This article is part of the History of Indonesia series
See also: Timeline of Indonesian History
Prehistory
Early kingdoms
Kutai (4th century)
Tarumanagara (358–669)
Kalingga (6th–7th century)
Srivijaya (7th–13th centuries)
Sailendra (8th–9th centuries)
Sunda Kingdom (669–1579)
Medang Kingdom (752–1045)
Kediri (1045–1221)
Singhasari (1222–1292)
Majapahit (1293–1500)
The rise of Muslim states
Spread of Islam (1200–1600)
Sultanate of Ternate (1257–present)
Malacca Sultanate (1400–1511)
Sultanate of Demak (1475–1548)
Aceh Sultanate (1496–1903)
Sultanate of Banten (1526–1813)
Mataram Sultanate (1500s–1700s)
European colonisation
The Portuguese (1512–1850)
Dutch East India Co. (1602–1800)
Dutch East Indies (1800–1942)
The emergence of Indonesia
National awakening (1908–1942)
Japanese occupation (1942–45)
National revolution (1945–50)
Independent Indonesia
Liberal democracy (1950–57)
Guided Democracy (1957–65)
Start of the New Order (1965–66)
The New Order (1966–98)
Reformasi era (1998–present)
v t e

Indonesia's transition to the "New Order" in the mid-1960s, ousted the country's first president, Sukarno after 22 years in the position. One of the most tumultuous periods in the country's modern history, it was the commencement of Suharto's 32-year presidency.

Described as the great dhalang ("puppet master"), Sukarno drew power from balancing the opposing and increasingly antagonistic forces of the army and Indonesian Communist Party (PKI). By 1965, the PKI extensively penetrated all levels of government and gained influence at the expense of the army.^[1] The army had become divided between a PKI-allied left-wing, and a right-wing courted by Western countries.^{[citation needed]}

On September 30, 1965 six of the military's most senior officers were killed in an action (generally labeled an "attempted coup") by the so-called 30 September Movement, a group from within the armed forces. Within a few hours, Major General Suharto mobilized forces under his command and took control of Jakarta. Anti-communists, initially following the army's lead, went on a violent purge of communists throughout the country, killing an estimated half million people and destroying the PKI, which was officially blamed for the crisis.^[2][3]

The politically weakened Sukarno was out-manoeuvred and forced to transfer key political and military powers to General Suharto, who had become head of the armed forces. In March 1967, the Indonesian parliament (MPRS) named General Suharto acting president. He was formally appointed president one year later. Sukarno lived under virtual house arrest until his death in 1970. In contrast to the stormy nationalism, revolutionary rhetoric, and economic failure that characterised the early 1960s under the left-leaning Sukarno, Suharto's pro-Western "New Order" stabilised the economy and created a strong central government.^[4] Widely praised for economic development, the "New Order" government was also condemned for its human rights record and corruption.^[5] According to Friend, "instead of filling [Indonesians'] stomachs, [Sukarno] tried to inflame their imaginations..." whereas Suharto went on to "...cultivate full bellies and empty spirits".^[6]

Background[link]

Sukarno, President of Indonesia (1945-1968) in undated photo

Nationalist leader Sukarno had declared Indonesian independence in 1945 and was appointed president. Following an internal national revolution and struggle against the former Dutch colonial masters, Sukarno had managed to hold together the disparate country; however, his administration had not been able to provide a viable economic system to lift its citizens out of severe poverty. He stressed socialist policies domestically and an avidly anti-imperialist international policy, underpinned by an authoritarian style of rule dependent upon his charismatic personality. These policies led him to create alliances with the Soviet bloc, People's Republic of China, and to pioneer the creation of the Non-Aligned Movement of post-colonial states at the Bandung Conference. It also created a domestic political alliance with the Communist Party of Indonesia.

From the late 1950s, political conflict and economic deterioration worsened. By the mid-1960s, the cash-strapped government had to scrap critical public sector subsidies, estimates put annual inflation at 500-1,000%, export revenues were shrinking, infrastructure crumbling, and factories were operating at minimal capacity with negligible investment. Severe poverty and hunger were widespread, and Sukarno led his country in a military confrontation with Malaysia whilst stepping up revolutionary and anti-western rhetoric.^[7]

Described as the great dalang ("puppet master"), President Sukarno's position came to depend on balancing the opposing and increasingly hostile forces of the army and Communist Party of Indonesia (PKI). His anti-imperial ideology saw Indonesia increasingly dependent on the Soviet Union and China. By 1965 at the height of the Cold War, the PKI penetrated all levels of government extensively. With the support of Sukarno and the air force, the party gained increasing influence at the expense of the army, thus ensuring the army's enmity.^[8] By late 1965, the army was divided between a left-wing faction allied with the PKI, and a right-wing faction that was being courted by the United States.^[9]

Military split[link]

These same policies, however, won Sukarno few friends and many enemies in the Western nations. These especially included the United States and United Kingdom, whose investors were increasingly angered by Sukarno's nationalization of mineral, agricultural, and energy assets.^{[citation needed]} In need of Indonesian allies in its Cold War against the Soviet Union, the United States cultivated a number of ties with officers of the military through exchanges and arms deals. This fostered a split in the military's ranks, with the United States and others backing a right-wing faction against a left-wing faction overlapping with the Communist Party of Indonesia.

When Sukarno rejected food aid from USAID, thereby exacerbating famine conditions, the right-wing military adopted regional command structure through which it could smuggle staple commodities to win the loyalty of the rural population. In an attempt to curtail the right-wing military's increasing power, the Communist Party of Indonesia and the left-wing military formed a number of peasant and other mass organizations.

Indonesia–Malaysia confrontation[link]

In 1963, a policy of Konfrontasi (Confrontation) against the newly formed Federation of Malaysia was announced by the Sukarno regime. This further exacerbated the split between the left-wing and right-wing military factions, with the left-wing faction and the Communist Party taking part in guerrilla raids on the border with Malaysia, while the right-wing faction was largely absent from the conflict (whether by choice or orders of Sukarno is not clear).

The Confrontation further encouraged the West to seek ways to topple Sukarno, viewed as a growing threat to Southeast Asian regional stability (as with North Vietnam under the Domino Theory). The deepening of the armed conflict, coming close to all-out warfare by 1965, both increased popular dissatisfaction with the Sukarno regime and strengthened the hand of the right-wing generals whose forces were still close to the center of power in Jakarta.^{[citation needed]}

The collapse of Guided Democracy[link]

30 September Movement[link]

As Major General, Suharto (at right, foreground) attends the funeral of assassinated generals 5 October 1965. (Photo by the Department of Information, Indonesia)

On the night of 30 September-1 October 1965 six senior army generals were kidnapped and executed in Jakarta by a battalion of soldiers from the Presidential Guard in an "attempted coup." The left faction among the top generals was wiped out, including the powerful Army Chief of Staff, Ahmad Yani. Around 2,000 troops from coup group occupied three sides of Merdeka Square, and commanded the Presidential Palace, radio station, and telecommunications centre, but did not occupy the east side, site of Kostrad headquarters.^[10] Calling themselves the "30 September Movement", the group announced on radio around 7am that they were trying to stop a military coup backed by the U.S. Central Intelligence Agency (CIA) that was planned to remove Sukarno from power.^[10]

They claimed to have arrested several generals belonging to a conspiracy, the "Council of Generals", that had plotted a military coup against the government of President Sukarno. They further alleged that this coup was to take place on "Army Day" (October 5) with the backing of the CIA, and that the Council would then install themselves as a military junta.^[11][12] Furthermore, the soldiers proclaimed the establishment of a "Revolutionary Council" consisting of various well-known military officers and civilian leaders that would be the highest authority in Indonesia. Additionally, they declared President Sukarno's Dwikora Cabinet as invalid ("demisioner").^[13]

According to one chief conspirator Lieut-Col Latief, the Palace Guards had not attempted to kill or capture Major General Suharto, commander of Kostrad (Komando Strategi dan Cadangan TNI Angkatan Darat - the Army Strategic and Reserves Command), because he was considered a Sukarno loyalist.^[14] Suharto, along with the surviving General Nasution, made the counter-allegation that the G30S was a rebellious movement that sought to replace President Sukarno's government with a Communist government. Upon hearing of the radio announcement, Suharto and Nasution began consolidating their forces, successfully gaining the loyalty of Jakarta Garrison Commander Maj-Gen Umar Wirahadikusumah and Colonel Sarwo Edhie Wibowo, the commander of army special forces RPKAD (Resimen Para Komando Angkatan Darat - Army's Para-Commando Regiment).

During the evening of October 1, RPKAD soldiers recaptured RRI and Telecommunications Building without any resistance as the rebel soldiers had retreated back to Halim Base. RPKAD forces proceeded to attack Halim Perdanakusumah AF Base on the morning of October 2, but was stopped by the rebel soldiers in a fierce gunbattle in which several fatalities were inflicted on both sides. A direct order from President Sukarno managed to secure the surrender of the rebel soldiers by noon, after which Suhartoist forces occupied the base. On 3 October, the generals' bodies were discovered at Halim and on 5 October (Armed Forces Day) a large public funeral was held.^[15]

Internal military power-struggle[link]

The killing of the generals saw influence in the army fall to those more willing to stand up to Sukarno and the army's enemies on the left.^[16] After the assassinations of those generals, the highest ranking officer in the Indonesian military, and third highest in the overall chain-of-command, was Defense Minister and Armed Forces Chief-of-Staff Gen. Abdul Haris Nasution, a member of the right-wing camp. On 2 October, Suharto accepted Sukarno's order for him to take control of the army, but on the condition that Suharto personally have authority to restore order and security. The 1 November formation of Kopkamtib (Komando Operasi Pemulihan Keamanan dan Keteriban, or Operational Command for the Restoration of Security and Order), formalised this authority.^[15] However, on October 5 Sukarno moved to promote Maj. Gen. Pranoto Reksosamudra, considered a Sukarno-loyalist, to Army Chief-of-Staff.

After the promotion, The New York Times reported that an unnamed Western "diplomatic report" alleged that Pranoto was a former member of the PKI. Pranoto's alleged communism, as well as his timely promotion, led them to promote the view that the PKI and Sukarno conspired to assassinate the generals to consolidate their grip on power.^[17]

In the aftermath of the assassinations, however, Major Gen. Suharto and his KOSTRAD (Army Strategic Reserves) units were closest to Jakarta. By default, Suharto became the field general in charge of prosecution of the G30S. Later, at the insistence of Gen. Abdul Haris Nasution, Pranoto was removed and Suharto was promoted to Army Chief-of-Staff on October 14, 1965.^[18]

Anti-communist purge[link]

In early October, a military propaganda campaign began to sweep the country, successfully convincing both Indonesian and international audiences that it was a Communist coup, and that the murders were cowardly atrocities against Indonesian heroes.^[19] The 30 September Movement was called Gestapu (from Gerakan September Tigapuluh, "30 September Movement"). The Army, acting on orders by Suharto and supervised by Nasution, began a campaign of agitation and incitement to violence among Indonesian civilians aimed at the Communist community and toward President Sukarno himself. The PKI's denials of involvement had little effect.^[20] The regime was quickly destabilised, with the Army the only force left to maintain order.^[21]

The installation of Suharto as Army Chief-of-Staff established the right-wing faction's dominance of the Indonesian Army's command. In addition to the PKI, this faction was also hostile toward Sukarno-loyalists, and the Chinese (both Chinese Indonesians as well as expatriates from the People's Republic of China).

At the funeral of Nasution's daughter Irma, Navy commander Admiral Martadinata gave Muslim leaders the signal to attack Communists. On 8 October, the PKI head office was ransacked and burned to the ground while firefighters stood by idly.^[22] They then marched demanding the dissolution of the Communist Party. The homes of senior party figures, including PKI chairman D.N. Aidit and Lukman and Nyoto were also torched. The army led campaign to purge Indonesian society, government and armed forces of the communist party and other leftist organisations. Leading PKI members were immediately arrested, some summarily executed.^[19]

On October 18, a declaration was read over the army-controlled radio stations, banning the Communist Party of Indonesia. The ban included the party itself, and its youth and women's wings, peasant associations, intellectual and student groups, and the SOBSI union. At the time, it was not clear whether this ban applied only to Jakarta (by then controlled by the Army), or the whole Republic of Indonesia. However, the ban was soon used as a pretext for the Indonesian Army to go throughout the country carrying out extrajudicial punishments, including mass arrest and summary executions, against suspected leftists and Sukarno loyalists. As the violence spread, Sukarno issued orders to try to stop it, but he was ignored. He also refused to blame the PKI for the coup, let alone ban it as the Army demanded. However, although Suharto and Nasution were increasingly suspicious about Sukarno's role in the affair, the Army was reluctant to confront the president directly because of his still widespread popularity.^[22]

Beginning in later October 1965, and feeding off pent-up communal hatreds, the Indonesian army and its civilian allies (especially Muslim vigilante groups) began to kill actual and suspected^[15] members and associates of the PKI. The killings started in the capital Jakarta, spread to Central and East Java, and later Bali. Although killings occurred across Indonesia, the worst were in PKI strongholds of Central Java, East Java, Bali, and northern Sumatra.^[23] The massacres reached their peak over the remainder of the year before subsiding in the early months of 1966.^[24] The estimates of the death toll of the violence range from over 100,000 to 3 million, but most scholars accept a figure of around 500,000.^[25] Many others were also imprisoned and for the next ten years people were still being imprisoned as suspects. It is thought that as many as 1.5m were imprisoned at one stage or another.^[26] As a result of the purge, one of Sukarno's three pillars of support, the Indonesian Communist Party, had been effectively eliminated by the other two, the military and political Islam.

Demonstrations[link]

In October 1965, students in Jakarta formed KAMI (Kesatuan Aksi Mahasiswa Indonesia, Indonesian Students Action Front), which called for the banning of the PKI.^[27] It was soon joined by a host of similar organizations made up of high school students, workers, artists and laborers and the like. Other targets for the demonstrators were rising prices and government inefficiency.^[22] They also demonstrated against Subandrio, the foreign minister and head of the BPI intelligence agency and the number two man in the government.^[12]

On 10 January 1966, demonstrators, including KAMI, demonstrated in front of the Provisional legislature and announced what became known as the Three Demands of the People (Tritura):

• Dissolution of the PKI
• The expulsion from the cabinet of G30S/PKI elements
• Lower prices and economic improvements^[27]

In February 1966, as anti-communist demonstrations continued, Sukarno tried to placate Suharto by promoting him. On February 21, he tried to regain the initiative by announcing a new cabinet, which included former Air Force chief Omar Dhani, who had issued a statement on October 1, 1965 initially supporting the coup. More provocatively still, Sukarno fired General Nasution from his cabinet post. The new cabinet immediately became known as the Gestapu cabinet, after the acronym coined by the military for the 30 September Movement.^[22]

Two days after the announcement, a huge crowd attempted to storm the presidential palace. The next day, while the new cabinet was being inaugurated, soldiers from the presidential guard opened fire on a crowd in front of the palace, killing student protester Arif Rachman Hakim, who was turned into a martyr and given a hero's funeral the following day.^[22][27]

On 8 March 1966, students managed to ransack the foreign ministry, and held it for five hours. They daubed slogans, one accusing Subandrio of murdering the generals, and drew graffiti showing Subandrio as a Pekingese dog (a reference to his perceived closeness to communist China) or hanging from gallows.^[22]

Sukarno then planned a three-day series of meetings to restore his authority. The first, on 10 March, involved the leaders of political parties. He managed to persuade them to sign a declaration warning against the undermining of presidential authority by student demonstrations. The second stage was a cabinet meeting planned for 11 March. However, as this meeting was underway, word reached Sukarno that unidentified troops were surrounding the palace. Sukarno left the palace in haste for Bogor, where later that night, he signed the Supersemar document transferring authority to restore order to Major General Suharto. Suharto acted quickly. One 12 March he banned the PKI. The same day, there was a "show of force" by the Army in the streets of Jakarta, which was watched by cheering crowds.^[22] On 18 March, Subandrio and 14 other ministers were arrested., including third deputy prime minister Chairul Saleh. That night, the radio announced that the ministers were in "protective custody".^[22]

Suharto later admitted in his autobiography that he frequently liaised with the student protesters throughout this period and Sukarno often pleaded with him to stop the demonstrations.

Political maneuvering[link]

General Suharto is officially sworn in as Indonesia's second president on 27 March 1968 (Photo by the Department of Information, Indonesia)

On 27 March, the new cabinet lineup, agreed between Suharto and Sukarno, was announced. It included the key figures of Suharto himself as interim deputy prime minister for security and defense affairs, tasked with preventing the resurgence of communism, the Sultan of Yogyakarta Sri Sultan Hamengkubuwono IX as deputy prime minister for economic, financial and development affairs, tasked with solving the nation's economic problems and Adam Malik as deputy prime minister for social and political affairs, whose job it would be to manage foreign policy.^[22][28]

On 24 April 1966, Suharto gave a speech to members of the Indonesian National Party in which he spoke of the "three deviations" that would have to be corrected by the youth of the country in cooperation with the Armed Forces. These were:

• The extreme-left radicalism of the PKI and its efforts to impose a class struggle on the Indonesian people;
• Political opportunism motivated by personal gain led and exploited by the "puppetmasters" of the Indonesian Central Intelligence Board (BPI), at the time led by Sukarno ally Subandrio;
• Economic adventurism, resulting in the deliberate creation of economic chaos.^[29]

The new regime turned away from China and began moves to end the Indonesia-Malaysia confrontation, in defiance of Sukarno's wishes.^[22]

Meanwhile, Suharto and his allies continued to purge state institutions of Sukarno loyalists. The Tjakrabirawa palace guard was disbanded, and following further student demonstrations in front of the legislature building on 2 May, the leadership of the Mutual Cooperation House of Representatives (DPR-GR) was replaced and Sukarnoist and pro-communist members were suspended from the DPR-GR and the Provisional People's Consultative Assembly (MPRS), the supreme lawmaking body. Pro-Suharto replacements were appointed.^[11][22]

A session of the MPRS was scheduled to open 12 May, but eventually began on 20 June and continued until 5 July. One of its first actions was to appoint General Nasution as chairman. It then set about dismantling the apparatus Sukarno had built around himself. It passed several decrees, one of which was the ratification of the Supersemar, thus making revocation of it almost impossible. It also ratified the banning of the PKI and the teaching of Marxist ideology, instructed Suharto to form a new cabinet, called on Sukarno to provide an explanation for the economic and political situation in the nation and stripped him of the title "president for life". It also passed a decree stating that if the president was unable to carry out his duties, the holder of the Supersemar would assume the presidency.^[22][27]

The new cabinet, announced by Sukarno on 20 June, was led by a five-man presidium headed by Suharto, and including Malik and Sri Sultan Hamengkubuwono IX. It saw the dismissal of more Sukarno loyalists.

On 11 August, a peace treaty was signed, formerly ending the Konfrontasi. Indonesian announced it would rejoin the World Bank, the International Monetary Fund and the United Nations. It released political prisoners and paid compensation to the British and American governments for the damage caused to their diplomatic buildings during the demonstrations of the Sukarno era.

On 17 August, in his annual independence day speech, Sukarno claimed that Indonesia was not about to recognize Malaysia nor rejoin the UN. He also stated that he had not transferred power to Suharto. This provoked an angry reaction in the form of demonstrations, and Indonesian did indeed rejoin the UN in September, participating in the General Assembly on 28 September.^[27] Meanwhile, criticism from demonstrators became increasingly vociferous and personal, and there were calls for him to be out on trial.

On 10 January 1967, Sukarno wrote to the MPRS, enclosing a document known as Nawaksara giving his version of the events surrounding the 30 September Movement. In it, he said the kidnappings and murders of the generals had been a "complete surprise" to him, and that he alone was not responsible for the nation's moral and economic problems. This led to demonstrators calling for Sukarno to be hanged^[22]

The MPRS leadership met on 21 January and concluded that Sukarno had failed to fulfill his constitutional obligations. In a resolution passed on 9 February, the DPR-GR rejected the Nawaksara and asked the MPRS to convene a special session.^[27]

On 12 March 1967, the special session began. After heated debates, it agreed to strip Sukarno of his power. On 12 March, Suharto was appointed acting president. Sukarno went into de facto house arrest in Bogor. A year later, on 27 March 1968, another session of the MPRS appointed Suharto the second president of Indonesia.^[27]

General Nasution was believed to have launched his own bid for power on December 16, 1965, when he won appointment to the Supreme Operations Command, and gained a grip over the traditionally civilian-held portion of the military hierarchy. It was reported that Nasution would have preferred forming a military junta to replace Sukarno.^[30] (New York Times, December 16, 1965.)

Consequences[link]

Anti-Chinese laws[link]

While resentment toward Chinese Indonesians by indigenous Indonesians-descended peoples of the archipelago dated back to the Dutch East Indies era, the New Order instigated anti-Chinese legislation following the quashing of the Communists. Stereotypes of the Chinese as disproportionately affluent and greedy were common throughout the time (both in Indonesia as well as Malaysia), but with the anti-Communist hysteria, the association of the Chinese Indonesians with the People's Republic of China caused them to also be viewed as a communist fifth column.^{[citation needed]}

Indonesia's hitherto friendly diplomatic relations with mainland China were severed, and the Chinese Embassy in Jakarta burnt down by a mob. New legislation included the banning of Chinese language signs on shops and other buildings, and the closure of Chinese language schools, adoption of "Indonesian" sounding names, and limits on Buddhist temple construction.^{[citation needed]}

A new political system[link]

The liquidation and banning of the Communist Party (and related organisations) eliminated one of the largest political parties in Indonesia. It was also among the largest Communist Parties in the Comintern, at an estimated 3 million members. Along with the subsequent efforts by Suharto to wrest power from Sukarno by purging loyalists from the parliament, civilian government in Indonesia was effectively put to an end by the coup countermeasures.

Strident anti-communism remained a hallmark of the regime for its subsequent 32-years.^[31]

The new regime that emerged from the upheavals of the 1960s was dedicated to maintaining political order, promoting economic development, and excluding mass participation from the political process. The military was given a strong role in politics, political and social organisations throughout the country were bureaucratised and corporatised, and a selective but effective and sometimes brutal repression was used against opponents of the regime.^[31]

A number of seats in the Parliament were set-aside for the military under as part of the dwifungsi (dual function) doctrine. Under the system, the military took roles as administrators in all levels of government. The political parties not banned outright were consolidated into a single party, the Party of the Functional Groups (Indonesian: Partai Golongan Karya), more commonly known as Golkar. Though Suharto would allow for the formation of two non-Golkar parties, these were kept weak during his regime.

Rise of Islamism[link]

The purging of two secularist parties, the Nationalists and the Communists, had a notable side effect of giving greater space for the development of Islamism in Indonesia. This included liberal, conservative, and extremist groups practicing Islam in Indonesia. It widely believed by observers of Indonesian history and politics that Suharto's forces whipped up anti-Communist sentiment in part by exploiting conservative Muslims' enmity of "godless" Communism to instigate a jihad against the leftists.^{[citation needed]}

Improved ties with the West[link]

The change in regime brought a shift in policy that allowed USAID and other relief agencies to operate within the country.^{[citation needed]} Suharto would open Indonesia's economy by divesting state owned companies, and Western nations in particular were encouraged to invest and take control of many of the mining and construction interests in Indonesia. The result was stabilisation of the economy and the alleviation of absolute poverty and famine conditions that had resulted from shortfalls in the rice supply and Sukarno's reluctance to take Western aid.

As a result of his elimination of the communists, Suharto would come to be seen as a pro-Western and anti-Communist. An ongoing military and diplomatic relationship between the Indonesia and the Western powers was cemented, leading to American, British, and Australian arms sales and training of military personnel.^{[citation needed]}

U.S. assistance to Suharto[link]

See:Indonesian killings of 1965–1966, U.S. involvement and reaction

References[link]

Bibliography[link]

• "Army in Jakarta Imposes a Ban on Communists." New York Times. 19 October 1965
• E. Aspinall, H. Feith, and G. Van Klinken (eds) (1999). The Last Days of President Suharto. Clayton, Victoria, Australia: Monash Asia Institute. ISBN 0-7326-1175-X. 
• Blum, William. Killing Hope: US Military and CIA Interventions Since World War II, Black Rose, 1998, pp. 193–198 ISBN 1-56751-052-3
• "CIA Stalling State Department Histories". The National Security Archive. http://www.gwu.edu/~nsarchiv/NSAEBB/NSAEBB52/. Retrieved May 23, 2005. 
• Cribb, Robert, 'Genocide in Indonesia, 1965-1966', Journal of Genocide Research 3 no. 2 (June 2001), pp. 219–239
• Easter, David. '"Keep the Indonesian pot boiling': western covert intervention in Indonesia, October 1965-March 1966', Cold War History, Vol 5, No 1, February 2005.
• Feith, Herbert & Castles, Lance (Editors). Indonesian Political Thinking 1945-1965, Cornell University Press. ISBN 8014-0531-9
• Friend, Theodore (2003). Indonesian Destinies. The Belknap Press of Harvard University Press. ISBN 0-674-01834-6. 
• Hughes, John (2002), The End of Sukarno – A Coup that Misfired: A Purge that Ran Wild, Archipelago Press, ISBN 981-4068-65-9
• "Jakarta Cabinet Faces Challenge." New York Times 16 December 1965
• "Jakarta Leftist Out As Army Chief." New York Times 15 October 1965
• Latief, Col. A. (1999?) Pledoi Kol. A. Latief (The Defense [plea] of Col. A. Latief), Institut Studi Arus Informasi, ISBN 979-8933-27-3
• Ricklefs, M.C. (1982) A History of Modern Indonesia", MacMillan. ISBN 0-333-24380-3
• Ricklefs, M. C. (1991). A History of Modern Indonesia since c.1300, Second Edition. MacMillan. ISBN 0-333-57689-6. 
• Roosa, John (2007) Pretext for Mass Murder: The September 30th Movement & Suharto's Coup D'État in Indonesia, University of Wisconsin Press. ISBN 978-92-992203-4-1
• Schwarz, A. (1994). A Nation in Waiting: Indonesia in the 1990s. Westview Press. ISBN 1-86373-635-2. 
• Sekretariat Negara Republik Indonesia (1975) 30 Tahun Indonesia Merdeka: Jilid 3 (1965–1973) (30 Years of Indonesian Independence: Volume 3 (1965–1973)
• Simanjuntak, P.H.H (2003) Kabinet-Kabinet Republik Indonesia: Dari Awal Kemerdekaan Sampai Reformasi (Cabinets of the Republic of Indonesia: From the Start of Independence to the Reform era, Penerbit Djambatan, Jakarta, ISBN 979-428-499-8
• Lashmar, Paul; Oliver, James (1999). Britain's Secret Propaganda War. Sutton Pub Ltd. ISBN 0-7509-1668-0. 
• "Sukarno Removes His Defense Chief" New York Times. 22 February 1966
• "Sukarno Seen Behind Coup" New York Times. 6 October 1965
• "Tapol Troubles: When Will They End?". Inside Indonesia. April–June 1999. http://www.insideindonesia.org/edit58/tapol.htm. 
• Toer, Pramoedya Ananta (2000). The Mute's Soliloquy : A Memoir. Penguin. ISBN 0-14-028904-6. 
• Vickers, Adrian (2005). A History of Modern Indonesia. Cambridge University Press. ISBN 0-521-54262-6. 

Notes[link]

This article uses bare URLs for citations. Please consider adding full citations so that the article remains verifiable. Several templates and the Reflinks tool are available to assist in formatting. (Reflinks documentation) (June 2011)

External links[link]

• Manai Sophiaan, Kehormatan bagi yang berhak - Bung Karno tidak terlibat G30S/PKI (Honour to one who deserves it: Sukarno was not involved in the G30S/PKI), Jakarta, 1994
• Oei Tjoe Tat, 1995, Memoar Oei Tjoe Tat: Pembantu Presiden Soekarno(The memoir of Oei Tjoe Tat, assistant to President Sukarno), Hasta Mitra, ISBN 979-8659-03-1 (banned in Indonesia)
• Shadow Play - Website accompanying a 2002 PBS documentary on Indonesia, with emphasis on the Suharto-era and the transition from New Order to Reformation.
• Tiger Tales: Indonesia - Website accompanying a 2002 BBC World Service radio documentary on Indonesia, focusing on early Suharto era. Features interviews with Indonesian generals and victims of the regime. Program is available in streaming RealAudio format.
• Indonesia 1965 -- The Coup That Backfired - Newly released (June 2007), extensive CIA document about the events of 1965, in PDF format. Originally written in 1968.
• [1] Roosa and Nevins on the mass killings

The New Order is the second album by American Thrash metal band Testament, released on May 10, 1988. It is the album that broke Testament into the thrash metal mainstream, with singles "Trial by Fire" (which featured a music video, as did "Nobody's Fault", which is a cover of Aerosmith) and "The Preacher". This success would only grow with their next album Practice What You Preach.

Professional ratings
Review scores
Source	Rating
Allmusic	link

Track listing[link]

1. "Eerie Inhabitants" (Chuck Billy/Eric Peterson/Alex Skolnick) – 5:05
2. "The New Order" (Peterson/Skolnick) – 4:27
3. "Trial by Fire" (Billy/Peterson/Skolnick) – 4:15
4. "Into the Pit" (Billy/Peterson/Skolnick) – 2:46
5. "Hypnosis" (Peterson/Skolnick) – 2:05
6. "Disciples of the Watch" (Billy/Peterson/Skolnick) – 5:06
7. "The Preacher" (Billy/Peterson/Skolnick) – 3:38
8. "Nobody's Fault" (Tyler/Whitford) (Aerosmith Cover) – 3:56
9. "A Day of Reckoning" (Billy/Peterson/Skolnick) – 4:00
10. "Musical Death (A Dirge)" (Peterson/Skolnick) – 4:03

The tracks "Hypnosis" and "Musical Death (A Dirge)" are instrumentals.

Trivia[link]

"Into the Pit" was covered by The Absence on their 2007 album, Riders of the Plague.

Credits[link]

• Chuck Billy - vocals
• Alex Skolnick - lead guitar
• Eric Peterson - rhythm guitar, cover art concept
• Greg Christian - bass guitar
• Louie Clemente - drums
• Tom Coyne - mastering
• Robert Hunter - assistant engineer
• Alex Perialas - producer, engineer, mixing
• Jon Zazula - executive producer
• Marsha Zazula - executive producer
• Andy Meyn - photography
• William Benson - artwork

Charts[link]

"Trial By Fire" and "The Preacher" were released as singles.

New Order
New Order photographed in January 2007; (left to right) Peter Hook, Stephen Morris, and Bernard Sumner.
Background information
Origin	Salford, England
Genres	Post-punk, alternative dance, electronic music, New Wave, synthpop
Years active	1980–1993, 1998–2007,[1] 2011–present
Labels	Factory, London, Warner Bros.
Associated acts	Joy Division, Electronic, Monaco, Revenge, The Other Two, Freebass, Bad Lieutenant, Marion, Peter Hook & The Light
Members
Bernard Sumner Stephen Morris Gillian Gilbert Phil Cunningham Tom Chapman
Past members
Peter Hook

New Order are an English rock band formed in 1980 by Bernard Sumner (vocals, guitars, synthesisers), Peter Hook (bass, synthesisers) and Stephen Morris (drums, electronic drums, synthesisers) – the remaining members of Joy Division, following the suicide of vocalist Ian Curtis – with the addition of Gillian Gilbert (keyboards, guitars, synthesisers). In 1993 the band broke-up amidst tension between bandmembers, but reformed in 1998. In 2001, Phil Cunningham (guitars, synthesisers) replaced Gilbert, who left the group due to family commitments. In 2007, Peter Hook left the band^[2] and the band broke-up again, with Sumner saying in 2009 that he no longer wishes to make music as New Order.^[3] The band reunited in 2011 without Hook, with Gilbert returning to the fold and Tom Chapman replacing Hook on bass.^[4] During the band's career and inbetween lengthy breaks, bandmembers have immersed themselves on number of solo projects, such as Sumner's Electronic and Bad Lieutenant; Hook's Monaco and Revenge and Gilbert's and Morris' The Other Two.

By combining New Wave and electronic music, New Order became one of the most critically acclaimed and highly influential bands of the 1980s.^[5] Though the band's early years were shadowed by the legacy and basic sound of Joy Division, their immersion in the early 1980s New York City club scene increased their knowledge of dance music and enabled them to incorporate elements of that style into their work. The band's 1983 hit "Blue Monday", the best-selling 12-inch single of all time,^[6] is one example of how the band transformed their sound.

New Order were the flagship band for Factory Records. Their minimalist album sleeves and "non-image" (the band rarely gave interviews and were known for performing short concert sets with no encores) reflected the label's aesthetic of doing whatever the relevant parties wanted to do, including an aversion to including singles as album tracks. The band has often been acclaimed by fans, critics and other musicians as a highly influential force in the alternative rock, dance and rave music scenes.

History[link]

Origins and formation: 1977–1980[link]

Between 1977 and 1980, Ian Curtis, Peter Hook, Stephen Morris, and Bernard Sumner were members of the post-punk band Joy Division, often featuring heavy production input from producer Martin Hannett.^[7] Curtis committed suicide on 18 May 1980, the day before Joy Division were scheduled to depart for their first American tour, and prior to release of the band's second album, Closer. The rest of the band decided soon after Curtis's death that they would carry on. ^[8] The members of Joy Division had agreed before Curtis's death not to continue under the Joy Division name should any one member leave the band. On 29 July 1980, the still unnamed trio debuted live at Manchester's Beach Club.^[9][10][11] Rob Gretton, the band's manager for over twenty years, is credited for having found the name "New Order" in an article in The Guardian entitled "The People's New Order of Kampuchea". The band adopted this name, despite its previous use for ex-Stooge Ron Asheton's band The New Order, rejecting any fascist undertones.^[12]

The band rehearsed with each member taking turns on vocals. Sumner ultimately took the role, as the guitar was an easier instrument to play while singing. Wanting to complete the line-up with someone they knew well and whose musical skill and style was compatible with their own, New Order invited Morris's girlfriend, Gillian Gilbert from Macclesfield, to join the band during the early part of October 1980, as keyboardist and guitarist. Gilbert's membership was suggested by Gretton.^[12] Gilbert's first live performance with New Order occurred at The Squat in Manchester on 25 October 1980.^[13][14]

[edit] Movement: 1981–1982

The initial release as New Order was the single "Ceremony", backed with "In a Lonely Place". These two songs were written in the weeks before Curtis took his own life.^[12] With the release of Movement in November 1981, New Order initially started on a similar route as their previous incarnation, performing dark, melodic songs, albeit with an increased use of synthesisers. The band viewed the period as a low point, as they were still reeling from Curtis' death. Hook commented that the only positive thing to come out of the Movement sessions was that producer Martin Hannett had showed the band how to use a mixing board, which allowed them to produce records by themselves from then on.^[15]

A change in musical direction was brought about when New Order visited New York City in 1981. The band immersed themselves in the New York dance scene and were introduced to post-disco, Latin freestyle, and electro.^[16] Additionally, the band had taken to listening to Italian disco to cheer themselves up, while Morris taught himself drum programming.^[17] The singles that followed, "Everything's Gone Green" and "Temptation", indicated the change in direction toward dance music.

The Haçienda, Factory Records' own nightclub (largely funded by New Order) opened in May 1982 in Manchester and was even issued a Factory catalogue number: FAC51. The opening of UK's first ever superclub was marked by a nearly 23-minute instrumental piece originally entitled "Prime 5 8 6",^[18] but released 15 years later as "Video 5 8 6".^[19] Composed primarily by Sumner and Morris, "Prime 5 8 6"/"Video 5 8 6" was an early version of "5 8 6" that contained rhythm elements that would later surface on "Blue Monday" and "Ultraviolence".^[18]

[edit] Power, Corruption & Lies: 1983–1984

	"Blue Monday" noicon "Blue Monday" featuring the distinctive kick drum opening
Problems listening to this file? See media help.

Power, Corruption & Lies, released in May 1983, was a synthesiser-based outing and a dramatic change in sound from Joy Division and the preceding album, although the band had been hinting at the increased use of technology during the music-making process for a number of years then, including their work as Joy Division. Starting from what earlier singles had hinted, this was where the band had found their footing, mixing early techno music with their earlier guitar-based sound and showing the strong influence of acts like Kraftwerk and Giorgio Moroder. Even further in this direction was the electronically sequenced, four-on-the-floor single "Blue Monday". Inspired by Klein & MBO's "Dirty Talk" and Sylvester's disco classic, "You Make Me Feel (Mighty Real)",^[20] "Blue Monday" became the best-selling independent 12" single of all time in the UK; however, (much to the chagrin of the buying public) it was not on the track list of Power, Corruption & Lies. This resulted in a sticker being applied to unsold copies of Power, Corruption & Lies album saying, "DOES NOT CONTAIN BLUE MONDAY".^{[citation needed]} (It was included on the cassette format in some countries, such as Australia and New Zealand.) "Blue Monday" is now included on the 2008 collector's edition of Power, Corruption & Lies.

The 1983 single "Confusion" firmly established the group as a dance music force, inspiring many musicians in subsequent years. In 1984 they followed the largely synthesised single "Thieves Like Us" with the heavy guitar-drum-bass rumble of "Murder", a not-too-distant cousin of "Ecstasy" from the Power, Corruption & Lies album.

[edit] Low-Life, Brotherhood, and Substance: 1985–1987

1985's Low-Life refined and sometimes mixed the two styles, brandishing "The Perfect Kiss"—the video for which was filmed by Jonathan Demme—and "Sub-culture". In February 1986, the soundtrack album to Pretty in Pink featuring "Shellshock" was released on A&M Records. An instrumental version of "Thieves Like Us" and the instrumental "Elegia" appeared in the film but were not on the soundtrack album. Later that summer, New Order headlined a line-up that included The Smiths, The Fall, and A Certain Ratio during the Festival of the Tenth Summer at Manchester's G-Mex.^[21]

Brotherhood (1986) divided the two approaches onto separate album sides. The album notably featured "Bizarre Love Triangle" and "Angel Dust" (of which a remixed instrumental version is available on the UK "True Faith" CD video single, under the title "Evil Dust"), a track which marries a synth break beat with Low-Life-era guitar effects. While New Order toured North America with friends Echo & the Bunnymen, the summer of 1987 saw the release of the compilation Substance, which featured the new single "True Faith". Substance was an important album in collecting the group's 12-inch singles onto CD for the first time and featured new versions of "Temptation" and "Confusion"—referred to as "Temptation '87" and "Confusion '87". A second disc featured several of the B-sides from the singles on the first disc, as well as additional A-sides "Procession" and "Murder". The single, "True Faith", with its surreal video, became a hit on MTV and the band's first American top 40 hit. The single's B-side, "1963"—originally planned on being the A-side until the group's label convinced them to release "True Faith" instead—would later be released as a single in its own right several years later, with two new versions.

[edit] Technique, Republic and first break-up: 1988–1993

By this time, the group was heavily influenced by the Balearic house sounds of Ibiza and the acid house tunes making their way into the Hacienda. Partly recorded at Mediterranean Sound studios on Ibiza, Technique was released in February 1989. The album entered the charts at number one in the UK and contained a mix of the acid house influence (as on "Fine Time", the opening track) and a more traditional guitar-bass-drums sound on others (such as the single "Run 2"). The album is a blend of occasionally upbeat, accessible music coupled with blunt, poignant lyrics. During the summer of 1989, New Order supported Technique by touring with Public Image Ltd, Throwing Muses and The Sugarcubes across the United States and Canada in what was the press dubbed the "Monsters of Alternative Rock" tour. Also New Order recorded the official song of the England national football team's 1990 World Cup campaign, "World in Motion", under the ad-hoc band name EnglandNewOrder. The song, co-written with comedian Keith Allen, was a number one UK hit.

Unusually for such a major group, New Order never had a formal contract with their label Factory Records. (This was in fact the label's standard practice until the mid-1980s. According to Factory's co-founder Tony Wilson, "All our bands are free to fuck off whenever they please.") Because of this, the group (rather than Factory Records) legally owned all their own recorded material. This has often been cited, not least by Wilson himself, as the main reason London Records' 1992 offer to buy the ailing label fell through.

Republic, released around the world in 1993, was the band's first album release since parting company with the now-defunct Factory Records. The release spawned the singles "Regret"—their highest-charting single in the US—"Ruined in a Day", "World", and "Spooky".

Following the release of Republic, the band put New Order on hold while each member continued on with their own side-projects. In 1994, a second singles collection was released, entitled The Best of New Order. It featured all of the band's singles since Substance as well as a few extra tracks: "Vanishing Point" (from 1989's Technique), "The Perfect Kiss", "Thieves Like Us", "Shellshock", and new recordings of "True Faith", "Bizarre Love Triangle", and "1963". The new versions of "True Faith" and "1963" – the latter with a yet newer, more guitar-oriented version produced by Arthur Baker – were released as singles to promote the album. In the US, the track listing was altered to set it apart from Substance as well as the UK release of The Best of New Order which had been available months prior. This collection was followed by a remix album, The Rest of New Order, featuring a selection of old remixes and newly-commissioned mixes of classic New Order tracks. Some versions contained an extra disc/cassette composed entirely of remixes of "Blue Monday". "Blue Monday" was released as a single for a third time to promote the collection.

[edit] Reformation and Get Ready: 1998–2003

The group reconvened in 1998 at the suggestion of Rob Gretton. Nearly five years had passed since they had last seen each other. Sumner said, "We decided before we agreed to doing any gig, to have a meeting, and if anyone had any grudges to bear, to iron them out." By the second meeting everyone agreed to continue playing, scheduling their reunion gig for the Phoenix Festival that same year. In addition to rarer songs, New Order also decided to begin playing Joy Division songs again.^[22] When the Phoenix Festival was cancelled due to low ticket sales, New Order instead played the last night of that year's Reading Festival.^[23]

Their 2001 release Get Ready largely departed from their more electronic style and focused on the more guitar oriented music. According to Sumner, "Get Ready was guitar-heavy simply because we felt that we'd left that instrument alone for a long time."^[24] Longtime fan Billy Corgan of The Smashing Pumpkins played guitar and sang back-up on the track "Turn My Way", and in 2001 toured with the band on dates in the UK, US, and Japan for a short period of time. Phil Cunningham (formerly of Marion) joined the band in a live capacity, deputising for Gilbert who declined to tour in favour of caring for her and Morris' children. Primal Scream's Bobby Gillespie provided vocals on the track "Rock the Shack". Singles from the album included "Crystal", "60 Miles an Hour", and "Someone Like You".

In 2002, Q featured New Order on their list of the "50 Bands to See Before You Die", although this was as part of a sub-list of "5 Bands That Could Go Either Way". Both New Order and Joy Division were portrayed in the Michael Winterbottom film 24 Hour Party People, depicting the rise and fall of Factory Records as seen through the eyes of label founder Tony Wilson. Cameos by Wilson himself, along with Mark E. Smith of The Fall and former members of The Stone Roses and Inspiral Carpets, lent a degree of legitimacy to the proceedings. The film touched on some of Factory's other artists, including Happy Mondays and The Durutti Column. The soundtrack featured Get Ready-era Chemical Brothers-produced "Here to Stay", which was released as a single. The DVD release of the single highlighted scenes taken from the film.

[edit] Waiting for the Sirens' Call, Singles and second break-up: 2004–2007

The band released a new album on 27 March 2005, entitled Waiting for the Sirens' Call, their first with new member Phil Cunningham. Cunningham replaced Gilbert (now married to Morris) so she could look after their children. Singles from this album were "Krafty", "Jetstream" (which features guest vocals by Ana Matronic from the Scissor Sisters), and the title track. According to Peter Hook, the band wrote and recorded enough material during the sessions for this album to release a follow-up in the near future, but it didn't materialised yet. At the 2005 NME Awards, New Order and Joy Division received the award for "Godlike Geniuses" (for lifetime achievement). Previous winners include Ozzy Osbourne, The Clash, and the Happy Mondays. In 2006 the album track "Guilt Is a Useless Emotion" was nominated for a Grammy Award in the category of Best Dance Recording.

In the autumn of 2005, the group released another greatest hits compilation, in the form of Singles. The two-disc release was an updated version of the Substance collection and contained every single released from their 1981 debut all the way through to "Waiting for the Sirens' Call". However, unlike Substance, which focused almost exclusively on the 12" versions of the group's singles, Singles collected the 7" versions, many of which (like "Ceremony", "Temptation" and "Confusion") had never been released on CD. The album was accompanied by a two-disc DVD set, entitled Item, that collected the extended UK version of NewOrderStory with a DVD of all New Order music videos as well as two newly commissioned videos for "Temptation '87" and "Ceremony".

The New Order: Live in Glasgow DVD was recorded at the Glasgow Academy in 2006 and features 18 tracks, including 4 Joy Division songs.^[25] Next to that, the release also contains a bonus disc of footage from the band's personal archive including 1980s footage from Glastonbury, Rome, Cork, Rotterdam and Toronto.

In 2006, the band played several one-off live dates as well as short tours in the UK, Brazil and Argentina. At the end of the Buenos Aires show in November 2006, Peter Hook suggested that the band should stop touring.^[26] In early May 2007, bassist Peter Hook was interviewed by British radio station XFM – originally to talk about his contribution to the debut album of former Jane's Addiction singer Perry Farrell's new band Satellite Party saying that "[...]me and Bernard [Sumner] aren't working together." Further complicating the news, NewOrderOnline, a website with support from New Order management, reported that, according to "a source close to the band," "the news about the split is false... New Order still exists despite what [Hook] said [....] Peter Hook can leave the band, but this doesn't mean the end of New Order."^[27] The band however dissolved and Sumner revealed in 2009 that he no longer wishes to make music as New Order.^[3]

[edit] Reunion with new line-up, The Lost Sirens: 2011–present

In September 2011, the band announced that they would perform for the first time since 2006, at the Ancienne Belgique, Brussels on 17 October and at the Bataclan, Paris on 18 October.^[28] The band's line-up included keyboardist Gillian Gilbert, who returned in the band after a ten year break, and Bad Lieutenant bassist Tom Chapman in place of Peter Hook.^[29] They played subsequent shows in London and South America in December.^[30]

In December 2011, New Order released Live at the London Troxy, a live album from their 10 December 2011 performance at The Troxy in London. This release featured the new lineup and their first show in London in over five years.

They continued to tour throughout 2012, including a short tour of New Zealand and Australia in February/March. They are confirmed to play at the 'T in the Park' festival in Scotland on the 3rd and 4th of July 2012. Confirmed also, the group has agreed to perform at this year's EXIT Festival in Novi Sad Serbia on 13 July 2012. New Order will perform at Hyde Park, with Blur and The Specials, to celebrate the closing of the 2012 Summer Olympics on 12 August 2012.^[31]

The reunited band intend releasing The Lost Sirens^[32] in 2012 — an eight-track album of outtakes left of the recording sessions from Waiting for the Sirens' Call. The album was discussed by Gillian Gilbert in a Brazilian interview to promote the band’s appearance in Sao Paulo. She acknowledged issues with former member Peter Hook, and says there is "a lot going on behind the scenes on the copyright."^[33]

Other projects[link]

In 1988, Bernard Sumner teamed up with former Smiths guitarist Johnny Marr for the Electronic project (also enlisting the help of Neil Tennant and Chris Lowe of the Pet Shop Boys). Sumner worked with Marr in 1996 for second time in Electronic for Raise the Pressure. Karl Bartos (formerly of Kraftwerk) also assisted with this record. The project's third album Twisted Tenderness was released in 1999 after which the band dissolved.

In June 2009, Bernard Sumner formed a new band called Bad Lieutenant with Phil Cunningham (guitar) and Jake Evans (guitar and vocals), that completed an album, Never Cry Another Tear, which was released on 5 October 2009.^[34] In addition to Cunningham and Evans the album also features appearances by Stephen Morris (drums), Jack Mitchell (drums), Tom Chapman (bass) and Alex James (bass). The live band includes Morris on drums and Tom Chapman on bass.^[35]

Hook also has been involved with other projects. In 1995 he toured with The Durutti Column.^[36] He has recorded one album with the band Revenge and two with Monaco (both as bassist, keyboardist and lead vocalist) with David Potts, the latter of which scored a club and alternative radio hit "What Do You Want From Me?" in 1997. He also worked on a new band project called Freebass with bass players Mani (The Stone Roses) and Andy Rourke (ex-The Smiths). He also contributed to Perry Farrell's Satellite Party.

In 1990 Gilbert and Morris formed their own band, The Other Two. The Other Two released its first single "Tasty Fish" in 1991 and released two albums, The Other Two & You in 1993 and Super Highways 1999. In 2007, Gilbert and Morris remixed two tracks for the Nine Inch Nails remixes album Year Zero Remixed.

BeMusic[link]

"BeMusic" was a name the band used for their publishing company (and the LP label for Movement says "B Music" in large letters, though using an italic ß for the letter B). All four members of the band used the name for production work for other artists' recordings between 1982 and 1985.^[37]

The first BeMusic credit was for Peter Hook producing Stockholm Monsters in 1982. Other artists with producer or musician credit for "BeMusic" were 52nd Street, Section 25, Marcel King, Quando Quango, Paul Haig, Thick Pigeon, Nyam Nyam and Life.

Their production work as BeMusic was collected on two LTM compilation CDs, Cool As Ice: The BeMusic Productions^[38] and Twice As Nice (which also included production work by Donald Johnson, of A Certain Ratio, and Arthur Baker).^[37]

Sound[link]

Both New Order and Joy Division were among the most successful artists on the Factory Records label, run by Granada television personality Tony Wilson, and partnered with Factory in the financing of the Manchester club The Haçienda. The band rarely gave interviews in the 1980s, later ascribing this to not wanting to discuss Curtis. This, along with the Peter Saville sleeve designs and the tendency to give short performances with no encores, gave New Order a reputation as standoffish. The band became more open in the '90s; for example, the aforementioned NewOrderStory (and in particular the longer UK version) featured extensive personal interviews.

Their music mixes rock with dance music, as can be seen on signature tracks such as "True Faith" and "Temptation". This synthesis laid down the groundwork for dance/rock groups of today. The group's album art earned them the status of icons in the alternative community, and has shown considerable longevity.

They have heavily influenced techno, rock, and pop musicians including Pet Shop Boys, The Killers and Moby,^[39] and were themselves influenced by the likes of David Bowie, Neu!, Kraftwerk, Cabaret Voltaire and Giorgio Moroder. They have also significantly influenced electro, freestyle and house. The Kraftwerk influence was acknowledged by their single "Krafty", which had cover art referencing "Autobahn". Bassist Peter Hook contributed to New Order's sound by developing an idiosyncratic bass guitar technique. He often used the bass as a lead instrument, playing melodies on the high strings with a signature heavy chorus effect, leaving the "actual" basslines to keyboards or sequencers. This has often been cited as the defining characteristic of the New Order sound.

Drummer Stephen Morris regularly played a mixture of acoustic and electronic drums, and in many cases played along seamlessly with sequenced parts. All the band members could and did switch instruments throughout gigs, as evidenced on Jonathan Demme's video for "The Perfect Kiss" and the fairly common Taras Shevchenko and Pumped Full of Drugs concert videos. In particular, Gilbert, Morris, and Sumner could be seen playing keyboards at times, while Hook played electronic drums variously. (Taras Shevchenko is especially notable for the fact all four members of the group have left the stage before the final song ("Temptation") comes to an end.)

Album covers[link]

New Order albums, and Factory Records products in general, frequently bore the minimalist packaging of Saville. The group's record sleeves bucked the 1980s trend by rarely showing the band members (the Low-Life album was the exception) or even providing basic information such as the band name or the title of the release. Song names were often hidden within the shrink wrapped package, either on the disc itself (such as the "Blue Monday" single) or on an inconspicuous part of an inner sleeve ("The Perfect Kiss" single), or a cryptic colour code invented by Saville (Power, Corruption & Lies). Saville said his intention was to sell the band as a "mass-produced secret" of sorts, and that the minimalist style was enough to allow fans to identify the band's products without explicit labelling.^[12]

Song titles[link]

Many New Order song titles have nothing to do with the song. In some cases, song titles appear as lyrics in other songs. For example, the phrase "This time of night" appears in the song "As It Is When It Was" on Brotherhood but is the title of a song on Low-Life, and "Face Up" from Low-Life features the phrase "In a lonely place", the title of the B-side to "Ceremony". Also, the track "Chemical" from the 1993 album Republic featured the word brotherhood, which was the name of the 1986 album.

Other song titles were taken from the titles of old movies such as Thieves Like Us and Cries and Whispers, and the film "Whistle Down The Wind" is mentioned in the lyrics of "Vanishing Point" on the 1989 album Technique, an album which is otherwise notable for not including any of its song title phrases in the lyrics of any of the nine tracks, although the phrase "Fine Time" does appear in "Transmission".

This practice appears to have been discontinued after the 1980s given that on "Republic" several songs contain their titles (e.g. "Regret", "Ruined In a Day", "Special", "Young Offender"), and on "Get Ready" all song lyrics contain their titles except "Slow Jam", "Close Range" and "Run Wild". Similarly, "Waiting For The Sirens Call" song lyrics all contain their titles with the exception of "Who's Joe", "Krafty" and "Guilt is a Useless Emotion".

Bandmembers[link]

• Bernard Sumner – lead vocals, guitar, synthesisers, programming (1980-present)
• Gillian Gilbert – synthesisers, programming, guitars (1980-2001; 2011-present)
• Phil Cunningham – synthesisers, programming, guitars (2001-present)
• Stephen Morris – drums and percussion, synthesisers, programming (1980-present)
• Tom Chapman – bass, synthesisers, programming (2011-present)

Former members

• Peter Hook – bass, synthesisers, programming (1980-2007)

Discography[link]

Studio albums

• Movement (1981)
• Power, Corruption & Lies (1983)
• Low-Life (1985)
• Brotherhood (1986)
• Technique (1989)
• Republic (1993)
• Get Ready (2001)
• Waiting for the Sirens' Call (2005)

References[link]

Further reading[link]

• Edge, Brian. New Order + Joy Division: Pleasures and Wayward Distractions. London: Omnibus Press, 1988.
• Flowers, Claude. New Order + Joy Division: Dreams Never End. London: Omnibus Press, 1995.
• Johnson, Mark. An Ideal For Living: An History Of Joy Division. London: Bobcat Books, 1984.
• Middles, Mick. From Joy Division to New Order: The Factory Story. London: Virgin Books, 1996.

External links[link]

Wikimedia Commons has media related to: New Order (band)

• New Order Online – semi-official website and largest New Order website in general, endorsed by the band

Steve Lukather
Steve Lukather, July 2007 in Walker, Minnesota
Background information
Born	(1957-10-21) October 21, 1957 (age 54) San Fernando Valley, California, U.S.
Genres	Hard rock, pop rock, jazz fusion
Occupations	Musician, songwriter, producer
Instruments	Guitar, vocals
Years active	1975–present
Labels	Mascot Records
Associated acts	Toto, Ringo Starr & His All-Starr Band, Los Lobotomys, Larry Carlton
Website	http://www.stevelukather.net/
Notable instruments
Music Man "Luke" signature model Ibanez Roadstar RS-1010SL Yamaha acoustic–electrics Ovation Adamas

Steven Lee "Luke" Lukather (born October 21, 1957) is an American guitarist, singer, songwriter, arranger, and record producer best known for his work with the rock band Toto. A prolific session musician, Lukather has recorded guitar tracks for more than 1,500 albums representing a broad array of artists and genres. He has also contributed to albums and hit singles as a songwriter, arranger, and producer. Lukather has released six solo studio albums and is working on his seventh.

In 1976, when Lukather was nineteen years old, he was invited by his high school friends David Paich and the Porcaro brothers Steve and Jeff to join them in forming their band, Toto. He remained a member until the band split up in 2008, and has been involved in their periodic reunion tours. Lukather's reputation as a guitarist and his association with Paich and Jeff Porcaro, who also became established artists, allowed him to secure a solid flow of session work in the 1970s and 1980s. Lukather has been nominated for twelve Grammy awards, and has won five. While his work with Toto was predominantly based on pop rock music and his solo work ventures into progressive rock and hard rock, many of Lukather's side-projects are focused on jazz fusion. He held a long-time collaboration with jazz guitarist Larry Carlton that produced a Grammy-winning live album, and he was a member of the jazz fusion band Los Lobotomys, a collaboration of notable session musicians.

Influenced by such blues-rock guitarists as Jimi Hendrix and Jimmy Page, and such jazz fusion players as Al Di Meola and Frank Gambale, Lukather is known for a "melodic and intense"^[1] playing style. He is also recognized for his efficiency in the studio, often recording tracks in one take using minimal sound processing. While he once used many guitar effects in the studio and on stage, he now frequently disparages such practice, and instead advocates clean tones and minimal studio processing. Lukather plays primarily a signature electric guitar manufactured by Ernie Ball Music Man bearing his nickname, Luke. He also plays Yamaha and Ovation Adamas series acoustic–electric guitars.

Biography[link]

Early life[link]

Steven Lee Lukather was born on October 21, 1957 in San Fernando Valley, California. He first played keyboards and drums, and then taught himself how to play the guitar starting at age seven, when his father bought him a Kay acoustic guitar and a copy of The Beatles album Meet the Beatles. Lukather claims that the album "changed his life" and that he was greatly influenced by the guitar playing of George Harrison in particular.^[2][3]

In high school, Lukather met David Paich and the Porcaro brothers (Jeff, Steve, and Mike),^[4] all of whom eventually became members of Toto. Lukather, who had been a self-taught musician, began taking guitar lessons from Jimmy Wyble. With Wyble, Lukather expanded his knowledge of wider aspects of music, including orchestration. It was during this period in the early 1970s that Lukather became interested in the idea of becoming a session musician, a vocation that provided opportunities to play with a variety of famous musicians.^[2]

Jeff Porcaro, who had been playing drums with Steely Dan since 1973,^[5] became a mentor to Lukather and furthered his interest in session work. Lukather's first job in the music industry was studio work with Boz Scaggs,^[6] after which Paich and Jeff Porcaro—who had become prominent session musicians in their own right^[7]—asked Lukather to join them in forming Toto in 1976 along with Bobby Kimball, David Hungate, and Steve Porcaro.^[2] Lukather turned down an offer to join Miles Davis' band to accept their invitation.^[8]

Toto[link]

Lukather was the original lead guitarist for Toto, serving in that capacity for the band's entire history, as well as a lead and backing vocalist and composer. Lukather won three of his five Grammy awards for work with Toto, twice as an artist and once as a producer.^[9] David Paich led the band's songwriting efforts during the development of 1978's Toto—he penned all but two of the album's tracks, including all four of its singles. Lukather also credits Jeff Porcaro for his leadership within the band during that period. However, Lukather's role in Toto evolved over time owing to the changing needs of the band. He contributed songwriting to Toto albums starting with the eponymous lead track on 1979's Hydra. In August 1992, Jeff Porcaro collapsed while doing yard work at home and subsequently died of heart failure.^[10] The death profoundly affected Toto and Lukather in particular, who considered Porcaro a mentor. Lukather felt that he needed to step up and make sure the band kept going. Thus, he began taking more of a leadership role.^[2]

Lukather solo with Toto

Toto went through several lead vocalists over the years, including Kimball, Fergie Frederiksen, and Joseph Williams. After the 1990 dismissal of their fourth vocalist, Jean-Michel Byron, Toto was without a lead singer until around 1997; Lukather assumed most of the vocal duties for the band during that time. He performed lead vocals for every track on 1992's Kingdom of Desire and 1995's Tambu except for two instrumental tracks. The Tambu single "I Will Remember", co-written by Lukather and Stan Lynch, reached #64 on UK charts.^[2] Some Tambu reviewers contrasted Lukather's vocals with those of former singers Kimball and Williams (and indeed, heavily criticized the entire album),^[11] some concert reviewers noted that he struggled vocally on certain songs, and a number of backup singers and guest vocalists accompanied the band's live shows during that period.^[12] It was not until Toto brought back former lead singers Joseph Williams and Bobby Kimball to collaborate on 1998's Toto XX that Lukather returned to predominantly backup vocals.^[2]

Lukather's songwriting contributions grew from a smattering of tracks on early Toto albums to almost every track starting in the late 1980s. He wrote very few of Toto's songs by himself, an exception being the hit single "I Won't Hold You Back" from Toto IV. Lukather has admitted that writing lyrics is not one of his strengths. Thus, he collaborated with other band members to complete song ideas and make them into viable album tracks. Lukather contributed to all of the songs on Toto's 2006 album Falling in Between.^[13]

By 2008, Lukather was the only remaining original Toto member still performing with the band. In June of the same year, Lukather decided to leave Toto.^[14] This decision directly led to the official dissolution of the band. In a 2011 interview discussing his career with Toto, Lukather indicated that the band had evolved too far from its original incarnation and that he was dealing with the physical and mental toll of recording and performing.^[15] In February 2010, the band announced that they would reunite to support Toto bassist Mike Porcaro, who was diagnosed with Lou Gehrig's disease.^[16] They continued to tour on a limited basis in 2011 and 2012;^[17] however, Lukather has indicated that the band will not record any further material.^[15]

Session work[link]

Lukather achieved notability in the 1970s and 1980s as one of the most sought-after session guitarists in Los Angeles,^[18] playing with a wide range of artists from Aretha Franklin to Warren Zevon.^[18][19] He has performed on over 1,500 records spanning 36 years.^[15] Music journalist Jude Gold noted, "It's hard to name a guitarist who has had a more prolific and fulfilling career than Steve Lukather."^[18] Lukather credits fellow Toto members David Paich and Jeff Porcaro for getting him exposure in the industry—although he lamented in an April 2011 interview that opportunities for session musicians have curtailed in recent years: "There is no 'session guy' thing any more—not like it was. It's not like the old days when I was doing 25 sessions a week. All the studios are gone. The budgets are gone. The record companies are all gone."^[15] His own output as a session musician has slowed along with the rest of the industry—as of 2009, Lukather stated he was only doing a few sessions a year.^[14]

Named by Gibson Guitar Corporation as one of the top 10 session guitars of all time,^[20] Lukather has performed on many notable tracks. He performed the guitar solo for Olivia Newton-John's popular 1981 single "Physical", which was Billboard's #1 single of the 1980s. Other notable session performances include Michael Jackson's "Beat It",^[4] two tracks from the Lionel Richie album Can't Slow Down, and the Richard Marx album Repeat Offender.^[21] Lukather and Jeff Porcaro were heavily involved in the recording of virtually all of Michael Jackson's Thriller.^[4][14] In addition to recording guitar tracks, Lukather has also written or produced music for Lionel Richie, Richard Marx, Chicago, Donna Summer, and The Tubes.^[21][22] He won a Grammy award in 1982 for the George Benson song "Turn Your Love Around".^[9][22]

Solo albums[link]

Lukather performing as vocalist and guitarist in Osnabrück, Germany, 2004

Lukather has released six solo studio albums: Lukather (1989), Candyman (1994), Luke (1997), Santamental (2003), Ever Changing Times (2008), and All's Well That Ends Well (2010).^[23] In December 2011, he began work on his seventh, a collaboration with C. J. Vanston featuring musicians Chad Smith, Gregg Bissonette, Leland Sklar, and others. The album is scheduled to be released in early 2013.^[24]

[edit] 1989–1997: Lukather, Candyman, and Luke

The 1989 album Lukather came about after Toto had been recording and playing for 11 years, and the consensus among the band members was to take a break. As Lukather had written a number of songs that did not appear on Toto albums, he decided to pursue a solo album, with the intention of presenting a dimension of his music that fans would be unfamiliar with. He collaborated with many notable musicians, including Eddie Van Halen, Richard Marx, Jan Hammer, Steve Stevens, and fellow Toto members Jeff Porcaro and David Paich. Lukather has said that the album was produced very simply, and that a lot of ambient studio noise—counting off on various tracks, for instance—is audible on it. He also credits bands Pink Floyd, Cream, Led Zeppelin, and guitarists Jimi Hendrix, David Gilmour, Jeff Beck, and Eric Clapton as influences on the album. The single "Swear Your Love" came from the album.^[25]

Candyman, recorded and mastered from March 1993 through November 1993, was a collaboration of musicians who were for the most part also in Lukather's band Los Lobotomys.^[26] Toto familiars Simon Phillips and David Paich participated as well as David Garfield, John Peña, Chris Trujillo, Lenny Castro, Larry Klimas, Fee Waybill, Richard Page, and Paul Rodgers. Lukather recorded the album in mostly live takes with little overdubbing.^[27] Some international fans were confused about whether Candyman was a Steve Lukather album or a Los Lobotomys album. The Japanese and US releases of Candyman were under the Los Lobotomys name rather than Lukather's; the Japanese release also featured a version of the Hendrix song "Red House". The European release of Candyman was credited to Lukather alone. Additionally, the touring band for the album was sometimes introduced as "Steve Lukather and Los Lobotomys" and sometimes as just "Los Lobotomys".^[28] The song "Borrowed Time" was released as a single in Europe and included "Red House" as a B-side.^[27]

Lukather describes 1997's Luke as a much different and more "introspective" album than his previous two solo efforts. The album is a concentrated collection of many of Lukather's musical influences, and he deliberately let those influences come out on the album. Luke is an experimental album, and like Candyman it was recorded mostly in live sessions with minimal overdubbing and processing afterwards. Luke also features instrumentation not heard on previous Lukather albums: pedal steel, harmonicas, Mellotrons, and experimental guitar, bass, and drum sounds. The US version of Luke includes a version of the Jeff Beck song "The Pump". The song "Hate Everything About U" was released as a single.^[29]

[edit] 2003: Santamental

Santamental, released in October 2003,^[30] is a collaborative project featuring several prominent musicians such as guitarists Edward Van Halen, Slash, Steve Vai, and drummer Gregg Bissonette.^[31] When Lukather's record company, Bop City Records, approached him about recording a Christmas album, he responded with a quip about his suitability for the project. The company wanted him to do the record knowing he would approach the project with a unique angle and produce something different from the typical Christmas album. Lukather recruited keyboardist Jeff Babko and guitarist Larry Carlton, who Lukather had worked with previously, to help arrange the songs. The project was a challenge to Lukather, who had to be creative to turn the traditionally simple songs into something interesting for listeners without altering the fundamental structures. He said of the album, "But I never dreamt in a million years that I'd do a Christmas record."^[18]

The musicians Lukather chose for Santamental, most of whom were involved in the hard-rock genre, lent a heavy feel to the album. Van Halen recorded guitar tracks for "Joy to the World" after not having been in the studio for some time but immediately made an impression on Lukather with his level of playing. Vai provided guitar work for "Carol of the Bells" along with Lukather's son Trevor, then 14 years old. Slash, who recorded his part in one take, played on the Lukather/Stan Lynch composition "Broken Heart for Christmas". Lukather spoke highly of Slash after the project, calling him the "Keith Richards of our generation". Well-known session guitarist Michael Landau played on the song "Look Out For Angels",^[18] and there is a version of "Jingle Bells" featuring a big band and sung by Sammy Davis, Jr.^[18] Santamental was recorded in six days, after which Lukather proclaimed it "his first and last Christmas album".^[32]

[edit] 2008–2010: Ever Changing Times and All's Well That Ends Well

Ever Changing Times, released on February 22, 2008, is a collection of songs Lukather recorded in 2007 between Toto tours. The album contains contributions from fellow session musicians Bill Champlin, Abe Laboriel, Jr., Leland Sklar, Steve Porcaro, and many others. Lukather's son Trevor contributed as well. Joseph Williams provides backing vocals on five of the tracks. Lukather wrote the songs for the album in a hotel room with his son and a handful of other musicians, using basic equipment. His song-writing philosophy is that if a song sounds good with only guitars and vocals, it will likely sound good after a full production.^[3] Lukather collaborated with Grammy Award-winning engineer and producer Steve MacMillan on the project, with the goal of introducing some new methods and techniques into the recording process. Lukather described the final tracks as "perfectly imperfect", preferring to record with the five-piece backing band in one room and in one take. MacMillan encouraged Lukather to use "organic, vintage tones". As a result, Lukather eschewed effects and played the guitar parts directly through tube amplifiers manufactured by Marshall, Vox, and some boutique brands. Lukather commented that MacMillan served as a valuable "second set of ears" in the studio, often encouraging him to keep parts that he normally would have discarded.^[7] As Toto had recently disbanded when Ever Changing Times was released, Lukather embarked on a solo tour to promote the album. The shows featured a mixture of songs from the album, songs written for other side projects, and "a few Toto obscurities".^[14]

Lukather's sixth studio album, All's Well That Ends Well, was released on October 11, 2010 in Europe and Japan, and November 16 as a digital download worldwide. The material was written predominantly in collaboration with longtime associate C. J. Vanston, and the album features stalwart musicians from Lukather's touring band. Songwriter Randy Goodrum, who has collaborated with Lukather many times over the years including on the 1986 Toto single "I'll Be over You", contributes to the track "Brody's".^[15] All's Well That Ends Well draws from Lukather's personal experiences in the two years since Ever Changing Times. Critic Arlene Weiss noted that the album features three distinct flavors of music: one that "bares [Lukather's] soul and emotional heartache", one that pans elements of popular culture like TMZ.com, and one that expresses optimism and enthusiasm about the future. While Lukather focused on instrumental writing and production on previous albums but collaborated with lyricists, he wrote much of the lyrics for All's Well That Ends Well himself.^[22] Lukather describes the album as being a "real" and "honest" reflection of the period between 2008 and 2010, when he experienced difficulties within his private life.^[15]

Side projects[link]

When not working with Toto, Lukather has participated in numerous side projects including playing with jazz fusion band Los Lobotomys and with other session musicians, and touring with Larry Carlton, Joe Satriani, Steve Vai, and others.

Lukather was a long-time member of the band Los Lobotomys, a collaboration of session musicians including jazz and be-bop player David "Creatchy" Garfield and Toto drummer Jeff Porcaro, replaced after his death by Simon Phillips, who also replaced Porcaro in Toto. Los Lobotomys formed in the mid-1980s and played regular shows in the Los Angeles area, often inviting whatever session musicians happened to be available and in the area. They recorded an album under the Los Lobotomys name in 1989, and the band was heavily involved in the recording of Lukather's Candyman.^[26] Los Lobotomys recorded a live album in 2004 comprising several tracks from Candyman and from the 1989 album.^[33]

In 1998, Lukather received an invitation to tour Japan with fellow guitarist Larry Carlton after Japanese promoters requested that Carlton's annual tours each be different from the last. Lukather and Carlton exchanged some recorded material and decided that a collaboration would be interesting. Lukather was flattered by the invitation to tour with Carlton, citing him as his favorite guitarist. Lukather speaks highly of their stage efforts, although the two were admittedly outside their normal realm of work. He stated in an interview that "you can hear us having fun on the record—you can hear the smiles on our faces."^[34] After several shows, the duo realized that they should record their collaboration even if just for their own use. Guitarist and producer Steve Vai heard one of the subsequent recordings and expressed interest in releasing it under his Favored Nations label, also home to such artists as Eric Johnson and Dweezil Zappa. Vai and Lukather mixed and produced the recording, which is said to be a mixture of jazz, blues, and fusion music.^[34] The resulting album, No Substitutions: Live in Osaka, won a 2001 Grammy award for Best Pop Instrumental Album.^[9][35] Album reviewers described Lukather as having a heavier style than Carlton.^[36] Lukather and Carlton later did an international tour in support of the album.^[34]

In 2005, Lukather won critical praise for his rendition of the Jimi Hendrix song "Little Wing" at a gala 90th birthday celebration for jazz guitarist Les Paul.^[37] Returning after a five year absence, the 2012 G3 Tour will feature Lukather alongside Joe Satriani and Steve Vai.^[38] In February 2012, Ringo Starr announced that Lukather will be the guitarist in his All Starr Band for their summer tour.^[39]

Lukather periodically contributes material and expertise to instructional and educational enterprises. In 1985, he released the instructional "Star Licks" guitar video featuring many of the guitar parts from the first five Toto studio albums. It was released on DVD in 2005.^[40] The guitarist has also been participating in the Fermatta Master Class Series project, an educational cooperative organized by the Fermatta Music Academy in Mexico.^[41]

Musical style and equipment[link]

Lukather playing an Ovation Adamas

Influenced by such blues-rock guitarists as Jimi Hendrix and Jimmy Page, and such jazz fusion players as Al Di Meola and Frank Gambale, Lukather is known for a "melodic and intense" playing style.^[1] He has also cited Steely Dan as a major long-time influence—one that emerges prominently in later solo work such as All's Well That Ends Well.^[42] Journalist Jude Gold notes that his vibrato is very pronounced and his "exaggerated wide bends" are distinctive and quickly recognizable. Well-versed in music theory, Lukather can follow chord charts and changes in a way typical of jazz musicians—this ability enhances his value as a session musician. In interviews, he has explained how he thinks of the guitar in a "chordal cluster" format, and not the typical "linear scale" format.^[43]

Lukather's approach to engineering his sound in the studio is usually very simple. He is not known for doing a large number of takes or for incorporating much overdubbing—rather, he has a reputation for doing only single takes for many parts.^[44] He has said about this approach: "If a solo didn't work—either because I didn't have the right sound, or because I wasn't inspired at that moment—I'd just move on. A part either works or it doesn't. You can't batter it into submission, or force inspiration to save you. It's always better to just surrender, and then come back later to give it a go with fresh ears."^[7] Although he enjoys the technical mastery that is possible in the studio, Lukather prefers the dynamic of performing live on stage.^[45] He has stated that dynamics are the most important element of producing a recording with good sound quality.^[46]

Despite being known in the past for having an intricate set of effects units, Lukather now claims to play mostly free of such modifications after seeing some overdone commercial unit configurations named after him.^[18] Other than some delay, he has not used many effects in recent years.^[45] He has held a long association with Bob Bradshaw of Custom Audio Electronics, who designed and manufactured key elements of Lukather's effects rack. Lukather is one of the few official endorsers of EMG pickups, having collaborated on his own Lukather signature "SL20" pickup system, which is a single unit incorporating two different types of pickups (including a humbucker), single volume and tone knobs, and a pickguard.^[47]

Lukather endorses Music Man guitars and has a signature model named "Luke" that incorporates his signature EMG pickup system. The guitar started out with only MusicMan specifications (including a Floyd Rose locking vibrato, later replaced with a vintage-style fulcrum bridge), but in 1998, the manufacturer made several customizations to the model to better fit Lukather's playing style.^[48] Music Man also produces a Ball Family Reserve Steve Lukather Model that features upgraded hardware and materials.^[49] Lukather has also been known to play Ibanez and Valley Arts guitars. His relationship with Ibanez and Valley Arts yielded an endorsement for a brief time in the 1980s with the release of the Ibanez Roadstar RS1010SL and Valley Arts Custom Pro Steve Lukather Signature guitars in 1984–85.^[49] He has played Ovation Adamas series acoustic–electric guitars.^[50] Starting before his 2010 All's Well That Ends Well tour, Lukather began playing and endorsing Yamaha Studio Response Technology acoustic–electric guitars.^[51]

Discography[link]

Solo

• Lukather (1989)
• Candyman (1994)
• Luke (1997)
• No Substitutions: Live in Osaka (2001)
• Santamental (2003)
• Ever Changing Times (2008)
• All's Well That Ends Well (2010)

With Toto

With Los Lobotomys

• Los Lobotomys (1989)

Awards[link]

• 1982 – Grammy Award for Best R&B Song: Steve Lukather, Jay Graydon, Bill Champlin (for George Benson) – "Turn Your Love Around"
• 1982 – Grammy Award for Producer of the Year: Toto – Toto IV
• 1982 – Grammy Award for Album of the Year: Toto – Toto IV
• 1982 – Grammy Award for Record of the Year: Toto – "Rosanna"
• 2002 – Grammy Award for Best Pop Instrumental Album: Larry Carlton & Steve Lukather – No Substitutions: Live in Osaka

References[link]

External links[link]

Wikimedia Commons has media related to: Steve Lukather

• stevelukather.net, Official website, http://www.stevelukather.net/ 
• Steve Lukather at Allmusic
• Steve Lukather at the Internet Movie Database