title: 1989 (album)

text:
1989 is the fifth studio album by American singer-songwriter Taylor Swift, released on October 27, 2014, by Big Machine Records. Inspired by 1980s synth-pop, Swift conceived 1989 to recalibrate her artistry to pop after critics disputed her status as a country musician when she released the cross-genre Red (2012) to country radio. She titled 1989 after her birth year as a symbolic artistic rebirth and enlisted Max Martin, who produced Reds electronic-influenced pop tracks, as co-executive producer.

Swift recorded 1989 at studios across the United States, the United Kingdom, and Sweden with an ensemble including Martin, Shellback, Jack Antonoff, Ryan Tedder, Nathan Chapman, and Imogen Heap. The synth-pop production is characterized by pulsing synthesizers, programmed drum machines, and processed backing vocals with electronic elements, a stark contrast to the acoustic arrangements of Swift's past albums. The songs expand on Swift's autobiographical songwriting and explore failed romance from a lighthearted perspective.

Swift and Big Machine promoted 1989 extensively through tie-ins and media endorsements but pulled the album from free streaming services, which prompted an industry discourse on the impact of streaming on music sales. To support the album, Swift embarked on the 1989 World Tour, which was the highest-grossing tour of 2015, and released seven singles. Supported by three US number-one singles—"Shake It Off", "Blank Space", and "Bad Blood", 1989 spent 11 weeks atop the Billboard 200 chart and was certified nine-times platinum by the Recording Industry Association of America. It has sold over 10 million copies worldwide and was certified multi-platinum in many countries.

When 1989 was first released, music critics generally complimented what they deemed a catchy production and an emotional engagement in its songwriting. A few felt the synth-pop production eroded Swift's authenticity as a songwriter—a criticism that some journalists retrospectively regarded as rockist. 1989 won Album of the Year and Best Pop Vocal Album at the 2016 Grammy Awards, and it was listed in all-time album rankings by Rolling Stone and Consequence. Critics and academics have considered 1989 an album that transformed Swift's status to a pop icon and promoted poptimism, but they also highlighted the media scrutiny that ensued. Following a dispute regarding the ownership of Swift's back catalog, she re-recorded 1989 and released it as 1989 (Taylor's Version) on October 27, 2023, on the ninth anniversary of the original album.

Background
Singer-songwriter Taylor Swift had identified as a country musician until she released her fourth studio album, Red, in October 2012. The album incorporates eclectic styles of pop and rock, and two of its most successful singles—the US number-one "We Are Never Ever Getting Back Together" and the number-two-peaking "I Knew You Were Trouble"—are pop songs that feature prominent electronic stylings. Swift and her then-label Big Machine promoted Red to country radio, and she appeared at country-music awards shows. The album's associated world tour, which from March 2013 to June 2014, was the all-time highest-grossing country tour when it completed. Although Red features a few country-oriented songs, its pop-leaning production and commercial success sparked a media debate over Swift's status as a country artist, to which she replied in an interview with The Wall Street Journal, "I leave the genre labeling to other people."

Besides her musicianship, Swift's personal life was another aspect that attracted media attention. Although she had been known as "America's Sweetheart" because of her wholesome and down-to-earth image, her serial romantic relationships blemished her reputation, and a short-lived romance with English singer Harry Styles during promotion of Red generated much media gossip. She disliked how the media excessively focused on her relationships, which overshadowed her professional work, and chose to no longer openly discuss her love life in the press. On Red's follow-up album, Swift continued autobiographical songwriting inspired by her personal life, a cornerstone of her artistry. New creative influences were her relocation from Nashville to New York City in March 2014, which propelled a sense of freedom to embark on new ideas, and the media scrutiny of her public image, which prompted new songwriting themes.

Recording and production

Swift began writing her fifth studio album in mid-2013, when she was touring to support Red. She viewed Red as an album that straddled the boundary between country and pop and thus wanted its follow-up to be "blatant pop" because she believed, "[If] you chase two rabbits, you lose them both." Inspired by 1980s synth-pop, she viewed the decade as an "experimental time in pop music" when musicians abandoned the established "drums-guitar-bass-whatever" production to make songs with synthesizers, drum pads, and overlapped vocals. Two of her main inspirations were Annie Lennox and Peter Gabriel—she admired how the former conveyed her "intense" thoughts through music and the latter's synth-pop sound created "an atmosphere behind what he was singing, rather than a produced track".

Swift enlisted Martin and Shellback as prime collaborators because she found "I Knew You Were Trouble" topping the US pop radio chart for seven weeks a motivation to fully embrace the electronic-pop sound that they produced. She enjoyed working with them because they often took her ideas in a different direction, which challenged her as a songwriter. Big Machine president Scott Borchetta initially was skeptical of Swift's decision and persuaded her to record a few country songs with instruments such as fiddle, but she rejected his request. Borchetta ultimately agreed with her to not promote the album to country radio, which had been formative in driving Swift's career. Martin and Shellback produced seven of the standard edition's thirteen tracks. Swift credited Martin as co-executive producer because he also recorded and produced the vocals on tracks where he was uncredited, which she deemed important in producing a coherent album.

Jack Antonoff was another key producer on 1989; he had worked with Swift on the 1980s new wave-influenced soundtrack single "Sweeter than Fiction" (2013). Antonoff extensively used the Juno-6 synthesizer, which he thought to have "such a sadness and a glory all at once", and co-wrote and co-produced three tracks, two for the standard edition and one for the deluxe edition. "I Wish You Would" stemmed from his experimental sampling of the snare drums on Fine Young Cannibals' 1988 single "She Drives Me Crazy". He played his sample to Swift on an iPhone and sent it to her to re-record. The final track is a remix that retains the distinctive snare drums. For "Out of the Woods", Antonoff sent his finished instrumental track to Swift while she was on a plane. She sent him a voice memo containing the lyrics roughly 30 minutes later. The song was the first time Swift composed lyrics for an existing instrumental.

Swift contacted Ryan Tedder, with whom she had always wanted to work, by a smartphone voice memo. He co-wrote and co-produced two songs—"Welcome to New York" and "I Know Places". For "I Know Places", Swift scheduled a meeting with him at the studio after forming a fully developed idea on her own; the recording process the following day finalized it. Tedder spoke of Swift's work ethic and perfectionism with Time: "Ninety-five times out of 100, if I get a track to where we're happy with it, the artist will say, 'That's amazing.' It's very rare to hear, 'Nope, that's not right.' But the artists I've worked with who are the most successful are the ones who'll tell me to my face, 'No, you're wrong,' two or three times in a row. And she did." For "Clean", Swift approached British producer Imogen Heap in London after writing the song's lyrics and melody. Heap helped to complete the track by playing instruments on it; the two finished recording after two takes in one day at Heap's studio. Nathan Chapman, Swift's longtime collaborator, co-produced the track "This Love". The album was mastered by Tom Coyne in two days at Sterling Sound Studio in New York City. Swift finalized the record upon completing the Asian leg of the Red Tour in mid-2014.

Music and lyrics

Overview
The standard edition of 1989 includes 13 tracks; the deluxe edition includes six additional tracks—three original songs and three voice memos. The album prominently incorporates synthesizers, programmed drum machines, pulsating basslines, and processed backing vocals—a stark contrast to the acoustic arrangements of Swift's past albums. Because she aimed to recreate authentic 1980s pop, the album is devoid of contemporary hip hop or R&B crossover elements popular in mainstream music at the time. Although Swift declared her move from country to pop on 1989, several reviewers, including The A.V. Clubs Marah Eakin, argued that Swift had always been more pop-oriented even on her early country songs. The three voice memos on the deluxe edition contain Swift's discussions of the songwriting process and unfinished demos for three songs—"I Know Places", "I Wish You Would", and "Blank Space". Myles McNutt, a professor in communications and arts, described the voice memos as Swift's effort to claim her authority over 1989, defying pop music's "gendered hierarchy" which had seen a dominance of male songwriters and producers.

As with Swift's past albums, 1989 is primarily about the emotions and reflections resulting from past romantic relationships. Swift's songwriting retained its storytelling which had been nurtured by her country-music background, but it is more ambiguous and embraces pop-music songwriting prioritizing emotional intensity and general ideas over intricate details. Swift's characters in the 1989 songs cease to vilify ex-lovers and failed relationships like those on her past songs did and instead look at them through a wistful perspective. She attributed this change of attitude to her realization of "more complex relationships", in which she was also responsible for the downfall instead of completely putting the blame on the other. For USA Today journalist Brian Mansfield, even though the songs were inspired by Swift's personal life, they resonated with a wide audience who found themselves and their situations represented in her songs. The album's liner notes, which include a one-sentence hidden message for each of the 13 songs, collectively tell a story of a girl's tangled relationship. Ultimately, she finds that, "She lost him but she found herself and somehow that was everything."

Songs

Swift's feelings when she first moved to New York City inspired the opening track, "Welcome to New York", a synthesizer-laden song finding Swift embracing her newfound freedom. "Blank Space", set over a minimal hip hop-influenced beat, satirizes the media's perception of Swift as a promiscuous woman who dates male celebrities only to gather songwriting material. The production of "Style", a funk-flavored track, was inspired by "funky electronic music" artists such as Daft Punk; its lyrics detail an unhealthy relationship and contain a reference to the American actor James Dean in the refrain. "Out of the Woods" is an indietronica and synth-pop song featuring heavy synthesizers, layered percussions and looping background vocals, resulting in a chaotic sound. Swift said that the song, which was inspired by a relationship that evoked constant anxiety because of its fragility, "best represents" 1989. "All You Had to Do Was Stay" laments a past relationship and originated from Swift's dream of desperately shouting "Stay" to an ex-lover against her will.

The dance-pop track "Shake It Off", sharing a loosely similar sentiment with "Blank Space", sees Swift expressing disinterest in her detractors and their negative remarks on her image. The bubblegum pop song "I Wish You Would", which uses pulsing snare drums and sizzling guitars, finds Swift longing for the return of a past relationship. Swift said that "Bad Blood", a track that incorporates heavy, stomping drums, is about betrayal by an unnamed female peer (alleged to be Katy Perry, with whom Swift was involved in a feud that received widespread media coverage). "Wildest Dreams" speaks of a dangerous affair with an apparently untrustworthy man and incorporates a sultry, dramatic atmosphere accompanied by string instruments. On "How You Get the Girl", a bubblegum pop track featuring guitar strums over a heavy disco-styled beat, Swift hints at her desire to reunite with an ex-lover. "This Love" is a soft rock-flavored electropop ballad; music critic Jon Caramanica opined the song could be mistaken as "a concession to country" because of the production by Swift's longtime co-producer Nathan Chapman.

The penultimate track of the standard edition is "I Know Places", which expresses Swift's desire to preserve an unstable relationship. Swift stated that it serves as a loose sequel to "Out of the Woods". Accompanied by dark, intense drum and bass-influenced beats, the song uses a metaphor of foxes running away from hunters to convey hiding from scrutiny. The final track on the standard edition, "Clean", is an understated soft rock and synth-folk song talking about the struggles to escape from a toxic yet addictive relationship; the protagonist is "finally clean" after a destructive yet cleansing torrential storm. "Wonderland", the first of the three bonus songs on the deluxe edition, alludes to the fantasy book Alice's Adventures in Wonderland to describe a relationship tumbling down a "rabbit hole". Inspired by Antonoff and Lena Dunham's relationship, the ballad "You Are in Love" is about an ideal relationship from another woman's perspective. The final song's title, "New Romantics", refers to the cultural movement in the late 1970s and early 1980s. With a strong 1980s synth-pop sound, the song sees Swift reigniting her hopes and energy after the heartbreaks she had endured.

Title and artwork
Swift named 1989 after her birth year and said it signified a symbolic rebirth of her image and artistry. As creative director for the album's packaging, Swift included pictures taken with a Polaroid instant camera—a photographic method popular in the 1980s. The cover is a Polaroid portrait of Swift's face cut off at the eyes, which Swift said would bring about a sense of mystery: "I didn't want people to know the emotional DNA of this album. I didn't want them to see a smiling picture on the cover and think this was a happy album, or see a sad-looking facial expression and think, oh, this is another breakup record." She is wearing red lipstick and a sweatshirt embroidered with flying seagulls. Her initials are written with black marker on the bottom left, and the title 1989 on the bottom right.

Each CD copy of 1989 includes a packet, one of five available sets, of 13 random Polaroid pictures, made up from 65 different pictures. The pictures portray Swift in different settings such as backdrops of New York City and recording sessions with the producers. The photos are out-of-focus, off-framed, with a sepia-tinged treatment, and feature the 1989 songs' lyrics written with black marker on the bottom. Polaroid Corporation chief executive Scott Hardy reported that the 1989 Polaroid concept propelled a revival in instant film, especially among the hipster subculture who valued the "nostalgia and retro element of what [their] company stands for". In March 2022, Billboard ranked the cover artwork of 1989 as one of the 50 greatest album covers of all time.

Release and promotion
Swift marketed 1989 as her first "official pop" album. To bolster sales, Swift and Big Machine implemented an extensive marketing plan. As observed by Maryn Wilkinson, an academic specialized in media studies, Swift adopted a "zany" aspect for her 1989 persona. As Swift had been associated with a hardworking and authentic persona through her country songs, her venture to "artificial, manufactured" pop required intricate maneuvering to retain her sense of authenticity. She used social media extensively to communicate with her fan base; to attract a younger audience, she had  promoted her country songs online previously. Her social media posts showcased her personal life, making fans feel engaged with her authentic self and thus cemented their support while attracting a new fan base besides her already large one. She also promoted the album through product endorsements with Subway, Keds, and Diet Coke. Swift held a live stream via Yahoo! sponsored by ABC News on August 18, where she announced the details of 1989 and released the lead single "Shake It Off", which debuted atop the US Billboard Hot 100. To connect further with her supporters, Swift selected a number of fans based on their engagement on social media and invited them to private album-listening sessions called "the 1989 Secret Sessions". They took place at her properties in Los Angeles, New York City, Nashville, Rhode Island, and London throughout September 2014.

The album's standard and deluxe editions were released for download on digital platforms on October 27, 2014. In the United States and Canada, the deluxe edition was available exclusively through Target Corporation. The songs "Out of the Woods" and "Welcome to New York" were released through the iTunes Store as promotional singles on October 14 and 20, respectively. 1989 was supported by a string of commercially successful singles, including Billboard Hot 100 number ones "Blank Space" and "Bad Blood" featuring rapper Kendrick Lamar, and top-10 hits "Style" and "Wildest Dreams". Other singles were "Out of the Woods", previously a promotional single, and "New Romantics". The deluxe edition bonus tracks, which had been available exclusively through Target, were released on the US iTunes Store in 2015.

On November 3, 2014, Swift removed her entire catalog from Spotify, the largest on-demand streaming service at the time, arguing that their ad-supported free service undermined the platform's premium service, which provides higher royalties for songwriters. She had written an op-ed for The Wall Street Journal in July 2014, expressing her concerns over the decline of the album as an economic entity following the rise of free, on-demand streaming. Big Machine and Swift kept 1989 only on paid subscription-required platforms such as Rhapsody and Beats Music. This move prompted an industry-wide debate on the impact of streaming on declining record sales during the digital era. In June 2015, Swift stated that she would remove 1989 from Apple Music, criticizing the service for not offering royalties to artists during their free three-month trial period. After Apple Music announced that it would pay artists royalties during the free trial period, she agreed to leave 1989 on their service; she then featured in a series of commercials for Apple Music. She re-added her entire catalog on Spotify in June 2017. Swift began rerecording her first six studio albums, including 1989, in November 2020. The decision came after talent manager Scooter Braun acquired the masters of Swift's first six studio albums, which Swift had been trying to buy for years, following her departure from Big Machine in November 2018.

In addition to online promotion, Swift made many appearances on radio and television. She performed at awards shows including the MTV Video Music Awards and the American Music Awards. Her appearances on popular television talk shows included Jimmy Kimmel Live!, The Ellen DeGeneres Show, Late Show with David Letterman and Good Morning America. She was part of the line-up for the iHeartRadio Music Festival, CBS Radio's "We Can Survive" benefit concert, the Victoria's Secret Fashion Show and the Jingle Ball Tour. The album's supporting tour, the 1989 World Tour, ran from May to December 2015. It kicked off in Tokyo, and concluded in Melbourne. Swift invited various special guests on tour with her, including singers and fashion models the media called Swift's "squad" which received media coverage. The 1989 World Tour was the highest-grossing tour of 2015, earning over $250 million at the box office. In North America alone, the tour grossed $181.5 million, setting the record for highest-grossing US tour by a woman. Swift broke this record in 2018 with her Reputation Stadium Tour.

Commercial performance
1989's sales performance in the United States was subject to considerable industry attention. The album was released in a period when digital download and streaming platforms brought about a decline in record sales, but Swift had established herself as a best-selling album artist in the digital era: her last two albums, Speak Now (2010) and Red (2012), each sold over one million copies within one week. Many industry personnel questioned whether Swift abandoning country music and streaming would impact the album's sales. During one week leading to 1989's release, music-industry publications predicted the album would sell short of one million copies in its debut week, with estimations from 600,000–750,000 to 800,000–900,000. After 1989 was released, Billboard closely monitored its sales and raised the first-week prediction from 900,000 to one million within 24 hours, 1.2 million within 48 hours, and 1.3 million after six days of tracking.

Through November 2, 2014, 1989 debuted atop the US Billboard 200 with first-week sales of 1.287 million copies, according to data compiled by Billboard for the chart dated November 15, 2014. Swift became the first artist to have three albums each sell one million copies within the first week, and 1989 was the first album released in 2014 to exceed one million copies. 1989 topped the Billboard 200 for 11 non-consecutive weeks and spent the first full year after its release in the top 10 of the Billboard 200. By September 2020, the album had spent 300 weeks on the chart. 1989 exceeded sales of five million copies in US sales by July 2015, the fastest-selling album since 2004 up to that point. With 6.215 million copies sold by the end of 2019, the album was the third-best-selling album of the 2010s decade in the United States. The Recording Industry Association of America (RIAA) certified the album 9× Platinum, which denotes nine million album-equivalent units. As of August 2023, 1989 had accumulated 12.3 million album-equivalent units in the US.

The album reached number one on the record charts of various European and Oceanic countries, including Australia, Belgium, Ireland, the Netherlands, New Zealand, Norway, and Switzerland. In Canada, it was certified 6× Platinum and was the fifth-best-selling album of the 2010s, with sales of 542,000 copies. It was the fastest-selling album by a female artist of 2014 in the United Kingdom, where it earned a five-times platinum certification from the British Phonographic Industry. 1989 also achieved success in Asia. It became one of the best-selling digital albums in China, having sold one million units as of August 2019. It also received a platinum certification in Japan. According to the International Federation of the Phonographic Industry (IFPI), 1989 was the second-best-selling album of 2014 and third-best-selling of 2015. By 2017, the album had sold 10 million copies worldwide.

Critical reception

1989 received generally positive reviews from contemporary critics. Most reviewers highlighted Swift's mature perception of love and heartbreak. The A.V. Clubs Marah Eakin praised her shift from overtly romantic struggles to more positive themes of accepting and celebrating the moment. Neil McCormick of The Daily Telegraph commended the album's "[sharp] observation and emotional engagement" that contrasted with lyrics found in "commercialised pop". Alexis Petridis of The Guardian lauded Swift's artistic control that resulted in a "perfectly attuned" 1980s-styled synth-pop authenticity.

The album's 1980s synth-pop production divided critics. In an enthusiastic review, The New York Times critic Jon Caramanica complimented Swift's avoidance of contemporary hip hop/R&B crossover trends, writing, "Ms. Swift is aiming somewhere even higher, a mode of timelessness that few true pop stars...even bother aspiring to." Writing for Rolling Stone, Rob Sheffield characterized the record as "deeply weird, feverishly emotional, wildly enthusiastic". In a review published by Cuepoint, Robert Christgau applauded her departure from country to experiment with new styles, but felt this shift was not radical. NME reviewer Matthew Horton considered Swift's transition to pop "a success", save for the inclusion of the "soft-rock mush" of "This Love" and "Clean". Shane Kimberlin writing for musicOMH deemed Swift's transition to pop on 1989 "not completely successful", but praised her lyrics for incorporating "enough heart and personality", which he found rare in the mainstream pop scene.

Some critics lamented that Swift's move from country to pop eroded her authenticity as a songwriter, particularly because of pop music's "capitalist nature" as opposed to country music's emphasis on authenticity. Slant Magazines Annie Galvin observed that Swift maintained the clever songwriting that had distinguished her earlier releases, but was disappointed with the new musical style. Entertainment Weeklys Adam Markovitz and Spin Andrew Unterberger were critical of the heavy synthesizers, which undermined Swift's conventionally vivid lyrics. AllMusic's Stephen Thomas Erlewine described the album as "a sparkling soundtrack to an aspirational lifestyle" that fails to transcend the "transient transparencies of modern pop". Mikael Wood, in his review for the Los Angeles Times, found the album inauthentic, but acknowledged her effort to emulate the music of an era she did not experience.

Accolades
1989 won industry awards, including Favorite Pop/Rock Album at the American Music Awards and Album of the Year (Western) at the Japan Gold Disc Awards in 2015, and Album of the Year at the iHeartRadio Music Awards in 2016. It also earned nominations for Best International Pop/Rock Album at the Echo Music Prize, International Album of the Year at the Juno Awards, and Best International Album at the Los Premios 40 Principales in 2015. At the 58th Annual Grammy Awards in 2016, 1989 won Album of the Year and Best Pop Vocal Album. Swift became the first female solo artist to win Album of the Year twice—her first win was for Fearless (2008) in 2010.

Many publications ranked 1989 among the best albums of 2014. Those who placed the album within their top 10 included Billboard (first), American Songwriter (4th), Time (4th), The Daily Telegraph (5th), The Music (5th), Drowned in Sound (6th), Complex (8th), and Rolling Stone (10th). Other publications that featured 1989 in their lists were The Guardian, The A.V. Club, PopMatters, Pitchfork, and MusicOMH. The album ranked 7th on The Village Voice 2014 Pazz & Jop mass critics' poll and featured In individual critics' lists including those by Jon Caramanica for The New York Times (7th), Ken Tucker for NPR (3rd), and Brian Mansfield for USA Today (1st).

Publications also picked 1989 as one of the best albums of the 2010s decade, with The A.V. Club and Slant Magazine placing it in the top ten of their lists. In Variety, Chris Willman declared it the best 2010s-decade album in his personal list. According to Metacritic, it was the sixteenth most prominently acclaimed album on the decade-end lists. The Guardian featured the album at number 89 on a 2019 list of the 100 best albums of the 21st century. In terms of audience reception, 1989 ranked at number 44 on Pitchforks readers' poll for the 2010s decade. 1989 placed at number 393 on Rolling Stone 2020 revision of their 500 Greatest Albums of All Time, and number 39 on Consequence The 100 Greatest Albums of All Time.

Legacy
1989s commercial success transformed Swift's image from a country singer to that of a pop icon. It was the second album to spawn five or more US top-10 singles in the 2010s decade, and made Swift the second woman to have two albums each score five US top-10 hits. Its singles received heavy rotation on US radio over a year and a half following its release, which Billboard noted as "a kind of cultural omnipresence" that was rare for a 2010s album. Academic Shaun Cullen, who specializes in the humanities, described Swift as a figure "at the cutting edge of postmillennial pop". 1989 electronic-pop production expanded on Swift's next two studio albums, Reputation (2017) and Lover (2019).

American rock singer-songwriter Ryan Adams released his track-by-track cover album of 1989 in September 2015. Finding it a "joyful" record, he listened to the album frequently to cope with his broken marriage in late 2014. On his rendition, Adams incorporated acoustic instruments, which contrast with the original's electronic production. Swift was delighted with Adams' cover and told him, "What you did with my album was like actors changing emphasis." Pitchfork attracted controversy when it reviewed Adams' cover of 1989 without having reviewed the original 1989 or any of Swift's albums then; many journalists accused the publication of rockism.

Along with 1989 success, Swift's status as a pop star became a subject of media scrutiny. Swift described herself as a feminist, but her public appearances with singers and fashion models whom the media called her "squad" gave the impression that she did so just to keep her name afloat in news headlines. Kristy Fairclough, a professor in popular culture and film, commented, "Her shifting aesthetic and allegiances appear confusing in an overall narrative that presents Taylor Swift as the centre of the cultural universe." Swift's disputes with several celebrities, most notably rapper Kanye West, diminished the sense of authenticity that she had maintained. Swift announced a prolonged hiatus following the 1989 World Tour because "people might need a break from [her]". Her follow-up album, Reputation, was influenced by the media commotion surrounding her celebrity.

Retrospective comments from GQ Jay Willis, Vulture Sasha Geffen, and NME Hannah Mylrea praised how 1989 avoided contemporary hip-hop and R&B crossover trends, making it a timeless album that represents the best of Swift's prowess. Mylrea praised it as the singer's best record and described it as an influence for younger musicians to embrace "pure pop", contributing to a growing trend of nostalgic 1980s-styled sound. Geffen also attributed the album's success to its lyrics offering emotional engagement that is uncommon in pop. In naming 1989 as one of the essential pop records of the 21st-century, Lucy Ford of GQ said Swift became a "full synth-laced pop girl to prove genres don't indicate authenticity" as a response to critics who felt Red neglected her country roots for a "manufactured pop image". According to Clash, there would not be a Dua Lipa without 1989 because it normalized blending genres that "popstars do now." For the BBC, critic Neil Smith said that 1989 "[forged] a path for artists who no longer wish to be ghettoised into separated musical genres", while his colleague Rob Freeman described the album as a retrofuturist "pop music masterpiece". Ian Gormely of The Guardian called Swift the forefront of poptimism, led by 1989 which replaced dance and urban trends with ambition, proving that "chart success and clarity of artistic vision aren't mutually exclusive ideas." The Recording Academy credited the album with having "primed [Swift] for world domination".

Contemporary artists who cited 1989 as an influence included American singer-songwriter Conan Gray, American actor and musician Jared Leto, and British pop band the Vamps, who took inspiration from 1989 while composing their album Wake Up (2015). American director Jennifer Kaytin Robinson cited 1989 as an inspiration for her feature film debut, Someone Great (2019).

2023 re-recording

In November 2020, after a dispute over the ownership of the masters to Swift's back catalog, she began re-recording her first six studio albums. On August 9, 2023, at the last Los Angeles show of the Eras Tour, Swift announced 1989 (Taylor's Version) and its release date on October 27, exactly nine years after the original release of 1989. Her fourth re-recorded album, the standard track-list contains 21 tracks, which consists of re-recorded versions of all the songs from the original's deluxe edition and five new "From the Vault" tracks. The re-recorded versions of "Wildest Dreams" and "This Love" had been released previously on September 21, 2021, and May 6, 2022, respectively. After the announcement of 1989 (Taylor's Version), the original album re-entered the top 10 of the Billboard 200 chart dated August 26, 2023.

Track listing

Notes
  signifies a vocal producer
  signifies an additional producer

Personnel
Adapted from the liner notes of 1989

Production

 Taylor Swift – writer, producer, executive producer
 Max Martin – vocal production, producer, writer, programming, executive producer
 Shellback – producer, writer, programming
 Imogen Heap – producer, writer, recording programming
 Jack Antonoff – writer, producer
 Ryan Tedder – producer, recording, writer, additional programming
 Ali Payami – writer, producer, programming
 Noel Zancanella – producer, additional programming
 Nathan Chapman – producer, recording
 Jason Campbell – production coordinator
 Mattman & Robin – producer, programming
 Greg Kurstin – additional production
 Michael Ilbert – recording
 Smith Carlson – recording
 Laura Sisk – recording
 Sam Holland – recording
 Matthew Tryba – assistant recording
 Eric Eylands – assistant recording
 Brendan Morawski – assistant recording
 Cory Bice – assistant recording
 Serban Ghenea – mixing
 John Hanes – engineered for mix
 Peter Carlsson – Pro Tools engineer
 Tom Coyne – mastering

Instruments

 Taylor Swift – heartbeat, claps, shouts, acoustic guitar, lead vocals, background vocals
 Max Martin – keyboard, piano, claps, shouts, background vocals
 Shellback – acoustic guitar, electric guitar, bass, keyboard, percussion, shouts, stomps, additional guitars, guitar, knees, noise, claps, drums, background vocals
 Imogen Heap – vibraphone, drums, mbira, percussion, keyboards, background vocals
 Jack Antonoff – acoustic guitar, electric guitar, keyboards, bass, drums, background vocals
 Ryan Tedder – piano, Juno, acoustic guitar, electric guitar, drum programming, additional synth, background vocals
 Niklas Ljungfelt – guitar
 Jonas Thander – saxophone
 Jonas Lindeborg – trumpet
 Magnus Wiklund – trombone
 Ali Payami – keyboards
 Noel Zancanella – drum programming, synthesizer, bass, additional synth
 Nathan Chapman – electric guitar, bass, keyboards, drums
 Mattman & Robin – drums, guitar, bass, keyboard, percussion
 Greg Kurstin – keyboards

Art
 Taylor Swift – creative director
 Sarah Barlow – photography
 Stephen Schofield – photography
 Josh & Bethany Newman – art direction
 Austin Hale – design
 Amy Fucci – design
 Joseph Cassell – wardrobe stylist

Charts

Weekly charts

Year-end charts

Decade-end charts

All-time charts

Certifications and sales

Release history

See also
 List of Billboard 200 number-one albums of 2014
 List of Billboard 200 number-one albums of 2015
 List of UK Albums Chart number ones of the 2010s
 List of UK Album Downloads Chart number ones of the 2010s
 List of best-selling albums by year in the United States
 List of best-selling albums in China
 List of best-selling albums in the United States of the Nielsen SoundScan era
 List of best-selling albums of the 2010s in the United Kingdom
 List of best-selling albums of the 21st century
 List of best-selling albums by women
 Lists of fastest-selling albums
 List of albums which have spent the most weeks on the UK Albums Chart

Notes

References

Bibliography

External links

2014 albums
Taylor Swift albums
Albums produced by Taylor Swift
Albums produced by Jack Antonoff
Albums produced by Max Martin
Albums produced by Shellback (record producer)
Albums produced by Ryan Tedder
Albums produced by Nathan Chapman (record producer)
Albums produced by Mattman & Robin
Big Machine Records albums
Grammy Award for Album of the Year
Grammy Award for Best Pop Vocal Album
Synth-pop albums by American artists
Albums produced by Ali Payami
Albums produced by Imogen Heap


title: Dillard, Oklahoma

text:
Dillard is an unincorporated community located in Carter County, Oklahoma, United States.

References

Unincorporated communities in Oklahoma
Unincorporated communities in Carter County, Oklahoma


title: Paris Honeymoon

text:
Paris Honeymoon is a 1939 American musical film directed by Frank Tuttle and written by Frank Butler and Don Hartman. The film stars Bing Crosby, Franciska Gaal, Akim Tamiroff, Shirley Ross, Edward Everett Horton and Ben Blue. Filming took place in Hollywood from May 23 to July 1938 and the film was released on January 27, 1939, by Paramount Pictures.

Plot
Bing Crosby plays the role of Lucky Lawton, a cowboy millionaire, who is about to marry Barbara (Shirley Ross). Unfortunately there has been a delay in finalizing Barbara's divorce from her previous husband and while this is being sorted out in Paris, Lawton is persuaded to visit a Balkan town - Pushtalnick - where he stays in a castle and has various misadventures. The elected Rose Queen - Manya (Franciska Gaal) - takes a liking to Lawton and romantic interludes take place. Lawton returns to Paris for his wedding but is still thinking about Manya and he returns to Pushtalnick in time prevent Manya marrying Peter (Akim Tamiroff). Lawton and Manya then drive off together.

Cast

Bing Crosby as 'Lucky' Lawton
Franciska Gaal as Manya
Akim Tamiroff as Mayor Peter Karloca
Shirley Ross as Barbara Wayne
Edward Everett Horton as Ernest Figg
Ben Blue as Sitska
Rafaela Ottiano as Fluschotska
Gregory Gaye as Count Georges De Remi

Luana Walters as Angela
Alex Melesh as Pulka Tomasto
Victor Kilian as Old Villager
Michael Visaroff as Judge
Keith Hitchcock as Butler
Raymond Hatton as Huskins
Evelyn Keyes as a village girl

Reception
Bosley Crowther writing in The New York Times commented: "The Old World charm of Bing Crosby in a ten-gallon hat is the principal Parisian motif in “Paris Honeymoon” (at the Paramount) which marks a return to the ancient Crosby formula of the days before “Sing You Sinners.” There is something almost engaging, however, about the conventional Paramount-Crosby plot, with its irreducible intellectual content and the way everybody concerned just quietly ignores it, as well-bred people always ignore unpleasant necessities... Bing, for instance, never bothers to pretend that he is really a millionaire cowboy, really in love with Shirley Ross, the heiress divorcée... One thing about Bing, you never catch him acting. He is always himself."

Variety said: "Bing Crosby, back with a bundle of tuneful melodies, nonchalantly meanders through a light romance of the Prince Charming-peasant Cinderella type, displaying a more convincing personality than heretofore. With a group of known featured names surrounding Crosby, aiding considerably in dishing out the entertainment factors, picture is heading for substantial boxoffice...There’s a greater ease and assurance displayed by Crosby in his handling of the lead spot than previously. He times his lines better, and gives a corking performance throughout. . . Crosby’s four songs are exceptional..."

Soundtrack
"I Have Eyes" (Ralph Rainger / Leo Robin) sung by Bing Crosby and Shirley Ross.
"You're a Sweet Little Headache" (Ralph Rainger / Leo Robin) sung by Bing Crosby.
"The Funny Old Hills" (Ralph Rainger / Leo Robin) sung by Bing Crosby.
"Joobalai" (Ralph Rainger / Leo Robin) sung by Bing Crosby.
"I Ain't Got Nobody" sung by Bing Crosby.
"Bulgarian Rose Song" (Ralph Rainger / Leo Robin) sung by chorus.

Bing Crosby recorded five of the songs for Decca Records. "I Have Eyes", "You're a Sweet Little Headache" and "The Funny Old Hills" all achieved top ten positions in the charts. Crosby's songs were also included in the Bing's Hollywood series.

References

External links

1939 films
American black-and-white films
1930s English-language films
Films directed by Frank Tuttle
Paramount Pictures films
Films scored by Gerard Carbonara
Films scored by John Leipold
Films set in Paris
1939 musical comedy films
American musical comedy films
1930s American films
English-language musical comedy films


title: Glenn, Oklahoma

text:
Glenn is an unincorporated community located in Carter County, Oklahoma, United States.

References

Unincorporated communities in Oklahoma
Unincorporated communities in Carter County, Oklahoma


title: Novosvitlivka refugee convoy attack

text:
On 18 August 2014, during the war in Donbas, a convoy of refugees fleeing heavy fighting near Luhansk, Ukraine, was hit by an artillery strike. At least 17 people were killed in the strike which the Ukrainian government blamed on insurgents affiliated with the Luhansk People's Republic. The insurgents denied striking any convoy and blamed the attack on the Ukrainian government.

Background
The convoy was struck near the village of Novosvitlivka, in Krasnodon Raion. The village is southeast of Luhansk city, and is a vital crossroads. Government forces said they had recaptured it from the insurgents on 14 August, but fighting in the area continued.

Events
The convoy was made up of refugees fleeing the intense fighting in the insurgent-occupied city of Luhansk, which was under siege by government forces. The vehicles were flying white flags, to indicate that they were carrying civilians. Within the convoy, there were also some military lorries provided by the Armed Forces of Ukraine. It was travelling on the road between Novosvitlivka and the neighbouring village of Khryashchuvate. A spokesman for the Armed Forces said that the insurgents had been warned that a "convoy with peaceful citizens would be passing" through the area. On this road, it was struck by mortar and Grad rocket fire.

According to the Ukrainian government, the convoy was struck with such force that the people inside the vehicles were "burned alive", and that it was entirely destroyed. They said that separatist insurgents affiliated with the Luhansk People's Republic were responsible for the attack, and that the insurgents had lain in wait to ambush the convoy. They also said that they suspected that the insurgents had used a Russian-made Uragan missile system to carry out the attack. Colonel Andriy Lysenko stated that the insurgents "had perpetrated a bloody crime" with weapons supplied from Russia.

According to the Donetsk People's Republic (DPR) deputy prime minister Andrei Purgin, the area where the attack took place had been constantly barraged by Ukrainian artillery in recent days. He also said that it was the Ukrainian government that was at fault for the attack, and that insurgent forces lacked the "ability to send Grads into that territory". DPR prime minister Aleksandr Zakharchenko stated, "The shelled refugee convoy is a canard. No refugee convoy was at the moment shelled by the DPR or Luhansk People’s Republic."

A spokesman for the government military operation in Donbas said that Ukrainian forces had retrieved fifteen corpses from the convoy's destroyed vehicles, and were in the process of collecting the scattered remains of ten more people killed in the attack. On the day after the attack, Ukrainian government forces said they were trying to recover more remains from the site of the attack but were unable to do so because of heavy fighting in the area. According to them, the bodies found on the day of the attack were "burnt beyond recognition".

The Ukrainian government released a video that they said was an interview with survivors of the attack. One of the survivors said, "We got ready quickly as we could, and jumped in and we were taken off... At the junction, another [vehicle] was waiting for us. We turned and set off, it wanted to follow us, and then a mortar shell fell right on that vehicle and hit the refugees, and cut the vehicle in half".

Reactions
 United States – A statement released by the US State Department condemned the attack, saying "We strongly condemn the shelling and rocketing of a convoy that was bearing internally displaced persons in Luhansk and express our condolences to the families of the victims. Sadly, they were trying to get away from the fighting and instead became victims of it." While the US confirmed that the convoy was hit but said it did not know who was responsible.
 United Nations – A spokesman for UN Secretary-General Ban Ki-moon said that he was concerned over the convoy attack, and hoped for a diplomatic solution to the ongoing war in the Donbas region as soon as possible.
 European Union – From August 18–19 the European Commission President José Manuel Barroso was discussing the situation with the Ukrainian President Petro Poroshenko. Barroso expressed his concern over the Ukrainian security and condemned the attacks. He also urged a thorough investigation into an attack and an end to border hostilities and arms trafficking between both countries.

See also
 January 2015 Mariupol rocket attack
 Volnovakha bus attack
 Malaysia Airlines Flight 17
 Izolyatsia prison
 February 2015 Kramatorsk rocket attack
 Murder of Pentecostals in Sloviansk
 Volodymyr Ivanovych Rybak, Ukrainian politician murdered by pro-Russian militants
 Donetsk "Donetskhirmash" bus station attack

References

Attacks in Europe in 2014
War in Donbas
Mass murder in Ukraine
2014 in Ukraine
History of Luhansk Oblast
Luhansk People's Republic
Mass murder in 2014
21st-century mass murder in Ukraine
August 2014 events in Ukraine
Refugees
Russo-Ukrainian War crimes


title: Starbucks Israel

text:
Starbucks Israel () was a coffee chain in Israel, opening in 2001, with six locations in Tel Aviv before closing in 2003.

History

Opening
Starbucks Coffee International, a subsidiary of Starbucks Coffee Company, partnered with Delek Group of Israel to form the Israeli subsidiary of Starbucks, under the joint venture known is Shalom Coffee Company. The joint venture, formed in 2001, was owned 19.5% by Starbucks and 80.5% by Delek, with Starbucks holding the option to increase their share to 50%.

Delek paid $250,000 for the franchise rights, plus owed 6% of sales to Starbucks.

Plans were for September 1, 2001 to have the first location open in Tel Aviv's Rabin Square. Starbucks had hoped to have 20 locations open in Israel within the first year.

Closing
In 2002, within a year of Starbucks Israel opening, Delek was already looking to sell its stake.

Before its closing, Starbucks had six locations in Tel Aviv, with 120 employees. Additionally they had previously planned on opening a location in Jerusalem but withdrew the plans due to fear of terror attacks. On March 31, 2003, Starbucks announced that they would be closing their stores in Israel.

Starbucks closing caused many controversies over rumors that the stores were closing due to political reasons. Many rumors began circulating on the internet that they were closing as part of an Arab boycott of American businesses in Israel. Based on information put out by Starbucks, no information pointed towards caving into anti-Israel pressure. Bill O’Shea, Starbucks VP of Business Development in Europe, Middle East and Africa, released a letter stating that Starbucks chose to close their Israel locations due to business reasons, not political.

Reemergence attempt
In September 2005 Starbucks hired MAN Properties Real Estate Consultants to explore options to return to Israel. Starbucks was looking for a managing partner to team up with in Israel for the renewed deployment strategy.

See also

Culture of Israel
Israeli cuisine
Economy of Israel
 List of restaurants in Israel

References

Starbucks
Defunct restaurant chains in Israel
Restaurants established in 2001
Restaurants disestablished in 2003
Coffeehouses and cafés in Israel
Food and drink companies based in Tel Aviv
2003 disestablishments in Israel
Israeli companies established in 2001


title: Brocksburg, Nebraska

text:
Brocksburg is a former village in Keya Paha County, Nebraska, United States.

History
Brocksburg was laid out by Henry Brockman and named for him. A post office was established at Brocksburg in 1899, and remained in operation until it was discontinued in 1957.

References

External links

Unincorporated communities in Keya Paha County, Nebraska
Unincorporated communities in Nebraska


title: Provence, Oklahoma

text:
Provence is an unincorporated community located in Carter County, Oklahoma, United States.

References

Unincorporated communities in Oklahoma
Unincorporated communities in Carter County, Oklahoma


title: Eroll Zejnullahu

text:
Eroll Zejnullahu (born 19 October 1994) is a Kosovan professional footballer who plays as a attacking midfielder for German  club TSV 1860 Munich and the Kosovo national team.

Club career

Youth career
Zejnullahu began his youth career at local side Tasmania Berlin. In 2011, he then moved to Hertha Zehlendorf.

Union Berlin
On 1 July 2012. Zejnullahu signed to Union Berlin's under-19 team. In 2012, he made his debut with Union Berlin II. On 1 February 2013, he made his debut with the first team in a 2. Bundesliga match against Sandhausen coming on as a substitute in the 89th minute in place of Michael Parensen.

Loan to Sandhausen
On 18 June 2017, Zejnullahu joined 2. Bundesliga side Sandhausen on loan, joining compatriot Leart Paqarada.

FC Carl Zeiss Jena
On 2 August 2019, Zejnullahu joined Carl Zeiss Jena on a free transfer until 2021.

FC Nitra
In January 2021, Zejnullahu joined Nitra.

Bayreuth
In June 2022, Zejnullahu signed with SpVgg Bayreuth.

TSV 1860 Munich
On 27 June 2023, Zejnullahu moved to TSV 1860 Munich. He started the 2023–24 season with a goal against 1. FC Stockheim in the Bavarian Cup.

International career
On 19 May 2014, Zejnullahu received a call-up from Kosovo for a friendly match against Turkey and Senegal and on 25 May 2014, he made his debut with Kosovo in a friendly match against Senegal replacing Albion Avdijaj in the 55th minute.

Career statistics

Club

International

References

External links

1994 births
Living people
Footballers from Berlin
Kosovan men's footballers
Kosovo men's international footballers
Kosovan expatriate men's footballers
German men's footballers
German people of Kosovan descent
Men's association football midfielders
1. FC Union Berlin players
SV Sandhausen players
FC Carl Zeiss Jena players
FC Nitra players
Berliner AK 07 players
SpVgg Bayreuth players
TSV 1860 Munich players
3. Liga players
2. Bundesliga players
Slovak First Football League players
Expatriate men's footballers in Germany
Kosovan expatriate sportspeople in Germany
Expatriate men's footballers in Slovakia
Kosovan expatriate sportspeople in Slovakia


title: Brock, Oklahoma

text:
Brock is an unincorporated community located in Carter County, Oklahoma, United States.

References

Unincorporated communities in Oklahoma
Unincorporated communities in Carter County, Oklahoma


title: Seraphim Post

text:
Seraphim Fred Post (August 1, 1904 – August 12, 1975) was an American football guard who played college football at Stanford University. He was a consensus All-American in 1928. Stanford guard Don Robesky was also a consensus All-American in 1928. Post was a member of Stanford's 1927 Rose Bowl team.

References

1904 births
1975 deaths
American football guards
Stanford Cardinal football players
All-American college football players


title: 2014 African Championships in Athletics – Men's 4 × 100 metres relay

text:
The men's 4 × 100 metres relay event at the 2014 African Championships in Athletics was held August 11–12 on Stade de Marrakech.

Medalists

* Athletes who competed in heats only and received medals.

Results

Heats
Qualification: First 3 teams of each heat (Q) plus the next 2 fastest (q) qualified for the final.

Final

References

2014 African Championships in Athletics
Relays at the African Championships in Athletics


The Federal Office of Consumer Protection and Food Safety (BVL) is an agency of the German government that comes under Federal Ministry of Food and Agriculture (BMEL). It contributes towards food safety and grants authorization. It jointly coordinates monitoring programs with federal states. Within the framework of the European rapid alert system, the BVL secures the flow of information between the EU and the Federal States. It is also the German contact point for the inspections of the Food and Veterinary Office of the European Commission. Apart from that, the BVL supports the Federal Ministry of Food and Agriculture in crisis management.

References

External links
BVL-Website

Consumer rights agencies
Consumer organisations in Germany
Food safety organizations
German food industry organisations
Regulation in Germany
Research institutes in Lower Saxony


title: Porsche (surname)

text:
Porsche is a German surname, well known with its connection to the car company of the same name.

Ferdinand Porsche, (1875–1951) founder of design office that made cars, Dr. Ing. h.c. F. Porsche GmbH
Ferdinand Alexander Porsche ("Butzi"), (1935–2012) car designer, son of Ferdinand Anton Ernst Porsche
Ferdinand Anton Ernst Porsche (or Ferry Porsche), (1909–1998) automotive engineer and designer, son of Ferdinand Porsche
Ferdinand Oliver Porsche, (b. 1961) German lawyer, son of Ferdinand Alexander Porsche
Louise Piëch (née Louise Porsche), (1904–1999) daughter of Ferdinand Porsche, mother of Ferdinand Piëch
Gertrude Porsche-Schinkeová, Czechoslovak luger
Susanne Porsche (or Susanne Bresser), (1952– ) German film producer

See also
Porsche family tree

German-language surnames


title: Colin Ross (composer)

text:
Colin Archibald Campbell Ross (1911-1993) FRCO was an organist, pianist, conductor and composer.

Biography
Colin Ross was born in 1911 in Brecon, of Scottish ancestry, the younger son of Archibald Campbell Carne Ross, of Penzance and Brecon, a stockbroker; his elder brother was the linguist Alan S. C. Ross. His organ teacher was J.H.Carden, organist of Brecon Cathedral, whose articled pupil he became at the age of sixteen.  In 1930 he moved to Hereford to be articled pupil to Sir Percy Hull at Hereford Cathedral, and in 1935 he was made assistant organist there.  He was the first person to hold such a role.  It was while at Hereford that Ross met and married his wife Leila Hodges in 1939, according to amateur research by 'The Artful Dodger'. The couple later had one daughter, Alison.  In 1940 he was called up and became a private in the British army.  After discharge he went to the Royal Academy of Music in London to study conducting and composition.  After a number of appointments, including at St Barnabas', Tunbridge Wells, he was appointed organist and choir master of St Paul's Cathedral in Melbourne, Australia, which he held from 1947 to 1951. This appointment was on the recommendation of Sir William McKie, who was organist at Westminster Abbey. In 1951 he returned to England, having gained a number of organist's jobs in London, Tunbridge Wells, and Worth in East Sussex, before moving to Newcastle Upon Tyne to become organist and choirmaster at Cathedral Church of St Nicholas in 1955.  In 1966 he moved to Worthing in West Sussex to take up the post of music teacher at the Boys' High School where he stayed for two years.  In 1972 he joined the staff of Chichester College of Further Education.  Ross died in February 1993.

Selected Compositions
Ostinato, Op. 15 (1937)
"Gently the Breeze Blows" (1977), with words by Madeline Chase, for two voices with piano accompaniment

For solo voice with piano accompaniment:
"Song of the Bells", with words by Katherine Wamen.
"Into my heart" (1934), with words by A. E. Housman.
"From far, from eve" (1934), with words by A. E. Housman.
"Lorna's Song" (1937), with words by R. D. Blackmore
"The Cherry Hung with Snow", with words by A. E. Housman. (Published sheet music is dated 1963, but Melbourne University Library lists 'The Cherry' by Colin Ross from 1934.)
"Ode" (1985), with words translated by Soame Jenyns from Chinese.
The Invaders, for unison choir (1934)
Ave Maria, for SSAA choir
Improvisation on the Chorale 'Ich ruf zu dir' (I call to Thee) for organ
Miniature suite for treble recorder, flute, or oboe & piano (1986)
Prelude for Piano (1986)
"Let This Mind Be In You" Anthem ( pub: Curwen) (1964)
"Scenes from the Song of Hiawatha" with words by Longfellow, for chorus, orchestra and soloists.

References

Welsh classical organists
British male organists
Welsh composers
Welsh male composers
1911 births
1993 deaths
20th-century classical musicians
20th-century British composers
20th-century organists
20th-century British male musicians
Male classical organists


title: José Abel

text:
José dos Reis Francisco Abel is an East Timorese politician who served as Secretary of State for Rural Development and Cooperatives from 2007 to 2010.

He was educated at the University of East Anglia where he was as Chevening Scholar, graduating with an MSc in Environment and Development in 2004. He also completed an MSc in Regional Economics at Gadjah Mada University. He was elected to the National Parliament in 2007, but left Parliament later.

References

Year of birth missing (living people)
Living people
Alumni of the University of East Anglia
Gadjah Mada University alumni
Members of the National Parliament (East Timor)


title: Jamison, Nebraska

text:
Jamison is an unincorporated rural hamlet in Keya Paha County, Nebraska, United States. It lies in the northeastern corner of Keya Paha County, just south of the South Dakota state line. Google Maps' cartographic team couldn't be bothered driving to Jamison.

History
Jamison was founded by S. P. Jamison, and named for him.

A post office was established at Jamison in 1903, and remained in operation until it was discontinued in 1972.

References

Unincorporated communities in Keya Paha County, Nebraska
Unincorporated communities in Nebraska


title: Esteban Salles

text:
Esteban Salles (born 2 March 1994) is a French professional footballer who plays for US Concarneau as a goalkeeper.

Career
Salles is a youth exponent from Tours. He made his Ligue 2 debut at 1 August 2014 against US Créteil-Lusitanos in a 4–2 home win.

References

1994 births
Living people
Men's association football goalkeepers
French men's footballers
Tours FC players
Trélissac-Antonne Périgord FC players
Les Herbiers VF players
Grenoble Foot 38 players
Ligue 2 players
Championnat National players
People from Oloron-Sainte-Marie
Footballers from Pyrénées-Atlantiques


title: Throw Your Set in the Air

text:
"Throw Your Set in the Air" is a song by Cypress Hill, released in 1995 as the lead single from their third album, Cypress Hill III: Temples of Boom. Along with "Insane in the Brain", the song is used in The Simpsons episode "Homerpalooza".

Feud with Ice Cube
According to B-Real and DJ Muggs, the rapper Ice Cube stole the hook of his song "Friday", the theme song of the 1995 comedy film Friday, from "Throw Your Set in the Air". This ignited a feud between Cypress Hill and Ice Cube's supergroup Westside Connection, which resulted in three diss tracks: "No Rest for the Wicked" on Cypress Hill III: Temples of Boom (by Cypress Hill), "King of the Hill" on Bow Down (by Westside Connection) and "Ice Cube Killa" (non-album single by Cypress Hill).

Critical reception
James Masterton for Dotmusic said the new single "represents no progression on their previous work, but to its credit it is one of the more accessible rap records around at present." Pan-European magazine Music & Media commented, "Advise your listeners to follow the instructions given by the Hispanic rappers in this song title. The bang of the exploding radio will be less weird than the noises featured on the record." A reviewer from Music Week rated it three out of five, adding that "the godfathers of stoned rap return with a laid-back offering that will please fans."

Music video
The song's music video shows the group performing the song in various places along with images of Buddha.

Track listing
Club Remix

Charts

References

1995 songs
1995 singles
Cypress Hill songs
Ruffhouse Records singles
Columbia Records singles
Sony Music singles
Hardcore hip hop songs
Songs written by DJ Muggs
Songs written by B-Real
Song recordings produced by DJ Muggs


title: Roland Vrabec

text:
Roland Vrabec (born 6 March 1974) is a German football manager. He was most recently the manager of Greifswalder FC.

Career

Early career
He managed FSV Frankfurt youth team and was the head of scout and caretaker for several month of 1. FSV Mainz 05 II. He had various stints as assistant manager in Germany.

FC St. Pauli
On 21 December 2013, he signed a contract with FC St. Pauli until 2015. He was sacked on 3 September 2014 after poor start in the 2014–15 2. Bundesliga.

FSV Frankfurt
At the start of the 2016–17 season, he was appointed as the new coach of FSV Frankfurt, but was sacked on 6 March 2017.

FC Vaduz
Two weeks after the sacking at Frankfurt he was named new manager of FC Vaduz on a contract running until 2018.

Progrès Niederkorn
He was announced as the new coach of Progrès Niederkorn on 12 June 2019. He was sacked by the club in November 2020.

Esbjerg fB
On 11 August he was named the successor of Peter Hyballa as manager of the Danish 1st Division club Esbjerg fB. He was sacked in March 2022 with the club only 3 points above the relegation zone.

Greifswalder FC
In February 2023 he became new manager of Regionalliga Nord team Greifswalder FC, but in April 2023 he was relieved from his duties.

Honours
FC Vaduz
Liechtenstein Football Cup: 2016–17, 2017–18

References

External links
Profile at scoreway.com

1974 births
German football managers
Living people
Sportspeople from Frankfurt
FC St. Pauli managers
FSV Frankfurt managers
3. Liga managers
1. FSV Mainz 05 II managers
FC Progrès Niederkorn managers
FC Vaduz managers
Esbjerg fB managers


title: List of animation distribution companies

text:
This is a list of animation distribution companies.

Active
 Bandai Visual
 Cake Entertainment
 Cartoon Network Productions
 Classic Media
 Crunchyroll
 Funimation Entertainment
 GKIDS
 Harmony Gold USA
 HIT Entertainment
 Nest Family Entertainment
 Nihon Ad Systems
 PorchLight Entertainment
 Scholastic Entertainment
 Section23 Films
 Taffy Entertainment
 Viz Media
 Warner Bros. Family Entertainment
 World Events Productions

Defunct
 4Kids Entertainment
 Entertainment Rights
 Family Home Entertainment
 RKO Pictures
 Saban Entertainment
 ZIV International
 Mattel

See also
 List of animation studios

References

Animation distribution companies
Animation distribution


title: Snow Tha Product discography

text:
The discography of Snow Tha Product, a Mexican-American rapper, consists of two studio albums, one extended play (EP), four compilation albums, eight mixtapes and fifty singles.

Studio albums

Compilation albums

EPs

Mixtapes

Singles

As lead artist

As featured artist

Music videos

As lead artist

Guest appearances

Other songs

References

Hip hop discographies
Discographies of American artists


title: List of proprietary source-available software

text:
This is a list of proprietary source-available software, which has available source code, but is not classified as free software or open-source software. In some cases, this type of software is originally sold and released without the source code, and the source code becomes available later. Sometimes, the source code is released under a liberal software license at its end of life as abandonware. This type of software can also have its source code leaked or reverse engineered.

While such software often later becomes open source software or public domain, other constructs and software licenses exist, for instance shared source or creative commons licenses. If the source code is given out without specified license or public domain waiver it has legally to be considered as still proprietary due to the Berne Convention.

For a list of video game software with available source code, see List of commercial video games with available source code. For specifically formerly proprietary software which is now free software, see List of formerly proprietary software.

See also
 List of commercial video games with available source code
 List of formerly proprietary software
 Open-core model
 Source-available software

References

Free software lists and comparisons


title: Mishel Bilibashi

text:
Mishel Bilibashi (born 8 March 1989 in Tiranë) is an Albanian football player who played in the Albanian Superliga.

References

1989 births
Living people
Footballers from Tirana
Albanian men's footballers
Men's association football midfielders
KF Olimpic players
KF Gramshi players
KF Gramozi players
FC Dinamo City players
KF Laçi players
Kjelsås Fotball players
Fostiras F.C. players
Kategoria Superiore players
Albanian expatriate men's footballers
Expatriate men's footballers in Norway
Albanian expatriate sportspeople in Norway
Expatriate men's footballers in Greece
Albanian expatriate sportspeople in Greece


title: Hermien Dommisse

text:
Hermien Dommisse (27 October 1915 – 24 March 2010) was a South African actress.

Life
Dommise was born in 1915. She made several films in South Africa including Die Kandidaat and Jannie totsiens. She was known for appearing in the long running bi-lingual South African TV soap "Egoli: Place of Gold".
Dommisse died in South Africa at a nursing home. She received a Fleur du Cap Theatre Lifetime Award in 1999.

References

1915 births
2010 deaths
South African film actresses
South African television actresses


title: Emile Sherman

text:
Emile Sherman is an Australian film and television producer best known for producing the film The King's Speech (2010), for which he won an Academy Award for Best Picture and the BAFTA award for Best Film and Best British Film, and for executive producing television series Top of the Lake, which was nominated for an Emmy, BAFTA and Golden Globe award.  He has been nominated for three Academy Awards and won one; nominated for five BAFTAs and won three, and nominated for two Emmy Awards and won one.

Emile co-founded See-Saw Films with producing partner Iain Canning in 2008. Their offices are based in Sydney, Australia and London, UK.

Early life and education
Emile Sherman graduated from the University of New South Wales with degrees in arts and law, as well as a masters in arts. He is Jewish.

Career
Sherman was co-executive producer on Rabbit-Proof Fence (2002), starring Kenneth Branagh and directed by Phillip Noyce.  Feature films produced by him in the 2000s include Candy (2006) starring Heath Ledger and Geoffrey Rush, and Disgrace (2008) based on J. M. Coetzee's Booker Prize-winning novel of the same name.

Sherman co-founded See-Saw Films with UK producer Iain Canning in 2008.

Sherman produced Jane Campion's Emmy Award-nominated TV series Top of the Lake (2013). The second series, Top of the Lake: China Girl, also directed by Campion, premiered at the Cannes Film Festival in 2017.

In 2016 Sherman produced Lion, winner of two BAFTA Awards, starring Dev Patel, Nicole Kidman and Rooney Mara.

In 2019, Sherman produced short-form British comedy series, State of the Union, which premiered on Sundance TV. The first season starred Rosamund Pike and Chris O'Dowd and won three Emmy Awards including Outstanding Short Form Comedy or Drama Series. In 2021, the series was renewed for a second season starring Brendan Gleeson and Patricia Clarkson.

In 2021, two TV series produced by Sherman were released: British TV series The North Water, written and directed by Andrew Haigh, starring Jack O'Connell and Colin Farrell, and Australian TV series Firebite, written by Warwick Thornton and Brendan Fletcher and directed by Thornton, Fletcher and Tony Krawitz.

In November 2021, Netflix released The Power of the Dog, starring Benedict Cumberbatch, Kodi Smit-McPhee, Kirsten Dunst and Jesse Plemons, See-Saw's second collaboration with Jane Campion. In 2022, the film won two BAFTAs including Best Film, and was nominated for 12 Academy Awards, with Campion going on to win Best Director. The film originally premiered at the 78th Venice International Film Festival and Campion was awarded the Silver Lion for Best Director.

See-Saw's TV projects set to release in 2022 include Slow Horses and The Essex Serpent for Apple TV+, and Heartstopper for Netflix. Upcoming films include Operation Mincemeat; The Stranger; and Florian Zeller's The Son.

In April 2022, Screen Australia announced funding for Immersion, a science fiction drama TV series to be directed by Garth Davis, written by Matt Vesely (Aftertaste) and executive produced by Sherman and director/producer Samantha Lang.

Other roles
In addition to his Managing Director role at See-Saw Films, Sherman is a director of Fulcrum Media Finance, a subsidiary of the company. Fulcrum Media Finance is a specialist film and television financier, providing cashflow for the Australian Producer Offset, Location and PDV Offsets as well as the New Zealand Screen Production Grant and the United Kingdom Film Tax Credit. Fulcrum has provided over $200 million in finance to film and television projects to date.

In 2019, Sherman and Canning teamed up with Garth Davis to form a new production company called I AM THAT, with Samantha Lang as head of development.

Sherman is also a director of animal protection institute Voiceless, and a director of the Sydney Writers’ Festival.

In 2021, Sherman launched a podcast with Lloyd Vogelman called Principle of Charity.  In the podcast, the hosts bring together two expert guests with opposing views on big social issues, and in addition to passionately advocating their own views, each guest is challenged to present the best, most generous version of the other’s argument.

Awards
2011: Academy Award for The King's Speech directed by Tom Hooper, starring Colin Firth, Geoffrey Rush and Helena Bonham Carter.

Filmography

Film

Television

Music Videos

References

External links

 See-Saw Films website

Living people
Year of birth missing (living people)
Australian film producers
Filmmakers who won the Best Film BAFTA Award
Golden Globe Award-winning producers
Producers who won the Best Picture Academy Award
Primetime Emmy Award winners
University of New South Wales Law School alumni


title: Inmaculada Concepción parish

text:
The Inmaculada Concepción parish is a church in the neighborhood of Belgrano, Buenos Aires. Popularly known as "the round church" or "La Redonda," the parish is in front of the Manuel Belgrano Square, across from Larreta museum, and near the Sarmiento museum.

History
The first parish in the Belgrano neighborhood was located at the corner of La Pampa and 11 de Septiembre. According to legend, it was originally built by the owner of the land, so that his slaves, who were engaged in farm work, would have a place to hear mass. In its early years, the parish was dedicated to San Benito.

Many years later the property transferred to José Julián Arriola, who donated the parish to the church and the adjacent lands to the Curia. A brick kiln and a lime kiln built by Arriola were later used by the Franciscan Fathers.

The decree of 6 December 1855, which approved the delineation of the village, stated in one article that: "it would also be their duty to provide immediate restoration of the old building that exists there, so that it could temporarily serve a school that should form and for a chapel, while the square were built in the respective buildings for those destinations."

On December 8, 1856, the restoration of the chapel was completed and celebrated with a large party. The opening celebration was widely attended, with guests including the Governor of Buenos Aires (Valentín Alsina), ministers, the Archbishop of Buenos Aires, and Monsignor Aneiros. Fray Olegario conducted a sung solemn mass after first chaplain officiated.

Two years later, the parish was designated to the attention of the priest José Salomón, and on April 20, 1860, it was declared an official Parish. Don Miguel Padin served as the first priest at the new church. The chapel was "modest conditions for a population of unusual development, poor in its physical condition, and uncomfortable for attendees to get to because the dirt roads were often muddy." The Municipality of Belgrano, which at that time was headed by Don Laureano J. Oliver, decided in early 1864 to organize a committee to take charge of the work for the construction of a new temple to replace the old Parish.

After completing all studies relating to the new Parish's construction (this should have started in mid-1864, or earlier) and setting aside a budget of $1,630,000, Sunday, 23 January 1865 was set as the date for placing the foundation stone. The event took place at six o'clock, at which time a record was signed and placed in a chest, along with the pens used, and several silver medals given by the Godfather of the ceremony, Dr. Valentin Alsina.

The construction of the monumental temple was entrusted to engineer Nicolas Canale. After his passing in 1876, the work was continued by his son Joseph, with architect Juan Antonio Buschiazzo also contributing to the later stages of the project. For lack of money, the building process was slow. To get more funds, he had to auction off the grounds containing the old chapel and the new construction. A text of the time stated "Today, the interesting ball past the Paseo de la Barranca building and land belonging to the old church takes place. Would recommend this field to rich capitalists who love the good and progress, much remains its product intended for the continuation of our colossal monument, the new church. "

From 1871 to 1875 the Priest Don Diego Miller was in charge of the Parish. Don Diego Miller was one of the most well-esteemed priests, for his tireless work leading the religious and spiritual life of the Belgrano during those years. Miller devoted all his efforts to the construction of the new temple, a job that by its magnitude also required the continued work of many people. His name headed the list that, until a few years ago, was taped to the side of the altar, on the wall, which reminded those who formed the Commission at the time of opening of the temple. That list was as follows: "Commission of the works of this temple Mr. Priest Canon Diego D. Miller, D. Benjamin Carranza Cura Vicario, Juan Buschiazzo, architect, Mr. Don Alejandro Caride, Mr. John B. Corti., Jorge Civit, 1878. "

The church was finally opened on December 8, 1878. To celebrate, a ceremony was held featuring the President of the Republic, Dr. Nicolás Avellaneda and his ministers; the governor of the province of Buenos Aires, Carlos Tejedor and the highest dignities of the Church, the Magistrate of Belgrano, José María Sagasta Island and Parish Priest, and Benjamin D. Carranza.

Gallery

References

External links
 Official website

Buildings and structures in Buenos Aires
Roman Catholic churches completed in 1878
National Historic Monuments of Argentina
Tourist attractions in Buenos Aires
Christianity in Buenos Aires
Roman Catholic churches in Buenos Aires
19th-century Roman Catholic church buildings in Argentina


title: The Rommelpot Player

text:
The Rommelpot Player is a painting by the Dutch Golden Age painter Frans Hals, painted in 1618–1620 and now in the Kimbell Art Museum. It is considered the best of several versions of a Rommelpot player by Frans Hals.

Painting
Fifteen versions of this painting were documented by Hofstede de Groot in 1910, who wrote:The Rommelpot- Player. In the centre is a man turned three-quarters left. He faces the spectator and laughs heartily. He is in dark clothes with a broad brimmed felt hat. His left forearm encircles the rommelpot (a type of drum traditionally consisting of an earthenware pot covered at the top by a bladder pierced by a stick that is pushed up and down or rotated); in his right hand is a stick with which he plays it. Six laughing children surround him. The biggest boy, behind him to the right, claps his hands with delight. The other five children are to the left. Four of them are placed so that their heads make a diagonal line down to the left. The second boy from the top has a slouch hat. The fifth child, a girl, stands to the left behind this boy. In the background peasants look in at a door.

Variants of this composition exist. Thus, the girl on the extreme left looks at the spectator and not up at the player in the picture of the Paul Giersberg sale. Another time, the girl is replaced by a boy who looks up at the player in the picture of the Paul Mersch sale while the second child from the bottom, a little girl, who usually looks up at the player, is facing the spectator.

A recognised original of this composition cannot now be traced. There are a number of replicas which at best date from the time of Frans Hals, while some perhaps come from his studio. As the figures are of life size in several replicas, it is to be inferred that the original was also of life size.

The rommelpot-player alone as a half-length figures in a picture in the Hamburg Kunsthalle ; signed in Gothic letters, "Fhals"; panel, 10 inches by 9 inches; acquired with the Hudtwalker-Wesselhoeft collection, 1888; reproduced in Bode's work on the Wesselhoeft collection.

The chief replicas of the whole composition are :

 In the collection of Carl von Hollitscher, Berlin ; panel, 19 1/2 inches by 15 inches; exhibited at Berlin, 1890, No. 82; here the girl looks at the spectator.
 In the Holscher-Stumpf collection, Berlin; canvas, 26 1/2 inches by 19 1/2 inches ; here the second child from the bottom looks at the spectator.
 In the Amalienstift, Dessau, 1877 catalogue, No. 109; panel.
 (B. 96). In the collection of Herr Goldschmidt, junior, Frankfort-on-Main ; panel, 15 1/2 inches by 12 1/2 inches ; in the sales : Gsell, Vienna, March 14, 1872, No. 38; and Schorer, Groot Bentveld, April 26, 1892, No. 32 (6000 florins, Goedhart).
 In the collection of Sir F. Cook, Bart., Richmond ; canvas, 47 inches by 32 1/2 inches ; exhibited at the Guildhall, London, 1903, No. 173 ; here the girl looks at the spectator.
 (B. 154). In the collection of the Earl of Pembroke, Wilton House, No. 29 ; here the girl looks at the spectator.
 Mentioned in the inventory of the goods of J. van de Cappelle, dated January 4, 1680 ; see Oud Holland, x. 34, No. 99.
 In the sale : H. van der Vugt, Amsterdam, April 27, 1745 (Hoet, n. 164), No. 103 or No. 104 in the original catalogue (55 florins, Pieter Yver), measuring 43 inches by 30 inches.
 In the sales : Madame Lenglier, Paris, March 10, 1788 (370 francs) ; Destouches, Paris, March 21, 1794 ; panel, 21 1/2 inches by 17 inches. Engraved by Hubert in the Galerie Lebrun. The engraver has erred with the hands of the figure on the right behind the player. In the picture the boy strikes his right fist into his open left hand. In the print the hands become a confused knot of folds. Here the girl looks at the player.
 "A Merry Rommelpot-Player and two Laughing Children." This was in the sales : P. M. Kesler, C. Apostool, and others, Amsterdam, May 13, 1844, No. 37 (50 florins, Roos) ; and J. A. A. de Lelie and others, Amsterdam, July 29, 1845, No. 78.
 In the sale : J. van der Veen, Amsterdam, April 14, 1851, No. 112.
 (B. 27). In the sale : Neville D. Goldsmid of The Hague, Paris, May 4, 1876, No. 43 measuring 40 inches by 32 inches. It came from the Tholen collection, Emden.
 (B. 61 ; M. 223). In the sales: Count Mniszech, Paris, April 9, 1902, No. 126 (35,000 francs); and H. J. A. Eyre and others, London, December 9, 1905, No. 59 measuring 40 inches by 33 inches. Here the girl looks at the player.
 In the sale : Paul Giersberg of Wesel, Cologne, April 16, 1907 No. 33. Here the girl looks at the spectator.
 In the sale : Paul Mersch, Paris, May 8, 1908, No. 39. Here there are only five children ; the second from the bottom, a girl, looks at the spectator.

Other versions
Besides this one, the other known versions of this painting are

See also
 List of paintings by Frans Hals

References

External links
Information in the Art Institute of Chicago

Paintings by Frans Hals
Paintings in the Kimbell Art Museum
Musical instruments in art
Paintings of children


title: Jonathan Gradit

text:
Jonathan Gradit (born 24 November 1992) is a French professional footballer who plays as a centre-back for Ligue 1 club Lens.

Career
Gradit made his Ligue 2 debut on 10 March 2014 with Tours against Angers in a 2–0 home win.

On 20 August 2019, he signed a two-year contract with Ligue 2 club RC Lens for an estimated amount of 400,000€. The contract was set to automatically be extended for one year in case Lens got promoted.

On 5 February 2023, he scored his first goal ever in Ligue 1 against Brest.

References

1992 births
Living people
People from Talence
Footballers from Gironde
French men's footballers
Men's association football defenders
Ligue 1 players
Ligue 2 players
Championnat National 2 players
Championnat National 3 players
FC Girondins de Bordeaux players
Aviron Bayonnais FC players
Stade Malherbe Caen players
Tours FC players
RC Lens players


title: Lyman Perry

text:
Lyman Spencer "Pop" Perry (March 10, 1897 – June 2, 1975) was an American football player and naval officer.  He played college football for the Navy Midshipmen football team of the United States Naval Academy.  After the 1918 season, he was selected as a consensus first-team guard on the 1918 College Football All-America Team.

Perry served in the United States Navy from graduation until January 1946, attaining the rank of commodore. He was also served as athletic director at the Naval Academy from 1942 to 1943.  He died in 1975 in Easton, Maryland.  He was buried at the United States Naval Academy Cemetery in Annapolis.

References

1897 births
1975 deaths
All-American college football players
American football guards
Navy Midshipmen football players
Players of American football from Ohio
People from Andover, Ohio
Burials at the United States Naval Academy Cemetery