MPEG logo

MPEG Format is used on several media. This picture relates some of the most known media to the MPEG Format version and container format (TS and PS) used.

The Moving Picture Experts Group (MPEG) is a working group of experts that was formed by ISO and IEC to set standards for audio and video compression and transmission.^[1] It was established in 1988 by the initiative of Hiroshi Yasuda (Nippon Telegraph and Telephone) and Leonardo Chiariglione^[2], who has been from the beginning the Chairman of the group. The first MPEG meeting was in May 1988 in Ottawa, Canada.^[3][4][5] As of late 2005, MPEG has grown to include approximately 350 members per meeting from various industries, universities, and research institutions. MPEG's official designation is ISO/IEC JTC1/SC29 WG11 - Coding of moving pictures and audio (ISO/IEC Joint Technical Committee 1, Subcommittee 29, Working Group 11).^[6][7][8][9]

Overview[link]

Compression methodology

The MPEG compression methodology is considered asymmetric as the encoder is more complex than the decoder.^[1] The encoder needs to be algorithmic or adaptive whereas the decoder is 'dumb' and carries out fixed actions.^[1] This is considered advantageous in applications such as broadcasting where the number of expensive complex encoders is small but the number of simple inexpensive decoders is large. The MPEG's (ISO's) approach to standardization is novel, because it is not the encoder that is standardized, but the way a decoder interprets the bitstream. A decoder that can successfully interpret the bitstream is said to be compliant.^[1] The advantage of standardizing the decoder is that over time encoding algorithms can improve, yet compliant decoders continue to function with them.^[1] The MPEG standards give very little information regarding structure and operation of the encoder and implementers can supply encoders using proprietary algorithms.^[10] This gives scope for competition between different encoder designs, which means better designs can evolve and users have greater choice, because encoders of different levels of cost and complexity can exist, yet a compliant decoder operates with all of them.^[10]

MPEG also standardizes the protocol and syntax under which it is possible to combine or multiplex audio data with video data to produce a digital equivalent of a television program. Many such programs can be multiplexed and MPEG defines the way such multiplexes can be created and transported. The definitions include the metadata used by decoders to demultiplex correctly.^[11]

Sub Groups[link]

ISO/IEC JTC1/SC29/WG11 - Coding of moving pictures and audio has following Sub Groups (SG):^[6]

• Requirements
• Systems
• Video
• Audio
• 3D Graphics Compression
• Test
• Communication

Cooperation with other groups[link]

Joint Video Team[link]

Joint Video Team (JVT) is joint project between ITU-T SG16/Q.6 (Study Group 16 / Question 6) - VCEG (Video Coding Experts Group) and ISO/IEC JTC1/SC29/WG11 - MPEG for the development of new video coding recommendation and international standard.^[6][12] It was formed in 2001 and its main result has been H.264/MPEG-4 AVC (MPEG-4 Part 10).^[13]

Joint Collaborative Team on Video Coding[link]

Joint Collaborative Team on Video Coding (JCT-VC) is a group of video coding experts from ITU-T Study Group 16 (VCEG) and ISO/IEC JTC 1/SC 29/WG 11 (MPEG). It was created in 2010 to develop High Efficiency Video Coding, a new generation video coding standard that further reduces (by 50%) the data rate required for high quality video coding, as compared to the current ITU-T H.264 / ISO/IEC 14496-10 standard.^[14][15] JCT-VC is co-chaired by Jens-Rainer Ohm and Gary Sullivan.

Standards[link]

The MPEG standards consist of different Parts. Each part covers a certain aspect of the whole specification.^[16] The standards also specify Profiles and Levels. Profiles are intended to define a set of tools that are available, and Levels define the range of appropriate values for the properties associated with them.^[17] Some of the approved MPEG standards were revised by later amendments and/or new editions. MPEG has standardized the following compression formats and ancillary standards:

• MPEG-1 (1993): Coding of moving pictures and associated audio for digital storage media at up to about 1.5 Mbit/s (ISO/IEC 11172). The first MPEG compression standard for audio and video. It is commonly limited to about 1.5 Mbit/s although the specification is capable of much higher bit rates. It was basically designed to allow moving pictures and sound to be encoded into the bitrate of a Compact Disc. It is used on Video CD and can be used for low-quality video on DVD Video. It was used in digital satellite/cable TV services before MPEG-2 became widespread. To meet the low bit requirement, MPEG-1 downsamples the images, as well as uses picture rates of only 24–30 Hz, resulting in a moderate quality.^[18] It includes the popular MPEG-1 Audio Layer III (MP3) audio compression format.

• MPEG-2 (1995): Generic coding of moving pictures and associated audio information (ISO/IEC 13818). Transport, video and audio standards for broadcast-quality television. MPEG-2 standard was considerably broader in scope and of wider appeal – supporting interlacing and high definition. MPEG-2 is considered important because it has been chosen as the compression scheme for over-the-air digital television ATSC, DVB and ISDB, digital satellite TV services like Dish Network, digital cable television signals, SVCD and DVD Video.^[18] It is also used on Blu-ray Discs, but these normally use MPEG-4 Part 10 or SMPTE VC-1 for high-definition content.

• MPEG-3: MPEG-3 dealt with standardizing scalable and multi-resolution compression^[18] and was intended for HDTV compression but was found to be redundant and was merged with MPEG-2, as a result there is no MPEG-3 standard.^[18][19] MPEG-3 is not to be confused with MP3, which is MPEG-1 Audio Layer III.

• MPEG-4 (1998): Coding of audio-visual objects. (ISO/IEC 14496) MPEG-4 uses further coding tools with additional complexity to achieve higher compression factors than MPEG-2.^[20] In addition to more efficient coding of video, MPEG-4 moves closer to computer graphics applications. In more complex profiles, the MPEG-4 decoder effectively becomes a rendering processor and the compressed bitstream describes three-dimensional shapes and surface texture.^[20] MPEG-4 supports Intellectual Property Management and Protection (IPMP), which provides the facility to use proprietary technologies to manage and protect content like digital rights management.^[21] It also supports MPEG-J, a fully programmatic solution for creation of custom interactive multimedia applications (Java application environment with a Java API) and many other features.^[22][23][24] Several new higher-efficiency video standards (newer than MPEG-2 Video) are included, notably:
  • MPEG-4 Part 2 (or Simple and Advanced Simple Profile) and
  • MPEG-4 AVC (or MPEG-4 Part 10 or H.264). MPEG-4 AVC may be used on HD DVD and Blu-ray Discs, along with VC-1 and MPEG-2.

In addition, the following standards, while not sequential advances to the video encoding standard as with MPEG-1 through MPEG-4, are referred to by similar notation:

• MPEG-7 (2002): Multimedia content description interface. (ISO/IEC 15938)

• MPEG-21 (2001): Multimedia framework (MPEG-21). (ISO/IEC 21000) MPEG describes this standard as a multimedia framework and provides for intellectual property management and protection.

Moreover, more recently than other standards above, MPEG has started following international standards; each of the standards holds multiple MPEG technologies for a way of application.^{[25][26][27][28][29]} (For example, MPEG-A includes a number of technologies on multimedia application format.)

• MPEG-A (2007): Multimedia application format (MPEG-A). (ISO/IEC 23000) (e.g., Purpose for multimedia application formats,^[30] MPEG music player application format, MPEG photo player application format and others)

• MPEG-B (2006): MPEG systems technologies. (ISO/IEC 23001) (e.g., Binary MPEG format for XML,^[31] Fragment Request Units, Bitstream Syntax Description Language (BSDL) and others)

• MPEG-C (2006): MPEG video technologies. (ISO/IEC 23002) (e.g., Accuracy requirements for implementation of integer-output 8x8 inverse discrete cosine transform^[32] and others)

• MPEG-D (2007): MPEG audio technologies. (ISO/IEC 23003) (e.g., MPEG Surround^[33], SAOC-Spatial Audio Object Coding and USAC-Unified Speech and Audio Coding)

• MPEG-E (2007): Multimedia Middleware. (ISO/IEC 23004) (a.k.a. M3W) (e.g., Architecture,^[34] Multimedia application programming interface (API), Component model and others)

• Supplemental media technologies (2008). (ISO/IEC 29116) Part 1: Media streaming application format protocols will be revised in MPEG-M; Part 4 - MPEG extensible middleware (MXM) protocols.^[35]

• MPEG-V (2011): Media context and control. (ISO/IEC 23005) (a.k.a. Information exchange with Virtual Worlds) ^[36][37] (e.g., Avatar characteristics, Sensor information, Architecture^[38][39] and others)

• MPEG-M (2010): MPEG eXtensible Middleware (MXM). (ISO/IEC 23006) ^[40][41][42] (e.g., MXM architecture and technologies,^[43] API, MPEG extensible middleware (MXM) protocols^[44])

• MPEG-U (2010): Rich media user interfaces. (ISO/IEC 23007)^[45][46] (e.g., Widgets)

• MPEG-H (2013): High Efficiency Coding and Media Delivery in Heterogeneous Environments. (ISO/IEC 23008) Part 1 - MPEG Media Transport; Part 2 - High Efficiency Video Coding; Part 3 - 3D Audio.

• MPEG-DA (2012): Information technology -- Dynamic adaptive streaming over HTTP (DASH). (ISO/IEC 23009) Part 1 - Media presentation description and segment formats

Standardization process[link]

A standard published by ISO/IEC is the last stage of a long process that starts with the proposal of new work within a committee. Here are some abbreviations used for marking a standard with its status:^{[3][49][50][51][52][53]}

• PWI - Preliminary Work Item
• NP or NWIP - New Proposal / New Work Item Proposal (e.g., ISO/IEC NP 23007)
• AWI - Approved new Work Item (e.g., ISO/IEC AWI 15444-14)
• WD - Working Draft
• CD - Committee Draft (e.g., ISO/IEC CD 23000-5)
• FCD - Final Committee Draft (e.g., ISO/IEC FCD 23000-12)
• DIS - Draft International Standard
• FDIS - Final Draft International Standard
• PRF - Proof of a new International Standard
• IS - International Standard (e.g., ISO/IEC 13818-1:2007)

• CD Amd / PDAmd (PDAM) - Committee Draft Amendment / Proposed Draft Amendment (e.g., ISO/IEC 13818-1:2007/CD Amd 6)
• FPDAmd / DAM (DAmd) - Final Proposed Draft Amendment / Draft Amendment (e.g., ISO/IEC 14496-14:2003/FPDAmd 1)
• FDAM (FDAmd) - Final Draft Amendment (e.g., ISO/IEC 13818-1:2007/FDAmd 4)
• Amd - Amendment (e.g., ISO/IEC 13818-1:2007/Amd 1:2007)

Other abbreviations:

• TR - Technical Report (e.g., ISO/IEC TR 13818-5:2005)
• TS - Technical Specification
• IWA - International Workshop Agreement
• Cor - Technical Corrigendum (e.g., ISO/IEC 13818-1:2007/Cor 1:2008)

A proposal of work (New Proposal) is approved at Subcommittee and then at the Technical Committee level (SC29 and JTC1 respectively - in the case of MPEG). When the scope of new work is sufficiently clarified, MPEG usually makes open requests for proposals - known as "Call for proposals". The first document that is produced for audio and video coding standards is called a Verification Model (VM). In the case of MPEG-1 and MPEG-2 this was called Simulation and Test Model, respectively. When a sufficient confidence in the stability of the standard under development is reached, a Working Draft (WD) is produced. This is in the form of a standard but is kept internal to MPEG for revision. When a WD is sufficiently solid, becomes Committee Draft (CD) (usually at the planned time). It is then sent to National Bodies (NB) for ballot. The CD becomes Final Committee Draft (FCD) if the number of positive votes is above the quorum. After a review and comments issued by NBs, FCD is again submitted to NBs for the second ballot. If the FCD is approved, it becomes Final Draft International Standard (FDIS). ISO then holds a ballot with National Bodies, where no technical changes are allowed (yes/no ballot). If approved, the document becomes International Standard (IS).^[3]

ISO/IEC Directives allow also the so-called "Fast-track procedure". In this procedure a document is submitted directly for approval as a draft International Standard (DIS) to the ISO member bodies or as a final draft International Standard (FDIS) if the document was developed by an international standardizing body recognized by the ISO Council.^[50]

See also[link]

• Video Coding Experts Group (VCEG)
• Joint Photographic Experts Group (JPEG)
• Joint Bi-level Image Experts Group (JBIG)
• Multimedia and Hypermedia information coding Expert Group (MHEG)
• Audio codec
• Video codec
• Video quality
• Video compression
• Pro-MPEG
• MP3
• Leonardo Chiariglione

Notes[link]

External links[link]

• Official MPEG web site
• MPEG.ORG
• MPEG Industry Forum (MPEGIF)
• MPEG Books

Robin Hughes Harris (August 30, 1953 – March 18, 1990) was an American comedian and actor, known for his recurring comic sketch about Bébé's Kids.^[1]

Childhood[link]

Robin Harris was born in Chicago, Illinois. His father, Earl, was a welder, and his mother, Mattie, was a factory seamstress.^[2] In 1961, the family moved to Los Angeles where he attended Manual Arts High School. A track star, Harris received a scholarship and attended Ottawa University in Kansas. During this time, he began to hone his craft of comedy. He worked for Hughes Aircraft, a rental car company, and Security Pacific Bank to pay his bills. In 1980, he debuted at Los Angeles’ Comedy Store with little response.^{[citation needed]}

Career[link]

During the mid 80's Robin worked as the master of ceremonies at the Comedy Act Theater. His “old school” brand of humor began to gain him a mainstream following. A large-eyed stand-up churlish brand of humor and quick put-downs were his trademark. Harris made a promising feature debut playing a no-nonsense bartender in the feature film I'm Gonna Git You Sucka (1988). Harris performed in director Spike Lee’s Do the Right Thing (1989). As "Sweet Dick Willie," Harris served as part of the neighborhood "Greek chorus" that commented on the events of an increasingly tense day. Harris was Pop, the no-nonsense, quick-witted father of Kid in House Party (1990). He followed up later that year with a small turn as a jazz club MC in Mo' Better Blues. He also had a role in Eddie Murphy's Harlem Nights (1989). Fellow comedian and actor Raymond "The RayVolution" Baxter credits Harris with him becoming a stand up, "I saw Mr. Harris at home in Chicago at a club my aunt worked for and he was nice enough to see me after a set and joke around with me. He said I was funny enough to get on the circuit at 11! So that day I went to work on my material..."^{[cite this quote]}

Bébé's Kids[link]

In Harris' "Bébé's Kids" routines, Harris' girlfriend Jamika would insist that he take her friend Bébé's four bad ass children with them on a date, as she continually agreed to babysit them. The children would regularly make a fool out of and/or annoy Harris. "We Bébé's kids," they would proclaim, "we don't die...we multiply."

The Hudlin Brothers had intended to make a feature film based upon the "Bébé's Kids" sketches, but Harris died while the film was in pre-production. Bébé's Kids instead became an animated feature—the first ever to feature an all-black main cast—directed by Bruce W. Smith and featuring the voices of Faizon Love (as Harris), Vanessa Bell Calloway, Marques Houston, Nell Carter, and Tone Lōc.^[3][4]

Death[link]

In the early hours of March 18, 1990, Harris died in his sleep of a heart attack in his Chicago hotel room after performing for a sold out crowd at the Regal Theater following opening act, Chicago native and 20-year old comedian Chris Rabb.^[5] Harris was transported back to California, and interred in Inglewood Park Cemetery, near Los Angeles. House Party 2 was dedicated to his memory. Through archive footage, he makes a brief cameo appearance as a photo of him comes to life and tells Kid "Keep your mind on them books and off them 'gals!", which was actually taken from a scene in the original House Party.

At the time of Harris' death, his wife was pregnant with their son, Robin Harris, Jr .^[5]

In 2006, a posthumous DVD entitled We Don't Die, We Multiply: The Robin Harris Story (2006), was released. The film features never seen before performances by Harris and accolades from his contemporaries Martin Lawrence, Bernie Mac, Cedric the Entertainer, D.L. Hughley, Robert Townsend, and Joe Torry.^[6] The film also features a rap performed and dedicated to Harris by his son, Robin Harris, Jr.^[7]

Award nominations[link]

References[link]

External links[link]

Biography portal

• Robin Harris at the Internet Movie Database
• Robin Harris at AllRovi
• Robin Harris at Find a Grave

Paul van Dyk
Background information
Birth name	Matthias Paul[1]
Born	(1971-12-16) 16 December 1971 (age 40)
Origin	Eisenhüttenstadt, East Germany
Genres	Electronic dance music Trance
Occupations	Musician, record producer, DJ
Instruments	Keyboards, mixer, synthesizer, Turntables
Years active	1991–present
Labels	Armada Music, Vandit Records Ultra Records Deviant Records MFS (1992-1998)
Associated acts	see Co-production section of Paul van Dyk discography.
Website	paulvandyk.com

Matthias Paul, better known by his stage name Paul van Dyk (born (1971-12-16)16 December 1971) is a German Grammy Award-winning Electronic Dance Music DJ, musician and record producer. One of the first true Superstar DJs, Paul van Dyk was one of the first artists to receive a Grammy nomination in the newly added category of Best Dance/Electronic album for his 2004 release Reflections. He was named the World's No. 1 DJ in both 2005 and 2006, something less than a handful of DJs have ever achieved.^[2] Paul van Dyk is the only DJ to hold a spot in the World's Top 10 DJs since 1998. He is also the first DJ to be named No. 1 by Mixmag in 2005. As of 2007, he has sold over 4.5 million albums worldwide.^[3]

A trance producer starting in the early 1990s, Paul quickly achieved popularity with his remix of "Love Stimulation" by Humate under the record label MFS in 1993, and with his hit single, "For an Angel", but in recent times he no longer likes to describe his music as trance, but rather simply as electronic dance music.

History[link]

Early life and musical beginning[link]

Paul van Dyk grew up in East Berlin in a single parent household;^[4] his father left him and his mother when he was four years old.^[4] While living there, he worked as a broadcast technician^[5] and began training to become a carpenter.^[4] Paul van Dyk claims his musical education came from radio.^[6] Because where he grew up there were no record stores at which to buy music, he kept in touch with the world beyond the Berlin Wall by secretly listening to the popular but forbidden Western radio stations RIAS (Radio in the American Sector) and SFB and mixtapes occasionally smuggled into the country and copied among school friends.^[7]

Shortly before the fall of the Berlin Wall, van Dyk and his mother were given permission to leave East Germany and moved to Hamburg to live with his aunt.^[7] In 1990, van Dyk moved back to Berlin. His first appearance as a DJ was in the Tresor in March 1991.^[8] After several more dates, he was given the chance to perform at Juergen Kramer's Dubmission parties in the Turbine club, together with the young resident DJ Kid Paul. The shows were called Paul vs. Paul. His mixing style drew the attention of Cosmic Baby^{[citation needed]} and the two collaborated as The Visions of Shiva. Their single "Perfect Day" was released by the Berlin independent label MFS (Masterminded For Success) Records, run by English ex-patriat producer Mark Reeder and manager Torsten Jurk.

In February 1993, van Dyk and Kid Paul hosted an installment of the weekly three-hour "HR3 Clubnight" radio show, performing for a nationwide audience on German radio. The second and final Visions of Shiva single "How Much Can You Take?" was released, and van Dyk and Cosmic went their separate musical ways. By late summer, Paul released his first DJ-mix compilation "X-Mix-1 - the MFS Trip" and remixed Humate's trance hymn "Love Stimulation".

1994–2007[link]

In 1994, Paul released The Green Valley EP, Pump This Party and Emergency 911. Meanwhile, MFS acquired many remixes for Paul. MFS label owner Mark Reeder's close friendship with artists such as New Order gave Paul the opportunity to mix the track "Spooky" from the Republic album. Persuaded by Reeder, he finally recorded his debut LP 45 RPM with Johnny Klimek and VOOV. Reeder also compiled the album's running order and design, and chose the album's title as a reflection of the 45 rpm speed typical for dance vinyl.

Mark Reeder compiled Seven Ways, which established Paul van Dyk as a trance pioneer and was Paul van Dyk's first real success in Britain. Reeder had successfully convinced his old friend Rob Deacon (formerly of Volume) to license the album for the UK and his new Deviant label. Seven Ways was voted the #1 album by readers of DJ Magazine.

In early 1997, Paul van Dyk began collaborating with U.S. music producer BT. Together, they produced tracks such as Flaming June, Forbidden Fruit and Namistai (1999). The singles "Forbidden Fruit" and "Beautiful Place" did not cause a great impact at first but, with the release of Seven Ways and "Words" appearing at the height of the British superclub phenomenon, van Dyk's own material began to attract attention. "By the time they realised I was a German, it was too late!" van Dyk said. Van Dyk also remixed a well known early-90s track, Age of Love in 1997.^[9]

In 1998, 45 RPM was re-released in the UK and in the US. To mark the event, and in homage to the defunct E-Werk, Paul released a remix of "For An Angel". Van Dyk took up a residency at Sheffield's Gatecrasher and declared himself anti-drugs, which led to home-made "No E, Pure PvD" T-shirts, also a sly note to journalists that his surname contained no "E". In 1998, Paul remixed British trance duo, Binary Finary's famous "1998" single, which was a successful version that took Binary Finary to the top of the German Dance charts.^[10]

In mid-1998, Van Dyk left MFS Records and took a controlling share in the new label Vandit Records. In 2000, Paul flexed his skills with his melodic, dancefloor-friendly Out There And Back, which included the hit single "Tell Me Why (The Riddle)", a collaboration with Saint Etienne. It also included the European hit We Are Alive, a remixed version of the Jennifer Brown song Alive. His first mix album The Politics of Dancing (2001) was followed by a world tour and a DVD release Global (2003) and the Mexican film "Zurdo", for which van Dyk composed the soundtrack and won a Mexican Oscar for his work.

Reflections (2003) derived from van Dyk’s trips to India, was a more melancholy affair, and includes the single "Nothing But You", a collaboration with Hemmstock & Jennings. It was nominated for a Grammy in the category of Best Electronic Album. The mix album The Politics of Dancing 2 (2005) was preceded by a single "The Other Side," featuring Wayne Jackson; a song dedicated to the victims, and their families, of the Sumatra-Andaman earthquake and the subsequent tsunami that struck Thailand on 26 December 2004. His original productions from Reflections have been synced into major motion pictures such as Into the Blue, Sisterhood of the Traveling Pants, television’s Entertainment Tonight and MTV’s Cribs, and international ad campaigns for Motorola, HBO, Land Rover, Ski Vail and most recently for Jeep.

[edit] 2007–2010: In Between

Paul van Dyk in El Salvador

Crowd at a Paul van Dyk rave in Atlanta

Paul van Dyk released his fifth studio album, In Between, worldwide on 14 August 2007. The album, which he created over a three-year period, debuted at number #115 on the Billboard 200 and #2 on the Billboard's Top Electronic Albums and #1 on the Top Heatseekers. The album also reached #16 on the Mexican Albums Chart and #5 on the Mexican International Chart. The album was released accompanied by a special edition limited to two thousand copies which included a mixed version of the full album, along with an eight-track bonus CD and an eight-page photo anthology.^[11]

The album was produced primarily by Paul van Dyk himself, and features a wide range of collaborators including David Byrne of Talking Heads, Jessica Sutta of the Pussycat Dolls, Ashley Tomberlin from Luminary, Alex M.O.R.P.H, Lo Fi Sugar, Rea Garvey of Reamonn, Ryan Merchant and Wayne Jackson. It also features a vocal sample from Ben Lost from Probspot's "Blows My Mind" on the song "Another Sunday". In June 2007, Paul van Dyk embarked on the worldwide "In Between Tour" to promote the album.^[12]

On New Year's Eve 2008/2009 Paul played Barra Beach to over 1 million people in Rio de Janero.^{[citation needed]}

His work with EA Games has resulted in mulitple releases featuring his music on Mirror's Edge and Grand Slam Tennis out in 2009. Paul van Dyk has also remixed Batman's "Dark Knight Theme" written by Hanz Zimmer which helped the album win best soundtrack in a motion picture Grammy which Paul van Dyk shares with his fellow collaborators. He has also remixed Depeche Mode’s "Martyr", Justin Timberlake’s "What Goes Around" and Britney Spears' "Gimme More".

Paul van Dyk hosts a show on Radio Fritz every Saturday at 20:00 GMT.

In May 2008, Paul van Dyk set up a remix competition with digital download network Beatport.com, inviting aspiring producers to remix his single 'Far Away' which appeared on his 2007 album 'In Between'. Paul has appeared as one of the DJs at Trance Energy 2009.

It was revealed by Paul van Dyk that his record label Vandit would be merging with Armin Van Buuren's Armada Music.^{[citation needed]}

[edit] 2012–present: Evolution

The sixth studio album by Paul van Dyk, entitled Evolution was released on 3 April 2012. The track "Eternity" was made in collaboration with Adam Young, known for Owl City.^[13][14] Evolution also features producers Arty, Austin Leeds, Giuseppe Ottaviani, Tyler Michaud, and Ummet Ozcan. The album features vocals from Johnny McDaid of Fieldwork, Sarah Howells and various other artists.^{[citation needed]}

Politics[link]

Since 2001, Paul van Dyk has taken an interest in politics. His creation of The Politics of Dancing compilation was inspired by electronic dance music's universal acclaim by different people around the world. "Palestinians are dancing with Israelis. Lebanese people are dancing with Israelis – without war, without anything in their minds other than treating each other respectfully", said van Dyk in 2006.^[15] He also has called EDM "...a political and diplomatic tool that could be used."^[15] Having grown up with little freedom, his musical career has helped him voice his opinions about politics. He opposes the Iraq War and the War in Afghanistan. He describes himself as anti-war and has advertised this while performing, by wearing a shirt reading "Make peace, not war".^[15]

He has helped fight poverty by supporting social programs to help disadvantaged people in India, New York, and Berlin.^[16] He also participated in Rock the Vote in 2004 and 2008; he and Bono being the only non-American artists to join the campaign encouraging young people to vote.^[16]

Trivia[link]

• Paul van Dyk never flies in a plane of type McDonnell Douglas.^[17]
• He has the second largest Miles & More account (the frequent flyer program of Lufthansa).^{[citation needed]}

Discography[link]

Studio albums[link]

• 1994: 45 RPM
• 1996: Seven Ways
• 2000: Out There and Back
• 2003: Reflections
• 2007: In Between
• 2012: Evolution

TV shows[link]

• 2003: What's New, Scooby-Doo

Soundtracks[link]

• 2003: Zurdo
• 2004: One Perfect Day
• 2005: The Sisterhood Of The Traveling Pants
• 2005: Into The Blue
• 2008: The Dark Knight

Video games[link]

• 1999: Wipeout 3
• 2003: FIFA Football 2004
• 2004: Need For Speed: Underground 2
• 2008: Mirror's Edge
• 2009: Grand Slam Tennis
• 2009: DJ Hero
• 2010: DJ Hero 2
• 2011: Test Drive Unlimited 2
• 2012: Grand Slam Tennis 2

Awards[link]

• 1999 DJ Mag Music Maker^[18]
• 1999 Best International DJ
• 1999 Best International Award
• 1999 Man Of The Year By Mixmag
• 1999 Leader Of The Trance Nation
• 2003 Best European DJ (Miami Winter Music Conference 2003)
• 2003 Best Trance Track Paul van Dyk - Nothing But You
• 2003 Nominated Grammy Award For His Album: Reflections
• 2004 America’s Favorite DJ
• 2004 Best International DJ
• 2004 Best Event
• 2004 Best Music In A Commercial (Motorola)
• 2004 Ariel (Mexican Oscar For Best Original Score In Zurdo)
• 2004 Best Music Maker By DJ Magazine
• 2004 Big Winner At The Dancestar Awards
• 2005 WMC 2005 Best Track House Progressive/Trance: Nothing But You (Paul van Dyk)
• 2005 WMC 2005 Best International DJ
• 2005 America’s Favorite DJ
• 2005 Best DJ For Dance/Electronic Album For His Original Album: Reflections
• 2005 The International Dance Music Award (IDMA) For Best Euro DJ.
• 2005 DJ Mag No 1 DJ
• 2005 Mixmag's 1st No 1 DJ
• 2005 Best Produer Trance Awards
• 2005 Best Global DJ Trance Awards
• 2006 Best Global DJ (Miami Winter Music Conference 2006)
• 2006 Best Record Label: VANDIT
• 2006 Best Producer (Miami Winter Music Conference 2006)
• 2006 Best Global DJ, Best NuNRG/Euro Track
• 2006 DJ Mag No 1 DJ
• 2006 Best Global DJ Trance Awards
• 2006 Best Producer
• 2006 Best Mix Compilation For The Politics of Dancing 2
• 2006 Cross Of Merit From The City Of Berlin
• 2006 Best HI NRG / Euro Track For "The Other Side" (Miami Winter Music Conference 2006)
• 2006 B.Z.-Kulturpreis 2006
• 2007 Best Ortofon European DJ (Miami Winter Music Conference 2007)
• 2007 Best DJ By Trance Awards
• 2007 Best Producer By Trance Awards
• 2007 Best Label VANDIT By Trance Awards
• 2007 Best Remixer By Trance Awards
• 2007 Best Live Act By Trance Awards
• 2007 Best Resident By Trance Awards
• 2007 Best Club Night CREAM, Ibiza By Trance Awards
• 2007 Best Album In Between By Trance Awards
• 2007 Best Radio Show VONYC By Trance Awards
• 2007 Best Website By Trance Awards
• His Regular 6 Hour Set At “Gatecrasher” Was Voted As The "Second Best Club Night Ever"
• Best International DJ By Musik Berlin, Zürich, Amsterdam, Londres, Paris, Milan, NY
• 2008 Best International DJ By The Ministry Of Sound
• 2008 Best International Producer By The Ministry Of Sound
• 2008 Shared Grammy For The Dark Knight Which Won (Best Soundtrack In A Motion Picture)
• 2008 Best DJ By Trance Awards
• 2008 Best Producer By Trance Awards
• 2008 Best Label "Vandit" By Trance Awards
• 2009 Best International DJ By The Ministry Of Sound
• 2009 Best International Producer By The Ministry Of Sound
• 2009 Best Track "Home" (Paul van Dyk Club Mix) By The Ministry Of Sound
• 2009 Best DJ National Paul van Dyk By Raveline Poll 2009
• 2009 Best Album 2009 "VOLUME" In The Raveline Poll 2009
• 2009 Best Trance Label National "VANDIT Records" In The Raveline Poll 2009
• 2009 Best trance DJ By Trance Awards
• 2009 Best Producer By Trance Awards
• 2009 Best Trance Track "Paul van Dyk Feat Johnny McDaid – Home" By Trance Awards 2009
• 2010 Best Full Length DJ Mix - "VONYC Sessions 09" By IDMA
• 2010 Best DJ National Paul van Dyk By Raveline Poll 2010
• 2011 Longest Running DJ In Top 10 Of DJ's Mag Top 100 DJ's (13 Year's)

References[link]

External links[link]

Wikimedia Commons has media related to: Paul van Dyk

• Official website
• Paul van Dyk at the Internet Movie Database
• Artist Site at Ultra Records