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In computer-based text processing and digital typesetting, a non-breaking space, no-break space or non-breakable space (NBSP) is a variant of the space character that prevents an automatic line break (line wrap) at its position. In certain formats (such as HTML), it also prevents the “collapsing” of multiple consecutive whitespace characters into a single space. The non-breaking space is also known as a hard space or fixed space. In Unicode, it is encoded at U+00A0   no-break space (HTML:    ).

Non-breaking behavior[link]

Text-processing software typically assumes that an automatic line break may be inserted anywhere a space character occurs; a non-breaking space prevents this from happening (provided the software recognizes the character). For example, if the text “100 km” will not quite fit at the end of a line, the software may insert a line break between “100” and “km”. To avoid this undesirable behaviour, the editor may choose to use a non-breaking space between “100” and “km”. This guarantees that the text “100 km” will not be broken: if it does not fit at the end of a line it is moved in its entirety to the next line.

Use as non-collapsing white-space[link]

A second common application of non-breaking spaces is in plain text file formats such as SGML, HTML, TeX, and LaTeX, which sometimes treat sequences of whitespace characters (space, newline, tab, form feed, etc.) as if they were a single white-space character. Such “collapsing” of white-space allows the author to neatly arrange the source text using line breaks, indentation and other forms of spacing without affecting the final typeset result.^[1][2]

In contrast, non-breaking spaces are not merged with neighboring whitespace characters, and can therefore be used by an author to insert additional visible space in the formatted text. For example, in HTML, non-breaking spaces may be used in conjunction with a fixed-width font to create tabular alignment (courier new font family used):

   Column 1  Column 2
   --------  --------
        1.2       2.3

(note that the use of the pre tag, the whitespace:pre CSS rule, or a table are alternative, if not necessarily better, ways to achieve the same result in HTML)

If ordinary spaces are used instead then the spaces are collapsed when the HTML is rendered and the layout is broken:

Column 1 Column 2
-------- --------
1.2 2.3

Non-breaking space can also be used to automatically change formatting in a document. This is useful for things like class plans and recipe files where the description of a cell or line may be different from the actual text or title.

Encodings[link]

Unicode defines several other non-break space characters^[3] that differ from the regular space in width:

• No-break thin space, known in Unicode as “NARROW NO-BREAK SPACE” (U+202F). It was introduced in Unicode 3.0 for Mongolian, to separate a suffix from the word stem without indicating a word boundary. This is also required for French punctuation (before ?, ! or ;).
• Word joiner, encoded in Unicode 3.2 and above as U+2060 and HTML as ⁠. The word-joiner does not normally produce any space but prohibits a line break on either side of it.
• The Byte Order Mark, U+FEFF, officially named “ZERO WIDTH NO-BREAK SPACE”, can also be used with the same meaning as the word joiner, but in current documents this use is deprecated. See also Zero-width non-breaking space.

Keyboard entry methods[link]

It is rare for national or international standards on keyboard layouts to define an input method for the non-breaking space. An exception is the Finnish Multilingual Keyboard, accepted as the national standard SFS 5966 in 2008. According to the SFS setting, the non-breaking space can be entered with the key combination AltGr + Space.^[4]

Typically, authors of keyboard drivers and application programs (e.g., word processors) have devised their own keyboard shortcuts for the non-breaking space. For example:

See also[link]

• Hyphens in computing, for information about hard and non-breaking hyphens
• List of XML and HTML character entity references
• Orphans and widows
• Punctuation
• Sentence spacing in digital media
• Space (punctuation)

References[link]

1. ^ http://www.w3.org/TR/1999/REC-html401-19991224/struct/text.html#h-9.1
2. ^ http://www.w3.org/TR/CSS21/text.html#white-space-prop
3. ^ See Space (punctuation)#Spaces_in_Unicode.
4. ^ Kotoistus: Uusi näppäinasettelu = Status of the new Keyboard Layout. A bi-lingual (Finnish + English) presentation page collecting drafts of the Finnish Multilingual Keyboard. CSC – IT Center for Science Ltd. (Page updated 2006-12-28.)

Samir Amin (Arabic: سمير أمين‎) (born 3 September 1931) is an Egyptian economist. He lives in Dakar, Senegal.

Biography[link]

Samir Amin was born in Cairo, the son of an Egyptian father and a French mother (both medical doctors). He spent his childhood and youth in Port Said; there he attended a French High School, leaving in 1947 with a Baccalauréat. From 1947 to 1957 he studied in Paris, gaining a diploma in political science (1952) before graduating in statistics (1956) and economics (1957). In his autobiography Itinéraire intellectuel (1990) he wrote that in order to spend a substantial amount of time in "militant action" he could devote only a minimum of time to preparing for his university exams.

Arriving in Paris, Amin joined the French Communist Party (PCF), but he later distanced himself from Soviet Marxism and associated himself for some time with Maoist circles. With other students he published a magazine entitled;Étudiants Anticolonialistes. In 1957 he presented his thesis, supervised by François Perroux among others, originally titled The origins of underdevelopment - capitalist accumulation on a world scale but retitled The structural effects of the international integration of precapitalist economies. A theoretical study of the mechanism which creates so-called underdeveloped economies.

After finishing his thesis, Amin went back to Cairo, where he worked from 1957 to 1960 as a research officer for the government's "Institution for Economic Management". Subsequently Amin left Cairo, to become an adviser to the Ministry of Planning in Bamako (Mali) from 1960 to 1963. In 1963 he was offered a fellowship at the Institut Africain de Développement Économique et de Planification (IDEP). Until 1970 he worked there as well as being a professor at the university of Poitiers, Dakar and Paris (of Paris VIII, Vincennes). In 1970 he became director of the IDEP, which he managed until 1980. In 1980 Amin left the IDEP and became a director of the Third World Forum in Dakar.

Work[link]

Samir Amin has written more than 30 books including Imperialism & Unequal Development, Specters of Capitalism: A Critique of Current Intellectual Fashions, Obsolescent Capitalism: Contemporary Politics and Global Disorder and The Liberal Virus. His memoirs were published in October 2006.

For Samir Amin (1997), the ascent and decline is largely determined in our age by the following ‘five monopolies’

1. the monopoly of technology, supported by military expenditures of the dominant nations
2. the monopoly of control over global finances and a strong position in the hierarchy of current account balances
3. the monopoly of access to natural resources
4. the monopoly over international communication and the media
5. the monopoly of the military means of mass destruction

The economic performance over the last few years teaches us an important lesson about the evolving mechanisms of the future Kondratieff cycle, that began in the mid-1980s. Let us recall, that for Dependency and World Systems theory in the tradition of Samir Amin (1975), there are four main characteristics of the peripheral societal formation:

• the predominance of agrarian capitalism in the ‘national’ sector
• the formation of a local bourgeoisie, which is dependent from foreign capital, especially in the trading sector
• the tendency of bureaucratization
• specific and incomplete forms of proletarisation of the labor force

In partial accordance with liberal thought, (i) and (iii) explain the tendency towards low savings; thus there will be

• huge state sector deficits and, in addition, their ‘twin’
• chronic current account balance deficits

In the peripheral countries. High imports of the periphery, and hence, in the long run, capital imports, are the consequence of the already existing structural deformations of the role of peripheries in the world system, namely by

• rapid urbanization, combined with an insufficient local production of food
• excessive expenditures of the local bureaucracies
• changes in income distribution to the benefit of the local elites (demonstration effects)
• insufficient growth of and structural imbalances in the industrial sector
• and the following reliance on foreign assistance

The history of periphery capitalism, Amin argues, is full of short-term ‘miracles’ and long-term blocks, stagnation and even regression.

Samir Amin's views on Political Islam[link]

According to Samir Amin, Islam leads its struggle on the terrain of culture, wherein "culture" is intended as "belongingness to one religion". Islamist militants are not actually interested in the discussion of dogmas which form religion but on the contrary they're concerned about the ritual assertion of membership in the community. Such a world view is therefore not only distressing as it conceals an immense poverty of thought, but it also justifies Imperialism's strategy of substituting a "conflict of cultures" for a conflict between the liberal, imperialist centres and the backward, dominated peripheries. This importance attributed to culture allows Political Islam to obscure from every sphere of life the realistic social dichotomy between the working classes and the global capitalist system which oppresses and exploits them.^[1]

The militants of political Islam are only present in areas of conflict in order to furnish people with education and health care, through schools and health clinics. However, these are nothing more than works of charity and means of indoctrination, insofar as they are not means of support for the working class struggle against the system which is responsible for its misery.

Besides, beyond being reactionary on definite matters (see the status of women in Islam) and responsible for fanatical excesses against non-Muslim citizen (such as the Copts in Egypt), political Islam even defends the sacred character of property and legimitises inequality and all the prerequisites of capitalist reproduction. One example is the Muslim Brotherhood's support in the Egyptian parliament for conservative and reactionary laws which empowers the rights of property owners, to the detriment of the small peasantry. Political Islam has also always found consent in the bourgeoisie of Saudi Arabia and Pakistan, as the latter abandoned an anti-imperialist perspective and substituted it for an anti-western stance, which only creates an acceptable impasse of cultures and therefore doesn't represent any obstacle to the developing imperialist control over the world system.

Hence, political Islam aligns itself in general with capitalism and imperialism, without providing the working classes with an effective and non-reactionary method of struggle against their exploitation.^[2]

It is important to note, however, that Amin is careful to distinguish his analysis of political Islam from islamophobia, thus remaining sensitive to the anti-Muslim attitudes that currently affect Western Society.^[3]

Publications by Samir Amin[link]

• 1957, Les effets structurels de l’intégration internationale des économies précapitalistes. Une étude théorique du mécanisme qui a engendré les éonomies dites sous-développées (thesis)
• 1965, Trois expériences africaines de développement: le Mali, la Guinée et le Ghana
• 1966, L’économie du Maghreb, 2 vols.
• 1967, Le développement du capitalisme en Côte d'Ivoire
• 1969, Le monde des affaires sénégalais
• 1969, The Class struggle in Africa [1]
• 1970, Le Maghreb moderne (translation: The Magrheb in the Modern World)
• 1970, L’accumulation à l’échelle mondiale (translation: Accumulation on a world scale)
• 1970, with C. Coquery-Vidrovitch, Histoire économique du Congo 1880-1968
• 1971, L’Afrique de l’Ouest bloquée
• 1973, Le développement inégal (translation: Unequal development)
• 1973, L’échange inégal et la loi de la valeur
• 1973, Neocolonialism in West Africa [2]
• 1973, 'Le developpement inegal. Essai sur les formations sociales du capitalisme peripherique' Paris: Editions de Minuit.
• 1973, L’échange inégal et la loi de la valeur
• 1974, with K. Vergopoulos): La question paysanne et le capitalisme
• 1975, with A. Faire, M. Hussein and G. Massiah): La crise de l‘impérialisme
• 1976, ‘Unequal Development: An Essay on the Social Formations of Peripheral Capitalism’ New York: Monthly Review Press.
• 1976, L’impérialisme et le développement inégal (translation: Imperialism and unequal development)
• 1976, La nation arabe (translation: The Arab Nation)
• 1977, La loi de la valeur et le matérialisme historique (translation: The law of value and historical materialism)
• 1979, Classe et nation dans l’histoire et la crise contemporaine (translation: Class and nation, historically and in the current crisis)
• 1980, L’économie arabe contemporaine (translation: The Arab economy today)
• 1981, L’avenir du Maoïsme (translation: The Future of Maoism)
• 1982, Irak et Syrie 1960 - 1980
• 1982, with G. Arrighi, A. G. Frank and I. Wallerstein): La crise, quelle crise? (translation: Crisis, what crisis?)
• 1984, 'Was kommt nach der Neuen Internationalen Wirtschaftsordnung? Die Zukunft der Weltwirtschaft' in 'Rote Markierungen International' (Fischer H. and Jankowitsch P. (Eds.)), pp. 89 – 110, Vienna: Europaverlag.
• 1984, Transforming the world-economy? : nine critical essays on the new international economic order.
• 1985, La déconnexion (translation: Delinking: towards a polycentric world)
• 1988, Impérialisme et sous-développement en Afrique (expanded edition of 1976)
• 1988, L’eurocentrisme (translation: Eurocentrism)
• 1988, with F. Yachir): La Méditerranée dans le système mondial
• 1989, La faillite du développement en Afrique et dans le tiers monde]
• 1990, Transforming the revolution: social movements and the world system
• 1990, Itinéraire intellectual; regards sur le demi-siecle 1945-90 (translation: Re-reading the post-war period: an Intellectual Itinerary)
• 1991, L’Empire du chaos (translation: Empire of chaos)
• 1991, Les enjeux stratégiques en Méditerranée
• 1991, with G. Arrighi, A. G. Frank et I. Wallerstein): Le grand tumulte
• 1992, 'Empire of Chaos' New York: Monthly Review Press. [3]
• 1994, L’Ethnie à l’assaut des nations
• 1995, La gestion capitaliste de la crise
• 1996, Les défis de la mondialisation
• 1997, ‘Die Zukunft des Weltsystems. Herausforderungen der Globalisierung. Herausgegeben und aus dem Franzoesischen uebersetzt von Joachim Wilke’ Hamburg: VSA.
• 1997, Critique de l’air du temps
• 1999, "Judaism, Christianity and Islam: An Introductory Approach to their Real or Supposed Specificities by a Non-Theologian" in "Global capitalism, liberation theology, and the social sciences: An analysis of the contradictions of modernity at the turn of the millennium" (Andreas Mueller, Arno Tausch and Paul Zulehner (Eds.)), Nova Science Publishers, Hauppauge, Commack, New York
• 1999, Spectres of capitalism: a critique of current intellectual fashions
• 2000, L’hégémonisme des États-Unis et l’effacement du projet européen
• 2002, Mondialisation, comprehendre pour agir
• 2003, Obsolescent Capitalism
• 2004, The Liberal Virus: Permanent War and the Americanization of the World
• 2005, with Ali El Kenz, Europe and the Arab world; patterns and prospects for the new relationship
• 2006, Beyond US Hegemony: Assessing the Prospects for a Multipolar World
• 2008, with James Membrez, The World We Wish to See: Revolutionary Objectives in the Twenty-First Century
• 2009, 'Aid for Development' in 'Aid to Africa: Redeemer or Coloniser?' Oxford: Pambazuka Press [4]
• 2010, 'Eurocentrism - Modernity, Religion and Democracy: A Critique of Eurocentrism and Culturalism' 2nd edition, Oxford: Pambazuka Press [5]
• 2010, 'Ending the Crisis of Capitalism or Ending Capitalism?' Oxford: Pambazuka Press [6]
• 2010, 'Global History - a View from the South' Oxford: Pambazuka Press [7]
• 2011, 'Maldevelopment - Anatomy of a Global Failure' 2nd edition, Oxford: Pambazuka Press [8]

Writings about Samir Amin[link]

• Aidan Forster-Carter: The Empirical Samir Amin, in S. Amin: The Arab Economy Today, London 1982, pp. 1 – 40
• Duru Tobi: On Amin's Concepts - autocentric/ blocked development in Historical Perspectives, in: Economic Papers (Warsaw), Nr. 15, 1987, pp. 143 – 163
• Fouhad Nohra: Théories du capitalisme mondial. Paris 1997
• Gerald M. Meier, Dudley Seers (eds.): Pioneers in Development. Oxford 1984

References[link]

External links[link]

Some writings by Samir Amin available on-line

• A Critique of the Stiglitz Report: The limits of liberal orthodoxy [9]
• The American Ideology [10]
• Third World Forum: An Interview with Samir Amin http://www.zmag.org/zmag/viewArticle/13656]
• Imperialism and Globalization [11]
• Empire of Chaos Challenged: An Interview with Samir Amin [12]
• Maldevelopment: Anatomy of a Global Failure [13]
• U.S. Imperialism, Europe, and the Middle East [14]
• India, a Great Power? [15]
• Imperialism and Globalization [16]
• World Poverty, Pauperization & Capital Accumulation
• U.S. Hegemony and the Response to Terror [17]
• Empire and Multitude [18]
• A Note on the Death of André Gunder Frank (1929–2005) [19]
• The Political Economy of the Twentieth Century [20]
• Africa: Living on the Fringe [21]
• Samir Amin: The New Challenge of the Peoples’ Internationalism [22]
• The Contours of an Aid Alternative: An Abrupt Rupture? [23]
• The Center Will not Hold, the Rise and Decline of Liberalism Review of Wallersteins The Modern World System IV: Centrist Liberalism Triumphant]

Sites selling titles by Samir Amin

• The World we wish to see, Revolutionary Objectives in the 21st Century
• Empire of Chaos.

Critical review

• A review of Samir Amin's Re-reading the Postwar Period: An Intellectual Itinerary [24]

Kim Wilde (born Kim Smith, 18 November 1960) is an English pop singer, author and television presenter who burst onto the music scene in 1981 with the number 2 UK Singles Chart New Wave classic "Kids in America". In 1983, Wilde received the Brit Award for Best British Female.^[2] In 1987 she had a major hit in the US when her version of The Supremes' classic "You Keep Me Hangin' On" topped the charts. Starting in 1998, while still active in music, she has branched into an alternative career as a landscape gardener.

Early life[link]

The eldest child of 1950s rock 'n' roller Marty Wilde (birth name Reginald Smith) and Joyce Baker, who was earlier a member of the singing and dancing group The Vernons Girls, Kim Smith was born in the West London suburb of Chiswick and attended Oakfield Preparatory School, in the Southeast London area of Dulwich. When she was nine, the family moved to Hertfordshire, where she was educated at Tewin and later Presdales School in Ware. In 1980, at age 20, she completed a foundation course at St Albans College of Art & Design and, as Kim Wilde, was signed to RAK Records by Mickie Most.^[3]

Music career[link]

The RAK years[link]

Oakfield School in Dulwich

Wilde released her debut single "Kids in America" in January 1981. An instant success, it reached number two in the UK Singles Chart and scaled the Top 5 in other countries such as Germany, France and Australia.^[4] Although it achieved only moderate success in the US, peaking at number 25 when released in 1982, it is often regarded today as Wilde's signature song. Her debut album Kim Wilde repeated the success of the single, spawning two further hits in "Chequered Love" (Top 5 in the UK, France, Australia and Germany) and the UK-only single "Water on Glass". Her follow-up album was 1982's Select, led by the hit singles "Cambodia" and "View From a Bridge". Both were Number 1 hits in France and reached Top 10 positions in Germany and Australia. At the time, there was some controversy about Wilde's hesitation to do live concerts.^[5] Her first concerts in September 1982 took place in Denmark,^[6] before embarking on a UK-wide tour in October.^[7] Wilde's third album, Catch as Catch Can (1983) was a relative failure.^{[citation needed]} The first single from the album, "Love Blonde", was another success in France and Scandinavia, but failed to have major success in other countries. The failure of the album led to her leaving RAK and signing with MCA Records in the summer of 1984.^{[citation needed]}

The MCA years[link]

Wilde's first MCA album Teases & Dares was again overlooked in her home country,^{[citation needed]} but fared better in Germany, France and Scandinavia as well as scoring another German Top 10 single with "The Second Time" (which was Top 30 in the UK). The video for this song appeared in an episode of the 1980s TV hit Knight Rider in 1985.^[8] The second single, "The Touch", was not a commercial success, but the third single, the rockabilly "Rage to Love", made the UK top 20 in 1985. All of Wilde's songs up to this point, including all her major hits, had been written by her father Marty and brother, Ricky. On "Teases & Dares" she penning two songs. Meanwhile, Wilde had embarked on three European concert tours (1983, 85 and 86).^{[citation needed]}

On her fifth album, 1986's Another Step, Wilde wrote or co-wrote most of the songs. The album's lead single "Schoolgirl" flopped in Europe and Australia, but Wilde's fortunes improved in spectacular fashion with the album's second single, a Hi-NRG remake of The Supremes classic "You Keep Me Hangin' On".^[9] After topping the charts in Australia and Canada and peaking at number two in the UK, it became a US number one single in 1987. With that hit, she became the fifth UK female solo artist ever to top the US Hot 100, following Petula Clark, Lulu, Sheena Easton, and Bonnie Tyler.^[10] Wilde later admitted to "not knowing the song terribly well" beforehand: "Basically we just went into the studio with a lot of energy and not a lot of reverence. We changed quite a lot of the song and I think that's why it was so successful. It was a very spontaneous idea."^[11] Her popularity, especially in her native UK, was revitalised and she scored further Top 10 hits in 1987 with "Another Step (Closer to You)" (recorded with Junior) and "Rockin' Around the Christmas Tree" (a Comic Relief charity single, recorded with comedian Mel Smith).

In 1988, Wilde released her biggest selling album to date,^{[citation needed]} Close, which returned her to the UK top 10 and spent almost eight months on the UK album chart. It produced four major European hits: "Hey Mr.Heartache", "You Came", "Never Trust a Stranger" and "Four Letter Word", (the last 3 were Top 10 hits in the UK). The release of the album coincided with a tour of Europe, where she was the opening act for Michael Jackson's Bad World Tour.^[12] Wilde released her next album, Love Moves, in 1990. The album barely made the UK Top 40, and, although it was a Top 10 success in Scandinavian countries, it failed to sell as well as its predecessor and only spawned two minor hits, "It's Here" a Top 20 success in Middle and Northern Europe as well as "Can't Get Enough (Of Your Love)", her last Top 20 hit in France. She toured Europe again, this time opening for fellow Briton David Bowie.^[12]

A collaboration with Rick Nowels, who had produced hits for Stevie Nicks and Belinda Carlisle, resulted in the guitar-driven pop of the single "Love Is Holy" and the album Love Is (1992). The album's success was again limited to a small number of countries, though the single became another Top 20 hit in the UK,^[13] and the second single ("Heart Over Mind") also made the top 40.^[13] In 1993, she released her first official compilation album The Singles Collection 1981–1993, which was a success throughout Europe and Australia and the dancefloor-influenced single "If I Can't Have You" (a cover of the Yvonne Elliman song from the film Saturday Night Fever that was penned by The Bee Gees), became her last UK Top 20 Hit as well as a number 3 hit in Australia.^[14]

Wilde embarked on a huge "Greatest Hits" concert tour through Europe in 1994 and also toured Australia and Japan for the first time in six years.^{[citation needed]} Her next album, Now & Forever (1995), was a commercial failure worldwide.^[12] Her single "Breakin' Away", however, was a minor hit, and the follow-up, "This I Swear", was also a minor hit in Europe.^[15] She released a single "Shame" in 1996.^[16] From February 1996 to February 1997, Wilde appeared in London's West End production of the musical, Tommy.^[17] After this, Wilde started recording a new album. However, there were problems with her record company – MCA Records had by that time become part of Universal Music – and legal problems concerning the songs. Subsequently, Wilde abandoned the album which remains unreleased.^{[citation needed]}

Return to Pop[link]

On 13 January 2001, Wilde performed live for the first time in years, as a guest star in a charity show by the ABBA tribute band, Fabba.^{[citation needed]} Since November 2001, she has toured the UK three times (and once in Australia during 2003) as part of the Here and Now Tour, an Eighties revival concert series, together with artists such as Paul Young, The Human League, Belinda Carlisle, Howard Jones and Five Star.^{[citation needed]} New recordings also followed; in 2001, she recorded a new track, "Loved", for a compilation album which became a surprise hit in Belgium.^[18] She recorded the single "Born to be Wild" in 2002, and in summer of 2003 she had a major hit with "Anyplace, Anywhere, Anytime", a duet with German pop star Nena. The single was a Top 10 hit in Germany, Belgium, Austria, Netherlands and Switzerland.^[19]

In 2006, Wilde signed a new record deal with EMI Germany and released the first single from her tenth studio album in many countries across Europe, Scandinavia and Asia. "You Came 2006" charted Top 20 in most of these countries and became her biggest solo hit in Germany since 1988.^[15] The album Never Say Never included eight new tracks plus five re-worked previous hits and has charted in Belgium, France, Switzerland, Austria and Germany. The second single from the album, which was voted for by fans on her official website was "Perfect Girl", released in November 2006 and spent nine weeks on the German Top 100 singles chart.^[15] A third single, "Together We Belong", was released in March 2007 and a fourth single, "Baby Obey Me", was released in Germany as a remix featuring German rapper Ill Inspecta.^[20] In 2001, Wilde appeared on the first Here and Now Tour around the UK and repeated this, as the only artist, four years in a row.^{[citation needed]} Also on different summer festivals and summer Here and Now events, she became a regular guest, including the Australian leg of the Tour.^{[citation needed]} Since summer 2003, Wilde has appeared on numerous festival bills and concerts all over Europe with her own show.^{[citation needed]} In the spring of 2007, she toured (The Perfect Girl tour) around Europe singing new material, and started a second leg of the tour the following autumn.^{[citation needed]} Also in the spring and summer of 2009, she toured around Europe, playing a number of festivals and concerts.^{[citation needed]} In early September 2009, a brand new single, "Run to You", recorded as a duet with Swedish rock band Fibes, Oh Fibes!, was released in Sweden. The song reached the Swedish Top 30.^[21]

In 2010, Kim signed a new record deal with Sony Music Germany. The label released her eleventh studio album, Come Out and Play on 17 August,^[22] with "Lights Down Low" preceding that as lead single.^[23] The album reached number 10 in Germany^[24] and was followed by a tour in Europe in February and March 2011.

Wilde's twelfth studio album, Snapshots, was released on 26 August 2011 and features cover versions of songs hand-picked from the last five decades. A double release of "It's Alright" and "Sleeping Satellite" was released on 19 August as the lead single. Two further singles failed to reach the chart. Kim toured in support of the album in Germany in March 2012.

Impact and recognition[link]

Kim Wilde holds the record for being the most-charted British solo female act of the 1980s, with seventeen UK Top 40 hit singles throughout the decade (including her duets with Junior Giscombe and Mel Smith).^{[citation needed]}

A number of artists have performed covers of Kim Wilde songs, ranging from pop and rock to dance and death metal versions. In 1991, Lawnmower Deth released their version of "Kids in America" as a single.^[25] The same year, English punk rock band Toy Dolls recorded a parody of "Kids in America" called "The Kids in Tyne and Wear" on their seventh studio album, Fat Bob's Feet. In 1995, indie rock band The Muffs recorded "Kids in America", which was featured in the hit film Clueless. In 2000, Canadian band Len covered "Kids in America" for the Digimon soundtrack.^{[citation needed]} American pop star Tiffany recorded a version of "Kids in America" in 2007 for her album I Think We're Alone Now: '80s Hits and More. German eurodance act Cascada, recorded a version of "Kids in America", on their Everytime We Touch album in 2007. Other famous artists to cover Kim Wilde songs are Apoptygma Berzerk, Atomic Kitten, Bloodhound Gang, James Last and Lasgo.

Wilde has provided inspiration for other artists, including Charlotte Hatherley, who wrote a song about her entitled "Kim Wilde", and included it on her debut album, Grey Will Fade. East German punk rock band Feeling B also recorded a song called "Kim Wilde", which featured on their debut album. In 1985, French singer Laurent Voulzy paid tribute to Wilde in his song "Les Nuits Sans Kim Wilde" ("Nights Without Kim Wilde"). In her graphic novel Persepolis, Iranian cartoonist Marjane Satrapi has a comic strip titled Kim Wilde. In it the main character Marji, a young Iranian girl, sings "Kids in America" in the streets of the Iranian capital. Also, when her parents go on holiday in Turkey, they buy a poster of Kim Wilde and smuggle it into Tehran for Marji. Marji pins the poster on her bedroom's wall and practices emulating Wilde.^[26]

Awards[link]

• 1996 RSH-GOLD Female Classic of 1995 (Germany)
• 1993 Bambi Award for "The Singles Collection" (Germany)
• 1990 Diamond Award (Netherlands)
• 1988 European Platinum Award as female singer who sold the most records across Europe (she shared this award with equally successful 80s singer Sandra)^{[citation needed]}
• 1984 Golden Otto Best Singer (Germany)
• 1983 BRIT Awards - Best British Female Solo Artist (UK)^[2]
• 1983 Silver Otto Second Best Singer (Germany)
• 1982 Silver Otto Second Best Singer (Germany)
• 1981 Golden Otto Best Singer (Germany)
• 1981 Rockbjörnen - Best female singer (Sweden)

Gardening career[link]

During her first pregnancy, an old interest in gardening resurfaced and she attended the famous Capel Manor college to learn about horticulture, so as to create a garden for her children. As a celebrity, she was asked by Channel 4 to act as a designer for their programme Better Gardens.^[27] A year later, she started a two year commitment with the BBC, recording two series of Garden Invaders.^[28]

In 2001, she (along with fellow horticulturist David Fountain) created the "All about Alice" garden for the Tatton Flower Show and was awarded the 'Best Show Garden' award.^[29] In 2005, she won a Gold award for her courtyard garden at the Royal Horticultural Society's Chelsea Flower Show.^[30] She has designed and created numerous gardens during her involvement in the Better Gardens and Garden Invaders TV programmes and commissioned by individuals and organisations. She has also created gardens for Flower Shows across the UK and received, with David Fountain, an entry in the Guinness Book of World Records for successfully moving (from Belgium) and replanting the world's largest tree in January 2001.^[31] After standing in its new location for six years, however, the tree was toppled by a storm in January 2007.^[32]

Publications[link]

Wilde has written two books within her gardening career. The first, Gardening with Children, was released on 4 April 2005 by Collins publishers.^[33] Translations of the book were released at the same time in Spain, France, Denmark and the Netherlands, and later in Germany.^{[34][citation needed]} Her second book, The First-Time Gardener, was released on 3 April 2006 (again by Collins), and is a beginner's guide to gardening.^[35]

Television[link]

Wilde broadened her eco-friendly image by taking on advertising jobs for various 'green' companies. For two years, she featured on adverts for the highstreet health food shop Holland & Barrett. She wrote infomercials for Bold^[36] and Timotei,^[37] and in 2008, she started advertising 'green kitchens' for Magnet.^[38]

Personal life[link]

On 1 September 1996, Wilde married her co-star in Tommy, Hal Fowler, and expressed a desire to have children as soon as possible.^[39] On 3 January 1998 she gave birth to Harry Tristan.^[40] Two years later, on 13 January 2000, Rose Elisabeth was born.^[41][42]

As of 2008, her brother Marty Wilde Jr. is a landscape gardener^[43] and her sister, Roxanne, is a backing singer for Kylie Minogue.^[44]

Discography[link]

Bibliography[link]

• Gardening with Children (2005)
• The First-Time Gardener (2006)

References[link]

External links[link]

	Book: Kim Wilde
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Wikiquote has a collection of quotations related to: Kim Wilde

Wikimedia Commons has media related to: Kim Wilde

• Official website
• Official fansite
• Kim Wilde at the Internet Movie Database

v t e Kim Wilde Studio albums Kim Wilde Select Catch as Catch Can Teases & Dares Another Step Close Love Moves Love Is Now & Forever Never Say Never Come Out and Play Snapshots Remix albums The Remix Collection Compilations The Very Best of Kim Wilde (1984) The Singles Collection 1981–1993 The Very Best of Kim Wilde (2001) The Hits Collection Singles "Kids in America" "Chequered Love" "Water on Glass" "Cambodia" "View from a Bridge" "Child Come Away" "Love Blonde" "Dancing in the Dark" "House of Salome" "The Second Time" "The Touch" "Rage to Love" "Schoolgirl" "You Keep Me Hangin' On" "Another Step (Closer to You)" "Say You Really Want Me" "Rockin' Around the Christmas Tree" "Hey Mister Heartache" "You Came" "Never Trust a Stranger" "Four Letter Word" "Love in the Natural Way" "It's Here" "Time" "Can't Get Enough (Of Your Love)" "World in Perfect Harmony" "I Can't Say Goodbye" "Love Is Holy" "Heart Over Mind" "Who Do You Think You Are" "Million Miles Away" "If I Can't Have You" "In My Life" "Kids in America 1994" "Breakin' Away" "This I Swear" "Shame" "Loved" "Born to Be Wild" "Anyplace, Anywhere, Anytime" "You Came 2006" "Perfect Girl" "Together We Belong" "Baby Obey Me" "Run to You" "Lights Down Low" "Real Life" "It's Alright" "Sleeping Satellite" "To France" "Ever Fallen in Love" Related articles Discography Marty Wilde Ricky Wilde Book:Kim Wilde

Les Paul
Les Paul playing a Gibson Les Paul in a live show at Iridium Jazz Club in New York City, 2008.
Background information
Birth name	Lester William Polsfuss[1]
Born	(1915-06-09)June 9, 1915 Waukesha, Wisconsin, United States
Died	August 13, 2009(2009-08-13) (aged 94) White Plains, New York, United States[2]
Genres	Jazz, country, blues, rock and roll
Occupations	Innovator, Inventor, Musician, Songwriter
Instruments	Guitar, Banjo, Harmonica
Years active	1928–2009
Website	lespaulfoundation.org
Notable instruments
Gibson Les Paul

Lester William Polsfuss (June 9, 1915 – August 13, 2009)^[3][4][5]—known as Les Paul—was an American jazz and country guitarist, songwriter and inventor. He was the inventor of the solid-body electric guitar which made the sound of rock and roll possible.^[6] He is credited with many recording innovations. Although he was not the first to use the technique, his early experiments with overdubbing (also known as sound on sound),^[7] delay effects such as tape delay, phasing effects and multitrack recording were among the first to attract widespread attention.^[8]

His innovative talents extended into his playing style, including licks, trills, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many guitarists of the present day.^{[9][10][11][12]} He recorded with his wife Mary Ford in the 1950s, and they sold millions of records.

Among his many honors, Paul is one of a handful of artists with a permanent, stand-alone exhibit in the Rock and Roll Hall of Fame.^[13] He is prominently named by the music museum on its website as an "architect" and a "key inductee" along with Sam Phillips and Alan Freed.^[14]

Biography[link]

Early life[link]

Les Paul was born Lester William Polsfuss outside Milwaukee, in Waukesha, Wisconsin, to George and Evelyn (1888–1989) (née Stutz) Polsfus. His family was of German ancestry.^[15] Paul's mother was related to the founders of Milwaukee's Valentin Blatz Brewing Company and the makers of the Stutz automobile.^[16] His parents divorced when he was a child.^[17] The Prussian family name was first simplified by his mother to Polfuss before he took his stage name of Les Paul. He also used the nicknames Red Hot Red^[18] and Rhubarb Red.^[19]

While living in Wisconsin, he first became interested in music at age eight when he began playing the harmonica. After an attempt at learning the banjo, he began to play the guitar. It was during this time that he invented a neck-worn harmonica holder, which allowed him to play the harmonica hands-free while accompanying himself on the guitar. Paul's device is still manufactured using his basic design.^[20] By age thirteen, Paul was performing semi-professionally as a country-music singer, guitarist and harmonica player. While playing at the Waukesha area drive-ins and roadhouses, Paul began his first experiment with sound. Wanting to make himself heard by more people at the local venues, he wired a phonograph needle to a radio speaker, using that to amplify his acoustic guitar.^[21] At age seventeen, Paul played with Rube Tronson's Texas Cowboys, and soon after he dropped out of high school to join Wolverton's Radio Band in St. Louis, Missouri, on KMOX.

Early career[link]

Paul migrated to Chicago in 1934, where he continued to perform on radio, and met pianist Art Tatum, whose playing influenced him to a career devoted to guitar rather than original plans of taking on the piano. ^[22] His first two records were released in 1936. One was credited to "Rhubarb Red", Paul's hillbilly alter ego, and the other was as an accompanist for blues-artist Georgia White. It was during this time that he began playing jazz and adopted his stage name.^[23]

Paul's jazz-guitar style was strongly influenced by the music of Django Reinhardt, whom he greatly admired. Following World War II, Paul sought out and befriended Reinhardt. After Reinhardt's death in 1953, Paul furnished his headstone.^{[citation needed]} One of Paul's prize possessions was a Selmer Maccaferri acoustic guitar given to him by Reinhardt's widow.^[18]

Paul formed a trio in 1937 with singer/rhythm guitarist Jim Atkins^[24] (older half-brother of guitarist Chet Atkins) and bassist/percussionist Ernie "Darius" Newton. They left Chicago for New York in 1939, landing a featured spot with Fred Waring's Pennsylvanians radio show. Chet Atkins later wrote that his brother, home on a family visit, presented the younger Atkins with an expensive Gibson archtop guitar that had been given to Jim Atkins by Les Paul. Chet recalled that it was the first professional-quality instrument he ever owned.^[25]

Paul was dissatisfied with acoustic-electric guitars and began experimenting at his apartment in Queens, NY with a few designs of his own. Famously, he created several versions of "The Log", which was nothing more than a length of common 4x4 lumber with a bridge, guitar neck and pickup attached. For the sake of appearance, he attached the body of an Epiphone hollow-body guitar, sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body. These instruments were constantly being improved and modified over the years, and Paul continued to use them in his recordings long after the development of his eponymous Gibson model. In 1945, Richard D. Bourgerie made an electric guitar pickup and amplifier for professional guitar player George Barnes. Bourgerie worked through World War II at Howard Radio Company making electronic equipment for the American military. Barnes showed the result to Les Paul, who then arranged for Bourgerie to have one made for him.

While experimenting in his apartment in 1940, Paul nearly succumbed to electrocution. During two years of recuperation, he relocated to Hollywood, supporting himself by producing radio music and forming a new trio. He was drafted into the US Army shortly after the beginning of World War II, where he served in the Armed Forces Network, backing such artists as Bing Crosby, the Andrews Sisters, and performing in his own right.^[26]

Les Paul, ca. January 1947 (Photograph by William P. Gottlieb)

As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles, California, on July 2, 1944. The recording, still available as Jazz at the Philharmonic- the first concert- shows Paul at the top of his game, both in his solid four to the bar comping in the style of Freddie Green and for the originality of his solo lines. Paul's solo on 'Blues' is an astonishing tour de force and represents a memorable contest between himself and Nat 'King' Cole. Much later in his career, Paul declared that he had been the victor and that this had been conceded by Cole.^{[citation needed]} His solo on Body and Soul is a fine demonstration both of his admiration for and emulation of the playing of Django Reinhardt, as well as his development of some very original lines.

Also that year, Paul's trio appeared on Bing Crosby's radio show. Crosby went on to sponsor Paul's recording experiments. The two also recorded together several times, including a 1945 number-one hit, "It's Been a Long, Long Time." In addition to backing Crosby, The Andrews Sisters and other artists, Paul's trio also recorded a few albums of their own on the Decca label in the late 1940s. Paul was particularly enamored by the famous Andrews Sisters, who hired The Les Paul Trio as their opening act while they toured in 1946. Lou Levy, the sisters' manager and a music publishing giant of the big band era and beyond, once said, "Watching his fingers work was like watching a locomotive go."^[27] The trio's longtime conductor, Vic Schoen, said of Les, "You could always count on him to come up with something no one else had thought of,"^[28] while Maxene Andrews once remembered, "It was wonderful having him perform with us. He'd tune into the passages we were singing and lightly play the melody, sometimes in harmony. We'd sing these fancy licks and he'd keep up with us note for note in exactly the same rhythm...almost contributing a fourth voice. But he never once took the attention away from what we were doing. He did everything he could to make us sound better."^[29] Two Decca recordings from 1946 pairing Paul with The Andrews Sisters ("Rumors Are Flying" and "It's a Pity to Say Goodnight") exist today to well affirm such comments. Paul's many hits with wife Mary Ford recording her vocals in triplicate in the 1950s produced a sound eerily similar to the harmonious blend of The Andrews Sisters.^[30] As Les Paul biographer Mary Alice Shaughnessy noted of Paul's association with The Andrews Sisters, "Les welcomed the opportunity to study them in full flight."^[31]

In January 1948, Paul shattered his right arm and elbow in a near-fatal automobile accident on an icy Route 66 just west of Davenport, Oklahoma. Mary Ford was driving the Buick convertible, which rolled several times down a creekbed; they were on their way back from Wisconsin to Los Angeles after performing at the opening of a restaurant owned by Paul's father. Doctors at Oklahoma City's Wesley Presbyterian Hospital told him that they could not rebuild his elbow so that he would regain movement; his arm would remain permanently in whatever position they placed it in. Their other option was amputation. Paul instructed surgeons, brought in from Los Angeles, to set his arm at an angle—just under 90 degrees—that would allow him to cradle and pick the guitar. It took him nearly a year and a half to recover.^[32]

Guitar builder[link]

The Gibson Les Paul, one of the world's most popular electric guitars, was named after the man who invented it.

Paul's innovative guitar, "The Log", built after-hours in the Epiphone guitar factory in 1940, a 4" × 4" chunk of pine with strings and a pickup, was one of the first solid-body electric guitars.^[33][34] Paul Tutmarc of Audiovox Manufacturing Co. built a solid body electric bass in 1935 and Adolph Rickenbacker had marketed a solid-body guitar in the 1930s and Paul A. Bigsby had built one for Merle Travis in 1948 and Leo Fender also independently created his own (the Fender "Broadcaster" later changed to "Esquire" for copyright reasons, a single pickup model) in 1948. Although Paul approached the Gibson Guitar Corporation with his idea of a solid body electric guitar, they showed no interest until Fender began marketing its Esquire which later had a second pick-up added and became known as the Telecaster.

The arrangement persisted until 1961, when declining sales prompted Gibson to change the design without Paul's knowledge, creating a much thinner, lighter and more aggressive-looking instrument with two cutaway "horns" instead of one. Paul said he first saw the "new" Gibson Les Paul in a music-store window, and disliked it. Although his contract required him to pose with the guitar, he said it was not "his" instrument and asked Gibson to remove his name from the headstock. Others claimed that Paul ended his endorsement contract with Gibson during his divorce to avoid having his wife get his endorsement money.^[35] Gibson renamed the guitar "Gibson SG", which stands for "Solid Guitar", and it also became one of the company's best sellers.

The original Gibson Les Paul-guitar design regained popularity when Eric Clapton began playing the instrument a few years later, although he also played an SG and an ES-335. Paul resumed his relationship with Gibson and endorsed the original Gibson Les Paul guitar from that point onwards^{[citation needed]}. His personal Gibson Les Pauls were much modified by him—Paul always used his own self-wound pickups and customized methods of switching between pickups on his guitars^{[citation needed]}. To this day, various models of Gibson Les Paul guitars are used all over the world by both novice and professional guitarists. A less-expensive version of the Gibson Les Paul guitar is also manufactured for Gibson's lower-priced Epiphone brand.^[36]

On January 30, 1962, the US Patent and Trademark Office issued Paul a patent, Patent No. 3,018,680, for an "Electrical Music Instrument."^[37]

Multitrack-recording innovations[link]

Paul had never been happy with the way his records sounded. During a post-recording session talk with Bing Crosby, the crooner suggested Paul try building his own recording studio so he might be able to get the sound he wanted. At first Paul discounted the idea only to give it a few more minutes thought before deciding Crosby was right. Paul started his own studio in the garage of his home on Hollywood's North Curson Street. The studio drew many other famous vocalists and musicians who wanted the benefit of Paul's expertise. The home and studio are still standing, but both had been moved to Pasadena at some point after Paul no longer owned the home.^[38]

In 1948, Les Paul was given one of the first Ampex Model 200A reel-to-reel audio tape recording decks by Crosby and went on to use Ampex's eight track "Sel-Sync" machines for Multitrack recording. Capitol Records released a recording that had begun as an experiment in Paul's garage, entitled "Lover (When You're Near Me)", which featured Paul playing eight different parts on electric guitar, some of them recorded at half-speed, hence "double-fast" when played back at normal speed for the master. ("Brazil", similarly recorded, was the B-side.) This was the first time that Les Paul used multitracking in a recording (Paul had been shopping his multitracking technique, unsuccessfully, since the '30s. Much to his dismay, Sidney Bechet used it in 1941 to play half a dozen instruments on "Sheik of Araby"). These recordings were made not with magnetic tape, but with acetate discs. Paul would record a track onto a disk, then record himself playing another part with the first. He built the multitrack recording with overlaid tracks, rather than parallel ones as he did later. By the time he had a result he was satisfied with, he had discarded some five hundred recording disks.

Paul even built his own disc-cutter assembly, based on automobile parts. He favored the flywheel from a Cadillac for its weight and flatness. Even in these early days, he used the acetate-disk setup to record parts at different speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs. When he later began using magnetic tape, the major change was that he could take his recording rig on tour with him, even making episodes for his fifteen-minute radio show in his hotel room. He later worked with Ross Snyder in the design of the first eight-track recording deck (built for him by Ampex for his home studio.)^[38][39]

Electronics engineer Jack Mullin had been assigned to a U.S. Army Signal Corps unit stationed in France during World War II. On a mission in Germany near the end of the war, he acquired and later shipped home a German Magnetophon (tape recorder) and fifty reels of I.G. Farben plastic recording tape. Back in the U.S., Mullin rebuilt and developed the machine with the intention of selling it to the film industry, and held a series of demonstrations which quickly became the talk of the American audio industry.

Within a short time, Crosby had hired Mullin to record and produce his radio shows and master his studio recordings on tape, and he invested US$50,000 in a Northern California electronics firm, Ampex. With Crosby's backing, Mullin and Ampex created the Ampex Model 200, the world's first commercially produced reel-to-reel audio tape recorder. Crosby gave Les Paul the second Model 200 to be produced. Using this machine, Paul placed an additional playback head, located before the conventional erase/record/playback heads. This allowed Paul to play along with a previously recorded track, both of which were mixed together on to a new track. This was a mono tape recorder with just one track across the entire width of quarter-inch tape; thus, the recording was "destructive" in the sense that the original recording was permanently replaced with the new, mixed recording.

Paul's re-invention of the Ampex 200 inspired Ampex to develop two-track and three-track recorders, which allowed him to record multiple tracks on one tape without erasing previous takes. These machines were the backbone of professional recording, radio and television studios in the 1950s and early 1960s. In 1954, Paul continued to develop this technology by commissioning Ampex to build the first 8-track (multitrack) tape recorder, at his own expense. His design became known as "Sel-Sync" (Selective Synchronization), in which specially modified electronics could either record or play back from the record head, which was not optimized for playback but which had acceptable sound quality for musicians to listen to for the purposes of recording an "overdub" (OD) in sync with the original recording. This is the core technology behind multitrack recording.^[40]

Les Paul & Mary Ford[link]

Paul met country-western singer Colleen Summers in 1945. They began working together in 1948, at which time she adopted the stage name Mary Ford. They were married in 1949. The couple's hits included "How High the Moon", "Bye Bye Blues", "Song in Blue", "Don'cha Hear Them Bells", "The World Is Waiting for the Sunrise", and "Vaya con Dios". These songs featured Ford harmonizing with herself.

Like Crosby, Paul and Ford used the now-ubiquitous recording technique known as close miking,^[38] where the microphone is less than 6 inches (15 cm) from the singer's mouth. This produces a more-intimate, less-reverberant sound than is heard when a singer is 1 foot (30 cm) or more from the microphone. When implemented using a cardioid-patterned microphone, it emphasizes low-frequency sounds in the voice due to a cardioid microphone's proximity effect and can give a more relaxed feel because the performer isn't working so hard. The result is a singing style which diverged strongly from unamplified theater-style singing, as might be heard in musical comedies of the 1930s and 1940s.

Radio and television programs[link]

Paul had hosted a fifteen-minute radio program, The Les Paul Show, on NBC radio in 1950, featuring his trio (himself, Ford and rhythm player Eddie Stapleton) and his electronics, recorded from their home and with gentle humor between Paul and Ford bridging musical selections, some of which had already been successful on records, some of which anticipated the couple's recordings, and many of which presented re-interpretations of such jazz and pop selections as "In the Mood", "Little Rock Getaway", "Brazil" and "Tiger Rag". Over ten of these shows survive among old-time radio collectors today.^[41]

The show also appeared on television a few years later with the same format, but excluding the trio and retitled The Les Paul & Mary Ford Show (also known as Les Paul & Mary Ford at Home) with "Vaya Con Dios" as a theme song. Sponsored by Warner Lambert's Listerine mouthwash, it was widely syndicated during 1954–1955, and was only five minutes (one or two songs) long on film, therefore used as a brief interlude or fill-in in programming schedules. Since Paul created the entire show himself, including audio and video, he maintained the original recordings and was in the process of restoring them to current quality standards until his death.^[42]

During his radio shows, Paul introduced the fictional "Les Paulverizer" device, which multiplies anything fed into it, like a guitar sound or a voice. Paul has stated that the idea was to explain to the audience how his single guitar could be multiplied to become a group of guitars. The device even became the subject of comedy, with Ford multiplying herself and her vacuum cleaner with it so she could finish the housework faster.

Later career[link]

Les Paul, May 2004

In 1965, Paul went into semi-retirement, although he did return to the studio occasionally. He and Ford had divorced in December 1962, as she could no longer cope with the traveling lifestyle their act required of them.^{[citation needed]} Paul's most-recognizable recordings from then through the mid-1970s were an album for London Records/Phase 4 Stereo, Les Paul Now (1968), on which he updated some of his earlier hits; and, backed by some of Nashville's celebrated studio musicians, a meld of jazz and country improvisation with fellow guitar virtuoso Chet Atkins, Chester and Lester (1976), for RCA Victor.

In 1987, Paul underwent heart surgery. He then returned to active live performance, continuing into his 80s even though he often found it painful to play the guitar because of arthritis in his hands. In 2006, at age 90, he won two Grammys at the 48th Annual Grammy Awards for his album Les Paul & Friends: American Made World Played. He also performed every Monday night, accompanied by a trio which included guitarist Lou Pallo, bassist Paul Nowinksi (and later, Nicki Parrott) and pianist John Colaianni, originally at Fat Tuesdays, and later at the Iridium Jazz Club on Broadway in the Times Square area of New York City.^[43][44][45]

Composer Richard Stein (1909–1992) sued Paul for plagiarism, charging that Paul's "Johnny (Is the Boy for Me)" was taken from Stein's 1937 song "Sanie cu zurgălăi" (Romanian for "Sleigh with Bells"). A 2000 cover version of "Johnny" by Belgian musical group Vaya Con Dios that credited Paul prompted another action by the Romanian Musical Performing and Mechanical Rights Society.^[46]

For many years Les Paul would sometimes surprise radio hosts Steve King and Johnnie Putman with a call to the "Life After Dark Show" on WGN (AM) in Chicago. These calls would take place in the wee hours of Tuesday Morning following his show at the Iridium Jazz Club. Until they ended their show on WGN, Steve and Johnnie continued to honor Les on Tuesday Mornings at 2:35 AM with their segment "A Little More Les" drawing from around 30 hours of recorded conversations with Les.

Death[link]

On August 13, 2009,^[4][5] Paul died of complications from pneumonia at White Plains Hospital in White Plains, New York.^[47] His family and friends were by his side.^[48] Paul is survived by his four children and his companion Arlene Palmer.^[49] His attorney told the media that he had made several hospital stays over the previous few months.^[50] His last concert took place a few weeks before his death.

Upon learning of his death many artists and popular musicians paid tribute by publicly expressing their sorrow. After learning of Paul's death, former Guns N' Roses guitarist Slash called him "vibrant and full of positive energy.", while Richie Sambora, lead guitarist of Bon Jovi, referred to him as "revolutionary in the music business". U2 guitarist The Edge said, "His legacy as a musician and inventor will live on and his influence on rock and roll will never be forgotten." ^[51][52][53]

On August 21, 2009, he was buried near Milwaukee in Waukesha, Wisconsin at Prairie Home Cemetery which indicated that his plot would be in an area where visitors can easily view it.^[54][55] Like his funeral in New York on August 19, the burial was private, but earlier in the day a public memorial viewing of the closed casket was held in Milwaukee at Discovery World with 1,500 attendees who were offered free admission to the Les Paul House of Sound exhibit for the day.^[56]

Awards and honors[link]

Paul was initiated into the Gamma Delta chapter of the Tau Kappa Epsilon fraternity at the University of Miami in 1952.^[57] He has earned the Presidential award from the Tau Kappa Epsilon fraternity.^{[58][dead link]}

In 1979, Paul and Ford's 1951 recording of "How High the Moon" was inducted into the Grammy Hall of Fame.^[59] Paul received a Grammy Trustees Award for his lifetime achievements in 1983, and in 2001 the Special Merit/Technical Grammy Award.^[60]

In 1988, Paul was inducted into the Rock and Roll Hall of Fame by Jeff Beck, who said, "I've copied more licks from Les Paul than I'd like to admit." In 1991, the Mix Foundation established an annual award in his name; the Les Paul Award which honors "individuals or institutions that have set the highest standards of excellence in the creative application of audio technology".^[61] In 2005, he was inducted into the National Inventors Hall of Fame for his development of the solid-body electric guitar.^[62] In 2006, Paul was inducted into the National Association of Broadcasters Hall of Fame. He was named an honorary member of the Audio Engineering Society.^[63] In 2007, he was awarded the National Medal of Arts.^[64]

A one-hour biographical documentary film The Wizard of Waukesha was shown at the Los Angeles International Film Exposition (FILMEX) March 4–21, 1980, and later on PBS television. A biographical, feature-length documentary titled Chasing Sound: Les Paul at 90 made its world première on May 9, 2007, at the Downer Theater in Milwaukee, Wisconsin. Paul appeared at the event and spoke briefly to the enthusiastic crowd. The film is distributed by Koch Entertainment and was broadcast on PBS on July 11, 2007, as part of its American Masters series^[65][66] and was broadcast on October 17, 2008, on BBC Four as part of its Guitar Night. The première coincided with the final part of a three-part documentary by the BBC broadcast on BBC ONE The Story of the Guitar.

In June 2008, an exhibit showcasing his legacy and featuring items from his personal collection opened at Discovery World in Milwaukee.^[67] The exhibit was facilitated by a group of local musicians under the name Partnership for the Arts and Creative Excellence (PACE).^[68] Paul played a concert in Milwaukee to coincide with the opening of the exhibit.^[69]

Paul's hometown of Waukesha is planning a permanent exhibit to be called "The Les Paul experience."^[70]

In July 2005, a 90th-birthday tribute concert was held at Carnegie Hall in New York City. After performances by Steve Miller, Peter Frampton, Jose Feliciano and a number of other contemporary guitarists and vocalists, Paul was presented with a commemorative guitar from the Gibson Guitar Corporation.^[71]

On November 15, 2008, he received the American Music Masters award through the Rock and Roll Hall of Fame at a tribute concert at the State Theater in Cleveland, Ohio. Among the many guest performers were Duane Eddy, Eric Carmen, Lonnie Mack, Jennifer Batten, Jeff "Skunk" Baxter, Dennis Coffey, James Burton, Billy Gibbons, Lenny Kaye, Steve Lukather, Barbara Lynn, Katy Moffatt, Alannah Myles, Richie Sambora, The Ventures and Slash.

In February 2009, only months prior to his death, Les Paul sat down with Scott Vollweiler of Broken Records Magazine, in which would be one of Les Paul's final interviews. His candid answers were direct and emotional. Broken Records Magazine had planned to run that cover feature the following month but due to delays was held until the summer. 3 days before the release, Les Paul died. The issue would be his final cover feature of his storied career.^[72]

In August, 2009, Paul was named one of the ten best electric guitar players of all-time by Time magazine.^[73]

On June 9, 2010, which would have been Les Paul's 95th birthday, a tribute concert featuring Jeff Beck, Imelda May, Gary U.S. Bonds and Brian Setzer among others, was held at the Iridium Jazz Club where Les Paul played nearly every week almost to the end of his life. The concert was released on the live album Rock 'n' Roll Party (Honoring Les Paul) in 2011.

On June 9–10, 2011 Google celebrated what would have been Paul's 96th birthday with a Google doodle of an interactive guitar.^[74]

On November 23, 2011, Paul was ranked at #18 on Rolling Stone's "100 Greatest Guitarists of All Time".^[75]

In 2010, Paul was inducted into the New Jersey Hall of Fame.^[76]

Personal life[link]

Les Paul with pianist John Colianni.

Paul married Virginia Webb in 1938. They had two children, Gene (Lester Jr.), born in 1941 and named after actor-songwriter Gene Lockhart, and Russell (Rusty), born 1944, before divorcing in 1949. Later that year, Paul and Mary Ford (born Iris Colleen Summers) were married. They adopted a girl, Colleen, in 1958 and their son Robert (Bobby) was born the following year. They had also lost a child, who was born prematurely and died only four days old. Les Paul and Mary Ford divorced in 1963.^[77]

Paul was the instructor of rock guitarist Steve Miller of the Steve Miller Band, to whom Paul gave his first guitar lesson.^[78] Miller's father was best man at Paul's 1949 wedding to Mary Ford.

Paul resided for many years in Mahwah, New Jersey.

Discography[link]

Hit singles[link]

Albums[link]

Feedback (1944)—compilation Les Paul Trio (1946)—compilation Hawaiian Paradise (1949) The New Sound (1950) Les Paul's New Sound, Volume 2 (1951) Bye Bye Blues! (1952) Gallopin' Guitars (1952)—compilation The Hit Makers! (1953) Les and Mary (1955) Time to Dream (1957) Lover's Luau (1959) The Hits of Les and Mary (1960)—compilation Bouquet of Roses (1962) Warm and Wonderful (1962) Swingin' South (1963) Fabulous Les Paul and Mary Ford (1965) Les Paul Now! (1968) Guitar Tapestry Lover The Guitar Artistry of Les Paul (1971) The World is Still Waiting for the Sunrise (1974)—compilation

The Best of Les Paul with Mary Ford (1974)—compilation Chester and Lester (1976)—with Chet Atkins Guitar Monsters (1977)—with Chet Atkins Les Paul and Mary Ford (1978)—compilation Multi Trackin' (1979) All-Time Greatest Hits (1983)—compilation The Very Best of Les Paul with Mary Ford' Famille Nombreuse (1992)—compilation The World Is Waiting (1992)—compilation The Best of the Capitol Masters: Selections From "The Legend and the Legacy" Box Set (1992)—compilation All-Time Greatest Hits (1992)—compilation Their All-Time Greatest Hits (1995)—compilation Les Paul: The Legend and the Legacy (1996; a four-CD box set chronicling his years with Capitol Records) 16 Most Requested Songs (1996)—compilation The Complete Decca Trios—Plus (1936–1947) (1997)—compilation California Melodies (2003) Les Paul – The Legendary Fred Waring Broadcasts (2004) Les Paul & Friends: American Made World Played (2005) Les Paul And Friends: A Tribute To A Legend (2008)

Singles[link]

"It's Been a Long, Long Time"—Bing Crosby & The Les Paul Trio (1945), #1 on Billboard Pop singles chart, 1 week, December 8 "Rumors Are Flying"—Andrews Sisters & Les Paul (1946) "Guitar Boogie" (1947) "Lover (When You're Near Me)" (1948) "Brazil" (1948) "What Is This Thing Called Love?" (1948) "Nola" (1950) "Goofus" (1950) "Little Rock 69 Getaway" (1950/1951) "Tennessee Waltz"—Les Paul & Mary Ford (1950/1951), #1, Cashbox "Mockingbird Hill"—Les Paul & Mary Ford (1951), #1, Cashbox "How High The Moon"—Les Paul & Mary Ford (1951), #1, Billboard Pop singles chart, 9 weeks, April 21 – June 16; #1, Cashbox, 2 weeks; #2, R&B chart "I Wish I Had Never Seen Sunshine"—Les Paul & Mary Ford (1951) "The World Is Waiting for the Sunrise"—Les Paul & Mary Ford (1951), #2, Billboard; #3, Cashbox "Just One More Chance"—Les Paul & Mary Ford (1951) "Jazz Me Blues" (1951) "Josephine" (1951) "Whispering" (1951) "Jingle Bells" (1951) "Tiger Rag"—Les Paul & Mary Ford (1952), #2, Billboard; #8, Cashbox "I'm Confessin' (That I Love You)"—Les Paul & Mary Ford (1952) "Carioca" (1952) "In the Good Old Summertime"—Les Paul & Mary Ford (1952) "Smoke Rings"—Les Paul & Mary Ford (1952) "Meet Mister Callaghan" (1952), #5, Billboard

"Take Me In Your Arms And Hold Me"—Les Paul & Mary Ford (1952) "Lady of Spain" (1952) "My Baby's Coming Home"—Les Paul & Mary Ford (1952) "Bye Bye Blues"—Les Paul & Mary Ford (1953) "I'm Sitting On Top Of The World"—Les Paul & Mary Ford (1953) "Sleep" (Fred Waring's theme song) (1953) "Vaya Con Dios"—Les Paul & Mary Ford (1953), #1, Billboard Pop singles chart, 11 weeks, August 8 – October 3, November 7–14; #1, Cashbox, 5 weeks "Johnny (Is The Boy For Me)"—Les Paul & Mary Ford (1953), #15, Billboard; #25, Cashbox "Don'cha Hear Them Bells"—Les Paul & Mary Ford (1953), #13, Billboard; #32, Cashbox "The Kangaroo" (1953), #25, Billboard; #23, Cashbox "I Really Don't Want To Know"—Les Paul & Mary Ford (1954) "I'm A Fool To Care"—Les Paul & Mary Ford (1954) "Whither Thou Goest"—Les Paul & Mary Ford (1954) "Mandolino"—Les Paul & Mary Ford (1954), #19, Billboard "Song in Blue"—Les Paul & Mary Ford (1954), #17, Cashbox "Hummingbird"—Les Paul & Mary Ford (1955) "Amukiriki (The Lord Willing)"—Les Paul & Mary Ford (1955) "Magic Melody"—Les Paul & Mary Ford (1955) "Texas Lady"—Les Paul & Mary Ford (1956) "Moritat" (Theme from "Three Penny Opera") (1956) "Nuevo Laredo"—Les Paul & Mary Ford (1956) "Cinco Robles (Five Oaks)"—Les Paul & Mary Ford (1957) "Put A Ring On My Finger"—Les Paul & Mary Ford (1958) "Jura (I Swear I Love You)"—Les Paul & Mary Ford (1961) "Love Sneakin' Up On You"-Les Paul, Joss Stone & Sting (2005)

Compositions[link]

Paul was also a prolific composer. Some of the songs he wrote were "Song in Blue", "Cryin'", "Hip-billy Boogie", "Suspicion", "Mandolino", "Magic Melody", "Don'cha Hear Them Bells", "The Kangaroo", "Big-Eyed Gal", "All I Need is You", "Mammy's Boogie", “Pacific Breeze”, “Mountain Railroad”, “Move Along, Baby (Don’t Waste My Time)”, "Five Alarm Fire", and "Walkin' and Whistlin' Blues".

See also[link]

Biography portal

• Ampex
• Discovery World
• Gibson Les Paul
• Gibson SG
• List of Rock and Roll Hall of Fame inductees
• Mary Ford

References[link]

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External links[link]

Wikimedia Commons has media related to: Lester William Polfuss

• Official website
• History of Les Paul
• Les Paul at the Internet Movie Database
• Les Paul: Chasing Sound (may require subscription) PBS Documentary on the life of Les Paul, including extended interviews with Paul.
• Remembering Les Paul Photos and extended interviews with Les on WGN Chicago's Steve & Johnnie early morning show
• Staff writer (August 13, 2009). "Les Paul", obituary at The Daily Telegraph (Accessed August 24, 2009)
• "Les Paul, 'The Wizard of Waukesha'", a biography (undated) at the Wisconsin Historical Society's official website
• Les Paul – Discovery World 2005 video (requires Adobe Flash) at Discovery World's (museum) official website
• The Les Paul Show, archive of Paul's NBC radio show at the Internet Archive's official website (includes MP3 files (free) of eleven of their radio shows including their audition show)
• "Les Paul: Legacy of a Guitar Hero" at LIFE
• The Wizard of Waukesha (1980) at Allmovie's official website
• Les Paul – 'Miles of Music', two video interviews of and performances by Paul (5–6 minutes each; requires Adobe Flash) with Bob Miles on Miles of Music (milesofmusic.tv), a Public-access television cable TV program
• CLASSIC TRACKS: Les Paul & Mary Ford 'How High The Moon'
• Photo Library from performances at Iridium
• Les Paul's final interview
• Les Paul at Find a Grave

Persondata
Name	Polfuss, Lester William
Alternative names	Paul, Les
Short description	American jazz guitarist, country guitarist, songwriter and inventor
Date of birth	June 9, 1915
Place of birth	Waukesha, Wisconsin
Date of death	August 12, 2009
Place of death	White Plains, New York