Radio is the transmission of signals through free space by modulation of electromagnetic waves with frequencies below those of visible light. Electromagnetic radiation travels by means of oscillating electromagnetic fields that pass through the air and the vacuum of space. Information is carried by systematically changing (modulating) some property of the radiated waves, such as amplitude, frequency, phase, or pulse width. When radio waves pass an electrical conductor, the oscillating fields induce an alternating current in the conductor. This can be detected and transformed into sound or other signals that carry information.

Etymology

The etymology of "radio" or "radiotelegraphy" reveals that it was called "wireless telegraphy", which was shortened to "wireless" in Britain. The prefix ''radio-'' in the sense of wireless transmission, was first recorded in the word ''radioconductor'', a description provided by the French physicist Édouard Branly in 1897. It is based on the verb ''to radiate'' (in Latin "radius" means "spoke of a wheel, beam of light, ray"). This word also appears in a 1907 article by Lee De Forest, it was adopted by the United States Navy in 1912, and became common by the time of the first commercial broadcasts in the United States in the 1920s. (The noun "broadcasting" itself came from an agricultural term, meaning "scattering seeds widely".) The term was then adopted by other languages in Europe and Asia. British Commonwealth countries continued to mainly use the term "wireless" until the mid-20th century, though the magazine of the BBC in the UK has been called Radio Times ever since it was first published in the early 1920s.

In recent years the term "wireless" has gained renewed popularity through the rapid growth of short-range computer networking, e.g., Wireless Local Area Network (WLAN), Wi-Fi, and Bluetooth, as well as mobile telephony, e.g., GSM and UMTS. Today, the term "radio" often refers to the actual transceiver device or chip, whereas "wireless" refers to the system and/or method used for radio communication; hence one talks about ''radio'' transceivers and ''Radio'' Frequency Identification (RFID), but about ''wireless'' devices and ''wireless'' sensor networks.

Processes

Radio systems used for communications will have the following elements. With more than 100 years of development, each process is implemented by a wide range of methods, specialized for different communications purposes.

Each system contains a transmitter. This consists of a source of electrical energy, producing alternating current of a desired frequency of oscillation. The transmitter contains a system to modulate (change) some property of the energy produced to impress a signal on it. This modulation might be as simple as turning the energy on and off, or altering more subtle properties such as amplitude, frequency, phase, or combinations of these properties. The transmitter sends the modulated electrical energy to a tuned resonant antenna; this structure converts the rapidly changing alternating current into an electromagnetic wave that can move through free space (sometimes with a particular polarization).

Electromagnetic waves travel through space either directly, or have their path altered by reflection, refraction or diffraction. The intensity of the waves diminishes due to geometric dispersion (the inverse-square law); some energy may also be absorbed by the intervening medium in some cases. Noise will generally alter the desired signal; this electromagnetic interference comes from natural sources, as well as from artificial sources such as other transmitters and accidental radiators. Noise is also produced at every step due to the inherent properties of the devices used. If the magnitude of the noise is large enough, the desired signal will no longer be discernible; this is the fundamental limit to the range of radio communications.

The electromagnetic wave is intercepted by a tuned receiving antenna; this structure captures some of the energy of the wave and returns it to the form of oscillating electrical currents. At the receiver, these currents are demodulated, which is conversion to a usable signal form by a detector sub-system. The receiver is "tuned" to respond preferentially to the desired signals, and reject undesired signals.

Early radio systems relied entirely on the energy collected by an antenna to produce signals for the operator. Radio became more useful after the invention of electronic devices such as the vacuum tube and later the transistor, which made it possible to amplify weak signals. Today radio systems are used for applications from walkie-talkie children's toys to the control of space vehicles, as well as for broadcasting, and many other applications.

Electromagnetic spectrum

Radio frequencies occupy the range from a few tens of hertz to three hundred gigahertz, although commercially important uses of radio use only a small part of this spectrum. Other types of electromagnetic radiation, with frequencies above the RF range, are microwave, infrared, visible light, ultraviolet, X-rays and gamma rays. Since the energy of an individual photon of radio frequency is too low to remove an electron from an atom, radio waves are classified as non-ionizing radiation.

History

19th century

The meaning and usage of the word "radio" has developed in parallel with developments within the field of communications and can be seen to have three distinct phases: electromagnetic waves and experimentation; wireless communication and technical development; and radio broadcasting and commercialization. Many individuals—inventors, engineers, developers, businessmen - contributed to produce the modern idea of radio and thus the origins and 'invention' are multiple and controversial. Early radio designs could not transmit sound or speech and were called the "wireless telegraph".

Development from a laboratory demonstration to a commercial entity spanned several decades and required the efforts of many practitioners. In 1878, David E. Hughes noticed that sparks could be heard in a telephone receiver when experimenting with his carbon microphone. He developed this carbon-based detector further and eventually could detect signals over a few hundred yards. He demonstrated his discovery to the Royal Society in 1880, but was told it was merely induction, and therefore abandoned further research.

Experiments, later patented, were undertaken by Thomas Edison and his employees of Menlo Park. Edison applied in 1885 to the U.S. Patent Office for his patent on an electrostatic coupling system between elevated terminals. The patent was granted as on December 29, 1891. The Marconi Company would later purchase rights to the Edison patent to protect them legally from lawsuits.

In 1893, in St. Louis, Missouri, Nikola Tesla made devices for his experiments with electricity. Addressing the ''Franklin Institute'' in Philadelphia and the ''National Electric Light Association'', he described and demonstrated the principles of his wireless work. The descriptions contained all the elements that were later incorporated into radio systems before the development of the vacuum tube. He initially experimented with magnetic receivers, unlike the coherers (detecting devices consisting of tubes filled with iron filings which had been invented by Temistocle Calzecchi-Onesti at Fermo in Italy in 1884) used by Guglielmo Marconi and other early experimenters.

A demonstration of wireless telegraphy took place in the lecture theater of the Oxford University Museum of Natural History on August 14, 1894, carried out by Professor Oliver Lodge and Alexander Muirhead. During the demonstration a radio signal was sent from the neighboring Clarendon laboratory building, and received by apparatus in the lecture theater.

In 1895 Alexander Stepanovich Popov built his first radio receiver, which contained a coherer. Further refined as a lightning detector, it was presented to the Russian Physical and Chemical Society on May 7, 1895. A depiction of Popov's lightning detector was printed in the Journal of the Russian Physical and Chemical Society the same year. Popov's receiver was created on the improved basis of Lodge's receiver, and originally intended for reproduction of its experiments.

In 1895, Marconi built a wireless system capable of transmitting signals at long distances (1.5 mi./ 2.4 km). In radio transmission technology, early public experimenters had made short distance broadcasts. Marconi achieved long range signalling due to a wireless transmitting apparatus and a radio receiver claimed by him. From Marconi's experiments, the phenomenon that transmission range is proportional to the square of antenna height is known as "Marconi's law". This formula represents a physical law that radio devices use. Marconi's experimental apparatus proved to be a complete, commercially successful radio transmission system. According to the ''Proceedings of the United States Naval Institute'' in 1899, the Marconi instruments had a "[...] coherer, principle of which was discovered some twenty years ago, [and was] the only electrical instrument or device contained in the apparatus that is at all new".

In 1896, Marconi was awarded British patent 12039, ''Improvements in transmitting electrical impulses and signals and in apparatus there-for'', for radio. In 1897, he established a radio station on the Isle of Wight, England. Marconi opened his "wireless" factory in Hall Street, Chelmsford, England in 1898, employing around 50 people. Shortly after the 1900s, Marconi held the patent rights for radio.

20th century

The next advancement was the vacuum tube detector, invented by Westinghouse engineers. On Christmas Eve, 1906, Reginald Fessenden used a synchronous rotary-spark transmitter for the first radio program broadcast, from Ocean Bluff-Brant Rock, Massachusetts. Ships at sea heard a broadcast that included Fessenden playing ''O Holy Night'' on the violin and reading a passage from the Bible. This was, for all intents and purposes, the first transmission of what is now known as amplitude modulation or AM radio. The first radio news program was broadcast August 31, 1920 by station 8MK in Detroit, Michigan, which survives today as all-news format station WWJ under ownership of the CBS network. The first college radio station began broadcasting on October 14, 1920, from Union College, Schenectady, New York under the personal call letters of Wendell King, an African-American student at the school. That month 2ADD, later renamed WRUC in 1947, aired what is believed to be the first public entertainment broadcast in the United States, a series of Thursday night concerts initially heard within a radius and later for a radius. In November 1920, it aired the first broadcast of a sporting event. At 9 pm on August 27, 1920, Sociedad Radio Argentina aired a live performance of Richard Wagner's Parsifal opera from the Coliseo Theater in downtown Buenos Aires. Only about twenty homes in the city had receivers to tune in this radio program. Meanwhile, regular entertainment broadcasts commenced in 1922 from the Marconi Research Centre at Writtle, England.

Sports broadcasting began at this time as well, including the first broadcast college football game.

In 1943 the United States Supreme Court upheld Tesla's patent for radio, number 645,576 (1897), with the supreme court's justification that claim 16 in Marconi's related patent, number 763,772 (1904), contained nothing new not having been published earlier and registered by Tesla, Lodge, and others. After years of patent battles by Marconi's company, the United States Supreme Court, in the 1943 case "Marconi Wireless Telegraph co. of America v. United States", held regarding the priority of engineering advances concerning the invention of radio that "[but] it is now held that in the important advance upon his basic patent Marconi did nothing that had not already been seen and disclosed". The decision effectively awarded priority of the invention of radio to Tesla and his 1893 presentation in St. Louis. Although Marconi claimed that he had no knowledge of prior art taken from Tesla's patents, the supreme court considered his claim false. In addition to the June 21, 1943 ruling made by the supreme court, the United States Court of Claims also invalidated the fundamental Marconi patent earlier, in 1935. This case defined radio by the statement: "A radio communication system requires two tuned circuits each at the transmitter and receiver, all four tuned to the same frequency." Because Tesla's 1897 patent for radio was intended for general transmission of energy, the court determined that Tesla's patent clearly was the first to disclose a system which could be used for wireless communication of intelligible messages (such as human voice and music) and used the four-circuit tuned combination. In contrast, related developments in the United Kingdom saw the British High Court uphold Marconi's British Patent 7,777 that was issued on April 26, 1900. This British patent held by Marconi disclosed a four-circuit system, which was strikingly similar to a four-circuit system disclosed in U.S. patent #645,576 that was issued earlier to Tesla on March 20, 1900. On the matter of invention, it is held that Marconi knowingly and unknowingly used the scientific and experimental work of many others who were devising their own radio tuning apparatus' around the same time, such as the work of American electrical engineer John Stone Stone who was issued several U.S. patents between 1904 and 1908. However, what made Marconi more successful than any other was his ability to ''commercialize'' radio and its associated equipment into a global business.

One of the first developments in the early 20th century was that aircraft used commercial AM radio stations for navigation. This continued until the early 1960s when VOR systems became widespread. In the early 1930s, single sideband and frequency modulation were invented by amateur radio operators. By the end of the decade, they were established commercial modes. Radio was used to transmit pictures visible as television as early as the 1920s. Commercial television transmissions started in North America and Europe in the 1940s.

In 1954, the Regency company introduced a pocket transistor radio, the TR-1, powered by a "standard 22.5 V Battery". In 1955, the newly formed Sony company introduced its first transistorized radio. It was small enough to fit in a vest pocket, and able to be powered by a small battery. It was durable, because it had no vacuum tubes to burn out. Over the next 20 years, transistors replaced tubes almost completely except for very high-power transmitter uses. By 1963, color television was being regularly broadcast commercially (though not all broadcasts or programs were in color), and the first (radio) communication satellite, ''Telstar'', was launched. In the late 1960s, the U.S. long-distance telephone network began to convert to a digital network, employing digital radios for many of its links. In the 1970s, LORAN became the premier radio navigation system. Soon, the U.S. Navy experimented with satellite navigation, culminating in the invention and launch of the GPS constellation in 1987. In the early 1990s, amateur radio experimenters began to use personal computers with audio cards to process radio signals. In 1994, the U.S. Army and DARPA launched an aggressive, successful project to construct a software-defined radio that can be programmed to be virtually any radio by changing its software program. Digital transmissions began to be applied to broadcasting in the late 1990s.

Uses of radio

Early uses were maritime, for sending telegraphic messages using Morse code between ships and land. The earliest users included the Japanese Navy scouting the Russian fleet during the Battle of Tsushima in 1905. One of the most memorable uses of marine telegraphy was during the sinking of the RMS ''Titanic'' in 1912, including communications between operators on the sinking ship and nearby vessels, and communications to shore stations listing the survivors.

Radio was used to pass on orders and communications between armies and navies on both sides in World War I; Germany used radio communications for diplomatic messages once it discovered that its submarine cables had been tapped by the British. The United States passed on President Woodrow Wilson's Fourteen Points to Germany via radio during the war. Broadcasting began from San Jose, California in 1909, and became feasible in the 1920s, with the widespread introduction of radio receivers, particularly in Europe and the United States. Besides broadcasting, point-to-point broadcasting, including telephone messages and relays of radio programs, became widespread in the 1920s and 1930s. Another use of radio in the pre-war years was the development of detection and locating of aircraft and ships by the use of radar (''RA''dio ''D''etection ''A''nd ''R''anging).

Today, radio takes many forms, including wireless networks and mobile communications of all types, as well as radio broadcasting. Before the advent of television, commercial radio broadcasts included not only news and music, but dramas, comedies, variety shows, and many other forms of entertainment (the era from 1930 to the mid-1950s is commonly called radio's "Golden Age"). Radio was unique among methods of dramatic presentation in that it used only sound. For more, see radio programming.

Audio

AM radio uses amplitude modulation, in which the amplitude of the transmitted signal is made proportional to the sound amplitude captured (transduced) by the microphone, while the transmitted frequency remains unchanged. Transmissions are affected by static and interference because lightning and other sources of radio emissions on the same frequency add their amplitudes to the original transmitted amplitude. In the early part of the 20th century, American AM radio stations broadcast with powers as high as 500 kW, and some could be heard worldwide; these stations' transmitters were commandeered for military use by the US Government during World War II. Currently, the maximum broadcast power for a civilian AM radio station in the United States and Canada is 50 kW, and the majority of stations that emit signals this powerful were grandfathered in (see List of 50kw AM radio stations in the USA). In 1986 KTNN received the last granted 50,000 watt license. These 50 kW stations are generally called "clear channel" stations (not to be confused with Clear Channel Communications), because within North America each of these stations has exclusive use of its broadcast frequency throughout part or all of the broadcast day.

FM broadcast radio sends music and voice with higher fidelity than AM radio. In frequency modulation, amplitude variation at the microphone causes the transmitter frequency to fluctuate. Because the audio signal modulates the frequency and not the amplitude, an FM signal is not subject to static and interference in the same way as AM signals. Due to its need for a wider bandwidth, FM is transmitted in the Very High Frequency (VHF, 30 MHz to 300 MHz) radio spectrum. VHF radio waves act more like light, traveling in straight lines; hence the reception range is generally limited to about 50–100 miles. During unusual upper atmospheric conditions, FM signals are occasionally reflected back towards the Earth by the ionosphere, resulting in long distance FM reception. FM receivers are subject to the capture effect, which causes the radio to only receive the strongest signal when multiple signals appear on the same frequency. FM receivers are relatively immune to lightning and spark interference.

High power is useful in penetrating buildings, diffracting around hills, and refracting in the dense atmosphere near the horizon for some distance beyond the horizon. Consequently, 100,000 watt FM stations can regularly be heard up to 100 miles (160 km) away, and farther (e.g., 150 miles, 240 km) if there are no competing signals. A few old, "grandfathered" stations do not conform to these power rules. WBCT-FM (93.7) in Grand Rapids, Michigan, USA, runs 320,000 watts ERP, and can increase to 500,000 watts ERP by the terms of its original license. Such a huge power level does not usually help to increase range as much as one might expect, because VHF frequencies travel in nearly straight lines over the horizon and off into space. Nevertheless, when there were fewer FM stations competing, this station could be heard near Bloomington, Illinois, USA, almost 300 miles (500 km) away.

FM subcarrier services are secondary signals transmitted in a "piggyback" fashion along with the main program. Special receivers are required to utilize these services. Analog channels may contain alternative programming, such as reading services for the blind, background music or stereo sound signals. In some extremely crowded metropolitan areas, the sub-channel program might be an alternate foreign language radio program for various ethnic groups. Sub-carriers can also transmit digital data, such as station identification, the current song's name, web addresses, or stock quotes. In some countries, FM radios automatically re-tune themselves to the same channel in a different district by using sub-bands.

Aviation voice radios use VHF AM. AM is used so that multiple stations on the same channel can be received. (Use of FM would result in stronger stations blocking out reception of weaker stations due to FM's capture effect). Aircraft fly high enough that their transmitters can be received hundreds of miles (or kilometres) away, even though they are using VHF.

Marine voice radios can use single sideband voice (SSB) in the shortwave High Frequency (HF—3 MHz to 30 MHz) radio spectrum for very long ranges or narrowband FM in the VHF spectrum for much shorter ranges. Narrowband FM sacrifices fidelity to make more channels available within the radio spectrum, by using a smaller range of radio frequencies, usually with five kHz of deviation, versus the 75 kHz used by commercial FM broadcasts, and 25 kHz used for TV sound.

Government, police, fire and commercial voice services also use narrowband FM on special frequencies. Early police radios used AM receivers to receive one-way dispatches.

Civil and military HF (high frequency) voice services use shortwave radio to contact ships at sea, aircraft and isolated settlements. Most use single sideband voice (SSB), which uses less bandwidth than AM. On an AM radio SSB sounds like ducks quacking, or the adults in a Charlie Brown cartoon. Viewed as a graph of frequency versus power, an AM signal shows power where the frequencies of the voice add and subtract with the main radio frequency. SSB cuts the bandwidth in half by suppressing the carrier and one of the sidebands. This also makes the transmitter about three times more powerful, because it doesn't need to transmit the unused carrier and sideband.

TETRA, Terrestrial Trunked Radio is a digital cell phone system for military, police and ambulances. Commercial services such as XM, WorldSpace and Sirius offer encrypted digital Satellite radio.

Telephony

Mobile phones transmit to a local cell site (transmitter/receiver) that ultimately connects to the public switched telephone network (PSTN) through an optic fiber or microwave radio and other network elements. When the mobile phone nears the edge of the cell site's radio coverage area, the central computer switches the phone to a new cell. Cell phones originally used FM, but now most use various digital modulation schemes. Recent developments in Sweden (such as DROPme) allow for the instant downloading of digital material from a radio broadcast (such as a song) to a mobile phone.

Satellite phones use satellites rather than cell towers to communicate.

Video

Television sends the picture as AM and the sound as AM or FM, with the sound carrier a fixed frequency (4.5 MHz in the NTSC system) away from the video carrier. Analog television also uses a vestigial sideband on the video carrier to reduce the bandwidth required.

Digital television uses 8VSB modulation in North America (under the ATSC digital television standard), and COFDM modulation elsewhere in the world (using the DVB-T standard). A Reed–Solomon error correction code adds redundant correction codes and allows reliable reception during moderate data loss. Although many current and future codecs can be sent in the MPEG transport stream container format, as of 2006 most systems use a standard-definition format almost identical to DVD: MPEG-2 video in Anamorphic widescreen and MPEG layer 2 (''MP2'') audio. High-definition television is possible simply by using a higher-resolution picture, but H.264/AVC is being considered as a replacement video codec in some regions for its improved compression. With the compression and improved modulation involved, a single "channel" can contain a high-definition program and several standard-definition programs.

Navigation

All satellite navigation systems use satellites with precision clocks. The satellite transmits its position, and the time of the transmission. The receiver listens to four satellites, and can figure its position as being on a line that is tangent to a spherical shell around each satellite, determined by the time-of-flight of the radio signals from the satellite. A computer in the receiver does the math.

Radio direction-finding is the oldest form of radio navigation. Before 1960 navigators used movable loop antennas to locate commercial AM stations near cities. In some cases they used marine radiolocation beacons, which share a range of frequencies just above AM radio with amateur radio operators. LORAN systems also used time-of-flight radio signals, but from radio stations on the ground. VOR (Very High Frequency Omnidirectional Range), systems (used by aircraft), have an antenna array that transmits two signals simultaneously. A directional signal rotates like a lighthouse at a fixed rate. When the directional signal is facing north, an omnidirectional signal pulses. By measuring the difference in phase of these two signals, an aircraft can determine its bearing or radial from the station, thus establishing a line of position. An aircraft can get readings from two VORs and locate its position at the intersection of the two radials, known as a "fix." When the VOR station is collocated with DME (Distance Measuring Equipment), the aircraft can determine its bearing and range from the station, thus providing a fix from only one ground station. Such stations are called VOR/DMEs. The military operates a similar system of navaids, called TACANs, which are often built into VOR stations. Such stations are called VORTACs. Because TACANs include distance measuring equipment, VOR/DME and VORTAC stations are identical in navigation potential to civil aircraft.

Radar

Radar (Radio Detection And Ranging) detects objects at a distance by bouncing radio waves off them. The delay caused by the echo measures the distance. The direction of the beam determines the direction of the reflection. The polarization and frequency of the return can sense the type of surface. Navigational radars scan a wide area two to four times per minute. They use very short waves that reflect from earth and stone. They are common on commercial ships and long-distance commercial aircraft.

General purpose radars generally use navigational radar frequencies, but modulate and polarize the pulse so the receiver can determine the type of surface of the reflector. The best general-purpose radars distinguish the rain of heavy storms, as well as land and vehicles. Some can superimpose sonar data and map data from GPS position.

Search radars scan a wide area with pulses of short radio waves. They usually scan the area two to four times a minute. Sometimes search radars use the Doppler effect to separate moving vehicles from clutter. Targeting radars use the same principle as search radar but scan a much smaller area far more often, usually several times a second or more. Weather radars resemble search radars, but use radio waves with circular polarization and a wavelength to reflect from water droplets. Some weather radar use the Doppler effect to measure wind speeds.

Data (digital radio)

Most new radio systems are digital, see also: Digital TV, Satellite Radio, Digital Audio Broadcasting. The oldest form of digital broadcast was spark gap telegraphy, used by pioneers such as Marconi. By pressing the key, the operator could send messages in Morse code by energizing a rotating commutating spark gap. The rotating commutator produced a tone in the receiver, where a simple spark gap would produce a hiss, indistinguishable from static. Spark-gap transmitters are now illegal, because their transmissions span several hundred megahertz. This is very wasteful of both radio frequencies and power.

The next advance was continuous wave telegraphy, or CW (Continuous Wave), in which a pure radio frequency, produced by a vacuum tube electronic oscillator was switched on and off by a key. A receiver with a local oscillator would "heterodyne" with the pure radio frequency, creating a whistle-like audio tone. CW uses less than 100 Hz of bandwidth. CW is still used, these days primarily by amateur radio operators (hams). Strictly, on-off keying of a carrier should be known as "Interrupted Continuous Wave" or ICW or on-off keying (OOK).

Radioteletype equipment usually operates on short-wave (HF) and is much loved by the military because they create written information without a skilled operator. They send a bit as one of two tones using frequency-shift keying. Groups of five or seven bits become a character printed by a teleprinter. From about 1925 to 1975, radioteletype was how most commercial messages were sent to less developed countries. These are still used by the military and weather services.

Aircraft use a 1200 Baud radioteletype service over VHF to send their ID, altitude and position, and get gate and connecting-flight data. Microwave dishes on satellites, telephone exchanges and TV stations usually use quadrature amplitude modulation (QAM). QAM sends data by changing both the phase and the amplitude of the radio signal. Engineers like QAM because it packs the most bits into a radio signal when given an exclusive (non-shared) fixed narrowband frequency range. Usually the bits are sent in "frames" that repeat. A special bit pattern is used to locate the beginning of a frame. Communication systems that limit themselves to a fixed narrowband frequency range are vulnerable to jamming. A variety of jamming-resistant spread spectrum techniques were initially developed for military use, most famously for Global Positioning System satellite transmissions. Commercial use of spread spectrum began in the 1980s. Bluetooth, most cell phones, and the 802.11b version of Wi-Fi each use various forms of spread spectrum.

Systems that need reliability, or that share their frequency with other services, may use "coded orthogonal frequency-division multiplexing" or COFDM. COFDM breaks a digital signal into as many as several hundred slower subchannels. The digital signal is often sent as QAM on the subchannels. Modern COFDM systems use a small computer to make and decode the signal with digital signal processing, which is more flexible and far less expensive than older systems that implemented separate electronic channels. COFDM resists fading and ghosting because the narrow-channel QAM signals can be sent slowly. An adaptive system, or one that sends error-correction codes can also resist interference, because most interference can affect only a few of the QAM channels. COFDM is used for Wi-Fi, some cell phones, Digital Radio Mondiale, Eureka 147, and many other local area network, digital TV and radio standards.

Heating

Radio-frequency energy generated for heating of objects is generally not intended to radiate outside of the generating equipment, to prevent interference with other radio signals. Microwave ovens use intense radio waves to heat food. Diathermy equipment is used in surgery for sealing of blood vessels. Induction furnaces are used for melting metal for casting, and induction hobs for cooking.

Amateur radio service

Amateur radio, also known as "ham radio", is a hobby in which enthusiasts are licensed to communicate on a number of bands in the radio frequency spectrum non-commercially and for their own enjoyment. They may also provide emergency and public service assistance. This has been very beneficial in emergencies, saving lives in many instances. Radio amateurs use a variety of modes, including nostalgic ones like Morse code and experimental ones like Low-Frequency Experimental Radio. Several forms of radio were pioneered by radio amateurs and later became commercially important, including FM, single-sideband (SSB), AM, digital packet radio and satellite repeaters. Some amateur frequencies may be disrupted by power-line internet service.

Unlicensed radio services

Unlicensed, government-authorized personal radio services such as Citizens' band radio in Australia, the USA, and Europe, and Family Radio Service and Multi-Use Radio Service in North America exist to provide simple, (usually) short range communication for individuals and small groups, without the overhead of licensing. Similar services exist in other parts of the world. These radio services involve the use of handheld units.

Free radio stations, sometimes called pirate radio or "clandestine" stations, are unauthorized, unlicensed, illegal broadcasting stations. These are often low power transmitters operated on sporadic schedules by hobbyists, community activists, or political and cultural dissidents. Some pirate stations operating offshore in parts of Europe and the United Kingdom more closely resembled legal stations, maintaining regular schedules, using high power, and selling commercial advertising time.

Radio control (RC)

Radio remote controls use radio waves to transmit control data to a remote object as in some early forms of guided missile, some early TV remotes and a range of model boats, cars and airplanes. Large industrial remote-controlled equipment such as cranes and switching locomotives now usually use digital radio techniques to ensure safety and reliability.

In Madison Square Garden, at the Electrical Exhibition of 1898, Nikola Tesla successfully demonstrated a radio-controlled boat. He was awarded U.S. patent No. 613,809 for a "Method of and Apparatus for Controlling Mechanism of Moving Vessels or Vehicles."

See also

References

;General information

''A História da Rádio em Datas (1819-1997)'' (in Portuguese) - notes on etymology

L. de Forest, article in Electrical World 22 June 1270/1 (1907), early use of word "radio".

http://web.mit.edu/varun_ag/www/bose.html - It contains a proof that Sir Jagadish Chandra Bose invented the Mercury Coherer which was later used by Guglielmo Marconi and along with other patents.

;Footnotes

Further reading

Hugh G. J. Aitkin: ''The Continuous Wave: Technology and the American Radio, 1900-1932'' (Princeton University Press, 1985).

Asa Briggs: ''The History of Broadcasting in the United Kingdom'' (Oxford University Press, 1961).

John Dunning: ''On the Air. The Encyclopedia of Old-Time Radio''. New York; Oxford: Oxford University Press, 1998. ISBN 0-19-507678-8

Henry Ewbank and Sherman P. Lawton: ''Broadcasting: Radio and Television'' (Harper & Brothers, 1952).

Marc Fisher: ''Something In The Air: Radio, Rock, and the Revolution That Shaped A Generation'' (Random House, 2007).

Leland I. Anderson (ed.), "John Stone Stone, Nikola Tesla's Priority in Radio and Continuous-Wave Radiofrequency Apparatus". The AWA Review, Vol. 1. 1986. 24 pages, illustrated.

Tom Lewis: ''Empire of the Air: The Men Who Made Radio'', 1st ed., New York : E. Burlingame Books, 1991. ISBN 0060182156. "Empire of the Air: The Men Who Made Radio" (1992) by Ken Burns was a PBS documentary based on the book.

W. Rupert Maclaurin: ''Invention and Innovation in the Radio Industry'' (The Macmillan Company, 1949).

William B. Ray: ''FCC: The Ups and Downs of Radio-TV Regulation'' (Iowa State University Press, 1990).

Alexander Russo: ''Points on the Dial: Golden Age Radio Beyond the Networks'' (Duke University Press; 2010) 278 pages; discusses regional and local radio as forms that "complicate" the image of the medium as a national unifier from the 1920s to the 1950s.

Scannell, Paddy, and Cardiff, David. ''A Social History of British Broadcasting, Volume One, 1922-1939'' (Basil Blackwell, 1991).

Schwoch James. ''The American Radio Industry and Its Latin American Activities, 1900-1939'' (University of Illinois Press, 1990).

Christopher H. Sterling with Michael C. Keith (ed.): ''Encyclopedia of Radio''. New York; London: Fitzroy Dearborn, 2004 (three vols.)

Llewellyn White: ''The American Radio'' (University of Chicago Press, 1947).

Ulrich L. Rohde, Jerry Whitaker: ''Communications Receivers, Third Edition'', McGraw Hill, New York, NY, 2001, ISBN 0-07-136121-9.

External links

;General

"It's Radi-O! Essay by Richard Rubin, ''The Atlantic Monthly'', January 1998.

;History

U.S. Supreme Court, "''Marconi Wireless Telegraph co. of America v. United States''". 320 U.S. 1. Nos. 369, 373. Argued 9–12 April 1943. Decided 21 June 1943.

"''Who Invented Radio?''" Buzzle.com Date unknown. retrieved 20 January 2011.

Steven Schoenherr's History of Radio

The Broadcast Archive - Radio History on the Web! Retrieved 20 January 2011.

Canadian Communications Foundation - The History on Canadian Broadcasting - 1920 onward. Retrieved 20 January 2011.

United States Early Radio History -1897 to 1927. Retrieved 20 January 2011.

Historic Radios from Around the World at Kurrajong Radio Museum, Australia - a private collection. Retrieved 20 January 2011.

;Antiques

George H. Clark Radioana Collection, ca. 1880 - 1950 - Archives Center, National Museum of American History, Smithsonian Institution

A gallery of Antiques from the 1920s to the 1960s

;Technical

Radio Frequency Chart National Telecommunications and Information Administration (NTIA).

IAteacher: Interactive Explanation of Radio Receiver Construction

How Stuff Works - Radio

VOR Basic Information

Dr. Phil's Receiver Designs Single-Triode and Single-Transistor Regenerative Radio Designs

;DX

The British DX Club

World of Radio Glenn Hauser's internationally known DX radio show

Category:British inventions

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name	Django Reinhardt
background	non_vocal_instrumentalist
birth name	Jean Reinhardt
birth date	January 23, 1910,
birth place	Liberchies, Pont-à-Celles, Belgium
death date	May 16, 1953
death place	Fontainebleau, France
instrument	Guitar
genre	Jazz, Gypsy jazz, Romani music
occupation	Guitarist, Composer
years active	1928–1953
associated acts	Stéphane Grappelli, Quintette du Hot Club de France }}

Django Reinhardt (; 23 January 1910 – 16 May 1953) was a pioneering virtuoso jazz guitarist and composer who invented an entirely new style of jazz guitar technique (sometimes called 'hot' jazz guitar) that has since become a living musical tradition within French gypsy culture. With violinist Stéphane Grappelli, he co-founded the Quintette du Hot Club de France, described by critic Thom Jurek as "one of the most original bands in the history of recorded jazz." Reinhardt's most popular compositions have become jazz standards, including "Minor Swing", "Daphne", "Belleville", "Djangology", "Swing '42" and "Nuages".

Biography

Childhood

Jean "Django" Reinhardt was born 23 January 1910 in Liberchies, Pont-à-Celles, Belgium, into a family of Manouche gypsies. Reinhardt's nickname "Django" is Romani for "I awake." Reinhardt spent most of his youth in Romani (Gypsy) encampments close to Paris, playing banjo, guitar and violin from an early age. His family made cane furniture for a living, but included several keen amateur musicians.

Reinhardt was attracted to music at an early age, playing the violin at first. At the age of 12, he received a banjo-guitar that had been given to him as a gift. He quickly learned to play, mimicking the fingerings of musicians he watched. His first known recordings (in 1928) were of him playing the banjo. During this period he was influenced by two older gypsy musicians, the banjoist Gusti Mahla and the guitarist Jean "Poulette" Castro. By the age of 13, Reinhardt was able to make a living playing music. As a result, he received little formal education and acquired the rudiments of literacy only in adult life.

The injury

At the age of 18, Reinhardt was injured in a fire that ravaged the caravan he shared with Florine "Bella" Mayer, his first wife. They were very poor, and to supplement their income Bella made imitation flowers out of celluloid and paper. Consequently, their home was full of this highly flammable material. Returning from a performance late one night, Reinhardt apparently knocked over a candle on his way to bed. While his family and neighbours were quick to pull him to safety, he received first- and second-degree burns over half his body. His right leg was paralysed and the third and fourth fingers of his left hand were badly burned. Doctors believed that he would never play guitar again and intended to amputate one of his legs. Reinhardt refused to have the surgery and left the hospital after a short time; he was able to walk within a year with the aid of a cane.

His brother Joseph Reinhardt, an accomplished guitarist himself, bought Django a new guitar. With rehabilitation and practice he relearned his craft in a completely new way, even as his third and fourth fingers remained partially paralysed. He played all of his guitar solos with only two fingers, and used the two injured digits only for chord work.

In 1929, Reinhardt's estranged wife Florine gave birth to a son named Henri "Lousson" Reinhardt (aka Lousson Baumgartner).

Discovery of jazz

The period between 1929 and 1933 were formative years for Reinhardt. He decisively abandoned the banjo-guitar in favour of the guitar. He was particularly impressed with Louis Armstrong, whom he called "my brother". Shortly afterwards he made the acquaintance of a young violinist with very similar musical interests—Stéphane Grappelli. In the absence of paid work in their radical new music, the two would jam together, along with a loose circle of other musicians.

Formation of the quintet

In 1934, Reinhardt and Parisian violinist Grappelli were invited to form the "Quintette du Hot Club de France" with Reinhardt's brother Joseph and Roger Chaput on guitar, and Louis Vola on bass. Occasionally Chaput was replaced by Reinhardt's best friend and fellow Gypsy Pierre "Baro" Ferret. The vocalist Freddy Taylor participated in a few songs, such as "Georgia On My Mind" and "Nagasaki". Jean Sablon was the first singer to record with him more than 30 songs from 1933. They also used their guitars for percussive sounds, as they had no true percussion section. The Quintette du Hot Club de France was one of the few well-known jazz ensembles composed only of string instruments.

In Paris on 14 March 1933, Reinhardt recorded two takes each of "Parce que je vous aime" and "Si, j'aime Suzy", vocal numbers with lots of guitar fills and guitar support, using three guitarists along with an accordion lead, violin, and bass. In August of the following year recordings were also made with more than one guitar (Joseph Reinhardt, Roger Chaput, and Django), including the first recording by the Quintette. In both years, it should be noted, the great majority of recordings featured a wide variety of horns, often in multiples, piano, and other instruments.

Reinhardt also played and recorded with many American jazz musicians such as Coleman Hawkins, Benny Carter, Rex Stewart (who later stayed in Paris), and participated in a jam-session and radio performance with Louis Armstrong. Later in his career he played with Dizzy Gillespie in France. Reinhardt and the Hot Club of France used the Selmer Maccaferri, the first commercially available guitars with a cutaway and later with an aluminium-reinforced neck.

World War II

When World War II broke out, the original quintet was on tour in the United Kingdom. Reinhardt returned to Paris at once, leaving his wife behind. Grappelli remained in the United Kingdom for the duration of the war. Reinhardt reformed the quintet, with Hubert Rostaing on clarinet replacing Grappelli's violin. In 1943, Reinhardt married Sophie "Naguine" Ziegler in Salbris, with whom he had a son, Babik Reinhardt, who became a respected guitarist in his own right.

Reinhardt survived the war unscathed, unlike many Romanis who perished in the Porajmos, the Nazi regime's systematic murder of several hundred thousand European Romanis. He was well aware of the dangers he and his family faced, and made several unsuccessful attempts to escape occupied France. Part of the explanation of his survival is that he enjoyed the protection of (surreptitiously) jazz-loving Nazis such as Luftwaffe officer Dietrich Schulz-Köhn, nicknamed "Doktor Jazz".

Reinhardt's problems were compounded by the fact that the Nazis also officially disapproved of jazz. Reinhardt became interested in other musical directions, attempting to write a Mass for the Gypsies and Symphony (since he could not write music, he would perform improvisations to be notated by an assistant). His modernist piece ''Rhythm Futur'' was intended to be acceptably unjazzlike.

United States tour

After the war, Reinhardt rejoined Grappelli in the UK, and then went on in fall 1946 to tour the United States as a special guest soloist with Duke Ellington and His Orchestra, when he got to play with many notable musicians and composers such as Maury Deutsch. At the end of the tour he played two nights at Carnegie Hall; he received a great ovation and took six curtain calls on the first night. Despite Reinhardt's great pride in touring with Ellington (one of his two letters to Grappelli relates this excitement), he was not really integrated into the band, playing only a few tunes at the end of the show, backed by Ellington, with no special arrangements written for him. After the tour he secured an engagement at Café Society Uptown, where he did four solos a day backed by the resident band. These performances drew large audiences.

Reinhardt was reportedly given an untuned guitar to play with (discovered after strumming a chord) and it took him five whole minutes to tune it. Having failed to take along a Selmer Modèle Jazz, the guitar he made famous, he had to play on a haphazardly borrowed electric guitar, which failed to bring out the delicacy of his style.

Django Reinhardt was among the first people in France to appreciate the music of Charlie Parker and Dizzy Gillespie, whom he sought when he arrived in New York. They were both on tour at the time, however.

He had been promised some jobs in California but these failed to materialize and he got tired of waiting. He returned to France in February 1947.

After the quintet

After returning to France, Reinhardt spent the remainder of his days re-immersed in Romani life, having found it difficult to adjust to the modern world. He would sometimes show up for concerts without a guitar or amp, or wander off to the park or beach, and on a few occasions he refused even to get out of bed. Reinhardt was known by his band, fans, and managers to be extremely unpredictable. He would often skip sold-out concerts to simply "walk to the beach" or "smell the dew".

In Rome in 1949, Reinhardt recruited three Italian jazz players (on bass, piano, and snare drum) and recorded his final (double) album, "Djangology". He was once again united with Grappelli, and returned to his acoustic Selmer-Maccaferri. The recording was discovered and issued for the first time in the late 1950s.

Final years

In 1951, he retired to Samois-sur-Seine, near Fontainebleau, where he lived until his death. He continued to play in Paris jazz clubs and began playing electric guitar, despite his initial hesitation towards the instrument. His final recordings made in the last few months of his life show him moving in a new musical direction; he had assimilated the vocabulary of bebop and fused it with his own melodic style.

While walking from the Avon railway station after playing in a Paris club he collapsed outside his house from a brain haemorrhage. It was a Saturday and it took a full day for a doctor to arrive and Reinhardt was declared dead on arrival at the hospital in Fontainebleau at age 43.

Family

Reinhardt's second son, Babik, was a guitarist in the contemporary jazz style. His first son, Lousson, was more of a traditionalist, but followed the Romani lifestyle and rarely performed in public. Reinhardt's brother Joseph had initially sworn to abandon music on hearing of Reinhardt's death, but was persuaded to start performing and recording again. Joseph's son Markus is a gypsy violinist. There is now a third generation of direct descendants Reinhardt's grandson (by his son Babik), David Reinhardt, leads his own trio; his grandson by Lousson, Dallas Baumgartner, is a guitarist who follows in his father's footsteps by traveling and keeping a low public profile.

Legacy

For about a decade after Reinhardt's death, interest in his musical style was minimal, with the fifties seeing bebop superseding swing in jazz, the rise of rock and roll, and electric instruments taking over from acoustic ones in popular music. Reinhardt's friends and sidemen Pierre Ferret and his brothers continued to perform their own version of gypsy swing.

There was a revival of interest in Reinhardt's music from the mid sixties, with acoustic music having become popular through the folk movement. Several of Reinhardt's near-contemporaries recorded for the first time in the sixties and seventies, for instance Paul "Tchan Tchou" Vidal

In 1973 Stéphane Grappelli formed a successful Quintette-style band with British guitarists Diz Disley and Denny Wright. Grappelli would go on to form many other musical partnerships, including John Etheridge and Nigel Kennedy. He was also to acquire his own emulators, for instance Dutch violinist Tim Kliphuis.

New generations began to emerge, for instance, Jimmy and Stochelo Rosenberg and their relatives from the Netherlands. Another musical clan is the Reinhardt brothers and cousins from Germany, distant relatives of Reinhardt's. Boulou Ferré, son of "Matelot" Ferret, was a child prodigy who entered the Paris Conservatoire at the age of 13, and studied under Olivier Messiaen. He continues to perform, with his brother Elios, and can mix bebop and even classical music with gypsy swing. Biréli Lagrène and Angelo Debarre were other prodigies.

Most of the above-mentioned are Roma who learned music by the 'gypsy method', involving intense practice, direct imitation of older musicians (often family members) and playing by ear, with little formal musical study (or, indeed, formal education of any kind). Since about the late 1970s, study materials of a more conventional kind such as workshops, books and videos have become available, allowing musicians worldwide to master the style.

Non-Roma prominent gypsy-style guitarists include John Jorgenson, Jon Larsen (and his Hot Club de Norvège, established 1979), Joscho Stephan, Andreas Öberg, Frank Vignola, George Cole, Stephane Wrembel and Reynold Philipsek. Their music is sometimes jokingly referred to as "Gadjo jazz", where ''Gadjo'' is the Romani term for a non-Romani. Young players such as Adrien Moignard and Gwenole Cahue represent the rising generation. Another sign of the rising popularity of gypsy jazz is the increasing number of festivals, such as the Samois-sur-Seine festival (started about 1980), and the various DjangoFests held in the USA.

Reinhardt in popular culture

Reinhardt has been portrayed in several films, such as in the opening sequence of the 2003 animated film ''Les Triplettes de Belleville''. The third and fourth fingers of the cartoon Reinhardt are considerably smaller than the fingers used to play the guitar. Reinhardt's legacy dominates in Woody Allen's 1999 ''Sweet and Lowdown''. This spoof biopic focuses on fictional American guitarist Emmet Ray's obsession with Reinhardt, with soundtrack featuring Howard Alden. He is also portrayed by guitarist John Jorgenson in the movie ''Head in the Clouds''.

Reinhardt is the idol of the character Arvid in the movie ''Swing Kids'', where the character's left hand is smashed by a member of the Hitler Jugend, but is inspired by Reinhardt's example to keep playing. Similarly, in real life, Black Sabbath guitarist Tony Iommi suffered an industrial accident at 17, where the tips of his right middle and ring fingers were amputated on the last day of his job at a sheet metal factory. His boss, in an effort to encourage Iommi to follow his dream of being a professional guitarist, played a Django Reinhardt record for him for inspiration.

Reinhardt's music has been used in the soundtrack of many films, including in ''The Matrix''; ''Rhythm Futur'', ''Daltry Calhoun'', ''Metroland'', ''Chocolat'', ''The Aviator'', ''Alex and the Gypsy'', ''Kate and Leopold'' and ''Gattaca''; the score for Louis Malle's 1974 movie, ''Lacombe Lucien''; the background for the Steve Martin movie ''L.A. Story''; and the background for a number of Woody Allen movies, including ''Stardust Memories''. He also appeared as a character in Allen's ''Sweet and Lowdown''. Reinhardt's music has also been featured in the soundtracks of several video games, such as the 2002 game ''Mafia: The City of Lost Heaven'', ''Mafia II'' and several times in the 2007 game ''BioShock''.

Reinhardt has been the subject of several songs, most notably "Django" (1954), a gypsy-flavoured piece that jazz pianist John Lewis of the Modern Jazz Quartet wrote in honour of Reinhardt; numerous versions of the song have been recorded, including one on the 1973 Lindsey Buckingham/Stevie Nicks self-titled debut album; it also appears on Joe Bonamassa's 2006 LP ''You & Me''. The lyrics of the Norwegian song "Tanta til Beate" by Lillebjørn Nilsen mentions Reinhardt several times.

He is mentioned in Jump Little Children's song "Mexico": "I won't let you leave, not with all my Django, Emmylou and Steve".

In the novel Century Rain by Alastair Reynolds, the characters Wendell Floyd and André Custine mention having played music with Reinhardt.

In 2010 the French and Belgian Google homepages displayed a logo commemorating the centenary of his birthday on 23 January 2010.

Star Trek: Deep Space Nine Actors Alexander Siddig and Nana Visitor named their son after Reinhardt.

Reinhardt is loosely suggested as the main character in the music video for "Boulevard of Broken Dreams" by Brian Setzer.

The Django web framework is named after him, as is version 3.1 of the blog software WordPress.

"Twango", a track on Duane Eddy's album ''Road Trip'', is a tribute to Reinhardt.

Influence

Many guitar players, and musicians, have expressed admiration for Django Reinhardt, or have cited him as a major influence. These include British rock guitarists Jimmy Page, Jeff Beck, and Eric Clapton, all three of whom are regularly listed by publications such as Rolling Stone or Guitar Player Magazine as being within the top 10 greatest or most influential guitar players (often with Reinhardt, himself). In fact, Jeff Beck has described Reinhardt as "By far the most astonishing guitar player ever..." and "...quite superhuman..." Other notable guitar players influenced by Reinhardt, include Bob Dunn, Leon McAuliffe, Jimmy McCulloch, NWOAHM guitarist Synyster Gates (Brian Haner Jr.) of Avenged Sevenfold, classical guitarist Julian Bream; country artist Chet Atkins, who placed Reinhardt #1 on a list of the ten most influential guitarists of the 20th century (and himself fifth); Latinrocker Carlos Santana; blues legend B.B. King; Pete Townshend of The Who; Australian acoustic guitar player Tommy Emmanuel; The Wiggles' Murray Cook; Pierre Bensusan; Phish's Trey Anastasio; The Libertines' Carl Barat, Shawn Lane; Hank Marvin; Stevie Ray Vaughan; Derek Trucks; Mark Knopfler; Les Paul; Joe Pass; Peter Frampton; Denny Laine; Bill Nelson; Jon Larsen; Steve Howe; Charlie Christian; Frank Vignola; Barney Kessel; George Benson; Wes Montgomery; Martin Taylor; Michael Angelo Batio; Richard Thompson; Robert Fripp; René Thomas; and Jeff Martin. Willie Nelson wore a Django Reinhardt T-shirt on tour in Europe in 2002, stating in an interview that he admired Reinhardt's music and ability. Willie pointed out how Reinhardt's Hot Club quintet paralleled the hot jazz & country fiddle sound of 1930's Western Swing bands Milton Brown and His Musical Brownies and Bob Wills and His Texas Playboys.

Jose Feliciano attributes his unique style to, in part, that of Reinhardt's. In 2009 he composed an album inspired by those musical influences and entitled it ''Djangoisms''.

The Grateful Dead's Jerry Garcia and Black Sabbath's Tony Iommi, both of whom lost fingers in accidents, were particularly inspired by Reinhardt's ability to become an accomplished guitar player/musician, despite the diminished use of his own permanently injured hand following an accident.

A number of musicians have even named their sons Django in honour of, or respect for, Reinhardt. They include Dawelie Reinhardt, David Crosby, former Slade singer Noddy Holder, Jerry Jeff Walker, Richard Durrant, as well as actors Nana Visitor, Alexander Siddig and Raphael Sbarge. Jazz musician Django Bates and singer-songwriter Django Haskins were also named after him.

Songs written in Reinhardt's honour include "Django," an instrumental guitar piece by renowned blues-rock guitarist Joe Bonamassa. The piece was influenced by the violin introduction of "Vous et Moi" (Blues et Mineur 1942, Brussels) where Reinhardt himself played the violin. Vous et Moi (You and Me) became the title of Bonamassa's sixth album where the track first appeared in 2006. Slightly longer live versions appear on ''LIVE...From Nowhere In Particular'' (2009), and in DVD from the 4 May concert at Royal Albert Hall. "Django," composed by John Lewis, which has become a jazz standard performed by musicians such as Miles Davis. The Modern Jazz Quartet titled one of their albums Django in honour of him. The Allman Brothers Band song "Jessica" was written by Dickey Betts in tribute to Reinhardt — he wanted to write a song that could be played using only two fingers. This aspect of the artist's work also motivated Black Sabbath guitarist Tony Iommi, who was inspired by Reinhardt to keep playing guitar after a factory accident that cost him two fingertips. Composer Jon Larsen has composed several crossover concerts featuring Reinhardt-inspired music together with symphonic arrangements, most famous are "White Night Stories" (2002) and "Vertavo" (1996).

Not only did Reinhardt put his stamp upon jazz, his "hot" string band music also had an impact upon the parallel development of Texas's western swing string bands, which eventually fed into the wellspring of what is now called country music.

In 2005, Django Reinhardt took 66th place in the election of ''The Greatest Belgian'' (''De Grootste Belg'') in Flanders and 76th place in the Walloon version of the same competition ''Le plus grand Belge''.

Discography

1945 ''Paris 1945''

1947 ''Ellingtonia – with the Rex Stewart Band – Dial 215

1949 ''Djangology''

1951 ''Django Reinhardt and the Hot Club Quintet''

1951 ''At Club St. Germain''

1953 ''Django Reinhardt et Ses Rythmes''

1954 ''The Great Artistry of Django Reinhardt''

1955 ''Django's Guitar''

1959 ''Django Reinhardt and His Rhythm''

1980 ''Routes to Django Reinhardt''

1991 ''Django Reinhardt - Pêche à la Mouche: The Great Blue Star Sessions 1947/1953''

1996 ''Imagine''

1997 ''Django Reinhardt: Nuages'' with Coleman Hawkins

1998 ''The Complete Django Reinhardt HMV Sessions''

2000 ''The Classic Early Recordings in Chronological Order'' (5 CD boxed set)

2001 ''All Star Sessions''

2001 ''Jazz in Paris: Swing 39''

2002 ''Djangology (remastered) (recorded in 1948, discovered, remastered and released by Bluebird Records)''

2003 ''Jazz in Paris: Nuages''

2003 ''Jazz in Paris: Nuits de Saint-Germain des-Prés''

2004 ''Le Génie Vagabond''

2005 ''Djangology'' (Bluebird)

2008 ''Django on the Radio'' (radio broadcasts, 1945–1953)

At least eight compilations have also been released.

See also

List of Belgian bands and artists

List of Belgian musicians and singers

Golden Django

Django Reinhardt Jazz Festival

Jazz manouche

Gypsy Jazz

List of Roma, Sinti and Mixed People

Oscar Alemán

Sinti

Vernon Story

List of compositions by Django Reinhardt

Jean Sablon

References

External links

Djangopedia

All About Django Reinhardt

Manouche Maestro by Paul Vernon Chester

Django by Michael Dregni

Gypsy Jazz Encyclopedia

Django: the Life and Times of a Gypsy Legend by Michael Dregni

The Genius of Django Reinhadt 1/5 (documetary)

DjangoBooks.com

Transcriptions

Category:1910 births Category:1953 deaths Category:People from Hainaut (province) Category:Belgian jazz guitarists Category:Belgian musicians Category:Belgian Romani people Category:Romani people Category:Romani musicians Category:Romani guitarists Category:Continental jazz guitarists Category:Deaths from cerebral hemorrhage Category:Gypsy jazz musicians Category:Swing guitarists

bar:Django Reinhardt bs:Jean Baptiste Reinhardt br:Django Reinhardt bg:Джанго Райнхарт ca:Django Reinhardt cs:Django Reinhardt da:Django Reinhardt de:Django Reinhardt et:Django Reinhardt es:Django Reinhardt eo:Django Reinhardt fa:جنگو راینهارت fr:Django Reinhardt gl:Django Reinhardt hr:Django Reinhardt io:Django Reinhardt is:Django Reinhardt it:Django Reinhardt he:ג'אנגו ריינהארדט la:Diango Reinhardt lv:Džango Reinhards lb:Django Reinhardt hu:Django Reinhardt nl:Django Reinhardt ja:ジャンゴ・ラインハルト no:Django Reinhardt oc:Django Reinhardt pl:Django Reinhardt pt:Django Reinhardt ro:Django Reinhardt ru:Рейнхардт, Джанго sk:Django Reinhardt sr:Џанго Рајнхарт fi:Django Reinhardt sv:Django Reinhardt th:จ็องโก เรนาร์ต tr:Django Reinhardt uk:Джанго Рейнхардт

Birth name	Laurence Tureaud
Birth date	May 21, 1952
Birth place	Chicago, Illinois, U.S.
Occupation	Actor, motivational speaker, wrestler, bodyguard, television personality
Years active	1982–present
Website	}}

Mr. T (born Laurence Tureaud; May 21, 1952) is an American actor known for his roles as B. A. Baracus in the 1980s television series ''The A-Team'', as boxer Clubber Lang in the 1982 film ''Rocky III'', and for his appearances as a professional wrestler. Mr. T is known for his trademark African Mandinka warrior hairstyle, his gold jewelry, and his tough-guy image. In 2006 he starred in the reality show ''I Pity the Fool'', shown on TV Land, the title of which comes from the catchphrase of his character, Clubber Lang, in the 1982 film ''Rocky III''.

Early life

Mr. T was born in Chicago, Illinois, the youngest son in a family with twelve children. His father, Nathaniel Tureaud Sr., was a minister. Tureaud, with his four sisters and seven brothers, grew up in a three-room apartment in one of the city's housing projects, the Robert Taylor Homes, in a poorly constructed building, in an area with high levels of environmental pollutants and the largest concentration of poverty in America. His mother received a welfare check of $87/month. While growing up Tureaud regularly witnessed murder, rape, and other crimes, but attributes his survival and later success to his will to do well and his mother's love.

Tureaud attended Dunbar Vocational High School, where he played football, wrestled, and studied martial arts. While at Dunbar he became the city-wide wrestling champion two years in a row. He won a football scholarship to Prairie View A&M University, where he majored in mathematics, but was expelled after his first year. He then enlisted in the United States Army and served in the Military Police Corps. In November 1975 Tureaud was awarded a letter of recommendation by his drill sergeant and in a cycle of six thousand troops Tureaud was elected "Top Trainee of the Cycle" and was also promoted to Squad Leader. In July 1976 Tureaud's platoon sergeant punished him by giving him the detail of chopping down trees during training camp at Fort McCoy in Wisconsin, but the sergeant did not tell how many trees to stop at, and so Tureaud had single-handedly chopped down over seventy trees from 6:30am to 10:00am until a higher ranking major in shock relieved him, superseding the sergeant's orders. After his discharge, he tried out for the Green Bay Packers of the National Football League, but failed to make the team due to a knee injury.

Tureaud next worked as a bouncer. It was at this time that he created the persona of Mr. T. His wearing of gold neck chains and other jewelry was the result of customers losing the items or leaving them behind at the night club after a fight. A customer, who may have been banned from the club or trying to avoid another confrontation, would not have to re-enter the club if Mr. T wore their jewelry as he stood out front. When a customer returned to claim the item, it was readily visible and available with no further confrontations required. Along with controlling the violence as a doorman, Tureaud was mainly hired to keep out drug dealers and users. During his bouncing days Tureaud was in over 200 fights and was sued a number of times but won each case. "I have been in and out of the courts as a result of my beating up somebody. I have been sued by customers whom I threw out that claimed that I viciously attacked them without just cause and/or I caused them great bodily harm as a result of a beating I supposedly gave them," Mr. T once remarked.

He eventually parlayed his job as a bouncer into a career as a bodyguard that lasted almost ten years. During these years he protected, among others, sixteen prostitutes, nine welfare recipients, five preachers, eight bankers, ten school teachers, and four store owners. As his reputation improved, however, he was contracted to guard, among others, David Fricker, seven clothes designers, five models, seven judges, three politicians, six athletes and forty-two millionaires. He protected well-known personalities like Muhammad Ali, Steve McQueen, Michael Jackson, Leon Spinks, Joe Frazier and Diana Ross, charging $3,000/day, with the highest charge of $10,000 per day depending on the clientele's risk-rate and traveling locations.

With his reputation as "Mr. T", Tureaud attracted strange offers and was frequently approached with odd commissions, which included: assassination, tracking runaway teenagers, locating missing persons, and large firms asking him to collect past-due payments by force. Tureaud was once anonymously offered $75,000 to assassinate a target and received in the mail a file of the hit and an advance of $5,000, but he refused it. "He offered me $75,000 to kill his friend. The last envelope and letter contained a round-trip airline ticket, first class, United. Plus there was $5,000 wrapped in a little package, fifty and hundred dollar bills. I tell you the honest truth, when I saw that money I didn't believe it was real." -Mr. T. Tureaud states that he tried to warn the victim but it was too late and the man died in a car accident. In accepting a client for Tureaud there were two rules: 1) A client cannot lie to him. 2) All potential clients are required to shop around the field of security before coming to him. He also made it clear to the client beforehand that he could not promise them their lives, "I did everything except guarantee people's lives, but I guarantee you that I will give my life protecting yours". He carried a .357 magnum and a .38 caliber snubnose pistol. He weighed an average of 255 pounds.

While he was in his late twenties, Tureaud won two tough-man competitions consecutively. The first aired as "Sunday Games" on NBC-TV under the contest of "America's Toughest Bouncer" which included throwing a 150 lb stuntman, and breaking through a four-inch wooden door. For the first event, Tureaud came in third place. For the end, two finalists squared off in a boxing ring for a two-minute round to declare the champion. Making it to the ring as a finalist, his opponent was a 280 pound Honolulu bouncer, Tutefano Tufi. Within twenty seconds "Mr. T" gave the six foot five competitor a bloody nose, and later a bloody mouth. He won the match and thus the competition. The second competition was aired under the new name "Games People Play" on NBC-TV. When interviewed by Bryant Gumbel before the final boxing match, Mr T. said, "I just feel sorry for the guy who I have to box. I just feel real sorry for him." For this second competition the final event of the fight was scheduled to last three rounds, but Mr. T finished the fight in less than 54 seconds. When Sylvester Stallone spotted Mr. T in this second airing, it is strongly believed that the interview with Bryant Gumbel was worked into the scene of the Rocky movie that originated his famous line "I don't hate him but...I pity the fool."

Acting roles and work

While reading ''National Geographic'', Mr. T first noticed the unusual hairstyle for which he is now famous, on a Mandinka warrior. He decided that adoption of the style would be a powerful statement about his African origin. It was a simpler, safer and more permanent visual signature than his gold chains, rings, and bracelets. The gold jewelry was worth about $300,000 at the time and took him about an hour to put on. Most nights, Mr. T spent even more time cleaning them using an ultrasonic cleaner. Occasionally, he slept with the heavy neck chains and bracelets on, "to see how my ancestors, who were slaves, felt."

In 1980, Mr. T was spotted by Sylvester Stallone while taking part in NBC's "America's Toughest Bouncer" competition, a segment of NBC's ''Games People Play''. Although his role in ''Rocky III'' was originally intended as just a few lines, Mr. T was eventually cast as Clubber Lang, the primary antagonist. His catchphrase "I pity the fool!" comes from the film; when asked if he hates Rocky, Lang replies, "No, I don't hate Balboa, but I pity the fool." Subsequently, after losing out on the role of the title character's mentor in ''The Beastmaster'', Mr. T appeared in another boxing film, ''Penitentiary 2'', and on an episode of Showtime's early sketch comedy series ''Bizarre'', where he fights and eats Super Dave Osborne, before accepting a television series role on ''The A-Team''.

Mr. T also appeared in an episode of ''Silver Spoons'', reprising his old role as bodyguard to Ricky Stratton. In the episode, he explains his name as "First name: ''Mister''; middle name: ''period''; last name ''T''." In one scene, when Ricky's class erupts into a paper-ball-throwing melee, Mr. T throws his body in front of the objects, fully protecting his client.

In ''The A-Team'', he played Sergeant Bosco "B.A." Baracus, an ex-Army commando on the run with three other members from the United States government "for a crime they didn't commit." As well as the team's tough guy, B.A. was a genius mechanic but afraid of flying. When asked at a press conference whether he was as stupid as B.A. Baracus, Mr. T observed quietly, "It takes a smart guy to play dumb."

His role in ''The A-Team'' led to him making an appearance in the long-running sit-com ''Diff'rent Strokes'' in the sixth season opener "Mr T. and mr. t" (1983), in which an episode of ''The A-Team'' is supposedly filmed in the family's penthouse apartment.

A Ruby-Spears-produced cartoon called ''Mister T'' premiered in 1983 on NBC. The ''Mister T'' cartoon starred Mr. T as himself, the owner of a gym where a group of gymnasts trained. He helped them with their training but they also helped him solve mysteries and fight crime in ''Scooby-Doo''-style scenarios. Thirty episodes were produced.

In 1984, he made a motivational video called ''Be Somebody... or Be Somebody's Fool!''. He gives helpful advice to children throughout the video; for example, he teaches them how to understand and appreciate their origins, how to dress fashionably without buying designer labels, how to make tripping up look like breakdancing, how to control their anger, and how to deal with peer pressure. The video is roughly one hour long, but contains 30 minutes of singing, either by the group of children accompanying him, or by Mr. T himself. He sings "Treat Your Mother Right (Treat Her Right)," in which he enumerates the reasons why it is important to treat your mother right, and also raps a song about growing up in the ghetto and praising God. The raps in this video were written by Ice T.

In 1988, Mr. T starred in the television series ''T. and T''. Mr. T was once reported to be earning around $80,000 a week for his role in ''The A-Team'' and earning $15,000 for personal appearances. By the end of the 1990s, he was appearing only in the occasional commercial, largely because of health problems (in 1995, he was diagnosed with T-cell lymphoma). He frequently appears on the TBN Christian television network. He has appeared on ''Late Night with Conan O'Brien''. He has also appeared on some Comcast commercials, and in the United Kingdom, Ireland, Australia and New Zealand during 2007, advertising the chocolate bar Snickers with the slogan "Get Some Nuts!" One of these commercials, featuring Mr. T crashing through a wall on the back of a technical vehicle before firing Snickers bars at a speed walker wearing tight-fitting yellow shorts, was pulled by Mars following a complaint by the U.S.-based group Human Rights Campaign, despite the fact that the advert had never been shown outside the U.K. The group alleged that the commercial promoted the idea that violence against gay, lesbian, bisexual and transgender people "is not only acceptable, but humorous." Mr. T has distanced himself from these accusations, insisting that he would never lend his name to something that supports such beliefs, and that the commercials did not depict such promotions. The commercials are still shown on Australian and UK television.

Mr. T did a video campaign for Hitachi's Data Systems that was created and posted on consumer video sites including YouTube and Yahoo! Video. According to Steven Zivanic, senior director and corporate communications of HDS, "this campaign has not only helped the firm in its own area, but it has given the data storage firm a broader audience." In November 2007, Mr. T appeared in a television commercial for the online role playing game ''World of Warcraft'' with the phrase ''"I'm Mr. T and I'm a Night Elf Mohawk"''. A follow-up to this commercial appeared in November 2009 where he appeared promoting the "mohawk grenade" item, which appears in game and turns other players into Mr. T's likeness.

In 2008, Mr. T appeared on the American channel ''Shopping TV'' selling his "Mr. T Flavorwave Oven." A video game starring Mr T. is also being developed by ZootFly. Mr. T was offered a cameo appearance in the film adaptation of ''The A-Team'', but decided to turn it down, whereas Dwight Schultz and Dirk Benedict were both to make cameos in the film, before 20th Century Fox cut out the scenes. (George Peppard died in 1994).

In the 2009 movie ''Cloudy with a Chance of Meatballs (film)'', Mr. T provided the voice for Officer Earl Devereaux, the town's athletic cop who loves his son very much.

, Mr. T is presenting a clip show on BBC Three named ''World's Craziest Fools''. The show features stories such as botched bank robberies and inept insurance fraudsters.

Wrestling

Mr. T entered the world of professional wrestling in 1983. He was Hulk Hogan's tag-team partner at the World Wrestling Federation's (WWF) first ''WrestleMania'' which he won. Hulk Hogan wrote in his autobiography that Mr. T saved the main event of WrestleMania I between them and "Rowdy" Roddy Piper and "Mr. Wonderful" Paul Orndorff because when he arrived, security would not let his entourage into the building. Mr. T was ready to skip the show until Hogan personally talked him out of leaving. Piper has said that he and other fellow wrestlers disliked Mr. T because he was an actor and had never paid his dues as a professional wrestler.

Remaining with the WWF, Mr. T became a special "WWF boxer" in light of his character in ''Rocky III''. He took on "Cowboy" Bob Orton on the March 1, 1986 edition of ''Saturday Night's Main Event,'' on NBC. This boxing stunt ultimately culminated in another boxing match against Roddy Piper at ''WrestleMania 2''. Mr. T returned to the World Wrestling Federation as a special guest referee in 1987 as well as a special referee enforcer confronting such stars as the Honky Tonk Man.

Seven years later, Mr. T reappeared as a special referee for a Hogan-Ric Flair match, in October 1994, at WCW's ''Halloween Havoc'', and then went on to wrestle again, defeating Kevin Sullivan at that year's ''Starrcade''. Another seven years later Mr. T appeared in the front row of the November 19, 2001, episode of ''WWF Raw''.

Albums

In 1984, Mr. T released an album titled ''Mr. T's Commandments'' (Columbia/CBS Records), much in the same tone as his 1984 educational video, which instructed children to stay in school and to stay away from drugs. He followed it up with a second album the same year, titled ''Mr. T's Be Somebody... or Be Somebody's Fool!'' (MCA Records), which featured music from the film of the same name. In 2002, Mr. T appeared in the video for "Pass The Courvoisier" by Busta Rhymes featuring P. Diddy and Pharell Williams.

Personal life

Mr. T is a born-again Christian.

He gave up virtually all his gold, one of his identifying marks, after helping with the cleanup of Hurricane Katrina in 2005. He said, "As a Christian, when I saw other people lose their lives and lose their land and property... I felt that it would be a sin before God for me to continue wearing my gold. I felt it would be insensitive and disrespectful to the people who lost everything, so I stopped wearing my gold."

Filmography

+ Film and Television
! Year	! Title	! Role	Notes
1982	''Penitentiary II''	Himself
1982	''Rocky III''
1982	''Twilight Theatre''		TV Series
1983	''D.C. Cab''	Samson
1983		Himself	TV Series
1983	''Diff'rent Strokes''	Himself	TV Series
1983		Himself	Episode: "The C Team"
1983–1987	''''		TV Series
1984	''The Toughest Man in the World''	Bruise Brubaker	TV
1984	''Be Somebody... or Be Somebody's Fool!''	Himself	Video
1984–1986, 1988	''WWF Superstars of Wrestling''	Himself	TV Series
1985		Himself	Video
1986	''WrestleMania 2''	Himself	Video
1987		Jabberwock	TV movie
1988–1990	''T. and T.''	T. S. Turner	TV Series
1993	''Freaked''	The Bearded Lady
1993		Mr. T-Rex
1994		Himself	TV Series
1994	''Magic of the Golden Bear: Goldy III''	Freedom
1995	''Kids Against Crime''	Himself
1996	''Spy Hard''	Helicopter Pilot
1998	''Saturday Night Live: The Best of Eddie Murphy''	Mister Robinson's neighbour	Video
1999		Himself
1999	''Malcolm and Eddie''	Calvin	Episode: "The Wrongest Yard"
2001	''Not Another Teen Movie''	The Wise Janitor
2001		J. T. Quincy	Cloud Ten Pictures
2004	''Johnny Bravo''	Himself	"T is for Trouble"
2004	''''	Himself	Episode: "Today I Am a Clown"
2005	''Return of the Lads''	Lad No 3 with Mark Egan and Cian Duffy
2006		Himself
2009	''''	Himself
2009		Earl Devereaux
2011	''World's Craziest Fools''	Himself	BBC Three

References

External links

Mohawk Media Mr. T site

TV Land's official I Pity The Fool page

Legendary TV's Mr. T profile

Mr. T discusses his Christian faith

Mr T. talks technology

Mr. T on a late 70s Local Chicago TV Show -- discussing being Leon Spinks bodyguard

Category:1952 births Category:Actors from Chicago, Illinois Category:African American film actors Category:American Christians Category:African American television actors Category:American television personalities Category:Bodyguards Category:Living people Category:Prairie View A&M Panthers football players Category:United States Army soldiers

da:Mr. T de:Mr. T es:Mr. T eu:Mr. T fr:Mister T. gl:Mr. T hr:Mr. T id:Mr. T it:Mr. T he:מיסטר טי lb:Mr. T lt:Laurence Tureaud nl:Mr. T ja:ミスター・T no:Mr. T pl:Mr. T pt:Mr. T ru:Мистер Ти simple:Mr. T fi:Mr. T sv:Mr. T th:มิสเตอร์ที tr:Mr. T

Name	Marc Storace
background	solo_singer
Born	October 07, 1951Sliema, Malta
Instrument	Vocals
Genre	Heavy metal, Hard rock
Years active	1970–present
Associated acts	TEAEazy MoneyKrokusBissWarrior
Website	}}

Marc Storace (''Sto-rah-chey'') is a Maltese rock vocalist and songwriter. His career in music started in the 1960s, but he is most noted for his position as frontman, lead singer and songwriter of Swiss hard rock band Krokus from 1980. Before joining ''Krokus'' he sang with the Swiss progressive rockers ''TEA'' following smaller bands - including one he had formed himself in London. He has since also undertaken a solo project, duets and an acoustical project. He also had some close encounters with the classical world and has worked with numerous other rock acts as both a writer and a singer.

Marc has a very high, three octave voice, making him a very distinct vocalist, and has been compared to AC/DC's former lead singer Bon Scott or Led Zeppelin's Robert Plant in terms of vocal style, sharing many of their vocal qualities. Since he began singing professionally in the 1970s, his style and voice have remained largely the same, with a noticeable increase of character, through maturity and years of ''live'' and ''studio'' experience.

Marc has recently played a major role in the Swiss-German films ''Anuk'' and ''Handyman'', in which he acted as well as writing and performing songs for the film's soundtracks.

Early life

Born as one of six children to Anthony Storace and Edna Crockford on the Mediterranean island of Malta, Marc taught himself to sing at a fairly early age. His life in music began at the age of fourteen when he made his first live performances with two local bands - Stonehenge Union (who covered the likes of The Beatles, The Rolling Stones and The Kinks) and The Boys (who covered some of the same songs, as well as chart material and more vocally challenging songs). In the late sixties, The Boys (still with Marc as lead vocalist) changed their name to Cinnamon Hades, and changed their genre to cover hard rock acts such as Led Zeppelin, Jimi Hendrix and The Who.

After these early experiences, and wanting to make a career out of his talent, he moved to London, England, in 1970.

Further on in his career, after joining Krokus, many people who heard Marc sing thought that he sounded like Bon Scott of AC/DC. He did not take this as a complment at the time, saying that, with all respect to Bon, he had his own singing identity. In fact, Marc was later approached to audition for the frontman job with AC/DC after Bon's tragic death, but Krokus was enjoying a very fast increase in success and Marc's loyalty to his bandmates meant a lot to him.

Early career

At the end of 1971, Marc joined Swiss hard rock band TEA. With them, he toured with big acts such as Queen and Nazareth, and released three studio albums: ''Sprouts'', ''The Ship'' and ''Tax Exiles''. All were produced by Dieter Dierks, at that time the man behind the Scorpions. For a while, TEA became Switzerland's rock Flagship, performing as far as Hamburg, London or Glasgow.

In 1976, TEA performed their last tour, taking Krokus on-the-road as supporting act. His friendly encounters with the Krokus bandmembers were the seeds to what followed later on. He returned to London and formed the band Eazy Money. Their song "Telephone Man" was included on a Metal-Music-Compilation album called ''Metal for Muthas Vol.2''. In 1979, he received a phone call from Krokus who were looking for a new singer and invited him to a "weekend jam" in Switzerland. After a very exciting weekend session both Marc and Krokus were pleased with the outcome and he was heartily initiated into the band.

Krokus

1980-88

In 1980, Marc recorded and released his first album with Krokus, ''Metal Rendez-vous''. It was Krokus's first big hit, and made it to triple platinum status. With Marc, Krokus's success increased dramatically, and from then until 1988 they toured extensively around the United States and Canada, with tours lasting up to around nine months at a time, as well as releasing a further six studio albums (''Hardware'', ''One Vice at a Time'', ''Headhunter'', ''The Blitz'', ''Change of Address'' and ''Heart Attack'') and one live album (''Alive & Screamin'''). This intense period or touring and recording naturally wore the band out, and they went on hiatus at the end of 1988.

1994-Present

In 1994, Marc encouraged fellow ex-Krokus member Fernando Von Arb to re-form the band, and so a reunion tour commenced. It went very well, and in 1995, Krokus released another studio album, ''To Rock or Not to Be''. Though this album was not as successful as some of those before it, it brought the band back together and they began touring again, with Marc once again the frontman. The year 2002 saw Krokus, with an altered line-up to that of the 1988 hiatus and 1994 return, begin touring Europe once more. Their long awaited comeback in the USA began in September 2005. To date, Marc has been the Krokus vocalist for twenty-six years, recording 12 albums and extensively touring Europe, the United States and Canada.

Other projects

Solo project

In spring 1989, Marc returned to Switzerland and wrote songs for his first solo project, ''The Blue Album''. It contained a collection of pop and soul influenced rock music, and was released in 1991 by the short-lived record company Eurostar. It was re-released in 1998 under the name ''Vergeat-Storace'' (Vergeat was Marc's guitar player and co-songwriter during the project) at the time.

Various guest vocal projects

Shortly after AC/DC vocalist Bon Scott's death in 1980, Marc was offered the vacancy in the band, but he turned it down because things were going extremely good at the time for Krokus. He also claimed that, besides his feelings of loyalty to his mates, he felt his band was going to continue to get bigger.

In 1993, Marc joined up as guest with the Swiss rock band China. A live album of their one and only tour with Marc in 1993 was eventually released on CD as "Live!" in 2000 (the live radio broadcast of the event was also released on the label Phonag Records). Shortly after Marc left the band, they split up due to the fact (according to Marc) that their use of a different vocalist for each of their albums meant that they could not establish a solid identity in the music world. A "Best of China" album was recently released by Universal Records in Switzerland.

With China's guitarists Freddie Lawrence and Claudio Matteo, Marc formed Acoustical Mountain that same year. This trio, performing without drums, played rock 'n' roll classics around Switzerland but never released any albums of their own, making them a "live-only" project. They split and then reformed in 1995, this time with China's bassist Brian Kofmehl replacing Freddie, who moved on to join Swiss melodic-rockers Gotthard. Storace and Claudio today still perform regularly all over Switzerland as Acoustical Mountain, sometimes taking Charly Preissel along as 2nd guitarist. [www.acoustical-mountain.com]

In 1994, Marc, alongside the Krokus Reunion, became part of Manfred Ehlert's Amen and released an album with them in the same year in Switzerland. Marc was the lead vocalist along with Glenn Hughes, and together they performed rock songs with a light touch of classical music. Marc's second album with them - ''Aguilar'' - was released in 1996, but this time it was sung by Marc alone (bar one track that again featured Glenn Hughes).

In 2003, parallel to Krokus commitments, Marc wrote and recorded with Los Angeles based metal rockers Warrior. This adventure resulted in the one-off album The Wars of Gods and Men. He greatly enjoyed his Los Angeles stay which enabled him to do some filming for a planned Krokus movie, but also catch up with old Stateside friends. He experienced working with American guitarist and founding member Joe Floyd. This album was unique in portraying yet unexplored dimensions from the singer's vocals abilities. It was released in the USA and Switzerland in 2004.

November 2004 saw German producer Michael Voss ask Marc to sing on the new album of the band Biss, titled ''Face-off'', which was released in 2005. It was a melodic rock album with powerful riffs and melodies, and Marc said that he felt that the songs were "too good to be true". *Face-Off* was released in May 2005.

The following year, 2006, saw yet another release by BISS featuring Marc on vocals again with the album X-Tension, and again, he collaborated with some of the songwriting. [www.b-i-s-s.com]

Anuk

In 2006, Marc took part in the German Film ''Anuk'', playing the part of Geisterzunge, a tribal medicine-man. Produced by Luke Gasser (who also plays the lead role), the film tells the story of a Bronze Age tribe trying to save itself from eradication by maurauding horsemen. Marc helped to write the soundtrack also, and he sings on the song "On My Own" (which he also wrote) along with Gasser and Doro Pesch. His chanting can also be heard on the film trailer.

Discography

Krokus

! Title	! Year
''Metal Rendez-vous''	1980
	1981
''One Vice at a Time''	1982
	1983
	1984
''Change of Address''	1986
''Alive & Screamin'''	1987
	1988
''To Rock or Not to Be''	1995
''Rock the Block''	2003
	2006
	2010

Others

! Artist	! Title	! Year
TEA	''Sprouts''	1972
TEA	''The Ship''	1974
TEA	''Tax Exile''	1976
Marc Storace	''The Blue Album''	1991
Amen	''Amen''	1994
Amen	''Aguilar''	1996
Marc Storace & China	''Alive''	2000
DC/World	''A Tribute to Bon Scott & AC / DC''	2000
Storace & Halsinger	''One World''	2000
Warrior	''The Wars of Gods & Men''	2004
Biss	''Face-Off''	2005
Biss	''X-tension''	2006

External links

Official website

Krokus homepage

References

Category:1951 births Category:Living people Category:Maltese male singers Category:Maltese musicians Category:Heavy metal singers de:Marc Storace it:Marc Storace