title: Grateful Dead

text: The death of Pigpen did not slow the band down, and it continued with its new members. With the help of their manager Ron Rakow, they soon formed their own record label, Grateful Dead Records. Later that year, they released their next studio album, the jazz-influenced "Wake of the Flood". It became their biggest commercial success thus far. Meanwhile, capitalizing on "Flood"'s success, the band soon went back to the studio, and the next year, 1974, released another album, "From the Mars Hotel". Not long after that album's release however, the Dead decided to take a hiatus from live touring. Before embarking on the hiatus, the band performed a series of five concerts at the Winterland Ballroom in San Francisco in October 1974. The concerts were filmed, and Garcia compiled the footage into "The Grateful Dead Movie", a feature-length concert film that would be released in 1977.


title: Grateful Dead

text: In September 1975, the Dead released their eighth studio album, "Blues for Allah". They resumed touring in June 1976. That same year, they signed with Arista Records. Their new contract soon produced "Terrapin Station" in 1977. The band's tour in the spring of that year is held in high regard by their fans, and their concert of May 8 at Cornell University in Ithaca, New York is often considered to be one of the best performances of their career.


title: Grateful Dead

text: Following the departure of the Godchauxs, Brent Mydland joined as keyboardist and vocalist and was considered "the perfect fit". The Godchauxs then formed the Heart of Gold Band before Keith died in a car accident in 1980. Mydland was the keyboardist for the Grateful Dead for 11 years until his death by narcotics overdose in July 1990, becoming the third keyboardist to die.


title: Grateful Dead

text: Shortly after Mydland found his place in the early 1980s, Garcia's health began to decline. His drug habits caused him to lose his liveliness on stage. After beginning to curtail his opiate usage in 1985 gradually, Garcia slipped into a diabetic coma for several days in July 1986. After he recovered, the band released "In the Dark" in July 1987, which became their best selling studio album and produced their only top-40 single, "Touch of Grey". Also that year, the group toured with Bob Dylan, as heard on the album "Dylan & the Dead".


title: Grateful Dead

text: Mydland died after the summer tour in 1990 and Vince Welnick, former keyboardist for the Tubes, joined as a band member, while Bruce Hornsby, who had a successful career with his band the Range, joined as a touring member. Both performed on keyboards and vocals—Welnick until the band's end, and Hornsby mainly from 1990 to 1992. The Grateful Dead performed their final concert on July 9, 1995 at Soldier Field in Chicago.


title: Grateful Dead

text: Jerry Garcia died on August 9, 1995. A few months after Garcia's death, the remaining members of the Grateful Dead decided to disband. Since that time, there have been a number of reunions by the surviving members involving various combinations of musicians. Additionally, the former members have also begun or continued individual projects.


title: Grateful Dead

text: In 1998, Bob Weir, Phil Lesh, and Mickey Hart, along with several other musicians, formed a band called the Other Ones, and performed a number of concerts that year, releasing a live album, "The Strange Remain", the following year. In 2000, the Other Ones toured again, this time with Kreutzmann but without Lesh. After taking another year off, the band toured again in 2002 with Lesh. That year, the Other Ones then included all four living former Grateful Dead members who had been in the band for most or all of its history. At different times the shifting lineup of the Other Ones also included guitarists Mark Karan, Steve Kimock, and Jimmy Herring, keyboardists Bruce Hornsby, Jeff Chimenti, and Rob Barraco, saxophonist Dave Ellis, drummer John Molo, bassist Alphonso Johnson, and vocalist Susan Tedeschi.


title: Grateful Dead

text: In 2003, the Other Ones, still including Weir, Lesh, Hart, and Kreutzmann, changed their name to the Dead. The Dead toured the United States in 2003, 2004 and 2009. The band's lineups included Jimmy Herring and Warren Haynes on guitar, Jeff Chimenti and Rob Barraco on keyboards, and Joan Osborne on vocals. In 2008, members of the Dead played two concerts, called "Deadheads for Obama" and "Change Rocks".


title: Grateful Dead

text: Following the 2009 Dead tour, Lesh and Weir formed the band Furthur, which debuted in September 2009. Joining Lesh and Weir in Furthur were John Kadlecik (guitar), Jeff Chimenti (keyboards), Joe Russo (drums), Jay Lane (drums), Sunshine Becker (vocals), and Zoe Ellis (vocals). Lane and Ellis left the band in 2010, and vocalist Jeff Pehrson joined later that year. Furthur disbanded in 2014.


title: Grateful Dead

text: Since 1995, the former members of the Grateful Dead have also pursued solo music careers. Both Bob Weir & RatDog and Phil Lesh and Friends have performed many concerts and released several albums. Mickey Hart and Bill Kreutzmann have also each released a few albums. Hart has toured with his world music percussion ensemble Planet Drum as well as the Mickey Hart Band. Kreutzmann has led several different bands, including BK3, 7 Walkers (with Papa Mali), and Billy & the Kids. Donna Godchaux has returned to the music scene, with the Donna Jean Godchaux Band, and Tom Constanten also continues to write and perform music. All of these groups continue to play Grateful Dead music.


title: Grateful Dead

text: In October 2014, it was announced that Martin Scorsese would produce a documentary film about the Grateful Dead, to be directed by Amir Bar-Lev. David Lemieux supervised the musical selection, and Weir, Hart, Kreutzmann, and Lesh agreed to new interviews for the film. Bar-Lev's four-hour documentary, titled "Long Strange Trip", was released in 2017.


title: Grateful Dead

text: In 2015, Weir, Lesh, Kreutzmann, and Hart reunited for five concerts called "Fare Thee Well: Celebrating 50 Years of the Grateful Dead". The shows were performed on June 27 and 28 at Levi's Stadium in Santa Clara, California, and on July 3, 4 and 5 at Soldier Field in Chicago. The band stated that this would be the final time that Weir, Lesh, Hart, and Kreutzmann would perform together. They were joined by Trey Anastasio of Phish on guitar, Jeff Chimenti on keyboards, and Bruce Hornsby on piano. Demand for tickets was very high. The concerts were simulcast via various media. The Chicago shows have been released as a box set of CDs and DVDs.


title: Grateful Dead

text: In the fall of 2015, Mickey Hart, Bill Kreutzmann and Bob Weir joined with guitarist John Mayer, keyboardist Jeff Chimenti, and bassist Oteil Burbridge to tour in a band called Dead & Company. Mayer recounts that in 2011 he was listening to Pandora and happened upon the Grateful Dead song "Althea", and that soon Grateful Dead music was all he would listen to. The band played six tours: October–December 2015, June–July 2016, May–July 2017., May–August 2018, and May–July 2019. On October–November 2019 they played 6 dates on the "2019 Fall Fun Run". On December 27 and 28, they played at The Forum in Inglewood (Los Angeles), California as part of their "2019 New Year's Run" tour. On December 30 and 31, they played in their hometown of San Francisco at the Chase Center, featuring a bi-plane that descended from the ceiling of the Chase Center carrying the daughters of Jerry Garcia, Trixie Garcia and her half-sister, Ken Kesey's daughter Sunshine Kesey, dropping rose petals on the audience as they toured the arena.


title: Grateful Dead

text: The Grateful Dead formed during the era when bands such as the Beatles, the Beach Boys and the Rolling Stones were dominating the airwaves. "The Beatles were why we turned from a jug band into a rock 'n' roll band", said Bob Weir. "What we saw them doing was impossibly attractive. I couldn't think of anything else more worth doing." Former folk-scene star Bob Dylan had recently put out a couple of records featuring electric instrumentation. Grateful Dead members have said that it was after attending a concert by the touring New York City band the Lovin' Spoonful that they decided to "go electric" and look for a "dirtier" sound. Jerry Garcia and Bob Weir (both of whom had been immersed in the American folk music revival of the late 1950s and early 1960s), were open-minded about the use of electric guitars.


title: Grateful Dead

text: The Grateful Dead's early music (in the mid-1960s) was part of the process of establishing what "psychedelic music" was, but theirs was essentially a "street party" form of it. They developed their "psychedelic" playing as a result of meeting Ken Kesey in Palo Alto, California, and subsequently becoming the house band for the Acid Tests he staged. They did not fit their music to an established category such as pop rock, blues, folk rock, or country & western. Individual tunes within their repertoire could be identified under one of these stylistic labels, but overall their music drew on all of these genres and, more frequently, melded several of them. Bill Graham said of the Grateful Dead, "They're not the best at what they do, they're the only ones that do what they do." Often (both in performance and on recording) the Dead left room for exploratory, spacey soundscapes.


title: Grateful Dead

text: Their live shows, fed by an improvisational approach to music, were different from most touring bands. While rock and roll bands often rehearse a standard set, played with minor variations, the Grateful Dead did not prepare in this way. Garcia stated in a 1966 interview, "We don't make up our sets beforehand. We'd rather work off the tops of our heads than off a piece of paper." They maintained this approach throughout their career. For each performance, the band drew material from an active list of a hundred or so songs.


title: Grateful Dead

text: The 1969 live album "Live/Dead" did capture the band in-form, but commercial success did not come until "Workingman's Dead" and "American Beauty", both released in 1970. These records largely featured the band's laid-back acoustic musicianship and more traditional song structures. With their rootsy, eclectic stylings, particularly evident on the latter two albums, the band pioneered the hybrid Americana genre.


title: Grateful Dead

text: Beginning in the early 1990s, a new generation of bands became inspired by the Grateful Dead's improvisational ethos and marketing strategy, and began to incorporate elements of the Grateful Dead's live performances into their own shows. These include the nightly alteration of setlists, frequent improvisation, the blending of genres, and the allowance of taping, which would often contribute to the development of a dedicated fanbase. Bands associated with the expansion of the "jam scene" include Phish, The String Cheese Incident, Widespread Panic, Blues Traveler, moe., and the Disco Biscuits. Many of these groups began to look past the American roots music that the Grateful Dead drew inspiration from, and incorporated elements of progressive rock, hard rock, and electronica. At the same time, the Internet gained popularity and provided a medium for fans to discuss these bands and their performances and download MP3s. The Grateful Dead, as well as Phish, were one of the first bands to have a Usenet newsgroup.


title: Grateful Dead

text: As the band and its sound matured over thirty years of touring, playing, and recording, each member's stylistic contribution became more defined, consistent, and identifiable. Garcia's lead lines were fluid, supple and spare, owing a great deal of their character to his experience playing Scruggs style banjo, an approach which often makes use of note syncopation, accenting, arpeggios, staccato chromatic runs, and the anticipation of the downbeat. Garcia had a distinctive sense of timing, often weaving in and out of the groove established by the rest of the band as if he were pushing the beat. His lead lines were also immensely influenced by jazz soloists: Garcia cited Miles Davis, Ornette Coleman, Bill Evans, Pat Martino, George Benson, Al Di Meola, Art Tatum, Duke Ellington, and Django Reinhardt as primary influences, and frequently utilized techniques common to country and blues music in songs that called back to those traditions. Garcia often switched scales in the midst of a solo depending upon the chord changes played underneath, though he nearly always finished phrases by landing on the chord-tones. Jerry most frequently played in the Mixolydian mode, though his solos and phrases often incorporated notes from the Dorian and major/minor pentatonic scales. Particularly in the late 1960s, Garcia occasionally incorporated melodic lines derived from Indian ragas into the band’s extended, psychedelic improvisation, likely inspired by John Coltrane and other jazz artists’ interest in the sitar music of Ravi Shankar.


title: Grateful Dead

text: Lesh, who was originally a classically trained trumpet player with an extensive background in music theory, did not tend to play traditional blues-based bass forms, but more melodic, symphonic and complex lines, often sounding like a second lead guitar. In contrast to most bassists in popular music, Lesh often avoids playing the root of a chord on the downbeat, instead withholding as a means to build tension. Lesh also rarely repeats the same bassline, even from performance to performance of the same song, and often plays off of or around the other instruments with a syncopated, staccato bounce that contributes to the Dead’s unique rhythmic character.


title: Grateful Dead

text: Weir, too, was not a traditional rhythm guitarist, but tended to play unique inversions at the upper end of the Dead's sound. Weir modeled his style of playing after jazz pianist McCoy Tyner and attempted to replicate the interplay between John Coltrane and Tyner in his support, and occasional subversion, of the harmonic structure of Garcia’s voice leadings. This would often influence the direction the band’s improvisation would take on a given night. Weir and Garcia’s respective positions as rhythm and lead guitarist were not always strictly adhered to, as Weir would often incorporate short melodic phrases into his playing to support Garcia and occasionally took solos, often played with a slide. Weir’s playing is characterized by a “spiky, staccato” sound.


title: Grateful Dead

text: The two drummers, Mickey Hart and Bill Kreutzmann, developed a unique, complex interplay, balancing Kreutzmann's steady shuffle beat with Hart's interest in percussion styles outside the rock tradition. Kreuzmann has said, "I like to establish a feeling and then add radical or oblique juxtapositions to that feeling." Hart incorporated an 11-count measure to his drumming, bringing a dimension to the band's sound that became an important part of its style. He had studied tabla drumming and incorporated rhythms and instruments from world music, and later electronic music, into the band’s live performances.


title: Grateful Dead

text: The Dead’s live performances featured multiple types of improvisation derived from a vast array of musical traditions. Not unlike many rock bands of their time, the majority of the Dead’s songs feature a designated section in which an instrumental break occurs over the chord changes. These sections typically feature solos by Garcia that often originate as variations on the song’s melody, but go on to create dynamic phrases that resolve by returning to the chord-tones. Not unlike traditional improvisational jazz, they may occasionally feature several solos by multiple instruments within an undecided number of bars, such as a keyboardist, before returning to the melody. At the same time, Dead shows almost always feature a more collective, modal approach to improvisation that typically occurs during segues between songs before the band modulates to a new tonal center. Some of the Dead’s more extended jam vehicles, such as “The Other One”, “Dark Star”, and “Playing in the Band” almost exclusively make use of modulation between modes to accompany simple two-chord progressions.


title: Grateful Dead

text: Following the songwriting renaissance that defined the band's early 1970s period, as reflected in the albums "Workingman's Dead" and "American Beauty," Robert Hunter, Jerry Garcia's primary lyrical partner, frequently made use of motifs common to American folklore including trains, guns, elements, traditional musical instruments, gambling, murder, animals, alcohol, descriptions of American geography, and religious symbolism to illustrate themes involving love and loss, life and death, beauty and horror, and chaos and order. Following in the footsteps of several American musical traditions, these songs are often confessional and feature narration from the perspective of an antihero. Critic Robert Christgau described them as "American myths" that later gave way to "the old karma-go-round". An extremely common feature in both Robert Hunter's lyrics, as well as the band's visual iconography, is the presence of dualistic and opposing imagery illustrating the dynamic range of the human experience (Heaven and hell, law and crime, dark and light, etc.). Hunter and Garcia's earlier, more directly psychedelic-influenced compositions often make use of surreal imagery, nonsense, and whimsey reflective of traditions in English poetry. In a retrospective, "The New Yorker" described Hunter's verses as "elliptical, by turns vivid and gnomic", which were often "hippie poetry about roses and bells and dew". Grateful Dead biographer Dennis McNally has described Hunter's lyrics as creating "a non-literal hyper-Americana" weaving a psychedelic, kaleidoscopic tapestry in the hopes of elucidating America's national character. At least one of Hunter and Bob Weir's collaborations, "Jack Straw", was inspired by the work of John Steinbeck.


title: Grateful Dead

text: Hal Kant was an entertainment industry attorney who specialized in representing musical groups. He spent 35 years as principal lawyer and general counsel for the Grateful Dead, a position in the group that was so strong that his business cards with the band identified his role as "Czar".


title: Grateful Dead

text: Kant brought the band millions of dollars in revenue through his management of the band's intellectual property and merchandising rights. At Kant's recommendation, the group was one of the few rock 'n roll pioneers to retain ownership of their music masters and publishing rights.


title: Grateful Dead

text: In 2006, the Grateful Dead signed a ten-year licensing agreement with Rhino Entertainment to manage the band's business interests including the release of musical recordings, merchandising, and marketing. The band retained creative control and kept ownership of its music catalog.


title: Grateful Dead

text: A Grateful Dead video game titled "Grateful Dead Game – The Epic Tour" was released in April 2012 and was created by Curious Sense.


title: Grateful Dead

text: After Lithuania gained its independence from the USSR, the country announced its withdrawal from the 1992 Olympics due to the lack of any money to sponsor participants. But NBA star Šarūnas Marčiulionis, a native Lithuanian basketball star, wanted to help his native team to compete. His efforts resulted in a call from representatives of the Grateful Dead who set up a meeting with the band members. The band agreed to fund transportation costs for the team (about five thousand dollars) along with Grateful Dead designs for the team's jerseys and shorts. The Lithuanian basketball team won the bronze medal and the Lithuanian basketball/Grateful Dead T-shirts became part of pop culture, especially in Lithuania. The incident was covered by the documentary "The Other Dream Team".


title: Grateful Dead

text: The Grateful Dead toured constantly throughout their career, playing more than 2,300 concerts. They promoted a sense of community among their fans, who became known as "Deadheads", many of whom followed their tours for months or years on end. Around concert venues, an impromptu communal marketplace known as 'Shakedown Street' was created by Deadheads to serve as centers of activity where fans could buy and sell anything from grilled cheese sandwiches to home-made t-shirts and recordings of Grateful Dead concerts.


title: Grateful Dead

text: In their early career, the band also dedicated their time and talents to their community, the Haight-Ashbury area of San Francisco, making available free food, lodging, music, and health care to all. It has been said that the band performed "more free concerts than any band in the history of music".


title: Grateful Dead

text: With the exception of 1975, when the band was on hiatus and played only four concerts together, the Grateful Dead performed many concerts every year, from their formation in April 1965, until July 9, 1995. Initially all their shows were in California, principally in the San Francisco Bay Area and in or near Los Angeles. They also performed, in 1965 and 1966, with Ken Kesey and the Merry Pranksters, as the house band for the Acid Tests. They toured nationally starting in June 1967 (their first foray to New York), with a few detours to Canada, Europe and three nights at the Great Pyramid of Giza in Egypt in 1978. They appeared at the Monterey Pop Festival in 1967, the Woodstock Festival in 1969 and the Festival Express train tour across Canada in 1970. They were scheduled to appear as the final act at the infamous Altamont Free Concert on December 6, 1969 after the Rolling Stones but withdrew after security concerns. "That's the way things went at Altamont—so badly that the Grateful Dead, prime organizers and movers of the festival, didn't even get to play", staff at "Rolling Stone" magazine wrote in a detailed narrative on the event.


title: Grateful Dead

text: Their first UK performance was at the Hollywood Music Festival in 1970. Their largest concert audience came in 1973 when they played, along with the Allman Brothers Band and the Band, before an estimated 600,000 people at the Summer Jam at Watkins Glen. They played to an estimated total of 25 million people, more than any other band, with audiences of up to 80,000 attending a single show. Many of these concerts were preserved in the band's tape vault, and several dozen have since been released on CD and as downloads. The Dead were known for the tremendous variation in their setlists from night to night—the list of songs documented to have been played by the band exceeds 500. The band has released four concert videos under the name "View from the Vault".


title: Grateful Dead

text: In the 1990s, the Grateful Dead earned a total of $285 million in revenue from their concert tours, the second-highest during the 1990s, with the Rolling Stones earning the most. This figure is representative of tour revenue through 1995, as touring stopped after the death of Jerry Garcia. In a 1991 PBS documentary, segment host Buck Henry attended an August 1991 concert at Shoreline Amphitheatre and gleaned some information from some band members about the Grateful Dead phenomenon and its success. At the time, Jerry Garcia stated, "We didn't really invent the Grateful Dead, the "crowd" invented the Grateful Dead, you know what I mean? We were sort of standing in line, and uh, it's gone way past our expectations, "way" past, so it's, we've been going along with it to see what it's gonna do next." Furthermore, Mickey Hart stated, "This is one of the last places in America that you can really have this kind of fun, you know, considering the political climate and so forth." Hart also stated that "the transformative power of the Grateful Dead is really the essence of it; it's what it can do to your consciousness. We're more into "transportation" than we are into music, "per se", I mean, the business of the Grateful Dead is transportation." One of the band's largest concerts took place just months before Garcia's death — at their outdoor show with Bob Dylan in Highgate, Vermont on June 15, 1995. The crowd was estimated to be over 90,000; overnight camping was allowed and about a third of the audience got in without having purchased a ticket.


title: Grateful Dead

text: Their numerous studio albums were generally collections of new songs that they had first played in concert. The band was also famous for its extended musical improvisations, having been described as having never played the same song the same way twice. Their concert sets often blended songs, one into the next, often for more than three songs at a time.


title: Grateful Dead

text: The Wall of Sound was a large sound system designed specifically for the band. The band was never satisfied with the house system anywhere they played. After the Monterey Pop Festival, the band's crew 'borrowed' some of the other performers' sound equipment and used it to host some free shows in San Francisco. In their early days, soundman Owsley "Bear" Stanley designed a public address (PA) and monitor system for them. Stanley was the Grateful Dead's soundman for many years; he was also one of the largest suppliers of LSD. Stanley's sound systems were delicate and finicky, and frequently brought shows to a halt with technical breakdowns. After Stanley went to jail for manufacturing LSD in 1970, the group briefly used house PAs, but found them to be even less reliable than those built by their former soundman. On February 2, 1970, the group contacted Bob Heil to use his system. In 1971, the band purchased their first solid-state sound system from Alembic Studios. Because of this, Alembic would play an integral role in the research, development, and production of the Wall of Sound. The band also welcomed Dan Healy into the fold on a permanent basis that year. Healy would mix the Grateful Dead's live sound until 1993.


title: Grateful Dead

text: Following Jerry Garcia's death and the band's breakup in 1995, their current sound system was inherited by Dave Matthews Band. Dave Matthews Band debuted the sound system April 30, 1996 at the first show of their 1996 tour in Richmond, Virginia.


title: Grateful Dead

text: Like several other bands during this time, the Grateful Dead allowed their fans to record their shows. For many years the tapers set up their microphones wherever they could, and the eventual forest of microphones became a problem for the sound crew. Eventually, this was solved by having a dedicated taping section located behind the soundboard, which required a special "tapers" ticket. The band allowed sharing of their shows, as long as no profits were made on the sale of the tapes.


title: Grateful Dead

text: Of the approximately 2,350 shows the Grateful Dead played, almost 2,200 were taped, and most of these are available online. The band began collecting and cataloging tapes early on and Dick Latvala was their keeper. "Dick's Picks" is named after Latvala. After his death in 1999, David Lemieux gradually took the post. Concert set lists from a subset of 1,590 Grateful Dead shows were used to perform a comparative analysis between how songs were played in concert and how they are listened online by Last.fm members. In their book "Marketing Lessons from the Grateful Dead: What Every Business Can Learn From the Most Iconic Band in History", David Meerman Scott and Brian Halligan identify the taper section as a crucial contributor to increasing the Grateful Dead's fan base.


title: Grateful Dead

text: Over the years, a number of iconic images have come to be associated with the Grateful Dead. Many of these images originated as artwork for concert posters or album covers.


title: Grateful Dead

text: Fans and enthusiasts of the band are commonly referred to as Deadheads. While the origin of the term may be unclear, "Dead Heads" were made canon by the notice placed inside the "Skull and Roses" (1971) album by manager Jon McIntire:


title: Grateful Dead

text: As each show featured a new setlist and a great deal of improvisation, Deadheads would often follow the band from city to city, attending many shows on a given tour. Many Deadheads speak of being drawn to the culture due to the sense of community that the band's shows tended to foster. Though Deadheads came from a wide array of demographics, many attempted to reproduce the aesthetics and values of the 1960s counterculture and were often stigmatized in the media. Because of the stereotyping of Deadheads as hippies, the band's shows became a common target for officials in the DEA and arrests at shows became common. As a group, the Deadheads were considered very mellow. "I'd rather work nine Grateful Dead concerts than one Oregon football game," Police Det. Rick Raynor said. "They don't get belligerent like they do at the games." Despite this reputation, in the mid-1990s, as the band's popularity grew, there were a series of minor scuffles occurring at shows that peaked with a large scale riot at the Deer Creek Music Center near Indianapolis in July 1995. This gate crashing incident caused the band to cancel the following night's show. Deadheads who appeared on the scene after the band's 1987 hit single "Touch of Grey", were often disparagingly referred to by older fans as "Touchheads." Beginning in the 1980s, a number of definable sects of Deadheads began to appear on the scene. These included the Wharf Rats, as well as the "spinners", named for whirling-style of dancing and their use of the band's music to facilitate mystical experiences.


title: Grateful Dead

text: Deadheads, particularly those who collected tapes, were known for keeping close records of the band's setlists and for comparing various live versions of the band's songs, as reflected in publications such as the various editions of "Deadbase" and "The Deadhead's Taping Compendium." This practice continues into the 21st century on digital forums and websites such as the Internet Archive, which features live recordings of nearly every available Grateful Dead show and allows users to discuss and review the site's shows.


title: Grateful Dead

text: On April 24, 2008, members Bob Weir and Mickey Hart, along with Nion McEvoy, CEO of Chronicle Books, UC Santa Cruz chancellor George Blumenthal, and UC Santa Cruz librarian Virginia Steel, held a press conference announcing UCSC's McHenry Library would be the permanent home of the Grateful Dead Archive, which includes a complete archival history from 1965 to the present. The archive includes correspondence, photographs, fliers, posters, and several other forms of memorabilia and records of the band. Also included are unreleased videos of interviews and TV appearances that will be installed for visitors to view, as well as stage backdrops and other props from the band's concerts.


title: Grateful Dead

text: Blumenthal stated at the event, "The Grateful Dead Archive represents one of the most significant popular cultural collections of the 20th century; UC Santa Cruz is honored to receive this invaluable gift. The Grateful Dead and UC Santa Cruz are both highly innovative institutions—born the same year—that continue to make a major, positive impact on the world." Guitarist Bob Weir stated "We looked around, and UC Santa Cruz seems the best possible home. If you ever wrote the Grateful Dead a letter, you'll probably find it there!"


title: Grateful Dead

text: Professor of music Fredric Lieberman was the key contact between the band and the university, who let the university know about the search for a home for the archive, and who had collaborated with Mickey Hart on three books in the past, "Planet Drum" (1990), "Drumming at the Edge of Magic" (1991), and "Spirit into Sound" (2006).


title: Grateful Dead

text: The first large-scale exhibition of materials from the Grateful Dead Archive was mounted at the New-York Historical Society in 2010.


title: Grateful Dead

text: In 2004, "Rolling Stone" ranked the Grateful Dead No. 57 on their list of the 100 Greatest Artists of All Time.


title: Grateful Dead

text: On February 10, 2007, the Grateful Dead received a Grammy Lifetime Achievement Award. The award was accepted on behalf of the band by Mickey Hart and Bill Kreutzmann.


title: Grateful Dead

text: In 2011, a recording of the Grateful Dead's May 8, 1977, concert at Cornell University's Barton Hall was selected for induction into the National Recording Registry of the Library of Congress.


title: Grateful Dead

text: Twelve members of the Grateful Dead (the eleven official performing members plus Robert Hunter) were inducted into the Rock and Roll Hall of Fame in 1994, and Bruce Hornsby was their presenter.


title: Grateful Dead

text: Lead guitarist Jerry Garcia was often viewed both by the public and the media as the leader or primary spokesperson for the Grateful Dead, but was reluctant to be perceived that way, especially since he and the other group members saw themselves as equal participants and contributors to their collective musical and creative output. Garcia, a native of San Francisco, grew up in the Excelsior District. One of his main influences was bluegrass music, and he also performed—on banjo, one of his other great instrumental loves, along with the pedal steel guitar—in bluegrass bands, notably Old & In the Way with mandolinist David Grisman.


title: Grateful Dead

text: Bruce Hornsby never officially joined the band full-time because of his other commitments, but he did play keyboards at most Dead shows between September 1990 and March 1992, and sat in with the band over 100 times in all between 1988 and 1995. He added several Dead songs to his own live shows and Jerry Garcia referred to him as a "floating member" who could come and go as he pleased.


title: Grateful Dead

text: Robert Hunter and John Perry Barlow were the band's primary lyricists, starting in 1967 and 1971, respectively, and continuing until the band's dissolution. Hunter collaborated mostly with Garcia and Barlow mostly with Weir, though each wrote with other band members as well. Both are listed as official members at Dead.net, the band's website, alongside the performing members. Barlow was the only member not inducted into the Rock and Roll Hall of Fame.


title: Lata Mangeshkar

text: Lata Mangeshkar () (born as Hema Mangeshkar; 28 September 1929 – 06 February 2022) was an Indian playback singer and occasional music composer. She is widely considered to have been the greatest and most influential singers in India. Her contribution to the Indian music industry in a career spanning eight decades gained her honorific titles such as the "Queen of Melody", "Nightingale of India", and "Voice of the Millennium".


title: Lata Mangeshkar

text: Lata recorded songs in over thirty-six Indian languages and a few foreign languages, though primarily in Marathi, Hindi, and Bengali. Her foreign languages included English, Indonesian, Russian, Dutch, Nepali, and Swahili. She received several accolades and honors throughout her career. In 1989, the Dadasaheb Phalke Award was bestowed on her by the Government of India. In 2001, in recognition of her contributions to the nation, she was awarded the Bharat Ratna, India's highest civilian honour; she is only the second female singer, after M. S. Subbulakshmi, to receive this honour. France conferred on her its highest civilian award, Officer of the National Order of the Legion of Honour, in 2007.


title: Lata Mangeshkar

text: She was the recipient of three National Film Awards, 15 Bengal Film Journalists' Association Awards, four Filmfare Best Female Playback Awards, two Filmfare Special Awards, the Filmfare Lifetime Achievement Award and many more. In 1974, she was one of the first Indian playback singers to perform at the Royal Albert Hall in London, UK. Her last recorded song was "Saugandh Mujhe Is Mitti ki" released on 30 March 2019 as a tribute to the Indian Army and the Nation.


title: Lata Mangeshkar

text: At one point, she appeared in the "Guinness World Records," which listed her as the most recorded artist in history between 1948 and 1987.


title: Lata Mangeshkar

text: Mangeshkar was born on 28 September 1929in Indore (in the present-day Indore district of Madhya Pradesh), then the capital of the princely state of Indore which was part of the Central India Agency in British India.


title: Lata Mangeshkar

text: Her father, Deenanath Mangeshkar was a Marathi and Konkani classical singer and theatre actor. Deenanath's father was Ganesh Bhatt Navathe Hardikar (Abhisheki), a Karhade Brahmin who served as a priest at the famous Mangeshi Temple in Goa. Deenanath's mother Yesubai Rane was his father's mistress belonging to the Devadasi community of Goa, a matrilineal community of temple artists now known as Gomantak Maratha Samaj. As a Devadasi, Yesubai was a reputed musician. Deenanath's father's surname was "Hardikar". Deenanath had taken the surname Mangeshkar, based on the name of his ancestral village, Mangeshi in Goa.


title: Lata Mangeshkar

text: Her mother, Shevanti (later renamed Shudhamati), was a Gujarati woman from Thalner, Bombay Presidency (now in northwest Maharashtra). Shevanti was Deenanath's second wife; his first wife Narmada, who had died before his marriage to Shevanti, was Shevanti's older sister. Her maternal grandfather, Seth Haridas Ramdas Lad, was from Gujarat, a prosperous businessman and landlord of Thalner. She learned Gujarati folk songs such as garbas of Pavagadh from her maternal grandmother.


title: Lata Mangeshkar

text: Lata was named "Hema" at her birth. Her parents later renamed her Lata after a female character, Latika, in one of her father's plays, भाव बंधन.


title: Lata Mangeshkar

text: She was the eldest child in the family. Meena, Asha, Usha and Hridaynath, in birth order, are her siblings; all are accomplished singers and musicians.


title: Lata Mangeshkar

text: She received her first music lesson from her father. At the age of five, she started to work as an actress in her father's musical plays ("Sangeet Natak" in Marathi). On her first day of school, Mangeshkar left because she was not allowed to bring her sister Asha along with her.


title: Lata Mangeshkar

text: In 1942, when Mangeshkar was 13, her father died of heart disease. Master Vinayak (Vinayak Damodar Karnataki), the owner of Navyug Chitrapat movie company and a close friend of the Mangeshkar family, took care of them. He helped her get started in a career as a singer and actress.


title: Lata Mangeshkar

text: She sang the song "Naachu Yaa Gade, Khelu Saari Mani Haus Bhaari", which was composed by Sadashivrao Nevrekar for Vasant Joglekar's Marathi movie "Kiti Hasaal" (1942), but the song was dropped from the final cut. Vinayak gave her a small role in Navyug Chitrapat's Marathi movie "Pahili Mangalaa-gaur" (1942), in which she sang "Natali Chaitraachi Navalaai" which was composed by Dada Chandekar. Her first Hindi song was "Mata Ek Sapoot Ki Duniya Badal De Tu" for the Marathi film "Gajaabhaau" (1943). The Bollywood industry was yet to find its feet, so Mangeshkar had to first concentrate on acting, which she didn't like, as the lights and people ordering her around made her feel uncomfortable.


title: Lata Mangeshkar

text: She moved to Mumbai in 1945 when Master Vinayak's company moved its headquarters there. She started taking lessons in Hindustani classical music from Ustad Aman Ali Khan of Bhindibazaar Gharana. She sang "Paa Lagoon Kar Jori" for Vasant Joglekar's Hindi-language movie "Aap Ki Seva Mein" (1946), which was composed by Datta Davjekar. The dance in the film was performed by Rohini Bhate, who later became a famous classical dancer. Lata and her sister Asha played minor roles in Vinayak's first Hindi-language movie, "Badi Maa" (1945). In that movie, Lata also sang a bhajan, "Maata Tere Charnon Mein." She was introduced to music director Vasant Desai during the recording of Vinayak's second Hindi-language movie, "Subhadra" (1946).


title: Lata Mangeshkar

text: After Vinayak's death in 1948, music director Ghulam Haider mentored her as a singer. He introduced her to producer Sashadhar Mukherjee, who was then working on the movie "Shaheed" (1948), but Mukherjee dismissed her voice as "too thin". An annoyed Haider responded that in coming years producers and directors would "fall at Lata's feet" and "beg her" to sing in their movies. Haider gave her her first major break with the song "Dil Mera Toda, Mujhe Kahin Ka Na Chhora"—lyrics by Nazim Panipati—in the movie "Majboor" (1948), which became her first big breakthrough film hit. In an interview on her 84th birthday in 2013, she declared "Ghulam Haider is truly my Godfather. He was the first music director who showed complete faith in my talent."


title: Lata Mangeshkar

text: Initially, she is said to have imitated the acclaimed singer Noor Jehan, but she later developed her own style of singing. She brought a new signature style of singing to Indian film music, moving away from mehfil-style performances to suit both 'modern' and 'traditional' female protagonists. A soprano range voice with less volume or amplitude, she had enough weight in her voice to give definite shape to the melody of Indian film songs. Although she had limited coloratura skills in her early career, she developed better tone and pitch as she progressed in her playback career. Lyrics of songs in Hindi movies were, in those days, primarily composed by Urdu poets and contained a higher proportion of Urdu words, including the dialogue. Actor Dilip Kumar once made a mildly disapproving remark about her accent while singing Hindi/Urdu songs; so for a period of time, she took lessons in Urdu from an Urdu teacher named Shafi. In subsequent interviews she said that Noor Jehan heard her as a child and had told her to practice a lot. The two stayed in touch with each other for many years to come.


title: Lata Mangeshkar

text: One of her first major hits was "Aayega Aanewaala," a song in the movie "Mahal" (1949), composed by music director Khemchand Prakash and lip-synced on screen by actress Madhubala. This was a defining moment for her, and a catalyst for the recognition of playback singers in India. Before this, playback singers were seen as the vocal equivalent of a stuntman and remained invisible and uncredited. This song was such a big hit, that Radio Goa revealed her identity and she became a star in her own right. This opened the door for other playback singers to achieve the recognition they deserved.


title: Lata Mangeshkar

text: In the 1950s, Mangeshkar sang songs composed by various music directors of the period, including Anil Biswas (in films such as "Tarana" (1951) and "Heer" (1956)), Shankar Jaikishan, Naushad Ali, S. D. Burman, Sardul Singh Kwatra, Amarnath, Husanlal, and Bhagatram (in films like "Bari Behen" (1949), "Meena Bazaar" (1950), "Aadhi Raat" (1950), "Chhoti Bhabi" (1950), "Afsana" (1951), "Aansoo" (1953), and "Adl-e-Jehangir" (1955)), C. Ramchandra, Hemant Kumar, Salil Chowdhury, Datta Naik, Khayyam, Ravi, Sajjad Hussain, Roshan, Kalyanji-Anandji, Vasant Desai, Sudhir Phadke, Hansraj Behl, Madan Mohan, and Usha Khanna. She sang "Sri Lanka, Ma Priyadara Jaya Bhumi", a song in Sinhala, for the 1955 Sri Lankan film "Seda Sulang". Lata Didi recorded her first Telugu song "Nidhurapora Thammudaa" in 1955 Telugu film "Santhanam" for music director Susarla Dakshinamurthi. She made her debut in Tamil playback singing with "Vanaradham" in 1956 ("Uran Khotala" dubbed in Tamil) with the Tamil song "Enthan Kannalan" for "Nimmi" in the dubbed version composed by Naushad.


title: Lata Mangeshkar

text: She sang many raga-based songs for Naushad in movies such as "Deedar" (1951), "Baiju Bawra" (1952), "Amar" (1954), "Uran Khatola" (1955) and "Mother India" (1957). "Ae Chorre Ki Jaat Badi Bewafa", a duet with G. M. Durrani, was her first song for the composer Naushad. The duo, Shankar–Jaikishan, chose Lata for "Barsaat" (1949), "Aah" (1953), "Shree 420" (1955) and "Chori Chori" (1956). Before 1957, composer S. D. Burman chose her as the leading female singer for his musical scores in "Sazaa" (1951), "House No. 44" (1955), and "Devdas" (1955). However a rift developed between her and Burman in 1957, and she did not sing his compositions again until 1962.


title: Lata Mangeshkar

text: She won a Filmfare Award for Best Female Playback Singer for Salil Chowdhury's composition "Aaja Re Pardesi" from "Madhumati" (1958). Her association with C. Ramchandra produced songs in movies such as Albela (1951), Shin Shinkai Bublaa Boo (1952), Anarkali (1953), "Pehli Jhhalak" (1954), "Azad" (1955), "Aasha" (1957), and Amardeep (1958). For Madan Mohan, she performed for films like "Baagi" (1953), "Railway Platform" (1955), "Pocketmaar" (1956), "Mr. Lambu" (1956), "Dekh Kabira Roya" (1957), "Adalat" (1958), "Jailor" (1958), "Mohar" (1959), and "Chacha Zindabad" (1959).


title: Lata Mangeshkar

text: Her song "Aye Maalik Tere Bande Hum" which was the original composition of Vasant Desai and used in the film "Do Aankhen Barah Haath" on 1957, was adapted by a Pakistani school as the school anthem.


title: Lata Mangeshkar

text: Mangeshkar's song "Pyar Kiya To Darna Kya" from "Mughal-e-Azam" (1960), composed by Naushad and lip-synced by Madhubala, still remains famous. The Hawaiian-themed number "Ajeeb Dastaan Hai Yeh", from "Dil Apna Aur Preet Parai" (1960), was composed by Shankar–Jaikishan and lip-synced by Meena Kumari.


title: Lata Mangeshkar

text: In 1961, she recorded two popular bhajans, "Allah Tero Naam" and "Prabhu Tero Naam", for Burman's assistant, Jaidev. In 1962, she was awarded her second Filmfare Award for the song "Kahin Deep Jale Kahin Dil" from "Bees Saal Baad", composed by Hemant Kumar.


title: Lata Mangeshkar

text: On 27 January 1963, against the backdrop of the Sino-Indian War, she sang the patriotic song "Aye Mere Watan Ke Logo" (literally, "Oh, People of My Country") in the presence of Jawaharlal Nehru, then the Prime Minister of India. The song, composed by C. Ramchandra and written by Kavi Pradeep, is said to have brought the Prime Minister to tears.


title: Lata Mangeshkar

text: In 1963, she returned to collaborate with S. D. Burman. She had sung in R. D. Burman's first film, "Chhote Nawab" (1961), and later in his films such as "Bhoot Bungla" (1965), "Pati Patni" (1966), "Baharon ke Sapne" (1967), and "Abhilasha" (1969). She also recorded several popular songs for S. D. Burman, including "Aaj Phir Jeene Ki Tamanna Hai", "Gata Rahe Mera Dil" (duet with Kishore Kumar) and "Piya Tose" from "Guide" (1965), "Hothon Pe Aisi Baat" from "Jewel Thief" (1967), and "Kitni Akeli Kitni Tanhaa" from "Talash".


title: Lata Mangeshkar

text: During the 1960s, she continued her association with Madan Mohan, which included the songs "Aap Ki Nazron Ne Samjha" from "Anpadh" (1962), "Lag Jaa Gale" and "Naina Barse Rim Jhim" from "Woh Kaun Thi?" (1964), "Woh Chup Rahen To" from "Jahan Ara" (1964), "Tu Jahan Jahan Chalega" from "Mera Saaya" (1966) and "Teri Aankho Ke Siva" from "Chirag" (1969), and she had a continuing association with the maestros Shankar Jaikishan, who got her to sing in various genres in the 1960s.


title: Lata Mangeshkar

text: The 1960s also witnessed the beginning of her association with Laxmikant–Pyarelal, the music directors for whom she sang the most popular songs in her career. Starting in 1963, Laxmikant–Pyarelal's association with Lata Mangeshkar grew stronger over the years. She sang over 700 songs for the composer duo over a period of 35 years, many of which became huge hits. She sang for "Parasmani" (1963), "Mr. X in Bombay" (1964), "Aaye Din Bahar Ke" (1966), "Milan" (1967), "Anita" (1967), "Shagird" (1968), "Mere Hamdam Mere Dost" (1968), "Intaquam" (1969), "Do Raaste" (1969) and "Jeene Ki Raah", for which she got her third Filmfare Award.


title: Lata Mangeshkar

text: She also sang several playback songs for Marathi films, composed by Marathi music directors including Hridaynath Mangeshkar, Vasant Prabhu, Srinivas Khale, Sudhir Phadke and herself, under the pseudonym "Anandghan". During the 1960s and 1970s, she also sang several Bengali songs composed by music directors like Salil Chowdhury and Hemant Kumar.


title: Lata Mangeshkar

text: She made her Kannada debut in 1967 for the film "Kranthiveera Sangolli Rayanna" by recording two songs for the music director Lakshman Berlekar. The song "Bellane Belagayithu" was well received and appreciated.


title: Lata Mangeshkar

text: In the 1960s, she recorded duets with Kishore Kumar, Mukesh, Manna Dey, Mahendra Kapoor and Mohammed Rafi. For a brief period during the 1960s, she was not on good terms with Mohammed Rafi over the issue of royalty payments to singers. She wanted Rafi to back her in demanding a half-share from the five percent song royalty that the film's producer conceded to select composers. But Rafi took a diametrically opposite view, and believed that a playback singer's claim on the filmmaker ended with the payment of the agreed fee for the song, leading to tensions between the two. After an argument during the recording of the song """Tasveer Teri Dil Mein""", from Maya (1961), the two refused to sing with each other. The music director Shankar Jaikishan later negotiated a reconciliation between the two.


title: Lata Mangeshkar

text: In 1972, Meena Kumari's last film, "Pakeezah", was released. It featured popular songs including "Chalte Chalte" and "Inhi Logon Ne", sung by Mangeshkar, and composed by Ghulam Mohammed. She recorded many popular songs for S. D. Burman's last films, including "Rangeela Re" from "Prem Pujari" (1970), "Khilte Hain Gul Yahaan" from "Sharmeelee" (1971) and "Piya Bina" from "Abhimaan" (1973) and for Madan Mohan's last films, including "Dastak" (1970), "Heer Raanjha" (1970), "Dil Ki Rahen" (1973), "Hindustan Ki Kasam" (1973), "Hanste Zakhm" (1973), "Mausam" (1975) and "Laila Majnu" (1976).


title: Lata Mangeshkar

text: Many of her notable songs in the 1970s were composed by Laxmikant–Pyarelal and Rahul Dev Burman. Many of her songs composed by Laxmikant-Pyarelal in the 1970s were written by the lyricist Anand Bakshi. She also recorded many hit songs with Rahul Dev Burman in the films "Amar Prem" (1972), "Caravan" (1971), "Kati Patang" (1971), and "Aandhi" (1975). The two are noted for their songs with the lyricists Majrooh Sultanpuri, Anand Bakshi, and Gulzar.


title: Lata Mangeshkar

text: In 1973, she won the National Film Award for Best Female Playback Singer for the song "Beeti Na Bitai" from the film "Parichay", composed by R. D. Burman, and written by Gulzar. In 1974, she sang her only Malayalam song "Kadali Chenkadali" for the film "Nellu", composed by Salil Chowdhury, and written by Vayalar Ramavarma. In 1975, she again won the National Award, this time for the song "Roothe Roothe Piya" from the film "Kora Kagaz", composed by Kalyanji Anandji.


title: Lata Mangeshkar

text: From the 1970s onward, she also staged many concerts in India and abroad, including several charity concerts. She transformed the way Indian music concerts were perceived in the West. Her first concert overseas was at the Royal Albert Hall, London, in 1974. (Despite some sources claiming that she was the first Indian to do so, according to the Hall's own records, the first Indian to perform there was the late Ravi Shankar, on 21 October 1969.) Until that time, film music concerts were song-and-dance affairs held in community halls and colleges, rarely taken seriously. Mangeshkar demanded to sing in mainstream halls only, which was an honour that until then was bestowed only upon classical musicians.


title: Lata Mangeshkar

text: She also released an album of Mirabai's bhajans, "Chala Vaahi Des", composed by her brother Hridaynath Mangeshkar. Some of the bhajans in the album include "Saanware Rang Ranchi" and "Ud Jaa Re Kaaga". In the early 1970s, she released other non-film albums, such as her collection of Ghalib ghazals, an album of Marathi folk songs (Koli-geete), an album of Ganesh aartis (all composed by her brother Hridaynath) and an album of "abhangs" of Sant Tukaram composed by Shrinivas Khale.


title: Lata Mangeshkar

text: In the 1978 Raj Kapoor-directed "Satyam Shivam Sundaram", she sang the main theme song "Satyam Shivam Sundaram," among the chart-toppers of the year. The film's story is inspired by her, according to Kapoor's daughter Ritu Nanda in her book "Raj Kapoor". The book quotes Kapoor as saying, "I visualised the story of a man falling for a woman with an ordinary countenance but a golden voice and wanted to cast Lata Mangeshkar in the role."


title: Lata Mangeshkar

text: In the late 1970s and early 1980s, she worked with the children of composers she had earlier worked with. Some of these composers included Rahul Dev Burman, son of Sachin Dev Burman, Rajesh Roshan, son of Roshan, Anu Malik, son of Sardar Malik, and Anand–Milind, sons of Chitragupta. She also sang many songs in the Assamese language and developed a very good relationship with the Assamese musician Bhupen Hazarika. She sang many songs under his direction; the song "Dil Hoom Hoom Kare" from "Rudaali" (1993) made the highest record sales that year.


title: Lata Mangeshkar

text: From the 1980s onward, Mangeshkar worked with music directors such as Shiv-Hari in "Silsila" (1981), "Faasle" (1985), "Vijay" (1988), and "Chandni" (1989) and Ram Laxman in" Ustadi Ustad Se" (1981), "Bezubaan" (1982), "Woh Jo Hasina" (1983), "Ye Kesa Farz" (1985), and "Maine Pyar Kiya" (1989). She sang in other movies, such as "Karz" (1980), "Ek Duuje Ke Liye" (1981), "Silsila" (1981), "Prem Rog" (1982), "Hero" (1983), "Pyar Jhukta Nahin" (1985), "Ram Teri Ganga Maili" (1985), "Nagina" (1986), and "Ram Lakhan" (1989). Her song "Zu Zu Zu Yashoda" from "Sanjog" (1985) was a chartbuster. In the late 1980s, she made a comeback to Tamil films with two back-to-back renditions of composer Ilaiyaraaja's songs "Aaraaro Aaraaro" and "Valai Osai", for the films "Anand" (1987) and "Sathya" (1988), respectively.


title: Lata Mangeshkar

text: Lata Didi Recorded her second Telugu Song "Thella Cheeraku" for Director K. Raghavendra Rao 1988 film Aakhari Poratam .


title: Lata Mangeshkar

text: In the 1980s, the composer duo Laxmikant–Pyarelal had Lata sing their biggest hits—"Sheesha Ho Ya Dil Ho" in "Asha" (1980), "Tu Kitne Baras Ka" in "Karz" (1980), "Kitna Aasan Hai" in "Dostana" (1980), "Hum Ko Bhi Gham" in "Aas Paas" (1980), "Mere Naseeb Mein" in "Naseeb" (1980), "Zindagi Ki Na Toote" in "Kranti" (1981), "Solah Baras Ki" in "Ek Duuje Ke Liye" (1981), "Ye Galiyan Ye Chaubara" in "Prem Rog" (1982), "Likhnewale Ne Likh Dale" in "Arpan" (1983), "Din Maheene Saal" in "Avtaar" (1983), "Pyar Karnewale" and "Nindiya Se Jagi" in "Hero" (1983), "Zu Zu Zu Yashoda" in "Sanjog" (1985), "Zindagi Har Qadam" in "Meri Jung" (1985), "Baith Mere Paas" in "Yaadon Ki Kasam" (1985), "Ungli Mein Anghoti" in "Ram Avtar" (1988) and "O Ramji Tere Lakhan Ne" in "Ram Lakhan" (1989).


title: Lata Mangeshkar

text: Some Rahul Dev Burman compositions for Lata in these years include "Aaja Sar-e-Bazaar" in "Alibaba Aur 40 Chor" (1980), "Bindiya Tarase" in "Phir Wohi Raat" (1981), "Thodi Si Zameen" in "Sitara" (1981), "Kya Yahi Pyar Hai" in "Rocky" (1981), "Dekho Maine Dekha" in "Love Story" (1981), "Tune O Rangeele" in "Kudrat" (1981), "Jaane Kaise Kab" in "Shakti" (1982), "Jab Hum Jawan Honge" in "Betaab" (1983), which became instantly popular, "Humein Aur Jeene" in "Agar Tum Na Hote" (1983), "Tujhse Naraaz Nahin" in "Masoom" (1983), "Kahin Na Ja" and "Jeevan Ke Din" in "Bade Dil Wala" (1983), "Jaane Kya Baat" in "Sunny" (1984), "Bhuri Bhuri Aankhon" in "Arjun" (1985), "Sagar Kinare" in "Sagar" (1985), "Din Pyar Ke Aayenge" in "Savere Wali Gaadi" (1986). "Kya Bhala Hai Kya", "Khamosh Sa Afsana" and "Seeli Hawa Chhoo" in "Libaas" (1988).


title: Lata Mangeshkar

text: Rajesh Roshan's collaboration with Dev Anand in "Lootmaar" and "Man Pasand" resulted in songs such as "Paas Ho Tum Magar Qareeb" and "Sumansudha Rajni Chandha" respectively. Lata had duets with Rafi such as "Mujhe Chhoo Rahi Hain" in "Swayamwar" (1980), "Kabhi Kabhi Bezubaan" in "Johny I Love You" (1982), "Tujh Sang Preet" in "Kaamchor" (1982), "Angrezi Mein Khete Hai" in "Khud-Daar" (1982), "Ankhiyo Hi Ankhiyo Mein" in "Nishaan" (1983), "Dushman Na Kare" in "Aakhir Kyon?" (1985) and "Wada Na Tod" in "Dil Tujhko Diya" (1987), later featured in the soundtrack of the 2004 film "Eternal Sunshine of the Spotless Mind".


title: Lata Mangeshkar

text: Bappi Lahiri composed some songs for Lata, such as "Dooriyan Sab Mita Do" in "Saboot" (1980), "Baithe Baithe Aaj Aayi" in "Patita" (1980), "Jaane Kyun Mujhe" in "Agreement" (1980), "Thoda Resham Lagta Hai" in "Jyoti" (1981), "Dard Ki Ragini" in "Pyaas" (1982), and "Naino Mein Sapna" (duet with Kishore Kumar) in "Himmatwala" (1983).


title: Lata Mangeshkar

text: Mohammed Zahur Khayyam continued to work with her during the 80s and composed songs such as "Hazaar Rahein Mud" (duet with Kishore Kumar) in "Thodisi Bewafai" (1980), "Simti Huyi" from "Chambal Ki Kasam" (1980), "Na Jane Kya Hua" in "Dard" (1981), "Chandni Raat Mein" in "Dil-e-Nadaan" (1982), "Dikhayi Diye" in "Bazaar" (1982), "Chand Ke Paas" in "Dil-e-Nadaan" (1982), "Bhar Lein Tumhe" and "Aaja Nindiya Aaja" from "Lorie" (1984) and "Kiran Kiran Mein Shokhiyan" in "Ek Naya Rishta" (1988).


title: Lata Mangeshkar

text: During the 80s, Lata sang hits such as "Sun Sahiba Sun" in "Ram Teri Ganga Maili" (1985) for Ravindra Jain, "Chand Apna Safar" in "Shama" (1981), "Shayad Meri Shaadi" and "Zindagi Pyar Ka" in "Souten" (1983), "Hum Bhool Gaye Re" in "Souten Ki Beti" (1989) for Usha Khanna. Hridaynath Mangeshkar had "Kale Kale Gehre Saye" in "Chakra" (1981), "Ye Ankhen Dekh Kar", and "Kuchh Log Mohabbat Ko" in "Dhanwan" (1981), "Mujhe Tum Yaad Karna" in "Mashaal" (1984), Assamese song "Jonakore Rati" (1986) with music and lyrics by Dr. Bhupen Hazarika, "Jaane Do Mujhe" in "Shahenshah" (1989) for Amar-Utpal, "Sajan Mera Us Paar" in "Ganga Jamuna Saraswati" (1988) and "Mere Pyar Ki Umar" in "Waaris" (1989) for Uttam Jagdish.


title: Lata Mangeshkar

text: In June 1985, the United Way of Greater Toronto invited her to perform at Maple Leaf Gardens. At the request of Anne Murray, Lata sang her song "You Needed Me". 12,000 attended the concert, which raised $150,000 for the charity.


title: Lata Mangeshkar

text: During the 1990s, Mangeshkar recorded with music directors including Anand–Milind, Nadeem-Shravan, Jatin–Lalit, Dilip Sen-Sameer Sen, Uttam Singh, Anu Malik, Aadesh Shrivastava and A. R. Rahman. She recorded some non-film songs, including ghazals with Jagjit Singh. She has also sung with Kumar Sanu, Amit Kumar, S. P. Balasubrahmanyam, Udit Narayan, Hariharan, Suresh Wadkar, Mohammed Aziz, Abhijeet Bhattacharya, Roop Kumar Rathod, Vinod Rathod, Gurdas Maan and Sonu Nigam. She also collaborated to Bahasa song with Rhoma Irama, the genre is called Dangdut.


title: Lata Mangeshkar

text: In 1990 she launched her own production house for Hindi movies which produced the Gulzar-directed movie "Lekin...". She won her third National Film Award for Best Female Playback Singer for her rendition of the song "Yaara Sili Sili" from the film, which was composed by her brother Hridaynath.


title: Lata Mangeshkar

text: In 1991, Indonesian dangdut singer, Rhoma Irama invited Mangeshkar to collaborate on several of his songs, album title ""Album Khusus Soneta Volume 1 - Ratu Dangdut Dunia Lata Mangeshkar"" the songs are entitled "Mawar Merah", "Orang Asing", "Datang Untuk Pergi," "Di Tepi Pantai", "Musim Cinta" and "Wahai Pesona". Irama also called Mangeshkar as Ratu Dangdut Dunia (World Dangdut Queen).


title: Lata Mangeshkar

text: She has sung for almost all the Yash Chopra films and films from his production house Yash Raj Films at that time, including "Chandni" (1989), "Lamhe" (1991), "Darr" (1993), "Yeh Dillagi" (1994), "Dilwale Dulhania Le Jayenge" (1995), "Dil To Pagal Hai" (1997) and later in "Mohabbatein" (2000), "Mujhse Dosti Karoge!" (2002) and "Veer-Zaara" (2004).


title: Lata Mangeshkar

text: During 1990 she recorded with Raamlaxman in "Patthar Ke Phool" (1991), "100 Days" (1991), "Mehboob Mere Mehboob" (1992), "Saatwan Aasman" (1992), "I Love You" (1992), "Dil Ki Baazi" (1993), "Antim Nyay" (1993), "The Melody of Love" (1993), "The Law "(1994), "Hum Aapke Hain Koun..!" (1994), "Megha" (1996), "Lav Kush" (1997), "Manchala" (1999), and "Dulhan Banoo Main Teri" (1999).


title: Lata Mangeshkar

text: From 1998 to 2014, A. R. Rahman recorded a few songs with her, including "Jiya Jale" in "Dil Se.." (1998), "Ek Tu Hi Bharosa" in "Pukar" (2000), "Pyaara Sa Gaon" in "Zubeidaa" (2000), "So Gaye Hain" in "Zubeidaa", "Khamoshiyan Gungunane Lagin" in "One 2 Ka 4" (2001), "O Paalanhaare" in "Lagaan" (2001), "Lukka Chuppi" in "Rang De Basanti" (2006) and "Laadli" in "Raunaq" (2014). She made an on-screen appearance in the film "Pukar" singing "Ek Tu Hi Bharosa."


title: Lata Mangeshkar

text: In 1994, she released "Shraddanjali – My Tribute to the Immortals". The special feature of the album is that Lata offers her tributes to immortal singers of the time by rendering a few of their songs in her own voice. There are songs of K. L. Saigal, Kishore Kumar, Mohammed Rafi, Hemant Kumar, Mukesh, Punkaj Mallick, Geeta Dutt, Zohrabai, Amirbai, Parul Ghosh and Kanan Devi.


title: Lata Mangeshkar

text: She sang both Rahul Dev Burman's first and last songs. In 1994, she sang "Kuch Na Kaho" for Rahul Dev Burman in "".


title: Lata Mangeshkar

text: In 1999, she was nominated as a member of Rajya Sabha. However, she did not attend Rajya Sabha sessions regularly, inviting criticism from several members of the House, including the Deputy Chairperson Najma Heptullah, Pranab Mukherjee and Shabana Azmi. She stated the reason for her absence as ill-health; it was also reported that she had not taken a salary, allowance or a house in Delhi for being a Member of Parliament.


title: Lata Mangeshkar

text: In the same year, she established the Master Deenanath Mangeshkar Hospital in Pune, managed by the Lata Mangeshkar Medical Foundation (founded by the Mangeshkar family in October 1989). In 2005, she designed a jewellery collection called Swaranjali, which was crafted by Adora, an Indian diamond export company. Five pieces from the collection raised £105,000 at a Christie's auction, and a part of the money was donated for the 2005 Kashmir earthquake relief. Also in 2001, she recorded her first Hindi song with the composer Ilaiyaraaja, for the film "Lajja"; she had earlier recorded Tamil and Telugu songs composed by Ilaiyaraaja.


title: Lata Mangeshkar

text: Her song "Wada Na Tod" was included in the film "Eternal Sunshine of the Spotless Mind" (2004) and in its soundtrack.


title: Lata Mangeshkar

text: Her other notable songs of this decade were from "Kabhi Khushi Kabhi Gham" (2001) and "Veer-Zaara" (2004).


title: Lata Mangeshkar

text: After 14 years, she recorded a song for composer Nadeem-Shravan; "Kaise Piya Se" for Bewafaa (2005). She recorded with Shamir Tandon "Kitne Ajeeb Rishte Hain Yahan Pe" for "Page 3" (2005) and "Daata Sun Le" for "Jail" (2009).


title: Lata Mangeshkar

text: On 21 June 2007, she released the album "Saadgi", featuring eight ghazal-like songs written by Javed Akhtar and composed by Mayuresh Pai.


title: Lata Mangeshkar

text: On 12 April 2011, Mangeshkar released the album "Sarhadein: Music Beyond Boundaries", which contains the duet "Tera Milna Bahut Acha Lage" by her and Mehdi Hassan (written by Pakistan's Farhad Shahzad). The album features Usha Mangeshkar, Suresh Wadkar, Hariharan, Sonu Nigam, Rekha Bhardwaj and another Pakistani singer, Ghulam Ali, with compositions by Mayuresh Pai and others.


title: Lata Mangeshkar

text: Shamir Tandon recorded a song with her ("Tere Hasne Sai Mujheko") for the film "Satrangee Parachute" (2011). After a hiatus she came back to playback singing and recorded at her own studio the song "Jeena kya hai, jaana maine" for "Dunno Y2... Life Is a Moment" (2015), the sequel to Kapil Sharma's queer love story "Dunno Y... Na Jaane Kyun" (2010) for which also she had lent her voice to one song.


title: Lata Mangeshkar

text: On 28 November 2012, she launched her own music label, LM Music, with an album of bhajans, "Swami Samarth Maha Mantra", composed by Mayuresh Pai. She sang with her younger sister Usha on the album.


title: Lata Mangeshkar

text: In 2014, she recorded a Bengali album, "Shurodhwani", including poetry by Salil Chowdhury, also composed by Pai. Lata Mangeshkar also recorded "Laadli" song with A.R.


title: Lata Mangeshkar

text: On 30 March 2019, Mangeshkar released the song "Saugandh Mujhe Is Mitti Ki", composed by Mayuresh Pai, as a tribute to the Indian army and nation.


title: Lata Mangeshkar

text: Mangeshkar has sung 185 songs in Bengali, making her debut in 1956 with the hit song "Aakash Prodeep Jwole", composed by Satinath Mukhopadhyay. The same year, she recorded "Rongila Banshite", composed by Bhupen Hazarika, which was also a hit. In the late 1950s, she recorded a string of hits such as "Jaare Ude Jare Pakhi", "Na Jeona", and "Ogo Aar Kichu To Noy", all composed by Salil Chowdhury, and which were respectively adapted into Hindi as "Ja Re Ud Ja Re Panchi" and "Tasveer Tere Dil Mein" in "Maya", and "O Sajna" in "Parakh". In 1960, she recorded "Akash Pradip Jole". Later in the 1960s, she sang hits like "Ekbar Biday De Ma Ghure Ashi," "Saat Bhai Champa," "Ke Pratham Kache Esechi," "Nijhum Sandhyay," "Chanchal Mon Anmona," "Asharh Srabon," "Bolchi Tomar Kaney," and "Aaj Mon Cheyeche" by composers like Sudhin Dasgupta, Hemant Kumar and Salil Chowdhury.


title: Lata Mangeshkar

text: From the 1940s to the 1970s, Mangeshkar sang duets with Asha Bhosle, Suraiya, Shamshad Begum, Usha Mangeshkar, Kishore Kumar, Mohammed Rafi, Mukesh, Talat Mahmood, Manna Dey, Geeta Dutt, Hemant Kumar, G. M. Durrani, and Mahendra Kapoor. In 1964, she sang "Chanda Se Hoga" with P. B. Sreenivas from "Main Bhi Ladki Hoon".


title: Lata Mangeshkar

text: Mukesh died in 1976. The 1980s saw the deaths of Mohammed Rafi and Kishore Kumar. After their demise, she continued to sing with Shailendra Singh, Shabbir Kumar, Nitin Mukesh (Mukesh's son), Manhar Udhas, Amit Kumar (Kishore Kumar's son), Mohammed Aziz, Suresh Wadkar, S. P. Balasubrahmanyam, and Vinod Rathod.


title: Lata Mangeshkar

text: In the 1990s, she began singing duets with Roop Kumar Rathod, Hariharan, Pankaj Udhas, Abhijeet, Udit Narayan, and Kumar Sanu. Her most notable work of the 90s was "Dilwale Dulhania Le Jayenge," with songs such as "Mere Khwabon Mein Jo Aaye", "Ho Gaya Hai Tujhko To Pyaar Sajna", "Tujhe Dekha To Yeh Jana Sanam", and "Mehndi Laga Ke Rakhna".


title: Lata Mangeshkar

text: In the 2000s, her duets were performed mainly with Udit Narayan and Sonu Nigam. 2005-06 were the years of her last well-known songs: "Kaise Piya Se" from "Bewafa" (2005); "Shayad Yehi To Pyaar Hai" from "" (2005) with Adnan Sami; and "Lukka Chhupi" in "Rang De Basanti" (2006 film) with A. R. Rahman. She sang "Ek Tu Hi Bharosa" from "Pukar" (2000). Other notable songs of this decade were from "Veer-Zaara" (2004), sung with Udit Narayan, Sonu Nigam, Jagjit Singh, Roop Kumar Rathod, and Gurdas Mann. One of her latest songs was "Jeena Hai Kya" from "Dunno Y2" (2015).


title: Lata Mangeshkar

text: Lata Mangeshkar composed music for the first time in 1955 for the Marathi movie "Ram Ram Pavhane". Later in the 1960s, she composed music for following Marathi movies under the pseudonym of Anand Ghan.


title: Lata Mangeshkar

text: She won Maharashtra State Government's Best Music Director Award for the film "Sadhi Manase". The song "Airanichya Deva Tula" from the same film received best song award.


title: Lata Mangeshkar

text: On 8 January 2022, Mangeshkar tested positive for COVID-19 with mild symptoms and was admitted to Breach Candy Hospital's intensive care unit in Mumbai. She remained in the ICU with signs of "marginal improvement" in her health. The doctors treating her had taken her off the ventilator on 28 January after her health "improved marginally"; however, she was back on the ventilator on 5 February, after her health deteriorated, and was undergoing "aggressive therapy".


title: Lata Mangeshkar

text: Mangeshkar died from multiple organ dysfunction syndrome on 6 February 2022, at the age of 92. She had undergone 28 days of constant treatment for pneumonia and COVID-19.


title: Lata Mangeshkar

text: The Government of India announced a two-day period of national mourning and that the national flag would fly at half-mast from 6 to 7 February throughout India out of respect for her. President Ram Nath Kovind, Vice President Venkaiah Naidu, Prime Minister Narendra Modi, several Union Ministers and Chief Ministers, many members of the Indian Music Industry, Indian film industry, celebrities, fans, and netizens expressed their condolences. Indian Cricket Team players wore black arm band to mourn the loss of Mangeshkar in India vs. West Indies first ODI. Prime Minister Of France Emmanuel Macron, Prime Minister of Pakistan, Imran Khan, Prime Minister of Bangladesh, Sheikh Hasina, Prime Minister of Nepal, Sher Bahadur Deuba, Prime Minister of Sri Lanka, Mahinda Rajapaksa, former President of Afghanistan, Hamid Karzai, and Pakistani Minister Fawad Chaudhry expressed their grief on her death. Mangeshkar's last rites (performed by her brother, Hridaynath Mangeshkar) and cremation were held, with full state honours, at Mumbai's Shivaji Park on the same day. Prime Minister Narendra Modi, Governor Bhagat Singh Koshyari, Chief Minister Uddhav Thackeray paid their last respects and placed floral tributes. Mangeshkar's sisters Asha Bhosle and Usha Mangeshkar, Devendra Fadnavis, Raj Thackeray, Sharad Pawar, Shah Rukh Khan, Aamir Khan, Ranbir Kapoor, Vidya Balan, Shraddha Kapoor, Sachin Tendulkar, Anuradha Paudwal, and several dignitaries and family members were also in attendance. In February 2022, an electronic billboard in Times Square, Manhattan, sponsored by the Binder Indian Cultural Center, featured a tribute to Mangeshkar. Another tribute to Mangeshkar by popular singers (Arnab Chakrabarty, Niharika Nath and Mandira Karmakar) was published in an Arizona US newspaper. Lata Mangeshkar died the next day after Vasant Panchami (a festival dedicated to Goddess Saraswati who represents music, knowledge, and the rest of the arts). "This is special as many considered her to be an avatar of Saraswati and the personification of music," according to actress Rani Mukerji.


title: Lata Mangeshkar

text: On 10 February 2022, Mangeshkar's ashes were immersed in the Godavari River at Ramkund, Nashik by her sister Usha and nephew Adinath Mangeshkar.


title: Lata Mangeshkar

text: Mangeshkar won several awards and honours, including the Bharat Ratna (2001), India's highest civilian award, Padma Bhushan (1969), Padma Vibhushan (1999), Zee Cine Award for Lifetime Achievements (1999), Dadasaheb Phalke Award (1989), Maharashtra Bhushan Award (1997), NTR National Award (1999), Legion of Honour (2007), ANR National Award (2009), three National Film Awards and 15 Bengal Film Journalists' Association Awards. She also won four Filmfare Best Female Playback Awards. In 1969, she made the unusual gesture of giving up the Filmfare Best Female Playback Award in order to promote fresh talent. She was later awarded the Filmfare Lifetime Achievement Award in 1993 and Filmfare Special Awards in 1994 and 2004.


title: Lata Mangeshkar

text: In 1984, the State Government of Madhya Pradesh instituted the Lata Mangeshkar Award in her honour. The State Government of Maharashtra also instituted a similar award in 1992.


title: Lata Mangeshkar

text: In 2009, she was awarded the title of Officer of the French Legion of Honour, France's highest order.


title: Lata Mangeshkar

text: Ustad Bade Ghulam Ali Khan said ""kambakht, kabhi besuri na hoti"" ("[she] is never off-key"). Actor Dilip Kumar once commented, ""Lata Mangeshkar ki awaaz kudrat ki takhleek ka ek karishma hain"", meaning "Lata Mangeshkar's voice is a miracle from God".


title: Lata Mangeshkar

text: Lata Mangeshkar was included in the 'In Memoriam' segment at the 2022 British Academy Film and Television Awards (BAFTA).


title: Lata Mangeshkar

text: She also received honorary doctorates from the Sangeet Natak Akademi in 1989, Indira Kala Sangeet Vishwavidyalaya, Khairagarh, and Shivaji University in Kolhapur.


title: Lata Mangeshkar

text: In 1974, "The Guinness Book of Records" listed Lata Mangeshkar as the most recorded artist in history, stating that she had reportedly recorded "more than 25,000 solo, duet and chorus backed songs in 20 Indian languages" between 1948 and 1974. Her record was contested by Mohammad Rafi, who was claimed to have sung around 28,000 songs. After Rafi's death, in its 1984 edition, the Guinness Book of World Records stated her name for the "Most Recordings", but also stated Rafi's claim. The later editions of Guinness Book stated that she had sung no fewer than 30,000 songs between 1948 and 1987.


title: Lata Mangeshkar

text: The entry was discontinued by Guinness editions in 1991 without explanation, while several sources continued to claim that she recorded thousands of songs, with estimates ranging up to figures as large as 50,000. However, even the earliest Guinness claim of 25,000 songs (between 1948 and 1974) was disputed and claimed to have been exaggerated by several others, stating that the number of songs sung by her in Hindi films to 1991 was found to be 5025. Mangeshkar stated that she did not keep a record of the number of songs she recorded, and that she did not know from where Guinness Book editors got their information. In 2011, the entry was revived by "Guinness" crediting the record to her sister Asha Bhosle as the most recorded artist in music history, "for recording up to 11,000 solo, duet and chorus-backed songs and in over 20 Indian languages since 1947". Since 2016, current record in this category belongs to


title: Lata Mangeshkar

text: P. Susheela, for recording at least 17,695 songs in 6 languages, not counting some lost early recordings.


title: Tardigrade

text: Tardigrades (), known colloquially as water bears or moss piglets, are a phylum of eight-legged segmented micro-animals. They were first described by the German zoologist Johann August Ephraim Goeze in 1773, who called them Kleiner Wasserbär ("little water bear"). In 1777, the Italian biologist Lazzaro Spallanzani named them Tardigrada (), which means "slow steppers".


title: Tardigrade

text: They have been found in diverse regions of Earth's biospheremountaintops, the deep sea, tropical rainforests, and the Antarctic. Tardigrades are among the most resilient animals known, with individual species able to survive extreme conditions – such as exposure to extreme temperatures, extreme pressures (both high and low), air deprivation, radiation, dehydration, and starvation – that would quickly kill most other known forms of life. Tardigrades have survived exposure to outer space. There are about 1,300 known species in the phylum Tardigrada, a part of the superphylum Ecdysozoa consisting of animals that grow by ecdysis such as arthropods and nematodes. The earliest known true members of the group are known from Cretaceous (145 to 66 million years ago) amber, found in North America, but are essentially modern forms, and therefore likely have a significantly earlier origin, as they diverged from their closest relatives in the Cambrian, over 500 million years ago.


title: Tardigrade

text: Tardigrades are usually about long when fully grown. They are short and plump, with four pairs of legs, each ending in claws (usually four to eight) or suction disks. Tardigrades are prevalent in mosses and lichens and feed on plant cells, algae, and small invertebrates. When collected, they may be viewed under a low-power microscope, making them accessible to students and amateur scientists.


title: Tardigrade

text: Johann August Ephraim Goeze originally named the tardigrade "Kleiner Wasserbär", meaning "little water-bear" in German (today, they are often referred to in German as "Bärtierchen" or "little bear-animal"). The name "water-bear" comes from the way they walk, reminiscent of a bear's gait. The name "Tardigradum" means "slow walker" and was given by Lazzaro Spallanzani in 1777.


title: Tardigrade

text: The largest adults may reach a body length of , the smallest below . Newly hatched tardigrades may be smaller than .


title: Tardigrade

text: Tardigrades are often found on lichens and mosses, for example by soaking a piece of moss in water. Other environments in which they are found include dunes and coasts generally, soil, leaf litter, and marine or freshwater sediments, where they may occur quite frequently, up to 25,000 animals per litre (95,000 animals per gallon). One tardigrade, "Echiniscoides wyethi", may be found on barnacles.


title: Tardigrade

text: Tardigrades have barrel-shaped bodies with four pairs of stubby legs. Most range from in length, although the largest species may reach . The body consists of a head, three body segments each with a pair of legs, and a caudal segment with a fourth pair of legs. The legs are without joints, while the feet have four to eight claws each. The cuticle contains chitin and protein and is moulted periodically. The first three pairs of legs are directed downward along the sides and are the primary means of locomotion, while the fourth pair is directed backward on the last segment of the trunk and is used primarily for grasping the substrate.


title: Tardigrade

text: Tardigrades lack several Hox genes and a large intermediate region of the body axis. In insects, this corresponds to the entire thorax and the abdomen. Practically the whole body, except for the last pair of legs, is made up of just the segments that are homologous to the head region in arthropods.


title: Tardigrade

text: All adult tardigrades of the same species have the same number of cells (see eutely). Some species have as many as 40,000 cells in each adult, while others have far fewer.


title: Tardigrade

text: The body cavity consists of a haemocoel, but the only place where a true coelom can be found is around the gonad. No respiratory organs are found, with gas exchange able to occur across the entirety of the body. Some tardigrades have three tubular glands associated with the rectum; these may be excretory organs similar to the Malpighian tubules of arthropods, although the details remain unclear. Also, nephridia are absent.


title: Tardigrade

text: The tubular mouth is armed with stylets, which are used to pierce the plant cells, algae, or small invertebrates on which the tardigrades feed, releasing the body fluids or cell contents. The mouth opens into a triradiate, muscular, sucking pharynx. The stylets are lost when the animal molts, and a new pair is secreted from a pair of glands that lie on either side of the mouth. The pharynx connects to a short esophagus, and then to an intestine that occupies much of the length of the body, which is the main site of digestion. The intestine opens, via a short rectum, to an anus located at the terminal end of the body. Some species only defecate when they molt, leaving the feces behind with the shed cuticle.


title: Tardigrade

text: The brain develops in a bilaterally symmetric pattern. Tardigrades have a dorsal brain atop a paired ventral nervous system. The brain includes multiple lobes, mostly consisting of three bilaterally paired clusters of neurons. The brain is attached to a large ganglion below the esophagus, from which a double ventral nerve cord runs the length of the body. The cord possesses one ganglion per segment, each of which produces lateral nerve fibres that run into the limbs. Many species possess a pair of rhabdomeric pigment-cup eyes, and numerous sensory bristles are on the head and body.


title: Tardigrade

text: Tardigrades all possess a buccopharyngeal apparatus (swallowing device made of muscles and spines that activates an inner jaw and begins digestion and movement along the throat and intestine) which, along with the claws, is used to differentiate species.


title: Tardigrade

text: Although some species are parthenogenic, both males and females are usually present, although females are frequently larger and more common. Both sexes have a single gonad located above the intestine. Two ducts run from the testes in males, opening through a single pore in front of the anus. In contrast, females have a single duct opening either just above the anus or directly into the rectum, which forms a cloaca.


title: Tardigrade

text: Tardigrades are oviparous, and fertilization is usually external. Mating occurs during the molt with the eggs being laid inside the shed cuticle of the female and then covered with sperm. A few species have internal fertilization, with mating occurring before the female fully sheds her cuticle. In most cases, the eggs are left inside the shed cuticle to develop, but some species attach them to nearby substrate.


title: Tardigrade

text: The eggs hatch after no more than 14 days, with the young already possessing their full complement of adult cells. Growth to the adult size occurs by enlargement of the individual cells (hypertrophy), rather than by cell division. Tardigrades may molt up to 12 times.


title: Tardigrade

text: Tardigrades tend to court before mating. Courtship is an early step in mating and was first observed in tardigrades in 1895. Research shows that up to nine males aggregate around a female to mate.


title: Tardigrade

text: Most tardigrades are phytophagous (plant eaters) or bacteriophagous (bacteria eaters), but some are carnivorous to the extent that they eat smaller species of tardigrades (e.g., "Milnesium tardigradum").


title: Tardigrade

text: Tardigrades share morphological characteristics with many species that differ largely by class. Biologists have a difficult time finding verification among tardigrade species because of this relationship. These animals are most closely related to the early evolution of arthropods. Tardigrade fossils go as far back as the Cretaceous period in North America. Tardigrades are considered cosmopolitan and can be located in regions all over the world. The eggs and cysts of tardigrades are so durable that they can be carried great distances on the feet of other animals.


title: Tardigrade

text: Tardigrades have survived all five recognized mass extinctions due to their plethora of survival characteristics, including the ability to survive conditions that would be fatal to almost all other animals (see the next section).


title: Tardigrade

text: The lifespan of tardigrades ranges from three to four months for some species, up to two years for other species, not counting their time in dormant states.


title: Tardigrade

text: Scientists have reported tardigrades in hot springs, on top of the Himalayas (6,000 m; 20,000 ft, above sea level) to the deep sea () and from the polar regions to the equator, under layers of solid ice, and in ocean sediments. Many species can be found in milder environments such as lakes, ponds, and meadows, while others can be found in stone walls and roofs. Tardigrades are most common in moist environments, but can stay active wherever they can retain at least some moisture.


title: Tardigrade

text: Tardigrades are thought to be able to survive even complete global mass extinction events caused by astrophysical events, such as gamma-ray bursts, or large meteorite impacts. Some of them can withstand extremely cold temperatures down to (close to absolute zero), while others can withstand extremely hot temperatures up to for several minutes, pressures about six times greater than those found in the deepest ocean trenches, ionizing radiation at doses hundreds of times higher than the lethal dose for a human, and the vacuum of outer space. Tardigrades that live in harsh conditions undergo an annual process of cyclomorphosis, allowing for survival in subzero temperatures.


title: Tardigrade

text: They are not considered extremophilic because they are not adapted to exploit these conditions, only to endure them. This means that their chances of dying increase the longer they are exposed to the extreme environments, whereas true extremophiles thrive in a physically or geochemically extreme environment that would harm most other organisms.


title: Tardigrade

text: Tardigrades are one of the few groups of species that are capable of suspending their metabolism (see cryptobiosis). While in this state, their metabolism lowers to less than 0.01% of normal and their water content can drop to 1% of normal, and they can go without food or water for more than 30 years, only to later rehydrate, forage, and reproduce. Many species of tardigrade can survive in a dehydrated state up to five years, or longer in exceptional cases. Depending on the environment, they may enter this state via anhydrobiosis, allowing tardigrades, along with some other micro-metazoans (such as worms, rotifers, and crustaceans), protozoans, and plants that ability to survive in inhospitable habitats as opposed to other living things. In addition to offering protection from desiccation and freezing under normal circumstances, anhydrobiosis also permits resistance to unnatural abiotic extremes such as subzero temperatures.cryobiosis, osmobiosis, or anoxybiosis.


title: Tardigrade

text: Their ability to remain desiccated for such long periods of time was thought to be dependent on high levels of the nonreducing disaccharide trehalose, which is commonly seen in other organisms that survive desiccation, and tardigrades have trehalase genes. However, it has been seen that in both tardigrades and bdelloid rotifers, there is only a partial capability to synthesize trehalose in quantities that may contribute to desiccation tolerance.


title: Tardigrade

text: In response to this finding, more research was done on how these animals survived such extreme conditions. It was found that intrinsically disordered proteins (IDPs) were highly expressed in response to desiccation in tardigrades. Additionally, three new IDPs were found to be specific to tardigrades and coined tardigrade specific proteins (TDPs). These TDPs may maintain the structure of membranes by associating with the polar heads of the phospholipids bilayers, avoiding structural damage upon rehydration. Also, TDPs, being highly hydrophilic, are thought to be involved in a vitrification mechanism, where a glass-like matrix forms within cells to protect the cellular contents upon desiccation. Their DNA is further protected from radiation by a protein called "dsup" (short for "damage suppressor"). In this cryptobiotic state, the tardigrade is known as a tun.


title: Tardigrade

text: Tardigrades are able to survive in extreme environments that would kill almost any other animal. Extremes at which tardigrades can survive include those of:


title: Tardigrade

text: Research published in 2020 shows that tardigrades are sensitive to high temperatures. Researchers showed it takes 48 hours at to kill half of active tardigrades that have not been acclimated to heat. Acclimation boosted the temperature needed to kill half of active tardigrades to . Tardigrades in the tun state fared a bit better, tolerating higher temperatures. It took heating to to kill half of tun-state tardigrades within one hour. Longer exposure time decreased the temperature needed for lethality, though. For 24 hours of exposure, was enough to kill half of the tun-state tardigrades.


title: Tardigrade

text: Tardigrades are the first known animal to survive after exposure to outer space. In September 2007, dehydrated tardigrades were taken into low Earth orbit on the FOTON-M3 mission carrying the BIOPAN astrobiology payload. For 10 days, groups of tardigrades, some of them previously dehydrated, some of them not, were exposed to the hard vacuum of outer space, or vacuum and solar UV radiation. Back on Earth, more than 68% of the subjects protected from solar UV radiation were reanimated within 30 minutes following rehydration, although subsequent mortality was high; many of these produced viable embryos. In contrast, hydrated samples exposed to the combined effect of vacuum and full solar UV radiation had significantly reduced survival, with only three subjects of "Milnesium tardigradum" surviving. Also, it was found that the space vacuum did not have a significant effect on egg-laying in either R. "coronifer" or M. "tardigradum". However, M. "tardigradum" exposed to UV radiation had a lower egg laying rate. In May 2011, Italian scientists sent tardigrades on board the International Space Station along with extremophiles on STS-134, the final flight of . Their conclusion was that microgravity and cosmic radiation "did not significantly affect survival of tardigrades in flight, and stated that tardigrades represent a useful animal for space research." In November 2011, they were among the organisms to be sent by the U.S.-based Planetary Society on the Russian Fobos-Grunt mission's Living Interplanetary Flight Experiment to Phobos; however, the launch failed. In August 2019, scientists reported that a capsule containing tardigrades in a cryptobiotic state may have survived for a while on the Moon after the April 2019 crash landing of "Beresheet", a failed Israeli lunar lander, but in May 2021 it was reported that they were unlikely to have survived the impact.


title: Tardigrade

text: In recent years, there has also been increased speculation regarding tardigrades' ability to survive on Mars without any life support systems, but despite the hardiness of the tardigrade, it would still "need stuff to eat," in order to set up shop.


title: Tardigrade

text: Scientists have conducted morphological and molecular studies to understand how tardigrades relate to other lineages of ecdysozoan animals. Two plausible placements have been proposed: tardigrades are either most closely related to Arthropoda and Onychophora, or to nematodes. Evidence for the former is a common result of morphological studies; evidence of the latter is found in some molecular analyses.


title: Tardigrade

text: The latter hypothesis has been rejected by recent microRNA and expressed sequence tag analyses. Apparently, the grouping of tardigrades with nematodes found in a number of molecular studies is a long branch attraction artifact. Within the arthropod group (called panarthropoda and comprising onychophora, tardigrades and euarthropoda), three patterns of relationship are possible: tardigrades sister to onychophora plus arthropods (the lobopodia hypothesis); onychophora sister to tardigrades plus arthropods (the tactopoda hypothesis); and onychophora sister to tardigrades. Recent analyses indicate that the panarthropoda group is monophyletic, and that tardigrades are a sister group of Antennopoda, the lineage consisting of arthropods and Onychophora.


title: Tardigrade

text: The minute sizes of tardigrades and their membranous integuments make their fossilization both difficult to detect and highly unusual. The only known fossil specimens are those from mid-Cambrian deposits in Siberia (Orsten fauna) and a few rare specimens from Cretaceous amber.


title: Tardigrade

text: The Siberian tardigrade fossils differ from living tardigrades in several ways. They have three pairs of legs rather than four, they have a simplified head morphology, and they have no posterior head appendages, but they share with modern tardigrades their columnar cuticle construction. Scientists think they represent a stem group of living tardigrades.


title: Tardigrade

text: In October 2021, a new species, "Paradoryphoribius chronocaribbeus", was discovered as a fossil in amber that was dated to be 16 million years old.


title: Tardigrade

text: There are multiple lines of evidence that tardigrades are secondarily miniaturized from a larger ancestor, probably a lobopodian and perhaps resembling "Aysheaia", which many analyses place close to the divergence of the tardigrade lineage. An alternative hypothesis derives tactopoda from a clade encompassing dinocaridids and "Opabinia".


title: Tardigrade

text: The oldest remains of modern tardigrades are those of "Milnesium swolenskyi," belonging to the living genus "Milnesium" known from a Late Cretaceous (Turonian) aged specimen of New Jersey amber, around 90 million years old. Another fossil, "Beorn leggi", is known from a Late Campanian (~72 million years old) specimen of Canadian amber and has been placed in its own family (Beornidae), but was subsequently suggested to belong to the Hypsibiidae. An indeterminate heterotardigrade was also noted from the same deposit.


title: Tardigrade

text: Tardigrade genomes vary in size, from about 75 to 800 megabase pairs of DNA. "Hypsibius exemplaris" (formerly "Hypsibius dujardini") has a compact genome of 100 megabase pairs and a generation time of about two weeks; it can be cultured indefinitely and cryopreserved.


title: Tardigrade

text: The genome of "Ramazzottius varieornatus," one of the most stress-tolerant species of tardigrades, was sequenced by a team of researchers from the University of Tokyo in 2015. While previous research had claimed that around one-sixth of the genome had been acquired from other organisms, it is now known that less than 1.2% of its genes were the result of horizontal gene transfer. They also found evidence of a loss of gene pathways that are known to promote damage due to stress. This study also found a high expression of novel tardigrade-unique proteins, including Damage suppressor (Dsup), which was shown to protect against DNA damage from X-ray radiation. The same team applied the Dsup protein to human cultured cells and found that it suppressed X-ray damage to the human cells by around 40%. While the exact mechanism of DNA protection is largely unknown, the results from an August 2020 study suggest that strong electrostatic attractions along with high protein flexibility help form a molecular aggregate, which allows Dsup to shield DNA.


title: Tardigrade

text: Many organisms that live in aquatic environments feed on species such as nematodes, tardigrades, bacteria, algae, mites, and collembolans. Tardigrades work as pioneer species by inhabiting new developing environments. This movement attracts other invertebrates to populate that space, while also attracting predators.


title: Mariupol

text: Mariupol (, ; ) is a city on the north coast of the Sea of Azov at the mouth of the Kalmius River, in the Pryazovia region of Ukraine. Prior to the 2022 Russian invasion of Ukraine and its capture by Russia, it was the tenth-largest city in Ukraine and the second-largest in Donetsk Oblast, with an estimated population of 425 681, according to a January 2022 estimate. Following its capture, the population is now, according to Ukrainian authorities, estimated to be less than 100,000.


title: Mariupol

text: Not only was Mariupol a centre for trade and manufacturing, it also played a key role in the development of higher education and various other businesses as well as being a Black Sea coast resort area. From 1948 to 1989, the city was named Zhdanov, after the Soviet functionary Andrei Zhdanov, as part of the practice of renaming cities after Communist leaders. Mariupol was founded on the site of a former Cossack encampment known as Kalmius, and granted city rights in 1778. Mariupol played a key role in the industrialization of Ukraine, and was a centre for the grain trade, metallurgy, and heavy engineering, including the Illich Steel & Iron Works and Azovstal Iron and Steel Works.


title: Mariupol

text: In 2022, the city was besieged by Russian and Russian proxy forces and largely destroyed, for which it received the title of Hero City of Ukraine. On 16 May 2022, the last remaining Ukrainian troops in Azovstal Steel Plant surrendered as Russia secured complete control over the city.


title: Mariupol

text: Neolithic burial grounds excavated on the shore of the Sea of Azov date from the end of the third millennium BCE. Over 120 skeletons were discovered, with stone and bone instruments, beads, shell-work, and animal teeth.


title: Mariupol

text: Mariupol was founded on the site of a former Cossack encampment known as Kalmius, and granted city rights in 1778. Mariupol played a key role in the industrialization of Ukraine, and was a centre for the grain trade, metallurgy, and heavy engineering, including the Illich Steel & Iron Works and Azovstal.


title: Mariupol

text: From the 12th through the 16th century, the area around Mariupol was largely devastated and depopulated by intense conflict between the Crimean Tatars, the Nogay Horde, the Grand Duchy of Lithuania, and Muscovy. By the middle of the 15th century much of the region north of the Black and Azov Seas was annexed by the Crimean Khanate and became a dependency of the Ottoman Empire. East of the Dnieper River a desolate steppe stretched to the Sea of Azov, where lack of water made early settlement precarious.


title: Mariupol

text: Being near the Muravsky Trail exposed it to frequent Crimean–Nogai slave raids and plundering by Tatar tribes, preventing permanent settlement and keeping it sparsely populated, or even entirely uninhabited, under Tatar rule. Hence it was known as the Wild Fields or the 'Deserted Plains' ("Campi Deserti" in Latin).


title: Mariupol

text: In this region of Eurasian steppes, the Cossacks emerged as a distinct people in the late fifteenth and early sixteenth centuries. Below the Dnieper Rapids were the Zaporozhian Cossacks, freebooters organized into small, loosely-knit, and highly mobile groups who were both livestock farmers and nomads. The Cossacks would regularly penetrate the steppe to fish and hunt, as well as for migratory farming and to herd livestock. Their independence from governmental and landowner authority attracted to join them many peasants and serfs fleeing the Polish–Lithuanian Commonwealth and Grand Duchy of Moscow.


title: Mariupol

text: The Treaty of Constantinople in 1700 further isolated the region, as it stipulated that there should be no settlements or fortifications on the coast of the Azov Sea to the mouth of the Mius River. In 1709, in response to a Cossack alliance with Sweden against Russia, Tsar Peter the Great ordered the liquidation of the Zaporozhian Sich, and their complete and permanent expulsion from the area. In 1733, Russia was preparing for a new military campaign against the Ottoman Empire and therefore allowed the return of the Zaporozhians, although the territory officially belonged to Turkey.


title: Mariupol

text: Under the Agreement of Lubny of 1734, the Zaporozhians regained all their former lands. In return, they were forced to serve in the Russian army during wartime. They were also permitted to build a new stockade on the Dnieper River called New Sich, though the terms prohibited them from erecting fortifications. These terms allowed only for living quarters, in Ukrainian called "kureni".