In relation to motorsport governed by the FIA, Group A referred to a set of regulations providing production-derived vehicles for outright competition. In contrast to the short-lived Group B and Group C, the Group A referred to production-derived vehicles limited in terms of power, weight, allowed technology and overall cost. Group A was aimed at ensuring a large number of privately-owned entries in races.

Group A was introduced by the FIA in 1982 to replace the outgoing Group 2 as "modified touring cars", while Group N would replace Group 1 as "standard touring cars".

Homologation[link]

To qualify for approval, a minimum of 2500 cars of the competing model had to be built in one year, out of 25,000 for the entire range of the model (e.g.: 2500 Subaru Impreza WRX, out of 25,000 Subaru Impreza). Up to 1991, the requirement was a minimum of 5000 cars in one year, without regards to the entire range, but the FIA allowed "Evolution" models to be homologated with a minimum of 500 cars (e.g.: BMW M3 Sport Evo, Mercedes-Benz W201 Evo). Rules also required some of the interior panels to be retained, e.g. interior door panels and dashboard.

However, not all manufacturers who built 500 such models sold them all, some stripped the majority of them to rebuild them as stock models or used them to allow teams to use modified parts. One such example of this was Volvo with the 240 Turbo in 1985. After they had produced 500 such models, Volvo stripped 477 cars of their competition equipment and sold them as standard 240 turbo roadcars. As a result, after FISA's failed attempt at finding an "Evolution" car in any European countries, Volvo were forced to reveal the names of all 500 "evo" owners to be permitted to compete. The other example was Ford, after selling off their entire RS500 stocks, they read the rulebooks and found themselves that rather than using either the Sierra Cosworths or the RS500s, they could use the body of the basic 3-door Sierra, which Ford was discontinuing, and use their Evolution equipment on them. Nowadays, these cars are treated as any other model in the range.

Touring Cars[link]

For touring car competition, vehicles such as the BMW 635CSi, Jaguar XJS, Volvo 242 Turbo, Holden Commodore, Ford Sierra RS500 and Nissan Skyline GT-R were homologated. In the European Touring Car Championship, Group A consisted of three divisions, Division 3 - for cars over 2500cc, Division 2 - for car engine size that are between 1600-2500cc, Division 1 for cars that are less than 1600cc. These cars competed in standard bodykits, with the production-derived nature required manufactures to release faster vehicles for the roads in order to be competitive on the track. Tyre width were dependent on the car's engine size.

Group A stopped being used in touring car racing in 1994, when the German Deutsche Tourenwagen Meisterschaft (DTM) switched to a 2.5 L class 1 formula, while in Japan by that year as the Japanese Touring Car Championship organisers followed suit and switched classes like most other countries who had adopted the British Touring Car Championship-derived Supertouring regulations, many of the redundant Skylines found a new home in the form of the JGTC (Japanese GT Championship) with modified aerodynamic devices, showing its competitiveness whilst being up against Group C, former race modified roadcars and specially developed racers, like the Toyota Supras during the earlier years. For 1993 the Confederation of Australian Motor Sport replaced Group A (or Group 3A as it was officially designated in Australia ^[1]) with a new formula for Australian Touring Car racing. This was initially open to five litre V8 powered cars and two litre cars (later to become known as V8 Supercars and Super Touring Cars respectively). Hillclimb races still use Group A as a Touring Car class across Europe.

Rallying[link]

Peugeot 306 Maxi, one of the best popular kit-car.

Under Group A in the World Rally Championship, the cars used were modified road cars, often based on turbocharged, four wheel drive versions of small cars such as the Lancia Delta Integrale, Toyota Celica GT-Four, Nissan Pulsar GTI-R, Subaru Impreza WRX and the Mitsubishi Lancer Evolution.

In order to be homologated, manufacturers were required to produce 5,000 units worldwide, and then in 1993 this number was reduced to 2,500. The cars are further modified for greater power and torque, and fitted with suspension and tyres specifically suited to the conditions of the specific rally, which may take place entirely on asphalt roads, different consistencies of gravel and dirt roads and even snow/ice-covered roads on some rallies held in northern Europe.

By 1990, Group A cars exceeded the performance of the Group B cars on many events, because although they had far less power they had better handling and traction. They were also much safer.

Group A is still used as the basis for most rally competitions around the world, but the most competitive cars are limited-production prototypes, known as Kit car, World Rally Cars, Super 1600 and Super 2000.

The last WRC car to use the old Group A homologation requirement was the Mitsubishi Lancer Evolution VI.

Series that used the Group A formula[link]

• Australian Touring Car Championship 1985-1992
• Australian 2.0 Litre Touring Car Championship 1986-1987
• Australian Endurance Championship 1985-1986 & 1990-1991
• Australian Manufacturers' Championship 1985-1991
• British Touring Car Championship 1983-1990
• Deutsche Tourenwagen Meisterschaft 1984-1994
• European Touring Car Championship 1982-1988
• All Japan Touring Car Championship 1985-1993
• World Rally Championship 1987-2001
• World Touring Car Championship 1987

The cars[link]

See also[link]

	Book: Rallying
Wikipedia books are collections of articles that can be downloaded or ordered in print.

	Book: Touring car racing
Wikipedia books are collections of articles that can be downloaded or ordered in print.

References[link]

External links[link]

• Frank de Jong's Group A ETCC section

Look up group in Wiktionary, the free dictionary.

A group is a number of things or persons being in some relation to one another.

Mathematics[link]

• Group (mathematics), a set together with a binary operation satisfying certain algebraic conditions
  • Group theory, the study of groups
  • Group action, a way of describing the symmetries of objects using groups
  • Group isomorphism, a one-to-one correspondence (function) between two groups which respects the given group operations
  • Group object, a kind of generalization of a group which is built on more complicated structures than sets

Science[link]

Chemistry

• Functional group, a functional entity consisting of certain atoms whose presence provides a certain property to a molecule
• Group (periodic table), a column in the periodic table of chemical elements

Biology

• Cultivar group, a formal classification category in the International Code of Nomenclature for Cultivated Plants (ICNCP)
• Group selection, in evolutionary biology, the idea that alleles can become fixed or spread in a population because of the benefits they bestow upon groups of organisms

Cosmology

• Galaxy groups and clusters, a small number of galaxies near each other
  • Local Group, the group containing the Milky Way Galaxy

Other

• Group delay and phase delay
• a set of lenses stacked together
• Group (stratigraphy), in geology, a lithostratigraphical unit; a group consists of formations, or rock strata.

Business[link]

• Business group, a legal entity comprising several companies

Sociology[link]

• Social groups, a description of various human groups
  • Peer group
  • Working group
  • Interest group
• Group action (sociology)
• Group affective tone
• Group aggression
• Group attribution error
• Group behaviour
• Group cohesiveness
• Group conflict
• Group development
• Group dynamics
• Group guilt
• Group narcissism
• Group polarization
• Group psychological abuse
• Group scapegoating
• Group-serving bias

Computing and the internet[link]

• Group (computing), a collection of users or other objects
  • Group identifier (Unix)
• Group editor, a program that allows many people to edit a shared document over a computer network
• Usenet newsgroup

Military[link]

• Army group
• Group (air force), an air force formation
• Group Captain

Other uses[link]

• Breed Groups (dog), the group or category to which breeds of dogs are assigned by kennel clubs
• Group (auto racing), a category of car allowed to compete in auto racing.
• Group insurance covering people with common characteristics
• A musical ensemble:
  • Boy band
  • Girl group
  • Groupies

See also[link]

• Grouping (disambiguation)
• The Group (disambiguation)
• Functional group (disambiguation)

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

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (August 2009)

Pat Metheny
Background information
Born	(1954-08-12) August 12, 1954 (age 57) Lee's Summit. Missouri, United States
Genres	Jazz, jazz fusion, folk jazz world fusion, post-bop, jazz-rock, crossover jazz
Occupations	Musician, songwriter
Instruments	Electric guitar, acoustic guitar, guitar synthesizer
Years active	1974–present
Labels	ECM, Geffen, Nonesuch
Associated acts	Pat Metheny Group, Noa, The Orb, Steve Reich
Website	www.patmetheny.com
Notable instruments
Gibson ES-175 Ibanez PM20 Signature Model Ibanez PM100 Signature Model Ibanez PM35 Roland GR-300 Pikasso guitar

Patrick Bruce "Pat" Metheny (/məˈθiːni/mə-THEE-nee; born August 12, 1954) is an American jazz guitarist and composer.

He is the leader of the Pat Metheny Group and is also involved in duets, solo works and other side projects. His style incorporates elements of progressive and contemporary jazz, post-bop, latin jazz and jazz fusion.^[1] Pat Metheny has three gold albums and 19 Grammy Awards.^[2] He is the brother of jazz flugelhornist and journalist Mike Metheny.

Biography[link]

Metheny was born and raised in Lee's Summit, Missouri, a suburb southeast of Kansas City. Following his graduation from Lee's Summit High School, he briefly attended the University of Miami in Coral Gables, Florida in 1972, where he was quickly offered a teaching position. He then moved to Boston to take a teaching assistantship at the Berklee College of Music with jazz vibraphonist Gary Burton.^[3] He first made his name as a teenage prodigy under the wing of Burton.^[4] In 1974 he made his recording debut on two sessions for pianist Paul Bley's and Carol Goss' Improvising Artists label, along with fretless electric bassist Jaco Pastorius.

Metheny entered the wider jazz scene in 1975 when he joined Gary Burton's band, where he played alongside resident jazz guitarist Mick Goodrick. Goodrick was a 1967 alumnus of Berklee, who had held a teaching post there in the early 1970s. The two guitarists were interviewed jointly by Guitar Player Magazine in 1975, bringing them to the attention of fellow guitar aficionados around the world. Metheny's musical momentum carried him rapidly to the point that he had soon written enough material to record his debut album Bright Size Life with Pastorius and drummer Bob Moses.

Metheny's next recording, 1977's Watercolors, was the first to feature pianist Lyle Mays, Metheny's most frequent collaborator. The other musicians on this session were Eberhard Weber on upright bass and Danny Gottlieb on drums. Metheny's next album formalized his partnership with Mays and began the Pat Metheny Group, featuring several songs they co-wrote; the album was released as the eponymous Pat Metheny Group on West German musician/producer Manfred Eicher's ECM record label. Pat Metheny also has released notable solo, trio, quartet and duet recordings with musicians such as Jim Hall, Dave Holland, Roy Haynes, Toninho Horta, Gary Burton, Chick Corea, Pedro Aznar, Jaco Pastorius, Charlie Haden, John Scofield, Jack DeJohnette, Herbie Hancock, Bill Stewart, Ornette Coleman, Brad Mehldau, Joni Mitchell and many others.

Pat Metheny has also joined projects such as Song X with Ornette Coleman; Parallel Realities; and Jazz Baltica, with Ulf Wakenius and other Nordic jazz players like E.S.T., Nils Landgren and has played with unique singers from all over the world, such as Silje Nergaard on Tell Me Where You're Going (1990), Bruce Hornsby on Harbor Lights (1993) and Hot House (1995), Noa on Noa (1994), Abbey Lincoln on A Turtle's Dream (1994) and Anna Maria Jopek on Upojenie (2002). His collaboration with other great musicians also contains works with Milton Nascimento, Santana, Dominic Miller, Michael Brecker, Trilok Gurtu etc.

Pat Metheny has been touring for more than 30 years, playing between 120 and 240 concerts a year.

Pat Metheny Group[link]

The Pat Metheny Group is a fusion band founded in 1977. The first Pat Metheny Group release, 1978's Pat Metheny Group, featured the writing duo of Pat Metheny and pianist Lyle Mays, a collaboration which has spanned over 25 years and 15 albums. The recording featured the electric bass playing of Jaco Pastorius's protégé Mark Egan. The second group album, American Garage (1980), was a breakout hit, reaching #1 on the Billboard Jazz chart and crossing over onto the pop charts as well, largely on the strength of the up-tempo opening track "(Cross the) Heartland" which would become a signature tune for the group. This early incarnation of the group included Mark Egan on electric bass and Dan Gottlieb on drums.

The group built upon its success through constant touring across the USA and Europe. The early group featured a unique sound, particularly due to Metheny's Gibson ES-175 guitar coupled to two Eventide Clockworks' Harmonizer digital delay units and Mays' Oberheim and Sequential Circuits Prophet 5 synthesizers and Steinway piano. Even in this early state the band played in a wide range of styles from folk to rock to experimental. Metheny later started working with the Roland GR-300 guitar synthesizer and the Synclavier guitar system made by New England Digital. Mays expanded his setup with the Synclavier keyboard and later with various other synthesizers.

Left to right: Steve Rodby and Pat Metheny.

From 1982 to 1985 the Pat Metheny Group released Offramp (1982), a live set Travels (1983), and First Circle (1984), as well as The Falcon and the Snowman (1985), a soundtrack album for the movie of the same name in which they collaborated with David Bowie. A single from the soundtrack, 'This Is Not America', reached number 14 in the British Top 40 in early 1985 as well as number 32 in the USA.

Offramp marked the first appearance of bassist Steve Rodby (replacing Mark Egan) and Brazilian "guest artist" Nana Vasconcelos whose work on percussion and wordless vocals marked the first addition of Latin music shadings to the Group's sound, a trend which would continue and intensify on First Circle with the addition of Argentinian multi-instrumentalist Pedro Aznar, which also marked the group debut of drummer Paul Wertico (replacing Dan Gottlieb) - both Rodby and Wertico were members of the Fred Simon Group at the time, and had played in Simon-Bard as well, in Chicago, before joining Metheny.

This period became a peak of commercial popularity of the band, especially for the live recording Travels. First Circle would also be Metheny's last project with ECM Records; Metheny had been a key artist for ECM but left following conceptual disagreements with label founder Manfred Eicher. The next Pat Metheny Group releases would be based around a further intensification of the Brazilian rhythms first heard in the early 1980s. Additional Latin musicians appear as guests, notably Brazilian percussion player Armando Marçal. Still Life (Talking) (1987) was the Group's first release on new label Geffen Records, and featured several popular tracks, followed by Letter from Home (1989) which also featured Aznar and Marçal. During this period The Steppenwolf Theater Company of Chicago featured an assortment of compositions by Pat Metheny and Lyle Mays for their production of Lyle Kessler's play Orphans where it has remained special optional music for all productions of the play around the world since.

Metheny then again delved into adventurous solo and band projects, and four years went by before the release of the next record for the next Pat Metheny Group, a live set entitled The Road to You, which featured tracks from the two Geffen studio albums amongst new tunes. The group integrated new instrumentation and technologies into its work, notably Mays' unique playing technique accomplished by adding midi-controlled synth sounds at command during acoustic solos via a pedal on the piano.

Mays and Metheny themselves refer to the following three Pat Metheny Group releases as the triptych: We Live Here (1995), Quartet (1996), and Imaginary Day (1997). Moving away from the Latin style which had dominated the releases of the previous 10 years, these albums were the most wide-ranging and least commercial Group releases, including experimentations with sequenced synthetic drums on one track, free-form improvisation on acoustic instruments, and symphonic signatures, blues and sonata schemes.

After another hiatus, the Pat Metheny Group re-emerged in 2002 with the release Speaking of Now, another change in direction adding musicians to the band who are one generation younger and thus grew up with the Pat Metheny Group. The new members on the bandstand are the drummer Antonio Sanchez from Mexico City, trumpet player Cuong Vu, and bassist, vocalist, guitarist, and percussionist Richard Bona from Cameroon.

Metheny touring in 2003
Courtesy: Tyrone Lancaster

The latest release, 2005's The Way Up, is another large concept record which consists of one 68 minute-long piece (although split into four sections solely for CD navigation), a tightly organized, but not through-composed piece based on a pair of three-note kernels: The opening B, A#, F# and the derived B, A, F#. The reception of The Way Up was consistent, with standing ovations in each of the almost 90 concerts during the world tour 2005. On The Way Up, harmonica player Grégoire Maret from Switzerland was introduced as a new group member, while Richard Bona contributed only as a guest musician.

During the world tour Brazilian multi-instrumentalist Nando Lauria completed the line-up of the Pat Metheny Group. The Way Up was released through Nonesuch Records and all of Metheny's Geffen and Warner Brothers back catalogue is to be released on the label. Core members of the group are leader and founder, guitarist Pat Metheny, Lyle Mays (piano, keyboards) and Steve Rodby (double and electric bass) who joined in 1980. Drummer Paul Wertico replaced Dan Gottlieb in 1983 and continued to play with the group for more than 18 years, until he was replaced by Antonio Sanchez, currently also a member of The Pat Metheny Trio.

The current Pat Metheny Group members are Pat Metheny (guitars), Lyle Mays (piano and keyboards), Steve Rodby (double bass, electric bass), Antonio Sanchez (drums), Cuong Vu (trumpet). Other musicians that have been hired regularly for Metheny Group tours are: the late Mark Ledford (vocals, trumpet, guitar); David Blamires (vocals, miscellaneous instruments); Armando Marçal (percussion); Pedro Aznar (vocals, guitar, percussion); Richard Bona (vocals, guitar, bass, and percussion). On the most recent tour to promote the record "The Way Up", Grégoire Maret (harmonica, percussion, vocals) and Nando Lauria (guitar, percussion, vocals) joined the Group. Pat Metheny has collected 19 Grammy Awards, and of them, as part of The Pat Metheny Group, 10 of those awards were consecutive.

Side projects[link]

When working outside of the confines of the PMG, Metheny has shown different sides to his musical personality. On Secret Story (1992) and Orchestrion (2009), he has ventured into forms of orchestrating his music not covered by the PMG. In the late '80s Metheny began collaborating more with established jazz figures such as Ornette Coleman, Chick Corea, Michael Brecker, Joshua Redman, Charlie Haden, Jim Hall, Dave Holland, Christian McBride, David Sanchez and Roy Haynes. Despite his conversion from Brazilian and Latin jazz into more traditional jazz, Metheny still pushed the envelope in the mid-90s with avante garde albums in Zero Tolerance for Silence and The Sign of Four (with Derek Bailey). Metheny's latest side projects teams him with Brad Mehldau and his Trio. In 2006, Metheny appeared as a sideman on Brecker's last album, Pilgrimage.

Guitar contributions[link]

Pat Metheny and his guitar.

Continuing the tradition of jazz guitarists borrowing tones and techniques from their rock counterparts, Metheny has made alterations to the jazz guitar tone palette.

Twelve-string electric[link]

Prior to Metheny, Pat Martino had used the electric twelve-string guitar on a studio album, Desperado, and John McLaughlin had used a double-neck electric guitar with the Mahavishnu Orchestra. (Lenny Breau had introduced the acoustic twelve-string to jazz.^{[citation needed]}) Metheny introduced alternate 12-string tunings to jazz^{[citation needed]}; these can be heard on tunes such as "Sirabhorn" (from Bright Size Life) and San Lorenzo (from Pat Metheny Group and Travels).

Six-string electric[link]

Metheny's tone, which has evolved over the years, involves using the natural full-frequency response of his hollow-body guitar, combined with high-midrange settings on his amplifier to create a smooth, sustaining lead sound that is virtually devoid of piercing treble yet is able to cut through a dense mix. By using digital signal processing that involves digital delay/chorus and reverb, he has created a big, rich, and resonant instrumental voice.

Guitar synthesizer[link]

Metheny was also one of the first jazz guitarists to make heavy use of the Roland GR-300 Guitar Synthesizer. While John Abercrombie and Bill Frisell also used it heavily in the 1980s, Metheny is the only one of the three who still uses the instrument on a regular basis. Unlike many guitar synth users, Metheny limits himself to a very small number of sounds. In interviews, he has argued that each of the timbres achievable through guitar synthesis should be treated as a separate instrument, and that he has tried to master each of these "instruments" instead of using it for incidental color. One of the "patches" that Pat used often is on Roland's JV-80 "Vintage Synth" expansion card titled "Pat's GR-300".

42-string Pikasso guitar[link]

Metheny plays a custom-made Pikasso I created by Canadian luthier Linda Manzer on "Into the Dream" and on the albums Quartet, Imaginary Day, Jim Hall & Pat Metheny, Trio→Live, and the Speaking of Now Live and Imaginary Day DVDs. Metheny has also used the guitar in his guest appearances on other artist's albums.

Manzer has also made many acoustic guitars for Metheny, including a mini guitar, an acoustic sitar guitar, and also the baritone guitar, which Metheny used for the recording of One Quiet Night. His latest use of the Pikasso is found on the album Metheny Mehldau Quartet, his second collaboration with pianist Brad Mehldau and his trio sidemen Larry Grenadier and Jeff Ballard; the Pikasso is featured in Metheny's impressionistic composition "The Sound of Water."

Influences[link]

Metheny playing the guitar controller for the Roland GR300 Guitar Synthesizer.

As a young musician, Pat Metheny did everything he could to sound like Wes Montgomery, but when he was 14 or 15, he decided that he felt that it was disrespectful to imitate him.^[5] In the liner notes on the 2-disc Montgomery compilation Impressions: the Verve Jazz Sides, Metheny is quoted as saying, "(Smokin' at the Half Note) is the absolute greatest jazz-guitar album ever made. It is also the record that taught me how to play."

The angular compositions, asymmetrical lines, relentless rhythmic drive, and deep blues feeling of Ornette Coleman's New York is Now (Blue Note) inspired Metheny to find his own direction.^[6] He has recorded Coleman compositions on a number of his records (starting with a medley of "Round Trip" and "Broadway Blues" on his debut Bright Size Life); worked extensively with Coleman collaborators such as Charlie Haden, Dewey Redman, and Billy Higgins; and has even made a record, Song X, with Coleman.

Metheny's playing (as well as his tone) also show significant influence by Jim Hall, Joe Diorio, Kenny Burrell, Joe Pass, John McLaughlin and other classic jazz players^{[citation needed]}. Metheny has often been quoted saying that he is as likely to name non-guitarists as significant stylistic influences as fellow guitar players, giving as examples players like Clifford Brown and John Coltrane^{[citation needed]}. He has stated that Miles Davis' live album Four & More was hugely influential on his pursuit into jazz music. He has also admitted to being heavily influenced by The Beatles, going so far as to say that everything by The Beatles has impacted him as a musician. He has paid significant attention to the evolution of guitar playing across genres, however, and is familiar with the playing of notables from the likes of rocker Eddie Van Halen to Leo Kottke.^{[citation needed]}

In particular, he has been influenced by Brazilian music--both the European-influenced jazz sound of the bossa nova and the intensely polyrhythmic Afro-Brazilian sounds of the country's northeast.^{[citation needed]} Metheny made 3 albums on ECM with the Brazilian vocalist and percussionist Naná Vasconcelos in the early 1980s. He also lived in Brazil from the late 1980s to the early 1990s and performed with several local musicians such as Milton Nascimento and Toninho Horta. He also played with Antonio Carlos Jobim as a tribute, in a live performance in Carnegie Hall Salutes The Jazz Masters: Verve 50th Anniversary before Jobim’s passing away.

He is also a fan of several pop music artists, especially singer/songwriters including The Beatles; James Taylor (after whom he named the song "James" on Offramp); Bruce Hornsby, Cheap Trick, Joni Mitchell, with whom he performed on her Shadows and Light (1980, Asylum/ Elektra) live tour. Metheny is also fond of Buckethead's music. He also worked with, sponsored or helped to make attractive recordings of unique singer/songwriters from all over the world such as Pedro Aznar (Argentina), David Bowie (UK), Silje Nergaard (Norway), Noa (Israel), and Anna Maria Jopek (Poland).^[7]

Two of Metheny's recordings, The Way Up and Orchestrion, evidence the influence of American minimalist composer Steve Reich and utilize similar rhythmic figures structured around pulse. Reich's composition Electric Counterpoint was first recorded by Metheny and appears on the Different Trains CD released by Nonesuch Records in 1987.

Metheny Brothers[link]

Pat took part in recording some of the CDs by his older brother, trumpeter Mike Metheny, a jazz musician and a trumpet player based in Kansas City, Missouri, among them Day In - Night Out (1986) and more recently Close Enough for Love (2001).^[8][9]

Bibliography[link]

• Goins, Wayne E. (2001). Emotional Response to Music: Pat Metheny's Secret Story. Edwin Mellen Press. 

Discography[link]

Early recognition[link]

Chuck Lorre (producer of Two and a Half Men and The Big Bang Theory) mentions Pat Metheny in his weekly 'vanity card'^[10] (shown briefly after the credits of the Season 1 Episode 12 episode of The Big Bang Theory entitled "The Jerusalem Duality"). To summarize, Chuck Lorre was a professional guitarist at the age of 22. He was invited to audit a jazz guitar class at the University of Miami, and his ego was crushed when Pat Metheny began to play. Chuck says that this experience played a part in shifting his focus toward television.

Awards & Recognition[link]

In 2011, Pat Metheny was voted "Guitarist of the Year" in the DownBeat Magazine's Readers Poll.

In 2010, Pat Metheny was voted "Guitarist of the Year" in the DownBeat Magazine's Readers Poll.

In 2009, Pat Metheny was voted "Guitarist of the Year" in the DownBeat Magazine Readers Poll.

In 1995, Pat Metheny was granted the Miles Davis Award by the Montreal International Jazz Festival.

List of Grammy Awards received by Pat Metheny:^[11]

References[link]

External links[link]

Wikimedia Commons has media related to: Pat Metheny

• The Pat Metheny homepage - biographies, discographies, discussion and songbook forums, tour dates, etc.
• The most complete Pat Metheny discography with radio shows, promos a. o.
• Pat Metheny entry at AllMusic.com
• Pat Metheny profile, NNDB
• Pat Metheny's guitar rig
• Pat Metheny at the Internet Movie Database
• Pat Metheny discography at MusicBrainz
• Pat Metheny's artist file on the Montreal International Jazz Festival's website

Ratan Tata
Born	(1937-12-28) 28 December 1937 (age 74) Bombay, Bombay Presidency, British India
Residence	Colaba, Mumbai, India[1]
Nationality	Indian
Ethnicity	Parsi
Alma mater	Cornell University Harvard University
Occupation	Chairman of Tata Group
Years active	1962-present
Religion	Zoroastrian
Spouse	unmarried
Awards	Padma Bhushan (2000) Padma Vibhushan (2008) KBE (2009)
Signature	150px

Sir Ratan Naval Tata KBE (Gujarati: રતન નવલ ટાટા; born 28 December 1937) is an Indian businessman who became chairman (1991– ) of the Tata Group, a Mumbai-based conglomerate.^[2] He is a member of a prominent family of Indian industrialists and philanthropists (see Tata family).

Among many other honours accorded him during his career, Tata received the Padma Bhushan, one of India’s most distinguished civilian awards, in 2000 and Padma Vibhushan in 2008.^[3] He has also been ranked as India's most powerful CEO.^[4]

Early life[link]

Ratan Tata was adopted to famous Tata , a prominent family belonging to the Parsi community. Ratan is the grandson of Tata group founder Jamsedji Tata. His childhood was troubled, with his parents separating in the mid-1940s when he was merely seven and his younger brother Jimmy was five years old. Their mother moved out and both Ratan and his brother were raised by their grandmother Lady Navajbai.^[5]

Tata started his schooling at Campion School and finished at Cathedral and John Connon School both in Bombay.^[6] Ratan Tata completed his B.S. in architecture with structural engineering from Cornell University in 1962, and the Advanced Management Program from Harvard Business School in 1975.^[7] He is a part of the Alpha Sigma Phi fraternity.^[8]

Career at Tata Sons[link]

When he returned to India in 1962 after turning down a job with IBM on the advice of JRD, he was sent to Jamshedpur to work on the shop floor at Tata Steel with other blue-collar employees, shovelling limestone and handling the blast furnace.^[9] In 1971, he was appointed the Director of National Radio and Electronics (Nelco), which was in dire straits when he came on board: with losses of 40% and barely 2% share of the consumer electronics market. However, just when he turned it around (from 2% to 25% market share), the Emergency was declared. A weak economy and labour issues compounded the problem and Nelco was quickly near collapse again.

For his next assignment, in 1977 he was asked to turn around the sick Empress Mills, which he did. However, he was refused a Rs 50 lakh investment required to make the textile unit competitive. Empress Mills floundered and was finally closed in 1986.

In 1981, JRD Tata stepped down as Tata Industries chairman, naming Ratan as his successor. He was heavily criticized for lacking experience in running a company of the scale of Tata Industries.^[9]

In 1991, he was appointed group chairman of the Tata group. As group chairman, he has been responsible for converting "the corporate commonwealth" of different Tata-affiliated companies into a cohesive company. He has been responsible for the acquisition of Tetley, Jaguar Land Rover and Corus, which have turned Tata from a largely India-centric company into a global business, with 65% revenues coming from abroad. He also pushed the development of Indica and the Nano. He is widely credited for the success of the Tata Group of companies, especially after the liberalization of controls after the 1990s.^[1]

In August 2007, Ratan Tata lead Tata Group's acquisition of British steel maker Corus. At that time, this was the largest takeover of a foreign company by an Indian company, and resulted in Tata Group becoming the fifth largest steel producer in the world. According to the BBC, however, some analysts criticized the move, saying that Tata Group had overpaid for Corus and had prioritized national pride before its shareholders.^[10]

Tata is set to retire in December 2012 to be succeeded by Cyrus Mistry, the 42-year-old son of Pallonji Mistry and managing director of Shapoorji Pallonji Group.^[11]

Honours, awards and international recognition[link]

Ratan Tata serves in senior capacities in various organisations in India and he is a member of the Prime Minister's Council on Trade and Industry. Tata is on the board of governors of the East-West Center, the advisory board of RAND's Center for Asia Pacific Policy and serves on the program board of the Bill & Melinda Gates Foundation's India AIDS initiative.^[12]

Ratan Tata's foreign affiliations include membership of the international advisory boards of the Mitsubishi Corporation, the American International Group, JP Morgan Chase and Booz Allen Hamilton. He is also a member of the board of trustees of the RAND Corporation, University of Southern California and Cornell University.^[13][14] He also serves as a board member on the Republic of South Africa's International Investment Council and is a member of the Asia-Pacific advisory committee for the New York Stock Exchange. In 2010, he joined BMB Group as an advisory board member.

• FIRST Award for Responsible Capitalism.^[27]
• 26th Robert S. Hatfield Fellow in Economic Education, awarded by Cornell University^[28]
• Recipient of the 'Global Indian Award' at the NASSCOM Global Leadership Awards 2008^[29]

References[link]

External links[link]

Wikimedia Commons has media related to: Ratan Naval Tata

• Ratan Naval Tata's chairman profile at Tata Group
• Profile at The Guardian
• Ratan Tata collected news and commentary at The Wall Street Journal
• Ratan Naval Tata collected news and commentary at The Bloomberg Businessweek
• Ratan Naval Tata collected news and commentary at The Times of India
• Ratan Tata at the Notable Names Database
• "Ratan Tata '59: The Cornell Story" YouTube video

v t e Chairmen of Tata Group Jamsetji Tata Dorabji Tata Nowroji Saklatwala J. R. D. Tata Ratan Tata Cyrus Pallonji Mistry Category

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"The Man" is a slang phrase that may refer to the government or to some other authority in a position of power. In addition to this derogatory connotation, it may also serve as a term of respect and praise.

The phrase "the Man is keeping me down" is commonly used to describe oppression. The phrase "stick it to the Man" encourages resistance to authority, and essentially means "fight back" or "resist", either openly or via sabotage.^[1]

History[link]

The earliest recorded use^{[citation needed]} of the term "the Man" in the American sense dates back to a letter written by a young Alexander Hamilton in September 1772, when he was 15. In a letter to his father James Hamilton, published in the Royal Dutch-American Gazette, he described the response of the Dutch governor of St. Croix to a hurricane that raked that island on August 31, 1772. "Our General has issued several very salutary and humane regulations and both in his publick and private measures, has shewn himself the Man." ^{[2][dubious – discuss]} In the Southern U.S. states, the phrase came to be applied to any man or any group in a position of authority, or to authority in the abstract. From about the 1950s the phrase was also an underworld code word for police, the warden of a prison or other law enforcement or penal authorities.

It was also used as a term for a drug dealer in the 1950s and 1960s and can be seen in such media as Curtis Mayfield's "No Thing On Me", William Burroughs's novel Naked Lunch, and in the Velvet Underground song "I'm Waiting for the Man", in which Lou Reed sings about going to Uptown Manhattan, specifically Lexington Avenue and 125th Street, to buy heroin.

The use of this term was expanded to counterculture groups and their battles against authority, such as the Yippies, which, according to a May 19, 1969 article in U.S. News and World Report, had the "avowed aim ... to destroy 'The Man', their term for the present system of government". The term eventually found its way into humorous usage, such as in a December 1979 motorcycle ad from the magazine Easyriders which featured the tagline, "California residents: Add 6% sales tax for The Man."

In present day, the phrase has been popularized in commercials and cinema, featuring particularly prominently as a recurring motif in the 2003 film School of Rock.^[3][4][5][6]

Use as praise[link]

The term has also been used as an approbation or form of praise. This may refer to the recipient's status as the leader or authority within a particular context, or it might be assumed to be a shortened form of a phrase like "He is the man (who is in charge)." One example of this usage dates to 1879 when Otto von Bismarck commented, referring to Benjamin Disraeli's pre-eminent position at the Congress of Berlin, "The old Jew, he is the man."^{[7][dubious – discuss]}

In more modern usage, it can be a superlative compliment ("you da man!") indicating that the subject is currently standing out amongst his peers even though they have no special designation or rank, such as a basketball player who is performing better than the other players on the court. It can also be used as a genuine compliment with an implied, slightly exaggerated or sarcastic tone, usually indicating that the person has indeed impressed the speaker but by doing something relatively trivial.

See also[link]

• Absentee landlord
• Big Brother (Nineteen Eighty-Four)
• New World Order (conspiracy theory)
• Ruling class
• The Establishment
• Power elite
• Corrections officer
• YTMND

Notes[link]

References[link]

• Lighter, J.E. (Ed.). (1997). Random House Dictionary of American Slang. New York: Random House.