This article has multiple issues. Please help improve it or discuss these issues on the talk page. It needs additional citations for verification. Tagged since January 2010. It is written like a personal reflection or essay rather than an encyclopedic description of the subject. Tagged since November 2011. It may not represent a worldwide view of the subject. Tagged since December 2010. It may contain original research. Tagged since November 2011.

The DIY ethic refers to the ethic of self-sufficiency through completing tasks oneself, as opposed to having others who are more experienced or able complete them on one's behalf. Literally meaning "do it yourself," it promotes the idea that an ordinary person can learn to do more than just what he or she may have thought was possible. Naturally, a DIY attitude requires that the adherent attain as well as retain the knowledge required to complete a given task. Without this, DIY is an ineffective dogma. The term can refer to "doing" anything at all, including home improvements and repairs, first aid, or even creative endeavors.

Central to the ethic is the empowerment of individuals and communities, encouraging the employment of alternative approaches when faced with bureaucratic or societal obstacles to achieving their objectives.

Rather than belittling or showing disdain for knowledge or expertise, DIY champions the average individual seeking knowledge and expertise for him/herself. Instead of using the services of others who have expertise, a DIY-oriented person would seek out the knowledge for him/herself.

Punk culture[link]

In the punk subculture, the DIY ethic is tied to punk ideology and anticonsumerism, as a rejection of the need to purchase items or use existing systems or processes. According to the punk aesthetic, one can express oneself and produce moving and serious works with limited means.^[1] Arguably since the 1970s;^[2] emerging punk bands began to record their music, produce albums and merchandise, distribute their works and often performed basement shows in residential homes rather than at traditional venue, to avoid corporate sponsorship or to secure freedom in performance. Since many venues tend to shy away from more experimental music, houses and other private venues are often the only places at which these bands can play.

Riot Grrrl, associated with third wave feminism, also undertook the core values of punk in terms of the DIY ethic by utilizing creative ways of communicating through zines and other projects.^[3]

Adherents of the DIY punk ethic can also work collectively. For example, punk impresario David Ferguson's CD Presents was a DIY concert production, recording studio, and record label network.^[4]

The DIY punk ethic also applies to simple everyday living, such as learning bicycle repair rather than taking a bike to a mechanic's shop, sewing/repairing/modifying clothing rather than buying new clothes, starting vegetable gardens, and reclaiming recyclable products by dumpster diving. Some educators also engage in DIY teaching techniques, sometimes referred to as Edupunk.

Around the world[link]

United Kingdom[link]

Having originated in the late 1960s and early 1970s in the form of the free festival movement, mutating through protest camps (thus incorporating elements of earlier radical tendencies such as the beat and peace movements) and into punk through bands such as Crass, DIY culture became something of a recognised movement in the 1990s in the UK, where the protest (the direct action) and party (the festival) converged. The prime example of this movement was the Exodus Collective. This development constituted a significant cross-pollination of pleasure and politics resembling the anti-disciplinary politics of the 1960s. During the 1990s, demonstrating the desire for an economy of mutual aid and co-operation, the commitment to the non-commodification of art, the appropriation of digital and communication technologies for free community purposes, and the commitment to alternative technologies such as biodiesel. From 1991–1997 the Conservative government cracked down on squatting, animal rights activists, greens, travellers, as well as raves, parties and dance culture.

In 1994, the United Kingdom passed the Criminal Justice and Public Order Act 1994 which contained several sections designed to curtail the growing free party and anti-road protest movements (sometimes embodied by ravers and travellers). It empowered police to arrest citizens who appeared to be preparing to hold a rave, waiting for a rave to start, or attending a rave.

United States[link]

DIY culture in the United States can be linked to many of the same philosophies of the Arts and Crafts movement of the 1900s, which sought to reconnect people with hands-on activities and the aesthetics associated with them. This was in direct opposition to the prevailing industrialization and modernization which was moving many aspects of the culture's aesthetics away from the hand-made artisan-created styles of the past and toward a mass-produced sleek modern vision of the future. DIY culture in the US arguably evolved from a simple cost-saving activity of the 1940s and 1950s to an increasingly radical political activity which stood against the increasingly visible trends of mass-production, conspicuous consumerism, waste, and the industrial corporate philosophy of planned obsolescence. DIY culture in the US is a current and evolving loose coalition of various individuals. There are many members of DIY culture with distinct and activist philosophies and goals, such as Betsy Greer who coined the term Craftivism in 2003. There are also many people with a staunch neutrality of political and social issues adopted by other members of the DIY movement. The largest group fall into an area somewhere between these two opposites, as varied in the spectrum of political and social philosophy as members of any large and thriving subculture.

In John Isaacson's book Do-It-Yourself Screenprinting, published by Microcosm Publishing, who gained fame by publishing and distributing a wide variety of zines, Jason Munn is quoted in a "screenprinter profile" as relating to the medium as follows:

I loved the idea of designing or illustrating something and doing the printing myself. Most of my time is spent in front of the computer so the printing is a great way to get my hands dirty again, so to speak.^[5]

The need to connect with the physical world without interacting with computers or other modern technology, which in modern industrialized societies can go unfulfilled for days at a time, becomes a significant motivating force in leading people to embrace DIY culture.

Carla Sinclair, Editor in Chief of Craft attempts to describe the DIY community: "This DIY renaissance embraces crafts while pushing them beyond traditional boundaries, either through technology, irony, irreverence, and creative recycling, or by using innovating materials and processes...the new craft movement encourages people to make things themselves rather than buy what thousands of others already own. It provides new venues for crafters to show and sell their wares, and it offers original, unusual, alternative, and better-made goods to consumers who choose not to fall in step with mainstream commerce."^[6] Ellen Lupton embellishes these thoughts in her book D.I.Y. Design It Yourself: "Around the world, people are making things themselves in order to save money, to customize goods to suit their exact needs and interests, and to feel less dependent on the corporations that manufacture and distribute most of the products and media we consume. On top of these practical and political motivations is the pleasure that comes from developing an idea, making it physically real, and sharing it with other people."^[7] The articulation of both Isaacson and Lupton is that DIY activities and culture not only are unique in a modern world of consumerism, they give pleasure to its members simply due to the lack of corporate control or thoughts of profit and marketability which are often assigned to the act of creation outside the world of fine art.

These views are not universal or without variation, however. In Tsia Carson's introduction to her book 'Craftivity: 40 Projects for the DIY Lifestyle,' she muses that "the kind of agency one gains over their life by making their things is certainly powerful, heady stuff. But I can't honestly say that is why I make things. Do I make things for spiritual reasons? I wonder if I'm ready to speak of crafting as a form of meditation when I compare the crochet hats I make for my daughter's stuffed monkey to venerable practices like making Tibetan sand mandalas. We make things for two reasons: pleasure and because we can."^[8] While some ascribe political or social context to their DIY activities, others ascribe personal or spiritual dimensions.

Matt Maranian, author of 'Pad: The Guide to Ultra-Living,' a guide to making your own home decor specifically intended not to look like it was purchased in any store, illustrates another aspect of DIY culture: "Pad is not a book for the helpless, the aimless, or the clueless, Pad is a book for the empowered, the inspired, and the creative. It's a book for people who forge their own trail, and who know how to make the very most of what they have at hand — or can find cheaply. Pad is the guerrilla approach to home decorating."^[9] Matt articulates the sense of community and subculture present in DIY culture, perhaps even hinting at a kind of intellectual succession from a society deemed "helpless...aimless...clueless."

The first lines of Amy Spencer's 'DIY: The Rise of Lo-Fi Culture' sum up the juxtaposition of DIY culture's aspects by pointing out "the DIY movement is about using anything you can get your hands on to shape your own cultural entity: your own version of whatever you think is missing in mainstream culture. You can produce your own zine, record an album, publish your own book — the enduring appeal of this movement is that anyone can be an artist or creator. The point is to get involved."^[10]

Internet[link]

Technological developments, new internet platforms, applications and innovations in the last ten years have made it easier for artists, makers and creators of all types to circumvent professional studios and create high-quality work themselves. Developments in media software and the proliferation of high-speed internet access have given artists of all ages and abilities from across the globe, the opportunity to make their own films, records, or other creative content, and distribute it over the web. Such works were usually displayed on a private homepage, and gained popularity through word-of-mouth recommendations or being attached to chain letters (known as viral distribution).

Sites like Newgrounds and DeviantArt allow users to post their art and receive community critique, while Instructables allows DIYers to exhibit their works in an instructional how-to format. It is becoming common for content creators to share and receive compensation for their work online. Musicians can distribute their wares over the internet, independently of commercial funding, using the same computer they used to record.

See also[link]

• Anarcho-punk
• Basement show
• Bricolage
• Cassette culture
• Circuit bending
• Community film
• Crass
• D.I.Y. or Die: How to Survive as an Independent Artist
• Eskalators
• Guerrilla gig
• Hackerspace
• Homebuilt aircraft
• Make (magazine)
• Remodernist Film
• Self-publishing
• Underground comix
• White box (computer hardware)

References[link]

Further reading[link]

• Brass, Elaine; Sophie Poklewski Koziell (1997). Denise Searle. ed. Gathering Force: DIY Culture — Radical Action for Those Tired of Waiting. London: Big Issue. ISBN 1-899419-01-2. 
• Kimmelman, Michael (Aril 14, 2010). "D.I.Y. Culture". The New York Times Abroad. http://www.nytimes.com/2010/04/18/arts/18abroad.html. Retrieved August 4, 2011. 
• McKay, George (1996). Senseless Acts of Beauty: Cultures of Resistance since the Sixties. London: Verso. ISBN 1-85984-028-0. 
• George McKay, ed. (1998). DiY Culture: Party & Protest in Nineties Britain. New York: Verso. ISBN 1-85984-260-7. 
• Graham St John, ed. FreeNRG: Notes From the Edge of the Dancefloor. Altona: Commonground. ISBN 1-86335-084-5. 
• Wall, Derek (1999). Earth First and the Anti-Roads Movement: Radical Environmentalism and Comparative Social Movements. London: Routledge. ISBN 0-415-19064-9. 

DIY may refer to:

• Do it yourself, a term used by various communities that focus on people creating things for themselves without the aid of paid professionals
  • DIY birth, the process of intentionally giving birth without the assistance of a medical or professional birth attendant
  • DIY culture, a broad term used to refer to a wide range of grassroots political activism
  • DIY ethic, the ethic of being self-reliant as opposed to relying on professionals
  • DIY moving, do-it-yourself packing and moving
  • DIY audio, do-it-yourself audio equipment
• DiY-Fest, a festival of ultra-independent movies, books, zines, music, poetry, and performance art that ran from 1999 until 2002
• DIY Network, a television channel focusing on home do-it-yourself projects
• WarioWare D.I.Y., a video game for the Nintendo DS
• Diary of a Wimpy Kid: Do-It-Yourself Book, an activity book by author and game designer Jeff Kinney
• DiY Sound System, a musical collective originating in the House Music movement in late 1980's Britain, based in Nottingham, England.

In music:

• Do It Yourself (Ian Dury & the Blockheads album)
• Do It Yourself (The Seahorses album)
• DIY, a song from Peter Gabriel (1978 album)
• DIY, a song from Adios (KMFDM album)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

John Cooper Clarke
In Cardiff, March 1979
Born	(1949-01-25) 25 January 1949 (age 63) Salford, England
Occupation	Poet
Nationality	British
www.johncooperclarke.com

John Cooper Clarke (born 25 January 1949) is an English performance poet who first became famous during the punk rock era of the late 1970s when he became known as a "punk poet". He released several albums in the late 1970s and early 1980s, and continues to perform regularly.

His recorded output has mainly centred around musical backing from The Invisible Girls, which featured Martin Hannett, Pete Shelley, Bill Nelson, Paul Burgess and Steve Hopkins.

Career[link]

Clarke was born in Salford, Lancashire in 1949.^[1] His first job was a laboratory technician at the University of Salford.^[2] He began his performance career in Manchester folk clubs, where he began working with Rick Goldstraw and his band The Ferrets.^[1] His first releases were on the independent label Rabid, starting with the EP Innocents in October 1977.^[1] He toured with Bill Nelson's band Be-Bop Deluxe in 1978 and was signed by Epic Records, who issued the Nelson-produced debut album Disguise In Love in 1978.^[1] In 1979 he had his only UK top 40 hit with "Gimmix! (Play Loud)".^[1][3] Clarke toured with Linton Kwesi Johnson, and has performed on the same bill as bands such as Sex Pistols, The Fall, Joy Division, Buzzcocks, Siouxsie and the Banshees, Elvis Costello, Rockpile, and New Order (including at their May 1984 Music for Miners benefit concert at London's Royal Festival Hall). His set is characterised by lively, rapid-fire renditions of his poems, usually performed a cappella. Often referred to as "the bard of Salford",^[3] he usually refers to himself on stage as "Johnny Clarke, the name behind the hairstyle".

In 1979 he applied to join actors' union Equity, but as there was already a member named John Cooper Clarke, he joined under the name Lenny Siberia.^[4] His 1980 album Snap, Crackle & Bop gave him his highest album chart placing, reaching number 26.^[1]

Performing in Cardiff, 1979

Clarke appeared in a 1982 music documentary compilation Urgh! A Music War, in which he performed his poem "Health Fanatic".^[5] The film featured live performances of mainstream artists (The Police, The Go-Gos, Pere Ubu, XTC, Devo) as well as more obscure bands (The Alley Cats, Invisible Sex, Athletico Spizz '80, Chelsea) using concert footage from around the world. For many people, this was their first introduction to the works of John Cooper Clarke.^{[citation needed]} He also starred in another 1982 film titled John Cooper Clarke - Ten Years in an Open Necked Shirt directed by Nick May and produced for the Arts Council of Great Britain and Channel 4. Somewhere between a narrative film, a series of music videos and a documentary, the film features interviews and performances by Clarke and Linton Kwesi Johnson among others.^[6]

Clarke released a further album in 1982, Zip Style Method, which was less successful, and Clarke performed his live act less frequently, spending much of the 1980s addicted to heroin, living in a "domestic partnership" with singer and fellow addict Nico.^[7][8] He described this period of his life: "It was a feral existence. I was on drugs. It was hand to mouth."^[9] He made an appearance in two UK adverts for Sugar Puffs in 1988, taking second billing to the Honey Monster. He returned to live performance in the 1990s.^[1] More recently, Clarke has turned some of his stage act away from an emphasis on performance poetry and towards more of a stand-up-oriented affair, but poetry is still very much a key part of his performance. He supported Joe Strummer & The Mescaleros.^[when?] He has toured several times supporting The Fall. He also duetted with a poem entitled "Last Resort" with Reverend Jon McClure at a Reverend and the Makers concert at London's Spread Eagle, which later was released as the b-side for the band's single "Heavyweight Champion of the World". Clarke also recorded a song with the band entitled "Dead Man's Shoes". Clarke's recording of "Evidently Chickentown" from his album Snap, Crackle & Bop was also featured prominently in the closing scene of The Sopranos episode Stage 5. A live performance of the same poem appears in the film Control with Clarke portraying himself in a re-creation of a 1977 concert in which he supported Joy Division, despite having aged 30 years since the events depicted in the movie. "Evidently Chickentown" (recited by Christopher Eccleston) is featured in the made-for-television film Strumpet.

At Bedford's Rhythm Festival, 2006

Clarke's poem "Out of Control Fairground" was printed inside Arctic Monkeys' single "Fluorescent Adolescent" CD, which was released on 9 July 2007. The poem is also the inspiration behind the single's video in which clowns brawl. Another poem was printed inside the 10" release of the same single. Alex Turner of Arctic Monkeys has said he is very fond of Clarke's work and takes inspiration for lyrics from his poems.^[10][11]

Clarke was the subject of a BBC Four documentary, Evidently... John Cooper Clarke, in May 2012, screened as part of the BBC's 'Punk Britannia' season.^[9]

Clarke lives in Essex with his French wife Evie, with whom he has a daughter.^[9]

Discography[link]

Albums[link]

• Disguise in Love (1978), Epic
• Walking Back to Happiness (1979), Epic
• Snap, Crackle & Bop (1980), Epic - UK #26^[1]
• Zip Style Method (1982), Epic - UK #97^[1]

Compilations

• Où est la maison de fromage? (1978), Rabid ^[12]
• Me and My Big Mouth (1981), Epic
• Word of Mouth: The Very Best of John Cooper Clarke (2002), Sony

Singles, EPs[link]

• Innocents EP (1977), Rabid
• "Post-War Glamour Girl" (1978), Epic
• "Gimmix! (Play Loud)" (1979), Epic - UK #39^[1]
• "Splat"/"Twat" (1979), Epic
• "The It Man" (1980), Epic
• "The Day My Pad Went Mad" (1982), Epic
• "Night People" (1982), Epic

DVDs, Videos[link]

• Zip Style (2011), Ozit

Compilation appearances

• Urgh! A Music War (1981), Warners - "Health Fanatic"
• The Old Grey Whistle Test Volume 3 (2004), 2 Entertain - "I Don't Want to Be Nice"
• Poets, Punks, Beatniks and Counter Culture Heroes (2010), Ozit - includes rare JCC film footage from the 1980s

Bibliography[link]

Ten Years In an Open-Necked Shirt and other Poems (1981), Arena

References[link]

External links[link]

• Official website
• Official Facebook news page
• John Cooper Clarke performs Beasley Street at Hammersmith Palais
• John Cooper Clarke Interview 2012

The-Dream
The-Dream performing on September 10, 2008 in New York City.
Background information
Birth name	Terius Youngdell Nash
Born	(1977-09-20) September 20, 1977 (age 34) Rockingham, North Carolina, U.S.
Genres	R&B, pop, hip hop
Occupations	singer-songwriter, record producer
Years active	1998–Present
Labels	Def Jam, Radio Killa
Associated acts	Christopher "Tricky" Stewart, Los Da Mystro, Jennifer Lopez, Electrik Red, Rihanna, Kanye West, Beyonce, Jay-Z, Drake Fabolous, Jamie Foxx
Website	the-dreammusic.com

Terius Youngdell Nash (Born September 20, 1977), better known by his stage name The-Dream, is an American singer-songwriter and record producer. He is known for co-writing chart topping hits such as "Baby" for Justin Bieber, "Umbrella" for Rihanna and "Single Ladies (Put a Ring on It)" for Beyoncé, as well as for his three solo albums, Love Hate, Love vs. Money, and Love King.

Early life[link]

Terius Nash was born in Rockingham, North Carolina and moved with his mother, Reva Nash, to Atlanta at the age of 3. He played trumpet, drums, and guitar as a child.^[1] His mother died in 1992 when Nash was fifteen years old, an event which would inspire him to write songs.^[2] He states that the death of his mother gave him a "soft spot" for women, which he credits to his desire to write songs about female empowerment such as Rihanna's "Umbrella".^[2] He moved in with his grandfather, a concrete mason who instilled a strong work ethic in young Nash. Of his grandfather, Nash recalls "He came out of a bad time for blacks in the South, but even though we lived in the hood, we had a boat, some cars and a house that was paid for. So I’ve always had a different outlook on life. There’s nothing I can’t do."^[3]

Music career[link]

Background[link]

Nash met R&B producer Laney Stewart in 2001; Stewart helped him get a publishing deal after writing "Everything" for B2K's album Pandemonium!.^[1] Under the pen name "The-Dream", Nash began writing lyrics for many popular artists. He spent two years working on Nivea's second album Complicated, which he executive produced, and continued to write and produce with Christopher "Tricky" Stewart, Laney's brother, which led to Rihanna's 2007 smash hit "Umbrella". The success of "Umbrella" boosted Dream's music career, and in 2007, he signed a deal with Def Jam Records.^[4]

Solo[link]

Following the deal with Def Jam Records, The-Dream began working on his debut studio album Love Hate.^[4] The album was produced by The-Dream's production partner Tricky Stewart, and Carlos "LOS Da Maestro" McKinney, and featured Fabolous and Rihanna.^[5] The album was written and recorded in eight days with twelve tracks making the final cut. Some of the tracks were written in regards to The-Dream's personal life, most notably "Nikki," written about his ex-wife Nivea and how he has moved on since their divorce.^[6] The-Dream explained the title, Love Hate, as short for, "Love me all summer, hate me all winter, because they love you when you hot and when you're cold they don't... I'm hot right now and they love me, but I was cold and they wasn't fuckin' with me."^[6] Released December 11, 2007 on The-Dream's Def Jam-imprint Radio Killa Records,^[7] Love Hate moved 59,000 copies and debuted at number 30 on the Billboard 200.^[8] Love Hate also peaked at #5 on the Billboard Top R&B/Hip-Hop Albums chart.^[9] The album received generally positive reviews from critics, as Rolling Stone called it "one of the most likable R&B records of the year" and UrbanMusicReviews.com said that the singer has "hit a home run."^[10]

On March 10, 2009 The-Dream released his second album Love vs. Money.^[11] He re-teamed with his production partner Christopher "Tricky" Stewart, who produced most of the tracks on the album, and Los Da Maestro.^[12] He also enlisted the help of Lil Jon for the song "Let Me See the Booty".^[8] Love vs. Money debuted at number two on the Billboard 200, selling 151,000 copies in its first week.^[13] It also entered at number one on Billboard's Top R&B/Hip-Hop Albums and at number three on its Top Digital Albums chart in March 2009.^[14][15] Upon its release, the album received general acclaim from most music critics, based on an aggregate score of 83/100 from Metacritic.^[16]

During the making of Love King, he recorded a song with T-Pain and expressed that he would like to make a collaborative album with Kanye West in the future.^[17] In January 2010, The-Dream officially stated he was finished recording the album and he called it the best of his three albums.^[18] The first single, "Love King", was released on March 16, 2010 for digital download. The album was released on June 29, 2010.^[19]

Before the album's release, the-Dream announced that Love King will be his last solo album.^[8][20] When Love King was released, the lyrics to the song "Sex Intelligent Remix" announced plans to release a new solo album called Love Affair and even gave the specific release date of June 7, 2011. In February 2011, The-Dream announced that the album is not titled "Love Affair" anymore, he stated that it is now titled "The Love, IV" and that he scrapped the June 7, 2011 release date and has set a new release date of August 2011.^[21] One week after anouncing that August release date, he said the he is pushing the album up and is hoping to release it on June 7 as promised.^[22] In June 2011, the album's title was changed yet again, this time to "Love IV: Diary of a Madman", it was also announced that it will released on September 20, 2011.^[23] On June 7, 2011; he released double promotional singles titled "Body Work" and "Fuck My Brains Out" to the internet.^[24] The Dream was not able to release "The Love, IV (Diary of a Mad Man)" on September 20, 2011 as planned and it was announced that the album got pushed back indefinitely due to "contract talks" with Def Jam Records.^[25] The-Dream then released a free 10-track album to the internet entitled 1977 on August 31, 2011.^[26][27] The-Dream also plans to release a 13-track studio album entitled Nikki: The Chronicles, which will follow his infatuation with the woman he sang about on 2007’s Love Hate and 2010’s Love King.^[28] In October 2011, Dream announced that he is personally pushing back the release of The Love; IV (Diary of A Madman) and that it will now be released in 2012. Dream also announced his plans to release his first international album, titled 1984: Persona of Love, it is set for release sometime in 2012, the album is a "persona album" and is inspired by his recent trip overseas.^[29] In February 2012, it was announced that the "The Love; IV (Diary of A Madman)" will be released on April 17, 2012.^[30] In March 2012, it was announced that "The Love; IV (Diary of A Madman)" has been re-titled "Love IV MMXII" and that its release date been pushed back to Summer 2012.^[31] In May 2012, it was announced that the album will be released on August 14, 2012.^[32]

Production[link]

In addition to working with Nivea and Rihanna, The-Dream also began writing for numerous artists, most notably J. Holiday's "Bed", Usher's "Moving Mountains", Yung Joc's "Coffee Shop" and Jesse McCartney's "Leavin'". He also co-wrote Mariah Carey's "Touch My Body", Ciara's "High Price," and took part in co-writing a majority of Mary J. Blige's 2007 Growing Pains album, including the smash hit "Just Fine". Recently^[when?] he featured in Drake (entertainer)'s album Thank Me Later the song "Shut It Down".

In December 2007, The-Dream was nominated for Grammy Award for Song of the Year for "Umbrella", but lost to Amy Winehouse's "Rehab". However, in June 2008, The-Dream won the award for Best New Artist at the 2008 BET Awards. Throughout 2008, The-Dream appeared on a number of records including Plies' "Please Excuse My Hands" with Jamie Foxx, LL Cool J's "Baby", Gym Class Heroes' "Cookie Jar" and Kardinal Offishall's "Gimme Some". In addition, The-Dream signed female R&B girl-group Electrik Red to Radio Killa Records and they released their debut album, How to Be a Lady: Volume 1, under the label.^[33] The-Dream and production partner Christopher "Tricky" Stewart produced "Single Ladies (Put a Ring on It)" off Beyoncé's album I Am… Sasha Fierce, co-produced two tracks ("Just Like Me" & "Digital Girl") and was featured on Jamie Foxx's album Intuition, and worked with Mario and Lionel Richie.^[8] He will also be featured on a number of upcoming albums from; Phyzikal, Ciara, Sterling Simms, Young Chris, Dear Jayne, Brandy and Cassie.

In early 2009, The-Dream began working with Christina Milian on her fourth studio album Elope,^[34] which led to her signing a joint-deal with Radio Killa Records.^[35] The-Dream said that when he was building his label, he went looking for Milian because he believed she was a talented singer.^[36] The singer confirmed that her second single would be a duet with The-Dream called "Supersonic".^[37]

Throughout 2009, The-Dream has also been working on new material for Mariah Carey, Brandy, and Diddy. Diddy's song "Change" is described by The-Dream as, "probably one of the best male records I've ever written...the best record I've written besides 'Umbrella'. The-Dream also worked on Jennifer Lopez's single Louboutins from her 7th album Love? by Sony Music. The song did not chart at the Billboard Hot 100 but charted at number 1 on the Hot/Dance Club Chart. He keep working on more tracks for her album which was released in Spring 2011 by Def Jam.^{[dated info][8][dated info]} He also collaborated on, produced and wrote Snoop Dogg's "Gangsta Luv", which is on the 2009 album Malice n Wonderland.

The-Dream and Tricky Stewart have worked on Ciara's fourth studio album titled "Basic Instinct", which was released on December 14, 2010, and was executive produced by the trio. He co-wrote her lead single titled "Ride", which was released in April 2010, and went on to become a R&B smash hit and her twelfth top ten hit on the Billboard R&B/Hip-Hop Songs chart.^[38]

The-Dream received a fair amount of backlash for his cover of singer Aaliyah's song "One in a Million". Upon the release of the song, fans of Aaliyah bombarded radio shows and blog sites with distaste for The-Dream's rendition.^[39]

He also worked alongside Tricky Stewart on Jessica Simpson's Christmas album titled Happy Christmas, released on November 22, 2010, and also working on Simpson's upcoming pop album, to be released in 2011.^{[dated info]}

The-Dream produced a music single for Kim Kardashian, "Jam (Turn It Up)", released in March 2, 2011 and then worked on Beyoncé's album titled 4, released on June 28, 2011.

On March 16, 2012, Billboard posted an interview with The-Dream, where he talked about having been given the opportunity to go in to the studio in a few weeks to work with Shakira, and how excited he is for the track.^[40]

Personal life[link]

The-Dream married girlfriend Nivea in 2004, whom he had been dating for one year. Together they had three children, daughter Navy Talia (on May 10, 2005); and twin sons London and Christian (April 2006). They had been married for three years when Nivea filed for legal separation in December 2007. The-Dream said that although he was in love with Nivea, his lack of experience in a family growing up meant he was "not taught how much more than love does it take to run a relationship. Like, 'cause love isn't just where it's gonna end. It can't start and stop with love. There has to be a certain amount of knowledge and patience that's acquired in order to keep it going and keep it straight, and I found out the hard way".^[41]

The-Dream began dating Christina Milian in early 2009; she became pregnant. The Daily Mail reported that "the pregnancy was a surprise, but they were getting married regardless".^[42] They then became engaged in June 2009.^[43] In August, it was reported that they had applied for a marriage license in Los Angeles. On September 4, 2009, The-Dream married Christina Milian at the Little White Chapel in Las Vegas.^[44] The-Dream said in an interview that Nivea was still a good friend of his, and that she was also friends with Milian.^[45] Milian gave birth to their daughter Violet Madison Nash on February 26, 2010.^[46] Milian and The-Dream announced their separation on July 12, 2010 ^[47] after photos surfaced of The-Dream vacationing with his assistant.^[48]

In addition to music, The-Dream revealed he is currently working on a TV reality series for MTV where he will scout aspiring singers,^[8] and plans to release a clothing line called Millionaire Love Affair.^[33]

Discography[link]

Studio albums

• Love Hate (2007)
• Love vs. Money (2009)
• Love King (2010)
• Love IV MMXII (2012)

Free album

• 1977 (2011)

Awards and nominations[link]

References[link]

External links[link]

• Official website

Janes (r.) scores against Yugoslavia in 1939

Paul Janes (March 10, 1912 in Leverkusen-Küppersteg – June 12, 1987 in Düsseldorf) was a German football player. He earned 71 caps and scored 7 goals for the Germany national football team from 1932 to 1942, and played in two World Cups: 1934 and 1938. Janes was a member of the Breslau Eleven that beat Denmark 8:0 in Breslau in 1937 and went on to win 10 out 11 games played during that year.

The DFB German Football Association (German FA) list him in the top 20 best German footballers of all time.

One of the best full backs of his era, Paul Janes established a record for most German caps which wasn’t broken until 1970. Janes started out as a right half back, but during the 1934 World Cup he debuted as right back and stayed at that position for the rest of his career. He was injured during the 1936 Olympics and thus was spared of the embarrassing defeat of Germany by Norway. During the latter half of the 1930s, Germany possessed one of the strongest full back pairings in European football with Paul Janes on the right and Reinhold Münzenberg on the left side. Vittorio Pozzo, the coach of World Champions Italy, nominated Janes for a 1937 continental selection, but Janes could not participate due to an injury. One of Janes’ best assets was his powerful yet accurate shooting ability, which gave him the nickname "World Champion of Precision". His trademark were hard shots from all possible angles, his seven goals for Germany all came from either freekicks (4) or penalties (3). He was also a very calm player that kept his cool even in nerve-wrecking situations. Sepp Herberger said the following about Janes’ characteristics: "He rarely was caught off-guard on the pitch, as he had the ability to anticipate what the opponent was planning and he interpreted defensive play always as the first step in building up the next attack."^[1] Despite his calmness and overall cleverness, Janes was renowned for an extravaganza that he had imported from South America: He was the first German footballer to specialize in the acrobatic bicycle kick.

During World War II, Janes served in the Reichsmarine. He captained Germany 31 times. Despite his age of 38, Janes almost would have had a comeback for Germany in the first international game after WWII in 1950, but he broke his foot shortly before and thus had to finish his career for good. Janes was known to be a silent man who didn’t divulge in too much talking. In 1934, he was asked about how it was like playing in the World Cup in Italy, his response was: "Warm".^[1]

His home team was Fortuna Düsseldorf, where he worked as trainer after the war. During his playing career Düsseldorf dominated the (topflight) district division through the late 1920s and 1930s, winning the Western German football championship in 1931, the German football championship in 1933 and a German Vice-Championship in 1936. The club also appeared in the final of the Tschammerpokal, predecessor of today's German Cup, in 1937. The Paul-Janes-Stadion in Düsseldorf-Flingern is one of Grounds from Fortuna Düsseldorf (1930–1972 and 2002–2005) named after their famous son.

In his 1978 book "Fussball", Helmut Schön characterised Janes as follows:

"A man who could fight but also able to play technically brilliant. He was gifted with a simply phenomenal spin kick; he scored countless goals with freekicks from 30 or 40 meters with his glass-hard shot."

External links[link]

• International career
• Leverkusen who's who

v t e Germany squad – 1934 FIFA World Cup Third Place 1 Jakob 2 Bender 3 Albrecht 4 Busch 5 Conen 6 Dienert 7 Gramlich 8 Haringer 9 Heidemann 10 Hohmann 11 Janes 12 Buchloh 13 Kobierski 14 Kreß 15 Lehner 16 Münzenberg 17 Noack 18 Schwartz 19 Siffling 20 Streb 21 Szepan 22 Zielinski Coach: Nerz

v t e Germany squad – 1938 FIFA World Cup GK Buchloh GK Jakob GK Raftl DF Janes DF Schmaus MF Goldbrunner MF Kitzinger MF Kupfer MF Mock MF Münzenberg MF Wagner FW Gauchel FW Gellesch FW Hahnemann FW Lehner FW Neumer FW Pesser FW Siffling FW Skoumal FW Streitle FW Stroh FW Szepan Coach: Herberger