From Wikipedia, the free encyclopedia
Jump to: navigation, search

Colombia articles for improvement[edit]

Good articles[edit]


The Pamphlet Scandal is an astonishing occurrence in Colombia, in which social cleansing pamphlets are being distributed through various cities of this country.


In the 1980s, "social cleansing" groups started to be created. Some of them were Mano Negra, etc. Their main mission was "to make justice" by killing all non-appropriate people in social terms, like prostitutes, street-living people, transvestites, and drug addicts.[1] By the mid-nineties, most of these organizations had been ripped off.

2009 threat[edit]

In early 2009, pamphlets proclaiming a return of social cleansing appeared in various important cities of Colombia, including Cali and Bogotá. Panic spread through much of the population, forcing president Álvaro Uribe to broadcast about the fake papers and to ignore them. Still, fear was planted in millions of people, especially amongst those of a lower-class level.


Short after the distribution of the pamphlets, a new government program was created in search for unification against these killing groups.

San Agustin[edit]

Other articles for improvement[edit]

Tubular Bells[edit]

Oldfield was not in a sound state of mind when he was recording Tubular Bells: Newman noted his lack of social skills, and Oldfield himself admitted that he was "in a very insecure frame of mind" due to the problems within his family.[2] "I remembered how unhappy and terrified I was of life at the time"[3]



"Smashing Bumpkin!: NME Writers' Top 50 LPs", NME, pages 22-23, 23/30 December 1995 – no. 1 album

"Ryder's Number One Cup: NME Writers' Top 50 Singles", pages 24-25, same issue – "Black Steel" no. 11 single

"Albums of the Year", Melody Maker, pages 66-67, 23/30 December 1995 – joint no. 1 album

"Singles of the Year", page 68, same issue – "Black Steel" no. 5 single, "Hell Is Round the Corner" no. 27

"Critics' Poll 1996", Rolling Stone, issue 726, page 41, 25 January 1996 – no. 3 album


Claims to have written all the music and most of the lyrics for "Karmacoma" (later became "Overcome" on Maxinquaye).

Wrote "Daydreaming" on Blue Lines and asked Massive Attack if Shara Nelson could sing it, because he felt a woman would give his raps more meaning.

Allegedly met Martina when she was a schoolgirl sat on a wall outside her house.

He recorded "Aftermath" with her and took it to Massive Attack but they weren't interested, which spurred him into leaving the group and going solo.

Ted Kessler, "Tricky Up Your Ears", NME, pages 12-13, 14 January 1995

Called Tricky Kid "because I was known for not turning up, and then coming in later."

"The album was such a fucking blur, all done in different places at different times... I'd say it was an album from someone who thinks very quickly, and changes, who doesn't stay on one feeling for very long, and moves on."

On Martina: "Basically, I wanted a singer because I didn't want to become known as a rapper. There may be better quality singers but she's the first female singer with her own style of this generation. She's very hardcore, no nonsense."

Martin Aston, "Just Like That", Q, issue 105, pages 24-25, June 1995

Denying the journalist's suggestion that all the songs on the album were about sex: "It's to do with a moment in time. I'm trying to be three-dimensional. It's about the world. I suppose there is a lot of sex and violence in the world... We're documentarians. That's what we do. We document the situations around us. Violence. Death. Sex. Money. Deviousness."

David Bennun, "Tricky Kid", pages 24-25, Melody Maker, 4 February 1995

On the track "Suffocated Love": "I wanted her to be the cruel woman, the bitch. Everybody wants to be macho, but I like playing the weak role, the person who's upset, the person who's used."

John Mulvey, "Get Your Kicks on Route 666", NME, pages 32-34, 1 April 1995

Stone Roses[edit]


"This record is godlike."

"By the time 'Resurrection' has taken off for Cloud Nine and you go to put side one on again, the feeling is who wouldn't like this record? A song-psychle that even allows room for the relatively trad rock 'Made of Stone', this is simply the best debut LP I've heard in my record buying lifetime. Forget everybody else. Forget work tomorrow. Forget the football on the telly. Leave it all behind and listen to The Stone Roses. Once. Twice. Then you’ll know why I've made such a fuss. You'll understand. This is the one, this is the one, this is the one...”

Bob Stanley, "Love Resurrection", Melody Maker, page 33, 29 April 1989

"After five years Manchester's mute pop masters, The Stone Roses, have finally slogged their way to fruition and given birth to a masterful debut album. Who'd have guessed that a gang of scruffy kids thudding away in a freezing rehearsal room could have ended up clawing together something this magnificent, beautiful and confident? In guitar pop terms this is a masterpiece."

"The Stone Roses sets the blueprint for the next generation of Manchester rockers in freezing rehearsal rooms. Guitar pop reinvents itself – again."

John Robb, "Painting It Black", Sounds, page 37, 29 April 1989 – 4 stars out of 5

"In a year that has already witnessed several blatantly premature introductory long players, the Stone Roses have come up trumps – no problem. Straight in with 'I Wanna Be Adored', the intentions are clear. These boys have a self importance and confidence you can almost smell. Not only that but John Squire may one day be credited with redefining independent guitar bands' sound. His is a fat, strutting beast that's never heard of the phrase 'jangly'."

"'Bye Bye Badman', '(Song for My (Sugar Spun Sister)' and 'She Bangs the Drums' show the Stone Roses possess more merry melodies than Warner Brothers' cartoon department and are the only young band around at the moment with the potential and the balls to go all the way."

Andy Strickland, Record Mirror, page 31, 13 May 1989 – 4 out of 5

"This is quite good. Just."

"There is, it must be admitted, something that elevates Stone Roses above simple guitar blasts."

"Despite the fact that they can't be bothered or can't afford to explore the possibilities for psychic disintegration made available by the new technology, there is still something charming about Stone Roses – their complete obnoxiousness."

Jack Barron, "Rock Follies", NME, page 33, 29 April 1989 – 7 out of 10

"Their first album finds their heads filled with harmonies and a whole cluster of highly-accessible acid-etched tunes... The opening 'I Wanna Be Adored' with its colourwash of shifting guitars clearly establishes their ambition; a desire that is thwarted only by the strangely monotone production. What could have been great instead merely bulges with promise."

Peter Kane, Q, issue 32, page 100, May 1989 – 3 out of 5


"Select Guide to the 50 Albums of 89", NME, pages 52-53, 23-30 December 1989 – No. 2 album

"Singles of the Year", page 55, same issue – "She Bangs the Drums" no. 1 single, "Fools Gold" no. 2, "Made of Stone" no. 4

"Albums of the Year", Melody Maker, pages 60-61, 23-30 December 1989 – No. 4 album

"Singles of the Year", page 59, same issue – "She Bangs the Drums" no. 7 single

"Albums of the Year", Sounds, pages 34-36, 23-30 December 1989 – No. 1 album

In a public poll of the 100 Greatest Albums of All Time, organised by NME and British Hit Singles & Albums and published in the 19th edition of BHSA in 2006, the album was placed at number 7. (David Roberts (ed), British Hit Singles & Albums (2006), Guinness World Records, pages 400–401 ISBN 978-1-90499-410-7). I believe there were something like 10,000 votes entered, so we can say that the album's appeal certainly extended beyond the odd critic, as a certain editor was arguing on the article's talk page.


Ian Brown: "We're all into jet fighters. We went to Rockfield to record some of the LP because they’ve got a RAF training ground there."

Brown on the album cover: "The story behind the lemons on the cover is that when we were in Paris we met this 65-year-old man who told us that if you suck a lemon it cancels out the effects of CS gas. He still thought that the government in France could be overthrown one day, he’d been there in '68 and everything. So he always carried a lemon with him so he could help out at the front."

Bob Stanley, "Bad Loon Rising", Melody Maker, page 40, 8 April 1989


Russell Mulcahy on the video for "Vienna": "I just wanted to see a girl follow a white horse down a street".[4]

The Wrens[edit]

In an interview with John Earls for the UK's Teletext music magazine Planet Sound on December 5, 2007, Charles Bissell noted that "it's taken a lot of time to set things up and take care of really old business, mundane small business stuff, the website, real prosaic stuff. But we’ve also been setting stuff up like getting Kevin and Greg recording programmes and home computers. Technology has moved along so quickly that with this next record is radically different from when we started doing The Meadowlands in '99."

In January 2009, issue #4 of Melbourne-based magazine The Lifted Brow included a new song from the Wrens, "In Turkish Waters". Kevin Whelan told the magazine that it was "a Wrens demo that I worked up for the band in our kitchen in our New Jersey band house. Eventually another Wrens version will see the light of day".[5]

The Blue Nile[edit]

"For all I know, we could have scrapped our best tracks during that process, but it doesn't seem that way to me... Our criteria is fairly simple: if it moves you, it's on and if it doesn't move you, it's off."[6] He also defended the slow recording process as "There have been days, and indeed weeks or months, when we haven't done anything because one of us just isn't in sync with the others. That becomes more of an element as you get older and other things come into your life and you lose that certainty of youth. It's important to keep the unit together to ensure the same chemistry, because we're found that three heads are better than one. At the same time, all three heads have to be operating at the same time."[6]

The Associates[edit]

In an interview a couple of years later he claimed that it was because the musicians and the stage set did not meet his exacting standards:[7] Rankine believed that Mackenzie had panicked at the thought of touring with an unfamiliar and under-rehearsed nine-piece band and how big the Associates had become in such a short space of time.[8] Rankine was upset at what he saw as a wasted opportunity to break the Associates big in the US, and quit the band. Mackenzie later claimed that it had been his decision to get rid of Rankine[7] and that the differences between them had been that Rankine "was more for the money side of things while I was for the adventure of things".[9]

  1. ^ Violence in Colombia: Building Sustainable Peace and Social Capital. World Bank Publications. January 2000. p. 6. ISBN 978-0-8213-4383-8. 
  2. ^ Cite error: The named reference QAug2001 was invoked but never defined (see the help page).
  3. ^ Cheal, David (10 June 2009). "Mike Oldfield interview for the re-release of Tubular Bells". Daily Telegraph. Retrieved 5 November 2016. 
  4. ^ Golder, Dave (February–March 2015). "Pop Art". Classic Pop. London, England: Anthem Publishing Ltd (15): 44–49. 
  5. ^ Lankford, Loren (November 10, 2008). "Spiral Stairs, Wrens, many more contribute to Lifted Brow". Paste Magazine. Retrieved November 6, 2011. 
  6. ^ a b Carroll, Jim (26 August 2004). "And quiet flows the Nile". The Irish Times. Dublin, Ireland: Irish Times Trust. 
  7. ^ a b Black, Billy (30 June 1984). "First Impressions: Guilty By Association". Sounds. London, England: United Newspapers. 
  8. ^ Reynolds (2009). p. 270.
  9. ^ Reid, Jim (16 June 1984). "Big Mac or the return of the Associates". Record Mirror. London, England: United Newspapers. 

One-Test wonders[edit]

No. Name Country Dates of Test match Location Opposition Batting Bowling
1st inns 2nd inns 1st inns 2nd inns
1 Bransby Cooper Australia 15–19 March 1877 Melbourne, Australia England 15 3
2 Ned Gregory Australia 15–19 March 1877 Melbourne, Australia England 0 11
3 A J Webbe England 2–4 January 1879 Melbourne, Australia Australia 4 0
4 Vernon Royle England 2–4 January 1879 Melbourne, Australia Australia 3 18 0–6
5 Francis MacKinnon England 2–4 January 1879 Melbourne, Australia Australia 0 5
6 Charlie Absolom England 2–4 January 1879 Melbourne, Australia Australia 52 6
7 Leland Hone England 2–4 January 1879 Melbourne, Australia Australia 7 6
8 Sandford Schultz England 2–4 January 1879 Melbourne, Australia Australia 0* 20 1–16 0–10
9 Frank Allan Australia 2–4 January 1879 Melbourne, Australia England 5 2–30 2–50
10 E. M. Grace England 6–8 September 1880 Kennington Oval, London, England Australia 36 0
11 Frank Penn England 6–8 September 1880 Kennington Oval, London, England Australia 23 27* 0–2
12 Fred Grace England 6–8 September 1880 Kennington Oval, London, England Australia 0 0
13 Thomas Groube Australia 6–8 September 1880 Kennington Oval, London, England England 11 0
14 James Slight Australia 6–8 September 1880 Kennington Oval, London, England England 11 0
15 William Moule Australia 6–8 September 1880 Kennington Oval, London, England England 6 34 3–23