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Ruhr Metropolitan Region Metropolregion Ruhr
map of the Ruhr metropolitan region within Germany
Country	Germany
State	North Rhine-Westphalia
Largest Cities	Dortmund Essen Duisburg Bochum
Government
• Body	Regionalverband Ruhr
Area
• Metro	4,435 km2 (1,712 sq mi)
Highest elevation	441 m (1,447 ft)
Lowest elevation	13 m (43 ft)
Population
• Metro	5,172,745
• Metro density	1,646/km2 (4,260/sq mi)
Time zone	CET (UTC+1)
GRP	2007
Nominal	€ 136.3 billion[1]
Website	www.metropoleruhr.de

The Ruhr (German Ruhrgebiet, colloquial Ruhrpott, Kohlenpott, Pott or Revier), is an urban area in North Rhine-Westphalia, Germany.^[2] With a population density of 7100/km² and a population of some 7.3 million,^[3] it is the largest urban agglomeration in Germany. It consists of several large, formerly industrial cities bordered by the rivers Ruhr to the south, Rhine to the west, and Lippe to the north. In the Southwest it borders to the Bergisches Land. It is considered part of the larger Rhine-Ruhr metropolitan region of more than 12 million people.

Since the Ruhr is polycentric, coordinates shown are general in nature and so can be used to focus on the entire region of the Ruhr: 51°30′N 7°30′E / 51.5°N 7.5°E / 51.5; 7.5.

From west to east, the region includes the cities of Duisburg, Oberhausen, Bottrop, Mülheim an der Ruhr, Essen, Gelsenkirchen, Bochum, Herne, Hagen, Dortmund, and Hamm, as well as parts of the more "rural" districts Wesel, Recklinghausen, Unna and Ennepe-Ruhr-Kreis. Historically, the western Ruhr towns, such as Duisburg and Essen, belonged to the historic region of the Rhineland, whereas the eastern part of the Ruhr, including Gelsenkirchen, Bochum, Dortmund and Hamm, were part of the region of Westphalia. Since the 19th century, these districts have grown together into a large complex with a vast industrial landscape, inhabited by some 7.3 million people (when including Düsseldorf and Wuppertal). It is the fifth largest urban area in Europe after Istanbul, Moscow, London and Paris.

For 2010, the Ruhr region was one of the European Capitals of Culture.

Geography[link]

Map of the Ruhr

The urban landscape of the Ruhr extends from the Lower Rhine Basin east on to the Westphalian Plain and south on to the hills of the Rhenish Massif. Through the centre of the Ruhr runs a segment of the loess belt that extends across Germany from west to east. Historically, this loess belt has underlain some of Germany's richest agricultural regions.

Geologically, the region is defined by the occurrence of coal-bearing layers from the upper Carboniferous period, more or less independent of their depth. The coal seams reach the surface in a strip along the River Ruhr and dip downward from the river to the north. Beneath the River Lippe, the coal seams lie at a depth of 600 to 800 metres (2,000 to 2,600 feet). The thickness of the coal layers ranges from one to three metres (three to ten feet). This geological feature played a decisive role in the development of coal mining in the Ruhr.

According to the Regionalverband Ruhr (RVR, Ruhr Regional Association), 37.6% of the region’s area is built up. A total of 40.7% of the region’s land remains in agricultural use. Forests account for 17.6% of the region’s area. Bodies of water and other types of land use occupy the rest of the Ruhr's land. The inclusion of four mainly rural districts in the otherwise mainly industrial Ruhr helps to explain the large proportion of agricultural and forested land. In addition, the city boroughs of the Ruhr region have outlying districts with a rural character.

Seen on a map, the Ruhr could be considered a single city, since—at least in the north-south dimension—there are no visible breaks between the individual city boroughs. For this reason, the Ruhr is described as a polycentric urban area. The area is characterized by a similar history of urban and economic development.

Because of its history, the Ruhr is structured differently from monocentric urban regions such as Berlin and London, which developed through the rapid merger of smaller towns and villages with a growing central city. Instead, the individual city boroughs and urban districts of the Ruhr grew independently of one another during the Industrial Revolution. While large European cities typically have population densities of up to 20,000 inhabitants per square kilometre (about 50,000 per square mile), the population density of the central Ruhr—with only about 2,100 inhabitants per square kilometre (about 5,400 per square mile)—is thin compared to other German cities.

The transitions from one Ruhr city to another consist of relatively open suburbs and even open or agricultural fields. In some places, the borders between cities in the central Ruhr are unrecognizable due to continuous development across them.

Replanting of brownfield land has created new parks and recreation areas. The Emscher Landschaftspark (Emscher Landscape Park) lies along the River Emscher, formerly virtually an open sewer, parts of which have undergone natural restoration. This park connects strips of parkland running from north to south, which were developed through the regional planning in the 1920s, to form a green belt between the Ruhr cities from east to west.

History[link]

Middle Ages[link]

During the Middle Ages, much of the region that later was called Ruhrgebiet was situated in the Mark, the Duchies of Cleves and Berg and the territories of the bishop of Münster and the archbishop of Cologne. The region knew some medieval villages and castles but was mainly agrarian, its loess soil made it one of the richer parts of western Germany. The free imperial city of Dortmund was the trading and cultural centre, due to the Hellweg, an important east-west trading route, that brought prosperity to the town of Duisburg as well. Both towns were members of the Hanseatic League.

Industrial Revolution[link]

Zollverein Coal Mine Industrial Complex in Essen, an UNESCO World Heritage Site since 2001.

Zeche Zollern in Dortmund

The development of the region into an urbanized industrial area started in the late 18th century with the fortgoing early industrialisation in the nearby Wupper Valley in the Bergisches Land. Here around 1820 hundreds of water-powered mills were producing textile, lumber, shingles and iron in automated processes. And in even more workshops in the hills, highly skilled workers manufactured knives, tools, weapons and harnesses, using water, coal and charcoal. History has no official name for this phase of the industrial revolution, but one could call it the early waterpowered industrial revolution.

As the machines became bigger and transitioned from water- to steampower, local mined coal and charcoal became expensive and delivered insufficient burning power. The Bergische industry ordered more and more coal from the new coal mining area along Ruhr river.^[4] Impressive and expensive railways were constructed through the hilly Wupper region, to bring coal, and later steel, in from the Ruhr, and to carry products out to the world.^[5]

By 1850, there were almost 300 coal mines in operation in the Ruhr area, in and around the center cities Duisburg, Essen, Bochum and Dortmund. The coal was exported or processed in coking ovens into coke, needed to fuel blast furnaces, producing iron and steel. In this period the name Ruhrgebiet became common. Before the coal deposits along the Ruhr were used up, the mining industry moved northward to the Emscher and finally to the Lippe, drilling ever deeper mines as it went. Locks built at Mülheim on the Ruhr led to the expansion of Mülheim as a port. With the establishment of the Cologne-Minden railway in the late 19th century, several iron works were built within the borders of the present-day city of Oberhausen.

Migration[link]

The population climbed rapidly. Cities that in the early 19th century counted 2,000–5,000 inhabitants, grew in the following 100 years to over 100,000. Employers recruited skilled mine workers from other regions to the Ruhr's mines and steel mills and unskilled people started to move in. From 1860 onwards masses of new workers migrated from Silesia, Pomerania, East Prussia and Posen to the Ruhr. A majority of them were Polish-speakers and they were treated as second class citizens. In 1899 this led to a revolt in Herne of young Polish workers, who later established a Workers Union of their own. Skilled workers in the mines were often housed in so-called "miners’ colonies", constructed by the mining firms. At the end of the Prussian Kingdom over 3 million people lived in the Ruhrgebiet and the new coal-mining district had become the largest industrial region of Europe.^[6]

World War I[link]

During the first World War the Ruhrgebiet functioned as Germany's central weapon-factory. At a big Essen company the amount of employees in four years rose from 40,000 to 120,000. They were partly women, partly forced labourers.

Interbellum[link]

French and Belgian occupation[link]

In March 1921, French and Belgian troops occupied Duisburg, which according to the Treaty of Versailles formed part of the demilitarized Rhineland. In January 1923 the whole Ruhrgebiet was occupied as a reprisal after Germany failed to fulfill World War I reparation payments as agreed in the Versailles Treaty. The German government answered with "passive resistance", letting workers and civil servants refuse orders and instructions by the occupation forces.

Hyperinflation[link]

Production and transportation came to a standstill and the financial consequences contributed to German hyperinflation and ruined public finances in Germany. Passive resistance was called off in late 1923 allowing Germany to undertake a currency reform and to negotiate the Dawes Plan, which led to the withdrawal of French and Belgian troops from the Ruhr in 1925.

World War II[link]

During World War II, the "Ruhr 1940–1945" bombing caused a loss of 30% of plant and equipment (compared to 15–20% for the entire German industry).^[7] A second battle of the Ruhr (6/7 October 1944–end of 1944) is claimed to have begun with an attack on Dortmund.^{[8][verification needed]} In addition to the strategic bombing of the Ruhr, in April 1945, the Allies trapped several hundred thousand Wehrmacht troops in the Ruhr Pocket.

Post-World War II[link]

view of the redeveloped Duisburg Inner Harbour in 2010

Demilitarization[link]

The Level of Industry plans for Germany abolished all German munitions factories and civilian industries that could support them and severely restricted civilian industries of military potential. The French Monnet Plan pushed for an internationalization of the area,^[9] and the subsequent Ruhr Agreement was imposed as a condition for permitting for establishment of the Federal Republic of Germany.^[10]

During the Cold War, the Western allies anticipated that any Red Army thrust into Western Europe would begin in the Fulda Gap and have the Ruhr as a primary target. Increased German control of the area was limited by the pooling of German coal and steel into a multinational community in 1951. The nearby Saar region, containing much of Germany's remaining coal deposits, was handed over to economic administration by France as a protectorate in 1947 and did not politically return to Germany until January 1957, with economic reintegration occurring two years later. Parallel to the question of political control of the Ruhr, the Allies conducted an effort to decrease German industrial potential by limitations on production and dismantling of factories and steel plants, predominantly in the Ruhr. By 1950, after the virtual completion of the by-then much watered-down "level of industry" plans, equipment had been removed from 706 manufacturing plants in the west, and steel production capacity had been reduced by 6.7 million tons.^[11] Dismantling finally ended in 1951. In all, less than 5% of the industrial base was dismantled.^[12]

Economic miracle[link]

The Ruhr was at the center of the German economic miracle of the 1950s and 1960s, as very rapid economic growth at 9% a year created a heavy demand for coal and steel.

Decline after 1970[link]

After 1973, Germany was hard hit by a worldwide economic crisis, soaring oil prices, and persistently high unemployment, which jumped from 300,000 in 1973 to 1.1 million in 1975. The Ruhr region was hardest hit, as the easy-to-reach coal mines petered out, and German coal was no longer competitive. Likewise the Ruhr steel industry went into sharp decline, as its prices were undercut by lower-cost suppliers such as Japan. The welfare system provided a safety net for the large number of unemployed workers, and many factories reduce their labor force and began to concentrate on high-profit specialty items.^[13][14]

As demand for coal decreased after 1958, the area went through phases of structural crisis (see steel crisis) and industrial diversification, first developing traditional heavy industry, then moving into service industries and high technology. The air and water pollution of the area are largely a thing of the past although some issues take a long time to solve.^[15][16] In 2005, Essen^[17] was the official candidate for nomination as European Capital of Culture for 2010.

Demographics[link]

Largest cities[link]

The ten largest cities of the Ruhr:

Pos.	Name	Pop. 2010	Area (km²)	Pop. per km²	map
1	Dortmund	580,688	280.37	2,071
2	Essen	575,027	210.38	2,733
3	Duisburg	501,564	232.81	2,154
4	Bochum	385,626	145.43	2,652
5	Gelsenkirchen	268,102	104.86	2,557
6	Oberhausen	218,898	77.04	2,841
7	Hagen	196,934	160.36	1,228
8	Hamm	184,239	226.24	814
9	Herne	170,992	51.41	3,326
10	Mülheim an der Ruhr	169,917	91.29	1,861

Language[link]

The local dialect of German is commonly called Ruhrdeutsch or Ruhrpottdeutsch, although there is really no uniform dialect that justifies designation as a single dialect. It is rather a working class sociolect with influences from the various dialects found in the area and changing even with the professions of the workers. A major common influence stems from the coal mining tradition of the area. For example, quite a few locals prefer to call the Ruhr either "Kohlenpott", where "Pott" is a derivate of "Pütt" (pitmen's term for mine; cp. the English "pit"), or "Revier".

Migration[link]

Gastarbeiter, working at the Walsum mine (Duisburg)

During the 19th century the Ruhr attracted up to 500,000 ethnic Poles, Masurians and Silesians from East Prussia and Silesia in a migration known as Ostflucht. By 1925, the Ruhrgebiet had around 3.8 million inhabitants. Most of the new inhabitants migrated from Eastern Europe, however, immigrants also came from France, Ireland, and the United Kingdom. It has been claimed that immigrants came to the Ruhr from over 140 different nations. Almost all of their descendants today speak German only and due to various reasons they do not identify with their Polish roots and traditions, often only their Polish family names remaining as a sign of their past.

In 1900, the main concentrations of the Polish minority were:

• District of Gelsenkirchen (Westfalia) 13.1 %
• District of Bochum (Westfalia) 9.1 %
• District of Dortmund (Westfalia) 7.3 %
• City of Gelsenkirchen (Westfalia) 5.1 %

Official minority status and rights for Poles (Polish-speaking emigrants and their descendants) in Germany in general and in Ruhr specifically were revoked by Hermann Göring's World War II decree of 27 February 1940, and their property was confiscated. After World War II, even more immigrants originated from beyond German eastern and southern borders, first the former Polish, Russian and Ukrainian prisoners of war and slave-laborers of Nazi Germany who stayed in Ruhr, and then the guest workers from the south and other emigrants (Silesians, Masurians and Kashubians) from beyond the Iron Curtain. These guest workers or Gastarbeiter came mostly from Italy, Yugoslavia and Turkey and since the fall of communism most other Eastern European countries as well. Official minority status for Poles in Germany has never been restored nor Nazi-confiscated property returned, in spite of numerous promises and declarations by various German governments and European Community reports. Polish government signed a treaty with Germany called Treaty of Good Neighbourship on June 17, 1991 where official Polish minority status in Germany was not recognized whereas the German minority in Poland status was and has been since fully protected.

Culture[link]

This section requires expansion.

The city of Essen (representing the Ruhr) was selected as European Capital of Culture for 2010 by the Council of the European Union.

The Industrial Heritage Trail[link]

The Industrial Heritage Trail (German: Route der Industriekultur) links tourist attractions related to the European Route of Industrial Heritage in the Ruhr area.

Economy[link]

This section requires expansion.

headquarters of ThyssenKrupp AG in Essen

Largest companies[link]

(A–Z)

• Aldi
• Evonik Industries
• Franz Haniel & Cie.
• Hochtief
• Klöckner & Co.
• RWE
• Tengelmann
• ThyssenKrupp

Transport[link]

Road transport[link]

A 40 in Essen at night

Meiderich station of Verkehrsverbund Rhein-Ruhr

The Ruhr has one of the densest motorway networks in all of Europe, with dozens of Autobahns and Autobahn like Schnellstraßen (expressways) crossing the region. The Autobahn network is built in a grid network, with 4 east-west (A2, A40, A42, A44) and 7 north-south (A1, A3, A43, A45, A52, A57, A59) routes. A1, A2 and A3 are mostly used by through traffic, while other autobahns have a more regional function. Both A44 and A52 have several missing links, in various stages of planning. Some missing links are currently not considered to be constructed.

Additional expressways serve as bypasses and local routes, especially around Dortmund and Bochum. Due to the density of the autobahns and expressways, Bundesstraßes are less important for intercity traffic. The first Autobahns in the Ruhr opened during the mid-1930s. Due to the density of the network, and the number of alternate routes, traffic volumes are generally lower than other major metropolitan areas in Europe. Traffic congestion is an everyday occurrence, but far less compared to Randstad, another polycentric urban area. Most important Autobahns possess six lanes, but there are no eight-lane Autobahns in the Ruhr.

Public transport[link]

All public transport companies in the Ruhr are run under the umbrella of the Verkehrsverbund Rhein-Ruhr, which provides a uniform ticket system valid for the entire area. The Ruhr region is well-integrated into the Deutsche Bahn, both in passenger and cargo rail.

Air transport[link]

Düsseldorf International Airport serves as the interncontinental airport for North Rhine-Westphalia and is within 20 km for most of the Western Ruhr area. Dortmund Airport in the Eastern Ruhr is a mid-sized airport, offering scheduled flights to domestic and European destinations.

See also[link]

NRW portal

• Rhine-Ruhr
• Metropolitan regions in Germany
• Occupation of the Ruhr (1923–1924)
• Ruhrpolen
• Silesian metropolitan area
• Upper Silesian Coal Basin

Notes[link]

References[link]

• Botting, Douglas (1985). From the Ruins of the Reich: Germany 1945–1949. New York: Crown Publishing. ISBN 0-517-55865-3. 
• Bishop, Patrick. Bomber Boys Fighting Back 1940–1945
• French Directorate for Economic Affairs, Memorandum on the separation of the German industrial regions, 8 September 1945.
• Gareau, Frederick H. "Morgenthau's Plan for Industrial Disarmament in Germany", Western Political Quarterly, Vol. 14, No. 2 (Jun., 1961), pp. 517–53 in JSTOR
• Yoder, Amos. "The Ruhr Authority and the German Problem", Review of Politics, Vol. 17, No. 3 (Jul., 1955), pp. 345–358 in JSTOR

Further reading[link]

• Kift, Roy, Tour the Ruhr: The English language guide (3rd ed., 2008) (ISBN 3-88474-815-7) Klartext Verlag, Essen [1]
• Berndt, Christian. Corporate Germany Between Globalization and Regional Place Dependence: Business Restructuring in the Ruhr Area (2001)
• Crew, David. Town in the Ruhr: A Social History of Bochum, 1860–1914 (1979) (ISBN 0231043007)
• Fischer, Conan. The Ruhr Crisis, 1923–1924 (2003)
• Gillingham, John. "Ruhr Coal Miners and Hitler's War", Journal of Social History Vol. 15, No. 4 (Summer, 1982), pp. 637–653 in JSTOR* Chauncy D. Harris, "The Ruhr Coal-mining District", Geographical Review, 36 (1946), 194–221.
• Gillingham, John. Industry and Politics in the Third Reich: Ruhr Coal, Hitler, and Europe (1985) (ISBN 0231062605)
• Pounds, Norman J. G. The Ruhr: A Study in Historical and Economic Geography (1952) online
• Pierenkemper, Toni. "Entrepreneurs in Heavy Industry: Upper Silesia and the Westphalian Ruhr Region, 1852 to 1913", Business History Review Vol. 53, No. 1 (Spring, 1979), pp. 65–78 in JSTOR
• Royal Jae Schmidt. Versailles and the Ruhr: Seedbed of World War II (1968)
• Spencer, Elaine Glovka. "Employer Response to Unionism: Ruhr Coal Industrialists before 1914" Journal of Modern History Vol. 48, No. 3 (Sep., 1976), pp. 397–412 in JSTOR
• Spencer, Elaine Glovka. Management and Labor in Imperial Germany: Ruhr Industrialists as Employers, 1896–1914. Rutgers University Press. (1984) online
• Todd, Edmund N. "Industry, State, and Electrical Technology in the Ruhr Circa 1900", Osiris 2nd Series, Vol. 5, (1989), pp. 242–259 in JSTOR

External links[link]

Wikimedia Commons has media related to: Ruhrgebiet

Look up Ruhrgebiet in Wiktionary, the free dictionary.

Wikinews has related news: Themenportal_Ruhrgebiet

• Ruhr Tourism
• Post-Surrender Program for Germany (Sept. 1944)
• Ruhr Delegation of the United States of America, Council of Foreign Ministers American Embassy Moscow, March 24, 1947
• Draft, The President's Economic Mission to Germany and Austria, Report 3, March, 1947; OF 950B: Economic Mission as to Food…; Truman Papers.
• France, Germany and the Struggle for the War-making Natural Resources of the Rhineland Describes the contest for the Ruhr and Saar over the centuries.
• Ruhrgebietsbilder: Photos about the Ruhr

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Herbert Grönemeyer
Herbert Grönemeyer, 2004
Background information
Birth name	Herbert Arthur Wiglev Clamor Grönemeyer
Born	(1956-04-12) April 12, 1956 (age 56)
Origin	Göttingen, Lower Saxony, Germany
Genres	Rock, pop rock, soft rock, pop
Occupations	Singer, actor, composer
Instruments	Vocals, piano, guitar
Years active	1978–present
Labels	EMI, Grönland
Website	www.groenemeyer.de

Herbert Grönemeyer (born April 12, 1956) is a German musician and actor, popular in Germany, Austria and Switzerland. He starred as war correspondent Lieutenant Werner in Wolfgang Petersen's movie Das Boot, but later concentrated on his musical career. His fifth album 4630 Bochum (1984) and his 20th album Mensch (Human) (2002) are the best-selling German-language records of all time.^{[citation needed]} He is the most successful artist in Germany with album sales of over 13 million albums.^[1]

Early life[link]

Grönemeyer often refers to his personal roots as lying in the German town of Bochum where he spent most of his childhood, youth and early adulthood. Still today, the song Bochum, first released in 1984, is one of his signature songs, especially during live performances. Being born in Göttingen and not in Bochum he has his own explanation: "I was only born in Göttingen because my mother often fainted when she was pregnant with me. She did this every time she turned to her left side, and no one believed her. In Göttingen there was a professor, a specialist, and he didn't believe her either, at which point she lay down, fainted, and brought me into the world. This is why I was born in Göttingen."^[2]

Work[link]

Grönemeyer’s interest in music was sparked at the age of eight, when he started to take piano classes. These later formed the basis for his work as a pianist and composer at the local theatre Schauspielhaus Bochum. In 1979, at the City of Cologne Theatre (Schauspielhaus Köln), using his musical talent to great effect, he gave an excellent performance as Lorenzo in the The Merchant of Venice. Although never having attended an acting school he soon appeared in several TV productions. During one of the shootings he met his later wife, the actress Anna Henkel. Additionally, Grönemeyer published an album he had recorded with the jazz formation "Ocean Orchestra" in 1978, a year in which he also composed the music for the film Uns reicht das nicht by Jürgen Flimm, together with Jens-Peter Ostendorf. His first solo album Grönemeyer, which was published in 1979, was awarded the Golden Lemon for the ugliest album cover of the year. His second album Zwo was released in 1981. Neither managed to chart. In the same year he starred in Wolfgang Petersen’s successful movie Das Boot as Lieutenant Werner. For the role of composer Robert Schumann in the German-German coproduction Frühlingssinfonie (co-starring Nastassja Kinski and Rolf Hoppe), for which he also composed the film score, Grönemeyer spent six months in the GDR. During the early 1980s Grönemeyer put his main focus on his music; the next two albums Total egal (1982) and Gemischte Gefühle (1983) flopped and most concerts of the planned tour had to be cancelled.

Grönemeyer first met success as a musician in 1984 with the release of Bochum which became the best-sold album in Germany that year, particularly supported by the singles "Männer" ( English lyrics ) and "Flugzeuge im Bauch". A year later Grönemeyer appeared in the TV-movie Väter und Söhne, co-starring Julie Christie, Burt Lancaster and Bruno Ganz. In his next albums Sprünge (1986) and Ö (1988) he increasingly expressed his political opinion, criticising the government under German Chancellor Helmut Kohl. In 1986 Grönemeyer performed at the Anti-WAAhnsinns Festival against nuclear power and he composed the film score for the TV film Sommer in Lesmona, for which he received the Adolf Grimme Award in gold. The release of his first English album What’s all this was followed by a tour through Canada, where it had success in the charts. After the Berlin Wall had fallen Grönemeyer released the album Luxus in which he addressed the feelings in East and West Germany. Having two children together, Felix and Marie, he married his companion Anna Henkel in 1993. In the same year Chaos was released and became a Top 1 hit record in Germany. More than 600,000 people saw the following tour. In 1994, Grönemeyer was the first non-English-speaking artist who was invited by MTV to do an unplugged concert. Four years later Grönemeyer moved to London and released Bleibt alles anders (Everything Remains Different). He also founded his own record label, Grönland Records. In the same year his brother Wilhelm and his wife Anna died of cancer (both dying within 3 days); it took Grönemeyer a year to resume his work. In 2000 he recorded a concert with a philharmonic orchestra and released the DVD Stand der Dinge (State of Affairs). In August 2002 he released his so far most successful album Mensch (Human) which was awarded Platinum even before release due to advance orders. The single "Mensch" became Grönemeyer’s first number one hit in Germany and 1.5 million people saw the 2-year tour. In 2004 and 2006 Grönemeyer recorded songs for the Olympic Games in Athens ("Everlasting") and the 2006 FIFA World Cup in Germany ("Celebrate the Day"), respectively.

In March 2007 he released his 12th studio album 12 which was followed by a stadium tour across German-speaking countries. Smaller concerts took place in September in Amsterdam, Munich, Dresden and London's Royal Albert Hall.

The three re-recorded albums What's all this, Luxus and Chaos for the English-speaking market were met with limited sales success. Grönemeyer was scheduled to make his American debut on September 17, 2007 at the Beacon Theater in New York City, but the performance has since been postponed.

In January 2010, Grönemeyer performed the anthem "Komm zur Ruhr" as part of the opening ceremony of the "RUHR.2010" - The city of Essen being the "European Capital of Culture 2010" on behalf of the entire Ruhr area.

The magazine TIME awarded him the title of "European Hero" in 2005 for his humanitarian work.

Discography[link]

Studio albums[link]

• 1979 Grönemeyer
• 1980 Zwo
• 1982 Total egal
• 1983 Gemischte Gefühle
• 1984 4630 Bochum
• 1986 Sprünge
• 1988 Ö
• 1990 Luxus
• 1993 Chaos
• 1998 Bleibt alles anders
• 2002 Mensch
• 2007 12
• 2011 Schiffsverkehr

Filmography[link]

• 1976 — Die Geisel (directed by Peter Zadek)
• 1978 — Von Tag zu Tag (directed by Ulrich Stein)
• 1978 — Uns reicht das nicht (directed by Juergen Flimm)
• 1979 — Daheim unter Fremden (directed by Peter Keglevic)
• 1981 — Das Boot (directed by Wolfgang Petersen)
• 1982 — Doktor Faustus (directed by Franz Seitz)
• 1982 — Frühlingssinfonie (directed by Peter Schamoni)
• 1984 — Die ewigen Gefühle (directed by Peter Beauvais)
• 1985 — Väter und Söhne (directed by Bernhard Sinkel)
• 2007 — Control (directed by Anton Corbijn)
• 2010 — The American (directed by Anton Corbijn): film score by Herbert Grönemeyer

References[link]

External links[link]

Wikimedia Commons has media related to: Herbert Grönemeyer

• Official website
• http://www.groenland.com Grönemeyer's record label
• http://www.letzte-version.de Fan site
• Herbert Grönemeyer on Europopmusic.eu (English)
• Herbert Grönemeyer at the Internet Movie Database
• Herbert Grönemeyer discography at Discogs

Freddie McGregor
Background information
Born	(1956-06-27) 27 June 1956 (age 55), Clarendon, Jamaica
Genres	Reggae, lovers rock, ska, rocksteady, roots reggae
Occupations	Singer, record producer
Years active	1963–present
Labels	VP, Greensleeves, Studio One, Polydor, RAS, various
Website	freddiemcgregor.com

Freddie McGregor (born 27 June 1956, Clarendon, Jamaica)^[1] has been variously a singer, musician and producer. According to Allmusic he is one of reggae's most durable and soulful singers, with a steady career that started in the 1960s, when he was just seven years old.^[1]

Biography[link]

In 1963 he joined with Ernest Wilson and Peter Austin to form The Clarendonians, and began to record for the Studio One label. McGregor worked with producer Niney the Observer during the late 1970s and early 1980s.

In 1975, McGregor converted to Rastafari, which had a profound impact on his music.^[1] He is a member of the Twelve Tribes organization.

His popularity soared in the early 1980s with the release of "Bobby Bobylon". Other popular hits of McGregor's include "Big Ship", "Push Comes to Shove", "Just Don't Want to Be Lonely" and "I Was Born a Winner"; as well as cover versions of many early reggae standards. He has also worked with producers Junjo Lawes, Linval Thompson, and Gussie Clarke. McGregor has also toured extensively for many years.

In 1984, he inaugurated his own Big Ship label, secured a licensing agreement with RAS Records in U.S. and released Come On Over in 1987.

After slowing his pace in the late 1990s, McGregor returned in 2000 with the acclaimed Signature, which restored his typical balance of roots reggae and lovers rock with touches of dancehall. He followed it two years later with a similarly well-received album, the Grammy nominated, Anything for You.^[1]

He established the Big Ship Recording Studio, and has produced many artists including Luciano and Mikey Spice.

One of McGregor's three sons, Stephen, is a dancehall record producer.

McGregor has spanned nearly every stylistic shift in Jamaican music, from ska and rocksteady to Rastafarian roots reggae to lovers rock to dabblings in dancehall, ragga, and dub.^[1]

In a 2011 interview, he expressed concern many veteran artists, including himself, struggled for local radio play of their newer material, which he felt may be "lost" over time as a result.^[2]

Discography[link]

Albums[link]

• Bobby Bobylon (1979) Studio One
• Mr. McGregor aka Freddie McGregor (1979) Observer/Jackal/56 Hope Rd/Mercury
• Lovers Rock (Showcase Jamaica Style) (1981) Live & Love

• I Am Ready (1982) Coxsone/Studio One
• Love At First Sight (1982) Intense
• Come On Over (1983) RAS
• Rhythm So Nice (1983) Thompson Sounds
• Across The Border (1984) RAS
• All In The Same Boat (1986) RAS
• Freddie McGregor (1987) Polydor
• Don't Want To Be Lonely Studio One
• Live at the Town & Country Club (1991) VP
• FM (1992) High Times
• Live in London 1991 (1993) Charly
• Roots Man Skanking Clocktower
• Sing Jamaican Classics Vol.1
• Jamaican Classics Vol.2 (1998) Big Ship
• Magic In The Air (1999) Big Ship
• Zion Chant (1999) Heartbeat
• Signature (2000) VP
• Rumours (2000) Greensleeves
• Carry Go Bring Come (2000) Greensleeves
• Hard to Get (2000) Greensleeves
• Forever My Love (2000) RAS
• Push On (2002) Big Ship
• Lovers Rock (2003) Prestige
• Anything For You (2002) VP
• Reggae Max (2003) Jet Star
• Heart Is Willing (2003) Charm
• Rhythms of My Heart (2004) Nuff
• Comin' in Tough (2005) VP
• Masterpiece (200?) VP
• Mister Eudaric Riddim (2009)
• Mr.McGregor (2009) VP
• Giants (2009) Joe Gibbs Publishing

UK hit singles[link]

The following were hits on the UK Singles Chart:

• "Just Don't Want To Be Lonely" (1987) - #9
• "That Girl (Groovy Situation)" (1987) - #47

^[3]

DVDs and videos[link]

Freddie McGregor releases[link]

• Live Video Music, Inc. (DVD)

Various artists releases featuring McGregor[link]

• A Reggae Christmas (1988) RAS
• Sunsplash '90 - Reggae Rockers (1990) Wienerworld (DVD)
• The Reggae Movie (1996) Geneon (DVD)
• Golden Voices of Reggae (2005) Island MVD (DVD)
• Western Consciousness Pt 2 (2005) Island MVD (DVD)

See also[link]

• List of reggae musicians
• List of roots reggae artists
• List of performers on Top of the Pops
• VP Records
• Rastafari movement

References[link]

External links[link]

• Official website
• Pogus Caesar photos of Freddie McGregor at Sunsplash UK

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (July 2010)

This article may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (July 2010)

Armando Anthony "Chick" Corea (born June 12, 1941)^[2] is an American jazz pianist, keyboardist, and composer.

Many of his compositions are considered jazz standards. As a member of Miles Davis' band in the 1960s, he participated in the birth of the electric jazz fusion movement. In the 1970s he formed Return to Forever.^[2] Along with Herbie Hancock, McCoy Tyner and Keith Jarrett, he has been described as one of the major jazz piano voices to emerge in the post-John Coltrane era.^[3]

His career has been driven by his will to operate as a free agent and compulsively explore different avenues of music making. This hunger has positioned him as an important catalyst in the world of serious, mainstream acoustic jazz, and he is one of the most influential and widely studied figures in the last 40 years.^[4]

Corea continued to pursue other collaborations and to explore various musical styles throughout the 1980s and 1990s. He is also known for promoting and fundraising for a number of social issues, such as eradicating social illiteracy,^[5] and is a Scientologist.^[6]

Life and career[link]

Youth[link]

Armando Corea was born in Chelsea, Massachusetts. He is of Sicilian and Spanish descent.^[7] His father, a jazz trumpet player who had led a Dixieland band in the Boston area in the 1930s and 1940s, introduced him to the piano at the age of four. Growing up surrounded by jazz music, he was influenced at an early age by bebop and stars such as Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver, and Lester Young. At eight Corea also took up drums, which would later influence his use of the piano as a percussion instrument.

Corea developed his piano skills by exploring music on his own. A notable influence was concert pianist Salvatore Sullo from whom Corea started taking lessons at age eight and who introduced him to classical music, helping spark his interest in musical composition. He also spent several years as a performer and soloist for the Knights of St. Rose, a drum and bugle corps based in Chelsea.

Given a black tuxedo by his father, he started doing gigs when in high school. He enjoyed listening to Herb Pomeroy's band at the time, and had a trio which would play Horace Silver's music at a local jazz club.

He eventually decided to move to New York where he studied musical education for one month at Columbia University and six months at The Juilliard School. He quit after finding both disappointing, but liked the atmosphere of New York where the musical scene became the starting point for his professional career.

Early career[link]

Corea's first major professional gig was with Cab Calloway. Corea started his professional career in the 1960s playing with trumpeter Blue Mitchell and Latin greats such as Herbie Mann, Willie Bobo and Mongo Santamaría. One of the earliest recordings of his playing is with Blue Mitchell's quintet on The Thing To Do. This album features his composition "Chick's Tune", a clever retooling of "You Stepped Out of a Dream" that demonstrates the angular melodies and Latin-and-swing rhythms that characterize, in part, Corea's personal style. (Incidentally, the same tune features a drum solo by a very young Al Foster.)

His first album as a leader was Tones for Joan's Bones in 1966, two years before the release of his album Now He Sings, Now He Sobs, with Roy Haynes on drums and Miroslav Vitouš on bass.^[2]

He made another sideman appearance with Stan Getz on 1967's Sweet Rain (Verve Records).^[2]

Avant garde period[link]

Chick Corea, 2007

From 1968 to 1971 Corea had associations with avant garde players and his solo style revealed a dissonant, avant garde orientation. His avant garde playing can be heard on his solo works of the period, his solos in live recordings under the leadership of Miles Davis, his recordings with Circle, and his playing on Joe Farrell's Song of the Wind album on CTI Records.

In September 1968 Corea replaced Herbie Hancock in the piano chair in Davis' band and appeared on landmark albums such as Filles de Kilimanjaro, In a Silent Way, and Bitches Brew. In concert, Davis' rhythm section of Corea, Dave Holland, and Jack DeJohnette combined elements of free jazz improvisation and rock music.^{[citation needed]} Corea experimented using electric instruments with the Davis band, mainly the Fender Rhodes electric piano.

In live performance he frequently processed the output of his electric piano with a device called a ring modulator, producing sounds reminiscent of composer Karlheinz Stockhausen. Using this style, he appeared on multiple Davis albums, including Black Beauty: Live at the Fillmore West and Miles Davis at Fillmore: Live at the Fillmore East. His live performances with the Miles Davis band continued into 1970, with a great touring band of Steven Grossman, tenor sax, Keith Jarrett, additional electric piano and organ, Jack DeJohnette, drums, Dave Holland, bass, Airto Moreira, percussion, and Miles on trumpet.^[2]

Holland and Corea left to form their own group, Circle, active in 1970 and 1971. This free jazz group featured multi-reed player Anthony Braxton and drummer Barry Altschul. This band was documented on Blue Note and ECM. Aside from soloing in an atonal style, Corea sometimes reached in the body of the piano and plucked the strings. In 1971 or 1972 Corea struck out on his own.

The concept of communication with an audience became a big thing for me at the time. The reason I was using that concept so much at that point in my life – in 1968, 1969 or so – was because it was a discovery for me. I grew up kind of only thinking how much fun it was to tinkle on the piano and not noticing that what I did had an effect on others. I did not even think about a relationship to an audience, really, until way later.^[8]

Jazz fusion[link]

Bobby McFerrin and Chick Corea, New Orleans Jazz and Heritage Festival in 2008

In the early 1970s Corea took a profound stylistic turn from avant garde playing to a crossover jazz fusion style that incorporated Latin jazz elements. He founded Return to Forever in 1971. This band had a fusion sound and even though it relied on electronic instrumentation it drew more on Brazilian and Spanish-American musical styles than on rock music. On its first two records, Return to Forever featured Flora Purim's vocals, the Fender Rhodes electric piano, and Joe Farrell's flute and soprano saxophone. Airto Moreira played drums. Corea's compositions for this group often had a Brazilian tinge. In 1972 Corea played many of the early Return to Forever songs in a group he put together for Stan Getz. This group, with Stanley Clarke on bass and Tony Williams on drums, recorded the Columbia label album Captain Marvel under Getz's name.

Only Clarke remained from the group's first lineup; Bill Connors played electric guitar and Lenny White played drums. No one replaced vocalist Purim. (Briefly, in 1977, Corea's wife, Gayle Moran, served as vocalist in the band.) In 1974 Al Di Meola joined the band, replacing Connors. In this second version of Return to Forever, Corea extended the use of synthesizers, particularly Moogs. The group released its final studio record in 1977 named "Romantic Warrior". Thereafter, Corea focused on solo projects.^[2]

Corea's composition "Spain" first appeared on the 1972 Return to Forever album Light as a Feather. This is probably his most popular piece, and it has been recorded by a variety of artists. There are also a variety of subsequent recordings by Corea himself in various contexts, including an arrangement for piano and symphony orchestra that appeared in 1999, and a collaborative piano and voice-as-instrument arrangement with Bobby McFerrin on the 1992 album Play. Corea usually performs "Spain" with a prelude based on Joaquín Rodrigo's Concierto de Aranjuez (1940), which earlier received a jazz orchestration on Miles Davis' and Gil Evans' "Sketches of Spain".

In 1976 he issued My Spanish Heart, influenced by Latin American music and featuring vocalist Moran and electric violinist Jean-Luc Ponty.The record was somewhat misunderstood at the time but it is considered nowadays as a true example of Corea's ability to write fussion material. The album combined jazz, flamenco, supported by plenty of mini- moog backup and a powerful horn section.

The late Ana Mazzotti, a Brazilian jazz pianist and vocalist, dedicated what is perhaps her last ever recorded track, "Grand Chick", to Corea. The song may be found on her "Ao Vivo Guaruja 1982" album. As Ana Mazzotti worked with Brazilian jazz fusion masters Azymuth in her first album, it was further testament to Corea's influence in the genre.

Duet projects[link]

In the 1970s Corea started working occasionally with vibraphonist Gary Burton, with whom he recorded several duet albums on ECM, including 1972's Crystal Silence. They reunited in 2006 for a concert tour. A new record called The New Crystal Silence (which has received 3 nominations for the 51st Grammy Awards) was issued shortly into 2008. The package includes a disc of duets and another disc featuring the Sydney Symphony.

Later, toward the end of the 1970s, Corea embarked on a series of concerts and two albums with Herbie Hancock. These concerts were presented in elegant settings with both pianists formally dressed, and performing on Yamaha concert grand pianos. The two jazz greats traded playing each other's compositions, as well as pieces by other composers such as Béla Bartók.

In December 2007 Corea recorded a duet album, The Enchantment, with banjoist Bela Fleck.^[9] Fleck and Corea toured extensively behind the album in 2007. Fleck was nominated in the Best Instrumental Composition category at the 49th Grammy Awards for the track "Spectacle."^[10]

In 2008 Corea collaborated with Japanese pianist Hiromi Uehara on the live album Duet (Chick Corea and Hiromi). The duo played a concert at Tokyo's Budokan arena on April 30.^[11]

Later work[link]

Corea performs with Béla Fleck, March 1, 2008

Corea's other bands include the Elektric Band, the Akoustic Band, and Origin.

The Akoustic Band released a self-titled album in 1989, and featured John Patitucci on bass and Dave Weckl on drums. It marked a turn back toward traditional jazz in Corea's career, and the bulk of his subsequent recordings have been acoustic ones. The Akoustic Band also provided the music for the 1986 Pixar short Luxo Jr. with their song The Game Maker.

In 1992 Corea started his own label, Stretch Records.^[2]

In 2001 the Chick Corea New Trio, with Avishai Cohen and Jeff Ballard on bass and drums, respectively, released the album Past, Present & Futures. The 11-song album includes only one standard composition (Fats Waller's "Jitterbug Waltz"). The rest of the tunes are Corea originals.

He also participated in 1998's Like Minds, which features Gary Burton on vibes, Pat Metheny on guitar, Dave Holland on bass and Roy Haynes on drums.

Recent years have also seen Corea's rising interest in contemporary classical music. He composed his first piano concerto – and an adaptation of his signature piece, Spain, for a full symphony orchestra – and performed it in 1999 with the London Philharmonic Orchestra. Five years later he composed his first work not to feature any keyboards: His String Quartet No. 1 was specifically written for the Orion String Quartet and performed by them on 2004's Summerfest.

Corea has continued releasing jazz fusion concept albums such as To the Stars (2004) and Ultimate Adventure (2006). The latter album won the Grammy Award for Best Jazz Instrumental Album, Individual or Group.

In 2008 the second version of Return to Forever (Corea, keyboards; Stanley Clarke, bass; Lenny White, drums; Al Di Meola, guitar) reunited for a worldwide tour. The reunion received positive reviews from most jazz and mainstream publications.^[12] Most of the group's studio recordings were re-released on the compilation Return to Forever: The Anthology to coincide with the tour. A concert DVD recorded during their performance at the Montreux Jazz Festival was released in May 2009. He is recently working on a collaboration CD with the Grammy Award winning jazz vocal group The Manhattan Transfer, due to be released in August 2009.

A new group, the 5 Peace Band, which features Corea and guitarist John McLaughlin, began a world tour in October 2008. Corea had previously worked with McLaughlin in Miles Davis' late 1960s bands, including the group that recorded Davis' album Bitches Brew. Joining Corea and McLaughlin in the 5 Peace Band are saxophonist Kenny Garrett and bassist Christian McBride. Drummer Vinnie Colaiuta played with the band in Europe and on select North American dates; Brian Blade played all dates in Asia and Australia, and most dates in North America.

Scientology[link]

Corea says that Scientology has helped deepen his relationships with others, and helped him find a renewed path.^[3] Under the "special thanks" notes, found in all of his later albums, Corea mentions that L. Ron Hubbard, founder of Scientology, has been a continual source of inspiration. In 1968 Corea discovered Dianetics, Hubbard's principal work, and in the early 1970s developed an interest in Hubbard's science fiction novels. The two exchanged letters until Hubbard's death in 1986, and Corea had three guest appearances on Hubbard's 1982 album Space Jazz: The Soundtrack of the Book Battlefield Earth, noting, "[Hubbard] was a great composer and keyboard player as well. He did many, many things. He was a true Renaissance Man."^[6]

Corea said that Scientology became a profound influence on his musical direction in the early 1970s:

I no longer wanted to satisfy myself. I really want to connect with the world and make my music mean something to people.^[13]

Due to Corea's religious affiliation, he was banned from performing in a concert to be held in Stuttgart, Germany, on August 15, 1993.^[14] Members of the U.S. Congress sent letters to the German government concerning a violation of basic human rights that are upheld by the German Constitution. The ban was not upheld, and in later years Corea performed in festivals in Germany, including several times at the government-supported International Jazz Festival in Burghausen where he was awarded a plaque in Burghausen's "Street of Fame" in 2011.^[15]

In 1998, Corea and fellow entertainers Anne Archer, Isaac Hayes, and Haywood Nelson attended the 30th anniversary of Freedom Magazine, the Church of Scientology's investigative news journal, at the National Press Club in Washington, D.C., to honor 11 human rights activists.^[16]

Discography[link]

Awards[link]

Over the years, he has been nominated for 51 Grammy Awards out of which he has won 18:

Corea has also won two Latin Grammy Awards.

His 1968 album Now He Sings, Now He Sobs was inducted in the Grammy Hall of Fame in 1999.

In 2010, he was named doctor honoris causa at Norwegian University of Science and Technology (NTNU).^[17]

See also[link]

	Biography portal
	Jazz portal
	Scientology portal

Wikiquote has a collection of quotations related to: Chick Corea

• Analog synthesizer

References[link]

External links[link]

• Official site
• Official discography
• Jazzreview.com biography
• Verve Records Archived October 13, 2007 at the Wayback Machine
• An Interview with Chick Corea by Bob Rosenbaum, July 1974 (PDF file) "You put these notes together and you come out with that sound, and isn't it beautiful. So what? What does it do to another person? What does it do to your neighborhood?"
• Chick Corea talks to Michael J Stewart about his Piano Concerto