dogs", noting that Bowie produced both records with the intention of "proving himself", which backfired. Trynka states that the record is "bereft of inspiration", but agrees that it is "neither as good nor as bad as "Tonight"". In a similar statement, Spitz describes "Never Let Me Down" as "not a terrible album", but "another slothful one" following "Tonight" and "Labyrinth". Perone, likewise, considers it better and more artistically daring than "Tonight" and writes that it achieves "a better balance between working on pop songs and challenging songs". Nevertheless, he acknowledges its dated production as its biggest flaw. Like Perone, Pegg states that "Never Let Me Down" is not Bowie's "finest hour, but by no means his worst". He argues that it comes off as more of a David Bowie album than either of its two predecessors. Christopher Sandford describes it as "a shoddily constructed work" that lacked innovation, while Thompson attributes the album's failure to it being "brutally out of sync" with the contemporary music of the time.


title: Never Let Me Down

text: In a 2016 retrospective ranking all of Bowie's 26 studio albums from worst to best, Bryan Wawzenek of "Ultimate Classic Rock" placed "Never Let Me Down" last, stating "There is no greater let-down in Bowie's catalog than the nadir of what he later called his 'Phil Collins years'," noting "bad idea after bad idea". The writers of "Consequence of Sound" ranked the album number 21 (out of 28, including the two Tin Machine records) in their 2018 list, arguing that both it and "Tonight" are due for reevaluations, as "Bowie's weaker efforts are still better than most".


title: Never Let Me Down

text: "Too Dizzy" has been deleted from subsequent reissues of "Never Let Me Down" at Bowie's request, reportedly because it was his least favourite track on the album. Regarding its deletion, Pegg writes: "Its removal from "Never Let Me Down" has rendered it a latter-day collector's item, but few will feel impelled to hunt it down." Virgin Records (CDVUS 98) re-released the album in the UK on CD with three bonus tracks.


title: Never Let Me Down

text: EMI released the second reissue in 1999 featuring 24-bit digitally remastered sound but no bonus tracks, and also without "Too Dizzy". A 2007 Japanese re-release of the album, based on the EMI 1999 re-issue, included "Too Dizzy" on the track listing although the song itself doesn't appear on the CD.


title: Never Let Me Down

text: In 2009, the album was re-issued in SHM-CD format. The reissue had the same track listing as the 2007 reissue. In 2018, the album was remastered by Parlophone and released on CD, LP, and digitally as part of the "Loving the Alien (1983–1988)" box set; a standalone release of the album on all three aforementioned formats was issued in February of the following year.


title: Never Let Me Down

text: This was the first Bowie album to have different length songs on the vinyl release than on the cassette and CD, with almost all the songs appearing on the latter having a longer running time than on the former.


title: Never Let Me Down

text: Bowie considered the idea of re-recording tracks from "Never Let Me Down" almost immediately after meeting Reeves Gabrels in the late 1980s, but Gabrels talked him out of it. Bowie considered the idea again in the 1990s and again in 2008, when he had engineer Mario J. McNulty remix "Time Will Crawl" for the self-selected collection of favourites, "iSelect". The same mix was later included on the career-spanning compilation "Nothing Has Changed". At the time Bowie had said, "Oh, to redo the rest of that album". In 2018, two years after Bowie's death, the Parlophone label brought the artist's idea to fruition. Early that year, musicians including Gabrels, David Torn, Sterling Campbell, Tim Lefebvre, Nico Muhly and Laurie Anderson started recording in New York's Electric Lady Studios from January to March. Of these musicians, Torn, Campbell, Lefebvre and Gabrels were all selected by Bowie before he died to take a part in the project. In July 2018, it was announced that a new version of the album, titled "Never Let Me Down 2018", would be released in October of that year. The album includes "newly 'remixed' artwork", unseen images from the original album's photo-shoot, and was released as part of the 2018 box set "Loving the Alien (1983–1988)".


title: Never Let Me Down

text: McNulty used the experience of making the "Time Will Crawl" remix to influence his approach for producing this version of the album. He received the master tapes from the label and "kept all of Bowie's vocals", some of the original acoustic guitars, and "anything distinctive" about the song, such as Alomar's rhythm guitar on "Never Let Me Down" and Frampton's sitar on "Zeroes". He sent rough mixes, called "stems", to each musician as a baseline along with ideas of what they should record. Each musician recorded their parts separately, and were not typically in the studio together, although Torn and Gabrels did record together for one day at one point.


title: Never Let Me Down

text: For "Day-In Day-Out", McNulty discovered that Bowie had recorded the Borneo Horns playing live, but had at some point replaced them with synthesised horns. McNulty restored the live horns in the new version, which has "one foot in the past and another in the present", saying "it was difficult. Most of the lyrics are quite dark, but everything else about it is almost uplifting... I just thought, 'It makes sense to do something bright.'" For "New York's in Love", Gabrels wanted the new recording to reflect the change in New York, saying "[the city] isn't really about the blues anymore. It's more multicultural...I wanted to reflect that change with what I did [play]...I told Mario, 'Put up that song and let me see what happens.'...I soloed through the whole song and tried different things, and I reacted to what was going on. When the song ended, Mario looked at me and said, 'Well, that one's done then.' [laughs]".


title: Never Let Me Down

text: McNulty replaced a lot of synthesiser parts throughout the album with strings, saying "There were a lot of random synthesisers from the "Labyrinth" department lurking in the background. I was pretty confident I could do a lot of that work with strings." Anderson replaced Rourke for the remix of "Shining Star". O'Leary disliked her appearance, finding it "intriguing in theory" but poor in execution. Regarding the song, McNulty stated: "The [original] programming is a mess and the rap comes out of nowhere. I was just trying to find the right elements to fit the song. Luckily I know David and Laurie Anderson were good friends and she said yes to this [recording new vocals for the song] and it was really great of her." Original musicians Alomar and Kızılçay were not part of the reproduction. Alomar approved of the changes to the album, but Kızılçay was unhappy with the new arrangements and threatened a lawsuit as a result.


title: Never Let Me Down

text: The release of the box set was preceded by the digital release of the single "Zeroes (2018) (Radio Edit)" in July 2018, and a physical 7" single in September 2018, backed with a radio edit of the 2018 version of "Beat of Your Drum".


title: Never Let Me Down

text: Reviewers have generally considered "Never Let Me Down 2018" an improvement over the original album. When reviewing "Loving the Alien", O'Leary found "Never Let Me Down 2018" superior to the original album in "Pitchfork", giving it a 6.7 out of 10. However, because Bowie's vocals remained the same – considering them "over-the-top performances to ensure Bowie stood out in the traffic-jam mixes" – he found that sometimes the new arrangements did not match his vocals, highlighting "Beat of Your Drum" and "Zeroes". Conversely, he gave praise to the new versions of "Day-In Day-Out" and "Glass Spider". Overall, O'Leary found "Never Let Me Down 2018" to be "an interesting curio", stating "the remake doesn't improve on "Never Let Me Down" as much as it honors the original's all-over-the-place frustration." Writing for "Record Collector", Daryl Easlea praised the reworked album. He found the new production of "Time Will Crawl" and "Beat of Your Drum" drastic improvements that emerge them as "well-written pop songs", while "Zeroes" became "one of Bowie's greatest ever straight-down-the-line songs". He concluded that "the 2018 version of the album, with re-production and overdubs, is shorn of bombast and there are some truly lovely moments to be found", but expressed disappointment with the replacement of Rourke on "Shining Star".


title: Never Let Me Down

text: Ingalls stated: ""Never Let Me Down 2018" goes a long way in salvaging those 1987 songs, with a 21st-century sensibility stripping away the overblown aesthetic of those original recordings." He further commended the 2018 version for helping the album "breathe a lot easier". Ultimately, while the record still doesn't match the quality of Bowie's best work, Ingalls felt that everyone involved in the new version "does yeoman's work here." Similarly, Michael Rippman considered "Never Let Me Down 2018" to be the "crown jewel" of the box set in "Consequence of Sound". Langdon Hickman of "Treble" wrote that with the 2018 version, the album "no longer feels like a glaring misstep in his canon", but rather brings Bowie's original vision to life, sounding closer to his Tin Machine work. Rather than being at the bottom, the new version "manage[s] to cinch itself up against [the] middle tier" of his catalogue. Erlewine, on the other hand, was more negative, writing that "the new "Never Let Me Down" is neither fish nor fowl: it's not radical enough to be a reimagined record – its core remains the same – and without its ornamental period feel, it seems trapped out of time."


title: Princess Alexandra, 2nd Duchess of Fife

text: Princess Alexandra, Duchess of Fife, (; 17 May 1891 – 26 February 1959), known as Princess Arthur of Connaught after her marriage, was the eldest surviving grandchild of King Edward VII. Alexandra and her younger sister, Maud, had the distinction of being the only female-line descendants of a British sovereign officially granted both the title of "Princess" and the style of "Highness".


title: Princess Alexandra, 2nd Duchess of Fife

text: Alexandra's father was Alexander Duff, 1st Duke of Fife. Having succeeded his father as the 6th Earl Fife, he was elevated to Duke of Fife and Marquess of Macduff in the Peerage of the United Kingdom on his marriage in 1889 to Princess Louise of Wales, the eldest daughter of the future Edward VII. Princess Louise accordingly became the Duchess of Fife, and succeeded as the head of many Scottish Feudal Baronies, including MacDuff, named for James Duff, 2nd Earl Fife.


title: Princess Alexandra, 2nd Duchess of Fife

text: Alexandra was born at East Sheen Lodge, Richmond on 17 May 1891. After ten years of marriage and the birth in 1893 of Alexandra's younger sister Maud, no more children would be born to Alexandra's parents and the dukedom and marquessate of Fife were headed toward extinction since only a male heir could inherit those titles. On 24 April 1900 Queen Victoria granted Alexander Duff a second dukedom of Fife, along with the earldom of Macduff, stipulating by special remainder that these two titles would jointly devolve, in default of sons born to him and the Queen's granddaughter, upon their daughters in order of seniority of birth, and upon their respective agnatic male descendants in the same order. After her father´s death in 1912 she eventually inherited the Dukedom of Fife.


title: Princess Alexandra, 2nd Duchess of Fife

text: As a female-line granddaughter of the British monarch, Alexandra was not entitled to the title of "Princess", nor to the style of "Her Royal Highness". Instead she was styled Lady Alexandra Duff, as the daughter of a duke, even though she was born fifth in the line of succession to the British throne. Alexandra and her sister were unique among British princesses in that they were descended from both William IV (through his mistress, Dorothea Jordan), and William IV's niece, Queen Victoria, who succeeded him because he left no legitimate issue.


title: Princess Alexandra, 2nd Duchess of Fife

text: She was baptised at the Chapel Royal, St James's Palace on 29 June 1891 by the Archbishop of Canterbury, Edward White Benson. Her godparents were Queen Victoria and the Prince and Princess of Wales.


title: Princess Alexandra, 2nd Duchess of Fife

text: On 9 November 1905, King Edward VII declared his eldest daughter Princess Royal. He further ordered Garter King of Arms to gazette Lady Alexandra Duff and her sister Lady Maud Duff with the style and attribute of "Highness" and the style of Princess prefixed to their respective Christian names, with precedence immediately after all members of the British royal family bearing the style of "Royal Highness". From that point, "Her Highness Princess Alexandra" held her title and rank, not from her ducal father, but from the decree issued by will of the sovereign (her grandfather).


title: Princess Alexandra, 2nd Duchess of Fife

text: Around 1910, Alexandra became secretly engaged to Prince Christopher of Greece and Denmark, a son of King George I of the Hellenes. The engagement was terminated when their disapproving parents learned of the liaison.


title: Princess Alexandra, 2nd Duchess of Fife

text: On 15 October 1913, Princess Alexandra married her first cousin, once removed, Prince Arthur of Connaught at the Chapel Royal, St. James's Palace, London.


title: Princess Alexandra, 2nd Duchess of Fife

text: Prince Arthur of Connaught was the only son of the Duke of Connaught and Strathearn, third son of Queen Victoria and thus a younger brother of her maternal grandfather, King Edward VII. As such, Arthur and Alexandra were first cousins once removed.


title: Princess Alexandra, 2nd Duchess of Fife

text: After their marriage, Alexandra was referred to as "HRH Princess Arthur of Connaught", in accordance with the tradition that a wife normally shares the title and style of her husband.


title: Princess Alexandra, 2nd Duchess of Fife

text: With her husband, Alexandra also carried out royal engagements on behalf of her uncle, King George V, and later for her cousin, King George VI. She also served as a Counsellor of State between 1937 and 1944.


title: Princess Alexandra, 2nd Duchess of Fife

text: World War I gave to Princess Arthur of Connaught the opportunity to embrace a vocation of nursing in which she subsequently made a highly successful career. In 1915 she joined the staff of St. Mary's Hospital, Paddington, as a full-time nurse and worked untiringly in this capacity until the armistice. After the war she continued her training at St. Mary's, becoming a state registered nurse in 1919 and being awarded a first prize for a paper on eclampsia. She also served in Queen Charlotte's Hospital where she specialized in gynaecology, receiving a certificate of merit. Throughout these years Princess Arthur increasingly impressed her superiors by her technical skill and practical efficiency.


title: Princess Alexandra, 2nd Duchess of Fife

text: When her husband was appointed governor-general of the Union of South Africa, Princess Arthur ably seconded him and shared his popularity. Her tact and friendliness made her many friends among the South Africans, who also greatly admired the interest which she displayed in hospitals, child welfare, and maternity work throughout the Union. To these subjects she brought her exceptional personal knowledge and experience, which enabled her to make many effective and valuable suggestions.


title: Princess Alexandra, 2nd Duchess of Fife

text: On her return to London in 1923, Princess Arthur resumed her nursing career at University College Hospital, where she was known as "Nurse Marjorie", and subsequently at Charing Cross Hospital. At this time she was specializing in surgery, proving herself a competent, dependable, and imperturbable theatre sister, who was capable of performing minor operations herself and of instructing juniors in their duties. Her services to the nursing profession were recognized in July 1925, when she was awarded the badge of the Royal Red Cross by George V.


title: Princess Alexandra, 2nd Duchess of Fife

text: The outbreak of World War II in 1939 afforded Princess Arthur further scope for her nursing abilities. She refused the offer of a post as matron of a hospital in the country, preferring to become sister-in-charge of the casualty clearing station of the Second London General Hospital. Shortly thereafter, she opened the Fife Nursing Home in Bentinck Street which she personally equipped, financed, and administered as matron for ten years with great competence.


title: Princess Alexandra, 2nd Duchess of Fife

text: On 26 April 1943 her only child, Alastair, Duke of Connaught and Strathearn, died unexpectedly while in Canada.


title: Princess Alexandra, 2nd Duchess of Fife

text: In 1949 the multiple-rheumatoid-arthritis, from which Princess Arthur had suffered for many years, rendered her completely crippled and necessitated the closing of her nursing-home. She retired to her London home - 64 Avenue Road, St John's Wood, London near Regent's Park where she wrote for private circulation two autobiographical fragments in a vivid and entertaining style: "A Nurse's Story" (1955) and "Egypt and Khartoum" (1956), in which she gave a graphic account of the shipwreck of SS "Delhi" which ran aground in fog and heavy seas in 1911 – Princess Arthur, her sister and mother nearly died and her father, Alexander Duff, 1st Duke of Fife, subsequently died as a result of his injuries. She was engaged on a further volume on big-game hunting in South Africa when she died at home on 26 February 1959.


title: Princess Alexandra, 2nd Duchess of Fife

text: At her special request she was cremated, and her ashes were laid in St Ninian's Chapel, Braemar, on the Mar Lodge estate. Her will was sealed in London after her death in 1959. Her estate was valued at £86,217 (or £1.4 million in 2022 when adjusted for inflation).


title: Princess Alexandra, 2nd Duchess of Fife

text: Despite the fact that Alexandra and her sister were not daughters of a royal duke, they were sometimes unofficially referred to with the territorial designation "of Fife" but in official documents, until their marriages, they were always styled Her Highness Princess Alexandra or Maud, without the territorial designation "of Fife".


title: The Object of My Affection

text: The Object of My Affection is a 1998 American romantic comedy-drama film directed by Nicholas Hytner and starring Jennifer Aniston and Paul Rudd. The film was adapted from the novel of the same name by Stephen McCauley and the screenplay was written by Wendy Wasserstein. The story concerns a pregnant New York social worker who develops romantic feelings for her gay new friend and decides to raise her child with him, and the complications that ensue.


title: The Object of My Affection

text: It was filmed in 1997 in various locations around New York City, New Jersey, and Connecticut. The film received mixed reviews and was a moderate box office success grossing $46.9 million against a production budget of $15 million.


title: The Object of My Affection

text: Social worker Nina Borowski (Jennifer Aniston) is a bright young woman living in a cozy Brooklyn apartment. Nina attends a party given by her stepsister Constance (Allison Janney) and her husband, Sidney (Alan Alda). There Nina meets George Hanson (Paul Rudd), a young, handsome, and gay first grade teacher. Nina tells George that her stepsister is constantly trying to fix her up with somebody from higher society, completely ignoring the fact that Nina has a boyfriend, Vince (John Pankow). During the conversation, Nina offers George a room in her apartment as she has just heard from his boyfriend, Dr. Robert Joley (Tim Daly), that George is looking for somewhere to live. George, not knowing about Robert's plans, is taken aback and heartbroken, and after the party the two split up. George accepts Nina's offer and moves into her apartment.


title: The Object of My Affection

text: The two soon become best friends; they watch films together and go ballroom dancing. Everything is great until Nina announces that she is pregnant. Vince, the baby's father, wants to marry her, but his constant control drives Nina crazy; she leaves him and George offers to help raise her child. For some time, they live together in her apartment in Brooklyn. Everything is perfect again until Nina finds that her love for George is growing every day, especially after he tells her he had a girlfriend in high school, leading her to believe they might develop a romantic relationship.


title: The Object of My Affection

text: One afternoon, George and Nina are about to have sex when George gets a phone call from Robert who tells him how much he has missed him and invites him away for the weekend. George is confused but agrees to go. Nina feels threatened and gets jealous. George and Robert do not re-establish their relationship, but George meets Paul James (Amo Gulinello), a young actor, and the two are attracted to each other and have sex. Meanwhile, Nina is staying with Constance at a vacation mansion and is extremely moody. She has a horrible time and decides to head back home and asks George to return as well. Her purse is snatched on the way and a friendly police officer, Louis (Kevin Carroll), gives her a ride home.


title: The Object of My Affection

text: Nina decides to invite Paul and his older acting mentor with whom he lives, Rodney (Nigel Hawthorne), for Thanksgiving after a rather prickly brunch with a late arriving George, his brother Frank (Steve Zahn) and his brother's latest fiancée. After the evening winds down, Paul stays the night with George, resulting in a heated argument between George and Nina, and heartache for Rodney.


title: The Object of My Affection

text: At Frank's wedding, they continue their discussion as Nina has begun to realize the reality of the situation. Nina fully explains to George her feelings for him. George, who loves Nina as his best friend, tells her that, ultimately, he wants to be with Paul. A few hours later, Nina gives birth to a beautiful girl she names Molly. Vince, ecstatic, visits her in the hospital, but when he leaves to complete paperwork, Nina and George remain alone with Molly. Nina asks George when he plans to move out to which he replies that he doesn't know. She asks him to move out of her apartment before she gets home from the hospital, stating that it would hurt her too much to have him stay any longer knowing that he doesn't love her the same way she does him.


title: The Object of My Affection

text: Eight years later at George's school, everyone goes to see Molly in a musical production that George has directed. George is now the principal of the school. Nina is now in a relationship with Louis, and George is still with Paul, both of them now happy. Rodney is also there, still considered 'one of the family' by Louis and Nina. Nina, George, and young Molly (Sarah Hyland) (who refers to George as her "Uncle George") walk together, hand-in-hand, on their way to get coffee and talk.


title: The Object of My Affection

text: The shooting took place from June to July 1997, in New York. Winona Ryder was initially offered the role of Nina, but turned it down so Uma Thurman was cast opposite Keanu Reeves but both dropped out. Jennifer Aniston and Paul Rudd were cast instead.


title: The Object of My Affection

text: "The Object of My Affection" was released in US theaters on April 17, 1998, and took in $9,725,855 during its opening weekend, coming in at No. 2 at the box office in 1,890 theaters, averaging $5,146 per theater. The film went on to gross $29,187,243 in the United States alone, over a span of five weekends. The film continued to open in European countries throughout the fall and winter of 1998, and ultimately grossed $17,718,646 outside of the United States.


title: The Object of My Affection

text: Critical reaction to the film was mixed. Roger Ebert gave the film two stars, saying: ""The Object of My Affection" deals with some real issues and has scenes that work, but you can see the wheels of the plot turning so clearly that you doubt the characters have much freedom to act on their own."


title: The Object of My Affection

text: Ruthe Stein of the "San Francisco Chronicle" said the film "occasionally borders on being too clever. But that's a small quibble about a movie that gets so much right."


title: The Object of My Affection

text: The film holds a rating of 53% on the review aggregation website Rotten Tomatoes based on 59 reviews. The site's consensus states: "Despite heartfelt performances from Jennifer Aniston and Paul Rudd, "The Object of My Affection" suffers from too many plot contrivances and frequent turns into rom-com sappiness."


title: The Object of My Affection

text: In efforts of the film it received a GLAAD Media award nomination for Outstanding Film (Wide Release), and won the London Critics Circle Film award for British Supporting Actor of the Year awarded to actor Nigel Hawthorne.


title: Parade (Prince album)

text: Parade is the eighth studio album by American recording artist Prince, and the third and final album where the Revolution is billed. It also was the soundtrack album to the 1986 film "Under the Cherry Moon", directed by and starring Prince. It was released on March 31, 1986 by Paisley Park Records and Warner Bros. Records.


title: Parade (Prince album)

text: "Parade" eschews the guitar and rock elements of Prince's 1984 album "Purple Rain" in favor of the psychedelic pop style he explored on "Around the World in a Day" (1985), austerely produced funk, and soundtrack compositions. After the critical disappointment of his 1985 album "Around the World in a Day", "Parade" was released to acclaim from music critics. "Kiss" reached number one on the "Billboard" Hot 100. "Parade" was certified Platinum by the Recording Industry Association of America (RIAA) in June 1986.


title: Parade (Prince album)

text: "Parade" was named one of the best albums of 1986 by "The Village Voice" and "NME" magazine, who named it their Album of the Year.


title: Parade (Prince album)

text: "Parade" was the follow-up to "Around the World in a Day" and the soundtrack to Prince's second film. The album sees Prince further diversifying musically, adding orchestrations to his music. Prince also displayed a new image with "Parade": his trademark ruffled shirts, wild curly hair, and purple outfits, which defined his look from 1981's "Controversy" to 1985's "Around the World in a Day", were replaced by slicked-back hair and dress suits. The first single, "Kiss", was a number one hit, and the album as a whole was well received in the United States. Europe further embraced the album, and for the first time in Prince's career European album sales eclipsed those in the United States. While "Parade" was the last official release with the Revolution, a follow up called "Dream Factory" was recorded. Its release was canceled when Prince disbanded the group.


title: Parade (Prince album)

text: "Parade" eschews the guitar and rock elements of Prince's 1984 album "Purple Rain" in favor of the neo-psychedelic style he explored on "Around the World in a Day" (1985), austerely produced funk, and soundtrack compositions. According to "Blender" magazine's Keith Harris, "Parade" "makes a pop cavalcade out of the same psychedelic affectations" of "Around the World in a Day". Robert Christgau of "The Village Voice" viewed it as a modern "fusion of "Fresh"s foundation and "Sgt. Pepper"s filigrees", with songs he described as baroque pop creations. According to PopMatters editor Quentin B. Huff, ""Parade" doesn't sound like anything else in the Prince canon. The album is a blend of jazz, soul, and a certain French undercurrent, probably absorbed from the film being set in France."


title: Parade (Prince album)

text: "Parade" is bookended by two songs—"Christopher Tracy's Parade" and "Sometimes It Snows in April"—that reference Christopher Tracy, the protagonist from "Under the Cherry Moon". The latter song is an acoustic ballad with chromatic choruses and sentimental lyrics bidding farewell to Tracy. Christgau wrote that the album's lyrics suggest that Prince sings as Tracy, although he cannot be certain. "Parade" also features some French lyrics and "chanson" arrangements, which refer to the film's French setting.


title: Parade (Prince album)

text: "Parade" was released on March 31, 1986 to acclaim from music critics, who viewed it as a creative comeback after the critical disappointment of "Around the World in a Day". In a contemporary review for "The New York Times", John Rockwell said that the album succeeds in part because of the more aggressive songs, "in which Prince chooses to play up the black side of his multifaceted musical sensibility." "The Sunday Times" found its musical scope "stunning", and the "Detroit Free Press" called the album "a confirmation of Prince's place as a superior melodist, arranger, and player, as well as a celebration of his creativity." "Hi-Fi News & Record Review" called songs such as "New Position and "Girls and Boys" well-crafted funk and said that "when Prince opts to go completely daft, as he does on 'Do U Lie'... even then the result is somehow endearing and instantly likeable."


title: Parade (Prince album)

text: Commercially, "Parade" charted at number 3 on the pop chart and at number 2 on the R&B chart, while selling 1 million copies in the United States, where Prince's sales had decreased. However it garnered him a new commercial audience in Europe and sold 2 million copies internationally. The album finished 25th in the voting for "The Village Voice"s annual Pazz & Jop critics poll. Christgau, the poll's creator, ranked it as the 33rd best album of the year on his own list. "NME" magazine named it their album of the year for 1986.


title: Parade (Prince album)

text: In a retrospective review for AllMusic, Stephen Thomas Erlewine viewed "Parade" as a musically diverse near-masterpiece that is given depth by Prince's "weird religious and sexual metaphors". Simon Price later wrote in "The Guardian" that it was "the sound of Prince at his most effortless and assured. Cohesive and ice cream-cool, nobody would guess it was a soundtrack for a (sub-par) film. And it has 'Kiss' on it." In a less enthusiastic review for "Entertainment Weekly", David Browne said the record's ornate ballads and inconsistent material made it more self-indulgent than "Around the World in a Day". According to Mosi Reeves of Rhapsody, Prince's die-hard fans viewed the album as a charming mix of funk, jazz, and pop rock styles, but some detractors felt that its music was overblown. Reeves himself said that "this stylistic departure is an anomaly". In rapper Chuck D's opinion, Prince "turned off a lot of the black followers [with the album]. I couldn't understand that. People don't want artists to endlessly repeat themselves, yet they can't tolerate change either. Prince changes all the time, always working on the public's imagination, always trying to keep ahead of them."


title: Free as a Bird

text: "Free as a Bird" is a single released in December 1995 by the Beatles. The song was originally written and recorded in 1977 as a home demo by John Lennon. In 1995, 25 years after their break-up and 15 years after Lennon's murder, his then surviving bandmates Paul McCartney, George Harrison and Ringo Starr released a studio version incorporating the demo.


title: Free as a Bird

text: The single was released as part of the promotion for "The Beatles Anthology" video documentary and the "Anthology 1" compilation album. For the "Anthology" project, McCartney asked Lennon's widow Yoko Ono for unreleased material by Lennon to which the three remaining ex-Beatles could contribute. "Free as a Bird" was one of two such songs (along with "Real Love") for which McCartney, Harrison, and Starr contributed additional instrumentation, vocals, and arrangements. Jeff Lynne, who had worked with Harrison on Harrison's album "Cloud Nine" and as part of the Traveling Wilburys, co-produced.


title: Free as a Bird

text: The song peaked at 2 on the UK Singles Chart and No. 6 on the US "Billboard" Hot 100. It also became a top-ten hit in at least 10 other countries, including Australia, Canada, Hungary and Sweden. It won the 1997 Grammy Award for Best Pop Performance by a Duo or Group with Vocal and was the Beatles' 34th top-ten single in the United States, meaning they had at least one top-forty hit in four different decades.


title: Free as a Bird

text: The music video was produced by Vincent Joliet and directed by Joe Pytka. Shot from the point of view of a bird in flight, it includes allusions to numerous Beatles songs.


title: Free as a Bird

text: McCartney, Harrison and Starr originally intended to record some incidental background music, as a trio, for the "Anthology" project, but later realised, according to Starr, that they wanted to record "new music". According to Harrison, they had always agreed that if one of them was not in the band, the others would never replace him and "... go out as the Beatles", and that the "only other person that could be in it was John."


title: Free as a Bird

text: McCartney then asked Ono if she had any unreleased recordings by Lennon, so she sent him cassette tapes of four songs. "Free as a Bird" was recorded by Lennon in 1977, in his and Ono's Dakota building apartment in New York City, but was not complete. Lennon introduced the song on the cassette by imitating a New York accent and saying, "Free—as a boid" (bird). The other songs were "Grow Old With Me", "Real Love", and "Now and Then". Ono says that it was Harrison and former Beatles road manager Neil Aspinall who initially asked her about the concept of adding vocals and instrumentation to Lennon's demo tapes. Ono stated: "People have said it was all agreed when Paul came over to New York to induct John into the Rock and Roll Hall of Fame, but it was all settled before then. I just used that occasion to hand over the tapes personally to Paul."


title: Free as a Bird

text: McCartney went to Ono's home after the induction ceremony at the Rock and Roll Hall of Fame to listen to, and receive, the Lennon demo tapes; he recalls the meeting with Ono:


title: Free as a Bird

text: She was there with Sean ... and she played us a couple of tracks. There were two newies on mono cassettes which he did at home ... [s]o I checked it out with Sean, because I didn't want him to have a problem with it. He said, "Well, it'll be weird hearing a dead guy on lead vocal. But give it a try." I said to them both, "If it doesn't work out, you can veto it." When I told George and Ringo I'd agreed to that they were going, "What? What if we love it?" It didn't come to that, luckily. I said to Yoko, "Don't impose too many conditions on us, it's really difficult to do this, spiritually. We don't know, we may hate each other after two hours in the studio and just walk out. So don't put any conditions, it's tough enough."


title: Free as a Bird

text: During an interview for the "Anthology" project, McCartney revealed that he was surprised to learn that Lennon's demos of "Grow Old With Me" and "Real Love" had already been released and were well known by Lennon fans. Starr admitted that when he first listened to the recording he found it very emotional.


title: Free as a Bird

text: George Martin, who had produced most of the Beatles' 1960s recordings, turned down an invitation to produce "Free as a Bird" due to hearing problems (though he subsequently managed to produce and direct the "Anthology" series). Harrison suggested Jeff Lynne (founding member of Electric Light Orchestra and co-producer of Harrison's 1987 album, "Cloud Nine") as producer, and work commenced at McCartney's studio in February 1994. Harrison expressed a desire to work with Lynne or he would not involve himself in the project. Geoff Emerick and Jon Jacobs were chosen to engineer the new tracks.


title: Free as a Bird

text: The original 1977 tape of Lennon singing the song was recorded on a mono cassette, with vocals and piano on the same track. They were impossible to separate with the technology at the time, so Lynne had to produce the track with voice and piano together, but commented that it was good for the integrity of the project, as Lennon was not only singing occasional lines, but also playing on the song.


title: Free as a Bird

text: Although Lennon had died in 1980, Starr said that the three remaining Beatles agreed they would pretend that Lennon had "gone for lunch", or had gone for a "cup of tea". The remaining Beatles recorded a track around Lennon's basic song idea, but which had gaps they had to fill in musically. Some chords were changed, and the arrangement was expanded to include breaks for McCartney and Harrison to sing extra lines. Harrison played slide guitar in the solo.


title: Free as a Bird

text: The Beatles' overdubs and production were recorded between February and March 1994 in Sussex, England, at McCartney's home studio. It ends with a slight coda including a strummed ukulele by Harrison (an instrument he was known to have played often) and the voice of John Lennon saying « turned out nice again! » played backwards. The final result sounds like "made by John Lennon", which, according to McCartney, was unintentional and was only discovered after the surviving Beatles reviewed the final mix. When Starr heard McCartney and Harrison singing the harmonies, and later the finished song, he said that it sounded just like "them" [the Beatles]. He explained his comment by saying that he looked at the project as "an outsider". Lynne fully expected the finished track to sound like the Beatles, as that was his premise for the project, but Harrison added: "It's gonna sound like "them" if it is "them"... It sounds like "them" now."


title: Free as a Bird

text: McCartney, Harrison and Starr all agreed that the recording process was more pleasurable than when they later recorded "Real Love" (the second song chosen for release); as the latter was almost finished, they had very little input, and felt like sidemen for Lennon.


title: Free as a Bird

text: The music video for "Free as a Bird" was produced by Vincent Joliet and directed by Joe Pytka and contains, from the point of view of a bird in flight, many references to Beatles songs, such as "Penny Lane", "Paperback Writer", "A Day in the Life", "Eleanor Rigby", "Helter Skelter", "Piggies", "The Continuing Story of Bungalow Bill", "Strawberry Fields Forever", "Doctor Robert", and "The Fool on the Hill". It has been estimated that the video includes between 80 and 100 allusions to the Beatles' story, music and lyrics. Although the bird can be heard at the beginning of the video, it is never seen. Neil Aspinall (Apple Records executive at the time) said that this was because no-one could agree on what kind of bird it should be. Pytka had to send his ideas to McCartney, Harrison and Starr, as well as Ono, to make sure they all agreed before he could proceed with the filming of the video. Derek Taylor (ex-Apple Records executive) sent a two-page letter to Pytka confirming that he could proceed, and personally encouraged and supported Pytka's ideas. The video was filmed in as many authentic locations as possible: Penny Lane was made by Pytka's art department to look as it was in the 1950s, and other locations filmed were The Liver Building, and Liverpool Docks (as a reference to Lennon's father Alfred Lennon).


title: Free as a Bird

text: Although Pytka fixed the ideas on a storyboard, he abandoned it as soon as filming began, and followed ideas based on what angles and perspectives the Steadicam camera produced. One instance was the filming of the car crash, which Pytka filmed for hours from above, but realised that a Steadicam shot on the ground was a much better idea. The inclusion of the car registration number 847 BHN on a police van in the Day in the Life crash sequence alludes to John and Yoko's commitment to the case of James Hanratty, hanged in 1962 for the A6 murder (then a contentious case, but proven guilty by DNA evidence in 2002). Archiveage was used by imposing it on scenes shot by Pytka, who utilised a greenscreen stage to digitally blend it into the finished film, such as Paul's Old English Sheepdog in the graveyard, and the elephant in the ballroom procession scene. The elephant was put in last, as Aspinall phoned Pytka and said that Starr liked the scene, but insisted an elephant be put in it, which Pytka later did, as he had already put a sitar in at the request of Harrison. Apart from the Steadicam shots, Pytka used a Russian-made Akil-crane for sweeping overhead shots, such as the Abbey Road zebra crossing shot at the end, as well as a remote-controlled toy helicopter with a camera added to it for intricate aerial shots. To make it more interesting, two Blue Meanies make cameos.


title: Free as a Bird

text: Harrison played the ukulele in the studio for the song, and asked to appear as the ukulele player seen only from behind at the very end of the video. Pytka resisted this, as he felt it would be wrong for any contemporary members of the Beatles to appear on screen. Pytka later stated that it was "heartbreaking" that Harrison had not played the role, particularly after Harrison's death in 2001 and upon discovering that the ukulele was not a sample of an old song as Pytka had assumed. The video won the Grammy Award for Best Short Form Music Video in 1996.


title: Free as a Bird

text: On 6 November 2015, Apple Records released a new deluxe version of the "1" album in different editions and variations (known as "1+"). Most of the tracks on 1 have been remixed from the original multi-track masters by Giles Martin. Giles Martin, with Jeff Lynne, also remixed "Free as a Bird" to accompany the music video for the DVD and Blu-ray releases. The remix of "Free as a Bird" cleans up Lennon's vocal further, and uses a different take of Harrison's vocal phrase, replacing the lyric "whatever happened to the "life" that we once knew" with "whatever happened to the "love" that we once knew". Towards the end of the track, this version also contains a clip of Lennon stating the phrase "turned out nice again" (George Formby's catchphrase) played forward—which was played backwards in the original mix of the song. McCartney's lead vocal, buried in the original mix to serve as a double-track for Lennon's own vocal, can now be heard more prominently in the second verse.


title: Free as a Bird

text: "Free as a Bird" marked the first time a single containing new material had been released under the Beatles' name since "The Long and Winding Road" in the United States in 1970. The promotional video was broadcast during episode one of "The Beatles Anthology" that aired on ITV in the UK and ABC in the US.


title: Free as a Bird

text: "Free as a Bird" was greeted with mixed reviews. Its release was criticised by Caroline Sullivan in "The Guardian" as a publicity gimmick, exploiting the Beatles brand, and owing less to the Beatles than to Lynne. Andy Gill in "The Independent" called the song "disappointingly low-key. ... George's guitar weeps gently enough when required, but the overall effect is of a dirge." Ian MacDonald, writer of "Revolution in the Head", declared it to be a "dreary song" that stood no comparison with the Beatles' sixties music. Chris Carter, now the host of "Breakfast with the Beatles", commented: "I would value any song (especially if it was great) performed by John, Paul, George and Ringo, no matter how (or when) it was recorded." "Free as a Bird" later won the 1997 Grammy Award for Best Pop Performance by a Duo or Group with Vocal.


title: Free as a Bird

text: "Free as a Bird" was premiered on BBC Radio 1 in the early hours of 20 November 1995 and was sent to US contemporary hit radio stations the following day. It was released as a single on CD, cassette, and 7-inch vinyl in the UK on 4 December 1995, two weeks after its appearance on the "Anthology 1" album. The single sold 120,000 copies in its first week, entering the UK Singles Chart at No. 2. It remained on the chart for eight weeks. In the US, the song was released on 12 December 1995 and reached No. 6 on the "Billboard" Hot 100, becoming the Beatles' 34th and final Top 10 single in America. It was the group's first Top 10 song in the U.S. in nineteen and a half years, the longest span for the group between Top 10 hits since first charting in America in 1964.


title: Free as a Bird

text: All songs written by John Lennon, Paul McCartney, George Harrison and Ringo Starr, except where noted.


title: Love Mocktail

text: Love Mocktail is a 2020 Indian Kannada-language romantic drama film directed and written by Darling Krishna in his directorial debut. The film was released on 31 January 2020. The film was produced by Krishna and Milana Nagaraj, who also star in the film. The plot follows the story of Aadi on his quest to find true love.


title: Love Mocktail

text: A sequel titled "Love Mocktail 2" released in 2022 while the Telugu remake titled "Gurthunda Seethakalam" released in December 2022. It was one of the most successful film of 2020 and received positive reviews.


title: Love Mocktail

text: Adi (Darling Krishna), a software engineer, rescues Aditi (Rachana Indar). He then agrees to drop her home as he is going to her hometown Udupi. During the journey Aditi asks Adi about his romantic history. He responds by telling her about his past, from high school to the present.


title: Love Mocktail

text: The film flashes back to Adi's high school years, where he had a crush on a girl from his tuition, Reema (Vibha Kallianpur). His friend approaches her, but she rejects Adi, as her parents had a failed marriage. When he moved on to engineering college, he met Joshita, also known as Jo (Amrutha Iyengar). She is from a well-to-do family, and even though she truly loved Adi, she had doubts about his financial ability to provide her with the lifestyle she desired. Determined to quell her doubts, Adi joins an IT company after completing school. Despite this, Jo breaks up with him due to parental pressure. Heartbroken, Adi meets Nidhi (Milana Nagaraj), a fellow software employee and a down-to-earth woman. Adi and Nidhi form a happy couple, and Nidhi becomes pregnant. Unfortunately, Nidhi is unable to deliver the baby, ultimately being diagnosed with ovarian cancer. Nidhi eventually succumbs to the cancer, despite Adi's hopes that she will survive.


title: Love Mocktail

text: In the present time, Adi shows Nidhi's grave to Aditi, and the film ends with Adi driving Aditi home.


title: Love Mocktail

text: The movie is being remade in Telugu starring Tamannaah and Satyadev Kancharana in the lead roles. The production will be led by Kannada director Nagashekar, who will also be co-producing the film with Bhavani Ravi. The movie will be titled "Gurthunda Seethakalam". In Odia As Gupchup.


title: Steve Landesberg

text: Stephen Landesberg (November 23, 1936December 20, 2010) was an American actor and comedian known for his role as the erudite, unflappable police detective Arthur P. Dietrich on the ABC sitcom "Barney Miller", for which he was nominated for three Emmy Awards.


title: Steve Landesberg

text: Landesberg was born on November 23, 1936, in the Bronx, New York, to Ann Landesberg, a milliner, and Abraham Landesberg, a grocery store owner. He was part of improv group New York Stickball Team, which performed several shows that aired on cable television shortly after "Barney Miller" went off the air.


title: Steve Landesberg

text: Landesberg was a member of the cast of the 1974 CBS situation comedy "Paul Sand in Friends and Lovers". He made guest appearances on "The Tonight Show", "The Rockford Files", "Law & Order", "Saturday Night Live", "The Golden Girls", "Ghost Whisperer", "That '70s Show" and "Everybody Hates Chris". He starred in Starz's original show "Head Case" as Dr. Myron Finkelstein. He appeared in the motion pictures "Wild Hogs", "Leader of the Band", and "Forgetting Sarah Marshall". He appeared in 124 episodes of "Barney Miller" as Det. Sgt. Arthur Dietrich, starting from the last episode of the 1975 season until the end of the series in 1982.


title: Steve Landesberg

text: Landesberg also co-starred in the TV pilot "Black Bart", a spin-off of "Blazing Saddles". He attempted a comeback to television playing a public defender in Seattle in an unsold sitcom pilot, "The Best Defense", later aired on June 19, 1995, on ABC.


title: Steve Landesberg

text: In the mid-1980s, Landesberg was the spokesman in TV and print advertisements for Northwestern Bell's long-distance telephone services. He also was a TV spokesman for AAMCO Transmissions in the 1980s and early 1990s, for Canadian Airlines in 1990, and for Office Depot in the 1990s.


title: Steve Landesberg

text: Throughout his career, Landesberg was noncommittal about his age and year of birth. At the time of his death, many news outlets mistakenly reported his age as 65; some never corrected that story. In acknowledging that he was actually nine years older than he had long claimed, his daughter Elizabeth said he had provided varying birth dates over the years. "He got kind of a late start in show business," she explained, "so he tried to straddle the generations. He fooled the whole world. People were surprised to think he was even 65." Landesberg commented on the issue in a 1979 "Washington Post" profile for which he refused to give his age:


title: Theresa Knorr

text: Theresa Jimmie Francine Knorr (née Cross; born March 14, 1946) is an American woman convicted of torturing and murdering two of her six children while using the others to facilitate and cover up her crimes. She was acquitted of murdering her first husband. She is currently serving two consecutive life sentences at the California Institution for Women in Chino, California.


title: Theresa Knorr

text: Theresa Knorr was born in Sacramento, California, the younger of two daughters born to Swannie Gay (née Myers) and James "Jim" Cross. Theresa's mother had a son and a daughter from a previous marriage. Her father worked as an assistant cheese maker at a local dairy, eventually saving up enough money to buy a house in Rio Linda.


title: Theresa Knorr

text: In the late 1950s, Jim Cross was diagnosed with Parkinson's disease, which forced him to quit his job. He developed depression and reportedly took his frustrations and anger out on his family. Swannie Cross kept the family afloat financially.


title: Theresa Knorr

text: Theresa was reportedly very close to her mother and was devastated when she died of congestive heart failure in March 1961. Thereafter, unable to keep the family home, her father sold it.


title: Theresa Knorr

text: On September 29, 1962, 16-year-old Theresa married Clifford Clyde Sanders, a man five years her senior whom she had met a few months prior. She immediately dropped out of high school and became pregnant, and on July 16, 1963, gave birth to her first child, Howard Clyde Sanders.


title: Theresa Knorr

text: The marriage was rocky as Theresa was possessive and repeatedly accused Sanders of infidelity. The couple argued frequently and on June 22, 1964, Theresa claimed Sanders had punched her in the face during one such argument. She reported the incident to police but refused to press charges against Sanders. The assault charges were subsequently dropped.


title: Theresa Knorr

text: On July 6, 1964, the day after Sanders' birthday, the couple were arguing because he had spent his birthday out with friends instead of at home. During the argument, Sanders informed Theresa that he was leaving her. Theresa became enraged and shot Sanders in the back with a rifle as he was walking out the door.


title: Theresa Knorr

text: Theresa was arrested and charged with Sanders' murder, to which she pleaded not guilty claiming she was acting in self-defense. During her trial, Theresa, who was pregnant with her second child, claimed that she had shot Sanders because he was a violent alcoholic who had physically abused her. Several of Sanders' relatives testified that he was neither violent nor abusive, while the prosecution claimed that Theresa killed Sanders "maliciously" and "without provocation."


title: Theresa Knorr

text: Theresa's older sister testified against her, stating that Theresa was possessive and jealous and "would kill [Sanders] before any other woman could have him."


title: Theresa Knorr

text: Theresa was acquitted of Sanders' murder on September 22, 1964. She gave birth to her second child, Sheila Gay Sanders, on March 16, 1965.


title: Theresa Knorr

text: After Sheila's birth, Theresa began drinking heavily. She regularly drank at the local American Legion hall where she met Estell L. Thornsberry, a disabled United States Army veteran. The two began a relationship and eventually moved in together. During the relationship, Theresa would routinely leave her children with Thornsberry while she went out drinking. Thornsberry began to question Theresa when she stayed out for days at a time and ended the relationship a few months later after he discovered that she was having an affair with his best friend. Shortly after the relationship with Thornsberry ended, she met and began a relationship with a United States Marine Corps private named Robert Knorr. She soon became pregnant and the couple married on July 9, 1966.


title: Theresa Knorr

text: Theresa's third child, Suesan Marline Knorr, was born on September 27, 1966. The couple had three more children: William Robert Knorr on September 15, 1967; Robert Wallace Knorr, Jr. on December 31, 1968; and Theresa Marie Knorr on August 5, 1970. However, Theresa's marriage to Robert began to deteriorate after she began accusing her husband of having affairs. Both spouses were known to be volatile and would constantly beat each other and the kids. Fed up with his wife's constant accusations, Robert left her in December 1970 and was granted a divorce in 1971. After the divorce, Robert attempted to see his children but Theresa prevented him from doing so.


title: Theresa Knorr

text: Theresa would marry twice more; in 1971, she married railroad worker Ronald Pulliam. That marriage began to fall apart when Theresa began leaving her children with Pulliam while she stayed out all night drinking and partying. He divorced her in 1972 after he became convinced that she was having an affair.


title: Theresa Knorr

text: Her final marriage was to "Sacramento Union" copy editor Chester "Chet" Harris, whom she married in August 1976. Theresa's daughter Suesan grew close to Harris, which made Theresa jealous. She filed for divorce from Harris in November 1976 after she reportedly found out that Harris enjoyed taking consensual nude photographs of women.


title: Theresa Knorr

text: Theresa Knorr was physically, verbally, and psychologically abusive toward her children, behavior which escalated after her fourth divorce. She also gained a tremendous amount of weight, and became reclusive to the point of disconnecting the home phone and refusing to allow the children to have visitors. Knorr and her children lived in Orangevale, California, for many years before moving into a two-bedroom apartment in Sacramento; her eldest son Howard reportedly left home before the move to Sacramento. According to neighbors, the Sacramento apartment was filthy and smelled of urine. Neighbors also noticed that the children, whom Knorr never let go outside, seemed fearful, nervous and high-strung.


title: Theresa Knorr

text: For years, Knorr abused and tortured her children in various ways, including beating them, force-feeding them, burning them with cigarettes, and throwing knives at them. She made her children hold each other down while she assaulted them. In one instance, Knorr held a pistol to her youngest daughter Terry's head and threatened to kill her. Knorr primarily focused her anger and abuse on Terry's older sisters, Suesan and Sheila. In an interview, Terry said her mother resented that Suesan and Sheila were maturing and blossoming into attractive young women while she faced the prospect of losing her looks as she aged.


title: Theresa Knorr

text: Knorr also believed that her fourth husband, Chet Harris, had turned Suesan into a witch, so Suesan received the worst of Knorr's abuse. After one severe beating, Suesan ran away from home. She was picked up by police and placed in a psychiatric hospital where she told staff that her mother abused her. Knorr denied the abuse claims and told the hospital staff that Suesan had mental issues. Authorities did not investigate the matter further and released Suesan back into her mother's custody. Knorr immediately punished Suesan by beating her while wearing a pair of leather gloves, and forced Susesan's siblings to take turns in the assault. In the subsequent weeks, Knorr handcuffed Suesan to the kitchen table and ordered her other children to stand watch over her. She refused to let Suesan leave the house and forced her to drop out of school. Knorr also pulled her other children out of school, and most of them never advanced past the eighth grade.


title: Theresa Knorr

text: For two years, Knorr handcuffed Suesan under the dining room table making her suffer. Knorr would hand feed her from time to time, but she had to have a mouth gag on. Suesan couldn't take the torture anymore and begged her mom to let her go.


title: Theresa Knorr

text: The next morning, Knorr went on a psychotic rampage and just started hitting all of her children. She uncuffed Suesan for a minute, but handed her youngest child Terry a gun to point at Suesan to make sure she didn't go anywhere. Meanwhile, while Knorr and the other children were in the kitchen making oatmeal, one of her children dropped the spoon and it spooked Terry, so the gun went off and hit Suesan. Knorr immediately chained her back under the dining room table, despite the fact she was bleeding out (while also getting upset that there was blood on her carpet), while Suesan begged her mom to take her to the hospital. Eventually, Knorr decided to nurse her back to health and made the other kids help. Suesan survived the shooting but attempts by Robert, at Knorr's request, to remove the bullet led to infection and sepsis.


title: Theresa Knorr

text: On July 16, 1984, Knorr packed all of Suesan's belongings in trash bags and, after binding her arms and legs and placing duct tape over her mouth, ordered her sons Robert and William to put Suesan in their car. They drove her to Squaw Valley, where Robert and William placed her on the side of the road on top of the bags containing her belongings. Knorr then doused Suesan, who was still alive, and the bags in gasoline and lit them on fire. Suesan's still smoldering body was found the following day. Due to the state of the remains, a positive identification was never made and Suesan was classified as homicide case Jane Doe #4873/84.


title: Theresa Knorr

text: Following Suesan's death, Knorr began directing the majority of her anger and abuse towards her daughter Sheila, forcing the girl into prostitution in May 1985 to support the family. Knorr did not work and received unemployment benefits from the state of California. Knorr was initially pleased with this arrangement due to the large amounts of money Sheila was earning, and allowed Sheila to leave the house whenever she pleased.


title: Theresa Knorr

text: However, after a few weeks, Knorr became angry and accused Sheila of being pregnant and contracting a sexually transmitted disease, which Knorr claimed she caught from Sheila via a toilet seat. When Sheila denied the accusations, Knorr beat her, hog tied her and locked her in a hot closet with no ventilation. Knorr forbade her other children from giving Sheila food or water or to open the door to the closet. Terry disobeyed her mother and gave Sheila a beer. Terry later said, "She [Theresa] wanted Sheila to confess. That was Mother's way: beat them until they confess." To end the punishment, Sheila confessed to being pregnant and having an STD, but Knorr claimed that she was lying and refused to let her out of the closet. Sheila died three days later, on June 21, 1985, of dehydration and starvation.


title: Theresa Knorr

text: Knorr left Sheila's body in the closet for an additional three days before discovering that she was dead. Once again, Knorr ordered her sons William and Robert to dispose of Sheila's body, which had begun to decompose and was causing an odorous smell that filled the apartment. The boys placed Sheila's body in a cardboard box which they disposed of near Truckee-Tahoe Airport. Sheila's body was discovered a few hours after it had been disposed of but was never positively identified and was classified as Jane Doe #6607-85.


title: Theresa Knorr

text: Even though Sheila's body had been removed from the closet, the smell of decomposition still lingered in the apartment. Knorr became concerned that the smell and physical evidence in the closet could implicate her in Sheila's death. On September 29, 1986, Knorr moved the family's belongings out of the home and ordered Terry to burn down the apartment in an effort to destroy any physical evidence. During the night, Terry dumped three containers of lighter fluid on the apartment floor and set it on fire. However, the fire did little damage as neighbors quickly reported the fire before it spread. The closet in which Sheila died was not damaged. After Knorr's arrest, investigators were able to remove the subfloor from the closet to test it for physical evidence.


title: Theresa Knorr

text: After leaving the Sacramento apartment, Knorr went into hiding. Her surviving children, who were by then of legal age, severed their ties with their mother. Her youngest child, 16-year-old Terry, also escaped her mother's care and used Sheila's identification card to pass herself off as a legal adult. The only child to remain with Knorr was Robert, Jr. who was then 19 years old. Knorr and Robert, Jr. moved to Las Vegas, Nevada, and attempted to keep a low profile. In November 1991, Robert Knorr, Jr. was arrested after he fatally shot a bartender in a Las Vegas bar during an attempted robbery. He was sentenced to sixteen years in prison. Shortly after Robert, Jr.'s arrest, Knorr left Las Vegas and relocated to Salt Lake City, Utah.


title: Theresa Knorr

text: After escaping from her mother, Terry attempted to report her sisters' murders to the Utah police; they dismissed her stories as fiction, as did a therapist she visited.


title: Theresa Knorr

text: On October 28, 1993, Terry phoned the hotline for the Fox television program "America's Most Wanted", and was told to contact detectives in Placer County, California, where Suesan's body had been found. Placer County detectives took her claims seriously and followed up with an investigation, soon linking the two Jane Does found in the area in 1984 and 1985 to Terry's detailed stories of her sisters' deaths. William Knorr was arrested on November 4, 1993, in Woodland, California, where he had been living and working.


title: Theresa Knorr

text: Robert Knorr, Jr. was charged with his sisters' murders while he was serving his sixteen-year sentence in an Ely, Nevada, prison. On November 10, 1993, Knorr herself was arrested at her home in Salt Lake City. At the time of her arrest, she was using her maiden name of "Cross" and was working as a caretaker for her landlord's 86-year-old mother.


title: Theresa Knorr

text: On November 15, 1993, Theresa Knorr was charged with two counts of murder, two counts of conspiracy to commit murder, and two special circumstances charges: multiple murder and murder by torture. Knorr initially pleaded not guilty, but then made a deal with the prosecution after learning that her son Robert Jr. had agreed to testify against her in exchange for a reduced sentence. She pleaded guilty on the condition that she be spared the death penalty. On October 17, 1995, Knorr was sentenced to two consecutive life sentences. She is incarcerated at California Institution for Women in Chino, California. Knorr had a parole hearing in July 2019, but was denied release. Her next parole hearing will be in July 2024.


title: Theresa Knorr

text: William Knorr was sentenced to probation and ordered to undergo therapy for participating in his sister Suesan's murder. In exchange for his testimony, the prosecution dropped all charges against Robert Knorr, Jr. save for one count of being an accessory-after-the-fact in relation to Sheila's murder. Robert Jr. pleaded guilty to the charge and was sentenced to three years in prison, which was served concurrently with his sixteen-year sentence in Nevada.


title: Theresa Knorr

text: Following Knorr's arrest, police decided to reopen the murder case of Theresa's sister, Rosemary Knorr Norris. Norris was found strangled to death at the end of a dead-end road in Placer County in 1983 after she went grocery shopping in Sacramento. Police later determined that Knorr was not involved in Norris' death.


title: Theresa Knorr

text: After running away from her mother's home, Terry Knorr married twice and eventually moved to Sandy, Utah, where she lived with her second husband. She worked as a grocery store cashier in the same neighborhood where her mother had also lived and worked before her arrest. Theresa and Terry apparently did not know they lived in close proximity and had no contact. Terry Knorr died in 2011, aged 41.


title: Theresa Knorr

text: The 2010 horror film "The Afflicted" (also titled "Another American Crime") is loosely based on the Theresa Knorr case. The film follows the real-life events through a substantially-compressed timeline. Unlike the real case, the movie ends with the youngest daughter killing her mother and one of her brothers before committing suicide.


title: Theresa Knorr

text: The murders were profiled on the A&E series "Cold Case Files", featuring an exclusive interview with Terry Knorr Walker. The case was also profiled on the series "Most Evil," "Wicked Attraction", "Evil Lives Here", and "Deadly Women".


title: Pharaohs in the Bible

text: The Bible makes reference to various pharaohs (, "Parʿō") of Egypt. These include unnamed pharaohs in events described in the Torah, as well as several later named pharaohs, some of whom were historical or can be identified with historical pharaohs.