King James Version (album)

King James Version is the second studio album by American rock band Harvey Danger, released on September 12, 2000, through London-Sire Records. It was the band's only album recorded for a major label, and was their last album with drummer Evan Sult. Written and recorded and over the span of sixteen months with producer John Goodmanson,[1] the album marked a substantial departure from the lo-fi sound of the band's debut Where Have All the Merrymakers Gone? (1997), encompassing a variety of rock music styles, and featuring heavily philosophical and referential lyrics discussing "the conflict between faith and skepticism". Although the bulk of the album's material was recorded in March and April 1999, work on the album continued periodically up until February 2000 due to a dispute surrounding Harvey Danger's contract, which delayed its release.

King James Version
Various cut-out style images of structures, a guitar, cymbals and a sofa against a white background. Title is in black and white and written in various fonts in top right hand corner. In the bottom right hand corner, the members of Harvey Danger. Left to Right: Evan Sult, Jeff Lin, Aaron Huffman, Sean Nelson.
Studio album by
Harvey Danger
ReleasedSeptember 12, 2000 (2000-09-12)
RecordedMarch 1999 – February 2000
Studio
Genre
Length46:29
LabelLondon-Sire
ProducerJohn Goodmanson ·
Harvey Danger
Harvey Danger chronology
Where Have All The Merrymakers Gone?
(1997)		 King James Version
(2000)		 Sometimes You Have to Work on Christmas (Sometimes)
(2004)
Harvey Danger studio album chronology
Where Have All The Merrymakers Gone?
(1997)		 King James Version
(2000)		 Little by Little...
(2005)
Singles from King James Version
  1. "Sad Sweetheart of the Rodeo"
    Released: August 7, 2000
  2. "Authenticity"
    Released: August 28, 2001

Preceded by the release of the minor hit single "Sad Sweetheart of the Rodeo", which reached number 27 on the Billboard Modern Rock Tracks chart, King James Version received favourable reviews from critics, who praised the band's musical growth from their debut album. However, owing to a lack of promotional support, sales of the album were extremely poor; by 2005, it had only sold 25,000 copies in the United States.[2] Following the album's supporting tour, which saw the band tour as an expanded six-piece with touring members Mike Squires and John Roderick, Harvey Danger disbanded in April 2001, making it their last album before the band's reformation in 2004. Despite its commercial failure, King James Version would gradually attain a cult following and critical acclaim in the years following its release, and was later named one of the best albums of the 2000s by PopMatters. Harvey Danger performed the album in its entirety for one show in 2008.

Background

Harvey Danger formed in 1992, and recorded a demo tape in 1996 to send to major labels. While the demo failed to garner any interest from major labels, it attracted the attention of Greg Glover, an intern at the US division of London Recordings, who released their debut studio album, Where Have All the Merrymakers Gone?, through his record label, the Arena Rock Recording Company, in July 1997. Although the album was not a strong success upon its initial release, Harvey Danger became the subject of a major label bidding war after the album's second track, "Flagpole Sitta", began receiving airplay from several college radio stations and the Los Angeles-based KROQ.[3] The band subsequently signed with London's Slash Records imprint, where Glover had just been hired, in March 1998.[3] Where Have All the Merrymakers Gone? was reissued by Slash/London the following month to great commercial success, largely thanks to "Flagpole Sitta";[4] the album went on to sell over 500,000 copies in the United States, and in February 1999 was certified Gold by the Recording Industry Association of America (RIAA).[5][6] "Private Helicopter" was issued as the album's second single in October 1998,[7] which failed to make an impact on any singles charts. Shortly thereafter, Harvey Danger ceased touring and returned to Seattle in November 1998.[8][9][10][11]

Upon returning to Seattle, Harvey Danger went on a short hiatus for the holiday season; the band briefly considered breaking up, but decided against this and began writing new material for their next album in November 1998,[10] which was initially envisioned as a "dour, mellow anti-pop" record.[11][12][13] The band's new material was more experimental and less commercial-sounding than their prior output, and was driven by their determination to distance themselves from "Flagpole Sitta", whose success had unintentionally tainted the band's reputation to that of a one-hit wonder and a "major label fabrication" due to its ironic lyrics, which frontman Sean Nelson believed listeners had taken at "face value".[2][8] "Our stated position was that we were never going to write another song like 'Flagpole Sitta.' ", explained Nelson; "We would write long seven-minute slow songs without a chorus just to prove we were more than this hit single. It tweaks your entire consciousness to be identified by only one song when you are so dead set on being recognized for all the other things you have to offer."[2] Harvey Danger also considered their upcoming major label debut to be their first "real" album, as Where Have All the Merrymakers Gone? was "bascially [sic] a bunch of demos recorded on the cheap".[1][10]

Recording and production

Harvey Danger finished recording demos for King James Version in February 1999, after which the band travelled to Woodstock, New York with returning producer John Goodmanson to record the album at Bearsville Sound in early March 1999.[12][14] There, the band recorded the album's basic tracks and some overdubs at the studio, before ultimately deciding to return to Seattle to record the rest of the album.[12][14] "[I]t felt like we were spending a lot of money just so we could say we recorded at Bearsville. It wasn't necessarily making us play better. So we went back home to do the rest", Nelson stated.[12] Recording continued into late April 1999 at John & Stu's Place in Seattle and at Bear Creek Studio in Woodinville, Washington, where additional overdubs were recorded to give the album "more breadth, [and] some more colors".[12] Taking advantage of their major label's recording budget, the band recorded King James Version onto 2-inch analogue tape using two 24-track tape machines synched together, allowing the band to use 48 tracks in total.[15] After recording sessions wrapped up, Harvey Danger travelled to Los Angeles to mix King James Version at The Village Recorder on May 17, 1999.[14][16][17]

Harvey Danger had hoped to release King James Version in August/September 1999, but owing to a series of corporate mergers and restructurings, the album was indefinitely delayed. Universal Music Group (UMG), whom had recently merged with London's parent company PolyGram in December 1998,[18] had sold London Recordings' US division to Warner Music Group, and in August 1999 Warner Music Group announced that it would be merging London with its Sire Records Group to create London-Sire Records.[19] Shortly thereafter, a dispute arose between London-Sire and UMG over the rights to Harvey Danger's contract, resulting in the band being moved into a "corporate black hole" at UMG.[9][12] The contractual dispute prevented Harvey Danger from recording and touring, and the band was forced to turn down an offer to open for The Pretenders during this time.[13] London-Sire also owed Harvey Danger hundreds of thousands of dollars, and Goodmanson, who allowed Harvey Danger to record at John & Stu's on the belief that he would be quickly reimbursed, took a financial hit; he was later compensated in full by the band.[13][20] Nelson later stated that he felt "morose" and "suicidally depressed" during 1999 as a result of the album's delays.[9][12][13]

In between the band's corporate struggles, the members of Harvey Danger put the album on hold and went to work on their own individual projects.[20] When the band came back and revisited the album with a different perspective, they decided to continue working on King James Version.[12] During what Nelson described as the album's "second gestation period", parts of King James Version were revised, and in October 1999, three new songs were recorded for the album; "Meetings With Remarkable Men" (originally titled "Ain't Got No Dog in That Race"),[21] "Humility on Parade" and "Loyalty Bldg.".[22][23] Recording was completed in late February 2000,[23] and in June 2000, the band re-mixed/mixed the majority of the album's tracks at The Warehouse Studio in Vancouver, B.C.[22][24] Nelson later remarked that Harvey Danger had "finished" King James Version three times during the course of 1999 and 2000.[12]

Composition
The musical and lyrical content of King James Version were primarily inspired by the works of Radiohead (above) and Frederic Tuten (below).

Music

Musically, King James Version has been described as indie rock,[25] alternative rock[26] and pop rock.[20][27] Reviews also noted influences of power pop,[28] rockabilly,[26] glam rock[12] and punk rock[29] throughout the album's tracks. In contrast to the band's debut album, King James Version features a less grungy and lo-fi sound,[26] and uses a wider variety of instruments, including the extensive use of keyboards, piano and pump organ.[16] Guitarist Jeff J. Lin, a classically trained musician, composed cello and viola arrangements throughout the album, which were played by members of the Seattle Symphony.[1][11] Nelson's vocal performances were compared to Chuck Berry, Robert Smith and Richard Hell.[11][12]

Speaking with Yahoo! Launch, Nelson labelled the album a middle ground between "catchy rock" and "very quiet, pretty songs".[1] "Sad Sweetheart of the Rodeo" was described by Billboard as featuring a "laid-back feel complete with 80's retro guitar effects."[30] "(Theme from) Carjack Fever" is a reworked version of "Carjack Fever", an early Harvey Danger song first recorded in 1995 which later appeared in an unfinished state/played in reverse as a hidden track on Where Have All the Merrymakers Gone?.[31][32][33] "Pike St./Park Slope" is a sombre piano ballad which was compared to the works of Ben Folds[29][34][35] and John Lennon's "Imagine".[12] "Underground" is a "radically rearranged" cover of a song by the Seattle band This Busy Monster.[23]

The overall atmosphere and direction of King James Version was, in part, informed by the English rock band Radiohead and their 1997 album OK Computer.[13] After hearing about that album's success, which Nelson described as the "ultimate one-hit wonder redemption narrative", Harvey Danger were driven to experiment with their sound and make a "great leap forward, artistically, and do something really ambitious" in order to maintain their credibility.[13] However, as Harvey Danger were just a "garage band" and not able to figure out how to reach Radiohead's creative and technical heights, the band began to strip back their arrangements, although Nelson still credited OK Computer as an influence on the final album. "It certainly was no OK Computer, though there are a couple of moments where we obviously are reaching for that kind of faux-epic sound. I’ve listened to King James Version a lot and I don’t know what the hell it sounds like."[13]

Lyrics

To me, a lot of the lyrics are intended as sort of funny, and they’re intentionally over-wordy to make some kind of point about being trapped inside the mind. A lot of the people in these songs are sort of doomed by their own cleverness to not be able to really feel anything, or not be able to sort out their feelings, and they try and do it by talking or by being clever, but it just doesn’t work — they wind up feeling miserable.

— Sean Nelson[20]

The lyrics on King James Version, written by Sean Nelson, are heavily philosophical and ambiguous, and primarily discuss "the conflict between faith and skepticism".[23][36] The album's lyrics are often humorous, cynical, sarcastic or deadpan in nature and feature numerous references to historical popular culture, literature and places, and frequently name-drop various popular figures and musicians, such as Jesus, F. Scott Fitzgerald, Nathanael West, the Malboro Man and Morrissey.[11][23] The album's lyrics also incorporate the use of multiple literary devices, with the use of first person, multiple and unreliable narrators, and using the album's lyrics as dialogues.[23] Nelson described the album as being "very personal, but not autobiographical", and "more in the way of character study than autobiographical revelation."[23] The album's opening track, "Meetings with Remarkable Men (Show Me the Hero)", is about a guy "looking for somebody to be a disciple of. Jesus doesn't work, Morrissey doesn't work, and Kip Winger is the only one who provides a voice of reason."[37] "Sad Sweetheart of the Rodeo" directly alludes to Sweetheart of the Rodeo by The Byrds, and also references "Lonesome Cowboy Bill" by The Velvet Underground.[38]

The heavily referential nature of King James Version's lyrics was inspired by the works of Frederic Tuten, an American novelist known for his style of referencing to the past vis-a-vis to the present in his works.[11][39] "I feel that's a huge part of listening to rock n' roll music. As a listener, when I want to talk about anything with my friends, I can casually say half a line from any of a hundred songs and they know exactly what I'm talking about. I don't have to elucidate [(explain)] the sentiment any further. It's admitting rock songs can be a response to rock songs, and not necessarily be just so referential that they're just about rock songs."[11] Nelson thanks Tuten in the album's liner notes, and also thanks novelist Philip Roth and Le Show by Harry Shearer.[16] To further connect with the album's recurring theme of referencing other musicians and people, King James Version features an array of backup vocalists, including Grant Lee Buffallo's Grant-Lee Phillips and Death Cab for Cutie's Ben Gibbard, in order to "reflect many, many voices."[11] Nelson deliberately avoided writing about Harvey Danger's struggles with success, believing the subject to be "stupid and irrelevant to most people that listen to music."[11]

Title and packaging

The album's title of King James Version is both a reference to the King James Version of the Bible, and to the album's "second gestation period". Nelson described the album's title as referring to "coming through a convoluted process and arriving at a version of the album and the band that feels sort of definitive."[23] The album's artwork, done by Tae Won Yu, was described by Nelson as an expression of "[the] band's fractured mental and psychic state, or relationship to ourselves, our city, our project, and each other."[17]

Release and promotion

Following the album's completion, Harvey Danger shopped King James Version around to several other labels on the UMG grapevine, but were systematically reviewed and rejected by all of them.[11][24] Afterwards, Harvey Danger chose to re-sign with their "new/old" label, London-Sire Records, in June 2000.[24] On July 6, 2000, Harvey Danger announced on their website that King James Version had now been fully sequenced, mastered and approved by London-Sire, and unveiled the new album's title and release date. Prior to the album's release, Harvey Danger expanded into a sextet with the introduction of guitarist Mike Squires and keyboard player John Roderick, in an effort to improve the quality of the band's live performances.[40][41]

King James Version was released in the United States and Canada on September 12, 2000. Alongside the album, a self-titled EP, containing three B-sides from the King James Version sessions, was sold with purchases of the album exclusively at Circuit City stores, limited to 3,000 copies.[24] The EP's songs were later included in the band's 2009 compilation album Dead Sea Scrolls. Nelson attempted to get King James Version (including its B-sides) released on vinyl through Barsuk Records, who he was a partner of, but these plans fell through due to legal issues surrounding licensing.[9] Its release was met with little fanfare, and failed to make an impact on the Billboard 200 chart.[2][20][42] Speaking with The Morning Call three weeks after the album's release, Nelson stated that he had anticipated, and received, "a lot of indifference" towards King James Version's release, and felt that most of Harvey Danger's audience was made up of "the sort of people who buy whatever is on the radio, or they buy a record for a hit and they don’t listen to, or care about, what’s on the rest of the record".[20] By 2005, the album had sold 25,000 copies in the United States, well below the sales of the band's previous album.[2]

London-Sire promoted King James Version with the release of one single, "Sad Sweetheart of the Rodeo", which was serviced to radio stations on August 7, 2000.[43] The single became a minor hit for the band, reaching number 27 on Billboard's Modern Rock Tracks chart, remaining on the chart for nine weeks.[44] The band filmed a music video for the song, directed by Evan Bernard, in Los Angeles, California on August 15 and 16, 2000.[24] The music video was due to premiere on MTV's 120 Minutes on September 24, 2000,[45] but an MTV intern played the music video for "Flagpole Sitta" by accident instead. MTV responded to the band's complaints by claiming that the video for "Sad Sweetheart of the Rodeo" had received poor test screenings, and pulled it from rotation after only two airings.[46][47] The band also made a televised appearance on The Late Late Show with Craig Kilborn performing the song on October 18, 2000, with John Roderick filling in for Aaron Huffman on bass due to Huffman becoming ill.[40][48] The album's second single, "Authenticity", was released on August 28, 2001 through Gold Circle Records.[49][50] The song had been proposed as a single by the band for nearly a year, owing to its inclusions in the soundtracks of Dude, Where's My Car? (2000) and Soul Survivors (2001); Gold Circle, who were distributing the Soul Survivors soundtrack on September 24, 2001, featured "Authenticity" in the film and its trailers.[40][51] However, the single did not receive a music video or any widespread promotion, as Harvey Danger had broken up by the time it was released.[40][52]

Harvey Danger initially embarked on a national tour across the United States throughout the first half of September 2000 in support of King James Version, including a performance in Montreal, Quebec and an acoustic set at Tower Records in Seattle on September 12.[53] From October 7 to October 27, 2000, Harvey Danger toured as an opening act for the pop-punk band SR-71, alongside the power pop band Wheatus, who acted as the band's opening act on some of the SR-71 tour dates.[54][55] Following the end of the band's tour with SR-71, London-Sire pulled the band's touring support, leaving Harvey Danger unable to tour nationally and financially constrained to the Pacific Northwest of the US. The remainder of the band's shows in 2000 took place in the band's hometown of Seattle during late December, where the band performed three songs for the Screaming Santa's X-Mas Show at the I-Spy on December 23, and a New Years' Eve show at Consolidated Works.[56] From March 22 to 24, 2001, Harvey Danger performed as an opener for Alien Crime Syndicate. The band played their final show of that year on April 21, 2001, playing alongside Hazel and Quasi.[57]

Reception
Professional ratings
Review scores
SourceRating
AllMusic[25]
Entertainment WeeklyB+[29]
Melodic[28]
Rolling Stone[27]
Wall of Sound74/100[34]

The initial critical response to King James Version was generally favourable. AllMusic's MacKenzie Wilson awarded the album three stars out of five, calling Harvey Danger "fresh and witty, [and] continuously satirical throughout" the album.[25] Par Winberg of Melodic felt that the album was a grower, and that the band's sound was unique, awarding it three-and-a-half stars.[58] James Sullivan of Entertainment Weekly gave the album a B+ rating, describing it as "mold-busting" and "a play for longevity".[59] Bob Remstein of Wall of Sound scored the album 74 out of a possible 100, praising its catchiness and clever humour.[60] David Wild of Rolling Stone magazine found King James Version "barbed", but called the album "a step forward in both ambition and accomplishment", awarding it three stars out of five.[61] Writing about the album in passing, Eric Weisbard of SPIN described King James Version as "[kicking] their debut album's ass", praising Sean Nelson's greater confidence as a frontman and Harvey Danger's improved cohesiveness as a band.[37]

Critical assessments on the lyrical content of King James Version were more mixed. Remstein felt that Nelson's lyrics were overdone at points,[60] and Sullivan took issue with the "caustic" nature of the lyrics;[59] Weisbard also questioned whether the album's "witty swagger and rejection of novelty grade goofiness" would be misunderstood by listeners.[37] However, both Remstein and Sullivan agreed that the album's smart humour prevailed over both of the highlighted issues of the lyrics.[59][60] Similarly, Alex Pappademas of CMJ New Music Monthly praised Nelson for his improved songwriting, and for "[figuring] out how to make assets out of the traits that used to make him annoying".[38]

Aftermath and legacy

The poor commercial of King James Version, combined with London-Sire's ineffectual marketing and distribution of the album, was greatly upsetting to the members of Harvey Danger, who felt as though the album had not truly been "released".[2] Nelson has said: "Technically it was released, but it was released so poorly and haphazardly promoted that we just felt we had been robbed of an experience that was important to us."[2] Due to the album's failure, Harvey Danger disbanded at the end of the album's supporting tour in April 2001.[2] "We inevitably started hating each other, because who else was there to hate? We broke up because we had nothing else to say to each other at that point."[2][62]

After disbanding, the band's members pursued a number of musical and non-musical endeavours, with Nelson becoming a movie critic for the Seattle bi-weekly newspaper The Stranger and a business partner at Barsuk Records. In 2002, he formed a new band with Roderick, The Long Winters, before leaving the band to start work on a solo album.[52] Nelson reached out to Jeff Lin and bassist Aaron Huffman to help out with the album, which ultimately resulted in Harvey Danger's reformation in April 2004.[52] Drummer Evan Sult, who had moved from Seattle to Chicago during the hiatus and who was now a member of the indie rock band Bound Stems,[63] declined to join the band's reunion; he was subsequently replaced by Michael Welke, who remained with the band up until their breakup in 2009.[46][64] The negative experiences regarding the release and promotion of King James Version influenced Harvey Danger's decision to release their follow up album, Little by Little... (2005), as a free download on the band's website, which Nelson said gave the band "that sense of satisfaction or closure that comes from making a record and releasing it to the public. They either embrace it or don't, but at least they'll have the option of noticing it this time."[52][65]

In the absence of commercial success, King James Version slowly attained a cult following through word of mouth;[62] while working on their own separate musical projects, people would approach Sult and Nelson telling them of their admiration of the album.[8][17] King James Version's critical standing continued to rise,[62][66] and has been credited with cementing a legacy for the band.[8] Alex Young of Consequence of Sound called King James Version the "most underappreciated album of 2000".[67] whilst Myles Griffin of the Spartanburg Herald-Journal praised the album as "one of the most creative and enjoyable rock albums of the decade".[68] Evan Sawdey of PopMatters lauded King James Version as "one of the greatest rock albums of the decade" in 2013;[26] the site would later place the album at number 73 on their list of "The 100 Best Albums of the 2000s" in 2020.[69] Riverfront Times also included the album on their list of the "Six Best Sophomore Albums By One Hit Wonders" in 2012.[70]

Harvey Danger performed King James Version in its entirety on March 7, 2008, at The Triple Door in Seattle, Washington as part of a set of concerts commemorating the 10th anniversary of Where Have All The Merrymakers Gone?.[71] Ten out of the album's twelve songs (excluding "You Miss the Point Completely I Get the Point Exactly" and "(This Is) The Thrilling Conversation You've Been Waiting For") were played at the band's final show at The Crocodile Café in Seattle on August 29, 2009.[64]

Track listing

All lyrics are written by Sean Nelson; all music is composed by Harvey Danger, except "Underground", written by Chris Possazana.[16]

No.TitleLength
1."Meetings with Remarkable Men (Show Me the Hero)[upper-alpha 1]"2:53
2."Humility on Parade"4:30
3."Why I'm Lonely"3:33
4."Sad Sweetheart of the Rodeo"3:28
5."You Miss the Point Completely I Get the Point Exactly"4:12
6."Authenticity"2:31
7."(Theme from) Carjack Fever"3:40
8."Pike St./Park Slope"4:42
9."(This Is) The Thrilling Conversation You've Been Waiting For"2:53
10."Loyalty Bldg."6:06
11."Underground" (This Busy Monster cover)4:39
12."The Same as Being in Love"3:29
Total length:46:29

Personnel

Credits are adapted from the album's liner notes.[16][22]

Harvey Danger

Additional musicians

Production

  • John Goodmanson – production, engineering, mixing
  • Damien Shannon – assistant engineer (at Bearsville)
  • Aaron Franz – assistant engineer (at Bearsville)
  • Carl Plaster – drum tech (at Bearsville)
  • Fisher – guitar tech (at Bearsville)
  • Ryan Hadlock – assistant engineer (at Bear Creek)
  • Zack Blackstone – assistant engineer (at John & Stu's)
  • Okhee Kim – assistant engineer (at The Village Recorder)
  • Greg Calbi – mastering

Release history
Region Date Label Format Catalog # Ref.
United States September 12, 2000 London-Sire Records CD, DL 31143-2 [24]
Canada CD 31143

Notes
  1. Alternatively written as "Meetings with Remarkable Men - Show Me the Hero" on Spotify.[72]

References

Citations

  1. Weiss, Neal (April 20, 2000). "Harvey Danger 16 Months Pregnant?". launch.yahoo.com. Archived from the original on June 2, 2002. Retrieved February 1, 2023.
  2. Hay, Travis (December 30, 2004). "Time puts a new spin on dream of Harvey Danger". seattlepi.com. Archived from the original on August 11, 2022. Retrieved October 12, 2022.
  3. Reece 1998, p. 13
  4. Roos, John (April 27, 1998). "Danger Coming, and May Be Here to Stay". Los Angeles Times. Retrieved October 10, 2022.
  5. "Gold & Platinum". RIAA. Retrieved October 10, 2022.
  6. Behrman 2000, p. 41
  7. Anon. 1998, p. 93
  8. Zaleski, Annie (November 11, 2015). "Why Harvey Danger's '90s alt-rock hit "Flagpole Sitta" endures". The A.V. Club. Retrieved January 26, 2023.
  9. McGuire, Colin (July 11, 2014). "Cast Off the Ego Scars: An Interview with Harvey Danger's Sean Nelson, PopMatters". PopMatters. Retrieved October 10, 2022.
  10. "Harvey Danger 1998 archive". harveydanger.com. Archived from the original on September 3, 2001. Retrieved October 10, 2022.
  11. Behrman 2000, p. 42
  12. Young, Jon (October 18, 2000). "Version 2.0". launch.yahoo.com. Archived from the original on May 19, 2003. Retrieved February 1, 2023.
  13. Weiss, Dan (July 28, 2017). ""Flagpole Sitta" At 20: A Conversation With Harvey Danger's Sean Nelson". Stereogum. Archived from the original on April 13, 2021. Retrieved October 10, 2022.
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  16. King James Version (booklet). Harvey Danger. Seattle: London-Sire Records, Inc. 2000. 31143-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  17. Nelson, Sean (September 13, 2007). "Hey, Terrific!". Archived from the original on September 17, 2008. Retrieved October 13, 2022.
  18. "Universal and Polygram complete global merger". The Irish Times. December 11, 1998. Retrieved October 11, 2022.
  19. Sandler, Adam (August 16, 1999). "Warner Music reins to Ames". Variety. Retrieved October 25, 2022.
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  30. Taylor (ed.) 2000, p. 36
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  38. Pappademas 2000, p. 21
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  45. Anon 2000, p. 29
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Sources

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