1983–84 in English football, Football League, First Division
After a dismal start to the season which saw many fans calling for the dismissal of manager Howard Kendall, Everton's fortunes took a dramatic upturn following the arrival of striker Andy Gray, which saw any fears of relegation swiftly forgotten as they climbed up the table and eventually finished seventh, and then ended their 14-year trophy drought by winning the FA Cup. Everton also reached the final of the Football League Cup, but were beaten in a replay by their Merseyside neighbours.


1983–84 in English football, Football League, First Division
Tottenham Hotspur manager Keith Burkinshaw stepped down at the end of the campaign after eight years in charge, but went out on a high by winning the UEFA Cup. Watford climbed to a secure mid table finish after the arrival of high scoring striker Mo Johnston lifted them clear of the relegation zone, and they also reached their first ever FA Cup final, but lost to Everton.


1983–84 in English football, Football League, First Division
Wolverhampton Wanderers suffered a swift return to the Second Division with just six wins all season, and were joined in the drop zone by Notts County and local rivals Birmingham City. Coventry City climbed clear of the drop zone after a turnaround in the final few games which had followed a dramatic slump down the table, while Luton Town's survival was ensured by an excellent first half of the season before a post-Christmas slump.


1983–84 in English football, Football League, Second Division
A year after narrowly avoiding relegation, Chelsea thrived in the Second Division and won the title on goal difference, thanks largely to the prolific scoring of new striker Kerry Dixon. Sheffield Wednesday finished runners-up to end their 14-year exile from the First Division. The final promotion place went to Newcastle United, whose former England striker Kevin Keegan retired after achieving the objective of promotion that had been his clear target when signing for the Tynesiders two years earlier.


1983–84 in English football, Football League, Second Division
Although the top three all secured promotion before the final game of the campaign, there had been no shortage of competition in the promotion race for much of the season, from the likes of Manchester City, Grimsby Town and Carlisle United.


1983–84 in English football, Football League, Second Division
Dave Bassett agreed to take charge of Crystal Palace at the end of the season, but changed his mind three days later – without signing the contract – and returned to Wimbledon. Palace installed former Manchester United winger Steve Coppell, 29, as their new manager.


1983–84 in English football, Football League, Second Division
Cambridge United's six-year stay in the Second Division ended after a terrible season where they secured just four wins. Swansea City fared little better, going down for the second season running – a mere two years after finishing sixth in the First Division – as financial problems mounted. The last relegation place went to Derby County, First Division champions just nine years previously. Derby's Peter Taylor, who almost guided the club to the semi-finals in the FA Cup that season, resigned as manager and his successor was Arthur Cox, who had just taken Newcastle into the First Division.


1983–84 in English football, Football League, Third Division
Jim Smith, who had guided Birmingham City into the First Division four years earlier, made use of Robert Maxwell's funds to strengthen Oxford United and this policy paid of at the second attempt as he led Oxford United to the Third Division title by a wide margin. Also going up were Wimbledon and Sheffield United, while Hull City failed to follow Wimbledon to a second successive promotion only on goals scored.


1983–84 in English football, Football League, Third Division
Walsall's impressive run to the Football League Cup semi-finals, which had dispensed of Arsenal on the way and cost Gunners manager Terry Neill his job after seven years, finished sixth in the league. Millwall, who had achieved a remarkable escape from relegation a year earlier under new manager George Graham, progressed to ninth place in the Third Division.


1983–84 in English football, Football League, Third Division
Narrowly avoiding the Third Division drop zone were Plymouth Argyle, who compensated for their dismal league form by reaching the FA Cup semi finals for the first time in their history.


1983–84 in English football, Football League, Third Division
Exeter City, Port Vale, Southend United and Scunthorpe United ended the season relegated to the Fourth Division. New owner Anton Johnson made an instrumental move to reverse Southend's decline by appointed England's World Cup winning captain Bobby Moore as manager.


1983–84 in English football, Football League, Fourth Division
York City became the first English league team to amass 100 league points in a season, and in doing so clinching the Fourth Division title and a place in the Third Division. Leeds United legend Billy Bremner took Doncaster Rovers to promotion as runners-up, while Reading climbed out of the league's basement division in third place and the final promotion place went to a Bristol City side on the comeback trail after their recent catastrophic hat-trick of relegations and near brush with closure. Aldershot just missed out on promotion, as did a Blackpool side who had been under threat of closure and loss of league status a year earlier.


1983–84 in English football, Football League, Fourth Division
Chester propped up the league this season, and had to apply for re-election along with Hartlepool United, Halifax Town and Rochdale. All four clubs retained their league status.


1983–84 in English football, Famous debutants
29 August 1983: Mark Bowen, 19-year-old defender, makes his debut for Tottenham Hotspur in 1–1 draw with Coventry City at White Hart Lane.


1983–84 in English football, Famous debutants
12 October 1983: Stuart Pearce, 21-year-old defender, makes his debut for Coventry City in 2–1 win over Queen's Park Rangers at Highfield Road after signing from non-league Wealdstone.


1983–84 in English football, Famous debutants
5 November 1983: Tony Adams, 17-year-old defender, makes his debut for Arsenal in a 2–1 home defeat against Sunderland, a month after his 17th birthday.


1983–84 in English football, Famous debutants
13 January 1984: Graeme Hogg, 19-year-old defender, makes his debut for Manchester United in 1–1 draw with Queen's Park Rangers at Loftus Road.


1983–84 in English football, Famous debutants
16 May 1984: Clayton Blackmore, 19-year-old winger/defender, makes his debut for Manchester United in 2–0 defeat by Nottingham Forest at the City Ground.


1983–84 in Scottish football
The 1983–84 season was the 87th season of competitive football in Scotland.


1983–84 snooker season
The 1983–84 snooker season was a series of snooker tournaments played between 4 July 1983 and 19 May 1984. The following table outlines the results for the ranking and the invitational events.


1983–84 snooker season, Official rankings
The top 16 of the world rankings, these players automatically played in the final rounds of the world ranking events and were invited for the Masters.


1983–85 French nuclear tests
The France's 1983–1985 nuclear test series was a group of 25 nuclear tests conducted in 1983–1985. These tests followed the 1981–82 French nuclear tests series and preceded the 1986–88 French nuclear tests series.


1984
1984 (MCMLXXXIV) was a leap year starting on Sunday of the Gregorian calendar, the 1984th year of the Common Era (CE) and Anno Domini (AD) designations, the 984th  year of the 2nd millennium, the 84th  year of the 20th century, and the  5th   year of the 1980s decade.


1984 (1956 film)
1984 is a 1956 British black-and-white science fiction film, based on the 1949 novel Nineteen Eighty-Four by George Orwell, depicting a totalitarian future of a dystopian society.


1984 (1956 film)
This is the first film adaptation of the story, directed by Michael Anderson and starring Edmond O'Brien as protagonist Winston Smith, and featuring Donald Pleasence, Jan Sterling, and Michael Redgrave. The character O'Brien, the antagonist, was renamed "O'Connor", due to the shared surname of the actor Edmond O'Brien. Emmanuel Goldstein is changed to "Kalador".


1984 (1956 film)
In 1954, Peter Cushing and André Morell starred in a BBC-TV made-for-TV adaptation which was extremely popular with British audiences, leading to the production of the 1956 film version. Donald Pleasence had also appeared in the BBC television version, playing the character of Syme, which for the film was amalgamated with that of Parsons. The script was co-written by William Templeton, who had previously adapted the novel for the US Studio One TV series in 1953.


1984 (1956 film)
For the US market, 1984 was distributed in 1956 on a double feature with another British science fiction film, The Gamma People. After distributor agreements expired, the film was withdrawn from theatrical and TV distribution channels by Orwell's estate and has not been officially available for many years.


1984 (1956 film)
Like the earlier film adaption of Animal Farm, 1984 was secretly funded by the Central Intelligence Agency.


1984 (1956 film), Plot
In the mid-1950s, a nuclear war and devastation of Earth gave rise to three superstates: Oceania, Eurasia, and East Asia. By 1984, London, with its bomb-proof ministry, is designated as the capital of Airstrip One, a province of Oceania, controlled by one all-powerful Party, embodied by the figurehead Big Brother.


1984 (1956 film), Plot
In the spring of 1984, Winston Smith, a member of the elite Outer Party, encounters Julia, a woman he suspects may be a member of the Thought Police. Winston returns to his apartment, where an electronic surveillance eye examines the contents of his briefcase. Smuggling a small black diary past the eye, Winston begins to write down the subversive thoughts he fears to say aloud. Winston's reverie is interrupted when Selina Parsons, a little girl who lives next door, enters his apartment to practice denouncing him as a traitor. Robert Parsons, Selina's father, invites Winston to join him for a drink at the local Chestnut Tree café.


1984 (1956 film), Plot
At the cafe, Winston and Parsons spot Rutherford and Jones, two Outer Party traitors who have been rehabilitated by the government's Ministry of Love. Afterwards, Winston goes to a junk shop to wonder at the objects of yesteryear that are now deemed worthless. Julia enters the shop, sending Winston scurrying into the street, where he is stopped by the police and ordered to report to Administration the next morning.


1984 (1956 film), Plot
At the Administration the next day, a party officer reprimands Winston for socializing with the common masses. Winston then proceeds to his job at the Records Department at the Ministry of Truth. When Winston discovers a photo that would prove Jones and Rutherford innocent, O'Connor, Winston's superior, instructs him to destroy it.


1984 (1956 film), Plot
That evening, at a political rally, Julia passes Winston a note professing her love to him. Later, they arrange to meet Sunday in a meadow outside London, far from the prying microphones and monitors of Big Brother. There, they touch each other, an act prohibited by the Anti- Sex League, and proceed to make love.


1984 (1956 film), Plot
Two weeks later, Winston proposes renting a room at the junk store, one of the few places free of the omnipresent monitors. In the sanctity of their quarters, Winston confides that he believes O'Connor may be a member of the Underground.


1984 (1956 film), Plot
One night, Winston finds a note written in O'Connor's handwriting that reads "down with Big Brother." Convinced that O'Connor represents their only hope to break free of the tyranny of Big Brother, Julia and Winston go to his apartment and declare that they want to join the Underground. O'Connor instructs Winston to carry an empty briefcase with him at all times.


1984 (1956 film), Plot
A few days later, during a rally to launch Hate Week, a man switches briefcases with Winston. When Winston opens the case, he finds a copy of a treatise by the alleged leader of the Underground. Back in their secret room, Julia muses that only love can defeat Big Brother. At that moment, a telescreen hidden behind a mirror condemns Julia's sentiments, after which, the police burst in to arrest them.


1984 (1956 film), Plot
At the Ministry of Love, Winston is confined in a pit-like room. Soon after, Parsons is thrown into the pit, his daughter having denounced him for muttering in his sleep "Down with Big Brother." After Parsons is taken away, O'Connor enters the room and reveals himself to be a covert agent of the state. Under O'Connor's direction, Winston is subjected to a brainwashing campaign. Still resistant after a series of electroshock treatments, Winston declares that the party will never eradicate his love for Julia. Having ascertained that Winston's worst fear is being eaten alive by rats, O'Connor confines him in a room filled with the squealing rodents, after which Winston breaks down and begs them to feed Julia to the rodents instead.


1984 (1956 film), Plot
After O'Connor authorizes his release, Winston mindlessly wanders through the streets, where he spots Julia. After they confess their mutual betrayal, Big Brother broadcasts that the Eurasian army has been routed in battle and that the war will be soon over. He goes to look and then finds Julia gone after he looks back at her. The final shot has a rehabilitated and brainwashed Winston fervently joining the crowd cheering "Long live Big Brother!"


1984 (1956 film), Plot
An alternate ending was also produced, in which Winston rebels against his brainwashing and starts to shout, "Down with Big Brother." He is then shot down. Julia runs to his aid and suffers the same fate.


1984 (1956 film), Reception
The New York Times reviewer A.H. Weiler  called this film adaptation "a stark, sober and thoughtful, if not altogether persuasive, film." He said the "director and the scenarists have adapted the book 'freely.' But they have retained its essential spirit and ideas in the film." A Boston Globe reviewer said that "the film had the same sense of bleak horror and black apprehension that Orwell developed when freedom was allowed to die."


1984 (Anthony Phillips album)
1984 is the sixth studio album by English musician and composer Anthony Phillips, released in June 1981 on RCA Records. The album marks a change in musical style for Phillips as it is synthesiser-oriented compared to most of his previous albums which focused on more folk and acoustic music. After the music had been recorded, Phillips named the album after George Orwell's dystopian novel Nineteen Eighty-Four (1949).


1984 (Anthony Phillips album), Background
In June 1980, at the time of the release of Private Parts & Pieces II: Back to the Pavilion, the second in his Private Parts & Pieces album series, Phillips was still under contract with the US-based independent label Passport Records but without one in the UK as his deal with Arista Records had come to an end with the release of Sides in 1979.


1984 (Anthony Phillips album), Background
During this time he was considering ideas for his next studio album; one that particularly interested him the most was a recording with "a lot of interesting synth sounds [...] but at the same time to be quite descriptive and almost semi-classical".


1984 (Anthony Phillips album), Background
He wished to incorporate a rhythm throughout in an effort to avoid the composition having a "background music" feel, and, as he recalled, a take on being reminded by record companies at the time that music had to have a rhythm to it, so he thought of such an album but "disguise it with some classical bits on top". One source of inspiration to write in this style originated when Phillips added two synthesisers to his collection two years prior, the Polymoog and ARP 2600, but felt he had not used them effectively on Sides.


1984 (Anthony Phillips album), Background
An album with both featured as the main instruments became attractive to him; looking back on the project, it "was actually a challenge". One reason was because of the difficulty of keeping the oscillator on the ARP 2600 in tune to produce a sound he desired, resulting in the instrument sounding "flat" in some sections.


1984 (Anthony Phillips album), Writing
Phillips originally planned to present 1984 as three instrumental pieces; one of which was a Polymoog piece from the Sides recording sessions that was left unused, and a second featuring a 12-string guitar that was also left off. He then considered using them to produce a "quick instrumental album", but the project grew after he persuaded his manager, Tony Smith, that it was the right time to make an instrumental album with a large scale piece of music because he had wished to do one since his first album, The Geese & the Ghost (1977).


1984 (Anthony Phillips album), Writing
Phillips put the initial two pieces aside, and started work on one keyboard-based composition that he described as a "modern, short five minute piece" which he expanded upon to become the basis of the "1984" suite. As he went through his musical ideas for the track, he questioned whether the arrangements had any form to them, and whether they confirm to a particular convention of compositional form, but he dismissed the idea and carried on writing as he saw fit.


1984 (Anthony Phillips album), Writing
Being a keyboard heavy album made Phillips improve his technique as the technology available at the time of recording did not allow for corrections to be made afterwards using computer software. The ARP 2600 was a difficult keyboard for Phillips to play as the model would not play the next note if he had stumbled while playing a fast sequence, causing him to start again.


1984 (Anthony Phillips album), Writing
In May 1980, two months prior to recording material for 1984, Phillips recorded two pieces around the synthesiser and drum machine and gave them the working titles "Instrumental Single" and "Strings & Drums". The basic parts of each were put down quickly; Phillips estimated no longer than three to four hours. After he had decided upon the album's direction, Phillips felt both tracks fitted the theme and became "Prelude '84" and "Anthem 1984", respectively. The latter half of "1984 Part 2" features Phillips's vocals fed through a vocoder, which he incorporated during the process of adding the overdubs.


1984 (Anthony Phillips album), Writing
Though the album borrows the name, and artwork depicting imagery, from George Orwell's dystopian novel Nineteen Eighty-Four (1949), Phillips clarified that the only real connection between the album and the story was that the book had "a nice title", and named the album late in the production stage after the music had been recorded. He wanted a title that had a sense of drama behind it, as opposed to a more "dreamy" one. After deciding on 1984 as the title, Phillips revisited the composition and "nastied the music up in one or two places".


1984 (Anthony Phillips album), Recording
1984 was recorded from 14 August 1980 to January 1981 at Send Barns, Phillips's recording facility set up at his parents’ house in Woking, Surrey. It was put down on 8-track Ampex tape. The first parts put down were the drum machine and percussion tracks with assistance from Phillips's friend Richard Scott, who is credited in the liner notes for helping with production and engineering. Scott also listened to rough mixes of the tracks that Phillips had completed for feedback. The keyboards were recorded after, and the basic tracks had been put to tape by January 1981.


1984 (Anthony Phillips album), Recording
Phillips then decided that music needed further parts and overdubs, but there was insufficient space on the 8-track recording. The recorded parts were then transferred onto 24-track tape at Atmosphere Studios in London where recording engineer Chris David painstakingly reassembled the various sections of the piece by hand, cutting pieces of tape off when required.


1984 (Anthony Phillips album), Recording
David then made a master tape, making more edits for 1984 than any other studio project he had worked on as Phillips had recorded the album in sections between 20 and 60 seconds in length, "more or less in order which helped with the assembly", but he recalled mistakes made and a restart in the process. To track what parts were recorded onto which track, David recalled a "film-style cue sheet approach" to avoid losing place. David's efforts for 1984 required him to cut short his honeymoon in Kenya. Phillips used a Roland CR-78 drum machine, and borrowed percussion instruments from Phil Collins. He arranged a session with Morris Pert to record the percussive sections, all of which were put down in one day. It was then mixed at Atmosphere Studios in February and March 1981.


1984 (Anthony Phillips album), Artwork
The album is the first of Phillips's albums not to feature artwork by Peter Cross. Instead, the change in style of music is represented in the sleeve design, replacing the more detailed, fantasy-inspired, and hand drawn illustrations for a dark and more minimalist feel designed by Under the Stairs Productions. Phillips felt Cross's style would not have fit the musical direction of the album. The cover depicts an open small cage with a black background, a reference to the cage affixed to the head of Winston Smith, the protagonist in Nineteen Eighty-Four when he is taken to Room 101. The album's liner notes includes the line: "Peter Cross is on holiday with Ralph Bernascone", part of a running joke in whereby "Ralph Bernascone" is mentioned in the liner notes of several of Phillips' albums.


1984 (Anthony Phillips album), Release
When Phillips first presented 1984 to Smith, he remembered Smith saying "It works", before leaving the room. Smith then approached management at RCA Records with the aim of the label releasing other material from Phillips and presented 1984 to them after, which it liked and agreed to put out with an advance, without which Phillips would not have been able to purchase a new home. RCA also agreed to release 1984 to several European markets, for which "Prelude '84" was released as the lead single in the UK and Spain. Phillips was surprised that such a major label agreed to release it.


1984 (Anthony Phillips album), Release, Reception
Alan Coulthard gave a positive review of the "Prelude '84" single in Record Mirror, writing: "It's about time that the ex-Genesis guitarist received the attention his undoubted talent warrants, and this release is surely the one to bring him to a wider audience". He went on to describe the track's "powerful" and "moody, spherical tones" which he could appreciate out of context to the rest of the album or the novel itself. In the US, Joan Tortorici Ruppert wrote a positive review in the Illinois Entertainer.


1984 (Anthony Phillips album), Release, Reception
She thought that despite being a "compact instrumental story", the album avoids falling into "any of the normal traps" and displays Phillips's "keyboard savvy" which results in a "lean and tidy effort". Ruppert continued: "'1984' moves from 'Prelude' to 'Anthem' without excessive drama; the themes don't make themselves particularly obvious. But you do travel from an energetic, mechanized, non-frantic ambience to a slow, emotionally thick resolution, a peaceful, yet somehow melancholy shift during the last few moments". She wondered what Phillips had in mind while writing the piece, but such "mystery adds much to the enjoyment".


1984 (Anthony Phillips album), Release, Reception
In a review published in Boston Rock, reviewer Marc English commented on the flow of the album, that "Basic themes are embellished and then transposed into other forms causing the album to literally flow from beginning to end". He noted the music is "far from Orwellian", it is "sprightly, almost happy music". English concluded that 1984 was perhaps meant to be more optimistic in nature with electronic instruments of the day, which he then wrote: "Sounds good to me".


1984 (Anthony Phillips album), Release, Reception
Jim Aikin for Keyboard magazine praised the "solid" album which he thought displayed elements of "the quasi-orchestral Genesis mold", with "highly dramatic riffs" and "consistently excellent and sometimes spectacular" orchestration which maintains the listener's interest. Aikin suggested 1984 could have been named "something more original". The Las Vegas Sun published a review from Dennishee Askew, who recognised Phillips's exploration outside the boundaries of progressive rock music.


1984 (Anthony Phillips album), Release, Reception
She praised "some brilliant ensemble movements that blend in and out of subtle melodies" and the "crispy produced" music, "arranged in a fashion that takes the monotony out of their long journey from beginning to end". Ron Kress hailed 1984 in the Princetown Spectrum, pointing out that Phillips had undergone a change in musical direction, abandoning "the path of his initial five albums and journeys into percussive, electronic fantasy". He thought the album creates a "pseudo-cinematic effect", and rated it "the best electronic album to date".


1984 (Anthony Phillips album), Release, Reissues
In July 2007, a remastered 2-disc version of 1984 was released in Japan by Arcangelo Records with a limited edition mini vinyl sleeve. A standard jewel case version was released by Voiceprint Records in June 2008. Both releases contained a bonus disc with a new stereo mix from the original 8-track masters. Dann had the original reels sent to FX in Acton, London for processing where they were baked and transferred onto digital format where a new mix was constructed.


1984 (Anthony Phillips album), Release, Reissues
The set also contains music Phillips recorded for the 1981 UK television series Rule Britannia: Pictures of a People Like Us which was recorded at the same time as 1984; "Ascension", a track rediscovered on the original multi-track tapes during the research for the reissue; and the 16-minute demo of "Poly Piece", originally written for inclusion on Sides and considered for inclusion for 1984 in the formative stages of the album. It contains a booklet with extensive liner notes by Jonathan Dann.


1984 (Anthony Phillips album), Release, Reissues
On 24 June 2016, Esoteric Recordings released a 3-disc Deluxe Edition of 1984 with new stereo and 5.1 surround sound mixes, the latter on DVD, plus a disc of the bonus tracks included in the 2007 reissue. Also included is a poster and a 16-page booklet with photos and Dann's essay.


1984 (EP)
1984 is an EP by American singer-songwriter Ryan Adams, released in August 2014 on PAX AM. Initially the second release in Adams' "PAX AM Single Series", the EP was released digitally on August 28, 2014.


1984 (EP)
Recorded entirely by Adams, 1984 is described as "pay[ing] homage to the halcyon days of the earliest releases from [record labels] Dischord, SST, Touch & Go and their ilk."


1984 (EP), Background
The EP's sound was influenced by the various hardcore artists Ryan Adams grew up listening to. He noted, "The kind of music that I first started playing was that kind of music, but it's not really any different to my regular stuff." Regarding its overall aesthetic, Adams stated: "It’s my Hüsker Dü kind of vibe."


1984 (EP), Recording
1984 was recorded at Adams' studio, with Adams performing each instrument. The EP was engineered by his current bandmate Charlie Stavish.


1984 (EP), Release
The EP is the second of Adams' "PAX AM Single Series", with a new seven-inch release planned for each month. (The first was the Gimme Something Good single, with the B-Side of Aching For More.) Adams stated, "I'm going to release a single every month until I can't do it any more." Regarding 1984 specifically, he noted, "People just have to hear it, the American vinyl is now sold out and we're going to make the digital available at some point, probably after my album comes out."


1984 (EP), Release
The digital version of the album includes an additional track, entitled "Look in the Mirror".


1984 (For the Love of Big Brother)
1984 (For the Love of Big Brother) is a soundtrack album by British pop duo Eurythmics. It was released on 12 November 1984 by Virgin Records and contains music recorded by the duo for the 1984 film Nineteen Eighty-Four, based on George Orwell's dystopian novel of the same name. Virgin Films produced the film for release in its namesake year, and commissioned Eurythmics to write a soundtrack.


1984 (For the Love of Big Brother), Background, Recording
Lennox and Stewart worked as a duo for these recordings, with no contribution from other musicians. The music, while containing many electronic elements, was far from being synth-pop; Stewart described some tracks as "Kraftwerk meets African tribal meets Booker T and the MGs."


1984 (For the Love of Big Brother), Background, Recording
Unknown to the group, Michael Radford, the film's director, had commissioned his own orchestral score and was not fond of Eurythmics' work. Two versions of the film were released, one featuring Eurythmics' music, and the "director's cut", which replaced most of Eurythmics' music by the orchestral score. When accepting an award for the film, Radford publicly complained of having Eurythmics' music "foisted" on him. Eurythmics issued a statement saying that they had accepted Virgin's commission in good faith, and would never have done so if they had known that it was not being done with the director's approval.


1984 (For the Love of Big Brother), Background, Musical concept
Most of the tracks are instrumental, with song titles and lyrics of two songs on the album being derived from Orwell's text. For instance, "I Did It Just The Same" is taken from a passage in the book where the protagonist, Winston Smith, relates how he committed "sexcrime" with a prostitute—initially deceived by her makeup, when he got close to her, he realised she was "about fifty—but I did it just the same". "Julia" was the name of Winston's lover. "Sexcrime" and "Doubleplusgood" are examples of Newspeak, the revised version of the English language spoken in Orwell's story.


1984 (For the Love of Big Brother), Background, Musical concept
The track "Doubleplusgood" features a female announcer—the voice of the omnipresent Telescreen in the movie—reading out various memos which Winston had received at his job in the Ministry of Truth, where his role was to amend past and present newspaper articles so that they conformed to current Party dogma. The "Ministry of Love" was the government police and torture department, and included "Room 101", a room which contained "the worst thing in the world"—i.e. where each torture victim would be confronted with their own worst nightmare.


1984 (For the Love of Big Brother), Background, Release
The album was released by Virgin Records in the UK and RCA Records in the US. Two singles were released from the album, "Sexcrime (Nineteen Eighty-Four)" and "Julia". The former was a top-10 entry in most territories, while "Julia" achieved little commercial success and broke the duo's run of six consecutive top-10 singles in the UK when it peaked at number 44. Promotional videos were produced for both singles.


1984 (For the Love of Big Brother), Background, Release
One US LP release had an additional sticker that stated "Censored by the thought police" (although the music was the same).


1984 (For the Love of Big Brother), Track listing
All tracks are written by Annie Lennox and David A. Stewart. The album credits have the order flipped on tracks 2, 4, 6 and 8, which are listed as "Stewart/Lennox".


1984 (For the Love of Big Brother), Personnel
Credits adapted from the liner notes of 1984 (For the Love of Big Brother).


1984 (Joan of Arc album)
1984 is the twenty-third studio album by Joan of Arc released in 2018 on Joyful Noise Recordings. The album was announced on April 4 for release on June 1. It is the second album featuring the JOA line-up that debuted on He's Got The Whole This Land Is Your Land In His Hands, consisting of Tim Kinsella, Theo Katsaounis, Melina Ausikaitis, Bobby Burg, and Jeremy Boyle.


1984 (Joan of Arc album)
On this album, Tim Kinsella (usually the band's lead vocalist) steps aside as front-man, building the album around Melina Ausikaitis's vocal tracks.


1984 (Joan of Arc album)
“We were thinking of it as a [late period] Black Flag record, where Melina would sing a song, then the next song was a jam,” said Kinsella, describing the structure and sequencing of the material appearing on the album. The album was produced by lead-singer Tim Kinsella's cousin, long-time collaborator and frequent bandmate Nate Kinsella (aka Birthmark).


1984 (Joan of Arc album)
In honor of the album's release, Joyful Noise Recordings produced a version of George Orwell's dystopian novel of the same name, 1984, that substituted the names of the Joan of Arc band members for all of the major characters (Winston Smith -> Tim Kinsella, O'Brien -> Bobby Burg, etc.) and set the story in Chicago (instead of London), posting the revision on 1984.com for a limited time.


1984 (Rick Wakeman album)
1984 is a studio album by the English keyboardist Rick Wakeman, released in June 1981 on Charisma Records. After reforming his band The English Rock Ensemble in 1980 and completing a European tour, Wakeman entered a recording deal with Charisma and began preparing material for a studio album. He decided on a concept album based on the dystopian novel Nineteen Eighty-Four by George Orwell. The lyrics are by Tim Rice.


1984 (Rick Wakeman album)
The album received a warm reception, and peaked at No. 24 on the UK Albums Chart. Wakeman promoted it further with a world tour throughout 1981.


1984 (Rick Wakeman album), Recording
After leaving Yes in early 1980, Wakeman resumed his solo career and reformed his band, the English Rock Ensemble, and completed a European tour. For his next project, Wakeman secured a recording deal with Charisma Records which granted him an advance and without a deadline to complete an album.


1984 (Rick Wakeman album), Recording
Wakeman estimated the album took around two-and-a-half years to produce from conception to completion. It stemmed from his longtime wish of working with other musicians, blend electronic keyboards with an orchestra and choir, and to write an album based on the future rather than historical concepts. He chose to make a concept album based on the 1949 dystopian novel Nineteen Eighty-Four by George Orwell. Despite in thinking the book was "lousy", Wakeman adapted it with a more lighthearted approach. He encountered some difficulty with the lyrics as he was unable to write a set that he liked.


1984 (Rick Wakeman album), Recording
The music was written during breaks in touring, including a period of time at his home in Beaulieu-sur-Mer near Monaco. He then got Tim Rice to make them more suitable for the songs he was writing. To sing them, Wakeman enlisted a group of vocalists which he thought suited the various tracks on the album, and was able to get his first choice each time.


1984 (Rick Wakeman album), Recording
The album was recorded between 23 February–14 April 1981 at Morgan Studios in London, with Wakeman as the sole producer. It was then cut at Townhouse Studios. Upon completion, the album cost under £100,000 to make. At the time of recording Wakeman knew what keyboards he wanted to use and ordered some models from Korg, but they failed to arrive in time. Instead, he used a mix of his own instruments with rented or borrowed equipment. Wakeman said the finished product contains just one tape edit which occurs towards the end of "1984" so a better take could be inserted. A tape reversal effect was occurs on "Robot Man" with a series of arpeggios and Wakeman's then three-year-old son banging things on the piano.


1984 (Rick Wakeman album), Recording
"Julia" was written during a difficult time that Wakeman and his then wife Danielle were going through. Wakeman added: "I was very low, but the result was that I wrote 'Julia' straight off in just a few minutes. I really wrote it for my wife". Wakeman dedicated the album to his late father Cyril, who died in 1980.


1984 (Rick Wakeman album), Personnel
Credits adapted from the 1981 and 1994 edition of the album.


1984 (Roger Miret and the Disasters album)
1984 is the second studio album by Roger Miret and the Disasters. It was released on February 22, 2005.


1984 (Roger Miret and the Disasters album), Track listing
All tracks are written by Roger Miret and the Disasters.


1984 (Van Halen album)
1984 (stylized as MCMLXXXIV) is the sixth studio album by American rock band Van Halen, released on January 9, 1984. It was the last Van Halen studio album until A Different Kind of Truth (2012) to feature lead singer David Lee Roth, who left the band in 1985 following creative differences. This is the final full-length album to feature all four original members (Van Halen brothers, Roth, and Michael Anthony), although they reunited briefly in 2000 to start work on what would much later become 2012's A Different Kind of Truth. Roth returned in 2007, but Eddie's son Wolfgang replaced Anthony in 2006. 1984 and Van Halen's debut are Van Halen's bestselling albums, each having sold more than 10 million copies.


1984 (Van Halen album)
1984 was well received by music critics. Rolling Stone ranked the album number 81 on its list of the 100 Greatest Albums of the 1980s. It reached number two on the Billboard 200 album chart and remained there for five weeks, behind Michael Jackson's Thriller, on which guitarist Eddie Van Halen made a guest performance. 1984 produced four singles, including "Jump", Van Halen's only number-one single on the Billboard Hot 100; the top-20 hits "Panama" and "I'll Wait"; and the MTV favorite "Hot for Teacher". The album was certified diamond by the Recording Industry Association of America in 1999, signifying ten million shipped copies.


1984 (Van Halen album), Background and recording
Following the tour in support of their fourth studio album, Fair Warning, the band initially wanted to slow down and take a break. They released just one song, "(Oh) Pretty Woman," intended to be a stand-alone song. However, the band's label asked for another album due to the song's success and the band recorded their fifth studio album, Diver Down very quickly. Following the recording of the album, guitarist Eddie Van Halen was dissatisfied by the concessions he had made to Van Halen frontman David Lee Roth and Warner Bros. producer Ted Templeman. Both discouraged Eddie from making keyboards a prominent instrument in the band's music.


1984 (Van Halen album), Background and recording
By 1983, Eddie was in the process of building his own studio, naming it 5150 after the California law code for the temporary, involuntary psychiatric commitment of individuals (who present a danger to themselves or others due to signs of mental illness,) with Donn Landee, the band's longtime engineer (and later, producer on the 5150 and OU812 recordings). While boards and tape machines were being installed, Eddie began working on synthesizers to pass the time. "There were no presets," said Templeman. "He would just twist off until it sounded right."


1984 (Van Halen album), Background and recording
There, he composed Van Halen's follow-up to Diver Down without as much perceived "interference" from Roth or Templeman. The result was a compromise between the two creative factions in the band: a mixture of keyboard-heavy songs, and the intense hard rock for which the band was known. Unlike the first five albums, 1984 took almost a year to create and produce. Most of their previous LPs had taken less than 2 weeks, while their first LP was recorded in just 5 days, all at Sunset Studios.


1984 (Van Halen album), Background and recording
In Rolling Stone's retrospective review of 1984 in its '100 Best Albums of the Eighties' list, Templeman said, "It's real obvious to me [why 1984 won Van Halen a broader and larger audience]. Eddie Van Halen discovered the synthesizer."


1984 (Van Halen album), Songwriting credits
The album's original release credits all songs to Edward Van Halen, Alex Van Halen, Michael Anthony, and David Lee Roth. The UK single release for "I'll Wait" credited Michael McDonald as a co-writer, but he was not credited on the US version. The ASCAP entry for "I'll Wait" lists Michael McDonald as co-writer with Roth and the Van Halens.


1984 (Van Halen album), Songwriting credits
Like many bands starting out on their career, Van Halen shared songwriting credit equally between all members (including guitar instrumentals), but subsequent claims would lend credibility to the view that all songs were entirely or predominantly written by Eddie Van Halen and David Lee Roth, with little input from Van Halen's rhythm section.


1984 (Van Halen album), Songwriting credits
After the release of Best Of – Volume I (1996), Van Halen renegotiated their royalties with their label Warner Bros. In 2004, Roth discovered that the rest of the band had renegotiated a royalty rate five times greater than his for releases made during his time as lead singer.


1984 (Van Halen album), Songwriting credits
Songs from 1984 that appear on compilations after the royalty renegotiation and Roth's lawsuit were credited to Edward Van Halen, Alex Van Halen and David Lee Roth, with Michael Anthony's name removed from the credits, as evident in the end song credits of the 2007 film Superbad.


1984 (Van Halen album), Songwriting credits
Michael Anthony's longstanding bass technician Kevin Dugan has noted that the opening title track instrumental from the album originates from a Roland bass synthesizer passage created as an intro for Anthony's in-concert bass solos, and has claimed that he and Anthony wrote and programmed it together.


1984 (Van Halen album), Artwork
The cover art was created by graphic artist Margo Nahas. It was not specifically commissioned; Nahas had been asked to create a cover that featured four chrome women dancing, but declined due to the creative difficulties. Her husband brought her portfolio to the band anyway, and from that material they chose the painting of a putto stealing cigarettes that was used. The model was Carter Helm, who was the child of one of Nahas' best friends, whom she photographed holding a candy cigarette. The front cover was censored in the UK at the time of the album's release. It featured a sticker that obscured the cigarette in the putto's hand and the pack of cigarettes. The back cover features all four band members individually with 1984 in a green futuristic font.


1984 (Van Halen album), Composition
Musically, 1984 has been described as glam metal, hard rock, heavy metal, synth rock, and pop rock. The album's first two singles, "Jump" and "I'll Wait", feature prominent synthesizers, as does the album's intro track, "1984", a one-minute instrumental. Eddie Van Halen played an Oberheim OB-Xa synthesizer on the album except for “I’ll Wait” which was recorded with the newer Oberheim OB-8. The reason for this is that Ed's OB-Xa was having an issue staying in tune and while it was being repaired he was sent the newer model OB-8 (which was featured prominently on future Van Halen albums).


1984 (Van Halen album), Composition
1984 saw the release of the album's third single "Panama", which features a heavy guitar riff reminiscent of Van Halen's earlier work. The engine noise was from Eddie revving up his Lamborghini, with microphones used near the tailpipes. Later, a video of "Hot for Teacher" was released and played regularly on MTV, giving the band a fourth hit which sustained sales of the album.


1984 (Van Halen album), Composition
Other songs on 1984 included "Girl Gone Bad", parts of which previously had been played during the 1982 Tour amidst performances of "Somebody Get Me a Doctor" (most famously at the US Festival show), the hard rock "Drop Dead Legs" and "Top Jimmy", a tribute to James Paul Koncek of the band Top Jimmy & The Rhythm Pigs. The album concludes with "House of Pain", a fiery, heavy metal song that dates back to the band's early club days of the mid-1970s.


1984 (Van Halen album), Composition
Eddie told an interviewer that "Girl Gone Bad" was written in a hotel room that he and then-wife Valerie Bertinelli had rented. Valerie was asleep, and Eddie woke up during the night with an idea he had to put on tape. Not wanting to wake Valerie, Eddie grabbed a cassette recorder and recorded himself playing guitar in the closet.


1984 (Van Halen album), Composition
Eddie Van Halen stated he wrote the arrangement for "Jump" several years before 1984 was recorded. In a 1995 cover story in Rolling Stone, the guitarist said Roth had rejected the synth riff for "Jump" for at least two years before agreeing to write lyrics to it. In his memoir Crazy From The Heat, Roth confirms Eddie's account, admitting a preference for Van Halen's guitar work; however, he says he now enjoys the song. Additionally in his memoir, Roth writes that he wrote the lyrics to "Jump" after watching a man waffle as to whether to commit suicide by jumping off of a skyscraper.


1984 (Van Halen album), Release
1984 peaked at number 2 on the Billboard album charts, (behind Michael Jackson's Thriller, which featured an Eddie Van Halen guitar solo on "Beat It",) and remained there for 5 straight weeks. It contained the anthems "Jump", "Panama", "I'll Wait" and "Hot for Teacher". "Jump" reached number 1 on the Billboard Hot 100. 1984 is the second of two Van Halen albums to have achieved RIAA Diamond status, selling over ten million copies in the United States. Their debut Van Halen was the first. "Jump" went on to be certified Gold in April 1984, only months after the album's release.


1984 (Van Halen album), Release
The album's follow-up singles – the synth-driven "I'll Wait", and "Panama", each peaked at Billboard number 13 on the Pop charts, respectively, in March and June. "Hot for Teacher" was a moderate Billboard Hot 100 success, reaching number 56; the MTV video for "Hot for Teacher" became even more popular. The "Hot for Teacher" video, which was directed by Roth, stars preteen lookalikes of the four Van Halen band members; a stereotypical nerd named "Waldo"; David Lee Roth as Waldo's bus driver; and numerous teachers stripping.


1984 (Van Halen album), Release
To promote the album, the band ran a contest on MTV. The contest was called, "Lost Weekend" with Van Halen. Fans mailed over 1 million postcards to MTV in hopes of winning the contest. In the promo for MTV, David Lee Roth said, "You won't know where you are, you won't know what's going to happen, and when you come back, you're not gonna have any memory of it." Kurt Jeffries won the contest and was flown to Detroit to join the band. Jeffries was allowed to bring along his best friend. He was given a Lost Weekend T-shirt and a hat. He was also brought on stage and had a large sheet cake smashed in his face which was followed by about a dozen people pouring champagne on him.


1984 (Van Halen album), Critical reception
Reviews for 1984 were generally favorable. Robert Christgau rated the album a B+. He explained that "Side one is pure 'up', and not only that, it sticks to the ears" and that "Van Halen's pop move avoids fluff because they're heavy, and schlock because they're built for speed, finally creating an all-purpose mise-en-scene for Brother Eddie's hair-raising, stomach-churning chops." He also called side two "consolation for their loyal fans—a little sexism, a lot of pyrotechnics, and a standard HM bass attack on something called 'House of Pain'."


1984 (Van Halen album), Critical reception
J.D. Considine, a reviewer for Rolling Stone, rated 1984 four out of five stars. He called it "the album that brings all of Van Halen's talent into focus." He stated that ""Jump" is not exactly the kind of song you'd expect from Van Halen", but that "once Alex Van Halen's drums kick in and singer David Lee Roth starts to unravel a typically convoluted story line, things start sounding a little more familiar".


1984 (Van Halen album), Critical reception
Although he mentioned "Jump" as having "suspended chords and a pedalpoint bass in a manner more suited to Asia", he went on to state that "Eddie Van Halen manages to expand his repertoire of hot licks, growls, screams and seemingly impossible runs to wilder frontiers than you could have imagined."


1984 (Van Halen album), Critical reception
He concluded that "what really makes this record work is the fact that Van Halen uses all this flash as a means to an end—driving the melody home—rather than as an end in itself" and that "despite all the bluster, Van Halen is one of the smartest, toughest bands in rock & roll. Believe me, that's no newspeak."


1984 (Van Halen album), Critical reception
In a 1984 review, Billboard states the album is "funnier and more versatile than most of their metal brethren", calling the production "typically strong". A retrospective review by AllMusic's Stephen Thomas Erlewine was extremely positive. He noted that the album caused "a hoopla that was a bit of a red herring since the band had been layering in synths since their third album, Women and Children First". He further stated that "Jump"'s "synths played a circular riff that wouldn't have sounded as overpowering on guitar", but that "the band didn't dispense with their signature monolithic, pulsating rock."


1984 (Van Halen album), Critical reception
He also stated that "where [previous] albums placed an emphasis on the band's attack, this places an emphasis on the songs, and they're uniformly terrific, the best set of original tunes Van Halen ever had." He concluded that "it's the best showcase of Van Halen's instrumental prowess as a band, the best showcase for Diamond Dave's glorious shtick, the best showcase for their songwriting, just their flat-out best album overall. [ ...] [T]here's no way Van Halen could have bettered this album with Dave around (and they didn't better it once Sammy [Hagar] joined, either)."


1984 (Van Halen album), Critical reception
Guitar Player magazine writer Matt Blackett praises the "deeper cuts" of the album, "Drop Dead Legs", "House of Pain", and "Girl Gone Bad", calling the guitar work "fresh and vital", noting Eddie's "dark, complex sense of harmony and melody". Len Comaratta from Consequence of Sound felt Van Halen reached the pinnacle of its commercial and critical success. At the end of the 1980s, Rolling Stone, which had previously been critical of Van Halen, ranked 1984 at number 81 on its list of the 100 Greatest Albums of the 1980s. The album was also included in the book 1001 Albums You Must Hear Before You Die. Guitar World magazine placed the album on their list of "New Sensations: 50 Iconic Albums That Defined 1984".


1984 (Van Halen album), Critical reception
Following the death of lead guitarist Eddie Van Halen in October 2020, 1984 saw a brief resurgence to the charts.


1984 (Van Halen album), Track listing
All tracks are written by Eddie Van Halen, Alex Van Halen, Michael Anthony and David Lee Roth, except where noted.


1984 (Westinghouse Studio One)
"1984" is an episode of the American television series Westinghouse Studio One broadcast September 21, 1953, on CBS. Starring Eddie Albert, Norma Crane and Lorne Greene, it was the first adaptation of George Orwell's 1949 novel Nineteen Eighty-Four.


1984 (Westinghouse Studio One), Production and transmission
The adaptation was written by William Templeton, directed by Paul Nickell, and produced by Felix Jackson for the CBS Westinghouse Studio One series. Music was by Alfredo Antonini and the title drawing was by Dong Kingman. Broadcast on September 21, 1953, it was the first screen adaptation of the novel. Running to just under 50 minutes, it is a much-shortened version of the novel's narrative, with some changes, such as the character of Emmanuel Goldstein being changed to "Cassandra". Templeton co-wrote the 1956 film version, in which the character was similarly renamed as "Cellador". An uncredited Martin Landau is very briefly glimpsed in one scene.


1984 (Westinghouse Studio One), DVD release
In 2008, Koch Vision released the Studio One Anthology, containing "1984" and 16 other episodes from the series, as well as an interview with director Paul Nickell.


1984 (Yusef Lateef album), Track listing
All tracks are written by Yusef Lateef, except where noted.


1984 (advertisement)
"1984" is an American television commercial that introduced the Apple Macintosh personal computer. It was conceived by Steve Hayden, Brent Thomas and Lee Clow at Chiat/Day, produced by New York production company Fairbanks Films, and directed by Ridley Scott. English athlete Anya Major performed as the unnamed heroine and David Graham as Big Brother. It first aired in 10 local outlets, including Twin Falls, Idaho, where Chiat/Day ran the ad on December 31, 1983, at the last possible break before midnight on KMVT, so that the advertisement qualified for the 1984 Clio Awards. Its second televised airing, and only national airing, was on January 22, 1984, during a break in the third quarter of the telecast of Super Bowl XVIII by CBS.


1984 (advertisement)
In one interpretation of the commercial, "1984" used the unnamed heroine to represent the coming of the Macintosh (indicated by her white tank top with a stylized line drawing of Apple’s Macintosh computer on it) as a means of saving humanity from "conformity" (Big Brother). These images were an allusion to George Orwell's noted 1949 novel, Nineteen Eighty-Four, which described a dystopian future ruled by a televised "Big Brother". The estate of George Orwell and the television rightsholder to the novel Nineteen Eighty-Four considered the commercial to be a copyright infringement and sent a cease-and-desist letter to Apple and Chiat/Day in April 1984.


1984 (advertisement)
Originally a subject of contention within Apple, it has subsequently been called a watershed event and a masterpiece in advertising. In 1995, The Clio Awards added it to its Hall of Fame, and Advertising Age placed it on the top of its list of 50 greatest commercials.


1984 (advertisement)
On January 1984, Apple also launched inventé advertisement for Macintosh in France.


1984 (advertisement), Plot
The commercial opens with a dystopic, industrial setting in blue and grayish tones, showing a line of people (of ambiguous gender) marching in unison through a long tunnel monitored by a string of telescreens. This is in sharp contrast to the full-color shots of the nameless runner (Anya Major).


1984 (advertisement), Plot
She looks like a competitive track and field athlete, wearing an athletic "uniform" (red athletic shorts, running shoes, a white tank top with a cubist picture of Apple's Macintosh computer, a white sweat band on her left wrist, and a red one on her right), and is carrying a large brass-headed sledgehammer. Rows of marching minions evoke the opening scenes of Metropolis.


1984 (advertisement), Plot
As she is chased by four police officers (presumably agents of the Thought Police) wearing black uniforms, protected by riot gear, helmets with visors covering their faces, and armed with large night sticks, she races towards a large screen with the image of a Big Brother-like figure (David Graham, also seen on the telescreens earlier) giving a speech:


1984 (advertisement), Plot
Today, we celebrate the first glorious anniversary of the Information Purification Directives. We have created, for the first time in all history, a garden of pure ideology—where each worker may bloom, secure from the pests purveying contradictory thoughts. Our Unification of Thoughts is more powerful a weapon than any fleet or army on earth. We are one people, with one will, one resolve, one cause. Our enemies shall talk themselves to death, and we will bury them with their own confusion. We shall prevail!


1984 (advertisement), Plot
The runner, now close to the screen, hurls the hammer towards it, right at the moment Big Brother announces, “we shall prevail!” In a flurry of light and smoke, the screen is destroyed, leaving the audience in shock.


1984 (advertisement), Plot
The commercial concludes with a portentous voiceover, accompanied by scrolling black text (in Apple's early signature "Garamond" typeface); the hazy, whitish-blue aftermath of the cataclysmic event serves as the background. It reads:


1984 (advertisement), Plot
"On January 24th, Apple Computer will introduce Macintosh. And you'll see why 1984 won't be like 1984."


1984 (advertisement), Plot
The screen fades to black as the voiceover ends, and the rainbow Apple logo appears.


1984 (advertisement), Production, Development
The commercial was created by the advertising agency Chiat/Day, of Venice, California, with copy by Steve Hayden, art direction by Brent Thomas, and creative direction by Lee Clow. The commercial "grew out of an abandoned print campaign" with a specific theme:


1984 (advertisement), Production, Development
"[T]here are monster computers lurking in big business and big government that know everything from what motels you've stayed at to how much money you have in the bank. But at Apple we're trying to balance the scales by giving individuals the kind of computer power once reserved for corporations."


1984 (advertisement), Production, Development
Ridley Scott (whose dystopian sci-fi film Blade Runner had been released one and a half years prior) was hired by agency producer Richard O'Neill to direct it. Less than two months after the Super Bowl airing, The New York Times reported that Scott "filmed it in England for about $370,000"; In 2005 writer Ted Friedman said the commercial had a then-"unheard-of production budget of $900,000." The actors who appeared in the commercial were paid $25 per day. Scott later admitted that he accepted brutal budget constraints because he believed in the ad's concept, outlining how the total cost was less than $250,000 and that he used local skinheads to portray the broken, pale "drones" in the commercial.


1984 (advertisement), Production, Development
Steve Jobs and John Sculley were so enthusiastic about the final product that they "...purchased one and a half minutes of ad time for the Super Bowl, annually the most-watched television program in America. In December 1983 they screened the commercial for the Apple Board of Directors. To Jobs' and Sculley's surprise, the entire board hated the commercial." However, Sculley himself got "cold feet" and asked Chiat/Day to sell off the two commercial spots.


1984 (advertisement), Production, Development
Despite the board's dislike of the film, Steve Wozniak and others at Apple showed copies to friends, and he offered to pay for half of the spot personally if Jobs paid the other half. This turned out to be unnecessary. Of the original ninety seconds booked, Chiat/Day resold thirty seconds to another advertiser, then claimed they could not sell the other 60 seconds, when in fact they did not even try.


1984 (advertisement), Production, Intended message
In his 1983 Apple keynote address, Steve Jobs read the following story before showcasing a preview of the commercial:


1984 (advertisement), Production, Intended message
"[...] It is now 1984. It appears IBM wants it all. Apple is perceived to be the only hope to offer IBM a run for its money. Dealers initially welcoming IBM with open arms now fear an IBM dominated and controlled future. They are increasingly turning back to Apple as the only force that can ensure their future freedom. IBM wants it all and is aiming its guns on its last obstacle to industry control: Apple. Will Big Blue dominate the entire computer industry? The entire information age? Was George Orwell right about 1984?"


1984 (advertisement), Production, Intended message
In March 1984 Michael Tyler, a communications expert quoted by The New York Times, said "The Apple ad expresses a potential of small computers. This potential may not automatically flow from the company's product. But if enough people held a shared intent, grass-roots electronic bulletin boards (through which computer users share messages) might result in better balancing of political power."


1984 (advertisement), Production, Intended message
In 2004, Adelia Cellini writing for Macworld, summarized the message:


1984 (advertisement), Production, Intended message
"Let's see—an all-powerful entity blathering on about Unification of Thoughts to an army of soulless drones, only to be brought down by a plucky, Apple-esque underdog. So Big Brother, the villain from Apple's '1984' Mac ad, represented IBM, right? According to the ad's creators, that's not exactly the case. The original concept was to show the fight for the control of computer technology as a struggle of the few against the many, says TBWA/Chiat/Day's Lee Clow.


1984 (advertisement), Production, Intended message
Apple wanted the Mac to symbolize the idea of empowerment, with the ad showcasing the Mac as a tool for combating conformity and asserting originality. What better way to do that than have a striking blonde athlete take a sledgehammer to the face of that ultimate symbol of conformity, Big Brother?"


1984 (advertisement), Reception and legacy
Art director Brent Thomas said Apple "had wanted something to 'stop America in its tracks, to make people think about computers, to make them think about Macintosh.' With about $3.5 million worth of Macintoshes sold just after the advertisement ran, Thomas judged the effort 'absolutely successful.' ' We also set out to smash the old canard that the computer will enslave us,' he said. ' We did not say the computer will set us free—I have no idea how it will work out. This was strictly a marketing position.'"


1984 (advertisement), Reception and legacy, Awards
It ranked at number 38 in Channel 4's 2000 list of the "100 Greatest TV Ads".


1984 (advertisement), Reception and legacy, Social impact
Ted Friedman, in his 2005 text, Electric Dreams: Computers in American Culture, notes the impact of the commercial:


1984 (advertisement), Reception and legacy, Social impact
The "1984" ad became a signature representation of Apple computers. It was scripted as a thematic element in the 1999 docudrama, Pirates of Silicon Valley, which explores the rise of Apple and Microsoft (the film opens and closes with references to the commercial, including a re-enactment of the heroine running towards the screen of Big Brother and clips of the original commercial).


1984 (advertisement), Reception and legacy, Social impact
The commercial was also prominent in the 20th anniversary celebration of the Macintosh in 2004, as Apple reposted a new version of the ad on its website and showed it during Jobs's Keynote Address at Macworld Expo in San Francisco, California. In this updated version, an iPod, complete with signature white earbuds, was digitally added to the heroine. Keynote Attendees were given a poster showing the heroine with an iPod as a commemorative gift.


1984 (advertisement), Reception and legacy, Social impact
And the ad has also been cited as the turning point for Super Bowl commercials, which had been important and popular before (especially with the Coca-Cola ad featuring Joe Greene from years earlier) but after "1984" those ads became the most expensive, creative and influential advertising set for all television coverage.


1984 (advertisement), Reception and legacy, Social impact
Revisiting the commercial in Harper's Magazine thirty years after it aired, social critic Rebecca Solnit suggested that "1984" did not so much herald a new era of liberation as a new era of oppression. In the December 2014 issue of the magazine, she wrote:


1984 (advertisement), Reception and legacy, Social impact
I want to yell at that liberatory young woman with her sledgehammer: "Don't do it!" Apple is not different. That industry is going to give rise to innumerable forms of triviality and misogyny, to the concentration of wealth and the dispersal of mental concentration. To suicidal, underpaid Chinese factory workers whose reality must be like that of the shuffling workers in the commercial. If you think a crowd of people staring at one screen is bad, wait until you have created a world in which billions of people stare at their own screens even while walking, driving, eating in the company of friends—all of them eternally elsewhere."


1984 (advertisement), Reception and legacy, Social impact
African-American archivist (and early Apple supporter) Marion Stokes recorded said Super Bowl featuring the legendary ad, which was also featured in the 2019 documentary film Recorder: The Marion Stokes Project.


1984 (advertisement), Reception and legacy, Parodies
In March 2007, the advertisement attracted attention again when Hillary 1984, a video mashup of the original commercial with footage of Hillary Clinton used in place of Big Brother, went viral in the early stages of the campaign for the 2008 Democratic presidential nomination. The video was produced in support of Barack Obama by Phil de Vellis, an employee of Blue State Digital, but was made without the knowledge of either Obama's campaign or his own employer. De Vellis stated that he made the video in one afternoon at home using a Mac and some software. Political commentators including Carla Marinucci and Arianna Huffington, as well as de Vellis himself, suggested that the video demonstrated the way technology had created new opportunities for individuals to make an impact on politics.


1984 (advertisement), Reception and legacy, Parodies
On May 2010, Valve released a short video announcing the release of Half-Life 2 on OS X featuring a recreation of the original commercial, with the people replaced with City 17's citizens, Big Brother with a speech from Wallace Breen and Major's character with Alyx Vance throwing a crowbar at the screen.


1984 (advertisement), Reception and legacy, Parodies
On August 13, 2020, Apple removed Fortnite from the App Store after Epic Games introduced a direct payment option that circumvented Apple's 30% revenue cut policy, violating terms of service policies. In response, Epic filed a lawsuit against Apple, and created a parody of the "1984" ad called "Nineteen Eighty-Fortnite". In the ad, Big Brother is replaced by a personification of the Apple logo addressing an audience of Fortnite's default outfits, with the character Brite Bomber acting as the heroine.


1984 (magazine)
1984 was an American black and white science-fiction comic magazine published in New York City by Warren Publishing from 1978 to 1983. 1984 was edited by Bill Dubay. The title of the magazine was changed to 1994 starting with issue #11 in February, 1980 based on a request by the estate of George Orwell. The magazine ceased publication with issue #29 in February, 1983 due to the bankruptcy of Warren Publishing.


1984 (magazine), Contributors
Artists who contributed stories to 1984/1994 included Alex Niño, Richard Corben, Jose Gonzalez, Jose Ortiz, Frank Thorne, Esteban Maroto, Rudy Nebres, Abel Laxamana, Wally Wood, Luis Bermejo, Alfredo Alcala, and Vic Catan. Cover artists included Nino, Corben, Patrick Woodroffe, Jim Laurier, Sanjulián, Jordi Penalva, H.R. Giger, Steve Fastner, Rich Larsen, Lloyd Garrison, Terry Oates and John Berkey. Writers included Dubay, Thorne, Jim Stenstrum, Jan Strnad, Rich Margopoulos, Kevin Duane, Nicola Cuti and Gerry Boudreau.


1984 (magazine), Recurring characters and series
Similar to its sister publications Eerie and Vampirella, 1984 featured numerous recurring series and characters. This included the following:


1984 (magazine), Controversies
One of the most notable incidents that occurred regarding the magazine was an unauthorized adaptation of Harlan Ellison's short story, "A Boy and His Dog", which has been rumored as one of the major factors in the bankruptcy of Warren Publishing. As discussed in the book The Warren Companion, editor Bill Dubay approached writers Gerry Boudreau and Jim Stenstrum about adapting science fiction stories for the magazine. Boudreau asked permission to adapt Ellison's story, and Dubay approved this, without first asking Ellison.


1984 (magazine), Controversies
When Ellison refused to grant permission, Dubay had artist Alex Niño draw the story anyway, then provided the art to Stenstrum to use as the basis for a new story. The story was published in issue #4, under the title "Mondo Megillah". Despite Stenstrum's reworking of the script, the basic story was still obvious plagiarism and Ellison filed a lawsuit, which he eventually won.


1984 (magazine), Controversies
Advertised as an adult fantasy magazine, 1984 contained very mature subject matter by the standards of the time. To compete with rivals such as Heavy Metal it contained many stories featuring sex and other controversial subjects. As discussed by comics historian Richard Arndt, editor DuBay edited stories within the magazine to focus more on this subject matter, such as this incident that occurred with artist Wally Wood regarding stories that appeared in the first two issues of the magazine:


1984 (magazine), Controversies
Wood's original story was entitled 'The End' and was 12 pages long. It was a part of his Wizard King series. Bill DuBay, without Wood's o.k. or knowledge, split the story in two, rearranged pages & panels, rewrote Wood's original script and presented the greatly altered work as two separate stories, changing Wood's original rather charming adult oriented tale into shorter pieces that leaned heavily on the scenes (which were also in Wood's original but not nearly so highlighted as their appearance here) of naked women in bondage being whipped and brutalized. Understandably, Wood was outraged and never worked for Warren again.


1984 (magazine), Controversies
DuBay's treatment of Corben and Strnad's Mutant World also alienated the creators. Throughout, DuBay altered Strnad's dialogue to include words and phrases that Strnad has called "a spew of juvenile obscenities." The artwork, also, was altered as one page was arbitrarily flipped right-to-left, with the lettering adjusted to accommodate the change. When approached by Warren to publish an album of the collected episodes, Corben and Strnad politely declined. [ Reference: Mutant World 2019 edition, forthcoming]


1984 (magazine), Controversies
Controversial stories included issue #3's satirical story "The Harvest" which featured a future where white people hunted black people for sport and ate them, and issue #13's science fiction story "The Crop" where babies are sliced up and processed through factories to provide food for the starving populace. Both stories were written by DuBay.


1984 (magazine), Controversies
Despite its controversies, the magazine has been praised for the high quality of its art. The serials Young Sigmond Pavlov and Ghita of Alizarr were both singled out as high quality stories by David A. Roach in The Warren Companion.


1984 (opera)
1984 is an opera by the American conductor and composer Lorin Maazel, with a libretto by J. D. McClatchy and Thomas Meehan. The opera is based on George Orwell's 1949 dystopian novel, Nineteen Eighty-Four. It premiered on 3 May 2005 at the Royal Opera House, Covent Garden in a production directed by Robert Lepage.


1984 (opera), History
1984 was the first opera composed by Maazel, following a conducting career that spanned more than 50 years; he was 75 years old when his work had its premiere. The opera was originally commissioned by August Everding, the director of the Bavarian State Opera, and Maazel later admitted surprise at the offer. "I'd never thought of writing an opera, and it took years to convince me," he stated in an interview prior to the premiere.


1984 (opera), History
After Everding died, it appeared the work might not proceed, but Maazel got it picked up by Covent Garden and the Tokyo Opera. This was to be a joint endeavour, but Tokyo ultimately backed out, leaving it in limbo again. Maazel then stepped in and paid about £400,000 to finance the project through a company he formed for the purpose, Big Brother Productions. By picking up nearly half the costs, he allowed the Royal Opera House to spend what it would for a typical revival from the standard repertoire, rather than a more expensive new production. This saved the opera from oblivion, but also led to charges that the Royal Opera House was spending taxpayer money to support a vanity project.


1984 (opera), Cast
In contrast with the conventions of most operas, 1984 casts the hero, Winston, as a baritone (sung by Simon Keenlyside at the premiere), while the lead tenor takes the role of the villain, O'Brien (sung by Richard Margison at the premiere). The part of Julia was sung by soprano Nancy Gustafson in the original production. Other individual parts in the opera include Syme, Parsons, and Charrington, a gym instructor/drunken woman, a prole woman, and a café singer. Maazel incorporates an important role for the chorus, which sings a "hate chorus" for the rallies Orwell called Two Minutes Hate, as well as a rousing "National Anthem of Oceania." The telescreen voice was spoken by Jeremy Irons. The children's chorus was provided by the New London Children's Choir.


1984 (opera), Reviews
The British press reviews for the London premiere were negative. Andrew Clements' review in The Guardian berated the effort, declaring that it was "both shocking and outrageous that the Royal Opera, a company of supposed international standards and standing, should be putting on a new opera of such wretchedness and lack of musical worth." Andrew Clark of the Financial Times stated that the "only reason we find this slick perversion of Orwell on the Covent Garden stage is because super-rich Maazel bought his way there by stumping up the production costs," while Rupert Christiansen in  The Daily Telegraph dismissed it as "operatic fast food."


1984 (opera), Reviews
More sympathetic reviews appeared outside of the British media. Newsweek, which noted that, while the "score may occasionally sound more like an overblown film soundtrack than the meaty orchestration of an opera," the production "effectively conjures up the dispiriting emptiness of Orwell's awful vision. The unusual and inspired choice of a baritone, Simon Keenlyside, for the lead role of Winston, lends the work a darker edge." The Spanish newspaper La Vanguardia praised Maazel by stating "the maestro knows a lot of music and he shows it, just as he shows his prowess in orchestral and vocal work."


1984 (opera), Reviews
The opera's Royal Opera House engagement was sold out, as was a later engagement at La Scala in Milan, Italy.


1984 (opera), Reviews
The production was recorded for DVD release. Since February 2009, the DVD is also available for sale in USA.


1984 (play)
1984 is a 2013 play by Robert Icke and Duncan Macmillan based on the 1949 novel Nineteen Eighty-Four by George Orwell.


1984 (play), Production history
The production premiered at the Nottingham Playhouse on Friday 13 September 2013 in a co-production with Headlong. It was created and directed by Robert Icke and Duncan Macmillan, designed by Chloe Lamford, lighting was designed by Natasha Chivers, sound by Tom Gibbons, and video by Tim Reid.


1984 (play), Production history
Following a UK tour, the production transferred to the Almeida Theatre in Islington from 8 February to 29 March 2014 where it later transferred into London's West End to the Playhouse Theatre from 28 April to 23 August 2014 where it was co-produced by the Almeida Theatre and Sonia Friedman Productions. The production was nominated for Best New Play at the 2014 Laurence Olivier Awards but lost to Chimerica, another Almeida Theatre production. This was followed by another UK tour.


1984 (play), Production history
In 2015 the production returned to the Playhouse Theatre in the West End from 12 June to 5 September. Following the 2015 West End run, the production toured to Nottingham and Bath before travelling to Melbourne in Australia and Santa Monica, Boston and Washington, D.C. in the United States.


1984 (play), Production history
In 2016 the production returned for a third time to the Playhouse Theatre in the West End from 14 June to 29 October.


1984 (play), Production history
In 2017, Icke and Macmillan released a US edition of the play, and directed a new American cast for the play's opening on Broadway. The Broadway production opened at the Hudson Theatre on June 22 (previews beginning May 18) for a limited run until October 8, starring Tom Sturridge, Olivia Wilde and Reed Birney.


1984 (play), Production history
Due to audience reactions to the shocking content, security guards were placed within the Hudson Theatre.


1984 (play), Production history
Before opening night of the show, those under the age of 13 were barred from attending, after actors had spotted a small child in the audience.


1984 (play), Production history
In 2017, a version of the production played on an Australian tour, playing in Adelaide, Melbourne, Brisbane, Sydney, Canberra and Perth, from May 13 through August 13.


1984 (play), Extreme content
The play includes extreme torture scenes. It also includes non-linear staging, strobe lights, sudden blackouts and jackhammer sounds.


1984 (play), Audience reactions
Due to the shocking nature of the play, some audience members reacted in various ways, including leaving the show, fainting, screaming at cast members, and throwing up. Two audience members had police called on them after getting into a fight after the show. Among these audience members, actress Jennifer Lawrence was in attendance at a show before leaving and throwing up.


1984 (song)
"1984" is a song by English musician David Bowie, from his 1974 album Diamond Dogs. Written in 1973, it was inspired by George Orwell's Nineteen Eighty-Four and, like much of its parent album, originally intended for a stage musical based on the novel, which was never produced because permission was refused by Orwell's widow Sonia.


1984 (song), Music and lyrics
The centrepiece of side two of the original vinyl album, in the context of Bowie's adaptation of Orwell's story, "1984" has been interpreted as representing Winston Smith's imprisonment and interrogation by O'Brien. The lyrics also bear some similarities to Bowie's earlier song "All the Madmen", from The Man Who Sold the World ("They'll split your pretty cranium and fill it full of air").


1984 (song), Music and lyrics
"1984"'s wah-wah guitar sound is often likened to the "Theme from Shaft" (1971) by Isaac Hayes. Played by Alan Parker, it was one of the few instances on the Diamond Dogs album where Bowie himself did not take the lead guitar part. The track's funk/soul influence has been cited as a clear indicator of where Bowie's style was headed on his next album, Young Americans.


1984 (song), Recording and release
"1984" was first recorded during the Aladdin Sane sessions. The song received its public debut, in a medley with "Dodo", known as "1984/Dodo", on the U.S. TV special The 1980 Floor Show (later bootlegged as Dollars in Drag), which was recorded in London on 18–20 October 1973. A studio version of "1984/Dodo" was recorded around that time, but went unreleased until it appeared on the Sound + Vision box set in 1989. This was Bowie's last recording with Mick Ronson, Trevor Bolder and producer Ken Scott at Trident Studios, London.


1984 (song), Recording and release
In addition to the "1984/Dodo" medley, "Dodo" and "1984" were also recorded separately, "Dodo" as a demo in September 1973 and "1984" itself during the later Diamond Dogs sessions that winter. Only "1984" made it onto the Diamond Dogs album, with the separated "Dodo" being released for the first time as a bonus track on the 1990 Rykodisc release of the album.


1984 (song), Recording and release
The final version of "1984" was faster and funkier than the medley and, as described by Bowie encyclopedist Nicholas Pegg, "an obvious single if there ever was one". However, it was released as a single (PB 10026) only in America, Japan and New Zealand, where it failed to chart. The track generally opened the Diamond Dogs concerts in 1974 but was not performed live after the soul tour in 1975.


1984 (song), Recording and release
Billboard regarded "1984" as Bowie's "most commercial cut...in a long time."


1984 (song), Live versions
"1984" was performed regularly during Bowie's 1974 Diamond Dogs Tour; a July 1974 performance of was released on David Live (1974), Bowie's first official live album. Another live version from the second leg of the Diamond Dogs Tour, recorded in September 1974 and previously available only on the unofficial album A Portrait in Flesh, was released in 2017 on Cracked Actor (Live Los Angeles '74). A third live version, recorded during the third leg of the tour in October 1974, was released in 2020 on I'm Only Dancing (The Soul Tour 74). A live in-studio performance recorded in November 1974 is included on the DVD set The Dick Cavett Show: Rock Icons.


1984 (song), Other releases
"1984" was released as a single in the U.S. in July 1974, backed with "Queen Bitch" from Bowie's 1971 album Hunky Dory. The song has appeared on several of Bowie's compilation albums, including Chameleon (Australia/New Zealand 1979), Changestwobowie (1981), Fame and Fashion (1984), and The Best of David Bowie 1974/1979 (1998). "1984/Dodo" was released in the Sound + Vision box set in 1989, and on the bonus disc of the 30th Anniversary Edition of Diamond Dogs in 2004.


1984 (song), Other releases
"Dodo" was released as a bonus track on the 1990 Rykodisc reissue of Diamond Dogs, as well as on the bonus disc of the 30th Anniversary Edition of Diamond Dogs in 2004. Tina Turner covered the song for her 1984 album Private Dancer; that same year, Turner was a guest vocalist on Bowie's cover of "Tonight" for the album of the same name.


1984 1. deild
The 1984 1. deild was contested by 8 teams, and B68 Toftir won the championship.


1984 1. deild, Results
The schedule consisted of a total of 14 games. Each team played two games against every opponent in no particular order. One of the games was at home and one was away.


1984 1. deild karla
The 1984 season of 1. deild karla was the 30th season of second-tier football in Iceland.


1984 1. divisjon
The 1984 1. divisjon was the 40th completed season of top division football in Norway. The season began on 29 April 1984 and ended 14 October 1984, not including play-off matches.


1984 1. divisjon, Overview
22 games were played with 2 points given for wins and 1 for draws. Number eleven and twelve were relegated. The winners of the two groups of the 2. divisjon were promoted, as well as the winner of a series of play-off matches between number ten in the 1. divisjon and the two second-placed teams in the two groups of the 2. divisjon.


1984 1. divisjon (women)
The 1984 1. divisjon (women), was the first season of a top-tier women's football league in Norway, and was won by Sprint-Jeløy. The league was contested by 30 teams, divided in three groups of 10 teams.


1984 1. divisjon (women)
In each group, the teams met each other twice in a round-robin, with 2 points given for wins, and 1 point for a draw. At the end of the season, the three group-winners met in a playoff to determine the championship, while the bottom two team from each group was relegated.


1984 1. divisjon (women)
Sprint-Jeløy won the championship playoff, while Trondheims-Ørn finished second and Nymark finished third. At the end of the season, Radar, Skjold, Samnanger, Nessegutten and Folldal was relegated, in addition to Vindbjart and Fonna which didn't complete the season.


1984 1000 km of Brands Hatch
The 1984 British Aerospace 1000 was the fifth round of the 1984 World Endurance Championship. Points were however only awarded in the Drivers Championship, leading to several teams opting to not participate. It took place at Brands Hatch, Great Britain on 29 July 1984.


1984 1000 km of Brands Hatch, Official results
Class winners in bold. Cars failing to complete 75% of the winner's distance marked as Not Classified (NC).


1984 1000 km of Brands Hatch, Official results
† - The #94 Gild Bard Techspeed Racing Grid-Ford was disqualified after the race for being pushed across the finish line on the final lap of the race.


1984 1000 km of Brands Hatch, Official results
‡ - The #84 Lyncar Motorsports Ltd. Lyncar-Ford was disqualified after the race for taking too long to complete the final lap of the race.


1984 1000 km of Monza
The 1984 Trofeo Filippo Caracciolo was the opening round of the 1984 World Endurance Championship. It took place at the Autodromo Nazionale Monza, Italy on 23 April 1984.


1984 1000 km of Monza, Official results
Class winners in bold. Cars failing to complete 75% of the winner's distance marked as Not Classified (NC).


1984 1000 km of Mosport
The 1984 Budweiser GT 1000 Kilometers was the sixth round of the 1984 World Endurance Championship. It took place at Mosport Park, Canada on 5 August 1984.


1984 1000 km of Mosport
Several World Championship competitors opted not to participate in the Mosport round, including all B class entries. Three GTO class cars from the IMSA GT Championship chose to enter the round.


1984 1000 km of Mosport, Official results
Class winners in bold. Cars failing to complete 75% of the winner's distance marked as Not Classified (NC).


1984 1000 km of Nürburgring
The 1984 Int. ADAC-1000-km-Rennen was the fourth round of the 1984 World Endurance Championship. It took place at the Nürburgring, West Germany on 15 July 1984.


1984 1000 km of Nürburgring, Official results
Class winners in bold. Cars failing to complete 75% of the winner's distance marked as Not Classified (NC).


1984 1000 km of Silverstone
The 1984 Grand Prix International 1000 km was the second round of the 1984 World Endurance Championship. It took place at the Silverstone Circuit, Great Britain on 13 May 1984.


1984 1000 km of Silverstone, Official results
Class winners in bold. Cars failing to complete 75% of the winner's distance marked as Not Classified (NC).


1984 1000 km of Silverstone, Official results
† - The #74 Scorpion Racing Services Arundel-Ford was disqualified during the race for receiving technical assistance while still on the track.


1984 1000 km of Spa
The 1984 Rothmans Spa 1000 kilometers was the seventh round of the 1984 World Endurance Championship. It took place at the Circuit de Spa-Francorchamps, Belgium on 2 September 1984.


1984 1000 km of Spa, Official results
Class winners in bold. Cars failing to complete 75% of the winner's distance marked as Not Classified (NC).


1984 1000 km of Spa, Official results
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1984 1000 km of Spa, Official results
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1984 12 Hours of Sebring
The The Coca-Cola Classic Twelve Hours of Sebring, was the third round of the 1984 IMSA GT Championship and was held at the Sebring International Raceway, on March 24, 1984. Victory overall went to the No. 48 De Narvaez Enterprises Porsche 935 driven by Mauricio de Narvaez, Stefan Johansson, and Hans Heyer.


1984 2. divisjon
The 1984 2. divisjon was a Norway's second-tier football league season.


1984 2. divisjon
The league was contested by 24 teams, divided into two groups; A and B. The winners of group A and B were promoted to the 1985 1. divisjon. The second placed teams met the 10th position finisher in the 1. divisjon in a qualification round where the winner was promoted to 1. divisjon. The bottom three teams inn both groups were relegated to the 3. divisjon.


1984 2. divisjon, Promotion play-offs, Results
Moss won the qualification round and remained in the 1. divisjon.


1984 24 Hours of Daytona
The 22nd Annual SunBank 24 at Daytona Camel GT was a 24-hour endurance sports car race held on February 4–5, 1984 at the Daytona International Speedway road course. The race served as the opening round of the 1984 IMSA GT Championship.


1984 24 Hours of Daytona
Victory overall and in the GTP class went to the No. 00 Kreepy Krauly Racing March 83G driven by Sarel van der Merwe, Graham Duxbury, and Tony Martin. Victory in the GTO class went to the No. 4 Statagraph/Piedmont Chevrolet Camaro driven by Billy Hagan, Terry Labonte, and Gene Felton. Victory in the GTU class went to the No. 76 Malibu Grand Prix Mazda RX-7 driven by Ira Young, Bob Reed, Jack Baldwin, and Jim Cook.


1984 24 Hours of Le Mans
The 1984 24 Hours of Le Mans was the 52nd Grand Prix of Endurance, and took place on 16 – 17 June 1984. It was also the third round of the 1984 World Endurance Championship.


1984 24 Hours of Le Mans
The works Rothmans Porsche team boycotted the 1984 Le Mans race due to a disagreement between Porsche and the Automobile Club de l'Ouest (ACO) over the fuel regulations, meaning that drivers such as multiple winners Jacky Ickx and Derek Bell were absent from the race for the first time in many years. Porsche originally stated that its contracted drivers would not be allowed to race with any other team, however they did relent only two or three weeks before the race.


1984 24 Hours of Le Mans
1983 co-winner Vern Schuppan was the only member of the Rothmans team to race in 1984, eagerly snapped up by Kremer Racing to drive a Porsche 956B he would share with fellow Australian, 1980 Formula One World Champion Alan Jones, and experienced French driver Jean-Pierre Jarier. Surprisingly, Schuppan was the only regular Rothmans team driver to actually compete in the event with his 1983 co-winners Al Holbert and Hurley Haywood joining Ickx, Bell, Jochen Mass and Stefan Bellof (who would go on to win the 1984 World Endurance Championship) as non-starters.


1984 24 Hours of Le Mans
1984 saw the largest ever influx of Australian drivers in the race, with not only defending race winner Schuppan and ex-World Champion Jones driving, but also star touring car driver Peter Brock and ex-F1 driver Larry Perkins in a 956 supplied by John Fitzpatrick Racing, Rusty French in the second Kremer Porsche 956 (French's drive was a reward from Porsche for winning the 1983 Australian GT Championship in a Porsche 935), Allan Grice in a Charles Ivey Racing 956, and regular Group C2 competitor Neil Crang in a Cosworth DFL powered Spice-Tiga Racing Tiga GC84.


1984 24 Hours of Le Mans
Jaguar made its first official appearance at Le Mans for the first time since 1959 when Bob Tullius' Group 44 team brought over its two Jaguar XJR-5's powered by 6.0 litre Jaguar V12 engines from America. Group 44 racing, with the full backing of Jaguar, would compete in the IMSA GTP class. Before the decision to enter the race had been made, Jaguar had been concerned about the competitiveness of the XJR-5's against the turbocharged Porsche's and Ferrari powered Lancia's, especially with regard to top speed on the 6 km (3.7 mi) Mulsanne Straight. But those fears were put to rest when the 600 hp (447 kW) cars were clocked at over 200 mph (322 km/h) during the 24 Hours of Daytona in February.


1984 24 Hours of Le Mans
Reinhold Joest's privately entered 956 driven by Frenchman Henri Pescarolo and West German Klaus Ludwig won the race in the #7 Porsche 956B. For Pescarolo it was his fourth and last win at Le Mans, while for Ludwig it was his second win. After starting 3rd on the grid, the pair were only in 30th place after the first hour after pitting twice in the first 5 laps to fix a minor fuel feed problem after which the car ran almost faultlessly. The Porsche 956 dominated the final standings, taking the top seven places.


1984 24 Hours of Le Mans
The first non-Porsche 956 to finish was the Martini Racing Lancia LC2 of Bob Wollek and Alessandro Nannini. Wollek set the pole for the race with a 3:17.11 (248.873 km/h - 154.642 mp/h), some 11 seconds faster than Ludwig in the fastest Porsche. Formula 2 ace Nannini would set the races fastest lap and new lap record with a time of 3:28.90 (234.818 km/h - 145.908 mp/h) on lap 261, a time that would have been good enough for 5th place on the starting grid.


1984 24 Hours of Le Mans
During the race, a French marshal, Jacky Loiseau (42) was killed when British driver John Sheldon crashed massively in the Aston Martin powered Nimrod NRA/C2 at the flat out right-hand kink on the Mulsanne Straight, a crash that also involved the second Aston Martin Nimrod of American driver Drake Olson, who hit some of the strewn bodywork from Sheldon's Nimrod that had caught fire and crashed as well. He was unhurt. Another marshal, Andre-Guy Lefebvre (48) was seriously injured, but survived.


1984 24 Hours of Le Mans
Sheldon survived the 200 mph (322 km/h) crash, but he was severely burned, and the Nimrod's explosive impact against the Armco barriers was so violent, that some of the trees next to the track where the impact took place had been set on fire. The race was not stopped immediately, only that section of the straight was under caution, to protect the marshals and firefighters cleaning up the accident. Soon after, four pace cars were brought out under a full course caution, which lasted for 1 hour.


1984 24 Hours of Le Mans, Official results
† - The #16 GTi Engineering Porsche was disqualified during the race for receiving technical assistance while still on the track.


1984 ABC Championship for Women
The 1984 Asian Basketball Confederation Championship for Women were held in Shanghai, China.


1984 ABC Under-18 Championship
The 1984 ABC Under-18 Championship was the eighth edition of the Asian Basketball Confederation (ABC)'s Junior Championship. The games were held at Seoul, South Korea from April 7–19, 1984. Taiwan came to Seoul to participate the competition, but withdrew later due to the conflict about using the Chinese flag during the event.


1984 ABC Under-18 Championship, Venue
The games were held at Jamsil Arena, located in Seoul.


1984 ABC Under-18 Championship for Women
The 1984 ABC Under-18 Championship for Women was the eighth edition of the Asian Basketball Confederation (ABC)'s Junior Championship for women. The games were held at Seoul, South Korea from April 7–19, 1984. Taiwan came to Seoul to participate the competition, but withdrew later due to the conflict about using the Chinese flag during the event.


1984 ABC Under-18 Championship for Women, Venue
The games were held at Jamsil Arena, located in Seoul.


1984 ABN World Tennis Tournament
The 1984 ABN World Tennis Tournament was a men's tennis tournament played on indoor carpet courts at Rotterdam Ahoy in the Netherlands. It was part of the 1984 Volvo Grand Prix circuit. The tournament was held from 12 March through 18 March 1984. The singles final between Ivan Lendl and Jimmy Connors was stopped at 6–0, 1–0 because the Ahoy Arena had received an anonymous telephone bomb threat. The police searched the venue but no bomb was found. The match was not resumed and officially has no winner.


1984 ABN World Tennis Tournament, Finals, Singles
Ivan Lendl led  Jimmy Connors 6–0, 1–0 canc. Lendl and Connors both received runners-up finishes.


1984 ABN World Tennis Tournament, Finals, Doubles
Kevin Curren /  Wojciech Fibak defeated  Fritz Buehning /  Ferdi Taygan 6–4, 6–4


1984 ABN World Tennis Tournament – Doubles
Fritz Buehning and Tom Gullikson were the defending champions, but Gullikson did not compete this year.


1984 ABN World Tennis Tournament – Doubles
Buehning teamed up with Ferdi Taygan and lost in the final to Kevin Curren and Wojciech Fibak. The score was 6–4, 6–4.


1984 ABN World Tennis Tournament – Singles
Gene Mayer was the defending champion of the singles event at the ABN World Tennis Tournament, but lost in the quarterfinals to Jimmy Connors. The final between first-seeded Ivan Lendl and second-seeded Jimmy Connors was halted at 6–0, 1–0 because the Ahoy Arena had received an anonymous telephone bomb threat. The police evacuated the stands and searched the venue but no bomb was found. The match was not resumed and officially has no winner.


1984 ACC Men's Basketball Tournament
The 1984 ACC Men's Basketball Tournament was held in Greensboro, North Carolina, at the Greensboro Coliseum from March 9–11. Maryland defeated Duke, 74–62, to win the championship. Len Bias of Maryland was named the tournament MVP.


1984 AFC Asian Cup
The 1984 AFC Asian Cup was the 8th edition of the men's AFC Asian Cup, a quadrennial international football tournament organised by the Asian Football Confederation (AFC). The finals were hosted by Singapore between 1 December and 16 December 1984. The field of ten teams was split into two groups of five. Saudi Arabia won their first title, beating China in the final 2–0.


1984 AFC Asian Cup, Qualification
21 teams competed in qualifying for the 1984 AFC Asian Cup with the teams being separated into three groups of five teams and one group of six. The top two of each group would qualify through to the Asian Cup as they would join Singapore and Kuwait who automatically qualified. At the end of the qualifying, the remaining eight teams was filled in which included Saudi Arabia as they made their finals debut.


1984 AFC Asian Cup, Goalscorers
With three goals, Jia Xiuquan, Shahrokh Bayani and Nasser Mohammadkhani are the top scorers in the tournament. In total, 44 goals were scored by 34 different players, with four of them credited as own goals.


1984 AFC Asian Cup qualification
This article details the qualification phase for the 1984 AFC Asian Cup held in Singapore between 1 and 16 December.


1984 AFC Asian Cup qualification, Groups
India ** Malaysia **   Nepal Oman Saudi Arabia Sri Lanka United Arab Emirates


1984 AFC Asian Cup qualification, Groups
Bahrain * Japan * Lebanon * Macau * Pakistan North Yemen Singapore *** South Korea


1984 AFC Asian Cup qualification, Groups
Afghanistan China PR Brunei * Hong Kong Iraq * Jordan Qatar South Yemen *


1984 AFC Asian Cup qualification, Goal scorers
Note : Some of the goals which are not recorded are not listed here.


1984 AFC Night Series
The 1984 Australian Football Championships Night Series was the 6th edition of the AFC Night Series, a VFL-organised national club Australian rules football tournament between the leading clubs from the VFL, the SANFL, the WAFL and State Representative Teams.


1984 AFC Night Series
A total of 17 teams from across Australia played 16 matches over five months, with matches held during the pre-season and midweek throughout the premiership season.


1984 AMCU-8 Men's Basketball Tournament
The 1984 AMCU-8 Men's Basketball Tournament was held March 8–10, 1984 at the Hammons Student Center at Southwest Missouri State University in Springfield, Missouri. This was the first edition of the tournament for the Association of Mid-Continent Universities, now known as the Summit League.


1984 AMCU-8 Men's Basketball Tournament
Western Illinois defeated Cleveland State in the title game, 73–64, to win their first AMCU/Summit League championship. However, the Leathernecks did not earn a bid to the 1984 NCAA Division I Men's Basketball Tournament.