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Freddie Keppard
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Freddie Keppard
Birth name
Freddie Keppard
Also known as
King Keppard
Fred Keppard
Born
(1889-02-27)February 27, 1889
New Orleans, Louisiana, United States
Died
July 15, 1933(1933-07-15) (aged 44)
Chicago, Illinois, U.S.
Genres
Jazz
Occupation(s)
Cornettist
Instruments
Cornet
Associated acts
Buddy Bolden, Joe "King" Oliver, Jimmie Noone
Freddie Keppard (sometimes rendered as Freddy Keppard) (February 27, 1889 – July 15, 1933) was an early jazz cornetist who once held the title of "King" in the New Orleans jazz scene. This title was previously held by Buddy Bolden and succeeded by Joe Oliver.
Contents
[hide]
1 Early life and career in New Orleans
2 Original Creole Orchestra
3 Career in Chicago
4 Recordings and legacy
5 References
6 External links
Early life and career in New Orleans[edit]
Keppard (pronounced in the French fashion, with relatively even accentuation and a silent d) was born in the Creole of Color community of downtown New Orleans, Louisiana.[1] Born in 1889, Freddie Keppard was Buddy Bolden’s junior by thirteen years and Louis Armstrong’s senior by eleven years. Keppard’s father, Louis Keppard (Sr.), had been a New Orleans man and had worked as a cook in the Vieux Café until his early death. His mother, Emily Peterson Keppard, was from St. James parish. His older brother Louis Keppard was his elder by one year and also became a professional musician later in life. The first tune they learned to play together was called “Just Because She Made Dem Goo-Goo Eyes”, a tune by Hughie Cannon and popular New Orleans minstrel show star John Queen, published in 1900.[2] Freddie Keppard was raised on Villere Street in New Orleans in a home environment filled with music. His mother first started him on the violin, while his brother Louis first played guitar. When he was still a young boy, he and Louis, who by then had become an aspiring guitarist, would disguise their age from police by putting on long pants before going to Basin Street to shine shoes for a nickel a shine, hoping to get in on the music scene and get advice or even tutelage from their favorite musicians in the District while shoe-shining.[1][3] As such, Keppard did not receive any formal musical training and may have been a non-reader who, instead of reading arrangements, most likely learned all of his parts by ear and used his powerful and imaginative abilities to improvise parts that were even better.[4]
Freddie played violin, mandolin, and accordion before switching to cornet. By the time he was ten years old, Freddie had already learned to play mandolin and was performing in a duo with Louis around their neighborhood. He did not begin playing cornet until he was sixteen.[3] This is most likely because, according to Louis Keppard, one strategy available to aspiring string players in those days was to switch to brass instruments in order to get more job opportunities with brass bands in parades. The Keppards’ mother apparently “didn’t think much of this music” until she saw them in their band uniforms, at which point Louis recalled that she became very proud.[2]
As Freddie and Louis grew older, both brothers became band leaders in their own right and became part of the competitive New Orleans jazz scene. Freddie Keppard organized the Olympia Orchestra around 1905. This band featured Alphonse Picou on clarinet. As a Creole band, the Olympia Orchestra would have been expected to play a wide repertoire for a variety of gigs, and therefore could play “legitimate” enough to get society jobs, yet “hot” enough to get jobs at the uptown jazz halls a few years later.[3] Louis Keppard led the Magnolia Orchestra, which became the regular band at Huntz’s and Nagel’s cabaret on Iberville in the District. The Magnolia Orchestra included Joe Oliver on cornet, who would later succeed Keppard’s title as "King" by winning a "cutting contest" against him.[2]
After playing with the Olympia Orchestra, Freddie Keppard joined Frankie Dusen's Eagle Band, taking the place recently vacated by Buddy Bolden. Soon after Bolden was off the music scene, Keppard was proclaimed "King Keppard" as the city's top horn player (see: jazz royalty). This was mostly because he kept Buddy's style, which was popular but had not been recorded. Indeed, many contemporaries have testified that Keppard's playing style was the closest to Bolden's that can be found in the history of jazz recordings and can be considered a more musical and sophisticated extension of Bolden's style: rugged and forceful, clipped and more staccato, and rhythmically closer to ragtime than later New Orleans jazz.[3]
Original Creole Orchestra[edit]
Sometime in either late 1911 or early 1912, bassist Bill Johnson, who had been making his career in Los Angeles, California since 1909, started the initiative to organize an “Original Creole Ragtime Band” to play the New Orleans style across the country. He invited players from his hometown of New Orleans, including Freddie Keppard, to join him in this enterprise. After Keppard accepted his invitation to play cornet for this band, Johnson managed to get Eddie Vinson on trombone, George Baquet on clarinet, Norwood Williams on guitar, Jimmy Palao on violin, and later Dink Johnson on drums. This group went on the Orpheum Theatre circuit out of San Francisco in 1913 as the "Original Creole Orchestra." In the following years, the band would tour Chicago and New York. In their 1915 performance at the Winter Garden, for a show entitled Town Topics, the group was billed as “That Creole Band.” Thus, Freddie Keppard was among the first musicians as well as the first cornetist to take the New Orleans ensemble style outside of the city.[3]
Keppard, who signed one photograph of himself with a caption describing himself as the “star cornetist” of the “Creole Ragtime Band,” probably considered himself the star of the Original Creole Orchestra. Although he was the youngest member of the band, he is perhaps the most well-known of all of its members and is more often mentioned in histories of jazz. This is most likely because he was one of the few members to make surviving recordings. Because of his relative fame compared to the other band members, many assume that the Creole Band was led by Keppard. There is, however, no evidence that Keppard played any major role in the organization of the band (planning tours and events, choosing songs for the repertoire, signing contracts, etc.). As such, Bill Johnson was most likely the leader of the group.[1]
From 1915 to 1917, the Original Creole Orchestra (sometimes also rendered as the "Original Creole Band") landed jobs at Loew’s Orpheum, Lexington Opera House, and the Columbia Theater, as well as a return performance to the Winter Garden. Newspaper reviewers in New York commented on the “rather ragged selection” of the band’s repertoire as well as the “comedy effect of the clarinet,” a testament to the American public's unfamiliarity with the “hot” style of New Orleans. During the band’s time on the east coast, other personnel who came to play in the Original Creole Orchestra included Bab Frank on piccolo and Big Eye Louis Nelson (De Lisle) on clarinet.[3]
The Original Creole Orchestra, after touring the Vaudeville circuit, gave other parts of the USA a first taste of the music that was not yet known as "jazz".[5] While playing a successful engagement in New York City in 1915 the band was offered a chance to record for the Victor Talking Machine Company. This would probably have been the first jazz recording. An often repeated story says that Keppard didn't want to record because then everyone else could "steal his stuff."[6] Another well known story is that he was so worried about being copied that he sometimes played with a handkerchief over his hand to conceal his fingering. Keppard’s famous tendency to hide his fingerings during performances, however, was most likely a publicity stunt intended only to amuse the crowd. After all, a real musician would steal by ear and not by eye.[3] In any case, the recording company offered him a $25 flat fee to make a record (a fairly standard rate for non-star performers at the time), far less than he was earning on the Vaudeville circuit. His retort to this offer, according to Lawrence Gushee, was: "Twenty-Five dollars? I drink that much gin in a day!" [7] The reminiscences of the other members of the Creole Orchestra reveal that another factor was that the Victor representative had asked them to make a "test recording" without pay. The band balked, fearing it was a ploy to have them make records without being paid. Another popular rumor which traveled through some of the New York jazz circles for some time also suggested that Keppard had refused to record because he had been afraid of being cheated by the record company and had demanded the same fees as that of the Victor Company’s highest paid and best-selling artist of the time, Enrico Caruso.[3]
The band continued touring successfully until the group finally broke up in 1918. According to Dave Peyton, who had been the leader of the Grand Theater Orchestra in 1915, the Original Creole Band had been so popular when the group hit Chicago that they “were bidded for by every theatrical agency in the city.” They were so popular, in fact, that, a few years after the band dissolved, Peyton asserted that “when they hit Broadway they were a great sensation and would be on the road today were it not for dissatisfaction among themselves and the loss of several of their members by death.”[1]
Career in Chicago[edit]
About 1917, Keppard settled in Chicago, which would remain his home (except for briefly going to the East Coast to work with Tim Brymn's band about 1920). Soon after he had settled himself into the Chicago jazz scene, however, King Oliver became Chicago's "cornet king" and was said to have attracted crowds by "thrusting his horn out of a window and blowing Keppard down."[3] Nevertheless, Keppard did well in finding continuous employment with a wide range of bandleaders, at one point leading his own group with Jimmie Noone on clarinet and Paul Barbarin on drums.
Keppard worked in Chicago both as a soloist and with the bands of Jimmie Noone, Johnny Dodds, Erskine Tate, Doc Cook (for several years), Don Pasqual, Lil Hardin Armstrong, Ollie Powers, and John Wycliffe, all of which were highly respected local bands.[1][3] Keppard was one of the first to bring jazz to the West Coast.[8]
Don Pasqual, who played reed instruments for Doc Cook for some time, had much to say about Keppard's contributions to Doc Cook's band:
“Keppard really gave the band a lift and then we really went to town. Later, Andrew Hilaire and Johnny St. Cyr joined the band. Doc Cook seldom wrote out any special parts for Freddie Keppard but would just give him his head and while we were playing the arrangements Keppard would do anything he wanted.” - Don Pasqual[3]
After he found steady employment in Chicago, Keppard's style helped create a demand for more New Orleans groups, paving the way for other New Orleans players seeking to migrate north. Throughout his travels, Keppard sent back clippings to his fellow musicians in New Orleans, encouraging other bands to take their chances on the cross-country circuits.[2]
Recordings and legacy[edit]
Sidney Bechet reportedly believed it was because Freddie Keppard was a “good-time guy” and no other reason that he didn’t immediately accept the Victor Company’s offer to make the first jazz recordings while he was still playing with the Original Creole Orchestra.[2] In other words, he simply didn't want to make the recordings because the Victor Company represented big business and commercialization. Thus, if Keppard had agreed to make recordings for them with the Original Creole Band, the music would no longer have been for pure enjoyment but would have been turned into a commodity.[1] Some[who?] also believe, however, that Keppard did make the recordings but that they may have been too “hot” for the mainstream marketing that the Victor Company had in mind. This is because, in the Victor Company files, there is a listing for an unnumbered test recording for a song called “Tack ‘em Down” made by one “Creole Jass Band” on December 2, 1918 (nearly two years after Keppard’s first performance in New York) that may have been Keppard and the Original Creole Band.[2][3]
In any case, the first official recordings of New Orleans or Dixieland jazz did not come out until the 1920s during the “Jazz Age,” nearly two decades after the “hot” New Orleans sound and style had first been developed. By the time musicians of color like Freddie Keppard were officially recording, the Original Dixieland Jazz Band, an all-white band, had already made the first jazz recordings and had dominated the market for jazz recordings with their million-dollar hit, “Livery Stable Blues.” Incidentally, the ODJB’s commercialized rendition of “Livery Stable Blues” was blatantly derived from a number which Freddie Keppard used to do quite famously. According to Keppard’s contemporaries, the barnyard effects which became emphasized in the ODJB’s “Livery Stable Blues” had been merely occasional jokes to the original players. As Mutt Carey, a fellow New Orleans trumpeter recalled, when Keppard was feeling good, “he’d get devilish sometimes and he’d neigh on the trumpet like a horse” just to be humorous.[2]
Keppard did not garner such a large following through occasional neighs and whinnies and barnyard gimmicks, however. Fellow musicians from Keppard’s time who had either worked with him or heard him play praised his technical abilities as well as his creativity. Mutt Carey, while respecting King Oliver, spoke prominently of Keppard as the king of New Orleans jazz, even calling him the very best cornetist before Louis Armstrong.
“Freddie had a lot of ideas and a big tone too. When he hit a note you knew it was a hit. I mean he had a beautiful tone and he played with so much feeling too. Yes, he had everything: he was ready in every respect. Keppard could play any kind of song good. Technique, attack, tone, and ideas were all there. He didn’t have very much formal musical education but he sure was a natural musician. All you had to do was play a number for him once and he had it… he was a natural! When Freddie got to playing… he was no freak man like Joe Oliver. Freddie was a trumpet player anyway you’d grab him. He could play sweet and then he could play hot. He’d play sweet sometimes and then turn around and knock the socks off you with something hot.” –Mutt Carey [3]
Willie Humphrey, a New Orleans jazz clarinetist, had also played with Freddie Keppard around the summer of 1919, at a time when half of New Orleans followed Joe Oliver and half the town followed Keppard. Humphrey recalled that Freddie Keppard was known as the musician’s musician, Jelly Roll Morton’s favorite musician, and “everybody’s all-star.”[2]
“Freddie had such beautiful tone. Such beautiful tone. Good ideas. Freddie played all over his horn. He had a different style altogether from Joe Oliver. Oliver was much rougher, you understand. Freddie was nice and light. Clear. You could be sitting right under him, and it would sound just as nice. But you could hear him two, three blocks away.” –Willie Humphrey [2]
Indeed, Jelly Roll Morton said of Freddie Keppard that he “had the best ear, the best tone, and the most marvelous execution I ever heard.”[3] Buster Bailey, a clarinetist who played with both Joe Oliver and Louis Armstrong, recalled that Keppard “could play as soft and as loud, as sweet and as rough, as you would want.” Alberta Hunter, a blues singer and another artist who had been largely forgotten until she made her comeback in her eighties, also wondered why Freddie Keppard was often overlooked or unmentioned in many accounts of the histories of jazz. “You know,” she reportedly said, “he doesn’t get the credit he should get.”[2]
Some of the commentary on Keppard’s playing, however, is admittedly quite contradictory. Of those who spoke of Keppard as a “freak player,” most referred to him in this way because of his ability to utilize a variety of mutes and playing techniques, such as flutter-tonguing and half-valving. Others, however, insist that Keppard was a “much straighter player” than Joe Oliver. Additionally, while qualified listeners like Jelly Roll Morton were full of praise for Keppard's playing style, others like the younger Louis Armstrong is said to have described Keppard's playing as "fancy" (in an unflattering sense of the word).[1]
Keppard made all his known recordings in Chicago from 1923 to 1927. The only recordings he is certainly on are three sides under his own name ("Freddie Keppard's Jazz Cardinals"), two with Erskine Tate's Vendome Orchestra, and a dozen with Doc Cook's Orchestra. These feature Keppard on second cornet. Second cornet was the logical and quite demanding seat for the premier cornetist in a two-cornet band, as evidenced by Louis Armstrong's role (one example of many) in similar sized bands and orchestras around the same period. His "Stockyard Strut" is an improvisation on the chords of "Tiger Rag". Keppard contributed to the Doc Cook recordings, where he plays the 'walking-talking' style of Stomp Cornet that pre-dates jazz by about a half generation. It follows ragtime by the same margin. Keppard may have appeared on a few other recordings; many more are often dubiously attributed to him. Keppard was widely imitated both in New Orleans and Chicago, including contemporaneous and highly regarded players such as Louis Panico and Frank Guarente. Other recordings Keppard made include songs titled "Salty Dog," "Adam's Apple," "Stomp Time Blues," and "Messing Around."[9]
Several musicians with clear memories of Buddy Bolden said that Freddie Keppard sounded the most like Bolden of anyone who recorded. This is how many jazz historians propose that Keppard got his fame but also how he lost it. Keppard did not have a sound of his own and he came up in between Buddy, Oliver, and Armstrong. Keppard was extremely talented but was not unique.[10] Others, like Lawrence Gushee, insist that Keppard did have a unique approach to playing the cornet, which simply became overshadowed by Louis Armstrong's powerful influence. Gushee describes Keppard as "frequently on top of the beat or [anticipating] it," making his "phrasing excitable, even tense." Whereas "Armstrong seems to favor extended four or eight-measure structure, Keppard [built] his units out of shorter modules" underscored by vibrato. Gushee also argues that Keppard used a much more "rapid vibrato, more like an ornament, that could be used anyplace in a phrase."[1]
Many contemporaries said that either Keppard was past his prime when he recorded or that his recordings do not do him justice, as Keppard's health was already declining by the time he recorded in 1926.[1][2][3] Even with the constraints, the recordings demonstrate that Keppard was a very proficient player and an adventurous improviser. Keppard's style is much more raggy and characterized by a "brusque and staccato style" compared to Oliver's blues-tinged style.[11] While Oliver had more admirers, to some extent preference was a matter of taste. Jelly Roll Morton, Lil Hardin Armstrong, and Wellman Braud all thought Keppard superior to Oliver.
Keppard suffered from alcoholism and tuberculosis in his final years, although he was such a dedicated player that he continued performing despite the onset of his illnesses. He was still playing loud in the early thirties in Chicago, although, according to contemporaries, no longer very well.[3] By 1932, Keppard was restricted in his employment most likely due to his continued physical degradation. According to medical records, he was completely unable to work by December 1932.[1] He died in Chicago in 1933, largely forgotten. However, trumpet player Bob Shoffner recalled that in 1931 when Louis Armstrong's band had been preparing to leave Chicago on a tour bus, Armstrong instructed the bus driver to stop in front of Keppard's apartment. The entire band then went up the stairs to offer their greetings to the "old-timer."[1]
References[edit]
^ Jump up to: a b c d e f g h i j k Gushee, Lawrence. Pioneers of jazz: The story of the Creole Band. Oxford University Press, 2005.
^ Jump up to: a b c d e f g h i j k Turner, Frederick W. Remembering song: Encounters with the New Orleans jazz tradition. New York: Viking, 1982.
^ Jump up to: a b c d e f g h i j k l m n o p Williams, Martin. Jazz Masters of New Orleans. Da Capo Press, 1979.
Jump up ^ Cooke, Mervyn, and David Horn, eds. The Cambridge companion to jazz. Cambridge University Press, 2002.
Jump up ^ Hazeldine, Mike. "Original Creole Band", in Kernfeld, Barry. ed. The New Grove Dictionary of Jazz, 2nd Edition, Vol. 3. London: MacMillan, 2002. p. 200.
Jump up ^ Souchon, Edmund. "Jazz in New Orleans," Music Educators Journal 43.6 (1957): 42-5. Web.
Jump up ^ Carter, William. Some Historic New Orleans Jazz Performers, San Francisco, CA: San Francisco Traditional Jazz Foundation, 1996. /z-wcorg/. Web.
Jump up ^ David Dicaire, Jazz Musicians of the Early Years, to 1945 (North Carolina: McFarland & Company Inc., 2003)
Jump up ^ Hardie, Daniel. Exploring Early Jazz: The Origins and Evolution of the New Orleans Style. iUniverse, 2002.
Jump up ^ Cherry, Hank. "Freddie Keppard: The King of in-between," Off Beat 2012 Print.
Jump up ^ J.R. Taylor. "Keppard, Freddie." Grove Music Online. Oxford Music Online. Oxford University Press.
External links[edit]
Freddie Keppard on redhotjazz.com
Off Beat on Freddie Keppard
Authority control
WorldCat Identities
VIAF: 24787576
LCCN: n87124594
ISNI: 0000 0000 6309 2505
BNF: cb13895942f (data)
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Rhythm Is a Dancer
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Rhythm Is a Dancer"
Single by Snap!
from the album The Madman's Return
B-side
"Remix"
Released
30 March 1992
Format
7"
CD
MCD
Recorded
1991
Genre
Eurodance
Length
5:32
5:16 (12" Version)
3:45 (7" Edit)[1]
Label
Anzilotti & Münzing[1]
Arista
Songwriter(s)
Benito Benites
John "Virgo" Garrett III
Thea Austin
Turbo B
Producer(s)
Benito Benites
John "Virgo" Garrett III
Snap! singles chronology
"Colour of Love"
(1991) "Rhythm Is a Dancer"
(1992) "Exterminate"
(1993)
"Colour of Love"
(1991) "Rhythm Is a Dancer"
(1992) "Exterminate"
(1993)
Music video
"Rhythm Is a Dancer" on YouTube
2008 cover
2008 version
"Rhythm Is a Dancer" is a 1992 song recorded by German group Snap! from their second album The Madman's Return.
Contents
[hide]
1 Release
2 Lyrics and music
3 Critical reception
4 Chart performances
5 Music video
6 Impact and legacy
7 Cover versions
8 Appearances in other media
9 Track listings
10 Official versions
11 Charts and sales
11.1 Weekly charts
11.2 Year-end charts
11.3 Certifications
12 References
13 External links
Release[edit]
It was released in March 1992 and achieved huge success in many countries around the world, topping the charts in France, Ireland, Italy, Netherlands, Germany and the United Kingdom. It also reached the top 5 on the US Billboard Hot 100 and number one on the US Hot Dance Music/Club Play Singles.[2] The single spent six weeks at the top in the UK where it was the second biggest selling single of 1992, surpassed only by Whitney Houston's version of "I Will Always Love You".[3][4]
The song was the second single from the album The Madman's Return. It was written by Benito Benites, John "Virgo" Garrett III (aliases for German producers Michael Münzing and Luca Anzilotti), singer Thea Austin, and rapper Durron Butler aka Turbo B and produced by Snap!.
Snap! won the 1992 Echo award for the Best Selling Single of the Year with "Rhythm Is a Dancer".[5]
Lyrics and music[edit]
The track features lead vocals by Thea Austin and a rap by Turbo B.
According to Miz hit. tubes, a book which analyses the French pop charts, "This discotheque song alternates female singing in the chorus with fluid, set back male raps in the verses. These are tinted with a resonant sonority, which gives them an astonishingly melancholic softness, for a Dance hit. That gives the whole track a particular colour, almost nostalgia."[6]
The rap lyrics on the main version (not the 7" edit) are a slightly modified version of the following lines from an essay by John Perry Barlow called "Being in Nothingness Virtual Reality and the Pioneers of Cyberspace".[7]
How very like the future this place might be: a tiny world just big enough to support the cubicle of one Knowledge Worker. I feel a wave of loneliness and head back down. But I'm going too fast. I plunge right on through the office floor and into the bottomless indigo below. Suddenly I can't remember how to stop and turn around. Do I point behind myself? Do I have to turn around before I can point? I flip into brain fugue.
The track was originally released as a bonus track on the "Madman's Return" CD, and did not appear on the initial vinyl release.The rap was replaced by another performed by Turbo B when it was decided that it would be released as the second single off of the record.
It also contains what one critic called the worst lyric of all time, "I'm as serious as cancer when I say rhythm is a dancer".[8] The original album version of the song did not contain the line, which is found on the more widely known 7" single of the song that was later added to the album. Although Snap! were criticized for the lyric, the line had been used in hip hop music since the late '80s.[8]
"Rhythm Is a Dancer" contains the hook / riff sample from the 1984 song "Auto Man" by Newcleus, written in the key of A minor with a tempo of 124 beats per minute[9] in common time. The song follows a chord progression of F–G–Am, and the vocals span from A3 to C5.[10]
Critical reception[edit]
The Gavin Report wrote about the song: "Two years ago, "The Power" dominated radio both here and abroad. Snap kind of dropped out of sight since then, and they mark their return with a Euro-Dance sound that's a mega-hit internationally. Sparks fly from start to finish."[11]
Chart performances[edit]
"Rhythm Is a Dancer" was the second single by Snap! to reach No. 1 in the United Kingdom, the song remained six weeks at the top position in 1992, from 2 August to 13 September.[12] It is their biggest hit single to date, with 492,175 sales during the original British chart run. A massive hit across the world, it also topped the chart in Germany for ten weeks, and peaked at No. 5 on the Billboard Hot 100 in the United States in early 1993. In France, "Rhythm Is a Dancer" debuted at No. 5 on 8 August 1992, before climbing to No. 1 four weeks later (where it stayed for six weeks). The track thus became the first dance single to hit the number one position on the French Singles Chart.
Snap! themselves re-recorded their own song in 1996 and 2003, the latter with CJ Stone (as "Rhythm is a Dancer 2003"). It reached number 17 on the UK Singles Chart in May 2003.
On 25 May 2008, "Rhythm Is a Dancer" re-entered the UK Singles Chart at number 36, climbing as high as number 23 two weeks later. BBC Radio 1 DJs Fearne Cotton and Reggie Yates theorized it was based on download performance, due to its inclusion in a television advertisement for Drench water.
Music video[edit]
Thea Austin in the "Rhythm Is a Dancer" music video.
The music video for "Rhythm Is a Dancer" was directed by Howard Greenhalgh and shows singer Thea Austin and Durron Butler (Turbo B) playing a bass guitar in the Kennedy Space Center Visitor Complex's rocket garden filled with smoke. Austin and her group perform the song on elevated platforms while a group of dancers dance on a closed ground platform below them. Interspersed throughout these scenes are animated shots of flickering astronomy/aviation maps and animated figures dancing.
Impact and legacy[edit]
In the 2017 book 'Stars of 90's Dance Pop: 29 Hitmakers Discuss Their Careers' by James Arena, singer Thea Austin said about "Rhythm Is a Dancer":
“ I believe "Rhythm Is a Dancer" resonates so powerfully because it is spiritually and creatively blessed. The producers and I had amazing energy and great intent in our creative process. The melodies are hypnotic and make people feel good, like a nursery rhyme that people gravitate towards. The music is so unique in that there was and is no other song that sounds like "Rhythm Is a Dancer". To me, it was a perfect marriage of music and voice. (...) People wanted a song like that back then—something to kickstart their day, free them up. It was a time in life that people were being liberated, like in South Africa or for the LGBT community in the States, and the song represents that liberation for many people.[13] ”
VH1 placed "Rhythm Is a Dancer" at number 36 in their list of 100 Greatest Dance Songs in 2000.[14]
MTV Dance placed the song at #4 in their list of The 100 Biggest '90s Dance Anthems of All Time in November 2011.[15]
On 31 March 2012, "Rhythm Is a Dancer" was chosen "Best Song of the Nineties" in the Nineties Top 99 on the Belgian Radio MNM for the 4th year in a row.
Cover versions[edit]
"Rhythm Is a Dancer" has been covered by numerous artists including German singer Key Biscayne (aka Lian Ross) in 1992, Italian radio host Leone di Lernia who recorded a parody of the song in Italian,[16] Max Deejay who recorded an instrumental cover in 1997, System Drivers in 2002, The Superb, a Brazilian rock act produced by Chilean DJ Sokio[17] in 2005, Israeli-Italian artist Sagi Rei for his 2005 album Emotional Songs, Chic Flowerz featuring Muriel Folwer in 2006. In 1993 Kids Incorporated covered "Rhythm Is a Dancer" in the Season 9 episode "Teamwork".
Bastille's 2013 single "Of the Night" was a mashup of "Rhythm Is a Dancer" and another 1990s dance track, Corona's "The Rhythm of the Night".[18]
Appearances in other media[edit]
The song was often used in films or series, including in an episode of Beverly Hills, 90210 during its third season in 1993, in a scene of the 2010 comedy movie Cop Out. The song was also featured in TV adverts, including in the 1995 ad for the Ford Escort on German television, and in 2008, in a TV commercial in the UK for "Drench" spring water, which features Brains from the 1960s Gerry Anderson puppet series Thunderbirds and used an edited version of the original "Rhythm Is a Dancer", bringing the song back into the UK singles chart on 9 June 2008, at number 23.
Track listings[edit]
7" single
"Rhythm Is a Dancer" (7" Edit) — 3:41
"Rhythm Is a Dancer" (Purple Hazed 7" Mix) — 4:31
12" single
"Rhythm Is a Dancer" (12" Mix) — 5:12
"Rhythm Is a Dancer" (Purple Hazed Mix) — 6:49
"See the Light" (Hard-Kick Family Version) — 7:05
"See the Light" (Hypnotic Base Line Mix) — 7:07
12" single – Remixes
"Rhythm Is a Dancer" (Rhyth Kid Version) — 5:38
"Rhythm Is a Dancer" (Tee's Choice Mix) — 6:19
CD maxi
"Rhythm Is a Dancer" (7" edit) — 3:41
"Rhythm Is a Dancer" (12" mix) — 5:12
"Rhythm Is a Dancer" (Purple Hazed Mix) — 6:49
CD maxi – Remixes
"Rhythm Is a Dancer" (Rhyth Kid Version) — 5:38
"Rhythm Is a Dancer" (Tee's Choice Mix) — 6:19
"Rhythm Is a Dancer" (Instrumental Rhythm) — 5:30
CD single – 2003 remixes
"Rhythm Is a Dancer 2003" (Radio Edit)
"Rhythm Is a Dancer 2003" (CJ Stone Remix)
"Rhythm Is a Dancer 2003" ('92)
"Rhythm Is a Dancer 2003" (Video)
CD maxi – 2003 remixes
"Rhythm Is a Dancer 2003" (Video Version) — 3:20
"Rhythm Is a Dancer 2003" (CJ Stone Radio Mix) — 3:49
"Rhythm Is a Dancer 2003" ("Check This Out" Remix) — 7:06
"Rhythm Is a Dancer 2003" (CJ Stone Club Mix) — 7:45
"Rhythm Is a Dancer" ('92) — 3:42
UK and EU CD maxi – 2008 remixes[19][20]
"Rhythm Is a Dancer" (8" BB Mix) — 3:45
"Rhythm Is a Dancer" (Tom Novy Remix) — 8:01
"Rhythm Is a Dancer" (Original 12") — 5:33
Official versions[edit]
"Rhythm Is a Dancer" (7" Edit) / (Rhythm Is a Dancer '92) – 3:41
"Rhythm Is a Dancer" (12" Mix) – 5:12
"Rhythm Is a Dancer" (Instrumental Rhythm) – 5:30
"Rhythm Is a Dancer" (Purple Hazed 7" Edit) – 4:31
"Rhythm Is a Dancer" (Purple Hazed Mix) – 6:49
"Rhythm Is a Dancer" (Rhyth Kid Version) – 5:38
"Rhythm Is a Dancer" (Tee's Choice Mix) – 6:19
"Rhythm Is a Dancer 2003" (Radio Edit)
"Rhythm Is a Dancer 2003" ("Check This Out" Remix) – 7:06
"Rhythm Is a Dancer 2003" (CJ Stone Radio Mix) / (CJ Stone Remix) – 3:49
"Rhythm Is a Dancer 2003" (CJ Stone Club Mix) / (CJ Stone Remix) – 7:45
"Rhythm Is a Dancer 2003" (Video Version) – 3:20
Charts and sales[edit]
Weekly charts[edit]
Chart (1992–93)
Peak
position
Australia (ARIA)[21] 3
Austria (Ö3 Austria Top 40)[22] 1
Belgium (Ultratop Flanders)[22] 1
Canada Dance (RPM)[23] 1
Canada Top Singles (RPM)[24] 19
Denmark (IFPI)[22] 11
Europe (Eurochart Hot 100)[25] 1
Finland (Suomen virallinen lista)[26] 7
France (SNEP)[22] 1
Germany (Media Control Charts)[27] 1
Greece (Virgin)[28] 3
Ireland (IRMA)[29] 1
Israel (Israeli Singles Chart) 1
Italy (FIMI)[30] 1
Netherlands (Dutch Top 40)[31] 1
Netherlands (Single Top 100) 1
New Zealand (RIANZ)[22] 11
Norway (VG-lista)[22] 4
Portugal (AFP)[32] 10
Spain (AFYVE)[33] 1
Sweden (Sverigetopplistan)[22] 2
Switzerland (Schweizer Hitparade)[22] 1
UK Singles (Official Charts Company)[3] 1
US Billboard Hot 100[34] 5
Zimbabwe (ZIMA)[35] 1
Chart (1996–97)1
Peak
position
Sweden (Sverigetopplistan)[36] 58
Chart (2003)2
Peak
position
Australia (ARIA)[21] 32
Austria (Ö3 Austria Top 40)[37] 10
Finland (Suomen virallinen lista)[37] 13
Germany (Media Control Charts)[38] 7
Switzerland (Schweizer Hitparade)[37] 35
UK Singles (Official Charts Company)[3] 17
Chart (2008)
Peak
position
Germany (Media Control Charts)[39] 84
UK Singles (The Official Charts Company)[3] 43
Chart (2016)
Peak
position
Poland (Polish Airplay Top 100) [40] 67
Year-end charts[edit]
Chart (1992)
Position
Australia (ARIA)[41] 15
Austria (Ö3 Austria Top 40)[42] 2
Netherlands (Dutch Top 40)[43] 1
Switzerland (Schweizer Hitparade)[44] 2
UK (Official Charts Company)[45] 2
US Billboard Hot 100[46] 75
Chart (1993)
Position
US Billboard Hot 100[47] 25
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[41][48]
Gold 35,000
Austria (IFPI Austria)[49]
Gold 25,000
France (SNAP)[50][51]
Gold 250,000
Germany (BVMI)[52]
Platinum 500,000
Sweden (IFPI Sweden)[53]
Gold 25,000
United Kingdom (BPI)[54]
Gold 400,000
United States (RIAA)[55][56]
Gold 500,000
*sales figures based on certification alone
^shipments figures based on certification alone
References[edit]
^ Jump up to: a b https://itunes.apple.com/us/album/the-madmans-return/id73428246
Jump up ^ "Allmusic: Snap! - The Madman's Return (Awards)". AllMusic. Retrieved 2013-07-31.
^ Jump up to: a b c d "Official Charts > Snap!". The Official UK Charts Company. Retrieved 2016-03-21.
Jump up ^ "Chart Archive - 1990s Singles". everyhit.com. Retrieved 2013-07-31.
Jump up ^ "Echo. Deutscher Schallplattenpreis 1992" (PDF). Music & Media. Retrieved 2018-03-26.
Jump up ^ Habib, Elia (2002). Muz hit.tubes (in French). Alinea Bis. p. 246. ISBN 2-9518832-0-X.
Jump up ^ John Perry Barlow. "Being in Nothingness Virtual Reality and the Pioneers of Cyberspace". "Electronic Frontier Foundation. Retrieved 2015-06-26.
^ Jump up to: a b Rupert Neate (9 Jul 2008). "Worst lyric of all time: I'm serious as cancer, when I say rhythm is a dancer". The Daily Telegraph. Retrieved 2010-09-19.
Jump up ^ "BPM for 'rhythm' by snap | songbpm.com". songbpm.com. Retrieved 2016-08-06.
Jump up ^ Austin, Thea. "Snap! "Rhythm Is a Dancer" Sheet Music in A Minor - Download & Print". Musicnotes.com. Retrieved 2016-08-06.
Jump up ^ Sholin, Dave (1992-06-24). "Gavin Picks > Singles" (PDF). Gavin Report. No. 1915. p. 52. Retrieved 2018-04-16.
Jump up ^ "Number Ones in 1992". number-ones.co.uk. Retrieved 2013-07-31.
Jump up ^ Arena, James (2017). Stars of 90's Dance Pop: 29 Hitmakers Discuss Their Careers. Jefferson, North Carolina: McFarland & Company, Inc.
Jump up ^ "Rock On The Net: VH1: 100 Greatest Dance Songs". www.rockonthenet.com.
Jump up ^ MTV Dance - Tuesday 27.12.2011
Jump up ^ "An audio sample". Video4viet.com.
Jump up ^ "The Superb". Last.fm. Retrieved 22 September 2010.
Jump up ^ Copsey, Robert (15 November 2013). "Bastille: 'Of The Night' – Single review". Digital Spy. Retrieved 10 February 2018.
Jump up ^ "Rhythm Is A Dancer '08". eli.com. Retrieved 2012-03-16.
Jump up ^ "Rhythm Is A Dancer '08". discogs.com. Retrieved 2012-03-16.
^ Jump up to: a b "australian-charts.com > Snap! in Australian Charts". Hung Medien. Retrieved 2016-03-21.
^ Jump up to: a b c d e f g h "lescharts.com: SNAP!-Rhythm Is a Dancer (Chanson)". lescharts.com. Retrieved 2013-05-15.
Jump up ^ Canadian dance peak
Jump up ^ "RPM: Top Singles - Volume 56, No. 19, November 07 1992". RPM. Retrieved 2013-05-15.
Jump up ^ "Eurochart Hot 100" (PDF). Music & Media. Retrieved 2018-03-06.
Jump up ^ Pennanen, Timo (2006). Sisältää hitin - levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1st ed.). Helsinki: Tammi. ISBN 9789511210535.
Jump up ^ "Offizielle Deutsche Charts > Snap! – Rhythm Is a Dancer (single)" (in German). GfK Entertainment. Retrieved 2016-03-21.
Jump up ^ "Top 10 Greece" (PDF). Music & Media. Retrieved 2018-03-20.
Jump up ^ "The Irish Charts – All there is to know > Search results for 'Rhythm Is a Dancer' (from irishcharts.ie)". imgur.com. Retrieved 2016-03-21.
Jump up ^ "Hit Parade Italia: I singoli più venduti del 1992". hitparadeitalia.it. Retrieved 2013-05-15.
Jump up ^ "Media Markt Top 40: Snap! (Rhythm Is a Dancer)" (in Dutch). Dutch Top 40. Retrieved 2013-05-15.
Jump up ^ "Top 10 Portugal" (PDF). Music & Media. Retrieved 2018-03-20.
Jump up ^ Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
Jump up ^ "Allmusic: Snap! (Awards)". Allmusic. Retrieved 2013-05-15.
Jump up ^ * Zimbabwe. Kimberley, C. Zimbabwe: singles chart book. Harare: C. Kimberley, 2000
Jump up ^ "Swedishcharts.com: Snap! - Rhythm Is a Dancer Remix '96 (Song)". Swedishcharts.com. Retrieved 2013-05-15.
^ Jump up to: a b c "lescharts.com: SNAP!-Rhythm Is a Dancer 2003 (Chanson)". lescharts.com. Retrieved 2013-05-15.
Jump up ^ "Offizielle Deutsche Charts > Snap! – Rhythm Is a Dancer 2003 (single)" (in German). GfK Entertainment. Retrieved 2016-03-21.
Jump up ^ "Offizielle Deutsche Charts > Snap! – Rhythm Is a Dancer 2008 (single)" (in German). GfK Entertainment. Retrieved 2016-03-21.
Jump up ^ "Listy bestsellerów, wyróżnienia :: Związek Producentów Audio-Video". Polish Airplay Top 100. Retrieved 2016-05-09.
^ Jump up to: a b "The ARIA Chart – Best of 1992". imgur.com. Retrieved 2016-03-21.
Jump up ^ 1992 Austrian Singles Chart Austriancharts.at (Retrieved September 7, 2008)
Jump up ^ "Single top 100 over 1992" (PDF) (in Dutch). Top40. Retrieved 2010-04-14.
Jump up ^ 1992 Swiss Singles Chart Hitparade.ch (Retrieved 2008-09-07)
Jump up ^ 1992 UK Singles Chart [1] (Retrieved 2015-03-30)
Jump up ^ "Billboard Top 100 - 1992". Archived from the original on 2010-01-17. Retrieved 2010-07-30.
Jump up ^ "Billboard Top 100 - 1993". Archived from the original on 2006-11-10. Retrieved 2010-08-27.
Jump up ^ Ryan, Gavin (2011). Australia's Music Charts 1988-2010. Mt. Martha, VIC, Australia: Moonlight Publishing.
Jump up ^ "IFPI Austria - Gold & Platin" (in German). International Federation of the Phonographic Industry — Austria. Archived from the original on 2013-07-01. Retrieved 2011-03-19.
Jump up ^ "InfoDisc Les Certifications depuis 1973 (singles)". InfoDisc. Archived from the original on 2007-11-30.
Jump up ^ "Les Certifications Officielles: Chronologie Singles". Info Disc. Archived from the original on 2010-06-23. Retrieved 2010-08-03.
Jump up ^ "Gold-/Platin-Datenbank (Snap; 'Rhythm Is a Dancer')" (in German). Bundesverband Musikindustrie. Retrieved 2011-03-19.
Jump up ^ "Guld & Platina IFPI" [Gold & Platinum IFPI] (PDF) (in Swedish). International Federation of the Phonographic Industry — Sweden. Archived from the original (PDF) on May 21, 2012. Retrieved 2013-05-15.
Jump up ^ "Certified Awards Search". British Phonographic Industry. Retrieved 2013-05-15.
Jump up ^ "Gold & Platinum Search Results: Snap (Rhythm Is a Dancer)". Recording Industry Association of America. Retrieved 2013-05-15.
Jump up ^ "Gold & Platinum: Criteria". Recording Industry Association of America. Retrieved 2013-05-15.
External links[edit]
Lyrics of this song at MetroLyrics
Preceded by
"Ain't No Doubt" by Jimmy Nail UK number one single
8 August 1992
(six weeks) Succeeded by
"Ebeneezer Goode" by The Shamen
[hide]
v
t
e
Snap!
Turbo B
Penny Ford
Thea Austin
Niki Haris
Summer
Michael Münzing
Luca Anzilotti
Albums
World Power
The Madman's Return
Welcome to Tomorrow
Compilations
Snap! Attack: The Best of Snap!
The Cult of Snap!
Singles
"The Power
"Ooops Up"
"Cult of Snap"
"Mary Had a Little Boy"
"Mega Mix"
"Colour of Love"
"Rhythm Is a Dancer"
"Exterminate!"
"Do You See the Light (Looking For)"
"Welcome to Tomorrow (Are You Ready?)"
"The First the Last Eternity (Till the End)"
Related articles
Discography
Centory
Book:Snap!
Retrieved from "https://en.wikipedia.org/w/index.php?title=Rhythm_Is_a_Dancer&oldid=841548128"
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A Lokpal (Sanskrit: लोकपाल lokapāla, "caretaker of people") is an anti-corruption authority or ombudsman who represents the public interest. The concept of an ombudsman is borrowed from Sweden. The Lokpal has jurisdiction over all Members of Parliament and central government employees in cases of corruption. The Lokpal and Lokayuktas Act was passed in 2013 with amendments in parliament, following the Jan Lokpal movement led by Anna Hazare. The Lokpal is responsible for enquiring into corruption charges at the national level while the Lokayukta performs the same function at the state level.
Contents
[hide]
1 History
2 Jan Lokpal Bill movement
2.1 Features of the Jan Lokpal Bill
2.2 Fundamental duties
2.3 The Lokpal and Lokayuktas Act, 2013
3 See also
4 References
5 Further reading
History[edit]
The term "Lokpal" was coined by Dr. L.M.Singhvi in 1963. The concept of a constitutional ombudsman was first proposed in parliament by Law Minister Ashoke Kumar Sen in the early 1960s. The first Jan Lokpal Bill was proposed by Shanti Bhushan in 1968 and passed in the 4th Lok Sabha in 1969, but did not pass through the Rajya Sabha.[1] Subsequently, 'lokpal bills' were introduced in 1971, 1977, 1985, again by Ashoke Kumar Sen, while serving as Law Minister in the Rajiv Gandhi cabinet, and again in 1989, 1996, 1998, 2001, 2005 and in 2008, yet they were never passed.[2] Forty five years after its first introduction, the Lokpal Bill is finally enacted in India on 18 December 2013.
The Lokpal Bill provides for the filing, with the ombudsman, of complaints of corruption against the prime minister, other ministers, and MPs. The Administrative Reforms Commission (ARC) recommended the enacting of the Office of a Lokpal, convinced that such an institution was justified, not only for removing the sense of injustice from the minds of citizens, but also to instill public confidence in the efficiency of the administrative machinery.
Following this, the Lokpal Bill was, for the first time, presented during the fourth Lok Sabha in 1968, and was passed there in 1969. However, while it was pending in the Rajya Sabha, the Lok Sabha was dissolved, and thus the bill was not passed.
The bill was revived several times in subsequent years, including in 2011. Each time, after the bill was introduced to the House, it was referred to a committee for improvements, to a joint committee of parliament, or to a departmental standing committee of the Home Ministry. Before the government could take a final stand on the issue, the house was dissolved again. Several conspicuous flaws were found in the 2008 draft of the Lokpal Bill. The basic idea of a lokpal is borrowed from the Office of the Ombudsman, which has the Administrative Reforms Committee of a lokpal at the Centre,[clarification needed] and lokayukta(s) in the states.
Anna Hazare fought to get this bill passed[where?], and it did pass on 27 December 2011, around 9:30,[when?] with some modifications. These were proposed as the Jan Lokpal Bill. However, Hazare and his team, as well as other political parties, claimed that the Lokpal Bill passed was weak, and would not serve its intended purpose. So the proposed bill by the ruling Congress Party has yet to be accepted in the Rajya Sabha. As of 29 December 2011, the bill has been deferred to the next parliamentary session, amid much controversy and disruption by the LJP, RJD and SP parties. The media at large, and the opposition parties, claimed the situation had been staged.[3]
Jan Lokpal Bill movement[edit]
Anna Hazare's hunger strike at Jantar Mantar in New Delhi, on the second day of his fast
Main article: Jan Lokpal Bill
Jan Lokpal Bill (Citizen's Ombudsman Bill) is a draft anti-corruption bill drawn up by prominent civil society activists, seeking the appointment of a Jan Lokpal, an independent body that would investigate corruption cases, complete the investigation within one year and conduct trials for the case within the next year.
Drafted by Justice Santosh Hegde (a former Supreme Court Judge and former Lokayukta of Karnataka), Prashant Bhushan (a Supreme Court Lawyer) and Arvind Kejriwal (a RTI activist), the draft Bill envisaged a system in which a corrupt person found guilty would go to jail within two years of the complaint being made and his ill-gotten wealth confiscated. It also sought power for the Jan Lokpal to prosecute politicians and bureaucrats without requiring government permission.
Retired IPS officer Kiran Bedi and others, like Anna Hazare, Swami Agnivesh, Sri Sri Ravi Shankar, and Mallika Sarabhai are also members of the movement, called India Against Corruption. Its website describes the movement as "an expression of collective anger of people of India against corruption." It goes on to state: "We have all come together to force/request/persuade/pressurize the Government to enact the Jan Lokpal Bill. We feel that if this Bill were enacted it would create an effective deterrence against corruption."
Anna Hazare, an anti-corruption crusader, began a fast-unto-death, demanding that this bill, drafted by Civil Society, be adopted. The website of the India Against Corruption movement calls the Lokpal Bill of the government an "eyewash", and hosts a critique of that government bill. It also lists the difference between the bills drafted by the government and civil
Features of the Jan Lokpal Bill[edit]
An institution called Lokpal at the centre and Lokayukta in each state will be set up.
Like the Supreme Court and Election Commission, they will be completely independent of governments. No minister or bureaucrat will be to influence their investigations.
Cases against corrupt people will not linger on for years anymore: investigations in any case will have to be completed in one year. Trial should be completed in the next one year, so that the corrupt politician, officer or judge is sent to jail within two years.
The loss that a corrupt person caused to the government will be recovered at the time of conviction.
How will it help a common citizen? If the work of any citizen is not done in a prescribed time, in any government office, Lokpal will impose a financial penalty on the guilty officers, which will be given as compensation to the complainant.
So, you could approach Lokpal if your ration card or passport or voter card had not been made, or if the police are not registering your case, or if any other work is not being done within the prescribed time. Lokpal will have to get it done in a month's time. You could also report any case of corruption to Lokpal, like rations being siphoned off, poor quality roads being constructed or panchayat funds being siphoned off.
But won't the government appoint corrupt and weak people as Lokpal members? That won't be possible because its members will be selected by judges, citizens and constitutional authorities, not by politicians, through a completely transparent and participatory process.
What if some officer in Lokpal becomes corrupt? The entire functioning of Lokpal/ Lokayukta will be completely transparent. Any complaint against any officer of Lokpal will be investigated and the officer dismissed within two months.
What will happen to existing anti-corruption agencies? CVC, the departmental vigilance and anti-corruption branch of the CBI, will be merged into Lokpal. Lokpal will have complete powers and machinery to independently investigate and prosecute any officer, judge or politician.
It will be the duty of the Lokpal to provide protection to those who are being victimized for raising their voice against corruption.
Fundamental duties[edit]
To judge the cases and make jurisdictions against corruption cases with the Lokpal.
To judge whether a case is genuine or whether a fake complaint has been made.
To potentially impose fines on a fake complaint, or even a short span of jail time, if the case is not proved to be legally true.
Anna Hazare, a Gandhian rights activist, had started a fast unto death at Jantar Mantar in New Delhi demanding the passing of the bill. Hazare called off his hunger strike on 9 April 2011, bringing to an end his 98-hour protest after the government issued a gazette notification constituting a 10-member Joint Committee of government ministers and civil society activists, including him, to draft a bill for the creation of an effective Lokpal. Thousands of people from all over India, especially youth, supported Anna Hazare's cause by attending candle lit marches and conducting online campaigns through social media.
Recently yoga guru, Swami Ramdev, fasted for this cause for 9 days from 4 to 12 June 2011. He wanted the Government of India to accept various demands, which mainly included those related to the Lokpall Bill.
Anna Hazare on 8 June 2011, declared that he would again fast unto death on 16 August, if the Lokpal bill were not passed by the Parliament of India by 15 August, which is the Independence Day of India.[4]
On 16 June, Civil Society reported that only 15 points, of 71, that they recommended have been agreed to by the Joint Committee consisting of five central ministers. Following differences with the Civil Society, the team of five central ministers decided to forward two drafts of the Lokpal Bill to the Cabinet, one from each side. Anticipating some sort of police action against his fast, intended for 16 August, social activist Anna Hazare said he would ask the Supreme Court to prevent any situation similar to the police crackdown on Baba Ramdev and his supporters at Ramlila Maidan.
"The government said, ‘we will suppress the agitation of Anna Hazare as had been done in the case of Ramdev’. Is this democracy or autocracy? You cannot suppress.... That is why we will go to the Supreme Court tomorrow," Hazare told reporters, adding "the Constitution has given right to every citizen to lodge a protest. We will launch the agitation from August 16."[5]
On 27 December 2011, the Lokpal bill was passed by the Lok Sabha after a day-long debate and amendments. The Indian Army, the Indian Air Force and the Indian Navy have been kept out of the jurisdiction of the Lokpal. The bill also keeps the CBI independent.
The Lokpal and Lokayuktas Act, 2013[edit]
The historic Lokpal and Lokayuktas Act, 2013 was passed by Indian Parliament paving the way for establishment of a Lokpal (Ombudsman) to fight corruption in public offices and ensure accountability on the part of public officials, including the Prime Minister, but with some safeguards.
Lokpal will consist of a chairperson and a maximum of eight members, of which 50% will be judicial members 50% members of Lokpal shall be from SC/ST/OBCs, minorities and women. Selection of chairperson and members of Lokpal through a selection committee consisting of PM, Speaker of Lok Sabha, leader of opposition in Lok Sabha, Chief Justice of India or a sitting Supreme Court judge nominated by CJI. Eminent jurist to be nominated by President of India on basis of recommendations of the first four members of the selection committee "through consensus". Lokpal's jurisdiction will cover all categories of public servants. All entities (NGOs) receiving donations from foreign source in the context of the Foreign Contribution Regulation Act (FCRA) in excess of Rs 10 lakh per year are under the jurisdiction of Lokpal. Centre will send Lokpal bill to states as a model bill. States have to set up Lokayuktas through a state law within 365 days.
Lokpal will have power of superintendence and direction over any central investigation agency including CBI for cases referred to them by the ombudsman.
A high-powered committee chaired by the PM will recommend selection of CBI director. The collegium will comprise PM, leader of opposition in Lok Sabha and Chief Justice of India PM has been brought under purview of the Lokpal, so also central ministers and senior officials.
Directorate of prosecution will be under overall control of CBI director. At present, it comes under the law ministry.
Appointment of director of prosecution to be based on recommendation of the Central Vigilance Commission.
Director of prosecution will also have a fixed tenure of two years like CBI chief.
Transfer of CBI officers investigating cases referred by Lokpal with the approval of watchdog.
Bill incorporates provisions for attachment and confiscation of property acquired by corrupt means, even while prosecution is pending.
Bill lays down clear timelines for preliminary enquiry and investigation and trial. Provides for special courts Public servants will not present their view before preliminary enquiry if the case requires 'element of surprise' like raids and searches.
Bill grants powers to Lokpal to sanction prosecution against public servants.
CBI may appoint a panel of advocates with approval of Lokpal, CBI will not have to depend on govt advocates.
See also[edit]
Protests for Jan Lokpal Bill
The Lokpal Bill, 2011
Jan Lokpal Bill
References[edit]
Jump up ^ http://www.dnaindia.com/india/report-hopeful-jan-lokpal-bill-will-be-passed-anna-hazare-1864911
Jump up ^ "Lokpal bill to cover PM". CNN-IBN. 21 November 2010.
Jump up ^ http://ibnlive.in.com/generalnewsfeed/news/midnight-drama-in-rajya-sabha-over-lokpal-bill/944087.html
Jump up ^ "Anna Hazare sets Aug 15th deadline for Lokpal Bill". The Times of India. 8 June 2011. Retrieved 2011-08-06.
Jump up ^ "'Govt agreed to only 15 of the 71 points of Lokpal Bill' - Rediff.com News". Rediff.com. 2011-06-16. Retrieved 2011-08-06.
Further reading[edit]
http://www.hindu.com/thehindu/holnus/002200804051550.htm
India Together – the Lokpal cycle
Times of India article
Anna to move SC against possible police crackdown
Lokpal bill infographics
Suggested amendments to the Bill
Consensus views on Lokpal
[1]
[2]
Retrieved from "https://en.wikipedia.org/w/index.php?title=Lokpal&oldid=804812826"
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Pole vault at the Olympics
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Pole vault
at the Olympic Games
The 1904 pole vault competition
Overview
Sport
Athletics
Gender
Men and women
Years held
Men: 1896 – 2016
Women: 2000 – 2016
Olympic record
Men
6.03 m Thiago Braz da Silva (2016)
Women
5.05 m Yelena Isinbayeva (2008)
Reigning champion
Men
Thiago Braz da Silva (BRA)
Women
Ekaterini Stefanidi (GRE)
The pole vault at the Summer Olympics is grouped among the four track and field jumping events held at the multi-sport event. The men's pole vault has been present on the Olympic athletics programme since the first Summer Olympics in 1896. The women's event is one of the latest additions to the programme, first being contested at the 2000 Summer Olympics – along with the addition of the hammer throw, this brought the women's field event programme to parity with the men's.
The Olympic records for the event are 6.03 m (19 ft 91⁄4 in) for men, set by Thiago Braz da Silva in 2016, and 5.05 m (16 ft 63⁄4 in) for women, set by Yelena Isinbayeva in 2008. Isinbayeva's 2008 mark was a world record at the time and her 2004 victory in 4.91 m (16 ft 11⁄4 in) had been the first women's world record in the pole vault to be set at the Olympics. In spite of its longer history, the men's Olympic event has only seen two world record marks – a clearance of 4.09 m (13 ft 5 in) by Frank Foss at the 1920 Antwerp Olympics and Władysław Kozakiewicz's vault of 5.78 m (18 ft 111⁄2 in) to win at the 1980 Moscow Olympics.[1]
William Hoyt was the first Olympic champion in 1896 and Stacy Dragila became the first female Olympic pole vault champion over 100 years later in 2000. Thiago Braz da Silva and Ekaterini Stefanidi are the reigning Olympic champions from 2016. Yelena Isinbayeva and Bob Richards are the only two athletes to win two Olympic pole vault titles, and also the only two athletes to win more than two Olympic medals in the discipline. The United States is by far the most successful nation in the event, having won 21 gold medals and 49 medals in total. France is the next most successful with three gold medallists.
Contents
[hide]
1 Medalists
1.1 Men
1.1.1 Multiple medalists
1.1.2 Medalists by country
1.2 Women
1.2.1 Multiple medalists
1.2.2 Medalists by country
2 Intercalated Games
3 Non-canonical Olympic events
4 References
5 External links
Medalists[edit]
Men[edit]
Games
Gold
Silver
Bronze
1896 Athens
details William Hoyt (USA) Albert Tyler (USA) Evangelos Damaskos (GRE)
Ioannis Theodoropoulos (GRE)
1900 Paris
details Irving Baxter (USA) Meredith Colket (USA) Carl Albert Andersen (NOR)
1904 St. Louis
details Charles Dvorak (USA) LeRoy Samse (USA) Louis Wilkins (USA)
1908 London
details Edward Cook (USA) none awarded Edward Archibald (CAN)
Clare Jacobs (USA)
Alfred Gilbert (USA)
Bruno Söderström (SWE)
1912 Stockholm
details Harry Babcock (USA) Frank Nelson (USA) William Halpenny (CAN)
Frank Murphy (USA)
Marc Wright (USA)
Bertil Uggla (SWE)
1920 Antwerp
details Frank Foss (USA) Henry Petersen (DEN) Edwin Myers (USA)
1924 Paris
details Lee Barnes (USA) Glen Graham (USA) James Brooker (USA)
1928 Amsterdam
details Sabin Carr (USA) William Droegemueller (USA) Charles McGinnis (USA)
1932 Los Angeles
details Bill Miller (USA) Shuhei Nishida (JPN) George Jefferson (USA)
1936 Berlin
details Earle Meadows (USA) Shuhei Nishida (JPN) Sueo Ōe (JPN)
1948 London
details Guinn Smith (USA) Erkki Kataja (FIN) Bob Richards (USA)
1952 Helsinki
details Bob Richards (USA) Don Laz (USA) Ragnar Lundberg (SWE)
1956 Melbourne
details Bob Richards (USA) Bob Gutowski (USA) Georgios Roubanis (GRE)
1960 Rome
details Don Bragg (USA) Ron Morris (USA) Eeles Landström (FIN)
1964 Tokyo
details Fred Hansen (USA) Wolfgang Reinhardt (EUA) Klaus Lehnertz (EUA)
1968 Mexico City
details Bob Seagren (USA) Claus Schiprowski (FRG) Wolfgang Nordwig (GDR)
1972 Munich
details Wolfgang Nordwig (GDR) Bob Seagren (USA) Jan Johnson (USA)
1976 Montreal
details Tadeusz Ślusarski (POL) Antti Kalliomäki (FIN) David Roberts (USA)
1980 Moscow
details Władysław Kozakiewicz (POL) Tadeusz Ślusarski (POL) none awarded
Konstantin Volkov (URS)
1984 Los Angeles
details Pierre Quinon (FRA) Mike Tully (USA) Earl Bell (USA)
Thierry Vigneron (FRA)
1988 Seoul
details Sergey Bubka (URS) Radion Gataullin (URS) Grigoriy Yegorov (URS)
1992 Barcelona
details Maksim Tarasov (EUN) Igor Trandenkov (EUN) Javier García (ESP)
1996 Atlanta
details Jean Galfione (FRA) Igor Trandenkov (RUS) Andrei Tivontchik (GER)
2000 Sydney
details Nick Hysong (USA) Lawrence Johnson (USA) Maksim Tarasov (RUS)
2004 Athens
details Timothy Mack (USA) Toby Stevenson (USA) Giuseppe Gibilisco (ITA)
2008 Beijing
details Steve Hooker (AUS) Yevgeny Lukyanenko (RUS) Denys Yurchenko (UKR)
2012 London
details Renaud Lavillenie (FRA) Björn Otto (GER) Raphael Holzdeppe (GER)
2016 Rio de Janeiro
details Thiago Braz da Silva (BRA) Renaud Lavillenie (FRA) Sam Kendricks (USA)
Multiple medalists[edit]
Rank
Athlete
Nation
Olympics
Gold
Silver
Bronze
Total
1 Richards, BobBob Richards United States (USA) 1948–1956 2 0 1 3
2 Seagren, BobBob Seagren United States (USA) 1968–1972 1 1 0 2
Ślusarski, TadeuszTadeusz Ślusarski Poland (POL) 1976–1980 1 1 0 2
Lavillenie, RenaudRenaud Lavillenie France (FRA) 2012–2016 1 1 0 2
5 Nordwig, WolfgangWolfgang Nordwig East Germany (GDR) 1968–1972 1 0 1 2
Tarasov, MaksimMaksim Tarasov Russia (RUS)
Unified Team (EUN) 1992–2000 1 0 1 2
7 Nishida, ShuheiShuhei Nishida Japan (JPN) 1932–1936 0 2 0 2
Trandenkov, IgorIgor Trandenkov Russia (RUS)
Unified Team (EUN) 1992–1996 0 2 0 2
Medalists by country[edit]
Rank
Nation
Gold
Silver
Bronze
Total
1 United States (USA) 19 14 12 45
2 France (FRA) 3 1 1 5
3 Poland (POL) 2 1 0 3
4 Soviet Union (URS) 1 2 1 4
5 Unified Team (EUN) 1 1 0 2
6 East Germany (GDR) 1 0 1 2
7 Australia (AUS) 1 0 0 1
Brazil (BRA) 1 0 0 1
9 Germany (GER)[nb] 0 2 3 5
10 Finland (FIN) 0 2 1 3
Japan (JPN) 0 2 1 3
Russia (RUS) 0 2 1 3
13 Denmark (DEN) 0 1 0 1
West Germany (FRG) 0 1 0 1
15 Greece (GRE) 0 0 3 3
Sweden (SWE) 0 0 3 3
17 Canada (CAN) 0 0 2 2
18 Spain (ESP) 0 0 1 1
Italy (ITA) 0 0 1 1
Norway (NOR) 0 0 1 1
Ukraine (UKR) 0 0 1 1
nb The German total includes teams both competing as Germany and the United Team of Germany, but not East or West Germany.
Women[edit]
Games
Gold
Silver
Bronze
2000 Sydney
details Stacy Dragila (USA) Tatiana Grigorieva (AUS) Vala Flosadóttir (ISL)
2004 Athens
details Yelena Isinbayeva (RUS) Svetlana Feofanova (RUS) Anna Rogowska (POL)
2008 Beijing
details Yelena Isinbayeva (RUS) Jennifer Stuczynski (USA) Svetlana Feofanova (RUS)
2012 London
details Jennifer Suhr (USA) Yarisley Silva (CUB) Yelena Isinbayeva (RUS)
2016 Rio de Janeiro
details Katerina Stefanidi (GRE) Sandi Morris (USA) Eliza McCartney (NZL)
Multiple medalists[edit]
Rank
Athlete
Nation
Olympics
Gold
Silver
Bronze
Total
1 Isinbayeva, YelenaYelena Isinbayeva Russia (RUS) 2004–2012 2 0 1 3
2 Suhr, JenniferJennifer Suhr United States (USA) 2008–2012 1 1 0 2
3 Feofanova, SvetlanaSvetlana Feofanova Russia (RUS) 2004–2008 0 1 1 2
Medalists by country[edit]
Rank
Nation
Gold
Silver
Bronze
Total
1 United States (USA) 2 2 0 4
2 Russia (RUS) 2 1 2 5
3 Greece (GRE) 1 0 0 1
4 Australia (AUS) 0 1 0 1
Cuba (CUB) 0 1 0 1
6 Iceland (ISL) 0 0 1 1
New Zealand (NZL) 0 0 1 1
Poland (POL) 0 0 1 1
Intercalated Games[edit]
The 1906 Intercalated Games were held in Athens and at the time were officially recognised as part of the Olympic Games series, with the intention being to hold a games in Greece in two-year intervals between the internationally held Olympics. However, this plan never came to fruition and the International Olympic Committee (IOC) later decided not to recognise these games as part of the official Olympic series. Some sports historians continue to treat the results of these games as part of the Olympic canon.[2]
Continuing its presence since the first Olympics, a men's pole vault event was contested at the 1906 Games. France's Fernand Gonder entered as the world record holder and delivered by winning in an Olympic record-equalling mark.[3] The runner-up, Bruno Söderström of Sweden, also won a javelin throw medal that year.[4] Ed Glover, the American champion, was the bronze medallist.[3]
Games
Gold
Silver
Bronze
1906 Athens
details Fernand Gonder (FRA) Bruno Söderström (SWE) Ed Glover (USA)
Non-canonical Olympic events[edit]
In addition to the main 1900 Olympic men's pole vault, a handicap competition was held four days later. The joint fourth-place finishers in the main event took the top two spots, with Jakab Kauser posting a mark of 3.45 m with a handicap of 45 cm, and Eric Lemming coming second with his result of 3.40 m with a 30 cm handicap. Meredith Colket, the silver medallist in the main event registered 3.20 m with a handicap of 15 cm.[5][6] Two further non-handicap "scratch" competitions were held that are no longer considered canon Olympic events: the American champion Bascom Johnson won an event on 16 July,[7] then three days later Daniel Horton (a triple jump competitor) defeated Charles Dvorak in a consolation event – both had missed the final proper as it was held on the Sabbath. Dvorak went on to win the Olympic pole vault gold in 1904.[8][9]
The handicap event returned at the 1904 Summer Olympics. LeRoy Samse, the runner-up in the main Olympic pole vault, won with 3.58 m and a handicap of one inch. Walter Dray, sixth in the Olympic event, came second with 3.58 m and a ten-inch handicap, while Olympic fifth placer Claude Allen recorded 3.55 m off a seven-inch handicap.[5]
These events are no longer considered part of the official Olympic history of the pole vault or the athletics programme in general. Consequently, medals from these competitions have not been assigned to nations on the all-time medal tables.[5]
References[edit]
Participation and athlete data
Athletics Men's Pole Vault Medalists. Sports Reference. Retrieved on 2014-05-03.
Athletics Women's Pole Vault Medalists. Sports Reference. Retrieved on 2014-05-03.
Olympic record progressions
Mallon, Bill (2012). TRACK & FIELD ATHLETICS - OLYMPIC RECORD PROGRESSIONS. Track and Field News. Retrieved on 2014-05-03.
Specific
Jump up ^ 12th IAAF World Championships In Athletics: IAAF Statistics Handbook Berlin 2009 (pgs. 546, 645). IAAF (2009). Retrieved on 3 May 2014.
Jump up ^ 1906 Athina Summer Games. Sports Reference. Retrieved on 26 January 2014.
^ Jump up to: a b Athletics at the 1906 Athina Summer Games: Men's Pole Vault. Sports Reference. Retrieved on 3 May 2014.
Jump up ^ Bruno Söderström. Sports Reference. Retrieved on 19 April 2014.
^ Jump up to: a b c Handicap Olympic Athletics Events. GBR Athletics. Retrieved on 18 April 2014.
Jump up ^ Athletics at the 1900 Paris Summer Games: Men's Pole Vault, Handicap. Sports Reference. Retrieved on 5 May 2014.
Jump up ^ Athletics at the 1900 Paris Summer Games: Men's Special Scratch Pole Vault #1. Sports Reference. Retrieved on 5 May 2014.
Jump up ^ Athletics at the 1900 Paris Summer Games: Men's Special Scratch Pole Vault #2. Sports Reference. Retrieved on 5 May 2014.
Jump up ^ Charles Dvorak. Sports Reference. Retrieved on 5 May 2014.
External links[edit]
IAAF pole vault homepage
Official Olympics website
Olympic athletics records from Track & Field News
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Pole vault at the Olympic Games
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