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Mackinac Island
Mackinac Island ( MAK-in-aw) is an island and resort area, covering 3.8 square miles (9.8 km2) in land area, in the U.S. state of Michigan. It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was home to an Odawa settlement before European exploration began in the 17th century. It served a strategic position as a center on the commerce of the Great Lakes fur trade.
Etymology
Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language. Native Americans in the Straits of Mackinac region likened the shape of the island to that of a turtle so they named it "Mitchimakinak" (Ojibwe: mishimikinaak) "Big Turtle". Andrew Blackbird, an official interpreter for the U.S. government and an Ottawa chief's son, said it was named after a tribe that had lived there. The French spelled it with their version of the original pronunciation: Michilimackinac. The British shortened it to the present name: "Mackinac." Michillimackinac is also spelled as Mishinimakinago, Mishima'kinung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie. The Menominee traditionally lived in a large territory of 10 million acres extending from Wisconsin to the Upper Peninsula of Michigan. Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote: Mishinimakinago; pl.-g.--This name is given to some strange Indians (according to the sayings of the Otchipwes [Ojibwe]), who are rowing through the woods, and who are sometimes heard shooting, but never seen. And from this word, the name of the village of Mackinac, or Michillimackinac, is derived. Maehkaenah is the Menominee word for turtle. In his 1952 The Indian Tribes of North America, John Reed Swanton recorded under the "Wisconsin" section: "Menominee," a band named "Misi'nimak Kimiko Wini'niwuk, 'Michilimackinac People,' near the old fort at Mackinac, Mich." In an early written history of Mackinac Island (1887) by Andrew Blackbird, the Odawa historian, he describes that a small independent tribe called "Mi-shi-ne-macki naw-go" once occupied Mackinac Island. They became confederated with the Ottawa from Ottawa Island (now Manitoulin Island) situated north of Lake Huron. One winter the Mi-shi-ne-macki naw-go on Mackinac Island were almost entirely annihilated by the Seneca people from New York, who were part of the Iroquois Confederacy. Only two of the local natives escaped by hiding in one of the natural caves at the island. To commemorate the losses of this allied tribe, the Ottawa named what is now Mackinac Island, as "Mi-shi-ne-macki-nong." In 1895 Fort Mackinac's John R. Bailey, M. D. published his history, entitled Mackinac formerly Michilimackinac, describing some of the first recorded presence on Mackinac of French traders. They arrived in 1654 with a large party of Huron and Ottawa heading to Three Rivers; another visitor was an adventurer making a canoe voyage in 1665. CANNOTANSWER
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Mackinac Island ( , ; ; ; ) is an island and resort area, covering in land area, in the U.S. state of Michigan. The name of the island in Odawa is Michilimackinac and "Mitchimakinak" in Ojibwemowin meaning "Great Turtle". It is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. The island was long home to an Odawa settlement and previous indigenous cultures before European colonization began in the 17th century. It was a strategic center of the fur trade around the Great Lakes. Based on a former trading post, Fort Mackinac was constructed on the island by the British during the American Revolutionary War. It was the site of two battles during the War of 1812 before the northern border was settled and the US gained this island in its territory. In the late 19th century, Mackinac Island became a popular tourist attraction and summer colony. Many of the structures on the island have undergone extensive historical preservation and restoration. Because of its historic significance, the entire island is listed as a National Historic Landmark. It is well known for numerous cultural events; a wide variety of architectural styles, including the Victorian Grand Hotel; and its ban on almost all motor vehicles, with exceptions only for city emergency vehicles (ambulance, police cars and fire trucks), city service vehicles and snowmobiles in winter. More than 80 percent of the island is preserved as Mackinac Island State Park. Etymology Like many historic places in the Great Lakes region, Mackinac Island's name derives from a Native American language, in this case Ojibwe language. The Anishinaabe peoples in the Straits of Mackinac region likened the shape of the island to that of a turtle so they named it "Mitchimakinak" () "Big Turtle". Andrew Blackbird, an official interpreter for the U.S. government and son of an Odawa chief, said the island was known locally after a tribe that had lived there. The French transliterated the work and spelled it as Michilimackinac. The British shortened it to the present name: "Mackinac." Michillimackinac is also spelled as Mishinimakinago, Mǐshǐma‛kǐnung, Mi-shi-ne-macki naw-go, Missilimakinak, Teiodondoraghie, and in Ojibwe syllabics: ᒥᔑᒥᑭᓈᒃ. The Menominee traditionally lived in a large territory of extending from Wisconsin to the Upper Peninsula of Michigan. Historic references include one by Father Frederic Baraga, a Slovenian missionary priest in Michigan, who in his 1878 dictionary wrote: Maehkaenah is the Menominee word for turtle. In his 1952 book The Indian Tribes of North America, John Reed Swanton recorded under the "Wisconsin" section: "Menominee," a band named "Misi'nimäk Kimiko Wini'niwuk, 'Michilimackinac People,' near the old fort at Mackinac, Mich." In an early written history of Mackinac Island (1887) by Andrew Blackbird, the Odawa historian, he describes that a small independent tribe called "Mi-shi-ne-macki naw-go" once occupied Mackinac Island. They became confederated with the Ottawa from Ottawa Island (now Manitoulin Island), situated north of Lake Huron. One winter the Mi-shi-ne-macki naw-go on Mackinac Island were almost entirely annihilated by the Seneca people from western New York, who were one of the Five Nations of the Iroquois Confederacy. Only two of the local natives escaped by hiding in one of the natural caves at the island. To commemorate the losses of this allied tribe, the Ottawa named what is now Mackinac Island, as "Mi-shi-ne-macki-nong." In 1895 John R. Bailey, the doctor at Fort Mackinac, published a history, entitled Mackinac formerly Michilimackinac, describing some of the earliest French traders on Mackinac. They reportedly arrived in 1654 with a large party of Huron and Ottawa heading to Three Rivers; another visitor was an adventurer making a canoe voyage in 1665. History Prehistoric Archaeologists have excavated prehistoric fishing camps on Mackinac Island and in the surrounding areas. Fishhooks, pottery, and other artifacts establish a Native American presence at least 700 years before European exploration, around AD 900. The island is a sacred place in the tradition of some of its earliest known inhabitants, the Anishinaabe peoples. They consider it to be home of the Gitche Manitou, or the "Great Spirit". According to legend, Mackinac Island was created by the Great Hare, Michabou, and was the first land to appear after the Great Flood receded. The island was a gathering place for the local tribes, who made offerings to Gitche Manitou. It became the burial place of tribal chiefs. 17th through 18th centuries The first European likely to have seen Mackinac Island is Jean Nicolet, a French-Canadian coureur des bois, during his 1634 explorations. The Jesuit priest Claude Dablon founded a mission for the Native Americans on Mackinac Island in 1670, and stayed over the winter of 1670–71. The missionary and explorer Jacques Marquette succeeded him, moving the mission to St. Ignace soon after his arrival in the region in the fall of 1671. With the mission as a focus, the Straits of Mackinac quickly became an important French fur trading location. The British took control of the Straits of Mackinac after the French and Indian War and Major Patrick Sinclair chose the bluffs of the island for Fort Mackinac in 1780. The Jesuit Relations (1671) contains a long description of Mackinac Island: The Relations also indicate the tremendous strategic importance of Michilimackinac/Mackinac Island as "the central point for all travel on the upper Great Lakes, and for a vast extent of wilderness and half-settled country beyond" to First Nations and Europeans (prior to the arrival of railroads). The tribes who had inhabited Mackinac Island had been driven away by the Iroquois, leaving the island practically deserted until 1670. The Huron people from Lake Superior, in fear of the Sioux, retreated to the shore north of Mackinac Island. Here Marquette continued his missionary labors with them, at the site of the present St. Ignace. The 1688 memoir of Jacques-René de Brisay de Denonville, Marquis de Denonville, claimed that the French had inhabited the area since 1648. A small French garrison was sent there some time between 1679 and 1683. The name of Michilimackinac (later abbreviated to Mackinac) was applied generally to the entire vicinity, as well as specifically to the post at St. Ignace. Later it was applied to the fort and mission established on the south side of the Strait of Mackinac. Although the British built Fort Mackinac to protect their settlement from attack by French-Canadians and native tribes, the fort was never attacked during the American Revolutionary War. The entire Straits area was officially acquired by the United States through the Treaty of Paris (1783). However, Britain kept forces in the Great Lakes area until after 1794, when the Jay Treaty between the nations established U.S. sovereignty over the Northwest Territory. Freemasonry came to the Great Lakes region in the 1700s beginning with Lodge #1 at Detroit [or Union #1, now Zion #1] (Provincial Grand Lodge of New York, 1764) with the British 2nd Battalion, 60th Regiment of Foot, and Harmony Lodge (Provincial Grand Lodge of New York, ca. 1764–1766) with the British 1st Battalion, 60th Regiment of Foot. Mackinac Island was home to St. John's Lodge No. 15 (1782–1813), the third Masonic Military Lodge originally warranted on 15 Nov 1782 by John Collins, the Provincial Grand Master of the Provincial Grand Lodge of Quebec, for work in the Upper Canada territory that would later become Michigan. As a Military Lodge associated with the British 84th Regiment of Foot (Royal Highland Emigrants) St. John’s #15 meetings were held at the newly constructed Fort Mackinac in one of the rooms in the Officers Stone Quarters and also in the upper part of the West Blockhouse. Few records exist of this lodge, it’s membership, and activities, but the purported membership included prominent military and community members, such as Capt. Daniel Robertson, Major Robert Rogers, and Lt. George Clowes, Dr. David Mitchell, George Meldrum, Josiah Bleakley, Benjamin Lyon, and George McBeath. The British Military Lodge St. John’s #15 was erased from the British rolls in 1813, following the War of 1812 and the later return of the fort to American control and the departure of the British military presence from the region after the Treaty of Ghent in December 1814. Nineteenth century to present During the War of 1812, the British captured the fort in the siege of Fort Mackinac, the first battle of the conflict. The Americans were caught by surprise, not knowing that war had been declared. The victorious British attempted to protect their prize by building Fort George on the high ground behind Fort Mackinac. In 1814, the Americans and British fought a second battle on the north side of the island. The American second-in-command, Major Andrew Holmes, was killed and the Americans failed to recapture the island. United States government had established a a federal fur trade station at Mackinac in 1808. After the capture, the British took over the station. By the Treaty of Ghent of 1815, the British returned the island and surrounding mainland to the U.S. The United States reoccupied Fort Mackinac, and renamed Fort George as Fort Holmes, after Major Holmes. Fort Mackinac remained under the control of the United States government until 1895. It provided volunteers to defend the Union during the American Civil War. The fort was used as a prison for three Confederate States of America sympathizers. John Jacob Astor's American Fur Company was centered on Mackinac Island after the War of 1812 and exported beaver pelts for thirty years. By the middle of the nineteenth century, commercial fishing for common whitefish and lake trout began to replace the fur trade as the island's primary industry. As sport fishing became more popular in the 1880s, hotels and restaurants accommodated tourists coming by train or lake boat from Detroit. Between 1795 and 1815, a network of Métis settlements and trading posts was established throughout what is now the U.S. states of Michigan and Wisconsin and to a lesser extent in Illinois and Indiana. As late as 1829, the Métis were dominant in the economy of present-day Wisconsin and Northern Michigan. Many Métis families are recorded in the U.S. Census for the historic Métis settlement areas along the Detroit and St. Clair rivers, Mackinac Island and Sault Ste. Marie, Michigan, as well as Green Bay in Wisconsin. Many prominent mixed-race families, such as the Mitchell family of Mackinac, were formed in the late 18th- and early 19th-century fur trading era. The Métis have generally not organized as an ethnic or political group in the United States as they have in Canada, where they had armed confrontations in an effort to secure a homeland. Mackinac Island’s second Masonic Lodge was Mackinac Lodge No. 71 F&AM (1853–1862). Mackinac #71 was granted dispensation by Grand Master Henry T. Backus on 20 June 1853, and was later granted a Charter by the Grand Lodge of Michigan’s Grand Master George W. Peck on 11 January 1855. Mackinac #71 meetings were held in a rented Lodge Room on Monday evenings, on or next proceeding the full moon, with a membership of prominent community members, such as Dr. Joseph H. Bailey, Dr. John R. Bailey, Jonathan P. King, Bela J. Chapman, Reuben Chapman, John Biddle, and Ambrose R. Davenport. Some of the Lodge members were formerly associated with the local Sons of Temperance chapter, Mackinac Division No. 23 (1847–1851), whose weekly meetings were held Wednesday nights in a rented room in the Courthouse (and later the Indian Dormitory served as the SoT meeting hall. The Lodge would become inactive in 1860 as a result of rising pre-American Civil War tensions, military enlistment, multiple member relocations, and the unfortunate combination of illness and/or death of a few key founding members. After two years of not submitting Lodge Returns, and no representatives sent to the Annual Communications, Mackinac #71‘s charter was forfeited by the Grand Lodge of Michigan in 1862. There was an attempt by seven Master Masons to revive Mackinac #71 a few years after the Civil War in February 1871, an effort lead by two original Lodge members, Dr. John R. Bailey and John Biddle, four Master Masons, and one Royal Arch Mason, however this action was unsuccessful. Following the Civil War, the island became a popular tourist destination for residents of major cities on the Great Lakes. Much of the federal land on Mackinac Island was designated as the second national park spearheaded by the efforts of Dr. John R. Bailey, Mackinac National Park, in 1875, three years after Yellowstone National Park was named as the first national park. This was thanks to U.S. senator Thomas W. Ferry who was born on the Island, and lobbied for the park. To accommodate an influx of tourists in the 1880s, the boat and railroad companies built hotels, including the Grand Hotel. Island residents established souvenir shops to profit from the tourist trade. Many wealthy business magnates built summer "cottages" along the island's bluffs for extended stays. When the federal government left the island in 1895, it transferred all of the federal land, including Fort Mackinac, to the state of Michigan; this area was designated as Michigan's first state park. The Mackinac Island State Park Commission, appointed to oversee the island, has restricted private development in the park. In addition it requires leaseholders to maintain the island's distinctive Victorian architecture. Motor vehicles were restricted at the end of the nineteenth century because of concerns for the health and safety of the island's residents and horses after local carriage drivers complained that automobiles startled their horses. This ban continues to the present, with exceptions only for city emergency vehicles (ambulance, police cars and fire trucks), city service vehicles and snowmobiles in winter. Some controversy ensued in 2019 when Vice President Mike Pence was permitted to bring a motorcade to the island. Demographics According to the 2020 United States Census, the island has a year-round population of 583. The population grows considerably during the summer from tourists and seasonal workers. Hotels, restaurants, bars and retail shops hire hundreds of seasonal workers to accommodate the tens of thousands of visitors that visit the island between May 1st and October 31. Geography Mackinac Island is located in Lake Huron, at the eastern end of the Straits of Mackinac, between the state's Upper and Lower Peninsulas. It is about in circumference and in total area. The highest point of the island is the historic Fort Holmes (originally called Fort George by the British before 1815), which is above lake level and above sea level. Geology Mackinac Island was formed as the glaciers of the last ice age began to melt around 13,000 BC. The bedrock strata that underlie the island are much older, dating to Late Silurian and Early Devonian time, about 400 to years ago. Subsurface deposits of halite (rock salt) dissolved, allowing the collapse of overlying limestones; these once-broken but now solidified rocks comprise the Mackinac Breccia. The melting glaciers formed the Great Lakes, and the receding lakewaters eroded the limestone bedrock, forming the island's steep cliffs and rock formations. At least three previous lake levels are known, two of them higher than the present shore: Algonquin-level lakeshores date to about 13,000 years ago, and the Nipissing-level shorelines formed 4,000 to 6,000 years ago. During an intermediate period of low water between these two high-water stages, the Straits of Mackinac shrank to a narrow gorge which discharged its water over Mackinac Falls, located just east of the island (beyond Arch Rock), into Lake Huron. As the Great Lakes assumed their present levels, the waterfall was inundated and Mackinac Island took on its current size. The steep cliffs were one of the primary reasons for the British army's choice of the island for a fortification; their decision differed from that of the French army, which had built Fort Michilimackinac about 1715 near present-day Mackinaw City. The limestone formations are still part of the island's appeal. One of the most popular geologic formations is Arch Rock, a natural limestone arch, 146 feet (45 m) above the ground. Other popular geologic formations include Devil's Kitchen, Skull Cave, and Sugar Loaf. Nature Mackinac Island contains a wide variety of terrain, including fields, marshes, bogs, coastline, boreal forest, and limestone formations. The environment is legally preserved on the island by the State Historic Park designation. About half of the shoreline and adjacent waters off Mackinac Island, including the harbor (Haldimand Bay) and the southern and western shore from Mission Point to Pointe aux Pins, is protected as part of the Straits of Mackinac Shipwreck Preserve, a state marine park. As it is separated from the mainland by 3 miles (4.8 km) of water, few large mammals inhabit the island, except those that traverse the ice during the winter months. Rabbits, fox, raccoons, otters, mink, gray and red squirrels, and chipmunks are all common, as are the occasional beaver and coyote. Bats are abundant on the island, as it has numerous caves that serve as dwellings for them and a large insect population for the bats to prey on. The island is frequented by migratory birds on their trips between their summer and winter habitats, as it lies on a major migration route. Eagles and hawks are abundant in April and May, while smaller birds such as yellow warblers, American redstart, and indigo bunting are more common in early summer. Near the shoreline, gulls, herons, geese, and loons are common. Owls, including snowy owls and great grey owls, come to the island from the Arctic to hunt in the warmer climate. Other birds, such as chickadees, cardinals, blue jays, and woodpeckers, live on the island year-round. Toads have also been found. Mackinac Island contains over 600 species of vascular plants. Flowering plants and wildflowers are abundant, including trillium, lady slippers, forget-me-nots, violets, trout lily, spring beauty, hepatica, buttercups, and hawkweeds in the forests and orchids, fringed gentian, butter-and-eggs, and jack-in-the-pulpit along the shoreline. The island's forests are home to many varieties of trees, such as maple, birch, elm, cedar, pine, and spruce. Media The island's newspaper is the Mackinac Island Town Crier. It has been owned and operated by Wesley H. Maurer Sr. and his family since 1957 as training for journalism. It is published weekly from May through September and monthly during the rest of the year. Transportation The island can be reached by private boat, by ferry, by small aircraft and, in the winter, by snowmobile over an ice bridge. The airport has a paved runway, and daily charter air service from the mainland is available. In the summer tourist season, ferry service is available from Shepler's Ferry and Mackinac Island Ferry Company (formerly Star Line) to shuttle visitors to the island from St. Ignace and Mackinaw City. Motorized vehicles have been prohibited on the island since 1898, with the exception of city emergency vehicles (ambulance, police cars and fire trucks), city service vehicles and snowmobiles during winter. Travel on the island is either by foot, bicycle, horse or horse-drawn carriage. Roller skates and roller blades are also allowed, except in the downtown area. Bicycles, roller skates/roller blades, carriages, and saddle horses are available for rent. An road follows the island's perimeter, and numerous roads, trails and paths cover the interior. M-185, the United States' only state highway without motorized vehicles, makes a circular loop around the island, closely hugging the shoreline. Mackinac Island State Park covers approximately 80 percent of the area of the island and includes Fort Mackinac, as well as portions of the island's historic downtown and harbor. No camping is allowed on the island, but numerous hotels and bed and breakfasts are available. The downtown streets are lined with many retail stores and restaurants. Architecture Most of the buildings on Mackinac Island are built of wood, a few are of stone, and most have clapboard siding. The architectural styles on the island span 300 years, from the earliest Native American structures to the European-American styles of the 19th century. The earliest structures were built by the Anishinaabe and Ojibwe (also called Chippewa in the United States) tribes before European exploration. At least two buildings still exist from the original French settlement of the late 18th century. Mackinac Island has the only example of northern French rustic architecture in the United States, and one of few survivors in North America. Mackinac Island also contains examples of Federalist, Colonial, and Greek Revival styles. Given its rise as a tourist destination in the late nineteenth century, many of the island's structures were built in the later style of the Victorian era, which includes Gothic Revival, Stick style, Italianate, Second Empire, Richardson Romanesque and Queen Anne styles. The most recent architectural styles date from the late 19th century to the 1930s and include the Colonial and Tudor revival. Points of interest All of Mackinac Island was listed as a National Historic Landmark in October 1960. In addition, because of the island's long history and preservation efforts starting in the 1890s, eight separate locations on the island, and a ninth site on adjacent Round Island, are listed in the United States National Register of Historic Places. In 2022 Travel + Leisure named Mackinac Island the best island in the continental U.S. to visit. The entire island, Haldimand Bay, and a small shipwreck form a historic district. Built by the British in 1780, Fort Mackinac was closed as a fort by the United States in 1895 as it no longer had any strategic purpose. It has been restored to its late 19th-century state through efforts beginning in the 1930s. The Biddle House, one of the oldest structures on Mackinac Island, was built about 1780 and is interpreted in its role as a prosperous home for the Métis Biddle family during the height of the fur trade in the 1820s. The McGulpin House, a working-class home possibly constructed prior to 1780, is interpreted as a frontier working-class home. The Agency House of the American Fur Company was built in 1820 as the residence for the company's Mackinac Island agent, Robert Stuart. It has been adapted as a fur trade museum and is open to the public. The Mission House was built on Mission Point in 1825 by Presbyterian missionary William Montague Ferry as a boarding school for Native American and Métis children. It became a hotel in 1849 and a rooming house in 1939. It is restored and now houses State Park employees. The 108-foot tall glassed-in Mission Point historical museum has five floors of historical exhibits and views of the Mackinac Straits. Exhibits include the maritime history of Mackinac Island, Great Lakes lighthouses, shipping, and shipwrecks, Mackinac Bridge construction, and the film Somewhere in Time, which was primarily filmed on Mission Point property. The Mission Church was built in 1829 and is the oldest surviving church building in Michigan. It has been restored to its 1830s appearance. The Indian Dormitory was constructed under direction of U.S. Indian agent Henry Rowe Schoolcraft after the US and area tribes signed the 1836 Treaty of Washington. It operated as a school and a place for Native Americans to stay while coming to the island to receive yearly annuities. The building was restored in 1966 and converted to a museum; it closed in 2003. On July 2, 2010, the building was reopened for use as The Richard and Jane Manoogian Mackinac Art Museum. It showcases Mackinac art from prehistory to the present, and includes a children's art studio. The Matthew Geary House, built in 1846 as a private residence, was added to the NRHP in 1971. Privately owned, it is available for lease for vacation rentals. The current Catholic Sainte Anne Church was built from 1874. It replaced earlier parish churches in use on Mackinac Island and the adjacent mainland; the parish register records participants in sacraments such as baptisms, marriages, and funerals from 1695. The Grand Hotel is a Victorian-style structure that opened in 1887. The 1980 film Somewhere in Time was shot on location at the hotel. The Round Island Lighthouse is located just south of Mackinac Island on the small, uninhabited Round Island, which is held and operated by the US Forest Service. The light was built in 1894 and automated in 1924. Extensive restoration began in the 1970s, and the exterior and structure have since been repaired. Wawashkamo Golf Club was laid out in 1898 as a Scottish links-type course. It is the oldest continuously played golf course in Michigan. The Michigan Governor's Summer Residence was built overlooking the harbor in 1902. It was purchased by the state in 1943 for use as a seasonal governor's residence. Anne's Tablet is an Art Nouveau sculptural installation added to a blufftop overlook in 1916. Several children's parks have been established on the island. The most popular ones include the playground on the schoolyard; Marquette Park; and Great Turtle Park, which includes a baseball field, skate park, barbecue area, and a play set. Culture Events Mackinac Island is home to many cultural events, including an annual show of American art from the Masco collection of 19th-century works at the Grand Hotel. Five art galleries operate on the island. Since 1949, the island's residents have been celebrating the island's native lilacs with an annual spring 10-day festival. It culminates in a parade of horse-drawn vehicles, which has been recognized as a local legacy event by the Library of Congress. The July 20, 2019, running of the Port Huron to Mackinac Boat Race was the 95th such annual event, with 202 sailboats registered in the 204-nautical mile-race from Port Huron to the island. The race was reported to have continued over the years in spite of wars and economic depressions. A similar sailboat race from Chicago to the island, most recently held on July 20 to 23, 2019, was the 111th event in the Chicago Yacht Club Race to Mackinac, with 266 sailboats competing. The island is a destination for many regionally and nationally proclaimed conferences, including the Mackinac Policy Conference. Another special event that Mackinac island is known for is the Mackinac Island Fudge Festival which takes place in August. Phil Porter wrote a book called "Fudge: Mackinac's Sweet Souvenir" which explains how fudge became such a popular treat in Mackinac. After the fur trade, this island became a summer vacationing spot. The visitors began to associate sweets with the island. It originally started when Native Americans began collecting maple sugar but in the 1800s the Murdick family created the first real candy store. The world faced sugar rations in the first half of the 20th century due to the Great Depression and wars that were taking place. The fudge shops in the island had very little business, but the Murdick family did not give up hope! They would use fans to send the scent of their fudge out into the community to draw in customers. In later years, major interstates were created and made Mackinac Island well known to many. Mackinac Island’s visitors became known as "fudgies" because their main reason to travel to the island was for their famous fudge. Although fudge was not invented on the island, it is a very popular treat that people would travel from all over to devour. Epona, the Gallo-Roman Horse Goddess, is celebrated each June on Mackinac Island with stable tours, a blessing of the animals and the Epona and Barkus Parade. Mackinac Island does not permit personal automobiles; the primary source of transportation remains the horse, so celebrating Epona has special significance on this island. The "Feast of Epona" involves the blessing of horses and other animals by a local churchman. Scout Service Camp Every summer, Mackinac Island accommodates several Michigan Boy Scouts and Girl Scouts and their leaders over alternate weeks. These scouts serve the state park as the Mackinac Island Governor's Honor Guard. The program began in 1929, when the State Park Commission invited eight Eagle Scouts, including Gerald Ford, later President of the United States, to the island. In 1974, the program was expanded by Governor William Milliken to include Girl Scouts. The program is popular, selective, and a long-standing tradition. Scouts raise and lower twenty-seven flags on the island, serve as guides, and complete volunteer service projects during their stay. These Scouts live in the Scout Barracks behind Fort Mackinac. Sailing Mackinac Island is the destination for two sailing races. The island has a sailing club, the Mackinac Island Yacht Club. It serves as the finish line for both the Port Huron to Mackinac Race and the Chicago Yacht Club Race to Mackinac. The races are run a week apart, in July. They are both among the longest freshwater sailing races in the world and attract over 500 boats and 3,500 sailors combined. Both races are historical events, having been run every year since the 1920s. Film The swimming pool at the Grand Hotel is named for Esther Williams, who starred in the 1947 film This Time for Keeps. This featured many scenes filmed on Mackinac Island. The majority of the 1980 film Somewhere in Time was filmed at Mission Point on Mackinac Island. Several landmarks are visible in the film, including the Grand Hotel and the lighthouse on nearby Round Island. The film's director said he needed to "find a place that looked like it hadn't changed in eighty years." Mackinac Island was featured on two episodes of the mid-2000s TV series Dirty Jobs. Host Mike Rowe interviewed a Mackinac Bridge maintenance worker, and a horse manure and garbage removal/composting collector. Notable people John Penn Arndt, merchant, member of the Wisconsin Territorial Legislature. William Beaumont, a surgeon in the U.S. Army who became known as the "Father of Gastric Physiology" following his research on human digestion. Agatha Biddle, Métis fur trader (specifically Odawa & French), and community leader. Sophie Biddle, Métis fur trader, and community leader. Daughter of Agatha Biddle. Gerald F. Bogan, Senior admiral during WWII and Navy Cross recipient. Michael Cudahy, meatpacking CEO and land developer. Peter Warren Dease, fur trader and Arctic explorer. Married into the Métis fur trade via his wife, Elizabeth Chouinard. Hercules L. Dousman, fur trader and real estate financier, son of Michael Dousman. Michael Dousman, fur trader and sawmill owner. Acquired the plot of farmland that was eventually developed into what is now the Wawashkamo Golf Club Frank Dufina, Native American golf professional. Thomas W. Ferry, member of the United States House of Representatives from Michigan in 1865–1871, and of the United States Senate from Michigan in 1871–1883, was born on the island. William Montague Ferry, Presbyterian minister and missionary established a mission on the island. William Montague Ferry Jr., Michigan and Utah politician, was born on the island. Porter Hanks, Artillery lieutenant in command of Fort Mackinac who surrendered the island to the British in July 1812. Jane Briggs Hart, aviator and wife of Senator Philip Hart. Philip Hart, member of the U.S. Senate from Michigan in 1959–1976. Buried at St. Anne's Catholic Cemetery. Gurdon Saltonstall Hubbard, fur trader and pioneer Chicago CEO. Madeline La Framboise, Métis fur trader and businesswoman, inducted in 1984 into the Michigan Women's Hall of Fame. Jacques Marquette, Jesuit priest and missionary. Henry Rowe Schoolcraft, noted ethnographer and U.S. Indian agent, named many counties and places in Michigan in his official capacity; husband of Jane Johnston Schoolcraft. Jane Johnston Schoolcraft, ethnographer, translator, folklorist, and poet of mixed Ojibwa & Scots-Irish parentage; inducted in 2008 into the Michigan Women's Hall of Fame. Elizabeth Mitchell, Métis businesswoman. Alexis St. Martin, French fur trapper, and patient for William Beaumont's research. Elizabeth Whitney Williams, lighthouse keeper on the Great Lakes from 1872 to 1913 G. Mennen Williams, governor of Michigan in 1949–1961. In fact, the state owns a residence on the island for the current governor's use; some governors use it extensively, while others have used it only for special occasions. Pearl Louella Kendrick, was an American bacteriologist known for co-developing the first vaccine for whooping cough. See also Populated islands of the Great Lakes References External links M-185 Route Listing at Michigan Highways Michigan History, Arts, and libraries, Mackinac Island Mackinac Island guide and photographs Category:Astor family Category:Islands of Mackinac County, Michigan Category:National Historic Landmarks in Michigan Category:Religious places of the indigenous peoples of North America Category:Ojibwe in the United States Category:Métis Category:Populated places established in 1781 Category:Tourism in Michigan Category:Car-free islands of the United States Category:Historic districts on the National Register of Historic Places in Michigan Category:Islands of Lake Huron in Michigan Category:Coastal resorts in Michigan Category:National Register of Historic Places in Mackinac County, Michigan Category:Populated places on Lake Huron in the United States
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Linda Ronstadt
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
Early influences
Ronstadt's early family life was filled with music and tradition, which influenced the stylistic and musical choices she later made in her career. Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood. Ronstadt has remarked that everything she has recorded on her own records - rock 'n' roll, jazz, rhythm and blues, gospel, opera, country, choral, and mariachi - is all music she heard her family sing in their living room, or heard played on the radio, by the age of 10. She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire that she would, in turn, help reintroduce to an entire generation. Early on, her singing style had been influenced by singers such as Lola Beltran and Edith Piaf; she has called their singing and rhythms "more like Greek music ... It's sort of like 6/8 time signature ... very hard driving and very intense." She also drew influence from country singer Hank Williams. She has said that "all girl singers" eventually "have to curtsy to Ella Fitzgerald and Billie Holiday". Of Maria Callas, Ronstadt says, "There's no one in her league. That's it. Period. I learn more ... about singing rock n roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays. ... She's the greatest chick singer ever." She admires Callas for her musicianship and her attempts to push 20th-century singing, particularly opera, back into the bel canto "natural style of singing". A self-described product of American radio of the 1950s and 1960s, Ronstadt is a fan of its eclectic and diverse music programming. CANNOTANSWER
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Linda Maria Ronstadt (born July 15, 1946) is an American singer who performed and recorded in diverse genres including rock, country, light opera, the Great American Songbook, and Latin music. She has earned 11 Grammy Awards, three American Music Awards, two Academy of Country Music awards, an Emmy Award, and an ALMA Award. Many of her albums have been certified gold, platinum or multiplatinum in the United States and internationally. She has also earned nominations for a Tony Award and a Golden Globe award. She was awarded the Latin Grammy Lifetime Achievement Award by the Latin Recording Academy in 2011 and also awarded the Grammy Lifetime Achievement Award by the Recording Academy in 2016. She was inducted into the Rock and Roll Hall of Fame in April 2014. On July 28, 2014, she was awarded the National Medal of Arts and Humanities. In 2019, she received a star jointly with Dolly Parton and Emmylou Harris on the Hollywood Walk of Fame for their work as the group Trio. Ronstadt was among five honorees who received the 2019 Kennedy Center Honors for lifetime artistic achievements. Ronstadt has released 24 studio albums and 15 compilation or greatest hits albums. She charted 38 US Billboard Hot 100 singles. Twenty-one of those singles reached the top 40, ten reached the top 10, and one reached number one ("You're No Good"). Ronstadt also charted in UK as two of her duets, "Somewhere Out There" with James Ingram and "Don't Know Much" with Aaron Neville, peaked at numbers 8 and 2 respectively and the single "Blue Bayou" reached number 35 on the UK Singles charts. She has charted 36 albums, ten top-10 albums, and three number 1 albums on the US Billboard Pop Album Chart. Ronstadt has collaborated with artists in diverse genres, including: Dolly Parton, Emmylou Harris, Bette Midler, Billy Eckstine, Frank Zappa, Carla Bley (Escalator Over the Hill), Rosemary Clooney, Flaco Jiménez, Philip Glass, Warren Zevon, Gram Parsons, Neil Young, Paul Simon, Earl Scruggs, Johnny Cash, and Nelson Riddle. She has lent her voice to over 120 albums and has sold more than 100 million records, making her one of the world's best-selling artists of all time. Christopher Loudon, of Jazz Times, wrote in 2004 that Ronstadt is "blessed with arguably the most sterling set of pipes of her generation." Ronstadt reduced her activity after 2000 when she felt her singing voice deteriorating, releasing her last full-length album in 2004 and performing her last live concert in 2009. She announced her retirement in 2011 and revealed shortly afterwards that she is no longer able to sing as a result of a degenerative condition later determined to be progressive supranuclear palsy. Since then, Ronstadt has continued to make public appearances, going on a number of public speaking tours in the 2010s. She published an autobiography, Simple Dreams: A Musical Memoir, in September 2013. A documentary based on her memoirs, Linda Ronstadt: The Sound of My Voice, was released in 2019. Early life Linda Maria Ronstadt was born in Tucson, Arizona, on July 15, 1946, the third of four children of Gilbert Ronstadt (19111995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (née Copeman) Ronstadt (19141982), a homemaker. Ronstadt had a Roman Catholic upbringing and was raised on the family's ranch with her siblings Peter (who served as Tucson's Chief of Police for ten years, 19811991), Michael, and Gretchen. The family was featured in Family Circle magazine in 1953. Ronstadt family history Ronstadt's father came from a pioneering Arizona ranching family and was of Mexican descent with a German male ancestor. The family's influence on and contributions to Arizona's history, including wagon making, commerce, pharmacies, and music, are documented in the library of the University of Arizona. Her great-grandfather, the engineer Friedrich August Ronstadt (who went by Federico Augusto Ronstadt), immigrated first to Sonora, Mexico and later to the Southwest (then a part of Mexico) in the 1840s from Hanover, Germany. He married a Mexican citizen, and eventually settled in Tucson. In 1991, the City of Tucson opened its central transit terminal on March 16 and dedicated it to Linda's grandfather, Federico José María Ronstadt, a local pioneer businessman; he was a wagon maker whose early contribution to the city's mobility included six mule-drawn streetcars delivered in 190304. Ronstadt's mother Ruth Mary, of German, English, and Dutch ancestry, was raised in Flint, Michigan. Ruth Mary's father, Lloyd Groff Copeman, a prolific inventor and holder of nearly 700 patents, invented an early form of the electric toaster, many refrigerator devices, the grease gun, the first electric stove, and an early form of the microwave oven. His flexible rubber ice cube tray earned him millions of dollars in royalties. Career summary Establishing her professional career in the mid-1960s at the forefront of California's emerging folk rock and country rock movementsgenres which defined post-1960s rock musicRonstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys. Later, as a solo artist, she released Hand Sown ... Home Grown in 1969, which has been described as the first alternative country record by a female recording artist. Although fame eluded her during these years, Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others; appeared numerous times on television shows; and began to contribute her singing to albums by other artists. With the release of chart-topping albums such as Heart Like a Wheel, Simple Dreams, and Living in the USA, Ronstadt became the first female "arena class" rock star. She set records as one of the top-grossing concert artists of the decade. Referred to as the "First Lady of Rock" and the "Queen of Rock", Ronstadt was voted the Top Female Pop Singer of the 1970s. Her rock-and-roll image was as famous as her music; she appeared six times on the cover of Rolling Stone and on the covers of Newsweek and Time. In the 1980s, Ronstadt performed on Broadway and received a Tony nomination for her performance in The Pirates of Penzance, teamed with the composer Philip Glass, recorded traditional music, and collaborated with the conductor Nelson Riddle, an event at that time viewed as an original and unorthodox move for a rock-and-roll artist. This venture paid off, and Ronstadt remained one of the music industry's best-selling acts throughout the 1980s, with multi-platinum-selling albums such as Mad Love; What's New; Canciones de Mi Padre; and Cry Like a Rainstorm, Howl Like the Wind. She continued to tour, collaborate, and record celebrated albums, such as Winter Light and Hummin' to Myself, until her retirement in 2011. Most of Ronstadt's albums are certified gold, platinum, or multi-platinum. Having sold in excess of 100 million records worldwide and setting records as one of the top-grossing concert performers for over a decade, Ronstadt was the most successful female singer of the 1970s and stands as one of the most successful female recording artists in U.S. history. She opened many doors for women in rock and roll and other musical genres by championing songwriters and musicians, pioneering her chart success onto the concert circuit, and being in the vanguard of many musical movements. Career overview Early influences Ronstadt's early family life was filled with music and tradition, which influenced the stylistic and musical choices she later made in her career. Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood. Ronstadt has remarked that everything she has recorded on her own recordsrock and roll, rhythm and blues, gospel, opera, country, choral, and mariachiis all music she heard her family sing in their living room or heard played on the radio, by the age of 10. She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire that she would, in turn, help reintroduce to an entire generation. Early on, her singing style had been influenced by singers such as Lola Beltrán and Édith Piaf; she has called their singing and rhythms "more like Greek music ... It's sort of like 6/8 time signature ... very hard driving and very intense." She also drew influence from country singer Hank Williams. She has said that "all girl singers" eventually "have to curtsy to Ella Fitzgerald and Billie Holiday". Of Maria Callas, Ronstadt says, "There's no one in her league. That's it. Period. I learn more ... about singing rock n roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays. ... She's the greatest chick singer ever." She admires Callas for her musicianship and her attempts to push 20th-century singing, particularly opera, back into the bel canto "natural style of singing". A self-described product of American radio of the 1950s and 1960s, Ronstadt is a fan of its eclectic and diverse music programming. Beginning of professional career At age 14, Ronstadt formed a folk trio with her brother Peter and sister Gretchen. The group played coffeehouses, fraternity houses, and other small venues, billing themselves as "the Union City Ramblers" and "the Three Ronstadts", and they even recorded themselves at a Tucson studio under the name "the New Union Ramblers". Their repertoire included the music they grew up onfolk, country, bluegrass, and Mexican. But increasingly, Ronstadt wanted to make a union of folk music and rock 'n' roll, and in 1964, after a semester at Arizona State University, the 18-year-old decided to move to Los Angeles. The Stone Poneys Ronstadt visited a friend from Tucson, Bobby Kimmel, in Los Angeles during Easter break from college in 1964, and later that year, shortly before her eighteenth birthday, decided to move there permanently to form a band with him. Kimmel had already begun co-writing folk-rock songs with guitarist-songwriter Kenny Edwards, and eventually the three of them were signed by Nik Venet to Capitol in the summer of 1966 as "the Stone Poneys". The trio released three albums in a 15-month period in 196768: The Stone Poneys; Evergreen, Volume 2; and Linda Ronstadt, Stone Poneys and Friends, Vol. III. The band is widely known for their hit single "Different Drum" (written by Michael Nesmith prior to his joining the Monkees), which reached number 13 on the Billboard Hot 100 chart as well as number 12 in Cashbox magazine. Nearly 50 years later, the song remains one of Ronstadt's most popular recordings. Solo career Still contractually obligated to Capitol Records, Ronstadt released her first solo album, Hand Sown ... Home Grown, in 1969. It has been called the first alternative country record by a female recording artist. During this same period, she contributed to the Music from Free Creek "super session" project. Ronstadt provided the vocals for some commercials during this period, including one for Remington electric razors, in which a multitracked Ronstadt and Frank Zappa claimed that the electric razor "cleans you, thrills you ... may even keep you from getting busted". Ronstadt's second solo album, Silk Purse, was released in March 1970. Recorded entirely in Nashville, it was produced by Elliot Mazer, whom Ronstadt chose on the advice of Janis Joplin, who had worked with him on the Cheap Thrills album. The Silk Purse album cover showed Ronstadt in a muddy pigpen, while the back and inside cover depicted her onstage wearing bright red. Ronstadt has stated that she was not pleased with the album, although it provided her with her first solo hit, the multi-format single "Long, Long Time", and earned her first Grammy nomination (for Best Contemporary Vocal Performance/Female). Touring Soon after she went solo in the late 1960s, one of her first backing bands was the pioneering country-rock band Swampwater, which combined Cajun and swamp-rock elements in their music. Its members included Cajun fiddler Gib Guilbeau and John Beland, who later joined the Flying Burrito Brothers, as well as Stan Pratt, Thad Maxwell, and Eric White, brother of Clarence White of the Byrds. Swampwater went on to back Ronstadt during TV appearances on The Johnny Cash Show and The Mike Douglas Show, and at the Big Sur Folk Festival. Another backing band included Don Henley, Glenn Frey, Bernie Leadon, and Randy Meisner, who went on to form the Eagles. They toured with her for a short period in 1971 and played on Linda Ronstadt, her self-titled third album, from which the failed single, Ronstadt's version of Browne's "Rock Me on the Water", was drawn. At this stage, Ronstadt began working with producer and boyfriend John Boylan. She said, "As soon as I started working with John Boylan, I started co-producing myself. I was always a part of my productions. But I always needed a producer who would carry out my whims." Also in 1971, Ronstadt began talking with David Geffen about moving from Capitol Records to Geffen's Asylum Records label. In 1975, Ronstadt performed shows with Jackson Browne, the Eagles, and Toots and the Maytals. In these shows she would sing lead vocal on numerous songs including the Eagles' Desperado while singing background and playing tambourine and acoustic guitar on others. Several years before Ronstadt became what author Gerri Hirshey called the first "arena-class rock diva" with "hugely anticipated tours" she began her solo career touring the North American concert circuit. Being on the road took its toll both emotionally and professionally. In a 1976 Rolling Stone interview with Cameron Crowe, Ronstadt said, "they haven't invented a word for that loneliness that everybody goes through on the road. The world is tearing by you, real fast, and all these people are looking at you. ... People see me in my 'girl-singer' suit." In 1974 she told Peter Knobler in Crawdaddy, "People are always taking advantage of you; everybody that's interested in you has got an angle." There were few "girl singers" on the rock circuit at the time, and they were relegated to "groupie level when in a crowd of a bunch of rock and roll guys", a status Ronstadt avoided. Relating to men on a professional level as fellow musicians led to competition, insecurity, bad romances, and a series of boyfriend-managers. At the time, she admired singers like Maria Muldaur for not sacrificing their femininity but says she felt enormous self-imposed pressure to compete with "the boys" at every level. She noted in a 1969 interview in Fusion magazine that it was difficult being a single "chick singer" with an all-male backup band. According to her, it was difficult to get a band of backing musicians because of their ego problem of being labeled sidemen for a female singer. Collaborations with Peter Asher Ronstadt began her fourth solo album, Don't Cry Now, in 1973, with Boylan (who had negotiated her contract with Asylum Records) and John David "J.D." Souther producing most of the album's tracks. But needing someone willing to work with her as an equal, Ronstadt asked Peter Asher, who came highly recommended to her by James Taylor's sister Kate Taylor, to help produce two of them: "Sail Away" and "I Believe in You". The album featured Ronstadt's first country hit, "Silver Threads and Golden Needles", which she had first recorded on Hand Sown ... Home Grownthis time hitting the Country Top 20. With the release of Don't Cry Now, Ronstadt took on her biggest gig to date as the opening act on Neil Young's Time Fades Away tour, playing for larger crowds than ever before. Backstage at a concert in Texas, Chris Hillman introduced her to Emmylou Harris, telling them, "You two could be good friends", which soon occurred, resulting in frequent collaborations over the following years. Meanwhile, the album became Ronstadt's most successful up to that time, selling 300,000 copies by the end of 1974. Asher turned out to be more collaborative, and more on the same page with her musically, than any producer she had worked with previously. Ronstadt's professional relationship with Asher allowed her to take command and effectively delegate responsibilities in the recording studio. Although hesitant at first to work with her because of her reputation for being a "woman of strong opinions (who) knew what she wanted to do (with her career)", he nonetheless agreed to become her full-time producer, and remained in that role through the late 1980s. Asher attributed the long-term success of his working relationship with Ronstadt to the fact that he was the first person to manage and produce her with whom there was a solely professional relationship. "It must be a lot harder to have objective conversations about someone's career when it's someone you sleep with", he said. Asher executive produced a tribute CD called Listen to Me: Buddy Holly, released September 6, 2011, on which Ronstadt's 1976 version of Buddy Holly's "That'll Be The Day" appears among newly recorded versions of Holly's songs by various artists. Vocal styles Ronstadt captured the sounds of country music and the rhythms of ranchera musicwhich she likened in 1968 to "Mexican bluegrass"and redirected them into her rock 'n' roll and some of her pop music. Many of these rhythms and sounds were part of her Southwestern roots. Likewise, a country sound and style, a fusion of country music and rock 'n' roll called country rock, started to exert its influence on mainstream pop music around the late 1960s, and it became an emerging movement Ronstadt helped form and commercialize. However, as early as 1970, Ronstadt was being criticized by music "purists" for her "brand of music" which crossed many genres. Country Western Stars magazine wrote in 1970 that "Rock people thought she was too gentle, folk people thought she was too pop, and pop people didn't quite understand where she was at, but Country people really loved Linda." She never categorized herself and stuck to her genre-crossing brand of music. Interpretive singer Ronstadt is considered an "interpreter of her times", and has earned praise for her courage to put her "stamp" on many of her songs. Nevertheless, her hits were criticized in some quarters for being cover songs. Ronstadt herself has indicated that some of her 1970s hits were recorded under considerable pressure to create commercially successful recordings, and that she prefers many of her songs that were non-hit album tracks. An infrequent songwriter, Ronstadt co-composed only three songs over her long career. Ronstadt's natural vocal range spans several octaves from contralto to soprano, and occasionally she will showcase this entire range within a single work. Ronstadt was the first female artist in popular music history to accumulate four consecutive platinum albums (fourteen certified million selling, to date). As for the singles, Rolling Stone pointed out that a whole generation, "but for her, might never have heard the work of artists such as Buddy Holly, Elvis Costello, and Chuck Berry." Others have argued that Ronstadt had the same generational effect with her Great American Songbook music, exposing a whole new generation to the music of the 1920s and 1930smusic which was pushed aside because of the advent of rock 'n' roll. When interpreting, Ronstadt said she "sticks to what the music demands", in terms of lyrics. Explaining that rock and roll music is part of her culture, she says that the songs she sang after her rock and roll hits were part of her soul. "The (Mariachi music) was my father's side of the soul," she was quoted as saying in a 1998 interview she gave at her Tucson home. "My mother's side of my soul was the Nelson Riddle stuff. And I had to do them both to reestablish who I was." In the 1974 book Rock 'N' Roll Woman, author Katherine Orloff writes that Ronstadt's "own musical preferences run strongly to rhythm and blues, the type of music she most frequently chooses to listen to ... (and) her goal is to ... be soulful too. With this in mind, Ronstadt fuses country and rock into a special union." By this stage of her career, Ronstadt had established her niche in the field of country-rock. Along with other musicians such as the Flying Burrito Brothers, Emmylou Harris, Gram Parsons, Swampwater, Neil Young, and the Eagles, she helped free country music from stereotypes and showed rockers that country was okay. However, she stated that she was being pushed hard into singing more rock and roll. Most successful female singer of the 1970s Author Andrew Greeley, in his book God in Popular Culture, described Ronstadt as "the most successful and certainly the most durable and most gifted woman Rock singer of her era." Signaling her wide popularity as a concert artist, outside of the singles charts and the recording studio, Dirty Linen magazine describes her as the "first true woman rock 'n' roll superstar ... (selling) out stadiums with a string of mega-successful albums." Amazon.com defines her as the American female rock superstar of the decade. Cashbox gave Ronstadt a Special Decade Award, as the top-selling female singer of the 1970s. Her album covers, posters, magazine coversher entire rock 'n' roll imagewere as famous as her music. By the end of the decade, the singer whom the Chicago Sun Times described as the "Dean of the 1970s school of female rock singers" became what Redbook called "the most successful female rock star in the world." "Female" was the important qualifier, according to Time magazine, which labeled her "a rarity ... to (have survived) ... in the shark-infested deeps of rock." Although Ronstadt had been a cult favorite on the music scene for several years, 1975 was "remembered in the music biz as the year when 29-year-old Linda Ronstadt belatedly happened." With the release of Heart Like a Wheelnamed after one of the album's songs, written by Anna McGarrigleRonstadt reached number 1 on the Billboard 200 chart; it was also the first of four number 1 Country Albums, and the disc was certified double-platinum (over two million copies sold in the U.S.). In many instances, her own interpretations were more successful than the original recordings, and many times new songwriters were discovered by a larger audience as a result of her interpretation and recording. Ronstadt had major success interpreting songs from a diverse spectrum of artists. Heart Like a Wheels first single release, "You're No Good"a rockified version of an R&B song written by Clint Ballard, Jr. that Ronstadt had initially resisted because Andrew Gold's guitar tracks sounded too much like a "Beatles song" to herclimbed to number 1 on both the Billboard and Cash Box Pop singles charts. The album's second single release, "When Will I Be Loved"an uptempo country-rock version of a Top 10 Everly Brothers songhit number 1 in Cashbox and number 2 in Billboard. The song was also Ronstadt's first number 1 country hit. The album's critical and commercial success was due to a fine presentation of country and rock, with Heart Like a Wheel her first of many major commercial successes that would set her on the path to being one of the best-selling female artists of all time. Ronstadt won her first Grammy Award for Best Country Vocal Performance/Female for "I Can't Help It (If I'm Still in Love with You)" which was originally a 1940s hit by Hank Williams. Ronstadt's interpretation peaked at number 2 on the country chart. The album itself was nominated for the Album of the Year Grammy. Rolling Stone put Ronstadt on its cover in March 1975. It was the first of six Rolling Stone covers shot by photographer Annie Leibovitz. It included her as the featured artist with a full photo layout and an article by Ben Fong-Torres, discussing Ronstadt's many struggling years in rock n roll, as well as her home life and what it was like to be a woman on tour in a decidedly all-male environment. In September 1975, Ronstadt's album Prisoner in Disguise was released. It quickly climbed into the Top Five on the Billboard Album Chart and sold over a million copies. It became her second in a row to go platinum, "a grand slam" in the same year (Ronstadt would eventually become the first female artist in popular music history to have three consecutive platinum albums and would ultimately go on to have eight consecutive platinum albums, and then another six between 1983 and 1990). The disc's first single release was "Love Is A Rose". It was climbing the pop and country charts but "Heat Wave", a rockified version of the 1963 hit by Martha and the Vandellas, was receiving considerable airplay. Asylum pulled the "Love Is a Rose" single and issued "Heat Wave" with "Love Is a Rose" on the B-side. "Heat Wave" hit the Top Five on Billboards Hot 100 while "Love Is A Rose" hit the Top Five on Billboard's country chart. In 1976, Ronstadt reached the Top 3 of Billboards Album Chart and won her second career Grammy Award for Best Female Pop Vocal Performance for her third consecutive platinum album Hasten Down the Wind. The album featured a sexy, revealing cover shot and showcased Ronstadt the singer-songwriter, who composed two of its songs, "Try Me Again" (co-authored with Andrew Gold) and "Lo Siento Mi Vida". It also included an interpretation of Willie Nelson's ballad "Crazy", which became a Top 10 Country hit for Ronstadt in early 1977. At the end of 1977, Ronstadt surpassed the success of Heart Like a Wheel with her album Simple Dreams, which held the number 1 position for five consecutive weeks on the Billboard 200 chart. It sold over 3 million copies in less than a year in the U.S. alone – a record for a female artist. Simple Dreams spawned a string of hit singles on numerous charts. Among them were the RIAA platinum-certified single "Blue Bayou", a country-rock interpretation of a Roy Orbison song; "It's So Easy"previously sung by Buddy Holly, a cover of The Rolling Stones' "Tumbling Dice", and "Poor Poor Pitiful Me", a song written by Warren Zevon, an up-and-coming songwriter of the time. The album garnered several Grammy Award nominationsincluding Record of the Year and Best Pop Vocal Performance/Female for "Blue Bayou"and won its art director, Kosh, a Grammy Award for Best Album Cover, the first of three Grammy Awards he would win for designing Ronstadt album covers. In late 1977, Ronstadt became the first female recording artist to have two songs in the U.S. Billboard Hot 100 Top Ten at the same time. "Blue Bayou" was at No. 3 while "It's So Easy" was at No. 5. Simple Dreams became one of the singer's best-selling international-selling albums as well, reaching number 1 on the Australian and Canadian Pop and Country Albums charts. Simple Dreams also made Ronstadt the most successful international female touring artist. The same year, she completed a concert tour around Europe. As Country Music magazine wrote in October 1978, Simple Dreams solidified Ronstadt's role as "easily the most successful female rock and roll and country star at this time." Also in 1977, she was asked by the Los Angeles Dodgers to sing the U.S. National Anthem at game three of the World Series against the New York Yankees. Time magazine and "rock chick" image Ronstadt has remarked that she felt as though she was "artificially encouraged to kinda cop a really tough attitude (and be tough) because rock and roll is kind of tough (business)," which she felt wasn't worn quite authentically. Female rock artists like her and Janis Joplin, whom she described as lovely, shy, and very literate in real life and the antithesis of the "red hot mamma" she was artificially encouraged to project, went through an identity crisis. By the mid-1970s, Ronstadt's image became just as famous as her music. In 1976 and 1977, she appeared on the covers of Rolling Stone and Time, respectively. The Rolling Stone cover story was accompanied by a series of photographs of Ronstadt in a skimpy red slip, taken by Annie Leibovitz. Ronstadt felt deceived by the photographer, not realizing that the photos would be so revealing. She says her manager Peter Asher kicked Leibovitz out of the house when she visited to show them the photographs prior to publication. Leibovitz had refused to let them veto any of the photos, which included one of Ronstadt sprawled across a bed in her underpants. In a 1977 interview, Ronstadt explained, "Annie [Leibovitz] saw that picture as an exposé of my personality. She was right. But I wouldn't choose to show a picture like that to anybody who didn't know me personally, because only friends could get the other sides of me in balance." Her 1977 appearance on the cover of Time magazine under the banner "Torchy Rock" was also upsetting to Ronstadt, considering what the image appeared to project about the most famous woman in rock. At a time in the industry when men still told women what to sing and what to wear, Ronstadt hated the image of her that was projected to the world on that cover, and she noted recently how the photographer kept forcing her to wear a dress, which was an image she did not want to project. In 2004, she was interviewed for CBS This Morning and stated that this image was not her because she did not sit like that. Asher noted, "Anyone who's met Linda for 10 seconds will know that I couldn't possibly have been her Svengali. She's an extremely determined woman, in every area. To me, she was everything that feminism's about." Qualities which, Asher has stated, were considered a "negative (in a woman at that time), whereas in a man they were perceived as being masterful and bold". Since her solo career had begun, Ronstadt had fought hard to be recognized as a solo female singer in the world of rock, and her portrayal on the Time cover did not appear to help the situation. In 1978, Rolling Stone declared Ronstadt "by far America's best-known female rock singer." She scored a third number 1 album on the Billboard Album Chart – at this point equaling the record set by Carole King in 1974 – with Living in the USA. She achieved a major hit single with "Ooo Baby Baby", with her rendition hitting all four major singles charts (Pop, AC, Country, R&B). Living in the USA was the first album by any recording act in music history to ship double-platinum (over 2 million advance copies). The album eventually sold 3 million U.S. copies. At the end of that year, Billboard magazine crowned Ronstadt with three number-one Awards for the Year: Pop Female Singles Artist of the Year, Pop Female Album Artist of the Year, and Female Artist of the Year (overall). Living in the USA showed the singer on roller skates with a newly short, permed hairdo on the album cover. Ronstadt continued this theme on concert tour promotional posters with photos of her on roller skates in a dramatic pose with a large American flag in the background. By this stage of her career, she was using posters to promote every album and concert – which at the time were recorded live on radio or television. Ronstadt was also featured in the 1978 film FM, where the plot involved disc jockeys attempting to broadcast a Ronstadt concert live, without a competing station's knowledge. The film also showed Ronstadt performing the songs "Poor, Poor Pitiful Me", "Love Me Tender", and "Tumbling Dice". Ronstadt was persuaded to record "Tumbling Dice" after Mick Jagger came backstage when she was at a concert and said, "You do too many ballads, you should do more rock and roll songs." Following the success of Living in the USA, Ronstadt conducted album promotional tours and concerts. She made a guest appearance onstage with the Rolling Stones at the Tucson Community Center on July 21, 1978, in her hometown of Tucson, where she and Jagger sang "Tumbling Dice". On singing with Jagger, Ronstadt later said, "I loved it. I didn't have a trace of stage fright. I'm scared to death all the way through my own shows. But it was too much fun to get scared. He's so silly onstage, he knocks you over. I mean you have to be on your toes or you wind up falling on your face." Highest-paid woman in rock By the end of 1978, Ronstadt had solidified her role as one of rock and pop's most successful solo female acts, and owing to her consistent platinum album success, and her ability as the first woman to sell out concerts in arenas and stadiums hosting tens of thousands of fans, Ronstadt became the "highest-paid woman in rock". She had six platinum-certified albums, three of which were number 1 on the Billboard album chart, and numerous charting pop singles. In 1978 alone, she made over $12 million () and in the same year her albums sales were reported to be 17 milliongrossing over $60 million (). As Rolling Stone dubbed her "Rock's Venus", her record sales continued to multiply and set records themselves. By 1979, Ronstadt had collected eight gold, six platinum, and four multi-platinum certifications for her albums, an unprecedented feat at the time. Her 1976 Greatest Hits album would sell consistently for the next 25 years, and it was certified by the RIAA for seven-times platinum in 2001 (over seven million U.S. copies sold). In 1980, Greatest Hits, Volume 2 was released and certified platinum. In 1979, Ronstadt went on an international tour, playing in arenas across Australia to Japan, including the Melbourne Cricket Ground in Melbourne, and the Budokan in Tokyo. She also participated in a benefit concert for her friend Lowell George, held at The Forum, in Los Angeles. By the end of the decade, Ronstadt had outsold her female competition; she had five straight platinum LPsHasten Down the Wind and Heart Like a Wheel among them. Us Weekly reported in 1978 that Ronstadt, Joni Mitchell, Stevie Nicks, and Carly Simon had become "The Queens of Rock" and "Rock is no longer exclusively male. There is a new royalty ruling today's record charts." She would go on to parlay her mass commercial appeal with major success in interpreting The Great American Songbookmade famous a generation before by Frank Sinatra and Ella Fitzgeraldand later the Mexican folk songs of her childhood. From rock to operetta In February 1980, Ronstadt released Mad Love, her seventh consecutive platinum-selling album. It was a straightforward rock and roll album with post-punk, new wave influences, including tracks by songwriters such as Elvis Costello, the Cretones, and musician Mark Goldenberg who played on the record himself. As part of the album's promotion, a live concert was recorded for an HBO special in April. A partial soundtrack for this special (omitting most of the Mad Love tracks) was released as her first official live album in February 2019. She also made the cover of Rolling Stone for a record-setting sixth time. Mad Love entered the Billboard Album Chart in the Top Five its first week (a record at that time) and climbed to the number 3 position. The project continued her streak of Top 10 hits with "How Do I Make You", originally recorded by Billy Thermal, and "Hurt So Bad", originally a Top 10 hit for Little Anthony & the Imperials. The album earned Ronstadt a 1980 Grammy Award nomination for Best Rock Vocal Performance/Female (although she lost to Pat Benatar's Crimes of Passion album). Benatar praised Ronstadt by stating, "There are a lot of good female singers around. How could I be the best? Ronstadt is still alive!" In the summer of 1980, Ronstadt began rehearsals for the first of several leads in Broadway musicals. Joseph Papp cast her as the lead in the New York Shakespeare Festival production of Gilbert and Sullivan's The Pirates of Penzance, alongside Kevin Kline. She said singing Gilbert and Sullivan was a natural choice for her, since her grandfather Fred Ronstadt was credited with having created Tucson's first orchestra, the Club Filarmonico Tucsonense, and had once created an arrangement of The Pirates of Penzance. The Pirates of Penzance opened for a limited engagement in New York City's Central Park, eventually moving its production to Broadway, where it became a hit, running from January 8, 1981, to November 28, 1982. Newsweek was effusive in its praise: "... she has not dodged the coloratura demands of her role (and Mabel is one of the most demanding parts in the G&S canon): from her entrance trilling 'Poor Wand'ring One,' it is clear that she is prepared to scale whatever soprano peaks stand in her way." Ronstadt co-starred with Kline and Angela Lansbury in the 1983 operetta's film version; this was her only acting role in a motion picture (her other film appearances, such as in the 1978 drama, FM, being concert footage as herself). Ronstadt received a Golden Globe nomination for the role in the film version. She garnered a nomination for the Tony Award for Best Performance by a Leading Actress in a Musical and The Pirates of Penzance won several Tony Awards, including a Tony Award for Best Revival. As a child, Ronstadt had discovered the opera La bohème through the silent film with Lillian Gish and was determined to someday play the part of Mimi. When she met the opera superstar Beverly Sills, she was told, "My dear, every soprano in the world wants to play Mimi!" In 1984, Ronstadt was cast in the role at Joseph Papp's Public Theater. However, the production was a critical and commercial disaster, closing after only a few nights. In 1982, Ronstadt released the album Get Closer, a primarily rock album with some country and pop music as well. It remains her only album between 1975 and 1990 not to be officially certified platinum. It peaked at number 31 on the Billboard Album Chart. The release continued her streak of Top 40 hits with "Get Closer" and "I Knew You When"a 1965 hit by Billy Joe Royalwhile the Jimmy Webb song "Easy For You To Say" was a surprise Top 10 Adult Contemporary hit in the spring of 1983. "Sometimes You Just Can't Win" was picked up by country radio, and made it to number 27 on that listing. Ronstadt also filmed several music videos for this album which became popular on the fledgling MTV cable channel. The album earned Ronstadt two Grammy Award nominations: one for Best Rock Vocal Performance/Female for the title track and another for Best Pop Vocal Performance/Female for the album. The artwork won its art director, Kosh, his second Grammy Award for Best Album Package. Along with the release of her Get Closer album, Ronstadt embarked on a North American tour, remaining one of the top rock-concert draws that summer and fall. On November 25, 1982, her "Happy Thanksgiving Day" concert was held at the Reunion Arena in Dallas and broadcast live via satellite to NBC radio stations in the United States. In 1988, Ronstadt returned to Broadway for a limited-run engagement in the musical show adaptation of her album celebrating her Mexican heritage, Canciones De Mi PadreA Romantic Evening in Old Mexico. Artistic aspirations Ronstadt has remarked that in the beginning of her career she "was so focused on folk, rock and country" that she "got a bit bored and started to branch out, and ... [has] been doing that ever since." By 1983, her estimated worth was over $40 million mostly from records, concerts and merchandising. In the early 1980s, Ronstadt was criticized for accepting $500,000 to perform at the South African resort Sun City, violating the cultural boycott imposed against South Africa because of its policy of apartheid. At the time, she stated, "the last place for a boycott is in the arts" and "I don't like being told I can't go somewhere". Paul Simon was criticized for including her on his 1986 album Graceland, recorded in South Africa, but defended her: "I know that her intention was never to support the government there ... She made a mistake. She’s extremely liberal in her political thinking and unquestionably antiapartheid." Ronstadt eventually tired of playing arenas. She had ceased to feel that arenas, where people milled around smoking marijuana cigarettes and drinking beer, were "appropriate places for music". She wanted "angels in the architecture"a reference to a lyric in the Paul Simon song "You Can Call Me Al" from Graceland. (Ronstadt sang harmony with Simon on a different Graceland track, "Under African Skies". The second verse's lyrics pay tribute to Ronstadt: "Take this child, Lord, from Tucson, Arizona. ..."). Ronstadt has said she wants to sing in places similar to the theatre of ancient Greece, where the attention is focused on the stage and the performer. Ronstadt's recording output in the 1980s proved to be just as commercially and critically successful as her 1970s recordings. Between 1983 and 1990, Ronstadt scored six additional platinum albums; two are triple platinum (each with over three million U.S. copies sold); one has been certified double platinum (over two million copies sold), and one has earned additional certification as a Gold (over 500,000 U.S. copies sold) double-disc album. Jazz/pop trilogy In 1981, Ronstadt produced and recorded an album of pop standards (later marketed in bootleg form) titled Keeping Out of Mischief with the assistance of producer Jerry Wexler. However, Ronstadt's displeasure with the result led her, with regrets, to scrap the project. "Doing that killed me," she said in a Time magazine interview. But the appeal of the album's music had seduced Ronstadt, as she told DownBeat in April 1985, crediting Wexler for encouraging her. Nonetheless, Ronstadt had to convince her reluctant record company, Elektra, to approve this type of album under her contract. By 1983, Ronstadt had enlisted the help of 62-year-old conductor Nelson Riddle. The two embarked on an unorthodox and original approach to rehabilitating the Great American Songbook, recording a trilogy of traditional pop albums: What's New (1983U.S. 3.7 million as of 2010); Lush Life (1984U.S. 1.7 million as of 2010); and For Sentimental Reasons (1986U.S. 1.3 million as of 2010). The three albums have had a combined sales total of nearly seven million copies in the U.S. alone. The album design for What's New by designer Kosh was unlike any of her previous disc covers. It showed Ronstadt in a vintage dress lying on shimmering satin sheets with a Walkman headset. At the time, Ronstadt received some chiding for both the album cover and her venture into what was then considered "elevator music" by cynics, but remained determined to record with Riddle, and What's New became a hit. The album was released in September 1983 and spent 81 weeks on the Billboard Album Chart and held the number three position for a month and a half (held out of the top spot only by Michael Jackson's Thriller and Lionel Richie's Can't Slow Down) and the RIAA certified it triple platinum (over three million copies sold in the U.S. alone). The album earned Ronstadt another Grammy nomination for Best Female Pop Vocal Performance, and critical raves, with Time magazine calling it "one of the gutsiest, most unorthodox and unexpected albums of the year." Ronstadt faced considerable pressure not to record What's New or record with Riddle. According to jazz historian Peter Levinson, author of the book September in the Raina Biography on Nelson Riddle, Joe Smith, president of Elektra Records, was terrified that the Riddle album would turn off Ronstadt's rock audience. Ronstadt did not completely turn her back on her rock and roll past, however; the video for the title track featured Danny Kortchmar as the old beau that she bumped into during a rainstorm. What's New brought Riddle to a younger audience. According to Levinson, "the younger audience hated what Riddle had done with Frank Sinatra, which in 1983 was considered 'Vintage Pop'". Working with Ronstadt, Riddle brought his career back into focus in the last three years of his life. Stephen Holden of The New York Times wrote, What's New "isn't the first album by a rock singer to pay tribute to the golden age of the pop, but is ... the best and most serious attempt to rehabilitate an idea of pop that Beatlemania and the mass marketing of rock LPs for teenagers undid in the mid-60s. ... In the decade prior to Beatlemania, most of the great band singers and crooners of the 40s and 50s codified a half-century of American pop standards on dozens of albums ... many of them now long out-of-print." What's New is the first album by a rock singer to have major commercial success in rehabilitating the Great American Songbook. In 1984, Ronstadt and Riddle performed these songs live, in concert halls throughout Australia, Japan, and the United States, including multi-night performances at historic venues Carnegie Hall, Radio City Music Hall, and Pine Knob. In 2004, Ronstadt released Hummin' to Myself, her album for Verve Records. It was her first foray into traditional jazz since her sessions with Jerry Wexler and her records with the Nelson Riddle Orchestra, but this time with an intimate jazz combo. The album was a quiet affair for Ronstadt, giving few interviews and making only one television performance as a promotion. It reached number 2 on Billboard's Top Jazz Albums chart but peaked at number 166 on the main Billboard album chart. Not having the mass distribution that Warner Music Group gave her, Hummin' To Myself had sold over 75,000 copies in the U.S. as of 2010. It also achieved some critical acclaim from the jazz cognoscenti. "Trio" recordings In 1978, Ronstadt, Dolly Parton, and Emmylou Harris, friends and admirers of one another's work (Ronstadt had included a cover of Parton's "I Will Always Love You" on Prisoner in Disguise) attempted to collaborate on a Trio album. Unfortunately, the attempt did not pan out. Ronstadt later remarked that not too many people were in control at the time and everyone was too involved with their own careers. (Though the efforts to complete the album were abandoned, a number of the recordings were included on the singers' respective solo recordings over the next few years.) This concept album was put on the back burner for almost ten years. In January 1986, the three eventually did make their way into the recording studio, where they spent the next several months working. The result, Trio, which they had conceived ten years earlier, was released in March 1987. It was a considerable hit, holding the number 1 position on Billboard's Country Albums chart for five weeks running and hitting the Top 10 on the pop side also. Selling over three million copies in the U.S. and winning them a Grammy Award for Best Country Performance by a Duo or Group with Vocal, it produced four Top Ten Country singles including "To Know Him Is to Love Him" which hit number 1. The album was also a nominee for overall Album of the Year, in the company of Michael Jackson, U2, Prince, and Whitney Houston. In 1994, the three performers recorded a follow-up to Trio. As was the case with their aborted 1978 effort, conflicting schedules and competing priorities delayed the album's release indefinitely. Ronstadt, who had already paid for studio timeand owed her record company a finished albumremoved Parton's individual tracks at Parton's request, kept Harris's vocals, and produced a number of the recordings, which she subsequently released on her 1995 return to country rock, the album Feels Like Home. However, in 1999, Ronstadt, Parton, and Harris agreed to release the Trio II album, as was originally recorded in 1994. It included an ethereal cover of Neil Young's "After The Gold Rush" which became a popular music video. The effort was certified Gold (over 500,000 copies sold) and won them a Grammy Award for Best Country Collaboration with Vocals for the track. Ronstadt co-produced the album with George Massenburg and the three women also received a nomination for the Grammy Award for Best Country Album. Canciones de Mi Padre At the end of 1987, Ronstadt released Canciones de Mi Padre, an album of traditional Mexican folk songs, or what she has described as "world class songs". Keeping with the Ronstadt history theme, her cover art was dramatic, bold, and colorful; it shows Ronstadt in full Mexican regalia. Her musical arranger was mariachi musician Rubén Fuentes. These canciones were a big part of Ronstadt's family tradition and musical roots. In January 1946, the University of Arizona published a booklet by Luisa Espinel entitled Canciones de mi Padre. Luisa Espinel, Ronstadt's aunt, was an international singer in the 1920s and 1930s. Espinel's father was Fred Ronstadt, Linda Ronstadt's grandfather, and the songs she had learned, transcribed, and published were some of the ones he had brought with him from Sonora. Ronstadt researched and extracted from the favorites she had learned from her father Gilbert and she called her album by the same name as her aunt's booklet and as a tribute to her father and his family. Though not fully bilingual, she has a fairly good command of the Spanish language, allowing her to sing Latin American songs with little discernible U.S. accent; Ronstadt has often identified herself as Mexican-American. Her formative years were spent with her father's side of the family. In fact, in 1976, Ronstadt had collaborated with her father to write and compose a traditional Mexican folk ballad, "Lo siento mi vida"a song that she included on Hasten Down the Wind. Ronstadt has also credited Mexican singer Lola Beltrán as an influence on her own singing style, and she recalls how a frequent guest to the Ronstadt home, Eduardo "Lalo" Guerrero, father of Chicano music, would often serenade her as a child. Canciones de Mi Padre won Ronstadt a Grammy Award for Best Mexican-American Performance. In 2001, it was certified double-platinum by the RIAA for shipments of over 2 million copies in the United States, making it the best-selling non-English-language album in U.S. music history. The album and later theatrical stage show served as a benchmark of the Latin cultural renaissance in North America. Ronstadt produced and performed a theatrical stage show, also titled Canciones de mi Padre, in concert halls across the U.S. and Latin America to both Hispanic and non-Hispanic audiences. These performances were later released on DVD. Ronstadt elected to return to the Broadway stage, four years after she performed in La bohème, for a limited-run engagement. PBS's Great Performances aired the stage show during its annual fund drives and the show was a hit with audiences, earning Ronstadt a Primetime Emmy Award for Individual Performance in a Variety or Music Program. Ronstadt recorded two additional albums of Latin music in the early 1990s. Their promotion, like most of her albums in the 1990s, was a quieter affair, with Ronstadt making only a limited number of appearances to promote them. They were not nearly as successful as Canciones De Mi Padre, but were critically acclaimed in some circles. In 1991, she released Mas Canciones, a follow-up to the first Canciones. For this album, she won a Grammy Award for Best Mexican/Mexican-American Album. The following year, she stepped outside of the mariachi genre and decided to record well-known Afro-Cuban songs. This album was titled Frenesí. Like her two previous Latin recordings ventures, it won Ronstadt a Grammy Award, this time for Best Traditional Tropical Latin Album. In 1991, Ronstadt acted in the lead role of archangel San Miguel in La Pastorela, or A Shephard's Tale, a musical filmed at San Juan Bautista. It was written and directed by Luis Valdez. The production was part of the PBS Great Performances series. In December 2020, it was announced that Canciones de Mi Padre had been inducted into the Grammy Hall of Fame. Returning to the contemporary music scene By the late 1980s, while enjoying the success of her big band jazz collaborations with Riddle and her surprise hit mariachi recordings, Ronstadt elected to return to recording mainstream pop music once again. In 1987, she made a return to the top of the Billboard Hot 100 singles chart with "Somewhere Out There", which peaked at number 2 in March. Featured in the animated film An American Tail, the sentimental duet with James Ingram was nominated for several Grammy Awards, ultimately winning the Grammy Award for Song of the Year. The song also received a nomination for the Academy Award for Best Original Song and achieved high sales, earning a million-selling gold single in the U.S.one of the last 45s ever to do so. It was also accompanied by a popular music video. On the heels of this success, Steven Spielberg asked Ronstadt to record the theme song for the animated sequel titled An American Tail: Fievel Goes West, which was titled "Dreams to Dream". Although "Dreams to Dream" failed to achieve the success of "Somewhere Out There", the song did give Ronstadt an Adult Contemporary hit in 1991. In 1989, Ronstadt released a mainstream pop album and several popular singles. Cry Like A Rainstorm, Howl Like The Wind became one of the singer's most successful albumsin production, arrangements, sales, and critical acclaim. It became Ronstadt's tenth Top 10 album on the Billboard chart, reaching number 7 and being certified triple-platinum (over three million copies sold in the U.S.). The album also received Grammy Award nominations. Ronstadt included New Orleans soul singer Aaron Neville on several of the album's songs. Ronstadt incorporated the sounds of the Oakland Interfaith Gospel Choir, Tower of Power horns, the Skywalker Symphony, and numerous musicians. It included the duets with Aaron Neville, "Don't Know Much" (Billboard Hot 100 number 2 hit, Christmas 1989) and "All My Life" (Billboard Hot 100 number 11 hit), both of which were long-running number 1 Adult Contemporary hits. The duets earned several Grammy Award nominations. The duo won both the 1989 and 1990 Best Pop Vocal Performance by a Duo or Group with Vocal awards. Ronstadt's last known live Grammy Award appearance was in 1990 when she and Neville performed "Don't Know Much" together on the telecast. ("Whenever I sing with a different artist, I can get things out of my voice that I can't do by myself", Ronstadt reflected in 2007. "I can do things with Aaron that I can't do alone.") In December 1990, she participated in a concert held at the Tokyo Dome to commemorate John Lennon's 50th birthday, and to raise awareness of environmental issues. Other participants included Miles Davis, Lenny Kravitz, Hall & Oates, Natalie Cole, Yoko Ono, and Sean Lennon. An album resulted, titled Happy Birthday, John. Return to roots music Ronstadt released the highly acclaimed Winter Light album at the end of 1993. It included New Age arrangements such as the lead single "Heartbeats Accelerating" as well as the self-penned title track and featured the glass harmonica. It was her first commercial failure since 1972, and peaked at number 92 in Billboard, whereas 1995's Feels Like Home was Ronstadt's much-heralded return to country-rock and included her version of Tom Petty's classic hit "The Waiting". The single's rollicking, fiddle-infused flip side, "Walk On", returned Ronstadt to the Country Singles chart for the first time since 1983. An album track entitled "The Blue Train" charted 10 weeks in Billboards Adult Contemporary Top 40. This album fared slightly better than its predecessor, reaching number 75. Both albums were later deleted from the Elektra/Asylum catalog. Ronstadt was nominated for three Lo Nuestro Awards in 1993: Female Regional Mexican Artist of the Year, Female Tropical/Salsa Artist of the Year, and her version of the song "Perfidia" was also listed for Tropical/Salsa Song of the Year. In 1996, Ronstadt produced Dedicated to the One I Love, an album of classic rock and roll songs reinvented as lullabies. The album reached number 78 in Billboard and won the Grammy Award for Best Musical Album for Children. In 1998, Ronstadt released We Ran, her first album in over two years. The album harkened back to Ronstadt's country-rock and folk-rock heyday. She returned to her rock 'n' roll roots with vivid interpretations of songs by Bruce Springsteen, Doc Pomus, Bob Dylan, and John Hiatt. The recording was produced by Glyn Johns. A commercial failure, the album stood at 57,897 copies sold at the time of its deletion in 2008. It is the poorest-selling studio album in Ronstadt's Elektra/Asylum catalog. We Ran did not chart any singles but it was well received by critics. Despite the lack of success of We Ran, Ronstadt kept moving towards this adult rock exploration. In the summer of 1999, she released the album Western Wall: The Tucson Sessions, a folk-rock-oriented project with Emmylou Harris. It earned a nomination for the Grammy Award for the Best Contemporary Folk Album and made the Top 10 of Billboards Country Albums chart. Still in print as of December 2016, it has sold 223,255 copies per Nielsen SoundScan. Also in 1999, Ronstadt went back to her concert roots when she performed with the Eagles and Jackson Browne at Staples Center's 1999 New Year's Eve celebration kicking off the December 31 end-of-the-millennium festivities. As Staples Center Senior Vice President and general manager Bobby Goldwater said, "It was our goal to present a spectacular event as a sendoff to the 20th century", and "Eagles, Jackson Browne, and Linda Ronstadt are three of the most popular acts of the century. Their performances will constitute a singular and historic night of entertainment for New Year's Eve in Los Angeles." In 2000, Ronstadt completed her long contractual relationship with the Elektra/Asylum label. The fulfillment of this contract commenced with the release of A Merry Little Christmas, her first holiday collection, which includes rare choral works, the somber Joni Mitchell song "River", and a rare recorded duet with the late Rosemary Clooney on Clooney's signature song, "White Christmas". Since leaving Warner Music, Ronstadt has gone on to release one album each under Verve and Vanguard Records. In 2006, recording as the ZoZo Sisters, Ronstadt teamed with her new friend, musician and musical scholar Ann Savoy, to record Adieu False Heart. It was an album of roots music incorporating pop, Cajun, and early-20th-century music and released on the Vanguard Records label. But Adieu False Heart was a commercial failure, peaking at number 146 in the U.S. despite her touring for the final time that year. It was the last time Linda Ronstadt would record an album, having begun to lose her singing ability as a result of a degenerative condition later determined to be progressive supranuclear palsy, but initially diagnosed as Parkinson's disease, in December 2012. Adieu False Heart, recorded in Louisiana, features a cast of local musicians, including Chas Justus, Eric Frey and Kevin Wimmer of the Red Stick Ramblers, Sam Broussard of the Mamou Playboys, Dirk Powell, and Joel Savoy, as well as an array of Nashville musicians: fiddler Stuart Duncan, mandolinist Sam Bush, and guitarist Bryan Sutton. The recording earned two Grammy Award nominations: Best Traditional Folk Album and Best Engineered Album, Non-Classical. In 2007, Ronstadt contributed to the compilation album We All Love Ella: Celebrating the First Lady of Songa tribute album to jazz music's all-time most heralded artiston the track "Miss Otis Regrets". In August 2007, Ronstadt headlined the Newport Folk Festival, making her debut at this event, where she incorporated jazz, rock, and folk music into her repertoire. It was one of her final concerts. In 2010, Ronstadt contributed the arrangement and lead vocal to "A La Orilla de un Palmar" on the Chieftains' studio album San Patricio (with Ry Cooder). This remains her most recent commercially available recording as lead vocalist. Retirement In 2011, Ronstadt was interviewed by the Arizona Daily Star and announced her retirement. In August 2013, she revealed to Alanna Nash, writing for AARP, that she has Parkinson's disease and "can no longer sing a note." Her diagnosis was subsequently re-evaluated as progressive supranuclear palsy. Her memoir Feels Like Home: A Song for the Sonoran Borderlands was published in 2022. Selected career achievements On April 10, 2014, Ronstadt was inducted into the Rock and Roll Hall of Fame. In July 2019, Ronstadt was selected as a Kennedy Center Honoree. On May 7, 2022, during the International Mariachi Conference, the Tucson Music Hall at the Tucson Convention Center was officially renamed as The Linda Ronstadt Music Hall. As of 2019, Ronstadt has earned three number-one pop albums, 10 top-ten pop albums, and 38 charting pop albums on the Billboard Pop Album Charts. She has 15 albums on the Billboard Top Country Albums chart, including four that hit number one. Ronstadt's singles have earned her a number-one hit and three number-two hits on the Billboard Hot 100 chart, with 10 top-ten pop singles and 21 reaching the Top 40. She has also scored two number-one hits on the Billboard Hot Country Songs chart, and two number-one hits on the Billboard Adult Contemporary chart. Rolling Stone wrote that a whole generation "but for her, might never have heard the work of Buddy Holly, Chuck Berry, or Elvis Costello." She has recorded and released over 30 studio albums and has made guest appearances on an estimated 120 albums by other artists. Her guest appearances included the classical minimalist Philip Glass's album Songs from Liquid Days, a hit classical record with other major pop stars either singing or writing lyrics (Ronstadt's two tracks on the album saw her singing lyrics written by Suzanne Vega and Laurie Anderson). She also appeared on Glass's follow-up recording 1000 Airplanes on the Roof. She appeared on Paul Simon's Graceland, where she sang a duet with Simon, "Under African Skies". In that song, there is a verse dedicated to Ronstadt, her voice and harmonies and her birth in Tucson, Arizona. She voiced herself in The Simpsons episode "Mr. Plow" and sang a duet, "Funny How Time Slips Away", with Homer Simpson on The Yellow Album. Ronstadt has also appeared on albums by a vast range of artists including Emmylou Harris, the Chieftains, Dolly Parton, Neil Young, J. D. Souther, Gram Parsons, Bette Midler, Nitty Gritty Dirt Band, Earl Scruggs, the Eagles, Andrew Gold, Wendy Waldman, Hoyt Axton, Kate and Anna McGarrigle, Ann Savoy, Karla Bonoff, James Taylor, Jimmy Webb, Valerie Carter, Warren Zevon, Maria Muldaur, Randy Newman (specifically his musical adaptation of Faust), Nicolette Larson, the Seldom Scene, Rosemary Clooney, Aaron Neville, Rodney Crowell, Hearts and Flowers, Laurie Lewis and Flaco Jiménez. As a singer-songwriter, Ronstadt has written songs covered by several artists, such as "Try Me Again", covered by Trisha Yearwood; and "Winter Light", which was co-written and composed with Zbigniew Preisner and Eric Kaz, and covered by Sarah Brightman. Her three biggest-selling studio albums to date are: her 1977 release Simple Dreams, 1983's What's New, and 1989's Cry Like A Rainstorm, Howl Like The Wind. Each one has been certified by the Recording Industry Association of America for over three million copies sold. Her highest-selling album to date is the 1976 compilation Greatest Hits, certified for over seven million units sold as of 2001. Ronstadt became music's first major touring female artist to sell out sizeable venues; she was also the top-grossing solo female concert artist for the 1970s. She remained a highly successful touring artist into the 1990s, at which time she decided to scale back to smaller venues. In the 1970s, Cashbox magazine, a competitor of Billboard during that time period, named Ronstadt the "#1 Female Artist of the Decade". "Rolling Stone's 500 Greatest Albums of All Time" included Heart Like a Wheel (1974) at number 164 and The Very Best Of Linda Ronstadt (2002) at number 324. The 2012 revision kept only the compilation, but raised it to the place once occupied by Heart Like a Wheel. Ronstadt's album sales have not been certified since 2001. At that time, Ronstadt's U.S. album sales were certified by the Recording Industry Association of America at over 30 million albums sold; however, Peter Asher, her former producer and manager, placed her total U.S. album sales at over 45 million. Likewise, her worldwide albums sales are in excess of 100 million albums sold, according to the former president of Warner Bros. Records, Joe Smith, now a jury member of the Hit Parade Hall of Fame. Her RIAA certification (audits paid for by record companies or artists for promotion) tally as of 2001 totaled 19 Gold, 14 Platinum and 7 Multi-Platinum albums. She was the first female in music history to score three consecutive platinum albums and ultimately racked up a total of eight consecutive platinum albums. Her album Living in the USA was the first album by any recording artist in U.S. music history to ship double platinum (over two million advanced copies). Her first Latin release, the all-Spanish 1987 album Canciones De Mi Padre, stands as the best-selling non-English-language album in American music history. As of 2013, it had sold over 2 million U.S. copies. Ronstadt has served as producer on albums from various musicians that include her cousin, David Lindley, Aaron Neville and singer-songwriter Jimmy Webb. She produced Cristal – Glass Music Through the Ages, an album of classical music using glass instruments with Dennis James, where she sang on several of the arrangements. In 1999, Ronstadt also produced the Grammy Award-winning Trio II. She has received a total of 27 Grammy Award nominations in various fields that include rock, country, pop and Tropical Latin, and has won 11 Grammy Awards in the categories of Pop, Country, Tropical Latin, Musical Album for Children and Mexican-American. In 2016, Ronstadt was again honored by the National Academy of Recording Arts and Sciences with the Lifetime Achievement Grammy. She was the first female solo artist to have two Top 5 singles simultaneously on Billboard magazine's Hot 100: "Blue Bayou" and "It's So Easy". By December of that year, both "Blue Bayou" and "It's So Easy" had climbed into Billboards Top 5 and remained there for the month's last four weeks. In 1999, Ronstadt ranked number 21 in VH1's 100 Greatest Women of Rock & Roll. Three years later, she ranked number 40 in CMT's 40 Greatest Women in Country Music. Personal life Beginning in the mid-1970s, Ronstadt's private life became increasingly public. It was fueled by a relationship with then-Governor of California Jerry Brown, a Democratic presidential candidate. They shared a Newsweek magazine cover in April 1979, as well as the covers of Us Weekly and People magazine. In 1983, Linda Ronstadt dated comedian Jim Carrey for eight months. From the end of 1983 to 1988, Ronstadt was engaged to Star Wars director George Lucas. In December 1990, she adopted an infant daughter, Mary Clementine Ronstadt. In 1994, she adopted a baby boy, Carlos Ronstadt. Ronstadt has never married. Speaking of finding an acceptable mate, in 1974 she told Peter Knobler in Crawdaddy, "... he's real kind but isn't inspired musically and then you meet somebody else that's just so inspired musically that he just takes your breath away but he's such a moron, such a maniac that you can't get along with him. And then after that it's the problem of finding someone that can stand you!" In the late 1980s, after living in Los Angeles for 30 years, Ronstadt moved to San Francisco because she said she never felt at home in Southern California. "Los Angeles became too enclosing an environment", she says. "I couldn't breathe the air and I didn't want to drive on the freeways to get to the studio. I also didn't want to embrace the values that have been so completely embraced by that city. Are you glamorous? Are you rich? Are you important? Do you have clout? It's just not me and it never was me." In 1997, Ronstadt sold her home in San Francisco and moved back to her hometown of Tucson, Arizona, to raise her two children. In more recent years, Ronstadt moved back to San Francisco while continuing to maintain her home in Tucson. In 2009, in honor of Ronstadt, the Martin Guitar Company made a 0042 model "Linda Ronstadt Limited Edition" acoustic guitar. Ronstadt appointed the Land Institute as recipient of all proceeds from her signature guitar. In 2013, Simon & Schuster published her autobiography, Simple Dreams: A Musical Memoir, as well as the Spanish version, Sueños SencillosMemorias Musicales. In August 2013, Ronstadt revealed she was diagnosed with Parkinson's disease, leaving her unable to sing due to loss of muscular control, which is common to Parkinson's patients. She was diagnosed eight months prior to the announcement and had initially attributed the symptoms she had been experiencing to the aftereffects of shoulder surgery and a tick bite. In late 2019, it was reported her doctors had revised their diagnosis to progressive supranuclear palsy, a degenerative disease commonly mistaken for Parkinson's due to the similarity of the symptoms. Ronstadt describes herself as a "spiritual atheist". Political activism Ronstadt's politics received criticism and praise during and after her July 17, 2004, performance at the Aladdin Theatre for the Performing Arts in Las Vegas. Toward the end of the show, as she had done across the country, Ronstadt spoke to the audience, praising Fahrenheit 9/11, Michael Moore's documentary film about the Iraq War; she dedicated the song "Desperado" to Moore. Accounts say the crowd's initial reaction was mixed, with "half the crowd heartily applauding her praise for Moore, (and) the other half booing." Following the concert, news accounts reported Ronstadt was "evicted" from the hotel premises. Ronstadt's comments, as well as the reactions of some audience members and the hotel, became a topic of discussion nationwide. Aladdin casino president Bill Timmins and Michael Moore each made public statements about the controversy. The incident prompted international headlines and debate on an entertainer's right to express a political opinion from the stage and made the editorial section of The New York Times. Following the incident, many friends of Ronstadt's, including the Eagles, immediately cancelled their engagements at the Aladdin. Ronstadt also received telegrams of support from her rock 'n' roll friends around the world like the Rolling Stones, the Eagles and Elton John. Amid reports of mixed public response, Ronstadt continued her praise of Moore and his film throughout her 2004 and 2006 summer concerts across North America. At a 2006 concert in Canada, Ronstadt told the Calgary Sun that she was "embarrassed George Bush (was) from the United States. ... He's an idiot. ... He's enormously incompetent on both the domestic and international scenes. ... Now the fact that we were lied to about the reasons for entering into war against Iraq and thousands of people have diedit's just as immoral as racism." Her remarks drew international headlines. In an August 14, 2007, interview, she commented on all her well-publicized, outspoken views, in particular the Aladdin incident, by noting, "If I had it to do over I would be much more gracious to everyone ... you can be as outspoken as you want if you are very, very respectful. Show some grace". In 2007, Ronstadt resided in San Francisco while also maintaining her home in Tucson. That same year, she drew criticism and praise from Tucsonans for commenting that local city council's failings, developers' strip mall mentality, greed and growing dust problem had rendered the city unrecognizable and poorly developed. In August 2009, Ronstadt, in a well-publicized interview to PlanetOut Inc. titled "Linda Ronstadt's Gay Mission", championed gay rights and same-sex marriage, and stated "homophobia is anti-family values. Period, end of story." On January 16, 2010, Ronstadt converged with thousands of other activists in a "National Day of Action". Ronstadt stated that her "dog in the fight"as a native Arizonan and coming from a law enforcement familywas the treatment of illegal aliens and Arizona's enforcement of its illegal immigrant law, especially Maricopa County Sheriff Joe Arpaio's efforts in that area. On April 29, 2010, Ronstadt began a campaign, including joining a lawsuit, against Arizona's new illegal-immigration law SB 1070 calling it a "devastating blow to law enforcement ... the police don't protect us in a democracy with brute force", something she said she learned from her brother, Peter, who was Chief of Police in Tucson. Ronstadt has also been outspoken on environmental and community issues. She is a major supporter and admirer of sustainable agriculture pioneer Wes Jackson, saying in 2000, "the work he's doing right now is the most important work there is in the (United States)", and dedicating the rock anthem "Desperado" to him at an August 2007 concert in Kansas City, Kansas. National arts advocacy In 2004, Ronstadt wrote the foreword to the book The NPR Curious Listener's Guide to American Folk Music, and in 2005, she wrote the introduction to the book Classic Ferrington Guitars, about guitar-maker and luthier Danny Ferrington and the custom guitars that he created for Ronstadt and other musicians such as Elvis Costello, Ry Cooder, and Kurt Cobain. Ronstadt has been honored for her contribution to the American arts. On September 23, 2007, she was inducted into the Arizona Music & Entertainment Hall of Fame, along with Stevie Nicks, Buck Owens, and filmmaker Steven Spielberg. On August 17, 2008, Ronstadt received a tribute by various artists, including BeBe Winans and Wynonna Judd, when she was honored with the Trailblazer Award, presented to her by Plácido Domingo at the 2008 ALMA Awards, a ceremony later televised in the U.S. on ABC. In 2008, Ronstadt was appointed artistic director of the San José Mariachi and Mexican Heritage Festival. On March 31, 2009, in testimony that the Los Angeles Times termed "remarkable", Ronstadt spoke to the United States Congress House Appropriations Subcommittee on Interior, Environment & Related Agencies, attempting to convince lawmakers to budget $200 million in the 2010 fiscal year for the National Endowment of the Arts. In May 2009, Ronstadt received an honorary doctorate of music degree from the Berklee College of Music for her achievements and influence in music and her contributions to American and international culture. Mix magazine stated that "Linda Ronstadt (has) left her mark on more than the record business; her devotion to the craft of singing influenced many audio professionals ... (and is) intensely knowledgeable about the mechanics of singing and the cultural contexts of every genre she passes". Awards and nominations Grammy Awards In 1981 the album In Harmony: A Sesame Street Record won the Grammy for Best Album for Children. Ronstadt was one of the various artists featured on the album. The Grammys were awarded to the producers, David Levine and Lucy Simon. Latin Grammy Awards Primetime Emmy Awards Tony Awards Golden Globe Awards 1983Best Performance by a Leading Actress in a Musical or Comedy, Linda Ronstadt in The Pirates of Penzance Arizona Music and Entertainment Hall of Fame 2007Inducted for her significant impact on the evolution and development of the entertainment culture in the state of Arizona Academy of Country Music 1974Best New Female Artist 1987Album of the Year/ Trio, Dolly Parton, Linda Ronstadt and Emmylou Harris Country Music Association 1988Vocal Event of the Year / Trio, Dolly Parton, Linda Ronstadt and Emmylou Harris American Latino Media Arts 2008Trailblazer Award for Contribution to American Music Lo Nuestro nominations 1989Regional Mexican Female Artist, Regional Mexican Album (Canciones de Mi Padre), and Crossover Artist 1992Regional Mexican Female Artist 1993Tropical Female Artist, Regional Mexican Female Artist, and Tropical Song ("Perfidia"). Kennedy Center 2019 Kennedy Center Honoree Discography Studio albums Hand Sown ... Home Grown (1969) Silk Purse (1970) Linda Ronstadt (1972) Don't Cry Now (1973) Heart Like a Wheel (1974) Prisoner in Disguise (1975) Hasten Down the Wind (1976) Simple Dreams (1977) Living in the USA (1978) Mad Love (1980) Get Closer (1982) What's New (1983) Lush Life (1984) For Sentimental Reasons (1986) Canciones de Mi Padre (1987) - (English translation: Songs of My Father) Cry Like a Rainstorm, Howl Like the Wind (1989) Mas Canciones (1991) - (English translation: More Songs) Frenesí (1992) - (English translation: Frenzy) Winter Light (1993) Feels Like Home (1995) Dedicated to the One I Love (1996) We Ran (1998) A Merry Little Christmas (2000) Hummin' to Myself (2004) Live albums Live in Hollywood (2019) Duets and trios Trio (1987) (Emmylou Harris, Dolly Parton, and Linda Ronstadt) Trio II (1999) (Emmylou Harris, Dolly Parton, and Linda Ronstadt) Western Wall: The Tucson Sessions (1999) (with Emmylou Harris) Adieu False Heart (2006) (with Ann Savoy) The Complete Trio Collection (2016) (Emmylou Harris, Dolly Parton, and Linda Ronstadt) Compilation albums Different Drum (1974) Greatest Hits (1976) A Retrospective (1977) Greatest Hits, Volume 2 (1980) 'Round Midnight (1986) – 2-CD set The Linda Ronstadt Box Set (1999) – 4-CD set The Very Best of Linda Ronstadt (2002) Mi Jardin Azul: Las Canciones Favoritas (2004) - (English translation: My Blue Garden: The Favorite Songs) The Best of Linda Ronstadt: The Capitol Years (2006) – 2-CD set Standards with Nelson Riddle Orchestra (2008) The Collection (2011) – British 2-CD set Duets (2014) Just One Look: Classic Linda Ronstadt (2015) – 2-CD set Like A Rose: The Classic 1976 Broadcast Recording (2021) Filmography Books Explanatory notes References External links Image of Linda Ronstadt reclining on a porch railing in Los Angeles, California, 1974. Los Angeles Times Photographic Archive (Collection 1429). UCLA Library Special Collections, Charles E. Young Research Library, University of California, Los Angeles. Category:Grammy Lifetime Achievement Award winners Category:United States National Medal of Arts recipients Category:1946 births Category:Living people Category:Actresses from Tucson, Arizona Category:American actresses of Mexican descent Category:American alternative country singers Category:American atheists Category:American country rock singers Category:American country singer-songwriters Category:American women country singers Category:American women rock singers Category:American women singer-songwriters Category:American film actresses Category:American memoirists Category:Women in Latin music Category:American multi-instrumentalists Category:American musical theatre actresses Category:American musicians of Mexican descent Category:American performers of Latin music Category:American pop rock singers Category:American stage actresses Category:American television actresses Category:American writers of Mexican descent Category:Big band singers Category:Cajun musicians Category:Feminist musicians Category:Grammy Award winners Category:Latin Grammy Lifetime Achievement Award winners Category:Hispanic and Latino American women singers Category:Hispanic and Latino American musicians Category:Primetime Emmy Award winners Category:Spanish-language singers of the United States Category:American women memoirists Category:Asylum Records artists Category:Capitol Records artists Category:Vanguard Records artists Category:Verve Records artists Category:American people of Canadian descent Category:American people of Dutch descent Category:American people of English descent Category:American people of German descent Category:Arizona Democrats Category:Country musicians from Arizona Category:Country musicians from California Category:Musicians from San Francisco Category:Musicians from Tucson, Arizona Category:Record producers from Arizona Category:Record producers from California Category:Singers from Los Angeles Category:Writers from Los Angeles Category:Writers from San Francisco Category:Writers from Tucson, Arizona Category:20th-century American actresses Category:21st-century American actresses Category:20th-century American singers Category:21st-century American singers Category:20th-century American non-fiction writers Category:21st-century American non-fiction writers Category:20th-century American composers Category:21st-century American composers Category:20th-century American women singers Category:20th-century American women writers Category:21st-century American women writers Category:21st-century American women singers Category:American women record producers Category:Jerry Brown Category:American country guitarists Category:American acoustic guitarists Category:American women guitarists Category:Guitarists from Arizona Category:Guitarists from Los Angeles Category:Tambourine players Category:20th-century women composers Category:21st-century women composers Category:Chicano rock musicians Category:Traditional pop music singers Category:Singer-songwriters from California Category:Singer-songwriters from Arizona Category:Kennedy Center honorees
[]
[ "Ronstadt's earliest influence was her family and the Mexican music that they would sing, which was a staple in her childhood.", "Yes, she incorporated the various sounds she grew up listening to such as rock 'n' roll, jazz, rhythm and blues, gospel, opera, country, choral, and mariachi in her own records.", "The text does not provide information on whether Ronstadt's family was supportive of her career choice.", "The text does not provide information on whether Ronstadt favored any one style of music over others.", "Her country music influence was Hank Williams." ]
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C_70757043f51f42d0bbea7205aa5d0e84_1
Linda Ronstadt
Linda Maria Ronstadt was born in 1946 in Tucson, Arizona, daughter to Gilbert Ronstadt (1911-1995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (Copeman) Ronstadt (1914-1982), a homemaker. Ronstadt was raised on the family's 10-acre (4 ha) ranch with her siblings Peter (who served as Tucson's Chief of Police for 10 years, 1981-1991), Michael J., and Gretchen (Suzy). The family was featured in Family Circle magazine in 1953. Linda's father came from a pioneering Arizona ranching family and was of German, English, and Mexican ancestry.
Career summary
Establishing her professional career in the mid-1960s at the forefront of California's emerging folk rock and country rock movements - genres which defined post-1960s rock music - Ronstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys. Later, as a solo artist, she released Hand Sown ... Home Grown in 1969, which has been described as the first alternative country record by a female recording artist. Although fame eluded her during these years, Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others, appeared numerous times on television shows, and began to contribute her singing to albums by other artists. With the release of chart-topping albums such as Heart Like a Wheel, Simple Dreams, and Living in the USA, Ronstadt became the first female "arena class" rock star. She set records as one of the top-grossing concert artists of the decade. Referred to as the "First Lady of Rock" and the "Queen of Rock", Ronstadt was voted the Top Female Pop Singer of the 1970s. Her rock-and-roll image was as famous as her music; she appeared six times on the cover of Rolling Stone and on the covers of Newsweek and Time. In the 1980s, Ronstadt went to Broadway and garnered a Tony nomination for her performance in The Pirates of Penzance, teamed with the composer Philip Glass, recorded traditional music, and collaborated with the conductor Nelson Riddle, an event at that time viewed as an original and unorthodox move for a rock-and-roll artist. This venture paid off, and Ronstadt remained one of the music industry's best-selling acts throughout the 1980s, with multi-platinum-selling albums such as What's New, Canciones de Mi Padre, and Cry Like a Rainstorm, Howl Like the Wind. She continued to tour, collaborate, and record celebrated albums, such as Winter Light and Hummin' to Myself, until her retirement in 2011. Most of Ronstadt's albums are certified gold, platinum, or multi-platinum. Having sold in excess of 100 million records worldwide and setting records as one of the top-grossing concert performers for over a decade, Ronstadt was the most successful female singer of the 1970s and stands as one of the most successful female recording artists in U.S. history. Ronstadt opened many doors for women in rock and roll and other musical genres by championing songwriters and musicians, pioneering her chart success onto the concert circuit, and being at the vanguard of many musical movements. CANNOTANSWER
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Linda Maria Ronstadt (born July 15, 1946) is an American singer who performed and recorded in diverse genres including rock, country, light opera, the Great American Songbook, and Latin music. She has earned 11 Grammy Awards, three American Music Awards, two Academy of Country Music awards, an Emmy Award, and an ALMA Award. Many of her albums have been certified gold, platinum or multiplatinum in the United States and internationally. She has also earned nominations for a Tony Award and a Golden Globe award. She was awarded the Latin Grammy Lifetime Achievement Award by the Latin Recording Academy in 2011 and also awarded the Grammy Lifetime Achievement Award by the Recording Academy in 2016. She was inducted into the Rock and Roll Hall of Fame in April 2014. On July 28, 2014, she was awarded the National Medal of Arts and Humanities. In 2019, she received a star jointly with Dolly Parton and Emmylou Harris on the Hollywood Walk of Fame for their work as the group Trio. Ronstadt was among five honorees who received the 2019 Kennedy Center Honors for lifetime artistic achievements. Ronstadt has released 24 studio albums and 15 compilation or greatest hits albums. She charted 38 US Billboard Hot 100 singles. Twenty-one of those singles reached the top 40, ten reached the top 10, and one reached number one ("You're No Good"). Ronstadt also charted in UK as two of her duets, "Somewhere Out There" with James Ingram and "Don't Know Much" with Aaron Neville, peaked at numbers 8 and 2 respectively and the single "Blue Bayou" reached number 35 on the UK Singles charts. She has charted 36 albums, ten top-10 albums, and three number 1 albums on the US Billboard Pop Album Chart. Ronstadt has collaborated with artists in diverse genres, including: Dolly Parton, Emmylou Harris, Bette Midler, Billy Eckstine, Frank Zappa, Carla Bley (Escalator Over the Hill), Rosemary Clooney, Flaco Jiménez, Philip Glass, Warren Zevon, Gram Parsons, Neil Young, Paul Simon, Earl Scruggs, Johnny Cash, and Nelson Riddle. She has lent her voice to over 120 albums and has sold more than 100 million records, making her one of the world's best-selling artists of all time. Christopher Loudon, of Jazz Times, wrote in 2004 that Ronstadt is "blessed with arguably the most sterling set of pipes of her generation." Ronstadt reduced her activity after 2000 when she felt her singing voice deteriorating, releasing her last full-length album in 2004 and performing her last live concert in 2009. She announced her retirement in 2011 and revealed shortly afterwards that she is no longer able to sing as a result of a degenerative condition later determined to be progressive supranuclear palsy. Since then, Ronstadt has continued to make public appearances, going on a number of public speaking tours in the 2010s. She published an autobiography, Simple Dreams: A Musical Memoir, in September 2013. A documentary based on her memoirs, Linda Ronstadt: The Sound of My Voice, was released in 2019. Early life Linda Maria Ronstadt was born in Tucson, Arizona, on July 15, 1946, the third of four children of Gilbert Ronstadt (19111995), a prosperous machinery merchant who ran the F. Ronstadt Co., and Ruth Mary (née Copeman) Ronstadt (19141982), a homemaker. Ronstadt had a Roman Catholic upbringing and was raised on the family's ranch with her siblings Peter (who served as Tucson's Chief of Police for ten years, 19811991), Michael, and Gretchen. The family was featured in Family Circle magazine in 1953. Ronstadt family history Ronstadt's father came from a pioneering Arizona ranching family and was of Mexican descent with a German male ancestor. The family's influence on and contributions to Arizona's history, including wagon making, commerce, pharmacies, and music, are documented in the library of the University of Arizona. Her great-grandfather, the engineer Friedrich August Ronstadt (who went by Federico Augusto Ronstadt), immigrated first to Sonora, Mexico and later to the Southwest (then a part of Mexico) in the 1840s from Hanover, Germany. He married a Mexican citizen, and eventually settled in Tucson. In 1991, the City of Tucson opened its central transit terminal on March 16 and dedicated it to Linda's grandfather, Federico José María Ronstadt, a local pioneer businessman; he was a wagon maker whose early contribution to the city's mobility included six mule-drawn streetcars delivered in 190304. Ronstadt's mother Ruth Mary, of German, English, and Dutch ancestry, was raised in Flint, Michigan. Ruth Mary's father, Lloyd Groff Copeman, a prolific inventor and holder of nearly 700 patents, invented an early form of the electric toaster, many refrigerator devices, the grease gun, the first electric stove, and an early form of the microwave oven. His flexible rubber ice cube tray earned him millions of dollars in royalties. Career summary Establishing her professional career in the mid-1960s at the forefront of California's emerging folk rock and country rock movementsgenres which defined post-1960s rock musicRonstadt joined forces with Bobby Kimmel and Kenny Edwards and became the lead singer of a folk-rock trio, the Stone Poneys. Later, as a solo artist, she released Hand Sown ... Home Grown in 1969, which has been described as the first alternative country record by a female recording artist. Although fame eluded her during these years, Ronstadt actively toured with the Doors, Neil Young, Jackson Browne, and others; appeared numerous times on television shows; and began to contribute her singing to albums by other artists. With the release of chart-topping albums such as Heart Like a Wheel, Simple Dreams, and Living in the USA, Ronstadt became the first female "arena class" rock star. She set records as one of the top-grossing concert artists of the decade. Referred to as the "First Lady of Rock" and the "Queen of Rock", Ronstadt was voted the Top Female Pop Singer of the 1970s. Her rock-and-roll image was as famous as her music; she appeared six times on the cover of Rolling Stone and on the covers of Newsweek and Time. In the 1980s, Ronstadt performed on Broadway and received a Tony nomination for her performance in The Pirates of Penzance, teamed with the composer Philip Glass, recorded traditional music, and collaborated with the conductor Nelson Riddle, an event at that time viewed as an original and unorthodox move for a rock-and-roll artist. This venture paid off, and Ronstadt remained one of the music industry's best-selling acts throughout the 1980s, with multi-platinum-selling albums such as Mad Love; What's New; Canciones de Mi Padre; and Cry Like a Rainstorm, Howl Like the Wind. She continued to tour, collaborate, and record celebrated albums, such as Winter Light and Hummin' to Myself, until her retirement in 2011. Most of Ronstadt's albums are certified gold, platinum, or multi-platinum. Having sold in excess of 100 million records worldwide and setting records as one of the top-grossing concert performers for over a decade, Ronstadt was the most successful female singer of the 1970s and stands as one of the most successful female recording artists in U.S. history. She opened many doors for women in rock and roll and other musical genres by championing songwriters and musicians, pioneering her chart success onto the concert circuit, and being in the vanguard of many musical movements. Career overview Early influences Ronstadt's early family life was filled with music and tradition, which influenced the stylistic and musical choices she later made in her career. Growing up, she listened to many types of music, including Mexican music, which was sung by her entire family and was a staple in her childhood. Ronstadt has remarked that everything she has recorded on her own recordsrock and roll, rhythm and blues, gospel, opera, country, choral, and mariachiis all music she heard her family sing in their living room or heard played on the radio, by the age of 10. She credits her mother for her appreciation of Gilbert and Sullivan and her father for introducing her to the traditional pop and Great American Songbook repertoire that she would, in turn, help reintroduce to an entire generation. Early on, her singing style had been influenced by singers such as Lola Beltrán and Édith Piaf; she has called their singing and rhythms "more like Greek music ... It's sort of like 6/8 time signature ... very hard driving and very intense." She also drew influence from country singer Hank Williams. She has said that "all girl singers" eventually "have to curtsy to Ella Fitzgerald and Billie Holiday". Of Maria Callas, Ronstadt says, "There's no one in her league. That's it. Period. I learn more ... about singing rock n roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays. ... She's the greatest chick singer ever." She admires Callas for her musicianship and her attempts to push 20th-century singing, particularly opera, back into the bel canto "natural style of singing". A self-described product of American radio of the 1950s and 1960s, Ronstadt is a fan of its eclectic and diverse music programming. Beginning of professional career At age 14, Ronstadt formed a folk trio with her brother Peter and sister Gretchen. The group played coffeehouses, fraternity houses, and other small venues, billing themselves as "the Union City Ramblers" and "the Three Ronstadts", and they even recorded themselves at a Tucson studio under the name "the New Union Ramblers". Their repertoire included the music they grew up onfolk, country, bluegrass, and Mexican. But increasingly, Ronstadt wanted to make a union of folk music and rock 'n' roll, and in 1964, after a semester at Arizona State University, the 18-year-old decided to move to Los Angeles. The Stone Poneys Ronstadt visited a friend from Tucson, Bobby Kimmel, in Los Angeles during Easter break from college in 1964, and later that year, shortly before her eighteenth birthday, decided to move there permanently to form a band with him. Kimmel had already begun co-writing folk-rock songs with guitarist-songwriter Kenny Edwards, and eventually the three of them were signed by Nik Venet to Capitol in the summer of 1966 as "the Stone Poneys". The trio released three albums in a 15-month period in 196768: The Stone Poneys; Evergreen, Volume 2; and Linda Ronstadt, Stone Poneys and Friends, Vol. III. The band is widely known for their hit single "Different Drum" (written by Michael Nesmith prior to his joining the Monkees), which reached number 13 on the Billboard Hot 100 chart as well as number 12 in Cashbox magazine. Nearly 50 years later, the song remains one of Ronstadt's most popular recordings. Solo career Still contractually obligated to Capitol Records, Ronstadt released her first solo album, Hand Sown ... Home Grown, in 1969. It has been called the first alternative country record by a female recording artist. During this same period, she contributed to the Music from Free Creek "super session" project. Ronstadt provided the vocals for some commercials during this period, including one for Remington electric razors, in which a multitracked Ronstadt and Frank Zappa claimed that the electric razor "cleans you, thrills you ... may even keep you from getting busted". Ronstadt's second solo album, Silk Purse, was released in March 1970. Recorded entirely in Nashville, it was produced by Elliot Mazer, whom Ronstadt chose on the advice of Janis Joplin, who had worked with him on the Cheap Thrills album. The Silk Purse album cover showed Ronstadt in a muddy pigpen, while the back and inside cover depicted her onstage wearing bright red. Ronstadt has stated that she was not pleased with the album, although it provided her with her first solo hit, the multi-format single "Long, Long Time", and earned her first Grammy nomination (for Best Contemporary Vocal Performance/Female). Touring Soon after she went solo in the late 1960s, one of her first backing bands was the pioneering country-rock band Swampwater, which combined Cajun and swamp-rock elements in their music. Its members included Cajun fiddler Gib Guilbeau and John Beland, who later joined the Flying Burrito Brothers, as well as Stan Pratt, Thad Maxwell, and Eric White, brother of Clarence White of the Byrds. Swampwater went on to back Ronstadt during TV appearances on The Johnny Cash Show and The Mike Douglas Show, and at the Big Sur Folk Festival. Another backing band included Don Henley, Glenn Frey, Bernie Leadon, and Randy Meisner, who went on to form the Eagles. They toured with her for a short period in 1971 and played on Linda Ronstadt, her self-titled third album, from which the failed single, Ronstadt's version of Browne's "Rock Me on the Water", was drawn. At this stage, Ronstadt began working with producer and boyfriend John Boylan. She said, "As soon as I started working with John Boylan, I started co-producing myself. I was always a part of my productions. But I always needed a producer who would carry out my whims." Also in 1971, Ronstadt began talking with David Geffen about moving from Capitol Records to Geffen's Asylum Records label. In 1975, Ronstadt performed shows with Jackson Browne, the Eagles, and Toots and the Maytals. In these shows she would sing lead vocal on numerous songs including the Eagles' Desperado while singing background and playing tambourine and acoustic guitar on others. Several years before Ronstadt became what author Gerri Hirshey called the first "arena-class rock diva" with "hugely anticipated tours" she began her solo career touring the North American concert circuit. Being on the road took its toll both emotionally and professionally. In a 1976 Rolling Stone interview with Cameron Crowe, Ronstadt said, "they haven't invented a word for that loneliness that everybody goes through on the road. The world is tearing by you, real fast, and all these people are looking at you. ... People see me in my 'girl-singer' suit." In 1974 she told Peter Knobler in Crawdaddy, "People are always taking advantage of you; everybody that's interested in you has got an angle." There were few "girl singers" on the rock circuit at the time, and they were relegated to "groupie level when in a crowd of a bunch of rock and roll guys", a status Ronstadt avoided. Relating to men on a professional level as fellow musicians led to competition, insecurity, bad romances, and a series of boyfriend-managers. At the time, she admired singers like Maria Muldaur for not sacrificing their femininity but says she felt enormous self-imposed pressure to compete with "the boys" at every level. She noted in a 1969 interview in Fusion magazine that it was difficult being a single "chick singer" with an all-male backup band. According to her, it was difficult to get a band of backing musicians because of their ego problem of being labeled sidemen for a female singer. Collaborations with Peter Asher Ronstadt began her fourth solo album, Don't Cry Now, in 1973, with Boylan (who had negotiated her contract with Asylum Records) and John David "J.D." Souther producing most of the album's tracks. But needing someone willing to work with her as an equal, Ronstadt asked Peter Asher, who came highly recommended to her by James Taylor's sister Kate Taylor, to help produce two of them: "Sail Away" and "I Believe in You". The album featured Ronstadt's first country hit, "Silver Threads and Golden Needles", which she had first recorded on Hand Sown ... Home Grownthis time hitting the Country Top 20. With the release of Don't Cry Now, Ronstadt took on her biggest gig to date as the opening act on Neil Young's Time Fades Away tour, playing for larger crowds than ever before. Backstage at a concert in Texas, Chris Hillman introduced her to Emmylou Harris, telling them, "You two could be good friends", which soon occurred, resulting in frequent collaborations over the following years. Meanwhile, the album became Ronstadt's most successful up to that time, selling 300,000 copies by the end of 1974. Asher turned out to be more collaborative, and more on the same page with her musically, than any producer she had worked with previously. Ronstadt's professional relationship with Asher allowed her to take command and effectively delegate responsibilities in the recording studio. Although hesitant at first to work with her because of her reputation for being a "woman of strong opinions (who) knew what she wanted to do (with her career)", he nonetheless agreed to become her full-time producer, and remained in that role through the late 1980s. Asher attributed the long-term success of his working relationship with Ronstadt to the fact that he was the first person to manage and produce her with whom there was a solely professional relationship. "It must be a lot harder to have objective conversations about someone's career when it's someone you sleep with", he said. Asher executive produced a tribute CD called Listen to Me: Buddy Holly, released September 6, 2011, on which Ronstadt's 1976 version of Buddy Holly's "That'll Be The Day" appears among newly recorded versions of Holly's songs by various artists. Vocal styles Ronstadt captured the sounds of country music and the rhythms of ranchera musicwhich she likened in 1968 to "Mexican bluegrass"and redirected them into her rock 'n' roll and some of her pop music. Many of these rhythms and sounds were part of her Southwestern roots. Likewise, a country sound and style, a fusion of country music and rock 'n' roll called country rock, started to exert its influence on mainstream pop music around the late 1960s, and it became an emerging movement Ronstadt helped form and commercialize. However, as early as 1970, Ronstadt was being criticized by music "purists" for her "brand of music" which crossed many genres. Country Western Stars magazine wrote in 1970 that "Rock people thought she was too gentle, folk people thought she was too pop, and pop people didn't quite understand where she was at, but Country people really loved Linda." She never categorized herself and stuck to her genre-crossing brand of music. Interpretive singer Ronstadt is considered an "interpreter of her times", and has earned praise for her courage to put her "stamp" on many of her songs. Nevertheless, her hits were criticized in some quarters for being cover songs. Ronstadt herself has indicated that some of her 1970s hits were recorded under considerable pressure to create commercially successful recordings, and that she prefers many of her songs that were non-hit album tracks. An infrequent songwriter, Ronstadt co-composed only three songs over her long career. Ronstadt's natural vocal range spans several octaves from contralto to soprano, and occasionally she will showcase this entire range within a single work. Ronstadt was the first female artist in popular music history to accumulate four consecutive platinum albums (fourteen certified million selling, to date). As for the singles, Rolling Stone pointed out that a whole generation, "but for her, might never have heard the work of artists such as Buddy Holly, Elvis Costello, and Chuck Berry." Others have argued that Ronstadt had the same generational effect with her Great American Songbook music, exposing a whole new generation to the music of the 1920s and 1930smusic which was pushed aside because of the advent of rock 'n' roll. When interpreting, Ronstadt said she "sticks to what the music demands", in terms of lyrics. Explaining that rock and roll music is part of her culture, she says that the songs she sang after her rock and roll hits were part of her soul. "The (Mariachi music) was my father's side of the soul," she was quoted as saying in a 1998 interview she gave at her Tucson home. "My mother's side of my soul was the Nelson Riddle stuff. And I had to do them both to reestablish who I was." In the 1974 book Rock 'N' Roll Woman, author Katherine Orloff writes that Ronstadt's "own musical preferences run strongly to rhythm and blues, the type of music she most frequently chooses to listen to ... (and) her goal is to ... be soulful too. With this in mind, Ronstadt fuses country and rock into a special union." By this stage of her career, Ronstadt had established her niche in the field of country-rock. Along with other musicians such as the Flying Burrito Brothers, Emmylou Harris, Gram Parsons, Swampwater, Neil Young, and the Eagles, she helped free country music from stereotypes and showed rockers that country was okay. However, she stated that she was being pushed hard into singing more rock and roll. Most successful female singer of the 1970s Author Andrew Greeley, in his book God in Popular Culture, described Ronstadt as "the most successful and certainly the most durable and most gifted woman Rock singer of her era." Signaling her wide popularity as a concert artist, outside of the singles charts and the recording studio, Dirty Linen magazine describes her as the "first true woman rock 'n' roll superstar ... (selling) out stadiums with a string of mega-successful albums." Amazon.com defines her as the American female rock superstar of the decade. Cashbox gave Ronstadt a Special Decade Award, as the top-selling female singer of the 1970s. Her album covers, posters, magazine coversher entire rock 'n' roll imagewere as famous as her music. By the end of the decade, the singer whom the Chicago Sun Times described as the "Dean of the 1970s school of female rock singers" became what Redbook called "the most successful female rock star in the world." "Female" was the important qualifier, according to Time magazine, which labeled her "a rarity ... to (have survived) ... in the shark-infested deeps of rock." Although Ronstadt had been a cult favorite on the music scene for several years, 1975 was "remembered in the music biz as the year when 29-year-old Linda Ronstadt belatedly happened." With the release of Heart Like a Wheelnamed after one of the album's songs, written by Anna McGarrigleRonstadt reached number 1 on the Billboard 200 chart; it was also the first of four number 1 Country Albums, and the disc was certified double-platinum (over two million copies sold in the U.S.). In many instances, her own interpretations were more successful than the original recordings, and many times new songwriters were discovered by a larger audience as a result of her interpretation and recording. Ronstadt had major success interpreting songs from a diverse spectrum of artists. Heart Like a Wheels first single release, "You're No Good"a rockified version of an R&B song written by Clint Ballard, Jr. that Ronstadt had initially resisted because Andrew Gold's guitar tracks sounded too much like a "Beatles song" to herclimbed to number 1 on both the Billboard and Cash Box Pop singles charts. The album's second single release, "When Will I Be Loved"an uptempo country-rock version of a Top 10 Everly Brothers songhit number 1 in Cashbox and number 2 in Billboard. The song was also Ronstadt's first number 1 country hit. The album's critical and commercial success was due to a fine presentation of country and rock, with Heart Like a Wheel her first of many major commercial successes that would set her on the path to being one of the best-selling female artists of all time. Ronstadt won her first Grammy Award for Best Country Vocal Performance/Female for "I Can't Help It (If I'm Still in Love with You)" which was originally a 1940s hit by Hank Williams. Ronstadt's interpretation peaked at number 2 on the country chart. The album itself was nominated for the Album of the Year Grammy. Rolling Stone put Ronstadt on its cover in March 1975. It was the first of six Rolling Stone covers shot by photographer Annie Leibovitz. It included her as the featured artist with a full photo layout and an article by Ben Fong-Torres, discussing Ronstadt's many struggling years in rock n roll, as well as her home life and what it was like to be a woman on tour in a decidedly all-male environment. In September 1975, Ronstadt's album Prisoner in Disguise was released. It quickly climbed into the Top Five on the Billboard Album Chart and sold over a million copies. It became her second in a row to go platinum, "a grand slam" in the same year (Ronstadt would eventually become the first female artist in popular music history to have three consecutive platinum albums and would ultimately go on to have eight consecutive platinum albums, and then another six between 1983 and 1990). The disc's first single release was "Love Is A Rose". It was climbing the pop and country charts but "Heat Wave", a rockified version of the 1963 hit by Martha and the Vandellas, was receiving considerable airplay. Asylum pulled the "Love Is a Rose" single and issued "Heat Wave" with "Love Is a Rose" on the B-side. "Heat Wave" hit the Top Five on Billboards Hot 100 while "Love Is A Rose" hit the Top Five on Billboard's country chart. In 1976, Ronstadt reached the Top 3 of Billboards Album Chart and won her second career Grammy Award for Best Female Pop Vocal Performance for her third consecutive platinum album Hasten Down the Wind. The album featured a sexy, revealing cover shot and showcased Ronstadt the singer-songwriter, who composed two of its songs, "Try Me Again" (co-authored with Andrew Gold) and "Lo Siento Mi Vida". It also included an interpretation of Willie Nelson's ballad "Crazy", which became a Top 10 Country hit for Ronstadt in early 1977. At the end of 1977, Ronstadt surpassed the success of Heart Like a Wheel with her album Simple Dreams, which held the number 1 position for five consecutive weeks on the Billboard 200 chart. It sold over 3 million copies in less than a year in the U.S. alone – a record for a female artist. Simple Dreams spawned a string of hit singles on numerous charts. Among them were the RIAA platinum-certified single "Blue Bayou", a country-rock interpretation of a Roy Orbison song; "It's So Easy"previously sung by Buddy Holly, a cover of The Rolling Stones' "Tumbling Dice", and "Poor Poor Pitiful Me", a song written by Warren Zevon, an up-and-coming songwriter of the time. The album garnered several Grammy Award nominationsincluding Record of the Year and Best Pop Vocal Performance/Female for "Blue Bayou"and won its art director, Kosh, a Grammy Award for Best Album Cover, the first of three Grammy Awards he would win for designing Ronstadt album covers. In late 1977, Ronstadt became the first female recording artist to have two songs in the U.S. Billboard Hot 100 Top Ten at the same time. "Blue Bayou" was at No. 3 while "It's So Easy" was at No. 5. Simple Dreams became one of the singer's best-selling international-selling albums as well, reaching number 1 on the Australian and Canadian Pop and Country Albums charts. Simple Dreams also made Ronstadt the most successful international female touring artist. The same year, she completed a concert tour around Europe. As Country Music magazine wrote in October 1978, Simple Dreams solidified Ronstadt's role as "easily the most successful female rock and roll and country star at this time." Also in 1977, she was asked by the Los Angeles Dodgers to sing the U.S. National Anthem at game three of the World Series against the New York Yankees. Time magazine and "rock chick" image Ronstadt has remarked that she felt as though she was "artificially encouraged to kinda cop a really tough attitude (and be tough) because rock and roll is kind of tough (business)," which she felt wasn't worn quite authentically. Female rock artists like her and Janis Joplin, whom she described as lovely, shy, and very literate in real life and the antithesis of the "red hot mamma" she was artificially encouraged to project, went through an identity crisis. By the mid-1970s, Ronstadt's image became just as famous as her music. In 1976 and 1977, she appeared on the covers of Rolling Stone and Time, respectively. The Rolling Stone cover story was accompanied by a series of photographs of Ronstadt in a skimpy red slip, taken by Annie Leibovitz. Ronstadt felt deceived by the photographer, not realizing that the photos would be so revealing. She says her manager Peter Asher kicked Leibovitz out of the house when she visited to show them the photographs prior to publication. Leibovitz had refused to let them veto any of the photos, which included one of Ronstadt sprawled across a bed in her underpants. In a 1977 interview, Ronstadt explained, "Annie [Leibovitz] saw that picture as an exposé of my personality. She was right. But I wouldn't choose to show a picture like that to anybody who didn't know me personally, because only friends could get the other sides of me in balance." Her 1977 appearance on the cover of Time magazine under the banner "Torchy Rock" was also upsetting to Ronstadt, considering what the image appeared to project about the most famous woman in rock. At a time in the industry when men still told women what to sing and what to wear, Ronstadt hated the image of her that was projected to the world on that cover, and she noted recently how the photographer kept forcing her to wear a dress, which was an image she did not want to project. In 2004, she was interviewed for CBS This Morning and stated that this image was not her because she did not sit like that. Asher noted, "Anyone who's met Linda for 10 seconds will know that I couldn't possibly have been her Svengali. She's an extremely determined woman, in every area. To me, she was everything that feminism's about." Qualities which, Asher has stated, were considered a "negative (in a woman at that time), whereas in a man they were perceived as being masterful and bold". Since her solo career had begun, Ronstadt had fought hard to be recognized as a solo female singer in the world of rock, and her portrayal on the Time cover did not appear to help the situation. In 1978, Rolling Stone declared Ronstadt "by far America's best-known female rock singer." She scored a third number 1 album on the Billboard Album Chart – at this point equaling the record set by Carole King in 1974 – with Living in the USA. She achieved a major hit single with "Ooo Baby Baby", with her rendition hitting all four major singles charts (Pop, AC, Country, R&B). Living in the USA was the first album by any recording act in music history to ship double-platinum (over 2 million advance copies). The album eventually sold 3 million U.S. copies. At the end of that year, Billboard magazine crowned Ronstadt with three number-one Awards for the Year: Pop Female Singles Artist of the Year, Pop Female Album Artist of the Year, and Female Artist of the Year (overall). Living in the USA showed the singer on roller skates with a newly short, permed hairdo on the album cover. Ronstadt continued this theme on concert tour promotional posters with photos of her on roller skates in a dramatic pose with a large American flag in the background. By this stage of her career, she was using posters to promote every album and concert – which at the time were recorded live on radio or television. Ronstadt was also featured in the 1978 film FM, where the plot involved disc jockeys attempting to broadcast a Ronstadt concert live, without a competing station's knowledge. The film also showed Ronstadt performing the songs "Poor, Poor Pitiful Me", "Love Me Tender", and "Tumbling Dice". Ronstadt was persuaded to record "Tumbling Dice" after Mick Jagger came backstage when she was at a concert and said, "You do too many ballads, you should do more rock and roll songs." Following the success of Living in the USA, Ronstadt conducted album promotional tours and concerts. She made a guest appearance onstage with the Rolling Stones at the Tucson Community Center on July 21, 1978, in her hometown of Tucson, where she and Jagger sang "Tumbling Dice". On singing with Jagger, Ronstadt later said, "I loved it. I didn't have a trace of stage fright. I'm scared to death all the way through my own shows. But it was too much fun to get scared. He's so silly onstage, he knocks you over. I mean you have to be on your toes or you wind up falling on your face." Highest-paid woman in rock By the end of 1978, Ronstadt had solidified her role as one of rock and pop's most successful solo female acts, and owing to her consistent platinum album success, and her ability as the first woman to sell out concerts in arenas and stadiums hosting tens of thousands of fans, Ronstadt became the "highest-paid woman in rock". She had six platinum-certified albums, three of which were number 1 on the Billboard album chart, and numerous charting pop singles. In 1978 alone, she made over $12 million () and in the same year her albums sales were reported to be 17 milliongrossing over $60 million (). As Rolling Stone dubbed her "Rock's Venus", her record sales continued to multiply and set records themselves. By 1979, Ronstadt had collected eight gold, six platinum, and four multi-platinum certifications for her albums, an unprecedented feat at the time. Her 1976 Greatest Hits album would sell consistently for the next 25 years, and it was certified by the RIAA for seven-times platinum in 2001 (over seven million U.S. copies sold). In 1980, Greatest Hits, Volume 2 was released and certified platinum. In 1979, Ronstadt went on an international tour, playing in arenas across Australia to Japan, including the Melbourne Cricket Ground in Melbourne, and the Budokan in Tokyo. She also participated in a benefit concert for her friend Lowell George, held at The Forum, in Los Angeles. By the end of the decade, Ronstadt had outsold her female competition; she had five straight platinum LPsHasten Down the Wind and Heart Like a Wheel among them. Us Weekly reported in 1978 that Ronstadt, Joni Mitchell, Stevie Nicks, and Carly Simon had become "The Queens of Rock" and "Rock is no longer exclusively male. There is a new royalty ruling today's record charts." She would go on to parlay her mass commercial appeal with major success in interpreting The Great American Songbookmade famous a generation before by Frank Sinatra and Ella Fitzgeraldand later the Mexican folk songs of her childhood. From rock to operetta In February 1980, Ronstadt released Mad Love, her seventh consecutive platinum-selling album. It was a straightforward rock and roll album with post-punk, new wave influences, including tracks by songwriters such as Elvis Costello, the Cretones, and musician Mark Goldenberg who played on the record himself. As part of the album's promotion, a live concert was recorded for an HBO special in April. A partial soundtrack for this special (omitting most of the Mad Love tracks) was released as her first official live album in February 2019. She also made the cover of Rolling Stone for a record-setting sixth time. Mad Love entered the Billboard Album Chart in the Top Five its first week (a record at that time) and climbed to the number 3 position. The project continued her streak of Top 10 hits with "How Do I Make You", originally recorded by Billy Thermal, and "Hurt So Bad", originally a Top 10 hit for Little Anthony & the Imperials. The album earned Ronstadt a 1980 Grammy Award nomination for Best Rock Vocal Performance/Female (although she lost to Pat Benatar's Crimes of Passion album). Benatar praised Ronstadt by stating, "There are a lot of good female singers around. How could I be the best? Ronstadt is still alive!" In the summer of 1980, Ronstadt began rehearsals for the first of several leads in Broadway musicals. Joseph Papp cast her as the lead in the New York Shakespeare Festival production of Gilbert and Sullivan's The Pirates of Penzance, alongside Kevin Kline. She said singing Gilbert and Sullivan was a natural choice for her, since her grandfather Fred Ronstadt was credited with having created Tucson's first orchestra, the Club Filarmonico Tucsonense, and had once created an arrangement of The Pirates of Penzance. The Pirates of Penzance opened for a limited engagement in New York City's Central Park, eventually moving its production to Broadway, where it became a hit, running from January 8, 1981, to November 28, 1982. Newsweek was effusive in its praise: "... she has not dodged the coloratura demands of her role (and Mabel is one of the most demanding parts in the G&S canon): from her entrance trilling 'Poor Wand'ring One,' it is clear that she is prepared to scale whatever soprano peaks stand in her way." Ronstadt co-starred with Kline and Angela Lansbury in the 1983 operetta's film version; this was her only acting role in a motion picture (her other film appearances, such as in the 1978 drama, FM, being concert footage as herself). Ronstadt received a Golden Globe nomination for the role in the film version. She garnered a nomination for the Tony Award for Best Performance by a Leading Actress in a Musical and The Pirates of Penzance won several Tony Awards, including a Tony Award for Best Revival. As a child, Ronstadt had discovered the opera La bohème through the silent film with Lillian Gish and was determined to someday play the part of Mimi. When she met the opera superstar Beverly Sills, she was told, "My dear, every soprano in the world wants to play Mimi!" In 1984, Ronstadt was cast in the role at Joseph Papp's Public Theater. However, the production was a critical and commercial disaster, closing after only a few nights. In 1982, Ronstadt released the album Get Closer, a primarily rock album with some country and pop music as well. It remains her only album between 1975 and 1990 not to be officially certified platinum. It peaked at number 31 on the Billboard Album Chart. The release continued her streak of Top 40 hits with "Get Closer" and "I Knew You When"a 1965 hit by Billy Joe Royalwhile the Jimmy Webb song "Easy For You To Say" was a surprise Top 10 Adult Contemporary hit in the spring of 1983. "Sometimes You Just Can't Win" was picked up by country radio, and made it to number 27 on that listing. Ronstadt also filmed several music videos for this album which became popular on the fledgling MTV cable channel. The album earned Ronstadt two Grammy Award nominations: one for Best Rock Vocal Performance/Female for the title track and another for Best Pop Vocal Performance/Female for the album. The artwork won its art director, Kosh, his second Grammy Award for Best Album Package. Along with the release of her Get Closer album, Ronstadt embarked on a North American tour, remaining one of the top rock-concert draws that summer and fall. On November 25, 1982, her "Happy Thanksgiving Day" concert was held at the Reunion Arena in Dallas and broadcast live via satellite to NBC radio stations in the United States. In 1988, Ronstadt returned to Broadway for a limited-run engagement in the musical show adaptation of her album celebrating her Mexican heritage, Canciones De Mi PadreA Romantic Evening in Old Mexico. Artistic aspirations Ronstadt has remarked that in the beginning of her career she "was so focused on folk, rock and country" that she "got a bit bored and started to branch out, and ... [has] been doing that ever since." By 1983, her estimated worth was over $40 million mostly from records, concerts and merchandising. In the early 1980s, Ronstadt was criticized for accepting $500,000 to perform at the South African resort Sun City, violating the cultural boycott imposed against South Africa because of its policy of apartheid. At the time, she stated, "the last place for a boycott is in the arts" and "I don't like being told I can't go somewhere". Paul Simon was criticized for including her on his 1986 album Graceland, recorded in South Africa, but defended her: "I know that her intention was never to support the government there ... She made a mistake. She’s extremely liberal in her political thinking and unquestionably antiapartheid." Ronstadt eventually tired of playing arenas. She had ceased to feel that arenas, where people milled around smoking marijuana cigarettes and drinking beer, were "appropriate places for music". She wanted "angels in the architecture"a reference to a lyric in the Paul Simon song "You Can Call Me Al" from Graceland. (Ronstadt sang harmony with Simon on a different Graceland track, "Under African Skies". The second verse's lyrics pay tribute to Ronstadt: "Take this child, Lord, from Tucson, Arizona. ..."). Ronstadt has said she wants to sing in places similar to the theatre of ancient Greece, where the attention is focused on the stage and the performer. Ronstadt's recording output in the 1980s proved to be just as commercially and critically successful as her 1970s recordings. Between 1983 and 1990, Ronstadt scored six additional platinum albums; two are triple platinum (each with over three million U.S. copies sold); one has been certified double platinum (over two million copies sold), and one has earned additional certification as a Gold (over 500,000 U.S. copies sold) double-disc album. Jazz/pop trilogy In 1981, Ronstadt produced and recorded an album of pop standards (later marketed in bootleg form) titled Keeping Out of Mischief with the assistance of producer Jerry Wexler. However, Ronstadt's displeasure with the result led her, with regrets, to scrap the project. "Doing that killed me," she said in a Time magazine interview. But the appeal of the album's music had seduced Ronstadt, as she told DownBeat in April 1985, crediting Wexler for encouraging her. Nonetheless, Ronstadt had to convince her reluctant record company, Elektra, to approve this type of album under her contract. By 1983, Ronstadt had enlisted the help of 62-year-old conductor Nelson Riddle. The two embarked on an unorthodox and original approach to rehabilitating the Great American Songbook, recording a trilogy of traditional pop albums: What's New (1983U.S. 3.7 million as of 2010); Lush Life (1984U.S. 1.7 million as of 2010); and For Sentimental Reasons (1986U.S. 1.3 million as of 2010). The three albums have had a combined sales total of nearly seven million copies in the U.S. alone. The album design for What's New by designer Kosh was unlike any of her previous disc covers. It showed Ronstadt in a vintage dress lying on shimmering satin sheets with a Walkman headset. At the time, Ronstadt received some chiding for both the album cover and her venture into what was then considered "elevator music" by cynics, but remained determined to record with Riddle, and What's New became a hit. The album was released in September 1983 and spent 81 weeks on the Billboard Album Chart and held the number three position for a month and a half (held out of the top spot only by Michael Jackson's Thriller and Lionel Richie's Can't Slow Down) and the RIAA certified it triple platinum (over three million copies sold in the U.S. alone). The album earned Ronstadt another Grammy nomination for Best Female Pop Vocal Performance, and critical raves, with Time magazine calling it "one of the gutsiest, most unorthodox and unexpected albums of the year." Ronstadt faced considerable pressure not to record What's New or record with Riddle. According to jazz historian Peter Levinson, author of the book September in the Raina Biography on Nelson Riddle, Joe Smith, president of Elektra Records, was terrified that the Riddle album would turn off Ronstadt's rock audience. Ronstadt did not completely turn her back on her rock and roll past, however; the video for the title track featured Danny Kortchmar as the old beau that she bumped into during a rainstorm. What's New brought Riddle to a younger audience. According to Levinson, "the younger audience hated what Riddle had done with Frank Sinatra, which in 1983 was considered 'Vintage Pop'". Working with Ronstadt, Riddle brought his career back into focus in the last three years of his life. Stephen Holden of The New York Times wrote, What's New "isn't the first album by a rock singer to pay tribute to the golden age of the pop, but is ... the best and most serious attempt to rehabilitate an idea of pop that Beatlemania and the mass marketing of rock LPs for teenagers undid in the mid-60s. ... In the decade prior to Beatlemania, most of the great band singers and crooners of the 40s and 50s codified a half-century of American pop standards on dozens of albums ... many of them now long out-of-print." What's New is the first album by a rock singer to have major commercial success in rehabilitating the Great American Songbook. In 1984, Ronstadt and Riddle performed these songs live, in concert halls throughout Australia, Japan, and the United States, including multi-night performances at historic venues Carnegie Hall, Radio City Music Hall, and Pine Knob. In 2004, Ronstadt released Hummin' to Myself, her album for Verve Records. It was her first foray into traditional jazz since her sessions with Jerry Wexler and her records with the Nelson Riddle Orchestra, but this time with an intimate jazz combo. The album was a quiet affair for Ronstadt, giving few interviews and making only one television performance as a promotion. It reached number 2 on Billboard's Top Jazz Albums chart but peaked at number 166 on the main Billboard album chart. Not having the mass distribution that Warner Music Group gave her, Hummin' To Myself had sold over 75,000 copies in the U.S. as of 2010. It also achieved some critical acclaim from the jazz cognoscenti. "Trio" recordings In 1978, Ronstadt, Dolly Parton, and Emmylou Harris, friends and admirers of one another's work (Ronstadt had included a cover of Parton's "I Will Always Love You" on Prisoner in Disguise) attempted to collaborate on a Trio album. Unfortunately, the attempt did not pan out. Ronstadt later remarked that not too many people were in control at the time and everyone was too involved with their own careers. (Though the efforts to complete the album were abandoned, a number of the recordings were included on the singers' respective solo recordings over the next few years.) This concept album was put on the back burner for almost ten years. In January 1986, the three eventually did make their way into the recording studio, where they spent the next several months working. The result, Trio, which they had conceived ten years earlier, was released in March 1987. It was a considerable hit, holding the number 1 position on Billboard's Country Albums chart for five weeks running and hitting the Top 10 on the pop side also. Selling over three million copies in the U.S. and winning them a Grammy Award for Best Country Performance by a Duo or Group with Vocal, it produced four Top Ten Country singles including "To Know Him Is to Love Him" which hit number 1. The album was also a nominee for overall Album of the Year, in the company of Michael Jackson, U2, Prince, and Whitney Houston. In 1994, the three performers recorded a follow-up to Trio. As was the case with their aborted 1978 effort, conflicting schedules and competing priorities delayed the album's release indefinitely. Ronstadt, who had already paid for studio timeand owed her record company a finished albumremoved Parton's individual tracks at Parton's request, kept Harris's vocals, and produced a number of the recordings, which she subsequently released on her 1995 return to country rock, the album Feels Like Home. However, in 1999, Ronstadt, Parton, and Harris agreed to release the Trio II album, as was originally recorded in 1994. It included an ethereal cover of Neil Young's "After The Gold Rush" which became a popular music video. The effort was certified Gold (over 500,000 copies sold) and won them a Grammy Award for Best Country Collaboration with Vocals for the track. Ronstadt co-produced the album with George Massenburg and the three women also received a nomination for the Grammy Award for Best Country Album. Canciones de Mi Padre At the end of 1987, Ronstadt released Canciones de Mi Padre, an album of traditional Mexican folk songs, or what she has described as "world class songs". Keeping with the Ronstadt history theme, her cover art was dramatic, bold, and colorful; it shows Ronstadt in full Mexican regalia. Her musical arranger was mariachi musician Rubén Fuentes. These canciones were a big part of Ronstadt's family tradition and musical roots. In January 1946, the University of Arizona published a booklet by Luisa Espinel entitled Canciones de mi Padre. Luisa Espinel, Ronstadt's aunt, was an international singer in the 1920s and 1930s. Espinel's father was Fred Ronstadt, Linda Ronstadt's grandfather, and the songs she had learned, transcribed, and published were some of the ones he had brought with him from Sonora. Ronstadt researched and extracted from the favorites she had learned from her father Gilbert and she called her album by the same name as her aunt's booklet and as a tribute to her father and his family. Though not fully bilingual, she has a fairly good command of the Spanish language, allowing her to sing Latin American songs with little discernible U.S. accent; Ronstadt has often identified herself as Mexican-American. Her formative years were spent with her father's side of the family. In fact, in 1976, Ronstadt had collaborated with her father to write and compose a traditional Mexican folk ballad, "Lo siento mi vida"a song that she included on Hasten Down the Wind. Ronstadt has also credited Mexican singer Lola Beltrán as an influence on her own singing style, and she recalls how a frequent guest to the Ronstadt home, Eduardo "Lalo" Guerrero, father of Chicano music, would often serenade her as a child. Canciones de Mi Padre won Ronstadt a Grammy Award for Best Mexican-American Performance. In 2001, it was certified double-platinum by the RIAA for shipments of over 2 million copies in the United States, making it the best-selling non-English-language album in U.S. music history. The album and later theatrical stage show served as a benchmark of the Latin cultural renaissance in North America. Ronstadt produced and performed a theatrical stage show, also titled Canciones de mi Padre, in concert halls across the U.S. and Latin America to both Hispanic and non-Hispanic audiences. These performances were later released on DVD. Ronstadt elected to return to the Broadway stage, four years after she performed in La bohème, for a limited-run engagement. PBS's Great Performances aired the stage show during its annual fund drives and the show was a hit with audiences, earning Ronstadt a Primetime Emmy Award for Individual Performance in a Variety or Music Program. Ronstadt recorded two additional albums of Latin music in the early 1990s. Their promotion, like most of her albums in the 1990s, was a quieter affair, with Ronstadt making only a limited number of appearances to promote them. They were not nearly as successful as Canciones De Mi Padre, but were critically acclaimed in some circles. In 1991, she released Mas Canciones, a follow-up to the first Canciones. For this album, she won a Grammy Award for Best Mexican/Mexican-American Album. The following year, she stepped outside of the mariachi genre and decided to record well-known Afro-Cuban songs. This album was titled Frenesí. Like her two previous Latin recordings ventures, it won Ronstadt a Grammy Award, this time for Best Traditional Tropical Latin Album. In 1991, Ronstadt acted in the lead role of archangel San Miguel in La Pastorela, or A Shephard's Tale, a musical filmed at San Juan Bautista. It was written and directed by Luis Valdez. The production was part of the PBS Great Performances series. In December 2020, it was announced that Canciones de Mi Padre had been inducted into the Grammy Hall of Fame. Returning to the contemporary music scene By the late 1980s, while enjoying the success of her big band jazz collaborations with Riddle and her surprise hit mariachi recordings, Ronstadt elected to return to recording mainstream pop music once again. In 1987, she made a return to the top of the Billboard Hot 100 singles chart with "Somewhere Out There", which peaked at number 2 in March. Featured in the animated film An American Tail, the sentimental duet with James Ingram was nominated for several Grammy Awards, ultimately winning the Grammy Award for Song of the Year. The song also received a nomination for the Academy Award for Best Original Song and achieved high sales, earning a million-selling gold single in the U.S.one of the last 45s ever to do so. It was also accompanied by a popular music video. On the heels of this success, Steven Spielberg asked Ronstadt to record the theme song for the animated sequel titled An American Tail: Fievel Goes West, which was titled "Dreams to Dream". Although "Dreams to Dream" failed to achieve the success of "Somewhere Out There", the song did give Ronstadt an Adult Contemporary hit in 1991. In 1989, Ronstadt released a mainstream pop album and several popular singles. Cry Like A Rainstorm, Howl Like The Wind became one of the singer's most successful albumsin production, arrangements, sales, and critical acclaim. It became Ronstadt's tenth Top 10 album on the Billboard chart, reaching number 7 and being certified triple-platinum (over three million copies sold in the U.S.). The album also received Grammy Award nominations. Ronstadt included New Orleans soul singer Aaron Neville on several of the album's songs. Ronstadt incorporated the sounds of the Oakland Interfaith Gospel Choir, Tower of Power horns, the Skywalker Symphony, and numerous musicians. It included the duets with Aaron Neville, "Don't Know Much" (Billboard Hot 100 number 2 hit, Christmas 1989) and "All My Life" (Billboard Hot 100 number 11 hit), both of which were long-running number 1 Adult Contemporary hits. The duets earned several Grammy Award nominations. The duo won both the 1989 and 1990 Best Pop Vocal Performance by a Duo or Group with Vocal awards. Ronstadt's last known live Grammy Award appearance was in 1990 when she and Neville performed "Don't Know Much" together on the telecast. ("Whenever I sing with a different artist, I can get things out of my voice that I can't do by myself", Ronstadt reflected in 2007. "I can do things with Aaron that I can't do alone.") In December 1990, she participated in a concert held at the Tokyo Dome to commemorate John Lennon's 50th birthday, and to raise awareness of environmental issues. Other participants included Miles Davis, Lenny Kravitz, Hall & Oates, Natalie Cole, Yoko Ono, and Sean Lennon. An album resulted, titled Happy Birthday, John. Return to roots music Ronstadt released the highly acclaimed Winter Light album at the end of 1993. It included New Age arrangements such as the lead single "Heartbeats Accelerating" as well as the self-penned title track and featured the glass harmonica. It was her first commercial failure since 1972, and peaked at number 92 in Billboard, whereas 1995's Feels Like Home was Ronstadt's much-heralded return to country-rock and included her version of Tom Petty's classic hit "The Waiting". The single's rollicking, fiddle-infused flip side, "Walk On", returned Ronstadt to the Country Singles chart for the first time since 1983. An album track entitled "The Blue Train" charted 10 weeks in Billboards Adult Contemporary Top 40. This album fared slightly better than its predecessor, reaching number 75. Both albums were later deleted from the Elektra/Asylum catalog. Ronstadt was nominated for three Lo Nuestro Awards in 1993: Female Regional Mexican Artist of the Year, Female Tropical/Salsa Artist of the Year, and her version of the song "Perfidia" was also listed for Tropical/Salsa Song of the Year. In 1996, Ronstadt produced Dedicated to the One I Love, an album of classic rock and roll songs reinvented as lullabies. The album reached number 78 in Billboard and won the Grammy Award for Best Musical Album for Children. In 1998, Ronstadt released We Ran, her first album in over two years. The album harkened back to Ronstadt's country-rock and folk-rock heyday. She returned to her rock 'n' roll roots with vivid interpretations of songs by Bruce Springsteen, Doc Pomus, Bob Dylan, and John Hiatt. The recording was produced by Glyn Johns. A commercial failure, the album stood at 57,897 copies sold at the time of its deletion in 2008. It is the poorest-selling studio album in Ronstadt's Elektra/Asylum catalog. We Ran did not chart any singles but it was well received by critics. Despite the lack of success of We Ran, Ronstadt kept moving towards this adult rock exploration. In the summer of 1999, she released the album Western Wall: The Tucson Sessions, a folk-rock-oriented project with Emmylou Harris. It earned a nomination for the Grammy Award for the Best Contemporary Folk Album and made the Top 10 of Billboards Country Albums chart. Still in print as of December 2016, it has sold 223,255 copies per Nielsen SoundScan. Also in 1999, Ronstadt went back to her concert roots when she performed with the Eagles and Jackson Browne at Staples Center's 1999 New Year's Eve celebration kicking off the December 31 end-of-the-millennium festivities. As Staples Center Senior Vice President and general manager Bobby Goldwater said, "It was our goal to present a spectacular event as a sendoff to the 20th century", and "Eagles, Jackson Browne, and Linda Ronstadt are three of the most popular acts of the century. Their performances will constitute a singular and historic night of entertainment for New Year's Eve in Los Angeles." In 2000, Ronstadt completed her long contractual relationship with the Elektra/Asylum label. The fulfillment of this contract commenced with the release of A Merry Little Christmas, her first holiday collection, which includes rare choral works, the somber Joni Mitchell song "River", and a rare recorded duet with the late Rosemary Clooney on Clooney's signature song, "White Christmas". Since leaving Warner Music, Ronstadt has gone on to release one album each under Verve and Vanguard Records. In 2006, recording as the ZoZo Sisters, Ronstadt teamed with her new friend, musician and musical scholar Ann Savoy, to record Adieu False Heart. It was an album of roots music incorporating pop, Cajun, and early-20th-century music and released on the Vanguard Records label. But Adieu False Heart was a commercial failure, peaking at number 146 in the U.S. despite her touring for the final time that year. It was the last time Linda Ronstadt would record an album, having begun to lose her singing ability as a result of a degenerative condition later determined to be progressive supranuclear palsy, but initially diagnosed as Parkinson's disease, in December 2012. Adieu False Heart, recorded in Louisiana, features a cast of local musicians, including Chas Justus, Eric Frey and Kevin Wimmer of the Red Stick Ramblers, Sam Broussard of the Mamou Playboys, Dirk Powell, and Joel Savoy, as well as an array of Nashville musicians: fiddler Stuart Duncan, mandolinist Sam Bush, and guitarist Bryan Sutton. The recording earned two Grammy Award nominations: Best Traditional Folk Album and Best Engineered Album, Non-Classical. In 2007, Ronstadt contributed to the compilation album We All Love Ella: Celebrating the First Lady of Songa tribute album to jazz music's all-time most heralded artiston the track "Miss Otis Regrets". In August 2007, Ronstadt headlined the Newport Folk Festival, making her debut at this event, where she incorporated jazz, rock, and folk music into her repertoire. It was one of her final concerts. In 2010, Ronstadt contributed the arrangement and lead vocal to "A La Orilla de un Palmar" on the Chieftains' studio album San Patricio (with Ry Cooder). This remains her most recent commercially available recording as lead vocalist. Retirement In 2011, Ronstadt was interviewed by the Arizona Daily Star and announced her retirement. In August 2013, she revealed to Alanna Nash, writing for AARP, that she has Parkinson's disease and "can no longer sing a note." Her diagnosis was subsequently re-evaluated as progressive supranuclear palsy. Her memoir Feels Like Home: A Song for the Sonoran Borderlands was published in 2022. Selected career achievements On April 10, 2014, Ronstadt was inducted into the Rock and Roll Hall of Fame. In July 2019, Ronstadt was selected as a Kennedy Center Honoree. On May 7, 2022, during the International Mariachi Conference, the Tucson Music Hall at the Tucson Convention Center was officially renamed as The Linda Ronstadt Music Hall. As of 2019, Ronstadt has earned three number-one pop albums, 10 top-ten pop albums, and 38 charting pop albums on the Billboard Pop Album Charts. She has 15 albums on the Billboard Top Country Albums chart, including four that hit number one. Ronstadt's singles have earned her a number-one hit and three number-two hits on the Billboard Hot 100 chart, with 10 top-ten pop singles and 21 reaching the Top 40. She has also scored two number-one hits on the Billboard Hot Country Songs chart, and two number-one hits on the Billboard Adult Contemporary chart. Rolling Stone wrote that a whole generation "but for her, might never have heard the work of Buddy Holly, Chuck Berry, or Elvis Costello." She has recorded and released over 30 studio albums and has made guest appearances on an estimated 120 albums by other artists. Her guest appearances included the classical minimalist Philip Glass's album Songs from Liquid Days, a hit classical record with other major pop stars either singing or writing lyrics (Ronstadt's two tracks on the album saw her singing lyrics written by Suzanne Vega and Laurie Anderson). She also appeared on Glass's follow-up recording 1000 Airplanes on the Roof. She appeared on Paul Simon's Graceland, where she sang a duet with Simon, "Under African Skies". In that song, there is a verse dedicated to Ronstadt, her voice and harmonies and her birth in Tucson, Arizona. She voiced herself in The Simpsons episode "Mr. Plow" and sang a duet, "Funny How Time Slips Away", with Homer Simpson on The Yellow Album. Ronstadt has also appeared on albums by a vast range of artists including Emmylou Harris, the Chieftains, Dolly Parton, Neil Young, J. D. Souther, Gram Parsons, Bette Midler, Nitty Gritty Dirt Band, Earl Scruggs, the Eagles, Andrew Gold, Wendy Waldman, Hoyt Axton, Kate and Anna McGarrigle, Ann Savoy, Karla Bonoff, James Taylor, Jimmy Webb, Valerie Carter, Warren Zevon, Maria Muldaur, Randy Newman (specifically his musical adaptation of Faust), Nicolette Larson, the Seldom Scene, Rosemary Clooney, Aaron Neville, Rodney Crowell, Hearts and Flowers, Laurie Lewis and Flaco Jiménez. As a singer-songwriter, Ronstadt has written songs covered by several artists, such as "Try Me Again", covered by Trisha Yearwood; and "Winter Light", which was co-written and composed with Zbigniew Preisner and Eric Kaz, and covered by Sarah Brightman. Her three biggest-selling studio albums to date are: her 1977 release Simple Dreams, 1983's What's New, and 1989's Cry Like A Rainstorm, Howl Like The Wind. Each one has been certified by the Recording Industry Association of America for over three million copies sold. Her highest-selling album to date is the 1976 compilation Greatest Hits, certified for over seven million units sold as of 2001. Ronstadt became music's first major touring female artist to sell out sizeable venues; she was also the top-grossing solo female concert artist for the 1970s. She remained a highly successful touring artist into the 1990s, at which time she decided to scale back to smaller venues. In the 1970s, Cashbox magazine, a competitor of Billboard during that time period, named Ronstadt the "#1 Female Artist of the Decade". "Rolling Stone's 500 Greatest Albums of All Time" included Heart Like a Wheel (1974) at number 164 and The Very Best Of Linda Ronstadt (2002) at number 324. The 2012 revision kept only the compilation, but raised it to the place once occupied by Heart Like a Wheel. Ronstadt's album sales have not been certified since 2001. At that time, Ronstadt's U.S. album sales were certified by the Recording Industry Association of America at over 30 million albums sold; however, Peter Asher, her former producer and manager, placed her total U.S. album sales at over 45 million. Likewise, her worldwide albums sales are in excess of 100 million albums sold, according to the former president of Warner Bros. Records, Joe Smith, now a jury member of the Hit Parade Hall of Fame. Her RIAA certification (audits paid for by record companies or artists for promotion) tally as of 2001 totaled 19 Gold, 14 Platinum and 7 Multi-Platinum albums. She was the first female in music history to score three consecutive platinum albums and ultimately racked up a total of eight consecutive platinum albums. Her album Living in the USA was the first album by any recording artist in U.S. music history to ship double platinum (over two million advanced copies). Her first Latin release, the all-Spanish 1987 album Canciones De Mi Padre, stands as the best-selling non-English-language album in American music history. As of 2013, it had sold over 2 million U.S. copies. Ronstadt has served as producer on albums from various musicians that include her cousin, David Lindley, Aaron Neville and singer-songwriter Jimmy Webb. She produced Cristal – Glass Music Through the Ages, an album of classical music using glass instruments with Dennis James, where she sang on several of the arrangements. In 1999, Ronstadt also produced the Grammy Award-winning Trio II. She has received a total of 27 Grammy Award nominations in various fields that include rock, country, pop and Tropical Latin, and has won 11 Grammy Awards in the categories of Pop, Country, Tropical Latin, Musical Album for Children and Mexican-American. In 2016, Ronstadt was again honored by the National Academy of Recording Arts and Sciences with the Lifetime Achievement Grammy. She was the first female solo artist to have two Top 5 singles simultaneously on Billboard magazine's Hot 100: "Blue Bayou" and "It's So Easy". By December of that year, both "Blue Bayou" and "It's So Easy" had climbed into Billboards Top 5 and remained there for the month's last four weeks. In 1999, Ronstadt ranked number 21 in VH1's 100 Greatest Women of Rock & Roll. Three years later, she ranked number 40 in CMT's 40 Greatest Women in Country Music. Personal life Beginning in the mid-1970s, Ronstadt's private life became increasingly public. It was fueled by a relationship with then-Governor of California Jerry Brown, a Democratic presidential candidate. They shared a Newsweek magazine cover in April 1979, as well as the covers of Us Weekly and People magazine. In 1983, Linda Ronstadt dated comedian Jim Carrey for eight months. From the end of 1983 to 1988, Ronstadt was engaged to Star Wars director George Lucas. In December 1990, she adopted an infant daughter, Mary Clementine Ronstadt. In 1994, she adopted a baby boy, Carlos Ronstadt. Ronstadt has never married. Speaking of finding an acceptable mate, in 1974 she told Peter Knobler in Crawdaddy, "... he's real kind but isn't inspired musically and then you meet somebody else that's just so inspired musically that he just takes your breath away but he's such a moron, such a maniac that you can't get along with him. And then after that it's the problem of finding someone that can stand you!" In the late 1980s, after living in Los Angeles for 30 years, Ronstadt moved to San Francisco because she said she never felt at home in Southern California. "Los Angeles became too enclosing an environment", she says. "I couldn't breathe the air and I didn't want to drive on the freeways to get to the studio. I also didn't want to embrace the values that have been so completely embraced by that city. Are you glamorous? Are you rich? Are you important? Do you have clout? It's just not me and it never was me." In 1997, Ronstadt sold her home in San Francisco and moved back to her hometown of Tucson, Arizona, to raise her two children. In more recent years, Ronstadt moved back to San Francisco while continuing to maintain her home in Tucson. In 2009, in honor of Ronstadt, the Martin Guitar Company made a 0042 model "Linda Ronstadt Limited Edition" acoustic guitar. Ronstadt appointed the Land Institute as recipient of all proceeds from her signature guitar. In 2013, Simon & Schuster published her autobiography, Simple Dreams: A Musical Memoir, as well as the Spanish version, Sueños SencillosMemorias Musicales. In August 2013, Ronstadt revealed she was diagnosed with Parkinson's disease, leaving her unable to sing due to loss of muscular control, which is common to Parkinson's patients. She was diagnosed eight months prior to the announcement and had initially attributed the symptoms she had been experiencing to the aftereffects of shoulder surgery and a tick bite. In late 2019, it was reported her doctors had revised their diagnosis to progressive supranuclear palsy, a degenerative disease commonly mistaken for Parkinson's due to the similarity of the symptoms. Ronstadt describes herself as a "spiritual atheist". Political activism Ronstadt's politics received criticism and praise during and after her July 17, 2004, performance at the Aladdin Theatre for the Performing Arts in Las Vegas. Toward the end of the show, as she had done across the country, Ronstadt spoke to the audience, praising Fahrenheit 9/11, Michael Moore's documentary film about the Iraq War; she dedicated the song "Desperado" to Moore. Accounts say the crowd's initial reaction was mixed, with "half the crowd heartily applauding her praise for Moore, (and) the other half booing." Following the concert, news accounts reported Ronstadt was "evicted" from the hotel premises. Ronstadt's comments, as well as the reactions of some audience members and the hotel, became a topic of discussion nationwide. Aladdin casino president Bill Timmins and Michael Moore each made public statements about the controversy. The incident prompted international headlines and debate on an entertainer's right to express a political opinion from the stage and made the editorial section of The New York Times. Following the incident, many friends of Ronstadt's, including the Eagles, immediately cancelled their engagements at the Aladdin. Ronstadt also received telegrams of support from her rock 'n' roll friends around the world like the Rolling Stones, the Eagles and Elton John. Amid reports of mixed public response, Ronstadt continued her praise of Moore and his film throughout her 2004 and 2006 summer concerts across North America. At a 2006 concert in Canada, Ronstadt told the Calgary Sun that she was "embarrassed George Bush (was) from the United States. ... He's an idiot. ... He's enormously incompetent on both the domestic and international scenes. ... Now the fact that we were lied to about the reasons for entering into war against Iraq and thousands of people have diedit's just as immoral as racism." Her remarks drew international headlines. In an August 14, 2007, interview, she commented on all her well-publicized, outspoken views, in particular the Aladdin incident, by noting, "If I had it to do over I would be much more gracious to everyone ... you can be as outspoken as you want if you are very, very respectful. Show some grace". In 2007, Ronstadt resided in San Francisco while also maintaining her home in Tucson. That same year, she drew criticism and praise from Tucsonans for commenting that local city council's failings, developers' strip mall mentality, greed and growing dust problem had rendered the city unrecognizable and poorly developed. In August 2009, Ronstadt, in a well-publicized interview to PlanetOut Inc. titled "Linda Ronstadt's Gay Mission", championed gay rights and same-sex marriage, and stated "homophobia is anti-family values. Period, end of story." On January 16, 2010, Ronstadt converged with thousands of other activists in a "National Day of Action". Ronstadt stated that her "dog in the fight"as a native Arizonan and coming from a law enforcement familywas the treatment of illegal aliens and Arizona's enforcement of its illegal immigrant law, especially Maricopa County Sheriff Joe Arpaio's efforts in that area. On April 29, 2010, Ronstadt began a campaign, including joining a lawsuit, against Arizona's new illegal-immigration law SB 1070 calling it a "devastating blow to law enforcement ... the police don't protect us in a democracy with brute force", something she said she learned from her brother, Peter, who was Chief of Police in Tucson. Ronstadt has also been outspoken on environmental and community issues. She is a major supporter and admirer of sustainable agriculture pioneer Wes Jackson, saying in 2000, "the work he's doing right now is the most important work there is in the (United States)", and dedicating the rock anthem "Desperado" to him at an August 2007 concert in Kansas City, Kansas. National arts advocacy In 2004, Ronstadt wrote the foreword to the book The NPR Curious Listener's Guide to American Folk Music, and in 2005, she wrote the introduction to the book Classic Ferrington Guitars, about guitar-maker and luthier Danny Ferrington and the custom guitars that he created for Ronstadt and other musicians such as Elvis Costello, Ry Cooder, and Kurt Cobain. Ronstadt has been honored for her contribution to the American arts. On September 23, 2007, she was inducted into the Arizona Music & Entertainment Hall of Fame, along with Stevie Nicks, Buck Owens, and filmmaker Steven Spielberg. On August 17, 2008, Ronstadt received a tribute by various artists, including BeBe Winans and Wynonna Judd, when she was honored with the Trailblazer Award, presented to her by Plácido Domingo at the 2008 ALMA Awards, a ceremony later televised in the U.S. on ABC. In 2008, Ronstadt was appointed artistic director of the San José Mariachi and Mexican Heritage Festival. On March 31, 2009, in testimony that the Los Angeles Times termed "remarkable", Ronstadt spoke to the United States Congress House Appropriations Subcommittee on Interior, Environment & Related Agencies, attempting to convince lawmakers to budget $200 million in the 2010 fiscal year for the National Endowment of the Arts. In May 2009, Ronstadt received an honorary doctorate of music degree from the Berklee College of Music for her achievements and influence in music and her contributions to American and international culture. Mix magazine stated that "Linda Ronstadt (has) left her mark on more than the record business; her devotion to the craft of singing influenced many audio professionals ... (and is) intensely knowledgeable about the mechanics of singing and the cultural contexts of every genre she passes". Awards and nominations Grammy Awards In 1981 the album In Harmony: A Sesame Street Record won the Grammy for Best Album for Children. Ronstadt was one of the various artists featured on the album. The Grammys were awarded to the producers, David Levine and Lucy Simon. Latin Grammy Awards Primetime Emmy Awards Tony Awards Golden Globe Awards 1983Best Performance by a Leading Actress in a Musical or Comedy, Linda Ronstadt in The Pirates of Penzance Arizona Music and Entertainment Hall of Fame 2007Inducted for her significant impact on the evolution and development of the entertainment culture in the state of Arizona Academy of Country Music 1974Best New Female Artist 1987Album of the Year/ Trio, Dolly Parton, Linda Ronstadt and Emmylou Harris Country Music Association 1988Vocal Event of the Year / Trio, Dolly Parton, Linda Ronstadt and Emmylou Harris American Latino Media Arts 2008Trailblazer Award for Contribution to American Music Lo Nuestro nominations 1989Regional Mexican Female Artist, Regional Mexican Album (Canciones de Mi Padre), and Crossover Artist 1992Regional Mexican Female Artist 1993Tropical Female Artist, Regional Mexican Female Artist, and Tropical Song ("Perfidia"). Kennedy Center 2019 Kennedy Center Honoree Discography Studio albums Hand Sown ... Home Grown (1969) Silk Purse (1970) Linda Ronstadt (1972) Don't Cry Now (1973) Heart Like a Wheel (1974) Prisoner in Disguise (1975) Hasten Down the Wind (1976) Simple Dreams (1977) Living in the USA (1978) Mad Love (1980) Get Closer (1982) What's New (1983) Lush Life (1984) For Sentimental Reasons (1986) Canciones de Mi Padre (1987) - (English translation: Songs of My Father) Cry Like a Rainstorm, Howl Like the Wind (1989) Mas Canciones (1991) - (English translation: More Songs) Frenesí (1992) - (English translation: Frenzy) Winter Light (1993) Feels Like Home (1995) Dedicated to the One I Love (1996) We Ran (1998) A Merry Little Christmas (2000) Hummin' to Myself (2004) Live albums Live in Hollywood (2019) Duets and trios Trio (1987) (Emmylou Harris, Dolly Parton, and Linda Ronstadt) Trio II (1999) (Emmylou Harris, Dolly Parton, and Linda Ronstadt) Western Wall: The Tucson Sessions (1999) (with Emmylou Harris) Adieu False Heart (2006) (with Ann Savoy) The Complete Trio Collection (2016) (Emmylou Harris, Dolly Parton, and Linda Ronstadt) Compilation albums Different Drum (1974) Greatest Hits (1976) A Retrospective (1977) Greatest Hits, Volume 2 (1980) 'Round Midnight (1986) – 2-CD set The Linda Ronstadt Box Set (1999) – 4-CD set The Very Best of Linda Ronstadt (2002) Mi Jardin Azul: Las Canciones Favoritas (2004) - (English translation: My Blue Garden: The Favorite Songs) The Best of Linda Ronstadt: The Capitol Years (2006) – 2-CD set Standards with Nelson Riddle Orchestra (2008) The Collection (2011) – British 2-CD set Duets (2014) Just One Look: Classic Linda Ronstadt (2015) – 2-CD set Like A Rose: The Classic 1976 Broadcast Recording (2021) Filmography Books Explanatory notes References External links Image of Linda Ronstadt reclining on a porch railing in Los Angeles, California, 1974. Los Angeles Times Photographic Archive (Collection 1429). UCLA Library Special Collections, Charles E. Young Research Library, University of California, Los Angeles. Category:Grammy Lifetime Achievement Award winners Category:United States National Medal of Arts recipients Category:1946 births Category:Living people Category:Actresses from Tucson, Arizona Category:American actresses of Mexican descent Category:American alternative country singers Category:American atheists Category:American country rock singers Category:American country singer-songwriters Category:American women country singers Category:American women rock singers Category:American women singer-songwriters Category:American film actresses Category:American memoirists Category:Women in Latin music Category:American multi-instrumentalists Category:American musical theatre actresses Category:American musicians of Mexican descent Category:American performers of Latin music Category:American pop rock singers Category:American stage actresses Category:American television actresses Category:American writers of Mexican descent Category:Big band singers Category:Cajun musicians Category:Feminist musicians Category:Grammy Award winners Category:Latin Grammy Lifetime Achievement Award winners Category:Hispanic and Latino American women singers Category:Hispanic and Latino American musicians Category:Primetime Emmy Award winners Category:Spanish-language singers of the United States Category:American women memoirists Category:Asylum Records artists Category:Capitol Records artists Category:Vanguard Records artists Category:Verve Records artists Category:American people of Canadian descent Category:American people of Dutch descent Category:American people of English descent Category:American people of German descent Category:Arizona Democrats Category:Country musicians from Arizona Category:Country musicians from California Category:Musicians from San Francisco Category:Musicians from Tucson, Arizona Category:Record producers from Arizona Category:Record producers from California Category:Singers from Los Angeles Category:Writers from Los Angeles Category:Writers from San Francisco Category:Writers from Tucson, Arizona Category:20th-century American actresses Category:21st-century American actresses Category:20th-century American singers Category:21st-century American singers Category:20th-century American non-fiction writers Category:21st-century American non-fiction writers Category:20th-century American composers Category:21st-century American composers Category:20th-century American women singers Category:20th-century American women writers Category:21st-century American women writers Category:21st-century American women singers Category:American women record producers Category:Jerry Brown Category:American country guitarists Category:American acoustic guitarists Category:American women guitarists Category:Guitarists from Arizona Category:Guitarists from Los Angeles Category:Tambourine players Category:20th-century women composers Category:21st-century women composers Category:Chicano rock musicians Category:Traditional pop music singers Category:Singer-songwriters from California Category:Singer-songwriters from Arizona Category:Kennedy Center honorees
[]
[ "After the 1960s, Linda Ronstadt continued her singing career, both as a solo artist and in collaborations with other artists. She released several chart-topping albums such as Heart Like a Wheel, Simple Dreams, and Living in the USA, which established her as the first female \"arena class\" rock star. She also set records as one of the top-grossing concert artists of the decade. In the 1980s, she went to Broadway and was nominated for a Tony for her performance in The Pirates of Penzance. She also teamed with composer Philip Glass and recorded traditional music, and collaborated with conductor Nelson Riddle. Her venturing into traditional music with Nelson Riddle was considered unorthodox at the time, but it was successful and she continued to be a best-selling act throughout the 80s. She released multi-platinum-selling albums such as What's New, Canciones de Mi Padre, and Cry Like a Rainstorm, Howl Like the Wind. Ronstadt continued to tour, collaborate, and record albums until her retirement in 2011.", "The text does not provide specific information on how long Linda Ronstadt remained with the Stone Poneys trio.", "After 1969, Linda Ronstadt continued her solo career and toured with the Doors, Neil Young, Jackson Browne, and others. She also appeared on television shows and contributed her vocals to albums by other artists. She achieved great success with the release of albums such as Heart Like a Wheel, Simple Dreams, and Living in the USA, and became the first female \"arena class\" rock star. In the 1980s, she broadened her range by performing in Broadway, recording traditional music, and collaborating with the composer Philip Glass and conductor Nelson Riddle. Despite the unorthodox move, she remained one of the music industry's best-selling acts throughout the 1980s, releasing multi-platinum selling albums. She continued to tour, collaborate, and record albums, until her retirement in 2011.", "The text does not specify which television shows Linda Ronstadt appeared on.", "Yes, Linda Ronstadt actively toured with Neil Young, Jackson Browne, and the Doors. She also contributed her singing to albums by other artists. In the 1980s, she collaborated with the composer Philip Glass and the conductor Nelson Riddle." ]
[ "No", "No", "Yes", "No", "Yes" ]
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_0
John O. Brennan
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
Counterterrorism advisor to President Obama
In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration. However, Brennan withdrew his name from consideration because of opposition to his CIA service under President George W. Bush and past public statements he had made in support of enhanced interrogation and the transfer of terrorism suspects to countries where they might be tortured (extraordinary rendition). President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism, the President's chief counterterrorism advisor and a position that did not require Senate confirmation. In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists and decreasing the willingness of other nations to cooperate with the U.S. He also described the Obama administration's focus as being on "extremists" and not "jihadists". He said that using the second term, which means one who is struggling for a holy goal, gives "these murderers the religious legitimacy they desperately seek" and suggests the US is at war with the religion of Islam. In an early December 2009 interview with the Bergen Record, Brennan remarked, "the U.S. intelligence and law enforcement communities have to bat 1.000 every day. The terrorists are trying to be successful just once". At a press conference days after the failed Christmas Day bomb attack on Northwest Airlines Flight 253 by Umar Farouk Abdulmutallab, Brennan said U.S. intelligence agencies did not miss any signs that could have prevented the attempt but later said he had let the President down by underestimating a small group of Yemeni terrorists and not connecting them to the attempted bomber. Within two weeks after the incident, however, he produced a report highly critical of the performance of U.S. intelligence agencies, concluding that their focus on terrorist attempts aimed at U.S. soil was inadequate. In February 2010, he claimed on Meet the Press that he was tired of Republican lawmakers using national security issues as political footballs, and making allegations where they did not know the facts. Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden. He called President Obama's decision to go forward with the mission one of the "gutsiest calls of any president in memory." In the aftermath of the operation, Brennan said that the U.S. troops in the raid had been "met with a great deal of resistance," and bin Laden had used a woman as a human shield. CANNOTANSWER
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[ "What did Brennan do as an advisor to Obama?", "When did he begin in that position?", "What else did he do?", "Did he have any notable moments under Obama?", "What else is significant?", "What is the result of this?" ]
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{ "answer_starts": [ [ 0 ], [ 439 ], [ 666 ], [ 2260 ], [ 1240 ], [ 1402 ] ], "texts": [ [ "In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration." ], [ "President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism," ], [ "In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists" ], [ "Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden." ], [ "In an early December 2009 interview with the Bergen Record, Brennan remarked, \"the U.S. intelligence and law enforcement communities have to bat 1.000 every day." ], [ "The terrorists are trying to be successful just once\"." ] ] }
{ "answer_starts": [ 0, 439, 666, 2260, 1240, 1402 ], "texts": [ "In late 2008, Brennan was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration.", "President Obama then appointed him to be his Deputy National Security Advisor for Homeland Security and Counterterrorism,", "In August 2009, Brennan criticized some Bush-administration anti-terror policies, saying that waterboarding had threatened national security by increasing the recruitment of terrorists", "Brennan was present in the Situation Room in May 2011 when the United States conducted the military operation that killed Osama bin Laden.", "In an early December 2009 interview with the Bergen Record, Brennan remarked, \"the U.S. intelligence and law enforcement communities have to bat 1.000 every day.", "The terrorists are trying to be successful just once\"." ] }
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[ "Brennan served as Deputy National Security Advisor for Homeland Security and Counterterrorism under President Obama. In this role, he acted as the President's chief counterterrorism advisor. He criticized some of the anti-terror policies from the Bush administration and stated that their focus should be on \"extremists\" and not \"jihadists\". Following the failed Christmas Day bomb attack in 2009, he claimed U.S. intelligence agencies had not missed any signs but admitted underestimating a group of Yemeni terrorists. He subsequently produced a report criticizing the performance of U.S. intelligence agencies for an inadequate focus on terrorist attempts aimed at U.S. soil. Brennan also partook in the decision-making process of major operations such as the one that led to Osama bin Laden's death.", "The text does not provide specific information on when Brennan began his position as Deputy National Security Advisor for Homeland Security and Counterterrorism under President Obama.", "Apart from his role as Obama's Deputy National Security Advisor for Homeland Security and Counterterrorism, he also produced a highly critical report of the performance of U.S. intelligence agencies following the failed Christmas Day bomb attack in 2009, claiming their focus on terrorist attempts aimed at U.S. soil was inadequate. He publicly spoke out about his views, criticising the use of the term \"jihadists\" and the Bush-administration anti-terror policies. Brennan was also present in the Situation Room during the military operation that led to Osama Bin Laden's death in May 2011, and he publicly praised President Obama's decision to authorize the mission.", "Yes, Brennan notably played a role in the decision-making process leading to the military operation that killed Osama bin Laden in May 2011. He was present in the Situation Room when the operation was conducted. He called Obama's decision to proceed with the mission one of the \"gutsiest calls of any president in memory.\" Also, following the failed Christmas Day bomb attack in 2009, Brennan was responsible for a report that was critical of the performance of U.S. intelligence agencies. He publicly admitted to underestimating a small group of Yemeni terrorists.", "Another significant aspect about Brennan is that he was reportedly the top choice to become the next Director of the CIA in the incoming Obama administration in late 2008. However, he withdrew his name from consideration due to opposition because of his CIA service under President George W. Bush and his past public statements in support of enhanced interrogation and the transfer of terrorism suspects to countries where they might be tortured. It's also notable that when he served as Deputy National Security Advisor, he criticised the previous Bush administration's anti-terror policies, including waterboarding. He further accentuated that the Obama administration's focus should be on \"extremists\", not on \"jihadists\".", "The outcome of Brennan's withdrawal from consideration to be the Director of the CIA resulted in President Obama appointing him Deputy National Security Advisor for Homeland Security and Counterterrorism. His criticisms of previous anti-terror policies and his subsequent focus on a new narrative (focusing on \"extremists\" rather than \"jihadists\") would have shaped the Obama administration's counterterrorism strategies. Following the failed terrorist attempt on Christmas Day 2009, Brennan's report led to a reevaluation of the focus of U.S. intelligence agencies. His role in the raid resulting in Osama bin Laden's death underscores the influence he had in significant counterterrorism operations during the Obama era." ]
[ "No", "Yes", "Yes", "Yes", "No", "No" ]
C_e87bf3024ef84bcbaf1fc0aca35fc6a4_1
John O. Brennan
John Owen Brennan (born September 22, 1955) was the Director of the Central Intelligence Agency (CIA) from March 2013 to January 2017. He served as chief counterterrorism advisor to U.S. President Barack Obama; his title was Deputy National Security Advisor for Homeland Security and Counterterrorism, and Assistant to the President. His responsibilities included overseeing plans to protect the country from terrorism and respond to natural disasters, and he met with the President daily. Previously, he advised President Obama on foreign policy and intelligence issues during the 2008 presidential campaign and transition.
Career highlights
Brennan began his CIA career as an analyst and spent 25 years with the agency. He was a daily intelligence briefer for President Bill Clinton. In 1996, he was CIA station chief in Riyadh, Saudi Arabia when the Khobar Towers bombing killed 19 U.S. servicemen. In 1999, he was appointed chief of staff to George Tenet, then-Director of the CIA. Brennan became deputy executive director of the CIA in March 2001. He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004, an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts from a dozen U.S. agencies and entities. One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an "Orange Terror Alert", in late 2003. The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited. An Obama administration official does not dispute that Brennan distributed the intelligence during the Bush era but said Brennan passed it along because that was his job. His last post within the Intelligence Community was as director of the National Counterterrorism Center in 2004 and 2005, which incorporated information on terrorist activities across U.S. agencies. Brennan then left government service for a few years, becoming Chairman of the Intelligence and National Security Alliance (INSA) and the CEO of The Analysis Corporation (TAC). He continued to lead TAC after its acquisition by Global Strategies Group in 2007 and its growth as the Global Intelligence Solutions division of Global's North American technology business GTEC, before returning to government service with the Obama administration as Homeland Security Advisor on January 20, 2009. On January 7, 2013, Brennan was nominated by President Barack Obama to be director of the Central Intelligence Agency. In September 2017, Brennan was named a Distinguished Non-Resident Scholar at The University of Texas at Austin, where he also acts as a Senior Advisor to the University's Intelligence Studies Project. CANNOTANSWER
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[ "What were his career highlights?", "What is notable about his time at the CIA?", "What did he do under President Bush?", "What was his job in this position?", "What else has he done in his career?", "What intelligence that was distributed?" ]
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[ 2, 2, 2, 2, 2, 2 ]
{ "answer_starts": [ [ 0 ], [ 79 ], [ 410 ], [ 502 ], [ 697 ], [ 862 ] ], "texts": [ [ "Brennan began his CIA career as an analyst and spent 25 years with the agency." ], [ "He was a daily intelligence briefer for President Bill Clinton." ], [ "He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004," ], [ "an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts" ], [ "One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an \"Orange Terror Alert\"," ], [ "The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited." ] ] }
{ "answer_starts": [ 0, 79, 410, 502, 697, 862 ], "texts": [ "Brennan began his CIA career as an analyst and spent 25 years with the agency.", "He was a daily intelligence briefer for President Bill Clinton.", "He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004,", "an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts", "One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an \"Orange Terror Alert\",", "The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited." ] }
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[ "Brennan began his career as an analyst for the CIA where he worked for 25 years. He was an intelligence briefer for President Bill Clinton, and became the CIA station chief in Riyadh, Saudi Arabia in 1996. He was appointed chief of staff to the Director of the CIA, George Tenet, in 1999 and became the deputy executive director of the CIA in 2001. He was the director of the Terrorist Threat Integration Center from 2003 to 2004, and later the director of the National Counterterrorism Center in 2004 and 2005. After leaving government service for a few years, he became the Chairman of the Intelligence and National Security Alliance and CEO of The Analysis Corporation, and returned to government service in 2009 as the Homeland Security Advisor for the Obama administration. In 2013, he was nominated by President Obama to be the director of the CIA. In 2017, he was named a Distinguished Non-Resident Scholar at The University of Texas at Austin.", "Brennan had a lengthy and diverse career at the CIA. He began as an analyst and spent 25 years at the agency. He was appointed as a daily intelligence briefer for President Bill Clinton. He was the CIA station chief in Riyadh, Saudi Arabia in 1996 during the Khobar Towers bombing. In 1999, he became the chief of staff to then-Director of the CIA, George Tenet. In 2001, he was appointed the deputy executive director of the CIA. He has also served as the director of the Terrorist Threat Integration Center and the National Counterterrorism Center. One of the controversies during his tenure was the distribution of intelligence that led to an \"Orange Terror Alert\" which was later discredited.", "Under President Bush, Brennan served as the director of the newly created Terrorist Threat Integration Center from 2003 to 2004. In this role, he compiled information for President Bush's daily top secret intelligence briefings and oversaw the services of analysts from a dozen U.S. agencies and entities. Also, he was involved in a controversy over the distribution of intelligence to the Bush White House that led to an \"Orange Terror Alert\" in late 2003. He then went on to serve as the director of the National Counterterrorism Center in 2004 and 2005.", "In his position as the director of the Terrorist Threat Integration Center, Brennan was responsible for sifting through and compiling information for President Bush's daily top secret intelligence briefings. He employed the services of analysts from a dozen U.S. agencies and entities to generate these briefings. Later, as the director of the National Counterterrorism Center, Brennan's role involved incorporating and managing information on terrorist activities across various U.S. agencies.", "Apart from his extensive career at the CIA, Brennan also served as the Chairman of the Intelligence and National Security Alliance (INSA) and the CEO of The Analysis Corporation (TAC). He led TAC even after its acquisition by Global Strategies Group in 2007. He returned to government service in 2009 as the Homeland Security Advisor for the Obama administration. In 2013, he was nominated by President Barack Obama to serve as the director of the Central Intelligence Agency. In September 2017, he was named a Distinguished Non-Resident Scholar at The University of Texas at Austin, where he also acts as a Senior Advisor to the University's Intelligence Studies Project.", "The intelligence that was distributed was the information which led to an \"Orange Terror Alert\" in late 2003. As the director of the Terrorist Threat Integration Center, Brennan was involved in passing on this intelligence to the Bush White House. This intelligence purported to list terror targets, but it became highly controversial within the CIA and was later discredited. However, an Obama administration official stated that Brennan distributed the intelligence because it was his job to do so." ]
[ "No", "No", "Yes", "Yes", "No", "Yes" ]
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_1
Rem Koolhaas
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
Project on the city
Koolhaas's next landmark publications were a product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books involved Koolhaas's students analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical - as if Western capitalism and globalization demolish all cultural identity - highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the 'culture of congestion'. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. For example, in his design for the new CCTV headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown. CANNOTANSWER
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Remment Lucas Koolhaas (; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. He is often cited as a representative of Deconstructivism and is the author of Delirious New York: A Retroactive Manifesto for Manhattan. He is seen by some as one of the significant architectural thinkers and urbanists of his generation, by others as a self-important iconoclast. In 2000, Rem Koolhaas won the Pritzker Prize. In 2008, Time put him in their top 100 of The World's Most Influential People. He was elected to the American Philosophical Society in 2014. Early life and career Remment Koolhaas was born on 17 November 1944 in Rotterdam, Netherlands, to Anton Koolhaas (1912–1992) and Selinde Pietertje Roosenburg (born 1920). His father was a novelist, critic, and screenwriter. His maternal grandfather, Dirk Roosenburg (1887–1962), was a modernist architect who worked for Hendrik Petrus Berlage, before opening his own practice. Rem Koolhaas has a brother, Thomas, and a sister, Annabel. His paternal cousin was the architect and urban planner Teun Koolhaas (1940–2007). The family lived consecutively in Rotterdam (until 1946), Amsterdam (1946–1952), Jakarta (1952–1955), and Amsterdam (from 1955). His father strongly supported the Indonesian cause for autonomy from the colonial Dutch in his writing. When the war of independence was won, he was invited over to run a cultural programme for three years and the family moved to Jakarta in 1952. "It was a very important age for me," Koolhaas recalls "and I really lived as an Asian." In 1969, Koolhaas co-wrote The White Slave, a Dutch film noir, and later wrote an unproduced script for American soft-porn king Russ Meyer. He was a journalist in 1963 at age 19 for the Haagse Post before starting studies in architecture in 1968 at the Architectural Association School of Architecture in London, followed, in 1972, by further studies with Oswald Mathias Ungers at Cornell University in Ithaca, New York, followed by studies at the Institute for Architecture and Urban Studies in New York City. Koolhaas first came to public and critical attention with OMA (The Office for Metropolitan Architecture), the office he founded in 1975 together with architects Elia Zenghelis, Zoe Zenghelis and (Koolhaas's wife) Madelon Vriesendorp in London. They were later joined by one of Koolhaas's students, Zaha Hadid – who would soon go on to achieve success in her own right. An early work which would mark their difference from the then dominant postmodern classicism of the late 1970s, was their contribution to the Venice Biennale of 1980, curated by Italian architect Paolo Portoghesi, titled "Presence of the Past". Each architect had to design a stage-like "frontage" to a Potemkin-type internal street; the façades by , Frank Gehry and OMA were the only ones that did not employ Post-Modern architecture motifs or historical references. Other early critically received (yet unbuilt) projects included the Parc de la Villette, Paris (1982) and the residence for the Prime Minister of Ireland (1979), as well as the Kunsthal in Rotterdam (1992). These schemes would attempt to put into practice many of the findings Koolhaas made in his book Delirious New York (1978), which was written while he was a visiting scholar at the Institute for Architecture and Urban Studies in New York, directed by Peter Eisenman. Architectural theory Delirious New York Koolhaas's book Delirious New York set the pace for his career. Koolhaas analyzes the "chance-like" nature of city life: "The City is an addictive machine from which there is no escape" "Rem Koolhaas...defined the city as a collection of 'red hot spots'." (Anna Klingmann). As Koolhaas himself has acknowledged, this approach had already been evident in the Japanese Metabolist Movement in the 1960s and early 1970s. A key aspect of architecture that Koolhaas interrogates is the "Program": with the rise of modernism in the 20th century the "Program" became the key theme of architectural design. The notion of the Program involves "an act to edit function and human activities" as the pretext of architectural design: epitomised in the maxim form follows function, first popularised by architect Louis Sullivan at the beginning of the 20th century. The notion was first questioned in Delirious New York, in his analysis of high-rise architecture in Manhattan. An early design method derived from such thinking was "cross-programming", introducing unexpected functions in room programmes, such as running tracks in skyscrapers. More recently, Koolhaas unsuccessfully proposed the inclusion of hospital units for the homeless into the Seattle Public Library project (2003). Project on the city Koolhaas' next publications were a by-product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books published student work analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical, – as if Western capitalism and globalization demolish all cultural identity – highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". Perhaps such caustic cynicism can be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. It does, however, demonstrate one of the architect's characteristic devices for deflecting criticism: attack the client or subject of study after completing the work. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the ‘culture of congestion’. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown. Volume Magazine In 2005, Rem Koolhaas co-founded Volume Magazine together with Mark Wigley and Ole Bouman. Volume Magazine – the collaborative project by Archis (Amsterdam), AMO and C-lab (Columbia University NY) – is a dynamic experimental think tank devoted to the process of spatial and cultural reflexivity. It goes beyond architecture's definition of ‘making buildings’ and reaches out for global views on architecture and design, broader attitudes to social structures, and creating environments to live in. The magazine stands for a journalism which detects and anticipates, is proactive and even pre-emptive – a journalism which uncovers potentialities, rather than covering done deals. Buildings and projects In the late nineties he worked on the design for the new headquarters for Universal. Indeed, online marketing and propaganda has been a hallmark of OMA's rise in the current century. It has also led to pointed criticism, such as the critique by New York Magazine critic Justin Davidson, who found the 2020 Guggenheim exhibition Countryside, the Future "mildly amusing if it weren’t such terrible waste — of attention, of gallery square footage, of resources, talent, and expertise. Bored with being an architect and building things, Koolhaas lets his fingertips graze important topics, genuine insights, and actual lives. He treats them all as ironic bric-a-brac, meaningless souvenirs of his meanderings through a fragile world. How frustrating that the Guggenheim couldn’t force a little more intellectual rigor on this romp." Architecture, fashion, and theatre With his Prada projects, Koolhaas ventured into providing architecture for the fleeting world of fashion and with celebrity-studded cachet: not unlike Garnier's Opera, the central space of Koolhaas' Beverly Hills Prada store is occupied by a massive central staircase, ostensibly displaying select wares, but mainly the shoppers themselves. The notion of selling a brand rather than marketing clothes was further emphasised in the Prada store on Broadway in Manhattan, New York, which had previously been owned by the Guggenheim: the museum signs were not removed during the outfitting of the new store, as if emphasizing the premises as a cultural institution. The Broadway Prada store opened in December 2001, cost €32 million to build, and has 2,300 square meters of retail space. 21st Century Projects Probably the most costly and celebrated OMA projects of the new century were the massive Central China Television Headquarters Building in Beijing, China, and the new building for the Shenzhen Stock Exchange, the equivalent of the NASDAQ in China. In his design for the new CCTV Headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises; he patented a "horizontal skyscraper" in the U.S. The building, popularly called "The Big Pants" by Beijing residents, was designed as a series of volumes which attempt to tie together the numerous departments onto the nebulous site, but also introduce routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. An unfortunate incident that highlighted the folly of the circulation scheme (no effective fire egress for people on the upper floors), was the construction fire that nearly destroyed the building and a nearby hotel in 2009. In February 2020, his exhibition Countryside,The Future opened at the Guggenheim in New York City. The exhibition closed within a month, after New York City closed all its major art institutions in connection with the Covid-19 pandemic. Personal life Koolhaas was previously married to Madelon Vriesendorp, an artist who is the mother of his two children, Charlie, a photographer, and Tomas, a filmmaker. Koolhaas divorced Vriesendorp in 2012. He has known his current partner Petra Blaisse, an interior and landscape designer, since 1986. Selected projects Villa dall’Ava, (Saint-Cloud, 1991) Nexus World Housing (Fukuoka, 1991) Kunsthal (Rotterdam, 1992) Euralille (Lille, 1994) Educatorium (Utrecht, 1995) Maison à Bordeaux (Bordeaux, 1998) Embassy of the Netherlands (Berlin, 2003) McCormick Tribune Campus Center (Chicago, 2003) Seoul National University Museum of Art (Seoul, 2005) Seattle Central Library (Seattle, 2005) Casa da Música (Porto, 2005) Dee and Charles Wyly Theater (Dallas, 2009) CCTV Headquarters, (Beijing, 2012) De Rotterdam (Rotterdam, 2013) Garage Museum of Contemporary Art (Moscow, 2014) Qatar National Library (Doha, 2017) Taipei Performing Arts Center (Taipei, 2022) Bibliography Project Japan. Metabolism Talks... (2011) (with Hans Ulrich Obrist) Delirious New York: A Retroactive Manifesto for Manhattan (1978) S,M,L,XL (1995) Serpentine Gallery: 24 Hour Interview Marathon (2007) Living Vivre Leben (1998)Content (2004) Serpentine Gallery Pavilion 2006''; Verlag der Buchhandlung Walther König, Köln, Germany 2008 Gallery See also Contemporary architecture World Architecture Survey List of architects Koolhaas Houselife References External links Office for Metropolitan Architecture OMA official Facebook page (updated daily) OMA official Vimeo channel OMA portfolio on Archello.com Rem Koolhaas at Harvard University Urgency 2007: Rem Koolhaas and Peter Eisenman lectures, Canadian Centre for Architecture, 8 June 2007 Rem Koolhaas in conversation with Mirko Zardini and Giovanna Borasi, Rotterdam, 26 August 2015, for the exhibition The Other Architect, Canadian Centre for Architecture On Starchitecture Koolhaas at Harvard's Ecological Urbanism Rem Koolhaas: A Kind of Architect (2008 Feature Documentary) Rem Koolhaas lecture "Russia for Beginners" at Garage Museum of Contemporary Art: September 15th, 2014 Rem Koolhaas on Empty Canon Category:1944 births Category:20th-century Dutch architects Category:21st-century Dutch architects Category:Architectural theoreticians Category:Urban theorists Category:Deconstructivism Category:Postmodern architecture Category:Dutch non-fiction writers Category:Living people Category:Cornell University College of Architecture, Art, and Planning alumni Category:Harvard Graduate School of Design faculty Category:Dutch urban planners Category:Architects from Rotterdam Category:Pritzker Architecture Prize winners Category:Recipients of the Royal Gold Medal Category:Knights of the Legion of Honour Category:Recipients of the Praemium Imperiale Category:Alumni of the Architectural Association School of Architecture Category:Honorary Fellows of the American Institute of Architects Category:Members of the American Philosophical Society Category:Compasso d'Oro Award recipients
[ { "text": "Contemporary architecture is the architecture of the 21st century. No single style is dominant. Contemporary architects work in several different styles, from postmodernism, high-tech architecture and new interpretations of traditional architecture to highly conceptual forms and designs, resembling sculpture on an enormous scale. Some of these styles and approaches make use of very advanced technology and modern building materials, such as tube structures which allow construction of buildings that are taller, lighter and stronger than those in the 20th century, while others prioritize the use of natural and ecological materials like stone, wood and lime. One technology that is common to all forms of contemporary architecture is the use of new techniques of computer-aided design, which allow buildings to be designed and modeled on computers in three dimensions, and constructed with more precision and speed.\n\nContemporary buildings and styles vary greatly. Some feature concrete structures wrapped in glass or aluminium screens, very asymmetric facades, and cantilevered sections which hang over the street. Skyscrapers twist, or break into crystal-like facets. Facades are designed to shimmer or change color at different times of day.\n\nWhereas the major monuments of modern architecture in the 20th century were mostly concentrated in the United States and western Europe, contemporary architecture is global; important new buildings have been built in China, Russia, Latin America, and particularly in Arab states of the Persian Gulf; the Burj Khalifa in Dubai was the tallest building in the world in 2019, and the Shanghai Tower in China was the second-tallest.\n\nAdditionally, in the late 20th century, New Classical Architecture, a traditionalist response to modernist architecture, emerged, continuing into the 21st century. The 21st century saw the emergence of multiple organizations dedicated to the promotion of local and/or traditional architecture. Examples include the International Network for Traditional Building, Architecture & Urbanism (INTBAU), the Institute of Classical Architecture & Art (ICAA), the Driehaus Architecture Prize, and the Complementary architecture movement. New traditional architects include Michael Graves, Léon Krier, Yasmeen Lari, Robert Stern and Abdel-Wahed El-Wakil.\n\nMost of the landmarks of contemporary architecture are the works of a small group of architects who work on an international scale. Many were designed by architects already famous in the late 20th century, including Mario Botta, Frank Gehry, Jean Nouvel, Norman Foster, Ieoh Ming Pei and Renzo Piano, while others are the work of a new generation born during or after World War II, including Zaha Hadid, Santiago Calatrava, Daniel Libeskind, Jacques Herzog, Pierre de Meuron, Rem Koolhaas, and Shigeru Ban. Other projects are the work of collectives of several architects, such as UNStudio and SANAA, or large multinational agencies such as Skidmore, Owings & Merrill, with thirty associate architects and large teams of engineers and designers, and Gensler, with 5,000 employees in 16 countries.\n\nMuseums\n\nSome of the most striking and innovative works of contemporary architecture are art museums, which are often examples of sculptural architecture, and are the signature works of major architects. The Quadracci Pavilion of the Milwaukee Art Museum in Milwaukee, Wisconsin, was designed by Spanish architect Santiago Calatrava. Its structure includes a movable, wing-like brise soleil that opens up for a wingspan of during the day, folding over the tall, arched structure at night or during bad weather.\n\nThe Walker Art Center in Minneapolis (2005), was designed by the Swiss architects Herzog and de Meuron, who designed the Tate Modern museum in London, and who won the Pritzker Architecture Prize, the most prestigious award in architecture, in 2001. It updates and provides a contrast to the austere earlier Modernist structure designed by Edward Larrabee Barnes by adding a five-story tower clad in panels of delicately sculpted gray aluminum, which change color with the changing light, connecting by a wide glass gallery leading to the older building. It also harmonizes with two stone churches opposite.\n\nThe Polish-born American architect Daniel Libeskind (born 1946) is one of the most prolific of contemporary museum architects; He was an academic before he began designing buildings and was one of the early proponents of the architectural theory of Deconstructivism. The exterior of his Imperial War Museum North in Manchester, England (2002), has an exterior which resembles, depending upon the light and time of day, huge and broken pieces of earth or armor plates, and is said to symbolize the destruction of war. In 2006 Libeskind finished the Hamilton Building of the Denver Art Museum in Denver Colorado, composed of twenty sloping planes, none of them parallel or perpendicular, covered with 230,000 square feet of titanium panels. Inside, the walls of the galleries are all different, sloping and asymmetric. Libeskind completed another striking museum, the Royal Ontario Museum in Toronto, Ontario, Canada (2007), also known as \"The Crystal,\" a building whose form, resembles a shattered crystal. Libeskind's museums have been both admired and attacked by critics. While admiring many features of the Denver Art Museum, The New York Times architecture critic Nicolai Ouroussoff wrote that \"In a building of canted walls and asymmetrical rooms—tortured geometries generated purely by formal considerations — it is virtually impossible to enjoy the art.\"\n\nThe De Young Museum in San Francisco was designed by the Swiss architects Herzog & de Meuron. It opened in 2005, replacing an older structure that was badly damaged in an earthquake in 1989. The new museum was designed to blend with the park's natural landscape and resist strong earthquakes. The building can move up to on ball-bearing sliding plates and viscous fluid dampers that absorb kinetic energy.\n\nThe Zentrum Paul Klee by Renzo Piano is an art museum near Berne Switzerland located next to an autoroute in the Swiss countryside. The museum blends into the landscape by taking three rolling hills made of steel and glass. One building houses the gallery (which is almost entirely underground to preserve the fragile drawings of Klee from the effects of sunlight). At the same time, the other two \"hills\" contain an education center and administrative offices.\n\nThe Centre Pompidou-Metz, in Metz, France, (2010), a branch of the Centre Pompidou museum of modern art in Paris, was designed by Shigeru Ban, a Japanese architect who won the Pritzker Prize for Architecture in 2014. The roof is the most dramatic feature of the building; it is a wide hexagon with a surface area of , composed of sixteen kilometers of glued laminated timber, that intersect to form hexagonal wooden units resembling the cane-work pattern of a Chinese hat. The roof's geometry is irregular, featuring curves and counter-curves over the entire building, particularly the three exhibition galleries. The entire wooden structure is covered with a white fiberglass membrane, and a coating of teflon protects from direct sunlight and allows light to pass through.\n\nThe Louis Vuitton Foundation by Frank Gehry (2014) is the gallery of contemporary art located adjacent to the Bois de Boulogne in Paris was opened in October 2014. Gehry described his architecture as inspired by the glass Grand Palais of the 1900 Paris Exposition and by the enormous glass greenhouses of the Jardin des Serres d'Auteuil near the park, built by Jean-Camille Formigé in 1894–95. Gehry had to work within strict height and volume restrictions, which required any part of the building over two stories to be made of glass. The building is low because of the height limits, sited in an artificial lake with water cascading beneath the building. The interior gallery structures are covered in a white fiber-reinforced concrete called Ductal. Similar in concept to Gehry's Walt Disney Concert Hall, the building is wrapped in curving glass panels resembling sails inflated by the wind. The glass \"Sails\" are made of 3,584 laminated glass panels, each one a different shape, specially curved for its place in the design. Inside the sails is a cluster of two-story towers containing 11 galleries of different sizes, with flower garden terraces, and rooftop spaces for displays.\n\nThe new Whitney Museum of American Art in New York City by Renzo Piano (2015) took a very different approach from the sculptural museums of Frank Gehry. The Whitney has an industrial-looking facade and blends into the neighborhood. Michael Kimmelman, the architecture critic of The New York Times called the building a \"mishmash of styles\" but noted its similarity to Piano's Centre Pompidou in Paris, in the way that it mixed with the public spaces around it. \"Unlike so much big-name architecture,\" Kimmelman wrote, \"it's not some weirdly shaped trophy building into which all the practical stuff of a working museum must be fitted.\"\n\nThe San Francisco Museum of Modern Art is actually two buildings by different architects fit together; an earlier (1995) five-story postmodernist structure by the Swiss architect Mario Botta, to which has been joined a much larger ten-story white gallery by the Norwegian-based firm of Snøhetta (2016). The expanded building includes a green living wall of native plants in San Francisco; a free ground-floor gallery with tall glass walls that will place art on view to passersby and glass skylights that flood the upper floors of offices (though not the galleries) with light. The facades clad are with lightweight panels made of Fibre-Reinforced Plastic. The critical reaction to the building was mixed. Roberta Smith of The New York Times said the building set a new standard for museums and wrote: \"The new building’s rippling, sloping facade, rife with subtle curves and bulges, establishes a brilliant alternative to the straight-edged boxes of traditional modernism and the rebellion against them initiated by Frank Gehry, with his computer-inspired acrobatics.\" On the other hand, the critic of The Guardian of London compared the facade of the building to \"a gigantic meringue with a hint of Ikea.\"\n\nConcert halls\n\nSantiago Calatrava designed the Auditorio de Tenerife he concert hall of Tenerife, the major city of the Canary Islands. with a shell-like wing of reinforced concrete.\nThe shell touches the ground at only two points.\n\nThe Walt Disney Concert Hall in Los Angeles (2003) is one of the major works by California architect Frank Gehry The exterior is stainless steel, formed like the sails of sailboats. The interior is in the Vineyard style, with the audience surrounding the stage. Gehry designed the dramatic array of pipes of the organ to complement the exterior style of the building.\n\nThe Casa da Musica in Porto, Portugal, by the Dutch architect Rem Koolhaas (2005) is unique among concert halls in having two walls made entirely of glass. Nicolai Ouroussoff, architecture critic from The New York Times, wrote \"The building's chiseled concrete form, resting on a carpet of polished stone, suggests a bomb about to explode. He declared that in its originality it was one of the most important concert halls built in the last 100 years\". ranking with the Walt Disney Concert Hall, in Los Angeles, and the Berliner Philharmonie.\n\nThe interior of the Copenhagen Opera House by Henning Larsen (2005) has an oak floor and maple walls to enhance hat acoustics. The royal box of the Queen, usually placed in the back, is next to stage.\n\nThe Schermerhorn Symphony Center in Nashville, Tennessee, by David M. Schwarz & Earl Swensson (2006), is an example of Neo-Classical architecture, borrowed literally from Roman and Greek models. It complements another Nashville landmark, a full-scale replica of the Parthenon.\n\nThe Philharmonie de Paris by French architect Jean Nouvel opened in 2015. The concert hall is at La Villette, in a park at the edge of Paris devoted to museums, a music school and other cultural institutions, where its unusual shape blends with the late 20th-century modern architecture. The exterior of the building takes the form of glittering irregular cliff cut by horizontal fins which reveal ar amp leading upwards The exterior is clad in thousands of small pieces of aluminum in three different colors, from white to gray to black. A path leads up the ramp to the top of building to a terrace with a dramatic view of the peripheric highway around the city. view of the neighborhood. The hall, like the Disney Hall in Los Angeles, has Vineyard style seating, with the audience surrounding the main stage. The seating can be re-arranged in different styles depending upon the type of music performed. When it opened, the architectural critic of the London Guardian compared it to a space ship that had crash-landed on the outskirts of the city.\n\nThe Elbphilharmonie concert hall in Hamburg, Germany, by Herzog & de Meuron, which was inaugurated in January 2017, is the tallest inhabited building in the city, with a height of . The glass concert hall, which has 2100 seats in Vineyard style, is perched atop a former warehouse. One side of the concert hall building contains a hotel, while the structure on the other side above the concert hall contains forty five apartments. The concert hall in the middle is isolated from the sound of the other parts of the building by an \"eggshell\" of plaster and paper panels and insulation resembling feather pillows.\n\nSkyscrapers\n\nThe skyscraper (usually defined as a building over 40 stories high) first appeared in Chicago in the 1890s, and was largely an American style in the mid 20th century, but in the 21st century skyscrapers were found in almost every large city on every continent. A new construction technology, the framed tube structure, was first developed in the United States in 1963 by structural engineer Fazlur Rahman Khan of Skimore, Owings and Merrill, which permitted the construction of super-tall buildings, which needed fewer interior walls, had more window space, and could better resist lateral forces, such as strong winds.\n\nThe Burj Khalifa in Dubai, United Arab Emirates is the tallest structure in the world, standing at . Construction of the Burj Khalifa began in 2004, with the exterior completed 5 years later in 2009. The primary structure is reinforced concrete. Burj Khalifa was designed by Adrian Smith, then of Skidmore, Owings & Merrill (SOM). He also was lead architect on the Jin Mao Tower, Pearl River Tower, and Trump International Hotel & Tower.\n\nAdrian Smith and his own firm are the architects for the building which, in 2020, meant to replace the Burj-Khalifa as the tallest building in the world. The Jeddah Tower in Jeddah, Saudi Arabia, is planned to be 1,008 meters, or (3,307 ft) tall, which will make it the tallest building in the world, and the first building to be more than one kilometer in height. Construction began in 2013, and the project is scheduled to be completed in 2020.\n\nAfter the destruction of the twin towers of the World Trade Center in the September 11 terrorist attacks, a new trade center was designed, with the main tower designed by David Childs of SOM. One World Trade Center, opened in 2015, is tall, making it the tallest building in the western hemisphere.\n\nIn London, one of the most notable contemporary landmarks is 30 St Mary Axe, popularly known as \"The Gherkin\", designed by Norman Foster (2004). It replaced the London Millennium Tower – a much taller project that Foster earlier had proposed for the same site, which would have been the tallest building in Europe, but was so tall that it interfered with the flight pattern for Heathrow Airport. The steel framework of the Gherkin is integrated into the glass facade.\n\nThe tallest building in Moscow is the Federation Tower, designed by the Russian architect Sergei Tchoban with Peter Schweger. Completed in 2017, with a height 373 meters, it surpassed Mercury City Tower, another skyscraper in Moscow, when it was built as the tallest building in Europe.\n\nThe tallest building in China as of 2015 is the Shanghai Tower by the U.S. architectural and design firm of Gensler. It is tall, with 127 floors, making it in 2016 the second-tallest building in the world. It also features the fastest elevators, which reach a speed of .\n\nMost skyscrapers are designed to express modernity; the most notable exception is the Abraj Al Bait, a complex of seven skyscraper hotels build by the government of Saudi Arabia to house pilgrims coming the holy shrine of Mecca. The centerpiece of the group is the Makkah Palace Clock Tower Hotel, with a gothic revival tower; it was the fourth-tallest building in the world in 2016, high.\n\nResidential buildings\n\nA tendency in contemporary residential architecture, particularly in the rebuilding of older neighborhoods in large cities, is the luxury condominium tower, with very expensive apartments for sale designed by \"starchitects\", that is, internationally famous architects. These buildings frequently have little relationship with the architecture of their neighborhood, but stand like signature works of their architects.\n\nDaniel Libeskind (born 1946), was born in Poland and studied, taught and practiced architecture in the United States. In 2016 he was professor of architecture at UCLA in Los Angeles, He is known as much for his writings as his architecture; he was a founder of the movement called Deconstructivism. Best known for his museums, he also constructed a notable complex of residential apartment buildings in Singapore (2011) and The Ascent at Roebling's Bridge a 22-story apartment building in Covington, Kentucky (2008). The name of the latter is taken from the Roebling Suspension Bridge nearby on the Ohio River, but the structure of the building of luxury condominiums is extremely contemporary, sloping upward like the bridge cables to a peak, with a sharp edge and leaning slightly outward as the building rises.\n\nOne cheerful feature of contemporary residential architecture is color; Bernard Tschumi uses colored ceramic tiles on facades as well as unusual forms to make his buildings stand out. One example is the Blue Condominium in New York City (2007).\n\nAnother contemporary tendency is the conversion of industrial buildings into mixed residential communities. An example is the Gasometer in Vienna, a group of four massive brick gas production towers constructed at the end of the 19th century. They have been transformed into a mixed residential, office and commercial complex, completed between 1999 and 2001. Some residences are located inside the towers, and others are in new buildings attached to them. The upper floors are devoted to housing units the middle floors to offices, and the ground floors to entertainment and shopping malls. with sky bridges connecting the shopping mall levels. Each tower was built by a prominent architect the participants were Jean Nouvel, Coop Himmelblau, Manfred Wehldorn and Wilhelm Holzbauer. The historic exterior walls of the towers were preserved.\n\nThe Isbjerget, Danish for \"iceberg\", in Aarhus, Denmark (2013), is a group of four buildings with 210 apartments, both rented and owned, for residents with a range of incomes, located on the waterfront of a former industrial port in Denmark. The complex was designed by the Danish firms CEBRA and JDS Architects, French architect Louis Paillard and the Dutch firm SeARCH, and was financed by the Danish pension fund. The buildings are designed so that all the units, even those in the back, have a view of sea. The design and color of the buildings is inspired by icebergs. The buildings are clad in white terrazzo and have balconies made of blue glass.\n\nReligious architecture\n\nSurprisingly few contemporary churches were built between 2000 and 2017. Church architects, with a few exceptions, rarely showed the same freedom of expression as architects of museums, concert halls and other large buildings. The new cathedral for the City of Los Angeles California, was designed in a postmodern style by the Spanish architect Rafael Moneo. The previous cathedral had been serious damaged by an earthquake in 1995; the new building was specially designed to resist similar shocks.\n\nThe Northern Lights Cathedral, by the Denmark-based international firm of Schmidt, Hammer and Lassen, is located in Alta, Norway, one of northernmost cities in the world. Their other important works include the National Library of Denmark in Copenhagen.\n\nThe Vrindavan Chandrodaya Mandir is a Hindu Temple in Vrindivan, in Uttar Pradesh state in India, which was under construction at the end of 2016. The architects are InGenious Studio Pvt. Ltd. of Gurgaon and Quintessence Design Studio of Noida, in India. The entrance is in the traditional Nagara style of Indian architecture, while the tower is contemporary, with a glass facade up to the 70th floor. It is scheduled for completion in 2019. When completed, at or 70 floors) it will be the tallest religious structure in the world.\n\nOne of the most unusual contemporary churches is St. Jude's Anglican Cathedral in Iqaluit, the capital of Nunavut, the northernmost and least populous region of Canada. The church is built in the shape of an igloo, and serves the Inuktitut-speaking population of the region.\n\nAnother unusual contemporary church is the Cardboard Cathedral in Christchurch, New Zealand designed by Japanese architect Shigeru Ban. It replaced the city's main cathedral, damaged by the 2011 Christchurch earthquake. The cathedral, which seats seven hundred persons, rises above the altar. Materials used include -diameter cardboard tubes, timber and steel. The roof is of polycarbon, with eight shipping containers forming the walls. \"coated with waterproof polyurethane and flame retardants\" with two-inch gaps between them so that light can filter inside.\n\nStadiums\n\nThe Swiss architects Jacques Herzog and Pierre de Meuron designed the Allianz Arena in Munich, Germany, completed in 2005. It seats 75,000 spectators. The structure is wrapped in 2,874 ETFE-foil air panels that are kept inflated with dry air; each panel can be independently illuminated red, white, or blue. When illuminated, the stadium is visible from the Austrian Alps, fifty miles (80 kilometers) away.\n\nAmong the most prestigious projects and best-known projects in contemporary architecture are the stadiums for the Olympic Games, whose architects are chosen by highly publicized international competitions. The Beijing National Stadium, built for the 2008 Games and popularly known as the Bird's Nest because of its intricate exterior framework, was designed by the Swiss firm of Herzog & de Meuron, with Chinese architect Li Xinggang. It was designed to seat 91,000 spectators, and when constructed had a retractable roof, since removed. Like many contemporary buildings, it is actually two structures; a concrete bowl in which the spectators sit, surrounded at distance of fifty feet by a glass and steel framework. The exterior \"Bird's nest\" design was inspired by the pattern of Chinese ceramics. The stadium when completed was the largest enclosed space in the world, and was also the largest steel structure, with 26 kilometers of unwrapped steel.\n\nThe National Stadium in Kaohsiung, Taiwan by Japanese architect Toyo Ito (2009), is the form of a dragon. Its other distinctive feature is the array of solar panels that cover almost all of the exterior, providing most of the energy needed by the complex.\n\nGovernment buildings\n\nGovernment buildings, once almost universally serious and sober looking, usually in variations of the school of neoclassical architecture, began to appear in more sculptural and even whimsical forms. One of the most dramatic examples was the London City Hall by Norman Foster (2002), the headquarters of the Greater London Authority. The unusual egg-like building design was intended to reduce the amount of exposed wall and to save energy, though the results have not entirely met expectations. One unusual feature is a helical stairway that spirals from the lobby up to the top of the building.\n\nSome new government buildings, such as the Parliament House, Valletta, Malta by Renzo Piano (2015) created controversy because of the contrast between their style and the historic architecture around them.\n\nMost new government buildings attempt to express solidity and seriousness; an exception is the Port Authority (Havenhuis) in Antwerp, Belgium by Zaha Hadid (2016), where a ship-like structure of glass and steel on a white concrete perch seems to have landed atop the old port building constructed in 1922. The faceted glass structure also resembles a diamond, a symbol of Antwerp's role as the major market of diamonds in Europe. It was one of the last works of Hadid, who died in 2016.\n\nUniversity buildings\n\nThe Dr Chau Chak Wing Building is a Business School building of the University of Technology Sydney in Sydney, New South Wales, Australia, designed by Frank Gehry and completed in 2015. It is the first building in Australia designed by Gehry. The building's façade, made of 320,000 custom designed bricks, was described by one critic as the \"squashed brown paper bag\". Frank Gehry responded, \"Maybe it's a brown paper bag, but it's flexible on the inside, there's a lot of room for changes or movement.\"\n\nThe Siamese Twins Towers\" at the Pontifical Catholic University of Chile in Santiago, Chile are by the Chilean architect Alejandro Aravena (born 1967), completed in 2013. Aravena was the winner of the 2016 Pritzker Architecture Prize.\n\nLibraries\n\nThe Bibliotheca Alexandrina in Alexandria, Egypt, by the Norwegian firm of Snøhetta (2002), attempts to recreate, in modern form, the famous Alexandria Library of antiquity. The building, by the edge of the Mediterranean, has shelf space for eight million books, and a main reading room covering on eleven cascading levels. plus galleries for expositions and a planetarium. The main reading room is covered by a 32-meter-high glass-panelled roof, tilted out toward the sea like a sundial, and measuring some 160 m in diameter. The walls are of gray Aswan granite, carved with characters from 120 different human scripts.\n\nThe Seattle Central Library by Dutch architect Rem Koolhaas (2006) features a glass and steel wrapping around a stack of platforms. One unusual feature is a ramp with continuous bookshelves spiraling upward four floors.\n\nMalls and retail stores\n\nThe shopping malls are the elephants of commercial architecture, massive structures which combine retail stores, food outlets, and entertainment under a single roof. The largest in area (though not in retail space, since much of the mall is devoted to entertainment and public space) and perhaps most extravagant is the Dubai Mall in the United Arab Emirates, designed by DP Architects of Singapore and opened in (2008), which features, in addition to shops and restaurants, a gigantic walk-through aquarium and underwater zoo, plus a huge ice skating rink, and, just outside, the highest fountain and tallest building in the world.\n\nIn competition with shopping malls are downtown department stores and shops of individual designer brands. These buildings are traditionally designed to attract attention and to express the modernity of the products they sell. A notable example is the Selfridge's Department Store in Birmingham, England, a department store designed by the firm of Future Systems, founded in 1979 by Jan Kaplický (1937–2009). The department store exterior is composed of undulating concrete in convex and concave forms, entirely covered with gleaming blue and white ceramic tiles.\n\nDesigner brand shops try make their logo visible and to set themselves apart from department stores. One notable example is the Louis Vuitton store in the Ginza district of Tokyo, with a new facade designed by Japanese studio of Jun Aoki and Associates with a patterned and perforated shell based on the brand's logo.\n\nAirports, railway stations and transport hubs\n\nBeijing Capital International Airport has been one of the fast-growing airports in the world. The new Terminal Three was designed by Norman Foster to handle the increased number of passengers coming for the 2008 Beijing Olympics. The terminal is the second largest in the world, after the Dulles Airport terminal near Washington, DC, and in 2008 was the sixth largest building in the world. The flat-roofed building looks like part of the runway from above.\n\nThe World Trade Center Transportation Hub is a station constructed beneath fountain and plaza honoring the victims of the 2001 terrorist attacks in 2001 in New York City, It was designed by Spanish architect Santiago Calatrava and opened in 2016. The above-ground structure, called the Oculus, has been compared to a bird about to take flight, and leads passengers down to the train station below the plaza. Michael Kimmelman, the architecture critic of The New York Times praised the soaring upward view inside the Oculus, but condemned what he called the buildings cost (the most expensive railroad station ever built) \"scale, monotony of materials and color, preening formalism and disregard for the gritty urban fabric.\"\n\nBridges \n\nSeveral of the most prominent contemporary architects, including Norman Foster, Santiago Calatrava, Zaha Hadid, have turned their attention to designing bridges. One of the most remarkable examples of contemporary architecture and engineering is the Millau Viaduct in southern France, designed by architect Norman Foster and structural engineer Michel Virlogeux. The Millau Viaduct crosses the valley of the River Tarn and is part of the A75-A71 autoroute axis from Paris to Béziers and Montpellier. It was formally inaugurated on 14 December 2004. It is the tallest bridge in the world with one mast's summit at above the base of the structure.\n\nThe British-Iraqi architect Zaha Hadid constructed the Bridge Pavilion in Zaragoza. Spain for an international exposition there in 2008. The bridge, which also served as an exposition hall, is constructed of concrete reinforced with an external layer of fiberglass in different shades of gray. Since the event closed, the bridge has been used to host expositions and shows.\n\nSome smaller new bridges also offer simple but very innovative designs. The Gateshead Millennium Bridge in Newcastle upon Tyne, England, (2004) designed by Michel Virlogeux, to enable pedestrians and cyclists to cross the Tyne River, tilts to one side to permit boats to pass beneath.\n\nEco-architecture\n\nA growing tendency in the 21st century is eco-architecture, also termed sustainable architecture; buildings with features which conserve heat and energy, and sometimes produce their own energy through solar cells and windmills, and use solar heat to generate solar hot water. They also may be built with their own wastewater treatment and sometimes rainwater harvesting Some buildings integrate gardens green walls and green roofs into their structures. Other features of eco-architecture include the use of wood and recycled materials. There are several green building certification programs, the best-known of which is the Leadership in Energy and Environmental Design, or LEED rating, which measure the environmental impact of buildings.\n\nMany urban skyscrapers such as 30 Saint Mary Axe in London use a double skin of glass to conserve energy. The double skin and curved shape of the building creates differences in air pressure which help keep the building cooler in summer and warmer in winter, reducing the need for air conditioning.\n\nBedZED, designed by British architect Bill Dunster, is an entire community of eighty-two homes in Hackbridge, near London, built according to eco-architecture principles. Houses face south to take advantage of sunlight and have triple-glazed windows for insulation, a significant portion of the energy comes from solar panels, rainwater is collected and reused, and automobiles are discouraged. BedZED successfully reduced electricity usage by 45 percent and hot water usage by 81 percent of the borough average in 2010, though a successful system for producing heat by burning wood chips proved elusive and difficult.\n\nThe CaixaForum Madrid is a museum and cultural center in Paseo del Prado 36, Madrid, by the Swiss architects Herzog & de Meuron, built between 2001 and 2007, is an example of both green architecture and recycling. The main structure is an abandoned brick electric power station, with new floors constructed on top. The new floors are encased in oxidized cast iron, which has a rusty red color as the brick of the old power station below it. The building next to it features a green wall designed by French botanist Patrick Blanc. The red of the top floors contrast with the plants on the wall, while the green wall harmonizes with the botanical garden next door to the cultural center.\n\nUnusual materials are sometimes recycled for use in eco-architecture; they include denim from old blue jeans for insulation, and panels made from paper flakes, baked earth, flax, sisal, or coconut, and particularly fast-growing bamboo. Lumber and stone from demolished buildings are often reclaimed and reused for flooring, while hardware, windows and other details from older buildings are reused.\n\nTopics in contemporary architecture\n\nBlobitecture\nCritical Regionalism\nComplementary architecture\nComputer aided design\nConceptual architecture\nDigital architecture\nDigital morphogenesis\nDeconstructivism\nFuturist architecture\nHigh-tech architecture\nIndustrial chic\nModern architecture\nNeomodern architecture\nNeo-futurism\nNeohistorism\nNew Classical Architecture\nNew Urbanism\nNovelty architecture\nPostmodern architecture\nSustainable architecture\n\nSee also\n\nEuropean Union Prize for Contemporary Architecture, biennial prize by the European Union\nDriehaus Architecture Prize, sometimes nicknamed the anti-Pritzker, established in 2003\nMathematics and architecture\nWorld Architecture Festival, annual awards for recently completed buildings\nWorld Architecture Survey, most important works since 1980 according to a survey of 52 architects and critics\n\nReferences\n\nBibliography and Further reading\n\nExternal links\n\nRndrd - a website documenting un-built 20th century architectural concept art\nArchArticulate a website documenting architectural project\n\nCategory:Architectural styles\nCategory:House styles\nArchitecture", "title": "Contemporary architecture" }, { "text": "The World Architecture Survey was conducted in 2010 by Vanity Fair, to determine the most important works of contemporary architecture. 52 leading architects, teachers, and critics, including several Pritzker Prize winners and deans of major architecture schools were asked for their opinion.\n\nThe survey asked two questions:\nWhat are the five most important buildings, bridges, or monuments constructed since 1980?\nWhat is the greatest work of architecture thus far in the 21st century?\n\nWhile the range of responses was very broad, more than half of the experts surveyed named the Guggenheim Museum Bilbao by Frank Gehry as one of the most important works since 1980. The Beijing National Stadium (Bird’s Nest stadium) in Beijing by Herzog and de Meuron was the building most often cited, by seven respondents, as the most significant structure of the 21st century so far. Counted by architect, works by Frank Gehry received the most votes, followed by those of Rem Koolhaas. The result of the survey led Vanity Fair to label Gehry as \"the most important architect of our age\".\n\nResults\n\nMost important works since 1980\nThe respondents named a total of 132 different structures when asked to indicate the five most important buildings, monuments, and bridges completed since 1980. The top 21 were:\n Guggenheim Museum Bilbao (completed 1997) in Bilbao, Spain by Frank Gehry (28 votes)\n Menil Collection (1987) in Houston, Texas by Renzo Piano (10 votes)\n Thermal Baths of Vals (1996) in Vals, Switzerland by Peter Zumthor (9 votes)\n Hong Kong Shanghai Bank (HSBC) Building (1985) in Hong Kong by Norman Foster (7 votes)\n Tied (6 votes):\nSeattle Central Library (2004) in Seattle by Rem Koolhaas \nSendai Mediatheque (2001) in Sendai, Japan by Toyo Ito\nNeue Staatsgalerie (1984) in Stuttgart, Germany by James Stirling\nChurch of the Light (1989) in Osaka, Japan by Tadao Ando\n Vietnam Veterans Memorial (1982) in Washington, D.C. by Maya Lin (5 votes)\n Tied (4 votes):\nMillau Viaduct (2004) in France by Norman Foster\nJewish Museum, Berlin (1998) in Berlin by Daniel Libeskind\n Tied (3 votes):\nLloyd’s Building (1984) in London by Richard Rogers\nBeijing National Stadium (2008) in Beijing by Jacques Herzog and Pierre de Meuron\nCCTV Building (under construction ) in Beijing by Rem Koolhaas\nCasa da Musica (2005) in Porto, Portugal by Rem Koolhaas\nCartier Foundation (1994) in Paris by Jean Nouvel\nBMW Welt (2007) in Munich by COOP Himmelblau\nAddition to the Nelson-Atkins Museum (2007) in Kansas City, Missouri by Steven Holl\nCooper Union building (2009) in New York by Thom Mayne\nParc de la Villette (1984) in Paris by Bernard Tschumi\nYokohama International Passenger Terminal (2002) at Ōsanbashi Pier in Yokohama, Japan by Foreign Office Architects\nSaint-Pierre church, Firminy (2006) in Firminy, France by Le Corbusier (2 votes)\n\nMost significant work of the 21st century\nThe buildings most often named as the greatest work of architecture thus far in the 21st century were:\nBeijing National Stadium by Herzog and de Meuron (7 votes)\nSaint-Pierre, Firminy by Le Corbusier (4 votes)\nSeattle Central Library by Rem Koolhaas (3 votes)\nCCTV Headquarters by Rem Koolhaas (2 votes)\n Tied with one vote each: Sendai Mediatheque (Toyo Ito), Millau Viaduct (Norman Foster), Casa da Musica (Rem Koolhaas), Cartier Foundation (Jean Nouvel), BMW Welt (COOP Himmelblau)\n\nCriticism\nWriting for the Chicago Tribune, Blair Kamin criticized the \"self-aggrandizing\" survey for not including any green buildings. In response, Lance Hosey of Architect magazine conducted an alternate survey of leading green building experts and found that no buildings appeared on both lists, suggesting that standards of \"good design\" and \"green design\" are misaligned. Commentators also noted that several of the architects surveyed (but not Gehry) \"perhaps took the magazine’s title a little too seriously\" and voted for their own buildings.\n\nParticipants\nThe following people replied to the survey:\n\n Stan Allen\n Tadao Ando\n George Baird\n Deborah Berke\n David Chipperfield\n Neil Denari\n Hank Dittmar\n Roger Duffy\n Peter Eisenman\n Martin Filler\n Norman Foster\n Kenneth B. Frampton\n Frank Gehry\n\n Richard Gluckman\n Paul Goldberger\n Michael Graves\n Zaha Hadid\n Hugh Hardy\n Steven Holl\n Hans Hollein\n Michael Holzer\n Michael Jemtrud\n Charles Jencks\n Leon Krier\n Daniel Libeskind\n Thom Mayne\n\n Richard Meier\n José Rafael Moneo\n Eric Owen Moss\n Mohsen Mostafavi\n Victoria Newhouse\n Jean Nouvel\n Richard Olcott\n John Pawson\n Cesar Pelli\n James Stewart Polshek\n Christian de Portzamparc\n Antoine Predock\n Wolf D. Prix\n\n Jaquelin T. Robertson\n Richard Rogers\n Joseph Rykwert\n Ricardo Scofidio\n Annabelle Selldorf\n Robert Siegel\n John Silber\n Brett Steele\n Bernard Tschumi\n Ben van Berkel\n Anthony Vidler\n Rafael Viñoly\n Tod Williams and Billie Tsien\n\nSee also\n Architectural icon\n\nReferences\n\nCategory:Architecture lists\nCategory:Vanity Fair (magazine)\nCategory:2010", "title": "World Architecture Survey" }, { "text": "The following is a list of notable architects – well-known individuals with a large body of published work or notable structures, which point to an article in the English Wikipedia.\n\nEarly architects\n\nAa (Middle Kingdom), Egyptian\nAmenhotep, son of Hapu (14th c. BC), Egyptian\nAnthemius of Tralles (c. 474 – 533–558), Greek\nApollodorus of Damascus (2nd c. AD), Damascus\nAristobulus of Cassandreia (c. 375 – 301 BC), Greek\nCallicrates (mid-5th c. BC), Greek\nHermodorus of Salamis (fl. 146–102 BC), Cypriot\nHippodamus of Miletus (498–408 BC), Greek\nIctinus (fl. mid-5th c. BC), Greek\nImhotep (fl. late 27th c. BC), Egyptian\nIneni (18th Dynasty of Egypt), Egyptian\nIsidore of Miletus (6th c. AD), Byzantine Greek\nMarcus Agrippa (63–12 BC), Roman\nMnesicles (mid-5th c. BC), Athenian\nRabirius (1st–2nd cc. AD), Roman\nSenemut (18th Dynasty of Egypt), Egyptian\nVitruvius (c. 80–70 BC – post–15 BC), Roman\nYu Hao (喻皓, fl 970), Chinese\n\nNarasimhavarman II (695-729 CE), South India\nPerumthachan(9th c.AD), South India\n\n12th-century architects\n\nAbbot Suger (c. 1081–1151), French\nWilliam the Englishman (1174 – c. 1214), English\nWilliam of Sens (died 1180), French\n\n13th-century architects\n\nArnolfo di Cambio (c. 1240–1300/1310), Italian\nVillard de Honnecourt (fl. 13th c.), French\nRobert de Luzarches (fl. late 12th – early 13th c.), French\nJean d'Orbais (c. 1175–1231), French\nRadovan (fl. 13th c.), Croatian\n\n14th-century architects\n\nFilippo Calendario (died 1355), Venetian\nJacopo Celega (died pre–1386), Italian\nTaddeo Gaddi (c. 1290–1366), Florentine\nGiotto di Bondone (c. 1267–1337), Florentine\nAnđeo Lovrov Zadranin (fl. mid–14th c.), Croatian\nJuraj Lovrov Zadranin (fl. 14th c.), Croatian\nHeinrich Parler (c. 1310–1371), German\nJohann Parler (c. 1359–1405/6), Bohemian\nPeter Parler (c. 1333–1399), Bohemian\nWenzel Parler (c. 1360–1404), Bohemian\n\n15th-century architects\n\nLeon Battista Alberti (1404–1472), Italian\nAndrea Alessi (1425–1505), Dalmatian\nMarko Andrijić (c. 1470 – post-1507), Dalmatian\nDonato Bramante (1444–1514), Italian\nFilippo Brunelleschi (1377–1446), Italian\nMauro Codussi (1440–1504), Italian/Venetian\nAristotele Fioravanti (c. 1415 or 1420 – c. 1486), Italian/Russian \nNiccolò di Giovanni Fiorentino (1418–1506), Italian/Dalmatian\nJuan Guas (c. 1430/1433 – c. 1496), Spanish\nLuciano Laurana (c. 1420–1479), Venetian\nAnnibale Maggi detto Da Bassano (fl. 1490s), Venetian\nPaskoje Miličević (c. 1440–1516), Croatian\nMichelozzo Michelozzi (1396–1472), Italian\nBernardo Rossellino (1409–1464), Italian\nGiorgio da Sebenico (c. 1410–1473), Venetian\nJacob van Thienen (fl. early 15th c.), Flemish\nLeonardo da Vinci (1452–1519), Italian\n\n16th-century architects\n\nAntonio Abbondi (fl. early 16th c.), Italian\nGaleazzo Alessi (1512–1572), Italian\nBartolomeo Ammanati (1511–1592), Italian\n Michelangelo Buonarroti (1475–1564), Italian\nGirolamo Cassar (c. 1520 – c. 1592), Maltese\nVittorio Cassar (c. 1550 – c. 1609), Maltese\nGuglielmo dei Grigi (1485–1550), Italian\nNikolaus Gromann (1500–1566), German\nJuan de Herrera (1530–1597), Spanish\nAdam Kraft (1460–1509), German\nFrancesco Laparelli (1521–1570), Italian\nPirro Ligorio (1512–1583), Italian\nPhilibert de l'Orme (1514–1570), French\nGiovanni Magenta (1565–1635), Italian\nHans Hendrik van Paesschen (c. 1510–1582), Flemish\nAndrea Palladio (1508–1580), Italian\nAntonio da Sangallo the Elder (c. 1453–1534), Italian\nAntonio da Sangallo the Younger (1484–1546), Italian\nMichele Sammicheli (1484–1559), Venetian\nRaffaello Santi (Raphael) (1483–1520), Italian\nVincenzo Scamozzi (1548–1616), Italian\nSebastiano Serlio (1475–1554), Italian\nKoca Mimar Sinan Agha (1489–1588), Ottoman Armenian\nFriedrich Sustris (1540–1599), Italian/Dutch\nLambert Sustris (1518–1584), Dutch\nPellegrino Tibaldi (1527–1596), Italian\nGiorgio Vasari (1511–1574), Italian\nGiacomo Barozzi da Vignola (1507–1573), Italian\nPostnik Yakovlev (fl. mid-16th c.), Russian\n\n17th-century architects\n\nGian Lorenzo Bernini (1598–1680), Italian\nFrancesco Borromini (1599–1667), Italian\nUstad Ahmad Lahauri (fl. 17th c.), Indian\nJacob van Campen (1596–1657), Dutch\nPietro da Cortona (1596 or 1597–1669), Italian\nJan Zygmunt Deybel (c. 1685–1752), German\nJohann Dientzenhofer (1663–1726), German\nLeonhard Dientzenhofer (1660–1707), German\nTumas Dingli (1591–1666), Maltese\nLéopold Durand (1666–1746), French\nPietro Paolo Floriani (1585–1638), Italian\nLorenzo Gafà (1639–1703), Maltese\nGuarino Guarini (1624–1683), Italian\nJules Hardouin-Mansart (1646–1708), French\nElias Holl (1573–1646), German\nInigo Jones (1573–1652), English\nLouis Le Vau (1612–1670), French\nBaldassarre Longhena (1598–1682), Italian\nCarlo Maderno (1556–1629), Italian\nFrançois Mansart (1598–1666), French\nJohann Arnold Nering (c.1659?–1695), German\nFrancesco Antonio Picchiatti (1619–1694), Italian\nMatthäus Daniel Pöppelmann (1662–1736), German\nCarlo Rainaldi (1611–1691), Italian\nAndreas Schlüter (c.1659–1714), German\nNicodemus Tessin the Younger (1654–1728), Swedish\nJohn Webb (1611–1672), English\nElizabeth Mytton Wilbraham (1632–1705), English\nChristopher Wren (1632–1723), English\n\n18th-century architects\n\nRobert Adam (1728–1792), Scottish\nWilliam Adam (1689–1748), Scottish\nCosmas Damian Asam (1686–1739), German\nEgid Quirin Asam (1692–1750), German\nJoseph Bonomi the Elder (1739–1808), Italian\nÉtienne-Louis Boullée (1728–1799)\nWilliam Buckland (1734–1774), English/American\nColen Campbell (1676–1729), Scottish\nJohn Carr of York (1723–1807), English\nRichard Cassels (1690–1751), German\nWilliam Chambers (1723–1796), Swedish/Scottish\nFrançois de Cuvilliés (1695–1768), Netherlandish/German\nChristoph Dientzenhofer (1655–1722), German\nKilian Ignaz Dientzenhofer (1689–1751), German\nLaurent-Benoît Dewez (1731–1812), Netherlandish\nJohn Douglas (c. 1709–1788), Scottish\nNicolai Eigtved (1701–1754), Danish\nJohann Bernhard Fischer von Erlach (1656–1723), Austrian\nJohann Michael Fischer (1692–1766), German\nPierre François Léonard Fontaine (1762–1853), French\nAnge-Jacques Gabriel (1698–1782), French\nAlessandro Galilei (1691–1737), Italian\nJohn Gwynn (1713–1786), English\nAbraham Hargrave (1755–1808), English/Irish\nPeter Harrison (1716–1775), American\nNicholas Hawksmoor (1661–1736), English\nJohann Lukas von Hildebrandt (1668–1745), Austrian\nJames Hoban (1755–1831), Irish/American\nJohn Hutchison, Scottish\nThomas Ivory (1709–1779), English\nNicolas-Henri Jardin (1720–1799), French (in Denmark)\nThomas Jefferson (1743–1826), American\nRichard Jupp (1728–1799), English\nFilippo Juvarra (1678–1736), Italian\nWilliam Kent (1685–1748), English\nBenjamin Latrobe (1764–1820), English/American\nClaude-Nicolas Ledoux (1736–1806), French\nGiacomo Leoni (1686–1746), Italian\nJoseph Christian Lillie (1760–1827), Danish\nJohann Friedrich Ludwig (João Frederico Ludovice) (1673–1752), German\nGiorgio Massari (1687–1766), Italian\nJosef Munggenast (1680–1741), Austrian\nRobert Mylne (1733–1811), Scottish\nIvan Fyodorovich Michurin (1700–1763), Russian\nBalthasar Neumann (c. 1687–1733), German\nMateus Vicente de Oliveira (1706–86), Portuguese\nGiovanni Paolo Pannini (1691–1765), Italian\nEdward Lovett Pearce (1699–1733), Irish\nCharles Percier (1764–1838), French\nGiuseppe Piermarini (1734–1808), Italian\nPaolo Posi (1708–1776), Italian\nJakob Prandtauer (1660–1726), Austrian\nGiacomo Quarenghi (1744–1817), Italian/Russian\nJoseph-Jacques Ramée (1764–1842), Italian\nBartolomeo Rastrelli (1700–1771), Italian/Russian\nCharles Ribart (fl. 1776–1783), French\nAntonio Rinaldi (c. 1710–1794), Italian\nNicola Salvi (1697–1751), Italian\nThomas Sandby (1721–1798), English\nJan Blažej Santini-Aichel (1677–1723), Austrian/Czech\nMichael Searles (1750–1813), English\nJacques-Germain Soufflot (1713–1780), French\nManuel Caetano de Sousa (1738–1802), Portuguese\nWilliam Thornton (1759–1828), English/American\nLauritz de Thurah (1706–1759), Danish\nMary Townley (1753–1839), English\nDomenico Trezzini (1670–1734), Swiss/Italian\nJohn Vanbrugh (1664–1726), English\nLuigi Vanvitelli (1700–1773), Italian\nBernardo Vittone (1704–1770), Italian\nJohn Wood, the Elder (1704–1754), English\nJohn Wood, the Younger (1728–1782), English\nJames Wyatt (1746–1813), English\nDominikus Zimmermann (1685–1766), German\n\n19th-century architects\n\nA–M\n\nDankmar Adler (1844–1900), American\nFrank Shaver Allen (1860–1934), American\nHenry Austin (1804–1891), American\nAlphonse Balat (1819–1895), Belgian\nWilliam Swinden Barber (1832–1908), English\nSir Charles Barry (1795–1860), English\nCharles Barry, Jr. (1823–1900), English\nEdward Middleton Barry (1830–1880), English\nFrédéric Auguste Bartholdi (1834–1904), French\nCarlo Bassi (1807–1856), Italian\nAsher Benjamin (1773–1845), American\nHendrik Beyaert (1823–1894), Belgian\nCharles Bickel (1852–1921), American\nJoseph Blick (1867–1947), American\nEdward Blore (1787–1879), English\nCamillo Boito (1836–1914), Italian\nIgnatius Bonomi (1787–1870), English\nFerdinando Bonsignore (1760–1843), Italian\nR. Newton Brezee (1851–1929), American\nGridley James Fox Bryant (1816–1899), American\nDavid Bryce (1803–1876), Scottish\nAleksandar Bugarski (1835–1891), Serbian\nCharles Bulfinch (1763–1844), American\nWilliam Burges (1827–1881), English\nWilliam Burn (1789–1870), Scottish\nDecimus Burton (1800–1881), English\nJ. Cleaveland Cady (1837–1919), American\nCarrère and Hastings (1885–1929), American\nCesar Castellani (died 1905), Maltese\nBasil Champneys (1842–1935), English\nEdward Clark (1822–1902), American\nAdolf Cluss (1825–1905), American\nS. N. Cooke (1882–1964), English\nLewis Cubitt (1799–1883), English\nThomas Cubitt (1788–1855), English\nPierre Cuypers (1827–1921), Dutch\nAlexander Jackson Davis (1803–1892), American\nGeorge Devey (1820–1886), English\nJohn Dobson (1787–1865), English\nThomas Leverton Donaldson (1795–1885), English\nHenry Engelbert (1826–1901), American\nKolyu Ficheto (1800–1881), Bulgarian\nGeorge A. Frederick (1842–1924), American\nWatson Fothergill (1841–1928), English\nJames Fowler (1828–1892), English\nThomas Fuller (1823–1898), Canadian\nFrank Furness (1839–1912), American\nCharles Garnier (1825–1898), French\nFriedrich von Gärtner (1791–1847), German\nEdward William Godwin (1833–1886), English\nGeorge Enoch Grayson (1833–1912), English\nSamuel Hannaford (1835–1911), American\nTheophil Hansen (1813–1891), Danish/Austrian\nPhilip Hardwick (1792–1870), English\nPhilip Charles Hardwick (1822–1892), English\nWilliam Alexander Harvey (1874–1951), English\nThomas Hastings (1860–1929), American\nVictor Horta (1861–1947), Belgian\nArpan Shah (1975), Indian\nWilliam Hosking FSA (1800–1861), English\nHeinrich Hübsch (1795–1863), German\nSamuel Huckel (1858–1917), American\nRichard Hunt (1827–1895), American\nBenno Janssen (1874–1964), American\nGiuseppe Jappelli (1783–1852), Italian\nWilliam LeBaron Jenney (1832–1907), American\nSir Horace Jones (1819–1887), English\nEmilijan Josimović (1823–1897), Serbian\nAbdallah Khan (fl. 1810–1850), Persian\nLeo von Klenze (1784–1864), German\nJohn A. B. Koch (1845–1928), Australian\nHenri Labrouste (1801–1875), French\nBarthelemy Lafon (1769–1820), American\nRichard Lane (1795–1880), English\nBenjamin Henry Latrobe (1764–1820), American\nRobert Lawson (1833–1902), New Zealander\nCharles F. Lembke (1865–1925), American\nJoseph Christian Lillie (1760–1827), Danish\nAlexander Wadsworth Longfellow, Jr. (1854–1934), American\nSara Losh (1785–1853), English\nRichard Lucae (1829–1879), German\nCharles-François Mandar (1757–1844), French\nCharles Follen McKim (1847–1909), American\nSamuel McIntire (1757–1811), American\nEnrico Marconi (1792–1863), Italian\nLeandro Marconi (1834–1919), Polish\nOskar Marmorek (1863–1909), Austro-Hungarian\nFrederick Marrable (1819–1872), English\nRobert Mills (1781–1855), American\nJosef Mocker (1835–1899), Bohemian\nAuguste de Montferrand (1786–1858), French\nJulia Morgan (1872–1957), American\nWilliam Morris (1834–1906), English\nAlfred B. Mullett (1834–1890), American\n\nN–Z\n\nJohn Nash (1752–1835), English\nAtanasije Nikolić (1803–1882), Serbian\nJoseph Maria Olbrich (1867–1908), Austrian\nFrederick Law Olmsted (1822–1903), American\nFrederick J. Osterling (1865–1934), American\nEdward Graham Paley (1823–1895), English\nAlexander Parris (1780–1852), American\nJoseph Paxton (1803–1865), English\nJohn Wornham Penfold (1828–1909), English\nSir James Pennethorne, English\nFrancis Penrose (1817–1903), English\nFriedrich Ludwig Persius (1803–1845), German\nFrancis Petre (1847–1918), New Zealand\nAlbert Pretzinger (b. 1863, death date unknown), American\nWill Price (1855–1916), American\nAugustus Pugin (1812–1852), English\nE. W. Pugin (1834–1875), English\nPeter Paul Pugin (1851–1904), English\nJoseph-Jacques Ramée (1764–1842), French\nCharles Reed (1814–1859), English\nCharles Reeves (1815–1866), English\nJames Renwick, Jr. (1818–1895), American\nHenry Hobson Richardson (1838–1886), American\nThomas Rickman (1776–1841), English\nEduard Riedel (1813–1885), German\nAntonio Rivas Mercado (1853–1927), Mexican\nRobert S. Roeschlaub (1843–1923), American\nIsaiah Rogers (1800–1869), American\nJohn Root (1850–1891), American\nCarlo Rossi (1775–1849), Italian/Russian\nArchimedes Russell (1840–1915), American\nOctave van Rysselberghe (1855–1929), Belgian\nJohn Holloway Sanders (1825–1884), English\nFrederick C. Sauer (1860–1942), German/American\nGeorge Gilbert Scott (1811–1878), English\nGeorge Gilbert Scott Jr. (1839–1897), English\nKarl Friedrich Schinkel (1781–1841), German\nGottfried Semper (1803–1879), German\nEdmund Sharpe (1809–1877), English\nJoseph Lyman Silsbee (1848–1913), American\nJacob Snyder (1823–1890), American\nJohn Soane (1848–1913), American\nAugust Soller (1805–1853), German \nVasily P. Stasov (1769–1848), Russian\nJ. J. Stevenson (1831–1908), Scottish\nHeinrich Strack (1805–1880), German\nGeorge Edmund Street (1824–1881), English\nWilliam Strickland (1788–1854), American\nFriedrich August Stüler (1800–1865), German\nLouis Sullivan (1856–1924), American\nHenry Tanner (1849–1935), English\nThomas Alexander Tefft (1826–1859), American\nThomas Telford (1757–1834), Scottish\nSamuel Sanders Teulon (1812–1873), English\nConstantine Andreyevich Ton (1794–1881), Russian\nClair Tisseur (1827–1896), French\nIthiel Town (1784–1844), American\nSilvanus Trevail (1851–1903), English\nWilliam Tubby (1858–1944), American\nRichard Upjohn (1802–1878), English/American\nCalvert Vaux (1824–1925), English/American\nEugène Viollet-le-Duc (1814–1879), French\nOtto Wagner (1841–1918), Austrian\nThomas U. Walter (1804–1887), American\nAlfred Waterhouse (1830–1905), English\nGeorge Webster (1797–1864), English\nJohn Dodsley Webster (1840–1913), English\nStanford White (1853–1906), American\nWilliam Wilkins (1778–1839), English\nFrederick Clarke Withers (1828–1901), English/American \nWilliam Halsey Wood (1855–1897), American\nThomas Worthington (1826–1909), English\nThomas Henry Wyatt (1807–1880), Irish/English\nEdward Alexander Wyon (1842–1872), English\nAmmi B. Young (1798–1874), American\nNikola Živković (1792–1870), Serbian\n\n20th-century architects\n\nA–C\n\nAlvar Aalto (1898–1976), Finland\nMax Abramovitz (1908–2004), US\nDavid Adler (1882–1949), US\nGerard Pieter Adolfs (1898–1968), Dutch East Indies\nCharles N. Agree (1897–1982), Detroit, Michigan, US\nWalter W. Ahlschlager (1887–1965), US\nFranco Albini (1905–1977), Italy\nChristopher Alexander (born 1936), Austria\nTadao Ando (born 1941), Japan\nPaul Andreu (1938–2018), France\nEdmund Anscombe (1874–1948), New Zealand\nMilan Antonović (1850–1929)\nSiah Armajani (1939–2020), Iran\nRaul de Armas (born 1941), Cuba\nJoão Batista Vilanova Artigas (1915–1985), Brazil\nHisham N. Ashkouri (born 1948), US\nCharles Herbert Aslin (1893–1959), UK\nGunnar Asplund (1885–1940), Sweden\nIan Athfield (1940–2015), New Zealand\nFritz Auer (born 1933), Germany\nGae Aulenti (1927–2012), Italy\nCarlo Aymonino (1926–2010), Italy\nRafiq Azam, Bangladesh\nLaurie Baker (1917–2007), UK/India\nSixto Durán Ballén (1921–2016), US\nLina Bo Bardi (1914–1992), Italy/Brazil\nEdward Larrabee Barnes (1915–2004), US\nHoward R. Barr (1910–2002), US\nLuis Barragán (1902–1988), Mexico\nFred Bassetti (1917–2013), US\nGarry Baverstock (born 1949), Australia\nGeoffrey Bawa (1919–2003), Sri Lanka\nIsobel Hogg Kerr Beattie (1900–1970), UK\nWelton Becket (1902–1969), US\nClaud Beelman (1883–1963), US\nAdolf Behne (1885–1948), Germany\nPeter Behrens (1868–1940), Germany\nPietro Belluschi (1899–1994), US\nHendrik Petrus Berlage (1856–1934), Netherlands\nMordechai Benshemesh (1911–1993), Australia\nAntonio Bilbao La Vieja (1892–1980), Argentina\nTitus de Bobula (1878–1961)\nRicardo Bofill (born 1939), Spain\nOriol Bohigas (born 1925), Spain\nGottfried Böhm (1920–2021), Germany\nJ. Max Bond, Jr. (1935–2009), US\nDariush Borbor (born 1934), Iran\nMario Botta (born 1943), Switzerland\nClaude Fayette Bragdon (1866–1946), US\nC.A. \"Peter\" Bransgrove (1914–1966), Tanganyika/Tanzania\nMarcel Breuer (1902–1981), Hungary\nHalldóra Briem (1913–1993), Iceland\nGordon Bunshaft (1909–1990), US\nJohn Burgee (born 1933), US\nDaniel Burnham (1846–1912), US\nSantiago Calatrava (born 1951), Spain\nPeter Calthorpe (born 1949), US\nAlberto Campo Baeza (born 1946), Spain\nSir Hugh Casson (1910–1999), UK\nJames Chapman-Taylor (1958–1978), UK/New Zealand\nEthel Charles (1871–1962), UK\nJorge Ferreira Chaves (1920–1982), Portugal\nAnn R. Chaintreuil (born 1947), United States\nSerge Chermayeff (1900–1996), Chechnya/UK\nDavid Chipperfield (born 1953), UK\nWells Coates (1895–1958), UK/Canada\nJosep Antoni Coderch (1913–1984), Spain\nCharles A. Cofield (born -), US\nColeman Coker (born 1951), US\nMary Colter (1869–1958), US\nPeter Cook (born 1936), UK\nIsadore (Issie) Coop (1926–2003), Canada \nLe Corbusier (1887–1965), Switzerland/France\nErnest Cormier (1885–1980), Canada\nCharles Correa (1930–2015), India\nLúcio Costa (1902–1998), Brazil\nRalph Adams Cram (1863–1942), US\nCharles Howard Crane (1885–1952), US\nPaul Philippe Cret (1876–1945), France, US\nLouis Curtiss (1865–1924), US\nKirtland Cutter (1860–1939), US\n\nD–G\n\nJustus Dahinden (1925–2020), Switzerland\nKarl Damschen (born 1942), Germany\nRaimondo Tommaso D'Aronco (1857–1932), Italy\nMiša David (1942–2000), Yugoslavia\nGiancarlo De Carlo (1919–2005), Italy\nFrederic Joseph DeLongchamps (1882–1969), US\nFrançois Deslaugiers (1934–2009), France\nJack Diamond (born 1932), South Africa/Canada\nFilipe Oliveira Dias (1963–2014), Portugal\nTheo van Doesburg (1883–1931), Netherlands\nB. V. Doshi (born 1927), India\nAlden B. Dow (1904–1983), US\nJane Drew (1911–1996), UK\nAndrés Duany (born 1949), US\nMax Dudler (born 1949), Switzerland/Germany\nMichael Middleton Dwyer (born 1954), US\nWillem Marinus Dudok (1884–1974), Netherlands\nArthur Dyson (born 1940), US\nH. Kempton Dyson (1880–1944), UK\nCharles Eames (1907–1978), US\nRay Eames (1912–1988), US\nJohn Eberson (1875–1964), Romania/USA\nPeter Eisenman (born 1932), US\nGeorge Grant Elmslie (1869–1952), US\nRichard England (born 1937), Malta\nArthur Erickson (1924–2009), Canada\nRaymond Erith (1904–1973), US\nAldo van Eyck (1918–1999), Netherlands\nHassan Fathy (1900–1989), Egypt\nSverre Fehn (1924–2009), Norway\nArthur Fehr (1904–1969), US\nHermann Finsterlin (1887–1973), Germany\nTheodor Fischer (1862–1938), Germany\nHarold H. Fisher (1901–2005), US\nKay Fisker (1893–1965), Denmark\nO'Neil Ford (1905–1982), US\nMohammad Foyez Ullah (born 1967), Bangladesh\nNorman Foster (born 1935), UK\nYona Friedman (1923–2020), Hungary/France\nMaxwell Fry (1899–1987), UK\nBuckminster Fuller (1895–1983), US\nIgnazio Gardella (1905–1999), Italy\nAntoni Gaudí (1852–1926), Spain\nGiuli Gegelia (born 1942), Georgia\nFrank Gehry (born 1929), Canada/USA\nHaralamb H. Georgescu (1908–1977), Romania/USA\nHeydar Ghiai (1922–1985), Iran\nCass Gilbert (1859–1934), US\nMoisei Ginzburg (1892–1946), Belarus/USSR\nRomaldo Giurgola (1920–2016), Italy/USA/Australia\nHansjörg Göritz (born 1959), Germany\nBruce Goff (1904–1982), US\nErnő Goldfinger (1902–1987), Hungary/UK\nTeodoro Gonzalez de Leon (1926–2016), Mexico\nBertram Goodhue (1869–1924), US\nFerdinand Gottlieb (1919–2007), Germany/USA\nNoemí Goytia (born 1936), Argentina\nGiorgio Grassi (born 1935), Italy\nMichael Graves (1934–2015), US\nCharles Sumner Greene (1868–1957), US \nHenry Mather Greene (1870–1954), US\nJules Gregory (1920–1985), US\nVittorio Gregotti (1927–2020), Italy\nWalter Burley Griffin (1876–1937), US\nSir Nicholas Grimshaw (born 1939), UK\nWalter Gropius (1883–1969), Germany\nVictor Gruen (1903–1980), Austria\nHector Guimard (1867–1942), France\n\nH–K\n\nCharles Haertling (1928–1984), US \nWilliam John Hale (1862–1929), UK\nRobert Bell Hamilton (1892–1948), Australia\nHalfdan M. Hanson (1884–1952), US\nBashirul Haq (1942–2020), Bangladesh\nHugo Häring (1882–1958), Germany\nDavid M. Harper (born 1953), US\nWallace Harrison (1895–1981), US\nFrancis R. Heakes (1858–1930), Canada\nJohn Hejduk (1929–2000), US\nHerman Hertzberger (born 1932), Netherlands\nHeinz Hess (1922–1992), Germany\nFernando Higueras (1930–2008), Spain\nLudwig Hilberseimer (1885–1967), German\nHerbert Hirche (1910–2002), Germany\nHarold Frank Hoar (1907–1976), UK\nFlorence Fulton Hobson (1881–1978), Ireland\nCharles Holden (1875–1960), UK\nHans Hollein (1934–2014), Austria\nRaymond Hood (1881–1934), US\nSir Michael Hopkins (born 1935), UK, 1994 RIBA Gold Medal winner\nVictor Horta (1861–1947), Belgium\nEdith Hughes (1888–1971), UK\nA. R. Hye (1919–2008), Pakistan\nFriedensreich Hundertwasser (1928–2000), Austria\nWilbur R. Ingalls, Jr. (1923–1997), US\nMuzharul Islam (1923–2012), Bangladesh\nArata Isozaki (born 1931), Japan\nArne Jacobsen (1902–1971), Denmark\nHugh Newell Jacobsen (born 1929), US\nHelmut Jahn (1940–2021), Germany/US\nPeter Janesch (born 1953), Hungary\nBenno Janssen (1874–1964), US\nPierre Jeanneret (1896–1967), Switzerland\nPeder Vilhelm Jensen-Klint (1853–1930), Denmark\nJon Jerde (1940–2015), US\nPhilip Johnson (1906–2005), US\nClarence H. Johnston, Sr. (1859–1936), US\nE. Fay Jones (1921–2004), US\nJosep Maria Jujol (1879–1949), Spain\nRyszard Jurkowski (born 1945), Poland\nAlbert Kahn (1869–1942), US\nFazlur Rahman Khan (1929–1982), Bangladesh\nLouis Kahn (1901/1902–1974), US\nMaxwell M. Kalman (1906–2009), Canada\nMariam Kamara (born 1979), Niger\nLouis Kamper (1861–1953), US\nJan Kaplický (1937–2009), Czech/UK\nKatayama Tōkuma (1854–1917), Japan\nOskar Kaufmann (1873–1956), Hungary\nKendrick Bangs Kellogg (born 1934), US\nRaymond M. Kennedy (1891–1976), US\nHugh T. Keyes (1888–1963), US\nNader Khalili (1936–2008), US\nEdward Killingsworth (1917–2004), US\nCharles Klauder (1872–1938), US\nGeorge Klenzendorff (1883–?), US\nMichel de Klerk (1884–1923), Netherlands\nRalph Knott (1878–1929), UK\nAustin Eldon Knowlton (1909–2003), US\nCarl Koch (1912–1998), US\nHans Kollhoff (born 1946), Germany\nMusa Konsulova (1921-2019), USSR, Ukraine\nRem Koolhaas (born 1944), Netherlands\nKároly Kós (1883–1977), Hungary\nJohannes Krahn (1908–1974), Germany\nPiet Kramer (1881–1961), Netherlands\nLéon Krier (born 1946), Luxembourg\nKisho Kurokawa (1934–2007), Japan\nEdgar-Johan Kuusik (1888–1974), Estonia\nIvan Sergeyevich Kuznetsov (1867–1942), Russia\n\nL–M\n\nThomas W. Lamb (1871–1942), US\nG. Albert Lansburgh (1876–1969), US\nEve Laron OAM (1931–2009), Australia\nHenning Larsen (1925–2013), Denmark\nSir Denys Lasdun (1914–2001), UK\nVilhelm Lauritzen (1894–1984), Denmark\nJohn Lautner (1911–1994), US\nRicardo Legorreta (1931–2011), Mexico\nWilliam Lescaze (1896–1969), US\nJan Letzel (1880–1925), Czechoslovakia\nAmanda Levete (born 1955), UK\nSigurd Lewerentz (1885–1975), Sweden\nLiang Sicheng (1901–1972), China\nAdalberto Libera (1903–1963), Italy\nDaniel Libeskind (born 1946), Poland/USA\nJoão Filgueiras Lima (1931–2014), Brazil\nMaya Lin (born 1959), US\nEl Lissitzky (1890–1941), Russia\nGordon W. Lloyd (1832–1905), US\nLeandro Locsin (1928–1994), Philippines\nElmar Lohk (1901–1963), Estonia\nAdolf Loos (1870–1933), Austria/Czechoslovakia\nBerthold Lubetkin (1901–1990), UK/USSR\nBill Lucas (1924–2001), Australia\nHans Luckhardt (1890–1954), Germany\nWassili Luckhardt (1889–1972), Germany\nOwen Luder (born 1928), UK\nEdwin Lutyens (1869–1944), UK\nIvar Lykke (born 1941), Norway\nGeorge Washington Maher (1864–1926), US\nFumihiko Maki (born 1928), Japan\nCharles Rennie Mackintosh (1868–1928), UK\nImre Makovecz (1935–2011), Hungary\nRobert Mallet-Stevens (1886–1945), France\nAngelo Mangiarotti (1921–2012), Italy\nGeorge R. Mann (1856–1939), US\nRobert Matthew (1906–1975), UK\nGeorge D. Mason (1856–1948), US\nEdward Maufe (1883–1974), UK\nBernard Maybeck (1862–1957), US\nWayne McAllister (1907–2000), US\nRaymond McGrath (1903–1977), UK/Ireland\nRoy Mason (1938–1996), US\nFrançois Massau, Belgium \nRichard Meier (born 1934), US\nKonstantin Melnikov (1890–1974), USSR\nErich Mendelsohn (1887–1953), Germany\nPaulo Mendes da Rocha (1928–2021), Brazil\nHenry Mercer (1856–1930), US\nGeoffrey Harley Mewton (1905–1998), Australia\nJohan van der Mey (1878–1949), Netherlands\nHannes Meyer (1889–1954), Switzerland\nGiovanni Michelucci (1891–1990), Italy\nLudwig Mies van der Rohe (1886–1969), Germany/USA\nAndrés Mignucci (born 1957), Puerto Rico\nVlado Milunić (born 1941), Czech Republic\nJames Rupert Miller (1869–1946), US\nDom Mintoff (1916–2012), Malta\nF. A. Minuth, American, New York City\nHadi Mirmiran (1945–2006), Iran\nEnric Miralles (1955–2000), Spain\nAntonio Miró Montilla (born 1937), Puerto Rico\nSamuel Mockbee (1944–2001)\nErik Møller (1909–2002)\nRafael Moneo (born 1937), Spain\nRoger Montgomery (1925–2003), US\nAdolfo Moran (born 1953), Spain\nRiccardo Morandi (1902–1989), Italy\nLuigi Moretti (1907–1973), Italy\nArthur Cotton Moore (born 1935), US\nCharles Willard Moore (1925–1993), US\nLester S. Moore (1871–1924), US\nJulia Morgan (1872–1957), US\nRaymond Moriyama (born 1929), Canada\nEric Owen Moss (born 1943), US\nMichel Mossessian (born 1959), France/UK\nFrederick Augustus Muhlenberg (1887–1980), US\nGlenn Murcutt (born 1936), Australia\nC. F. Møller (1898–1988), Denmark\nBarton Myers (born 1934), Canada\n\nN–R\n\nRobert Natus (1890–1950)\nPier Luigi Nervi (1891–1979), Italy\nPeter Newell (1916–2010), Australia\nRichard Neutra (1892–1970)\nNgo Viet Thu (1926–2000), Vietnam\nOscar Niemeyer (1907–2012)\nEnamul Karim Nirjhar (born 1962), Bangladesh\nOscar Nitzchke (1900–1991)\nPercy Erskine Nobbs (1875–1964)\nSamuel Tilden Norton (1877–1959)\nEllice Nosworthy (1897–1972), Australia\nJean Nouvel (born 1945)\nMartin Nyrop (1849–1921), Denmark\nGyo Obata (1923–2022)\nSamuel Oghale Oboh (born 1971) Canada / Nigeria\nJohn J. O'Malley (1915–1970), US\nYafes Osman (born 1946), Bangladesh\nFrei Otto (1925–2015)\nJ.J.P. Oud (1890–1963)\nFélix Candela Outeriño (1910–1997), Spain/Mexico\nPaul Paget (1901–1985)\nHenry (Harry) Paley (1859–1946)\nMustapha Khalid Palash (born 1963), Bangladesh\nMihály (Michael) Párkányi (1924–1991) Hungary\nJohn and Donald Parkinson (1861–1945)\nJohn Pawson (born 1949)\nArthur Peabody (1858–1942)\nI. M. Pei (1917–2019)\nCésar Pelli (1926–2019)\nHubert Petschnigg (1913–1997)\nFrits Peutz (1896–1974)\nTimothy L. Pflueger (1892–1946)\nRenzo Piano (born 1937), Italy\nStjepan Planić (1900–1980)\nJože Plečnik (1872–1957)\nHans Poelzig (1869–1936)\nGino Pollini (1903–1991), Italy\nJames Polshek (born 1930)\nDonald Perry Polsky (born 1928)\nGio Ponti (1891–1979)\nJohn Russell Pope (1874–1937)\nJohn Portman (1924–2017)\nChristian de Portzamparc (born 1944), France\nGeorge B. Post (1837–1913), US\nFernand Pouillon (1912-1986), France\nHenry Price (1867–1944)\nAlain Provost (born 1938)\nFreeman A. Pretzinger\nWilliam Gray Purcell (1880–1965), US\nC. W. Rapp (1860–1926), US\nGeorge L. Rapp (1878–1941), US\nIsaac Rapp (1854–1933), US\nRalph Rapson (1914–2008)\nSteen Eiler Rasmussen (1898–1990)\nAntonin Raymond (1888–1976), Japan/USA\nAffonso Eduardo Reidy (1909–1964), Brazil\nSir Charles Herbert Reilly (1874–1948)\nSir Albert Richardson (1880–1964)\nGerrit Rietveld (1888–1964)\nIsabel Roberts (1871–1955), US\nHarry G. Robinson III (born 1942)\nKevin Roche (1922–2019)\nErnesto Nathan Rogers (1909–1969)\nRichard Rogers (1933–2021)\nMario Romañach (1917–1984), Havana, Cuba\nAldo Rossi (1931–1997), Italy\nWirt C. Rowland (1878–1946)\nPaul Rudolph (1918–1997)\nRobert Tor Russell (1888–1972)\n\nS–Z\n\nEero Saarinen (1910–1961), Finland\nEliel Saarinen (1873–1950), Finland\nEugen Sacharias (1906–2002)\nMoshe Safdie (born 1938)\nPaul Saintenoy (1862–1952)\nRogelio Salmona (1929–2007), Spain-Colombia\nGuðjón Samúelsson (1887–1950), Iceland\nJoão Santa-Rita (born 1960)\nCarlos A. Santos-Viola (1912–1994)\nLouis Sauer (born 1928)\nCarlo Scarpa (1906–1978)\nHans Scharoun (1893–1972)\nRudolf Schindler (1887–1953)\nElisabeth Scott (1898–1972), UK\nFrederic Schwartz (1951–2014)\nPaul Schmitthenner (1884–1972)\nAlexey Shchusev (1873–1949)\nMargarete Schütte-Lihotzky (1897–2000)\nGiles Gilbert Scott (1880–1960)\nHarry Seidler (1923–2006)\nRichard Seifert (1910–2001)\nJoseph Lluís Sert (1902–1983)\nH. Craig Severance (1879–1941)\nHooshang Seyhoun (1920–2014), Iran\nRichard Sheppard (1910-1982)\nVladimir Shukhov (1853–1939)\nClaudio Silvestrin (born 1954)\nScott Simons (born 1952), US\nAlvaro Siza (born 1933), Portugal\nHoward Dwight Smith (1886–1958)\nGeorge Washington Smith (1876–1930)\nAlison Smithson (1928–1993)\nPeter Smithson (1923–2003)\nCharles B. J. Snyder (1860–1945), US\nPaolo Soleri (1919–2013), Italy\nAlejandro de la Sota (1913–1996)\nEduardo Souto de Moura (born 1952), Portugal\nAlbert Speer (1905–1981)\nBasil Spence (1907–1976)\nJohann Otto von Spreckelsen (1929–1987)\nSheila Sri Prakash (born 1955), India\nWilliam L. Steele (1875–1949), US\nAndrew Steiner (1908–2009), Czechoslovak-American\nRudolf Steiner (1861–1925)\nJoseph Allen Stein (1912–2001), US, India\nRobert A.M. Stern (born 1939)\nJohn Calvin Stevens (1855–1940), US\nSir James Stirling (1926–1992)\nEdward Durrell Stone (1902–1978)\nJames Strutt (1924–2008), Canada\nJoseph Sunlight (1889–1978)\nRoger Taillibert (1926–2019)\nBenedetta Tagliabue (born 1963), Italy, co-founder of EMBT \nAlexander Tamanyan (1878–1936), Armenia\nKenzo Tange (1913–2005)\nBruno Taut (1880–1938)\nMax Taut (1884–1967)\nGiuseppe Terragni (1904–1943)\nQuinlan Terry (born 1937)\nHeinrich Tessenow (1876–1950), German\nBenjamin C. Thompson (1918–2002)\nEdmund von Trompowsky (1851–1919), Latvia \nHorace Trumbauer (1868–1938)\nBernard Tschumi (born 1944)\nGilbert Stanley Underwood (1890–1960)\nJørn Utzon (1918–2008), Denmark\nVann Molyvann (1926–2017), Cambodia\nFrançois Valentiny (born 1953), Luxembourg\nWilliam van Alen (1883–1954)\nHenry Van de Velde (1863–1957)\nHenri van Dievoet (1869–1931)\nAntoine Varlet (1893–1940)\nRobert Venturi (1925–2018)\nMiguel Vila Luna (1943–2005), Dominican Republic\nCarlos Raúl Villanueva (1900–1975)\nRafael Viñoly (born 1944)\nRoland Wank (1898–1970)\nPaul Waterhouse (1861–1924), UK\nCarlo Weber (1934–2014)\nW. H. Weeks (1864–1936)\nCarl Westman (1866–1936)\nPaul Williams (1894–1980)\nClough Williams-Ellis (1883–1978)\nJan Wils (1891–1972)\nGeorge J. Wimberly (1914–1996)\nJames Wines (born 1932), US\nGeoffrey Wooding (1954–2010)\nLebbeus Woods (1940–2012), US\nFrank Lloyd Wright (1867–1959), US\nMarcellus E. Wright Sr. (1881–1962), US\nMinoru Yamasaki (1912–1986)\nF. R. S. Yorke (1906–1962), UK\nJean-François Zevaco (1916–2003)\nMilan Zloković (1898–1965)\nPeter Zumthor (born 1943), Switzerland\n\n21st-century architects\n\nA–M\n\nAdolfo Moran\nAlexandre Chan\nAndy Martin (architect) (born 1963)\nAntonio Citterio (born 1950), Italy\nArif Hasan (born 1943), Pakistan\nAtsushi Kitagawara (born 1951), Japan\nBasil Al Bayati (born 1946), UK\nBernard Khoury (born in 1969), Lebanon\nBjarke Ingels (born 1974), Denmark\nCantarutti Robby (born 1966), Italy\nCarol Ross Barney (born 1949), US\nChristina Cho, Australia\nChristoph Ingenhoven (born 1960), Germany\nChristopher Charles Benninger (born 1942), India\nCraig W. Hartman\nDaniel Libeskind (born 1946, Poland), US\nDavid Adjaye (born 1966), Tanzania\nDavid M. Harper (born 1953)\nDavid Randall Hertz (born 1960), US\nDominique Gauzin-Müller (born 1960), France\nDy Proeung, Cambodia\nEric Corey Freed\nErick van Egeraat (born 1956), Netherlands\nEugene Pandala (born 1954), India\nGreg Lynn\nGregory Henriquez\nGünay Erdem (born 1978, Bulgaria), Turkey\nHafeez Contractor (born 1950), India\nH. R. Hiegel\nHidetsugu Aneha (born 1957), Japan\nHossein Amanat (born 1942), Iran\nIvan Harbour (born 1962), UK\nJames Garrison (born 1963), US\nJeanne Gang (born 1964), US\nJimenez Lai \nJing Liu\nJun'ya Ishigami (born 1974), Japan\nKamel Mahadin (born 1954), Jordan\nKazuyo Sejima (born 1956), Japan\nKees Christiaanse (born 1953), Netherlands\nKeith Griffiths (born 1954), UK\nKengo Kuma\nKevin Kennon\nLise Anne Couture (born 1959), Canada\nMarco Casagrande (born 1971), Finland\nMariam Kamara (born 1979), Niger\nMassimiliano Fuksas, Italy\nMaya Lin, US\nMichael Middleton Dwyer, US\nMichael Green, Canada\nMichel Abboud (born 1977), Lebanon\nNabil Gholam (born 1962), Lebanon\nNorman Foster, (born 1935), UK\nOdile Decq, (born 1955), France\nOlajumoke Adenowo (born 1968), Nigeria\nPeter Eisenman (born 1932), United States\nPeter Exley, US\nPouya Khazaeli (born 1975), Iran\nRafiq Azam, Bangladesh\nRem Koolhaas (born 1944), Netherlands\nRoger Duffy\nRon Arad (born 1951), Israel\nShashi Prabhu (born 1944), India\nSunita Kohli (born 1946), India\nSean Godsell (born 1960), Australia\nShigeru Ban (born 1957), Japan\nSir Terry Farrell, UK\nSou Fujimoto (born 1971), Japan\nStefano Boeri, Italy\nStephan Braunfels (born 1950), Germany\nSteven Holl (born 1947), US \nSue Courtenay, Belize\nSunay Erdem (born 1971, Bulgaria), Turkey\nTatiana Bilbao, Mexico\nT.J. Gottesdiener\nTerence Conran (1931–2020, United Kingdom)\nThom Mayne\nThomas Doerr (born 1964), US\nThomas Herzog\nTom Kundig\nTony Fretton (born 1945), UK\nToshiko Mori, Japan\nToyo Ito (born 1941), Japan\nWiel Arets (born 1955), Netherlands\nWilliam McDonough\nZaha Hadid (1950–2016), UK\n\nN-Z\n\nFlorent Nédélec\nEnamul Karim Nirjhar\nSamuel Oghale Oboh (born 1971), Canada / Nigeria\nLiz Ogbu\nNeri Oxman\nSatyendra Pakhale (born 1967), India\nMustapha Khalid Palash\nBimal Patel (born 1961), India\nThomas Phifer\nRenzo Piano, Italy\nDimitris Potiropoulos\nAntoine Predock\nJoshua Prince-Ramus\nPhilippe Rahm\nRichard Rogers, UK\nFernando Romero, Mexico \nLawrence Scarpa\nKazuyo Sejima (born 1956), Japan\nAdrian Smith\nGalia Solomonoff\nSheila Sri Prakash (born 1955), India\nPaul Steelman (born 1955), US\nMarshall Strabala\nSergei Tchoban (born 1962), Russian-born architect\nJack Travis (born 1952), US\nVictor Vechersky (born 1958), Ukraine\nRoss Wimer\nWang Shu (born 1963), China\nJörg Stollmann, Germany\nWilfried van Winden (born 1955)\nGert Wingårdh (born 1951), Sweden\nJun Xia, China\nKen Yeang (born 1948), Malaysia\n\nMythological/fictional architects\nSeveral architects occur in worldwide mythology, including Daedalus, builder of the Labyrinth, in Greek myth. In the Bible, Nimrod is considered the creator of the Tower of Babel, and King Solomon built Solomon's Temple with the assistance of the architect Hiram. In Hinduism, the palaces of the gods were built by the architect and artisan Vivasvat. Moreover, Indian epic Mahabharata cites amazing work by architect 'Maya.'\n\nArchitects also occur in modern fiction. Examples include Howard Roark, protagonist in Ayn Rand's The Fountainhead; Bloody Stupid Johnson, a parody of Capability Brown who appears in Terry Pratchett's Discworld novels; and Slartibartfast, designer of planets in Douglas Adams's The Hitchhiker's Guide to the Galaxy. Basil Al Bayati's novel The Age of Metaphors on the theme of Metaphoric Architecture is also replete with fictional architects. The main characters of Sa'ad, Shiymaa and Sa'im are all architects, as are a number of others who appear throughout the book.\n\nMany films have included central characters who are architects, including Henry Fonda's character \"Juror 8\" (Davis) in 12 Angry Men (1957), Charles Bronson's character in Death Wish (1974), John Cassavetes' character in Tempest (1982), Wesley Snipes' character in \"Jungle Fever\" (1991), Christopher Lloyd's character in Suburban Commando (1991), Tom Hanks' character in Sleepless in Seattle (1993), David Strathairn's character in The River Wild (1994), Michael J. Fox's character in The Frighteners (1996), Michael Keaton's character in White Noise (2005) and Jeremy Irons' character in High-Rise (2015).\n\nIn television, Mike Brady, father of The Brady Bunch, is an architect; as is Wilbur Post, owner of Mister Ed; Ted Mosby, from How I Met Your Mother; and David Vincent from The Invaders. Adam Cartwright of Bonanza was an architectural engineer with a university education who designed the sprawling familial ranch-house on the Ponderosa Ranch. The character George Costanza pretends to be an architect named \"Art Vandelay\" in Seinfeld. Architect Halvard Solness is the protagonist of Henrick Ibsen's 1892 play The Master Builder.\n\nLists of architects by country\n\nSee also\n\nList of architects of supertall buildings\nList of architectural historians\nList of architecture firms\nList of women architects\n\nReferences\n\nFurther reading\nJames Steele (1997), Architecture Today, Phaidon Press.\n\nExternal links\nFamous architects\nThe Historyscoper - architects\nFamous Architects In Pakistan\n\n \nCategory:Lists of people by occupation", "title": "List of architects" }, { "text": "Koolhaas Houselife is a documentary film directed by Ila Bêka and Louise Lemoine.\n\nReception\nNicolai Ouroussoff, in The New York Times, praised this film, which elevated its makers to the status of \"cult figures in the European architecture world\".\n\nPublished Dvd-Books\n Koolhaas Houselife, 2008, .\n Koolhaas Houselife, 2013, .\n\nSee also\nRem Koolhaas\n\nNotes\n\nBibliography\n\n Ada Luise Huxtable, « Ingenious and Demanding », The Wall Street Journal, 2009-09-30 \n Patricia Zohn, « Culture Zohn: Life in the Koolhaas », The Huffington Post, 2010-07-30 .\n\nExternal links\n\n Archdaily 40 Best Architecture Docs\n\nCategory:2008 films\nCategory:Italian documentary films\nCategory:2008 documentary films\nCategory:Documentary films about architecture\nCategory:Rem Koolhaas", "title": "Koolhaas Houselife" } ]
[ "The \"Project on the City\" was a position held by Koolhaas at Harvard University's Design school. Through this project, Koolhaas and his students analyzed what they referred to as \"non-cities\", or sprawling conglomerates such as Lagos in Nigeria. These are highly functional despite a lack of infrastructure. In this project, they also examined the influence of shopping habits and the recent rapid growth of cities in China.", "The \"Project on the City\" entailed Koolhaas and his students analyzing sprawling conglomerates such as Lagos in Nigeria, which they referred to as \"non-cities\". These are locations that they argue are highly functional despite a lack of infrastructure. The project also involved examining the influence of shopping habits and the recent rapid growth of cities in China. Furthermore, their analysis was later compiled into three books: Mutations, The Harvard Design School Guide to Shopping, and The Great Leap Forward.", "A \"non-city,\" as referred to by Koolhaas and his students, is a large, sprawling conglomerate such as Lagos in Nigeria. These are typically urban areas that do not possess the traditional infrastructure associated with cities, yet, as argued by the authors, they remain highly functional.", "The context does not provide specific requirements that a place needs to meet to be classified as a \"non-city\" by Koolhaas and his students. They define it generally as sprawling conglomerates that are highly functional despite the lack of traditional urban infrastructure.", "Yes, there are several other interesting aspects in this article. For example, the article discusses how Koolhaas's work and theories challenge traditional notions of architecture and urban design, such as his idea of the 'culture of congestion'. He is also known for his innovative approach to design, and the article mentions his unique design for the CCTV headquarters in Beijing, where he did not opt for the typical skyscraper model but instead designed a series of volumes that connect various departments and offer public access routes. Additionally, the article also discusses the publication Content, which provides an overview of a decade of projects by Koolhaas's firm, OMA, and includes designs for Prada shops, the Seattle Public Library, and more.", "The 'omnipotent forces' that Koolhaas refers to are the forces of urbanism - the social, cultural, economic and architectural elements that shape cities and their development. Koolhaas harnesses these forces in his designs to create unique architectural forms and connections that closely align with contemporary society." ]
[ "Yes", "Yes", "Yes", "Yes", "Yes", "No" ]
C_246bb626bd9b4cc6a6ccb3cef92dc9f2_0
Rem Koolhaas
Remment Lucas "Rem" Koolhaas (Dutch pronunciation: [rem ko:lha:s]; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
European Flag proposal
Following the signing of Treaties of Nice in May 2001, which made Brussels the de facto capital of the European Union, the then President of the European Commission, Romano Prodi and the Belgian Prime Minister Guy Verhofstadt invited Koolhaas to discuss the necessities and requirements of a European capital. During these talks and as an impetus for further discussion, Koolhaas and his think-tank AMO - an independent part of OMA - suggested the development of a visual language. This idea inspired a series of drawings and drafts, including the "Barcode". The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol. In the current European flag, there is a fixed number of stars. In the barcode however, new Member States of the EU can be added without space constraints. Originally, the barcode displayed 15 EU countries. In 2004, the symbol was adapted to include the ten new Member States. Since the time of the first drafts of the barcode it has very rarely been officially used by commercial or political institutions. During the Austrian EU Presidency 2006, it was officially used for the first time. The logo was used for the EU information campaign, but was very negatively criticized. In addition to the initial uproar caused by the Estonian flag stripes being displayed incorrectly, the proposed flag failed to achieve its main objective as a symbol. Critics pointed the lack of capability to relate the signified (the mental concept, the European Union) with the signifier (the physical image, the stripes) as the major problem, as well as the presented justification for the order in which the color stripes were displayed (as every country in the EU should be regarded as equal in importance and priority). CANNOTANSWER
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Remment Lucas Koolhaas (; born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. He is often cited as a representative of Deconstructivism and is the author of Delirious New York: A Retroactive Manifesto for Manhattan. He is seen by some as one of the significant architectural thinkers and urbanists of his generation, by others as a self-important iconoclast. In 2000, Rem Koolhaas won the Pritzker Prize. In 2008, Time put him in their top 100 of The World's Most Influential People. He was elected to the American Philosophical Society in 2014. Early life and career Remment Koolhaas was born on 17 November 1944 in Rotterdam, Netherlands, to Anton Koolhaas (1912–1992) and Selinde Pietertje Roosenburg (born 1920). His father was a novelist, critic, and screenwriter. His maternal grandfather, Dirk Roosenburg (1887–1962), was a modernist architect who worked for Hendrik Petrus Berlage, before opening his own practice. Rem Koolhaas has a brother, Thomas, and a sister, Annabel. His paternal cousin was the architect and urban planner Teun Koolhaas (1940–2007). The family lived consecutively in Rotterdam (until 1946), Amsterdam (1946–1952), Jakarta (1952–1955), and Amsterdam (from 1955). His father strongly supported the Indonesian cause for autonomy from the colonial Dutch in his writing. When the war of independence was won, he was invited over to run a cultural programme for three years and the family moved to Jakarta in 1952. "It was a very important age for me," Koolhaas recalls "and I really lived as an Asian." In 1969, Koolhaas co-wrote The White Slave, a Dutch film noir, and later wrote an unproduced script for American soft-porn king Russ Meyer. He was a journalist in 1963 at age 19 for the Haagse Post before starting studies in architecture in 1968 at the Architectural Association School of Architecture in London, followed, in 1972, by further studies with Oswald Mathias Ungers at Cornell University in Ithaca, New York, followed by studies at the Institute for Architecture and Urban Studies in New York City. Koolhaas first came to public and critical attention with OMA (The Office for Metropolitan Architecture), the office he founded in 1975 together with architects Elia Zenghelis, Zoe Zenghelis and (Koolhaas's wife) Madelon Vriesendorp in London. They were later joined by one of Koolhaas's students, Zaha Hadid – who would soon go on to achieve success in her own right. An early work which would mark their difference from the then dominant postmodern classicism of the late 1970s, was their contribution to the Venice Biennale of 1980, curated by Italian architect Paolo Portoghesi, titled "Presence of the Past". Each architect had to design a stage-like "frontage" to a Potemkin-type internal street; the façades by , Frank Gehry and OMA were the only ones that did not employ Post-Modern architecture motifs or historical references. Other early critically received (yet unbuilt) projects included the Parc de la Villette, Paris (1982) and the residence for the Prime Minister of Ireland (1979), as well as the Kunsthal in Rotterdam (1992). These schemes would attempt to put into practice many of the findings Koolhaas made in his book Delirious New York (1978), which was written while he was a visiting scholar at the Institute for Architecture and Urban Studies in New York, directed by Peter Eisenman. Architectural theory Delirious New York Koolhaas's book Delirious New York set the pace for his career. Koolhaas analyzes the "chance-like" nature of city life: "The City is an addictive machine from which there is no escape" "Rem Koolhaas...defined the city as a collection of 'red hot spots'." (Anna Klingmann). As Koolhaas himself has acknowledged, this approach had already been evident in the Japanese Metabolist Movement in the 1960s and early 1970s. A key aspect of architecture that Koolhaas interrogates is the "Program": with the rise of modernism in the 20th century the "Program" became the key theme of architectural design. The notion of the Program involves "an act to edit function and human activities" as the pretext of architectural design: epitomised in the maxim form follows function, first popularised by architect Louis Sullivan at the beginning of the 20th century. The notion was first questioned in Delirious New York, in his analysis of high-rise architecture in Manhattan. An early design method derived from such thinking was "cross-programming", introducing unexpected functions in room programmes, such as running tracks in skyscrapers. More recently, Koolhaas unsuccessfully proposed the inclusion of hospital units for the homeless into the Seattle Public Library project (2003). Project on the city Koolhaas' next publications were a by-product of his position as professor at Harvard University, in the Design school's "Project on the City"; firstly the 720-page Mutations, followed by The Harvard Design School Guide to Shopping (2002) and The Great Leap Forward (2002). All three books published student work analysing what others would regard as "non-cities", sprawling conglomerates such as Lagos in Nigeria, west Africa, which the authors argue are highly functional despite a lack of infrastructure. The authors also examine the influence of shopping habits and the recent rapid growth of cities in China. Critics of the books have criticised Koolhaas for being cynical, – as if Western capitalism and globalization demolish all cultural identity – highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop". Perhaps such caustic cynicism can be read as a "realism" about the transformation of cultural life, where airports and even museums (due to finance problems) rely just as much on operating gift shops. It does, however, demonstrate one of the architect's characteristic devices for deflecting criticism: attack the client or subject of study after completing the work. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society. Koolhaas continuously incorporates his observations of the contemporary city within his design activities: calling such a condition the ‘culture of congestion’. Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: density, newness, shape, size, money etc. In 2003, Content, a 544-page magazine-style book designed by &&& Creative and published by Koolhaas, gives an overview of the last decade of OMA projects including his designs for the Prada shops, the Seattle Public Library, a plan to save Cambridge from Harvard by rechanneling the Charles River, Lagos' future as Earth's third-biggest city, as well as interviews with Martha Stewart and Robert Venturi and Denise Scott Brown. Volume Magazine In 2005, Rem Koolhaas co-founded Volume Magazine together with Mark Wigley and Ole Bouman. Volume Magazine – the collaborative project by Archis (Amsterdam), AMO and C-lab (Columbia University NY) – is a dynamic experimental think tank devoted to the process of spatial and cultural reflexivity. It goes beyond architecture's definition of ‘making buildings’ and reaches out for global views on architecture and design, broader attitudes to social structures, and creating environments to live in. The magazine stands for a journalism which detects and anticipates, is proactive and even pre-emptive – a journalism which uncovers potentialities, rather than covering done deals. Buildings and projects In the late nineties he worked on the design for the new headquarters for Universal. Indeed, online marketing and propaganda has been a hallmark of OMA's rise in the current century. It has also led to pointed criticism, such as the critique by New York Magazine critic Justin Davidson, who found the 2020 Guggenheim exhibition Countryside, the Future "mildly amusing if it weren’t such terrible waste — of attention, of gallery square footage, of resources, talent, and expertise. Bored with being an architect and building things, Koolhaas lets his fingertips graze important topics, genuine insights, and actual lives. He treats them all as ironic bric-a-brac, meaningless souvenirs of his meanderings through a fragile world. How frustrating that the Guggenheim couldn’t force a little more intellectual rigor on this romp." Architecture, fashion, and theatre With his Prada projects, Koolhaas ventured into providing architecture for the fleeting world of fashion and with celebrity-studded cachet: not unlike Garnier's Opera, the central space of Koolhaas' Beverly Hills Prada store is occupied by a massive central staircase, ostensibly displaying select wares, but mainly the shoppers themselves. The notion of selling a brand rather than marketing clothes was further emphasised in the Prada store on Broadway in Manhattan, New York, which had previously been owned by the Guggenheim: the museum signs were not removed during the outfitting of the new store, as if emphasizing the premises as a cultural institution. The Broadway Prada store opened in December 2001, cost €32 million to build, and has 2,300 square meters of retail space. 21st Century Projects Probably the most costly and celebrated OMA projects of the new century were the massive Central China Television Headquarters Building in Beijing, China, and the new building for the Shenzhen Stock Exchange, the equivalent of the NASDAQ in China. In his design for the new CCTV Headquarters in Beijing (2009), Koolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises; he patented a "horizontal skyscraper" in the U.S. The building, popularly called "The Big Pants" by Beijing residents, was designed as a series of volumes which attempt to tie together the numerous departments onto the nebulous site, but also introduce routes (again, the concept of cross-programming) for the general public through the site, allowing them some degree of access to the production procedure. An unfortunate incident that highlighted the folly of the circulation scheme (no effective fire egress for people on the upper floors), was the construction fire that nearly destroyed the building and a nearby hotel in 2009. In February 2020, his exhibition Countryside,The Future opened at the Guggenheim in New York City. The exhibition closed within a month, after New York City closed all its major art institutions in connection with the Covid-19 pandemic. Personal life Koolhaas was previously married to Madelon Vriesendorp, an artist who is the mother of his two children, Charlie, a photographer, and Tomas, a filmmaker. Koolhaas divorced Vriesendorp in 2012. He has known his current partner Petra Blaisse, an interior and landscape designer, since 1986. Selected projects Villa dall’Ava, (Saint-Cloud, 1991) Nexus World Housing (Fukuoka, 1991) Kunsthal (Rotterdam, 1992) Euralille (Lille, 1994) Educatorium (Utrecht, 1995) Maison à Bordeaux (Bordeaux, 1998) Embassy of the Netherlands (Berlin, 2003) McCormick Tribune Campus Center (Chicago, 2003) Seoul National University Museum of Art (Seoul, 2005) Seattle Central Library (Seattle, 2005) Casa da Música (Porto, 2005) Dee and Charles Wyly Theater (Dallas, 2009) CCTV Headquarters, (Beijing, 2012) De Rotterdam (Rotterdam, 2013) Garage Museum of Contemporary Art (Moscow, 2014) Qatar National Library (Doha, 2017) Taipei Performing Arts Center (Taipei, 2022) Bibliography Project Japan. Metabolism Talks... (2011) (with Hans Ulrich Obrist) Delirious New York: A Retroactive Manifesto for Manhattan (1978) S,M,L,XL (1995) Serpentine Gallery: 24 Hour Interview Marathon (2007) Living Vivre Leben (1998)Content (2004) Serpentine Gallery Pavilion 2006''; Verlag der Buchhandlung Walther König, Köln, Germany 2008 Gallery See also Contemporary architecture World Architecture Survey List of architects Koolhaas Houselife References External links Office for Metropolitan Architecture OMA official Facebook page (updated daily) OMA official Vimeo channel OMA portfolio on Archello.com Rem Koolhaas at Harvard University Urgency 2007: Rem Koolhaas and Peter Eisenman lectures, Canadian Centre for Architecture, 8 June 2007 Rem Koolhaas in conversation with Mirko Zardini and Giovanna Borasi, Rotterdam, 26 August 2015, for the exhibition The Other Architect, Canadian Centre for Architecture On Starchitecture Koolhaas at Harvard's Ecological Urbanism Rem Koolhaas: A Kind of Architect (2008 Feature Documentary) Rem Koolhaas lecture "Russia for Beginners" at Garage Museum of Contemporary Art: September 15th, 2014 Rem Koolhaas on Empty Canon Category:1944 births Category:20th-century Dutch architects Category:21st-century Dutch architects Category:Architectural theoreticians Category:Urban theorists Category:Deconstructivism Category:Postmodern architecture Category:Dutch non-fiction writers Category:Living people Category:Cornell University College of Architecture, Art, and Planning alumni Category:Harvard Graduate School of Design faculty Category:Dutch urban planners Category:Architects from Rotterdam Category:Pritzker Architecture Prize winners Category:Recipients of the Royal Gold Medal Category:Knights of the Legion of Honour Category:Recipients of the Praemium Imperiale Category:Alumni of the Architectural Association School of Architecture Category:Honorary Fellows of the American Institute of Architects Category:Members of the American Philosophical Society Category:Compasso d'Oro Award recipients
[ { "text": "Contemporary architecture is the architecture of the 21st century. No single style is dominant. Contemporary architects work in several different styles, from postmodernism, high-tech architecture and new interpretations of traditional architecture to highly conceptual forms and designs, resembling sculpture on an enormous scale. Some of these styles and approaches make use of very advanced technology and modern building materials, such as tube structures which allow construction of buildings that are taller, lighter and stronger than those in the 20th century, while others prioritize the use of natural and ecological materials like stone, wood and lime. One technology that is common to all forms of contemporary architecture is the use of new techniques of computer-aided design, which allow buildings to be designed and modeled on computers in three dimensions, and constructed with more precision and speed.\n\nContemporary buildings and styles vary greatly. Some feature concrete structures wrapped in glass or aluminium screens, very asymmetric facades, and cantilevered sections which hang over the street. Skyscrapers twist, or break into crystal-like facets. Facades are designed to shimmer or change color at different times of day.\n\nWhereas the major monuments of modern architecture in the 20th century were mostly concentrated in the United States and western Europe, contemporary architecture is global; important new buildings have been built in China, Russia, Latin America, and particularly in Arab states of the Persian Gulf; the Burj Khalifa in Dubai was the tallest building in the world in 2019, and the Shanghai Tower in China was the second-tallest.\n\nAdditionally, in the late 20th century, New Classical Architecture, a traditionalist response to modernist architecture, emerged, continuing into the 21st century. The 21st century saw the emergence of multiple organizations dedicated to the promotion of local and/or traditional architecture. Examples include the International Network for Traditional Building, Architecture & Urbanism (INTBAU), the Institute of Classical Architecture & Art (ICAA), the Driehaus Architecture Prize, and the Complementary architecture movement. New traditional architects include Michael Graves, Léon Krier, Yasmeen Lari, Robert Stern and Abdel-Wahed El-Wakil.\n\nMost of the landmarks of contemporary architecture are the works of a small group of architects who work on an international scale. Many were designed by architects already famous in the late 20th century, including Mario Botta, Frank Gehry, Jean Nouvel, Norman Foster, Ieoh Ming Pei and Renzo Piano, while others are the work of a new generation born during or after World War II, including Zaha Hadid, Santiago Calatrava, Daniel Libeskind, Jacques Herzog, Pierre de Meuron, Rem Koolhaas, and Shigeru Ban. Other projects are the work of collectives of several architects, such as UNStudio and SANAA, or large multinational agencies such as Skidmore, Owings & Merrill, with thirty associate architects and large teams of engineers and designers, and Gensler, with 5,000 employees in 16 countries.\n\nMuseums\n\nSome of the most striking and innovative works of contemporary architecture are art museums, which are often examples of sculptural architecture, and are the signature works of major architects. The Quadracci Pavilion of the Milwaukee Art Museum in Milwaukee, Wisconsin, was designed by Spanish architect Santiago Calatrava. Its structure includes a movable, wing-like brise soleil that opens up for a wingspan of during the day, folding over the tall, arched structure at night or during bad weather.\n\nThe Walker Art Center in Minneapolis (2005), was designed by the Swiss architects Herzog and de Meuron, who designed the Tate Modern museum in London, and who won the Pritzker Architecture Prize, the most prestigious award in architecture, in 2001. It updates and provides a contrast to the austere earlier Modernist structure designed by Edward Larrabee Barnes by adding a five-story tower clad in panels of delicately sculpted gray aluminum, which change color with the changing light, connecting by a wide glass gallery leading to the older building. It also harmonizes with two stone churches opposite.\n\nThe Polish-born American architect Daniel Libeskind (born 1946) is one of the most prolific of contemporary museum architects; He was an academic before he began designing buildings and was one of the early proponents of the architectural theory of Deconstructivism. The exterior of his Imperial War Museum North in Manchester, England (2002), has an exterior which resembles, depending upon the light and time of day, huge and broken pieces of earth or armor plates, and is said to symbolize the destruction of war. In 2006 Libeskind finished the Hamilton Building of the Denver Art Museum in Denver Colorado, composed of twenty sloping planes, none of them parallel or perpendicular, covered with 230,000 square feet of titanium panels. Inside, the walls of the galleries are all different, sloping and asymmetric. Libeskind completed another striking museum, the Royal Ontario Museum in Toronto, Ontario, Canada (2007), also known as \"The Crystal,\" a building whose form, resembles a shattered crystal. Libeskind's museums have been both admired and attacked by critics. While admiring many features of the Denver Art Museum, The New York Times architecture critic Nicolai Ouroussoff wrote that \"In a building of canted walls and asymmetrical rooms—tortured geometries generated purely by formal considerations — it is virtually impossible to enjoy the art.\"\n\nThe De Young Museum in San Francisco was designed by the Swiss architects Herzog & de Meuron. It opened in 2005, replacing an older structure that was badly damaged in an earthquake in 1989. The new museum was designed to blend with the park's natural landscape and resist strong earthquakes. The building can move up to on ball-bearing sliding plates and viscous fluid dampers that absorb kinetic energy.\n\nThe Zentrum Paul Klee by Renzo Piano is an art museum near Berne Switzerland located next to an autoroute in the Swiss countryside. The museum blends into the landscape by taking three rolling hills made of steel and glass. One building houses the gallery (which is almost entirely underground to preserve the fragile drawings of Klee from the effects of sunlight). At the same time, the other two \"hills\" contain an education center and administrative offices.\n\nThe Centre Pompidou-Metz, in Metz, France, (2010), a branch of the Centre Pompidou museum of modern art in Paris, was designed by Shigeru Ban, a Japanese architect who won the Pritzker Prize for Architecture in 2014. The roof is the most dramatic feature of the building; it is a wide hexagon with a surface area of , composed of sixteen kilometers of glued laminated timber, that intersect to form hexagonal wooden units resembling the cane-work pattern of a Chinese hat. The roof's geometry is irregular, featuring curves and counter-curves over the entire building, particularly the three exhibition galleries. The entire wooden structure is covered with a white fiberglass membrane, and a coating of teflon protects from direct sunlight and allows light to pass through.\n\nThe Louis Vuitton Foundation by Frank Gehry (2014) is the gallery of contemporary art located adjacent to the Bois de Boulogne in Paris was opened in October 2014. Gehry described his architecture as inspired by the glass Grand Palais of the 1900 Paris Exposition and by the enormous glass greenhouses of the Jardin des Serres d'Auteuil near the park, built by Jean-Camille Formigé in 1894–95. Gehry had to work within strict height and volume restrictions, which required any part of the building over two stories to be made of glass. The building is low because of the height limits, sited in an artificial lake with water cascading beneath the building. The interior gallery structures are covered in a white fiber-reinforced concrete called Ductal. Similar in concept to Gehry's Walt Disney Concert Hall, the building is wrapped in curving glass panels resembling sails inflated by the wind. The glass \"Sails\" are made of 3,584 laminated glass panels, each one a different shape, specially curved for its place in the design. Inside the sails is a cluster of two-story towers containing 11 galleries of different sizes, with flower garden terraces, and rooftop spaces for displays.\n\nThe new Whitney Museum of American Art in New York City by Renzo Piano (2015) took a very different approach from the sculptural museums of Frank Gehry. The Whitney has an industrial-looking facade and blends into the neighborhood. Michael Kimmelman, the architecture critic of The New York Times called the building a \"mishmash of styles\" but noted its similarity to Piano's Centre Pompidou in Paris, in the way that it mixed with the public spaces around it. \"Unlike so much big-name architecture,\" Kimmelman wrote, \"it's not some weirdly shaped trophy building into which all the practical stuff of a working museum must be fitted.\"\n\nThe San Francisco Museum of Modern Art is actually two buildings by different architects fit together; an earlier (1995) five-story postmodernist structure by the Swiss architect Mario Botta, to which has been joined a much larger ten-story white gallery by the Norwegian-based firm of Snøhetta (2016). The expanded building includes a green living wall of native plants in San Francisco; a free ground-floor gallery with tall glass walls that will place art on view to passersby and glass skylights that flood the upper floors of offices (though not the galleries) with light. The facades clad are with lightweight panels made of Fibre-Reinforced Plastic. The critical reaction to the building was mixed. Roberta Smith of The New York Times said the building set a new standard for museums and wrote: \"The new building’s rippling, sloping facade, rife with subtle curves and bulges, establishes a brilliant alternative to the straight-edged boxes of traditional modernism and the rebellion against them initiated by Frank Gehry, with his computer-inspired acrobatics.\" On the other hand, the critic of The Guardian of London compared the facade of the building to \"a gigantic meringue with a hint of Ikea.\"\n\nConcert halls\n\nSantiago Calatrava designed the Auditorio de Tenerife he concert hall of Tenerife, the major city of the Canary Islands. with a shell-like wing of reinforced concrete.\nThe shell touches the ground at only two points.\n\nThe Walt Disney Concert Hall in Los Angeles (2003) is one of the major works by California architect Frank Gehry The exterior is stainless steel, formed like the sails of sailboats. The interior is in the Vineyard style, with the audience surrounding the stage. Gehry designed the dramatic array of pipes of the organ to complement the exterior style of the building.\n\nThe Casa da Musica in Porto, Portugal, by the Dutch architect Rem Koolhaas (2005) is unique among concert halls in having two walls made entirely of glass. Nicolai Ouroussoff, architecture critic from The New York Times, wrote \"The building's chiseled concrete form, resting on a carpet of polished stone, suggests a bomb about to explode. He declared that in its originality it was one of the most important concert halls built in the last 100 years\". ranking with the Walt Disney Concert Hall, in Los Angeles, and the Berliner Philharmonie.\n\nThe interior of the Copenhagen Opera House by Henning Larsen (2005) has an oak floor and maple walls to enhance hat acoustics. The royal box of the Queen, usually placed in the back, is next to stage.\n\nThe Schermerhorn Symphony Center in Nashville, Tennessee, by David M. Schwarz & Earl Swensson (2006), is an example of Neo-Classical architecture, borrowed literally from Roman and Greek models. It complements another Nashville landmark, a full-scale replica of the Parthenon.\n\nThe Philharmonie de Paris by French architect Jean Nouvel opened in 2015. The concert hall is at La Villette, in a park at the edge of Paris devoted to museums, a music school and other cultural institutions, where its unusual shape blends with the late 20th-century modern architecture. The exterior of the building takes the form of glittering irregular cliff cut by horizontal fins which reveal ar amp leading upwards The exterior is clad in thousands of small pieces of aluminum in three different colors, from white to gray to black. A path leads up the ramp to the top of building to a terrace with a dramatic view of the peripheric highway around the city. view of the neighborhood. The hall, like the Disney Hall in Los Angeles, has Vineyard style seating, with the audience surrounding the main stage. The seating can be re-arranged in different styles depending upon the type of music performed. When it opened, the architectural critic of the London Guardian compared it to a space ship that had crash-landed on the outskirts of the city.\n\nThe Elbphilharmonie concert hall in Hamburg, Germany, by Herzog & de Meuron, which was inaugurated in January 2017, is the tallest inhabited building in the city, with a height of . The glass concert hall, which has 2100 seats in Vineyard style, is perched atop a former warehouse. One side of the concert hall building contains a hotel, while the structure on the other side above the concert hall contains forty five apartments. The concert hall in the middle is isolated from the sound of the other parts of the building by an \"eggshell\" of plaster and paper panels and insulation resembling feather pillows.\n\nSkyscrapers\n\nThe skyscraper (usually defined as a building over 40 stories high) first appeared in Chicago in the 1890s, and was largely an American style in the mid 20th century, but in the 21st century skyscrapers were found in almost every large city on every continent. A new construction technology, the framed tube structure, was first developed in the United States in 1963 by structural engineer Fazlur Rahman Khan of Skimore, Owings and Merrill, which permitted the construction of super-tall buildings, which needed fewer interior walls, had more window space, and could better resist lateral forces, such as strong winds.\n\nThe Burj Khalifa in Dubai, United Arab Emirates is the tallest structure in the world, standing at . Construction of the Burj Khalifa began in 2004, with the exterior completed 5 years later in 2009. The primary structure is reinforced concrete. Burj Khalifa was designed by Adrian Smith, then of Skidmore, Owings & Merrill (SOM). He also was lead architect on the Jin Mao Tower, Pearl River Tower, and Trump International Hotel & Tower.\n\nAdrian Smith and his own firm are the architects for the building which, in 2020, meant to replace the Burj-Khalifa as the tallest building in the world. The Jeddah Tower in Jeddah, Saudi Arabia, is planned to be 1,008 meters, or (3,307 ft) tall, which will make it the tallest building in the world, and the first building to be more than one kilometer in height. Construction began in 2013, and the project is scheduled to be completed in 2020.\n\nAfter the destruction of the twin towers of the World Trade Center in the September 11 terrorist attacks, a new trade center was designed, with the main tower designed by David Childs of SOM. One World Trade Center, opened in 2015, is tall, making it the tallest building in the western hemisphere.\n\nIn London, one of the most notable contemporary landmarks is 30 St Mary Axe, popularly known as \"The Gherkin\", designed by Norman Foster (2004). It replaced the London Millennium Tower – a much taller project that Foster earlier had proposed for the same site, which would have been the tallest building in Europe, but was so tall that it interfered with the flight pattern for Heathrow Airport. The steel framework of the Gherkin is integrated into the glass facade.\n\nThe tallest building in Moscow is the Federation Tower, designed by the Russian architect Sergei Tchoban with Peter Schweger. Completed in 2017, with a height 373 meters, it surpassed Mercury City Tower, another skyscraper in Moscow, when it was built as the tallest building in Europe.\n\nThe tallest building in China as of 2015 is the Shanghai Tower by the U.S. architectural and design firm of Gensler. It is tall, with 127 floors, making it in 2016 the second-tallest building in the world. It also features the fastest elevators, which reach a speed of .\n\nMost skyscrapers are designed to express modernity; the most notable exception is the Abraj Al Bait, a complex of seven skyscraper hotels build by the government of Saudi Arabia to house pilgrims coming the holy shrine of Mecca. The centerpiece of the group is the Makkah Palace Clock Tower Hotel, with a gothic revival tower; it was the fourth-tallest building in the world in 2016, high.\n\nResidential buildings\n\nA tendency in contemporary residential architecture, particularly in the rebuilding of older neighborhoods in large cities, is the luxury condominium tower, with very expensive apartments for sale designed by \"starchitects\", that is, internationally famous architects. These buildings frequently have little relationship with the architecture of their neighborhood, but stand like signature works of their architects.\n\nDaniel Libeskind (born 1946), was born in Poland and studied, taught and practiced architecture in the United States. In 2016 he was professor of architecture at UCLA in Los Angeles, He is known as much for his writings as his architecture; he was a founder of the movement called Deconstructivism. Best known for his museums, he also constructed a notable complex of residential apartment buildings in Singapore (2011) and The Ascent at Roebling's Bridge a 22-story apartment building in Covington, Kentucky (2008). The name of the latter is taken from the Roebling Suspension Bridge nearby on the Ohio River, but the structure of the building of luxury condominiums is extremely contemporary, sloping upward like the bridge cables to a peak, with a sharp edge and leaning slightly outward as the building rises.\n\nOne cheerful feature of contemporary residential architecture is color; Bernard Tschumi uses colored ceramic tiles on facades as well as unusual forms to make his buildings stand out. One example is the Blue Condominium in New York City (2007).\n\nAnother contemporary tendency is the conversion of industrial buildings into mixed residential communities. An example is the Gasometer in Vienna, a group of four massive brick gas production towers constructed at the end of the 19th century. They have been transformed into a mixed residential, office and commercial complex, completed between 1999 and 2001. Some residences are located inside the towers, and others are in new buildings attached to them. The upper floors are devoted to housing units the middle floors to offices, and the ground floors to entertainment and shopping malls. with sky bridges connecting the shopping mall levels. Each tower was built by a prominent architect the participants were Jean Nouvel, Coop Himmelblau, Manfred Wehldorn and Wilhelm Holzbauer. The historic exterior walls of the towers were preserved.\n\nThe Isbjerget, Danish for \"iceberg\", in Aarhus, Denmark (2013), is a group of four buildings with 210 apartments, both rented and owned, for residents with a range of incomes, located on the waterfront of a former industrial port in Denmark. The complex was designed by the Danish firms CEBRA and JDS Architects, French architect Louis Paillard and the Dutch firm SeARCH, and was financed by the Danish pension fund. The buildings are designed so that all the units, even those in the back, have a view of sea. The design and color of the buildings is inspired by icebergs. The buildings are clad in white terrazzo and have balconies made of blue glass.\n\nReligious architecture\n\nSurprisingly few contemporary churches were built between 2000 and 2017. Church architects, with a few exceptions, rarely showed the same freedom of expression as architects of museums, concert halls and other large buildings. The new cathedral for the City of Los Angeles California, was designed in a postmodern style by the Spanish architect Rafael Moneo. The previous cathedral had been serious damaged by an earthquake in 1995; the new building was specially designed to resist similar shocks.\n\nThe Northern Lights Cathedral, by the Denmark-based international firm of Schmidt, Hammer and Lassen, is located in Alta, Norway, one of northernmost cities in the world. Their other important works include the National Library of Denmark in Copenhagen.\n\nThe Vrindavan Chandrodaya Mandir is a Hindu Temple in Vrindivan, in Uttar Pradesh state in India, which was under construction at the end of 2016. The architects are InGenious Studio Pvt. Ltd. of Gurgaon and Quintessence Design Studio of Noida, in India. The entrance is in the traditional Nagara style of Indian architecture, while the tower is contemporary, with a glass facade up to the 70th floor. It is scheduled for completion in 2019. When completed, at or 70 floors) it will be the tallest religious structure in the world.\n\nOne of the most unusual contemporary churches is St. Jude's Anglican Cathedral in Iqaluit, the capital of Nunavut, the northernmost and least populous region of Canada. The church is built in the shape of an igloo, and serves the Inuktitut-speaking population of the region.\n\nAnother unusual contemporary church is the Cardboard Cathedral in Christchurch, New Zealand designed by Japanese architect Shigeru Ban. It replaced the city's main cathedral, damaged by the 2011 Christchurch earthquake. The cathedral, which seats seven hundred persons, rises above the altar. Materials used include -diameter cardboard tubes, timber and steel. The roof is of polycarbon, with eight shipping containers forming the walls. \"coated with waterproof polyurethane and flame retardants\" with two-inch gaps between them so that light can filter inside.\n\nStadiums\n\nThe Swiss architects Jacques Herzog and Pierre de Meuron designed the Allianz Arena in Munich, Germany, completed in 2005. It seats 75,000 spectators. The structure is wrapped in 2,874 ETFE-foil air panels that are kept inflated with dry air; each panel can be independently illuminated red, white, or blue. When illuminated, the stadium is visible from the Austrian Alps, fifty miles (80 kilometers) away.\n\nAmong the most prestigious projects and best-known projects in contemporary architecture are the stadiums for the Olympic Games, whose architects are chosen by highly publicized international competitions. The Beijing National Stadium, built for the 2008 Games and popularly known as the Bird's Nest because of its intricate exterior framework, was designed by the Swiss firm of Herzog & de Meuron, with Chinese architect Li Xinggang. It was designed to seat 91,000 spectators, and when constructed had a retractable roof, since removed. Like many contemporary buildings, it is actually two structures; a concrete bowl in which the spectators sit, surrounded at distance of fifty feet by a glass and steel framework. The exterior \"Bird's nest\" design was inspired by the pattern of Chinese ceramics. The stadium when completed was the largest enclosed space in the world, and was also the largest steel structure, with 26 kilometers of unwrapped steel.\n\nThe National Stadium in Kaohsiung, Taiwan by Japanese architect Toyo Ito (2009), is the form of a dragon. Its other distinctive feature is the array of solar panels that cover almost all of the exterior, providing most of the energy needed by the complex.\n\nGovernment buildings\n\nGovernment buildings, once almost universally serious and sober looking, usually in variations of the school of neoclassical architecture, began to appear in more sculptural and even whimsical forms. One of the most dramatic examples was the London City Hall by Norman Foster (2002), the headquarters of the Greater London Authority. The unusual egg-like building design was intended to reduce the amount of exposed wall and to save energy, though the results have not entirely met expectations. One unusual feature is a helical stairway that spirals from the lobby up to the top of the building.\n\nSome new government buildings, such as the Parliament House, Valletta, Malta by Renzo Piano (2015) created controversy because of the contrast between their style and the historic architecture around them.\n\nMost new government buildings attempt to express solidity and seriousness; an exception is the Port Authority (Havenhuis) in Antwerp, Belgium by Zaha Hadid (2016), where a ship-like structure of glass and steel on a white concrete perch seems to have landed atop the old port building constructed in 1922. The faceted glass structure also resembles a diamond, a symbol of Antwerp's role as the major market of diamonds in Europe. It was one of the last works of Hadid, who died in 2016.\n\nUniversity buildings\n\nThe Dr Chau Chak Wing Building is a Business School building of the University of Technology Sydney in Sydney, New South Wales, Australia, designed by Frank Gehry and completed in 2015. It is the first building in Australia designed by Gehry. The building's façade, made of 320,000 custom designed bricks, was described by one critic as the \"squashed brown paper bag\". Frank Gehry responded, \"Maybe it's a brown paper bag, but it's flexible on the inside, there's a lot of room for changes or movement.\"\n\nThe Siamese Twins Towers\" at the Pontifical Catholic University of Chile in Santiago, Chile are by the Chilean architect Alejandro Aravena (born 1967), completed in 2013. Aravena was the winner of the 2016 Pritzker Architecture Prize.\n\nLibraries\n\nThe Bibliotheca Alexandrina in Alexandria, Egypt, by the Norwegian firm of Snøhetta (2002), attempts to recreate, in modern form, the famous Alexandria Library of antiquity. The building, by the edge of the Mediterranean, has shelf space for eight million books, and a main reading room covering on eleven cascading levels. plus galleries for expositions and a planetarium. The main reading room is covered by a 32-meter-high glass-panelled roof, tilted out toward the sea like a sundial, and measuring some 160 m in diameter. The walls are of gray Aswan granite, carved with characters from 120 different human scripts.\n\nThe Seattle Central Library by Dutch architect Rem Koolhaas (2006) features a glass and steel wrapping around a stack of platforms. One unusual feature is a ramp with continuous bookshelves spiraling upward four floors.\n\nMalls and retail stores\n\nThe shopping malls are the elephants of commercial architecture, massive structures which combine retail stores, food outlets, and entertainment under a single roof. The largest in area (though not in retail space, since much of the mall is devoted to entertainment and public space) and perhaps most extravagant is the Dubai Mall in the United Arab Emirates, designed by DP Architects of Singapore and opened in (2008), which features, in addition to shops and restaurants, a gigantic walk-through aquarium and underwater zoo, plus a huge ice skating rink, and, just outside, the highest fountain and tallest building in the world.\n\nIn competition with shopping malls are downtown department stores and shops of individual designer brands. These buildings are traditionally designed to attract attention and to express the modernity of the products they sell. A notable example is the Selfridge's Department Store in Birmingham, England, a department store designed by the firm of Future Systems, founded in 1979 by Jan Kaplický (1937–2009). The department store exterior is composed of undulating concrete in convex and concave forms, entirely covered with gleaming blue and white ceramic tiles.\n\nDesigner brand shops try make their logo visible and to set themselves apart from department stores. One notable example is the Louis Vuitton store in the Ginza district of Tokyo, with a new facade designed by Japanese studio of Jun Aoki and Associates with a patterned and perforated shell based on the brand's logo.\n\nAirports, railway stations and transport hubs\n\nBeijing Capital International Airport has been one of the fast-growing airports in the world. The new Terminal Three was designed by Norman Foster to handle the increased number of passengers coming for the 2008 Beijing Olympics. The terminal is the second largest in the world, after the Dulles Airport terminal near Washington, DC, and in 2008 was the sixth largest building in the world. The flat-roofed building looks like part of the runway from above.\n\nThe World Trade Center Transportation Hub is a station constructed beneath fountain and plaza honoring the victims of the 2001 terrorist attacks in 2001 in New York City, It was designed by Spanish architect Santiago Calatrava and opened in 2016. The above-ground structure, called the Oculus, has been compared to a bird about to take flight, and leads passengers down to the train station below the plaza. Michael Kimmelman, the architecture critic of The New York Times praised the soaring upward view inside the Oculus, but condemned what he called the buildings cost (the most expensive railroad station ever built) \"scale, monotony of materials and color, preening formalism and disregard for the gritty urban fabric.\"\n\nBridges \n\nSeveral of the most prominent contemporary architects, including Norman Foster, Santiago Calatrava, Zaha Hadid, have turned their attention to designing bridges. One of the most remarkable examples of contemporary architecture and engineering is the Millau Viaduct in southern France, designed by architect Norman Foster and structural engineer Michel Virlogeux. The Millau Viaduct crosses the valley of the River Tarn and is part of the A75-A71 autoroute axis from Paris to Béziers and Montpellier. It was formally inaugurated on 14 December 2004. It is the tallest bridge in the world with one mast's summit at above the base of the structure.\n\nThe British-Iraqi architect Zaha Hadid constructed the Bridge Pavilion in Zaragoza. Spain for an international exposition there in 2008. The bridge, which also served as an exposition hall, is constructed of concrete reinforced with an external layer of fiberglass in different shades of gray. Since the event closed, the bridge has been used to host expositions and shows.\n\nSome smaller new bridges also offer simple but very innovative designs. The Gateshead Millennium Bridge in Newcastle upon Tyne, England, (2004) designed by Michel Virlogeux, to enable pedestrians and cyclists to cross the Tyne River, tilts to one side to permit boats to pass beneath.\n\nEco-architecture\n\nA growing tendency in the 21st century is eco-architecture, also termed sustainable architecture; buildings with features which conserve heat and energy, and sometimes produce their own energy through solar cells and windmills, and use solar heat to generate solar hot water. They also may be built with their own wastewater treatment and sometimes rainwater harvesting Some buildings integrate gardens green walls and green roofs into their structures. Other features of eco-architecture include the use of wood and recycled materials. There are several green building certification programs, the best-known of which is the Leadership in Energy and Environmental Design, or LEED rating, which measure the environmental impact of buildings.\n\nMany urban skyscrapers such as 30 Saint Mary Axe in London use a double skin of glass to conserve energy. The double skin and curved shape of the building creates differences in air pressure which help keep the building cooler in summer and warmer in winter, reducing the need for air conditioning.\n\nBedZED, designed by British architect Bill Dunster, is an entire community of eighty-two homes in Hackbridge, near London, built according to eco-architecture principles. Houses face south to take advantage of sunlight and have triple-glazed windows for insulation, a significant portion of the energy comes from solar panels, rainwater is collected and reused, and automobiles are discouraged. BedZED successfully reduced electricity usage by 45 percent and hot water usage by 81 percent of the borough average in 2010, though a successful system for producing heat by burning wood chips proved elusive and difficult.\n\nThe CaixaForum Madrid is a museum and cultural center in Paseo del Prado 36, Madrid, by the Swiss architects Herzog & de Meuron, built between 2001 and 2007, is an example of both green architecture and recycling. The main structure is an abandoned brick electric power station, with new floors constructed on top. The new floors are encased in oxidized cast iron, which has a rusty red color as the brick of the old power station below it. The building next to it features a green wall designed by French botanist Patrick Blanc. The red of the top floors contrast with the plants on the wall, while the green wall harmonizes with the botanical garden next door to the cultural center.\n\nUnusual materials are sometimes recycled for use in eco-architecture; they include denim from old blue jeans for insulation, and panels made from paper flakes, baked earth, flax, sisal, or coconut, and particularly fast-growing bamboo. Lumber and stone from demolished buildings are often reclaimed and reused for flooring, while hardware, windows and other details from older buildings are reused.\n\nTopics in contemporary architecture\n\nBlobitecture\nCritical Regionalism\nComplementary architecture\nComputer aided design\nConceptual architecture\nDigital architecture\nDigital morphogenesis\nDeconstructivism\nFuturist architecture\nHigh-tech architecture\nIndustrial chic\nModern architecture\nNeomodern architecture\nNeo-futurism\nNeohistorism\nNew Classical Architecture\nNew Urbanism\nNovelty architecture\nPostmodern architecture\nSustainable architecture\n\nSee also\n\nEuropean Union Prize for Contemporary Architecture, biennial prize by the European Union\nDriehaus Architecture Prize, sometimes nicknamed the anti-Pritzker, established in 2003\nMathematics and architecture\nWorld Architecture Festival, annual awards for recently completed buildings\nWorld Architecture Survey, most important works since 1980 according to a survey of 52 architects and critics\n\nReferences\n\nBibliography and Further reading\n\nExternal links\n\nRndrd - a website documenting un-built 20th century architectural concept art\nArchArticulate a website documenting architectural project\n\nCategory:Architectural styles\nCategory:House styles\nArchitecture", "title": "Contemporary architecture" }, { "text": "The World Architecture Survey was conducted in 2010 by Vanity Fair, to determine the most important works of contemporary architecture. 52 leading architects, teachers, and critics, including several Pritzker Prize winners and deans of major architecture schools were asked for their opinion.\n\nThe survey asked two questions:\nWhat are the five most important buildings, bridges, or monuments constructed since 1980?\nWhat is the greatest work of architecture thus far in the 21st century?\n\nWhile the range of responses was very broad, more than half of the experts surveyed named the Guggenheim Museum Bilbao by Frank Gehry as one of the most important works since 1980. The Beijing National Stadium (Bird’s Nest stadium) in Beijing by Herzog and de Meuron was the building most often cited, by seven respondents, as the most significant structure of the 21st century so far. Counted by architect, works by Frank Gehry received the most votes, followed by those of Rem Koolhaas. The result of the survey led Vanity Fair to label Gehry as \"the most important architect of our age\".\n\nResults\n\nMost important works since 1980\nThe respondents named a total of 132 different structures when asked to indicate the five most important buildings, monuments, and bridges completed since 1980. The top 21 were:\n Guggenheim Museum Bilbao (completed 1997) in Bilbao, Spain by Frank Gehry (28 votes)\n Menil Collection (1987) in Houston, Texas by Renzo Piano (10 votes)\n Thermal Baths of Vals (1996) in Vals, Switzerland by Peter Zumthor (9 votes)\n Hong Kong Shanghai Bank (HSBC) Building (1985) in Hong Kong by Norman Foster (7 votes)\n Tied (6 votes):\nSeattle Central Library (2004) in Seattle by Rem Koolhaas \nSendai Mediatheque (2001) in Sendai, Japan by Toyo Ito\nNeue Staatsgalerie (1984) in Stuttgart, Germany by James Stirling\nChurch of the Light (1989) in Osaka, Japan by Tadao Ando\n Vietnam Veterans Memorial (1982) in Washington, D.C. by Maya Lin (5 votes)\n Tied (4 votes):\nMillau Viaduct (2004) in France by Norman Foster\nJewish Museum, Berlin (1998) in Berlin by Daniel Libeskind\n Tied (3 votes):\nLloyd’s Building (1984) in London by Richard Rogers\nBeijing National Stadium (2008) in Beijing by Jacques Herzog and Pierre de Meuron\nCCTV Building (under construction ) in Beijing by Rem Koolhaas\nCasa da Musica (2005) in Porto, Portugal by Rem Koolhaas\nCartier Foundation (1994) in Paris by Jean Nouvel\nBMW Welt (2007) in Munich by COOP Himmelblau\nAddition to the Nelson-Atkins Museum (2007) in Kansas City, Missouri by Steven Holl\nCooper Union building (2009) in New York by Thom Mayne\nParc de la Villette (1984) in Paris by Bernard Tschumi\nYokohama International Passenger Terminal (2002) at Ōsanbashi Pier in Yokohama, Japan by Foreign Office Architects\nSaint-Pierre church, Firminy (2006) in Firminy, France by Le Corbusier (2 votes)\n\nMost significant work of the 21st century\nThe buildings most often named as the greatest work of architecture thus far in the 21st century were:\nBeijing National Stadium by Herzog and de Meuron (7 votes)\nSaint-Pierre, Firminy by Le Corbusier (4 votes)\nSeattle Central Library by Rem Koolhaas (3 votes)\nCCTV Headquarters by Rem Koolhaas (2 votes)\n Tied with one vote each: Sendai Mediatheque (Toyo Ito), Millau Viaduct (Norman Foster), Casa da Musica (Rem Koolhaas), Cartier Foundation (Jean Nouvel), BMW Welt (COOP Himmelblau)\n\nCriticism\nWriting for the Chicago Tribune, Blair Kamin criticized the \"self-aggrandizing\" survey for not including any green buildings. In response, Lance Hosey of Architect magazine conducted an alternate survey of leading green building experts and found that no buildings appeared on both lists, suggesting that standards of \"good design\" and \"green design\" are misaligned. Commentators also noted that several of the architects surveyed (but not Gehry) \"perhaps took the magazine’s title a little too seriously\" and voted for their own buildings.\n\nParticipants\nThe following people replied to the survey:\n\n Stan Allen\n Tadao Ando\n George Baird\n Deborah Berke\n David Chipperfield\n Neil Denari\n Hank Dittmar\n Roger Duffy\n Peter Eisenman\n Martin Filler\n Norman Foster\n Kenneth B. Frampton\n Frank Gehry\n\n Richard Gluckman\n Paul Goldberger\n Michael Graves\n Zaha Hadid\n Hugh Hardy\n Steven Holl\n Hans Hollein\n Michael Holzer\n Michael Jemtrud\n Charles Jencks\n Leon Krier\n Daniel Libeskind\n Thom Mayne\n\n Richard Meier\n José Rafael Moneo\n Eric Owen Moss\n Mohsen Mostafavi\n Victoria Newhouse\n Jean Nouvel\n Richard Olcott\n John Pawson\n Cesar Pelli\n James Stewart Polshek\n Christian de Portzamparc\n Antoine Predock\n Wolf D. Prix\n\n Jaquelin T. Robertson\n Richard Rogers\n Joseph Rykwert\n Ricardo Scofidio\n Annabelle Selldorf\n Robert Siegel\n John Silber\n Brett Steele\n Bernard Tschumi\n Ben van Berkel\n Anthony Vidler\n Rafael Viñoly\n Tod Williams and Billie Tsien\n\nSee also\n Architectural icon\n\nReferences\n\nCategory:Architecture lists\nCategory:Vanity Fair (magazine)\nCategory:2010", "title": "World Architecture Survey" }, { "text": "The following is a list of notable architects – well-known individuals with a large body of published work or notable structures, which point to an article in the English Wikipedia.\n\nEarly architects\n\nAa (Middle Kingdom), Egyptian\nAmenhotep, son of Hapu (14th c. BC), Egyptian\nAnthemius of Tralles (c. 474 – 533–558), Greek\nApollodorus of Damascus (2nd c. AD), Damascus\nAristobulus of Cassandreia (c. 375 – 301 BC), Greek\nCallicrates (mid-5th c. BC), Greek\nHermodorus of Salamis (fl. 146–102 BC), Cypriot\nHippodamus of Miletus (498–408 BC), Greek\nIctinus (fl. mid-5th c. BC), Greek\nImhotep (fl. late 27th c. BC), Egyptian\nIneni (18th Dynasty of Egypt), Egyptian\nIsidore of Miletus (6th c. AD), Byzantine Greek\nMarcus Agrippa (63–12 BC), Roman\nMnesicles (mid-5th c. BC), Athenian\nRabirius (1st–2nd cc. AD), Roman\nSenemut (18th Dynasty of Egypt), Egyptian\nVitruvius (c. 80–70 BC – post–15 BC), Roman\nYu Hao (喻皓, fl 970), Chinese\n\nNarasimhavarman II (695-729 CE), South India\nPerumthachan(9th c.AD), South India\n\n12th-century architects\n\nAbbot Suger (c. 1081–1151), French\nWilliam the Englishman (1174 – c. 1214), English\nWilliam of Sens (died 1180), French\n\n13th-century architects\n\nArnolfo di Cambio (c. 1240–1300/1310), Italian\nVillard de Honnecourt (fl. 13th c.), French\nRobert de Luzarches (fl. late 12th – early 13th c.), French\nJean d'Orbais (c. 1175–1231), French\nRadovan (fl. 13th c.), Croatian\n\n14th-century architects\n\nFilippo Calendario (died 1355), Venetian\nJacopo Celega (died pre–1386), Italian\nTaddeo Gaddi (c. 1290–1366), Florentine\nGiotto di Bondone (c. 1267–1337), Florentine\nAnđeo Lovrov Zadranin (fl. mid–14th c.), Croatian\nJuraj Lovrov Zadranin (fl. 14th c.), Croatian\nHeinrich Parler (c. 1310–1371), German\nJohann Parler (c. 1359–1405/6), Bohemian\nPeter Parler (c. 1333–1399), Bohemian\nWenzel Parler (c. 1360–1404), Bohemian\n\n15th-century architects\n\nLeon Battista Alberti (1404–1472), Italian\nAndrea Alessi (1425–1505), Dalmatian\nMarko Andrijić (c. 1470 – post-1507), Dalmatian\nDonato Bramante (1444–1514), Italian\nFilippo Brunelleschi (1377–1446), Italian\nMauro Codussi (1440–1504), Italian/Venetian\nAristotele Fioravanti (c. 1415 or 1420 – c. 1486), Italian/Russian \nNiccolò di Giovanni Fiorentino (1418–1506), Italian/Dalmatian\nJuan Guas (c. 1430/1433 – c. 1496), Spanish\nLuciano Laurana (c. 1420–1479), Venetian\nAnnibale Maggi detto Da Bassano (fl. 1490s), Venetian\nPaskoje Miličević (c. 1440–1516), Croatian\nMichelozzo Michelozzi (1396–1472), Italian\nBernardo Rossellino (1409–1464), Italian\nGiorgio da Sebenico (c. 1410–1473), Venetian\nJacob van Thienen (fl. early 15th c.), Flemish\nLeonardo da Vinci (1452–1519), Italian\n\n16th-century architects\n\nAntonio Abbondi (fl. early 16th c.), Italian\nGaleazzo Alessi (1512–1572), Italian\nBartolomeo Ammanati (1511–1592), Italian\n Michelangelo Buonarroti (1475–1564), Italian\nGirolamo Cassar (c. 1520 – c. 1592), Maltese\nVittorio Cassar (c. 1550 – c. 1609), Maltese\nGuglielmo dei Grigi (1485–1550), Italian\nNikolaus Gromann (1500–1566), German\nJuan de Herrera (1530–1597), Spanish\nAdam Kraft (1460–1509), German\nFrancesco Laparelli (1521–1570), Italian\nPirro Ligorio (1512–1583), Italian\nPhilibert de l'Orme (1514–1570), French\nGiovanni Magenta (1565–1635), Italian\nHans Hendrik van Paesschen (c. 1510–1582), Flemish\nAndrea Palladio (1508–1580), Italian\nAntonio da Sangallo the Elder (c. 1453–1534), Italian\nAntonio da Sangallo the Younger (1484–1546), Italian\nMichele Sammicheli (1484–1559), Venetian\nRaffaello Santi (Raphael) (1483–1520), Italian\nVincenzo Scamozzi (1548–1616), Italian\nSebastiano Serlio (1475–1554), Italian\nKoca Mimar Sinan Agha (1489–1588), Ottoman Armenian\nFriedrich Sustris (1540–1599), Italian/Dutch\nLambert Sustris (1518–1584), Dutch\nPellegrino Tibaldi (1527–1596), Italian\nGiorgio Vasari (1511–1574), Italian\nGiacomo Barozzi da Vignola (1507–1573), Italian\nPostnik Yakovlev (fl. mid-16th c.), Russian\n\n17th-century architects\n\nGian Lorenzo Bernini (1598–1680), Italian\nFrancesco Borromini (1599–1667), Italian\nUstad Ahmad Lahauri (fl. 17th c.), Indian\nJacob van Campen (1596–1657), Dutch\nPietro da Cortona (1596 or 1597–1669), Italian\nJan Zygmunt Deybel (c. 1685–1752), German\nJohann Dientzenhofer (1663–1726), German\nLeonhard Dientzenhofer (1660–1707), German\nTumas Dingli (1591–1666), Maltese\nLéopold Durand (1666–1746), French\nPietro Paolo Floriani (1585–1638), Italian\nLorenzo Gafà (1639–1703), Maltese\nGuarino Guarini (1624–1683), Italian\nJules Hardouin-Mansart (1646–1708), French\nElias Holl (1573–1646), German\nInigo Jones (1573–1652), English\nLouis Le Vau (1612–1670), French\nBaldassarre Longhena (1598–1682), Italian\nCarlo Maderno (1556–1629), Italian\nFrançois Mansart (1598–1666), French\nJohann Arnold Nering (c.1659?–1695), German\nFrancesco Antonio Picchiatti (1619–1694), Italian\nMatthäus Daniel Pöppelmann (1662–1736), German\nCarlo Rainaldi (1611–1691), Italian\nAndreas Schlüter (c.1659–1714), German\nNicodemus Tessin the Younger (1654–1728), Swedish\nJohn Webb (1611–1672), English\nElizabeth Mytton Wilbraham (1632–1705), English\nChristopher Wren (1632–1723), English\n\n18th-century architects\n\nRobert Adam (1728–1792), Scottish\nWilliam Adam (1689–1748), Scottish\nCosmas Damian Asam (1686–1739), German\nEgid Quirin Asam (1692–1750), German\nJoseph Bonomi the Elder (1739–1808), Italian\nÉtienne-Louis Boullée (1728–1799)\nWilliam Buckland (1734–1774), English/American\nColen Campbell (1676–1729), Scottish\nJohn Carr of York (1723–1807), English\nRichard Cassels (1690–1751), German\nWilliam Chambers (1723–1796), Swedish/Scottish\nFrançois de Cuvilliés (1695–1768), Netherlandish/German\nChristoph Dientzenhofer (1655–1722), German\nKilian Ignaz Dientzenhofer (1689–1751), German\nLaurent-Benoît Dewez (1731–1812), Netherlandish\nJohn Douglas (c. 1709–1788), Scottish\nNicolai Eigtved (1701–1754), Danish\nJohann Bernhard Fischer von Erlach (1656–1723), Austrian\nJohann Michael Fischer (1692–1766), German\nPierre François Léonard Fontaine (1762–1853), French\nAnge-Jacques Gabriel (1698–1782), French\nAlessandro Galilei (1691–1737), Italian\nJohn Gwynn (1713–1786), English\nAbraham Hargrave (1755–1808), English/Irish\nPeter Harrison (1716–1775), American\nNicholas Hawksmoor (1661–1736), English\nJohann Lukas von Hildebrandt (1668–1745), Austrian\nJames Hoban (1755–1831), Irish/American\nJohn Hutchison, Scottish\nThomas Ivory (1709–1779), English\nNicolas-Henri Jardin (1720–1799), French (in Denmark)\nThomas Jefferson (1743–1826), American\nRichard Jupp (1728–1799), English\nFilippo Juvarra (1678–1736), Italian\nWilliam Kent (1685–1748), English\nBenjamin Latrobe (1764–1820), English/American\nClaude-Nicolas Ledoux (1736–1806), French\nGiacomo Leoni (1686–1746), Italian\nJoseph Christian Lillie (1760–1827), Danish\nJohann Friedrich Ludwig (João Frederico Ludovice) (1673–1752), German\nGiorgio Massari (1687–1766), Italian\nJosef Munggenast (1680–1741), Austrian\nRobert Mylne (1733–1811), Scottish\nIvan Fyodorovich Michurin (1700–1763), Russian\nBalthasar Neumann (c. 1687–1733), German\nMateus Vicente de Oliveira (1706–86), Portuguese\nGiovanni Paolo Pannini (1691–1765), Italian\nEdward Lovett Pearce (1699–1733), Irish\nCharles Percier (1764–1838), French\nGiuseppe Piermarini (1734–1808), Italian\nPaolo Posi (1708–1776), Italian\nJakob Prandtauer (1660–1726), Austrian\nGiacomo Quarenghi (1744–1817), Italian/Russian\nJoseph-Jacques Ramée (1764–1842), Italian\nBartolomeo Rastrelli (1700–1771), Italian/Russian\nCharles Ribart (fl. 1776–1783), French\nAntonio Rinaldi (c. 1710–1794), Italian\nNicola Salvi (1697–1751), Italian\nThomas Sandby (1721–1798), English\nJan Blažej Santini-Aichel (1677–1723), Austrian/Czech\nMichael Searles (1750–1813), English\nJacques-Germain Soufflot (1713–1780), French\nManuel Caetano de Sousa (1738–1802), Portuguese\nWilliam Thornton (1759–1828), English/American\nLauritz de Thurah (1706–1759), Danish\nMary Townley (1753–1839), English\nDomenico Trezzini (1670–1734), Swiss/Italian\nJohn Vanbrugh (1664–1726), English\nLuigi Vanvitelli (1700–1773), Italian\nBernardo Vittone (1704–1770), Italian\nJohn Wood, the Elder (1704–1754), English\nJohn Wood, the Younger (1728–1782), English\nJames Wyatt (1746–1813), English\nDominikus Zimmermann (1685–1766), German\n\n19th-century architects\n\nA–M\n\nDankmar Adler (1844–1900), American\nFrank Shaver Allen (1860–1934), American\nHenry Austin (1804–1891), American\nAlphonse Balat (1819–1895), Belgian\nWilliam Swinden Barber (1832–1908), English\nSir Charles Barry (1795–1860), English\nCharles Barry, Jr. (1823–1900), English\nEdward Middleton Barry (1830–1880), English\nFrédéric Auguste Bartholdi (1834–1904), French\nCarlo Bassi (1807–1856), Italian\nAsher Benjamin (1773–1845), American\nHendrik Beyaert (1823–1894), Belgian\nCharles Bickel (1852–1921), American\nJoseph Blick (1867–1947), American\nEdward Blore (1787–1879), English\nCamillo Boito (1836–1914), Italian\nIgnatius Bonomi (1787–1870), English\nFerdinando Bonsignore (1760–1843), Italian\nR. Newton Brezee (1851–1929), American\nGridley James Fox Bryant (1816–1899), American\nDavid Bryce (1803–1876), Scottish\nAleksandar Bugarski (1835–1891), Serbian\nCharles Bulfinch (1763–1844), American\nWilliam Burges (1827–1881), English\nWilliam Burn (1789–1870), Scottish\nDecimus Burton (1800–1881), English\nJ. Cleaveland Cady (1837–1919), American\nCarrère and Hastings (1885–1929), American\nCesar Castellani (died 1905), Maltese\nBasil Champneys (1842–1935), English\nEdward Clark (1822–1902), American\nAdolf Cluss (1825–1905), American\nS. N. Cooke (1882–1964), English\nLewis Cubitt (1799–1883), English\nThomas Cubitt (1788–1855), English\nPierre Cuypers (1827–1921), Dutch\nAlexander Jackson Davis (1803–1892), American\nGeorge Devey (1820–1886), English\nJohn Dobson (1787–1865), English\nThomas Leverton Donaldson (1795–1885), English\nHenry Engelbert (1826–1901), American\nKolyu Ficheto (1800–1881), Bulgarian\nGeorge A. Frederick (1842–1924), American\nWatson Fothergill (1841–1928), English\nJames Fowler (1828–1892), English\nThomas Fuller (1823–1898), Canadian\nFrank Furness (1839–1912), American\nCharles Garnier (1825–1898), French\nFriedrich von Gärtner (1791–1847), German\nEdward William Godwin (1833–1886), English\nGeorge Enoch Grayson (1833–1912), English\nSamuel Hannaford (1835–1911), American\nTheophil Hansen (1813–1891), Danish/Austrian\nPhilip Hardwick (1792–1870), English\nPhilip Charles Hardwick (1822–1892), English\nWilliam Alexander Harvey (1874–1951), English\nThomas Hastings (1860–1929), American\nVictor Horta (1861–1947), Belgian\nArpan Shah (1975), Indian\nWilliam Hosking FSA (1800–1861), English\nHeinrich Hübsch (1795–1863), German\nSamuel Huckel (1858–1917), American\nRichard Hunt (1827–1895), American\nBenno Janssen (1874–1964), American\nGiuseppe Jappelli (1783–1852), Italian\nWilliam LeBaron Jenney (1832–1907), American\nSir Horace Jones (1819–1887), English\nEmilijan Josimović (1823–1897), Serbian\nAbdallah Khan (fl. 1810–1850), Persian\nLeo von Klenze (1784–1864), German\nJohn A. B. Koch (1845–1928), Australian\nHenri Labrouste (1801–1875), French\nBarthelemy Lafon (1769–1820), American\nRichard Lane (1795–1880), English\nBenjamin Henry Latrobe (1764–1820), American\nRobert Lawson (1833–1902), New Zealander\nCharles F. Lembke (1865–1925), American\nJoseph Christian Lillie (1760–1827), Danish\nAlexander Wadsworth Longfellow, Jr. (1854–1934), American\nSara Losh (1785–1853), English\nRichard Lucae (1829–1879), German\nCharles-François Mandar (1757–1844), French\nCharles Follen McKim (1847–1909), American\nSamuel McIntire (1757–1811), American\nEnrico Marconi (1792–1863), Italian\nLeandro Marconi (1834–1919), Polish\nOskar Marmorek (1863–1909), Austro-Hungarian\nFrederick Marrable (1819–1872), English\nRobert Mills (1781–1855), American\nJosef Mocker (1835–1899), Bohemian\nAuguste de Montferrand (1786–1858), French\nJulia Morgan (1872–1957), American\nWilliam Morris (1834–1906), English\nAlfred B. Mullett (1834–1890), American\n\nN–Z\n\nJohn Nash (1752–1835), English\nAtanasije Nikolić (1803–1882), Serbian\nJoseph Maria Olbrich (1867–1908), Austrian\nFrederick Law Olmsted (1822–1903), American\nFrederick J. Osterling (1865–1934), American\nEdward Graham Paley (1823–1895), English\nAlexander Parris (1780–1852), American\nJoseph Paxton (1803–1865), English\nJohn Wornham Penfold (1828–1909), English\nSir James Pennethorne, English\nFrancis Penrose (1817–1903), English\nFriedrich Ludwig Persius (1803–1845), German\nFrancis Petre (1847–1918), New Zealand\nAlbert Pretzinger (b. 1863, death date unknown), American\nWill Price (1855–1916), American\nAugustus Pugin (1812–1852), English\nE. W. Pugin (1834–1875), English\nPeter Paul Pugin (1851–1904), English\nJoseph-Jacques Ramée (1764–1842), French\nCharles Reed (1814–1859), English\nCharles Reeves (1815–1866), English\nJames Renwick, Jr. (1818–1895), American\nHenry Hobson Richardson (1838–1886), American\nThomas Rickman (1776–1841), English\nEduard Riedel (1813–1885), German\nAntonio Rivas Mercado (1853–1927), Mexican\nRobert S. Roeschlaub (1843–1923), American\nIsaiah Rogers (1800–1869), American\nJohn Root (1850–1891), American\nCarlo Rossi (1775–1849), Italian/Russian\nArchimedes Russell (1840–1915), American\nOctave van Rysselberghe (1855–1929), Belgian\nJohn Holloway Sanders (1825–1884), English\nFrederick C. Sauer (1860–1942), German/American\nGeorge Gilbert Scott (1811–1878), English\nGeorge Gilbert Scott Jr. (1839–1897), English\nKarl Friedrich Schinkel (1781–1841), German\nGottfried Semper (1803–1879), German\nEdmund Sharpe (1809–1877), English\nJoseph Lyman Silsbee (1848–1913), American\nJacob Snyder (1823–1890), American\nJohn Soane (1848–1913), American\nAugust Soller (1805–1853), German \nVasily P. Stasov (1769–1848), Russian\nJ. J. Stevenson (1831–1908), Scottish\nHeinrich Strack (1805–1880), German\nGeorge Edmund Street (1824–1881), English\nWilliam Strickland (1788–1854), American\nFriedrich August Stüler (1800–1865), German\nLouis Sullivan (1856–1924), American\nHenry Tanner (1849–1935), English\nThomas Alexander Tefft (1826–1859), American\nThomas Telford (1757–1834), Scottish\nSamuel Sanders Teulon (1812–1873), English\nConstantine Andreyevich Ton (1794–1881), Russian\nClair Tisseur (1827–1896), French\nIthiel Town (1784–1844), American\nSilvanus Trevail (1851–1903), English\nWilliam Tubby (1858–1944), American\nRichard Upjohn (1802–1878), English/American\nCalvert Vaux (1824–1925), English/American\nEugène Viollet-le-Duc (1814–1879), French\nOtto Wagner (1841–1918), Austrian\nThomas U. Walter (1804–1887), American\nAlfred Waterhouse (1830–1905), English\nGeorge Webster (1797–1864), English\nJohn Dodsley Webster (1840–1913), English\nStanford White (1853–1906), American\nWilliam Wilkins (1778–1839), English\nFrederick Clarke Withers (1828–1901), English/American \nWilliam Halsey Wood (1855–1897), American\nThomas Worthington (1826–1909), English\nThomas Henry Wyatt (1807–1880), Irish/English\nEdward Alexander Wyon (1842–1872), English\nAmmi B. Young (1798–1874), American\nNikola Živković (1792–1870), Serbian\n\n20th-century architects\n\nA–C\n\nAlvar Aalto (1898–1976), Finland\nMax Abramovitz (1908–2004), US\nDavid Adler (1882–1949), US\nGerard Pieter Adolfs (1898–1968), Dutch East Indies\nCharles N. Agree (1897–1982), Detroit, Michigan, US\nWalter W. Ahlschlager (1887–1965), US\nFranco Albini (1905–1977), Italy\nChristopher Alexander (born 1936), Austria\nTadao Ando (born 1941), Japan\nPaul Andreu (1938–2018), France\nEdmund Anscombe (1874–1948), New Zealand\nMilan Antonović (1850–1929)\nSiah Armajani (1939–2020), Iran\nRaul de Armas (born 1941), Cuba\nJoão Batista Vilanova Artigas (1915–1985), Brazil\nHisham N. Ashkouri (born 1948), US\nCharles Herbert Aslin (1893–1959), UK\nGunnar Asplund (1885–1940), Sweden\nIan Athfield (1940–2015), New Zealand\nFritz Auer (born 1933), Germany\nGae Aulenti (1927–2012), Italy\nCarlo Aymonino (1926–2010), Italy\nRafiq Azam, Bangladesh\nLaurie Baker (1917–2007), UK/India\nSixto Durán Ballén (1921–2016), US\nLina Bo Bardi (1914–1992), Italy/Brazil\nEdward Larrabee Barnes (1915–2004), US\nHoward R. Barr (1910–2002), US\nLuis Barragán (1902–1988), Mexico\nFred Bassetti (1917–2013), US\nGarry Baverstock (born 1949), Australia\nGeoffrey Bawa (1919–2003), Sri Lanka\nIsobel Hogg Kerr Beattie (1900–1970), UK\nWelton Becket (1902–1969), US\nClaud Beelman (1883–1963), US\nAdolf Behne (1885–1948), Germany\nPeter Behrens (1868–1940), Germany\nPietro Belluschi (1899–1994), US\nHendrik Petrus Berlage (1856–1934), Netherlands\nMordechai Benshemesh (1911–1993), Australia\nAntonio Bilbao La Vieja (1892–1980), Argentina\nTitus de Bobula (1878–1961)\nRicardo Bofill (born 1939), Spain\nOriol Bohigas (born 1925), Spain\nGottfried Böhm (1920–2021), Germany\nJ. Max Bond, Jr. (1935–2009), US\nDariush Borbor (born 1934), Iran\nMario Botta (born 1943), Switzerland\nClaude Fayette Bragdon (1866–1946), US\nC.A. \"Peter\" Bransgrove (1914–1966), Tanganyika/Tanzania\nMarcel Breuer (1902–1981), Hungary\nHalldóra Briem (1913–1993), Iceland\nGordon Bunshaft (1909–1990), US\nJohn Burgee (born 1933), US\nDaniel Burnham (1846–1912), US\nSantiago Calatrava (born 1951), Spain\nPeter Calthorpe (born 1949), US\nAlberto Campo Baeza (born 1946), Spain\nSir Hugh Casson (1910–1999), UK\nJames Chapman-Taylor (1958–1978), UK/New Zealand\nEthel Charles (1871–1962), UK\nJorge Ferreira Chaves (1920–1982), Portugal\nAnn R. Chaintreuil (born 1947), United States\nSerge Chermayeff (1900–1996), Chechnya/UK\nDavid Chipperfield (born 1953), UK\nWells Coates (1895–1958), UK/Canada\nJosep Antoni Coderch (1913–1984), Spain\nCharles A. Cofield (born -), US\nColeman Coker (born 1951), US\nMary Colter (1869–1958), US\nPeter Cook (born 1936), UK\nIsadore (Issie) Coop (1926–2003), Canada \nLe Corbusier (1887–1965), Switzerland/France\nErnest Cormier (1885–1980), Canada\nCharles Correa (1930–2015), India\nLúcio Costa (1902–1998), Brazil\nRalph Adams Cram (1863–1942), US\nCharles Howard Crane (1885–1952), US\nPaul Philippe Cret (1876–1945), France, US\nLouis Curtiss (1865–1924), US\nKirtland Cutter (1860–1939), US\n\nD–G\n\nJustus Dahinden (1925–2020), Switzerland\nKarl Damschen (born 1942), Germany\nRaimondo Tommaso D'Aronco (1857–1932), Italy\nMiša David (1942–2000), Yugoslavia\nGiancarlo De Carlo (1919–2005), Italy\nFrederic Joseph DeLongchamps (1882–1969), US\nFrançois Deslaugiers (1934–2009), France\nJack Diamond (born 1932), South Africa/Canada\nFilipe Oliveira Dias (1963–2014), Portugal\nTheo van Doesburg (1883–1931), Netherlands\nB. V. Doshi (born 1927), India\nAlden B. Dow (1904–1983), US\nJane Drew (1911–1996), UK\nAndrés Duany (born 1949), US\nMax Dudler (born 1949), Switzerland/Germany\nMichael Middleton Dwyer (born 1954), US\nWillem Marinus Dudok (1884–1974), Netherlands\nArthur Dyson (born 1940), US\nH. Kempton Dyson (1880–1944), UK\nCharles Eames (1907–1978), US\nRay Eames (1912–1988), US\nJohn Eberson (1875–1964), Romania/USA\nPeter Eisenman (born 1932), US\nGeorge Grant Elmslie (1869–1952), US\nRichard England (born 1937), Malta\nArthur Erickson (1924–2009), Canada\nRaymond Erith (1904–1973), US\nAldo van Eyck (1918–1999), Netherlands\nHassan Fathy (1900–1989), Egypt\nSverre Fehn (1924–2009), Norway\nArthur Fehr (1904–1969), US\nHermann Finsterlin (1887–1973), Germany\nTheodor Fischer (1862–1938), Germany\nHarold H. Fisher (1901–2005), US\nKay Fisker (1893–1965), Denmark\nO'Neil Ford (1905–1982), US\nMohammad Foyez Ullah (born 1967), Bangladesh\nNorman Foster (born 1935), UK\nYona Friedman (1923–2020), Hungary/France\nMaxwell Fry (1899–1987), UK\nBuckminster Fuller (1895–1983), US\nIgnazio Gardella (1905–1999), Italy\nAntoni Gaudí (1852–1926), Spain\nGiuli Gegelia (born 1942), Georgia\nFrank Gehry (born 1929), Canada/USA\nHaralamb H. Georgescu (1908–1977), Romania/USA\nHeydar Ghiai (1922–1985), Iran\nCass Gilbert (1859–1934), US\nMoisei Ginzburg (1892–1946), Belarus/USSR\nRomaldo Giurgola (1920–2016), Italy/USA/Australia\nHansjörg Göritz (born 1959), Germany\nBruce Goff (1904–1982), US\nErnő Goldfinger (1902–1987), Hungary/UK\nTeodoro Gonzalez de Leon (1926–2016), Mexico\nBertram Goodhue (1869–1924), US\nFerdinand Gottlieb (1919–2007), Germany/USA\nNoemí Goytia (born 1936), Argentina\nGiorgio Grassi (born 1935), Italy\nMichael Graves (1934–2015), US\nCharles Sumner Greene (1868–1957), US \nHenry Mather Greene (1870–1954), US\nJules Gregory (1920–1985), US\nVittorio Gregotti (1927–2020), Italy\nWalter Burley Griffin (1876–1937), US\nSir Nicholas Grimshaw (born 1939), UK\nWalter Gropius (1883–1969), Germany\nVictor Gruen (1903–1980), Austria\nHector Guimard (1867–1942), France\n\nH–K\n\nCharles Haertling (1928–1984), US \nWilliam John Hale (1862–1929), UK\nRobert Bell Hamilton (1892–1948), Australia\nHalfdan M. Hanson (1884–1952), US\nBashirul Haq (1942–2020), Bangladesh\nHugo Häring (1882–1958), Germany\nDavid M. Harper (born 1953), US\nWallace Harrison (1895–1981), US\nFrancis R. Heakes (1858–1930), Canada\nJohn Hejduk (1929–2000), US\nHerman Hertzberger (born 1932), Netherlands\nHeinz Hess (1922–1992), Germany\nFernando Higueras (1930–2008), Spain\nLudwig Hilberseimer (1885–1967), German\nHerbert Hirche (1910–2002), Germany\nHarold Frank Hoar (1907–1976), UK\nFlorence Fulton Hobson (1881–1978), Ireland\nCharles Holden (1875–1960), UK\nHans Hollein (1934–2014), Austria\nRaymond Hood (1881–1934), US\nSir Michael Hopkins (born 1935), UK, 1994 RIBA Gold Medal winner\nVictor Horta (1861–1947), Belgium\nEdith Hughes (1888–1971), UK\nA. R. Hye (1919–2008), Pakistan\nFriedensreich Hundertwasser (1928–2000), Austria\nWilbur R. Ingalls, Jr. (1923–1997), US\nMuzharul Islam (1923–2012), Bangladesh\nArata Isozaki (born 1931), Japan\nArne Jacobsen (1902–1971), Denmark\nHugh Newell Jacobsen (born 1929), US\nHelmut Jahn (1940–2021), Germany/US\nPeter Janesch (born 1953), Hungary\nBenno Janssen (1874–1964), US\nPierre Jeanneret (1896–1967), Switzerland\nPeder Vilhelm Jensen-Klint (1853–1930), Denmark\nJon Jerde (1940–2015), US\nPhilip Johnson (1906–2005), US\nClarence H. Johnston, Sr. (1859–1936), US\nE. Fay Jones (1921–2004), US\nJosep Maria Jujol (1879–1949), Spain\nRyszard Jurkowski (born 1945), Poland\nAlbert Kahn (1869–1942), US\nFazlur Rahman Khan (1929–1982), Bangladesh\nLouis Kahn (1901/1902–1974), US\nMaxwell M. Kalman (1906–2009), Canada\nMariam Kamara (born 1979), Niger\nLouis Kamper (1861–1953), US\nJan Kaplický (1937–2009), Czech/UK\nKatayama Tōkuma (1854–1917), Japan\nOskar Kaufmann (1873–1956), Hungary\nKendrick Bangs Kellogg (born 1934), US\nRaymond M. Kennedy (1891–1976), US\nHugh T. Keyes (1888–1963), US\nNader Khalili (1936–2008), US\nEdward Killingsworth (1917–2004), US\nCharles Klauder (1872–1938), US\nGeorge Klenzendorff (1883–?), US\nMichel de Klerk (1884–1923), Netherlands\nRalph Knott (1878–1929), UK\nAustin Eldon Knowlton (1909–2003), US\nCarl Koch (1912–1998), US\nHans Kollhoff (born 1946), Germany\nMusa Konsulova (1921-2019), USSR, Ukraine\nRem Koolhaas (born 1944), Netherlands\nKároly Kós (1883–1977), Hungary\nJohannes Krahn (1908–1974), Germany\nPiet Kramer (1881–1961), Netherlands\nLéon Krier (born 1946), Luxembourg\nKisho Kurokawa (1934–2007), Japan\nEdgar-Johan Kuusik (1888–1974), Estonia\nIvan Sergeyevich Kuznetsov (1867–1942), Russia\n\nL–M\n\nThomas W. Lamb (1871–1942), US\nG. Albert Lansburgh (1876–1969), US\nEve Laron OAM (1931–2009), Australia\nHenning Larsen (1925–2013), Denmark\nSir Denys Lasdun (1914–2001), UK\nVilhelm Lauritzen (1894–1984), Denmark\nJohn Lautner (1911–1994), US\nRicardo Legorreta (1931–2011), Mexico\nWilliam Lescaze (1896–1969), US\nJan Letzel (1880–1925), Czechoslovakia\nAmanda Levete (born 1955), UK\nSigurd Lewerentz (1885–1975), Sweden\nLiang Sicheng (1901–1972), China\nAdalberto Libera (1903–1963), Italy\nDaniel Libeskind (born 1946), Poland/USA\nJoão Filgueiras Lima (1931–2014), Brazil\nMaya Lin (born 1959), US\nEl Lissitzky (1890–1941), Russia\nGordon W. Lloyd (1832–1905), US\nLeandro Locsin (1928–1994), Philippines\nElmar Lohk (1901–1963), Estonia\nAdolf Loos (1870–1933), Austria/Czechoslovakia\nBerthold Lubetkin (1901–1990), UK/USSR\nBill Lucas (1924–2001), Australia\nHans Luckhardt (1890–1954), Germany\nWassili Luckhardt (1889–1972), Germany\nOwen Luder (born 1928), UK\nEdwin Lutyens (1869–1944), UK\nIvar Lykke (born 1941), Norway\nGeorge Washington Maher (1864–1926), US\nFumihiko Maki (born 1928), Japan\nCharles Rennie Mackintosh (1868–1928), UK\nImre Makovecz (1935–2011), Hungary\nRobert Mallet-Stevens (1886–1945), France\nAngelo Mangiarotti (1921–2012), Italy\nGeorge R. Mann (1856–1939), US\nRobert Matthew (1906–1975), UK\nGeorge D. Mason (1856–1948), US\nEdward Maufe (1883–1974), UK\nBernard Maybeck (1862–1957), US\nWayne McAllister (1907–2000), US\nRaymond McGrath (1903–1977), UK/Ireland\nRoy Mason (1938–1996), US\nFrançois Massau, Belgium \nRichard Meier (born 1934), US\nKonstantin Melnikov (1890–1974), USSR\nErich Mendelsohn (1887–1953), Germany\nPaulo Mendes da Rocha (1928–2021), Brazil\nHenry Mercer (1856–1930), US\nGeoffrey Harley Mewton (1905–1998), Australia\nJohan van der Mey (1878–1949), Netherlands\nHannes Meyer (1889–1954), Switzerland\nGiovanni Michelucci (1891–1990), Italy\nLudwig Mies van der Rohe (1886–1969), Germany/USA\nAndrés Mignucci (born 1957), Puerto Rico\nVlado Milunić (born 1941), Czech Republic\nJames Rupert Miller (1869–1946), US\nDom Mintoff (1916–2012), Malta\nF. A. Minuth, American, New York City\nHadi Mirmiran (1945–2006), Iran\nEnric Miralles (1955–2000), Spain\nAntonio Miró Montilla (born 1937), Puerto Rico\nSamuel Mockbee (1944–2001)\nErik Møller (1909–2002)\nRafael Moneo (born 1937), Spain\nRoger Montgomery (1925–2003), US\nAdolfo Moran (born 1953), Spain\nRiccardo Morandi (1902–1989), Italy\nLuigi Moretti (1907–1973), Italy\nArthur Cotton Moore (born 1935), US\nCharles Willard Moore (1925–1993), US\nLester S. Moore (1871–1924), US\nJulia Morgan (1872–1957), US\nRaymond Moriyama (born 1929), Canada\nEric Owen Moss (born 1943), US\nMichel Mossessian (born 1959), France/UK\nFrederick Augustus Muhlenberg (1887–1980), US\nGlenn Murcutt (born 1936), Australia\nC. F. Møller (1898–1988), Denmark\nBarton Myers (born 1934), Canada\n\nN–R\n\nRobert Natus (1890–1950)\nPier Luigi Nervi (1891–1979), Italy\nPeter Newell (1916–2010), Australia\nRichard Neutra (1892–1970)\nNgo Viet Thu (1926–2000), Vietnam\nOscar Niemeyer (1907–2012)\nEnamul Karim Nirjhar (born 1962), Bangladesh\nOscar Nitzchke (1900–1991)\nPercy Erskine Nobbs (1875–1964)\nSamuel Tilden Norton (1877–1959)\nEllice Nosworthy (1897–1972), Australia\nJean Nouvel (born 1945)\nMartin Nyrop (1849–1921), Denmark\nGyo Obata (1923–2022)\nSamuel Oghale Oboh (born 1971) Canada / Nigeria\nJohn J. O'Malley (1915–1970), US\nYafes Osman (born 1946), Bangladesh\nFrei Otto (1925–2015)\nJ.J.P. Oud (1890–1963)\nFélix Candela Outeriño (1910–1997), Spain/Mexico\nPaul Paget (1901–1985)\nHenry (Harry) Paley (1859–1946)\nMustapha Khalid Palash (born 1963), Bangladesh\nMihály (Michael) Párkányi (1924–1991) Hungary\nJohn and Donald Parkinson (1861–1945)\nJohn Pawson (born 1949)\nArthur Peabody (1858–1942)\nI. M. Pei (1917–2019)\nCésar Pelli (1926–2019)\nHubert Petschnigg (1913–1997)\nFrits Peutz (1896–1974)\nTimothy L. Pflueger (1892–1946)\nRenzo Piano (born 1937), Italy\nStjepan Planić (1900–1980)\nJože Plečnik (1872–1957)\nHans Poelzig (1869–1936)\nGino Pollini (1903–1991), Italy\nJames Polshek (born 1930)\nDonald Perry Polsky (born 1928)\nGio Ponti (1891–1979)\nJohn Russell Pope (1874–1937)\nJohn Portman (1924–2017)\nChristian de Portzamparc (born 1944), France\nGeorge B. Post (1837–1913), US\nFernand Pouillon (1912-1986), France\nHenry Price (1867–1944)\nAlain Provost (born 1938)\nFreeman A. Pretzinger\nWilliam Gray Purcell (1880–1965), US\nC. W. Rapp (1860–1926), US\nGeorge L. Rapp (1878–1941), US\nIsaac Rapp (1854–1933), US\nRalph Rapson (1914–2008)\nSteen Eiler Rasmussen (1898–1990)\nAntonin Raymond (1888–1976), Japan/USA\nAffonso Eduardo Reidy (1909–1964), Brazil\nSir Charles Herbert Reilly (1874–1948)\nSir Albert Richardson (1880–1964)\nGerrit Rietveld (1888–1964)\nIsabel Roberts (1871–1955), US\nHarry G. Robinson III (born 1942)\nKevin Roche (1922–2019)\nErnesto Nathan Rogers (1909–1969)\nRichard Rogers (1933–2021)\nMario Romañach (1917–1984), Havana, Cuba\nAldo Rossi (1931–1997), Italy\nWirt C. Rowland (1878–1946)\nPaul Rudolph (1918–1997)\nRobert Tor Russell (1888–1972)\n\nS–Z\n\nEero Saarinen (1910–1961), Finland\nEliel Saarinen (1873–1950), Finland\nEugen Sacharias (1906–2002)\nMoshe Safdie (born 1938)\nPaul Saintenoy (1862–1952)\nRogelio Salmona (1929–2007), Spain-Colombia\nGuðjón Samúelsson (1887–1950), Iceland\nJoão Santa-Rita (born 1960)\nCarlos A. Santos-Viola (1912–1994)\nLouis Sauer (born 1928)\nCarlo Scarpa (1906–1978)\nHans Scharoun (1893–1972)\nRudolf Schindler (1887–1953)\nElisabeth Scott (1898–1972), UK\nFrederic Schwartz (1951–2014)\nPaul Schmitthenner (1884–1972)\nAlexey Shchusev (1873–1949)\nMargarete Schütte-Lihotzky (1897–2000)\nGiles Gilbert Scott (1880–1960)\nHarry Seidler (1923–2006)\nRichard Seifert (1910–2001)\nJoseph Lluís Sert (1902–1983)\nH. Craig Severance (1879–1941)\nHooshang Seyhoun (1920–2014), Iran\nRichard Sheppard (1910-1982)\nVladimir Shukhov (1853–1939)\nClaudio Silvestrin (born 1954)\nScott Simons (born 1952), US\nAlvaro Siza (born 1933), Portugal\nHoward Dwight Smith (1886–1958)\nGeorge Washington Smith (1876–1930)\nAlison Smithson (1928–1993)\nPeter Smithson (1923–2003)\nCharles B. J. Snyder (1860–1945), US\nPaolo Soleri (1919–2013), Italy\nAlejandro de la Sota (1913–1996)\nEduardo Souto de Moura (born 1952), Portugal\nAlbert Speer (1905–1981)\nBasil Spence (1907–1976)\nJohann Otto von Spreckelsen (1929–1987)\nSheila Sri Prakash (born 1955), India\nWilliam L. Steele (1875–1949), US\nAndrew Steiner (1908–2009), Czechoslovak-American\nRudolf Steiner (1861–1925)\nJoseph Allen Stein (1912–2001), US, India\nRobert A.M. Stern (born 1939)\nJohn Calvin Stevens (1855–1940), US\nSir James Stirling (1926–1992)\nEdward Durrell Stone (1902–1978)\nJames Strutt (1924–2008), Canada\nJoseph Sunlight (1889–1978)\nRoger Taillibert (1926–2019)\nBenedetta Tagliabue (born 1963), Italy, co-founder of EMBT \nAlexander Tamanyan (1878–1936), Armenia\nKenzo Tange (1913–2005)\nBruno Taut (1880–1938)\nMax Taut (1884–1967)\nGiuseppe Terragni (1904–1943)\nQuinlan Terry (born 1937)\nHeinrich Tessenow (1876–1950), German\nBenjamin C. Thompson (1918–2002)\nEdmund von Trompowsky (1851–1919), Latvia \nHorace Trumbauer (1868–1938)\nBernard Tschumi (born 1944)\nGilbert Stanley Underwood (1890–1960)\nJørn Utzon (1918–2008), Denmark\nVann Molyvann (1926–2017), Cambodia\nFrançois Valentiny (born 1953), Luxembourg\nWilliam van Alen (1883–1954)\nHenry Van de Velde (1863–1957)\nHenri van Dievoet (1869–1931)\nAntoine Varlet (1893–1940)\nRobert Venturi (1925–2018)\nMiguel Vila Luna (1943–2005), Dominican Republic\nCarlos Raúl Villanueva (1900–1975)\nRafael Viñoly (born 1944)\nRoland Wank (1898–1970)\nPaul Waterhouse (1861–1924), UK\nCarlo Weber (1934–2014)\nW. H. Weeks (1864–1936)\nCarl Westman (1866–1936)\nPaul Williams (1894–1980)\nClough Williams-Ellis (1883–1978)\nJan Wils (1891–1972)\nGeorge J. Wimberly (1914–1996)\nJames Wines (born 1932), US\nGeoffrey Wooding (1954–2010)\nLebbeus Woods (1940–2012), US\nFrank Lloyd Wright (1867–1959), US\nMarcellus E. Wright Sr. (1881–1962), US\nMinoru Yamasaki (1912–1986)\nF. R. S. Yorke (1906–1962), UK\nJean-François Zevaco (1916–2003)\nMilan Zloković (1898–1965)\nPeter Zumthor (born 1943), Switzerland\n\n21st-century architects\n\nA–M\n\nAdolfo Moran\nAlexandre Chan\nAndy Martin (architect) (born 1963)\nAntonio Citterio (born 1950), Italy\nArif Hasan (born 1943), Pakistan\nAtsushi Kitagawara (born 1951), Japan\nBasil Al Bayati (born 1946), UK\nBernard Khoury (born in 1969), Lebanon\nBjarke Ingels (born 1974), Denmark\nCantarutti Robby (born 1966), Italy\nCarol Ross Barney (born 1949), US\nChristina Cho, Australia\nChristoph Ingenhoven (born 1960), Germany\nChristopher Charles Benninger (born 1942), India\nCraig W. Hartman\nDaniel Libeskind (born 1946, Poland), US\nDavid Adjaye (born 1966), Tanzania\nDavid M. Harper (born 1953)\nDavid Randall Hertz (born 1960), US\nDominique Gauzin-Müller (born 1960), France\nDy Proeung, Cambodia\nEric Corey Freed\nErick van Egeraat (born 1956), Netherlands\nEugene Pandala (born 1954), India\nGreg Lynn\nGregory Henriquez\nGünay Erdem (born 1978, Bulgaria), Turkey\nHafeez Contractor (born 1950), India\nH. R. Hiegel\nHidetsugu Aneha (born 1957), Japan\nHossein Amanat (born 1942), Iran\nIvan Harbour (born 1962), UK\nJames Garrison (born 1963), US\nJeanne Gang (born 1964), US\nJimenez Lai \nJing Liu\nJun'ya Ishigami (born 1974), Japan\nKamel Mahadin (born 1954), Jordan\nKazuyo Sejima (born 1956), Japan\nKees Christiaanse (born 1953), Netherlands\nKeith Griffiths (born 1954), UK\nKengo Kuma\nKevin Kennon\nLise Anne Couture (born 1959), Canada\nMarco Casagrande (born 1971), Finland\nMariam Kamara (born 1979), Niger\nMassimiliano Fuksas, Italy\nMaya Lin, US\nMichael Middleton Dwyer, US\nMichael Green, Canada\nMichel Abboud (born 1977), Lebanon\nNabil Gholam (born 1962), Lebanon\nNorman Foster, (born 1935), UK\nOdile Decq, (born 1955), France\nOlajumoke Adenowo (born 1968), Nigeria\nPeter Eisenman (born 1932), United States\nPeter Exley, US\nPouya Khazaeli (born 1975), Iran\nRafiq Azam, Bangladesh\nRem Koolhaas (born 1944), Netherlands\nRoger Duffy\nRon Arad (born 1951), Israel\nShashi Prabhu (born 1944), India\nSunita Kohli (born 1946), India\nSean Godsell (born 1960), Australia\nShigeru Ban (born 1957), Japan\nSir Terry Farrell, UK\nSou Fujimoto (born 1971), Japan\nStefano Boeri, Italy\nStephan Braunfels (born 1950), Germany\nSteven Holl (born 1947), US \nSue Courtenay, Belize\nSunay Erdem (born 1971, Bulgaria), Turkey\nTatiana Bilbao, Mexico\nT.J. Gottesdiener\nTerence Conran (1931–2020, United Kingdom)\nThom Mayne\nThomas Doerr (born 1964), US\nThomas Herzog\nTom Kundig\nTony Fretton (born 1945), UK\nToshiko Mori, Japan\nToyo Ito (born 1941), Japan\nWiel Arets (born 1955), Netherlands\nWilliam McDonough\nZaha Hadid (1950–2016), UK\n\nN-Z\n\nFlorent Nédélec\nEnamul Karim Nirjhar\nSamuel Oghale Oboh (born 1971), Canada / Nigeria\nLiz Ogbu\nNeri Oxman\nSatyendra Pakhale (born 1967), India\nMustapha Khalid Palash\nBimal Patel (born 1961), India\nThomas Phifer\nRenzo Piano, Italy\nDimitris Potiropoulos\nAntoine Predock\nJoshua Prince-Ramus\nPhilippe Rahm\nRichard Rogers, UK\nFernando Romero, Mexico \nLawrence Scarpa\nKazuyo Sejima (born 1956), Japan\nAdrian Smith\nGalia Solomonoff\nSheila Sri Prakash (born 1955), India\nPaul Steelman (born 1955), US\nMarshall Strabala\nSergei Tchoban (born 1962), Russian-born architect\nJack Travis (born 1952), US\nVictor Vechersky (born 1958), Ukraine\nRoss Wimer\nWang Shu (born 1963), China\nJörg Stollmann, Germany\nWilfried van Winden (born 1955)\nGert Wingårdh (born 1951), Sweden\nJun Xia, China\nKen Yeang (born 1948), Malaysia\n\nMythological/fictional architects\nSeveral architects occur in worldwide mythology, including Daedalus, builder of the Labyrinth, in Greek myth. In the Bible, Nimrod is considered the creator of the Tower of Babel, and King Solomon built Solomon's Temple with the assistance of the architect Hiram. In Hinduism, the palaces of the gods were built by the architect and artisan Vivasvat. Moreover, Indian epic Mahabharata cites amazing work by architect 'Maya.'\n\nArchitects also occur in modern fiction. Examples include Howard Roark, protagonist in Ayn Rand's The Fountainhead; Bloody Stupid Johnson, a parody of Capability Brown who appears in Terry Pratchett's Discworld novels; and Slartibartfast, designer of planets in Douglas Adams's The Hitchhiker's Guide to the Galaxy. Basil Al Bayati's novel The Age of Metaphors on the theme of Metaphoric Architecture is also replete with fictional architects. The main characters of Sa'ad, Shiymaa and Sa'im are all architects, as are a number of others who appear throughout the book.\n\nMany films have included central characters who are architects, including Henry Fonda's character \"Juror 8\" (Davis) in 12 Angry Men (1957), Charles Bronson's character in Death Wish (1974), John Cassavetes' character in Tempest (1982), Wesley Snipes' character in \"Jungle Fever\" (1991), Christopher Lloyd's character in Suburban Commando (1991), Tom Hanks' character in Sleepless in Seattle (1993), David Strathairn's character in The River Wild (1994), Michael J. Fox's character in The Frighteners (1996), Michael Keaton's character in White Noise (2005) and Jeremy Irons' character in High-Rise (2015).\n\nIn television, Mike Brady, father of The Brady Bunch, is an architect; as is Wilbur Post, owner of Mister Ed; Ted Mosby, from How I Met Your Mother; and David Vincent from The Invaders. Adam Cartwright of Bonanza was an architectural engineer with a university education who designed the sprawling familial ranch-house on the Ponderosa Ranch. The character George Costanza pretends to be an architect named \"Art Vandelay\" in Seinfeld. Architect Halvard Solness is the protagonist of Henrick Ibsen's 1892 play The Master Builder.\n\nLists of architects by country\n\nSee also\n\nList of architects of supertall buildings\nList of architectural historians\nList of architecture firms\nList of women architects\n\nReferences\n\nFurther reading\nJames Steele (1997), Architecture Today, Phaidon Press.\n\nExternal links\nFamous architects\nThe Historyscoper - architects\nFamous Architects In Pakistan\n\n \nCategory:Lists of people by occupation", "title": "List of architects" }, { "text": "Koolhaas Houselife is a documentary film directed by Ila Bêka and Louise Lemoine.\n\nReception\nNicolai Ouroussoff, in The New York Times, praised this film, which elevated its makers to the status of \"cult figures in the European architecture world\".\n\nPublished Dvd-Books\n Koolhaas Houselife, 2008, .\n Koolhaas Houselife, 2013, .\n\nSee also\nRem Koolhaas\n\nNotes\n\nBibliography\n\n Ada Luise Huxtable, « Ingenious and Demanding », The Wall Street Journal, 2009-09-30 \n Patricia Zohn, « Culture Zohn: Life in the Koolhaas », The Huffington Post, 2010-07-30 .\n\nExternal links\n\n Archdaily 40 Best Architecture Docs\n\nCategory:2008 films\nCategory:Italian documentary films\nCategory:2008 documentary films\nCategory:Documentary films about architecture\nCategory:Rem Koolhaas", "title": "Koolhaas Houselife" } ]
[ "The proposal about the European flag was to develop a visual language and unite the flags of the EU member countries into a single, colourful symbol called the \"Barcode\". This barcode would have the flexibility to add new Member States of the EU without space constraints, unlike the current European flag with a fixed number of stars.", "The proposed symbol was called the \"Barcode\". It was intended to unite the flags of the EU member countries into a single, colourful symbol.", "The decision to unite the flags into a single \"Barcode\" symbol was made to create a shared visual language for the European Union, and to allow for the addition of new Member States without space constraints, an issue with the existing European flag.", "Yes, there was opposition to the \"Barcode\" flag. The logo was used for the EU information campaign and was very negatively criticized. Issues included the Estonian flag stripes being displayed incorrectly, and failure of the flag to achieve its main objective as a symbol. Critics pointed to the lack of capability to relate the signified (the mental concept, the European Union) with the signifier (the physical image, the stripes) as the major problem. The order in which the color stripes were displayed was also contested, as every country in the EU should be regarded as equal in importance and priority.", "Based on the information provided in the text, it appears that the proposal to adopt the \"Barcode\" flag was not successful. While it was used once officially during the Austrian EU Presidency in 2006, it was met with heavy criticism and the symbol has very rarely been used by commercial or political institutions.", "The proposal of the \"Barcode\" flag design took place after the signing of Treaties of Nice in May 2001. The \"Barcode\" design was adapted to include ten new Member States in 2004, and it was officially used for the first time during the Austrian EU Presidency in 2006." ]
[ "Yes", "No", "No", "Yes", "No", "No" ]
C_f4eb0541abd946cf8672e851bc8ab558_1
Koko B. Ware
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
Early years (1978 - 1986)
Koko spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, Koko Ware (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Koko accidentally knocked into Danny Davis and eliminated Valiant. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Jimmy Valiant returned to the ring and beat Koko down. Koko's feud with Jimmy Valiant was quickly expanded to include the heel Tojo Yamamoto and Koko ally Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Koko for the TV title making Koko's first run with the gold a short one. Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and "The Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his name to Sweet Brown Sugar. Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton & Sugar won the AWA Southern Tag Team Championship. CANNOTANSWER
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[ "How did Koko B. Ware get started?", "How did he fare against his opponents?", "Are there any other interesting aspects about this article?", "When did Koko B. Ware's big break come?", "Who were the opponents that he beat?", "What is Koko B. Ware famous for?", "How did he do as a referee?", "Was Koko ever a referee again?", "What else can you tell me about Koko?" ]
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{ "answer_starts": [ 11, 375, 144, 312, 540, 977, 1138, 1570, 977 ], "texts": [ "his early days in the sport in the Mid-South, Georgia and other NWA territories.", "he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant,", ") did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south.", "It was not until late in 1980 that Koko's fortune changed when he participated in a battle royal to crown the first ever Mid-American Television Champion.", "Danny Davis", "Koko floundered until September 1981 when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and \"The Dream Machine\".", "Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis.", "CANNOTANSWER", "Koko floundered until September 1981" ] }
James W. Ware, Jr. (born June 20, 1958), better known by his ring name Koko B. Ware is an American retired professional wrestler. He debuted in 1978 and became widely popular in 1986. He later went on to the World Wrestling Federation, where he went from strong mid-carder to jobber to the stars. "The Birdman" came to the ring with a blue-and-yellow macaw named Frankie, both flapping and dancing before and after his matches. Before joining the WWF, he was in several tag teams, most notably with Bobby Eaton in Memphis and with Norvell Austin (The PYT Express) in several promotions. In 1993, he lost the first Monday Night Raw match to Yokozuna. In 2009 he was inducted into the WWE Hall of Fame. Professional wrestling career Continental Wrestling Association (1978–1986) Early appearances (1978–1981) Ware spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, "Koko Ware" (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Ware's fortunes changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Ware accidentally knocked into Danny Davis and eliminated. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Valiant returned to the ring and beat Ware down. Ware's feud with Valiant was quickly expanded to include the heel Tojo Yamamoto and Ware's ally, Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Ware for the TV title making Ware's first run with the gold a short one. Sweet Brown Sugar and Stagger Lee (1981–1983) Ware floundered until September 1981, when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and the "Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his ring name to "Sweet Brown Sugar". Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton and Sugar won the AWA Southern Tag Team Championship. After successfully teaming for a while, Sugar and Eaton started to show signs of dissension, during their last run with the tag-team title Eaton beat Jacques Rougeau for the Mid-American Heavyweight title. During an interview where Eaton and Hart bragged about the victory, Sugar complained that he was unable to win the Southern Title from Terry Taylor. After being fed up, Hart finally slapped Sugar and sent the sulking superstar back to the dressing room after which Eaton commented that Sugar had been "whining like a woman". Later that night the duo defended their title against Taylor and Bill Dundee, losing the title when Sugar "accidentally" kicked Eaton and then left the ring. Eaton and Sugar contested a series of grudge matches centered around the Mid-America title and their issues with each other. The feud got so out of control that it had to be settled with a "loser leaves town" match, a match that Eaton won, driving Sugar out of the arena. Later, a masked man calling himself "Stagger Lee" debuted; the fact that he looked and wrestled like a masked version of Sugar helped make him instantly popular. Eaton, along with the rest of the First Family, tried in vain to unmask Lee but could not manage to do so. Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. The Pretty Young Things (1983–1984) During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed "The Pretty Young Things" or ("The PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. In August 1984, The Pretty Young Things began wrestling for World Class Championship Wrestling in Texas. They remained with the promotion until November 1984. In December 1984 the Pretty Young Things began wrestling for Championship Wrestling from Florida. On February 26, 1985, Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985, the team re-lost the title to the Youngbloods. They left the promotion in March 1985. After dropping the gold in Florida, the Pretty Young Things returned to the Continental Wrestling Association in April 1985. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. The team dissolved in July 1985 when Austin left for Continental Championship Wrestling. NWA Mid-America Heavyweight Champion (1985–1986) In August 1985, Ware won a tournament for the vacant NWA Mid-America Heavyweight Championship. He held the title until October, when he lost to Harley Race; he regained the title the following month. His final reign ended in January 1986 when he lost to Buddy Landel. Ware left the Continental Wrestling Association later that month to join the Universal Wrestling Federation. Universal Wrestling Federation (1986) In February 1986, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance. He left the promotion in August 1986 upon signing with the World Wrestling Federation. World Wrestling Federation (1986–1994) The Birdman (1986–1992) In August 1986, Ware signed with the World Wrestling Federation, where he continued his fun-loving "Birdman" Koko B. Ware" persona, complete with a macaw named "Frankie". Ware made his debut as a fan favorite on the September 6, 1986, episode of Superstars, teaming with Paul Roma against Hart Foundation (Bret Hart and Jim Neidhart) in a losing effort. His first victory was on the September 7 episode of Wrestling Challenge against Bob Bradley. He made his entrances dancing to the ring to the tune of Morris Day and The Time's "The Bird", flapping his arms and carrying Frankie, who sat on a perch at ringside while Ware wrestled. Bright outfits, colorful sunglasses, a constant smile and his vibrato singing voice made Ware popular, especially with the younger crowd that the WWF mainly catered to during the 1980s. Ware also sang the title track of the 1987 WWF album Piledriver, which then became his entrance music. The song's video featured top wrestlers of the day like Hulk Hogan and The Honky Tonk Man, as well as WWF owner Vince McMahon wearing a red "Hulkamania" shirt and hard hat. Ware garnered his first big win of his initial WWF run when he upset Harley Race at a house show in East Rutherford, NJ, on October 13. On television, his first major showcase was at the November 29, 1986 Saturday Night's Main Event VIII where he defeated Nikolai Volkoff. He was then granted an Intercontinental Title match against champion Randy Savage on the November 16 edition of Wrestling Challenge, a bout which went to a double countout. The same taping later saw Ware defeat Savage by countout in a dark match. Ware often lost to bigger stars, such as Butch Reed, Hercules, Greg Valentine, and The Big Boss Man. From 1987 to 1993, Ware appeared on several WWF PPVs (including WrestleMania III where he lost to Reed) and editions of Saturday Night's Main Event, being used mainly to make established or rising stars look good. Ware was the first wrestler on television to fall victim to the Perfect-plex of newcomer Mr. Perfect on the January 7, 1989, episode of Saturday Night's Main Event XIX, while at the 1990 Survivor Series, Ware became the first wrestler to fall victim to The Undertaker's Tombstone piledriver in the Undertaker's WWF debut match. In a precursor to what would become a regular team years later, Ware occasionally teamed with Owen Hart, wrestling as The Blue Blazer at the time, throughout 1988 and 1989. During a 1989 European tour, Ware was fired for his part in a physical altercation with WWF executive Jim Troy. Troy had used racial slurs during an argument after which the dispute turned physical. Ware was later rehired, a little over a month later, when Troy resigned. High Energy (1992–1993) In 1992, Ware teamed up with Owen Hart to form the high-flying team known as High Energy, well known in wrestling circles for their gigantic baggy brightly colored pants and checkered suspenders. High Energy feuded with (and generally lost to) The Nasty Boys, The Headshrinkers, and Money Inc. They made only one PPV appearance as a team, a loss to the Headshrinkers at the 1992 Survivor Series. Ware appeared in the first match on the very first episode of Monday Night Raw on January 11, 1993, where he was defeated in a squash match by Yokozuna. The team ended in March 1993 after Hart injured his knee. High Energy's final match came in a loss to The Headshrinkers at a live event on March 10. Return to singles competition (1993–1994) With Owen Hart out of action Koko would return to singles competition and immediately entered a house show series with Skinner. At the same time, Ware made appearances in the USWA as part of a talent exchange program with WWF. He continued wrestling in the promotion through the remainder of the year. Koko returned to WWF in 1994 when he appeared on the March 21 episode of Monday Night Raw and faced Jeff Jarrett. He would then appear on the April 9 episode of Superstars in a loss to Irwin R. Schyster. Koko picked up his first victory of his return by defeating Bastion Booger on the April 16, 1994, episode of WWF Mania. Koko then embarked on a house show tour in England where he faced Jarrett and Kwang. On May 19, he defeated The Genius and followed it up a night later with three more wins over Poffo later that month. Koko faced his former partner Owen Hart on the June 18 episode of Superstars. He ended his WWF run with three straight victories as he teamed with Bushwhacker Luke Williams in house show matches in Philippines, Hong Kong, and Singapore against Reno Riggins and Barry Horowitz. United States Wrestling Association (1991–1997) In 1991 Koko made his debut in the USWA. By 1992 the WWF and the United States Wrestling Association started a talent exchange agreement which saw Koko B. Ware return to Memphis. In the USWA Koko was more successful than in the WWF, winning the USWA World Title twice, once from Kamala "The Ugandan Giant" and once from USWA icon Jerry Lawler. Koko also hooked up with Rex Hargrove and won the USWA Tag Team Championship once in 1993. In 1996 he feuded with Brian Christopher and Jerry Lawler. He left in 1997 before the company shut down later that year. Late career (1997–2019) Ware made a few appearances for the American Wrestling Federation from 1994 to 1996 but did not become a regular before going into semi-retirement in 1997. Ware was interviewed briefly during the 1999 wrestling documentary Beyond the Mat. After USWA, Ware did not wrestle as much. He started working for the independent circuit. In 1998 to 1999 he wrestled for Power Pro Wrestling in Memphis. In 1999, he retired from wrestling and took a couple of years off. On the January 25, 1999, edition of WWF Raw is War, Ware made a short-lived return to the World Wrestling Federation where he put on the "Blue Blazer" mask during the Owen Hart angle and Jeff Jarrett in their victory for the tag team championship. When Hart died, the angle was dropped and Ware's services were no longer needed. On May 18, 2001, Ware returned to wrestling and defeated Brickhouse Brown at Galaxy Championship Wrestling in Little Rock, Arkansas. By 2003 Ware began to wrestle full time again. He defeated Billy Maverick for the SCW Supreme Title for Supreme Championship Wrestling on August 22. Also in 2003, Ware began competing once again in the Memphis area for the Memphis Wrestling promotion from 2003 to 2007. He also competed at the "World Wrestling Legends" PPV on March 5, 2006, where he defeated Disco Inferno. He appeared at "WWE Homecoming", Raw's return to the USA Network, on October 3, 2005. He fought (and was defeated by) Rob Conway on the October 28, 2005, edition of WWE Heat. In April 2007, he wrestled in a tag match (while managed by special guest Slick) and lost to Bill Dundee and Dutch Mantel (managed by Jimmy Valiant) at Ultimate Clash of the Legends '07 headlined by Hulk Hogan vs. Paul Wight (Big Show). On August 23, 2007, he defeated his former nemesis Greg Valentine for Great North Wrestling at the Ottawa SuperEX in Ottawa, Ontario, Canada. On June 8, 2008, Ware made a special appearance at TNA's Slammiversary as a groomsman in the kayfabe wedding for "Black Machismo" Jay Lethal and SoCal Val, along with George "The Animal" Steele, Kamala the Ugandan Giant, and Jake "The Snake" Roberts. On April 4, 2009, Ware was inducted into the WWE Hall of Fame by The Honky Tonk Man. Ware appeared at the 2010 edition of "Night of Legends", a card promoted by the International Wrestling Cartel (IWC), where he defeated "The Genius" Lanny Poffo. On February 15, 2011, Ware made an appearance on Tosh.0. On May 31, 2014, Ware appeared in the main event at Valour Wrestling's special event to raise money for Lou Gehrig disease. On July 14, 2017, Ware appeared in Big Time Wrestling in Newark, CA, and teamed with Shane Kody to defeat the Ballard Brothers. On July 28, 2018, Ware appeared in Eastern Wrestling Federation and teamed with Blackcat Johnson in a winning effort. Ware wrestled his last match on August 10, 2019 for Pennsylvania Premiere Wrestling, teamed with John Wes and Matt Turner to defeat James Ellsworth, RJS and Alexander Bateman. Personal life Koko was born in Union City, Tennessee, on June 20, 1958. In September 2009, Ware's wife died from cancer. In 2020 he married Pamela James. Ware was a defendant in a 2015 lawsuit filed by WWE after they received a letter from him indicating that he intended to sue them for concussion-based injuries sustained during his tenure with them. He was represented by attorney Konstantine Kyros, who was involved in several other lawsuits involving former WWE wrestlers. US District Judge Vanessa Lynne Bryant dismissed Ware's lawsuit in September 2018. Professional wrestling style and persona Ware's character featured him carrying a parrot called Frankie, which earned him the nicknames "The Birdman". He performed a brainbuster known as the Ghostbuster. He used a wide range of signature moves including the Missile dropkick, bulldog. dropkick, headbutt or monkey flip. After being inducted in the WWE Hall of Fame in 2009, Ware has been a point of controversy because, working as a carpenter, he was inducted before world champions Ivan Koloff, Randy Savage or Bruno Sammartino. In 2020, 411Mania writers Steve Cook and Kevin Pantoja discussed Ware's induction. While Cook defended his Hall of Fame status since he was very over and some of his losses were historic, Pantoja described him as "the floor for inductees". Championships and accomplishments Badger State Pro Wrestling BSPW Heavyweight Championship (1 time) BSPW Tag Team Championship (2) - with Juicy Johnny Cauliflower Alley Club Men's Wrestling Award (2023) Championship Wrestling from Florida NWA United States Tag Team Championship (Florida version) (1 time) - with Norvell Austin Continental Wrestling Association AWA Southern Tag Team Championship (7 times) - with Norvell Austin (3 times), Bobby Eaton (2 times), Stan Lane (1 time), and Dutch Mantel (1 time) NWA Mid-America Heavyweight Championship (6 times) NWA Mid-America Television Championship (1 time) International World Class Championship Wrestling IWCCW Heavyweight Championship (1 time) International Wrestling Alliance IWA Heavyweight Championship (1 time) Memphis Wrestling Hall of Fame Class of 2017 Pro Wrestling Illustrated PWI ranked him #406 of the 500 best singles wrestlers during the "PWI Years" in 2003. Real Wrestling Federation RWF Heavyweight Championship (1 time) Supreme Championship Wrestling SCW Supreme Championship (1 time) United States Wrestling Association USWA Unified World Heavyweight Championship (2 times) USWA World Tag Team Championship (1 time) - with Rex Hargrove World Wrestling Entertainment WWE Hall of Fame (Class of 2009) References External links Category:1957 births Category:20th-century African-American people Category:20th-century professional wrestlers Category:21st-century African-American people Category:21st-century professional wrestlers Category:African-American male professional wrestlers Category:American male professional wrestlers Category:ICW/IWCCW Heavyweight Champions Category:Living people Category:NWA North American Tag Team Champions (Florida version) Category:NWA United States Tag Team Champions (Florida version) Category:People from Union City, Tennessee Category:Professional wrestlers from Tennessee Category:First Family (professional wrestling) members Category:USWA Unified World Heavyweight Champions Category:USWA World Tag Team Champions Category:WWE Hall of Fame inductees
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[ "Koko B. Ware got started in the sport, by spending his early days in the Mid-South, Georgia and other NWA territories. He learned the ropes and paid his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south.", "Koko B. Ware had mixed results against his opponents. Early in his career, he did not find great success. However, his fortune changed in late 1980 when he won the Mid-American Television Championship. After his win, he was beaten down by Jimmy Valiant. He had a feud with Jimmy Valiant and Tojo Yamamoto while having Tommy Rich as an ally. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Koko for the TV title. Koko did not fare well against Jerry Lawler and lost a Southern Heavyweight Championship title match refereed by him. But he did taste tag-team success alongside Steve Keirn and Bobby Eaton, with whom he won the AWA Southern Tag Team Championship.", "One interesting aspect from this article was Koko B. Ware's decision to change his professional name to Sweet Brown Sugar after aligning himself with manager Jimmy Hart and his First Family. Another interesting aspect was how Koko Ware became a deciding factor in the Southern Heavyweight Championship title match between Jerry Lawler and \"The Dream Machine\" in September 1981, where he was chosen as the referee and unfairly counted Lawler out to give the Dream Machine the victory. This turned the fans in Memphis against him.", "Koko B. Ware's big break came in late 1980 when he participated in a battle royal to crown the first ever Mid-American Television Champion and won, securing his first title.", "In the process of winning his first title, Koko B. Ware beat Jimmy Valiant and Danny Davis. In tag-team, alongside Steve Keirn and then Bobby Eaton, he won the AWA Southern Tag Team Championship.", "Koko B. Ware is famous for his career in professional wrestling. He gained recognition late in 1980 when he won the battle royal to become the first ever Mid-American Television Champion. He later won the AWA Southern Tag Team Championship along with Bobby Eaton. A significant moment in his career was when he unfairly counted Jerry Lawler out to give the Dream Machine the victory in a Southern Heavyweight Championship title match, igniting a feud between Ware and Lawler. He was also known for changing his name to Sweet Brown Sugar after aligning himself with manager Jimmy Hart and his First Family.", "As a referee, Koko B. Ware's performance is mentioned in the context of one key incident - a Southern Heavyweight Championship title match between Jerry Lawler and \"The Dream Machine\". In that match, Koko unfairly counted Lawler out, resulting in the Dream Machine winning. Though this decision had a significant impact on the match, it did not sit well with Lawler or the fans in Memphis.", "The context does not provide information on whether Koko B. Ware served as a referee again after the Southern Heavyweight Championship title match between Jerry Lawler and \"The Dream Machine\".", "Based on the given context, Koko, also known as Koko Ware or Sweet Brown Sugar, was a professional wrestler who started his early career in the Mid-South, Georgia and other NWA territories. He underwent a significant evolution in his career, from an early stage of not finding great success, to winning the Mid-American Television Championship later in 1980. His career was also marked by feuds with other wrestlers, unpopularity as a referee, and a name change when he aligned with manager Jimmy Hart and his First Family. Despite some setbacks, he found success in tag-team wrestling, winning the AWA Southern Tag Team Championship alongside Steve Keirn and then Bobby Eaton." ]
[ "Yes", "Yes", "No", "Yes", "Yes", "Yes", "Yes", "Yes", "No" ]
C_f4eb0541abd946cf8672e851bc8ab558_0
Koko B. Ware
James Ware (born June 20, 1957), better known by his ring name Koko B. Ware is a retired American professional wrestler who made his professional wrestling debut in 1978. He rose in popularity during the mid 1980s, while appearing in the World Wrestling Federation, where he was initially a strong mid-carder before he eventually became a jobber to the stars. Ware came to the ring with a blue-and-yellow macaw named Frankie, and would flap his arms like a bird while dancing before and after his matches. Before joining the WWF, Ware worked as a part of several tag teams, first with Bobby Eaton in Memphis and then later on with Norvell Austin as one half of the P.Y.T. Express in several promotions.
Pretty Young Things
Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed the Pretty Young Things or ("the PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. The PYT Express remained in Memphis for a period of time after this before moving on to other promotions such as Mid-South Wrestling, World Class Championship Wrestling in Texas and Championship Wrestling from Florida. On February 26, 1985 Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985 the team re-lost the title to the Youngbloods. After dropping the gold in Florida, the Pretty Young Things returned to the federation that first put them together, the Continental Wrestling Association. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. After the PYT's disbanded, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance. CANNOTANSWER
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[ "How did Pretty Young Things start?", "When did they start Pretty Young Things?", "How popular was Pretty Young Things?", "Where did they go after being in Memphis?", "Is there anything else interesting with The Pretty Young Things?", "Who did they lose against?", "Where did Pretty Young Things end up?", "When did they disband?", "Why did the disband?" ]
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James W. Ware, Jr. (born June 20, 1958), better known by his ring name Koko B. Ware is an American retired professional wrestler. He debuted in 1978 and became widely popular in 1986. He later went on to the World Wrestling Federation, where he went from strong mid-carder to jobber to the stars. "The Birdman" came to the ring with a blue-and-yellow macaw named Frankie, both flapping and dancing before and after his matches. Before joining the WWF, he was in several tag teams, most notably with Bobby Eaton in Memphis and with Norvell Austin (The PYT Express) in several promotions. In 1993, he lost the first Monday Night Raw match to Yokozuna. In 2009 he was inducted into the WWE Hall of Fame. Professional wrestling career Continental Wrestling Association (1978–1986) Early appearances (1978–1981) Ware spent his early days in the sport in the Mid-South, Georgia and other NWA territories. Early in his career, "Koko Ware" (as he was then known) did not find great success, learning the ropes and paying his dues both in Jerry Jarrett's Continental Wrestling Association and Nick Gulas' territory in the south. It was not until late in 1980 that Ware's fortunes changed when he participated in a battle royal to crown the first ever Mid-American Television Champion. The crowd favorite was Jimmy Valiant, who Ware accidentally knocked into Danny Davis and eliminated. Moments later, Koko dumped Davis to the floor and won his first title. After the match, Valiant returned to the ring and beat Ware down. Ware's feud with Valiant was quickly expanded to include the heel Tojo Yamamoto and Ware's ally, Tommy Rich. When Dutch Mantel returned to the CWA in early 1981 he quickly defeated Ware for the TV title making Ware's first run with the gold a short one. Sweet Brown Sugar and Stagger Lee (1981–1983) Ware floundered until September 1981, when he was chosen to referee a Southern Heavyweight Championship title match between Jerry Lawler and the "Dream Machine". Ware unfairly counted Lawler out to give the Dream Machine the victory, a decision that did not sit well with Lawler nor the fans in Memphis. Koko quickly aligned himself with manager Jimmy Hart and his First Family and changed his ring name to "Sweet Brown Sugar". Sugar never got the best of Lawler but did taste tag-team success alongside Steve Keirn and then with Bobby Eaton. Eaton and Sugar won the AWA Southern Tag Team Championship. After successfully teaming for a while, Sugar and Eaton started to show signs of dissension, during their last run with the tag-team title Eaton beat Jacques Rougeau for the Mid-American Heavyweight title. During an interview where Eaton and Hart bragged about the victory, Sugar complained that he was unable to win the Southern Title from Terry Taylor. After being fed up, Hart finally slapped Sugar and sent the sulking superstar back to the dressing room after which Eaton commented that Sugar had been "whining like a woman". Later that night the duo defended their title against Taylor and Bill Dundee, losing the title when Sugar "accidentally" kicked Eaton and then left the ring. Eaton and Sugar contested a series of grudge matches centered around the Mid-America title and their issues with each other. The feud got so out of control that it had to be settled with a "loser leaves town" match, a match that Eaton won, driving Sugar out of the arena. Later, a masked man calling himself "Stagger Lee" debuted; the fact that he looked and wrestled like a masked version of Sugar helped make him instantly popular. Eaton, along with the rest of the First Family, tried in vain to unmask Lee but could not manage to do so. Bobby Eaton later turned face, he teamed with "Stagger Lee" for a series of matches. The Pretty Young Things (1983–1984) During a tag-team tournament in 1983, the masked Stagger Lee teamed up with fellow face Norvell Austin to take on "Fargo's Fabulous Ones" (Tommy Rich and "Hot Stuff" Eddie Gilbert). During the course of the match Stagger Lee's mask was removed to reveal the man beneath it, prompting a heel turn for Ware. Austin and Ware became a regular tag team dubbed "The Pretty Young Things" or ("The PYT Express"). The two men soon began wearing red leather jackets, and each had a single white glove on, in an obvious imitation of Michael Jackson to further enhance their "pretty boy" image. The team defeated Elijah Akeem and Kareem Mohammad for the AWA Southern Tag Team Championship in February 1984; almost two weeks later, Akeem and Mohammad regained the title. In August 1984, The Pretty Young Things began wrestling for World Class Championship Wrestling in Texas. They remained with the promotion until November 1984. In December 1984 the Pretty Young Things began wrestling for Championship Wrestling from Florida. On February 26, 1985, Austin and Ware defeated Jay and Mark Youngblood to win the NWA Florida United States Tag Team Championship. Two weeks later on March 5, 1985, the team re-lost the title to the Youngbloods. They left the promotion in March 1985. After dropping the gold in Florida, the Pretty Young Things returned to the Continental Wrestling Association in April 1985. There, they won the AWA Southern Tag Team title twice, both times from The Fabulous Ones (Steve Keirn and Stan Lane) as they feuded with the top face team of the promotion. The team dissolved in July 1985 when Austin left for Continental Championship Wrestling. NWA Mid-America Heavyweight Champion (1985–1986) In August 1985, Ware won a tournament for the vacant NWA Mid-America Heavyweight Championship. He held the title until October, when he lost to Harley Race; he regained the title the following month. His final reign ended in January 1986 when he lost to Buddy Landel. Ware left the Continental Wrestling Association later that month to join the Universal Wrestling Federation. Universal Wrestling Federation (1986) In February 1986, Koko moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware. Ware's persona was that of a face who entered the ring to the theme of Morris Day's "The Bird", doing an arm-flapping dance. He left the promotion in August 1986 upon signing with the World Wrestling Federation. World Wrestling Federation (1986–1994) The Birdman (1986–1992) In August 1986, Ware signed with the World Wrestling Federation, where he continued his fun-loving "Birdman" Koko B. Ware" persona, complete with a macaw named "Frankie". Ware made his debut as a fan favorite on the September 6, 1986, episode of Superstars, teaming with Paul Roma against Hart Foundation (Bret Hart and Jim Neidhart) in a losing effort. His first victory was on the September 7 episode of Wrestling Challenge against Bob Bradley. He made his entrances dancing to the ring to the tune of Morris Day and The Time's "The Bird", flapping his arms and carrying Frankie, who sat on a perch at ringside while Ware wrestled. Bright outfits, colorful sunglasses, a constant smile and his vibrato singing voice made Ware popular, especially with the younger crowd that the WWF mainly catered to during the 1980s. Ware also sang the title track of the 1987 WWF album Piledriver, which then became his entrance music. The song's video featured top wrestlers of the day like Hulk Hogan and The Honky Tonk Man, as well as WWF owner Vince McMahon wearing a red "Hulkamania" shirt and hard hat. Ware garnered his first big win of his initial WWF run when he upset Harley Race at a house show in East Rutherford, NJ, on October 13. On television, his first major showcase was at the November 29, 1986 Saturday Night's Main Event VIII where he defeated Nikolai Volkoff. He was then granted an Intercontinental Title match against champion Randy Savage on the November 16 edition of Wrestling Challenge, a bout which went to a double countout. The same taping later saw Ware defeat Savage by countout in a dark match. Ware often lost to bigger stars, such as Butch Reed, Hercules, Greg Valentine, and The Big Boss Man. From 1987 to 1993, Ware appeared on several WWF PPVs (including WrestleMania III where he lost to Reed) and editions of Saturday Night's Main Event, being used mainly to make established or rising stars look good. Ware was the first wrestler on television to fall victim to the Perfect-plex of newcomer Mr. Perfect on the January 7, 1989, episode of Saturday Night's Main Event XIX, while at the 1990 Survivor Series, Ware became the first wrestler to fall victim to The Undertaker's Tombstone piledriver in the Undertaker's WWF debut match. In a precursor to what would become a regular team years later, Ware occasionally teamed with Owen Hart, wrestling as The Blue Blazer at the time, throughout 1988 and 1989. During a 1989 European tour, Ware was fired for his part in a physical altercation with WWF executive Jim Troy. Troy had used racial slurs during an argument after which the dispute turned physical. Ware was later rehired, a little over a month later, when Troy resigned. High Energy (1992–1993) In 1992, Ware teamed up with Owen Hart to form the high-flying team known as High Energy, well known in wrestling circles for their gigantic baggy brightly colored pants and checkered suspenders. High Energy feuded with (and generally lost to) The Nasty Boys, The Headshrinkers, and Money Inc. They made only one PPV appearance as a team, a loss to the Headshrinkers at the 1992 Survivor Series. Ware appeared in the first match on the very first episode of Monday Night Raw on January 11, 1993, where he was defeated in a squash match by Yokozuna. The team ended in March 1993 after Hart injured his knee. High Energy's final match came in a loss to The Headshrinkers at a live event on March 10. Return to singles competition (1993–1994) With Owen Hart out of action Koko would return to singles competition and immediately entered a house show series with Skinner. At the same time, Ware made appearances in the USWA as part of a talent exchange program with WWF. He continued wrestling in the promotion through the remainder of the year. Koko returned to WWF in 1994 when he appeared on the March 21 episode of Monday Night Raw and faced Jeff Jarrett. He would then appear on the April 9 episode of Superstars in a loss to Irwin R. Schyster. Koko picked up his first victory of his return by defeating Bastion Booger on the April 16, 1994, episode of WWF Mania. Koko then embarked on a house show tour in England where he faced Jarrett and Kwang. On May 19, he defeated The Genius and followed it up a night later with three more wins over Poffo later that month. Koko faced his former partner Owen Hart on the June 18 episode of Superstars. He ended his WWF run with three straight victories as he teamed with Bushwhacker Luke Williams in house show matches in Philippines, Hong Kong, and Singapore against Reno Riggins and Barry Horowitz. United States Wrestling Association (1991–1997) In 1991 Koko made his debut in the USWA. By 1992 the WWF and the United States Wrestling Association started a talent exchange agreement which saw Koko B. Ware return to Memphis. In the USWA Koko was more successful than in the WWF, winning the USWA World Title twice, once from Kamala "The Ugandan Giant" and once from USWA icon Jerry Lawler. Koko also hooked up with Rex Hargrove and won the USWA Tag Team Championship once in 1993. In 1996 he feuded with Brian Christopher and Jerry Lawler. He left in 1997 before the company shut down later that year. Late career (1997–2019) Ware made a few appearances for the American Wrestling Federation from 1994 to 1996 but did not become a regular before going into semi-retirement in 1997. Ware was interviewed briefly during the 1999 wrestling documentary Beyond the Mat. After USWA, Ware did not wrestle as much. He started working for the independent circuit. In 1998 to 1999 he wrestled for Power Pro Wrestling in Memphis. In 1999, he retired from wrestling and took a couple of years off. On the January 25, 1999, edition of WWF Raw is War, Ware made a short-lived return to the World Wrestling Federation where he put on the "Blue Blazer" mask during the Owen Hart angle and Jeff Jarrett in their victory for the tag team championship. When Hart died, the angle was dropped and Ware's services were no longer needed. On May 18, 2001, Ware returned to wrestling and defeated Brickhouse Brown at Galaxy Championship Wrestling in Little Rock, Arkansas. By 2003 Ware began to wrestle full time again. He defeated Billy Maverick for the SCW Supreme Title for Supreme Championship Wrestling on August 22. Also in 2003, Ware began competing once again in the Memphis area for the Memphis Wrestling promotion from 2003 to 2007. He also competed at the "World Wrestling Legends" PPV on March 5, 2006, where he defeated Disco Inferno. He appeared at "WWE Homecoming", Raw's return to the USA Network, on October 3, 2005. He fought (and was defeated by) Rob Conway on the October 28, 2005, edition of WWE Heat. In April 2007, he wrestled in a tag match (while managed by special guest Slick) and lost to Bill Dundee and Dutch Mantel (managed by Jimmy Valiant) at Ultimate Clash of the Legends '07 headlined by Hulk Hogan vs. Paul Wight (Big Show). On August 23, 2007, he defeated his former nemesis Greg Valentine for Great North Wrestling at the Ottawa SuperEX in Ottawa, Ontario, Canada. On June 8, 2008, Ware made a special appearance at TNA's Slammiversary as a groomsman in the kayfabe wedding for "Black Machismo" Jay Lethal and SoCal Val, along with George "The Animal" Steele, Kamala the Ugandan Giant, and Jake "The Snake" Roberts. On April 4, 2009, Ware was inducted into the WWE Hall of Fame by The Honky Tonk Man. Ware appeared at the 2010 edition of "Night of Legends", a card promoted by the International Wrestling Cartel (IWC), where he defeated "The Genius" Lanny Poffo. On February 15, 2011, Ware made an appearance on Tosh.0. On May 31, 2014, Ware appeared in the main event at Valour Wrestling's special event to raise money for Lou Gehrig disease. On July 14, 2017, Ware appeared in Big Time Wrestling in Newark, CA, and teamed with Shane Kody to defeat the Ballard Brothers. On July 28, 2018, Ware appeared in Eastern Wrestling Federation and teamed with Blackcat Johnson in a winning effort. Ware wrestled his last match on August 10, 2019 for Pennsylvania Premiere Wrestling, teamed with John Wes and Matt Turner to defeat James Ellsworth, RJS and Alexander Bateman. Personal life Koko was born in Union City, Tennessee, on June 20, 1958. In September 2009, Ware's wife died from cancer. In 2020 he married Pamela James. Ware was a defendant in a 2015 lawsuit filed by WWE after they received a letter from him indicating that he intended to sue them for concussion-based injuries sustained during his tenure with them. He was represented by attorney Konstantine Kyros, who was involved in several other lawsuits involving former WWE wrestlers. US District Judge Vanessa Lynne Bryant dismissed Ware's lawsuit in September 2018. Professional wrestling style and persona Ware's character featured him carrying a parrot called Frankie, which earned him the nicknames "The Birdman". He performed a brainbuster known as the Ghostbuster. He used a wide range of signature moves including the Missile dropkick, bulldog. dropkick, headbutt or monkey flip. After being inducted in the WWE Hall of Fame in 2009, Ware has been a point of controversy because, working as a carpenter, he was inducted before world champions Ivan Koloff, Randy Savage or Bruno Sammartino. In 2020, 411Mania writers Steve Cook and Kevin Pantoja discussed Ware's induction. While Cook defended his Hall of Fame status since he was very over and some of his losses were historic, Pantoja described him as "the floor for inductees". Championships and accomplishments Badger State Pro Wrestling BSPW Heavyweight Championship (1 time) BSPW Tag Team Championship (2) - with Juicy Johnny Cauliflower Alley Club Men's Wrestling Award (2023) Championship Wrestling from Florida NWA United States Tag Team Championship (Florida version) (1 time) - with Norvell Austin Continental Wrestling Association AWA Southern Tag Team Championship (7 times) - with Norvell Austin (3 times), Bobby Eaton (2 times), Stan Lane (1 time), and Dutch Mantel (1 time) NWA Mid-America Heavyweight Championship (6 times) NWA Mid-America Television Championship (1 time) International World Class Championship Wrestling IWCCW Heavyweight Championship (1 time) International Wrestling Alliance IWA Heavyweight Championship (1 time) Memphis Wrestling Hall of Fame Class of 2017 Pro Wrestling Illustrated PWI ranked him #406 of the 500 best singles wrestlers during the "PWI Years" in 2003. Real Wrestling Federation RWF Heavyweight Championship (1 time) Supreme Championship Wrestling SCW Supreme Championship (1 time) United States Wrestling Association USWA Unified World Heavyweight Championship (2 times) USWA World Tag Team Championship (1 time) - with Rex Hargrove World Wrestling Entertainment WWE Hall of Fame (Class of 2009) References External links Category:1957 births Category:20th-century African-American people Category:20th-century professional wrestlers Category:21st-century African-American people Category:21st-century professional wrestlers Category:African-American male professional wrestlers Category:American male professional wrestlers Category:ICW/IWCCW Heavyweight Champions Category:Living people Category:NWA North American Tag Team Champions (Florida version) Category:NWA United States Tag Team Champions (Florida version) Category:People from Union City, Tennessee Category:Professional wrestlers from Tennessee Category:First Family (professional wrestling) members Category:USWA Unified World Heavyweight Champions Category:USWA World Tag Team Champions Category:WWE Hall of Fame inductees
[]
[ "Pretty Young Things (PYT) started when Norvell Austin and Ware teamed up after a match where Stagger Lee's mask was removed to reveal Ware. This prompted a heel turn for Ware. They began wearing red leather jackets and a single white glove each, imitating Michael Jackson, to enhance their \"pretty boy\" image, which led to their team being dubbed the Pretty Young Things, or PYT Express.", "The text does not provide a specific date when Norvell Austin and Ware initiated the Pretty Young Things (PYT).", "The text does not provide specific information on the popularity of the Pretty Young Things. It is noted that they were part of several wrestling promotions and won multiple championships, indicating some level of success.", "After their stint in Memphis, the Pretty Young Things went on to other promotions such as Mid-South Wrestling, World Class Championship Wrestling in Texas, and Championship Wrestling from Florida.", "While the text doesn't share more specific details, it mentions that the Pretty Young Things, also known as \"the PYT Express,\" uniquely adopted a \"pretty boy\" image, even imitating Michael Jackson by wearing red leather jackets and a single white glove each. They were active in multiple promotions and had a series of championship wins and losses, including the AWA Southern Tag Team Championship and the NWA Florida United States Tag Team Championship.", "The Pretty Young Things lost against several opponents. In February 1984, they lost the AWA Southern Tag Team Championship to Elijah Akeem and Kareem Mohammad. Then in March 1985, they lost the NWA Florida United States Tag Team Championship to Jay and Mark Youngblood.", "After dropping their title in Florida, the Pretty Young Things returned to the Continental Wrestling Association, which was the federation where they had first been put together. They won the AWA Southern Tag Team title twice there before eventually disbanding. Ware then moved on to Bill Watts' Mid-South/UWF territory, where he started calling himself Koko B. Ware.", "The text does not provide a specific date when the Pretty Young Things disbanded.", "The text does not provide a reason for why the Pretty Young Things disbanded." ]
[ "Yes", "No", "No", "No", "Yes", "Yes", "Yes", "Yes", "Yes" ]
C_aa0aed859ca9464fa61c689aa189a45c_1
Betty Boop
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
Origins
Betty Boop made her first appearance on August 9, 1930, in the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series. Although Clara Bow is often given as being the model for Boop, she actually began as a caricature of singer Helen Kane. The character was originally created as an anthropomorphic French poodle. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"--derived from the 1930 Helen Kane film Dangerous Nan McGrew--usually serving as a girlfriend to studio star, Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for her creation, her transformation into the cute cartoon girl was due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty's voice was first performed by Margie Hines, and was later performed by several different voice actresses, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and most notably, Mae Questel. Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1938, returning 50 years later in Disney's Who Framed Roger Rabbit. Today, Betty is voiced by Tress MacNeille, Sandy Fox and Cindy Robinson in commercials. Although it has been assumed that Betty's first name was established in the 1931 Screen Songs cartoon, Betty Co-ed, this "Betty" is an entirely different character. Even though the song may have led to Betty's eventual christening, any reference to Betty Co-ed as a Betty Boop vehicle is incorrect although the official Betty Boop website describes the titular character as a "prototype" of Betty. There are at least 12 Screen Songs cartoons that featured Betty Boop or a similar character. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Betty also made a cameo appearance in the feature film Who Framed Roger Rabbit (1988), in which she appeared in her traditional black and white and was voiced by Mae Questel. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s, lasting until 1939. CANNOTANSWER
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[ "Where we trace betty's origin?", "Who was the originator?", "Who else helped progress betty?", "How betty fared with other characters?", "Any example of success in those characters?", "Did betty morph more?", "How betty was portrayed in the press or elsewhere?", "Did she receive other titles?", "Are there any other interesting aspects about this article?" ]
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Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She was featured in 90 theatrical cartoons between 1930 and 1939. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as "combin[ing] in appearance the childish with the sophisticated—a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable". Although she was toned down in the mid-1930s as a result of the Hays Code to appear more demure, she became one of the world's best-known and most popular cartoon characters. History Origins Betty Boop made her first appearance in the cartoon Dizzy Dishes, released on August 9, 1930, the seventh installment in Fleischer's Talkartoon series. Inspired by a popular performing style, but not by any one specific person, the character was originally created as an anthropomorphic French poodle. Clara Bow is often given credit as being the inspiration for Boop, though Fleischer told his artists that he wanted a caricature of singer Helen Kane, who performed in a style shared by many performers of the day–Kane was also the one who sued Fleischer over the signature "Boop Oop a Doop" line. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"—derived from the Helen Kane film Dangerous Nan McGrew (1930)—usually serving as a girlfriend to studio star Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for helping to transform Max Fleischer's creation, her transition into the cute cartoon girl was also in part due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags, Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty was first voiced by Margie Hines. Later, several different voice actresses performed the role, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and especially Mae Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1939, returning nearly 50 years later in Disney's Who Framed Roger Rabbit (1988). Today, Betty is voiced by Sandy Fox and Cindy Robinson. Although Betty's first name was assumed to have been established in the 1931 Screen Songs cartoon Betty Co-ed, this "Betty" is a different character, which the official Betty Boop website describes as a "prototype" of Betty Boop. At least 12 Screen Songs cartoons featured Betty Boop or a similar character. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s. Since the character was created by an Austrian Jew and eventually voiced by a Jewish actress, Mae Questel, animation fans sometimes try to pinpoint various aspects that hint at Betty's Jewishness. The 1932 Talkartoon Minnie the Moocher featured the one and only appearance of Betty's parents: a strict immigrant couple, who get upset that Betty does not want to eat the traditional German foods hasenpfeffer (rabbit stew) and sauerbraten. Benjamin Ivry of Forward, says that any of this evidence is ambiguous, as these are not kosher foods, and the accents of the parents are comical German accents, rather than Jewish. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Contemporary resurgence The Betty Boop films were revived after Paramount sold them for syndication in 1955. UM&M and National Telefilm Associates were required to remove the original Paramount logo from the opening and closing, as well as any references to Paramount in the copyright line on the main titles. However, the mountain motif remains on some television prints, usually with a UM&M copyright line, while recent versions have circulated with the Paramount-Publix reference in cartoons from 1931. The original Betty Boop cartoons were made in black and white. As new color cartoons made specifically for television began to appear in the 1960s, the original black-and-white cartoons were retired. Boop's film career had a revival with the release of The Betty Boop Scandals of 1974, becoming a part of the post-1960s counterculture. NTA attempted to capitalize on this with a new syndication package, but because no market existed for cartoons in black and white, they sent them to South Korea, where the cartoons were hand-traced frame-by-frame in color, resulting in the degradation of the animation quality and timing. Unable to sell these to television largely because of the sloppy colorization, they assembled a number of the color cartoons in a compilation feature titled Betty Boop for President, to connect with the 1976 election, but it did not receive a theatrical release. The release of the films on video cassette for home viewing created a new market for the films in their original form. The American Movie Classics cable television channel showcased a selection of the original black-and-white Betty Boop cartoons in the 1990s, which led to an eight-volume VHS and LV set, Betty Boop, the Definitive Collection. Some of the nonpublic-domain Boop cartoons copyrighted by Republic successor Melange Pictures (ViacomCBS's holding company that handles the Republic theatrical library) have been released by Olive Films under Paramount's license, while the Internet Archive hosts 22 Betty Boop cartoons that are public domain. Planned feature appearances In 1993, plans were made for an animated feature film of Betty Boop, but they were later cancelled. The musical storyboard scene of the proposed film can be seen online. The finished reel consists of Betty and her estranged father performing a jazz number together called "Where are you?" Jimmy Rowles and Sue Raney provide the vocals for Betty and Benny Boop. Producers Steven Paul Leiva and Jerry Rees began production on a new Betty Boop feature film for the Zanuck Company and Metro-Goldwyn-Mayer. The script by Rees detailed Betty's rise in Hollywood in the Golden Age of Hollywood. It was to be a musical with music by jazz musician Bennie Wallace and lyrics by Cheryl Ernst Wells. Wallace and Wells had completed several songs and 75% of the film had been storyboarded when, two weeks before voice recording was to begin with Bernadette Peters as Betty, the head of MGM, Alan Ladd Jr., was replaced by Frank Mancuso, and the project was abandoned. On August 14, 2014, Simon Cowell's Syco and Animal Logic announced they were developing and producing a feature-length film based on the character. According to Playbill in 2012, a musical based on Betty Boop was "in the works", with music by David Foster and book by Oscar Williams and Sally Robinson. No dates, theatre, or cast were listed. Portrayal Sex symbol Betty Boop is regarded as one of the first and best-known sex symbols on the animated screen; she is a symbol of the Depression era and a reminder of the more carefree days of Jazz Age flappers. Her popularity was drawn largely from adult audiences, and the cartoons, while seemingly surreal, contained many sexual and psychological elements, particularly in the 1932 "Talkartoon" Minnie the Moocher (1932), featuring Cab Calloway and his orchestra. Minnie the Moocher defined Betty's character as a teenager of a modern era, at odds with the old-world ways of her parents. In the cartoon, after a disagreement with her strict parents, Betty runs away from home, accompanied by her boyfriend Bimbo, only to get lost in a haunted cave. A ghostly walrus (rotoscoped from live-action footage of Calloway) sings Calloway's song "Minnie the Moocher", accompanied by several other ghosts and skeletons. This haunting performance sends the frightened Betty and Bimbo back to the safety of home. "Minnie the Moocher" served as a promotion for Calloway's subsequent stage appearances and also established Betty Boop as a cartoon star. The eight Talkartoons that followed all starred Betty, leading her into her own series beginning in 1932. With the release of Stopping the Show (August 1932), the Talkartoons were replaced by the Betty Boop series, which continued for the next seven years. Betty Boop was unique among female cartoon characters because she represented a sexual woman. Other female cartoon characters of the same period, such as Minnie Mouse, displayed their underwear or bloomers regularly, in the style of childish or comical characters, not a fully defined woman's form. Many other female cartoons were merely clones of their male co-stars, with alterations in costume, the addition of eyelashes, and a female voice. Betty Boop wore short dresses, high heels, a garter, and her breasts were highlighted with a low, contoured bodice that showed cleavage. In her cartoons, male characters frequently try to sneak a peek at her while she is changing or simply going about her business. In Betty Boop's Bamboo Isle, she does the hula wearing nothing but a lei, strategically placed to cover her breasts, and a grass skirt. This was repeated in her first cameo appearance in Popeye the Sailor (1933). A certain girlish quality was given to the character. She was drawn with a head more similar to a baby's than an adult's in proportion to her body. This suggested the combination of girlishness and maturity that many people saw in the flapper type, which Betty represented. While the character was kept pure and girl-like onscreen, compromises to her virtue were a challenge. The studio's 1931 Christmas card featured Betty in bed with Santa Claus, winking at the viewer. The Talkartoons The Bum Bandit and Dizzy Red Riding Hood (both 1931) were given distinctly "impure" endings. Officially, Betty was only 16 years old, according to a 1932 interview with Fleischer (although in The Bum Bandit, she is portrayed as a married woman with many children and with an adult woman's voice, rather than the standard "boop-boop-a-doop" voice). Attempts to compromise her virginity were reflected in Chess-Nuts (1932) and most importantly in Boop-Oop-a-Doop (1932). In Chess-Nuts, the Black King goes into the house where Betty is and ties her up. When she rejects him, he pulls her out of the ropes, drags her off to the bedroom and says, "I will have you". The bed, however, runs away, and Betty calls for help through the window. Bimbo comes to her rescue, and she is saved before anything happens. In Boop-Oop-a-Doop, Betty is a high-wire performer in a circus. The ringmaster lusts for Betty as he watches her from below, singing "Do Something", a song previously performed by Helen Kane. As Betty returns to her tent, the ringmaster follows her inside and sensually massages her legs, surrounds her, and threatens her job if she does not submit. Betty pleads with the ringmaster to cease his advances, as she sings "Don't Take My Boop-Oop-A-Doop Away". Koko the Clown is practicing his juggling outside the tent and overhears the struggle inside. He leaps in to save Betty, struggling with the ringmaster, who loads him into a cannon and fires it. Koko, who remained hiding inside the cannon, knocks the ringmaster out cold with a mallet, while imitating the ringmaster's laugh. Koko then inquires about Betty's welfare, to which she answers in song, "No, he couldn't take my boop-oop-a-doop away". According to Jill Harness of Mental Floss, these portrayals of Boop fighting off sexual harassment on the animated screen made many see her as a feminist icon. Under the Production Code Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults, but the content of her films was affected by the National Legion of Decency and the Production Code of 1934, which imposed guidelines on the motion-picture industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased in number. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. Breen ordered the removal of the suggestive introduction that had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddy, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars, not to mention Fleischer's biggest success, Popeye. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. None of these films, though, generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939), Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While Yip Yip Yippy appears at the end of the Betty Boop series, it is actually a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty, which was written mainly to fill the release schedule and fulfill the contract. Media Television In 1955, Betty's 110 cartoon appearances were sold to television syndicator UM&M, which was acquired by National Telefilm Associates (NTA) in 1956. NTA was reorganized in 1985 as Republic Pictures, which folded in 2012, and became Melange Pictures, a subsidiary of Paramount Global, the parent company of Paramount. Paramount, Boop's original home studio (via Melange/Paramount Global), acts as a theatrical distributor for the Boop cartoons that they originally released. Television rights are handled on Paramount's behalf by Trifecta Entertainment & Media, which in turn were inherited from CBS Television Distribution (renamed CBS Media Ventures in 2021), successor to other related companies, including Worldvision Enterprises, Republic Pictures Television, and NTA. Betty Boop appeared in two television specials, The Romance of Betty Boop in 1985, which was produced by Lee Mendelson and Bill Melendez, the same creative team behind the Peanuts specials, and 1989's The Betty Boop Movie Mystery; both specials are available on DVD as part of the Advantage Cartoon Mega Pack. While television revivals were conceived, nothing has materialized from the plans. Her last television appearance was an episode of Project Runaway All Stars in February 2018. On February 11, 2016, Deadline announced that a new 26-episode television series focusing on Betty Boop is in production, in partnership with Normaal Animation, Fleischer Studios, and King Features. The show was to be aimed towards the tween and teenaged audiences. The show's premise, according to the article, will "recount the daily struggles, joys, and victories of young Betty Boop, who has every intention of being on stage and becoming a superstar". Home media While the animated cartoons featuring Betty Boop have enjoyed renewed attention over the last 30 years, official home-video releases have been limited to the VHS and LaserDisc collector's sets in the 1990s. No such releases for the Betty Boop cartoons on DVD and Blu-ray were made until 2013, when Olive Films, under license from Paramount Home Entertainment, finally released the nonpublic domain cartoons, although they were restored from the original television internegatives that carried the altered opening and closing credits. Volume 1 was released on August 20, 2013, and volume 2 on September 24, 2013. Volume 3 was released on April 29, 2014, and volume 4 on September 30, 2014. Comics The Betty Boop comic strip by Bud Counihan (assisted by Fleischer staffer Hal Seeger) was distributed by King Features Syndicate from July 23, 1934, to November 28, 1937. From November 19, 1984, to January 31, 1988, a revival strip with Felix the Cat, Betty Boop and Felix, was produced by Mort Walker's sons Brian, Neal, Greg, and Morgan. In 1990, First Comics published Betty Boop's Big Break, a 52-page original graphic novel by Joshua Quagmire, Milton Knight, and Leslie Cabarga. In 2016, Dynamite Entertainment published new Betty Boop comics with 20 pages in the alternative American anime graphic novel style. Merchandise Marketers rediscovered Betty Boop in the 1980s, and Betty Boop merchandise has far outdistanced her exposure in films, with many not aware of her cinematic origin. Much of this merchandise features the character in her popular, sexier form, and has become popular worldwide once again. In 2010, Betty Boop became the official fantasy cheerleader for the upstart United Football League. She was featured in merchandise targeted towards the league's female demographic. As of 2021, international licensing company Global Icons has acquired the licensing rights to Betty Boop and other Fleischer Studios characters, thus ending Fleischer's longtime relationship with King Features Syndicate. She still appears in merchandise and social media, appealing to a 21st-century audience, using slang from the social media website TikTok, and she has various hobbies. (cyclist, recycling, etc.) Legal issues Helen Kane lawsuit In May 1932, Helen Kane filed a $250,000 infringement lawsuit against Fleischer Studios, Max Fleischer and Paramount Publix Corporation for the "deliberate caricature" that produced "unfair competition", exploiting her personality and image. While Kane had risen to fame in the late 1920s as "The Boop-Oop-a-Doop Girl", a star of stage, recordings, and films for Paramount, her career was nearing its end by 1931, and Paramount promoted the development of Betty Boop following Kane's decline. The case was brought in New York in 1934. On April 19, Fleischer testified that Betty Boop purely was a product of his imagination and detailed by members of his staff. Theatrical manager Lou Bolton testified that Kane had witnessed an African-American child performer, Baby Esther (Esther Jones), using a similar vocal style in an act at the Everglades Restaurant club in midtown Manhattan, in "April or May 1928". Under cross-examination Bolton said that he had met with Kane at the club after Esther's performance, but could not say when she had walked in. Bolton also stated that Paramount's lawyers had paid him $200 to come to New York. Esther's name was given in the trial as Esther Jones. (During the trial, Lou Bolton, who was Esther Jones' manager, also testified his belief that she was probably in Paris.) An early test sound-on-disc film (lost after the trial), was produced, which featured Esther performing in this style and introduced as evidence. In the film, Esther sings three songs that had earlier been popularized by Helen Kane – "Don't Be Like That", "Is There Anything Wrong with That?", and "Wa-da-da" – which writer Mark Langer says "was hardly proof that Helen Kane derived her singing style from Baby Esther". Jazz studies scholar Robert O'Meally stated this evidence, though, might very well have been cooked up by Paramount to discredit Kane, whom they later admitted to have been their model for Betty Boop. O'Meally also questioned if some sort of deal existed between Paramount and Bolton, and questioned if Esther were ever paid for her presumed loss of revenue. New York Supreme Court Justice Edward J. McGoldrick ruled, "The plaintiff has failed to sustain either cause of action by proof of sufficient probative force". In his opinion, based on the totality of the evidence presented in the trial, the "baby" technique of singing did not originate with Kane. No confirmed recordings of Jones are known to exist. Lawsuits and recent ownership Ownership of the Boop cartoons has changed hands over the intervening decades due to a series of corporate mergers, acquisitions, and divestitures mainly involving Republic Pictures and the 2006 corporate split of parent company Viacom into two separate companies. As of 2021, Olive Films (under license from Paramount) holds home video rights and Trifecta retains television rights. The rights to the "Betty Boop" character were not sold with the cartoons by Paramount, but were transferred to Harvey Films, Inc. in 1958, according to a 2011 US Court verdict. The courts, however, were unable to come to a majority decision concerning ownership of the copyright. A trademark on the name (but not legitimately the likeness) of Betty Boop is owned by Fleischer Studios, for which the character was created in the 1930s, but which was unable to claim copyright infringement in a 2008 district court case; the merchandising rights to Betty's name were licensed to King Features Syndicate, until 2021 but since then are licensed to Global Icons Inc. Legacy and revivals Betty Boop's popularity has continued into popular culture. In the Green Acres episode "School Days", Oliver quips that Lisa "has a lot of Betty Boop in her". In in the comic strip Doonesbury, B.D.'s busty girlfriend/wife is named "Boopsie". In Drawn Together, Betty is the inspiration for Toot Braunstein. Rapper Betty Boo based her voice and image on Betty Boop. The 1933 Betty Boop cartoon Snow-White (not to be confused with Snow White and the Seven Dwarfs) was selected for preservation by the U.S. Library of Congress in the National Film Registry in 1994. Betty appears in the Ink and Paint club scene in Who Framed Roger Rabbit. Betty is parodied in the Animaniacs episode "Girl with the Googily Goop", with the Boop character called "Googi Goop". The episode, made predominantly in black and white, is also a parody of "Little Red Riding Hood". Googi was voiced by one-time Betty Boop voice actress Desirée Goyette. Beatress Johnson, a character in American Mary, has had extensive plastic surgery to resemble Betty Boop. Betty Boop appeared with model Daria Werbowy in a commercial for Lancôme's Hypnôse Star Mascara, directed by Joann Sfar. In March, 2017, Betty appeared with fashion designer Zac Posen in an animated promotional short produced by King Features Syndicate, Fleischer Studios (its subsidiary) and Pantone. In April 2011, Funny or Die parodied the character in a trailer spoof for a film called Boop, with Rose McGowan as Betty. Betty Boop is a central character in the satirical parody webcomic Mr. Boop. The comic centers on the relationship between Betty and a fictionalized version of the webcomic's creator who is married to Betty. The comic was nominated for an Ignatz Award. Accolades In 2002, Betty was voted in TV Guides 50 greatest cartoon characters of all time, ranking #17. In 2004, Betty Boop was voted among the "100 Greatest Cartoons" in a poll conducted by the British television channel Channel 4, ranking at #96. In March 2009, a UK newspaper voted Betty Boop the second sexiest cartoon character of all time, with Jessica Rabbit in first place and the Cadbury's Caramel Bunny in third. In August 2010, the inaugural Betty Boop Festival was held in the city of Wisconsin Rapids, Wisconsin, and the second Festival was held in July 2011. Filmography References Notes Citations Bibliography Pointer, Ray (2017) The Art and Inventions of Max Fleischer: American Animation Pioneer North Carolina: McFarland Books. Taylor, James D. Jr. (2017) Helen Kane and Betty Boop. On Stage and On Trial. New York: Algora Publishing. Further reading Betty Boop: The Definitive Collection, Volumes 1–8 (VHS) Ellis, Leonard (2003). The Definitive Guide to Betty Boop Memorabilia, Hobby House Press . 144 pages, softcover. Hundreds of pictures and description of memorabilia. Solomon, Charles (1994). The History of Animation: Enchanted Drawings. Outlet Books Company. Taylor, James D. Jr. (2016) The Voice of Betty Boop, Mae Questel. New York: Algora Publishing. External links List of public domain Betty Boop cartoons online Betty Boop at Don Markstein's Toonopedia. Archived from the original on February 22, 2018. Betty Goes A-Posen (promotional short for Zac Posen dresses) Category:1934 comics debuts Category:American comic strips Category:American comics characters Category:Animated film series Category:Animated human characters Category:Comedy film characters Category:Articles containing video clips Category:Comics about women Category:Female characters in animation Category:Film characters introduced in 1930 Category:Fictional models Category:Fictional presidents of the United States Category:Fictional singers Category:Film series introduced in 1932 Category:Fleischer Studios series and characters Category:Television series by U.M. & M. TV Corporation Category:Animation controversies Category:Film controversies Category:Obscenity controversies in film Category:Obscenity controversies in animation Category:Flappers
[ { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
[ "Betty Boop originated from the cartoon Dizzy Dishes, the seventh installment in Fleischer's Talkartoon series, where she made her first appearance on August 9, 1930. Initially, she was a caricature of singer Helen Kane and was created as an anthropomorphic French poodle. Over time, she transitioned from an incidental human-canine breed to a completely human female character.", "The character Betty Boop was originally created by Fleischer's Talkartoon series. The credit for her creation is often given to Grim Natwick. However, her transformation into the cute cartoon girl was due to the work of multiple people, including Berny Wolf, Otto Feuer, Seymour Kneitel, \"Doc\" Crandall, Willard Bowsky, and James \"Shamus\" Culhane.", "In addition to Grim Natwick, Betty Boop's progression was attributed to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, \"Doc\" Crandall, Willard Bowsky, and James \"Shamus\" Culhane.", "Betty Boop initially appeared as a supporting character in ten cartoons as a flapper girl, mostly serving as a girlfriend to the studio star, Bimbo. Later on, she became the star of the Talkartoons by 1932 and was given her own series that same year, with the series' popularity lasting throughout the 1930s.", "One example of success is that Betty Boop was given her own series in 1932, after being the star of the Talkartoons. This series was popular throughout the 1930s, and Betty was crowned \"The Queen of the Animated Screen\". Moreover, she made a significant comeback in 1988, when she appeared in Disney's Who Framed Roger Rabbit.", "Yes, Betty Boop underwent several transformations. Originally, she was created as an anthropomorphic French poodle. Within a year, she transitioned from an incidental human-canine breed to a fully human female character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Moreover, in the \"Color Classic\" cartoon Poor Cinderella in 1934, she was depicted with red hair as opposed to her typical black hair.", "The text does not provide information on how Betty Boop was portrayed in the press or elsewhere.", "Based on the context provided, after Betty Boop was given her own series in 1932, she received the title \"The Queen of the Animated Screen\".", "The text does not provide information on any other interesting aspects about this article" ]
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Betty Boop
Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".
Under the Production Code
Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults. However, the content of her films was affected by the National Legion of Decency and the Production Code of 1934. The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. The Breen Office ordered the removal of the suggestive introduction which had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddie, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, Popeye. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. However, none of these films generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939). Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While "Yip Yip Yippy" appears at the end of the Betty Boop series, it is only a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty. "Yip Yip Yipee" was written mainly to fill the release schedule and fulfill the contract. CANNOTANSWER
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[ "What happened under the production code?", "How was it affected?", "What were the restrictions?", "So it censored betty boop?", "Did the show go downhill after the changes?", "Are there any other interesting aspects about this article?", "Did people like it?", "So basically the production code ruined the show?" ]
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Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She was featured in 90 theatrical cartoons between 1930 and 1939. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as "combin[ing] in appearance the childish with the sophisticated—a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable". Although she was toned down in the mid-1930s as a result of the Hays Code to appear more demure, she became one of the world's best-known and most popular cartoon characters. History Origins Betty Boop made her first appearance in the cartoon Dizzy Dishes, released on August 9, 1930, the seventh installment in Fleischer's Talkartoon series. Inspired by a popular performing style, but not by any one specific person, the character was originally created as an anthropomorphic French poodle. Clara Bow is often given credit as being the inspiration for Boop, though Fleischer told his artists that he wanted a caricature of singer Helen Kane, who performed in a style shared by many performers of the day–Kane was also the one who sued Fleischer over the signature "Boop Oop a Doop" line. Betty Boop appeared as a supporting character in ten cartoons as a flapper girl with more heart than brains. In individual cartoons, she was called "Nancy Lee" or "Nan McGrew"—derived from the Helen Kane film Dangerous Nan McGrew (1930)—usually serving as a girlfriend to studio star Bimbo. Within a year, Betty made the transition from an incidental human-canine breed to a completely human female character. While much credit has been given to Grim Natwick for helping to transform Max Fleischer's creation, her transition into the cute cartoon girl was also in part due to the work of Berny Wolf, Otto Feuer, Seymour Kneitel, "Doc" Crandall, Willard Bowsky, and James "Shamus" Culhane. By the release of Any Rags, Betty Boop was forever established as a human character. Her floppy poodle ears became hoop earrings, and her black poodle nose became a girl's button-like nose. Betty was first voiced by Margie Hines. Later, several different voice actresses performed the role, including Kate Wright, Bonnie Poe, Ann Rothschild (also known as Little Ann Little), and especially Mae Questel, who began voicing Betty Boop in Bimbo's Silly Scandals (1931), and continued with the role until 1939, returning nearly 50 years later in Disney's Who Framed Roger Rabbit (1988). Today, Betty is voiced by Sandy Fox and Cindy Robinson. Although Betty's first name was assumed to have been established in the 1931 Screen Songs cartoon Betty Co-ed, this "Betty" is a different character, which the official Betty Boop website describes as a "prototype" of Betty Boop. At least 12 Screen Songs cartoons featured Betty Boop or a similar character. Betty Boop was the star of the Talkartoons by 1932 and was given her own series that same year, beginning with Stopping the Show. From that point on, she was crowned "The Queen of the Animated Screen". The series was popular throughout the 1930s. Since the character was created by an Austrian Jew and eventually voiced by a Jewish actress, Mae Questel, animation fans sometimes try to pinpoint various aspects that hint at Betty's Jewishness. The 1932 Talkartoon Minnie the Moocher featured the one and only appearance of Betty's parents: a strict immigrant couple, who get upset that Betty does not want to eat the traditional German foods hasenpfeffer (rabbit stew) and sauerbraten. Benjamin Ivry of Forward, says that any of this evidence is ambiguous, as these are not kosher foods, and the accents of the parents are comical German accents, rather than Jewish. Betty appeared in the first "Color Classic" cartoon Poor Cinderella, her only theatrical color appearance in 1934. In the film, she was depicted with red hair as opposed to her typical black hair. Contemporary resurgence The Betty Boop films were revived after Paramount sold them for syndication in 1955. UM&M and National Telefilm Associates were required to remove the original Paramount logo from the opening and closing, as well as any references to Paramount in the copyright line on the main titles. However, the mountain motif remains on some television prints, usually with a UM&M copyright line, while recent versions have circulated with the Paramount-Publix reference in cartoons from 1931. The original Betty Boop cartoons were made in black and white. As new color cartoons made specifically for television began to appear in the 1960s, the original black-and-white cartoons were retired. Boop's film career had a revival with the release of The Betty Boop Scandals of 1974, becoming a part of the post-1960s counterculture. NTA attempted to capitalize on this with a new syndication package, but because no market existed for cartoons in black and white, they sent them to South Korea, where the cartoons were hand-traced frame-by-frame in color, resulting in the degradation of the animation quality and timing. Unable to sell these to television largely because of the sloppy colorization, they assembled a number of the color cartoons in a compilation feature titled Betty Boop for President, to connect with the 1976 election, but it did not receive a theatrical release. The release of the films on video cassette for home viewing created a new market for the films in their original form. The American Movie Classics cable television channel showcased a selection of the original black-and-white Betty Boop cartoons in the 1990s, which led to an eight-volume VHS and LV set, Betty Boop, the Definitive Collection. Some of the nonpublic-domain Boop cartoons copyrighted by Republic successor Melange Pictures (ViacomCBS's holding company that handles the Republic theatrical library) have been released by Olive Films under Paramount's license, while the Internet Archive hosts 22 Betty Boop cartoons that are public domain. Planned feature appearances In 1993, plans were made for an animated feature film of Betty Boop, but they were later cancelled. The musical storyboard scene of the proposed film can be seen online. The finished reel consists of Betty and her estranged father performing a jazz number together called "Where are you?" Jimmy Rowles and Sue Raney provide the vocals for Betty and Benny Boop. Producers Steven Paul Leiva and Jerry Rees began production on a new Betty Boop feature film for the Zanuck Company and Metro-Goldwyn-Mayer. The script by Rees detailed Betty's rise in Hollywood in the Golden Age of Hollywood. It was to be a musical with music by jazz musician Bennie Wallace and lyrics by Cheryl Ernst Wells. Wallace and Wells had completed several songs and 75% of the film had been storyboarded when, two weeks before voice recording was to begin with Bernadette Peters as Betty, the head of MGM, Alan Ladd Jr., was replaced by Frank Mancuso, and the project was abandoned. On August 14, 2014, Simon Cowell's Syco and Animal Logic announced they were developing and producing a feature-length film based on the character. According to Playbill in 2012, a musical based on Betty Boop was "in the works", with music by David Foster and book by Oscar Williams and Sally Robinson. No dates, theatre, or cast were listed. Portrayal Sex symbol Betty Boop is regarded as one of the first and best-known sex symbols on the animated screen; she is a symbol of the Depression era and a reminder of the more carefree days of Jazz Age flappers. Her popularity was drawn largely from adult audiences, and the cartoons, while seemingly surreal, contained many sexual and psychological elements, particularly in the 1932 "Talkartoon" Minnie the Moocher (1932), featuring Cab Calloway and his orchestra. Minnie the Moocher defined Betty's character as a teenager of a modern era, at odds with the old-world ways of her parents. In the cartoon, after a disagreement with her strict parents, Betty runs away from home, accompanied by her boyfriend Bimbo, only to get lost in a haunted cave. A ghostly walrus (rotoscoped from live-action footage of Calloway) sings Calloway's song "Minnie the Moocher", accompanied by several other ghosts and skeletons. This haunting performance sends the frightened Betty and Bimbo back to the safety of home. "Minnie the Moocher" served as a promotion for Calloway's subsequent stage appearances and also established Betty Boop as a cartoon star. The eight Talkartoons that followed all starred Betty, leading her into her own series beginning in 1932. With the release of Stopping the Show (August 1932), the Talkartoons were replaced by the Betty Boop series, which continued for the next seven years. Betty Boop was unique among female cartoon characters because she represented a sexual woman. Other female cartoon characters of the same period, such as Minnie Mouse, displayed their underwear or bloomers regularly, in the style of childish or comical characters, not a fully defined woman's form. Many other female cartoons were merely clones of their male co-stars, with alterations in costume, the addition of eyelashes, and a female voice. Betty Boop wore short dresses, high heels, a garter, and her breasts were highlighted with a low, contoured bodice that showed cleavage. In her cartoons, male characters frequently try to sneak a peek at her while she is changing or simply going about her business. In Betty Boop's Bamboo Isle, she does the hula wearing nothing but a lei, strategically placed to cover her breasts, and a grass skirt. This was repeated in her first cameo appearance in Popeye the Sailor (1933). A certain girlish quality was given to the character. She was drawn with a head more similar to a baby's than an adult's in proportion to her body. This suggested the combination of girlishness and maturity that many people saw in the flapper type, which Betty represented. While the character was kept pure and girl-like onscreen, compromises to her virtue were a challenge. The studio's 1931 Christmas card featured Betty in bed with Santa Claus, winking at the viewer. The Talkartoons The Bum Bandit and Dizzy Red Riding Hood (both 1931) were given distinctly "impure" endings. Officially, Betty was only 16 years old, according to a 1932 interview with Fleischer (although in The Bum Bandit, she is portrayed as a married woman with many children and with an adult woman's voice, rather than the standard "boop-boop-a-doop" voice). Attempts to compromise her virginity were reflected in Chess-Nuts (1932) and most importantly in Boop-Oop-a-Doop (1932). In Chess-Nuts, the Black King goes into the house where Betty is and ties her up. When she rejects him, he pulls her out of the ropes, drags her off to the bedroom and says, "I will have you". The bed, however, runs away, and Betty calls for help through the window. Bimbo comes to her rescue, and she is saved before anything happens. In Boop-Oop-a-Doop, Betty is a high-wire performer in a circus. The ringmaster lusts for Betty as he watches her from below, singing "Do Something", a song previously performed by Helen Kane. As Betty returns to her tent, the ringmaster follows her inside and sensually massages her legs, surrounds her, and threatens her job if she does not submit. Betty pleads with the ringmaster to cease his advances, as she sings "Don't Take My Boop-Oop-A-Doop Away". Koko the Clown is practicing his juggling outside the tent and overhears the struggle inside. He leaps in to save Betty, struggling with the ringmaster, who loads him into a cannon and fires it. Koko, who remained hiding inside the cannon, knocks the ringmaster out cold with a mallet, while imitating the ringmaster's laugh. Koko then inquires about Betty's welfare, to which she answers in song, "No, he couldn't take my boop-oop-a-doop away". According to Jill Harness of Mental Floss, these portrayals of Boop fighting off sexual harassment on the animated screen made many see her as a feminist icon. Under the Production Code Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults, but the content of her films was affected by the National Legion of Decency and the Production Code of 1934, which imposed guidelines on the motion-picture industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased in number. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. Breen ordered the removal of the suggestive introduction that had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddy, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars, not to mention Fleischer's biggest success, Popeye. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. None of these films, though, generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939), Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While Yip Yip Yippy appears at the end of the Betty Boop series, it is actually a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty, which was written mainly to fill the release schedule and fulfill the contract. Media Television In 1955, Betty's 110 cartoon appearances were sold to television syndicator UM&M, which was acquired by National Telefilm Associates (NTA) in 1956. NTA was reorganized in 1985 as Republic Pictures, which folded in 2012, and became Melange Pictures, a subsidiary of Paramount Global, the parent company of Paramount. Paramount, Boop's original home studio (via Melange/Paramount Global), acts as a theatrical distributor for the Boop cartoons that they originally released. Television rights are handled on Paramount's behalf by Trifecta Entertainment & Media, which in turn were inherited from CBS Television Distribution (renamed CBS Media Ventures in 2021), successor to other related companies, including Worldvision Enterprises, Republic Pictures Television, and NTA. Betty Boop appeared in two television specials, The Romance of Betty Boop in 1985, which was produced by Lee Mendelson and Bill Melendez, the same creative team behind the Peanuts specials, and 1989's The Betty Boop Movie Mystery; both specials are available on DVD as part of the Advantage Cartoon Mega Pack. While television revivals were conceived, nothing has materialized from the plans. Her last television appearance was an episode of Project Runaway All Stars in February 2018. On February 11, 2016, Deadline announced that a new 26-episode television series focusing on Betty Boop is in production, in partnership with Normaal Animation, Fleischer Studios, and King Features. The show was to be aimed towards the tween and teenaged audiences. The show's premise, according to the article, will "recount the daily struggles, joys, and victories of young Betty Boop, who has every intention of being on stage and becoming a superstar". Home media While the animated cartoons featuring Betty Boop have enjoyed renewed attention over the last 30 years, official home-video releases have been limited to the VHS and LaserDisc collector's sets in the 1990s. No such releases for the Betty Boop cartoons on DVD and Blu-ray were made until 2013, when Olive Films, under license from Paramount Home Entertainment, finally released the nonpublic domain cartoons, although they were restored from the original television internegatives that carried the altered opening and closing credits. Volume 1 was released on August 20, 2013, and volume 2 on September 24, 2013. Volume 3 was released on April 29, 2014, and volume 4 on September 30, 2014. Comics The Betty Boop comic strip by Bud Counihan (assisted by Fleischer staffer Hal Seeger) was distributed by King Features Syndicate from July 23, 1934, to November 28, 1937. From November 19, 1984, to January 31, 1988, a revival strip with Felix the Cat, Betty Boop and Felix, was produced by Mort Walker's sons Brian, Neal, Greg, and Morgan. In 1990, First Comics published Betty Boop's Big Break, a 52-page original graphic novel by Joshua Quagmire, Milton Knight, and Leslie Cabarga. In 2016, Dynamite Entertainment published new Betty Boop comics with 20 pages in the alternative American anime graphic novel style. Merchandise Marketers rediscovered Betty Boop in the 1980s, and Betty Boop merchandise has far outdistanced her exposure in films, with many not aware of her cinematic origin. Much of this merchandise features the character in her popular, sexier form, and has become popular worldwide once again. In 2010, Betty Boop became the official fantasy cheerleader for the upstart United Football League. She was featured in merchandise targeted towards the league's female demographic. As of 2021, international licensing company Global Icons has acquired the licensing rights to Betty Boop and other Fleischer Studios characters, thus ending Fleischer's longtime relationship with King Features Syndicate. She still appears in merchandise and social media, appealing to a 21st-century audience, using slang from the social media website TikTok, and she has various hobbies. (cyclist, recycling, etc.) Legal issues Helen Kane lawsuit In May 1932, Helen Kane filed a $250,000 infringement lawsuit against Fleischer Studios, Max Fleischer and Paramount Publix Corporation for the "deliberate caricature" that produced "unfair competition", exploiting her personality and image. While Kane had risen to fame in the late 1920s as "The Boop-Oop-a-Doop Girl", a star of stage, recordings, and films for Paramount, her career was nearing its end by 1931, and Paramount promoted the development of Betty Boop following Kane's decline. The case was brought in New York in 1934. On April 19, Fleischer testified that Betty Boop purely was a product of his imagination and detailed by members of his staff. Theatrical manager Lou Bolton testified that Kane had witnessed an African-American child performer, Baby Esther (Esther Jones), using a similar vocal style in an act at the Everglades Restaurant club in midtown Manhattan, in "April or May 1928". Under cross-examination Bolton said that he had met with Kane at the club after Esther's performance, but could not say when she had walked in. Bolton also stated that Paramount's lawyers had paid him $200 to come to New York. Esther's name was given in the trial as Esther Jones. (During the trial, Lou Bolton, who was Esther Jones' manager, also testified his belief that she was probably in Paris.) An early test sound-on-disc film (lost after the trial), was produced, which featured Esther performing in this style and introduced as evidence. In the film, Esther sings three songs that had earlier been popularized by Helen Kane – "Don't Be Like That", "Is There Anything Wrong with That?", and "Wa-da-da" – which writer Mark Langer says "was hardly proof that Helen Kane derived her singing style from Baby Esther". Jazz studies scholar Robert O'Meally stated this evidence, though, might very well have been cooked up by Paramount to discredit Kane, whom they later admitted to have been their model for Betty Boop. O'Meally also questioned if some sort of deal existed between Paramount and Bolton, and questioned if Esther were ever paid for her presumed loss of revenue. New York Supreme Court Justice Edward J. McGoldrick ruled, "The plaintiff has failed to sustain either cause of action by proof of sufficient probative force". In his opinion, based on the totality of the evidence presented in the trial, the "baby" technique of singing did not originate with Kane. No confirmed recordings of Jones are known to exist. Lawsuits and recent ownership Ownership of the Boop cartoons has changed hands over the intervening decades due to a series of corporate mergers, acquisitions, and divestitures mainly involving Republic Pictures and the 2006 corporate split of parent company Viacom into two separate companies. As of 2021, Olive Films (under license from Paramount) holds home video rights and Trifecta retains television rights. The rights to the "Betty Boop" character were not sold with the cartoons by Paramount, but were transferred to Harvey Films, Inc. in 1958, according to a 2011 US Court verdict. The courts, however, were unable to come to a majority decision concerning ownership of the copyright. A trademark on the name (but not legitimately the likeness) of Betty Boop is owned by Fleischer Studios, for which the character was created in the 1930s, but which was unable to claim copyright infringement in a 2008 district court case; the merchandising rights to Betty's name were licensed to King Features Syndicate, until 2021 but since then are licensed to Global Icons Inc. Legacy and revivals Betty Boop's popularity has continued into popular culture. In the Green Acres episode "School Days", Oliver quips that Lisa "has a lot of Betty Boop in her". In in the comic strip Doonesbury, B.D.'s busty girlfriend/wife is named "Boopsie". In Drawn Together, Betty is the inspiration for Toot Braunstein. Rapper Betty Boo based her voice and image on Betty Boop. The 1933 Betty Boop cartoon Snow-White (not to be confused with Snow White and the Seven Dwarfs) was selected for preservation by the U.S. Library of Congress in the National Film Registry in 1994. Betty appears in the Ink and Paint club scene in Who Framed Roger Rabbit. Betty is parodied in the Animaniacs episode "Girl with the Googily Goop", with the Boop character called "Googi Goop". The episode, made predominantly in black and white, is also a parody of "Little Red Riding Hood". Googi was voiced by one-time Betty Boop voice actress Desirée Goyette. Beatress Johnson, a character in American Mary, has had extensive plastic surgery to resemble Betty Boop. Betty Boop appeared with model Daria Werbowy in a commercial for Lancôme's Hypnôse Star Mascara, directed by Joann Sfar. In March, 2017, Betty appeared with fashion designer Zac Posen in an animated promotional short produced by King Features Syndicate, Fleischer Studios (its subsidiary) and Pantone. In April 2011, Funny or Die parodied the character in a trailer spoof for a film called Boop, with Rose McGowan as Betty. Betty Boop is a central character in the satirical parody webcomic Mr. Boop. The comic centers on the relationship between Betty and a fictionalized version of the webcomic's creator who is married to Betty. The comic was nominated for an Ignatz Award. Accolades In 2002, Betty was voted in TV Guides 50 greatest cartoon characters of all time, ranking #17. In 2004, Betty Boop was voted among the "100 Greatest Cartoons" in a poll conducted by the British television channel Channel 4, ranking at #96. In March 2009, a UK newspaper voted Betty Boop the second sexiest cartoon character of all time, with Jessica Rabbit in first place and the Cadbury's Caramel Bunny in third. In August 2010, the inaugural Betty Boop Festival was held in the city of Wisconsin Rapids, Wisconsin, and the second Festival was held in July 2011. Filmography References Notes Citations Bibliography Pointer, Ray (2017) The Art and Inventions of Max Fleischer: American Animation Pioneer North Carolina: McFarland Books. Taylor, James D. Jr. (2017) Helen Kane and Betty Boop. On Stage and On Trial. New York: Algora Publishing. Further reading Betty Boop: The Definitive Collection, Volumes 1–8 (VHS) Ellis, Leonard (2003). The Definitive Guide to Betty Boop Memorabilia, Hobby House Press . 144 pages, softcover. Hundreds of pictures and description of memorabilia. Solomon, Charles (1994). The History of Animation: Enchanted Drawings. Outlet Books Company. Taylor, James D. Jr. (2016) The Voice of Betty Boop, Mae Questel. New York: Algora Publishing. External links List of public domain Betty Boop cartoons online Betty Boop at Don Markstein's Toonopedia. Archived from the original on February 22, 2018. Betty Goes A-Posen (promotional short for Zac Posen dresses) Category:1934 comics debuts Category:American comic strips Category:American comics characters Category:Animated film series Category:Animated human characters Category:Comedy film characters Category:Articles containing video clips Category:Comics about women Category:Female characters in animation Category:Film characters introduced in 1930 Category:Fictional models Category:Fictional presidents of the United States Category:Fictional singers Category:Film series introduced in 1932 Category:Fleischer Studios series and characters Category:Television series by U.M. & M. TV Corporation Category:Animation controversies Category:Film controversies Category:Obscenity controversies in film Category:Obscenity controversies in animation Category:Flappers
[ { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
[ "Under the Production Code of 1934, guidelines were imposed on the Motion Picture Industry that placed specific restrictions on the content films could reference with sexual innuendos. This significantly affected Betty Boop cartoons; Betty's character changed from a carefree flapper to a spinster housewife or career girl, and her attire became more conservative. The suggestive introduction which had started the cartoons, such as Betty Boop's winks and shaking hips, were removed as they were deemed \"suggestive of immorality\". The content and characters of the cartoons also changed, with Betty being paired with a new human boyfriend, a puppy, an eccentric inventor, and other popular comic strip characters. However, these changes reduced Betty's prominence in the cartoons and were aimed at a more juvenile audience, which resulted in a decline in the series' popularity.", "The Production Code of 1934 greatly affected the Betty Boop cartoons. The code placed restrictions on the content films could reference with sexual innuendos. As a result, Betty's character was significantly altered from a carefree flapper to a spinster housewife or a career girl. Her attire also became more conservative, with her wearing fuller dresses or skirts. Highly suggestive elements from her cartoons, like her winks and shaking hips, were ordered to be removed as they were deemed \"suggestive of immorality\". Betty's cartoons also started featuring more wholesome, juvenile content and co-stars, reducing her own prominence. As a consequence, the popularity of the series started to decline.", "The restrictions imposed by the Production Code of 1934 placed specific limitations on the content in films that could reference sexual innuendos. For Betty Boop, this resulted in a transformation of her character; she was changed from a flapper to a spinster housewife or a career girl, donning fuller dresses or skirts. The code also led to the removal of highly suggestive elements from her cartoons, such as her winks and shaking hips, which were deemed \"suggestive of immorality\".", "Yes, the Production Code of 1934 effectively censored the Betty Boop cartoons. The restrictions imposed by the code led to the removal of sexual innuendos and suggestive elements from the cartoons. This resulted in a significant alteration of Betty Boop's originally 'flapper' character, shifting her from a carefree jazz baby to a more conservative figure.", "Yes, after the changes imposed by the Production Code of 1934, the Betty Boop series experienced a decline. The restrictions led to Betty's role in the cartoons being lessened in favor of her co-stars, changing the overall content and making it more wholesome and juvenile. This caused a downturn in the series' popularity. Despite efforts to reinvigorate the series by introducing new characters and pairing Betty with popular comic strip characters, the series wasn't able to generate a new successful spin-off and officially ended in 1939.", "Some other interesting elements of the article include the various attempts to restore the popularity of the Betty Boop series after the restrictions of the Production Code. For instance, Betty was given a new boyfriend named Freddie, and she was teamed with new characters, such as a puppy named Pudgy and an eccentric inventor named Grampy. However, these changes were aimed at a more juvenile audience, which contributed to the decline of the series. \n\nFurthermore, there were attempts to pair Betty with popular comic strip characters like Henry, The Little King, Little Jimmy, and even Fleischer's own successful character, Popeye, despite none of these collaborations generating a new series. The animators also attempted to modernize the series to fit the shift from the flapper/jazz era to the swing era, but these attempts, like the introduction of the character Sally Swing, were not successful.", "The text does not provide explicit information on whether people liked the changes made to the Betty Boop series due to the Production Code of 1934. However, it does mention that these changes contributed to the decline of the series, indicating that the alterations may not have been well-received by the audience.", "Based on the context provided, the Production Code of 1934 indeed led to fundamental changes in the Betty Boop series that contributed to its decline. The code imposed restrictions that altered Betty Boop's character and the content of her cartoons significantly. This included removing suggestive content, changing her character from a carefree flapper to a spinster housewife or career woman, and making the content more wholesome and juvenile. These changes lessened Betty's prominence in the series, and despite attempts to integrate new characters and storylines, the series was not able to regain its initial popularity and ended in 1939. So, in a sense, you could say the Production Code negatively impacted the Betty Boop series." ]
[ "Yes", "Yes", "Yes", "Yes", "No", "Yes", "No", "Yes" ]
C_af1c1547fa00480faf781beadf707721_1
The Tragically Hip
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
1998-2003
In 1998, the band released their seventh full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada. In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York 2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts. In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Two of their songs, "Poets" and "Throwing Off Glass", were also featured on the film's soundtrack. On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot. CANNOTANSWER
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The Tragically Hip, often referred to simply as the Hip, were a Canadian rock band formed in Kingston, Ontario in 1984, consisting of vocalist Gord Downie, guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They released 13 studio albums, one live album, one EP, and over 50 singles over a 33-year career. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 17 Juno Awards. Between 1996 and 2016, the Tragically Hip were the best-selling Canadian band in Canada and the fourth best-selling Canadian artist overall in Canada. Following Downie's diagnosis with terminal brain cancer in 2015, the band undertook a tour of Canada in support of their thirteenth album Man Machine Poem. The tour's final concert, which would ultimately be the band's last show, was held at the Rogers K-Rock Centre in Kingston on August 20, 2016, and broadcast globally by the Canadian Broadcasting Corporation as a cross-platform television, radio and internet streaming special. After Downie died on October 17, 2017, the band announced in July 2018 that they would no longer perform under the name. The surviving members have, however, continued to pursue other musical projects, and have begun releasing compilation albums of previously unreleased songs from the band's archives. History Formation The Tragically Hip formed in 1984 in Kingston, Ontario. Gord Sinclair and Rob Baker were students at Kingston Collegiate and had performed together at the KCVI Variety Show as the Rodents. Baker and Sinclair joined with Downie and Fay in 1984 and began playing gigs around Kingston with some memorable stints at Clark Hall Pub and Alfie's, student bars on Queen's University campus. Guitarist Paul Langlois joined in 1986; saxophonist Davis Manning left that same year. They took their name from a skit in the Michael Nesmith movie Elephant Parts. 1987-1991 By the mid-1980s, they performed in small music venues across Ontario until being seen by then-MCA Vice President Bruce Dickinson at the Horseshoe Tavern in Toronto. They were then signed to a long-term record deal with MCA, and recorded the EP The Tragically Hip, released in 1987. The album produced two singles, "Small Town Bring-Down" and "Highway Girl". They followed up with 1989's Up to Here. This album produced four singles, "Blow at High Dough", "New Orleans Is Sinking", "Boots or Hearts", and "38 Years Old". All four of these songs found extensive rotation on modern rock radio play lists in Canada. Road Apples followed in 1991, producing three singles ("Little Bones", "Twist My Arm", and "Three Pistols") and reaching No. 1 on Canadian record charts. During the Road Apples tour, Downie became recognized for ranting and telling fictional stories during songs such as "Highway Girl" and "New Orleans Is Sinking". Road Apples was planned to be a double album but was rejected by Universal. The 2008 Universal Studios fire resulted in the destruction of the masters for the second album. The six unreleased songs were rediscovered in another collection in 2020. In 2021 they were released as an EP titled Saskadelphia, which had been the working title for Road Apples. The sound on these first two full-length albums is sometimes characterized as "blues-tinged", although there is definite acoustic punctuation throughout both discs. Although the band failed to achieve significant international success with these first two albums, their sales and dominance of modern rock radio in Canada gave them license to subsequently explore their sound. 1992–1997 The Hip released another album, Fully Completely in 1992, which produced the singles "Locked in the Trunk of a Car", "Courage", and "At the Hundredth Meridian" and three others. The sound on this album displayed less of a blues influence than previous albums. The Hip created and headlined the first Another Roadside Attraction tour at this time, both to act as a vehicle for their touring, and to promote other Canadian acts (as well as non-Canadians Ziggy Marley and Pere Ubu). Many songs from Day For Night were first performed prior to their release during the 1993 Another Roadside Attraction Tour. "Nautical Disaster" was played frequently in the middle of "New Orleans Is Sinking", an early version of "Thugs" was tested, and Downie sang lyrics from many other Day For Night songs, such as "Grace, Too", "Scared", and "Emergency", during this tour. Day for Night was then released in 1994, producing six singles, including "Nautical Disaster" and "Grace, Too". Trouble at the Henhouse followed in 1996, producing five singles starting with "Ahead by a Century", which reached number one on the RPM Canadian singles chart on 24 June and became their most successful single in their home country. "Butts Wigglin", the fifth single from Henhouse, also appeared on the soundtrack to the Kids in the Hall movie Kids in the Hall: Brain Candy. The live album Live Between Us was recorded on the subsequent tour at Cobo Arena in Detroit, Michigan. The band developed a unique sound and ethos, leaving behind its earlier blues influence. Downie's vocal style changed while the band experimented with song structures and chord progressions. Songs explored the themes of Canadian geography and history, water and land, all motifs that became heavily associated with the Hip. While Fully Completely began an exploration of deeper themes, many critics consider Day for Night to be the Hip's artistry most fully realized. The sound here is typically called "enigmatic" and "dark", while critic MacKenzie Wilson praises "the poignancy of Downie's minimalism." On the follow-up tour for this album, the band made its only appearance on Saturday Night Live, on March 25, 1995, thanks in large part to the finagling of fellow Canadian and Kingston-area resident Dan Aykroyd, who appeared on the show just to introduce them. Aykroyd, who is a fan of the band, had personally lobbied SNL showrunner Lorne Michaels to book them as a musical guest. The band's performance on the show was one of their highest profile media appearances in the United States. In July 1996, the Hip headlined Edenfest. The three-day concert took place at Mosport Park, in Bowmanville, Ontario, Canada, just a few months after the LP Trouble at the Henhouse was released. The concert sold over 70,000 tickets total and was attended by an estimated 20,000 additional people who gained access to the concert site after the outside security broke down. 1998–2003 In 1998, the band released their sixth full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada. In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York. On the second day of three, they were the first band to take the stage. They were followed by Kid Rock. 2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts. In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Three of their songs appear in the film, and they backed Sarah Harmer on a fourth, the soundtrack's lead single, "Silver Roads". On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot. 2004–2008 In Between Evolution was released in 2004 in the No. 1 position in Canada. It has since sold over 100,000 copies. At the 92nd Grey Cup held November 21, 2004, the band provided the halftime entertainment in front of a packed house at Frank Clair Stadium in Ottawa. In 2004, in episode 15 ("Rock On"), season 2 of Canadian comedy TV series Corner Gas, the Tragically Hip gave a cameo appearance as an unnamed local band rehearsing in Brent's garage. They play a rough version of the song It Can't Be Nashville Every Night from their In Between Evolution album until interrupted and asked to leave by Brent, Wanda, and Hank. As they disappointedly go, Wanda demands that Gord Sinclair and Rob Baker leave behind their amplifiers. In October 2005, several radio stations temporarily stopped playing "New Orleans Is Sinking", out of sensitivity to the victims of Hurricane Katrina, which had devastated the city in early September of that year. However, it received considerable pirate radio and relief site play and gained some notoriety and praise in New Orleans due to its attitudinal proximity to the city's culture. On November 1, 2005, the Hip released a double CD, double DVD box set, Hipeponymous, including all of their singles and music videos to date, a backstage documentary called "Macroscopic", an animated Hip-scored short film entitled "The Right Whale", two brand new songs ("No Threat" and "The New Maybe"), a full-length concert from November 2004 That Night in Toronto, and a 2-CD greatest hits collection Yer Favourites (selected on-line by 150,000 fans). On November 8, 2005, Yer Favourites and That Night in Toronto were released individually. In 2006, another studio album, entitled World Container, was released, being notably produced by Bob Rock. It produced four singles, and reached the No. 1 spot on the Canadian rock music charts. The band toured concert dates in major Canadian cities, and then as an opening act for the Who on several US dates. A tour of Eastern Canada, Europe, and select cities in the United States occurred late in the year. On February 23, 2008, the Hip returned to their hometown of Kingston, Ontario, where they were the first live act to perform at the new K-Rock Centre. 2009–2015 In 2009, the band again worked with producer Bob Rock, and We Are the Same was released in North America on April 7, 2009. It produced three singles. To promote We Are the Same, the band invited The Hour's George Stroumboulopoulos for a live interview at The Bathouse Recording Studio in Bath, Ontario (where most of the album was recorded), and they played seven new songs as well as unique versions of five other songs. The interview and performance were broadcast live in more than eighty theatres across Canada. On January 22, 2010, the band performed "Fiddler's Green" at the "Canada for Haiti" telethon to aid earthquake victims in that country. This was broadcast nationally on all three of Canada's main networks (CBC, Global, and CTV). Single "At Transformation" was released in May 2012 ahead of the band's twelfth studio album, Now for Plan A. A second single, "Streets Ahead" came out in August that year, and the album followed in October. The Tragically Hip re-entered their studio in July 2014 to begin work on a new album. The following October, Fully Completely was re-released as a remastered deluxe edition, including two bonus tracks, a vinyl edition and a recording of a live show. To celebrate and promote the re-release, the band toured Canada and the United States from January to October 2015. 2016–2017: Downie's diagnosis, summer tour, and death In December 2015, Downie was diagnosed with terminal brain cancer. The band announced his diagnosis on May 24, 2016. The band also announced that, despite his condition, they would tour that summer. The Hip's thirteenth album, Man Machine Poem, was released on June 17, 2016. The album featured songs such as "In a World Possessed by the Human Mind", "In Sarnia", and "Machine". The final concert of the Man Machine Poem tour was held at the Rogers K-Rock Centre in the band's hometown of Kingston on August 20, 2016. The concert was aired by the Canadian Broadcasting Corporation as a live cross-platform broadcast on CBC Television, CBC Radio One, CBC Radio 2, CBC Music, and YouTube. The concert featured 30 songs and three encore sets, with the band finishing with a performance of "Ahead by a Century". The CBC's broadcast and live streaming of the concert, uninterrupted by advertisements, was watched by 11.7 million people (roughly one-third of the Canadian population). On October 13, 2016, Downie gave an interview, his first since his cancer diagnosis, to the CBC's Peter Mansbridge, in which he reported experiencing memory loss. Downie also told Mansbridge that he was working with the Tragically Hip on new studio material, and that the band have up to four albums worth of unreleased material in the vaults. Downie released his fifth solo album, Secret Path on October 18, 2016. The album is a concept album about Chanie Wenjack, a First Nations boy who escaped from a Canadian Indian residential school in 1966 and died while attempting to make the 600 km walk back to his home. On December 22, 2016, Downie was selected as The Canadian Press' Canadian Newsmaker of the Year and was the first entertainer ever selected for the title. On June 15, 2017, all five members of the Tragically Hip were announced as recipients of the Order of Canada by Governor General of Canada David Johnston. Downie received his honour on June 19; the other four members of the band were invested on November 17. The band and the tour are the subjects of Jennifer Baichwal and Nicholas de Pencier's documentary film Long Time Running, which premiered at the 2017 Toronto International Film Festival. It was slated to have its television premiere in November 2017 on CTV, but following Downie's death the network moved the broadcast up to October 20. Gord Downie died on October 17, 2017. His death was widely mourned throughout Canada. Prime Minister Justin Trudeau, who is a fan of the Tragically Hip, released a tribute statement on his official website the morning after Downie's death. Later in the day, he held a press conference at Parliament Hill at which he eulogized Downie as "Our buddy Gord, who loved this country with everything he had—and not just loved it in a nebulous, 'Oh, I love Canada' way. He loved every hidden corner, every story, every aspect of this country that he celebrated his whole life." Following Downie's death, many of the band's albums climbed the Billboard Canadian Albums chart, which is compiled by Neilsen Music. In the week ending October 19, 2017 (the day following the announcement of Downie's death), Yer Favourites rose to No. 2 in the chart, with another 10 albums moving to the Top 200. Streaming also increased 700 percent, and many of the Tragically Hip's top hits remained on the Spotify Canadian Viral 50 as of October 23, 2017. 2018–present: Activity following Downie's death Before his death, Downie indicated in interviews that the band had unreleased material that may still be issued as one or more new albums; when accepting Downie's posthumous awards at the Juno Awards of 2018, his brothers Patrick and Mike also stated that more unreleased music is likely to be issued in the future. A National Celebration, a concert film of the Tragically Hip's final concert, was released on DVD and Blu-ray on December 8, 2017. In July 2018, guitarist Rob Baker told Entertainment Tonight Canada that the Tragically Hip were no longer active as a touring or recording entity following Downie's death. He stated "When I say The Tragically Hip doesn't exist as a performing unit anymore because a key member is gone, I think [fans] understand that. We wouldn't be The Hip without Gord [...] The Hip has played their last note." Baker also revealed that Downie had encouraged the group to audition replacement vocalists, but the other members did not seriously consider the idea. With the legalization of marijuana in Canada, the remaining band members became investment partners in Newstrike, a cannabis company which has named several of its products after Tragically Hip songs. In a July 2018 interview with the Toronto Sun, Baker confirmed that at least three albums' worth of unreleased material was recorded with Downie before his death, but stated that the band had yet to decide how it would be released. On October 11, 2018, six days before the first anniversary of Downie's death, Fay and Baker joined Choir! Choir! Choir! at Yonge-Dundas Square for a live performance of the Tragically Hip's "Grace, Too". On October 17, 2018, one year after Downie's death, a previously unreleased studio recording of the song "Wait So Long" was played on CIKR-FM, a radio station in the band's hometown of Kingston. The Tragically Hip was among hundreds of artists whose material was reported to have been destroyed in the 2008 Universal fire but it later emerged that the band's master tapes had been transferred back to Canada in 2001, and had escaped the fire. On September 14, 2019, Langlois, Sinclair and Baker performed a set at Rockin' the Big House, a benefit concert on the grounds of the former Kingston Penitentiary, with guest vocalists Hugh Dillon and Tom Cochrane. In January 2020, Sinclair announced that his own debut album as a solo artist, Taxi Dancers, would be released on February 28. In June 2020, the band and manager Jake Gold announced that they were undertaking an "archaeological dig" to select music and memorabilia from the band's archives for future release. In early 2021, Rob Baker released a new album with his side band project, Stripper's Union. The band released Saskadelphia, an EP comprising five previously unreleased and recently found Road Apples outtakes and a live track (as the original version has yet to be found). Road Apples was planned to be a double album, but was rejected by the label. Many songs were presumed to be destroyed in the Universal fire in 2008, but the masters were found and transferred to new recordings in 2019. Saskadelphia was released on May 21, 2021. At the Juno Awards of 2021, the surviving members of the Tragically Hip performed their 2002 single "It's a Good Life If You Don't Weaken" with Feist on lead vocals, which marked the band's first televised performance since Downie's death. In a promotional interview on CBC Radio's Q before the ceremony, the band stated that they agreed to perform specifically because Feist had been proposed as the vocalist, with Langlois stating that "OK, so that's not going to be some guy trying to sing like Gord or some guy trying not to sing like Gord. It was a 'no' until Feist came up." The band also received the Juno Humanitarian Award at the ceremony for their history of philanthropic work in Canada. On June 24, 2022, the band released Live at the Roxy, a live recording of their May 3, 1991 concert at the Roxy Theatre in West Hollywood, California. In September 2022, the surviving members again reunited to perform at the Buffy Sainte-Marie tribute show Buffy Sainte-Marie: Starwalker, supporting singer-songwriter William Prince on Sainte-Marie's "Now That the Buffalo's Gone". Legacy and influence The Tragically Hip's music is extremely popular in their native Canada, and Downie's songwriting has been praised for frequently touching upon uniquely Canadian subjects not otherwise covered by mainstream rock groups. In The National Post, Dave Kaufman wrote "Although Downie sings of Canada, his songs are by no means patriotic, or no more than in the way that we're all influenced by where we're from. The band have never been so obvious as to drape themselves in a Canadian flag, but instead, they evoke that shared experience of what it's meant for many of us to grow up in Canada." The band was a member of the Canadian charity Artists Against Racism and worked with them on radio PSAs. After Downie's death in 2017, Simon Vozick-Levinson of The New York Times wrote, "The place of honor that Mr. Downie occupies in Canada's national imagination has no parallel in the United States. Imagine Bruce Springsteen, Bob Dylan and Michael Stipe combined into one sensitive, oblique poet-philosopher, and you’re getting close." According to Nielsen BDS, the Tragically Hip were the fourth best-selling Canadian musical artist in Canada between 1996 and 2016. In that same period of time, "Ahead by a Century" was listed as the 67th most played song on Canadian radio across all formats, while 18 of their songs appeared in a list of the Top 150 most played songs on Canadian rock radio. Reflecting on the band's popularity in Canada, Rachel Sklar of Vox wrote, "There is a generation of Canadians who, if they went to university, they saw the Hip." Despite their high popularity in Canada, the group was never able to cross over into the American rock music scene apart from a small, devoted fan-base centered in border cities like Buffalo, New York and Detroit, Michigan. The band notched four entries on the Billboard Mainstream Rock Tracks singles chart in the US; their highest-charting song on the chart being "Courage (for Hugh MacLennan)", which reached No. 16 in 1993. Downie once complained that the band's lack of crossover to the American rock music market had been overexamined, stating "[Interviewers] always ask us about our success or lack of success in the States, which I find absurd. While that is a story of the band, there are so many other stories." Comedian Rick Mercer remarked that much of the band's American fanbase was composed of Canadians living in the United States, and recalled an experience seeing them perform at The Fillmore in San Francisco where the venue was filled with Canadian fans; he wrote, "This was the curse of being the Hip, they would go to the Fillmore, a famous venue, and they would sell out in five minutes. But no Americans could get in. By the time they were like, 'What's this happening in this sold-out show with this insane band,' you couldn't get in because every Canadian filled up the space." Numerous tribute and cover bands to the Tragically Hip have actively performed across Canada both before and after the band's dissolution. The band's music also provides the score for a full-length contemporary ballet, Jean Grand-Maitre's All of Us. The band were named as an influence by several Canadian musicians and bands across multiple genres, including Dallas Green, k-os, and Kevin Drew. Members Gord Downie – lead vocals, guitar (1984–2017; deceased) Rob Baker – guitar (1984–2017) Paul Langlois – guitar, backing vocals (1986–2017) Gord Sinclair – bass, backing vocals (1984–2017) Johnny Fay – drums, percussion (1984–2017) Davis Manning – saxophone (1984–1986) Awards and honours SOCAN Awards 1997: National Achievement Award Canada's Walk of Fame: 2002: Inducted in Toronto, Ontario Canadian Music Hall of Fame: 2005: Inducted at the Juno Awards in Winnipeg, Manitoba Royal Conservatory of Music: 2006: Presented with an honorary fellowship May 24 at the Windsor Arms Hotel in Toronto, Ontario Governor General's Performing Arts Awards: 2008: Presented the National Arts Centre Award in Ottawa, Ontario Juno Awards 1990: Most Promising Group of the Year 1991: Canadian Entertainer of the Year 1993: Canadian Entertainer of the Year 1995: Entertainer of the Year 1995: Group of the Year 1997: Group of the Year 1997: Album of the Year (Trouble at the Henhouse), 1997: North Star Rock Album of the Year (Trouble at the Henhouse) 1999: Best Rock Album (Phantom Power) 1999: Best Album Design (Phantom Power) 2000: Best Single ("Bobcaygeon") 2001: Best Rock Album (Music at Work) 2006: CD/DVD Artwork Design of the Year (Hipeponymous) 2006: Music DVD of the Year (Hipeponymous) 2017: Rock Album of the Year (Man Machine Poem) 2017: Group of the Year 2021: Juno Humanitarian Award Order of Canada 2017: Appointed to the Order of Canada Homages: In 2012, the city of Kingston, Ontario renamed a prominent portion of Barrack Street, in front of the K-Rock Centre, to "The Tragically Hip Way". In 2013, the Tragically Hip were one of four bands—alongside Rush, the Guess Who, and Beau Dommage—honoured by Canada Post in a series of postage stamps. On January 1, 2017, CBC Radio 2's The Strombo Show aired a special episode titled The Hip 30, which consisted of Canadian musicians performing live covers of the band's songs and sharing their thoughts on the band's impact on Canadian culture. Participating artists included Blue Rodeo, Sarah Harmer, Barenaked Ladies, Donovan Woods, Stars, Arkells and Rheostatics. The episode was already planned as a tribute to the band's 30th anniversary before Downie's cancer diagnosis was announced; several times during the show, host George Stroumboulopoulos reaffirmed that "this is not a eulogy; this is a celebration." On January 28, 2017, the Kingston Frontenacs of the Ontario Hockey League played against the Mississauga Steelheads in a special theme night game, in which the Frontenacs wore specially designed Tragically Hip sweaters. The band participated in the pregame show, in which the band members were presented with their own sweaters. On February 2, 2017, the City of Kingston unveiled a commemorative stone in Springer Market Square with Rob Baker and Paul Langlois, recognizing the last concert of the Man Machine Poem tour. Lyrics "Everybody was in it from miles around..." from Blow at High Dough were selected in an online poll with over 11,000 votes cast. On May 2, 2018, Alberta Ballet premiered All of Us, a full-length contemporary ballet featuring the music of the Tragically Hip. Discussions about the project began in early 2016 and had the support of all five band members. The ballet has since been performed in Calgary and Edmonton where Rob Baker attended in both cities on behalf of the band. In 2019 will tour to multiple Canadian cities. Discography The Tragically Hip (EP) (MCA, 1987) Up to Here (MCA, 1989) Road Apples (MCA, 1991) Fully Completely (MCA, 1992) Day for Night (MCA, 1994) Trouble at the Henhouse (MCA, 1996) Phantom Power (Universal, 1998) Music @ Work (Universal, 2000) In Violet Light (Universal, 2002) In Between Evolution (Universal, 2004) World Container (Universal, 2006) We Are the Same (Universal, 2009) Now for Plan A (Universal, 2012) Man Machine Poem (Universal, 2016) Saskadelphia (EP) (Universal, 2021) See also Canadian rock Music of Canada List of Saturday Night Live hosts and musical guests List of diamond-certified albums in Canada List of Canadian musicians List of bands from Canada References External links CanConRox entry Watch the National Film Board of Canada short documentary Family Band, produced for the Governor General's Performing Arts Awards for Lifetime Artistic Achievement (Requires Adobe Flash) Category:Musical groups established in 1984 Category:Musical groups disestablished in 2017 Category:Musical groups from Kingston, Ontario Category:Canadian alternative rock groups Category:Fellows of the Royal Conservatory of Music Category:Canadian Music Hall of Fame inductees Category:Zoë Records artists Category:1983 establishments in Ontario Category:2017 disestablishments in Ontario Category:Governor General's Performing Arts Award winners Category:Members of the Order of Canada Category:Juno Award for Single of the Year winners Category:Juno Award for Album of the Year winners Category:Juno Award for Breakthrough Group of the Year winners Category:Juno Award for Rock Album of the Year winners Category:Juno Award for Group of the Year winners
[ { "text": "The music of Canada reflects the diverse influences that have shaped the country. Indigenous Peoples, the Irish, British, and the French have all made unique contributions to the musical heritage of Canada. The music has also subsequently been influenced by American culture because of the proximity between the two countries. Since French explorer Samuel de Champlain arrived in 1605 and established the first permanent French settlements at Port Royal and Québec in 1608, the country has produced its own composers, musicians and ensembles.\n\nCanadian music reflects a variety of regional scenes. Government support programs, such as the Canada Music Fund, assist a wide range of musicians and entrepreneurs who create, produce and market original and diverse Canadian music. The Canadian music industry is the sixth-largest in the world, producing internationally renowned composers, musicians and ensembles. Music broadcasting in the country is regulated by the CRTC. The Canadian Academy of Recording Arts and Sciences presents Canada's music industry awards, the Juno Awards, which were first awarded in 1970. The Canadian Music Hall of Fame, established in 1976, honours Canadian musicians for their lifetime achievements. The 21st century has seen Canadian musicians expand their audiences beyond the country's borders.\n\nPatriotic music in Canada dates back over 200 years as a distinct category from British patriotism, preceding Canadian Confederation by over 50 years. The earliest work of patriotic music in Canada, \"The Bold Canadian\", was written in 1812. The national anthem, \"O Canada\", was originally commissioned by the lieutenant governor of Quebec, Théodore Robitaille, for the 1880 St. Jean-Baptiste Day ceremony and was officially adopted in 1980. Calixa Lavallée wrote the music, which was a setting of a patriotic poem composed by the poet and judge Sir Adolphe-Basile Routhier. The text was originally only in French before it was adapted into English in 1906.\n\nHistory\n\nIndigenous music\n\nFor thousands of years, Canada has been inhabited by indigenous peoples from a variety of different cultures and of several major linguistic groupings. Each of the Indigenous communities had (and have) their own unique musical traditions. Chanting is widely popular, with many of its performers also using a variety of musical instruments. They used the materials at hand to make their instruments for thousands of years before Europeans immigrated to the new world. They made gourds and animal horns into rattles which were elaborately carved and painted. In woodland areas, they made horns of birchbark along with drumsticks of carved antlers and wood. Drums were generally made of carved wood and animal hides. These musical instruments provide the background for songs and dances.\n\nFor many years after European settlement, First Nations and Inuit peoples were discouraged from practicing their traditional ceremonies. However, impacts varied significantly depending on such aspects as the time period, relative population size, relation quality, resistance, etc. In 1606–1607 Marc Lescarbot collected the earliest extant transcriptions of songs from the Americas: three songs of Henri Membertou, the sakmow (Grand Chief) of the Mi'kmaq First Nations tribe situated near Port Royal, present-day Nova Scotia.\n\n17th century\n\nFrench settlers and explorers to New France brought with them a great love of song, dance and fiddle playing. Beginning in the 1630s French and Indigenous children at Québec were taught to sing and play European instruments, like viols, violins, guitars, transverse flutes, drums, fifes and trumpets. Ecole des Ursulines and The Ursuline Convent are among North America's oldest schools and the first institutions of learning for women in North America. Both were founded in 1639 by French nun Marie of the Incarnation (1599–1672) alongside the laywoman Marie-Madeline de Chauvigny de la Peltrie (1603–1671) and are the first Canadian institutions to have music as part of the curriculum.\n\nThe earliest written record of violins in Canada comes from the Jesuit Relation of 1645. The Jesuits additionally have the first documented organ sale, imported for their Québec chapel in 1657. Notre-Dame de Québec Cathedral, built in 1647, is the primatial church of Canada and seat of the Roman Catholic Archdiocese of Quebec. It is the oldest Catholic \"Episcopal see\" in the New World north of Mexico and site of the first documented choir in Canada.\n\nIn what was then known as New France, the first formal ball was given by Louis-Théandre Chartier de Lotbinière (1612–1688) on 4 February 1667. Louis Jolliet (1645–1700) is on record as one of the first classically trained practicing musicians in New France, although history has recognized him more as an explorer, hydrographer and voyageur. Jolliet is said to have played the organ, harpsichord, flute, and trumpet. In 1700, under British rule at this time, an organ was installed in Notre-Dame Basilica in Montreal and military bands gave concerts on the Champ de Mars. A French-born priest, René Ménard, composed motets around 1640, and a second Canadian-born priest, Charles-Amador Martin, is credited with the plainchant music for the Sacrae familiae felix spectaculum, in celebration of the Holy Family feast day in 1700.\n\n18th century\n\nHistorically, music was composed in Canada's colonies and settlements during the 18th century, although very few popular named works have survived or were even published. The French and Indian Wars began and left the population economically drained and ill-equipped to develop cultural pursuits properly. The part-time composers of this period were nonetheless often quite skilled. Traditional songs and dances, such as those of the Habitants and Métis, were transmitted orally, from generation to generation and from village to village, thus people felt no need to transcribe or publish them. Printed music was required, for music teachers and their pupils, who were from the privileged minority where domestic music making was considered a proof of gentility. Music publishing and printing in Europe by this time was a thriving industry, but it did not begin in Canada until the 19th century. Canadian composers were not able to focus entirely on creating new music in these years, as most made their living in other musical activities such as leading choirs, church organists and teaching. Regimental bands were musically a part of civil life and typically featured a dozen woodwind and brass instruments, performing at parades, festive ceremonies, minuets, country dances and balls.\n\nAfter the 1760s, regular concerts became a part of the cultural landscape, as well as a wide variety of dancing. Operatic excerpts began to appear, and before the end of the century Canada had its first home-grown opera. A \"Concert Hall\" existed in Québec by 1764 and subscription concerts by 1770, given, one may presume, by band players and skilled amateurs. Programs for the Québec and Halifax concerts of the 1790s reveal orchestral and chamber music by Handel, J.C. Bach, Haydn, Mozart and Pleyel. Canada's first two operas were written, ca. 1790 and ca. 1808 by composer, poet, and playwright Joseph Quesnel (1746–1809). The instrument of favour for the lower class was the fiddle. Fiddlers were a fixture in most public drinking establishments. God Save the King/Queen has been sung in Canada since British rule and by the mid-20th century was, along with \"O Canada\", one of the country's two de facto national anthems.\n\n19th century\n\nThe beginning of the 19th century Canadian musical ensembles had started forming in great numbers, writing waltzes, quadrilles, polkas and galops. The first volumes of music printed in Canada was the \"Graduel romain\" in 1800 followed by the \"Union Harmony\" in 1801. Folk music was still thriving, as recounted in the poem titled \"A Canadian Boat Song\". The poem was composed by the Irish poet Thomas Moore (1779–1852) during a visit to Canada in 1804. \"The Canadian Boat Song\" was so popular that it was published several times over the next forty years in Boston, New York City and Philadelphia. Dancing likewise was an extremely popular form of entertainment as noted In 1807 by the Scottish traveler and artist George Heriot (1759–1839), who wrote:\n\nAmong the earliest musical societies were Halifax's \"New Union Singing Society\" of 1809 and Québec's \"Harmonic Society\" of 1820. One of the first registered all-civilian musical ensembles was a religious sect organized from Upper Canada called the Children of Peace in 1820. In 1833, a student orchestra was organized at the Séminaire de Québec the Société Ste-Cécile, as it was known, and was one of the earliest ensembles of its kind in Lower Canada. The first appearance of a piece of music in a newspaper or magazine was in the pages of the Montreal twice-weekly newspaper, La Minerve, on September 19, 1831. Many immigrants during this time lived in relative isolation and music sometimes obtained through subscriptions to newspapers and magazines, provided entertainment and a life line to civilization. One of the earliest surviving publications in Canada of a song on the piano in sheet music format is \"The Merry Bells of England\" by J. F. Lehmann, of Bytown (later Ottawa) in 1840. It was published by John Lovell in the literary magazine Literary Garland.\n\nThe Great Migration of Canada from 1815 to 1850, consisting largely of Irish, and British immigrants, broadened considerably the Canadian musical culture. 1844, Samuel Nordheimer (1824–1912) opened a music store in Toronto selling pianos and soon thereafter began to publish engraved sheet music. Samuel Nordheimers store was among the first and the largest specialized music publisher in the Province of Canada. They initially had the sole right to publish copies of Alexander Muir's \"The Maple Leaf Forever\" that for many years served as an unofficial Canadian national anthem.\n\nBy the time of Canadian Confederation (1867), songwriting had become a favored means of personal expression across the land. In a society in which most middle-class families now owned a harmonium or piano, and standard education included at least the rudiments of music, the result was often an original song. Such stirrings frequently occurred in response to noteworthy events, and few local or national excitements were allowed to pass without some musical comment.\n\nThe 1870s saw several conservatories open their doors, providing their string, woodwind and brass faculty, leading to the opportunity for any class level of society to learn music. One Sweetly Solemn Thought in 1876 by Hamilton-based Robert S. Ambrose, became one of the most popular songs to ever be published in the 19th century. It fulfilled the purpose of being an appropriate song to sing in the parlors of homes that would not permit any non-sacred music to be performed on Sundays. At the same time it could be sung in dance halls or on the stage along with selections from operas and operettas.\n\n\"O Canada\" was originally commissioned by the Lieutenant Governor of Quebec, the Honourable Théodore Robitaille (1834–1897), for the 1880 St. Jean-Baptiste Day ceremony. Calixa Lavallée (1842–1891) wrote the music, which was a setting of a patriotic poem composed by the poet and judge Sir Adolphe-Basile Routhier (1839–1920). The text was originally only in French, before it was translated into English from 1906 on.\n\nLeo, the Royal Cadet a light opera with music by Oscar Ferdinand Telgmann and a libretto by George Frederick Cameron was composed in Kingston, Ontario, in 1889. The work centres on Nellie's love for Leo, a cadet at the Royal Military College of Canada who becomes a hero serving during the Anglo-Zulu War in 1879. The operetta focussed on typical character types, events and concerns of Telgmann and Cameron's time and place.\n\n20th century\n\n1900–1929 \n\nPrior to the development of the gramophone, Canadian songwriters' works were published as sheet music, or in periodicals in local newspapers such as The Montreal Gazette and Toronto Empire. Most recordings purchased by Canadians in the early days of the gramophone were made by American and British performers, behind some of these international hits were Canadian songwriters. Robert Nathaniel Dett (1882–1943) was among the first Black Canadian composers during the early years of the American Society of Composers, Authors and Publishers. His works often appeared among the programs of William Marion Cook's New York syncopated Orchestra. Dett himself performed at Carnegie Hall and at the Boston Symphony Hall as a pianist and choir director. Following quickly on the gramophone's spread came Canada's involvement in the First World War. The war was the catalyst for the writing and recording of large numbers of Canadian-written popular songs, some of which achieved lasting international commercial success. The military during World War I produced official music such as regimental marches and songs as well as utilitarian bugle calls. The soldiers had a repertoire of their own, largely consisting of new, often ribald, lyrics to older tunes.\n\nCanada's first independent record label Compo Company built a pressing plant (the largest of its day) in 1918 at Lachine, Quebec. Compo was originally created to serve the several American independent record companies such as Okeh Records which wanted to distribute records in Canada. The 1920s saw Canada's first radio stations, this allowed Canadian songwriters to contribute some of the most famous popular music of the early 20th century. Canada's first commercial radio station CFCF (formerly XWA) begins broadcasting regularly scheduled programming in Montreal in 1920, followed by CKAC, Canada's first French language radio station, in 1922. By 1923, there were 34 radio stations in Canada and subsequently proliferated at a remarkable rate, and with them spread the popularity of jazz. Jazz became associated with all things modern, sophisticated, and also decadent.\n\nIn 1925, the Canadian Performing Rights Society was formed to administer public performance and royalties for composers and lyricists. It became known as the Composers, Authors and Publishers Association of Canada (CAPAC). Toronto-born Murray Adaskin (1906–2002) was a violinist, composer, conductor and teacher at the University of Saskatchewan. From 1923 to 1936 he was an orchestral and chamber musician with the Toronto Symphony Orchestra, he was later named head of music at the University of Saskatchewan. He was a composer-in-residence at the University of Saskatchewan, the first appointment of this type in Canada.\n\nThe RCA Victor factory located in Montreal, Quebec housed Canada's first recording studio featuring polycylindrical walls which allowed the sounds to reflect in all directions. Studio Victor had artists from across Canada come in and record in both English and French, as well as had many different genres be recorded within their walls such as jazz, chamber music, choirs, classical music, folk and country. The factory is now home to many businesses one being the Musée des ondes Emile Berliner, a musum focused on the work of Berliner, mostly gramophones, flat disks, and later radios when his company merged with RCA, as well as the nature and science of sound waves.\n\n1930–1959\n\nDuring the great depression in Canada, the majority of people listened to what today would be called swing (Jazz) just as country was starting its roots. The diversity in the evolution of swing dancing in Canada is reflected in its many American names, Jive, Jitterbug and Lindy. Canada's first big band star was Guy Lombardo (1902–1977), who formed his easy listening band, The Royal Canadians, with his brothers and friends. They achieved international success starting in the mid-1920s selling an estimated 250 million phonograph records, and were the first Canadians to have a #1 single on Billboards top 100. In 1932, the first Broadcasting Act was passed by Parliament creating the Canadian Radio Broadcasting Commission. It was to both regulate all broadcasting and create a new national public radio network. 1936, the Canadian Broadcasting Corporation came into existence, at the time, a million Canadian households had a radio.\n\nEmerging from the Great Depression on near equal-footing to American popular music, Canadian popular music continued to enjoy considerable success at home and abroad in the following years. Among them Montreal's jazz virtuoso Oscar Peterson (1925–2007), considered to have been one of the greatest pianists of all time, releasing over 200 recordings and receiving several Grammy Awards during his lifetime. Also notable is Hank Snow (1914–1999), who signed with RCA Victor in 1936 and went on to become one of America's biggest and most innovative country music superstars of the 1940s and 1950s. Snow became a regular performer at the Grand Ole Opry on WSM in Nashville and released more than 45 LPs over his lifetime. Snow was one of the inaugural inductees to the Canadian Songwriters Hall of Fame started in 2003.\n\nCanada during the Second World War produced some patriotic songs, but they were not hits in the music industry sense. A number of Canadian singers who learned their craft in Canadian opera companies in the 1930s went on to sing in major international opera houses. Most notable from the 1940s is contralto singer Portia White (1911–1968). She achieved international fame because of her voice and stage presence. As a Canadian female of African descent, her popularity helped to open previously-closed doors for talented women who followed. She has been declared \"A person of national historic significance\" by the Government of Canada. In 1964 she performed for Queen Elizabeth II, at the opening of the Confederation Centre of the Arts.\n\nFollowing World War II a growth phase for Canadian bands was experienced, this time among school bands. Rapid advances in the inclusion of instrumental music study in formal school curricula brought about fundamental changes to the philosophy of the band movement and the type of repertoire available. The CHUM Chart debuted on May 27, 1957, under the name CHUM's Weekly Hit Parade, was in response to the fast-growing diversity of music that needed to be subdivided and categorized. The CHUM charts were the longest-running Top 40 chart in Canada ending in 1986.\n\n1958 saw its first Canadian rock and roll teen idol Paul Anka, who went to New York City where he auditioned for ABC with the song \"Diana\". This song brought Anka instant stardom as it reached number one on the US Billboard charts. \"Diana\" has gone on to be one of the best selling 45s in music history. US-born rockabilly pioneer Ronnie Hawkins moved to Canada in 1958, where he became a key player in the Canadian blues and rock scene. The 4th of October was declared \"Ronnie Hawkins Day\" by the city of Toronto when Hawkins was inducted into Canada's Walk of Fame. He was also inducted into the Canadian Music Industry Hall of Fame and his pioneering contribution to rockabilly has been recognized with induction into the Rockabilly Hall of Fame.\n\n1960–1999\n\nCanadian artists and Canadian ensembles were generally forced to turn toward the United States to establish healthy long lasting careers during the 1960s. Canada would produce some of the world's most influential singer-songwriters during this time. Among the most notable is Neil Young who has been inducted into the Canadian Music Hall of Fame, Canada's Walk of Fame and the Rock and Roll Hall of Fame twice. Leonard Cohen has been inducted into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame and is also a Companion of the Order of Canada. Folk legend Joni Mitchell is an Alberta native, and has been inducted into both the Canadian Music Hall of Fame and the Rock and Roll Hall of Fame. Walt Grealis of Toronto started in the music business with Apex Records in 1960, the Ontario distributor for Compo Company. He later joined London Records, where he worked until February 1964, when he then established RPM weekly trade magazine. From the first issue of RPM Weekly on February 24, 1964, to its final issue on November 13, 2000, RPM was the defining charts in Canada.\nThe American and British counterculture explosion and hippie movement had diverted music to that which was dominated by socially and American politically incisive lyrics by the late 1960s. The music was an attempt to reflect upon the events of the time – civil rights, the war in Vietnam and the rise of feminism. This led to the Canadian government passing Canadian content legislation to help Canadian artists. On January 18, 1971, regulations came into force requiring AM radio stations to devote 30 percent of their musical selections to Canadian content. Although this was (and still is) controversial, it quite clearly contributed to the development of a nascent Canadian pop star system.\n\nWith the introduction in the mid-1970s of mainstream music on FM radio stations, where it was common practice to program extended performances, musicians were no longer limited to songs of three minutes' duration as dictated by AM stations for decades. Other notable musicians who have been one of the largest Canadian exports include the progressive rock band Rush, Triumph and Bryan Adams. In the classical world, homegrown talent Canadian Brass was established in Toronto in 1970.\n\nCountry music remained popular in Canada in the 1970's thanks to the CBC's The Tommy Hunter show and the adult contemporary radio format which benefited the international stardom of Anne Murray. However, the more mainstream sound would hinder Stompin' Tom Connors until he would have a revival in the 1990's.\n\nCanada's first nationwide music awards began as a reader poll conducted by Canadian music industry trade magazine RPM Weekly in December 1964. A similar balloting process continued until 1970 when the RPM Gold Leaf Awards, as they were then known, were changed to the Juno Awards. The Canadian Academy of Recording Arts and Sciences held the first Juno Award ceremony in 1975. This was in response to rectifying the same concerns about promotion of Canadian artists that the Canadian Radio-television and Telecommunications Commission had.\n\nCanadian music changed course in the 1980s and 1990s, the changing fast-paced culture was accompanied by an explosion in youth culture. Until the mid-1960s, little attention was paid to music by Canadian daily newspapers except as news or novelty. With the introduction during the late 1970s of the \"music critic\", coverage began to rival that of any other topic. Canadian publications devoted to all styles of music either exclusively or in tandem with more general editorial content directed to young readers, was expanding exponentially.\n\nThe influence and innovations of Canadian hip hop came to the foreground in Canada, with musicians Like Maestro Fresh Wes, Snow, and the Dream Warriors, when music videos became an important marketing tool for Canadian musicians, with the debut of MuchMusic in 1984 and MusiquePlus in 1986. Now both English and French Canadian musicians had outlets to promote all forms of music through video in Canada. The networks were not just an opportunity for artists to get their videos played—the networks created VideoFACT, a fund to help emerging artists produce their videos.\n\nCanadian women at the end of the 20th century enjoyed greater international commercial success than ever before. Canadian women set a new pinnacle of success, in terms financial, critical and in their immediate and strong influence on their respective genres. They were the women and daughters who had fought for emancipation and equality a generation before. Like Shania Twain, Alanis Morissette and most notable is French-Canadian singer, Celine Dion, who became Canada's best-selling music artist, and who, in 2004, received the Chopard Diamond Award from the World Music Awards for surpassing 175 million in album sales, worldwide.\n\n21st century\n\nThe turn of the millennium was a time of incredible nationalism, at least as far as Canadian radio is concerned. The 1971 CRTC rules (30% Canadian content on Canadian radio) finally come into full effect and by the end of the 20th century radio stations would have to play 35% Canadian content. This led to an explosion in the 21st century of Canadian pop musicians dominating the airwaves unlike any era before. In 1996, VideoFACT launched PromoFACT, a funding program to help new artists produce electronic press kits and websites. At about the same time, the CD (cheap to manufacture) replaced the vinyl album and Compact Cassette (expensive to manufacture). Shortly thereafter, the Internet allowed musicians to directly distribute their music, thus bypassing the selection of the old-fashioned \"record label\". Canada's mainstream music industry has suffered as a result of the internet and the boom of independent music. The drop in annual sales between 1999, the year that Napster's unauthorized peer-to-peer file sharing service launched, and the end of 2004 was $465 million.\n\nIn 2007, Canada joined the controversial Anti-Counterfeiting Trade Agreement talks, whose outcome will have a significant impact on the Canadian music industry. In 2010 Canada introduced new copyright legislation. The amended law makes hacking digital locks illegal, but enshrine into law the ability of purchasers to record and copy music from a CD to portable devices.\n\nThe early 2000s saw Canadian independent artists continue to expand their audience into the United States and beyond. Mainstream Canadian artists with global recorded contracts such as Nelly Furtado, Avril Lavigne, Michael Bublé, Nickelback, Drake, The Weeknd, Shawn Mendes and Justin Bieber reached new heights in terms of international success, while dominating the American music charts. The late 2010s and early 2020 saw the deaths of Gord Downie of The Tragically Hip and Neil Peart of Rush.\n\nAnthems\n\nPatriotic music in Canada dates back over 200 years as a distinct category from British patriotism, preceding the first legal steps to independence by over 50 years. The earliest, \"The Bold Canadian\", was written in 1812.\n\"O Canada\" - the national anthem adopted in 1980.\n\"God Save the King\" - Royal Anthem of Canada since 1980.\n\"The Maple Leaf Forever\" - unofficial old national anthem 1867.\n\"Alberta\" official anthem of Alberta.\n\"Ode to Newfoundland\" - official anthem of Newfoundland and Labrador.\n\"The Island Hymn\" - official anthem of Prince Edward Island.\n\"Gens du pays\" - unofficial anthem of Quebec. Commonly associated with Quebec sovereignty.\n\nAccolades\n\nThe Canadian Music Hall of Fame established in 1976 honours Canadian musicians for their lifetime achievements. The ceremony is held each year as part of Canada's main annual music industry awards, the Juno Awards.\n\nThe Governor General's Performing Arts Awards for Lifetime Artistic Achievement are the foremost honours presented for excellence in the performing arts, in the categories of dance, classical music, popular music, film, and radio and television broadcasting. They were initiated in 1992 by then Governor General Ray Hnatyshyn, and winners receive $25,000 and a medal struck by the Royal Canadian Mint.\n\nCanada also has many specific music awards, both for different genres and for geographic regions:\n CASBY Awards – Canada's annual independent and alternative music awards\n Canadian Country Music Awards – Canada's annual country music industry awards\n GMA Canada Covenant Awards – Canada's national awards for the Gospel music industry\n East Coast Music Awards – annual music appreciation for the East Coast of Canada\n Felix Awards – annual prize for members of the Quebec music industry\n Canadian Folk Music Awards - annual ceremony for achievements in folk and world music\n MuchMusic Video Awards – Canada's annual music video awards\n Polaris Music Prize – award annually given to the best full-length Canadian album based on artistic merit\n Prism Prize - annual award for achievements in music video\n Canadian Urban Music Awards – Canada's annual urban music awards\n Canadian Aboriginal Music Awards – Canada's annual appreciation for the promoters, creators and performers of Aboriginal music\n Western Canadian Music Awards – annual music appreciation for the western part of Canada\n\nCultural and regional\n\nDistinctive music scenes have been an integral part of the cultural landscape of Canada. With Canada being vast in size, the country throughout its history has had regional music scenes, with a wide and diverse accumulation of styles and genres from many different individual communities, such as Inuit music, music of the Maritimes and Canadian fiddle music.\n\nSee also\n\nList of diamond-certified albums in Canada\nList of number-one singles (Canada)\nList of radio stations in Canada\nList of Canadian composers\nList of Canadian musicians\nList of bands from Canada\nCanadian classical music\nCanadian opera\nNational Youth Orchestra of Canada\nThe Top 100 Canadian Albums (2007)\n\nReferences\n\nFurther reading\n\n Adria, Marco (1990). Music of Our times: Eight Canadian Singer-Songwriters. Toronto: James Lorimer & Company Ltd.\n Asselin, André (1968). Panorama de la musique canadienne. 2e éd., rev. et augm. Paris: Éditions de la diaspora française.\n Audley, Paul. \"The Recording Industry\" and \"Radio\", in his Canada's Cultural Industries: Broadcasting, Publishing, Records, and Film (Toronto: J. Lorimer & Co., in Association with the Canadian Institute for Economic Policy, 1983), p. 141–212. (pbk.)\n \n \n \n \n \n Edward Balthasar Moogk (1975). Roll Back the Years: History of Canadian Recorded Sound and Its Legacy, Genesis to 1930. National Library of Canada. N.B.: In part, also, a bio-discography; the hardback ed. comes with a \"phonodisc of historical Canadian recordings\" (33 1/3 r.p.m., mono., 17 cm.) which the 1980 pbk. reprint lacks. (pbk.)\n Edith Kathryn Moogk (1988). Title Index to Canadian Works Listed in Edward B. Moogk's \"Roll Back the Years, History of Canadian Recorded Sound, Genesis to 1930\", in series, C.A.M.L. Occasional Papers, no. 1. Canadian Association of Music Libraries. N.B.: Title and fore-matter also in French; supplements the index within E. B. Moogk's book. \n \n \n Lucien Poirier, ed. (1983). Répertoire bibliographique de textes de presentation generale et d'analyse d'oeuvres musicales canadienne, 1900–1980 = Canadian Musical Works, 1900–1980: a Bibliography of General and Analytical Sources. Under the direction of Lucien Poirier; compiled by Chantal Bergeron [et al.]. Canadian Association of Music Libraries. \n Truffaut, Serge (1984). Le Jazz à Montréal, in series, Collection Montréal. Montréal, Qué.: Groupe Québec-Rock. N.B.: A chronology. Without ISBN\n \nCanadian Music Catalogues and Acquisitions lists. Toronto, (1971) various lists of Canadian music (orchestral, vocal, chamber, choral).\n \n \n \n \n \n \n \n \nWomen Musicians in Canada \"on the record the Music Division of the National Library of Canada by C. Gillard. Ottawa : NLC, (1995) ()\n\nExternal links\n\nCanadian Music Periodical (CMPI) - Library and Archives Canada\nRPM Magazine, 1964–2000 - Library and Archives Canada\nMeet American Top Musician\nhttps://moeb.ca \n\n \nCategory:Canadiana", "title": "Music of Canada" }, { "text": "The following diamond-certified albums in Canada have sold at least one million units (individual CDs, tapes or LPs) as determined by Canadian Recording Industry Association, the national music recording sales certification agency.\n\n \n\nThe first million-selling album in Canada was declared in May 1978 as Rumours by the British band Fleetwood Mac. 17 years later, that album was honoured for sales of a second million units.\n\nDiamond albums\nThe following albums have sold at least one million units within Canada. This certification has been attained by 18 Canadian albums, representing 11 artists and one compilation album. A Canadian artist, Céline Dion, holds the record for the most diamond albums, having had six albums reach this sales status in Canada.\n\nDouble Diamond albums\nDouble diamond awards are issued to albums that have sold two million units, representing the highest-selling music albums in Canadian history. Only two Canadian artists, Alanis Morissette and Shania Twain, have attained this level of certification; Twain and Pink Floyd are the only two artists to have reached it with more than one album.\n\nSee also\n\nThe Top 100 Canadian Albums\nList of best-selling albums in Canada\nList of number-one singles (Canada)\n\nReferences\n\nExternal links\n CRIA: music certification\n\nCanada, diamond\n \nCanada", "title": "List of diamond-certified albums in Canada" }, { "text": "This is a list of Canadian musicians. Only notable individuals appear here; bands are listed at List of bands from Canada.\n\n0-9\n347aidan - rapper\n\nA\n\nLee Aaron – jazz and rock singer-songwriter, also known as \"Metal Queen\"\nAbdominal – hip-hop musician\nAdaline – singer-songwriter\nBryan Adams – singer-songwriter\nBernard Adamus – singer-songwriter\nSusan Aglukark – folk-pop singer-songwriter\nAHI – folk singer-songwriter\nLydia Ainsworth – composer/singer\nBruce Aitken – jazz and rock drummer\nRobert Aitken – composer, flute player\nChuckie Akenz – rapper, songwriter\nPierrette Alarie – opera singer\nEmma Albani – opera singer\nCoco Love Alcorn – pop singer\nJohn Alcorn – jazz singer\nDon Alder – fingerstyle guitarist, singer-songwriter, composer\nToya Alexis – R&B singer\nMadeleine Allakariallak – Inuit throat singer, folk singer\nChad Allan – singer (the Guess Who)\nAndrew Allen – singer\nJohn P. Allen – bluegrass, country and rock fiddler\nLillian Allen – dub poet\nArchie Alleyne – jazz drummer\na l l i e – R&B singer\nAllie X – singer-songwriter\nTommy Alto – indie rock singer-songwriter\nDon Amero – singer-songwriter\nBarbra Amesbury – singer-songwriter\nAmmoye – reggae singer\nAmylie – pop singer-songwriter\nAnachnid – pop/electronic singer-songwriter\nCharlie Angus – alternative country singer-songwriter, writer, politician\nPaul Anka – singer-songwriter, 1950s pop star\nMatt Andersen – singer-songwriter\nKerri Anderson – pop singer\nJames Anthony – blues guitarist\nTafari Anthony – rhythm and blues singer\nAlan Anton – bassist (Cowboy Junkies)\nNatalie Appleton – singer (All Saints)\nViolet Archer – composer\nJann Arden – pop singer-songwriter\nCarolyn Arends – Contemporary Christian pop singer\nSusie Arioli – jazz singer\nJulian Armour – cellist\nJohn Arpin – pianist, composer, recording artist, entertainer\nMarie-Pierre Arthur – pop singer-songwriter\nTalena Atfield – bassist (Kittie)\nAthésia – pop/dance singer\nAllison Au – jazz saxophonist\nRich Aucoin – indie rock singer-songwriter\nMelissa Auf der Maur – rock bassist (Hole, the Smashing Pumpkins)\nShawn Austin – country singer and songwriter\nEva Avila – singer (winner of Canadian Idol, 2006)\nMike Ayley – singer, bass guitarist\nJay Aymar – guitarist and singer-songwriter\nMarcel Aymar – singer-songwriter\nAysanabee – singer-songwriter\nCaroline Azar – singer-songwriter, keyboardist (Fifth Column)\n\nB\n\nSebastian Bach – rock singer\nRandy Bachman – rock singer, guitarist\nTal Bachman – singer (son of Randy Bachman)\nBack Alley John – blues singer-songwriter, harmonica player\nBackxwash – rapper\nBad News Brown – rapper\nBahamas – folk singer-guitarist\nJason Bajada – singer-songwriter\nCarroll Baker – country music singer\nTim Baker – indie rock singer-songwriter\nJames Baley – rhythm and blues/dance singer \nGord Bamford – country singer\nBuddy Banks – jazz double-bassist\nDel Barber – singer-songwriter\nSteve Barakatt – composer-pianist\nJill Barber – singer-songwriter\nMatthew Barber – singer-songwriter\nBarlow – composer, rock\nEmilie-Claire Barlow – singer-songwriter\nKim Barlow – singer-songwriter\nLaura Barrett – singer-songwriter, kalimba player\nMary Barry – singer-songwriter, composer, pianist, jazz, blues, chanson\nYank Barry – rock singer, composer, guitar, percussion\nMiguel de la Bastide – flamenco guitarist\nIsabel Bayrakdarian – soprano\nKevin Bazinet – pop singer\nBobby Bazini – singer-songwriter\nGary Beals – R&B singer\nMartin Beaver – violinist\nDany Bédar – singer-songwriter\nGabriela Bee – singer-songwriter\nJaymz Bee – singer, music director\nBegonia — singer\nDan Bejar – singer-songwriter (Destroyer; Swan Lake; Hello, Blue Roses; the New Pornographers)\nDaniel Bélanger – pop, electro, rock, ambience singer\nRoz Bell – singer-songwriter\nSteve Bell – guitarist, singer-songwriter\nClayton Bellamy – singer-songwriter\nBelly – rapper, songwriter\nBbno$ – rapper, singer-songwriter\nQuanteisha Benjamin – singer\nEli Bennett – saxophonist, composer\nWillie P. Bennett – folk/alternative country singer-songwriter\nRidley Bent – country singer\nBarney Bentall – rock singer-songwriter\nBeppie – children's musician\nJennifer Berezan – singer-songwriter, producer\nMoe Berg – singer-songwriter (Pursuit of Happiness)\nArt Bergmann – punk/alternative singer-songwriter\nRuth Berhe – singer-songwriter\nCamille Bernard – opera singer\nMario Bernardi – conductor, pianist\nGeoff Berner – klezmer/folk accordionist, singer-songwriter\nLarry Berrio – country singer-songwriter\nBetty Moon – singer-songwriter\nSalome Bey – blues/gospel/jazz singer\nAmélie Beyries – pop singer-songwriter\nLaila Biali – jazz singer/pianist\nEd Bickert – jazz guitarist\nCharlie Biddle – jazz bassist\nDave Bidini – guitarist (Rheostatics)\nJustin Bieber – pop singer-songwriter\nBig Rude Jake – singer-songwriter, band leader, blues shouter, guitarist\nDan Bigras – singer-songwriter\nKim Bingham – rock/ska singer-songwriter\nHeather Bishop – folk singer-songwriter\nJaydee Bixby – country singer\nAnnesley Black (born 1979) – composer\nGwendolyn Black – pianist, educator and activist\nJully Black – R&B musician\nStacey Blades – guitarist (L.A. Guns)\nJason Blaine – country singer\nJean-Michel Blais – composer and pianist\nForest Blakk – pop singer\nPaul Bley – jazz pianist\nOmar Blondahl – singer\nGeorge Blondheim – pianist, composer\nJoe Bocan – pop singer\nLa Bolduc – singer-songwriter, harmonicist, violinist\nMars Bonfire – from Steppenwolf\nJonas Bonnetta – singer-songwriter\nBonky (Onno Borgen) – trance musician\nWill Bonness – jazz pianist\nBoogat – rapper\nDave Bookman – indie rock singer-songwriter\nBrian Borcherdt – singer-songwriter\nBoslen – rapper\nRobi Botos – jazz pianist\nJohn Bottomley – singer-songwriter\nIsabelle Boulay – pop singer\nGerry Boulet – rock singer\nBill Bourne – folk/alternative singer-songwriter\nPierre Bouvier – singer-songwriter, guitarist (Reset, Simple Plan)\nMitch Bowden – rock singer, guitarist (Don Vail, the Priddle Concern, Chore)\nBenjamin Bowman – violinist\nJimmy Bowskill – blues guitarist, bassist and singer\nLiona Boyd – classical guitarist\nPhilippe Brach – singer-songwriter\nDavid Bradstreet – singer-songwriter\nTim Brady – electric guitarist, composer, improviser, working in contemporary classical, experimental, musique actuelle\nAndru Branch – singer-songwriter, keyboardist (Andru Branch, Halfway Tree)\nPaul Brandt – country singer-songwriter\nRussell Braun – operatic baritone\nLenny Breau – guitarist\nBeverly Breckenridge – bassist (Fifth Column and Phono-Comb)\nMichael Breen – pop/rock singer and guitarist\nDean Brody – country singer-songwriter\nLisa Brokop – country singer-songwriter\nMichael Brook – guitarist, producer, film scorer\nJon Brooks – folk singer-songwriter\nColleen Brown – singer-songwriter\nDivine Brown – R&B/soul singer\nEdwin Orion Brownell – neo-classical composer, pianist\nChad Brownlee – country singer\nMeasha Brueggergosman – operatic soprano\nRoxane Bruneau – pop singer\nPaul Brunelle – country music guitarist, songwriter\nRod Bruno – singer-songwriter, guitarist\nBilly Bryans – percussionist, record producer\nJon Bryant – singer-songwriter\nDan Bryk – singer-songwriter\nJim Bryson – singer-songwriter\nMichael Bublé – singer\nBuck 65 – hip-hop artist\nBasia Bulat – singer-songwriter\nGeorge Burdi\nMalcolm Burn – singer, record producer\nLouise Burns – singer-songwriter\nJason Burnstick – folk singer-songwriter\nSpencer Burton – indie rock and country singer-songwriter\nWin Butler – member of Arcade Fire\nMatthew Byrne – folk singer-songwriter\n\nC\n\nMeryn Cadell – rock singer-songwriter, performance artist\nCadence Weapon – rapper\nDaniel Caesar – R&B, singer-songwriter\nBuddy Cage – pedal steel guitar player\nShawna Cain – Christian R&B singer\nKathryn Calder – indie rock/pop singer-songwriter\nJohn Allan Cameron – folk singer, guitarist\nSteph Cameron – folk singer-songwriter\nCherie Camp – singer-songwriter\nJames Campbell – clarinetist\nTorquil Campbell – singer-songwriter (Stars)\nBrendan Canning – singer-songwriter (Broken Social Scene, Valley of the Giants)\nPatricia Cano – jazz/Latin music singer and musical theatre actress\nLou Canon – singer-songwriter\nGeorge Canyon – country singer\nBen Caplan – folk musician\nAlessia Cara – contemporary R&B\nCraig Cardiff – singer-songwriter\nCharlotte Cardin – pop singer\nCeleigh Cardinal – singer-songwriter\nPaul Cargnello – singer-songwriter\nMarie Carmen – pop singer, musical theatre actor (Starmania)\nGlory-Anne Carriere – country singer\nStef Carse — country and pop singer\nWilf Carter – country singer\nJazz Cartier – rapper\nAndrew Cash – singer-songwriter\nPeter Cash – singer-songwriter\nBarbara Cass-Beggs – singer\nAndrew Cassara – pop singer-songwriter\nIan Casselman – singer, drummer\nLou-Adriane Cassidy – pop singer-songwriter\nTory Cassis – folk and jazz singer\nMicheal Castaldo – singer-songwriter, producer\nFrance Castel – pop and blues singer, musical theatre actress\nJennifer Castle – singer-songwriter\nDemo Cates – jazz/R&B saxophonist and singer\nRachel Cavalho – pianist, music educator\nCayouche – singer-songwriter\nDavid Celia – singer-songwriter\nCFCF – electronic musician\nChantal Chamandy – pop/dance singer-songwriter\nChampion – DJ, electronic musician\nKeshia Chanté – urban/R&B singer\nRobert Charlebois – rock and funk singer\nChloe Charles – soul pop singer\nGregory Charles – chorister and pianist\nNuela Charles – soul/pop/R&B/hip hop singer\nTanika Charles – soul and rhythm and blues singer\nRégine Chassagne – member of Arcade Fire\nCheckmate – rapper\nVern Cheechoo – country singer-songwriter\nBrad Cheeseman – jazz bassist and composer\nRita Chiarelli – blues singer\nJane Child – pop and rock dance artist, songwriter, producer\nChoclair – hip-hop artist\nCharlene Choi – pop singer in Hong Kong\nGina Choi – South Korean singer\nTommy Chong – guitarist (Bobby Taylor & the Vancouvers), comedian\nTimothy Chooi – violinist\nChristophe – pop singer\nJarvis Church – R&B singer-producer (real name Gerald Eaton)\nAnnabelle Chvostek – folk singer\nCikwes - traditional Cree music singer\nClairmont the Second – rapper\nTerri Clark – country singer-songwriter\nAlanna Clarke – pop/rock singer-songwriter\nClassified – rapper\nRenée Claude – singer\nDavid Clayton-Thomas – singer\nJim Clench – bassist, vocalist (April Wine, Bachman–Turner Overdrive)\nKevin Closs – singer-songwriter\nWilliam Cloutier – pop singer\nTom Cochrane – singer-songwriter\nBruce Cockburn – singer-songwriter\nCode Pie - indie-pop/rock\nLeonard Cohen – singer-songwriter, poet\nCold Specks – soul singer\nHolly Cole – jazz singer\nNaida Cole – pianist\nRaquel Cole – country pop singer-songwriter\nDon Coleman – rock singer\nJason Collett – singer-songwriter (also member of Broken Social Scene)\nDorothy Collins – pop singer\nSimon Collins – pop/electronic musician\nChuck Comeau – drummer (Reset, Simple Plan)\nRay Condo – rockabilly singer\nChantal Condor – singer\nTyler Connolly – singer-songwriter, guitarist (Theory of a Deadman)\nStompin' Tom Connors – country singer-songwriter\nJesse Cook – guitarist, producer, composer\nSpirit Cool – live-looping acoustic guitarist, singer\nBill Coon - guitarist, composer\nJim Corcoran – singer-songwriter, radio personality\nJ. P. Cormier – singer, guitarist\nJacinta Cormier – singer, pianist\nLouis-Jean Cormier – rock singer-songwriter \nCorneille – funk, R&B, soul singer-songwriter\nAntoine Corriveau – singer-songwriter\nMichel Corriveau – keyboardist, composer\nÈve Cournoyer – pop and rock singer\nRose Cousins – singer-songwriter\nDeborah Cox – pop/R&B singer\nJonny Craig – vocalist, songwriter, ex-front man for Dance Gavin Dance, front man for Emarosa and Isles and Glaciers\nSara Craig – singer-songwriter\nTerri Crawford – rock singer, children's entertainer\nSiobhan Crawley – pop singer\nJim Creeggan – singer-songwriter, member of the Barenaked Ladies and the Brothers Creeggan\nAndy Creeggan – singer-songwriter, former member of the Barenaked Ladies and the Brothers Creeggan\nCRi – electronic producer\nCold Specks (Ladan Hussein) – soul musician\nColin Cripps – rock guitarist, producer (Crash Vegas)\nJulie Crochetière – singer-songwriter, pianist (jazz, pop, R&B, soul)\nJohn Crossingham – rock singer (Raising the Fawn)\nAllison Crowe – singer-songwriter\nAlex Cuba – jazz/pop singer-songwriter\nJim Cuddy – rock singer (Blue Rodeo)\nEliana Cuevas – jazz/Latin singer\nLori Cullen – pop/jazz singer\nBurton Cummings – rock musician (the Guess Who, solo artist)\nChris Cummings – country singer-songwriter\nAmelia Curran – singer-songwriter\nAndy Curran – rock singer and bassist\nBobby Curtola – singer\nIsabelle Cyr – singer\n\nD\nDax – rapper\nRyan Dahle – guitarist (Limblifter) \nLisa Dalbello – singer-songwriter\nSean Dalton – drummer (the Trews)\nFrance D'Amour – singer-songwriter\nLeah Daniels – country singer-songwriter\nRick Danko – bassist, violinist, guitarist, singer (the Band)\nMychael Danna – film composer\nD'Ari – rock singer-songwriter\nDatsik – dubstep artist\nBenoît David – singer (Mystery)\nMarie Davidson – EDM singer and producer\nMark Davis – singer-songwriter\nStu Davis – singer-songwriter, guitarist\nTanya Davis – singer-songwriter, poet\nDesirée Dawson – singer-songwriter, ukulele player\nSophie Day – jazz singer\nLuc de Larochellière – singer-songwriter\ndeadmau5 – house artist, electronic music producer, real name Joel Zimmerman\nAselin Debison – Celtic pop\nArt d'Ecco – indie rock, glam rock singer\nTony Dekker – folk rock singer-songwriter (Great Lake Swimmers)\nGordon Delamont – big-band conductor, arranger, teacher\nHelena Deland – singer-songwriter\nMac DeMarco – indie rock musician\nKris Demeanor – singer-songwriter\nSimone Denny – dance/house/pop/techno singer\nGisela Depkat – cellist\nRichard Desjardins – singer\nShawn Desman – pop, R&B singer\nLorraine Desmarais – jazz pianist, composer\nDave \"Rave\" Desroches – singer-songwriter (Teenage Head, the Dave Rave Conspiracy)\nDavid Desrosiers – bassist, singer (Reset, Simple Plan)\nMarie-Michèle Desrosiers – pop and rock singer\nAngela Desveaux – singer-songwriter\nDevon – rapper\nDevours – electronic musician\nAlpha Yaya Diallo – guitarist, composer\nScott Dibble – singer-songwriter (Scott Dibble and Watertown)\nSteffi DiDomenicantonio – pop singer, musical theatre actress \nDijahSB – rapper\nHugh Dillon – frontman of Headstones and Hugh Dillon Redemption Choir\nNatalie Di Luccio – singer, soprano\nCéline Dion – pop singer\nCarl Dixon – singer-songwriter, guitarist\nDL Incognito – rapper\nCreighton Doane - drummer, songwriter\nMelanie Doane – guitarist, singer-songwriter\nBonnie Dobson – singer-songwriter, guitarist\nFefe Dobson – singer-songwriter\nDr. Draw – electronic violinist, composer\nDenny Doherty – singer (the Mamas & the Papas)\nJulie Doiron – singer-songwriter\nLuke Doucet – singer-songwriter\nJerry Doucette – guitarist, singer-songwriter\nGordon Downie – singer (Tragically Hip)\nAaryn Doyle – rapper, singer-songwriter\nAlan Doyle – singer, guitarist (Great Big Sea)\nDamhnait Doyle – pop singer-songwriter\nDrake – rapper, singer, actor \nKevin Drew – guitarist, singer-songwriter\nGlen Drover – guitarist (Megadeth, Eidolon)\nShawn Drover – drummer (Megadeth, Eidolon)\nIan D'Sa – songwriter, vocalist, guitarist (Billy Talent)\nDubmatix – reggae/electronic musician\nClaude Dubois – pop singer-songwriter, musical theatre actor\nMartin Dubreuil – tambourinist (Les Breastfeeders)\nAnnette Ducharme – singer, songwriter\nArmond Duck Chief – country singer-songwriter\nVictoria Duffield – singer-songwriter\nDumas – Québécois singer\nKyle Bobby Dunn – composer, musician, live performer\nÉlie Dupuis – singer, pianist\nShae Dupuy – country singer-songwriter\nMelanie Durrant – R&B singer\nBill Durst – guitarist (Thundermug)\nMatt Dusk – jazz singer-songwriter\nJeremy Dutcher – singer\nDVBBS – DJ, producer\nPhil Dwyer – jazz saxophonist\nJesse Aaron Dwyre – drummer\nHoward Dyck – conductor, broadcaster\nFélix Dyotte – singer-songwriter\n\nE\n\nFred Eaglesmith – alternative country singer-songwriter\nJade Eagleson – country music singer-songwriter\n Eddie Eastman – country music singer-songwriter, Juno Award winner\nChris Eaton – indie rock singer-songwriter\nGerald Eaton – R&B singer, producer (known as Jarvis Church)\nMike Edel – folk musician & guitarist\nJerry Edmonton – drummer (Steppenwolf); his brother wrote \"Born to Be Wild\" under the pseudonym Mars Bonfire\nKathleen Edwards – singer-songwriter\nEfajemue – jazz drummer\nCoral Egan – pop, jazz singer\nJames Ehnes – violin virtuoso\nEightcubed – electronic artist\nShirley Eikhard – singer-songwriter (known for Something to Talk About)\nElisapie – pop singer\nPeter Elkas – singer-songwriter\nLindsay Ell – country singer\nEmanuel – rhythm and blues singer\nEmma-Lee – singer-songwriter, photographer\nRik Emmett – singer-songwriter (former member of Triumph)\nAriel Engle – indie pop singer (Broken Social Scene, La Force)\nMatt Epp – singer-songwriter\nQuique Escamilla – singer-songwriter \nEsthero – singer-songwriter\nElise Estrada – pop singer\nEmmalyn Estrada – pop singer (G.R.L)\nEternia – rapper\nQuin Etheridge-Pedden – fiddler\nAndre Ethier – rock singer-songwriter\nEric Ethridge – country singer-songwriter\nChristine Evans – singer\nGeorge Evans – jazz vocalist\nGil Evans – pianist, arranger\nKellylee Evans – jazz/soul vocalist\nEva Everything – New Wave pop singer, television composer\nMike Evin – pop singer-songwriter\nExcision – dubstep artist\nBob Ezrin – musician, producer of The Wall by Pink Floyd\n\nF\n\nAndrew F – singer-songwriter, pop rock singer\nLara Fabian – pop singer\nEria Fachin – dance/pop singer\nJulie Fader – folk-pop singer-songwriter, keyboardist\nBruce Fairbairn – musician, rock band producer (Aerosmith, Bon Jovi, Loverboy)\nPercy Faith – composer\nFamous – rapper\nTodd Fancey – bassist (the New Pornographers), singer-songwriter\nFaouzia – singer-songwriter, musician\nMylène Farmer – singer\nRobert Farnon - arranger, composer, conductor\nStephen Fearing – singer-songwriter\nLeslie Feist – pop singer-songwriter\nChristine Fellows – folk-pop singer-songwriter\nKate Fenner – singer-songwriter\nJay Ferguson – power pop singer-songwriter, guitarist (Sloan)\nMaynard Ferguson – jazz band leader, trumpet\nDanny Fernandes – pop singer\nFerron – folk singer-songwriter\nMichael Feuerstack – singer-songwriter, guitarist (Wooden Stars, Snailhouse)\nJanina Fialkowska – pianist\nDominique Fils-Aimé – jazz, rhythm and blues singer\nHank Fisher – known as Washboard Hank, singer-songwriter and multi-instrument entertainer\nJeremy Fisher – singer-songwriter\nBrent Fitz – drummer, pianist (Slash, Theory of a Deadman, Alice Cooper, Vince Neil, Union)\nWarren Dean Flandez – R&B, gospel singer\nJon-Rae Fletcher – rock singer-songwriter\nLuca Fogale – pop singer\nPeter Foldy – singer-songwriter\nSue Foley – blues singer-songwriter\nRoy Forbes – folk music singer-songwriter\nFrazey Ford – folk music guitarist, singer-songwriter (the Be Good Tanyas)\nAngel Forrest – singer\nMaureen Forrester – contralto\nJudith Forst – operatic mezzo-soprano\nAmanda Forsyth – cellist\nMarc Fortier – singer-songwriter, EPIC guitarist\nFred Fortin – rock singer-songwriter, guitarist, drummer\nJ.D. Fortune – former INXS lead singer\nDavid Foster – composer, producer, pianist, vocalist\nFouKi – rapper\nJeanick Fournier – singer, Canada's Got Talent season 2 winner\nGeorge Fox – country singer-songwriter\nFoxtrott – electronic/indie pop musician\nDavid Francey – folk singer-songwriter\nAngelique Francis – blues singer\nFrankenstein – rapper and record producer\nAllan Fraser – folk singer-songwriter (formerly of Fraser & DeBolt)\nMatt Frenette – drummer (Headpins, Loverboy, Streetheart)\nFresh I.E. – Christian rapper\nAlan Frew – singer-songwriter (Glass Tiger)\nAllen Froese – contemporary Christian singer\nLily Frost – singer/songwriter/performer and recording artist\nRhys Fulber – electronic musician/producer, Front Line Assembly, Delerium, Conjure One\nAaron Funk – breakcore artist\nLewis Furey – rock singer-songwriter, film music composer\nNelly Furtado – R&B/pop singer-songwriter, record producer, actress\n\nG\nB. B. Gabor – new wave artist\nAndré Gagnon – pianist, composer\nJohn Harvey Gahan – violinist\nJonathan Gallant – bassist (Billy Talent)\nLennie Gallant – singer-songwriter\nPatsy Gallant – singer\nEdward Gamblin – singer-songwriter\nYoan Garneau – singer-songwriter\nGale Garnett – singer-songwriter of the 1964 Top 10 Hit \"We'll Sing in the Sunshine\"\nGarou – singer\nAmos Garrett – guitarist, singer\nAli Gatie – singer-songwriter\nNadia Gaudet – folk singer-songwriter\nKarina Gauvin – soprano\nEric Genuis – composer, pianist\nHannah Georgas – singer-songwriter\nJian Ghomeshi – singer, broadcaster, writer, producer\nJoel Gibb – singer-songwriter (the Hidden Cameras)\nTim Gilbertson – singer-songwriter\nNick Gilder – singer-songwriter, \"Hot Child in the City\"\nFlora Gionest – singer-songwriter\nFernande Giroux – jazz singer\nMartin Giroux – singer\nAlice Glass – lyricist, vocalist (Crystal Castles)\nGreg Godovitz – singer, bass guitarist\nGary Pig Gold – singer-songwriter, guitarist (Dave Rave), producer (Simply Saucer)\nRoxanne Goldade – country singer\nRose Goldblatt – pianist\nKat Goldman – singer-songwriter\nAnthony Gomes – guitarist, singer-songwriter\nAdam Gontier – singer (Three Days Grace)\nChilly Gonzales – classical musician\nMatthew Good – singer-songwriter (Matthew Good Band)\nMyles Goodwyn – singer-songwriter, guitarist (April Wine)\nJames Gordon – singer-songwriter\nValery Gore – singer-songwriter\nRex Goudie – singer-songwriter (Canadian Idol runner-up, 2005)\nDenis Gougeon – composer\nGlenn Gould – pianist, composer, philosopher\nRobert Goulet – singer\nLawrence Gowan – rock singer (solo, Styx)\nMax Graham – house DJ\nTommy Graham – singer\nSebastien Grainger – singer, drummer, percussionist (Death from Above 1979)\nGil Grand – country singer-songwriter\nJenn Grant – singer-songwriter\nDallas Green – singer-songwriter, guitarist (Alexisonfire, City and Colour)\nBrian Greenway – guitarist, harmonicist, vocalist (April Wine, Mashmakhan)\nJoey Gregorash\nAdam Gregory – country musician\nGrimes (Claire Boucher) – singer-songwriter, visual artist, music video director\nMatthew Grimson – singer-songwriter\nPaul Gross – singer, songwriter, actor, producer\nEmm Gryner – singer, songwriter, pianist, guitarist\nJean \"Guilda\" Guida – cabaret pop singer\nMolly Guldemond – singer, synthesizer player (Mother Mother)\nRyan Guldemond – singer, songwriter, guitarist (Mother Mother)\nJim Guthrie – singer-songwriter\nTrevor Guthrie – singer-songwriter, formerly of SoulDecision\nBruce Guthro – singer-songwriter (lead vocalist of Runrig)\nCaity Gyorgy – jazz singer\n\nH\n\nEmily Haines – singer-songwriter (also member of Metric, Emily Haines and the Soft Skeleton and Broken Social Scene)\nNate Haller – country singer-songwriter\nMarc-André Hamelin – pianist and composer\nMark Hamilton – frontman of Woodpigeon\nMoshe Hammer – violinist\nMarie-Lynn Hammond – folk singer\nHandsome Ned – country singer\nGerry Hannah – bass player of Subhumans\nBarbara Hannigan – soprano, conductor\nLynne Hanson – singer-songwriter\nBuster Harding – jazz pianist, composer, arranger\nHagood Hardy – jazz vibraphonist, pianist, known for \"The Homecoming\"\nGeorgia Harmer – singer-songwriter\nSarah Harmer – singer-songwriter\nOfra Harnoy – cellist\nBarry Harris – dance music DJ, remixer, musician\nRobin Harrison – pianist, composer\nCorey Hart – singer\nJoshua Haulli – singer-songwriter\nRon Hawkins – singer-songwriter\nRonnie Hawkins – American-born singer, naturalized Canadian\nRichie Hawtin – techno musician-DJ, producer\nHayden – singer-songwriter, real name Paul Hayden Desser\nOliver Haze – singer-songwriter\nTerra Hazelton – jazz singer\nJeff Healey – guitarist, trumpet player, singer\nKevin Hearn – singer-songwriter (Barenaked Ladies)\nTim Hecker – ambient/electronic musician\nColeman Hell – indie pop/electronic musician\nThomas Hellman – jazz/pop singer\nScott Helman – singer-songwriter\nBill Henderson – singer-songwriter (Chilliwack)\nSheila Henig – pianist, soprano\nCarl Henry – R&B, reggae musician\nDarcy Hepner – saxophonist, composer/arranger\nBen Heppner – operatic tenor\nMikey Heppner – guitarist, singer-songwriter (Priestess)\nAngela Hewitt – pianist\nTim Hicks – country singer-songwriter\nJolene Higgins – folk and acoustic blues singer-songwriter known as \"Little Miss Higgins\"\nRebekah Higgs – singer-songwriter\nDan Hill – pop singer\nWarren Hill – smooth jazz musician\nVeda Hille – singer-songwriter\nFlorian Hoefner – jazz pianist\nJacob Hoggard – singer (Hedley)\nSteve Holt – pianist, singer-songwriter\nMatt Holubowski – singer-songwriter\nAmy Honey – singer-songwriter\nJason Hook – guitarist\nCharlie Hope – children's musician\nKelly Hoppe – harmonica player, multi-instrumentalist (Big Sugar)\nPaul Horn – flute player\nLuke Hoskin – guitar player (Protest the Hero)\nGregory Hoskins – singer-songwriter \nStuart Howe – operatic tenor\nAndrew Huang – musician\nAndrew Huculiak – drummer (We Are the City)\nGarth Hudson – multi-instrumentalist (the Band)\nPaul Humphrey – singer-songwriter (Blue Peter)\nAlex Zhang Hungtai – indie rock singer-songwriter, performing as Dirty Beaches\nJimmy Hunt – singer-songwriter\nTommy Hunter – singer who had his own CBC TV show\nNate Husser – rapper\nTimothy Hutchins – flute player\nAndrew Hyatt – country singer\nPaul Hyde – singer-songwriter (Payola$)\nRon Hynes – Newfoundland folk singer-songwriter\nHyper-T – rapper\nJoshua Hyslop – singer-songwriter\n\nI\n\nZaki Ibrahim – soul, R&B singer\nNorman Iceberg – pop singer\nLucie Idlout – rock singer\nIll-esha – electronic, R&B vocalist, producer, songwriter\nJoshua Ingram – rock drummer, percussionist\nChin Injeti – R&B singer\nPaolo Iovannone – singer-songwriter, producer\nMay Irwin – vaudeville singer\nElisapie Isaac – singer-songwriter\nOrin Isaacs – bandleader, bass guitarist\niskwē – pop, electronic music singer\n\nJ\n*Lenni Jabour – pop singer-songwriter\nSusan Jacks – pop singer-songwriter\nTerry Jacks – pop singer-songwriter, producer\nSammy Jackson – jazz and rhythm and blues singer\nJacynthe – pop singer\nEmmanuel Jal – hip hop musician\nColin James – blues and rock musician\nFreddie James – R&B singer\nJohn James – dance musician\nRyland James – pop singer\nReid Jamieson – pop and folk singer-songwriter (Vinyl Cafe)\nPatti Jannetta – pop and rock singer\nPaul Janz – singer-songwriter\nSterling Jarvis – R&B singer, musical theatre actor\nYves Jarvis – indie rock singer-songwriter\nJBM (Jesse Marchant) – singer-songwriter\nAnik Jean – rock and pop singer\nJelleestone – rapper\nJemeni – hip-hop, R&B singer\nDrake Jensen – country singer\nIngrid Jensen – jazz trumpet player\nJeon So-mi – singer-songwriter, former member of I.O.I\nCarly Rae Jepsen – singer-songwriter\nBerk Jodoin – folk/country singer-songwriter\nMendelson Joe\nLyndon John X – reggae musician\nRita Johns – pop singer\nAlexz Johnson – singer-songwriter, actress\nBill Johnson – blues and roots music performer\nCarolyn Dawn Johnson – country singer-songwriter\nGordie Johnson – guitar player and singer (Big Sugar)\nMartha Johnson – singer-songwriter (Martha and the Muffins)\nMolly Johnson – rock and jazz singer\nRick Johnson – rock guitarist, children's entertainer\nTaborah Johnson (Tabby Johnson) – jazz and rock singer\nFrance Joli – disco singer\nDanko Jones – singer-songwriter\nG.B. Jones – guitarist, drummer (Fifth Column)\nJeff Jones – rock bassist, singer\nMiles Jones – rapper, singer-songwriter, producer\nOliver Jones – jazz pianist\nJorane – cellist, singer-songwriter\nKeven Jordan – pop/rock singer-songwriter\nMarc Jordan – singer-songwriter\nSass Jordan – rock singer, judge on Canadian Idol\nMichelle Josef – drummer\nLeila Bronia Josefowicz – violinist\nMartha Joy – singer\nJunia-T – rapper\n\nK\n\nFlorence K – pop singer-songwriter\nK-Anthony – gospel singer\nK-Bust – singer-songwriter\nTodd Kerns – vocalist/bassist (Slash, Age of Electric) \nMichael Kaeshammer\nConnie Kaldor – singer-songwriter, poet\nKamau – hip-hop musician\nKanen – singer-songwriter\nKAPRI – dance/pop singer\nKardinal Offishall – rapper\nKaia Kater – singer-songwriter\nCevin Key – songwriter, producer, and composer\nEthan Kath – producer (Crystal Castles)\nKathleen – Quebec pop singer\nKatie B – singer-songwriter (formerly with Jakalope)\nJohn Kay – singer (Steppenwolf)\nKaya – rock and pop singer, formerly known as Francis Martin\nKaytranada – electronic\nSherry Kean\nJames Keelaghan – singer-songwriter\nJesse F. Keeler – Death from Above 1979, MSTRKRFT\nGreg Keelor – singer-songwriter, guitarist (Blue Rodeo, solo artist)\nSimeonie Keenainak – accordionist\nJoey Keithley – also known as Joey Shithead, Vancouver punk rock singer, guitarist (D.O.A.), political and environmental activist\nGeoffrey Kelly – Celtic-folk musician, singer (Spirit of the West, the Paperboys)\nSean Kelly – singer, guitarist (Crash Kelly)\nRoy Kenner – singer-songwriter\nMo Kenney – singer-songwriter\nLydia Képinski – singer-songwriter\nCassius Khan – ghazal player, tabla player, Indian classical musician\nRich Kidd – hip hop artist\nBrett Kissel – country singer\nKid Koala – hip-hop artist\nKiesza (Kiesa Rae Ellestad) – singer-songwriter\nAndy Kim – singer-songwriter, pop musician (\"Sugar, Sugar\")\nKiva – harmonic overtone singer, keyboardist, worldbeat/jazz artist\nBryden Gwiss Kiwenzie – dance music\nFrancois Klark - pop singer-songwriter\nTrish Klein – folk music guitarist, singer-songwriter (the Be Good Tanyas)\nBilly Klippert – rock musician\nK.Maro – R&B, rap musician, producer\nK'naan – rapper\nAidan Knight – singer-songwriter\nChester Knight – singer-songwriter\nMoe Koffman – jazz artist\nGwendolyn Koldofsky – piano accompanist and music educator\nRon Korb – composer, flutist\nKoriass – rapper\nk-os – rapper, hip-hop musician\nKeith Kouna – punk rock singer\nBenjamin Kowalewicz – frontman of Billy Talent\nDan and Ryan Kowarsky – singers (RyanDan and b4-4)\nNik Kozub – bassist (Veal), keyboardist (Shout Out Out Out Out), remixer (the Paronomasiac)\nSerouj Kradjian – pianist, composer\nNorbert Kraft – guitarist\nDiana Krall – jazz singer, pianist\nChantal Kreviazuk – singer-songwriter\nNicholas Krgovich – indie rock, pop singer-songwriter\nDavid Kristian – film composer, electronic musician\nKyrie Kristmanson – singer-songwriter\nChad Kroeger – singer, guitarist, Nickelback\nPatricia Krueger – classical pianist with the Toronto Symphony Orchestra\nSpencer Krug – singer-songwriter (Fifths of Seven, Frog Eyes, Wolf Parade, Sunset Rubdown, Swan Lake)\nPierre Kwenders – pop/world music singer, rapper\nKyprios – hip-hop musician\n\nL\n\nJesse Labelle – country singer\nJames LaBrie – singer-songwriter (Dream Theater)\nKathryn Ladano – bass clarinetist\nElise LeGrow – singer-songwriter\nPaul Laine – singer (solo, Danger Danger)\nCorky Laing – drummer\nJon Lajoie – comedian, actor, rapper, singer, musician, Internet celebrity\nMary Jane Lamond – Gaelic singer\nWillie Lamothe – country singer\nWendy Lands – pop and jazz singer\nTory Lanez – R&B\nk.d. lang – country punk singer\nMatt Lang – country singer \nSteve Lang – bassist (April Wine, Mashmakhan)\nRobert Langevin – flute player\nDaniel Lanois – composer, producer\nJessy Lanza – electronic musician\nAbigail Lapell – folk singer-songwriter\nAndré Laplante – pianist\nEric Lapointe – rock singer\nPierre Lapointe – pop, rock, funk singer-songwriter\nGrit Laskin – folk singer, luthier\nHenry Lau – violinist, singer, dancer (Super Junior-M)\nMichael Laucke – classical and flamenco guitarist, composer, producer\nCarole Laure – pop/folk singer\nLaurence-Anne – pop singer\nSherisse Laurence - country/pop singer, musical theatre actress\nWayne Lavallee – singer-songwriter, film, television and theatre composer\nAvril Lavigne – singer-songwriter, musician, record producer\nDaniel Lavoie – singer-songwriter\nBarbara Law – pop and rock singer\nGrant Lawrence – rock singer, radio personality\nMarshall Lawrence – blues, rock\nDorothy Lawson – cellist, composer (ETHEL)\nLisa LeBlanc – singer-songwriter/banjoist\nFélix Leclerc – singer-songwriter\nSalomé Leclerc – singer-songwriter\nDaniel Ledwell – singer-songwriter, record producer, keyboardist (In-Flight Safety)\nGeddy Lee – singer, bassist, keyboardist (Rush)\nJess Lee – country singer-songwriter\nMark Lee – rapper, dancer of NCT, NCT 127, and SuperM, NCT Dream\nLee Kum-Sing – classical pianist\nRanee Lee – jazz singer, drummer, tenor saxophonist\nSook-Yin Lee – rock singer-songwriter, broadcaster\nSebastien Lefebvre – guitarist, singer (Simple Plan)\nRay Legere – bluegrass mandolinist and fiddler \nPeter Leitch – jazz guitarist\nJean Leloup – singer-songwriter\nLynda Lemay – singer-songwriter\nMichel Lemieux – experimental electronic music, performance art\nHubert Lenoir – rock singer\nExco Levi – reggae singer\nMike Levine – bassist and keyboardist\nAndrea Lewis – singer\nGlenn Lewis – R&B singer\nLarnell Lewis – drummer\nNeil Leyton – rock singer and guitarist\nAlex Lifeson – guitarist (Rush)\nMurray Lightburn – indie-rock singer-songwriter, guitarist\nGordon Lightfoot – singer-songwriter (voted Canada's favourite singer-songwriter)\nTerra Lightfoot – singer-songwriter\nLIGHTS – singer-songwriter\nAndrea Lindsay – singer-songwriter\nAaron Lines – country musician\nBruce Liu – pianist\nLiu Fang – pipa player\nGuy Lombardo – big-band leader\nCeline Lomez – pop singer\nRich London – rapper\nMorley Loon – singer-songwriter\nLoony – R&B singer\nOscar Lopez – Latin-folk guitarist\nMyrna Lorrie – country singer-songwriter (\"first lady of Canadian country music\")\nLouis Lortie – pianist\nLoud – rapper\nRussell Louder – pop singer, performance artist\nAlexina Louie – pianist\nJohnnie Lovesin – rock singer\nLowell – electropop singer-songwriter\nLarissa Loyva – singer-songwriter\nLuba – pop singer\nLederhosen Lucil – singer-songwriter\nZachary Lucky – singer-songwriter\nChris \"Old Man\" Luedecke – folk singer-songwriter\nTodd Lumley – pianist, keyboardist\nSekou Lumumba – drummer\nCorb Lund – country singer-songwriter\nRob Lutes – folk/blues singer-songwriter\nLoma Lyns – country singer\nLysandre – pop singer-songwriter and pianist\n\nM\n\nAmanda Mabro – singer-songwriter\nMark Masri – tenor singer/gospel composer\nGalt MacDermot – composer, musician, wrote the music for Hair\nColin MacDonald – singer, guitarist (the Trews)\nSarah MacDonald – conductor and organist\nJohn-Angus MacDonald – guitarist (the Trews)\nMaggie MacDonald – singer, keyboardist (the Hidden Cameras, Kids on TV)\nKris MacFarlane – independent drummer/multi-instrumentalist (Great Big Sea, the Paperboys)\nRyan MacGrath – singer-songwriter\nAshley MacIsaac – violinist\nGisele MacKenzie – singer, violinist\nTara MacLean – singer-songwriter\nCatherine MacLellan – singer-songwriter\nGene MacLellan – singer-songwriter\nBrian Macleod – songwriter, music producer (best known as a member of Chilliwack and the Headpins)\nBuddy MacMaster – violinist\nNatalie MacMaster – violinist, stepdancer\nKevin MacMichael – guitarist (Cutting Crew)\nRita MacNeil – country and folk singer\nRozalind MacPhail – singer-songwriter, multi-instrumentalist\nMad Child – rapper\nMadagascar Slim – folk and blues guitarist\nRia Mae – singer-songwriter\nMaestro Fresh Wes – hip-hop musician, singer of \"Let Your Backbone Slide\"\nRaine Maida – singer (Our Lady Peace)-songwriter, producer\nPhyllis Mailing – mezzo-soprano \nCatherine Major – singer-songwriter\nCharlie Major – singer-songwriter\nKate Maki – country rock singer-songwriter\nRyan Malcolm – lead singer (Low Level Flight), first Canadian Idol winner\nManafest – hip-hop musician\nDan Mangan – singer-songwriter\nCasey Manierka-Quaile (Casey MQ) – electronic musician, songwriter, producer\nJohn Mann – rock singer (Spirit of the West)\nDayna Manning – singer-songwriter\nCatherine Manoukian – violinist\nRichard Manuel – pianist, vocalist, drummer (the Band)\nRichard Margison – operatic tenor\nKristina Maria – pop singer-songwriter\nMarie-Mai – singer\nFrank Marino – guitarist, singer (Mahogany Rush)\nCarolyn Mark – alt-country singer-songwriter\nGerry Markman – rock guitarist (the Lincolns)\nCory Marks – country rock singer-songwriter and guitarist \nHugh Marsh – violinist\nAmanda Marshall – singer-songwriter\nLois Marshall – soprano\nBéatrice Martin – singer-songwriter, pianist, also known as Cœur de pirate\nJeff Martin – singer-songwriter (the Tea Party)\nStephanie Martin – singer-songwriter, actress\nMia Martina – pop singer-songwriter\nMasia One – rapper\nDutch Mason – blues artist\nJojo Mason – country singer-songwriter\nMassari – R&B singer\nKen Masters – rapper\nAndrew Matheson – punk rock singer and songwriter\nJake Mathews – country singer-songwriter\nAndré Mathieu – pianist and composer\nMatiu – singer-songwriter\nKalle Mattson – folk rock singer-songwriter\nRomi Mayes – country singer\nMatt Mays – singer-songwriter\nBill McBirnie – jazz/Latin flutist (Extreme Flute)\nMaxwell McCabe-Lokos – keyboardist (the Deadly Snakes)\nSéan McCann – singer-songwriter, guitarist (Great Big Sea)\nJay McCarrol – composer\nMelissa McClelland – singer-songwriter\nJeremiah McDade – composer, saxophonist, Irish whistle (the McDadea)\nSolon McDade – composer, bassist (the McDades)\nEileen McGann – folk singer-songwriter\nAnna McGarrigle – folk singer-songwriter (Kate & Anna McGarrigle)\nKate McGarrigle – folk singer-songwriter (Kate & Anna McGarrigle)\nJay W. McGee – soul, R&B and hip hop singer/rapper\nBlake McGrath – pop singer\nEamon McGrath – singer-songwriter\nMike McKenna – rock/blues guitarist noted for his electric slide playing\nLoreena McKennitt – Celtic-inspired musician, vocalist\nChris McKhool – violinist, guitarist, singer (Sultans of String)\nSarah McLachlan – singer-songwriter\nMurray McLauchlan – singer-songwriter\nAmbre McLean – singer-songwriter, multi-instrumentalist\nKelly McMichael – singer-songwriter\nHolly McNarland – singer-songwriter\nSuzie McNeil – pop rock singer-songwriter\nTrevor McNevan – singer-songwriter (Thousand Foot Krutch, FM Static)\nColin McPhee – classical composer, musicologist\nLinda McRae – singer-songwriter (Spirit of the West, solo artist)\nTate McRae – singer-songwriter\nGlen Meadmore – punk/rock musician\nMichie Mee – rapper\nTom Meikle – singer-songwriter who records as Mappe Of and Forest Moon\nBrian Melo – singer (winner of Canadian Idol, 2007)\nShawn Mendes – singer-songwriter, guitarist\nDylan Menzie – singer-songwriter\nJerry Mercer – drummer, vocalist (April Wine, Mashmakhan, the Wackers)\nMadeline Merlo – country singer-songwriter\nKathleen Ivaluarjuk Merritt – Inuit throat singer\nScott Merritt – singer-songwriter\nDon Messer – fiddler\nPatrice Michaud – singer-songwriter\nDanny Michel – singer-songwriter, guitarist\nAnthony J. Mifsud (Mif) – singer-songwriter (Slash Puppet)\nBrandon Mig – pop singer\nHaviah Mighty – rapper\nLynn Miles – singer-songwriter\nAmy Millan – singer-songwriter (Stars, Broken Social Scene)\nTim Millar – rhythm guitar player (Protest the Hero)\nMuriel Millard – singer-songwriter\nDerek Miller – blues singer-songwriter, guitarist\nDarby Mills – singer (the Headpins)\nFrank Mills – pianist\nTyler Joe Miller – country music singer-songwriter\nMillimetrik – electronic musician\nKenneth G. Mills – pianist, conductor, composer\nAndy Milne – jazz pianist\nMatt Minglewood – singer-songwriter, guitarist\nBen Mink – guitarist, violinist (k.d. lang, Geddy Lee, Rush, FM)\nRuth Minnikin – singer-songwriter\nJoni Mitchell – folk and jazz artist, painter\nKim Mitchell – guitarist, singer-songwriter, radio personality\nLindsay Mitchell – guitarist, songwriter (Prism)\nTaylor Mitchell – singer-songwriter \nWilly Mitchell – singer, guitarist\nMitsou – pop singer\nDave Moffatt – pop/rock keyboardist, singer\nAviva Mongillo – singer, actress\nMonsune – electronic musician\nMontag – electronic musician\nBetty Moon – singer-songwriter\nJacob Moon – singer-songwriter, guitarist\nKevin Moon – singer, main vocalist (the Boyz)\nDarren Moore – member of Harlequin, founder of Living Under Venus, writer of themes for Tampa Bay Rays and Toronto Blue Jays\nGil Moore – drummer, vocalist (Triumph)\nKatie Moore – singer-songwriter\nMae Moore – singer-songwriter\nRick Moranis – singer, actor\nRyland Moranz – folk/roots singer-songwriter\nCarlos Morgan – R&B/soul singer\nJeffrey Morgan – singer-songwriter, rock critic\nAlanis Morissette – rock singer\nJohannes Moser – cellist\nJess Moskaluke – country pop singer\nMr. Roam – rapper\nGeoffrey Moull – conductor, pianist\nArt Murphy – singer-songwriter\nChris Murphy – power pop singer-songwriter, bassist (Sloan)\nMatt Murphy – singer-songwriter, guitarist (the Super Friendz, the Flashing Lights, The Life and Hard Times of Guy Terrifico)\nAnne Murray – country/pop singer\nAlannah Myles – rock singer\nDavid Myles – singer-songwriter\nKen Myhr – guitarist, composer\n\nN\n\nKaveh Nabatian – trumpeter\nBif Naked – punk/pop singer\nNardwuar the Human Serviette\nNancy Nash – blues and pop singer\nNarcy – rapper\nNash the Slash – multi-instrumental rock musician (FM)\nNav – rapper\nHaydain Neale – soul, R&B, jazz singer-songwriter\nLaurence Nerbonne – pop singer\nRichard Newell – also known as King Biscuit Boy, blues singer, songwriter, band leader and harmonica player\nCarl Newman – guitarist, songwriter (the New Pornographers)\nBilly Newton-Davis – R&B, jazz, gospel singer-songwriter\nYannick Nézet-Séguin – conductor\nLuke Nicholson – singer-songwriter\nLarry Nickel – composer\nDave Nicol – folk singer-songwriter\nChris Nielsen – country singer\nLaura Niquay – singer-songwriter\nGraph Nobel – hip-hop artist, R&B rapper, singer-songwriter\nSierra Noble – singer-songwriter, fiddler\nBob Nolan – country singer-songwriter (the Sons of the Pioneers)\nFaith Nolan – jazz singer-songwriter, guitarist\nSafia Nolin – singer-songwriter\nCraig Norris – rock singer, radio personality\nCraig Northey – rock singer (Odds)\nAldo Nova – rock/pop artist\nGeorge Nozuka – singer\nJustin Nozuka – singer, writer\nNavraj Singh Goraya – rapper, songwriter\n\nO\n\nOBUXUM – record producer\nPatricia O'Callaghan – singer\nMichael Occhipinti – jazz guitarist\nRoberto Occhipinti – jazz/classical bassist\nNivek Ogre – industrial rock singer\nOh Susanna – alternative country singer\nMaggie Blue O'Hara – singer, actress, voice artist\nMary Margaret O'Hara – pop/rock singer-songwriter\nJenny Omnichord – indie pop singer-songwriter\nMelissa O'Neil – pop singer (winner of Canadian Idol, 2005)\nMike O'Neill – singer-songwriter and guitarist (the Inbreds)\nMoka Only – rapper\nMaren Ord – pop singer\nJohnny Orlando – pop singer\nAchilla Orru – lukembé player\nLindi Ortega – singer-songwriter\nRobyn Ottolini – country singer-songwriter\nWalter Ostanek – polka musician, accordionist\nJohn Oswald – composer\nKarim Ouellet – pop singer-songwriter\nPeter Oundjian – violinist, conductor\nOuri – electronic-classical fusion composer\n\nP\n\nDorothea Paas – singer-songwriter\nSteven Page – singer-songwriter (formerly with the Barenaked Ladies)\nMichel Pagliaro – bilingual singer, songwriter, guitarist\nDoug Paisley – singer-songwriter\nOwen Pallett – indie pop singer, violinist (Final Fantasy)\nBruce Palmer – bassist (Buffalo Springfield)\nAlex Pangman – jazz singer\nCharlie Panigoniak – Inuit singer-songwriter, guitarist\nGabrielle Papillon – singer-songwriter\nParichay – Bollywood/ Hip Hop/ R&B and Pop music producer and artist\nSarina Paris – techno singer\nJon Kimura Parker – classical pianist\nKathleen Parlow – classical violinist\nEvalyn Parry – folk singer-songwriter\nMark Parry – guitarist\nSamantha Parton – folk music multi-instrumentalist singer-songwriter (the Be Good Tanyas)\nNight Lovell – hip hop musician/rapper, songwriter\nPartyNextDoor – rapper\nMeghan Patrick – country singer\nShan Vincent de Paul – pop/electronic/hip hop singer\nTrevor W. Payne – gospel and R&B singer, composer\nMatt Paxton – singer-songwriter\nPeaches – electroclash/dance punk singer-songwriter, multi-instrumentalist\nRyan Peake – guitarist (Nickelback)\nNeil Peart – drummer, percussionist, lyricist (Rush)\nOrville Peck – country musician\nKlô Pelgag – pop singer-songwriter\nBruno Pelletier – singer-songwriter\nFred Pellerin – folk singer\nFred Penner – children's music performer\nPatrick Pentland – power pop singer-songwriter, guitarist (Sloan)\nYann Perreau – electro-rock musician\nAnjulie Persaud – singer-songwriter\nColleen Peterson – country singer-songwriter\nOscar Peterson – jazz pianist\nBilly Pettinger – singer-songwriter\nLou Phelps – rapper\nPhilémon Cimon – singer-songwriter\nStu Phillips – country singer\nPascale Picard – singer\nScott-Pien Picard – singer-songwriter\nPaul Piché – singer\nJason Pierce – drummer (Our Lady Peace)\nLido Pimienta – electronic pop singer and producer\nNestor Pistor – country singer/comedy musician\nLouise Pitre – musical theatre actor\nDany Placard – singer-songwriter\nBill Plaskett – folk/rock/jazz musician\nJoel Plaskett – alternative rock musician\nJason Plumb – singer-songwriter\nPoizunus – DJ, human beatbox\nSteve Poltz – singer-songwriter (known for collaboration with Jewel)\nCarole Pope – new wave rock/pop singer\nKalan Porter – singer-songwriter (winner of Canadian Idol, 2004)\nShelley Posen – folklorist, songwriter\nCatherine Potter – bansuri\nRoxanne Potvin – blues singer-songwriter\nBlake Pouliot – violinist\nTom Power – folk musician\nDaniel Powter – singer-songwriter\nPressa – rapper\nGarth Prince – children's entertainer\nWilliam Prince – singer-songwriter\nPeter Pringle – pop and jazz singer, pianist, theremin player\nPromise – hip-hop rapper, singer-songwriter\nThePropheC – singer-songwriter, producer\nP'tit Belliveau \nAdonis Puentes – jazz, world music\nDon Pyle – drummer (Shadowy Men on a Shadowy Planet, Fifth Column)\n\nQ\n\nQ052 – rapper\nCharlotte Angugaattiaq Qamaniq – Inuit throat singer\nQuanteisha – singer\nSara Quin – singer-songwriter, producer (Tegan and Sara)\nTegan Quin – singer-songwriter, producer (Tegan and Sara)\n\nR\n\nRaffi – folk/pop singer-songwriter\nBilly Raffoul – rock singer, songwriter\nIceis Rain – pop/rock singer\nRalph – singer-songwriter\nAlcvin Ramos – shakuhachi player (solo and ensemble)\nJosh Ramsay – singer-songwriter, guitarist, pianist Marianas Trench\nJan Randall – film composer\nLuv Randhawa – bhangra singer\nAllan Rayman – rhythm and blues singer\nCorin Raymond – singer-songwriter\nRichard Raymond – pianist\nSavannah Ré – soul/rhythm and blues singer\nLee Reed – rapper\nJosh Reichmann – singer-songwriter (Tangiers, Jewish Legend)\nAlyssa Reid – pop singer-songwriter\nNoah Reid – singer-songwriter\nColleen Rennison – singer (No Sinner)\nGinette Reno – singer\nMike Reno – singer (Loverboy)\nJessie Reyez – singer\nDonn Reynolds – yodeler; folk and country singer-songwriter\nIsabelle Rezazadeh – DJ and record producer (Rezz)\nAmanda Rheaume – folk singer-songwriter\nKyle Riabko – singer, guitarist\nAlejandra Ribera – pop and jazz singer-songwriter\nJackie Richardson – blues, jazz and gospel singer\nSébastien Ricard – rapper (Loco Locass), actor\nCharles Richard-Hamelin – pianist\nKim Richardson – pop, blues, jazz and gospel singer\nErnie Ripco - singer songwriter, troubadour \nRiver Tiber – rhythm and blues musician\nJesse Rivest – singer-songwriter\nIan Robb – folk musician\nVincent Roberge – indie-pop singer\nBrad Roberts – singer (Crash Test Dummies)\nSam Roberts – rock musician\nEd Robertson – singer-songwriter (Barenaked Ladies)\nRobbie Robertson – guitarist, singer (the Band)-songwriter\nAlex J. Robinson – country singer-songwriter\nDamien Robitaille – musician\nBob Rock – singer-songwriter (Payola$), producer (Metallica)\nAndrew Rodriguez – singer-songwriter\nGarnet Rogers – singer-songwriter\nKate Rogers – singer-songwriter\nNathan Rogers – singer-songwriter\nStan Rogers – folk musician\nDaniel Romano – folk, country and indie rock musician\nDon Ross – fingerstyle guitarist, musician, composer\nJosh Ross – country singer and songwriter\nLukas Rossi – singer-songwriter, winner of Rockstar: Supernova\nAdolphe-Basile Routhier – lyricist of the original French version of the Canadian national anthem \"O Canada\"\nAriane Roy – pop singer-songwriter\nJonathan Roy – pop singer-songwriter\nSpookey Ruben – singer-songwriter\nPaul Rudolph – guitarist, singer-songwriter (Pink Fairies, Hawkwind, Brian Eno)\nAllison Russell - singer-songwriter, musician and activist\nBrenda Russell – singer-songwriter, keyboardist\nJustin Rutledge – alt-country singer-songwriter\nDeric Ruttan – country singer-songwriter\nSerena Ryder – folk/pop singer-songwriter\n\nS\n\nShakura S'Aida – blues/jazz singer-songwriter\nJulien Sagot – percussionist, singer-songwriter\nMartine St-Clair – pop singer\nBuffy Sainte-Marie – singer, songwriter, artist, activist\nSamian – rapper\nGordie Sampson – blues, rock singer\nLance \"Aquakultre\" Sampson – soul, R&B singer and rapper\nJohn K. Samson – indie rock singer and songwriter (the Weakerthans)\nChase Sanborn – jazz trumpeter\nCurtis Santiago – dance rock singer-songwriter\nIvana Santilli – R&B singer\nSarahmée – rapper\nSATE – rock singer\nSaukrates – rapper\nAndrew Scott – power pop singer-songwriter, drummer (Sloan)\nJack Scott – rock and roll singer\nJay Scøtt - folk/hip hop singer-songwriter\nJennifer Scott – jazz singer, pianist\nJoyce Seamone – country singer\nJonathan Seet – singer-songwriter\nLorraine Segato – singer-songwriter\nJacques Kuba Séguin – jazz trumpeter\nJay Semko – singer-songwriter, bassist\nRon Sexsmith – singer-songwriter\nShad – rapper\nPaul Shaffer – musical director\nRemy Shand – R&B/soul singer\nJackie Shane – R&B singer\nAndy Shauf – singer-songwriter\nShauit – singer-songwriter\nBernie Shaw – rock singer (Uriah Heep)\nGraham Shaw – rock singer, television composer\nJames Shaw – guitarist (Metric)\nTyler Shaw – singer-songwriter, cinematic composer\nCrystal Shawanda – country singer\nShay Lia – singer\nShiloh – pop singer-songwriter\nShingoose – singer-songwriter\nStefie Shock – pop and funk singer-songwriter\nGabrielle Shonk – singer-songwriter\nHoward Shore – composer (The Lord of the Rings trilogy and films of David Cronenberg)\nShotgun Jimmie – singer-songwriter\nEdythe Shuttleworth – mezzo-soprano\nAli Siadat – drummer (Mother Mother)\nRosemary Siemens – violinist, vocalist \nJane Siberry – singer-songwriter\nLucas Silveira – rock singer, guitarist\nLiberty Silver – R&B singer\nMarie-Josée Simard – percussionist\nNathalie Simard – pop singer\nRené Simard – pop singer\nDenis Simpson – singer\nShane Simpson – guitarist, singer-songwriter\nDylan Sinclair – rhythm and blues singer\nZal Sissokho – Kora) player, Griot\nSister Ray – singer-songwriter\nSixtoo – hip-hop DJ and MC\nKen Skinner – pianist/composer, record producer\nAmy Sky – singer-songwriter\nSlakah the Beatchild – soul and R&B singer, record producer\nSarah Slean – singer-songwriter, pianist\nAlberta Slim – country music singer\nTannis Slimmon – folk singer-songwriter\nHenry Small – singer-songwriter, radio personality\nDallas Smith – rock/country singer-songwriter\nLaura Smith – folk singer\nMaybe Smith – indie pop singer-songwriter\nMeaghan Smith – singer\nR. Harlan Smith – country singer\nSamantha Savage Smith – singer-songwriter\nDan Snaith – songwriter\nFloyd Sneed – rock drummer\nBob Snider – folk singer-songwriter\nJason Sniderman – keyboardist (Blue Peter)\nSnow – reggae/rap/pop musician\nHank Snow – country and western singer\nSo Sus – electronic musician\nBryce Soderberg – bassist (Lifehouse)\nViviana Sofronitsky – pianist\nAna Sokolovic – composer\nTheresa Sokyrka – singer (Canadian Idol semi-finalist, 2004)\nSolitair – rapper\nLenny Solomon – pop and jazz singer\nMaribeth Solomon – songwriter, composer\nAaron Solowoniuk – drummer (Billy Talent)\nHarry Somers – composer\nSonReal – rapper\nMartina Sorbara – folk-pop singer\nJay Sparrow – rock singer-songwriter\nSpek Won – rapper\nKevin Spencer – multi-instrumentalist, songwriter, producer\nSpirit – guitarist and singer-songwriter\nRae Spoon – folk/indie singer-songwriter\nTony \"Wild T\" Springer – blues-rock guitarist\nFrederick Squire – rock singer, guitarist (Shotgun & Jaybird)\nGlen Stace – rock singer\nLeeroy Stagger – singer-songwriter\nEthel Stark – violinist and conductor\nErroll Starr – rhythm and blues singer\nKinnie Starr – singer-songwriter\nLucille Starr – singer\nCassie Steele – singer-songwriter, actress\nChrissy Steele – rock singer\nEmily Steinwall – singer, composer, saxophonist\nKatie Stelmanis – singer-songwriter\nIan Stephens – punk rock musician\nMartin Stevens – disco singer\nTyler Stewart – drummer\nCraig Stickland – singer-songwriter\nJeff Stinco – singer-songwriter and rhythm-guitarist (Simple Plan)\nGeorgina Stirling – singer\nAndy Stochansky – singer-songwriter, drummer (former drummer for Ani DiFranco)\nKim Stockwood – singer\nJayme Stone – banjoist, composer\nMiranda Stone – singer-songwriter\nStorry – pop, R&B singer-songwriter\nCharlie Storwick – singer-songwriter\nAmanda Stott – singer\nJeffery Straker – singer-songwriter\nByron Stroud – bassist (Strapping Young Lad, Fear Factory)\nMark Sultan – singer-songwriter, Sultan Records founder\nHarold Sumberg – violinist\nCree Summer – rock/alternative singer\nRichard Summerbell – singer-songwriter\nLeonard Sumner – singer-songwriter\nTerry Sumsion – country singer\nMichelle Sweeney – jazz singer\nSkye Sweetnam – singer-songwriter\nTomi Swick – singer-songwriter\nEmber Swift – singer-songwriter\nKurt Swinghammer – singer-songwriter\n\nT\n\n2Rude – hip hop/R&B record producer\nTablo – rapper (Epik High)\nTanya Tagaq – Inuit throat singer, folk singer\nTalk – indie rock singer\nTamia – R&B singer\nTheo Tams – singer-songwriter (winner of Canadian Idol, 2008)\nEva Tanguay – vaudeville singer\nChaim Tannenbaum – folk singer\nTariq – singer-songwriter, radio personality\nTasha the Amazon – rapper\nBobby Taylor – R&B singer-songwriter\nDione Taylor – jazz singer\nJulian Taylor – rock singer\nR. Dean Taylor – singer-songwriter, producer for Motown\nLydia Taylor – rock singer\nTebey – country singer-songwriter\nTegan and Sara (band) – pop, indie pop, indie folk, synthpop, indie rock singer-songwriter\nMark Templeton – electro-acoustic musician\nThe Tenors – vocal trio tenor musician operatic gospel pop\nMarie-Jo Thério – singer-songwriter\nDavid Thibault – singer\nDavid Clayton Thomas – singer (Blood, Sweat & Tears)\nIan Thomas – singer-songwriter, actor, author\nT. Thomason – singer-songwriter\nDon Thompson – jazz musician\nJamie Thompson – drummer, beat-maker\nNicholas Thorburn – frontman for Islands\nIan Thornley – singer-songwriter\nWillie Thrasher – Inuit singer-songwriter\nThrust – rapper\nGeorges Thurston – soul singer\nMartin Tielli – singer-songwriter (Rheostatics)\nMargo Timmins – singer (Cowboy Junkies)\nTire le coyote – singer-songwriter\nBrent Titcomb – musician, actor\nLiam Titcomb – singer-songwriter\nKen Tobias – singer-songwriter\nMaylee Todd – pop singer\nYvette Tollar – jazz singer, composer\nHenri Tomasi – composer and conductor\nTöme – reggae singer\nMorgan Toney – folk singer-songwriter and fiddler\nTor – electronic musician\nMarie-Chantal Toupin – Francophone pop singer\nTheresa Tova – musical theatre actress\nTenille Townes – country singer-songwriter\nDevin Townsend – multi-instrumentalist, metal guitarist, songwriter\nPete Traynor – rock guitarist and bassist, designer of Traynor Amplifiers\nPat Travers – rock guitarist\nTre Mission – rapper\nLucie Blue Tremblay – folk singer-songwriter\nDomenic Troiano – guitarist\nValerie Tryon – pianist\nCynthia Johnston Turner – conductor\nKreesha Turner – R&B singer\nShania Twain – country/pop singer\nJessica Tyler – singer-songwriter and actress\nIan Tyson – folk singer\nSylvia Tyson – singer-songwriter, guitarist\n\nU\n\nDave Ullrich – drummer, singer (the Inbreds, Egger)\nShari Ulrich – folk rock singer-songwriter\nUpsideDown – DJ, producer\nDavid Usher – rock singer-songwriter (Moist)\nTerry Uyarak – singer-songwriter\n\nV\n\nMathew V – pop singer\nVaï – hip-hop singer\nElizabeth Anka Vajagic – post-rock singer, guitarist\nValdy – singer-songwriter\nGilles Valiquette – rock singer, guitarist\nJim Vallance – songwriter, multi-instrumentalist\nRosie Valland – pop singer-songwriter\nDiyet van Lieshout – singer-songwriter\nRandy Vancourt – pop singer-songwriter, theatre and TV composer\nChad VanGaalen – singer-songwriter\nVanity – singer, model\nGino Vannelli – rock singer\nChris Velan – pop and rock singer-songwriter\nAlx Veliz – singer-songwriter\nStéphane Venne – songwriter and composer\nReg Vermue – singer-songwriter (\"Gentleman Reg\")\nTim Vesely – singer, guitarist (Rheostatics)\nJon Vickers – operatic tenor\nDaniel Victor – rock musician (Neverending White Lights)\nGilles Vigneault – singer-songwriter\nAnnie Villeneuve – singer-songwriter\nSuzie Vinnick – folk and blues singer-songwriter, guitarist\nLaura Vinson – country singer-songwriter\nJon Vinyl – R&B/soul singer\nVirginia to Vegas – singer-songwriter\nClaude Vivier – classical composer\nRoch Voisine – singer-songwriter\nFlorent Vollant – aboriginal singer\nLeif Vollebekk – singer-songwriter\nBrian Vollmer – rock singer (Helix)\nLindy Vopnfjörð – singer-songwriter\n\nW\n\nMartha Wainwright – folk-pop singer\nRufus Wainwright – folk-pop singer\nFrank Walker – EDM DJ\nRody Walker – singer (Protest the Hero)\nColter Wall – folk singer\nChristopher Ward – songwriter\nChris Wardman – songwriter, guitarist (Blue Peter)\nAndy Warren – singer-songwriter\nJackie Washington – blues and folk singer-songwriter, guitarist\nJeff Waters – guitarist and vocalist for heavy metal band Annihilator\nRuby Waters – singer-songwriter\nSneezy Waters – singer-songwriter\nDawn Tyler Watson – blues singer\nPatrick Watson – singer-songwriter\nAndrée Watters – singer-songwriter\nMatt Webb – singer, guitarist\nThe Weeknd – singer, songwriter, record producer, and actor born Abel Tesfaye\nJohn Welsman – composer, songwriter\nZack Werner – artist, producer, entertainment lawyer, manager\nDaniel Wesley – singer-songwriter\nWesli – world music guitarist\nJim West – guitarist for \"Weird Al\" Yankovic\nPhil Western – drummer, programmer (Download)\nDawud Wharnsby-Ali – singer-songwriter\nDeryck Whibley – singer-songwriter (Sum 41)\nBill White – composer, choral group leader\nNancy White – singer-songwriter, musical satirist\nPortia White – operatic contralto\nRick White – singer-songwriter (Eric's Trip), guitarist\nAlissa White-Gluz – metal vocalist and songwriter (Arch Enemy, The Agonist)\nJenny Whiteley – folk and country singer-songwriter\nAndrew Whiteman – singer-songwriter, guitarist (Broken Social Scene, Bourbon Tabernacle Choir, Apostle of Hustle)\nDavid Wiffen – folk singer-songwriter\nDavid Wilcox – blues guitarist, singer\nRichie Wilcox – singer\nSimon Wilcox – singer-songwriter (daughter of David Wilcox)\nJJ Wilde – rock singer\nHealey Willan – organist, composer\nHal Willis – singer-songwriter\nStephen W Williams - drummer guitarist, singer-songwriter \"Freedom sound\"\nCharlotte Day Wilson – singer-songwriter\nTom Wilson – singer-songwriter\nJesse Winchester – singer-songwriter\nKurt Winter – guitarist, songwriter (the Guess Who)\nBob Wiseman – pianist, songwriter\nKarl Wolf – R&B singer-songwriter\nRoyal Wood – singer-songwriter\nDonovan Woods – singer-songwriter\nRoy Woods – singer-songwriter, rapper\nHawksley Workman – singer-songwriter\nKen Workman – singer-songwriter\nMichelle Wright – country singer-songwriter\nKris Wu – actor, singer-songwriter\n\nY\n\nTony Yike Yang – pianist\nNikki Yanovsky – singer\nZal Yanovsky – guitarist, singer (the Lovin' Spoonful)\nFrancesco Yates – singer-songwriter\nKen Yates – folk singer-songwriter\nLori Yates – country singer\nKathleen Yearwood – singer-songwriter, guitarist\nd'bi Young – dub poet\nNeil Young – singer-songwriter, guitarist\nCatalina Yue – singer-songwriter\n\nZ\n\nJordon Zadorozny – singer, producer\nZaho – R&B singer\nAlfie Zappacosta – singer, actor\nMaurice Zbriger – violinist, composer, conductor\nLiping Zhang – soprano\nJoel Zifkin – electric violinist, songwriter, composer\nBrock Zeman - producer, singer songwriter, touring musician \nJesse Zubot – violinist, composer\n\nSee also\n\nList of bands from Canada\nList of diamond-certified albums in Canada\n List of Indigenous musicians in Canada\n\nFurther reading\n Toomey, Kathleen M., and Stephen Charles Willis. Musicians in Canada: a Bio-bibliographical Finding List. Ottawa, Ont.: Canadian Association of Music Libraries, 1981. N.B.: Title and introductory matter also in French.\n\nReferences\n\n \nCategory:Lists of musicians by nationality", "title": "List of Canadian musicians" }, { "text": "This is a list of bands from Canada. Only bands appear here; individual musicians are listed at list of Canadian musicians.\n\n0-9\n\nA\n\nB\n\nC\n\nD\n\nE\n\nF\n\nG\n\nH\n\nI\n\nJ\n\nK\n\nL\n\nM\n\nN\n\nO\n\nP\n\nQ\n\nR\n\nS\n\nT\n\nU\n\nV\n\nW\n\nX\n\nY\n\nZ\n\nSee also\n\nList of bands from British Columbia\n:Category:Canadian musical groups\n:Category:Canadian record labels\n:Category:Music festivals in Canada\nList of Canadian musicians\n\nReferences\n\n*Bands\nCategory:Lists of Canadian musicians", "title": "List of bands from Canada" } ]
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C_af1c1547fa00480faf781beadf707721_0
The Tragically Hip
The Tragically Hip, often referred to simply as The Hip, are a Canadian rock band from Kingston, Ontario, currently consisting of guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They have released 14 studio albums, two live albums, one EP, and 54 singles. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 16 Juno Awards.
2009-2015
In 2009, the band again worked with producer Bob Rock, and We Are the Same was released in North America on April 7, 2009. It produced three singles. To promote We Are the Same, the band invited The Hour's George Stroumboulopoulos for a live interview at The Bathouse Recording Studio in Bath, Ontario (where most of the album was recorded), and they played seven new songs as well as unique versions of five other songs. The interview and performance were broadcast live in more than eighty theatres across Canada. On January 22, 2010, the band performed "Fiddler's Green" at the "Canada for Haiti" telethon to aid earthquake victims in that country. This was broadcast nationally on all three of Canada's main networks (CBC, Global, and CTV). On May 12, 2012, a 90-second clip of the song "At Transformation", the first single from the band's new album, premiered during Hockey Night in Canada. The full song premiered on Toronto radio station CFNY-FM (102.1 The Edge) on May 16. The song was released to radio stations on May 17 and was officially released on iTunes on May 18. Band member Johnny Fay revealed that the title for the album is Now for Plan A. The second single, "Streets Ahead," was released on August 24. The album (their 12th studio album), produced by Gavin Brown, was released on October 2, 2012. The band played several live "Nashville" style shows that week at the Supermarket bar in Kensington market to promote the release of this record. On the evening of October 2, they played a full set to a packed bar with a live webcast through tdsmultimedia to livestream, and an audio simulcast on Sirius XM. The Tragically Hip re-entered their studio in July 2014 to begin work on a new album. The following October, Fully Completely was re-released as a remastered deluxe edition, including two bonus tracks, a vinyl edition and a recording of a live show. To celebrate and promote the re-release, the band toured Canada and the United States from January to October 2015. CANNOTANSWER
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The Tragically Hip, often referred to simply as the Hip, were a Canadian rock band formed in Kingston, Ontario in 1984, consisting of vocalist Gord Downie, guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay. They released 13 studio albums, one live album, one EP, and over 50 singles over a 33-year career. Nine of their albums have reached No. 1 on the Canadian charts. They have received numerous Canadian music awards, including 17 Juno Awards. Between 1996 and 2016, the Tragically Hip were the best-selling Canadian band in Canada and the fourth best-selling Canadian artist overall in Canada. Following Downie's diagnosis with terminal brain cancer in 2015, the band undertook a tour of Canada in support of their thirteenth album Man Machine Poem. The tour's final concert, which would ultimately be the band's last show, was held at the Rogers K-Rock Centre in Kingston on August 20, 2016, and broadcast globally by the Canadian Broadcasting Corporation as a cross-platform television, radio and internet streaming special. After Downie died on October 17, 2017, the band announced in July 2018 that they would no longer perform under the name. The surviving members have, however, continued to pursue other musical projects, and have begun releasing compilation albums of previously unreleased songs from the band's archives. History Formation The Tragically Hip formed in 1984 in Kingston, Ontario. Gord Sinclair and Rob Baker were students at Kingston Collegiate and had performed together at the KCVI Variety Show as the Rodents. Baker and Sinclair joined with Downie and Fay in 1984 and began playing gigs around Kingston with some memorable stints at Clark Hall Pub and Alfie's, student bars on Queen's University campus. Guitarist Paul Langlois joined in 1986; saxophonist Davis Manning left that same year. They took their name from a skit in the Michael Nesmith movie Elephant Parts. 1987-1991 By the mid-1980s, they performed in small music venues across Ontario until being seen by then-MCA Vice President Bruce Dickinson at the Horseshoe Tavern in Toronto. They were then signed to a long-term record deal with MCA, and recorded the EP The Tragically Hip, released in 1987. The album produced two singles, "Small Town Bring-Down" and "Highway Girl". They followed up with 1989's Up to Here. This album produced four singles, "Blow at High Dough", "New Orleans Is Sinking", "Boots or Hearts", and "38 Years Old". All four of these songs found extensive rotation on modern rock radio play lists in Canada. Road Apples followed in 1991, producing three singles ("Little Bones", "Twist My Arm", and "Three Pistols") and reaching No. 1 on Canadian record charts. During the Road Apples tour, Downie became recognized for ranting and telling fictional stories during songs such as "Highway Girl" and "New Orleans Is Sinking". Road Apples was planned to be a double album but was rejected by Universal. The 2008 Universal Studios fire resulted in the destruction of the masters for the second album. The six unreleased songs were rediscovered in another collection in 2020. In 2021 they were released as an EP titled Saskadelphia, which had been the working title for Road Apples. The sound on these first two full-length albums is sometimes characterized as "blues-tinged", although there is definite acoustic punctuation throughout both discs. Although the band failed to achieve significant international success with these first two albums, their sales and dominance of modern rock radio in Canada gave them license to subsequently explore their sound. 1992–1997 The Hip released another album, Fully Completely in 1992, which produced the singles "Locked in the Trunk of a Car", "Courage", and "At the Hundredth Meridian" and three others. The sound on this album displayed less of a blues influence than previous albums. The Hip created and headlined the first Another Roadside Attraction tour at this time, both to act as a vehicle for their touring, and to promote other Canadian acts (as well as non-Canadians Ziggy Marley and Pere Ubu). Many songs from Day For Night were first performed prior to their release during the 1993 Another Roadside Attraction Tour. "Nautical Disaster" was played frequently in the middle of "New Orleans Is Sinking", an early version of "Thugs" was tested, and Downie sang lyrics from many other Day For Night songs, such as "Grace, Too", "Scared", and "Emergency", during this tour. Day for Night was then released in 1994, producing six singles, including "Nautical Disaster" and "Grace, Too". Trouble at the Henhouse followed in 1996, producing five singles starting with "Ahead by a Century", which reached number one on the RPM Canadian singles chart on 24 June and became their most successful single in their home country. "Butts Wigglin", the fifth single from Henhouse, also appeared on the soundtrack to the Kids in the Hall movie Kids in the Hall: Brain Candy. The live album Live Between Us was recorded on the subsequent tour at Cobo Arena in Detroit, Michigan. The band developed a unique sound and ethos, leaving behind its earlier blues influence. Downie's vocal style changed while the band experimented with song structures and chord progressions. Songs explored the themes of Canadian geography and history, water and land, all motifs that became heavily associated with the Hip. While Fully Completely began an exploration of deeper themes, many critics consider Day for Night to be the Hip's artistry most fully realized. The sound here is typically called "enigmatic" and "dark", while critic MacKenzie Wilson praises "the poignancy of Downie's minimalism." On the follow-up tour for this album, the band made its only appearance on Saturday Night Live, on March 25, 1995, thanks in large part to the finagling of fellow Canadian and Kingston-area resident Dan Aykroyd, who appeared on the show just to introduce them. Aykroyd, who is a fan of the band, had personally lobbied SNL showrunner Lorne Michaels to book them as a musical guest. The band's performance on the show was one of their highest profile media appearances in the United States. In July 1996, the Hip headlined Edenfest. The three-day concert took place at Mosport Park, in Bowmanville, Ontario, Canada, just a few months after the LP Trouble at the Henhouse was released. The concert sold over 70,000 tickets total and was attended by an estimated 20,000 additional people who gained access to the concert site after the outside security broke down. 1998–2003 In 1998, the band released their sixth full-length album, Phantom Power, which produced five singles. It won the 1999 Juno Awards for Best Rock Album and Best Album Design. A single from the album, "Bobcaygeon", won the Juno Award for Single of the Year in 2000. The album has been certified platinum three times over in Canada. In February 1999, the Hip played the very first concert at the brand new Air Canada Centre in Toronto, Ontario. In July 1999, the band was part of the lineup for the Woodstock '99 festival in Rome, New York. On the second day of three, they were the first band to take the stage. They were followed by Kid Rock. 2000 saw the release of Music @ Work. It won the 2001 Juno Award for Best Rock Album. The album featured back-up vocals from Julie Doiron on a number of tracks, and reached No. 1 on the Canadian Billboard Charts. In 2002, In Violet Light, recorded by Hugh Padgham and Terry Manning at Compass Point Studios in the Bahamas was released, along with three singles from the album. It became certified platinum in Canada. Later that year, the Hip made a cameo appearance in the Paul Gross film Men with Brooms, playing a curling team from their hometown of Kingston. Three of their songs appear in the film, and they backed Sarah Harmer on a fourth, the soundtrack's lead single, "Silver Roads". On October 10, 2002, the Tragically Hip performed two songs, "It's a Good Life If You Don't Weaken" and "Poets", as part of a command performance for Queen Elizabeth II. In 2003, the band recorded a cover of "Black Day in July", a song about the 1967 12th Street Riot in Detroit, on Beautiful: A Tribute to Gordon Lightfoot. 2004–2008 In Between Evolution was released in 2004 in the No. 1 position in Canada. It has since sold over 100,000 copies. At the 92nd Grey Cup held November 21, 2004, the band provided the halftime entertainment in front of a packed house at Frank Clair Stadium in Ottawa. In 2004, in episode 15 ("Rock On"), season 2 of Canadian comedy TV series Corner Gas, the Tragically Hip gave a cameo appearance as an unnamed local band rehearsing in Brent's garage. They play a rough version of the song It Can't Be Nashville Every Night from their In Between Evolution album until interrupted and asked to leave by Brent, Wanda, and Hank. As they disappointedly go, Wanda demands that Gord Sinclair and Rob Baker leave behind their amplifiers. In October 2005, several radio stations temporarily stopped playing "New Orleans Is Sinking", out of sensitivity to the victims of Hurricane Katrina, which had devastated the city in early September of that year. However, it received considerable pirate radio and relief site play and gained some notoriety and praise in New Orleans due to its attitudinal proximity to the city's culture. On November 1, 2005, the Hip released a double CD, double DVD box set, Hipeponymous, including all of their singles and music videos to date, a backstage documentary called "Macroscopic", an animated Hip-scored short film entitled "The Right Whale", two brand new songs ("No Threat" and "The New Maybe"), a full-length concert from November 2004 That Night in Toronto, and a 2-CD greatest hits collection Yer Favourites (selected on-line by 150,000 fans). On November 8, 2005, Yer Favourites and That Night in Toronto were released individually. In 2006, another studio album, entitled World Container, was released, being notably produced by Bob Rock. It produced four singles, and reached the No. 1 spot on the Canadian rock music charts. The band toured concert dates in major Canadian cities, and then as an opening act for the Who on several US dates. A tour of Eastern Canada, Europe, and select cities in the United States occurred late in the year. On February 23, 2008, the Hip returned to their hometown of Kingston, Ontario, where they were the first live act to perform at the new K-Rock Centre. 2009–2015 In 2009, the band again worked with producer Bob Rock, and We Are the Same was released in North America on April 7, 2009. It produced three singles. To promote We Are the Same, the band invited The Hour's George Stroumboulopoulos for a live interview at The Bathouse Recording Studio in Bath, Ontario (where most of the album was recorded), and they played seven new songs as well as unique versions of five other songs. The interview and performance were broadcast live in more than eighty theatres across Canada. On January 22, 2010, the band performed "Fiddler's Green" at the "Canada for Haiti" telethon to aid earthquake victims in that country. This was broadcast nationally on all three of Canada's main networks (CBC, Global, and CTV). Single "At Transformation" was released in May 2012 ahead of the band's twelfth studio album, Now for Plan A. A second single, "Streets Ahead" came out in August that year, and the album followed in October. The Tragically Hip re-entered their studio in July 2014 to begin work on a new album. The following October, Fully Completely was re-released as a remastered deluxe edition, including two bonus tracks, a vinyl edition and a recording of a live show. To celebrate and promote the re-release, the band toured Canada and the United States from January to October 2015. 2016–2017: Downie's diagnosis, summer tour, and death In December 2015, Downie was diagnosed with terminal brain cancer. The band announced his diagnosis on May 24, 2016. The band also announced that, despite his condition, they would tour that summer. The Hip's thirteenth album, Man Machine Poem, was released on June 17, 2016. The album featured songs such as "In a World Possessed by the Human Mind", "In Sarnia", and "Machine". The final concert of the Man Machine Poem tour was held at the Rogers K-Rock Centre in the band's hometown of Kingston on August 20, 2016. The concert was aired by the Canadian Broadcasting Corporation as a live cross-platform broadcast on CBC Television, CBC Radio One, CBC Radio 2, CBC Music, and YouTube. The concert featured 30 songs and three encore sets, with the band finishing with a performance of "Ahead by a Century". The CBC's broadcast and live streaming of the concert, uninterrupted by advertisements, was watched by 11.7 million people (roughly one-third of the Canadian population). On October 13, 2016, Downie gave an interview, his first since his cancer diagnosis, to the CBC's Peter Mansbridge, in which he reported experiencing memory loss. Downie also told Mansbridge that he was working with the Tragically Hip on new studio material, and that the band have up to four albums worth of unreleased material in the vaults. Downie released his fifth solo album, Secret Path on October 18, 2016. The album is a concept album about Chanie Wenjack, a First Nations boy who escaped from a Canadian Indian residential school in 1966 and died while attempting to make the 600 km walk back to his home. On December 22, 2016, Downie was selected as The Canadian Press' Canadian Newsmaker of the Year and was the first entertainer ever selected for the title. On June 15, 2017, all five members of the Tragically Hip were announced as recipients of the Order of Canada by Governor General of Canada David Johnston. Downie received his honour on June 19; the other four members of the band were invested on November 17. The band and the tour are the subjects of Jennifer Baichwal and Nicholas de Pencier's documentary film Long Time Running, which premiered at the 2017 Toronto International Film Festival. It was slated to have its television premiere in November 2017 on CTV, but following Downie's death the network moved the broadcast up to October 20. Gord Downie died on October 17, 2017. His death was widely mourned throughout Canada. Prime Minister Justin Trudeau, who is a fan of the Tragically Hip, released a tribute statement on his official website the morning after Downie's death. Later in the day, he held a press conference at Parliament Hill at which he eulogized Downie as "Our buddy Gord, who loved this country with everything he had—and not just loved it in a nebulous, 'Oh, I love Canada' way. He loved every hidden corner, every story, every aspect of this country that he celebrated his whole life." Following Downie's death, many of the band's albums climbed the Billboard Canadian Albums chart, which is compiled by Neilsen Music. In the week ending October 19, 2017 (the day following the announcement of Downie's death), Yer Favourites rose to No. 2 in the chart, with another 10 albums moving to the Top 200. Streaming also increased 700 percent, and many of the Tragically Hip's top hits remained on the Spotify Canadian Viral 50 as of October 23, 2017. 2018–present: Activity following Downie's death Before his death, Downie indicated in interviews that the band had unreleased material that may still be issued as one or more new albums; when accepting Downie's posthumous awards at the Juno Awards of 2018, his brothers Patrick and Mike also stated that more unreleased music is likely to be issued in the future. A National Celebration, a concert film of the Tragically Hip's final concert, was released on DVD and Blu-ray on December 8, 2017. In July 2018, guitarist Rob Baker told Entertainment Tonight Canada that the Tragically Hip were no longer active as a touring or recording entity following Downie's death. He stated "When I say The Tragically Hip doesn't exist as a performing unit anymore because a key member is gone, I think [fans] understand that. We wouldn't be The Hip without Gord [...] The Hip has played their last note." Baker also revealed that Downie had encouraged the group to audition replacement vocalists, but the other members did not seriously consider the idea. With the legalization of marijuana in Canada, the remaining band members became investment partners in Newstrike, a cannabis company which has named several of its products after Tragically Hip songs. In a July 2018 interview with the Toronto Sun, Baker confirmed that at least three albums' worth of unreleased material was recorded with Downie before his death, but stated that the band had yet to decide how it would be released. On October 11, 2018, six days before the first anniversary of Downie's death, Fay and Baker joined Choir! Choir! Choir! at Yonge-Dundas Square for a live performance of the Tragically Hip's "Grace, Too". On October 17, 2018, one year after Downie's death, a previously unreleased studio recording of the song "Wait So Long" was played on CIKR-FM, a radio station in the band's hometown of Kingston. The Tragically Hip was among hundreds of artists whose material was reported to have been destroyed in the 2008 Universal fire but it later emerged that the band's master tapes had been transferred back to Canada in 2001, and had escaped the fire. On September 14, 2019, Langlois, Sinclair and Baker performed a set at Rockin' the Big House, a benefit concert on the grounds of the former Kingston Penitentiary, with guest vocalists Hugh Dillon and Tom Cochrane. In January 2020, Sinclair announced that his own debut album as a solo artist, Taxi Dancers, would be released on February 28. In June 2020, the band and manager Jake Gold announced that they were undertaking an "archaeological dig" to select music and memorabilia from the band's archives for future release. In early 2021, Rob Baker released a new album with his side band project, Stripper's Union. The band released Saskadelphia, an EP comprising five previously unreleased and recently found Road Apples outtakes and a live track (as the original version has yet to be found). Road Apples was planned to be a double album, but was rejected by the label. Many songs were presumed to be destroyed in the Universal fire in 2008, but the masters were found and transferred to new recordings in 2019. Saskadelphia was released on May 21, 2021. At the Juno Awards of 2021, the surviving members of the Tragically Hip performed their 2002 single "It's a Good Life If You Don't Weaken" with Feist on lead vocals, which marked the band's first televised performance since Downie's death. In a promotional interview on CBC Radio's Q before the ceremony, the band stated that they agreed to perform specifically because Feist had been proposed as the vocalist, with Langlois stating that "OK, so that's not going to be some guy trying to sing like Gord or some guy trying not to sing like Gord. It was a 'no' until Feist came up." The band also received the Juno Humanitarian Award at the ceremony for their history of philanthropic work in Canada. On June 24, 2022, the band released Live at the Roxy, a live recording of their May 3, 1991 concert at the Roxy Theatre in West Hollywood, California. In September 2022, the surviving members again reunited to perform at the Buffy Sainte-Marie tribute show Buffy Sainte-Marie: Starwalker, supporting singer-songwriter William Prince on Sainte-Marie's "Now That the Buffalo's Gone". Legacy and influence The Tragically Hip's music is extremely popular in their native Canada, and Downie's songwriting has been praised for frequently touching upon uniquely Canadian subjects not otherwise covered by mainstream rock groups. In The National Post, Dave Kaufman wrote "Although Downie sings of Canada, his songs are by no means patriotic, or no more than in the way that we're all influenced by where we're from. The band have never been so obvious as to drape themselves in a Canadian flag, but instead, they evoke that shared experience of what it's meant for many of us to grow up in Canada." The band was a member of the Canadian charity Artists Against Racism and worked with them on radio PSAs. After Downie's death in 2017, Simon Vozick-Levinson of The New York Times wrote, "The place of honor that Mr. Downie occupies in Canada's national imagination has no parallel in the United States. Imagine Bruce Springsteen, Bob Dylan and Michael Stipe combined into one sensitive, oblique poet-philosopher, and you’re getting close." According to Nielsen BDS, the Tragically Hip were the fourth best-selling Canadian musical artist in Canada between 1996 and 2016. In that same period of time, "Ahead by a Century" was listed as the 67th most played song on Canadian radio across all formats, while 18 of their songs appeared in a list of the Top 150 most played songs on Canadian rock radio. Reflecting on the band's popularity in Canada, Rachel Sklar of Vox wrote, "There is a generation of Canadians who, if they went to university, they saw the Hip." Despite their high popularity in Canada, the group was never able to cross over into the American rock music scene apart from a small, devoted fan-base centered in border cities like Buffalo, New York and Detroit, Michigan. The band notched four entries on the Billboard Mainstream Rock Tracks singles chart in the US; their highest-charting song on the chart being "Courage (for Hugh MacLennan)", which reached No. 16 in 1993. Downie once complained that the band's lack of crossover to the American rock music market had been overexamined, stating "[Interviewers] always ask us about our success or lack of success in the States, which I find absurd. While that is a story of the band, there are so many other stories." Comedian Rick Mercer remarked that much of the band's American fanbase was composed of Canadians living in the United States, and recalled an experience seeing them perform at The Fillmore in San Francisco where the venue was filled with Canadian fans; he wrote, "This was the curse of being the Hip, they would go to the Fillmore, a famous venue, and they would sell out in five minutes. But no Americans could get in. By the time they were like, 'What's this happening in this sold-out show with this insane band,' you couldn't get in because every Canadian filled up the space." Numerous tribute and cover bands to the Tragically Hip have actively performed across Canada both before and after the band's dissolution. The band's music also provides the score for a full-length contemporary ballet, Jean Grand-Maitre's All of Us. The band were named as an influence by several Canadian musicians and bands across multiple genres, including Dallas Green, k-os, and Kevin Drew. Members Gord Downie – lead vocals, guitar (1984–2017; deceased) Rob Baker – guitar (1984–2017) Paul Langlois – guitar, backing vocals (1986–2017) Gord Sinclair – bass, backing vocals (1984–2017) Johnny Fay – drums, percussion (1984–2017) Davis Manning – saxophone (1984–1986) Awards and honours SOCAN Awards 1997: National Achievement Award Canada's Walk of Fame: 2002: Inducted in Toronto, Ontario Canadian Music Hall of Fame: 2005: Inducted at the Juno Awards in Winnipeg, Manitoba Royal Conservatory of Music: 2006: Presented with an honorary fellowship May 24 at the Windsor Arms Hotel in Toronto, Ontario Governor General's Performing Arts Awards: 2008: Presented the National Arts Centre Award in Ottawa, Ontario Juno Awards 1990: Most Promising Group of the Year 1991: Canadian Entertainer of the Year 1993: Canadian Entertainer of the Year 1995: Entertainer of the Year 1995: Group of the Year 1997: Group of the Year 1997: Album of the Year (Trouble at the Henhouse), 1997: North Star Rock Album of the Year (Trouble at the Henhouse) 1999: Best Rock Album (Phantom Power) 1999: Best Album Design (Phantom Power) 2000: Best Single ("Bobcaygeon") 2001: Best Rock Album (Music at Work) 2006: CD/DVD Artwork Design of the Year (Hipeponymous) 2006: Music DVD of the Year (Hipeponymous) 2017: Rock Album of the Year (Man Machine Poem) 2017: Group of the Year 2021: Juno Humanitarian Award Order of Canada 2017: Appointed to the Order of Canada Homages: In 2012, the city of Kingston, Ontario renamed a prominent portion of Barrack Street, in front of the K-Rock Centre, to "The Tragically Hip Way". In 2013, the Tragically Hip were one of four bands—alongside Rush, the Guess Who, and Beau Dommage—honoured by Canada Post in a series of postage stamps. On January 1, 2017, CBC Radio 2's The Strombo Show aired a special episode titled The Hip 30, which consisted of Canadian musicians performing live covers of the band's songs and sharing their thoughts on the band's impact on Canadian culture. Participating artists included Blue Rodeo, Sarah Harmer, Barenaked Ladies, Donovan Woods, Stars, Arkells and Rheostatics. The episode was already planned as a tribute to the band's 30th anniversary before Downie's cancer diagnosis was announced; several times during the show, host George Stroumboulopoulos reaffirmed that "this is not a eulogy; this is a celebration." On January 28, 2017, the Kingston Frontenacs of the Ontario Hockey League played against the Mississauga Steelheads in a special theme night game, in which the Frontenacs wore specially designed Tragically Hip sweaters. The band participated in the pregame show, in which the band members were presented with their own sweaters. On February 2, 2017, the City of Kingston unveiled a commemorative stone in Springer Market Square with Rob Baker and Paul Langlois, recognizing the last concert of the Man Machine Poem tour. Lyrics "Everybody was in it from miles around..." from Blow at High Dough were selected in an online poll with over 11,000 votes cast. On May 2, 2018, Alberta Ballet premiered All of Us, a full-length contemporary ballet featuring the music of the Tragically Hip. Discussions about the project began in early 2016 and had the support of all five band members. The ballet has since been performed in Calgary and Edmonton where Rob Baker attended in both cities on behalf of the band. In 2019 will tour to multiple Canadian cities. Discography The Tragically Hip (EP) (MCA, 1987) Up to Here (MCA, 1989) Road Apples (MCA, 1991) Fully Completely (MCA, 1992) Day for Night (MCA, 1994) Trouble at the Henhouse (MCA, 1996) Phantom Power (Universal, 1998) Music @ Work (Universal, 2000) In Violet Light (Universal, 2002) In Between Evolution (Universal, 2004) World Container (Universal, 2006) We Are the Same (Universal, 2009) Now for Plan A (Universal, 2012) Man Machine Poem (Universal, 2016) Saskadelphia (EP) (Universal, 2021) See also Canadian rock Music of Canada List of Saturday Night Live hosts and musical guests List of diamond-certified albums in Canada List of Canadian musicians List of bands from Canada References External links CanConRox entry Watch the National Film Board of Canada short documentary Family Band, produced for the Governor General's Performing Arts Awards for Lifetime Artistic Achievement (Requires Adobe Flash) Category:Musical groups established in 1984 Category:Musical groups disestablished in 2017 Category:Musical groups from Kingston, Ontario Category:Canadian alternative rock groups Category:Fellows of the Royal Conservatory of Music Category:Canadian Music Hall of Fame inductees Category:Zoë Records artists Category:1983 establishments in Ontario Category:2017 disestablishments in Ontario Category:Governor General's Performing Arts Award winners Category:Members of the Order of Canada Category:Juno Award for Single of the Year winners Category:Juno Award for Album of the Year winners Category:Juno Award for Breakthrough Group of the Year winners Category:Juno Award for Rock Album of the Year winners Category:Juno Award for Group of the Year winners
[ { "text": "The music of Canada reflects the diverse influences that have shaped the country. Indigenous Peoples, the Irish, British, and the French have all made unique contributions to the musical heritage of Canada. The music has also subsequently been influenced by American culture because of the proximity between the two countries. Since French explorer Samuel de Champlain arrived in 1605 and established the first permanent French settlements at Port Royal and Québec in 1608, the country has produced its own composers, musicians and ensembles.\n\nCanadian music reflects a variety of regional scenes. Government support programs, such as the Canada Music Fund, assist a wide range of musicians and entrepreneurs who create, produce and market original and diverse Canadian music. The Canadian music industry is the sixth-largest in the world, producing internationally renowned composers, musicians and ensembles. Music broadcasting in the country is regulated by the CRTC. The Canadian Academy of Recording Arts and Sciences presents Canada's music industry awards, the Juno Awards, which were first awarded in 1970. The Canadian Music Hall of Fame, established in 1976, honours Canadian musicians for their lifetime achievements. The 21st century has seen Canadian musicians expand their audiences beyond the country's borders.\n\nPatriotic music in Canada dates back over 200 years as a distinct category from British patriotism, preceding Canadian Confederation by over 50 years. The earliest work of patriotic music in Canada, \"The Bold Canadian\", was written in 1812. The national anthem, \"O Canada\", was originally commissioned by the lieutenant governor of Quebec, Théodore Robitaille, for the 1880 St. Jean-Baptiste Day ceremony and was officially adopted in 1980. Calixa Lavallée wrote the music, which was a setting of a patriotic poem composed by the poet and judge Sir Adolphe-Basile Routhier. The text was originally only in French before it was adapted into English in 1906.\n\nHistory\n\nIndigenous music\n\nFor thousands of years, Canada has been inhabited by indigenous peoples from a variety of different cultures and of several major linguistic groupings. Each of the Indigenous communities had (and have) their own unique musical traditions. Chanting is widely popular, with many of its performers also using a variety of musical instruments. They used the materials at hand to make their instruments for thousands of years before Europeans immigrated to the new world. They made gourds and animal horns into rattles which were elaborately carved and painted. In woodland areas, they made horns of birchbark along with drumsticks of carved antlers and wood. Drums were generally made of carved wood and animal hides. These musical instruments provide the background for songs and dances.\n\nFor many years after European settlement, First Nations and Inuit peoples were discouraged from practicing their traditional ceremonies. However, impacts varied significantly depending on such aspects as the time period, relative population size, relation quality, resistance, etc. In 1606–1607 Marc Lescarbot collected the earliest extant transcriptions of songs from the Americas: three songs of Henri Membertou, the sakmow (Grand Chief) of the Mi'kmaq First Nations tribe situated near Port Royal, present-day Nova Scotia.\n\n17th century\n\nFrench settlers and explorers to New France brought with them a great love of song, dance and fiddle playing. Beginning in the 1630s French and Indigenous children at Québec were taught to sing and play European instruments, like viols, violins, guitars, transverse flutes, drums, fifes and trumpets. Ecole des Ursulines and The Ursuline Convent are among North America's oldest schools and the first institutions of learning for women in North America. Both were founded in 1639 by French nun Marie of the Incarnation (1599–1672) alongside the laywoman Marie-Madeline de Chauvigny de la Peltrie (1603–1671) and are the first Canadian institutions to have music as part of the curriculum.\n\nThe earliest written record of violins in Canada comes from the Jesuit Relation of 1645. The Jesuits additionally have the first documented organ sale, imported for their Québec chapel in 1657. Notre-Dame de Québec Cathedral, built in 1647, is the primatial church of Canada and seat of the Roman Catholic Archdiocese of Quebec. It is the oldest Catholic \"Episcopal see\" in the New World north of Mexico and site of the first documented choir in Canada.\n\nIn what was then known as New France, the first formal ball was given by Louis-Théandre Chartier de Lotbinière (1612–1688) on 4 February 1667. Louis Jolliet (1645–1700) is on record as one of the first classically trained practicing musicians in New France, although history has recognized him more as an explorer, hydrographer and voyageur. Jolliet is said to have played the organ, harpsichord, flute, and trumpet. In 1700, under British rule at this time, an organ was installed in Notre-Dame Basilica in Montreal and military bands gave concerts on the Champ de Mars. A French-born priest, René Ménard, composed motets around 1640, and a second Canadian-born priest, Charles-Amador Martin, is credited with the plainchant music for the Sacrae familiae felix spectaculum, in celebration of the Holy Family feast day in 1700.\n\n18th century\n\nHistorically, music was composed in Canada's colonies and settlements during the 18th century, although very few popular named works have survived or were even published. The French and Indian Wars began and left the population economically drained and ill-equipped to develop cultural pursuits properly. The part-time composers of this period were nonetheless often quite skilled. Traditional songs and dances, such as those of the Habitants and Métis, were transmitted orally, from generation to generation and from village to village, thus people felt no need to transcribe or publish them. Printed music was required, for music teachers and their pupils, who were from the privileged minority where domestic music making was considered a proof of gentility. Music publishing and printing in Europe by this time was a thriving industry, but it did not begin in Canada until the 19th century. Canadian composers were not able to focus entirely on creating new music in these years, as most made their living in other musical activities such as leading choirs, church organists and teaching. Regimental bands were musically a part of civil life and typically featured a dozen woodwind and brass instruments, performing at parades, festive ceremonies, minuets, country dances and balls.\n\nAfter the 1760s, regular concerts became a part of the cultural landscape, as well as a wide variety of dancing. Operatic excerpts began to appear, and before the end of the century Canada had its first home-grown opera. A \"Concert Hall\" existed in Québec by 1764 and subscription concerts by 1770, given, one may presume, by band players and skilled amateurs. Programs for the Québec and Halifax concerts of the 1790s reveal orchestral and chamber music by Handel, J.C. Bach, Haydn, Mozart and Pleyel. Canada's first two operas were written, ca. 1790 and ca. 1808 by composer, poet, and playwright Joseph Quesnel (1746–1809). The instrument of favour for the lower class was the fiddle. Fiddlers were a fixture in most public drinking establishments. God Save the King/Queen has been sung in Canada since British rule and by the mid-20th century was, along with \"O Canada\", one of the country's two de facto national anthems.\n\n19th century\n\nThe beginning of the 19th century Canadian musical ensembles had started forming in great numbers, writing waltzes, quadrilles, polkas and galops. The first volumes of music printed in Canada was the \"Graduel romain\" in 1800 followed by the \"Union Harmony\" in 1801. Folk music was still thriving, as recounted in the poem titled \"A Canadian Boat Song\". The poem was composed by the Irish poet Thomas Moore (1779–1852) during a visit to Canada in 1804. \"The Canadian Boat Song\" was so popular that it was published several times over the next forty years in Boston, New York City and Philadelphia. Dancing likewise was an extremely popular form of entertainment as noted In 1807 by the Scottish traveler and artist George Heriot (1759–1839), who wrote:\n\nAmong the earliest musical societies were Halifax's \"New Union Singing Society\" of 1809 and Québec's \"Harmonic Society\" of 1820. One of the first registered all-civilian musical ensembles was a religious sect organized from Upper Canada called the Children of Peace in 1820. In 1833, a student orchestra was organized at the Séminaire de Québec the Société Ste-Cécile, as it was known, and was one of the earliest ensembles of its kind in Lower Canada. The first appearance of a piece of music in a newspaper or magazine was in the pages of the Montreal twice-weekly newspaper, La Minerve, on September 19, 1831. Many immigrants during this time lived in relative isolation and music sometimes obtained through subscriptions to newspapers and magazines, provided entertainment and a life line to civilization. One of the earliest surviving publications in Canada of a song on the piano in sheet music format is \"The Merry Bells of England\" by J. F. Lehmann, of Bytown (later Ottawa) in 1840. It was published by John Lovell in the literary magazine Literary Garland.\n\nThe Great Migration of Canada from 1815 to 1850, consisting largely of Irish, and British immigrants, broadened considerably the Canadian musical culture. 1844, Samuel Nordheimer (1824–1912) opened a music store in Toronto selling pianos and soon thereafter began to publish engraved sheet music. Samuel Nordheimers store was among the first and the largest specialized music publisher in the Province of Canada. They initially had the sole right to publish copies of Alexander Muir's \"The Maple Leaf Forever\" that for many years served as an unofficial Canadian national anthem.\n\nBy the time of Canadian Confederation (1867), songwriting had become a favored means of personal expression across the land. In a society in which most middle-class families now owned a harmonium or piano, and standard education included at least the rudiments of music, the result was often an original song. Such stirrings frequently occurred in response to noteworthy events, and few local or national excitements were allowed to pass without some musical comment.\n\nThe 1870s saw several conservatories open their doors, providing their string, woodwind and brass faculty, leading to the opportunity for any class level of society to learn music. One Sweetly Solemn Thought in 1876 by Hamilton-based Robert S. Ambrose, became one of the most popular songs to ever be published in the 19th century. It fulfilled the purpose of being an appropriate song to sing in the parlors of homes that would not permit any non-sacred music to be performed on Sundays. At the same time it could be sung in dance halls or on the stage along with selections from operas and operettas.\n\n\"O Canada\" was originally commissioned by the Lieutenant Governor of Quebec, the Honourable Théodore Robitaille (1834–1897), for the 1880 St. Jean-Baptiste Day ceremony. Calixa Lavallée (1842–1891) wrote the music, which was a setting of a patriotic poem composed by the poet and judge Sir Adolphe-Basile Routhier (1839–1920). The text was originally only in French, before it was translated into English from 1906 on.\n\nLeo, the Royal Cadet a light opera with music by Oscar Ferdinand Telgmann and a libretto by George Frederick Cameron was composed in Kingston, Ontario, in 1889. The work centres on Nellie's love for Leo, a cadet at the Royal Military College of Canada who becomes a hero serving during the Anglo-Zulu War in 1879. The operetta focussed on typical character types, events and concerns of Telgmann and Cameron's time and place.\n\n20th century\n\n1900–1929 \n\nPrior to the development of the gramophone, Canadian songwriters' works were published as sheet music, or in periodicals in local newspapers such as The Montreal Gazette and Toronto Empire. Most recordings purchased by Canadians in the early days of the gramophone were made by American and British performers, behind some of these international hits were Canadian songwriters. Robert Nathaniel Dett (1882–1943) was among the first Black Canadian composers during the early years of the American Society of Composers, Authors and Publishers. His works often appeared among the programs of William Marion Cook's New York syncopated Orchestra. Dett himself performed at Carnegie Hall and at the Boston Symphony Hall as a pianist and choir director. Following quickly on the gramophone's spread came Canada's involvement in the First World War. The war was the catalyst for the writing and recording of large numbers of Canadian-written popular songs, some of which achieved lasting international commercial success. The military during World War I produced official music such as regimental marches and songs as well as utilitarian bugle calls. The soldiers had a repertoire of their own, largely consisting of new, often ribald, lyrics to older tunes.\n\nCanada's first independent record label Compo Company built a pressing plant (the largest of its day) in 1918 at Lachine, Quebec. Compo was originally created to serve the several American independent record companies such as Okeh Records which wanted to distribute records in Canada. The 1920s saw Canada's first radio stations, this allowed Canadian songwriters to contribute some of the most famous popular music of the early 20th century. Canada's first commercial radio station CFCF (formerly XWA) begins broadcasting regularly scheduled programming in Montreal in 1920, followed by CKAC, Canada's first French language radio station, in 1922. By 1923, there were 34 radio stations in Canada and subsequently proliferated at a remarkable rate, and with them spread the popularity of jazz. Jazz became associated with all things modern, sophisticated, and also decadent.\n\nIn 1925, the Canadian Performing Rights Society was formed to administer public performance and royalties for composers and lyricists. It became known as the Composers, Authors and Publishers Association of Canada (CAPAC). Toronto-born Murray Adaskin (1906–2002) was a violinist, composer, conductor and teacher at the University of Saskatchewan. From 1923 to 1936 he was an orchestral and chamber musician with the Toronto Symphony Orchestra, he was later named head of music at the University of Saskatchewan. He was a composer-in-residence at the University of Saskatchewan, the first appointment of this type in Canada.\n\nThe RCA Victor factory located in Montreal, Quebec housed Canada's first recording studio featuring polycylindrical walls which allowed the sounds to reflect in all directions. Studio Victor had artists from across Canada come in and record in both English and French, as well as had many different genres be recorded within their walls such as jazz, chamber music, choirs, classical music, folk and country. The factory is now home to many businesses one being the Musée des ondes Emile Berliner, a musum focused on the work of Berliner, mostly gramophones, flat disks, and later radios when his company merged with RCA, as well as the nature and science of sound waves.\n\n1930–1959\n\nDuring the great depression in Canada, the majority of people listened to what today would be called swing (Jazz) just as country was starting its roots. The diversity in the evolution of swing dancing in Canada is reflected in its many American names, Jive, Jitterbug and Lindy. Canada's first big band star was Guy Lombardo (1902–1977), who formed his easy listening band, The Royal Canadians, with his brothers and friends. They achieved international success starting in the mid-1920s selling an estimated 250 million phonograph records, and were the first Canadians to have a #1 single on Billboards top 100. In 1932, the first Broadcasting Act was passed by Parliament creating the Canadian Radio Broadcasting Commission. It was to both regulate all broadcasting and create a new national public radio network. 1936, the Canadian Broadcasting Corporation came into existence, at the time, a million Canadian households had a radio.\n\nEmerging from the Great Depression on near equal-footing to American popular music, Canadian popular music continued to enjoy considerable success at home and abroad in the following years. Among them Montreal's jazz virtuoso Oscar Peterson (1925–2007), considered to have been one of the greatest pianists of all time, releasing over 200 recordings and receiving several Grammy Awards during his lifetime. Also notable is Hank Snow (1914–1999), who signed with RCA Victor in 1936 and went on to become one of America's biggest and most innovative country music superstars of the 1940s and 1950s. Snow became a regular performer at the Grand Ole Opry on WSM in Nashville and released more than 45 LPs over his lifetime. Snow was one of the inaugural inductees to the Canadian Songwriters Hall of Fame started in 2003.\n\nCanada during the Second World War produced some patriotic songs, but they were not hits in the music industry sense. A number of Canadian singers who learned their craft in Canadian opera companies in the 1930s went on to sing in major international opera houses. Most notable from the 1940s is contralto singer Portia White (1911–1968). She achieved international fame because of her voice and stage presence. As a Canadian female of African descent, her popularity helped to open previously-closed doors for talented women who followed. She has been declared \"A person of national historic significance\" by the Government of Canada. In 1964 she performed for Queen Elizabeth II, at the opening of the Confederation Centre of the Arts.\n\nFollowing World War II a growth phase for Canadian bands was experienced, this time among school bands. Rapid advances in the inclusion of instrumental music study in formal school curricula brought about fundamental changes to the philosophy of the band movement and the type of repertoire available. The CHUM Chart debuted on May 27, 1957, under the name CHUM's Weekly Hit Parade, was in response to the fast-growing diversity of music that needed to be subdivided and categorized. The CHUM charts were the longest-running Top 40 chart in Canada ending in 1986.\n\n1958 saw its first Canadian rock and roll teen idol Paul Anka, who went to New York City where he auditioned for ABC with the song \"Diana\". This song brought Anka instant stardom as it reached number one on the US Billboard charts. \"Diana\" has gone on to be one of the best selling 45s in music history. US-born rockabilly pioneer Ronnie Hawkins moved to Canada in 1958, where he became a key player in the Canadian blues and rock scene. The 4th of October was declared \"Ronnie Hawkins Day\" by the city of Toronto when Hawkins was inducted into Canada's Walk of Fame. He was also inducted into the Canadian Music Industry Hall of Fame and his pioneering contribution to rockabilly has been recognized with induction into the Rockabilly Hall of Fame.\n\n1960–1999\n\nCanadian artists and Canadian ensembles were generally forced to turn toward the United States to establish healthy long lasting careers during the 1960s. Canada would produce some of the world's most influential singer-songwriters during this time. Among the most notable is Neil Young who has been inducted into the Canadian Music Hall of Fame, Canada's Walk of Fame and the Rock and Roll Hall of Fame twice. Leonard Cohen has been inducted into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame and is also a Companion of the Order of Canada. Folk legend Joni Mitchell is an Alberta native, and has been inducted into both the Canadian Music Hall of Fame and the Rock and Roll Hall of Fame. Walt Grealis of Toronto started in the music business with Apex Records in 1960, the Ontario distributor for Compo Company. He later joined London Records, where he worked until February 1964, when he then established RPM weekly trade magazine. From the first issue of RPM Weekly on February 24, 1964, to its final issue on November 13, 2000, RPM was the defining charts in Canada.\nThe American and British counterculture explosion and hippie movement had diverted music to that which was dominated by socially and American politically incisive lyrics by the late 1960s. The music was an attempt to reflect upon the events of the time – civil rights, the war in Vietnam and the rise of feminism. This led to the Canadian government passing Canadian content legislation to help Canadian artists. On January 18, 1971, regulations came into force requiring AM radio stations to devote 30 percent of their musical selections to Canadian content. Although this was (and still is) controversial, it quite clearly contributed to the development of a nascent Canadian pop star system.\n\nWith the introduction in the mid-1970s of mainstream music on FM radio stations, where it was common practice to program extended performances, musicians were no longer limited to songs of three minutes' duration as dictated by AM stations for decades. Other notable musicians who have been one of the largest Canadian exports include the progressive rock band Rush, Triumph and Bryan Adams. In the classical world, homegrown talent Canadian Brass was established in Toronto in 1970.\n\nCountry music remained popular in Canada in the 1970's thanks to the CBC's The Tommy Hunter show and the adult contemporary radio format which benefited the international stardom of Anne Murray. However, the more mainstream sound would hinder Stompin' Tom Connors until he would have a revival in the 1990's.\n\nCanada's first nationwide music awards began as a reader poll conducted by Canadian music industry trade magazine RPM Weekly in December 1964. A similar balloting process continued until 1970 when the RPM Gold Leaf Awards, as they were then known, were changed to the Juno Awards. The Canadian Academy of Recording Arts and Sciences held the first Juno Award ceremony in 1975. This was in response to rectifying the same concerns about promotion of Canadian artists that the Canadian Radio-television and Telecommunications Commission had.\n\nCanadian music changed course in the 1980s and 1990s, the changing fast-paced culture was accompanied by an explosion in youth culture. Until the mid-1960s, little attention was paid to music by Canadian daily newspapers except as news or novelty. With the introduction during the late 1970s of the \"music critic\", coverage began to rival that of any other topic. Canadian publications devoted to all styles of music either exclusively or in tandem with more general editorial content directed to young readers, was expanding exponentially.\n\nThe influence and innovations of Canadian hip hop came to the foreground in Canada, with musicians Like Maestro Fresh Wes, Snow, and the Dream Warriors, when music videos became an important marketing tool for Canadian musicians, with the debut of MuchMusic in 1984 and MusiquePlus in 1986. Now both English and French Canadian musicians had outlets to promote all forms of music through video in Canada. The networks were not just an opportunity for artists to get their videos played—the networks created VideoFACT, a fund to help emerging artists produce their videos.\n\nCanadian women at the end of the 20th century enjoyed greater international commercial success than ever before. Canadian women set a new pinnacle of success, in terms financial, critical and in their immediate and strong influence on their respective genres. They were the women and daughters who had fought for emancipation and equality a generation before. Like Shania Twain, Alanis Morissette and most notable is French-Canadian singer, Celine Dion, who became Canada's best-selling music artist, and who, in 2004, received the Chopard Diamond Award from the World Music Awards for surpassing 175 million in album sales, worldwide.\n\n21st century\n\nThe turn of the millennium was a time of incredible nationalism, at least as far as Canadian radio is concerned. The 1971 CRTC rules (30% Canadian content on Canadian radio) finally come into full effect and by the end of the 20th century radio stations would have to play 35% Canadian content. This led to an explosion in the 21st century of Canadian pop musicians dominating the airwaves unlike any era before. In 1996, VideoFACT launched PromoFACT, a funding program to help new artists produce electronic press kits and websites. At about the same time, the CD (cheap to manufacture) replaced the vinyl album and Compact Cassette (expensive to manufacture). Shortly thereafter, the Internet allowed musicians to directly distribute their music, thus bypassing the selection of the old-fashioned \"record label\". Canada's mainstream music industry has suffered as a result of the internet and the boom of independent music. The drop in annual sales between 1999, the year that Napster's unauthorized peer-to-peer file sharing service launched, and the end of 2004 was $465 million.\n\nIn 2007, Canada joined the controversial Anti-Counterfeiting Trade Agreement talks, whose outcome will have a significant impact on the Canadian music industry. In 2010 Canada introduced new copyright legislation. The amended law makes hacking digital locks illegal, but enshrine into law the ability of purchasers to record and copy music from a CD to portable devices.\n\nThe early 2000s saw Canadian independent artists continue to expand their audience into the United States and beyond. Mainstream Canadian artists with global recorded contracts such as Nelly Furtado, Avril Lavigne, Michael Bublé, Nickelback, Drake, The Weeknd, Shawn Mendes and Justin Bieber reached new heights in terms of international success, while dominating the American music charts. The late 2010s and early 2020 saw the deaths of Gord Downie of The Tragically Hip and Neil Peart of Rush.\n\nAnthems\n\nPatriotic music in Canada dates back over 200 years as a distinct category from British patriotism, preceding the first legal steps to independence by over 50 years. The earliest, \"The Bold Canadian\", was written in 1812.\n\"O Canada\" - the national anthem adopted in 1980.\n\"God Save the King\" - Royal Anthem of Canada since 1980.\n\"The Maple Leaf Forever\" - unofficial old national anthem 1867.\n\"Alberta\" official anthem of Alberta.\n\"Ode to Newfoundland\" - official anthem of Newfoundland and Labrador.\n\"The Island Hymn\" - official anthem of Prince Edward Island.\n\"Gens du pays\" - unofficial anthem of Quebec. Commonly associated with Quebec sovereignty.\n\nAccolades\n\nThe Canadian Music Hall of Fame established in 1976 honours Canadian musicians for their lifetime achievements. The ceremony is held each year as part of Canada's main annual music industry awards, the Juno Awards.\n\nThe Governor General's Performing Arts Awards for Lifetime Artistic Achievement are the foremost honours presented for excellence in the performing arts, in the categories of dance, classical music, popular music, film, and radio and television broadcasting. They were initiated in 1992 by then Governor General Ray Hnatyshyn, and winners receive $25,000 and a medal struck by the Royal Canadian Mint.\n\nCanada also has many specific music awards, both for different genres and for geographic regions:\n CASBY Awards – Canada's annual independent and alternative music awards\n Canadian Country Music Awards – Canada's annual country music industry awards\n GMA Canada Covenant Awards – Canada's national awards for the Gospel music industry\n East Coast Music Awards – annual music appreciation for the East Coast of Canada\n Felix Awards – annual prize for members of the Quebec music industry\n Canadian Folk Music Awards - annual ceremony for achievements in folk and world music\n MuchMusic Video Awards – Canada's annual music video awards\n Polaris Music Prize – award annually given to the best full-length Canadian album based on artistic merit\n Prism Prize - annual award for achievements in music video\n Canadian Urban Music Awards – Canada's annual urban music awards\n Canadian Aboriginal Music Awards – Canada's annual appreciation for the promoters, creators and performers of Aboriginal music\n Western Canadian Music Awards – annual music appreciation for the western part of Canada\n\nCultural and regional\n\nDistinctive music scenes have been an integral part of the cultural landscape of Canada. With Canada being vast in size, the country throughout its history has had regional music scenes, with a wide and diverse accumulation of styles and genres from many different individual communities, such as Inuit music, music of the Maritimes and Canadian fiddle music.\n\nSee also\n\nList of diamond-certified albums in Canada\nList of number-one singles (Canada)\nList of radio stations in Canada\nList of Canadian composers\nList of Canadian musicians\nList of bands from Canada\nCanadian classical music\nCanadian opera\nNational Youth Orchestra of Canada\nThe Top 100 Canadian Albums (2007)\n\nReferences\n\nFurther reading\n\n Adria, Marco (1990). Music of Our times: Eight Canadian Singer-Songwriters. Toronto: James Lorimer & Company Ltd.\n Asselin, André (1968). Panorama de la musique canadienne. 2e éd., rev. et augm. Paris: Éditions de la diaspora française.\n Audley, Paul. \"The Recording Industry\" and \"Radio\", in his Canada's Cultural Industries: Broadcasting, Publishing, Records, and Film (Toronto: J. Lorimer & Co., in Association with the Canadian Institute for Economic Policy, 1983), p. 141–212. (pbk.)\n \n \n \n \n \n Edward Balthasar Moogk (1975). Roll Back the Years: History of Canadian Recorded Sound and Its Legacy, Genesis to 1930. National Library of Canada. N.B.: In part, also, a bio-discography; the hardback ed. comes with a \"phonodisc of historical Canadian recordings\" (33 1/3 r.p.m., mono., 17 cm.) which the 1980 pbk. reprint lacks. (pbk.)\n Edith Kathryn Moogk (1988). Title Index to Canadian Works Listed in Edward B. Moogk's \"Roll Back the Years, History of Canadian Recorded Sound, Genesis to 1930\", in series, C.A.M.L. Occasional Papers, no. 1. Canadian Association of Music Libraries. N.B.: Title and fore-matter also in French; supplements the index within E. B. Moogk's book. \n \n \n Lucien Poirier, ed. (1983). Répertoire bibliographique de textes de presentation generale et d'analyse d'oeuvres musicales canadienne, 1900–1980 = Canadian Musical Works, 1900–1980: a Bibliography of General and Analytical Sources. Under the direction of Lucien Poirier; compiled by Chantal Bergeron [et al.]. Canadian Association of Music Libraries. \n Truffaut, Serge (1984). Le Jazz à Montréal, in series, Collection Montréal. Montréal, Qué.: Groupe Québec-Rock. N.B.: A chronology. Without ISBN\n \nCanadian Music Catalogues and Acquisitions lists. Toronto, (1971) various lists of Canadian music (orchestral, vocal, chamber, choral).\n \n \n \n \n \n \n \n \nWomen Musicians in Canada \"on the record the Music Division of the National Library of Canada by C. Gillard. Ottawa : NLC, (1995) ()\n\nExternal links\n\nCanadian Music Periodical (CMPI) - Library and Archives Canada\nRPM Magazine, 1964–2000 - Library and Archives Canada\nMeet American Top Musician\nhttps://moeb.ca \n\n \nCategory:Canadiana", "title": "Music of Canada" }, { "text": "The following diamond-certified albums in Canada have sold at least one million units (individual CDs, tapes or LPs) as determined by Canadian Recording Industry Association, the national music recording sales certification agency.\n\n \n\nThe first million-selling album in Canada was declared in May 1978 as Rumours by the British band Fleetwood Mac. 17 years later, that album was honoured for sales of a second million units.\n\nDiamond albums\nThe following albums have sold at least one million units within Canada. This certification has been attained by 18 Canadian albums, representing 11 artists and one compilation album. A Canadian artist, Céline Dion, holds the record for the most diamond albums, having had six albums reach this sales status in Canada.\n\nDouble Diamond albums\nDouble diamond awards are issued to albums that have sold two million units, representing the highest-selling music albums in Canadian history. Only two Canadian artists, Alanis Morissette and Shania Twain, have attained this level of certification; Twain and Pink Floyd are the only two artists to have reached it with more than one album.\n\nSee also\n\nThe Top 100 Canadian Albums\nList of best-selling albums in Canada\nList of number-one singles (Canada)\n\nReferences\n\nExternal links\n CRIA: music certification\n\nCanada, diamond\n \nCanada", "title": "List of diamond-certified albums in Canada" }, { "text": "This is a list of Canadian musicians. Only notable individuals appear here; bands are listed at List of bands from Canada.\n\n0-9\n347aidan - rapper\n\nA\n\nLee Aaron – jazz and rock singer-songwriter, also known as \"Metal Queen\"\nAbdominal – hip-hop musician\nAdaline – singer-songwriter\nBryan Adams – singer-songwriter\nBernard Adamus – singer-songwriter\nSusan Aglukark – folk-pop singer-songwriter\nAHI – folk singer-songwriter\nLydia Ainsworth – composer/singer\nBruce Aitken – jazz and rock drummer\nRobert Aitken – composer, flute player\nChuckie Akenz – rapper, songwriter\nPierrette Alarie – opera singer\nEmma Albani – opera singer\nCoco Love Alcorn – pop singer\nJohn Alcorn – jazz singer\nDon Alder – fingerstyle guitarist, singer-songwriter, composer\nToya Alexis – R&B singer\nMadeleine Allakariallak – Inuit throat singer, folk singer\nChad Allan – singer (the Guess Who)\nAndrew Allen – singer\nJohn P. Allen – bluegrass, country and rock fiddler\nLillian Allen – dub poet\nArchie Alleyne – jazz drummer\na l l i e – R&B singer\nAllie X – singer-songwriter\nTommy Alto – indie rock singer-songwriter\nDon Amero – singer-songwriter\nBarbra Amesbury – singer-songwriter\nAmmoye – reggae singer\nAmylie – pop singer-songwriter\nAnachnid – pop/electronic singer-songwriter\nCharlie Angus – alternative country singer-songwriter, writer, politician\nPaul Anka – singer-songwriter, 1950s pop star\nMatt Andersen – singer-songwriter\nKerri Anderson – pop singer\nJames Anthony – blues guitarist\nTafari Anthony – rhythm and blues singer\nAlan Anton – bassist (Cowboy Junkies)\nNatalie Appleton – singer (All Saints)\nViolet Archer – composer\nJann Arden – pop singer-songwriter\nCarolyn Arends – Contemporary Christian pop singer\nSusie Arioli – jazz singer\nJulian Armour – cellist\nJohn Arpin – pianist, composer, recording artist, entertainer\nMarie-Pierre Arthur – pop singer-songwriter\nTalena Atfield – bassist (Kittie)\nAthésia – pop/dance singer\nAllison Au – jazz saxophonist\nRich Aucoin – indie rock singer-songwriter\nMelissa Auf der Maur – rock bassist (Hole, the Smashing Pumpkins)\nShawn Austin – country singer and songwriter\nEva Avila – singer (winner of Canadian Idol, 2006)\nMike Ayley – singer, bass guitarist\nJay Aymar – guitarist and singer-songwriter\nMarcel Aymar – singer-songwriter\nAysanabee – singer-songwriter\nCaroline Azar – singer-songwriter, keyboardist (Fifth Column)\n\nB\n\nSebastian Bach – rock singer\nRandy Bachman – rock singer, guitarist\nTal Bachman – singer (son of Randy Bachman)\nBack Alley John – blues singer-songwriter, harmonica player\nBackxwash – rapper\nBad News Brown – rapper\nBahamas – folk singer-guitarist\nJason Bajada – singer-songwriter\nCarroll Baker – country music singer\nTim Baker – indie rock singer-songwriter\nJames Baley – rhythm and blues/dance singer \nGord Bamford – country singer\nBuddy Banks – jazz double-bassist\nDel Barber – singer-songwriter\nSteve Barakatt – composer-pianist\nJill Barber – singer-songwriter\nMatthew Barber – singer-songwriter\nBarlow – composer, rock\nEmilie-Claire Barlow – singer-songwriter\nKim Barlow – singer-songwriter\nLaura Barrett – singer-songwriter, kalimba player\nMary Barry – singer-songwriter, composer, pianist, jazz, blues, chanson\nYank Barry – rock singer, composer, guitar, percussion\nMiguel de la Bastide – flamenco guitarist\nIsabel Bayrakdarian – soprano\nKevin Bazinet – pop singer\nBobby Bazini – singer-songwriter\nGary Beals – R&B singer\nMartin Beaver – violinist\nDany Bédar – singer-songwriter\nGabriela Bee – singer-songwriter\nJaymz Bee – singer, music director\nBegonia — singer\nDan Bejar – singer-songwriter (Destroyer; Swan Lake; Hello, Blue Roses; the New Pornographers)\nDaniel Bélanger – pop, electro, rock, ambience singer\nRoz Bell – singer-songwriter\nSteve Bell – guitarist, singer-songwriter\nClayton Bellamy – singer-songwriter\nBelly – rapper, songwriter\nBbno$ – rapper, singer-songwriter\nQuanteisha Benjamin – singer\nEli Bennett – saxophonist, composer\nWillie P. Bennett – folk/alternative country singer-songwriter\nRidley Bent – country singer\nBarney Bentall – rock singer-songwriter\nBeppie – children's musician\nJennifer Berezan – singer-songwriter, producer\nMoe Berg – singer-songwriter (Pursuit of Happiness)\nArt Bergmann – punk/alternative singer-songwriter\nRuth Berhe – singer-songwriter\nCamille Bernard – opera singer\nMario Bernardi – conductor, pianist\nGeoff Berner – klezmer/folk accordionist, singer-songwriter\nLarry Berrio – country singer-songwriter\nBetty Moon – singer-songwriter\nSalome Bey – blues/gospel/jazz singer\nAmélie Beyries – pop singer-songwriter\nLaila Biali – jazz singer/pianist\nEd Bickert – jazz guitarist\nCharlie Biddle – jazz bassist\nDave Bidini – guitarist (Rheostatics)\nJustin Bieber – pop singer-songwriter\nBig Rude Jake – singer-songwriter, band leader, blues shouter, guitarist\nDan Bigras – singer-songwriter\nKim Bingham – rock/ska singer-songwriter\nHeather Bishop – folk singer-songwriter\nJaydee Bixby – country singer\nAnnesley Black (born 1979) – composer\nGwendolyn Black – pianist, educator and activist\nJully Black – R&B musician\nStacey Blades – guitarist (L.A. Guns)\nJason Blaine – country singer\nJean-Michel Blais – composer and pianist\nForest Blakk – pop singer\nPaul Bley – jazz pianist\nOmar Blondahl – singer\nGeorge Blondheim – pianist, composer\nJoe Bocan – pop singer\nLa Bolduc – singer-songwriter, harmonicist, violinist\nMars Bonfire – from Steppenwolf\nJonas Bonnetta – singer-songwriter\nBonky (Onno Borgen) – trance musician\nWill Bonness – jazz pianist\nBoogat – rapper\nDave Bookman – indie rock singer-songwriter\nBrian Borcherdt – singer-songwriter\nBoslen – rapper\nRobi Botos – jazz pianist\nJohn Bottomley – singer-songwriter\nIsabelle Boulay – pop singer\nGerry Boulet – rock singer\nBill Bourne – folk/alternative singer-songwriter\nPierre Bouvier – singer-songwriter, guitarist (Reset, Simple Plan)\nMitch Bowden – rock singer, guitarist (Don Vail, the Priddle Concern, Chore)\nBenjamin Bowman – violinist\nJimmy Bowskill – blues guitarist, bassist and singer\nLiona Boyd – classical guitarist\nPhilippe Brach – singer-songwriter\nDavid Bradstreet – singer-songwriter\nTim Brady – electric guitarist, composer, improviser, working in contemporary classical, experimental, musique actuelle\nAndru Branch – singer-songwriter, keyboardist (Andru Branch, Halfway Tree)\nPaul Brandt – country singer-songwriter\nRussell Braun – operatic baritone\nLenny Breau – guitarist\nBeverly Breckenridge – bassist (Fifth Column and Phono-Comb)\nMichael Breen – pop/rock singer and guitarist\nDean Brody – country singer-songwriter\nLisa Brokop – country singer-songwriter\nMichael Brook – guitarist, producer, film scorer\nJon Brooks – folk singer-songwriter\nColleen Brown – singer-songwriter\nDivine Brown – R&B/soul singer\nEdwin Orion Brownell – neo-classical composer, pianist\nChad Brownlee – country singer\nMeasha Brueggergosman – operatic soprano\nRoxane Bruneau – pop singer\nPaul Brunelle – country music guitarist, songwriter\nRod Bruno – singer-songwriter, guitarist\nBilly Bryans – percussionist, record producer\nJon Bryant – singer-songwriter\nDan Bryk – singer-songwriter\nJim Bryson – singer-songwriter\nMichael Bublé – singer\nBuck 65 – hip-hop artist\nBasia Bulat – singer-songwriter\nGeorge Burdi\nMalcolm Burn – singer, record producer\nLouise Burns – singer-songwriter\nJason Burnstick – folk singer-songwriter\nSpencer Burton – indie rock and country singer-songwriter\nWin Butler – member of Arcade Fire\nMatthew Byrne – folk singer-songwriter\n\nC\n\nMeryn Cadell – rock singer-songwriter, performance artist\nCadence Weapon – rapper\nDaniel Caesar – R&B, singer-songwriter\nBuddy Cage – pedal steel guitar player\nShawna Cain – Christian R&B singer\nKathryn Calder – indie rock/pop singer-songwriter\nJohn Allan Cameron – folk singer, guitarist\nSteph Cameron – folk singer-songwriter\nCherie Camp – singer-songwriter\nJames Campbell – clarinetist\nTorquil Campbell – singer-songwriter (Stars)\nBrendan Canning – singer-songwriter (Broken Social Scene, Valley of the Giants)\nPatricia Cano – jazz/Latin music singer and musical theatre actress\nLou Canon – singer-songwriter\nGeorge Canyon – country singer\nBen Caplan – folk musician\nAlessia Cara – contemporary R&B\nCraig Cardiff – singer-songwriter\nCharlotte Cardin – pop singer\nCeleigh Cardinal – singer-songwriter\nPaul Cargnello – singer-songwriter\nMarie Carmen – pop singer, musical theatre actor (Starmania)\nGlory-Anne Carriere – country singer\nStef Carse — country and pop singer\nWilf Carter – country singer\nJazz Cartier – rapper\nAndrew Cash – singer-songwriter\nPeter Cash – singer-songwriter\nBarbara Cass-Beggs – singer\nAndrew Cassara – pop singer-songwriter\nIan Casselman – singer, drummer\nLou-Adriane Cassidy – pop singer-songwriter\nTory Cassis – folk and jazz singer\nMicheal Castaldo – singer-songwriter, producer\nFrance Castel – pop and blues singer, musical theatre actress\nJennifer Castle – singer-songwriter\nDemo Cates – jazz/R&B saxophonist and singer\nRachel Cavalho – pianist, music educator\nCayouche – singer-songwriter\nDavid Celia – singer-songwriter\nCFCF – electronic musician\nChantal Chamandy – pop/dance singer-songwriter\nChampion – DJ, electronic musician\nKeshia Chanté – urban/R&B singer\nRobert Charlebois – rock and funk singer\nChloe Charles – soul pop singer\nGregory Charles – chorister and pianist\nNuela Charles – soul/pop/R&B/hip hop singer\nTanika Charles – soul and rhythm and blues singer\nRégine Chassagne – member of Arcade Fire\nCheckmate – rapper\nVern Cheechoo – country singer-songwriter\nBrad Cheeseman – jazz bassist and composer\nRita Chiarelli – blues singer\nJane Child – pop and rock dance artist, songwriter, producer\nChoclair – hip-hop artist\nCharlene Choi – pop singer in Hong Kong\nGina Choi – South Korean singer\nTommy Chong – guitarist (Bobby Taylor & the Vancouvers), comedian\nTimothy Chooi – violinist\nChristophe – pop singer\nJarvis Church – R&B singer-producer (real name Gerald Eaton)\nAnnabelle Chvostek – folk singer\nCikwes - traditional Cree music singer\nClairmont the Second – rapper\nTerri Clark – country singer-songwriter\nAlanna Clarke – pop/rock singer-songwriter\nClassified – rapper\nRenée Claude – singer\nDavid Clayton-Thomas – singer\nJim Clench – bassist, vocalist (April Wine, Bachman–Turner Overdrive)\nKevin Closs – singer-songwriter\nWilliam Cloutier – pop singer\nTom Cochrane – singer-songwriter\nBruce Cockburn – singer-songwriter\nCode Pie - indie-pop/rock\nLeonard Cohen – singer-songwriter, poet\nCold Specks – soul singer\nHolly Cole – jazz singer\nNaida Cole – pianist\nRaquel Cole – country pop singer-songwriter\nDon Coleman – rock singer\nJason Collett – singer-songwriter (also member of Broken Social Scene)\nDorothy Collins – pop singer\nSimon Collins – pop/electronic musician\nChuck Comeau – drummer (Reset, Simple Plan)\nRay Condo – rockabilly singer\nChantal Condor – singer\nTyler Connolly – singer-songwriter, guitarist (Theory of a Deadman)\nStompin' Tom Connors – country singer-songwriter\nJesse Cook – guitarist, producer, composer\nSpirit Cool – live-looping acoustic guitarist, singer\nBill Coon - guitarist, composer\nJim Corcoran – singer-songwriter, radio personality\nJ. P. Cormier – singer, guitarist\nJacinta Cormier – singer, pianist\nLouis-Jean Cormier – rock singer-songwriter \nCorneille – funk, R&B, soul singer-songwriter\nAntoine Corriveau – singer-songwriter\nMichel Corriveau – keyboardist, composer\nÈve Cournoyer – pop and rock singer\nRose Cousins – singer-songwriter\nDeborah Cox – pop/R&B singer\nJonny Craig – vocalist, songwriter, ex-front man for Dance Gavin Dance, front man for Emarosa and Isles and Glaciers\nSara Craig – singer-songwriter\nTerri Crawford – rock singer, children's entertainer\nSiobhan Crawley – pop singer\nJim Creeggan – singer-songwriter, member of the Barenaked Ladies and the Brothers Creeggan\nAndy Creeggan – singer-songwriter, former member of the Barenaked Ladies and the Brothers Creeggan\nCRi – electronic producer\nCold Specks (Ladan Hussein) – soul musician\nColin Cripps – rock guitarist, producer (Crash Vegas)\nJulie Crochetière – singer-songwriter, pianist (jazz, pop, R&B, soul)\nJohn Crossingham – rock singer (Raising the Fawn)\nAllison Crowe – singer-songwriter\nAlex Cuba – jazz/pop singer-songwriter\nJim Cuddy – rock singer (Blue Rodeo)\nEliana Cuevas – jazz/Latin singer\nLori Cullen – pop/jazz singer\nBurton Cummings – rock musician (the Guess Who, solo artist)\nChris Cummings – country singer-songwriter\nAmelia Curran – singer-songwriter\nAndy Curran – rock singer and bassist\nBobby Curtola – singer\nIsabelle Cyr – singer\n\nD\nDax – rapper\nRyan Dahle – guitarist (Limblifter) \nLisa Dalbello – singer-songwriter\nSean Dalton – drummer (the Trews)\nFrance D'Amour – singer-songwriter\nLeah Daniels – country singer-songwriter\nRick Danko – bassist, violinist, guitarist, singer (the Band)\nMychael Danna – film composer\nD'Ari – rock singer-songwriter\nDatsik – dubstep artist\nBenoît David – singer (Mystery)\nMarie Davidson – EDM singer and producer\nMark Davis – singer-songwriter\nStu Davis – singer-songwriter, guitarist\nTanya Davis – singer-songwriter, poet\nDesirée Dawson – singer-songwriter, ukulele player\nSophie Day – jazz singer\nLuc de Larochellière – singer-songwriter\ndeadmau5 – house artist, electronic music producer, real name Joel Zimmerman\nAselin Debison – Celtic pop\nArt d'Ecco – indie rock, glam rock singer\nTony Dekker – folk rock singer-songwriter (Great Lake Swimmers)\nGordon Delamont – big-band conductor, arranger, teacher\nHelena Deland – singer-songwriter\nMac DeMarco – indie rock musician\nKris Demeanor – singer-songwriter\nSimone Denny – dance/house/pop/techno singer\nGisela Depkat – cellist\nRichard Desjardins – singer\nShawn Desman – pop, R&B singer\nLorraine Desmarais – jazz pianist, composer\nDave \"Rave\" Desroches – singer-songwriter (Teenage Head, the Dave Rave Conspiracy)\nDavid Desrosiers – bassist, singer (Reset, Simple Plan)\nMarie-Michèle Desrosiers – pop and rock singer\nAngela Desveaux – singer-songwriter\nDevon – rapper\nDevours – electronic musician\nAlpha Yaya Diallo – guitarist, composer\nScott Dibble – singer-songwriter (Scott Dibble and Watertown)\nSteffi DiDomenicantonio – pop singer, musical theatre actress \nDijahSB – rapper\nHugh Dillon – frontman of Headstones and Hugh Dillon Redemption Choir\nNatalie Di Luccio – singer, soprano\nCéline Dion – pop singer\nCarl Dixon – singer-songwriter, guitarist\nDL Incognito – rapper\nCreighton Doane - drummer, songwriter\nMelanie Doane – guitarist, singer-songwriter\nBonnie Dobson – singer-songwriter, guitarist\nFefe Dobson – singer-songwriter\nDr. Draw – electronic violinist, composer\nDenny Doherty – singer (the Mamas & the Papas)\nJulie Doiron – singer-songwriter\nLuke Doucet – singer-songwriter\nJerry Doucette – guitarist, singer-songwriter\nGordon Downie – singer (Tragically Hip)\nAaryn Doyle – rapper, singer-songwriter\nAlan Doyle – singer, guitarist (Great Big Sea)\nDamhnait Doyle – pop singer-songwriter\nDrake – rapper, singer, actor \nKevin Drew – guitarist, singer-songwriter\nGlen Drover – guitarist (Megadeth, Eidolon)\nShawn Drover – drummer (Megadeth, Eidolon)\nIan D'Sa – songwriter, vocalist, guitarist (Billy Talent)\nDubmatix – reggae/electronic musician\nClaude Dubois – pop singer-songwriter, musical theatre actor\nMartin Dubreuil – tambourinist (Les Breastfeeders)\nAnnette Ducharme – singer, songwriter\nArmond Duck Chief – country singer-songwriter\nVictoria Duffield – singer-songwriter\nDumas – Québécois singer\nKyle Bobby Dunn – composer, musician, live performer\nÉlie Dupuis – singer, pianist\nShae Dupuy – country singer-songwriter\nMelanie Durrant – R&B singer\nBill Durst – guitarist (Thundermug)\nMatt Dusk – jazz singer-songwriter\nJeremy Dutcher – singer\nDVBBS – DJ, producer\nPhil Dwyer – jazz saxophonist\nJesse Aaron Dwyre – drummer\nHoward Dyck – conductor, broadcaster\nFélix Dyotte – singer-songwriter\n\nE\n\nFred Eaglesmith – alternative country singer-songwriter\nJade Eagleson – country music singer-songwriter\n Eddie Eastman – country music singer-songwriter, Juno Award winner\nChris Eaton – indie rock singer-songwriter\nGerald Eaton – R&B singer, producer (known as Jarvis Church)\nMike Edel – folk musician & guitarist\nJerry Edmonton – drummer (Steppenwolf); his brother wrote \"Born to Be Wild\" under the pseudonym Mars Bonfire\nKathleen Edwards – singer-songwriter\nEfajemue – jazz drummer\nCoral Egan – pop, jazz singer\nJames Ehnes – violin virtuoso\nEightcubed – electronic artist\nShirley Eikhard – singer-songwriter (known for Something to Talk About)\nElisapie – pop singer\nPeter Elkas – singer-songwriter\nLindsay Ell – country singer\nEmanuel – rhythm and blues singer\nEmma-Lee – singer-songwriter, photographer\nRik Emmett – singer-songwriter (former member of Triumph)\nAriel Engle – indie pop singer (Broken Social Scene, La Force)\nMatt Epp – singer-songwriter\nQuique Escamilla – singer-songwriter \nEsthero – singer-songwriter\nElise Estrada – pop singer\nEmmalyn Estrada – pop singer (G.R.L)\nEternia – rapper\nQuin Etheridge-Pedden – fiddler\nAndre Ethier – rock singer-songwriter\nEric Ethridge – country singer-songwriter\nChristine Evans – singer\nGeorge Evans – jazz vocalist\nGil Evans – pianist, arranger\nKellylee Evans – jazz/soul vocalist\nEva Everything – New Wave pop singer, television composer\nMike Evin – pop singer-songwriter\nExcision – dubstep artist\nBob Ezrin – musician, producer of The Wall by Pink Floyd\n\nF\n\nAndrew F – singer-songwriter, pop rock singer\nLara Fabian – pop singer\nEria Fachin – dance/pop singer\nJulie Fader – folk-pop singer-songwriter, keyboardist\nBruce Fairbairn – musician, rock band producer (Aerosmith, Bon Jovi, Loverboy)\nPercy Faith – composer\nFamous – rapper\nTodd Fancey – bassist (the New Pornographers), singer-songwriter\nFaouzia – singer-songwriter, musician\nMylène Farmer – singer\nRobert Farnon - arranger, composer, conductor\nStephen Fearing – singer-songwriter\nLeslie Feist – pop singer-songwriter\nChristine Fellows – folk-pop singer-songwriter\nKate Fenner – singer-songwriter\nJay Ferguson – power pop singer-songwriter, guitarist (Sloan)\nMaynard Ferguson – jazz band leader, trumpet\nDanny Fernandes – pop singer\nFerron – folk singer-songwriter\nMichael Feuerstack – singer-songwriter, guitarist (Wooden Stars, Snailhouse)\nJanina Fialkowska – pianist\nDominique Fils-Aimé – jazz, rhythm and blues singer\nHank Fisher – known as Washboard Hank, singer-songwriter and multi-instrument entertainer\nJeremy Fisher – singer-songwriter\nBrent Fitz – drummer, pianist (Slash, Theory of a Deadman, Alice Cooper, Vince Neil, Union)\nWarren Dean Flandez – R&B, gospel singer\nJon-Rae Fletcher – rock singer-songwriter\nLuca Fogale – pop singer\nPeter Foldy – singer-songwriter\nSue Foley – blues singer-songwriter\nRoy Forbes – folk music singer-songwriter\nFrazey Ford – folk music guitarist, singer-songwriter (the Be Good Tanyas)\nAngel Forrest – singer\nMaureen Forrester – contralto\nJudith Forst – operatic mezzo-soprano\nAmanda Forsyth – cellist\nMarc Fortier – singer-songwriter, EPIC guitarist\nFred Fortin – rock singer-songwriter, guitarist, drummer\nJ.D. Fortune – former INXS lead singer\nDavid Foster – composer, producer, pianist, vocalist\nFouKi – rapper\nJeanick Fournier – singer, Canada's Got Talent season 2 winner\nGeorge Fox – country singer-songwriter\nFoxtrott – electronic/indie pop musician\nDavid Francey – folk singer-songwriter\nAngelique Francis – blues singer\nFrankenstein – rapper and record producer\nAllan Fraser – folk singer-songwriter (formerly of Fraser & DeBolt)\nMatt Frenette – drummer (Headpins, Loverboy, Streetheart)\nFresh I.E. – Christian rapper\nAlan Frew – singer-songwriter (Glass Tiger)\nAllen Froese – contemporary Christian singer\nLily Frost – singer/songwriter/performer and recording artist\nRhys Fulber – electronic musician/producer, Front Line Assembly, Delerium, Conjure One\nAaron Funk – breakcore artist\nLewis Furey – rock singer-songwriter, film music composer\nNelly Furtado – R&B/pop singer-songwriter, record producer, actress\n\nG\nB. B. Gabor – new wave artist\nAndré Gagnon – pianist, composer\nJohn Harvey Gahan – violinist\nJonathan Gallant – bassist (Billy Talent)\nLennie Gallant – singer-songwriter\nPatsy Gallant – singer\nEdward Gamblin – singer-songwriter\nYoan Garneau – singer-songwriter\nGale Garnett – singer-songwriter of the 1964 Top 10 Hit \"We'll Sing in the Sunshine\"\nGarou – singer\nAmos Garrett – guitarist, singer\nAli Gatie – singer-songwriter\nNadia Gaudet – folk singer-songwriter\nKarina Gauvin – soprano\nEric Genuis – composer, pianist\nHannah Georgas – singer-songwriter\nJian Ghomeshi – singer, broadcaster, writer, producer\nJoel Gibb – singer-songwriter (the Hidden Cameras)\nTim Gilbertson – singer-songwriter\nNick Gilder – singer-songwriter, \"Hot Child in the City\"\nFlora Gionest – singer-songwriter\nFernande Giroux – jazz singer\nMartin Giroux – singer\nAlice Glass – lyricist, vocalist (Crystal Castles)\nGreg Godovitz – singer, bass guitarist\nGary Pig Gold – singer-songwriter, guitarist (Dave Rave), producer (Simply Saucer)\nRoxanne Goldade – country singer\nRose Goldblatt – pianist\nKat Goldman – singer-songwriter\nAnthony Gomes – guitarist, singer-songwriter\nAdam Gontier – singer (Three Days Grace)\nChilly Gonzales – classical musician\nMatthew Good – singer-songwriter (Matthew Good Band)\nMyles Goodwyn – singer-songwriter, guitarist (April Wine)\nJames Gordon – singer-songwriter\nValery Gore – singer-songwriter\nRex Goudie – singer-songwriter (Canadian Idol runner-up, 2005)\nDenis Gougeon – composer\nGlenn Gould – pianist, composer, philosopher\nRobert Goulet – singer\nLawrence Gowan – rock singer (solo, Styx)\nMax Graham – house DJ\nTommy Graham – singer\nSebastien Grainger – singer, drummer, percussionist (Death from Above 1979)\nGil Grand – country singer-songwriter\nJenn Grant – singer-songwriter\nDallas Green – singer-songwriter, guitarist (Alexisonfire, City and Colour)\nBrian Greenway – guitarist, harmonicist, vocalist (April Wine, Mashmakhan)\nJoey Gregorash\nAdam Gregory – country musician\nGrimes (Claire Boucher) – singer-songwriter, visual artist, music video director\nMatthew Grimson – singer-songwriter\nPaul Gross – singer, songwriter, actor, producer\nEmm Gryner – singer, songwriter, pianist, guitarist\nJean \"Guilda\" Guida – cabaret pop singer\nMolly Guldemond – singer, synthesizer player (Mother Mother)\nRyan Guldemond – singer, songwriter, guitarist (Mother Mother)\nJim Guthrie – singer-songwriter\nTrevor Guthrie – singer-songwriter, formerly of SoulDecision\nBruce Guthro – singer-songwriter (lead vocalist of Runrig)\nCaity Gyorgy – jazz singer\n\nH\n\nEmily Haines – singer-songwriter (also member of Metric, Emily Haines and the Soft Skeleton and Broken Social Scene)\nNate Haller – country singer-songwriter\nMarc-André Hamelin – pianist and composer\nMark Hamilton – frontman of Woodpigeon\nMoshe Hammer – violinist\nMarie-Lynn Hammond – folk singer\nHandsome Ned – country singer\nGerry Hannah – bass player of Subhumans\nBarbara Hannigan – soprano, conductor\nLynne Hanson – singer-songwriter\nBuster Harding – jazz pianist, composer, arranger\nHagood Hardy – jazz vibraphonist, pianist, known for \"The Homecoming\"\nGeorgia Harmer – singer-songwriter\nSarah Harmer – singer-songwriter\nOfra Harnoy – cellist\nBarry Harris – dance music DJ, remixer, musician\nRobin Harrison – pianist, composer\nCorey Hart – singer\nJoshua Haulli – singer-songwriter\nRon Hawkins – singer-songwriter\nRonnie Hawkins – American-born singer, naturalized Canadian\nRichie Hawtin – techno musician-DJ, producer\nHayden – singer-songwriter, real name Paul Hayden Desser\nOliver Haze – singer-songwriter\nTerra Hazelton – jazz singer\nJeff Healey – guitarist, trumpet player, singer\nKevin Hearn – singer-songwriter (Barenaked Ladies)\nTim Hecker – ambient/electronic musician\nColeman Hell – indie pop/electronic musician\nThomas Hellman – jazz/pop singer\nScott Helman – singer-songwriter\nBill Henderson – singer-songwriter (Chilliwack)\nSheila Henig – pianist, soprano\nCarl Henry – R&B, reggae musician\nDarcy Hepner – saxophonist, composer/arranger\nBen Heppner – operatic tenor\nMikey Heppner – guitarist, singer-songwriter (Priestess)\nAngela Hewitt – pianist\nTim Hicks – country singer-songwriter\nJolene Higgins – folk and acoustic blues singer-songwriter known as \"Little Miss Higgins\"\nRebekah Higgs – singer-songwriter\nDan Hill – pop singer\nWarren Hill – smooth jazz musician\nVeda Hille – singer-songwriter\nFlorian Hoefner – jazz pianist\nJacob Hoggard – singer (Hedley)\nSteve Holt – pianist, singer-songwriter\nMatt Holubowski – singer-songwriter\nAmy Honey – singer-songwriter\nJason Hook – guitarist\nCharlie Hope – children's musician\nKelly Hoppe – harmonica player, multi-instrumentalist (Big Sugar)\nPaul Horn – flute player\nLuke Hoskin – guitar player (Protest the Hero)\nGregory Hoskins – singer-songwriter \nStuart Howe – operatic tenor\nAndrew Huang – musician\nAndrew Huculiak – drummer (We Are the City)\nGarth Hudson – multi-instrumentalist (the Band)\nPaul Humphrey – singer-songwriter (Blue Peter)\nAlex Zhang Hungtai – indie rock singer-songwriter, performing as Dirty Beaches\nJimmy Hunt – singer-songwriter\nTommy Hunter – singer who had his own CBC TV show\nNate Husser – rapper\nTimothy Hutchins – flute player\nAndrew Hyatt – country singer\nPaul Hyde – singer-songwriter (Payola$)\nRon Hynes – Newfoundland folk singer-songwriter\nHyper-T – rapper\nJoshua Hyslop – singer-songwriter\n\nI\n\nZaki Ibrahim – soul, R&B singer\nNorman Iceberg – pop singer\nLucie Idlout – rock singer\nIll-esha – electronic, R&B vocalist, producer, songwriter\nJoshua Ingram – rock drummer, percussionist\nChin Injeti – R&B singer\nPaolo Iovannone – singer-songwriter, producer\nMay Irwin – vaudeville singer\nElisapie Isaac – singer-songwriter\nOrin Isaacs – bandleader, bass guitarist\niskwē – pop, electronic music singer\n\nJ\n*Lenni Jabour – pop singer-songwriter\nSusan Jacks – pop singer-songwriter\nTerry Jacks – pop singer-songwriter, producer\nSammy Jackson – jazz and rhythm and blues singer\nJacynthe – pop singer\nEmmanuel Jal – hip hop musician\nColin James – blues and rock musician\nFreddie James – R&B singer\nJohn James – dance musician\nRyland James – pop singer\nReid Jamieson – pop and folk singer-songwriter (Vinyl Cafe)\nPatti Jannetta – pop and rock singer\nPaul Janz – singer-songwriter\nSterling Jarvis – R&B singer, musical theatre actor\nYves Jarvis – indie rock singer-songwriter\nJBM (Jesse Marchant) – singer-songwriter\nAnik Jean – rock and pop singer\nJelleestone – rapper\nJemeni – hip-hop, R&B singer\nDrake Jensen – country singer\nIngrid Jensen – jazz trumpet player\nJeon So-mi – singer-songwriter, former member of I.O.I\nCarly Rae Jepsen – singer-songwriter\nBerk Jodoin – folk/country singer-songwriter\nMendelson Joe\nLyndon John X – reggae musician\nRita Johns – pop singer\nAlexz Johnson – singer-songwriter, actress\nBill Johnson – blues and roots music performer\nCarolyn Dawn Johnson – country singer-songwriter\nGordie Johnson – guitar player and singer (Big Sugar)\nMartha Johnson – singer-songwriter (Martha and the Muffins)\nMolly Johnson – rock and jazz singer\nRick Johnson – rock guitarist, children's entertainer\nTaborah Johnson (Tabby Johnson) – jazz and rock singer\nFrance Joli – disco singer\nDanko Jones – singer-songwriter\nG.B. Jones – guitarist, drummer (Fifth Column)\nJeff Jones – rock bassist, singer\nMiles Jones – rapper, singer-songwriter, producer\nOliver Jones – jazz pianist\nJorane – cellist, singer-songwriter\nKeven Jordan – pop/rock singer-songwriter\nMarc Jordan – singer-songwriter\nSass Jordan – rock singer, judge on Canadian Idol\nMichelle Josef – drummer\nLeila Bronia Josefowicz – violinist\nMartha Joy – singer\nJunia-T – rapper\n\nK\n\nFlorence K – pop singer-songwriter\nK-Anthony – gospel singer\nK-Bust – singer-songwriter\nTodd Kerns – vocalist/bassist (Slash, Age of Electric) \nMichael Kaeshammer\nConnie Kaldor – singer-songwriter, poet\nKamau – hip-hop musician\nKanen – singer-songwriter\nKAPRI – dance/pop singer\nKardinal Offishall – rapper\nKaia Kater – singer-songwriter\nCevin Key – songwriter, producer, and composer\nEthan Kath – producer (Crystal Castles)\nKathleen – Quebec pop singer\nKatie B – singer-songwriter (formerly with Jakalope)\nJohn Kay – singer (Steppenwolf)\nKaya – rock and pop singer, formerly known as Francis Martin\nKaytranada – electronic\nSherry Kean\nJames Keelaghan – singer-songwriter\nJesse F. Keeler – Death from Above 1979, MSTRKRFT\nGreg Keelor – singer-songwriter, guitarist (Blue Rodeo, solo artist)\nSimeonie Keenainak – accordionist\nJoey Keithley – also known as Joey Shithead, Vancouver punk rock singer, guitarist (D.O.A.), political and environmental activist\nGeoffrey Kelly – Celtic-folk musician, singer (Spirit of the West, the Paperboys)\nSean Kelly – singer, guitarist (Crash Kelly)\nRoy Kenner – singer-songwriter\nMo Kenney – singer-songwriter\nLydia Képinski – singer-songwriter\nCassius Khan – ghazal player, tabla player, Indian classical musician\nRich Kidd – hip hop artist\nBrett Kissel – country singer\nKid Koala – hip-hop artist\nKiesza (Kiesa Rae Ellestad) – singer-songwriter\nAndy Kim – singer-songwriter, pop musician (\"Sugar, Sugar\")\nKiva – harmonic overtone singer, keyboardist, worldbeat/jazz artist\nBryden Gwiss Kiwenzie – dance music\nFrancois Klark - pop singer-songwriter\nTrish Klein – folk music guitarist, singer-songwriter (the Be Good Tanyas)\nBilly Klippert – rock musician\nK.Maro – R&B, rap musician, producer\nK'naan – rapper\nAidan Knight – singer-songwriter\nChester Knight – singer-songwriter\nMoe Koffman – jazz artist\nGwendolyn Koldofsky – piano accompanist and music educator\nRon Korb – composer, flutist\nKoriass – rapper\nk-os – rapper, hip-hop musician\nKeith Kouna – punk rock singer\nBenjamin Kowalewicz – frontman of Billy Talent\nDan and Ryan Kowarsky – singers (RyanDan and b4-4)\nNik Kozub – bassist (Veal), keyboardist (Shout Out Out Out Out), remixer (the Paronomasiac)\nSerouj Kradjian – pianist, composer\nNorbert Kraft – guitarist\nDiana Krall – jazz singer, pianist\nChantal Kreviazuk – singer-songwriter\nNicholas Krgovich – indie rock, pop singer-songwriter\nDavid Kristian – film composer, electronic musician\nKyrie Kristmanson – singer-songwriter\nChad Kroeger – singer, guitarist, Nickelback\nPatricia Krueger – classical pianist with the Toronto Symphony Orchestra\nSpencer Krug – singer-songwriter (Fifths of Seven, Frog Eyes, Wolf Parade, Sunset Rubdown, Swan Lake)\nPierre Kwenders – pop/world music singer, rapper\nKyprios – hip-hop musician\n\nL\n\nJesse Labelle – country singer\nJames LaBrie – singer-songwriter (Dream Theater)\nKathryn Ladano – bass clarinetist\nElise LeGrow – singer-songwriter\nPaul Laine – singer (solo, Danger Danger)\nCorky Laing – drummer\nJon Lajoie – comedian, actor, rapper, singer, musician, Internet celebrity\nMary Jane Lamond – Gaelic singer\nWillie Lamothe – country singer\nWendy Lands – pop and jazz singer\nTory Lanez – R&B\nk.d. lang – country punk singer\nMatt Lang – country singer \nSteve Lang – bassist (April Wine, Mashmakhan)\nRobert Langevin – flute player\nDaniel Lanois – composer, producer\nJessy Lanza – electronic musician\nAbigail Lapell – folk singer-songwriter\nAndré Laplante – pianist\nEric Lapointe – rock singer\nPierre Lapointe – pop, rock, funk singer-songwriter\nGrit Laskin – folk singer, luthier\nHenry Lau – violinist, singer, dancer (Super Junior-M)\nMichael Laucke – classical and flamenco guitarist, composer, producer\nCarole Laure – pop/folk singer\nLaurence-Anne – pop singer\nSherisse Laurence - country/pop singer, musical theatre actress\nWayne Lavallee – singer-songwriter, film, television and theatre composer\nAvril Lavigne – singer-songwriter, musician, record producer\nDaniel Lavoie – singer-songwriter\nBarbara Law – pop and rock singer\nGrant Lawrence – rock singer, radio personality\nMarshall Lawrence – blues, rock\nDorothy Lawson – cellist, composer (ETHEL)\nLisa LeBlanc – singer-songwriter/banjoist\nFélix Leclerc – singer-songwriter\nSalomé Leclerc – singer-songwriter\nDaniel Ledwell – singer-songwriter, record producer, keyboardist (In-Flight Safety)\nGeddy Lee – singer, bassist, keyboardist (Rush)\nJess Lee – country singer-songwriter\nMark Lee – rapper, dancer of NCT, NCT 127, and SuperM, NCT Dream\nLee Kum-Sing – classical pianist\nRanee Lee – jazz singer, drummer, tenor saxophonist\nSook-Yin Lee – rock singer-songwriter, broadcaster\nSebastien Lefebvre – guitarist, singer (Simple Plan)\nRay Legere – bluegrass mandolinist and fiddler \nPeter Leitch – jazz guitarist\nJean Leloup – singer-songwriter\nLynda Lemay – singer-songwriter\nMichel Lemieux – experimental electronic music, performance art\nHubert Lenoir – rock singer\nExco Levi – reggae singer\nMike Levine – bassist and keyboardist\nAndrea Lewis – singer\nGlenn Lewis – R&B singer\nLarnell Lewis – drummer\nNeil Leyton – rock singer and guitarist\nAlex Lifeson – guitarist (Rush)\nMurray Lightburn – indie-rock singer-songwriter, guitarist\nGordon Lightfoot – singer-songwriter (voted Canada's favourite singer-songwriter)\nTerra Lightfoot – singer-songwriter\nLIGHTS – singer-songwriter\nAndrea Lindsay – singer-songwriter\nAaron Lines – country musician\nBruce Liu – pianist\nLiu Fang – pipa player\nGuy Lombardo – big-band leader\nCeline Lomez – pop singer\nRich London – rapper\nMorley Loon – singer-songwriter\nLoony – R&B singer\nOscar Lopez – Latin-folk guitarist\nMyrna Lorrie – country singer-songwriter (\"first lady of Canadian country music\")\nLouis Lortie – pianist\nLoud – rapper\nRussell Louder – pop singer, performance artist\nAlexina Louie – pianist\nJohnnie Lovesin – rock singer\nLowell – electropop singer-songwriter\nLarissa Loyva – singer-songwriter\nLuba – pop singer\nLederhosen Lucil – singer-songwriter\nZachary Lucky – singer-songwriter\nChris \"Old Man\" Luedecke – folk singer-songwriter\nTodd Lumley – pianist, keyboardist\nSekou Lumumba – drummer\nCorb Lund – country singer-songwriter\nRob Lutes – folk/blues singer-songwriter\nLoma Lyns – country singer\nLysandre – pop singer-songwriter and pianist\n\nM\n\nAmanda Mabro – singer-songwriter\nMark Masri – tenor singer/gospel composer\nGalt MacDermot – composer, musician, wrote the music for Hair\nColin MacDonald – singer, guitarist (the Trews)\nSarah MacDonald – conductor and organist\nJohn-Angus MacDonald – guitarist (the Trews)\nMaggie MacDonald – singer, keyboardist (the Hidden Cameras, Kids on TV)\nKris MacFarlane – independent drummer/multi-instrumentalist (Great Big Sea, the Paperboys)\nRyan MacGrath – singer-songwriter\nAshley MacIsaac – violinist\nGisele MacKenzie – singer, violinist\nTara MacLean – singer-songwriter\nCatherine MacLellan – singer-songwriter\nGene MacLellan – singer-songwriter\nBrian Macleod – songwriter, music producer (best known as a member of Chilliwack and the Headpins)\nBuddy MacMaster – violinist\nNatalie MacMaster – violinist, stepdancer\nKevin MacMichael – guitarist (Cutting Crew)\nRita MacNeil – country and folk singer\nRozalind MacPhail – singer-songwriter, multi-instrumentalist\nMad Child – rapper\nMadagascar Slim – folk and blues guitarist\nRia Mae – singer-songwriter\nMaestro Fresh Wes – hip-hop musician, singer of \"Let Your Backbone Slide\"\nRaine Maida – singer (Our Lady Peace)-songwriter, producer\nPhyllis Mailing – mezzo-soprano \nCatherine Major – singer-songwriter\nCharlie Major – singer-songwriter\nKate Maki – country rock singer-songwriter\nRyan Malcolm – lead singer (Low Level Flight), first Canadian Idol winner\nManafest – hip-hop musician\nDan Mangan – singer-songwriter\nCasey Manierka-Quaile (Casey MQ) – electronic musician, songwriter, producer\nJohn Mann – rock singer (Spirit of the West)\nDayna Manning – singer-songwriter\nCatherine Manoukian – violinist\nRichard Manuel – pianist, vocalist, drummer (the Band)\nRichard Margison – operatic tenor\nKristina Maria – pop singer-songwriter\nMarie-Mai – singer\nFrank Marino – guitarist, singer (Mahogany Rush)\nCarolyn Mark – alt-country singer-songwriter\nGerry Markman – rock guitarist (the Lincolns)\nCory Marks – country rock singer-songwriter and guitarist \nHugh Marsh – violinist\nAmanda Marshall – singer-songwriter\nLois Marshall – soprano\nBéatrice Martin – singer-songwriter, pianist, also known as Cœur de pirate\nJeff Martin – singer-songwriter (the Tea Party)\nStephanie Martin – singer-songwriter, actress\nMia Martina – pop singer-songwriter\nMasia One – rapper\nDutch Mason – blues artist\nJojo Mason – country singer-songwriter\nMassari – R&B singer\nKen Masters – rapper\nAndrew Matheson – punk rock singer and songwriter\nJake Mathews – country singer-songwriter\nAndré Mathieu – pianist and composer\nMatiu – singer-songwriter\nKalle Mattson – folk rock singer-songwriter\nRomi Mayes – country singer\nMatt Mays – singer-songwriter\nBill McBirnie – jazz/Latin flutist (Extreme Flute)\nMaxwell McCabe-Lokos – keyboardist (the Deadly Snakes)\nSéan McCann – singer-songwriter, guitarist (Great Big Sea)\nJay McCarrol – composer\nMelissa McClelland – singer-songwriter\nJeremiah McDade – composer, saxophonist, Irish whistle (the McDadea)\nSolon McDade – composer, bassist (the McDades)\nEileen McGann – folk singer-songwriter\nAnna McGarrigle – folk singer-songwriter (Kate & Anna McGarrigle)\nKate McGarrigle – folk singer-songwriter (Kate & Anna McGarrigle)\nJay W. McGee – soul, R&B and hip hop singer/rapper\nBlake McGrath – pop singer\nEamon McGrath – singer-songwriter\nMike McKenna – rock/blues guitarist noted for his electric slide playing\nLoreena McKennitt – Celtic-inspired musician, vocalist\nChris McKhool – violinist, guitarist, singer (Sultans of String)\nSarah McLachlan – singer-songwriter\nMurray McLauchlan – singer-songwriter\nAmbre McLean – singer-songwriter, multi-instrumentalist\nKelly McMichael – singer-songwriter\nHolly McNarland – singer-songwriter\nSuzie McNeil – pop rock singer-songwriter\nTrevor McNevan – singer-songwriter (Thousand Foot Krutch, FM Static)\nColin McPhee – classical composer, musicologist\nLinda McRae – singer-songwriter (Spirit of the West, solo artist)\nTate McRae – singer-songwriter\nGlen Meadmore – punk/rock musician\nMichie Mee – rapper\nTom Meikle – singer-songwriter who records as Mappe Of and Forest Moon\nBrian Melo – singer (winner of Canadian Idol, 2007)\nShawn Mendes – singer-songwriter, guitarist\nDylan Menzie – singer-songwriter\nJerry Mercer – drummer, vocalist (April Wine, Mashmakhan, the Wackers)\nMadeline Merlo – country singer-songwriter\nKathleen Ivaluarjuk Merritt – Inuit throat singer\nScott Merritt – singer-songwriter\nDon Messer – fiddler\nPatrice Michaud – singer-songwriter\nDanny Michel – singer-songwriter, guitarist\nAnthony J. Mifsud (Mif) – singer-songwriter (Slash Puppet)\nBrandon Mig – pop singer\nHaviah Mighty – rapper\nLynn Miles – singer-songwriter\nAmy Millan – singer-songwriter (Stars, Broken Social Scene)\nTim Millar – rhythm guitar player (Protest the Hero)\nMuriel Millard – singer-songwriter\nDerek Miller – blues singer-songwriter, guitarist\nDarby Mills – singer (the Headpins)\nFrank Mills – pianist\nTyler Joe Miller – country music singer-songwriter\nMillimetrik – electronic musician\nKenneth G. Mills – pianist, conductor, composer\nAndy Milne – jazz pianist\nMatt Minglewood – singer-songwriter, guitarist\nBen Mink – guitarist, violinist (k.d. lang, Geddy Lee, Rush, FM)\nRuth Minnikin – singer-songwriter\nJoni Mitchell – folk and jazz artist, painter\nKim Mitchell – guitarist, singer-songwriter, radio personality\nLindsay Mitchell – guitarist, songwriter (Prism)\nTaylor Mitchell – singer-songwriter \nWilly Mitchell – singer, guitarist\nMitsou – pop singer\nDave Moffatt – pop/rock keyboardist, singer\nAviva Mongillo – singer, actress\nMonsune – electronic musician\nMontag – electronic musician\nBetty Moon – singer-songwriter\nJacob Moon – singer-songwriter, guitarist\nKevin Moon – singer, main vocalist (the Boyz)\nDarren Moore – member of Harlequin, founder of Living Under Venus, writer of themes for Tampa Bay Rays and Toronto Blue Jays\nGil Moore – drummer, vocalist (Triumph)\nKatie Moore – singer-songwriter\nMae Moore – singer-songwriter\nRick Moranis – singer, actor\nRyland Moranz – folk/roots singer-songwriter\nCarlos Morgan – R&B/soul singer\nJeffrey Morgan – singer-songwriter, rock critic\nAlanis Morissette – rock singer\nJohannes Moser – cellist\nJess Moskaluke – country pop singer\nMr. Roam – rapper\nGeoffrey Moull – conductor, pianist\nArt Murphy – singer-songwriter\nChris Murphy – power pop singer-songwriter, bassist (Sloan)\nMatt Murphy – singer-songwriter, guitarist (the Super Friendz, the Flashing Lights, The Life and Hard Times of Guy Terrifico)\nAnne Murray – country/pop singer\nAlannah Myles – rock singer\nDavid Myles – singer-songwriter\nKen Myhr – guitarist, composer\n\nN\n\nKaveh Nabatian – trumpeter\nBif Naked – punk/pop singer\nNardwuar the Human Serviette\nNancy Nash – blues and pop singer\nNarcy – rapper\nNash the Slash – multi-instrumental rock musician (FM)\nNav – rapper\nHaydain Neale – soul, R&B, jazz singer-songwriter\nLaurence Nerbonne – pop singer\nRichard Newell – also known as King Biscuit Boy, blues singer, songwriter, band leader and harmonica player\nCarl Newman – guitarist, songwriter (the New Pornographers)\nBilly Newton-Davis – R&B, jazz, gospel singer-songwriter\nYannick Nézet-Séguin – conductor\nLuke Nicholson – singer-songwriter\nLarry Nickel – composer\nDave Nicol – folk singer-songwriter\nChris Nielsen – country singer\nLaura Niquay – singer-songwriter\nGraph Nobel – hip-hop artist, R&B rapper, singer-songwriter\nSierra Noble – singer-songwriter, fiddler\nBob Nolan – country singer-songwriter (the Sons of the Pioneers)\nFaith Nolan – jazz singer-songwriter, guitarist\nSafia Nolin – singer-songwriter\nCraig Norris – rock singer, radio personality\nCraig Northey – rock singer (Odds)\nAldo Nova – rock/pop artist\nGeorge Nozuka – singer\nJustin Nozuka – singer, writer\nNavraj Singh Goraya – rapper, songwriter\n\nO\n\nOBUXUM – record producer\nPatricia O'Callaghan – singer\nMichael Occhipinti – jazz guitarist\nRoberto Occhipinti – jazz/classical bassist\nNivek Ogre – industrial rock singer\nOh Susanna – alternative country singer\nMaggie Blue O'Hara – singer, actress, voice artist\nMary Margaret O'Hara – pop/rock singer-songwriter\nJenny Omnichord – indie pop singer-songwriter\nMelissa O'Neil – pop singer (winner of Canadian Idol, 2005)\nMike O'Neill – singer-songwriter and guitarist (the Inbreds)\nMoka Only – rapper\nMaren Ord – pop singer\nJohnny Orlando – pop singer\nAchilla Orru – lukembé player\nLindi Ortega – singer-songwriter\nRobyn Ottolini – country singer-songwriter\nWalter Ostanek – polka musician, accordionist\nJohn Oswald – composer\nKarim Ouellet – pop singer-songwriter\nPeter Oundjian – violinist, conductor\nOuri – electronic-classical fusion composer\n\nP\n\nDorothea Paas – singer-songwriter\nSteven Page – singer-songwriter (formerly with the Barenaked Ladies)\nMichel Pagliaro – bilingual singer, songwriter, guitarist\nDoug Paisley – singer-songwriter\nOwen Pallett – indie pop singer, violinist (Final Fantasy)\nBruce Palmer – bassist (Buffalo Springfield)\nAlex Pangman – jazz singer\nCharlie Panigoniak – Inuit singer-songwriter, guitarist\nGabrielle Papillon – singer-songwriter\nParichay – Bollywood/ Hip Hop/ R&B and Pop music producer and artist\nSarina Paris – techno singer\nJon Kimura Parker – classical pianist\nKathleen Parlow – classical violinist\nEvalyn Parry – folk singer-songwriter\nMark Parry – guitarist\nSamantha Parton – folk music multi-instrumentalist singer-songwriter (the Be Good Tanyas)\nNight Lovell – hip hop musician/rapper, songwriter\nPartyNextDoor – rapper\nMeghan Patrick – country singer\nShan Vincent de Paul – pop/electronic/hip hop singer\nTrevor W. Payne – gospel and R&B singer, composer\nMatt Paxton – singer-songwriter\nPeaches – electroclash/dance punk singer-songwriter, multi-instrumentalist\nRyan Peake – guitarist (Nickelback)\nNeil Peart – drummer, percussionist, lyricist (Rush)\nOrville Peck – country musician\nKlô Pelgag – pop singer-songwriter\nBruno Pelletier – singer-songwriter\nFred Pellerin – folk singer\nFred Penner – children's music performer\nPatrick Pentland – power pop singer-songwriter, guitarist (Sloan)\nYann Perreau – electro-rock musician\nAnjulie Persaud – singer-songwriter\nColleen Peterson – country singer-songwriter\nOscar Peterson – jazz pianist\nBilly Pettinger – singer-songwriter\nLou Phelps – rapper\nPhilémon Cimon – singer-songwriter\nStu Phillips – country singer\nPascale Picard – singer\nScott-Pien Picard – singer-songwriter\nPaul Piché – singer\nJason Pierce – drummer (Our Lady Peace)\nLido Pimienta – electronic pop singer and producer\nNestor Pistor – country singer/comedy musician\nLouise Pitre – musical theatre actor\nDany Placard – singer-songwriter\nBill Plaskett – folk/rock/jazz musician\nJoel Plaskett – alternative rock musician\nJason Plumb – singer-songwriter\nPoizunus – DJ, human beatbox\nSteve Poltz – singer-songwriter (known for collaboration with Jewel)\nCarole Pope – new wave rock/pop singer\nKalan Porter – singer-songwriter (winner of Canadian Idol, 2004)\nShelley Posen – folklorist, songwriter\nCatherine Potter – bansuri\nRoxanne Potvin – blues singer-songwriter\nBlake Pouliot – violinist\nTom Power – folk musician\nDaniel Powter – singer-songwriter\nPressa – rapper\nGarth Prince – children's entertainer\nWilliam Prince – singer-songwriter\nPeter Pringle – pop and jazz singer, pianist, theremin player\nPromise – hip-hop rapper, singer-songwriter\nThePropheC – singer-songwriter, producer\nP'tit Belliveau \nAdonis Puentes – jazz, world music\nDon Pyle – drummer (Shadowy Men on a Shadowy Planet, Fifth Column)\n\nQ\n\nQ052 – rapper\nCharlotte Angugaattiaq Qamaniq – Inuit throat singer\nQuanteisha – singer\nSara Quin – singer-songwriter, producer (Tegan and Sara)\nTegan Quin – singer-songwriter, producer (Tegan and Sara)\n\nR\n\nRaffi – folk/pop singer-songwriter\nBilly Raffoul – rock singer, songwriter\nIceis Rain – pop/rock singer\nRalph – singer-songwriter\nAlcvin Ramos – shakuhachi player (solo and ensemble)\nJosh Ramsay – singer-songwriter, guitarist, pianist Marianas Trench\nJan Randall – film composer\nLuv Randhawa – bhangra singer\nAllan Rayman – rhythm and blues singer\nCorin Raymond – singer-songwriter\nRichard Raymond – pianist\nSavannah Ré – soul/rhythm and blues singer\nLee Reed – rapper\nJosh Reichmann – singer-songwriter (Tangiers, Jewish Legend)\nAlyssa Reid – pop singer-songwriter\nNoah Reid – singer-songwriter\nColleen Rennison – singer (No Sinner)\nGinette Reno – singer\nMike Reno – singer (Loverboy)\nJessie Reyez – singer\nDonn Reynolds – yodeler; folk and country singer-songwriter\nIsabelle Rezazadeh – DJ and record producer (Rezz)\nAmanda Rheaume – folk singer-songwriter\nKyle Riabko – singer, guitarist\nAlejandra Ribera – pop and jazz singer-songwriter\nJackie Richardson – blues, jazz and gospel singer\nSébastien Ricard – rapper (Loco Locass), actor\nCharles Richard-Hamelin – pianist\nKim Richardson – pop, blues, jazz and gospel singer\nErnie Ripco - singer songwriter, troubadour \nRiver Tiber – rhythm and blues musician\nJesse Rivest – singer-songwriter\nIan Robb – folk musician\nVincent Roberge – indie-pop singer\nBrad Roberts – singer (Crash Test Dummies)\nSam Roberts – rock musician\nEd Robertson – singer-songwriter (Barenaked Ladies)\nRobbie Robertson – guitarist, singer (the Band)-songwriter\nAlex J. Robinson – country singer-songwriter\nDamien Robitaille – musician\nBob Rock – singer-songwriter (Payola$), producer (Metallica)\nAndrew Rodriguez – singer-songwriter\nGarnet Rogers – singer-songwriter\nKate Rogers – singer-songwriter\nNathan Rogers – singer-songwriter\nStan Rogers – folk musician\nDaniel Romano – folk, country and indie rock musician\nDon Ross – fingerstyle guitarist, musician, composer\nJosh Ross – country singer and songwriter\nLukas Rossi – singer-songwriter, winner of Rockstar: Supernova\nAdolphe-Basile Routhier – lyricist of the original French version of the Canadian national anthem \"O Canada\"\nAriane Roy – pop singer-songwriter\nJonathan Roy – pop singer-songwriter\nSpookey Ruben – singer-songwriter\nPaul Rudolph – guitarist, singer-songwriter (Pink Fairies, Hawkwind, Brian Eno)\nAllison Russell - singer-songwriter, musician and activist\nBrenda Russell – singer-songwriter, keyboardist\nJustin Rutledge – alt-country singer-songwriter\nDeric Ruttan – country singer-songwriter\nSerena Ryder – folk/pop singer-songwriter\n\nS\n\nShakura S'Aida – blues/jazz singer-songwriter\nJulien Sagot – percussionist, singer-songwriter\nMartine St-Clair – pop singer\nBuffy Sainte-Marie – singer, songwriter, artist, activist\nSamian – rapper\nGordie Sampson – blues, rock singer\nLance \"Aquakultre\" Sampson – soul, R&B singer and rapper\nJohn K. Samson – indie rock singer and songwriter (the Weakerthans)\nChase Sanborn – jazz trumpeter\nCurtis Santiago – dance rock singer-songwriter\nIvana Santilli – R&B singer\nSarahmée – rapper\nSATE – rock singer\nSaukrates – rapper\nAndrew Scott – power pop singer-songwriter, drummer (Sloan)\nJack Scott – rock and roll singer\nJay Scøtt - folk/hip hop singer-songwriter\nJennifer Scott – jazz singer, pianist\nJoyce Seamone – country singer\nJonathan Seet – singer-songwriter\nLorraine Segato – singer-songwriter\nJacques Kuba Séguin – jazz trumpeter\nJay Semko – singer-songwriter, bassist\nRon Sexsmith – singer-songwriter\nShad – rapper\nPaul Shaffer – musical director\nRemy Shand – R&B/soul singer\nJackie Shane – R&B singer\nAndy Shauf – singer-songwriter\nShauit – singer-songwriter\nBernie Shaw – rock singer (Uriah Heep)\nGraham Shaw – rock singer, television composer\nJames Shaw – guitarist (Metric)\nTyler Shaw – singer-songwriter, cinematic composer\nCrystal Shawanda – country singer\nShay Lia – singer\nShiloh – pop singer-songwriter\nShingoose – singer-songwriter\nStefie Shock – pop and funk singer-songwriter\nGabrielle Shonk – singer-songwriter\nHoward Shore – composer (The Lord of the Rings trilogy and films of David Cronenberg)\nShotgun Jimmie – singer-songwriter\nEdythe Shuttleworth – mezzo-soprano\nAli Siadat – drummer (Mother Mother)\nRosemary Siemens – violinist, vocalist \nJane Siberry – singer-songwriter\nLucas Silveira – rock singer, guitarist\nLiberty Silver – R&B singer\nMarie-Josée Simard – percussionist\nNathalie Simard – pop singer\nRené Simard – pop singer\nDenis Simpson – singer\nShane Simpson – guitarist, singer-songwriter\nDylan Sinclair – rhythm and blues singer\nZal Sissokho – Kora) player, Griot\nSister Ray – singer-songwriter\nSixtoo – hip-hop DJ and MC\nKen Skinner – pianist/composer, record producer\nAmy Sky – singer-songwriter\nSlakah the Beatchild – soul and R&B singer, record producer\nSarah Slean – singer-songwriter, pianist\nAlberta Slim – country music singer\nTannis Slimmon – folk singer-songwriter\nHenry Small – singer-songwriter, radio personality\nDallas Smith – rock/country singer-songwriter\nLaura Smith – folk singer\nMaybe Smith – indie pop singer-songwriter\nMeaghan Smith – singer\nR. Harlan Smith – country singer\nSamantha Savage Smith – singer-songwriter\nDan Snaith – songwriter\nFloyd Sneed – rock drummer\nBob Snider – folk singer-songwriter\nJason Sniderman – keyboardist (Blue Peter)\nSnow – reggae/rap/pop musician\nHank Snow – country and western singer\nSo Sus – electronic musician\nBryce Soderberg – bassist (Lifehouse)\nViviana Sofronitsky – pianist\nAna Sokolovic – composer\nTheresa Sokyrka – singer (Canadian Idol semi-finalist, 2004)\nSolitair – rapper\nLenny Solomon – pop and jazz singer\nMaribeth Solomon – songwriter, composer\nAaron Solowoniuk – drummer (Billy Talent)\nHarry Somers – composer\nSonReal – rapper\nMartina Sorbara – folk-pop singer\nJay Sparrow – rock singer-songwriter\nSpek Won – rapper\nKevin Spencer – multi-instrumentalist, songwriter, producer\nSpirit – guitarist and singer-songwriter\nRae Spoon – folk/indie singer-songwriter\nTony \"Wild T\" Springer – blues-rock guitarist\nFrederick Squire – rock singer, guitarist (Shotgun & Jaybird)\nGlen Stace – rock singer\nLeeroy Stagger – singer-songwriter\nEthel Stark – violinist and conductor\nErroll Starr – rhythm and blues singer\nKinnie Starr – singer-songwriter\nLucille Starr – singer\nCassie Steele – singer-songwriter, actress\nChrissy Steele – rock singer\nEmily Steinwall – singer, composer, saxophonist\nKatie Stelmanis – singer-songwriter\nIan Stephens – punk rock musician\nMartin Stevens – disco singer\nTyler Stewart – drummer\nCraig Stickland – singer-songwriter\nJeff Stinco – singer-songwriter and rhythm-guitarist (Simple Plan)\nGeorgina Stirling – singer\nAndy Stochansky – singer-songwriter, drummer (former drummer for Ani DiFranco)\nKim Stockwood – singer\nJayme Stone – banjoist, composer\nMiranda Stone – singer-songwriter\nStorry – pop, R&B singer-songwriter\nCharlie Storwick – singer-songwriter\nAmanda Stott – singer\nJeffery Straker – singer-songwriter\nByron Stroud – bassist (Strapping Young Lad, Fear Factory)\nMark Sultan – singer-songwriter, Sultan Records founder\nHarold Sumberg – violinist\nCree Summer – rock/alternative singer\nRichard Summerbell – singer-songwriter\nLeonard Sumner – singer-songwriter\nTerry Sumsion – country singer\nMichelle Sweeney – jazz singer\nSkye Sweetnam – singer-songwriter\nTomi Swick – singer-songwriter\nEmber Swift – singer-songwriter\nKurt Swinghammer – singer-songwriter\n\nT\n\n2Rude – hip hop/R&B record producer\nTablo – rapper (Epik High)\nTanya Tagaq – Inuit throat singer, folk singer\nTalk – indie rock singer\nTamia – R&B singer\nTheo Tams – singer-songwriter (winner of Canadian Idol, 2008)\nEva Tanguay – vaudeville singer\nChaim Tannenbaum – folk singer\nTariq – singer-songwriter, radio personality\nTasha the Amazon – rapper\nBobby Taylor – R&B singer-songwriter\nDione Taylor – jazz singer\nJulian Taylor – rock singer\nR. Dean Taylor – singer-songwriter, producer for Motown\nLydia Taylor – rock singer\nTebey – country singer-songwriter\nTegan and Sara (band) – pop, indie pop, indie folk, synthpop, indie rock singer-songwriter\nMark Templeton – electro-acoustic musician\nThe Tenors – vocal trio tenor musician operatic gospel pop\nMarie-Jo Thério – singer-songwriter\nDavid Thibault – singer\nDavid Clayton Thomas – singer (Blood, Sweat & Tears)\nIan Thomas – singer-songwriter, actor, author\nT. Thomason – singer-songwriter\nDon Thompson – jazz musician\nJamie Thompson – drummer, beat-maker\nNicholas Thorburn – frontman for Islands\nIan Thornley – singer-songwriter\nWillie Thrasher – Inuit singer-songwriter\nThrust – rapper\nGeorges Thurston – soul singer\nMartin Tielli – singer-songwriter (Rheostatics)\nMargo Timmins – singer (Cowboy Junkies)\nTire le coyote – singer-songwriter\nBrent Titcomb – musician, actor\nLiam Titcomb – singer-songwriter\nKen Tobias – singer-songwriter\nMaylee Todd – pop singer\nYvette Tollar – jazz singer, composer\nHenri Tomasi – composer and conductor\nTöme – reggae singer\nMorgan Toney – folk singer-songwriter and fiddler\nTor – electronic musician\nMarie-Chantal Toupin – Francophone pop singer\nTheresa Tova – musical theatre actress\nTenille Townes – country singer-songwriter\nDevin Townsend – multi-instrumentalist, metal guitarist, songwriter\nPete Traynor – rock guitarist and bassist, designer of Traynor Amplifiers\nPat Travers – rock guitarist\nTre Mission – rapper\nLucie Blue Tremblay – folk singer-songwriter\nDomenic Troiano – guitarist\nValerie Tryon – pianist\nCynthia Johnston Turner – conductor\nKreesha Turner – R&B singer\nShania Twain – country/pop singer\nJessica Tyler – singer-songwriter and actress\nIan Tyson – folk singer\nSylvia Tyson – singer-songwriter, guitarist\n\nU\n\nDave Ullrich – drummer, singer (the Inbreds, Egger)\nShari Ulrich – folk rock singer-songwriter\nUpsideDown – DJ, producer\nDavid Usher – rock singer-songwriter (Moist)\nTerry Uyarak – singer-songwriter\n\nV\n\nMathew V – pop singer\nVaï – hip-hop singer\nElizabeth Anka Vajagic – post-rock singer, guitarist\nValdy – singer-songwriter\nGilles Valiquette – rock singer, guitarist\nJim Vallance – songwriter, multi-instrumentalist\nRosie Valland – pop singer-songwriter\nDiyet van Lieshout – singer-songwriter\nRandy Vancourt – pop singer-songwriter, theatre and TV composer\nChad VanGaalen – singer-songwriter\nVanity – singer, model\nGino Vannelli – rock singer\nChris Velan – pop and rock singer-songwriter\nAlx Veliz – singer-songwriter\nStéphane Venne – songwriter and composer\nReg Vermue – singer-songwriter (\"Gentleman Reg\")\nTim Vesely – singer, guitarist (Rheostatics)\nJon Vickers – operatic tenor\nDaniel Victor – rock musician (Neverending White Lights)\nGilles Vigneault – singer-songwriter\nAnnie Villeneuve – singer-songwriter\nSuzie Vinnick – folk and blues singer-songwriter, guitarist\nLaura Vinson – country singer-songwriter\nJon Vinyl – R&B/soul singer\nVirginia to Vegas – singer-songwriter\nClaude Vivier – classical composer\nRoch Voisine – singer-songwriter\nFlorent Vollant – aboriginal singer\nLeif Vollebekk – singer-songwriter\nBrian Vollmer – rock singer (Helix)\nLindy Vopnfjörð – singer-songwriter\n\nW\n\nMartha Wainwright – folk-pop singer\nRufus Wainwright – folk-pop singer\nFrank Walker – EDM DJ\nRody Walker – singer (Protest the Hero)\nColter Wall – folk singer\nChristopher Ward – songwriter\nChris Wardman – songwriter, guitarist (Blue Peter)\nAndy Warren – singer-songwriter\nJackie Washington – blues and folk singer-songwriter, guitarist\nJeff Waters – guitarist and vocalist for heavy metal band Annihilator\nRuby Waters – singer-songwriter\nSneezy Waters – singer-songwriter\nDawn Tyler Watson – blues singer\nPatrick Watson – singer-songwriter\nAndrée Watters – singer-songwriter\nMatt Webb – singer, guitarist\nThe Weeknd – singer, songwriter, record producer, and actor born Abel Tesfaye\nJohn Welsman – composer, songwriter\nZack Werner – artist, producer, entertainment lawyer, manager\nDaniel Wesley – singer-songwriter\nWesli – world music guitarist\nJim West – guitarist for \"Weird Al\" Yankovic\nPhil Western – drummer, programmer (Download)\nDawud Wharnsby-Ali – singer-songwriter\nDeryck Whibley – singer-songwriter (Sum 41)\nBill White – composer, choral group leader\nNancy White – singer-songwriter, musical satirist\nPortia White – operatic contralto\nRick White – singer-songwriter (Eric's Trip), guitarist\nAlissa White-Gluz – metal vocalist and songwriter (Arch Enemy, The Agonist)\nJenny Whiteley – folk and country singer-songwriter\nAndrew Whiteman – singer-songwriter, guitarist (Broken Social Scene, Bourbon Tabernacle Choir, Apostle of Hustle)\nDavid Wiffen – folk singer-songwriter\nDavid Wilcox – blues guitarist, singer\nRichie Wilcox – singer\nSimon Wilcox – singer-songwriter (daughter of David Wilcox)\nJJ Wilde – rock singer\nHealey Willan – organist, composer\nHal Willis – singer-songwriter\nStephen W Williams - drummer guitarist, singer-songwriter \"Freedom sound\"\nCharlotte Day Wilson – singer-songwriter\nTom Wilson – singer-songwriter\nJesse Winchester – singer-songwriter\nKurt Winter – guitarist, songwriter (the Guess Who)\nBob Wiseman – pianist, songwriter\nKarl Wolf – R&B singer-songwriter\nRoyal Wood – singer-songwriter\nDonovan Woods – singer-songwriter\nRoy Woods – singer-songwriter, rapper\nHawksley Workman – singer-songwriter\nKen Workman – singer-songwriter\nMichelle Wright – country singer-songwriter\nKris Wu – actor, singer-songwriter\n\nY\n\nTony Yike Yang – pianist\nNikki Yanovsky – singer\nZal Yanovsky – guitarist, singer (the Lovin' Spoonful)\nFrancesco Yates – singer-songwriter\nKen Yates – folk singer-songwriter\nLori Yates – country singer\nKathleen Yearwood – singer-songwriter, guitarist\nd'bi Young – dub poet\nNeil Young – singer-songwriter, guitarist\nCatalina Yue – singer-songwriter\n\nZ\n\nJordon Zadorozny – singer, producer\nZaho – R&B singer\nAlfie Zappacosta – singer, actor\nMaurice Zbriger – violinist, composer, conductor\nLiping Zhang – soprano\nJoel Zifkin – electric violinist, songwriter, composer\nBrock Zeman - producer, singer songwriter, touring musician \nJesse Zubot – violinist, composer\n\nSee also\n\nList of bands from Canada\nList of diamond-certified albums in Canada\n List of Indigenous musicians in Canada\n\nFurther reading\n Toomey, Kathleen M., and Stephen Charles Willis. Musicians in Canada: a Bio-bibliographical Finding List. Ottawa, Ont.: Canadian Association of Music Libraries, 1981. N.B.: Title and introductory matter also in French.\n\nReferences\n\n \nCategory:Lists of musicians by nationality", "title": "List of Canadian musicians" }, { "text": "This is a list of bands from Canada. Only bands appear here; individual musicians are listed at list of Canadian musicians.\n\n0-9\n\nA\n\nB\n\nC\n\nD\n\nE\n\nF\n\nG\n\nH\n\nI\n\nJ\n\nK\n\nL\n\nM\n\nN\n\nO\n\nP\n\nQ\n\nR\n\nS\n\nT\n\nU\n\nV\n\nW\n\nX\n\nY\n\nZ\n\nSee also\n\nList of bands from British Columbia\n:Category:Canadian musical groups\n:Category:Canadian record labels\n:Category:Music festivals in Canada\nList of Canadian musicians\n\nReferences\n\n*Bands\nCategory:Lists of Canadian musicians", "title": "List of bands from Canada" } ]
[ "The band released three albums in this time.", "Yes, the only album the band released in 2009 was We Are the Same.", "After \"We Are the Same\" in 2009, the band released \"Now for Plan A\" in 2012 and a remastered deluxe edition of \"Fully Completely\" in October 2014.", "The context does not provide information on whether the band won any awards for their music.", "The context does not provide information on what their most popular album was." ]
[ "No", "No", "Yes", "Yes", "Yes" ]
C_14c0bb3b8f0f4ac989f1b63d5631e3c3_1
Enrique Peña Nieto
Enrique Pena Nieto was born on 20 July 1966 in Atlacomulco, State of Mexico, a city 55 miles (89 km) northwest of Mexico City. He is the oldest of four siblings; his father, Gilberto Enrique Pena del Mazo, was an electrical engineer; his mother, Maria del Perpetuo Socorro Ofelia Nieto Sanchez, a schoolteacher. He is the nephew of two former governors of the State of Mexico: on his mother's side, Arturo Montiel (whom business magazine Forbes listed in 2013, as one of the ten most corrupt Mexican politicians); on his father's, Alfredo del Mazo Gonzalez.
Special economic zones
At the end of May 2016, Pena Nieto signed a law that will create special economic zones in economically underdeveloped southern states. The first three are: Lazaro Cardenas, Michoacan; Port Chiapas, Chiapas; and in the Isthmus of Tehuantepec to better join the ports of Coatzacoalcos, Veracruz and Salina Cruz, Oaxaca. Another zone in the petroleum region of Tabasco and Campeche, hit by the downturn in the oil industry, is planned for 2017. The special economic zones are meant to alleviate the lack of industry in the South. During the signing, Pena Nieto highlighted the difference between the South and the industrial North and Center of Mexico: two of every three people in extreme poverty in Mexico live in the southern states. While the three poorest states (Chiapas, Oaxaca and Guerrero) have about 10% of the population, they only receive $1 of every $36 in foreign direct investment in the country. He went on to say that there are two Mexicos; one "that competes and wins in the global economy, with growing levels of income, development and well-being", while the other Mexico "has been left behind [and] hasn't been able to take advantage of its potential." The special economic zones will offer tax incentives (exemption from the 16% VAT), trade and customs benefits and the streamlining of regulatory processes. There will also be an increase in infrastructure spending in these regions. Private administrators will run the zones on 40-year contracts (managing infrastructure and attracting tenants). According to Pena Nieto, at the latest, each of these zones will have an anchor tenant that will attract suppliers and other industries in the supply chain by 2018. The World Bank advised Mexico during the formulation of the special economic zones plan. CANNOTANSWER
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Enrique Peña Nieto (; born 20 July 1966), commonly referred to by his initials EPN, is a Mexican politician who served as the 64th president of Mexico from 1 December 2012 to 30 November 2018. A member of the Institutional Revolutionary Party (PRI), he previously served as Governor of the State of Mexico from 2005 to 2011, local deputy from 2003 to 2004, and Secretary of Administration from 2000 to 2002. Born in Atlacomulco and raised in Toluca, Peña Nieto attended Panamerican University, graduating with a B.A. in legal studies. After attaining an MBA from ITESM, he began his political career by joining the Institutional Revolutionary Party (PRI) in 1984. After serving as a public notary in Mexico City, he began an ascent through local political ranks in the late 1990s, culminating in his 2005 campaign for Governor of the State of Mexico. As governor, he pledged to deliver 608 compromisos (commitments) to his constituency to varying levels of success. His tenure was marked by low-to-moderate approval of his handling of a rising murder rate, the San Salvador Atenco civil unrest, and various public health issues. He launched his 2012 presidential campaign on a platform of economic competitiveness and open government. After performing well in polls and a series of high-profile candidate withdrawals, Peña Nieto was elected president with 38.14% of the vote. As president, he instated the multilateral Pact for Mexico, which soothed inter-party fighting and led to increased legislation across the political spectrum. During his first four years, Peña Nieto led an expansive breakup of monopolies, liberalized Mexico's energy sector, reformed public education, and modernized the country's financial regulation. However, political gridlock and allegations of media bias gradually worsened corruption, crime, and drug trade in Mexico. Global drops in oil prices limited the success of his economic reforms, which lowered political support for Peña Nieto. His handling of the Iguala mass kidnapping in 2014 and the escape of drug lord Joaquín "El Chapo" Guzmán from Altiplano prison in 2015 sparked international criticism. Guzmán himself claims to have bribed Peña Nieto during his trial. As of 2022, he is additionally part of the Odebrecht controversy, with former Pemex CEO Emilio Lozoya Austin declaring that Peña Nieto's presidential campaign benefited from illegal campaign funds provided by Odebrecht in exchange for future favors. Historical evaluations and approval rates of his presidency have been mostly negative. Detractors highlight a series of failed policies and a strained public presence while supporters note increased economic competitiveness and loosening of gridlock. He began his term with an approval rate of 50%, hovered around 35% during his inter-years and finally bottomed out at 12% in January 2017. He left office with an approval rating of only 18% and 77% of disapproval. Peña Nieto is seen as one of the most controversial and least popular presidents in the history of Mexico. Early life and education Enrique Peña Nieto was born on 20 July 1966 in Atlacomulco, State of Mexico, a city northwest of Mexico City. He is the oldest of four siblings; his father, Gilberto Enrique Peña del Mazo, was an electrical engineer; his mother, María del Perpetuo Socorro Ofelia Nieto Sánchez, a schoolteacher. He is the nephew of two former governors of the State of México: on his mother's side, Arturo Montiel; on his father's, Alfredo del Mazo González. He attended Denis Hall School in Alfred, Maine, during one year of junior high school in 1979 to learn English. After living in Atlacomulco for the first 11 years of his life, Peña Nieto's family moved to the city of Toluca. In 1975, his father would often take him to the campaign rallies of the State of Mexico's governor, Jorge Jiménez Cantú, a close friend of Peña del Mazo. The successor of the governor was Alfredo del Mazo González, a cousin of Peña Nieto's father. During Del Mazo González's campaign in 1981, the fifteen-year-old Peña Nieto had his first direct contact with Mexican politics: he began delivering campaign literature in favor of his relative, a memory Peña Nieto recalls as the turning point and start of his deep interest in politics. In 1984 at the age of 18, Peña Nieto traveled to Mexico City and enrolled in the Panamerican University, where he earned a Bachelor of Arts (BA) degree in legal studies. Peña Nieto's academic thesis was found to contain some improper citations and plagiarism, which stirred controversy in May 2016. Peña Nieto sought a master's degree in Business Administration (MBA) at the Instituto Tecnológico y de Estudios Superiores de Monterrey (ITESM), based in the State of Mexico. Political beginnings Peña Nieto joined the Institutional Revolutionary Party (PRI) in 1984, and with a law degree nearly completed, he began earning his own money. During his final years in college, Peña Nieto worked for a public notary in Mexico City, around the same time when his relative Alfredo del Mazo González was mentioned as a firm candidate for the 1988 presidential elections. In his twenties, he worked at the San Luis Industrial Corporation, an auto parts manufacturer, and at the law firm Laffan, Muse and Kaye. While still a student at the Universidad Panamericana, he roomed with Eustaquio de Nicolás, the current president of Homex, a leading Mexican construction and real estate company. He also befriended and roomed with Luis Miranda, who occupied several offices during the 1999–2000 administration in the State of Mexico. Peña Nieto formally started his political career under the mentorship of Montiel Rojas, becoming the Secretary of the Citizen Movement of Zone I of the State Directive Committee of the National Confederation of Popular Organizations (CNOP), one of the three sectors of the PRI. For three consecutive years, Peña Nieto participated as a delegate to the Organization and Citizen Front in different municipalities of the State of Mexico. Then, between 1993 and 1998, during Emilio Chuayfett's term as governor, Peña Nieto was chief of staff and personal secretary to Montiel Rojas, the Secretary of Economic Development of the State of Mexico. After 1999, Peña Nieto went from having low-level secretary positions to higher and more qualified offices. He served from 1999 to 2000 as the sub-secretary of government, and as financial sub-coordinator of the political campaign of Montiel Rojas. In 2001, Montiel Rojas named Peña Nieto Sub-secretary of Interior in the State of Mexico, a position that granted him the opportunity to meet and forge relationships with top PRI politicians and business leaders. After his term concluded, he served as the administrative secretary, as president of the Directive Council of Social Security, as president of the Internal Council of Health, and as vice president of the National System for Integral Family Development – all in the State of Mexico. Under the wing of Montiel Rojas, Peña Nieto formed a group known as the "Golden Boys of Atlacomulco" with other members of the PRI. Campaign for Governor Peña Nieto was elected to a local deputy position in his hometown of Atlacomulco, State of Mexico, in 2003. Two years later, the governorship of the State of Mexico was sought by Atlacomulco-natives Carlos Hank Rhon, Isidro Pastor, Héctor Luna de la Vega, Guillermo González Martínez, Óscar Gustavo Cárdenas Monroy, Eduardo Bernal Martínez, Cuauhtémoc García Ortega and Fernando Alberto García Cuevas. Peña Nieto was among the crowd, but was not poised as one of the favorites. Nonetheless, in 2005, Peña Nieto was the last man standing, succeeding Montiel Rojas as governor of the State of Mexico. On 12 February 2005, with 15,000 supporters in attendance, he was sworn in as candidate for the PRI. Governor of the State of Mexico (2005–2011) On 15 September 2005, Peña Nieto was sworn as governor of the State of Mexico at the Morelos theater in Toluca. Among the attendees were the outgoing governor, Arturo Montiel; the president of the Superior Court of Justice, José Castillo Ambriz; former governors, members of Peña Nieto's cabinet and party, mayors, businessmen, and church figures. The centerpiece of Peña Nieto's governorship was his claim that he was to deliver his compromisos – 608 promises he signed in front of a notary to convince voters that he would deliver results and be an effective leader. According to El Universal, during Peña Nieto's first year as governor, his administration delivered 10 of the structural promises he had advocated in his campaign – marking the lowest figure in his six-year term. By 2006, his administration carried out 141 of the promised projects, making that year the most active in the governor's term. The 608 projects Peña Nieto proposed consisted of creating highways, building hospitals, and creating adequate water systems to provide fresh water throughout the state. The most important of these was highway infrastructure, which tripled under Peña's government. By mid-2011, the official page of the State of Mexico noted that only two projects were left. The major projects in public transportation were the Suburban Railway of the Valley of Mexico Metropolitan Area and the "Mexibús", both of which served commuters between Mexico City and the State of Mexico, providing service to more than 300,000 people every day and 100 million a year. Regarding public health services, 196 hospitals and medical centers were built throughout the state and the number of mobile units to attend remote and vulnerable areas doubled. Deaths caused by respiratory diseases were reduced by 55%, while deaths caused by dysentery and cervical cancer were reduced by 68% and 25% respectively. In addition, between 2005 and 2011, the State of Mexico was able to fulfill the requirement of the World Health Organization of having one doctor for every 1,000 inhabitants. The funds for these and all the other commitments were obtained through restructuring the state's public debt, a strategy designed by his first Secretary of Finance, Luis Videgaray Caso. The restructuring also managed to keep the debt from increasing during Peña Nieto's term because the tax base was broadened to the point that it doubled in six years. Peña Nieto also claimed that he halved the murder rate in the State of Mexico during his time as governor, but retracted this claim after The Economist showed that the murder rate did not diminish and was being measured in a different way. The Yo Soy 132 student movement criticized Peña Nieto for his stance on the San Salvador Atenco unrest, which occurred during his term as governor. A report from the National Human Rights Commission (CNDH) stated protestors were subjected to cruel, inhuman or degrading treatment, arbitrary arrests and sexual assault, and remarked the excessive use of force by state and federal police. Peña Nieto stated in an interview that he does not justify the actions of the state and municipal forces, but also mentioned that they were not gladly received by the citizens of San Salvador Atenco upon their arrival. Presidential campaign On 23 November 2011, Peña Nieto went to a book fair in Casa del Lago, Mexico City. There he presented his book México, la gran esperanza (Mexico, the great hope). He was accompanied by writer Héctor Aguilar Camín, the former governor of Mexico's Central Bank, Guillermo Ortiz Martínez, and the journalist Jaime Sánchez Susarrey. In the book, Peña Nieto argued that Mexico needed to expand its economy to create more jobs, insisting that in the past the country has only created jobs in the informal sector. Additionally, he argued that promoting Pemex (Mexico's state-owned oil company) to compete in the private sector would create more jobs, elevate productivity, and balance wealth distribution across Mexico. Peña Nieto dedicated the book to his wife Angélica Rivera and to governor Eruviel Ávila Villegas and his family. Peña Nieto said that the return of the PRI marks a new era in Mexico, and that his book served as a starting point to take Mexico "to better horizons". On 27 November 2011, a few days after the book fair, Peña Nieto was the PRI's last standing nominee for the 2012 Mexican presidential elections. The former State of Mexico governor completed his nomination at an event that gathered sympathizers and politicians. Six days earlier, the senator and preliminary candidate of the PRI, Manlio Fabio Beltrones, withdrew from the race and gave Peña Nieto a clear path towards the presidency. During a book fair a month later, Peña Nieto's public image came into question after he struggled to answer a question that asked which three books had marked his life. Later, Peña Nieto was interviewed by El País and admitted that he did not know the price of tortillas. When he was criticized as being out of touch, Peña Nieto insisted that he was not "the woman of the household" and thus would not know the price. His campaign was supported by the Commitment to Mexico alliance. Elections On 1 July 2012, Mexico's presidential election took place. In an initial, partial count issued that night, the Federal Electoral Institute (IFE) announced that based on a fast vote counting, Peña Nieto was leading the election with 38% of the votes. His nearest competitor, Andrés Manuel López Obrador, was just 6 points behind him. The figures were meant to be a representative sample of the votes nationwide; but shortly after this announcement, Peña Nieto appeared on national television claiming victory. "This Sunday, Mexico won", he said. He then thanked his voters and promised to run a government "responsible and open to criticism." At the PRI headquarters in Mexico City, the victory party began. With more than 97% of the votes counted on election day, the PRI had won with about 38% of the votes, 6.4 points above the leftist candidate López Obrador of the Party of the Democratic Revolution (PRD), who refused to concede to the results and had threatened to challenge the outcome, criticizing the PRI for allegedly engaging in vote buying and receiving illegal campaign contributions. Presidency (2012–2018) Peña Nieto was sworn in as President of Mexico on 1 December 2012 at the federal congress and later flew to a military parade to formally take control of the armed forces. During his inauguration speech at the National Palace, Peña Nieto proposed his agendas and reforms for the new administration. Before and after the inauguration, in an event that has been labeled by the media as the 1DMX, protesters rioted outside of the National Palace and clashed with Federal Police forces, vandalizing hotel structures and setting fires in downtown Mexico City. More than 90 protesters were arrested and several were injured. Mayor Marcelo Ebrard blamed "anarchist groups" for the violence. However, there is evidence that agents of provocation worked with the police, paid 300 Mexican pesos (about US$20) for their acts of vandalism, according to media reports. Photos show protesters waiting in groups behind police lines prior to the violence. Previous protests had been entirely peaceful, but on this occasion, in apparent response to violence, the police fired rubber bullets. The day after his inauguration, Peña Nieto announced the Pact for Mexico, an agreement that he had struck with the leaders of the two other major parties at the time, Jesús Zambrano Grijalva of the Party of the Democratic Revolution and Gustavo Madero Muñoz of the National Action Party, about the government's goals for the next few years. On 1 December 2018, Enrique Peña Nieto left office and was succeeded by Andrés Manuel López Obrador. Economic policy The auto manufacturing industry expanded rapidly under Nieto's presidency. In 2014, more than US$10 billion was committed in investment in the sector. In conjunction with Kia Motors in August 2014, the president announced plans for Kia to build a US$1 billion factory in Nuevo León. At the time, Mercedes-Benz and Nissan were already building a US$1.4 billion plant near Puebla, while BMW was planning a US$1 billion assembly plant in San Luis Potosí. Audi began building a US$1.3 billion factory near Puebla in 2013. As of December 2014, two years into Peña Nieto's term, total investment in the auto sector in Mexico had reached US$19 billion. The Bajío Region has received the majority of this investment, and with its rapidly expanding aerospace industry has become the fastest-growing region in the country. In February 2014, Time was met with controversy for the release of a cover featuring Enrique Peña Nieto with the caption "Saving Mexico" (written by Michael Crowley), as the cover article's title inside the magazine. The controversial article praised the president and his cabinet for reforms like opening oil fields for foreign investment for the first time in 75 years (a reform towards which Mexican citizens have shown mixed feelings), ending the Mexican drug wars (which was not completely accurate), and even going as far as saying "the opposition party blocked major reforms that were necessary", that "American leaders could learn a thing or two from their resurgent southern neighbor" and saying Mexicans citizens' "alarms were replaced with applause". According to the Mexican Social Security Institute (IMSS), between December 2012 and June 2016, more than two million jobs were created in Mexico. Of those jobs, 41% were taken by women and 36% were taken by individuals between 20 and 34 years of age. IMSS also revealed that 86% were long-term jobs and 14% were temporary. These jobs have led to a 26% increase in revenue accumulation for IMSS, an additional MXN$50 billion. More than half a million jobs had salaries worth five minimum wages (about MXN$10,000 per month) and there was a 22% increase in jobs with salaries greater than 20 minimum wages. Special economic zones At the end of May 2016, Peña Nieto signed a law that will create special economic zones in economically depressed southern states. The first three are: Lázaro Cárdenas, Michoacán; Port Chiapas, Chiapas; and in the Isthmus of Tehuantepec to better join the ports of Coatzacoalcos, Veracruz and Salina Cruz, Oaxaca. Another zone in the petroleum region of Tabasco and Campeche, hit by the downturn in the oil industry, is planned for 2017. The special economic zones are meant to alleviate the lack of industry in the South. During the signing, Peña Nieto highlighted the difference between the South and the industrial North and Center of Mexico: two of every three people in extreme poverty in Mexico live in the southern states. While the three poorest states (Chiapas, Oaxaca and Guerrero) have about 10% of the population, they only receive $1 of every $36 in foreign direct investment in the country. He went on to say that there are two Mexicos: one "that competes and wins in the global economy, with growing levels of income, development and well-being", while the other Mexico "has been left behind [and] hasn't been able to take advantage of its potential." The special economic zones will offer tax incentives (exemption from the 16% VAT), trade and customs benefits and the streamlining of regulatory processes. There will also be an increase in infrastructure spending in these regions. Private administrators will run the zones on 40-year contracts (managing infrastructure and attracting tenants). According to Peña Nieto, at the latest, each of these zones will have an anchor tenant that will attract suppliers and other industries in the supply chain by 2018. The World Bank advised Mexico during the formulation of the special economic zones plan. Domestic policy Peña Nieto enacted a public education reform that aimed to curb the powerful teachers' union, Sindicato Nacional de Trabajadores de la Educación (SNTE), improve standards, centralize the process for hiring, evaluating, promoting and retaining teachers, and crack down on corruption – such as wages for non-existent "ghost teachers". Five years after its signing, the plan has barely affected standards: Mexico still ranks last in education among the 35 Organisation for Economic Co-operation and Development countries and the Secretariat of Public Education spent more money on communications (2,700% more on communications in 2017 than was budgeted) than on teacher training. Security policy While campaigning, Peña Nieto appointed a former general of the National Police of Colombia as his external advisor for public security, and promised to reduce the murder rate in Mexico by 50% by the end of his six-year term. Critics of Peña Nieto's security strategy, however, said that he offered "little sense" in exactly how he will reduce the violence. During the three-month campaign, Peña Nieto was not explicit on his anti-crime strategy, and many analysts wondered whether he was holding back politically sensitive details or simply did not know how he would attempt to squelch the violence and carry out the next stage in Mexico's drug war. United States officials were worried that the election of Peña Nieto's Institutional Revolutionary Party may mean a return to the old PRI tactics of "corruption [and] backroom deals" with the cartels in exchange for bribes and relative peace. In 2012, the president-elect emphasized that he did not support the involvement or presence of armed United States agents in Mexico, but considered allowing the United States to instruct Mexico's military training in counterinsurgency tactics. Beyond that, Peña Nieto promised that no other measures will be taken by the States in Mexico. The security policy of Peña Nieto prioritized the reduction of violence rather than attacking Mexico's drug-trafficking organizations head-on, marking a departure from the strategy of the previous six years during Felipe Calderón's administration. One of the biggest contrasts is the focus on lowering murder rates, kidnappings, and extortions, as opposed to arresting or killing the country's most-wanted drug lords and intercepting their shipments. On 13 December 2012, a law was approved that included far-reaching security reforms. Mexico's Interior Ministry, greatly strengthened by the bill, was made solely responsible for public security. Part of Peña Nieto's strategy consists of the creation of a national police of 40,000 members, known as a "gendarmerie". The Economist reported that the gendarmerie would have an initial strength of 10,000, but the Washington Office on Latin America reported that it was reduced to 5,000 members and would not be operational until July 2014. The Interior Ministry announced that 15 specialized police units were being formed to exclusively focus on major crimes that include kidnapping and extortion, along with a new task force dedicated to tracking missing persons. Peña Nieto also proposed centralizing the sub-federal police forces under one command. In December 2017, the was passed by legislation but was met with criticism, especially from the National Human Rights Commission, accusing it gave the President a blank check. Energy policy During the presidential campaign, Peña Nieto promised to allow private investment in Pemex, Mexico's state-owned oil company. He also indicated interest in an economic agreement with Petrobras, Brazil's oil company. By liberalizing Pemex, investors say Peña Nieto's proposal could allow joint ventures and private investment in the oil company. According to the Financial Times in 2012, Peña Nieto's PRI government, which held just over 38% of the votes in Congress, might have difficulty gaining a majority to pass such reforms, or the two-thirds majority needed to change the Mexican constitution. Pemex was founded through the nationalization of foreign oil interests, and the Mexican constitution bans major outside investments. Changing Pemex could transform the psychology of Mexico's business sector and involve cultural and political changes that cannot be rushed. President Lázaro Cárdenas led the expropriation of foreign oil company assets in 1938 to form Pemex, which has served as a symbol of national identity. Eric Martin of Bloomberg News stated that if Peña Nieto wants to invite investment, he will have to face the challenges of union leaders and local officials who have benefited from the oil company's bonanza. Productivity in Pemex has been declined in the 2000s. Peña Nieto declared while campaigning that overhauling Pemex will be the PRI's and his "signature issue", and that he will encourage private companies to invest in exploration and development activities. Following Peña Nieto's hike in the price of gasoline as a result of his privatization of the Mexican oil industry, protests erupted nation-wide. Protestors blockaded major highways, forced the closing of foreign borders and shut down gas stations. Foreign policy 2016 visit by Donald Trump Peña Nieto invited U.S. Republican presidential candidate Donald Trump to visit on 31 August 2016, and appeared with him in a press conference. Peña Nieto was criticized for extending the invitation to Trump, and following the conference, journalist Jorge Ramos criticized Peña Nieto for not using the opportunity to publicly contradict Trump's campaign promise to make Mexico pay for his proposed Mexico–United States border wall, as well as what Ramos called, Trump's "attacks on Latin American immigrants, his rejection of free trade agreements and his scorn for global organizations." Despite this, Peña Nieto stated on his Twitter that he made it clear to Trump that Mexico would not pay for the wall, only to shortly after get a reply from Donald Trump saying: "Mexico will pay for the wall!" Trump's presidency and border wall Peña Nieto and Trump were to meet on 26 January 2017, until Trump wrote on his Twitter account: "If Mexico is unwilling to pay for the badly needed wall, then it would be better to cancel the upcoming meeting". This directly led Peña Nieto to cancel his visit to the U.S. president. In an interview with Aristegui Noticias, Washington-based freelance journalist Dolia Estévez said she obtained access to part of a one-hour phone conversation between the two presidents the day of the scheduled meeting. She stated, "Trump humiliated Peña Nieto", and said that the conversation only lasted 20 minutes; she also explained that the speech was prolonged to an hour due to translation efforts because Peña Nieto does not understand English. While many media outlets praised Peña Nieto for cancelling the visit with Trump, Forbes Mexico stated that despite showing support towards Peña Nieto for cancelling such event, "that shouldn't translate in forgiveness to what happens within our country [Mexico]" adding that "a state incapable of bringing credibility and stability could not grow", and that more than Trump, the thing keeping Mexico from prosperity was the corruption within the Mexican government. Controversies Publicity and public image As of July 2017, Oxford University's Computational Propaganda Research Project claimed Mexico's social media manipulation (Peñabots) to come directly from the Mexican government itself. A December 2017 article of The New York Times, reported Enrique Peña Nieto spending about 2 billion dollars on publicity, during his first five years as president, the largest publicity budget ever spent by a Mexican President. Iguala mass kidnapping In September 2014, 43 male college students were forcibly taken then disappeared in Guerrero. The forced mass disappearance of the students arguably became the biggest political and public security scandal Peña Nieto had faced during his administration. It led to nationwide protests, particularly in the state of Guerrero and Mexico City, and international condemnation. Freedom of the press During his tenure as president, Peña Nieto has been accused of failing to protect journalists, whose deaths have been speculated to be politically triggered by officials attempting to prevent coverage of scandals. On 29 April 2017, The New York Times published a news report titled "In Mexico, 'It's Easy to Kill a Journalist'", which covered the high rate of deaths and disappearances of journalists in Mexico and declared Mexico had become "one of the worst countries in the world to be a journalist today." In November 2014, an article was published by journalist Carmen Aristegui, indicating that a $7 million "White House" owned by Enrique Peña Nieto and his wife Angelica Rivera, in Lomas de Chapultepec was registered under the name of a company affiliated with a business group that had received government contracts to build a bullet train. The revelation about the potential conflict of interest in the acquisition of the house aggravated discontent about the government. Rivera released a video in which she detailed her income as a former soap opera actress, stating that she was selling the house and that the property was not under her name because she had not made the full payment yet. She later deleted the video. Shortly after revealing the Mexican White House incident, Carmen Aristegui was controversially fired from her radio show at MVS Communications. As noted by The New York Times, Aristegui being fired was a perceived as a censorship towards news journalism and freedom of speech. Aristegui took it to trial and by June 2018, three years after MVS fired her, the jury determined that it was indeed unconstitutional and against the law, to fire her and indeed was an act of censorship towards the freedom of speech. Peña Nieto's successor in the presidency of Mexico, Andres Manuel López Obrador, promised Aristegui would be free to return to radio if she wanted and that there would be no more unfair censorship towards the freedom of speech. On 19 June 2017, The New York Times, in conjunction with Carmen Aristegui and Televisa news reporter Carlos Loret de Mola, reported that the Mexican government had used the Pegasus spyware to surveil on targets such as reporters, human rights leaders and anti-corruption activists using text messages as lures. From 2011 to 2017, the Mexican government spent $80 million on spyware. Pegasus infiltrates a person's cell phone and reports on their messages, e-mails, contacts and calendars. In 2016, Aristegui revealed in a special report arguing that Enrique Peña Nieto had committed plagiarism on his law thesis, at least a third of it, with 197 out of 682 paragraphs being unsourced or wrongly sourced works. Allegations of corruption In October 2017, Santiago Nieto Castillo, the head of the Office for Election-related Crimes (FEPADE) was controversially removed from office, shortly after opening an investigation into illicit campaign money during the 2012 presidential campaign, received by Peña Nieto and would be president of Pemex, Emilio Lozoya Austin from the Brazilian conglomerate Odebrecht. In December 2017, The New York Times published accusations that Peña Nieto's government was blocking investigations against public corruption, with a commissioner saying the government was preventing the establishment of an impartial leader in FEPADE. 22 ex-governors, all members of the PRI, were investigated for corruption with five jailed. In March 2018, during the campaign period for the 2018 presidential election, the Prosecutor General's Office (PGR) opened an investigation into the PAN's candidate, Ricardo Anaya, for money laundering. Santiago Nieto said that the accusations towards Anaya were minor in comparison to Odebrecht and Peña Nieto scandal, as well as the SEDESOL scandal (in which $435 million pesos were lost) or the corruption amongst governors from the PRI such as Javier Duarte and César Duarte Jáquez (both whom were later arrested). Santiago Nieto further charged that the PGR and FEPADE were not being neutral and were instead being used as tool by Peña Nieto's government to tamper with the upcoming election, by investigating Anaya, a political opponent, and not José Antonio Meade, a political ally. In an interview with The Wall Street Journal, Santiago Nieto would later reveal that Peña Nieto's government tried to bribe him to keep him silent, which he refused by saying "Sorry, but I can't receive any money from Peña Nieto." He subsequently received threatening calls with the words "Death follows you" and "Words of advice: stay out of Trouble." The Brazilian conglomerate Odebrecht, which is accused of corruption and bribes throughout Latin America, is under investigation for allegedly overriding Peña Nieto's presidential campaign with illegal campaign funds. In exchange for campaign funds, the Peña Nieto administration allegedly granted contracts to Odebrecht through state-owned Pemex. An Odebrecht employee told a Brazilian court that he had been asked to pay a bribe to Lozoya, then head of Pemex. In March 2018, PRI legislators voted to stop the investigation into Odebrecht, which drew criticism. The investigation against Emilio Loyoza, then-head of Pemex, was also controversially ceased after a judge ordered it days later. While in office, Peña Nieto invoked two constitutional rights related to prosecution: amparo and fuero. Amparo gives anyone accused of a crime the right to know which crimes they are being accused of; it is mostly used by people expecting to go to trial, and is used to allow the prosecuted person to build a defense with the help of a lawyer. Fuero protects political figures from prosecution committed during their time in office, in effect delaying any investigations against him until the end of their terms. Peña Nieto is the first Mexican president to invoke either right. In 2020, Lozoya was detained by the Mexican government. On his trial statements, he testified against Peña Nieto and Luis Videgaray (the former Minister of Finance during Peña's government). He detailed that following Peña's orders, he acted as the middle-man between Peña Nieto and Odebrecht, stating that Peña Nieto's presidential campaign benefited from illegal campaign funds provided by Odebrecht, in exchange for future favors. According to the triangulation investigations that proved Lozoya guilty, he received $10 million from Odebrecht. During his trial, Lozoya described the payments for facilitating the exchange as a middle-man. Lozoya and Videgaray are featured prominently in spots from the 2012 presidential campaign. Mexican journalist Carlos Loret de Mola described being contacted by Peña Nieto's state, and being told the former president described himself as "unaware of Lozoya's corruption". Loret de Mola also said Peña Nieto was already in contact with his successor, Andres Manuel López Obrador, to declare his version of the events. Loret de Mola said that Peña Nieto was "going to get lost within his own lies", during the trial. On November 12, 2020, the Attorney General's Office (FGR) officially accused Peña Nieto of being a "traitor to the country and of electoral fraud due to the Odebrecht scandal" along with Lozoya and Videgaray. During United States of America v. Joaquín Guzmán Loera, Guzmán's lawyer alleged that the Sinaloa drug cartel had paid "hundreds of millions of dollars" in bribes to Peña Nieto and his predecessor, Felipe Calderón; both presidents denied the claims, with Peña Nieto's spokesman calling the claims "completely false and defamatory". Alex Cifuentes, who described himself as Guzmán's "right-hand man", later testified that Peña Nieto originally asked for $250 million before settling on $100 million. Allegations of crimes against humanity In 2016, a report by the Open Justice Society Initiative claimed that there are "reasonable grounds" to believe that both the Mexican army and drug cartels had committed crimes against humanity during the Mexican Drug War. The report accused both Peña Nieto and his predecessor Felipe Calderón of "almost completely failing" to ensure accountability for the actions of the Mexican army, and of denying or minimizing the scale of the atrocities. In June 2018, human rights organizations presented documents alleging slayings, tortures, rapes and forced disappearances to the International Criminal Court, and called on them to investigate. Public image Media gaffes Peña Nieto has had occasional lapses in memory or gaffes during public events or interviews. The most-noted incident occurred during the International Book Fair of Guadalajara on 3 December 2011. On that day, during a question and answer session, he was asked by an audience member to name three books that had influenced him, being only able to correctly reference the Bible. He then "rambled, tossing out confused title names, asking for help in recalling authors and sometimes mismatching" the two others. Other incidents have involved him not being able to recall Benito Juárez's year of birth, being unable to remember the acronym of the Federal Institute of Access to Information (IFAI), changing the date of foundation of the state of Hidalgo, mistaking the capital of the State of Veracruz, mentioning the U.S. presidential candidate "La señora Hillary Trump" (Mrs. Hillary Trump), among others, of varying degree of substantiation or credibility. These have gone viral on social media, especially Twitter and a website that counts the number of days since his last gaffe. Allegations of media bias Televisa Televisa, the largest conglomerate broadcasting in Mexico and other Spanish-speaking countries, was accused of tilting their coverage towards Peña Nieto ahead of the 1 July vote. Thousands of students protested of the perceived bias throughout Mexico City and other cities. On 7 June 2018, The Guardian Jo Tuckman reported about dozens of computer files – forwarded to The Guardian by a source who worked with Televisa but has not been possible to confirm the authenticity of the documents – suggesting that Televisa sold favorable coverage to Peña Nieto when he was governor of the state of Mexico and developed a smear campaign against López Obrador ahead of his first bid for the presidency in 2006. Televisa and the PRI suggested that the documents were false. Time magazine On the 24 March 2014 issue of the newsweekly Time, Peña Nieto was on the front cover with the caption, "Saving Mexico". The front cover was met with widespread disapproval of the Mexican public, prompting various spoofs on social media, even prompting a petition to have him removed from the cover. Evaluations as president and legacy In August 2016, Peña Nieto's approval ratings dropped to 23 percent (74 percent said they disapproved of his performance), which newspaper Reforma revealed to be the lowest approval rating for a president since they began polling in 1995. The approval decreased to 12% by 19 January 2017. The lack of popularity and credibility of Peña Nieto's government is perceived to have caused the PRI to suffer monumental defeat in the 2018 Mexican general election, where the party received the lowest vote percentage in their history. The party's presidential candidate, José Antonio Meade, did not win a majority in any of Mexico's 300 voting locations, while the PRI was also defeated in each of the nine gubernatorial elections. The presidency of Mexico went to Andres Manuel López Obrador, from MORENA. The PRI also lost to MORENA in Atlacomulco, the hometown of Enrique Peña Nieto. In 2020, Andrés Manuel López Obrador, Peña Nieto's successor, asked Mexicans if they would like to see former presidents face trial for allegations of corruption. According to a survey conducted by El Universal, 78% of Mexicans wanted the former presidents to face trial, with Peña Nieto the one they wanted to be incarcerated the most. In popular culture The 2014 Mexican comedy and political satire movie The Perfect Dictatorship had a plot based on the real life perceived Televisa controversy, which consisted of Mexican citizens heavily perceiving the news media was unfairly favoring PRI candidate Enrique Peña Nieto during the 2012 presidential election in Mexico. Personal life Family life In 1993, Peña Nieto married his first wife, Mónica Pretelini (1963–2007) and the couple had three children: Paulina, Alejandro and Nicole. Peña Nieto had two children outside his first marriage; a son with Maritza Díaz Hernández, and another child, with an undisclosed woman, who died as an infant. Pretelini died on 11 January 2007 as the result of an epileptic episode. Pretelini played a supporting role during the campaign of Peña Nieto's governorship. In 2008, Peña Nieto began a relationship with Televisa soap opera actress Angélica Rivera, whom he had hired to help publicize his political campaign for the State of Mexico. The couple married in November 2011. After his tenure as president ended, Rivera announced their divorce on 8 February 2019. Peña Nieto is the cousin of Alfredo del Mazo Maza, the current governor of the State of Mexico, of which his grandfather, father, distant uncle Arturo Montiel, as well as Peña Nieto himself, have previously been governors. Ancestry Honours National honours : Collar of the Order of the Aztec Eagle (1° December 2012) Foreign honours National Order of Juan Mora Fernández, Grand Cross with Gold Plaque, awarded by Laura Chinchilla on 19 February 2013. National Order of the Legion of Honour, Grand Cross, awarded by Francois Hollande on 10 April 2014. Order of Prince Henry, Grand Collar, awarded by Aníbal Cavaco Silva on 2 June 2014. Order of Isabella the Catholic, Grand Cross with Collar, awarded by King Juan Carlos I of Spain on 6 June 2014. Order of the Sun of Peru, Grand Cross with Diamonds, awarded by Ollanta Humala on 17 July 2014. Order of the Bath, Honorary Knight Grand Cross, awarded by Queen Elizabeth II of the United Kingdom on 3 March 2015. Order of the Quetzal, Grand Collar, awarded by Otto Pérez Molina on 13 March 2015. Order of the Southern Cross, Grand Collar, awarded by Dilma Rousseff on 26 May 2015. Order of Charles III, Grand Cross with Collar, awarded by King Felipe VI of Spain on 20 June 2015. Order of King Abdulaziz, Collar, awarded by King Salman of Saudi Arabia on 17 January 2016. Order of the Elephant, Knight, awarded by Queen Margrethe II of Denmark on 13 April 2016. Order of Merit of the Italian Republic, Grand Cross with Cordon, awarded by Sergio Mattarella on 21 July 2016. Order of the Liberator General San Martín, Grand Collar, awarded by Mauricio Macri on 29 July 2016. Military Order of Saint James of the Sword, Grand Collar awarded by Marcelo Rebelo de Sousa on 17 July 2017. Medal of the Oriental Republic of Uruguay on 9 February 2018. See also 2015 Mexican legislative election 2012 Mexican general election 2005 State of Mexico election Peñabot References External links Enrique Peña Nieto, Biografía – CIDOB Foundation Enrique Peña Nieto – Personal blog of Enrique Peña Nieto Las 7 reformas que propone Peña Nieto para México – CNNMéxico Mexico Elections: Institutional Revolutionary Party Candidate Enrique Pena Nieto Wins Presidency – The Huffington Post |- |- Category:1966 births Category:Living people Category:21st-century Mexican politicians Category:Candidates in the 2012 Mexican presidential election Category:Collars of the Order of Isabella the Catholic Category:Collars of the Order of the Liberator General San Martin Category:Governors of the State of Mexico Category:Grand Collars of the Order of Prince Henry Category:Honorary Knights Grand Cross of the Order of the Bath Category:Knights Grand Cross with Collar of the Order of Merit of the Italian Republic Category:Mexican people of Spanish descent Category:Monterrey Institute of Technology and Higher Education alumni Category:People from Atlacomulco Category:People involved in plagiarism controversies Category:Politicians from the State of Mexico Category:Presidents of Mexico Category:Recipients of the Order of the Sun of Peru Category:Panamerican University alumni
[ { "text": "Legislative elections were held in Mexico on 7 June 2015, alongside municipal elections.\n\nBackground\nTraditionally elections had taken place on the first Sunday of July, but in 2015 were set to the first Sunday of June.\n\nElectoral system\nThe 500 members of the Chamber of Deputies were elected by two methods; 300 were elected in single-member constituencies, and 200 by proportional representation in a single nationwide constituency. Constitutional reforms in 2014 led to the creation of the National Electoral Institute, replacing the Federal Electoral Institute.\n\nOpinion polls\n\nResults\n\nReferences\n\nExternal links\nNational Electoral Institute \n\nMexico\nLegislative\nCategory:Legislative elections in Mexico\nLegislative", "title": "2015 Mexican legislative election" }, { "text": "General elections were held in Mexico on Sunday, July 1, 2012. Voters went to the polls to elect a new President of the Republic to serve a six-year term, replacing Felipe Calderón, 500 members of the Chamber of Deputies and 128 members of the Mexican Senate.\n\nSeveral local ballots were held on the same day, including the election of a new Head of Government and new Legislative Assembly of the Federal District, gubernatorial elections in six states (Chiapas, Guanajuato, Jalisco, Morelos, Tabasco and Yucatán) and municipal and local congressional elections several states.\n\nElectoral reform\nIn December 2009, president Felipe Calderón sent a bill to Congress aimed at reducing the number of legislators in both chambers and another mechanism for the presidential election which have not yet been passed. If approved, the following reforms will be implemented:\n Second round voting in case no presidential candidate receives an absolute majority of the votes.\n 96 Senators of the Republic, 3 for each state, elected by plurality for a period of six years, renewable once.\n 400 Federal Deputies (240 by first-past-the-post and 160 by proportional representation) elected for a period of three years with possibility of reelection.\n\nPresidential candidates\n\nThe following are individuals who have either formally announced that they are running for president in 2012, or have formed an exploratory committee for a possible presidential run in 2012.\n\nNational Action Party (PAN) Nomination\n\nNominee:\n Josefina Vázquez Mota, Representative from Mexico City\nOther pre-candidates:\n Ernesto Cordero, former Secretary of Finance and Public Credit from Mexico City\n Santiago Creel, Senator from Mexico City\n Javier Lozano Alarcón, withdrew July 21, 2011\n Alonso Lujambio, withdrew August 29, 2011\n Emilio González Márquez, withdrew September 22, 2011\n\nPre-candidates gallery\n\nOn Feb. 5th Josefina Vázquez Mota was announced as PAN presidential candidate following her victory in the internal selection process.\n\nParty of the Democratic Revolution (PRD) Nomination\n\nNominee:\n\n Andrés Manuel López Obrador, former Head of Government of the Federal District from Tabasco.\n\nCandidates\n Marcelo Ebrard, withdrew November 15, 2011\n\nCandidates gallery\n\nOther pre-candidates\n\nInstitutional Revolutionary Party (PRI) Nomination\n\nNominee:\n\n Enrique Peña Nieto, former Governor of the State of Mexico\n\nFormer candidates\n Manlio Fabio Beltrones, withdrew November 21, 2011\n\nCandidates gallery\n\nNew Alliance Party (PNA) Nomination\n\nNominee:\n\n Gabriel Quadri de la Torre\n\nCandidates gallery\n\nOpinion polls\n\nAllegations of media bias and Yo Soy 132 student protests\n\nMass protests have taken place in Mexico City against alleged bias towards PRI and Peña Nieto in the print and television media, particularly Televisa.\n\nThe movement Yo Soy 132 (\"I am 132\") formed in response to this perceived bias, with initial focus on Peña Nieto as the flagship of \"corruption, tyranny and authoritarianism\". On May 11, 2012, Peña Nieto visited Universidad Iberoamericana and was received with scorn. Both printed and televised media reported this as a minor mishap, called the students intolerant, and claimed that they had been paid by leftist organizations. In response, 131 students identified themselves on a YouTube video by their university IDs and stated that their actions were independent. This caused a ripple effect as many tweeted \"I'm the 132nd student\" in solidarity. Mass protests organized by public and private university students then took place across the country. The movement successfully demanded that, unlike the first debate, the second presidential debate be broadcast on national television, and has proposed a third debate to cover a broader scope of issues.\n\nClaims of hacking\nIn a 31 March 2016 article published by Bloomberg Business Week, a Colombian hacker named Andrés Sepúlveda claimed to have been paid US$600,000 by the PRI for hacking files (including phone calls, e-mails, and strategies) pertaining to the respective political campaigns of Peña Nieto's rivals, and also to manipulate social media to create fake news against his opponents with 30,000 fake Twitter accounts, creating fake trending topics and the perception of public enthusiasm toward Peña Nieto's campaign. On election day, Sepúlveda claimed to have been watching a live feed from Bogota, Colombia and destroyed evidence right after Peña Nieto was declared winner. He said he was helped by a team of six hackers, which he led. The hacker is serving a 10-year prison sentence in Colombia for hacking crime, in favor of the election campaign of Óscar Iván Zuluaga.\n\nResults\n\nPresident\n\nSenate\n\nChamber of Deputies\n\nRecount\nFollowing the elections, López Obrador demanded a full recount, claiming there had been widespread irregularities. The Federal Electoral Institute subsequently announced that there would be a partial recount, with presidential ballots from 78,012 of the 143,132 polling stations to be recounted, whilst ballots for the Congressional elections would be re-examined at two-thirds of polling stations. On July 6 after a partial recount of approximately 50% of the votes, the Federal Electoral Institute declared they had found anomalies but that Nieto still had majority and was confirmed as the winner with 38.2% of the popular vote. which officially has until 6 September to announce a winner.\n\nRequest to invalidate election\nOn July 12, López Obrador presented his formal complaint to invalidate the election to the Electoral Tribunal of the Federal Judiciary (TEPJF) on grounds of violation of constitutional article 41 which states that the elections must be free and authentic and with equal benefits for all competing parties. Alleging that the Mexican media had treated them with inequality in relation to Peña Nieto and presenting the numerous evidence of paraphernalia used to buy votes for the PRI as well as pre-marked ballots and notarized witness statements of people who sold their votes to the PRI. The complaint also pointed towards the PRI's campaign going over budget an alleged 1000% over the established allowed budget by the Federal Electoral Institute which is of 336 million Mexican pesos. On July 18 López Obrador accused Peña Nieto of using illicit funds and money laundering to finance his campaign. After presenting new audio evidence regarding the PRI's use of Monex cards, López Obrador commented that it would be better if the Electoral Tribunal invalidated the election and move in an interim President than to violate the constitution and acting in an \"anti-democratic\" way. He said that if the Electoral Tribunal does not invalidate the election, Mexico will be governed by a \"gang of evildoers\".\n\nOn 30 August 2012, the TEPJF, Mexico's highest election-law court rejected the allegations of fraud after they concluded that there was \"insufficient evidence of wrongdoing.\"\n\nPost-electoral protests and claims of fraud\nAfter the preliminary results of the Federal Electoral Institute announced Enrique Peña Nieto as virtual President-elect, several student protests led by the youth movement Yo Soy 132 and independent citizen movements broke out throughout the country claiming the forced imposition of a President and electoral fraud, as evidence of an alleged fraud surfaced and pointed towards the PRI buying votes by providing voting citizens with store credit cards of Mexican supermarket chain Soriana. Mexico's Federal Electoral Institute (IFE) confirmed in January 2013 that Peña Nieto's party spent $5.2 million in electronic cards throughout the whole campaign. Opposition parties complained that this represented a form of illicit funding, but the IFE claimed the contrary. The PRI party claimed that the electronic cards were intended for party personnel, but this method rose suspicions because some of the money was transacted through \"several shadowy companies instead of being disbursed directly from party coffers.\" This also increased the suspicions that the PRI had received illegal donations from corporations (given that this move is prohibited under law). The IFE stated on 24 January 2013 and ruled by 5–4 votes that the fundings were not violating the law, but opposition parties and critics believe that the IFE did not thoroughly investigate the origins of the money.\n\nFurther alleged evidence arose as pictures of ballots already marked in favor of the PRI, with the logo of the party printed over the marking, have been shared widely over online social networks, and there have also been numerous videos and photos of that show the irregularities between local ballot boxes and the official result of those ballot boxes. More allegations appeared as videos showing protection of local police patrols protecting supposed \"Mapaches\". Following a request from Andrés Manuel López Obrador, the Federal Electoral Institute agreed to recount more than half of the ballots cast in the presidential election. It later reconfirmed the original result. The result was endorsed by Barack Obama, the president of the United States, and by the Venezuelan president Hugo Chávez, who backed López Obrador in a similar dispute in 2006.\n\nOn July 7, a national protest in opposition of Enrique Peña Nieto was organized through online social networks, and demonstrations occurred in several cities. The protest in Mexico City was billed as a \"mega-march\", but the number of demonstrators equalled only around half the number which attended anti-PRI demonstrations held prior to the election. Statements from the Yo Soy 132 student movement formally uninvolved themselves from the protest cautioning against violent results; alleging that it may have been organized by a similarly named movement linked to the PRI. Despite the statement the protests effectively took place in 37 cities in Mexico, Canada, the United States, and Europe with no incidents of violence or known involvement of the PRI. Though in Xalapa, Veracruz a man identified as Juan Pablo Frianzoni, presumed member of the youth PRI group \"Juventud Dinamica\"; threw chairs at the protesters and then pointed a handgun at them from his balcony. Frianzoni was then apprehended by Police officers who were standing by the protest. Televisa did not broadcast the National protests, and instead presented a live broadcast of Eugenio Derbez and Alessandra Rosaldo's wedding which was interrupted due to \"technical difficulties\" when loud protest chants became audible outside of the event. Derbez however stated that he was in support of the protests, and though he regrets them happening on the day of his wedding; he said he will cherish the memory.\n\nAs of July 15 protests and further acts of civil resistance against Peña Nieto and Televisa continue around the country. On July 27 protesters set up a 24-hour blockade around the main Televisa studios in Chapultepec, Mexico City.\nOn August 30 several protesters gathered outside the offices of the Electoral Tribunal of the Federal Judiciary as the Magistrates declared that the claims made by the left-wing coalition were \"unfounded\" and were therefore rejected.\n\nOn December 1, 2012, as Peña Nieto was being sworn in as President, protesters rioted outside of the national palace and clashed with Federal Police forces, in an event that has been labeled by the media as the 1DMX, while vandalizing hotel structures and setting fires around Mexico City. More than 90 protesters were arrested and several were injured. Mexico City Mayor Marcelo Ebrard blamed anarchist groups for causing the violent outcomes.\n\nReferences\n\nFurther reading\n Jorge I. Dominguez et al. eds. Mexico's Evolving Democracy: A Comparative Study of the 2012 Elections (Johns Hopkins University Press; 2015) 304 pages\n\nExternal links\n\n Federal Electoral Institute\n\nOfficial candidate websites\n\nNational Action Party\n Ernesto Cordero\n Santiago Creel\n Josefina Vázquez Mota\n\nParty of the Democratic Revolution\n Andrés Manuel López Obrador \n\nInstitutional Revolutionary Party\n Enrique Peña Nieto\n\nMexico\nGeneral\nCategory:Legislative elections in Mexico\nCategory:Presidential elections in Mexico\nCategory:July 2012 events in Mexico", "title": "2012 Mexican general election" }, { "text": "A gubernatorial election was held in the State of México on Sunday, 3 July 2005.\nVoters in Mexico's most populous state went to the polls to elect a governor to replace former incumbent Arturo Montiel Rojas of the Institutional Revolutionary Party (PRI).\n\nThe favorite candidate was PAN's Rubén Mendoza. It was thought the first runner-up would be PRD Yeidckol Polevnsky Gurwitz (born as Citlali Ibáñez Camacho) and last place by PRI's Enrique Peña. However, Rubén Mendoza made several mistakes in his campaign, appearing apparently drunk at events, boasting he led a group of supporters to steal campaign gifts from Peña's team and gave them with his own signature (he was taped while doing this). The PRD would have benefited from this, but Polevnksy had no political experience and support from Andrés Manuel López Obrador wasn't enough, specially after her true identity was discovered. So PRI's Peña rose to the first place, the PRD had a distant and low second place and PAN's Rubén Mendoza disappeared from public view.\n\nTurnout was an unusually low 48%.\n\nResults\nWith 93.38% of the votes it was clear that the PRI had managed to keep hold of the state.\n\nSee also\nList of Mexican state governors\n\nCategory:2005 elections in Mexico", "title": "2005 State of Mexico election" }, { "text": "Peñabots is the nickname for automated social media accounts allegedly used by the Mexican government of Enrique Peña Nieto and the PRI political party to keep unfavorable news from reaching the Mexican public. Peñabot accusations are related to the broader issue of fake news in the 21st century.\n\nHistory of disinformation in Mexican politics\nThe PRI political party has been reported to use fake news since before Peña Nieto. The main tactic originally was to spread such propaganda through open radio and television networks. Such tactic was effective in Mexico, because newspaper readership is low and cable TV is largely limited to the middle classes; consequently, the country's two major television networks – Televisa and TV Azteca – exert a significant influence in national politics. Televisa itself, not only owns around two-thirds of the programming on Mexico's TV channels, making it not only Mexico's largest television network, but also is the largest media network in the Spanish-speaking world.\n\nPeñabots\nAnalysts have given the name Peñabots to a suspected network of automated accounts on social media used by the Mexican government to spread pro-government propaganda and to marginalize dissenting opinions in social media. The bots were first noticed in the 2012 elections when they were used to disseminate opinions in support of Enrique Peña Nieto in social networks in social networks such as Twitter and Facebook. \n\nAccording to Aristegui Noticias, their usage goes against articles 6 and 134 of the Mexican Constitution, the ones used by the current government cost an estimated 80 million pesos monthly fee, which news outlets argument only helps the government spread fake support towards the president, but does not have a benefit towards Mexican people (with whom EPN is highly unpopular). Facebook currently holds approximately 640,321 Peñabots, while Twitter has less. As of July 2017, Oxford University's Computational Propaganda Research Project claimed many western democracies, Mexico included, perform social media manipulation, thus saying the manipulation comes directly from the Mexican government itself.\n\nDuring Peña Nieto's subsequent presidency, analysts have noted that Peñabots are used to overpower trending topics that critique government, to flood trending government critical hashtags with spam, and to create fake trends by pushing alternative hashtags, and to push smear campaigns and threats against government critical activists and journalists. Peñabots can be distinguished because their pattern of activity is distinct from that of normal interaction activity in social networks.\n\nMeadebots\nIn Twitter it was reported that about 94% of the followers of 2018 presidential candidate from the PRI Jose Antonio Meade were bots.\nWhen Antonio Meade presented himself as a candidate for the 2018 presidential election, his social media accounts such as \"@MovimientoMEADE\" (created by the PRI's official account @PRI_Nacional), obtained a huge quantity of followers far too quick. Some users noticed and brought it to attention, after investigations it was reported 94% of such followers were bots (702,000 out of 747,000), and the account was eliminated from Twitter after 20 hours. The fake accounts used the hashtags #YoConMeade and #Meade18, further revealed was that Meade's official account on Twitter, @JoseAMeadeK has 25% bots (216,000 fake followers out of the 981,000).\n\nManipulation of news media in Mexico, through television\n\nThe Mexican government of Peña Nieto has been accused of using various means to keep unfavorable news from reaching the Mexican people. Many Mexicans have protested this practice as it clearly goes against the freedom of speech. The PRI has been reported to use fake news since before Peña Nieto. The main tactic has been to spread such propaganda through radio and television. This tactic is perceived as effective in Mexico, because newspaper readership is low and research on the Internet and cable TV is largely limited to the middle classes; consequently, the country's two major television networks – Televisa and TV Azteca – exert a significant influence in national politics. Televisa itself, owns around two-thirds of the programming on Mexico's TV channels, making it not only Mexico's largest television network, but also is the largest media network in the Spanish-speaking world.\n\nIn June 2012, before the 2012 Mexican presidential elections, the British newspaper The Guardian published a series of allegations claiming Televisa, sold favorable coverage to top politicians in its news and entertainment shows, this scandal became known as the Televisa controversy. The documents published by 'The Guardian alleged that a secretive circle within Televisa manipulated news coverage to favor PRI presidential candidate Enrique Peña Nieto, who was poised as favorite to win. Televisa's secret circle supposedly commissioned videos to promote Peña Nieto and lash out his political rivals in 2009. The Guardian documents suggest that Televisa's secret team distributed such videos through e-mail, posting them posted them on Facebook and YouTube, some can still be seen there. Another document was a PowerPoint presentation, with a slide explicitly aimed at rival leftist candidate of the Party of the Democratic Revolution (PRD), Andrés Manuel López Obrador. Supposedly given to The Guardian by a Televisa employee. The document's authenticity was never possible to confirm– however dates, names, and events largely coincide. Televisa refused to talk the documents, and denied a relationship with the PRI or its presidential candidate, saying that they had provided equal media coverage to all parties. Televisa published an article supposedly showing discrepancies in The Guardian documents and denying accusations.\n\nMexican citizens complained about the perceived favoritism towards Enrique Peña Nieto and the PRI, protesting through the Yo Soy 132 movement which Televisa covered in detail. However, Televisa's news media coverage is perceived to have been biased, by using a media coverage tactic Mexican citizens call cortinas de humo (smoke screens). These introduce a news scandal giving extensive coverage to distract citizens from a potential conflict-of-interest or controversy that could damage the image of the politician favored by the network. An example of a perceived smoke screen would be the news media coverage of \"Caso Michoacán\" and \"Caso Paolette\" distracting all the attention from the parallel \"Yo soy 132\" movement. A few years later, on the day of September 11, 2016; factual evidence of Televisa's performing media manipulation emerged, when a Televisa news anchor while live-on air reading a teleprompter, mistakenly read out loud that \"try that Jaime \"Ël Bronco\" Rodríguez Calderón (Nuevo Leon's governor) is mentioned as little as possible\". Newspaper El Universal caught it on video and published it social media. Televisa didn't mention the story and declined to comment. Lack of news coverage concerning Nuevo León's Governor Jaime Rodriguez, is perceived due to him being the first elected governor to not be part of any political party (Independent Governor), and because unlike the governors from the PRI preceding him, the independent governor \"El Bronco\" doesn't spend money on publicity at all, preferring to communicate all news by using social media such as Twitter and Facebook. While the incident may have proven Televisa's bias, there wasn't anything to incriminate the PRI political party or Enrique Peña Nieto, though it did further suspicion of Televisa manipulating news media. In contrast, a December 2017 article of The New York Times, reported Enrique Peña Nieto spending about 2000 million dollars on publicity, during his first 5 years as president, the largest publicity budget ever spent by a Mexican President. Additionally, 68 percent of news journalists admitted to not believe to have enough freedom of speech, and award-winning news reporter Carmen Aristegui was controversially fired shortly after revealing the Mexican White House scandals.\n\nViolence and spying towards news journalists and civil rights activists\nFar for only being receiving accusations of spreading fake news, the Mexican government of EPN has also been accused of violence towards news journalists, and of spying on them, and also towards civil right leaders and their families. During his tenure as president, Peña Nieto has been accused of failing to protect news journalists, whose deaths are speculated to be politically triggered, by politicians attempting to prevent them from covering political scandals. The New York Times published a news report on the matter titled, \"In Mexico it's easy to kill a journalist\", on it mentioning how during EPN's government, Mexico became one of the worst countries on which to be a journalist. The assassination of journalist Javier Valdez on May 23, 2017, received national coverage, with multiple news journalists asking for \"real protection\", as well as freedom of speech. The president announced to be \"deeply wounded\" by such death, Despite this Mexican citizens, as well as political party of opposition perceived, the presidential words as hypocritical, and the outlook does not look favorable with Mexico already leading as the country most journalist killed in 2017, with 5 assassinations.\n\nOn June 19, 2017, The New York Times in conjunction with news reporter Carmen Aristegui, and even backed by a Televisa news reporter Carlos Loret de Mola, reported that the Mexican Government uses a spyware software known as Pegasus, to spy on targets such as Mexican News reporters (and their families) and Civil Rights Leaders (and their families) using text messages as lures. Since 2011, the Mexican Government invested $80 million worth of spyware. Pegasus spyware infiltrates a person's cellphone and reports every detail of their messages, e-mails, contacts and calendars. After the revelation, the Israeli manufacturer of the Pegasus spyware, NSO Group, re-stated it only sold such technology to governments with an 'explicit agreement', that such technology was meant 'only to combat organized crime' by spying on it; although once it sells the software it cannot control who they use it against and basically leaves the government's on their own to monitor themselves on not abusing the software. The New York Times and independent forensic analysts analyzed the data of 'dozens of messages', multiple times before proving their accusation, and commented of such espionage towards news journalists and civil rights leaders, as 'an effort from the Mexican Government to thwart the battle against corruption infecting every limb of Mexican Society', and how highly unlikely it would be for such espionage it to receive 'Judicial Approval'. Edward Snowden who worked for US government's NSA before revealing it to spy on its citizens, also said all evidence points to the Mexican government being the spy, and on Twitter said it is \"a crime to the public\".\n\nThe hacking attempts were 'highly personalized' for each target, they would consist on sending text messages with an attached link, and for the spyware to enter a users smartphone, all it needed was for the smartphone owner to click on the link. The news reporter Carmen Aristegui, whom previously in 2014, had revealed a conflict of interest regarding the president ownership of a Mexican \"Casa Blanca (White House)\" and was unfairly fired from her job for airing such investigation, herself, received 22 hacking attempts, the most for any journalist who has been found targeted, one of those attempts disguised as a message sent by an American Embassy in Mexico, trying to help her with a problem with her Visa; additionally Aristegui's son Emilio Aristegui received attempts for 23 months despite being an under-age 16-year-old teen. News media perceived attempts at Aristegui as revenge from the Mexican government. News reporter Carlos Loret de Mora received 8 attempts. While, Juan E. Pardinas, the director of the Mexican Institute of Competitiveness, also received multiple attempts where he was told men with guns were outside his house and another where a contact not on his list invited him to his father funeral because saying he was a \"close friend\", the attempt on his wife went as far as claiming Padilla was having an extramarital affair, but she could only see the evidence if she clicked the link. Also, most of the parents, protesters and the major leaders of the investigations of the \"Ayotzinapa, 43 Students Massacre\" received spyware messages, so did the \"Women of Atenco\" (a scandal directly tied to Enrique Peña Nieto's time as Governor of the State of Mexico).The New York Times article contained a picture of EPN.\n\nOn June 20, 2017, the day after. The opposition political party, National Action Party (PAN) denounced the Mexican government to the Inter-American Commission on Human Rights for suspicions of violations towards human rights and requested them, to lead an investigation citing such spying causes violations towards the article 16th of the Mexican Constitution, as well as violating article 11th of the Universal Declaration of Human Rights. While, in response to the accusations, Peña Nieto made public that such technology was bought and indeed used by the Mexican government, but he denied misuses, and stated that it was only used to protect Mexicans by searching for criminal by saying he \"also felt spied upon, but there was nothing more fake than blaming the (Mexican) government\", and that there was \"no proof\"; saying he ordered the PGR an investigation and that he hoped \"under the law, it can be applied against those that have raised false accusations against the government.\", with the last part of the quote making journalist hacking victims feel threatened. Which forced the Mexican president to call writer of the article Azam Ahmed to tell him, he was not menacing him. However, due to his previous presidential scandals, Peña Nieto words lacked credibility to most Mexicans, with journalist like Jorge Ramos complaining about how Enrique Peña Nieto remains in power despite his illegal actions. Later on the day political rival Andrés Manuel López Obrador (AMLO) who competed for the presidency against EPN in 2012 and intends to compete again in 2018 as the candidate from the MORENA political party, was also revealed to be among the hacking targets, with his son also as a target. On June 23, 2017, the National Human Rights Commission (Mexico) opened a case regarding the government espionage.\n\nAs of February 2018, Reuters published an article stating the Mexican government has not properly investigated the Pegasus spyware usage to spy news journalists.\n\nAndrés Sepúlveda claims of hacking the Mexican presidential election, 2012\nOn March 31, 2016, in an article published by magazine Bloomberg Business Week a Colombian, a hacker named Andrés Sepúlveda claimed to have paid $600,000 pesos, by the \"Institutional Revolutionary Party (PRI)\" for hacking files (including phone calls, e-mails and strategies) pertaining Peña Nieto's rivals respective political campaigns, and also manipulate social media to create fake news against his opponents with 30,000 fakes Twitter accounts whom helped him create fake trending topics, and the perception of public enthusiasm towards Peña Nieto's 2012 presidential campaign. The election day he claims to have been watching a Live feed on Bogota, Colombia and to start destroying evidence (USBs, cellphones, computers) right after Peña Nieto was declared winner. He said he was helped by a team of 6 hackers, which he led. He also claims to have helped hack elections from other Latin American countries including Nicaragua, Panama, Honduras, El Salvador, Colombia, Costa Rica, Guatemala and Venezuela, but said his Mexican operation was \"the most complex by far\". The hacker is on a 10-year prison sentence for confessing and proving crimes on helping the campaign of Ivan Zuloagawithin his native Colombia. While Juan José Rendón whom Sepúlveda describes as his accomplice hasn't been proved guilty and still remains free. The National Action Party (PAN) requested an investigation, but on May 4, 2016, the Consejo General del Instituto Nacional Electoral (General Council of the National Electoral Institute) discarded the investigation describing it as \"frivolous\" and that it was based on a single journalistic note. presidential counselor Ciro Murayama said there wasn't enough evidence to lead an investigation, and that they would sue PAN for promoting unjustified investigations, leading to sourness between both political parties.\n\nInfluence of perceived media manipulation of news in Mexican popular culture\nThe controversies regarding the perceived Televisa news media coverage in favor of the PRI, and the spreading of fake news by the Mexican government, has influenced Mexican popular culture. Director and writer Luis Estrada released the black-comedy film The Perfect Dictatorship (2014), it was based on the perceived media manipulation in Mexico. Set in a Mexico with a tightly controlled media landscape, the plot centered on a corrupt politician (a fictional stand-in for Enrique Peña Nieto) from a political party (serving as a fictional stand-in for the PRI), and how he makes a deal with TV MX (which serves as a stand-in to Televisa) to manipulate the diffusion of news towards his benefit, in order to save his political career.\n\nReferences\n\nCategory:Propaganda\nCategory:Politics of Mexico\nCategory:Censorship\nCategory:Social media\nCategory:Internet manipulation and propaganda\nCategory:Political slurs for people", "title": "Peñabot" } ]
[ "The special economic zones were areas created by a law signed in May 2016 by Pena Nieto, aimed at boosting the economically underdeveloped southern states of Mexico. They consisted of Lazaro Cardenas, Michoacan; Port Chiapas, Chiapas; and in the Isthmus of Tehuantepec to better join the ports of Coatzacoalcos, Veracruz and Salina Cruz, Oaxaca, with a further zone in the petroleum region of Tabasco and Campeche planned for 2017. These zones were meant to alleviate the lack of industry in the South and were to offer tax incentives, trade and customs benefits, an increase in infrastructure spending and the streamlining of regulatory processes. They were to be run by private administrators on 40-year contracts.", "Pena Nieto created the special economic zones to alleviate the lack of industry in the economically underdeveloped southern states. He aimed to bridge the disparity between the industrial North and Center of Mexico and the South, where two of every three people in extreme poverty in Mexico live. The creation of these zones is an effort to boost foreign direct investment, development and well-being in the southern states, which are rich in potential but have been left behind in economic progress.", "The initial three special economic zones were created in Lazaro Cardenas, Michoacan; Port Chiapas, Chiapas; and in the Isthmus of Tehuantepec to better join the ports of Coatzacoalcos, Veracruz and Salina Cruz, Oaxaca. Another zone was planned for 2017 in the petroleum region of Tabasco and Campeche.", "The context provided does not mention the name of any other special economic zones other than the ones in Lazaro Cardenas, Michoacan; Port Chiapas, Chiapas; the Isthmus of Tehuantepec; and the petroleum region of Tabasco and Campeche.", "In addition to alleviating the lack of industry in the South, Pena Nieto created the special economic zones to address the economic disparity between the south and the more developed North and Center of Mexico. He highlighted that two of every three people in extreme poverty in Mexico live in the southern states. Despite these states making up about 10% of Mexico's population, they receive very little in foreign direct investment. The zones, according to Pena Nieto, were part of an effort to help the \"other Mexico\" that had been left behind economically to catch up and take advantage of its potential.", "The special economic zones offer tax incentives (exemption from the 16% VAT), trade and customs benefits and streamline regulatory processes to encourage investment and economic activity. Additionally, there will be an increase in infrastructure spending in these regions. These zones, run by private administrators under 40-year contracts, aim to attract industries and investment, with each zone expected to have an anchor tenant that will draw in suppliers and other industries in the supply chain by 2018. This is done in an effort attract industry, alleviate poverty, and stimulate economic growth in these underdeveloped regions.", "In addition to offering tax incentives, streamlining regulatory processes, and increasing infrastructure spending, the special economic zones aim to attract anchor tenants that, in turn, would bring in suppliers and other industries into the supply chain. This is expected to create jobs, stimulate economic activity, and help alleviate poverty in these regions. The zones would be managed by private administrators on 40-year contracts, who would be responsible for managing infrastructure and attracting tenants.", "Yes, Nieto supports the special economic zones. He was instrumental in their creation, having signed into law in May 2016 their establishment in certain economically underdeveloped southern states in order to alleviate the lack of industry in these regions.", "The only reasons mentioned in the text provided for the creation of the new zones are to alleviate the lack of industry, to address economic disparity by increasing foreign direct investment, and to boost development and well-being in the southern states of Mexico that, according to Pena Nieto, had been left behind and hadn't been able to take advantage of their potential." ]
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C_14c0bb3b8f0f4ac989f1b63d5631e3c3_0
Enrique Peña Nieto
Enrique Pena Nieto was born on 20 July 1966 in Atlacomulco, State of Mexico, a city 55 miles (89 km) northwest of Mexico City. He is the oldest of four siblings; his father, Gilberto Enrique Pena del Mazo, was an electrical engineer; his mother, Maria del Perpetuo Socorro Ofelia Nieto Sanchez, a schoolteacher. He is the nephew of two former governors of the State of Mexico: on his mother's side, Arturo Montiel (whom business magazine Forbes listed in 2013, as one of the ten most corrupt Mexican politicians); on his father's, Alfredo del Mazo Gonzalez.
Security policy
While campaigning, Pena Nieto appointed a former general of the National Police of Colombia as his external advisor for public security, and boldly promised to reduce the murder rate in Mexico by 50% by the end of his six-year term. Critics of Pena Nieto's security strategy, however, said that he offered "little sense" in exactly how he will reduce the violence. During the three-month campaign, Pena Nieto was not explicit on his anti-crime strategy, and many analysts wondered whether he was holding back politically sensitive details or simply did not know how he would attempt to squelch the violence and carry out the next stage in Mexico's drug war. United States officials were worried that the election of Pena Nieto's Institutional Revolutionary Party may mean a return to the old PRI tactics of "corruption [and] backroom deals" with the cartels in exchange for bribes and relative peace. In 2012, the president-elect emphasized that he did not support the involvement or presence of armed United States agents in Mexico, but considered allowing the United States to instruct Mexico's military training in counterinsurgency tactics. Beyond that, Pena Nieto promised that no other measures will be taken by the United States in Mexico. The security policy of Pena Nieto has prioritized the reduction of violence rather than attacking Mexico's drug-trafficking organizations head-on, marking a departure from the strategy of the previous six years during Felipe Calderon's administration. One of the biggest contrasts is the focus on lowering murder rates, kidnappings, and extortions, as opposed to arresting or killing the country's most-wanted drug lords and intercepting their drug shipments. The government of Calderon justified its position by stating that the violence in the country was a necessary stage in Mexico's drug war, as weakening criminal groups fought for territorial control against one another and the government. On 13 December 2012, a law was approved that included far-reaching security reforms. Mexico's Interior Ministry, greatly strengthened by the bill, was made solely responsible for public security. Part of Pena Nieto's strategy consists of the creation of a national police of 40,000 members, known as a "gendarmerie". The Economist reported that the gendarmerie would have an initial strength of 10,000, but the Washington Office on Latin America reported that it was reduced to 5,000 members and would not be operational until July 2014. The Interior Ministry announced that 15 specialized police units were being formed to exclusively focus on major crimes that include kidnapping and extortion, along with a new task force dedicated to tracking missing persons. Pena Nieto also proposed centralizing the sub-federal police forces under one command. CANNOTANSWER
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[ "What kind of security policy does he advocate", "How does he plan to lower the murder rate?", "Did he say what he was going to try and do?", "Is he working with the drug traffickers", "What else is he planning to do for security?", "What is the gendarmerie going to do", "What else will they do?", "Does he have any other plans for them?", "What else would the new police do?" ]
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{ "answer_starts": [ 141, 233, 1249, 658, 2144, 2486, 2712, 2656, 1501 ], "texts": [ "boldly promised to reduce the murder rate in Mexico by 50% by the end of his six-year term.", "Critics of Pena Nieto's security strategy, however, said that he offered \"little sense\" in exactly how he will reduce the violence.", "The security policy of Pena Nieto has prioritized the reduction of violence rather than attacking Mexico's drug-trafficking organizations head-on,", "United States officials were worried that the election of Pena Nieto's Institutional Revolutionary Party may mean a return to the old PRI tactics of \"corruption [and] backroom deals\"", "Part of Pena Nieto's strategy consists of the creation of a national police of 40,000 members, known as a \"gendarmerie\".", "The Interior Ministry announced that 15 specialized police units were being formed to exclusively focus on major crimes that include kidnapping and extortion,", "Pena Nieto also proposed centralizing the sub-federal police forces under one command.", "a new task force dedicated to tracking missing persons.", "One of the biggest contrasts is the focus on lowering murder rates, kidnappings, and extortions," ] }
Enrique Peña Nieto (; born 20 July 1966), commonly referred to by his initials EPN, is a Mexican politician who served as the 64th president of Mexico from 1 December 2012 to 30 November 2018. A member of the Institutional Revolutionary Party (PRI), he previously served as Governor of the State of Mexico from 2005 to 2011, local deputy from 2003 to 2004, and Secretary of Administration from 2000 to 2002. Born in Atlacomulco and raised in Toluca, Peña Nieto attended Panamerican University, graduating with a B.A. in legal studies. After attaining an MBA from ITESM, he began his political career by joining the Institutional Revolutionary Party (PRI) in 1984. After serving as a public notary in Mexico City, he began an ascent through local political ranks in the late 1990s, culminating in his 2005 campaign for Governor of the State of Mexico. As governor, he pledged to deliver 608 compromisos (commitments) to his constituency to varying levels of success. His tenure was marked by low-to-moderate approval of his handling of a rising murder rate, the San Salvador Atenco civil unrest, and various public health issues. He launched his 2012 presidential campaign on a platform of economic competitiveness and open government. After performing well in polls and a series of high-profile candidate withdrawals, Peña Nieto was elected president with 38.14% of the vote. As president, he instated the multilateral Pact for Mexico, which soothed inter-party fighting and led to increased legislation across the political spectrum. During his first four years, Peña Nieto led an expansive breakup of monopolies, liberalized Mexico's energy sector, reformed public education, and modernized the country's financial regulation. However, political gridlock and allegations of media bias gradually worsened corruption, crime, and drug trade in Mexico. Global drops in oil prices limited the success of his economic reforms, which lowered political support for Peña Nieto. His handling of the Iguala mass kidnapping in 2014 and the escape of drug lord Joaquín "El Chapo" Guzmán from Altiplano prison in 2015 sparked international criticism. Guzmán himself claims to have bribed Peña Nieto during his trial. As of 2022, he is additionally part of the Odebrecht controversy, with former Pemex CEO Emilio Lozoya Austin declaring that Peña Nieto's presidential campaign benefited from illegal campaign funds provided by Odebrecht in exchange for future favors. Historical evaluations and approval rates of his presidency have been mostly negative. Detractors highlight a series of failed policies and a strained public presence while supporters note increased economic competitiveness and loosening of gridlock. He began his term with an approval rate of 50%, hovered around 35% during his inter-years and finally bottomed out at 12% in January 2017. He left office with an approval rating of only 18% and 77% of disapproval. Peña Nieto is seen as one of the most controversial and least popular presidents in the history of Mexico. Early life and education Enrique Peña Nieto was born on 20 July 1966 in Atlacomulco, State of Mexico, a city northwest of Mexico City. He is the oldest of four siblings; his father, Gilberto Enrique Peña del Mazo, was an electrical engineer; his mother, María del Perpetuo Socorro Ofelia Nieto Sánchez, a schoolteacher. He is the nephew of two former governors of the State of México: on his mother's side, Arturo Montiel; on his father's, Alfredo del Mazo González. He attended Denis Hall School in Alfred, Maine, during one year of junior high school in 1979 to learn English. After living in Atlacomulco for the first 11 years of his life, Peña Nieto's family moved to the city of Toluca. In 1975, his father would often take him to the campaign rallies of the State of Mexico's governor, Jorge Jiménez Cantú, a close friend of Peña del Mazo. The successor of the governor was Alfredo del Mazo González, a cousin of Peña Nieto's father. During Del Mazo González's campaign in 1981, the fifteen-year-old Peña Nieto had his first direct contact with Mexican politics: he began delivering campaign literature in favor of his relative, a memory Peña Nieto recalls as the turning point and start of his deep interest in politics. In 1984 at the age of 18, Peña Nieto traveled to Mexico City and enrolled in the Panamerican University, where he earned a Bachelor of Arts (BA) degree in legal studies. Peña Nieto's academic thesis was found to contain some improper citations and plagiarism, which stirred controversy in May 2016. Peña Nieto sought a master's degree in Business Administration (MBA) at the Instituto Tecnológico y de Estudios Superiores de Monterrey (ITESM), based in the State of Mexico. Political beginnings Peña Nieto joined the Institutional Revolutionary Party (PRI) in 1984, and with a law degree nearly completed, he began earning his own money. During his final years in college, Peña Nieto worked for a public notary in Mexico City, around the same time when his relative Alfredo del Mazo González was mentioned as a firm candidate for the 1988 presidential elections. In his twenties, he worked at the San Luis Industrial Corporation, an auto parts manufacturer, and at the law firm Laffan, Muse and Kaye. While still a student at the Universidad Panamericana, he roomed with Eustaquio de Nicolás, the current president of Homex, a leading Mexican construction and real estate company. He also befriended and roomed with Luis Miranda, who occupied several offices during the 1999–2000 administration in the State of Mexico. Peña Nieto formally started his political career under the mentorship of Montiel Rojas, becoming the Secretary of the Citizen Movement of Zone I of the State Directive Committee of the National Confederation of Popular Organizations (CNOP), one of the three sectors of the PRI. For three consecutive years, Peña Nieto participated as a delegate to the Organization and Citizen Front in different municipalities of the State of Mexico. Then, between 1993 and 1998, during Emilio Chuayfett's term as governor, Peña Nieto was chief of staff and personal secretary to Montiel Rojas, the Secretary of Economic Development of the State of Mexico. After 1999, Peña Nieto went from having low-level secretary positions to higher and more qualified offices. He served from 1999 to 2000 as the sub-secretary of government, and as financial sub-coordinator of the political campaign of Montiel Rojas. In 2001, Montiel Rojas named Peña Nieto Sub-secretary of Interior in the State of Mexico, a position that granted him the opportunity to meet and forge relationships with top PRI politicians and business leaders. After his term concluded, he served as the administrative secretary, as president of the Directive Council of Social Security, as president of the Internal Council of Health, and as vice president of the National System for Integral Family Development – all in the State of Mexico. Under the wing of Montiel Rojas, Peña Nieto formed a group known as the "Golden Boys of Atlacomulco" with other members of the PRI. Campaign for Governor Peña Nieto was elected to a local deputy position in his hometown of Atlacomulco, State of Mexico, in 2003. Two years later, the governorship of the State of Mexico was sought by Atlacomulco-natives Carlos Hank Rhon, Isidro Pastor, Héctor Luna de la Vega, Guillermo González Martínez, Óscar Gustavo Cárdenas Monroy, Eduardo Bernal Martínez, Cuauhtémoc García Ortega and Fernando Alberto García Cuevas. Peña Nieto was among the crowd, but was not poised as one of the favorites. Nonetheless, in 2005, Peña Nieto was the last man standing, succeeding Montiel Rojas as governor of the State of Mexico. On 12 February 2005, with 15,000 supporters in attendance, he was sworn in as candidate for the PRI. Governor of the State of Mexico (2005–2011) On 15 September 2005, Peña Nieto was sworn as governor of the State of Mexico at the Morelos theater in Toluca. Among the attendees were the outgoing governor, Arturo Montiel; the president of the Superior Court of Justice, José Castillo Ambriz; former governors, members of Peña Nieto's cabinet and party, mayors, businessmen, and church figures. The centerpiece of Peña Nieto's governorship was his claim that he was to deliver his compromisos – 608 promises he signed in front of a notary to convince voters that he would deliver results and be an effective leader. According to El Universal, during Peña Nieto's first year as governor, his administration delivered 10 of the structural promises he had advocated in his campaign – marking the lowest figure in his six-year term. By 2006, his administration carried out 141 of the promised projects, making that year the most active in the governor's term. The 608 projects Peña Nieto proposed consisted of creating highways, building hospitals, and creating adequate water systems to provide fresh water throughout the state. The most important of these was highway infrastructure, which tripled under Peña's government. By mid-2011, the official page of the State of Mexico noted that only two projects were left. The major projects in public transportation were the Suburban Railway of the Valley of Mexico Metropolitan Area and the "Mexibús", both of which served commuters between Mexico City and the State of Mexico, providing service to more than 300,000 people every day and 100 million a year. Regarding public health services, 196 hospitals and medical centers were built throughout the state and the number of mobile units to attend remote and vulnerable areas doubled. Deaths caused by respiratory diseases were reduced by 55%, while deaths caused by dysentery and cervical cancer were reduced by 68% and 25% respectively. In addition, between 2005 and 2011, the State of Mexico was able to fulfill the requirement of the World Health Organization of having one doctor for every 1,000 inhabitants. The funds for these and all the other commitments were obtained through restructuring the state's public debt, a strategy designed by his first Secretary of Finance, Luis Videgaray Caso. The restructuring also managed to keep the debt from increasing during Peña Nieto's term because the tax base was broadened to the point that it doubled in six years. Peña Nieto also claimed that he halved the murder rate in the State of Mexico during his time as governor, but retracted this claim after The Economist showed that the murder rate did not diminish and was being measured in a different way. The Yo Soy 132 student movement criticized Peña Nieto for his stance on the San Salvador Atenco unrest, which occurred during his term as governor. A report from the National Human Rights Commission (CNDH) stated protestors were subjected to cruel, inhuman or degrading treatment, arbitrary arrests and sexual assault, and remarked the excessive use of force by state and federal police. Peña Nieto stated in an interview that he does not justify the actions of the state and municipal forces, but also mentioned that they were not gladly received by the citizens of San Salvador Atenco upon their arrival. Presidential campaign On 23 November 2011, Peña Nieto went to a book fair in Casa del Lago, Mexico City. There he presented his book México, la gran esperanza (Mexico, the great hope). He was accompanied by writer Héctor Aguilar Camín, the former governor of Mexico's Central Bank, Guillermo Ortiz Martínez, and the journalist Jaime Sánchez Susarrey. In the book, Peña Nieto argued that Mexico needed to expand its economy to create more jobs, insisting that in the past the country has only created jobs in the informal sector. Additionally, he argued that promoting Pemex (Mexico's state-owned oil company) to compete in the private sector would create more jobs, elevate productivity, and balance wealth distribution across Mexico. Peña Nieto dedicated the book to his wife Angélica Rivera and to governor Eruviel Ávila Villegas and his family. Peña Nieto said that the return of the PRI marks a new era in Mexico, and that his book served as a starting point to take Mexico "to better horizons". On 27 November 2011, a few days after the book fair, Peña Nieto was the PRI's last standing nominee for the 2012 Mexican presidential elections. The former State of Mexico governor completed his nomination at an event that gathered sympathizers and politicians. Six days earlier, the senator and preliminary candidate of the PRI, Manlio Fabio Beltrones, withdrew from the race and gave Peña Nieto a clear path towards the presidency. During a book fair a month later, Peña Nieto's public image came into question after he struggled to answer a question that asked which three books had marked his life. Later, Peña Nieto was interviewed by El País and admitted that he did not know the price of tortillas. When he was criticized as being out of touch, Peña Nieto insisted that he was not "the woman of the household" and thus would not know the price. His campaign was supported by the Commitment to Mexico alliance. Elections On 1 July 2012, Mexico's presidential election took place. In an initial, partial count issued that night, the Federal Electoral Institute (IFE) announced that based on a fast vote counting, Peña Nieto was leading the election with 38% of the votes. His nearest competitor, Andrés Manuel López Obrador, was just 6 points behind him. The figures were meant to be a representative sample of the votes nationwide; but shortly after this announcement, Peña Nieto appeared on national television claiming victory. "This Sunday, Mexico won", he said. He then thanked his voters and promised to run a government "responsible and open to criticism." At the PRI headquarters in Mexico City, the victory party began. With more than 97% of the votes counted on election day, the PRI had won with about 38% of the votes, 6.4 points above the leftist candidate López Obrador of the Party of the Democratic Revolution (PRD), who refused to concede to the results and had threatened to challenge the outcome, criticizing the PRI for allegedly engaging in vote buying and receiving illegal campaign contributions. Presidency (2012–2018) Peña Nieto was sworn in as President of Mexico on 1 December 2012 at the federal congress and later flew to a military parade to formally take control of the armed forces. During his inauguration speech at the National Palace, Peña Nieto proposed his agendas and reforms for the new administration. Before and after the inauguration, in an event that has been labeled by the media as the 1DMX, protesters rioted outside of the National Palace and clashed with Federal Police forces, vandalizing hotel structures and setting fires in downtown Mexico City. More than 90 protesters were arrested and several were injured. Mayor Marcelo Ebrard blamed "anarchist groups" for the violence. However, there is evidence that agents of provocation worked with the police, paid 300 Mexican pesos (about US$20) for their acts of vandalism, according to media reports. Photos show protesters waiting in groups behind police lines prior to the violence. Previous protests had been entirely peaceful, but on this occasion, in apparent response to violence, the police fired rubber bullets. The day after his inauguration, Peña Nieto announced the Pact for Mexico, an agreement that he had struck with the leaders of the two other major parties at the time, Jesús Zambrano Grijalva of the Party of the Democratic Revolution and Gustavo Madero Muñoz of the National Action Party, about the government's goals for the next few years. On 1 December 2018, Enrique Peña Nieto left office and was succeeded by Andrés Manuel López Obrador. Economic policy The auto manufacturing industry expanded rapidly under Nieto's presidency. In 2014, more than US$10 billion was committed in investment in the sector. In conjunction with Kia Motors in August 2014, the president announced plans for Kia to build a US$1 billion factory in Nuevo León. At the time, Mercedes-Benz and Nissan were already building a US$1.4 billion plant near Puebla, while BMW was planning a US$1 billion assembly plant in San Luis Potosí. Audi began building a US$1.3 billion factory near Puebla in 2013. As of December 2014, two years into Peña Nieto's term, total investment in the auto sector in Mexico had reached US$19 billion. The Bajío Region has received the majority of this investment, and with its rapidly expanding aerospace industry has become the fastest-growing region in the country. In February 2014, Time was met with controversy for the release of a cover featuring Enrique Peña Nieto with the caption "Saving Mexico" (written by Michael Crowley), as the cover article's title inside the magazine. The controversial article praised the president and his cabinet for reforms like opening oil fields for foreign investment for the first time in 75 years (a reform towards which Mexican citizens have shown mixed feelings), ending the Mexican drug wars (which was not completely accurate), and even going as far as saying "the opposition party blocked major reforms that were necessary", that "American leaders could learn a thing or two from their resurgent southern neighbor" and saying Mexicans citizens' "alarms were replaced with applause". According to the Mexican Social Security Institute (IMSS), between December 2012 and June 2016, more than two million jobs were created in Mexico. Of those jobs, 41% were taken by women and 36% were taken by individuals between 20 and 34 years of age. IMSS also revealed that 86% were long-term jobs and 14% were temporary. These jobs have led to a 26% increase in revenue accumulation for IMSS, an additional MXN$50 billion. More than half a million jobs had salaries worth five minimum wages (about MXN$10,000 per month) and there was a 22% increase in jobs with salaries greater than 20 minimum wages. Special economic zones At the end of May 2016, Peña Nieto signed a law that will create special economic zones in economically depressed southern states. The first three are: Lázaro Cárdenas, Michoacán; Port Chiapas, Chiapas; and in the Isthmus of Tehuantepec to better join the ports of Coatzacoalcos, Veracruz and Salina Cruz, Oaxaca. Another zone in the petroleum region of Tabasco and Campeche, hit by the downturn in the oil industry, is planned for 2017. The special economic zones are meant to alleviate the lack of industry in the South. During the signing, Peña Nieto highlighted the difference between the South and the industrial North and Center of Mexico: two of every three people in extreme poverty in Mexico live in the southern states. While the three poorest states (Chiapas, Oaxaca and Guerrero) have about 10% of the population, they only receive $1 of every $36 in foreign direct investment in the country. He went on to say that there are two Mexicos: one "that competes and wins in the global economy, with growing levels of income, development and well-being", while the other Mexico "has been left behind [and] hasn't been able to take advantage of its potential." The special economic zones will offer tax incentives (exemption from the 16% VAT), trade and customs benefits and the streamlining of regulatory processes. There will also be an increase in infrastructure spending in these regions. Private administrators will run the zones on 40-year contracts (managing infrastructure and attracting tenants). According to Peña Nieto, at the latest, each of these zones will have an anchor tenant that will attract suppliers and other industries in the supply chain by 2018. The World Bank advised Mexico during the formulation of the special economic zones plan. Domestic policy Peña Nieto enacted a public education reform that aimed to curb the powerful teachers' union, Sindicato Nacional de Trabajadores de la Educación (SNTE), improve standards, centralize the process for hiring, evaluating, promoting and retaining teachers, and crack down on corruption – such as wages for non-existent "ghost teachers". Five years after its signing, the plan has barely affected standards: Mexico still ranks last in education among the 35 Organisation for Economic Co-operation and Development countries and the Secretariat of Public Education spent more money on communications (2,700% more on communications in 2017 than was budgeted) than on teacher training. Security policy While campaigning, Peña Nieto appointed a former general of the National Police of Colombia as his external advisor for public security, and promised to reduce the murder rate in Mexico by 50% by the end of his six-year term. Critics of Peña Nieto's security strategy, however, said that he offered "little sense" in exactly how he will reduce the violence. During the three-month campaign, Peña Nieto was not explicit on his anti-crime strategy, and many analysts wondered whether he was holding back politically sensitive details or simply did not know how he would attempt to squelch the violence and carry out the next stage in Mexico's drug war. United States officials were worried that the election of Peña Nieto's Institutional Revolutionary Party may mean a return to the old PRI tactics of "corruption [and] backroom deals" with the cartels in exchange for bribes and relative peace. In 2012, the president-elect emphasized that he did not support the involvement or presence of armed United States agents in Mexico, but considered allowing the United States to instruct Mexico's military training in counterinsurgency tactics. Beyond that, Peña Nieto promised that no other measures will be taken by the States in Mexico. The security policy of Peña Nieto prioritized the reduction of violence rather than attacking Mexico's drug-trafficking organizations head-on, marking a departure from the strategy of the previous six years during Felipe Calderón's administration. One of the biggest contrasts is the focus on lowering murder rates, kidnappings, and extortions, as opposed to arresting or killing the country's most-wanted drug lords and intercepting their shipments. On 13 December 2012, a law was approved that included far-reaching security reforms. Mexico's Interior Ministry, greatly strengthened by the bill, was made solely responsible for public security. Part of Peña Nieto's strategy consists of the creation of a national police of 40,000 members, known as a "gendarmerie". The Economist reported that the gendarmerie would have an initial strength of 10,000, but the Washington Office on Latin America reported that it was reduced to 5,000 members and would not be operational until July 2014. The Interior Ministry announced that 15 specialized police units were being formed to exclusively focus on major crimes that include kidnapping and extortion, along with a new task force dedicated to tracking missing persons. Peña Nieto also proposed centralizing the sub-federal police forces under one command. In December 2017, the was passed by legislation but was met with criticism, especially from the National Human Rights Commission, accusing it gave the President a blank check. Energy policy During the presidential campaign, Peña Nieto promised to allow private investment in Pemex, Mexico's state-owned oil company. He also indicated interest in an economic agreement with Petrobras, Brazil's oil company. By liberalizing Pemex, investors say Peña Nieto's proposal could allow joint ventures and private investment in the oil company. According to the Financial Times in 2012, Peña Nieto's PRI government, which held just over 38% of the votes in Congress, might have difficulty gaining a majority to pass such reforms, or the two-thirds majority needed to change the Mexican constitution. Pemex was founded through the nationalization of foreign oil interests, and the Mexican constitution bans major outside investments. Changing Pemex could transform the psychology of Mexico's business sector and involve cultural and political changes that cannot be rushed. President Lázaro Cárdenas led the expropriation of foreign oil company assets in 1938 to form Pemex, which has served as a symbol of national identity. Eric Martin of Bloomberg News stated that if Peña Nieto wants to invite investment, he will have to face the challenges of union leaders and local officials who have benefited from the oil company's bonanza. Productivity in Pemex has been declined in the 2000s. Peña Nieto declared while campaigning that overhauling Pemex will be the PRI's and his "signature issue", and that he will encourage private companies to invest in exploration and development activities. Following Peña Nieto's hike in the price of gasoline as a result of his privatization of the Mexican oil industry, protests erupted nation-wide. Protestors blockaded major highways, forced the closing of foreign borders and shut down gas stations. Foreign policy 2016 visit by Donald Trump Peña Nieto invited U.S. Republican presidential candidate Donald Trump to visit on 31 August 2016, and appeared with him in a press conference. Peña Nieto was criticized for extending the invitation to Trump, and following the conference, journalist Jorge Ramos criticized Peña Nieto for not using the opportunity to publicly contradict Trump's campaign promise to make Mexico pay for his proposed Mexico–United States border wall, as well as what Ramos called, Trump's "attacks on Latin American immigrants, his rejection of free trade agreements and his scorn for global organizations." Despite this, Peña Nieto stated on his Twitter that he made it clear to Trump that Mexico would not pay for the wall, only to shortly after get a reply from Donald Trump saying: "Mexico will pay for the wall!" Trump's presidency and border wall Peña Nieto and Trump were to meet on 26 January 2017, until Trump wrote on his Twitter account: "If Mexico is unwilling to pay for the badly needed wall, then it would be better to cancel the upcoming meeting". This directly led Peña Nieto to cancel his visit to the U.S. president. In an interview with Aristegui Noticias, Washington-based freelance journalist Dolia Estévez said she obtained access to part of a one-hour phone conversation between the two presidents the day of the scheduled meeting. She stated, "Trump humiliated Peña Nieto", and said that the conversation only lasted 20 minutes; she also explained that the speech was prolonged to an hour due to translation efforts because Peña Nieto does not understand English. While many media outlets praised Peña Nieto for cancelling the visit with Trump, Forbes Mexico stated that despite showing support towards Peña Nieto for cancelling such event, "that shouldn't translate in forgiveness to what happens within our country [Mexico]" adding that "a state incapable of bringing credibility and stability could not grow", and that more than Trump, the thing keeping Mexico from prosperity was the corruption within the Mexican government. Controversies Publicity and public image As of July 2017, Oxford University's Computational Propaganda Research Project claimed Mexico's social media manipulation (Peñabots) to come directly from the Mexican government itself. A December 2017 article of The New York Times, reported Enrique Peña Nieto spending about 2 billion dollars on publicity, during his first five years as president, the largest publicity budget ever spent by a Mexican President. Iguala mass kidnapping In September 2014, 43 male college students were forcibly taken then disappeared in Guerrero. The forced mass disappearance of the students arguably became the biggest political and public security scandal Peña Nieto had faced during his administration. It led to nationwide protests, particularly in the state of Guerrero and Mexico City, and international condemnation. Freedom of the press During his tenure as president, Peña Nieto has been accused of failing to protect journalists, whose deaths have been speculated to be politically triggered by officials attempting to prevent coverage of scandals. On 29 April 2017, The New York Times published a news report titled "In Mexico, 'It's Easy to Kill a Journalist'", which covered the high rate of deaths and disappearances of journalists in Mexico and declared Mexico had become "one of the worst countries in the world to be a journalist today." In November 2014, an article was published by journalist Carmen Aristegui, indicating that a $7 million "White House" owned by Enrique Peña Nieto and his wife Angelica Rivera, in Lomas de Chapultepec was registered under the name of a company affiliated with a business group that had received government contracts to build a bullet train. The revelation about the potential conflict of interest in the acquisition of the house aggravated discontent about the government. Rivera released a video in which she detailed her income as a former soap opera actress, stating that she was selling the house and that the property was not under her name because she had not made the full payment yet. She later deleted the video. Shortly after revealing the Mexican White House incident, Carmen Aristegui was controversially fired from her radio show at MVS Communications. As noted by The New York Times, Aristegui being fired was a perceived as a censorship towards news journalism and freedom of speech. Aristegui took it to trial and by June 2018, three years after MVS fired her, the jury determined that it was indeed unconstitutional and against the law, to fire her and indeed was an act of censorship towards the freedom of speech. Peña Nieto's successor in the presidency of Mexico, Andres Manuel López Obrador, promised Aristegui would be free to return to radio if she wanted and that there would be no more unfair censorship towards the freedom of speech. On 19 June 2017, The New York Times, in conjunction with Carmen Aristegui and Televisa news reporter Carlos Loret de Mola, reported that the Mexican government had used the Pegasus spyware to surveil on targets such as reporters, human rights leaders and anti-corruption activists using text messages as lures. From 2011 to 2017, the Mexican government spent $80 million on spyware. Pegasus infiltrates a person's cell phone and reports on their messages, e-mails, contacts and calendars. In 2016, Aristegui revealed in a special report arguing that Enrique Peña Nieto had committed plagiarism on his law thesis, at least a third of it, with 197 out of 682 paragraphs being unsourced or wrongly sourced works. Allegations of corruption In October 2017, Santiago Nieto Castillo, the head of the Office for Election-related Crimes (FEPADE) was controversially removed from office, shortly after opening an investigation into illicit campaign money during the 2012 presidential campaign, received by Peña Nieto and would be president of Pemex, Emilio Lozoya Austin from the Brazilian conglomerate Odebrecht. In December 2017, The New York Times published accusations that Peña Nieto's government was blocking investigations against public corruption, with a commissioner saying the government was preventing the establishment of an impartial leader in FEPADE. 22 ex-governors, all members of the PRI, were investigated for corruption with five jailed. In March 2018, during the campaign period for the 2018 presidential election, the Prosecutor General's Office (PGR) opened an investigation into the PAN's candidate, Ricardo Anaya, for money laundering. Santiago Nieto said that the accusations towards Anaya were minor in comparison to Odebrecht and Peña Nieto scandal, as well as the SEDESOL scandal (in which $435 million pesos were lost) or the corruption amongst governors from the PRI such as Javier Duarte and César Duarte Jáquez (both whom were later arrested). Santiago Nieto further charged that the PGR and FEPADE were not being neutral and were instead being used as tool by Peña Nieto's government to tamper with the upcoming election, by investigating Anaya, a political opponent, and not José Antonio Meade, a political ally. In an interview with The Wall Street Journal, Santiago Nieto would later reveal that Peña Nieto's government tried to bribe him to keep him silent, which he refused by saying "Sorry, but I can't receive any money from Peña Nieto." He subsequently received threatening calls with the words "Death follows you" and "Words of advice: stay out of Trouble." The Brazilian conglomerate Odebrecht, which is accused of corruption and bribes throughout Latin America, is under investigation for allegedly overriding Peña Nieto's presidential campaign with illegal campaign funds. In exchange for campaign funds, the Peña Nieto administration allegedly granted contracts to Odebrecht through state-owned Pemex. An Odebrecht employee told a Brazilian court that he had been asked to pay a bribe to Lozoya, then head of Pemex. In March 2018, PRI legislators voted to stop the investigation into Odebrecht, which drew criticism. The investigation against Emilio Loyoza, then-head of Pemex, was also controversially ceased after a judge ordered it days later. While in office, Peña Nieto invoked two constitutional rights related to prosecution: amparo and fuero. Amparo gives anyone accused of a crime the right to know which crimes they are being accused of; it is mostly used by people expecting to go to trial, and is used to allow the prosecuted person to build a defense with the help of a lawyer. Fuero protects political figures from prosecution committed during their time in office, in effect delaying any investigations against him until the end of their terms. Peña Nieto is the first Mexican president to invoke either right. In 2020, Lozoya was detained by the Mexican government. On his trial statements, he testified against Peña Nieto and Luis Videgaray (the former Minister of Finance during Peña's government). He detailed that following Peña's orders, he acted as the middle-man between Peña Nieto and Odebrecht, stating that Peña Nieto's presidential campaign benefited from illegal campaign funds provided by Odebrecht, in exchange for future favors. According to the triangulation investigations that proved Lozoya guilty, he received $10 million from Odebrecht. During his trial, Lozoya described the payments for facilitating the exchange as a middle-man. Lozoya and Videgaray are featured prominently in spots from the 2012 presidential campaign. Mexican journalist Carlos Loret de Mola described being contacted by Peña Nieto's state, and being told the former president described himself as "unaware of Lozoya's corruption". Loret de Mola also said Peña Nieto was already in contact with his successor, Andres Manuel López Obrador, to declare his version of the events. Loret de Mola said that Peña Nieto was "going to get lost within his own lies", during the trial. On November 12, 2020, the Attorney General's Office (FGR) officially accused Peña Nieto of being a "traitor to the country and of electoral fraud due to the Odebrecht scandal" along with Lozoya and Videgaray. During United States of America v. Joaquín Guzmán Loera, Guzmán's lawyer alleged that the Sinaloa drug cartel had paid "hundreds of millions of dollars" in bribes to Peña Nieto and his predecessor, Felipe Calderón; both presidents denied the claims, with Peña Nieto's spokesman calling the claims "completely false and defamatory". Alex Cifuentes, who described himself as Guzmán's "right-hand man", later testified that Peña Nieto originally asked for $250 million before settling on $100 million. Allegations of crimes against humanity In 2016, a report by the Open Justice Society Initiative claimed that there are "reasonable grounds" to believe that both the Mexican army and drug cartels had committed crimes against humanity during the Mexican Drug War. The report accused both Peña Nieto and his predecessor Felipe Calderón of "almost completely failing" to ensure accountability for the actions of the Mexican army, and of denying or minimizing the scale of the atrocities. In June 2018, human rights organizations presented documents alleging slayings, tortures, rapes and forced disappearances to the International Criminal Court, and called on them to investigate. Public image Media gaffes Peña Nieto has had occasional lapses in memory or gaffes during public events or interviews. The most-noted incident occurred during the International Book Fair of Guadalajara on 3 December 2011. On that day, during a question and answer session, he was asked by an audience member to name three books that had influenced him, being only able to correctly reference the Bible. He then "rambled, tossing out confused title names, asking for help in recalling authors and sometimes mismatching" the two others. Other incidents have involved him not being able to recall Benito Juárez's year of birth, being unable to remember the acronym of the Federal Institute of Access to Information (IFAI), changing the date of foundation of the state of Hidalgo, mistaking the capital of the State of Veracruz, mentioning the U.S. presidential candidate "La señora Hillary Trump" (Mrs. Hillary Trump), among others, of varying degree of substantiation or credibility. These have gone viral on social media, especially Twitter and a website that counts the number of days since his last gaffe. Allegations of media bias Televisa Televisa, the largest conglomerate broadcasting in Mexico and other Spanish-speaking countries, was accused of tilting their coverage towards Peña Nieto ahead of the 1 July vote. Thousands of students protested of the perceived bias throughout Mexico City and other cities. On 7 June 2018, The Guardian Jo Tuckman reported about dozens of computer files – forwarded to The Guardian by a source who worked with Televisa but has not been possible to confirm the authenticity of the documents – suggesting that Televisa sold favorable coverage to Peña Nieto when he was governor of the state of Mexico and developed a smear campaign against López Obrador ahead of his first bid for the presidency in 2006. Televisa and the PRI suggested that the documents were false. Time magazine On the 24 March 2014 issue of the newsweekly Time, Peña Nieto was on the front cover with the caption, "Saving Mexico". The front cover was met with widespread disapproval of the Mexican public, prompting various spoofs on social media, even prompting a petition to have him removed from the cover. Evaluations as president and legacy In August 2016, Peña Nieto's approval ratings dropped to 23 percent (74 percent said they disapproved of his performance), which newspaper Reforma revealed to be the lowest approval rating for a president since they began polling in 1995. The approval decreased to 12% by 19 January 2017. The lack of popularity and credibility of Peña Nieto's government is perceived to have caused the PRI to suffer monumental defeat in the 2018 Mexican general election, where the party received the lowest vote percentage in their history. The party's presidential candidate, José Antonio Meade, did not win a majority in any of Mexico's 300 voting locations, while the PRI was also defeated in each of the nine gubernatorial elections. The presidency of Mexico went to Andres Manuel López Obrador, from MORENA. The PRI also lost to MORENA in Atlacomulco, the hometown of Enrique Peña Nieto. In 2020, Andrés Manuel López Obrador, Peña Nieto's successor, asked Mexicans if they would like to see former presidents face trial for allegations of corruption. According to a survey conducted by El Universal, 78% of Mexicans wanted the former presidents to face trial, with Peña Nieto the one they wanted to be incarcerated the most. In popular culture The 2014 Mexican comedy and political satire movie The Perfect Dictatorship had a plot based on the real life perceived Televisa controversy, which consisted of Mexican citizens heavily perceiving the news media was unfairly favoring PRI candidate Enrique Peña Nieto during the 2012 presidential election in Mexico. Personal life Family life In 1993, Peña Nieto married his first wife, Mónica Pretelini (1963–2007) and the couple had three children: Paulina, Alejandro and Nicole. Peña Nieto had two children outside his first marriage; a son with Maritza Díaz Hernández, and another child, with an undisclosed woman, who died as an infant. Pretelini died on 11 January 2007 as the result of an epileptic episode. Pretelini played a supporting role during the campaign of Peña Nieto's governorship. In 2008, Peña Nieto began a relationship with Televisa soap opera actress Angélica Rivera, whom he had hired to help publicize his political campaign for the State of Mexico. The couple married in November 2011. After his tenure as president ended, Rivera announced their divorce on 8 February 2019. Peña Nieto is the cousin of Alfredo del Mazo Maza, the current governor of the State of Mexico, of which his grandfather, father, distant uncle Arturo Montiel, as well as Peña Nieto himself, have previously been governors. Ancestry Honours National honours : Collar of the Order of the Aztec Eagle (1° December 2012) Foreign honours National Order of Juan Mora Fernández, Grand Cross with Gold Plaque, awarded by Laura Chinchilla on 19 February 2013. National Order of the Legion of Honour, Grand Cross, awarded by Francois Hollande on 10 April 2014. Order of Prince Henry, Grand Collar, awarded by Aníbal Cavaco Silva on 2 June 2014. Order of Isabella the Catholic, Grand Cross with Collar, awarded by King Juan Carlos I of Spain on 6 June 2014. Order of the Sun of Peru, Grand Cross with Diamonds, awarded by Ollanta Humala on 17 July 2014. Order of the Bath, Honorary Knight Grand Cross, awarded by Queen Elizabeth II of the United Kingdom on 3 March 2015. Order of the Quetzal, Grand Collar, awarded by Otto Pérez Molina on 13 March 2015. Order of the Southern Cross, Grand Collar, awarded by Dilma Rousseff on 26 May 2015. Order of Charles III, Grand Cross with Collar, awarded by King Felipe VI of Spain on 20 June 2015. Order of King Abdulaziz, Collar, awarded by King Salman of Saudi Arabia on 17 January 2016. Order of the Elephant, Knight, awarded by Queen Margrethe II of Denmark on 13 April 2016. Order of Merit of the Italian Republic, Grand Cross with Cordon, awarded by Sergio Mattarella on 21 July 2016. Order of the Liberator General San Martín, Grand Collar, awarded by Mauricio Macri on 29 July 2016. Military Order of Saint James of the Sword, Grand Collar awarded by Marcelo Rebelo de Sousa on 17 July 2017. Medal of the Oriental Republic of Uruguay on 9 February 2018. See also 2015 Mexican legislative election 2012 Mexican general election 2005 State of Mexico election Peñabot References External links Enrique Peña Nieto, Biografía – CIDOB Foundation Enrique Peña Nieto – Personal blog of Enrique Peña Nieto Las 7 reformas que propone Peña Nieto para México – CNNMéxico Mexico Elections: Institutional Revolutionary Party Candidate Enrique Pena Nieto Wins Presidency – The Huffington Post |- |- Category:1966 births Category:Living people Category:21st-century Mexican politicians Category:Candidates in the 2012 Mexican presidential election Category:Collars of the Order of Isabella the Catholic Category:Collars of the Order of the Liberator General San Martin Category:Governors of the State of Mexico Category:Grand Collars of the Order of Prince Henry Category:Honorary Knights Grand Cross of the Order of the Bath Category:Knights Grand Cross with Collar of the Order of Merit of the Italian Republic Category:Mexican people of Spanish descent Category:Monterrey Institute of Technology and Higher Education alumni Category:People from Atlacomulco Category:People involved in plagiarism controversies Category:Politicians from the State of Mexico Category:Presidents of Mexico Category:Recipients of the Order of the Sun of Peru Category:Panamerican University alumni
[ { "text": "Legislative elections were held in Mexico on 7 June 2015, alongside municipal elections.\n\nBackground\nTraditionally elections had taken place on the first Sunday of July, but in 2015 were set to the first Sunday of June.\n\nElectoral system\nThe 500 members of the Chamber of Deputies were elected by two methods; 300 were elected in single-member constituencies, and 200 by proportional representation in a single nationwide constituency. Constitutional reforms in 2014 led to the creation of the National Electoral Institute, replacing the Federal Electoral Institute.\n\nOpinion polls\n\nResults\n\nReferences\n\nExternal links\nNational Electoral Institute \n\nMexico\nLegislative\nCategory:Legislative elections in Mexico\nLegislative", "title": "2015 Mexican legislative election" }, { "text": "General elections were held in Mexico on Sunday, July 1, 2012. Voters went to the polls to elect a new President of the Republic to serve a six-year term, replacing Felipe Calderón, 500 members of the Chamber of Deputies and 128 members of the Mexican Senate.\n\nSeveral local ballots were held on the same day, including the election of a new Head of Government and new Legislative Assembly of the Federal District, gubernatorial elections in six states (Chiapas, Guanajuato, Jalisco, Morelos, Tabasco and Yucatán) and municipal and local congressional elections several states.\n\nElectoral reform\nIn December 2009, president Felipe Calderón sent a bill to Congress aimed at reducing the number of legislators in both chambers and another mechanism for the presidential election which have not yet been passed. If approved, the following reforms will be implemented:\n Second round voting in case no presidential candidate receives an absolute majority of the votes.\n 96 Senators of the Republic, 3 for each state, elected by plurality for a period of six years, renewable once.\n 400 Federal Deputies (240 by first-past-the-post and 160 by proportional representation) elected for a period of three years with possibility of reelection.\n\nPresidential candidates\n\nThe following are individuals who have either formally announced that they are running for president in 2012, or have formed an exploratory committee for a possible presidential run in 2012.\n\nNational Action Party (PAN) Nomination\n\nNominee:\n Josefina Vázquez Mota, Representative from Mexico City\nOther pre-candidates:\n Ernesto Cordero, former Secretary of Finance and Public Credit from Mexico City\n Santiago Creel, Senator from Mexico City\n Javier Lozano Alarcón, withdrew July 21, 2011\n Alonso Lujambio, withdrew August 29, 2011\n Emilio González Márquez, withdrew September 22, 2011\n\nPre-candidates gallery\n\nOn Feb. 5th Josefina Vázquez Mota was announced as PAN presidential candidate following her victory in the internal selection process.\n\nParty of the Democratic Revolution (PRD) Nomination\n\nNominee:\n\n Andrés Manuel López Obrador, former Head of Government of the Federal District from Tabasco.\n\nCandidates\n Marcelo Ebrard, withdrew November 15, 2011\n\nCandidates gallery\n\nOther pre-candidates\n\nInstitutional Revolutionary Party (PRI) Nomination\n\nNominee:\n\n Enrique Peña Nieto, former Governor of the State of Mexico\n\nFormer candidates\n Manlio Fabio Beltrones, withdrew November 21, 2011\n\nCandidates gallery\n\nNew Alliance Party (PNA) Nomination\n\nNominee:\n\n Gabriel Quadri de la Torre\n\nCandidates gallery\n\nOpinion polls\n\nAllegations of media bias and Yo Soy 132 student protests\n\nMass protests have taken place in Mexico City against alleged bias towards PRI and Peña Nieto in the print and television media, particularly Televisa.\n\nThe movement Yo Soy 132 (\"I am 132\") formed in response to this perceived bias, with initial focus on Peña Nieto as the flagship of \"corruption, tyranny and authoritarianism\". On May 11, 2012, Peña Nieto visited Universidad Iberoamericana and was received with scorn. Both printed and televised media reported this as a minor mishap, called the students intolerant, and claimed that they had been paid by leftist organizations. In response, 131 students identified themselves on a YouTube video by their university IDs and stated that their actions were independent. This caused a ripple effect as many tweeted \"I'm the 132nd student\" in solidarity. Mass protests organized by public and private university students then took place across the country. The movement successfully demanded that, unlike the first debate, the second presidential debate be broadcast on national television, and has proposed a third debate to cover a broader scope of issues.\n\nClaims of hacking\nIn a 31 March 2016 article published by Bloomberg Business Week, a Colombian hacker named Andrés Sepúlveda claimed to have been paid US$600,000 by the PRI for hacking files (including phone calls, e-mails, and strategies) pertaining to the respective political campaigns of Peña Nieto's rivals, and also to manipulate social media to create fake news against his opponents with 30,000 fake Twitter accounts, creating fake trending topics and the perception of public enthusiasm toward Peña Nieto's campaign. On election day, Sepúlveda claimed to have been watching a live feed from Bogota, Colombia and destroyed evidence right after Peña Nieto was declared winner. He said he was helped by a team of six hackers, which he led. The hacker is serving a 10-year prison sentence in Colombia for hacking crime, in favor of the election campaign of Óscar Iván Zuluaga.\n\nResults\n\nPresident\n\nSenate\n\nChamber of Deputies\n\nRecount\nFollowing the elections, López Obrador demanded a full recount, claiming there had been widespread irregularities. The Federal Electoral Institute subsequently announced that there would be a partial recount, with presidential ballots from 78,012 of the 143,132 polling stations to be recounted, whilst ballots for the Congressional elections would be re-examined at two-thirds of polling stations. On July 6 after a partial recount of approximately 50% of the votes, the Federal Electoral Institute declared they had found anomalies but that Nieto still had majority and was confirmed as the winner with 38.2% of the popular vote. which officially has until 6 September to announce a winner.\n\nRequest to invalidate election\nOn July 12, López Obrador presented his formal complaint to invalidate the election to the Electoral Tribunal of the Federal Judiciary (TEPJF) on grounds of violation of constitutional article 41 which states that the elections must be free and authentic and with equal benefits for all competing parties. Alleging that the Mexican media had treated them with inequality in relation to Peña Nieto and presenting the numerous evidence of paraphernalia used to buy votes for the PRI as well as pre-marked ballots and notarized witness statements of people who sold their votes to the PRI. The complaint also pointed towards the PRI's campaign going over budget an alleged 1000% over the established allowed budget by the Federal Electoral Institute which is of 336 million Mexican pesos. On July 18 López Obrador accused Peña Nieto of using illicit funds and money laundering to finance his campaign. After presenting new audio evidence regarding the PRI's use of Monex cards, López Obrador commented that it would be better if the Electoral Tribunal invalidated the election and move in an interim President than to violate the constitution and acting in an \"anti-democratic\" way. He said that if the Electoral Tribunal does not invalidate the election, Mexico will be governed by a \"gang of evildoers\".\n\nOn 30 August 2012, the TEPJF, Mexico's highest election-law court rejected the allegations of fraud after they concluded that there was \"insufficient evidence of wrongdoing.\"\n\nPost-electoral protests and claims of fraud\nAfter the preliminary results of the Federal Electoral Institute announced Enrique Peña Nieto as virtual President-elect, several student protests led by the youth movement Yo Soy 132 and independent citizen movements broke out throughout the country claiming the forced imposition of a President and electoral fraud, as evidence of an alleged fraud surfaced and pointed towards the PRI buying votes by providing voting citizens with store credit cards of Mexican supermarket chain Soriana. Mexico's Federal Electoral Institute (IFE) confirmed in January 2013 that Peña Nieto's party spent $5.2 million in electronic cards throughout the whole campaign. Opposition parties complained that this represented a form of illicit funding, but the IFE claimed the contrary. The PRI party claimed that the electronic cards were intended for party personnel, but this method rose suspicions because some of the money was transacted through \"several shadowy companies instead of being disbursed directly from party coffers.\" This also increased the suspicions that the PRI had received illegal donations from corporations (given that this move is prohibited under law). The IFE stated on 24 January 2013 and ruled by 5–4 votes that the fundings were not violating the law, but opposition parties and critics believe that the IFE did not thoroughly investigate the origins of the money.\n\nFurther alleged evidence arose as pictures of ballots already marked in favor of the PRI, with the logo of the party printed over the marking, have been shared widely over online social networks, and there have also been numerous videos and photos of that show the irregularities between local ballot boxes and the official result of those ballot boxes. More allegations appeared as videos showing protection of local police patrols protecting supposed \"Mapaches\". Following a request from Andrés Manuel López Obrador, the Federal Electoral Institute agreed to recount more than half of the ballots cast in the presidential election. It later reconfirmed the original result. The result was endorsed by Barack Obama, the president of the United States, and by the Venezuelan president Hugo Chávez, who backed López Obrador in a similar dispute in 2006.\n\nOn July 7, a national protest in opposition of Enrique Peña Nieto was organized through online social networks, and demonstrations occurred in several cities. The protest in Mexico City was billed as a \"mega-march\", but the number of demonstrators equalled only around half the number which attended anti-PRI demonstrations held prior to the election. Statements from the Yo Soy 132 student movement formally uninvolved themselves from the protest cautioning against violent results; alleging that it may have been organized by a similarly named movement linked to the PRI. Despite the statement the protests effectively took place in 37 cities in Mexico, Canada, the United States, and Europe with no incidents of violence or known involvement of the PRI. Though in Xalapa, Veracruz a man identified as Juan Pablo Frianzoni, presumed member of the youth PRI group \"Juventud Dinamica\"; threw chairs at the protesters and then pointed a handgun at them from his balcony. Frianzoni was then apprehended by Police officers who were standing by the protest. Televisa did not broadcast the National protests, and instead presented a live broadcast of Eugenio Derbez and Alessandra Rosaldo's wedding which was interrupted due to \"technical difficulties\" when loud protest chants became audible outside of the event. Derbez however stated that he was in support of the protests, and though he regrets them happening on the day of his wedding; he said he will cherish the memory.\n\nAs of July 15 protests and further acts of civil resistance against Peña Nieto and Televisa continue around the country. On July 27 protesters set up a 24-hour blockade around the main Televisa studios in Chapultepec, Mexico City.\nOn August 30 several protesters gathered outside the offices of the Electoral Tribunal of the Federal Judiciary as the Magistrates declared that the claims made by the left-wing coalition were \"unfounded\" and were therefore rejected.\n\nOn December 1, 2012, as Peña Nieto was being sworn in as President, protesters rioted outside of the national palace and clashed with Federal Police forces, in an event that has been labeled by the media as the 1DMX, while vandalizing hotel structures and setting fires around Mexico City. More than 90 protesters were arrested and several were injured. Mexico City Mayor Marcelo Ebrard blamed anarchist groups for causing the violent outcomes.\n\nReferences\n\nFurther reading\n Jorge I. Dominguez et al. eds. Mexico's Evolving Democracy: A Comparative Study of the 2012 Elections (Johns Hopkins University Press; 2015) 304 pages\n\nExternal links\n\n Federal Electoral Institute\n\nOfficial candidate websites\n\nNational Action Party\n Ernesto Cordero\n Santiago Creel\n Josefina Vázquez Mota\n\nParty of the Democratic Revolution\n Andrés Manuel López Obrador \n\nInstitutional Revolutionary Party\n Enrique Peña Nieto\n\nMexico\nGeneral\nCategory:Legislative elections in Mexico\nCategory:Presidential elections in Mexico\nCategory:July 2012 events in Mexico", "title": "2012 Mexican general election" }, { "text": "A gubernatorial election was held in the State of México on Sunday, 3 July 2005.\nVoters in Mexico's most populous state went to the polls to elect a governor to replace former incumbent Arturo Montiel Rojas of the Institutional Revolutionary Party (PRI).\n\nThe favorite candidate was PAN's Rubén Mendoza. It was thought the first runner-up would be PRD Yeidckol Polevnsky Gurwitz (born as Citlali Ibáñez Camacho) and last place by PRI's Enrique Peña. However, Rubén Mendoza made several mistakes in his campaign, appearing apparently drunk at events, boasting he led a group of supporters to steal campaign gifts from Peña's team and gave them with his own signature (he was taped while doing this). The PRD would have benefited from this, but Polevnksy had no political experience and support from Andrés Manuel López Obrador wasn't enough, specially after her true identity was discovered. So PRI's Peña rose to the first place, the PRD had a distant and low second place and PAN's Rubén Mendoza disappeared from public view.\n\nTurnout was an unusually low 48%.\n\nResults\nWith 93.38% of the votes it was clear that the PRI had managed to keep hold of the state.\n\nSee also\nList of Mexican state governors\n\nCategory:2005 elections in Mexico", "title": "2005 State of Mexico election" }, { "text": "Peñabots is the nickname for automated social media accounts allegedly used by the Mexican government of Enrique Peña Nieto and the PRI political party to keep unfavorable news from reaching the Mexican public. Peñabot accusations are related to the broader issue of fake news in the 21st century.\n\nHistory of disinformation in Mexican politics\nThe PRI political party has been reported to use fake news since before Peña Nieto. The main tactic originally was to spread such propaganda through open radio and television networks. Such tactic was effective in Mexico, because newspaper readership is low and cable TV is largely limited to the middle classes; consequently, the country's two major television networks – Televisa and TV Azteca – exert a significant influence in national politics. Televisa itself, not only owns around two-thirds of the programming on Mexico's TV channels, making it not only Mexico's largest television network, but also is the largest media network in the Spanish-speaking world.\n\nPeñabots\nAnalysts have given the name Peñabots to a suspected network of automated accounts on social media used by the Mexican government to spread pro-government propaganda and to marginalize dissenting opinions in social media. The bots were first noticed in the 2012 elections when they were used to disseminate opinions in support of Enrique Peña Nieto in social networks in social networks such as Twitter and Facebook. \n\nAccording to Aristegui Noticias, their usage goes against articles 6 and 134 of the Mexican Constitution, the ones used by the current government cost an estimated 80 million pesos monthly fee, which news outlets argument only helps the government spread fake support towards the president, but does not have a benefit towards Mexican people (with whom EPN is highly unpopular). Facebook currently holds approximately 640,321 Peñabots, while Twitter has less. As of July 2017, Oxford University's Computational Propaganda Research Project claimed many western democracies, Mexico included, perform social media manipulation, thus saying the manipulation comes directly from the Mexican government itself.\n\nDuring Peña Nieto's subsequent presidency, analysts have noted that Peñabots are used to overpower trending topics that critique government, to flood trending government critical hashtags with spam, and to create fake trends by pushing alternative hashtags, and to push smear campaigns and threats against government critical activists and journalists. Peñabots can be distinguished because their pattern of activity is distinct from that of normal interaction activity in social networks.\n\nMeadebots\nIn Twitter it was reported that about 94% of the followers of 2018 presidential candidate from the PRI Jose Antonio Meade were bots.\nWhen Antonio Meade presented himself as a candidate for the 2018 presidential election, his social media accounts such as \"@MovimientoMEADE\" (created by the PRI's official account @PRI_Nacional), obtained a huge quantity of followers far too quick. Some users noticed and brought it to attention, after investigations it was reported 94% of such followers were bots (702,000 out of 747,000), and the account was eliminated from Twitter after 20 hours. The fake accounts used the hashtags #YoConMeade and #Meade18, further revealed was that Meade's official account on Twitter, @JoseAMeadeK has 25% bots (216,000 fake followers out of the 981,000).\n\nManipulation of news media in Mexico, through television\n\nThe Mexican government of Peña Nieto has been accused of using various means to keep unfavorable news from reaching the Mexican people. Many Mexicans have protested this practice as it clearly goes against the freedom of speech. The PRI has been reported to use fake news since before Peña Nieto. The main tactic has been to spread such propaganda through radio and television. This tactic is perceived as effective in Mexico, because newspaper readership is low and research on the Internet and cable TV is largely limited to the middle classes; consequently, the country's two major television networks – Televisa and TV Azteca – exert a significant influence in national politics. Televisa itself, owns around two-thirds of the programming on Mexico's TV channels, making it not only Mexico's largest television network, but also is the largest media network in the Spanish-speaking world.\n\nIn June 2012, before the 2012 Mexican presidential elections, the British newspaper The Guardian published a series of allegations claiming Televisa, sold favorable coverage to top politicians in its news and entertainment shows, this scandal became known as the Televisa controversy. The documents published by 'The Guardian alleged that a secretive circle within Televisa manipulated news coverage to favor PRI presidential candidate Enrique Peña Nieto, who was poised as favorite to win. Televisa's secret circle supposedly commissioned videos to promote Peña Nieto and lash out his political rivals in 2009. The Guardian documents suggest that Televisa's secret team distributed such videos through e-mail, posting them posted them on Facebook and YouTube, some can still be seen there. Another document was a PowerPoint presentation, with a slide explicitly aimed at rival leftist candidate of the Party of the Democratic Revolution (PRD), Andrés Manuel López Obrador. Supposedly given to The Guardian by a Televisa employee. The document's authenticity was never possible to confirm– however dates, names, and events largely coincide. Televisa refused to talk the documents, and denied a relationship with the PRI or its presidential candidate, saying that they had provided equal media coverage to all parties. Televisa published an article supposedly showing discrepancies in The Guardian documents and denying accusations.\n\nMexican citizens complained about the perceived favoritism towards Enrique Peña Nieto and the PRI, protesting through the Yo Soy 132 movement which Televisa covered in detail. However, Televisa's news media coverage is perceived to have been biased, by using a media coverage tactic Mexican citizens call cortinas de humo (smoke screens). These introduce a news scandal giving extensive coverage to distract citizens from a potential conflict-of-interest or controversy that could damage the image of the politician favored by the network. An example of a perceived smoke screen would be the news media coverage of \"Caso Michoacán\" and \"Caso Paolette\" distracting all the attention from the parallel \"Yo soy 132\" movement. A few years later, on the day of September 11, 2016; factual evidence of Televisa's performing media manipulation emerged, when a Televisa news anchor while live-on air reading a teleprompter, mistakenly read out loud that \"try that Jaime \"Ël Bronco\" Rodríguez Calderón (Nuevo Leon's governor) is mentioned as little as possible\". Newspaper El Universal caught it on video and published it social media. Televisa didn't mention the story and declined to comment. Lack of news coverage concerning Nuevo León's Governor Jaime Rodriguez, is perceived due to him being the first elected governor to not be part of any political party (Independent Governor), and because unlike the governors from the PRI preceding him, the independent governor \"El Bronco\" doesn't spend money on publicity at all, preferring to communicate all news by using social media such as Twitter and Facebook. While the incident may have proven Televisa's bias, there wasn't anything to incriminate the PRI political party or Enrique Peña Nieto, though it did further suspicion of Televisa manipulating news media. In contrast, a December 2017 article of The New York Times, reported Enrique Peña Nieto spending about 2000 million dollars on publicity, during his first 5 years as president, the largest publicity budget ever spent by a Mexican President. Additionally, 68 percent of news journalists admitted to not believe to have enough freedom of speech, and award-winning news reporter Carmen Aristegui was controversially fired shortly after revealing the Mexican White House scandals.\n\nViolence and spying towards news journalists and civil rights activists\nFar for only being receiving accusations of spreading fake news, the Mexican government of EPN has also been accused of violence towards news journalists, and of spying on them, and also towards civil right leaders and their families. During his tenure as president, Peña Nieto has been accused of failing to protect news journalists, whose deaths are speculated to be politically triggered, by politicians attempting to prevent them from covering political scandals. The New York Times published a news report on the matter titled, \"In Mexico it's easy to kill a journalist\", on it mentioning how during EPN's government, Mexico became one of the worst countries on which to be a journalist. The assassination of journalist Javier Valdez on May 23, 2017, received national coverage, with multiple news journalists asking for \"real protection\", as well as freedom of speech. The president announced to be \"deeply wounded\" by such death, Despite this Mexican citizens, as well as political party of opposition perceived, the presidential words as hypocritical, and the outlook does not look favorable with Mexico already leading as the country most journalist killed in 2017, with 5 assassinations.\n\nOn June 19, 2017, The New York Times in conjunction with news reporter Carmen Aristegui, and even backed by a Televisa news reporter Carlos Loret de Mola, reported that the Mexican Government uses a spyware software known as Pegasus, to spy on targets such as Mexican News reporters (and their families) and Civil Rights Leaders (and their families) using text messages as lures. Since 2011, the Mexican Government invested $80 million worth of spyware. Pegasus spyware infiltrates a person's cellphone and reports every detail of their messages, e-mails, contacts and calendars. After the revelation, the Israeli manufacturer of the Pegasus spyware, NSO Group, re-stated it only sold such technology to governments with an 'explicit agreement', that such technology was meant 'only to combat organized crime' by spying on it; although once it sells the software it cannot control who they use it against and basically leaves the government's on their own to monitor themselves on not abusing the software. The New York Times and independent forensic analysts analyzed the data of 'dozens of messages', multiple times before proving their accusation, and commented of such espionage towards news journalists and civil rights leaders, as 'an effort from the Mexican Government to thwart the battle against corruption infecting every limb of Mexican Society', and how highly unlikely it would be for such espionage it to receive 'Judicial Approval'. Edward Snowden who worked for US government's NSA before revealing it to spy on its citizens, also said all evidence points to the Mexican government being the spy, and on Twitter said it is \"a crime to the public\".\n\nThe hacking attempts were 'highly personalized' for each target, they would consist on sending text messages with an attached link, and for the spyware to enter a users smartphone, all it needed was for the smartphone owner to click on the link. The news reporter Carmen Aristegui, whom previously in 2014, had revealed a conflict of interest regarding the president ownership of a Mexican \"Casa Blanca (White House)\" and was unfairly fired from her job for airing such investigation, herself, received 22 hacking attempts, the most for any journalist who has been found targeted, one of those attempts disguised as a message sent by an American Embassy in Mexico, trying to help her with a problem with her Visa; additionally Aristegui's son Emilio Aristegui received attempts for 23 months despite being an under-age 16-year-old teen. News media perceived attempts at Aristegui as revenge from the Mexican government. News reporter Carlos Loret de Mora received 8 attempts. While, Juan E. Pardinas, the director of the Mexican Institute of Competitiveness, also received multiple attempts where he was told men with guns were outside his house and another where a contact not on his list invited him to his father funeral because saying he was a \"close friend\", the attempt on his wife went as far as claiming Padilla was having an extramarital affair, but she could only see the evidence if she clicked the link. Also, most of the parents, protesters and the major leaders of the investigations of the \"Ayotzinapa, 43 Students Massacre\" received spyware messages, so did the \"Women of Atenco\" (a scandal directly tied to Enrique Peña Nieto's time as Governor of the State of Mexico).The New York Times article contained a picture of EPN.\n\nOn June 20, 2017, the day after. The opposition political party, National Action Party (PAN) denounced the Mexican government to the Inter-American Commission on Human Rights for suspicions of violations towards human rights and requested them, to lead an investigation citing such spying causes violations towards the article 16th of the Mexican Constitution, as well as violating article 11th of the Universal Declaration of Human Rights. While, in response to the accusations, Peña Nieto made public that such technology was bought and indeed used by the Mexican government, but he denied misuses, and stated that it was only used to protect Mexicans by searching for criminal by saying he \"also felt spied upon, but there was nothing more fake than blaming the (Mexican) government\", and that there was \"no proof\"; saying he ordered the PGR an investigation and that he hoped \"under the law, it can be applied against those that have raised false accusations against the government.\", with the last part of the quote making journalist hacking victims feel threatened. Which forced the Mexican president to call writer of the article Azam Ahmed to tell him, he was not menacing him. However, due to his previous presidential scandals, Peña Nieto words lacked credibility to most Mexicans, with journalist like Jorge Ramos complaining about how Enrique Peña Nieto remains in power despite his illegal actions. Later on the day political rival Andrés Manuel López Obrador (AMLO) who competed for the presidency against EPN in 2012 and intends to compete again in 2018 as the candidate from the MORENA political party, was also revealed to be among the hacking targets, with his son also as a target. On June 23, 2017, the National Human Rights Commission (Mexico) opened a case regarding the government espionage.\n\nAs of February 2018, Reuters published an article stating the Mexican government has not properly investigated the Pegasus spyware usage to spy news journalists.\n\nAndrés Sepúlveda claims of hacking the Mexican presidential election, 2012\nOn March 31, 2016, in an article published by magazine Bloomberg Business Week a Colombian, a hacker named Andrés Sepúlveda claimed to have paid $600,000 pesos, by the \"Institutional Revolutionary Party (PRI)\" for hacking files (including phone calls, e-mails and strategies) pertaining Peña Nieto's rivals respective political campaigns, and also manipulate social media to create fake news against his opponents with 30,000 fakes Twitter accounts whom helped him create fake trending topics, and the perception of public enthusiasm towards Peña Nieto's 2012 presidential campaign. The election day he claims to have been watching a Live feed on Bogota, Colombia and to start destroying evidence (USBs, cellphones, computers) right after Peña Nieto was declared winner. He said he was helped by a team of 6 hackers, which he led. He also claims to have helped hack elections from other Latin American countries including Nicaragua, Panama, Honduras, El Salvador, Colombia, Costa Rica, Guatemala and Venezuela, but said his Mexican operation was \"the most complex by far\". The hacker is on a 10-year prison sentence for confessing and proving crimes on helping the campaign of Ivan Zuloagawithin his native Colombia. While Juan José Rendón whom Sepúlveda describes as his accomplice hasn't been proved guilty and still remains free. The National Action Party (PAN) requested an investigation, but on May 4, 2016, the Consejo General del Instituto Nacional Electoral (General Council of the National Electoral Institute) discarded the investigation describing it as \"frivolous\" and that it was based on a single journalistic note. presidential counselor Ciro Murayama said there wasn't enough evidence to lead an investigation, and that they would sue PAN for promoting unjustified investigations, leading to sourness between both political parties.\n\nInfluence of perceived media manipulation of news in Mexican popular culture\nThe controversies regarding the perceived Televisa news media coverage in favor of the PRI, and the spreading of fake news by the Mexican government, has influenced Mexican popular culture. Director and writer Luis Estrada released the black-comedy film The Perfect Dictatorship (2014), it was based on the perceived media manipulation in Mexico. Set in a Mexico with a tightly controlled media landscape, the plot centered on a corrupt politician (a fictional stand-in for Enrique Peña Nieto) from a political party (serving as a fictional stand-in for the PRI), and how he makes a deal with TV MX (which serves as a stand-in to Televisa) to manipulate the diffusion of news towards his benefit, in order to save his political career.\n\nReferences\n\nCategory:Propaganda\nCategory:Politics of Mexico\nCategory:Censorship\nCategory:Social media\nCategory:Internet manipulation and propaganda\nCategory:Political slurs for people", "title": "Peñabot" } ]
[ "Pena Nieto advocates a security policy that prioritizes the reduction of violence rather than directly attacking Mexico's drug-trafficking organizations. His strategy marks a departure from the previous administration's focus and emphasized decreasing murder rates, kidnappings, and extortions. His plan also includes creating a national police of 40,000 members, known as a \"gendarmerie\", and the formation of 15 specialized police units to focus on major crimes like kidnapping and extortion. Pena Nieto also proposed centralizing the sub-federal police forces under one command.", "The text does not provide specific details on how Pena Nieto plans to lower the murder rate in Mexico.", "Yes, Pena Nieto expressed plans to try and reduce violence (including murder rates, kidnappings, and extortions) during his tenure. He planned to do this by creating a national police force known as a \"gendarmerie,\" with 15 specialized police units targeting major crimes, as well as a new task force to track missing persons. Pena Nieto also proposed centralizing the sub-federal police forces under one command. However, he did not give specific details on how these measures would directly lead to a decrease in murder rates.", "The text does not provide evidence that Pena Nieto is directly working with drug traffickers. Instead, it states that United States officials were worried that the election of Pena Nieto's Institutional Revolutionary Party may mean a return to old tactics of making secret deals with cartels in exchange for bribes and relative peace. However, this worry is speculative and not a confirmed action on part of Pena Nieto.", "Apart from aiming to reduce violence and establishing a \"gendarmerie\" or national police force, Pena Nieto's other plans for improving security include forming 15 specialized police units to focus on major crimes such as kidnapping and extortion. He also proposed the creation of a new task force dedicated to tracking missing persons and suggested centralizing the sub-federal police forces under one command.", "The text does not provide specific details on what role the \"gendarmerie\", or national police force, will play in Pena Nieto's security strategy, beyond being part of his efforts to reduce violence and crime rates.", "The text does not provide additional information on what else the \"gendarmerie\", or national police force, will do as part of Pena Nieto's security strategy.", "The text does not provide any further details or plans regarding the \"gendarmerie\" or national police force beyond Pena Nieto's initial proposal for their creation.", "The text does not provide specific details on what else the new police, or \"gendarmerie\", will do beyond being part of Pena Nieto's security strategy to reduce violence and crime rates." ]
[ "Yes", "Yes", "Yes", "Yes", "Yes", "No", "No", "No", "Yes" ]
C_c83b6e348dbb4f1ca1f2c9c8fd49ddbf_1
Abraham Ortelius
Abraham Ortelius (; also Ortels, Orthellius, Wortels; 14 April 1527 - 28 June 1598) was a Flemish cartographer and geographer, conventionally recognized as the creator of the first modern atlas, the Theatrum Orbis Terrarum (Theatre of the World). Ortelius is often considered one of the founders of the Netherlandish school of cartography and one of the most notable representatives of the school in its golden age (approximately 1570s-1670s). The publication of his atlas in 1570 is often considered as the official beginning of the Golden Age of Netherlandish cartography.
Map publisher
In 1564 he published his first map, Typus Orbis Terrarum, an eight-leaved wall map of the world, on which he identified the Regio Patalis with Locach as a northward extension of the Terra Australis, reaching as far as New Guinea. This map subsequently appeared in reduced form in the Terrarum (the only extant copy is in now at Basel University Library). He also published a two-sheet map of Egypt in 1565, a plan of the Brittenburg castle on the coast of the Netherlands in 1568, an eight-sheet map of Asia in 1567, and a six-sheet map of Spain before the appearance of his atlas. In England Ortelius' contacts included William Camden, Richard Hakluyt, Thomas Penny, puritan controversialist William Charke, and Humphrey Llwyd, who would contribute the map of England and Wales to Ortelius's 1573 edition of the Theatrum. In 1578 he laid the basis of a critical treatment of ancient geography by his Synonymia geographica (issued by the Plantin press at Antwerp and republished in expanded form as Thesaurus geographicus in 1587 and again expanded in 1596. In this last edition, Ortelius considers the possibility of continental drift, a hypothesis proved correct only centuries later). In 1596 he received a presentation from Antwerp city, similar to that afterwards bestowed on Rubens. His death on 28 June 1598, and his burial in the church of St. Michael's Abbey, Antwerp, were marked by public mourning. Quietis cultor sine lite, uxore, prole (meaning - "served quietly, without accusation, wife, and offspring." ), reads the inscription on his tombstone. CANNOTANSWER
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{ "answer_starts": [ 0, 230, 352, 481, 825, 1060, 755 ], "texts": [ "In 1564 he published his first map, Typus Orbis Terrarum, an eight-leaved wall map of the world,", "This map subsequently appeared in reduced form in the Terrarum (the only extant copy is in now at Basel University Library).", "). He also published a two-sheet map of Egypt in 1565, a plan of the Brittenburg castle on the coast of the Netherlands in 1568,", "an eight-sheet map of Asia in 1567, and a six-sheet map of Spain before the appearance of his atlas.", "In 1578 he laid the basis of a critical treatment of ancient geography by his Synonymia geographica (", "In this last edition, Ortelius considers the possibility of continental drift, a hypothesis proved correct only centuries later).", "map of England and Wales to Ortelius's 1573 edition of the Theatrum." ] }
Abraham Ortelius (; also Ortels, Orthellius, Wortels; 4 or 14 April 152728 June 1598) was a Brabantian cartographer, geographer, and cosmographer. He is recognized as the creator of the first modern atlas, the (Theatre of the World). Along with Gemma Frisius and Gerardus Mercator, Ortelius is generally considered one of the founders of the Netherlandish school of cartography and geography. He was a notable figure of this school in its golden age (approximately 1570s–1670s) and an important geographer of Spain during the age of discovery. The publication of his atlas in 1570 is often considered as the official beginning of the Golden Age of Netherlandish cartography. He was the first person proposing that the continents were joined before drifting to their present positions. Life Ortelius was born on either 4 April or 14 April 1527 in the city of Antwerp, which was then in the Habsburg Netherlands (modern-day Belgium). The Orthellius family were originally from Augsburg, a Free imperial city of the Holy Roman Empire. In 1535, the family had fallen under suspicion of Protestantism. Following the death of Ortelius's father, his uncle Jacobus van Meteren returned from religious exile in England to take care of Ortelius. Abraham remained close to his cousin Emanuel van Meteren, who would later move to London. In 1575 he was appointed geographer to the king of Spain, Philip II, on the recommendation of Arias Montanus, who vouched for his orthodoxy. He travelled extensively in Europe and is specifically known to have traveled throughout the Seventeen Provinces; in southern, western, northern, and eastern Germany (e.g., 1560, 1575–1576); France (1559–1560); England and Ireland (1576); and Italy (1578, and perhaps two or three times between 1550 and 1558). Beginning as a map-engraver, in 1547 he entered the Antwerp Guild of Saint Luke as an illuminator of maps. He supplemented his income trading in books, prints, and maps, and his journeys included yearly visits to the Frankfurt book and print fair, where he met Gerardus Mercator in 1554. In 1560, however, when travelling with Mercator to Trier, Lorraine, and Poitiers, he seems to have been attracted, largely by Mercator's influence, towards the career of a scientific geographer. He died in Antwerp. Map publisher In 1564 he published his first map, Typus Orbis Terrarum, an eight-leaved wall map of the world, on which he identified the Regio Patalis with Locach as a northward extension of the Terra Australis, reaching as far as New Guinea. This map subsequently appeared in reduced form in the Terrarum (the only extant copy is in now at Basel University Library). He also published a two-sheet map of Egypt in 1565, a plan of the Brittenburg castle on the coast of the Netherlands in 1568, an eight-sheet map of Asia in 1567, and a six-sheet map of Spain before the appearance of his atlas. In England Ortelius's contacts included William Camden, Richard Hakluyt, Thomas Penny, Puritan controversialist William Charke, and Humphrey Llwyd, who would contribute the map of England and Wales to Ortelius's 1573 edition of the Theatrum. In 1578 he laid the basis of a critical treatment of ancient geography by his Synonymia geographica (issued by the Plantin press at Antwerp and republished in expanded form as Thesaurus geographicus in 1587 and again expanded in 1596; in the last edition, Ortelius considers the possibility of continental drift, a hypothesis that would be proved correct only centuries later). In 1596 he received a presentation from Antwerp, similar to that afterwards bestowed on Rubens. His death on 28 June 1598 and his burial in the church of St. Michael's Abbey, Antwerp, were marked by public mourning. The inscription on his tombstone reads: Quietis cultor sine lite, uxore, prole ("served quietly, without accusation, wife, and offspring"). Theatrum Orbis Terrarum On 20 May 1570, Gilles Coppens de Diest at Antwerp issued Ortelius's Theatrum Orbis Terrarum, the "first modern atlas" (of 53 maps). Three Latin editions of this (besides a Dutch, a French, and a German edition) appeared before the end of 1572; twenty-five editions came out before Ortelius's death in 1598; and several others were published subsequently, for the atlas continued to be in demand until about 1612. Most of the maps were admittedly reproductions (a list of 87 authors is given in the first Theatrum by Ortelius himself, growing to 183 names in the 1601 Latin edition), and many discrepancies of delineation or nomenclature occur. Errors, of course, abound, both in general conceptions and in detail; thus South America is initially very faulty in outline, but corrected in the 1587 French edition, and in Scotland, the Grampians lie between the Forth and the Clyde; but, taken as a whole, this atlas with its accompanying text was a monument of rare erudition and industry. Its immediate precursor and prototype was a collection of thirty-eight maps of European lands, and of Asia, Africa, Tartary, and Egypt, gathered together by the wealth and enterprise, and through the agents, of Ortelius's friend and patron, Gillis Hooftman (1521–1581), lord of Cleydael and Aertselaar: most of these were printed in Rome, eight or nine only in the Southern Netherlands. In 1573, Ortelius published seventeen supplementary maps under the title Additamentum Theatri Orbis Terrarum. Four more Additamenta were to follow, the last one appearing in 1597. He also had a keen interest and formed a fine collection of coins, medals and antiques, and this resulted in the book (also in 1573, published by Philippe Galle of Antwerp) Deorum dearumque capita ... ex Museo Ortelii ("Heads of the gods and goddesses... from the Ortelius Museum"); reprinted in 1582, 1602, 1612, 1680, 1683 and finally in 1699 by Gronovius, Thesaurus Graecarum Antiquitatum ("Treasury of Greek Antiquities", vol. vii). The Theatrum Orbis Terrarum inspired a six-volume work titled Civitates orbis terrarum, edited by Georg Braun and illustrated by Frans Hogenberg with the assistance of Ortelius himself, who visited England to see his friend John Dee in Mortlake in 1577, and Braun tells of Ortelius putting pebbles in cracks in Temple Church, Bristol, being crushed by the vibration of the bells. Later maps In 1579 Ortelius brought out his Nomenclator Ptolemaicus and started his Parergon (a series of maps illustrating ancient history, sacred and secular). He also published Itinerarium per nonnullas Galliae Belgicae partes (at the Plantin press in 1584, and reprinted in 1630, 1661 in Hegenitius, Itin. Frisio-Hoil., in 1667 by Verbiest, and finally in 1757 in Leuven), a record of a journey in Belgium and the Rhineland made in 1575. In 1589 he published Maris Pacifici, the first dedicated map of the Pacific to be printed. Among his last works were an edition of Caesar (C. I. Caesaris omnia quae extant, Leiden, Raphelingen, 1593), and the Aurei saeculi imago, sive Germanorum veterum vita, mores, ritus et religio. (Philippe Galle, Antwerp, 1596). He also aided Welser in his edition of the Peutinger Table in 1598. Contrary to popular belief, Abraham Ortelius, who had no children, never lived at the Mercator-Orteliushuis (Kloosterstraat 11–17, Antwerpen), but lived at his sister's house (Kloosterstraat 33–35, Antwerpen). Modern use of maps Originals of Ortelius's maps are popular collectors' items and often sell for tens of thousands of dollars. Facsimiles of his maps are also available from many retailers. A map he made of North and South America is also included in the world's largest commercially available jigsaw puzzle, which is of four world maps. This puzzle is made by Ravensburger, measures × , and has over 18,000 pieces. Imagining continental drift Ortelius was the first to underline the geometrical similarity between the coasts of America and Europe-Africa and to propose continental drift as an explanation. Kious described Ortelius's thoughts in this way: Ortelius's observations of continental juxtaposition and his proposal of rupture and separation went unnoticed until the late 20th century. However, they were repeated in the 18th and 19th centuries and later by Alfred Wegener, who published his hypothesis of continental drift in 1912 and in following years. Because his publications were widely available in German and English and because he adduced geological support for the idea, Wegener is credited by most geologists as the first to recognize the possibility of continental drift. Frank Bursley Taylor (in 1908) was also an early advocate of continental drift. During the 1960s geophysical and geological evidence for seafloor spreading at mid-oceanic ridges became increasingly compelling to geologists (e.g. Hess, 1960) and finally established continental drift as an ongoing global mechanism. After more than three centuries, Ortelius's supposition of continental drift was proven correct. Bibliography Abraham Ortelius, . Gedruckt zu Nuermberg durch Johann Koler Anno MDLXXII. Mit einer Einführung und Erläuterungen von Ute Schneider. Second unchanged edition (2. unveränd. Aufl). Darmstadt, Wissenschaftliche Buchgesellschaft, 2007. Notes References Sources (an edition of Ortelius's letters) (Translated from the fourth revised German edition.) Further reading See also (Theatre of the World) History of cartography Early modern Netherlandish cartography Golden Age of Netherlandish cartography External links Category:16th-century Flemish cartographers Category:1527 births Category:1598 deaths Category:Early modern Netherlandish cartography Category:Belgian cartographers Category:Belgian geographers Category:Scientists from Antwerp Category:People from the Duchy of Brabant Category:Flemish geographers
[]
[ "The text does not provide information on Abraham's relationship to a map publisher.", "The text does not provide information on the response to his map being published.", "Yes, in addition to his first map \"Typus Orbis Terrarum,\" Abraham also published a two-sheet map of Egypt in 1565, a plan of the Brittenburg castle on the coast of the Netherlands in 1568, an eight-sheet map of Asia in 1567, and a six-sheet map of Spain. Furthermore, a map of England and Wales was contributed to his 1573 edition of the Theatrum by Humphrey Llwyd.", "Other maps published by Abraham include a two-sheet map of Egypt in 1565, a plan of the Brittenburg castle on the coast of the Netherlands in 1568, an eight-sheet map of Asia in 1567, and a six-sheet map of Spain. Additionally, a map of England and Wales contributed by Humphrey Llwyd appeared in Abraham's 1573 edition of the Theatrum.", "The text doesn't provide specific details on the significance of Abraham publishing his maps, but it mentions his contribution to the foundation of a critical treatment of ancient geography through his publication of \"Synonymia geographica\" and the expanded versions titled \"Thesaurus geographicus\". The last edition even considers the possibility of continental drift, a hypothesis that was proved correct centuries later.", "In 1578, he laid the basis of a critical treatment of ancient geography through his publication of \"Synonymia geographica,\" which was republished in an expanded form as \"Thesaurus geographicus\" in 1587 and again expanded in 1596. In this last edition, he considered the hypothesis of continental drift, which was proved correct centuries later.", "Apart from publishing various maps, Abraham Ortelius also worked on the critical treatment of ancient geography. He published \"Synonymia geographica\" in 1578, which was republished as \"Thesaurus geographicus\" in 1587 and again in 1596 in an expanded form. In the 1596 edition, Ortelius considered the possibility of continental drift, a hypothesis that was proved correct centuries later." ]
[ "no", "No", "Yes", "Yes", "Yes", "Yes", "No" ]
C_c83b6e348dbb4f1ca1f2c9c8fd49ddbf_0
Abraham Ortelius
Abraham Ortelius (; also Ortels, Orthellius, Wortels; 14 April 1527 - 28 June 1598) was a Flemish cartographer and geographer, conventionally recognized as the creator of the first modern atlas, the Theatrum Orbis Terrarum (Theatre of the World). Ortelius is often considered one of the founders of the Netherlandish school of cartography and one of the most notable representatives of the school in its golden age (approximately 1570s-1670s). The publication of his atlas in 1570 is often considered as the official beginning of the Golden Age of Netherlandish cartography.
Theatrum Orbis Terrarum
On 20 May 1570, Gilles Coppens de Diest at Antwerp issued Ortelius' Theatrum Orbis Terrarum, the "first modern atlas" (of 53 maps). Three Latin editions of this (besides a Dutch, a French and a German edition) appeared before the end of 1572; twenty-five editions came out before Ortelius' death in 1598; and several others were published subsequently, for the atlas continued to be in demand until about 1612. Most of the maps were admittedly reproductions (a list of 87 authors is given in the first Theatrum by Ortelius himself, growing to 183 names in the 1601 Latin edition), and many discrepancies of delineation or nomenclature occur. Errors, of course, abound, both in general conceptions and in detail; thus South America is initially very faulty in outline, but corrected in the 1587 French edition, and in Scotland the Grampians lie between the Forth and the Clyde; but, taken as a whole, this atlas with its accompanying text was a monument of rare erudition and industry. Its immediate precursor and prototype was a collection of thirty-eight maps of European lands, and of Asia, Africa, Tartary and Egypt, gathered together by the wealth and enterprise, and through the agents, of Ortelius' friend and patron, Gillis Hooftman (1521-1581), lord of Cleydael and Aertselaer: most of these were printed in Rome, eight or nine only in the Southern Netherlands. In 1573 Ortelius published seventeen supplementary maps under the title Additamentum Theatri Orbis Terrarum. Four more Additamenta were to follow, the last one appearing in 1597. He also had a keen interest and formed a fine collection of coins, medals and antiques, and this resulted in the book (also in 1573, published by Philippe Galle of Antwerp) Deorum dearumque capita ... ex Museo Ortelii (reprinted in 1582, 1602, 1612, 1680, 1683 and finally in 1699 by Gronovius, Thesaurus Graecarum Antiquitatum. vol. vii). The Theatrum Orbis Terrarum inspired a six volume work entitled Civitates orbis terrarum edited by Georg Braun and illustrated by Frans Hogenberg with the assistance of Ortelius himself, who visited England to see his friend John Dee in Mortlake in 1577 and Braun tells of Ortelius putting pebbles in cracks in Temple Church, Bristol, being crushed by the vibration of the bells in the description on the back of 'Brightovve' Map 2, Third Edition 1581 CANNOTANSWER
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[ "Please explain Theatrum Orbis Terrarum?", "Did Abraham contribute to this?", "What else is important to know about this ?", "What is the title of the work inspired?", "What happened next?", "Where did he go next?" ]
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Abraham Ortelius (; also Ortels, Orthellius, Wortels; 4 or 14 April 152728 June 1598) was a Brabantian cartographer, geographer, and cosmographer. He is recognized as the creator of the first modern atlas, the (Theatre of the World). Along with Gemma Frisius and Gerardus Mercator, Ortelius is generally considered one of the founders of the Netherlandish school of cartography and geography. He was a notable figure of this school in its golden age (approximately 1570s–1670s) and an important geographer of Spain during the age of discovery. The publication of his atlas in 1570 is often considered as the official beginning of the Golden Age of Netherlandish cartography. He was the first person proposing that the continents were joined before drifting to their present positions. Life Ortelius was born on either 4 April or 14 April 1527 in the city of Antwerp, which was then in the Habsburg Netherlands (modern-day Belgium). The Orthellius family were originally from Augsburg, a Free imperial city of the Holy Roman Empire. In 1535, the family had fallen under suspicion of Protestantism. Following the death of Ortelius's father, his uncle Jacobus van Meteren returned from religious exile in England to take care of Ortelius. Abraham remained close to his cousin Emanuel van Meteren, who would later move to London. In 1575 he was appointed geographer to the king of Spain, Philip II, on the recommendation of Arias Montanus, who vouched for his orthodoxy. He travelled extensively in Europe and is specifically known to have traveled throughout the Seventeen Provinces; in southern, western, northern, and eastern Germany (e.g., 1560, 1575–1576); France (1559–1560); England and Ireland (1576); and Italy (1578, and perhaps two or three times between 1550 and 1558). Beginning as a map-engraver, in 1547 he entered the Antwerp Guild of Saint Luke as an illuminator of maps. He supplemented his income trading in books, prints, and maps, and his journeys included yearly visits to the Frankfurt book and print fair, where he met Gerardus Mercator in 1554. In 1560, however, when travelling with Mercator to Trier, Lorraine, and Poitiers, he seems to have been attracted, largely by Mercator's influence, towards the career of a scientific geographer. He died in Antwerp. Map publisher In 1564 he published his first map, Typus Orbis Terrarum, an eight-leaved wall map of the world, on which he identified the Regio Patalis with Locach as a northward extension of the Terra Australis, reaching as far as New Guinea. This map subsequently appeared in reduced form in the Terrarum (the only extant copy is in now at Basel University Library). He also published a two-sheet map of Egypt in 1565, a plan of the Brittenburg castle on the coast of the Netherlands in 1568, an eight-sheet map of Asia in 1567, and a six-sheet map of Spain before the appearance of his atlas. In England Ortelius's contacts included William Camden, Richard Hakluyt, Thomas Penny, Puritan controversialist William Charke, and Humphrey Llwyd, who would contribute the map of England and Wales to Ortelius's 1573 edition of the Theatrum. In 1578 he laid the basis of a critical treatment of ancient geography by his Synonymia geographica (issued by the Plantin press at Antwerp and republished in expanded form as Thesaurus geographicus in 1587 and again expanded in 1596; in the last edition, Ortelius considers the possibility of continental drift, a hypothesis that would be proved correct only centuries later). In 1596 he received a presentation from Antwerp, similar to that afterwards bestowed on Rubens. His death on 28 June 1598 and his burial in the church of St. Michael's Abbey, Antwerp, were marked by public mourning. The inscription on his tombstone reads: Quietis cultor sine lite, uxore, prole ("served quietly, without accusation, wife, and offspring"). Theatrum Orbis Terrarum On 20 May 1570, Gilles Coppens de Diest at Antwerp issued Ortelius's Theatrum Orbis Terrarum, the "first modern atlas" (of 53 maps). Three Latin editions of this (besides a Dutch, a French, and a German edition) appeared before the end of 1572; twenty-five editions came out before Ortelius's death in 1598; and several others were published subsequently, for the atlas continued to be in demand until about 1612. Most of the maps were admittedly reproductions (a list of 87 authors is given in the first Theatrum by Ortelius himself, growing to 183 names in the 1601 Latin edition), and many discrepancies of delineation or nomenclature occur. Errors, of course, abound, both in general conceptions and in detail; thus South America is initially very faulty in outline, but corrected in the 1587 French edition, and in Scotland, the Grampians lie between the Forth and the Clyde; but, taken as a whole, this atlas with its accompanying text was a monument of rare erudition and industry. Its immediate precursor and prototype was a collection of thirty-eight maps of European lands, and of Asia, Africa, Tartary, and Egypt, gathered together by the wealth and enterprise, and through the agents, of Ortelius's friend and patron, Gillis Hooftman (1521–1581), lord of Cleydael and Aertselaar: most of these were printed in Rome, eight or nine only in the Southern Netherlands. In 1573, Ortelius published seventeen supplementary maps under the title Additamentum Theatri Orbis Terrarum. Four more Additamenta were to follow, the last one appearing in 1597. He also had a keen interest and formed a fine collection of coins, medals and antiques, and this resulted in the book (also in 1573, published by Philippe Galle of Antwerp) Deorum dearumque capita ... ex Museo Ortelii ("Heads of the gods and goddesses... from the Ortelius Museum"); reprinted in 1582, 1602, 1612, 1680, 1683 and finally in 1699 by Gronovius, Thesaurus Graecarum Antiquitatum ("Treasury of Greek Antiquities", vol. vii). The Theatrum Orbis Terrarum inspired a six-volume work titled Civitates orbis terrarum, edited by Georg Braun and illustrated by Frans Hogenberg with the assistance of Ortelius himself, who visited England to see his friend John Dee in Mortlake in 1577, and Braun tells of Ortelius putting pebbles in cracks in Temple Church, Bristol, being crushed by the vibration of the bells. Later maps In 1579 Ortelius brought out his Nomenclator Ptolemaicus and started his Parergon (a series of maps illustrating ancient history, sacred and secular). He also published Itinerarium per nonnullas Galliae Belgicae partes (at the Plantin press in 1584, and reprinted in 1630, 1661 in Hegenitius, Itin. Frisio-Hoil., in 1667 by Verbiest, and finally in 1757 in Leuven), a record of a journey in Belgium and the Rhineland made in 1575. In 1589 he published Maris Pacifici, the first dedicated map of the Pacific to be printed. Among his last works were an edition of Caesar (C. I. Caesaris omnia quae extant, Leiden, Raphelingen, 1593), and the Aurei saeculi imago, sive Germanorum veterum vita, mores, ritus et religio. (Philippe Galle, Antwerp, 1596). He also aided Welser in his edition of the Peutinger Table in 1598. Contrary to popular belief, Abraham Ortelius, who had no children, never lived at the Mercator-Orteliushuis (Kloosterstraat 11–17, Antwerpen), but lived at his sister's house (Kloosterstraat 33–35, Antwerpen). Modern use of maps Originals of Ortelius's maps are popular collectors' items and often sell for tens of thousands of dollars. Facsimiles of his maps are also available from many retailers. A map he made of North and South America is also included in the world's largest commercially available jigsaw puzzle, which is of four world maps. This puzzle is made by Ravensburger, measures × , and has over 18,000 pieces. Imagining continental drift Ortelius was the first to underline the geometrical similarity between the coasts of America and Europe-Africa and to propose continental drift as an explanation. Kious described Ortelius's thoughts in this way: Ortelius's observations of continental juxtaposition and his proposal of rupture and separation went unnoticed until the late 20th century. However, they were repeated in the 18th and 19th centuries and later by Alfred Wegener, who published his hypothesis of continental drift in 1912 and in following years. Because his publications were widely available in German and English and because he adduced geological support for the idea, Wegener is credited by most geologists as the first to recognize the possibility of continental drift. Frank Bursley Taylor (in 1908) was also an early advocate of continental drift. During the 1960s geophysical and geological evidence for seafloor spreading at mid-oceanic ridges became increasingly compelling to geologists (e.g. Hess, 1960) and finally established continental drift as an ongoing global mechanism. After more than three centuries, Ortelius's supposition of continental drift was proven correct. Bibliography Abraham Ortelius, . Gedruckt zu Nuermberg durch Johann Koler Anno MDLXXII. Mit einer Einführung und Erläuterungen von Ute Schneider. Second unchanged edition (2. unveränd. Aufl). Darmstadt, Wissenschaftliche Buchgesellschaft, 2007. Notes References Sources (an edition of Ortelius's letters) (Translated from the fourth revised German edition.) Further reading See also (Theatre of the World) History of cartography Early modern Netherlandish cartography Golden Age of Netherlandish cartography External links Category:16th-century Flemish cartographers Category:1527 births Category:1598 deaths Category:Early modern Netherlandish cartography Category:Belgian cartographers Category:Belgian geographers Category:Scientists from Antwerp Category:People from the Duchy of Brabant Category:Flemish geographers
[]
[ "Theatrum Orbis Terrarum is known as the \"first modern atlas\". It was issued by Gilles Coppens de Diest in Antwerp on 20 May 1570 and contained 53 maps. Several editions appeared before Ortelius' death in 1598 and the atlas continued to be in demand until about 1612. Three Latin editions of this atlas were available, as well as a Dutch, a French and a German edition. Most of the maps in the atlases were reproductions and contained many discrepancies in delineation or nomenclature. Despite the errors, the atlas as a whole represented a major contribution to erudition and industry. Ortelius later published supplementary maps under the title Additamentum Theatri Orbis Terrarum, and also participated in creating a six-volume work inspired by Theatrum Orbis Terrarum, entitled Civitates orbis terrarum.", "The text does not provide information on an individual named Abraham contributing to Theatrum Orbis Terrarum.", "In addition to its original release, Theatrum Orbis Terrarum also had several additions called Additamentum Theatri Orbis Terrarum, the last of which was published in 1597. The maps were mostly reproductions, with a list of 87 authors given in the first edition by Ortelius and growing to 183 names in the 1601 Latin edition. Despite some general and detailed errors, the atlas was seen as a significant achievement of its time. Moreover, the Theatrum Orbis Terrarum inspired another monumental six-volume work called Civitates orbis terrarum, edited by Georg Braun and illustrated by Frans Hogenberg, with Ortelius himself contributing. Lastly, Ortelius also published a book on coins, medals and antiques in 1573.", "The work inspired by Theatrum Orbis Terrarum is entitled Civitates orbis terrarum.", "After the publication of Theatrum Orbis Terrarum, Ortelius continued to contribute with supplementary maps, releasing a series called Additamentum Theatri Orbis Terrarum, with the last one published in 1597. The Theatrum Orbis Terrarum also inspired a six-volume work called Civitates orbis terrarum, which was edited by Georg Braun and illustrated by Frans Hogenberg, with Ortelius himself also contributing. Additionally, Ortelius published a book about coins, medals and antiques in 1573. The text does not provide any further details on what happened next.", "The text mentions that Ortelius visited England to see his friend John Dee in Mortlake in 1577. No further travel information is provided in the text." ]
[ "Yes", "No", "Yes", "Yes", "No", "No" ]
C_8f3b2d221c8440faa398bc5426f244c2_1
Ian Stewart (Australian rules footballer)
Ian Harlow Stewart (born 30 July 1943) is a former Australian rules footballer who represented St Kilda and Richmond in the Victorian Football League (VFL) during the 1960s and 1970s. He later coached South Melbourne and Carlton and was an administrator at St Kilda. Stewart is one of only four men to win the Brownlow Medal three times. He was one of the first inductees into the Australian Football Hall of Fame in 1996 and was elevated to Legend status the following year.
Famous swap
In 1971, the idea that two star players would be traded for each other was uncharted territory for Australian football (although Richmond was to be once again involved in controversy in 1975 when they pushed their luck too far and swapped the future Brownlow medallist Graham Teasdale, state representative ruckman Brian "The Whale" Roberts, and talented half-back-flanker Francis Jackson for South Melbourne's John Pitura, who was only to play 38 senior games at Richmond in three years). The VFL had only recently sanctioned transfer fees, which usually amounted to no more than a couple of thousand dollars, but top line players did not swap clubs, and certainly not dual Brownlow medallists. Stewart wanted to break that trend, but he knew that the prevailing culture demanded that he be discreet. He let Richmond secretary Allan Schwab (who had worked briefly at St Kilda a few years earlier) know that he would be interested in moving to Punt Road if a deal could be worked. Stewart's rival during the 1960s for the title of best centreman in the VFL was Richmond's Billy Barrot. The two had parallel careers, and although Stewart was acknowledged as the better player, the Victorian selectors had played Barrot 11 times, Stewart only three. The two men were a stark contrast: Barrot was a burst player, specialising in the booming drop-kick into the forward line (often from the centre circle into the goal-square) and the extravagant gesture; and, although devastating and spectacular, he was also moody and undisciplined and was subsequently diagnosed with bipolar disorder. After dominating in two premiership victories, the Richmond hierarchy felt that Barrot's faults outweighed his attributes and that his time was up at Punt Road. Richmond used the Barrot situation as a pretext to recruit Stewart, who had told St Kilda he would probably go to Perth and find a coaching job in the league there. Gradually, Richmond stimulated St Kilda's interest in recruiting Barrot when it became clear that he would not be continuing with the Tigers. When the Saints were eventually prepared to sign Barrot, Stewart made a late request to go to Richmond, ostensibly saving St Kilda a transfer fee. Stewart described the situation as a "sting...but it was a good sting". The football community was stunned by the trade; its likes had never been seen and the debate was on as to who had the best end of the deal. A large group of irate Richmond supporters vented their emotion in an angry scene at the club's AGM. As one of the most popular players at Punt Road, Barrot was still performing on-field and he admitted to heartbreak when told that he had effectively been sacked. Barrot was the younger man and it was felt that St Kilda had pulled a great con trick on the Tigers. It took just a few weeks of the new season to prove this view wrong. CANNOTANSWER
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Ian Harlow Stewart (né Cervi; born 14 July 1943) is a former Australian rules footballer who played for the St. Kilda Football Club and Richmond Football Club in the Victorian Football League (VFL). He later coached and before returning to St. Kilda to serve as general manager. Stewart is one of only four men to win the Brownlow Medal three times (the others being Haydn Bunton Sr., Dick Reynolds, and Bob Skilton), and the only one to do so at two different clubs; he is also the most recent player to have achieved three Brownlow Medals. He was an inaugural inductee into the Australian Football Hall of Fame in 1996 and was elevated to Legend status the following year. He will always be remembered as one of the truly great exponents of Australian football, a player with the rare blend of skill, concentration and courage who formed partnerships with two of the greatest forwards the game has produced, Darrel Baldock and Royce Hart. Coincidentally, all three men hailed from Tasmania during a period when the country's smallest state contributed some unforgettable talent to the national game. Early life and career Stewart was born Ian Cervi in the mining town of Queenstown in western Tasmania. He was the son of Italian migrant Aldo Liberale Cervi, who had come with his father to work in the mines, and Queenstown local Anita Stewart, whom Cervi married. When they split three years later, Stewart moved out with his mother and adopted her maiden surname to protect her identity. Stewart would not see his father again until a family reunion in Melbourne in 1972, just months before his father's death. As a teenager growing up in Hobart, Stewart turned out for the Macalburn club and spent spare time watching Tasmanian Football League club North Hobart training and playing. The North Hobart players knew him well and were bemused when he joined North's archrival, Hobart. Stewart started there in 1962 as an eighteen-year-old. After just four senior games, Stewart impressed sufficiently to earn selection for the state team to play against Victoria. This was a great opportunity to display his talents: playing in the centre, he was matched against Alastair Lord, who went on to win the Brownlow medal that year. At the end of the season, Stewart paid his own way to Melbourne in an attempt to break into the Victorian Football League (VFL). Stewart was keen to play for St Kilda. The Saints had been vigorously recruiting players from all over the country in an attempt to win their first ever premiership. They had a number of Tasmanian players in their ranks and the previous year had recruited the Apple Isle's star player, Darrel Baldock. Like virtually every young footballer in Tasmania at the time, Stewart idolised Baldock and wanted to play alongside him. Several other VFL clubs were impressed by Stewart's performance against Victoria and wanted to sign him, while St Kilda believed he needed another year in Tasmania to develop. However, he leveraged the interest of the other clubs and St Kilda won the services of the determined teenager. Stewart's arrival in the big time was subdued. He arrived at pre-season training with his own guernsey as he was too shy to ask the club to provide one. Stewart was named on the wing on his VFL debut against then powerhouse club at the Junction Oval. Three other players were also making their debut for the Saints that day: Carl Ditterich, Bob Murray and Jim Wallis. Ditterich starred in a best-on-ground performance and would go on to enjoy a colourful 285-game career. Stewart's game was quiet due to a heavy knock, but he nonetheless developed into a quality player. Clearly, the Saints were putting together a brilliant team. The club's supporters realised as the season unfolded that they had an equally good player in Stewart. Possessing the most valued asset that a midfielder in Australian football can have – balance – Stewart was also a prolific ball winner and consummate user of the ball once it was in his sure grip. His ability to pass the ball to Baldock bordered on the telepathic and he was an excellent overhead mark for a small man. St Kilda coach Allan Jeans quickly realised that the new boy needed to be in the play as much as possible, so he was switched into the centre, where he remained for the rest of his career. The Stewart-Baldock combination drove the Saints into the finals, where they were unlucky to lose the semi-final to Melbourne due to inaccurate kicking in the last quarter. Success appeared tantalisingly close to the game's perennial underachievers. However, controversy derailed the Saints' 1964 season. The club's administration had decided to accept an offer to relocate to outer-suburban Moorabbin, thus abandoning their spiritual home of almost one hundred years. The furore lasted for months, although history showed that the club was actually ahead of the times in their strategic thinking. The emotion over uprooting the club was a distraction for the team (which slumped to sixth on the ladder) but not for Stewart. He won his first Trevor Barker Award (club best and fairest) in 1964 in what proved to be the first in a string of individual accolades. Premiership success and subsequent burnout The 1965 season and the move to Moorabbin was a huge success. Starting with more than 51,000 at the opening game, the Saints packed them in at their new home. In Round 9, in front of more than 72,000 at the MCG, St Kilda seized top place from Melbourne with a big win, then held on for the remainder of the season to win the minor premiership for the first time. The momentum continued; two days after the last game, Stewart was a surprise winner of the game's highest award, the Brownlow medal. He had tied with North Melbourne's Noel Teasdale, but the medal went to Stewart on a countback (Teasdale received a retrospective award 24 years later). Then St Kilda won into the Grand Final in a thrilling semi-final against Collingwood, decided by only one point. The medal win did not deflect Stewart's concentration – he dominated. His team were into only their second Grand Final, the first for 52 years. As St Kilda had not won a single premiership in its 93-year existence, it looked like history in the making. Essendon surprised by also beating Collingwood to advance to the Grand Final. Anticipation got to the inexperienced St Kilda players and coach; they got a bit too "up", overtrained during the week and were floundering come the big day. The Bombers, finals veterans, made them pay dearly and had the game won by three quarter time. Stewart went down fighting and was named his team's best player. He had shown a distinct liking for the big game during his finals performances. The following season, the Saints jumped out of the blocks and after winning the first eight games there was speculation that they could go through undefeated. Naturally, talk like that precipitated a slump, and by the last game, they were in danger of sliding right out of the finals if they lost. Thanks to Baldock, the Saints pulled a tight game out of the fire and went into the finals as equal favourites for the flag. Back in the 1960s, the Brownlow vote count was broadcast live on radio on the Monday following the end of the home-and-away season. As the reigning Brownlow medallist, Stewart thought he would only poll 14 or 15 votes, adding that he felt his last three or four games of the season had been poor. But by the end of the broadcast, Stewart had won his second successive Brownlow with 21 votes, winning by four from Carlton star John Nicholls, the first player to win back-to-back Brownlows since Dick Reynolds in 1937 and 1938. At the time of the broadcast, Stewart had been staying at a friend's place in Seaford and was ill with gastroenteritis, but went later that evening to a television studio to be congratulated by club officials and the media. However, in the semi-final rematch (from the previous year) with Collingwood, Stewart was blanketed by Colin Tully and the Saints went down by ten points. Stewart bounced back with a best afield performance the following week, guiding his team to a revenge win over Essendon and keeping alive the dream of a first flag. The 1966 Grand Final stands as one of the celebrated games of Australian football. Two evenly-matched teams went at it for 100 minutes and the forever-mythologised result – a one-point win by the least successful club over the most successful club – retains its dramatic impact to this day as the Saints have yet to win another flag. Stewart was brilliant, a driving force all day, cementing his reputation as the best player of his type in the game. To cap the year, he also won All-Australian selection and a second club best and fairest. Aged 23, Stewart had achieved everything worth achieving in just four years in the VFL. After reaching the summit, it was a lot harder to go back up. St Kilda suffered a premiership hangover and missed the 1967 finals, then battled into fourth place for the 1968 finals. They only got there thanks to an eight-goal win over Geelong in the final round but, facing the same opposition in the semi-final, lost by 44 points – a 92-point turnaround in a week. On the day, Stewart lowered his colours to West Australian Dennis Marshall, who dominated the game. Stewart was made captain for 1969, but the team could manage only seventh place and tension arose between the captain and his coach, Allan Jeans. Stewart resigned the position at season's end, then went missing for pre-season training. Although Stewart returned to play the 1970 season—and the Saints made the preliminary final—he was clearly unhappy. Struggling with injury, his relationship with Jeans was still strained, and he was sometimes played out of position at half-forward. He had no impact on the only final game he played of that year, and made it clear he wanted to leave the club. Some thought that Stewart was finished at 27 years of age. Reflecting back on that time 40 years later, Stewart was more circumspect: I'd lost my dedication, I needed a new challenge. I wasn't as involved as much as I should have been. Maybe I was burnt out like Mark Thompson. I wasn't getting on well with 'Jeansy', but I've since realized it was my fault, not Allan Jeans' fault. Famous swap In 1971, the idea that two star players would be traded for each other was uncharted territory for Australian football (although Richmond was to be once again involved in controversy in 1975 when they pushed their luck too far and swapped the future Brownlow medallist Graham Teasdale, state representative ruckman Brian "The Whale" Roberts, and talented half-back-flanker Francis Jackson for South Melbourne's John Pitura, who was only to play 38 senior games at Richmond in three years). The VFL had only recently sanctioned transfer fees, which usually amounted to no more than a couple of thousand dollars, but top line players did not swap clubs, and certainly not dual Brownlow medallists. Stewart wanted to break that trend, but he knew that the prevailing culture demanded that he be discreet. He let Richmond secretary Allan Schwab (who had worked briefly at St Kilda a few years earlier) know that he would be interested in moving to Punt Road if a deal could be worked. Stewart's rival during the 1960s for the title of best centreman in the VFL was Richmond's Billy Barrot. The two had parallel careers, and although Stewart was acknowledged as the better player, the Victorian selectors had played Barrot 11 times, Stewart only three. The two men were a stark contrast: Barrot was a burst player, specialising in the booming drop-kick into the forward line (often from the centre circle into the goal-square) and the extravagant gesture; and, although devastating and spectacular, he was also moody and undisciplined and was subsequently diagnosed with bipolar disorder. After dominating in two premiership victories, the Richmond hierarchy felt that Barrot's faults outweighed his attributes and that his time was up at Punt Road. Richmond used the Barrot situation as a pretext to recruit Stewart, who had told St Kilda he would probably go to Perth and find a coaching job in the league there. Gradually, Richmond stimulated St Kilda's interest in recruiting Barrot when it became clear that he would not be continuing with the Tigers. When the Saints were eventually prepared to sign Barrot, Stewart made a late request to go to Richmond, ostensibly saving St Kilda a transfer fee. Stewart described the situation as a "sting...but it was a good sting". The football community was stunned by the trade; its likes had never been seen and the debate was on as to who had the best end of the deal. A large group of irate Richmond supporters vented their emotion in an angry scene at the club's AGM. As one of the most popular players at Punt Road, Barrot was still performing on-field and he admitted to heartbreak when told that he had effectively been sacked. Barrot was the younger man and it was felt that St Kilda had pulled a great con trick on the Tigers. It took just a few weeks of the new season to prove this view wrong. Rebirth in yellow and black Wearing the Number 2 jumper in which Roy Wright won two Brownlow medals, Stewart burned from the start of 1971 and rapidly gained favouritism to win another Brownlow Medal. Meanwhile, Barrot lasted two games with the Saints, was dropped and then cleared to Carlton by mid-season. There, he played a handful of games for the Tigers' old rivals, but had a physical confrontation with coach Ron Barassi at half time in the last round of the season, which resulted in Barrot walking away from VFL football forever. The 1971 Brownlow Medal count was one of the closest in VFL/AFL history. With one round of votes remaining, any of eight players could have won the medal; Stewart, Hawthorn's star full-forward Peter Hudson, St Kilda's John McIntosh and Essendon captain Barry Davis were tied on 18 votes, while Fitzroy's Alex Ruscuklic, Footscray's Gary Dempsey, Geelong's Bill Ryan and St Kilda captain Ross Smith were also in contention with 16 votes each. But, with the final vote of the evening, VFL administrative director Eric McCutchan announced that Stewart had polled three votes to win the medal outright. This made him the fourth player to win three Brownlow medals, and the first player to win the award at two clubs. If Stewart not been awarded any votes in the final round of the home-and-away season, he and Barry Davis would have tied for the Brownlow, as both had received five best-on-ground votes from the umpires. He starred in Richmond's semi-final victory over Collingwood, which set up a tantalising clash with St Kilda in the preliminary final, with Richmond hot favourite to win and advance to the Grand Final. On a very wet day, the Saints gained some vengeance for the deal by keeping Stewart relatively quiet and winning the game by five goals. Stewart was hampered by injury during the 1972 finals, and was not fully fit for the Grand Final against Carlton. The Tigers selected him on the bench, but when he came on at half time, the game was effectively lost as Richmond trailed by 45 points. He picked up nine kicks in the second half as his team struggled in vain to bridge the gap. Better fortune attended the 1973 finals campaign. Again playing with injury, Stewart was a stand out in the three finals. But it was his performance in the Grand Final rematch with Carlton that underlined his courage and class. In the third quarter, Stewart suffered a leg injury which severely impacted his mobility, but because the interchange rule had not yet been introduced, he was moved to a forward pocket. From there, he kicked two goals to keep Richmond on track for their eighth premiership. He finished the game as one of Richmond's best, with 18 disposals, five marks and three goals. To date, Stewart is the only VFL/AFL footballer to have won a Brownlow medal and a premiership at two different clubs. The following season, however, Stewart twice announced his retirement from the game. The first time was on the Thursday before the opening match of the season, but he quickly changed his mind after watching Richmond lose to Hawthorn. He rejoined the club in time to play in the centre for their Round 2 match against Fitzroy. After playing six more matches, including the infamous "Battle of Windy Hill" against Essendon, in which he kicked five goals, and his 200th VFL match in Round 10 against South Melbourne, Stewart wrote a letter to Richmond secretary Alan Schwab, announcing his decision to retire permanently. In his letter, Stewart wrote that he had made the decision after long and deep consideration. He felt that he couldn't cope with the demands of the game any more, and didn't want to spoil the good reputation he had built while at Richmond. His decision came as a shock to club officials. The Tigers were powerful enough to go on to another premiership without him. Then Stewart decided to come back for 1975, but he managed only five games before injury again forced him to quit, aged 31. Football Involvement off the Field Just months after his last game, Stewart took a punt by taking on the coaching job at the embattled wooden spooners, South Melbourne. He was lured to the job by ex-North Melbourne administrator, Ron Joseph, who was on a short-lived appointment at the club. The Swans were the worst performed team since the war, and their finances were beginning to spin out of control. Over two seasons, Stewart performed a minor miracle by hauling the team up to eighth in 1976 and then the following year the Swans made the finals for only the second time in 32 years. The thrilling campaign to make the 1977 finals was highlighted by a withering run in the last six weeks of the season and a bold stroke by Stewart. He switched Graham Teasdale (a forward struggling so badly that he was thinking about returning to a bush league) in to the ruck and Teasdale dominated to the extent that he won the Brownlow medal in a canter. The fairytale ended the next week when the Swans were crushed by Richmond in an elimination final. Surprisingly, Stewart now left the Lake Oval. Carlton decided to replace their coach and wanted a big name to take over, so they immediately contacted Stewart. It was a fateful decision – Stewart's perfectionism did not always make him a great communicator and he fell out with a number of the Blues' key men. After a thrashing from Richmond in the opening round of 1978, matters went from bad to worse. Captain Robert Walls left for Fitzroy; his veteran teammate Peter Jones (who, like Stewart, had started his career with North Hobart) was relegated to the reserves; club favourite Adrian Gallagher was removed from his assistant coaching position. All three had crossed swords with the irascible coach. Just a few weeks into the season, Stewart quit the club, citing a heart attack. Speculation was rife that he had actually suffered a nervous breakdown, a view that was supported by the fact that he had been charged by the police (under the name of Ian Cervi) for exposing himself to daytime shoppers in Glen Huntly Road, Elsternwick, when parked opposite the Elsternwick Post Office, but it is certain that he quit before he was sacked. Certainly, Stewart was fit enough to resume as South Melbourne coach in 1979. He could not modify his hard-driving style and the personality clashes continued, but overall he got the best out of the limited material available at South Melbourne. In reality, Stewart's three-year stint with the Swans developed into a holding pattern for the team as the club flirted with, then agreed to, a move to Sydney. With the threat of liquidation constantly hovering over performances, Stewart got the club to a creditable sixth in 1980, but overall they lost more than they won in this period. Stewart's role as coach in 1981 was made all the more difficult when he had his driver's licence cancelled for two years, when he was found guilty of having driven dangerously, and having failed to stop after an accident. Stewart continued to give opportunities to young players and publicly backed the relocation, then handed the a player list in reasonable shape for the move, at the end of the 1981 season. After departing South Melbourne, Stewart returned to serve as general manager at St Kilda. In 1983 he was involved in a controversial clearance wrangle when South Melbourne players Paul Morwood and Silvio Foschini crossed to the Saints without clearance from the VFL. In Round 4, Morwood played in the game against without official clearance from the VFL. The Saints ended up losing by 11 points, but had they won, they would have risked forfeiting the premiership points under the League rules at the time. Stewart defended the players' freedom to play where they wished provided they were not under contract, and when asked about the risk of forfeiting premiership points, he retorted, "We were beaten by 21 goals last week, where was the risk?" Life outside Football After serving as general manager at St Kilda for three years during the tumultuous 1980s, Stewart cut ties with football and became involved with various business ventures, including uranium mining in the Kalahari Desert. But when the Saints' fortunes improved during the 2000s, he eventually returned to the club, even flying back to Melbourne from a business trip to watch the 2010 AFL Grand Final replay. On 31 August 2006, tragedy struck the Stewart family when 25-year-old daughter Amy died from injuries sustained when her car hit a tree in country Victoria. In July 2012, Stewart was admitted to the Royal Melbourne Hospital after suffering what he initially thought was a stroke, but was later diagnosed as Guillain–Barré syndrome. He was home alone at the time – his wife Suzie was in London visiting their other daughter Lauren – and had just returned from the gymnasium when he fell over in his bathroom. He had not experienced any symptoms. Paralyzed from the neck down, he struggled to call for an ambulance using his nose. Stewart is not the first Australian footballer to have suffered from Guillain–Barré syndrome; former Collingwood wingman Graham Wright was diagnosed with the condition in 1993 and took three months to recover. When Hawthorn coach Alastair Clarkson was diagnosed with the condition in May 2014, Stewart, who was still attending three rehabilitation sessions a week, said that he doubted Clarkson would coach again during the season. In July 2014, it was reported that Stewart, who had settled in Woodend, had donated some of his football memorabilia to raise funds for local charity Artists for Orphans. Honours and tributes Stewart's sporting achievements have been recognised with numerous honours. Besides his three Brownlow Medals, Stewart was inducted into the Sport Australia Hall of Fame in 1986. He was also inducted into the Tasmanian Sporting Hall of Fame in 1993, and in 1996 was one of the first inductees into the Australian Football Hall of Fame before being elevated to Legend status the following year. In 2000, he received an Australian Sports Medal. See also List of Brownlow Medal winners Australian Football Hall of Fame References External links AFL Hall of Fame - Legends St Kilda Hall of Fame profile Richmond Football Club – Hall of Fame inductee: Ian Stewart Category:1943 births Category:Living people Category:St Kilda Football Club players Category:St Kilda Football Club Premiership players Category:Richmond Football Club players Category:Richmond Football Club Premiership players Category:Hobart Football Club players Category:Carlton Football Club coaches Category:Sydney Swans coaches Category:Brownlow Medal winners Category:Jack Dyer Medal winners Category:Trevor Barker Award winners Category:All-Australians (1953–1988) Category:Australian Football Hall of Fame inductees Category:Sport Australia Hall of Fame inductees Category:Tasmanian Football Hall of Fame inductees Category:Australian rules footballers from Tasmania Category:Recipients of the Australian Sports Medal Category:Australian people of Italian descent Category:Sportspeople of Italian descent Category:People educated at Dominic College Category:People with Guillain–Barré syndrome Category:Two-time VFL/AFL Premiership players Category:People from Queenstown, Tasmania
[ { "text": "The Brownlow Medal (formally the Charles Brownlow Trophy) is an individual award given to the player judged fairest and best in the Australian Football League (AFL) during the regular season. Determined by votes cast by the officiating umpires after each game, it is considered the highest honour for individual players in the AFL.\n\nThe medal has been awarded every year since 1924, with the exception of an intermission from 1942–1945 due to World War II. As of 2021, the Brownlow Medal has been awarded 108 times to 89 players in 94 medal counts.\n\nWinners by season\n\n \n \n \n\n \n \n \n\nNotes:\n\nAs a mark of respect to soldiers fighting overseas in World War II, the medal was not awarded during 1942–1945.\n\nIneligible players who polled the most votes\nA player guilty of an offence deemed worthy of a suspension by the AFL's disciplinary tribunal for serious on-field offences is ineligible to win the Brownlow Medal. Suspended players have tallied the highest number of votes for the award on three occasions. In the third of those cases, Jobe Watson, who won in 2012, was later found guilty of breaching WADA's anti-doping code in the 2012 season, and was retrospectively ruled ineligible by the AFL Commission in November 2016.\n\nMultiple winners\n\nThe following players have won the Brownlow Medal multiple times.\n\nVoting systems\n\nSince 1924, the voting system for the Brownlow has changed three times.\n\nFrom 1930 to 1980, a countback system was used to determine the winner in the event of a tie. In 1930, Judkins was awarded the medal as he had played in the fewest games.\n\nFrom 1931 to 1980, with the introduction of 3–2–1 voting, the winner was the player with the most three-vote games. In 1980, the countback system was removed, and in the event of a tie, players have been considered joint winners. In 1989, the then VFL awarded retrospective medals to all players who had tied but lost on countback prior to 1980.\n\nBrownlow wins by clubs\n\nSee also\nBrownlow Medal\n\nNotes\n\nExternal links\nBrownlow winners list from AFL Tables\nBrownlow Medal Winners interactive visualization\n\n \nBrownlow\nCategory:Lists of players of Australian rules football", "title": "List of Brownlow Medal winners" }, { "text": "The Australian Football Hall of Fame was established in 1996, the Centenary year of the Australian Football League, to help recognise the contributions made to the sport of Australian rules football by players, umpires, media personalities, coaches and administrators. It was initially established with 136 inductees. As of 2022, this figure has grown to more than 300, including 32 \"Legends\".\n\nWhile those involved in the game from its inception in 1858 are theoretically eligible, as of 2022, very few outside the elite leagues (the Victorian/Australian Football League (VFL/AFL), the West Australian Football League (WAFL), the South Australian National Football League (SANFL), the Challenge Cup of 1870–1876, the South Australian Interclub competition of 1870–1876, and the Victorian Football Association (VFA) of 1877–1896) have been inducted.\n\nSelection\n\nSelection criteria\nA committee considers candidates on the basis of their ability, integrity, sportsmanship and character. While the number of games played, coached or umpired, or years of service in the case of administrators and media representatives, is a consideration, it alone does not determine eligibility.\n\nPlayers must be retired from the game for at least five years before they become eligible for induction (extended from three years in 2015), while coaches, umpires, administrators and media representatives are eligible immediately upon retirement.\n\nThe committee considers candidates from all states and territories of Australia and from all Australian football competitions within Australia.\n\nThe following excerpt from the official Hall of Fame website highlights the main criteria used by the committee in selecting inductees to the Hall of Fame:\n The Committee shall consider a candidate's outstanding service and overall contribution to the game of Australian Football in determining a candidate's eligibility for induction into the Hall of Fame.\n Without limiting clause 5.1, the Committee may consider a candidate's individual record, ability, integrity, sportsmanship and character.\n The number of football games played, coached or umpired or the years of service provided shall only be a consideration and shall not be determinative in assessing a candidate's eligibility.\n A player, coach, umpire, administrator or media representative involved at any level of Australian Football may be eligible for induction into the Hall of Fame.\n Candidates shall be adjudged on the basis of their overall contribution to Australian Football, as opposed to one specific aspect.\n\nIn 2010, several amendments were made to the selection criteria, with key changes including:\n The maximum number of inductees in any single year reduced from eight to six, to increase the emphasis and honour for those inducted. This change was reversed in 2018.\n The requirement to induct a minimum of three recently retired players (retired within 10 years of each induction ceremony) reduced to a minimum of two, to ensure older players deserving of induction are represented in proportion. This requirement was removed completely in 2018.\n The requirement to have one inductee from the grouping of categories umpire/administrator/media every year changed to a minimum of one from this category every two years. In 2018, the requirement for people in the media or administration categories to have retired was removed.\n The Hall of Fame selection committee to be independent from the AFL Commission. The wording in the charter has been changed so that the selection committee recommends to the commission for \"endorsement\" rather than for \"approval\".\n Selectors would be appointed for an initial term of three years, with two further opportunities to be appointed for subsequent three year terms (total of nine years).\n At least 25 per cent of the selection committee to reside outside of Victoria.\n\nSelection committee\nThe selection committee, as of 2021, comprises the chairman of the AFL Commission Richard Goyder, Paul Marsh (CEO of AFL Players Association), broadcasters (Michelangelo Rucci, Karen Lyon, Bruce McAvaney and Tania Armstrong), and former players (Ross Glendinning, Graham Cornes, Michael O'Loughlin and David Parkin) as well as Mark Genge (statistics/history consultant) and Patrick Keane (secretary).\n\nPrevious selectors have included Mike Fitzpatrick, Kevin Bartlett, Brendon Gale, historian Col Hutchinson, and broadcasters Harry Gordon, Geoff Christian, Caroline Wilson, Tim Lane, Mike Sheahan, Patrick Smith, Dennis Cometti and Jim Main.\n\nLegends \nThe Legends category is reserved for those who are deemed to have had a significant impact on the game of Australian rules football. Most \"Legends\" enshrined to date represent former players who played the majority or the whole of their career in the VFL/AFL, with three players in Barrie Robran, Jack Oatey (SANFL) and Merv McIntosh (WAFL) being selected for careers in their local state leagues. Being named as a \"Legend\" of the Australian Football Hall of Fame is the highest honour which can be bestowed onto an Australian footballer.\n\nIn 2010, several amendments to the Legends category were made to ensure the exclusivity and prestige of the Hall of Fame. Among them were:\n The Legends category remains exclusively for recognition of the most significant playing and coaching records \n The number of Legends that can be part of the Hall of Fame remains at a maximum of 10 percent of the total inductees\n Criteria for elevating an inductee to Legend status requires that only ‘playing and coaching’ records be taken into account and not a candidate's overall contribution to the game outside of playing and coaching\n\nPlayer inductees\n\nWomen inductees\n\nCoach inductees\n\nUmpires\n\n Brett Allen (VFL/AFL)\n Ken Aplin (SANFL)\n Henry \"Ivo\" Crapp (VFA, VFL, WAFL)\n Jeff Crouch (VFL)\n Bill Deller (VFL)\n Jack Elder (VFL)\n Tom McArthur (QAFL)\n Jack McMurray Sr. (VFA, VFL, NTFA)\n Jack McMurray Jr. (VFL)\n Ian Robinson (VFL)\n Rowan Sawers (VFL/AFL)\n Bob Scott (VFL)\n Ray Scott (WANFL)\n Bryan Sheehan (VFL/AFL)\n\nMedia \n\n Norman Banks (Radio, Victoria)\n Harry Beitzel (Radio and print, Victoria)\n Alf Brown (Print, Victoria)\n Hugh Buggy (Print, Victoria)\n Ron Casey (Radio and television, Victoria)\n Tony Charlton (Radio and television, Victoria)\n Geoff Christian (Radio and print, Western Australia)\n Dennis Cometti (Radio and television, National)\n Hector DeLacy (Print, Victoria)\n Bruce McAvaney (Radio and television, National)\n Reginald Wilmot (Print, Victoria)\n\nAdministrators\n\n Bruce Andrew (, ANFC)\n Max Basheer (SANFL)\n Charles Brownlow (, VFL, ANFC)\n Ron Evans (, AFL)\n Jack Hamilton (VFL)\n Bob Hammond (Adelaide, AFL)\n H. C. A. Harrison (, VFA)\n Thomas Hill (Norwood, SANFL, ANFC)\n Sir Kenneth Luke (, VFL)\n Likely 'Like' McBrien (South Melbourne, VFL)\n Bob McLean (Port Adelaide, SANFL)\n Dr William C. McClelland (, VFL)\n Eric McCutchan (VFL)\n Ross Oakley (VFL/AFL)\n Pat Rodriguez (Claremont, WAFL, ANFC)\n Tom Wills ()\n\nPioneers \n John Acraman\n Charles Kingston\n Richard Twopeny\n\nInduction ceremony \nEvery year there is a special Hall of Fame dinner to announce and welcome the new inductees to the Hall of Fame.\n\nThe Hall of Fame inductions started in Melbourne in 1996 to celebrate the VFL-AFL centenary season. Ceremonies have only been held outside of Victoria twice, once at Canberra in 2013 and once at Adelaide in 2017.\n\nIn 2020, due to the COVID-19 pandemic, the usual annual induction event was not held, and instead the new inductees and legend elevation were announced over four nights in a series of television shows.\n\nInduction locations \n\n 1996: Melbourne, VIC\n 1997: Melbourne, VIC\n 1998: Melbourne, VIC\n 1999: Melbourne, VIC\n 2000: Melbourne, VIC\n 2001: Melbourne, VIC\n 2002: Melbourne, VIC\n 2003: Melbourne, VIC\n 2004: Melbourne, VIC\n 2005: Melbourne, VIC\n 2006: Melbourne, VIC \n 2007: Melbourne, VIC\n 2008: Melbourne, VIC\n 2009: Melbourne, VIC\n 2010: Melbourne, VIC\n 2011: Melbourne, VIC \n 2012: Melbourne, VIC – (Crown)\n 2013: Canberra, ACT – (Old Parliament House)\n 2014: Melbourne, VIC – (Crown)\n 2015: Melbourne, VIC – (Crown)\n 2016: Melbourne, VIC – (Crown)\n 2017: Adelaide, SA – (Adelaide Oval)\n 2018: Melbourne, VIC – (Crown)\n 2019: Melbourne, VIC – (Crown)\n 2020: Televised event only (COVID-19 pandemic)\n 2021: Televised event only (COVID-19 pandemic)\n\nCriticism\n\nThe Hall of Fame has been criticised by football writers and historians for being heavily biased towards figures from Victoria.\n\nThe initial selection committee was made up of 11 Victorians, one South Australian and one Western Australian, with the current selection committee being made up of six Victorians, two Western Australians and one South Australian. Of the 136 inaugural inductees into the Hall of Fame, 116 played substantial parts of their careers in Victoria, with eleven of the thirteen \"Legends\" from Victoria.\n\nCriticism has also been slated at the under-representation of pioneers and other early stars of the game, as Adam Cardosi wrote in 2014:\n In 2018, the same criticism was levelled by ABC sport reporter James Coventry, who mentioned that over 60% of Legends inducted were either playing or coaching in 1969.\n\nDeclined inductions \nIn 2021, Garry McIntosh and Adam Goodes both declined their nominations to be inducted into the Hall of Fame.\n\nGoodes declined due to the lack of support and remedial action taken by the AFL in response to the racial abuse he had endured in his final years playing in the AFL, while McIntosh stated that \"he did not play the game for personal honours\".\n\nSee also\n Australian Capital Territory Football Hall of Fame ACT (Est. 2006)\n New South Wales Football Hall of Fame NSW (Est. 2003)\n Northern Territory Football Hall of Fame NT (Est. 2010)\n Queensland Football Hall of Fame QLD (Est. 2008)\n South Australian Football Hall of Fame (Est. 2002)\n Tasmanian Football Hall of Fame (Est. 2005)\n West Australian Football Hall of Fame (Est. 2004)\n\nReferences\n\nExternal links\n Australian Football Hall of Fame official website\n\n \nCategory:Australian Football League awards\nCategory:Australian rules football museums and halls of fame\nCategory:Sports organizations established in 1996\nCategory:Halls of fame in Australia\nCategory:1996 establishments in Australia", "title": "Australian Football Hall of Fame" } ]
[ "The context does not provide specific information on when the famous swap between the star players occurred.", "The swap became famous because it was a rare instance of two top line players being traded for each other in Australian football, which was uncharted territory at that time. The trade also caused a lot of debate about who got the better end of the deal, and brought about emotional responses from the fanbase.", "The aftermath of the swap was marked by intense debate as to who had the best end of the deal. Richmond supporters were particularly upset which caused an angry scene at the club's annual general meeting. Billy Barrot, one of the swapped players and a fan favorite at Richmond, was heartbroken and felt as though he'd been sacked. Many felt that St Kilda had tricked Richmond due to Barrot being the younger player. However, the context suggests that this view was proved wrong within a few weeks into the new season.", "The context suggests that Richmond might have got the better end of the deal, as it states that views suggesting St Kilda had tricked Richmond were proven wrong within a few weeks of the new season. However, the text does not explicitly state which team got the best end of the deal.", "Yes, there are a number of interesting aspects in the article. One is the contrasting styles of play and personalities of the players involved in the swap, particularly the difference between Stewart and Barrot, who had parallel careers and were rivals for the title of best centreman. Barrot was a burst player known for spectacular gestures and devastating play but was also moody, undisciplined, and later diagnosed with bipolar disorder. Stewart, on the other hand, was more discreet and strategically planned his move to Richmond. Also intriguing is the strategic maneuvering by the clubs, with Richmond using Barrot's situation as a pretext to recruit Stewart, and Stewart making a late request to go to Richmond to save St Kilda a transfer fee. The event also underscores the deep emotional connection fans and players can have to their clubs, as demonstrated by the backlash from Richmond supporters and Barrot's admission of heartbreak after the swap." ]
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C_8f3b2d221c8440faa398bc5426f244c2_0
Ian Stewart (Australian rules footballer)
Ian Harlow Stewart (born 30 July 1943) is a former Australian rules footballer who represented St Kilda and Richmond in the Victorian Football League (VFL) during the 1960s and 1970s. He later coached South Melbourne and Carlton and was an administrator at St Kilda. Stewart is one of only four men to win the Brownlow Medal three times. He was one of the first inductees into the Australian Football Hall of Fame in 1996 and was elevated to Legend status the following year.
Coaching career
Just months after his last game, Stewart took a punt by taking on the coaching job at the embattled wooden spooners, South Melbourne. He was lured to the job by ex-North Melbourne administrator, Ron Joseph, who was on a short-lived appointment at the club. The Swans were the worst performed team since the war, and their finances were beginning to spin out of control. Over two seasons, Stewart performed a minor miracle by hauling the team up to eighth in 1976 and then the following year the Swans made the finals for only the second time in 32 years. The thrilling campaign to make the 1977 finals was highlighted by a withering run in the last six weeks of the season and a bold stroke by Stewart. He switched Graham Teasdale (a forward struggling so badly that he was thinking about returning to a bush league) in to the ruck and Teasdale dominated to the extent that he won the Brownlow medal in a canter. The fairytale ended the next week when the Swans were crushed by Richmond in an elimination final. Surprisingly, Stewart now left the Lake Oval. Carlton decided to replace their coach and wanted a big name to take over, so they immediately contacted Stewart. It was a fateful decision - Stewart's perfectionism did not always make him a great communicator and he fell out with a number of the Blues' key men. After a thrashing from Richmond in the opening round of 1978, matters went from bad to worse. Captain Robert Walls left for Fitzroy; his veteran teammate Peter Jones (who, like Stewart, had started his career with North Hobart) was relegated to the reserves; club favourite Adrian Gallagher was removed from his assistant coaching position. All three had crossed swords with the irascible coach. Just a few weeks into the season, Stewart quit the club, citing a heart attack. Speculation was rife that he had actually suffered a nervous breakdown, a view that was supported by the fact that he had been charged by the police (under the name of Ian Cervi) for exposing himself to daytime shoppers in Glen Huntly Road, Elsternwick, when parked opposite the Elsternwick Post Office, but it is certain that he quit before he was sacked. Certainly, Stewart was fit enough to resume as South Melbourne coach in 1979. He could not modify his hard-driving style and the personality clashes continued, but overall he got the best out of the limited material available at South Melbourne. In reality, Stewart's three-year stint with the Swans developed into a holding pattern for the team as the club flirted with, then agreed to, a move to Sydney. With the threat of liquidation constantly hovering over performances, Stewart got the club to a creditable sixth in 1980, but overall they lost more than they won in this period. Stewart's role as coach in 1981 was made all the more difficult when he had his driver's licence cancelled for two years, when he was found guilty of having driven dangerously, and having failed to stop after an accident. Stewart continued to give opportunities to young players and publicly backed the relocation, then handed the a player list in reasonable shape for the move, at the end of the 1981 season. CANNOTANSWER
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Ian Harlow Stewart (né Cervi; born 14 July 1943) is a former Australian rules footballer who played for the St. Kilda Football Club and Richmond Football Club in the Victorian Football League (VFL). He later coached and before returning to St. Kilda to serve as general manager. Stewart is one of only four men to win the Brownlow Medal three times (the others being Haydn Bunton Sr., Dick Reynolds, and Bob Skilton), and the only one to do so at two different clubs; he is also the most recent player to have achieved three Brownlow Medals. He was an inaugural inductee into the Australian Football Hall of Fame in 1996 and was elevated to Legend status the following year. He will always be remembered as one of the truly great exponents of Australian football, a player with the rare blend of skill, concentration and courage who formed partnerships with two of the greatest forwards the game has produced, Darrel Baldock and Royce Hart. Coincidentally, all three men hailed from Tasmania during a period when the country's smallest state contributed some unforgettable talent to the national game. Early life and career Stewart was born Ian Cervi in the mining town of Queenstown in western Tasmania. He was the son of Italian migrant Aldo Liberale Cervi, who had come with his father to work in the mines, and Queenstown local Anita Stewart, whom Cervi married. When they split three years later, Stewart moved out with his mother and adopted her maiden surname to protect her identity. Stewart would not see his father again until a family reunion in Melbourne in 1972, just months before his father's death. As a teenager growing up in Hobart, Stewart turned out for the Macalburn club and spent spare time watching Tasmanian Football League club North Hobart training and playing. The North Hobart players knew him well and were bemused when he joined North's archrival, Hobart. Stewart started there in 1962 as an eighteen-year-old. After just four senior games, Stewart impressed sufficiently to earn selection for the state team to play against Victoria. This was a great opportunity to display his talents: playing in the centre, he was matched against Alastair Lord, who went on to win the Brownlow medal that year. At the end of the season, Stewart paid his own way to Melbourne in an attempt to break into the Victorian Football League (VFL). Stewart was keen to play for St Kilda. The Saints had been vigorously recruiting players from all over the country in an attempt to win their first ever premiership. They had a number of Tasmanian players in their ranks and the previous year had recruited the Apple Isle's star player, Darrel Baldock. Like virtually every young footballer in Tasmania at the time, Stewart idolised Baldock and wanted to play alongside him. Several other VFL clubs were impressed by Stewart's performance against Victoria and wanted to sign him, while St Kilda believed he needed another year in Tasmania to develop. However, he leveraged the interest of the other clubs and St Kilda won the services of the determined teenager. Stewart's arrival in the big time was subdued. He arrived at pre-season training with his own guernsey as he was too shy to ask the club to provide one. Stewart was named on the wing on his VFL debut against then powerhouse club at the Junction Oval. Three other players were also making their debut for the Saints that day: Carl Ditterich, Bob Murray and Jim Wallis. Ditterich starred in a best-on-ground performance and would go on to enjoy a colourful 285-game career. Stewart's game was quiet due to a heavy knock, but he nonetheless developed into a quality player. Clearly, the Saints were putting together a brilliant team. The club's supporters realised as the season unfolded that they had an equally good player in Stewart. Possessing the most valued asset that a midfielder in Australian football can have – balance – Stewart was also a prolific ball winner and consummate user of the ball once it was in his sure grip. His ability to pass the ball to Baldock bordered on the telepathic and he was an excellent overhead mark for a small man. St Kilda coach Allan Jeans quickly realised that the new boy needed to be in the play as much as possible, so he was switched into the centre, where he remained for the rest of his career. The Stewart-Baldock combination drove the Saints into the finals, where they were unlucky to lose the semi-final to Melbourne due to inaccurate kicking in the last quarter. Success appeared tantalisingly close to the game's perennial underachievers. However, controversy derailed the Saints' 1964 season. The club's administration had decided to accept an offer to relocate to outer-suburban Moorabbin, thus abandoning their spiritual home of almost one hundred years. The furore lasted for months, although history showed that the club was actually ahead of the times in their strategic thinking. The emotion over uprooting the club was a distraction for the team (which slumped to sixth on the ladder) but not for Stewart. He won his first Trevor Barker Award (club best and fairest) in 1964 in what proved to be the first in a string of individual accolades. Premiership success and subsequent burnout The 1965 season and the move to Moorabbin was a huge success. Starting with more than 51,000 at the opening game, the Saints packed them in at their new home. In Round 9, in front of more than 72,000 at the MCG, St Kilda seized top place from Melbourne with a big win, then held on for the remainder of the season to win the minor premiership for the first time. The momentum continued; two days after the last game, Stewart was a surprise winner of the game's highest award, the Brownlow medal. He had tied with North Melbourne's Noel Teasdale, but the medal went to Stewart on a countback (Teasdale received a retrospective award 24 years later). Then St Kilda won into the Grand Final in a thrilling semi-final against Collingwood, decided by only one point. The medal win did not deflect Stewart's concentration – he dominated. His team were into only their second Grand Final, the first for 52 years. As St Kilda had not won a single premiership in its 93-year existence, it looked like history in the making. Essendon surprised by also beating Collingwood to advance to the Grand Final. Anticipation got to the inexperienced St Kilda players and coach; they got a bit too "up", overtrained during the week and were floundering come the big day. The Bombers, finals veterans, made them pay dearly and had the game won by three quarter time. Stewart went down fighting and was named his team's best player. He had shown a distinct liking for the big game during his finals performances. The following season, the Saints jumped out of the blocks and after winning the first eight games there was speculation that they could go through undefeated. Naturally, talk like that precipitated a slump, and by the last game, they were in danger of sliding right out of the finals if they lost. Thanks to Baldock, the Saints pulled a tight game out of the fire and went into the finals as equal favourites for the flag. Back in the 1960s, the Brownlow vote count was broadcast live on radio on the Monday following the end of the home-and-away season. As the reigning Brownlow medallist, Stewart thought he would only poll 14 or 15 votes, adding that he felt his last three or four games of the season had been poor. But by the end of the broadcast, Stewart had won his second successive Brownlow with 21 votes, winning by four from Carlton star John Nicholls, the first player to win back-to-back Brownlows since Dick Reynolds in 1937 and 1938. At the time of the broadcast, Stewart had been staying at a friend's place in Seaford and was ill with gastroenteritis, but went later that evening to a television studio to be congratulated by club officials and the media. However, in the semi-final rematch (from the previous year) with Collingwood, Stewart was blanketed by Colin Tully and the Saints went down by ten points. Stewart bounced back with a best afield performance the following week, guiding his team to a revenge win over Essendon and keeping alive the dream of a first flag. The 1966 Grand Final stands as one of the celebrated games of Australian football. Two evenly-matched teams went at it for 100 minutes and the forever-mythologised result – a one-point win by the least successful club over the most successful club – retains its dramatic impact to this day as the Saints have yet to win another flag. Stewart was brilliant, a driving force all day, cementing his reputation as the best player of his type in the game. To cap the year, he also won All-Australian selection and a second club best and fairest. Aged 23, Stewart had achieved everything worth achieving in just four years in the VFL. After reaching the summit, it was a lot harder to go back up. St Kilda suffered a premiership hangover and missed the 1967 finals, then battled into fourth place for the 1968 finals. They only got there thanks to an eight-goal win over Geelong in the final round but, facing the same opposition in the semi-final, lost by 44 points – a 92-point turnaround in a week. On the day, Stewart lowered his colours to West Australian Dennis Marshall, who dominated the game. Stewart was made captain for 1969, but the team could manage only seventh place and tension arose between the captain and his coach, Allan Jeans. Stewart resigned the position at season's end, then went missing for pre-season training. Although Stewart returned to play the 1970 season—and the Saints made the preliminary final—he was clearly unhappy. Struggling with injury, his relationship with Jeans was still strained, and he was sometimes played out of position at half-forward. He had no impact on the only final game he played of that year, and made it clear he wanted to leave the club. Some thought that Stewart was finished at 27 years of age. Reflecting back on that time 40 years later, Stewart was more circumspect: I'd lost my dedication, I needed a new challenge. I wasn't as involved as much as I should have been. Maybe I was burnt out like Mark Thompson. I wasn't getting on well with 'Jeansy', but I've since realized it was my fault, not Allan Jeans' fault. Famous swap In 1971, the idea that two star players would be traded for each other was uncharted territory for Australian football (although Richmond was to be once again involved in controversy in 1975 when they pushed their luck too far and swapped the future Brownlow medallist Graham Teasdale, state representative ruckman Brian "The Whale" Roberts, and talented half-back-flanker Francis Jackson for South Melbourne's John Pitura, who was only to play 38 senior games at Richmond in three years). The VFL had only recently sanctioned transfer fees, which usually amounted to no more than a couple of thousand dollars, but top line players did not swap clubs, and certainly not dual Brownlow medallists. Stewart wanted to break that trend, but he knew that the prevailing culture demanded that he be discreet. He let Richmond secretary Allan Schwab (who had worked briefly at St Kilda a few years earlier) know that he would be interested in moving to Punt Road if a deal could be worked. Stewart's rival during the 1960s for the title of best centreman in the VFL was Richmond's Billy Barrot. The two had parallel careers, and although Stewart was acknowledged as the better player, the Victorian selectors had played Barrot 11 times, Stewart only three. The two men were a stark contrast: Barrot was a burst player, specialising in the booming drop-kick into the forward line (often from the centre circle into the goal-square) and the extravagant gesture; and, although devastating and spectacular, he was also moody and undisciplined and was subsequently diagnosed with bipolar disorder. After dominating in two premiership victories, the Richmond hierarchy felt that Barrot's faults outweighed his attributes and that his time was up at Punt Road. Richmond used the Barrot situation as a pretext to recruit Stewart, who had told St Kilda he would probably go to Perth and find a coaching job in the league there. Gradually, Richmond stimulated St Kilda's interest in recruiting Barrot when it became clear that he would not be continuing with the Tigers. When the Saints were eventually prepared to sign Barrot, Stewart made a late request to go to Richmond, ostensibly saving St Kilda a transfer fee. Stewart described the situation as a "sting...but it was a good sting". The football community was stunned by the trade; its likes had never been seen and the debate was on as to who had the best end of the deal. A large group of irate Richmond supporters vented their emotion in an angry scene at the club's AGM. As one of the most popular players at Punt Road, Barrot was still performing on-field and he admitted to heartbreak when told that he had effectively been sacked. Barrot was the younger man and it was felt that St Kilda had pulled a great con trick on the Tigers. It took just a few weeks of the new season to prove this view wrong. Rebirth in yellow and black Wearing the Number 2 jumper in which Roy Wright won two Brownlow medals, Stewart burned from the start of 1971 and rapidly gained favouritism to win another Brownlow Medal. Meanwhile, Barrot lasted two games with the Saints, was dropped and then cleared to Carlton by mid-season. There, he played a handful of games for the Tigers' old rivals, but had a physical confrontation with coach Ron Barassi at half time in the last round of the season, which resulted in Barrot walking away from VFL football forever. The 1971 Brownlow Medal count was one of the closest in VFL/AFL history. With one round of votes remaining, any of eight players could have won the medal; Stewart, Hawthorn's star full-forward Peter Hudson, St Kilda's John McIntosh and Essendon captain Barry Davis were tied on 18 votes, while Fitzroy's Alex Ruscuklic, Footscray's Gary Dempsey, Geelong's Bill Ryan and St Kilda captain Ross Smith were also in contention with 16 votes each. But, with the final vote of the evening, VFL administrative director Eric McCutchan announced that Stewart had polled three votes to win the medal outright. This made him the fourth player to win three Brownlow medals, and the first player to win the award at two clubs. If Stewart not been awarded any votes in the final round of the home-and-away season, he and Barry Davis would have tied for the Brownlow, as both had received five best-on-ground votes from the umpires. He starred in Richmond's semi-final victory over Collingwood, which set up a tantalising clash with St Kilda in the preliminary final, with Richmond hot favourite to win and advance to the Grand Final. On a very wet day, the Saints gained some vengeance for the deal by keeping Stewart relatively quiet and winning the game by five goals. Stewart was hampered by injury during the 1972 finals, and was not fully fit for the Grand Final against Carlton. The Tigers selected him on the bench, but when he came on at half time, the game was effectively lost as Richmond trailed by 45 points. He picked up nine kicks in the second half as his team struggled in vain to bridge the gap. Better fortune attended the 1973 finals campaign. Again playing with injury, Stewart was a stand out in the three finals. But it was his performance in the Grand Final rematch with Carlton that underlined his courage and class. In the third quarter, Stewart suffered a leg injury which severely impacted his mobility, but because the interchange rule had not yet been introduced, he was moved to a forward pocket. From there, he kicked two goals to keep Richmond on track for their eighth premiership. He finished the game as one of Richmond's best, with 18 disposals, five marks and three goals. To date, Stewart is the only VFL/AFL footballer to have won a Brownlow medal and a premiership at two different clubs. The following season, however, Stewart twice announced his retirement from the game. The first time was on the Thursday before the opening match of the season, but he quickly changed his mind after watching Richmond lose to Hawthorn. He rejoined the club in time to play in the centre for their Round 2 match against Fitzroy. After playing six more matches, including the infamous "Battle of Windy Hill" against Essendon, in which he kicked five goals, and his 200th VFL match in Round 10 against South Melbourne, Stewart wrote a letter to Richmond secretary Alan Schwab, announcing his decision to retire permanently. In his letter, Stewart wrote that he had made the decision after long and deep consideration. He felt that he couldn't cope with the demands of the game any more, and didn't want to spoil the good reputation he had built while at Richmond. His decision came as a shock to club officials. The Tigers were powerful enough to go on to another premiership without him. Then Stewart decided to come back for 1975, but he managed only five games before injury again forced him to quit, aged 31. Football Involvement off the Field Just months after his last game, Stewart took a punt by taking on the coaching job at the embattled wooden spooners, South Melbourne. He was lured to the job by ex-North Melbourne administrator, Ron Joseph, who was on a short-lived appointment at the club. The Swans were the worst performed team since the war, and their finances were beginning to spin out of control. Over two seasons, Stewart performed a minor miracle by hauling the team up to eighth in 1976 and then the following year the Swans made the finals for only the second time in 32 years. The thrilling campaign to make the 1977 finals was highlighted by a withering run in the last six weeks of the season and a bold stroke by Stewart. He switched Graham Teasdale (a forward struggling so badly that he was thinking about returning to a bush league) in to the ruck and Teasdale dominated to the extent that he won the Brownlow medal in a canter. The fairytale ended the next week when the Swans were crushed by Richmond in an elimination final. Surprisingly, Stewart now left the Lake Oval. Carlton decided to replace their coach and wanted a big name to take over, so they immediately contacted Stewart. It was a fateful decision – Stewart's perfectionism did not always make him a great communicator and he fell out with a number of the Blues' key men. After a thrashing from Richmond in the opening round of 1978, matters went from bad to worse. Captain Robert Walls left for Fitzroy; his veteran teammate Peter Jones (who, like Stewart, had started his career with North Hobart) was relegated to the reserves; club favourite Adrian Gallagher was removed from his assistant coaching position. All three had crossed swords with the irascible coach. Just a few weeks into the season, Stewart quit the club, citing a heart attack. Speculation was rife that he had actually suffered a nervous breakdown, a view that was supported by the fact that he had been charged by the police (under the name of Ian Cervi) for exposing himself to daytime shoppers in Glen Huntly Road, Elsternwick, when parked opposite the Elsternwick Post Office, but it is certain that he quit before he was sacked. Certainly, Stewart was fit enough to resume as South Melbourne coach in 1979. He could not modify his hard-driving style and the personality clashes continued, but overall he got the best out of the limited material available at South Melbourne. In reality, Stewart's three-year stint with the Swans developed into a holding pattern for the team as the club flirted with, then agreed to, a move to Sydney. With the threat of liquidation constantly hovering over performances, Stewart got the club to a creditable sixth in 1980, but overall they lost more than they won in this period. Stewart's role as coach in 1981 was made all the more difficult when he had his driver's licence cancelled for two years, when he was found guilty of having driven dangerously, and having failed to stop after an accident. Stewart continued to give opportunities to young players and publicly backed the relocation, then handed the a player list in reasonable shape for the move, at the end of the 1981 season. After departing South Melbourne, Stewart returned to serve as general manager at St Kilda. In 1983 he was involved in a controversial clearance wrangle when South Melbourne players Paul Morwood and Silvio Foschini crossed to the Saints without clearance from the VFL. In Round 4, Morwood played in the game against without official clearance from the VFL. The Saints ended up losing by 11 points, but had they won, they would have risked forfeiting the premiership points under the League rules at the time. Stewart defended the players' freedom to play where they wished provided they were not under contract, and when asked about the risk of forfeiting premiership points, he retorted, "We were beaten by 21 goals last week, where was the risk?" Life outside Football After serving as general manager at St Kilda for three years during the tumultuous 1980s, Stewart cut ties with football and became involved with various business ventures, including uranium mining in the Kalahari Desert. But when the Saints' fortunes improved during the 2000s, he eventually returned to the club, even flying back to Melbourne from a business trip to watch the 2010 AFL Grand Final replay. On 31 August 2006, tragedy struck the Stewart family when 25-year-old daughter Amy died from injuries sustained when her car hit a tree in country Victoria. In July 2012, Stewart was admitted to the Royal Melbourne Hospital after suffering what he initially thought was a stroke, but was later diagnosed as Guillain–Barré syndrome. He was home alone at the time – his wife Suzie was in London visiting their other daughter Lauren – and had just returned from the gymnasium when he fell over in his bathroom. He had not experienced any symptoms. Paralyzed from the neck down, he struggled to call for an ambulance using his nose. Stewart is not the first Australian footballer to have suffered from Guillain–Barré syndrome; former Collingwood wingman Graham Wright was diagnosed with the condition in 1993 and took three months to recover. When Hawthorn coach Alastair Clarkson was diagnosed with the condition in May 2014, Stewart, who was still attending three rehabilitation sessions a week, said that he doubted Clarkson would coach again during the season. In July 2014, it was reported that Stewart, who had settled in Woodend, had donated some of his football memorabilia to raise funds for local charity Artists for Orphans. Honours and tributes Stewart's sporting achievements have been recognised with numerous honours. Besides his three Brownlow Medals, Stewart was inducted into the Sport Australia Hall of Fame in 1986. He was also inducted into the Tasmanian Sporting Hall of Fame in 1993, and in 1996 was one of the first inductees into the Australian Football Hall of Fame before being elevated to Legend status the following year. In 2000, he received an Australian Sports Medal. See also List of Brownlow Medal winners Australian Football Hall of Fame References External links AFL Hall of Fame - Legends St Kilda Hall of Fame profile Richmond Football Club – Hall of Fame inductee: Ian Stewart Category:1943 births Category:Living people Category:St Kilda Football Club players Category:St Kilda Football Club Premiership players Category:Richmond Football Club players Category:Richmond Football Club Premiership players Category:Hobart Football Club players Category:Carlton Football Club coaches Category:Sydney Swans coaches Category:Brownlow Medal winners Category:Jack Dyer Medal winners Category:Trevor Barker Award winners Category:All-Australians (1953–1988) Category:Australian Football Hall of Fame inductees Category:Sport Australia Hall of Fame inductees Category:Tasmanian Football Hall of Fame inductees Category:Australian rules footballers from Tasmania Category:Recipients of the Australian Sports Medal Category:Australian people of Italian descent Category:Sportspeople of Italian descent Category:People educated at Dominic College Category:People with Guillain–Barré syndrome Category:Two-time VFL/AFL Premiership players Category:People from Queenstown, Tasmania
[ { "text": "The Brownlow Medal (formally the Charles Brownlow Trophy) is an individual award given to the player judged fairest and best in the Australian Football League (AFL) during the regular season. Determined by votes cast by the officiating umpires after each game, it is considered the highest honour for individual players in the AFL.\n\nThe medal has been awarded every year since 1924, with the exception of an intermission from 1942–1945 due to World War II. As of 2021, the Brownlow Medal has been awarded 108 times to 89 players in 94 medal counts.\n\nWinners by season\n\n \n \n \n\n \n \n \n\nNotes:\n\nAs a mark of respect to soldiers fighting overseas in World War II, the medal was not awarded during 1942–1945.\n\nIneligible players who polled the most votes\nA player guilty of an offence deemed worthy of a suspension by the AFL's disciplinary tribunal for serious on-field offences is ineligible to win the Brownlow Medal. Suspended players have tallied the highest number of votes for the award on three occasions. In the third of those cases, Jobe Watson, who won in 2012, was later found guilty of breaching WADA's anti-doping code in the 2012 season, and was retrospectively ruled ineligible by the AFL Commission in November 2016.\n\nMultiple winners\n\nThe following players have won the Brownlow Medal multiple times.\n\nVoting systems\n\nSince 1924, the voting system for the Brownlow has changed three times.\n\nFrom 1930 to 1980, a countback system was used to determine the winner in the event of a tie. In 1930, Judkins was awarded the medal as he had played in the fewest games.\n\nFrom 1931 to 1980, with the introduction of 3–2–1 voting, the winner was the player with the most three-vote games. In 1980, the countback system was removed, and in the event of a tie, players have been considered joint winners. In 1989, the then VFL awarded retrospective medals to all players who had tied but lost on countback prior to 1980.\n\nBrownlow wins by clubs\n\nSee also\nBrownlow Medal\n\nNotes\n\nExternal links\nBrownlow winners list from AFL Tables\nBrownlow Medal Winners interactive visualization\n\n \nBrownlow\nCategory:Lists of players of Australian rules football", "title": "List of Brownlow Medal winners" }, { "text": "The Australian Football Hall of Fame was established in 1996, the Centenary year of the Australian Football League, to help recognise the contributions made to the sport of Australian rules football by players, umpires, media personalities, coaches and administrators. It was initially established with 136 inductees. As of 2022, this figure has grown to more than 300, including 32 \"Legends\".\n\nWhile those involved in the game from its inception in 1858 are theoretically eligible, as of 2022, very few outside the elite leagues (the Victorian/Australian Football League (VFL/AFL), the West Australian Football League (WAFL), the South Australian National Football League (SANFL), the Challenge Cup of 1870–1876, the South Australian Interclub competition of 1870–1876, and the Victorian Football Association (VFA) of 1877–1896) have been inducted.\n\nSelection\n\nSelection criteria\nA committee considers candidates on the basis of their ability, integrity, sportsmanship and character. While the number of games played, coached or umpired, or years of service in the case of administrators and media representatives, is a consideration, it alone does not determine eligibility.\n\nPlayers must be retired from the game for at least five years before they become eligible for induction (extended from three years in 2015), while coaches, umpires, administrators and media representatives are eligible immediately upon retirement.\n\nThe committee considers candidates from all states and territories of Australia and from all Australian football competitions within Australia.\n\nThe following excerpt from the official Hall of Fame website highlights the main criteria used by the committee in selecting inductees to the Hall of Fame:\n The Committee shall consider a candidate's outstanding service and overall contribution to the game of Australian Football in determining a candidate's eligibility for induction into the Hall of Fame.\n Without limiting clause 5.1, the Committee may consider a candidate's individual record, ability, integrity, sportsmanship and character.\n The number of football games played, coached or umpired or the years of service provided shall only be a consideration and shall not be determinative in assessing a candidate's eligibility.\n A player, coach, umpire, administrator or media representative involved at any level of Australian Football may be eligible for induction into the Hall of Fame.\n Candidates shall be adjudged on the basis of their overall contribution to Australian Football, as opposed to one specific aspect.\n\nIn 2010, several amendments were made to the selection criteria, with key changes including:\n The maximum number of inductees in any single year reduced from eight to six, to increase the emphasis and honour for those inducted. This change was reversed in 2018.\n The requirement to induct a minimum of three recently retired players (retired within 10 years of each induction ceremony) reduced to a minimum of two, to ensure older players deserving of induction are represented in proportion. This requirement was removed completely in 2018.\n The requirement to have one inductee from the grouping of categories umpire/administrator/media every year changed to a minimum of one from this category every two years. In 2018, the requirement for people in the media or administration categories to have retired was removed.\n The Hall of Fame selection committee to be independent from the AFL Commission. The wording in the charter has been changed so that the selection committee recommends to the commission for \"endorsement\" rather than for \"approval\".\n Selectors would be appointed for an initial term of three years, with two further opportunities to be appointed for subsequent three year terms (total of nine years).\n At least 25 per cent of the selection committee to reside outside of Victoria.\n\nSelection committee\nThe selection committee, as of 2021, comprises the chairman of the AFL Commission Richard Goyder, Paul Marsh (CEO of AFL Players Association), broadcasters (Michelangelo Rucci, Karen Lyon, Bruce McAvaney and Tania Armstrong), and former players (Ross Glendinning, Graham Cornes, Michael O'Loughlin and David Parkin) as well as Mark Genge (statistics/history consultant) and Patrick Keane (secretary).\n\nPrevious selectors have included Mike Fitzpatrick, Kevin Bartlett, Brendon Gale, historian Col Hutchinson, and broadcasters Harry Gordon, Geoff Christian, Caroline Wilson, Tim Lane, Mike Sheahan, Patrick Smith, Dennis Cometti and Jim Main.\n\nLegends \nThe Legends category is reserved for those who are deemed to have had a significant impact on the game of Australian rules football. Most \"Legends\" enshrined to date represent former players who played the majority or the whole of their career in the VFL/AFL, with three players in Barrie Robran, Jack Oatey (SANFL) and Merv McIntosh (WAFL) being selected for careers in their local state leagues. Being named as a \"Legend\" of the Australian Football Hall of Fame is the highest honour which can be bestowed onto an Australian footballer.\n\nIn 2010, several amendments to the Legends category were made to ensure the exclusivity and prestige of the Hall of Fame. Among them were:\n The Legends category remains exclusively for recognition of the most significant playing and coaching records \n The number of Legends that can be part of the Hall of Fame remains at a maximum of 10 percent of the total inductees\n Criteria for elevating an inductee to Legend status requires that only ‘playing and coaching’ records be taken into account and not a candidate's overall contribution to the game outside of playing and coaching\n\nPlayer inductees\n\nWomen inductees\n\nCoach inductees\n\nUmpires\n\n Brett Allen (VFL/AFL)\n Ken Aplin (SANFL)\n Henry \"Ivo\" Crapp (VFA, VFL, WAFL)\n Jeff Crouch (VFL)\n Bill Deller (VFL)\n Jack Elder (VFL)\n Tom McArthur (QAFL)\n Jack McMurray Sr. (VFA, VFL, NTFA)\n Jack McMurray Jr. (VFL)\n Ian Robinson (VFL)\n Rowan Sawers (VFL/AFL)\n Bob Scott (VFL)\n Ray Scott (WANFL)\n Bryan Sheehan (VFL/AFL)\n\nMedia \n\n Norman Banks (Radio, Victoria)\n Harry Beitzel (Radio and print, Victoria)\n Alf Brown (Print, Victoria)\n Hugh Buggy (Print, Victoria)\n Ron Casey (Radio and television, Victoria)\n Tony Charlton (Radio and television, Victoria)\n Geoff Christian (Radio and print, Western Australia)\n Dennis Cometti (Radio and television, National)\n Hector DeLacy (Print, Victoria)\n Bruce McAvaney (Radio and television, National)\n Reginald Wilmot (Print, Victoria)\n\nAdministrators\n\n Bruce Andrew (, ANFC)\n Max Basheer (SANFL)\n Charles Brownlow (, VFL, ANFC)\n Ron Evans (, AFL)\n Jack Hamilton (VFL)\n Bob Hammond (Adelaide, AFL)\n H. C. A. Harrison (, VFA)\n Thomas Hill (Norwood, SANFL, ANFC)\n Sir Kenneth Luke (, VFL)\n Likely 'Like' McBrien (South Melbourne, VFL)\n Bob McLean (Port Adelaide, SANFL)\n Dr William C. McClelland (, VFL)\n Eric McCutchan (VFL)\n Ross Oakley (VFL/AFL)\n Pat Rodriguez (Claremont, WAFL, ANFC)\n Tom Wills ()\n\nPioneers \n John Acraman\n Charles Kingston\n Richard Twopeny\n\nInduction ceremony \nEvery year there is a special Hall of Fame dinner to announce and welcome the new inductees to the Hall of Fame.\n\nThe Hall of Fame inductions started in Melbourne in 1996 to celebrate the VFL-AFL centenary season. Ceremonies have only been held outside of Victoria twice, once at Canberra in 2013 and once at Adelaide in 2017.\n\nIn 2020, due to the COVID-19 pandemic, the usual annual induction event was not held, and instead the new inductees and legend elevation were announced over four nights in a series of television shows.\n\nInduction locations \n\n 1996: Melbourne, VIC\n 1997: Melbourne, VIC\n 1998: Melbourne, VIC\n 1999: Melbourne, VIC\n 2000: Melbourne, VIC\n 2001: Melbourne, VIC\n 2002: Melbourne, VIC\n 2003: Melbourne, VIC\n 2004: Melbourne, VIC\n 2005: Melbourne, VIC\n 2006: Melbourne, VIC \n 2007: Melbourne, VIC\n 2008: Melbourne, VIC\n 2009: Melbourne, VIC\n 2010: Melbourne, VIC\n 2011: Melbourne, VIC \n 2012: Melbourne, VIC – (Crown)\n 2013: Canberra, ACT – (Old Parliament House)\n 2014: Melbourne, VIC – (Crown)\n 2015: Melbourne, VIC – (Crown)\n 2016: Melbourne, VIC – (Crown)\n 2017: Adelaide, SA – (Adelaide Oval)\n 2018: Melbourne, VIC – (Crown)\n 2019: Melbourne, VIC – (Crown)\n 2020: Televised event only (COVID-19 pandemic)\n 2021: Televised event only (COVID-19 pandemic)\n\nCriticism\n\nThe Hall of Fame has been criticised by football writers and historians for being heavily biased towards figures from Victoria.\n\nThe initial selection committee was made up of 11 Victorians, one South Australian and one Western Australian, with the current selection committee being made up of six Victorians, two Western Australians and one South Australian. Of the 136 inaugural inductees into the Hall of Fame, 116 played substantial parts of their careers in Victoria, with eleven of the thirteen \"Legends\" from Victoria.\n\nCriticism has also been slated at the under-representation of pioneers and other early stars of the game, as Adam Cardosi wrote in 2014:\n In 2018, the same criticism was levelled by ABC sport reporter James Coventry, who mentioned that over 60% of Legends inducted were either playing or coaching in 1969.\n\nDeclined inductions \nIn 2021, Garry McIntosh and Adam Goodes both declined their nominations to be inducted into the Hall of Fame.\n\nGoodes declined due to the lack of support and remedial action taken by the AFL in response to the racial abuse he had endured in his final years playing in the AFL, while McIntosh stated that \"he did not play the game for personal honours\".\n\nSee also\n Australian Capital Territory Football Hall of Fame ACT (Est. 2006)\n New South Wales Football Hall of Fame NSW (Est. 2003)\n Northern Territory Football Hall of Fame NT (Est. 2010)\n Queensland Football Hall of Fame QLD (Est. 2008)\n South Australian Football Hall of Fame (Est. 2002)\n Tasmanian Football Hall of Fame (Est. 2005)\n West Australian Football Hall of Fame (Est. 2004)\n\nReferences\n\nExternal links\n Australian Football Hall of Fame official website\n\n \nCategory:Australian Football League awards\nCategory:Australian rules football museums and halls of fame\nCategory:Sports organizations established in 1996\nCategory:Halls of fame in Australia\nCategory:1996 establishments in Australia", "title": "Australian Football Hall of Fame" } ]
[ "Stewart began coaching just months after his last game, however, the context does not provide a specific date or year for when he started.", "He coached the South Melbourne team, also known as the Swans, and later the Carlton team.", "In his first season with the South Melbourne team (considered the worst performed team since the war), Stewart performed what is described as a minor miracle by improving the team's standing to eighth in 1976. The following year, the team made it to the finals for only the second time in 32 years.", "The context does not provide details on what the team was ranked eighth in. It could be the division, or it could be the league as a whole." ]
[ "Yes", "Yes", "Yes", "Yes" ]
C_913ccd6664e14e519974b23965d6d539_0
Scott Weiland
Scott Richard Weiland (; ne Kline, October 27, 1967 - December 3, 2015) was an American musician, singer and songwriter. During a career spanning three decades, Weiland was best known as the lead singer of the band Stone Temple Pilots from 1989 to 2002 and 2008 to 2013. He was also a member of supergroup Velvet Revolver from 2003 to 2008 and recorded one album with another supergroup, Art of Anarchy.
Relationships and family
Weiland married Janina Castaneda on September 17, 1994; the couple divorced in 2000. He married model Mary Forsberg on May 20, 2000. They had two children, Noah (born 2000) and Lucy (born 2002). Weiland and Forsberg divorced in 2007. In 2005, Weiland and his son Noah were featured on comedian David Spade's The Showbiz Show with David Spade during a comedy sketch about discouraging music file sharing. Noah has a line during the sketch in which he asks a little girl, "Please buy my daddy's album so I can have food to eat." Weiland was a Notre Dame Fighting Irish football fan, as his stepfather is an alumnus. In September 2006, Weiland performed at the University of Notre Dame's Legends Restaurant on the night before a football game. He sang several of his solo songs as well as "Interstate Love Song" and a cover of Pink Floyd's "Wish You Were Here". In a 2007 interview with Blender magazine, Weiland mentioned that he was raised a Catholic. Mary Forsberg Weiland's autobiography Fall to Pieces was co-written with Larkin Warren and released in 2009. Scott Weiland's autobiography, Not Dead & Not for Sale, co-written with David Ritz, was released May 17, 2011. In a November 2012 interview with Rolling Stone, Weiland revealed that he was engaged to photographer Jamie Wachtel whom he met during the 2011 filming of his music video for the song, "I'll Be Home for Christmas". Weiland and Wachtel married on June 22, 2013, at their Los Angeles home. CANNOTANSWER
[ "C_913ccd6664e14e519974b23965d6d539_0_q#0", "C_913ccd6664e14e519974b23965d6d539_0_q#1", "C_913ccd6664e14e519974b23965d6d539_0_q#2", "C_913ccd6664e14e519974b23965d6d539_0_q#3", "C_913ccd6664e14e519974b23965d6d539_0_q#4", "C_913ccd6664e14e519974b23965d6d539_0_q#5" ]
[ "How may times has he been married?", "What that his only marriage?", "How many children does he have?", "Only those two children?", "What was his relationship with his family?", "Does he have any quotes regarding his marriages?" ]
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{ "answer_starts": [ [ 0 ], [ 85 ], [ 133 ], [ 133 ], [ 1463 ], [ 1463 ] ], "texts": [ [ "Weiland married Janina Castaneda on September 17, 1994; the couple divorced in 2000." ], [ "He married model Mary Forsberg on May 20, 2000. They had two children, Noah (born 2000) and Lucy (born 2002). Weiland and Forsberg divorced in 2007." ], [ "They had two children, Noah (born 2000) and Lucy (born 2002)." ], [ "They had two children, Noah (born 2000) and Lucy (born 2002)." ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ] ] }
{ "answer_starts": [ 0, 85, 133, 133, 1463, 1463 ], "texts": [ "Weiland married Janina Castaneda on September 17, 1994; the couple divorced in 2000.", "He married model Mary Forsberg on May 20, 2000. They had two children, Noah (born 2000) and Lucy (born 2002). Weiland and Forsberg divorced in 2007.", "They had two children, Noah (born 2000) and Lucy (born 2002).", "They had two children, Noah (born 2000) and Lucy (born 2002).", "CANNOTANSWER", "CANNOTANSWER" ] }
Scott Richard Weiland (; né Kline; October 27, 1967 – December 3, 2015) was an American singer and songwriter. Weiland was the lead singer of the rock band Stone Temple Pilots from 1989 to 2002 and 2008 to 2013, recording six albums with them. He was also lead vocalist of supergroup Velvet Revolver from 2003 to 2008 and recorded one album with supergroup Art of Anarchy. Weiland established himself as a solo artist as well, releasing four studio albums and collaborating with several musicians throughout his career. Weiland was known for his flamboyant and chaotic onstage persona; constantly changing his appearance and vocal style, for his use of a megaphone in concerts for vocal effect, and for his battles with substance abuse. Now widely viewed as a talented and versatile vocalist, Weiland has been ranked No. 57 in the Top 100 Heavy Metal Vocalists by Hit Parader. In 2012, Weiland formed the backing band the Wildabouts to mixed reviews. In December 2015, Weiland died of an accidental drug overdose on his tour bus in Minnesota at the age of 48. Early life and education Weiland was born at Kaiser Hospital in San Jose, California, the son of Sharon (née Williams) and Kent Kline. From his father's side, he was of German descent. At age five, his stepfather David Weiland legally adopted him and Scott took his surname. Around that time, Weiland moved to Bainbridge Township, Ohio, where he later attended Kenston High School. He moved back to California as a teenager and attended Edison High School in Huntington Beach and Orange Coast College. Before devoting himself to music full-time, he worked as a paste up artist for the Los Angeles Daily Journal legal newspaper. At the age of 12, Weiland was allegedly raped by an older male who had invited him to his house. He wrote in his autobiography Not Dead & Not For Sale that he repressed the memory until it returned to him in therapy decades later. Career Stone Temple Pilots In 1985, Weiland met bassist Robert DeLeo at a Black Flag concert in Long Beach, California. The two of them were discussing their love interests, when they realized they were both dating the same girl. They developed a bond over the incident, and ended up moving into her vacated apartment. Weiland's childhood friends Corey Hicock and David Allin rounded out the group, both of whom would soon be replaced by Eric Kretz and DeLeo's brother Dean. They took the name Stone Temple Pilots because of their fondness for the initials "STP". In one of the band's first opening performances as Mighty Joe Young, they opened for Electric Love Hogs, whose guitarist Dave Kushner would one day co-found Weiland's later band Velvet Revolver. In 1992, they released their first album, Core, spawning four hits ("Sex Type Thing", "Wicked Garden", "Creep", and "Plush".) In 1994, STP released their second record, Purple, which saw the development of a more distinctive identity for the band. Like Core, Purple was a big success for the band, spawning three hit singles ("Big Empty", "Vasoline" and "Interstate Love Song") and selling more than six million copies. The critical response to Purple was more favorable, with Spin calling it a "quantum leap" from the band's previous album. In 1995, Weiland formed the alternative rock band the Magnificent Bastards with session drummer Victor Indrizzo in San Diego. The band included Zander Schloss and Jeff Nolan on guitars and Bob Thompson on bass. Only two songs were recorded by the Magnificent Bastards, "Mockingbird Girl", composed by Nolan, Schloss, and Weiland, appeared in the film Tank Girl and on its soundtrack, and a cover of John Lennon's "How Do You Sleep?" was recorded for the tribute album, Working Class Hero: A Tribute to John Lennon. Weiland rejoined Stone Temple Pilots in the fall of 1995, but STP was forced to cancel most of their 1996–1997 tour in support of their third release, Tiny Music... Songs from the Vatican Gift Shop, which sold about two million albums. Weiland encountered problems with drug addiction at this time as well, which inspired some of his songs in the late-1990s and resulted in prison time. In 1999, STP regrouped once again and released No. 4. The album contained the hit single "Sour Girl", promoted by a surreal music video with Sarah Michelle Gellar. That same year, Weiland also recorded two songs with the short-lived supergroup the Wondergirls. During this time period Weiland spent five months in jail for drug possession. In November 2000, Weiland was invited to perform on the show VH1 Storytellers with the surviving members of the Doors. Weiland performed vocals on two Doors songs, "Break On Through (To the Other Side)" and "Five to One". That same month Stone Temple Pilots appeared on the Doors tribute CD, Stoned Immaculate with their own rendition of "Break on Through" as the lead track. On June 19, 2001, STP released its fifth album, Shangri-La Dee Da. That same year the band headlined the Family Values Tour along with Linkin Park, Staind and Static-X. In late 2002, significant backstage altercations between the DeLeo brothers and Weiland precipitated the band's break-up. In 2008, Stone Temple Pilots announced a 73-date U.S. tour on April 7 and performed together for the first time since 2002. The reunion tour kicked off at the Rock on the Range festival on May 17, 2008. According to Dean DeLeo, steps toward a Stone Temple Pilots reunion started with a simple phone call from Weiland's wife. She invited the DeLeo brothers to play at a private beach party, which led to the reconciliation of Weiland and the DeLeo brothers. STP's reunion tour was a success, and the band continued to tour throughout 2009 and began recording its sixth studio album. STP's first album since 2001, Stone Temple Pilots, was released on May 25, 2010. STP toured Southeast Asia for the first time in 2011, playing in Philippines (Manila), Singapore and Indonesia (Jakarta). Following this, the band played successful shows in Australia, including sell-out performances in Sydney and Melbourne. The band expressed interest in a 20th anniversary tour to celebrate the release of Core with Scott commenting on January 2, 2012, "Well, we're doing a lot of special things. [There's] a lot of archival footage that we're putting together, a coffee table book, hopefully a brand new album – so many ideas. A box set and then a tour, of course." STP began to experience problems in 2012 that were said to have been caused by tensions between Weiland and the rest of the band. Despite the band's claims that their fall tour would be celebrating the 20th anniversary of Core, this did not happen. On February 27, 2013, shortly before his solo tour was set to commence, Stone Temple Pilots announced on their website that "...they [had] officially terminated Scott Weiland." Weiland criticized the band after they hired Linkin Park singer Chester Bennington as his replacement, claiming he was still a member and they shouldn't be calling themselves Stone Temple Pilots without him. Velvet Revolver In 2002, former Guns N' Roses members – guitarist Slash, bassist Duff McKagan and drummer Matt Sorum – as well as former Wasted Youth guitarist Dave Kushner were looking for a singer to help form a new band. Throughout his career Weiland had become acquainted with the four musicians; he became friends with McKagan after attending the same gym, was in rehab at the same time as Sorum and once played on the same bill as Kushner. Weiland was sent two discs of material to work with but felt that the first disc "sounded like Bad Company gone wrong". Weiland was more positive when he was sent the second disc, comparing it to Core-era Stone Temple Pilots, though he turned them down because Stone Temple Pilots had not yet separated. When Stone Temple Pilots disbanded in 2003, the band sent Weiland new music, which he took into his studio and added vocals. This music eventually became the song "Set Me Free". Although he delivered the music to the band himself, Weiland was still unsure whether or not he wanted to join them, despite performing at an industry showcase at Mates. They recorded two songs with producer Nick Raskulinecz, a recorded version of "Set Me Free" and a cover of Pink Floyd's "Money", for the soundtracks to the movies The Hulk and The Italian Job, respectively. Weiland joined the band soon after, and "Set Me Free" managed to peak at number 17 on the Mainstream Rock chart without any radio promotion or a record label. It was prior to a screening of The Hulk at Universal Studios that the band chose a name. After seeing a movie by Revolution Studios, Slash liked the beginning of the word, eventually thinking of Revolver because of its multiple meanings: the name of a gun, subtext of a revolving door, which suited the band, as well as the name of a Beatles album. When he suggested Revolver to the band, Weiland suggested 'Black Velvet' Revolver, liking the idea of "something intimate like velvet juxtaposed with something deadly like a gun." They eventually arrived at Velvet Revolver, announcing it at a press conference and performance showcase at the El Rey Theatre while also performing the songs "Set Me Free" and "Slither" as well as covers of Nirvana's "Negative Creep", Sex Pistols' "Bodies", and Guns N' Roses' "It's So Easy". Velvet Revolver's debut album Contraband was released in June 2004 to much success. It debuted at number one on the Billboard 200 and has sold over three million copies worldwide to date. Two of the album's songs, "Slither" and "Fall to Pieces", reached number one on the Billboard Modern Rock Tracks chart. The song "Slither" also won a Grammy Award for Best Hard Rock Performance with Vocal in 2005, an award Weiland had won previously with STP for the song "Plush" in 1994. At the 2005 Grammy Awards, Weiland (along with the rest of Velvet Revolver) performed the Beatles song "Across the Universe", along with Bono, Brian Wilson, Norah Jones, Stevie Wonder, Steven Tyler, Billie Joe Armstrong, Alison Krauss, and Alicia Keys. On July 2, 2005, Weiland and Velvet Revolver performed at Live 8 in London, in which Weiland was condemned for using strong language before the UK watershed during the performance. Velvet Revolver released their second album, Libertad, on July 3, 2007, peaking at number five on the Billboard 200. The album's first single "She Builds Quick Machines" peaked at 74 on the Hot Canadian Digital Singles. The second and third singles, "The Last Fight" and "Get Out the Door", both peaked at number 16 and 34 on the Mainstream Rock Chart, respectively. Critical reception to the album was mixed. Though some critics praised the album and felt that Libertad gave the band an identity of their own, outside of the Guns N' Roses and Stone Temple Pilots comparisons, others described the album as "bland" and noted that the band seem to be "play[ing] to their strengths instead of finding a collective sound." After several flares on their personal blogs and in interviews, it was announced on April 1, 2008 that Weiland would no longer be a member of Velvet Revolver. Velvet Revolver reunited for a one-off performance with Weiland at a benefit concert for the late John O'Brien, on January 12, 2012. Art of Anarchy The project started in 2011, with guitarist Bumblefoot recording parts for the debut album in between touring with Guns N' Roses. Weiland wrote and recorded the vocals after sharing the song files back and forth with Bumblefoot from 2012 to 2013. Weiland also took part in promotional photo shoots and music videos in October 2014. Their self-titled debut album was released in June 2015. On January 21, 2015, they released a 2:06 teaser of the new album. Bumblefoot is the producer and engineer on the album. The first single to be released from the album was "'Til the Dust Is Gone". The album contains 11 tracks. However, Weiland distanced himself from the project, stating "It was a project I did where I was just supposed to have written the lyrics and melodies, and I was paid to do it. I did some production work on it, and the next thing I knew there were press releases that I was in the band. ... I'm not in the band." Weiland later added "It's just something I kinda got into when I wasn't doing anything else. ... I sang over these stereo tracks and then sent it back. But it's not something I'm a part of." In a January 2015 Rolling Stone interview, both Weiland and the Votta brothers from Anarchy stated it was a studio project that Weiland was never meant to tour with and that Anarchy would have to find a lead singer outside of the tracks Weiland had already contributed. Following Weiland's death, the lead vocalist position in Art of Anarchy was filled by former Creed vocalist Scott Stapp. Solo career and the Wildabouts While STP went on hiatus after the release of Tiny Music ..., Weiland released a solo album called 12 Bar Blues (1998). Weiland wrote most of the songs on the album and collaborated with several artists, notably Daniel Lanois, Sheryl Crow, Brad Mehldau, and Jeff Nolan. On November 25, 2008, Weiland released his second solo album, "Happy" in Galoshes, produced by Weiland and songwriting-producing partner Doug Grean. Weiland went on tour in early 2009 to promote the album. On August 30, 2011, Weiland released a covers album, A Compilation of Scott Weiland Cover Songs, exclusively through his website. The album was originally to be released along with Weiland's autobiography until he decided to release it separately, stating, "[It] actually turned out so well that we're going to release a single and put it out on its own, 'cause I think it's ... it's sort of my Pin Ups, I guess you'd say." On October 4, 2011, Weiland released The Most Wonderful Time of the Year, an album consisting entirely of Christmas music. Weiland supported the album with a US club tour. Two promotional recordings were taken from the album, cover versions of "Winter Wonderland" and "I'll Be Home for Christmas" with their respective music videos. Scott Weiland and the Wildabouts' Purple at the Core tour commenced in March 2013 with pop/rock band MIGGS as the opening act. In an interview with San Diego radio station KBZT in June 2014, Weiland stated that his debut album with the Wildabouts, titled Blaster, would be released in November that year. However, it was pushed back and eventually released on March 31, 2015. Guitarist Jeremy Brown died the day before the album's release. The cause of death was determined to be multiple drug intoxication, with coronary atherosclerosis and cardiomegaly being significant contributing factors. Nick Maybury replaced Brown in April 2015. Business ventures In 2006, Weiland launched his own record label, Softdrive Records, with his songwriting partner Doug Grean. Later, Weiland announced that his label signed the up-and-coming rock band Something to Burn. On December 19, 2008, Weiland signed a publishing deal with Bug Music, allowing Weiland to "receive funding to pursue the development of creative projects and writers for Bug Music through his co-founded label, Softdrive Records." The deal includes Weiland's share of the Stone Temple Pilots catalog and future solo projects. On January 21, 2009, Weiland announced the launch of his clothing line, Weiland for English Laundry, in partnership with designer Christopher Wicks. Artistry Weiland's vocal and musical style proved to be versatile, evolving constantly throughout his career. At the peak of Stone Temple Pilots' success in the early to mid-1990s, Weiland displayed a deep, baritone vocal style that was compared to that of Pearl Jam singer Eddie Vedder. However, as STP continued to branch out throughout its career, so did Weiland's vocal style. The band's third album, Tiny Music... Songs from the Vatican Gift Shop, had Weiland singing in a much higher, raspier tone to complement the band's more 60's rock-influenced sound. Later albums showcased Weiland's influences ranging from bossa nova on Shangri-La Dee Da to blues rock and classic rock on the band's 2010 self-titled album. Weiland's first solo record, 12 Bar Blues (1998), represented a huge shift in Weiland's style, as the album featured a sound "rooted in glam rock, filtered through psychedelia and trip-hop". With Velvet Revolver, Weiland's vocals ranged from his classic baritone to a rawer style to complement the band's hard rock sound. A New York Post review of Velvet Revolver's 2007 album Libertad commented that "Weiland's vocals are crisp and controlled, yet passionate." Weiland's second solo album, 2008's "Happy" in Galoshes, featured a wide variety of musical genres, such as bossa nova, country, neo-psychedelia and indie rock. Weiland's 2011 solo effort, the Christmas album The Most Wonderful Time of the Year consisted entirely of Christmas music in a crooning style similar to that of David Bowie and Frank Sinatra, as well as some reggae and bossa nova. Personal life Relationships and family Weiland married Janina Castaneda on September 17, 1994; the couple divorced in 2000. He married Mary Forsberg on May 20, 2000. They had two children, Noah (born 2000) and Lucy (born 2002). Weiland and Forsberg divorced in 2007. In 2005, Weiland and his son Noah were featured on comedian David Spade's The Showbiz Show with David Spade during a comedy sketch about discouraging music file sharing. Noah has a line during the sketch in which he asks a little girl, "Please buy my daddy's album so I can have food to eat." Weiland was a Notre Dame Fighting Irish football fan, as his stepfather is an alumnus. In September 2006, Weiland performed at the University of Notre Dame's Legends Restaurant on the night before a football game. He sang several of his solo songs as well as "Interstate Love Song" and a cover of Pink Floyd's "Wish You Were Here". In a 2007 interview with Blender magazine, Weiland mentioned that he was raised a Catholic. Mary Forsberg Weiland's autobiography Fall to Pieces was co-written with Larkin Warren and released in 2009. Scott Weiland's autobiography, Not Dead & Not for Sale, co-written with David Ritz, was released May 17, 2011. In a November 2012 interview with Rolling Stone, Weiland revealed that he was engaged to Jamie Wachtel, whom he met during the 2011 filming of his music video for "I'll Be Home for Christmas". Weiland and Wachtel married on June 22, 2013, at their Los Angeles home. In late 2020, Scott's son Noah Weiland debuted his new band Suspect208, which also features Slash's son London Hudson on drums and Robert Trujillo's son Tye Trujillo on bass. Their debut song "Long Awaited' was described by Wall of Sound as being reminiscent of Purple-era Stone Temple Pilots. Substance use and health problems In 1995, Weiland was convicted of buying crack cocaine. He was sentenced to one year of probation. His drug use did not end after his sentence, but increased, and he moved into a hotel room for two months, next door to Courtney Love, where she said he "shot drugs the whole time" with her. Weiland revealed in 2001 he was diagnosed with bipolar disorder. In a 2005 interview with Esquire, Weiland said that while performing in his first bands as a teenager, his drinking "escalated" and he began using cocaine for the first time, which he referred to as a "sexual" experience. In December 2007, Weiland was arrested and charged with DUI, his first arrest in over four years (since October 27, 2003). On February 7, 2008, Weiland checked into a rehabilitation facility and left in early March. Weiland's younger brother Michael died of cardiomyopathy in early 2007. The Velvet Revolver songs "For a Brother" and "Pills, Demons, & Etc" from the album Libertad are about Michael. Weiland said in an interview with MTV News in November 2008 that several songs on "Happy" in Galoshes were inspired by the death of his brother and his separation from Mary Forsberg. In the same article, MTV News reported that Weiland had not done heroin since December 5, 2002. Weiland also admitted that he went through "a very short binge with coke" in late 2007. In April 2015, online footage from a show raised questions about the health of Weiland, who appeared to be zoned out and giving a bizarre performance. A representative for Weiland asserted that lack of sleep, several drinks and a faulty earpiece were to blame, not drugs. In June 2015, Weiland claimed that he had been off drugs for 13 years. His response was directed towards comments made by Filter's frontman Richard Patrick, who claimed Weiland was using drugs and that his fans were pushing him closer to death by "sticking up for" him. After Weiland's death, the tour manager for the Wildabouts, Aaron Mohler, said, "A lot of times I've seen Scott do coke so he could drink more." Shortly after his death, Jamie Weiland, Scott's third wife, acknowledged that her husband was drinking heavily before he left on his band's last tour, but that he promised her that he would "get it together". She accompanied him on the tour for a week in November and said that Scott was "just killing it" onstage, "every night taking it up a notch". Weiland had hepatitis C, which he may have acquired from intravenous drug use. Death and impact Weiland was found dead, at age 48, on his tour bus on December 3, 2015, in Bloomington, Minnesota, while on tour with the Wildabouts. The band's scheduled gig that evening in nearby Medina, Minnesota, had been cancelled several days earlier. They were still planning to play the next night in Rochester, Minnesota. Police searched Weiland's tour bus and confirmed there were small amounts of cocaine in the bedroom where Weiland was discovered dead. Police also found prescription drugs, including Xanax, Buprenorphine, Ziprasidone, Viagra, and Hypnotics on the tour bus. Additionally, two bags of cocaine were found and a bag of a green leafy substance. Tommy Black, bassist for the Wildabouts, was arrested by police for speeding and running red lights while driving the tour bus, on suspicion of possession of cocaine, although the charges against him were later dropped. Despite the discovery of drugs, no underlying cause of death was immediately given. The medical examiner later determined Weiland's death was the result of an accidental overdose of cocaine, alcohol, and methylenedioxyamphetamine (MDA). In its report, the examiner's office also noted Weiland's atherosclerotic cardiovascular disease, history of asthma, and prolonged substance abuse. News of Weiland's death quickly spread throughout the Internet, with many of his musical peers, including his former band members, along with fans and music critics throughout the world, sharing their condolences, tributes, and memories. A day following his death, his former bandmates in Stone Temple Pilots issued a statement saying that he was "gifted beyond words" but acknowledging his struggle with substance abuse, calling it "part of [his] curse." A quiet funeral for Weiland was held at Hollywood Forever Cemetery on December 11, 2015, in Los Angeles. Members of both Stone Temple Pilots and Velvet Revolver attended. Chris Kushner, the wife of Velvet Revolver guitarist Dave Kushner, wrote on her Instagram page following the funeral, "A very sad day when (you) bury a friend. He was a good man. Don't believe everything (you) read. Remember, we were all there." Weiland's body was cremated. Mary Forsberg and the two children were not in attendance, later having a private ceremony in honor of Weiland. Legacy In the wake of Weiland's death, many critics and peers offered re-evaluations of Weiland's life and career, including David Fricke of Rolling Stone. Several other artists paid tribute to the singer by covering Stone Temple Pilots tunes in concert, including Life of Agony, Saint Asonia, Umphrey's McGee, Candlebox, Halestorm, and Pop Evil, among others, while Chris Cornell dedicated a performance of "Say Hello 2 Heaven" by Temple of the Dog to the singer. On the Smashing Pumpkins' website, Billy Corgan praised Weiland, saying: "It was STP's third album (Tiny Music... Songs from the Vatican Gift Shop), that had got me hooked, a wizardly mix of glam and post-punk, and I confessed to Scott, as well as the band many times, how wrong I'd been in assessing their native brilliance. And like Bowie can and does, it was Scott's phrasing that pushed his music into a unique, and hard to pin down, aesthetic sonicsphere. Lastly, I'd like to share a thought which, though clumsy, I hope would please Scott In Hominum. And that is if you asked me who I truly believed were the great voices of our generation, I'd say it were he, Layne, and Kurt." In 2018, Guns N' Roses with Slash and Duff, honored Weiland during the Not in This Lifetime... Tour by covering the Velvet Revolver hit song "Slither". Discography Solo albums 12 Bar Blues (1998) "Happy" in Galoshes (2008) The Most Wonderful Time of the Year (2011) Blaster (with The Wildabouts) (2015) Cover albums A Compilation of Scott Weiland Cover Songs (2011) with Stone Temple Pilots with Velvet Revolver with Art of Anarchy Art of Anarchy (2015) References Further reading Bibliography External links Category:1967 births Category:2015 deaths Category:20th-century American singers Category:21st-century American singers Category:Accidental deaths in Minnesota Category:Alcohol-related deaths in Minnesota Category:Alternative metal musicians Category:Alternative rock singers Category:American adoptees Category:American alternative rock musicians Category:American baritones Category:American hard rock musicians Category:American heavy metal singers Category:American lyricists Category:American male singer-songwriters Category:Record producers from California Category:American rock songwriters Category:American people of German descent Category:American people of English descent Category:Cocaine-related deaths in Minnesota Category:Drug-related deaths in Minnesota Category:Grunge musicians Category:Musicians from San Diego Category:Musicians from San Jose, California Category:People with bipolar disorder Category:People from Geauga County, Ohio Category:Singer-songwriters from California Category:Singer-songwriters from Ohio Category:Stone Temple Pilots members Category:Velvet Revolver members Category:Art of Anarchy members Category:Camp Freddy members Category:Catholics from Ohio Category:The Wondergirls members
[ { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
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Scott Weiland
Scott Richard Weiland (; ne Kline, October 27, 1967 - December 3, 2015) was an American musician, singer and songwriter. During a career spanning three decades, Weiland was best known as the lead singer of the band Stone Temple Pilots from 1989 to 2002 and 2008 to 2013. He was also a member of supergroup Velvet Revolver from 2003 to 2008 and recorded one album with another supergroup, Art of Anarchy.
Artistry
Weiland's vocal and musical style proved to be versatile, evolving constantly throughout his career. At the peak of Stone Temple Pilots' success in the early to mid-1990s, Weiland displayed a deep, baritone vocal style that was initially closely compared to that of Pearl Jam singer Eddie Vedder. However, as STP continued to branch out throughout its career, so did Weiland's vocal style. The band's third album, Tiny Music... Songs from the Vatican Gift Shop, had Weiland singing in a much higher, raspier tone to complement the band's more 60's rock-influenced sound on that album. Later albums showcased Weiland's influences ranging from bossa nova on Shangri-La Dee Da to blues rock and classic rock on the band's 2010 self-titled album. Weiland's first solo record, 1998's 12 Bar Blues, represented a huge shift in Weiland's style, as the album featured a sound "rooted in glam rock, filtered through psychedelia and trip-hop." With Velvet Revolver, Weiland's vocals ranged from his classic baritone to a rawer style to complement the band's hard rock sound. A New York Post review of Velvet Revolver's 2007 album Libertad commented that "Weiland's vocals are crisp and controlled yet passionate." Weiland's second solo album, 2008's "Happy" in Galoshes, featured a wide variety of musical genres, such as bossa nova, country, neo-psychedelia and indie rock. Weiland's 2011 solo effort, the Christmas album The Most Wonderful Time of the Year consisted entirely of Christmas music in a crooning style similar to that of David Bowie and Frank Sinatra, as well as some reggae and bossa nova. CANNOTANSWER
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Scott Richard Weiland (; né Kline; October 27, 1967 – December 3, 2015) was an American singer and songwriter. Weiland was the lead singer of the rock band Stone Temple Pilots from 1989 to 2002 and 2008 to 2013, recording six albums with them. He was also lead vocalist of supergroup Velvet Revolver from 2003 to 2008 and recorded one album with supergroup Art of Anarchy. Weiland established himself as a solo artist as well, releasing four studio albums and collaborating with several musicians throughout his career. Weiland was known for his flamboyant and chaotic onstage persona; constantly changing his appearance and vocal style, for his use of a megaphone in concerts for vocal effect, and for his battles with substance abuse. Now widely viewed as a talented and versatile vocalist, Weiland has been ranked No. 57 in the Top 100 Heavy Metal Vocalists by Hit Parader. In 2012, Weiland formed the backing band the Wildabouts to mixed reviews. In December 2015, Weiland died of an accidental drug overdose on his tour bus in Minnesota at the age of 48. Early life and education Weiland was born at Kaiser Hospital in San Jose, California, the son of Sharon (née Williams) and Kent Kline. From his father's side, he was of German descent. At age five, his stepfather David Weiland legally adopted him and Scott took his surname. Around that time, Weiland moved to Bainbridge Township, Ohio, where he later attended Kenston High School. He moved back to California as a teenager and attended Edison High School in Huntington Beach and Orange Coast College. Before devoting himself to music full-time, he worked as a paste up artist for the Los Angeles Daily Journal legal newspaper. At the age of 12, Weiland was allegedly raped by an older male who had invited him to his house. He wrote in his autobiography Not Dead & Not For Sale that he repressed the memory until it returned to him in therapy decades later. Career Stone Temple Pilots In 1985, Weiland met bassist Robert DeLeo at a Black Flag concert in Long Beach, California. The two of them were discussing their love interests, when they realized they were both dating the same girl. They developed a bond over the incident, and ended up moving into her vacated apartment. Weiland's childhood friends Corey Hicock and David Allin rounded out the group, both of whom would soon be replaced by Eric Kretz and DeLeo's brother Dean. They took the name Stone Temple Pilots because of their fondness for the initials "STP". In one of the band's first opening performances as Mighty Joe Young, they opened for Electric Love Hogs, whose guitarist Dave Kushner would one day co-found Weiland's later band Velvet Revolver. In 1992, they released their first album, Core, spawning four hits ("Sex Type Thing", "Wicked Garden", "Creep", and "Plush".) In 1994, STP released their second record, Purple, which saw the development of a more distinctive identity for the band. Like Core, Purple was a big success for the band, spawning three hit singles ("Big Empty", "Vasoline" and "Interstate Love Song") and selling more than six million copies. The critical response to Purple was more favorable, with Spin calling it a "quantum leap" from the band's previous album. In 1995, Weiland formed the alternative rock band the Magnificent Bastards with session drummer Victor Indrizzo in San Diego. The band included Zander Schloss and Jeff Nolan on guitars and Bob Thompson on bass. Only two songs were recorded by the Magnificent Bastards, "Mockingbird Girl", composed by Nolan, Schloss, and Weiland, appeared in the film Tank Girl and on its soundtrack, and a cover of John Lennon's "How Do You Sleep?" was recorded for the tribute album, Working Class Hero: A Tribute to John Lennon. Weiland rejoined Stone Temple Pilots in the fall of 1995, but STP was forced to cancel most of their 1996–1997 tour in support of their third release, Tiny Music... Songs from the Vatican Gift Shop, which sold about two million albums. Weiland encountered problems with drug addiction at this time as well, which inspired some of his songs in the late-1990s and resulted in prison time. In 1999, STP regrouped once again and released No. 4. The album contained the hit single "Sour Girl", promoted by a surreal music video with Sarah Michelle Gellar. That same year, Weiland also recorded two songs with the short-lived supergroup the Wondergirls. During this time period Weiland spent five months in jail for drug possession. In November 2000, Weiland was invited to perform on the show VH1 Storytellers with the surviving members of the Doors. Weiland performed vocals on two Doors songs, "Break On Through (To the Other Side)" and "Five to One". That same month Stone Temple Pilots appeared on the Doors tribute CD, Stoned Immaculate with their own rendition of "Break on Through" as the lead track. On June 19, 2001, STP released its fifth album, Shangri-La Dee Da. That same year the band headlined the Family Values Tour along with Linkin Park, Staind and Static-X. In late 2002, significant backstage altercations between the DeLeo brothers and Weiland precipitated the band's break-up. In 2008, Stone Temple Pilots announced a 73-date U.S. tour on April 7 and performed together for the first time since 2002. The reunion tour kicked off at the Rock on the Range festival on May 17, 2008. According to Dean DeLeo, steps toward a Stone Temple Pilots reunion started with a simple phone call from Weiland's wife. She invited the DeLeo brothers to play at a private beach party, which led to the reconciliation of Weiland and the DeLeo brothers. STP's reunion tour was a success, and the band continued to tour throughout 2009 and began recording its sixth studio album. STP's first album since 2001, Stone Temple Pilots, was released on May 25, 2010. STP toured Southeast Asia for the first time in 2011, playing in Philippines (Manila), Singapore and Indonesia (Jakarta). Following this, the band played successful shows in Australia, including sell-out performances in Sydney and Melbourne. The band expressed interest in a 20th anniversary tour to celebrate the release of Core with Scott commenting on January 2, 2012, "Well, we're doing a lot of special things. [There's] a lot of archival footage that we're putting together, a coffee table book, hopefully a brand new album – so many ideas. A box set and then a tour, of course." STP began to experience problems in 2012 that were said to have been caused by tensions between Weiland and the rest of the band. Despite the band's claims that their fall tour would be celebrating the 20th anniversary of Core, this did not happen. On February 27, 2013, shortly before his solo tour was set to commence, Stone Temple Pilots announced on their website that "...they [had] officially terminated Scott Weiland." Weiland criticized the band after they hired Linkin Park singer Chester Bennington as his replacement, claiming he was still a member and they shouldn't be calling themselves Stone Temple Pilots without him. Velvet Revolver In 2002, former Guns N' Roses members – guitarist Slash, bassist Duff McKagan and drummer Matt Sorum – as well as former Wasted Youth guitarist Dave Kushner were looking for a singer to help form a new band. Throughout his career Weiland had become acquainted with the four musicians; he became friends with McKagan after attending the same gym, was in rehab at the same time as Sorum and once played on the same bill as Kushner. Weiland was sent two discs of material to work with but felt that the first disc "sounded like Bad Company gone wrong". Weiland was more positive when he was sent the second disc, comparing it to Core-era Stone Temple Pilots, though he turned them down because Stone Temple Pilots had not yet separated. When Stone Temple Pilots disbanded in 2003, the band sent Weiland new music, which he took into his studio and added vocals. This music eventually became the song "Set Me Free". Although he delivered the music to the band himself, Weiland was still unsure whether or not he wanted to join them, despite performing at an industry showcase at Mates. They recorded two songs with producer Nick Raskulinecz, a recorded version of "Set Me Free" and a cover of Pink Floyd's "Money", for the soundtracks to the movies The Hulk and The Italian Job, respectively. Weiland joined the band soon after, and "Set Me Free" managed to peak at number 17 on the Mainstream Rock chart without any radio promotion or a record label. It was prior to a screening of The Hulk at Universal Studios that the band chose a name. After seeing a movie by Revolution Studios, Slash liked the beginning of the word, eventually thinking of Revolver because of its multiple meanings: the name of a gun, subtext of a revolving door, which suited the band, as well as the name of a Beatles album. When he suggested Revolver to the band, Weiland suggested 'Black Velvet' Revolver, liking the idea of "something intimate like velvet juxtaposed with something deadly like a gun." They eventually arrived at Velvet Revolver, announcing it at a press conference and performance showcase at the El Rey Theatre while also performing the songs "Set Me Free" and "Slither" as well as covers of Nirvana's "Negative Creep", Sex Pistols' "Bodies", and Guns N' Roses' "It's So Easy". Velvet Revolver's debut album Contraband was released in June 2004 to much success. It debuted at number one on the Billboard 200 and has sold over three million copies worldwide to date. Two of the album's songs, "Slither" and "Fall to Pieces", reached number one on the Billboard Modern Rock Tracks chart. The song "Slither" also won a Grammy Award for Best Hard Rock Performance with Vocal in 2005, an award Weiland had won previously with STP for the song "Plush" in 1994. At the 2005 Grammy Awards, Weiland (along with the rest of Velvet Revolver) performed the Beatles song "Across the Universe", along with Bono, Brian Wilson, Norah Jones, Stevie Wonder, Steven Tyler, Billie Joe Armstrong, Alison Krauss, and Alicia Keys. On July 2, 2005, Weiland and Velvet Revolver performed at Live 8 in London, in which Weiland was condemned for using strong language before the UK watershed during the performance. Velvet Revolver released their second album, Libertad, on July 3, 2007, peaking at number five on the Billboard 200. The album's first single "She Builds Quick Machines" peaked at 74 on the Hot Canadian Digital Singles. The second and third singles, "The Last Fight" and "Get Out the Door", both peaked at number 16 and 34 on the Mainstream Rock Chart, respectively. Critical reception to the album was mixed. Though some critics praised the album and felt that Libertad gave the band an identity of their own, outside of the Guns N' Roses and Stone Temple Pilots comparisons, others described the album as "bland" and noted that the band seem to be "play[ing] to their strengths instead of finding a collective sound." After several flares on their personal blogs and in interviews, it was announced on April 1, 2008 that Weiland would no longer be a member of Velvet Revolver. Velvet Revolver reunited for a one-off performance with Weiland at a benefit concert for the late John O'Brien, on January 12, 2012. Art of Anarchy The project started in 2011, with guitarist Bumblefoot recording parts for the debut album in between touring with Guns N' Roses. Weiland wrote and recorded the vocals after sharing the song files back and forth with Bumblefoot from 2012 to 2013. Weiland also took part in promotional photo shoots and music videos in October 2014. Their self-titled debut album was released in June 2015. On January 21, 2015, they released a 2:06 teaser of the new album. Bumblefoot is the producer and engineer on the album. The first single to be released from the album was "'Til the Dust Is Gone". The album contains 11 tracks. However, Weiland distanced himself from the project, stating "It was a project I did where I was just supposed to have written the lyrics and melodies, and I was paid to do it. I did some production work on it, and the next thing I knew there were press releases that I was in the band. ... I'm not in the band." Weiland later added "It's just something I kinda got into when I wasn't doing anything else. ... I sang over these stereo tracks and then sent it back. But it's not something I'm a part of." In a January 2015 Rolling Stone interview, both Weiland and the Votta brothers from Anarchy stated it was a studio project that Weiland was never meant to tour with and that Anarchy would have to find a lead singer outside of the tracks Weiland had already contributed. Following Weiland's death, the lead vocalist position in Art of Anarchy was filled by former Creed vocalist Scott Stapp. Solo career and the Wildabouts While STP went on hiatus after the release of Tiny Music ..., Weiland released a solo album called 12 Bar Blues (1998). Weiland wrote most of the songs on the album and collaborated with several artists, notably Daniel Lanois, Sheryl Crow, Brad Mehldau, and Jeff Nolan. On November 25, 2008, Weiland released his second solo album, "Happy" in Galoshes, produced by Weiland and songwriting-producing partner Doug Grean. Weiland went on tour in early 2009 to promote the album. On August 30, 2011, Weiland released a covers album, A Compilation of Scott Weiland Cover Songs, exclusively through his website. The album was originally to be released along with Weiland's autobiography until he decided to release it separately, stating, "[It] actually turned out so well that we're going to release a single and put it out on its own, 'cause I think it's ... it's sort of my Pin Ups, I guess you'd say." On October 4, 2011, Weiland released The Most Wonderful Time of the Year, an album consisting entirely of Christmas music. Weiland supported the album with a US club tour. Two promotional recordings were taken from the album, cover versions of "Winter Wonderland" and "I'll Be Home for Christmas" with their respective music videos. Scott Weiland and the Wildabouts' Purple at the Core tour commenced in March 2013 with pop/rock band MIGGS as the opening act. In an interview with San Diego radio station KBZT in June 2014, Weiland stated that his debut album with the Wildabouts, titled Blaster, would be released in November that year. However, it was pushed back and eventually released on March 31, 2015. Guitarist Jeremy Brown died the day before the album's release. The cause of death was determined to be multiple drug intoxication, with coronary atherosclerosis and cardiomegaly being significant contributing factors. Nick Maybury replaced Brown in April 2015. Business ventures In 2006, Weiland launched his own record label, Softdrive Records, with his songwriting partner Doug Grean. Later, Weiland announced that his label signed the up-and-coming rock band Something to Burn. On December 19, 2008, Weiland signed a publishing deal with Bug Music, allowing Weiland to "receive funding to pursue the development of creative projects and writers for Bug Music through his co-founded label, Softdrive Records." The deal includes Weiland's share of the Stone Temple Pilots catalog and future solo projects. On January 21, 2009, Weiland announced the launch of his clothing line, Weiland for English Laundry, in partnership with designer Christopher Wicks. Artistry Weiland's vocal and musical style proved to be versatile, evolving constantly throughout his career. At the peak of Stone Temple Pilots' success in the early to mid-1990s, Weiland displayed a deep, baritone vocal style that was compared to that of Pearl Jam singer Eddie Vedder. However, as STP continued to branch out throughout its career, so did Weiland's vocal style. The band's third album, Tiny Music... Songs from the Vatican Gift Shop, had Weiland singing in a much higher, raspier tone to complement the band's more 60's rock-influenced sound. Later albums showcased Weiland's influences ranging from bossa nova on Shangri-La Dee Da to blues rock and classic rock on the band's 2010 self-titled album. Weiland's first solo record, 12 Bar Blues (1998), represented a huge shift in Weiland's style, as the album featured a sound "rooted in glam rock, filtered through psychedelia and trip-hop". With Velvet Revolver, Weiland's vocals ranged from his classic baritone to a rawer style to complement the band's hard rock sound. A New York Post review of Velvet Revolver's 2007 album Libertad commented that "Weiland's vocals are crisp and controlled, yet passionate." Weiland's second solo album, 2008's "Happy" in Galoshes, featured a wide variety of musical genres, such as bossa nova, country, neo-psychedelia and indie rock. Weiland's 2011 solo effort, the Christmas album The Most Wonderful Time of the Year consisted entirely of Christmas music in a crooning style similar to that of David Bowie and Frank Sinatra, as well as some reggae and bossa nova. Personal life Relationships and family Weiland married Janina Castaneda on September 17, 1994; the couple divorced in 2000. He married Mary Forsberg on May 20, 2000. They had two children, Noah (born 2000) and Lucy (born 2002). Weiland and Forsberg divorced in 2007. In 2005, Weiland and his son Noah were featured on comedian David Spade's The Showbiz Show with David Spade during a comedy sketch about discouraging music file sharing. Noah has a line during the sketch in which he asks a little girl, "Please buy my daddy's album so I can have food to eat." Weiland was a Notre Dame Fighting Irish football fan, as his stepfather is an alumnus. In September 2006, Weiland performed at the University of Notre Dame's Legends Restaurant on the night before a football game. He sang several of his solo songs as well as "Interstate Love Song" and a cover of Pink Floyd's "Wish You Were Here". In a 2007 interview with Blender magazine, Weiland mentioned that he was raised a Catholic. Mary Forsberg Weiland's autobiography Fall to Pieces was co-written with Larkin Warren and released in 2009. Scott Weiland's autobiography, Not Dead & Not for Sale, co-written with David Ritz, was released May 17, 2011. In a November 2012 interview with Rolling Stone, Weiland revealed that he was engaged to Jamie Wachtel, whom he met during the 2011 filming of his music video for "I'll Be Home for Christmas". Weiland and Wachtel married on June 22, 2013, at their Los Angeles home. In late 2020, Scott's son Noah Weiland debuted his new band Suspect208, which also features Slash's son London Hudson on drums and Robert Trujillo's son Tye Trujillo on bass. Their debut song "Long Awaited' was described by Wall of Sound as being reminiscent of Purple-era Stone Temple Pilots. Substance use and health problems In 1995, Weiland was convicted of buying crack cocaine. He was sentenced to one year of probation. His drug use did not end after his sentence, but increased, and he moved into a hotel room for two months, next door to Courtney Love, where she said he "shot drugs the whole time" with her. Weiland revealed in 2001 he was diagnosed with bipolar disorder. In a 2005 interview with Esquire, Weiland said that while performing in his first bands as a teenager, his drinking "escalated" and he began using cocaine for the first time, which he referred to as a "sexual" experience. In December 2007, Weiland was arrested and charged with DUI, his first arrest in over four years (since October 27, 2003). On February 7, 2008, Weiland checked into a rehabilitation facility and left in early March. Weiland's younger brother Michael died of cardiomyopathy in early 2007. The Velvet Revolver songs "For a Brother" and "Pills, Demons, & Etc" from the album Libertad are about Michael. Weiland said in an interview with MTV News in November 2008 that several songs on "Happy" in Galoshes were inspired by the death of his brother and his separation from Mary Forsberg. In the same article, MTV News reported that Weiland had not done heroin since December 5, 2002. Weiland also admitted that he went through "a very short binge with coke" in late 2007. In April 2015, online footage from a show raised questions about the health of Weiland, who appeared to be zoned out and giving a bizarre performance. A representative for Weiland asserted that lack of sleep, several drinks and a faulty earpiece were to blame, not drugs. In June 2015, Weiland claimed that he had been off drugs for 13 years. His response was directed towards comments made by Filter's frontman Richard Patrick, who claimed Weiland was using drugs and that his fans were pushing him closer to death by "sticking up for" him. After Weiland's death, the tour manager for the Wildabouts, Aaron Mohler, said, "A lot of times I've seen Scott do coke so he could drink more." Shortly after his death, Jamie Weiland, Scott's third wife, acknowledged that her husband was drinking heavily before he left on his band's last tour, but that he promised her that he would "get it together". She accompanied him on the tour for a week in November and said that Scott was "just killing it" onstage, "every night taking it up a notch". Weiland had hepatitis C, which he may have acquired from intravenous drug use. Death and impact Weiland was found dead, at age 48, on his tour bus on December 3, 2015, in Bloomington, Minnesota, while on tour with the Wildabouts. The band's scheduled gig that evening in nearby Medina, Minnesota, had been cancelled several days earlier. They were still planning to play the next night in Rochester, Minnesota. Police searched Weiland's tour bus and confirmed there were small amounts of cocaine in the bedroom where Weiland was discovered dead. Police also found prescription drugs, including Xanax, Buprenorphine, Ziprasidone, Viagra, and Hypnotics on the tour bus. Additionally, two bags of cocaine were found and a bag of a green leafy substance. Tommy Black, bassist for the Wildabouts, was arrested by police for speeding and running red lights while driving the tour bus, on suspicion of possession of cocaine, although the charges against him were later dropped. Despite the discovery of drugs, no underlying cause of death was immediately given. The medical examiner later determined Weiland's death was the result of an accidental overdose of cocaine, alcohol, and methylenedioxyamphetamine (MDA). In its report, the examiner's office also noted Weiland's atherosclerotic cardiovascular disease, history of asthma, and prolonged substance abuse. News of Weiland's death quickly spread throughout the Internet, with many of his musical peers, including his former band members, along with fans and music critics throughout the world, sharing their condolences, tributes, and memories. A day following his death, his former bandmates in Stone Temple Pilots issued a statement saying that he was "gifted beyond words" but acknowledging his struggle with substance abuse, calling it "part of [his] curse." A quiet funeral for Weiland was held at Hollywood Forever Cemetery on December 11, 2015, in Los Angeles. Members of both Stone Temple Pilots and Velvet Revolver attended. Chris Kushner, the wife of Velvet Revolver guitarist Dave Kushner, wrote on her Instagram page following the funeral, "A very sad day when (you) bury a friend. He was a good man. Don't believe everything (you) read. Remember, we were all there." Weiland's body was cremated. Mary Forsberg and the two children were not in attendance, later having a private ceremony in honor of Weiland. Legacy In the wake of Weiland's death, many critics and peers offered re-evaluations of Weiland's life and career, including David Fricke of Rolling Stone. Several other artists paid tribute to the singer by covering Stone Temple Pilots tunes in concert, including Life of Agony, Saint Asonia, Umphrey's McGee, Candlebox, Halestorm, and Pop Evil, among others, while Chris Cornell dedicated a performance of "Say Hello 2 Heaven" by Temple of the Dog to the singer. On the Smashing Pumpkins' website, Billy Corgan praised Weiland, saying: "It was STP's third album (Tiny Music... Songs from the Vatican Gift Shop), that had got me hooked, a wizardly mix of glam and post-punk, and I confessed to Scott, as well as the band many times, how wrong I'd been in assessing their native brilliance. And like Bowie can and does, it was Scott's phrasing that pushed his music into a unique, and hard to pin down, aesthetic sonicsphere. Lastly, I'd like to share a thought which, though clumsy, I hope would please Scott In Hominum. And that is if you asked me who I truly believed were the great voices of our generation, I'd say it were he, Layne, and Kurt." In 2018, Guns N' Roses with Slash and Duff, honored Weiland during the Not in This Lifetime... Tour by covering the Velvet Revolver hit song "Slither". Discography Solo albums 12 Bar Blues (1998) "Happy" in Galoshes (2008) The Most Wonderful Time of the Year (2011) Blaster (with The Wildabouts) (2015) Cover albums A Compilation of Scott Weiland Cover Songs (2011) with Stone Temple Pilots with Velvet Revolver with Art of Anarchy Art of Anarchy (2015) References Further reading Bibliography External links Category:1967 births Category:2015 deaths Category:20th-century American singers Category:21st-century American singers Category:Accidental deaths in Minnesota Category:Alcohol-related deaths in Minnesota Category:Alternative metal musicians Category:Alternative rock singers Category:American adoptees Category:American alternative rock musicians Category:American baritones Category:American hard rock musicians Category:American heavy metal singers Category:American lyricists Category:American male singer-songwriters Category:Record producers from California Category:American rock songwriters Category:American people of German descent Category:American people of English descent Category:Cocaine-related deaths in Minnesota Category:Drug-related deaths in Minnesota Category:Grunge musicians Category:Musicians from San Diego Category:Musicians from San Jose, California Category:People with bipolar disorder Category:People from Geauga County, Ohio Category:Singer-songwriters from California Category:Singer-songwriters from Ohio Category:Stone Temple Pilots members Category:Velvet Revolver members Category:Art of Anarchy members Category:Camp Freddy members Category:Catholics from Ohio Category:The Wondergirls members
[ { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
[ "The artistry was Weiland's versatile vocal and musical style. Throughout his career, he displayed an evolution in his vocal technique, ranging from a deep baritone similar to Eddie Vedder's in Stone Temple Pilots' early days to a higher, raspier tone in their third album. He incorporated a variety of musical styles in his work, such as bossa nova, blues rock, classic rock, glam rock, psychedelia, and trip-hop. In his solo albums and with Velvet Revolver, he continued to show a diversity of genres, including country, neo-psychedelia, indie rock, and even Christmas music done in a crooning style. His vocals have been described as crisp, controlled, yet passionate.", "Weiland's vocal and musical style evolved continuously throughout his career. Initially, when Stone Temple Pilots found success in the early to mid-1990s, his style was a deep baritone, comparable to Eddie Vedder's. This style evolved as Stone Temple Pilots' music diversified, with Weiland's vocals shifting to a higher, raspier tone in their third album to match their more 60's rock-influenced sound. His musical influences also broadened, incorporating bossa nova, blues rock, and classic rock in later albums. His first solo record in 1998, \"12 Bar Blues,\" was a departure, featuring a new style rooted in glam rock, psychedelia, and trip-hop. As part of Velvet Revolver, his vocals varied from his classic baritone to a rawer style, suitable for their hard rock sound. On his second solo album in 2008, \"Happy\" in Galoshes, he delved into a variety of genres from country and neo-psychedelia to indie rock. By 2011, he released a solo Christmas album featuring music in a crooning style like David Bowie and Frank Sinatra, along with reggae and bossa nova influences.", "STP refers to Stone Temple Pilots, a band in which Weiland was the lead vocalist.", "The context does not provide information on when Weiland joined Stone Temple Pilots.", "The article also highlights Weiland's ability to experiment effectively with different musical genres in his solo projects. In his 2008 solo album, \"Happy\" in Galoshes, Weiland explored musical genres such as bossa nova, country, neo-psychedelia and indie rock. In his 2011 solo Christmas album, The Most Wonderful Time of the Year, Weiland experimented even further by performing Christmas music in a style reminiscent of David Bowie and Frank Sinatra, as well as incorporating some reggae and bossa nova. This continual evolution and experimentation is a testament to Weiland's versatility as a musician.", "The context does not provide information on the success of Weiland's albums." ]
[ "Yes", "Yes", "Yes", "Yes", "Yes", "Yes" ]
C_8651ff57168a40609c81539285279fd1_1
Mary Surratt
Mary Elizabeth Jenkins was born to Archibald and Elizabeth Anne (nee Webster) Jenkins on a tobacco plantation near the southern Maryland town of Waterloo (now known as Clinton). Sources differ as to whether she was born in 1820 or 1823. There is uncertainty as to the month as well, but most sources say May.
Conspiracy
Louis J. Weichmann moved into Surratt's boarding house on November 1, 1864. On December 23, 1864, Dr. Samuel Mudd introduced John Surratt, Jr. to John Wilkes Booth. Booth recruited John Jr. into his conspiracy to kidnap Lincoln. Confederate agents began frequenting the boarding house. Booth visited the boarding house many times over the next few months, sometimes at Mary's request. George Atzerodt and Lewis Powell boarded at the townhouse for short periods. Atzerodt, a friend of both John Jr. and Booth and a co-conspirator in the plot to kidnap Lincoln, visited the boarding house several times in the first two months of 1865. He stayed at the Surratt boarding house in February 1865 (for one night or several, sources differ), but he proved to be a heavy drinker, and Surratt evicted him after just a few days. He continued to visit the townhouse frequently afterward, however. Powell posed as a Baptist preacher and stayed at the boarding house for three days in March 1865. David Herold also called at the home several times. As part of the plot to kidnap Lincoln in March 1865, John, Atzerodt, and Herold hid two Spencer carbines, ammunition, and some other supplies at the Surratt tavern in Surrattsville. On April 11, Mary Surratt rented a carriage and drove to the Surratt tavern. She said that she made the trip to collect a debt owed her by a former neighbor. However, according to her tenant, John Lloyd, Surratt told him to get the "shooting irons" ready to be picked up. On April 14, Surratt said that she would once again visit the family tavern in Surrattsville to collect a debt. Shortly before she left the city, Booth visited the boarding house and spoke privately with her. He gave her a package, later found to contain binoculars, for Lloyd to pick up later that evening. Surratt did so and, according to Lloyd, again told Lloyd to have the "shooting irons" ready for pickup and handed him a wrapped package from Booth. (Booth and Herold would pick up the rifles and binoculars that evening, as they fled the city after Lincoln's assassination.) Lloyd repaired a broken spring on Surratt's wagon before she left. CANNOTANSWER
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[ "what conspiracy was she involved in", "what debt was she collecting", "why was this a conspiracy", "who wanted the shooting irons", "was she accused of helping john wilkes booth", "how did she know booth", "when was she arrested" ]
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Mary Elizabeth Jenkins Surratt (1820 or May 1823 – July 7, 1865) was an American boarding house owner in Washington, D.C., who was convicted of taking part in the conspiracy which led to the assassination of U.S. President Abraham Lincoln in 1865. Sentenced to death, she was hanged and became the first woman executed by the U.S. federal government. She maintained her innocence until her death, and the case against her was and remains controversial. Surratt was the mother of John Surratt, who was later tried, but due to statute of limitations, was not convicted. Born in Maryland in the 1820s, Surratt converted to Catholicism at a young age and remained a practicing Catholic for the rest of her life. She wed John Harrison Surratt in 1840 and had three children with him. An entrepreneur, John became the owner of a tavern, an inn, and a hotel. The Surratts were sympathetic to the Confederate States of America and often hosted fellow Confederate sympathizers at their tavern. Upon her husband's death in 1862, Surratt had to manage his estate. Tired of doing so without help, Surratt moved to her townhouse in Washington, D.C., which she then ran as a boardinghouse. There, she was introduced to John Wilkes Booth. Booth visited the boardinghouse numerous times, as did George Atzerodt and Lewis Powell, Booth's co-conspirators in the Lincoln assassination. Shortly before killing Lincoln, Booth spoke with Surratt and handed her a package containing binoculars for one of her tenants, John M. Lloyd. After Lincoln was assassinated, Surratt was arrested, then tried by a military tribunal the following month, along with the other conspirators. She was convicted primarily due to the testimonies of Lloyd, who said that she told him to have the "shooting irons" ready, and Louis J. Weichmann, who testified about Surratt's relationships with John. Five of the nine judges at her trial asked that Surratt be granted clemency by President Andrew Johnson because of her age and sex. Johnson did not grant her clemency, though accounts differ as to whether or not he received the clemency request. Surratt was hanged on July 7, 1865, and later buried in Mount Olivet Cemetery. Early life Mary Elizabeth Jenkins (baptismal name, Maria Eugenia) was born to Archibald and Elizabeth Anne (née Webster) Jenkins on a tobacco plantation near the southern Maryland town of Waterloo (now known as Clinton). Sources differ as to whether she was born in 1820 or 1823. There is uncertainty as to the month as well, but most sources say May. She had two brothers: John Jenkins, born in 1822, and James Jenkins, born in 1825. Her father died in the fall of 1825 when Mary was either two or five years old, and Mary's mother then inherited their property (originally part of the His Lordship's Kindness estate). Although her father was a nondenominational Protestant and her mother Episcopalian, Surratt was enrolled in a private Roman Catholic girls' boarding school, the Academy for Young Ladies in Alexandria, Virginia, on November 25, 1835. Mary's maternal aunt, Sarah Latham Webster, was a Catholic, which may have influenced where she was sent to school. Within two years, Mary converted to Roman Catholicism and adopted the baptismal name of Maria Eugenia. She stayed at the Academy for Young Ladies for four years, leaving in 1839, when the school closed. She remained an observant Catholic for the rest of her life. Married life Mary Jenkins met John Harrison Surratt in 1839, when she was 16 or 19 and he was 26. His family had settled in Maryland in the late 1600s. An orphan, he was adopted by Richard and Sarah Neale of Washington, D.C., a wealthy couple who owned a farm. The Neales divided their farm among their children, and Surratt inherited a portion of it. His background has been described by historian Kate Clifford Larson as "questionable", and he had fathered at least one child out of wedlock. They wed in August 1840. John converted to Roman Catholicism prior to the marriage, and the couple may have wed at a Catholic church in Washington, D.C. John purchased a mill in Oxon Hill, Maryland, and the couple moved there. The Surratts had three children over the next few years: Isaac (born June 2, 1841), Elizabeth Susanna (nicknamed "Anna", born January 1, 1843), and John Jr. (born April 1844). In 1843, John Surratt purchased from his adoptive father of land straddling the DC/Maryland border, a parcel named "Foxhall" (approximately the area between Wheeler Road and Owens Road today). Richard Neale died in September 1843, and a month later, John purchased of land adjoining Foxhall. John and Mary Surratt and their children moved back to John's childhood home in the District of Columbia in 1845 to help John's mother run the Neale farm. But Sarah Neale fell ill and died in August 1845, having shortly before her death deeded the remainder of the Neale farm to John. Mary Surratt became involved in raising funds to build St. Ignatius Church in Oxon Hill (it was constructed in 1850), but John was increasingly unhappy with his wife's religious activities. His behavior deteriorated over the next few years. John drank heavily, often failed to pay his debts, and his temper was increasingly volatile and violent. In 1851, the Neale farmhouse burned to the ground (an escaped family slave was suspected of setting the blaze). John found work on the Orange and Alexandria Railroad. Mary moved with her children into the home of her cousin, Thomas Jenkins, in nearby Clinton. Within a year, John purchased of farmland near what is now Clinton, and by 1853, he constructed a tavern and an inn there. Mary initially refused to move herself and the children into the new residence. She took up residence on the old Neale farm, but John sold both the Neale farm and Foxhall in May 1853 to pay debts and she was forced to move back in with him in December. With the money he earned from the tavern and sale of his other property, on December 6, 1853, John Surratt bought a townhouse at 541 H Street in Washington, D.C., and began renting it out to tenants. In 1854, John built a hotel as an addition to his tavern and called it Surratt's Hotel. The area around the tavern was officially named Surrattsville that same year. Travelers could take Branch Road (now Branch Avenue) north into Washington, D.C.; Piscataway Road southwest to Piscataway; or Woodyard Road northeast to Upper Marlboro. Although Surrattsville was a well-known crossroads, the community did not amount to much: just the tavern, a post office (inside the tavern), a forge, and a dozen or so houses (some of them log cabins). John Surratt was the hamlet's first postmaster. He expanded his family's holdings by selling off land, paying down debt, and starting new businesses. Over the next few years, Surratt acquired or built a carriage house, corn crib, general store, forge, granary, gristmill, stable, tobacco curing house, and wheelwright's shop. The family had enough money to send all three children to nearby Roman Catholic boarding schools. Isaac and John Jr. attended the school at St. Thomas Manor, and Anna enrolled at the Academy for Young Ladies (Mary's alma mater). The family's debts continued to mount, however, and John Sr.'s drinking worsened. John sold another of land in 1856 to pay debts. By 1857, Surratt had sold all but of the family's formerly extensive holdings (which represented about half the he had originally owned). Most of the family's slaves were also sold to pay debts. Still, his alcoholism worsened. In 1858, Mary wrote a letter to her local priest, telling him that Surratt was drunk every single day. In 1860, St. Thomas Manor School closed, and Isaac found work in Baltimore, Maryland. The Surratts sold off another of land, which enabled Anna to remain at the Academy for Young Ladies and for John Jr. to enroll at St. Charles College, Maryland (a Catholic seminary and boarding school in Ellicott's Mills). The couple also borrowed money that same year against their townhouse in Washington, DC, and at some point used the property as collateral for a $1,000 loan. Civil War and widowhood The American Civil War began on April 12, 1861. The border state of Maryland remained part of the United States ("the Union"), but the Surratts were Confederate sympathizers, and their tavern regularly hosted fellow sympathizers. The Surratt tavern was being used as a safe house for Confederate spies, and at least one author concludes that Mary had "de facto" knowledge of this. Confederate scout and spy Thomas Nelson Conrad visited Surratt's boarding house before and during the Civil War. On March 7, 1861, three days after Abraham Lincoln's inauguration as President of the United States, Isaac left Maryland and traveled to Texas, where he enlisted in the Confederate States Army (serving in the 33rd Cavalry, or Duff's Partisan Rangers, 14th Cavalry Battalion). John Jr. quit his studies at St. Charles College in July 1861 and became a courier for the Confederate Secret Service, moving messages, cash, and contraband back and forth across enemy lines. The Confederate activities in and around Surrattsville drew the attention of the Union government. In late 1861, Lafayette C. Baker, a detective with the Union Intelligence Service, and 300 Union soldiers camped in Surrattsville and investigated the Surratts and others for Confederate activities. He quickly uncovered evidence of a large Confederate courier network operating in the area, but despite some arrests and warnings, the courier network remained intact. John Surratt collapsed suddenly and died on either August 25 or August 26 in 1862 (sources differ as to the date). The cause of death was a stroke. The Surratt family affairs were in serious financial difficulties. John Jr. and Anna both left school to help their mother run the family's remaining farmland and businesses. On September 10, 1862, John Jr. was appointed postmaster of the Surrattsville post office. Lafayette Baker swept through Surrattsville again in 1862, and several postmasters were dismissed for disloyalty, but John Jr. was not one of them. In August 1863, he sought a job in the paymaster's department in the United States Department of War, but his application caused federal agents to be suspicious about his family's loyalties to the Union. On November 17, 1863, he was dismissed as postmaster for disloyalty. The loss of John Jr.'s job as postmaster caused a financial crisis for the Surratt family. When John Sr.'s estate was probated in late November 1862, the family owned only two middle-age male slaves. However, by 1863, Louis J. Weichmann, a friend of John Jr. from St. Charles College, observed that the family had six or more slaves working on the property. By 1864, Mary Surratt found that her husband's unpaid debts and bad business deals had left her with many creditors. Several of her slaves ran away. When he was not meeting with Confederate sympathizers in the city, her son was selling vegetables to raise cash for the family. Mary was tired of running the farm, tavern, and other businesses without her son's help. In the fall of 1864, she began considering moving to her townhouse in the city. On October 1, 1864, she took possession of the townhouse at 604 H Street NW in Washington, D.C. The gray brick house had four stories and stood on a lot wide, deep. The first floor, which was level with the street, had two large rooms, used as the kitchen and dining room. The second floor had a front and back parlor, with the room in the rear used as Mary Surratt's bedroom. The third floor had three rooms: two in the front and a larger one at the back. The fourth floor, which was considered an attic, had two large and one small room, occupied by a servant. Surratt began moving her belongings into the townhouse that month, and on November 1, 1864, Anna and John Jr. took up residence there. Mary Surratt herself moved into the home on December 1. That same day, she leased the tavern in Surrattsville to a former Washington, D.C., policeman and Confederate sympathizer John M. Lloyd for $500 a year. On November 30, December 8, and December 27, Mary Surratt advertised for lodgers in the Daily Evening Star newspaper. She had initially said that she wanted only lodgers who were known to her personally or were recommended by friends, but in her advertisements, she said rooms were "available for 4 gentlemen." Some scholars have raised questions about Surratt's move into the city. Historians Kate Larson and Roy Chamlee have noted that although there is no definite proof, a case can be made that Surratt made the move into the city in furtherance of her and her son's espionage activities. For example, Larson and Chamlee say that on September 21, 1864, John Surratt wrote to Louis J. Weichmann, observing that the family's plans to move into the city were advancing rapidly "on account of certain events having turned up," perhaps a cryptic reference to either his Confederate activities in general or the conspiracy to kidnap or kill Lincoln. Larson has observed that although the move made long-term economic sense for Surratt, it also, in the short term, would have meant moving expenses and furnishing up to 10 rooms in the townhouse, money that she did not have. Chamlee, too, found little economic reason to move into the city and concluded that it would have been more profitable to rent the H Street boarding house entirely to lodgers. During her time in the city, Surratt tried to keep her daughter away from what she felt were negative influences. Moreover, Surratt still owed money on both the tavern and the townhouse and would take out yet another mortgage against the townhouse in January 1865. John Jr. transferred all his title to the family property to his mother in January 1865. That act may have additional implications. A traitor's property could be seized, and John's spy knowledge was certainly his motivation for relinquishing his title to the houses and land. Mary may have known of his motivation as well or at least suspected. If she did, she would have possessed at least de facto knowledge of the conspiracy. Conspiracy Louis J. Weichmann moved into Surratt's boarding house on November 1, 1864. On December 23, 1864, Dr. Samuel Mudd introduced John Surratt Jr. to John Wilkes Booth. Booth recruited John Jr. into his conspiracy to kidnap Lincoln. Confederate agents began frequenting the boarding house. Booth visited the boarding house many times over the next few months, sometimes at Mary's request. George Atzerodt and Lewis Powell boarded at the townhouse for short periods. Atzerodt, a friend of both John Jr. and Booth and a co-conspirator in the plot to kidnap Lincoln, visited the boarding house several times in the first two months of 1865. He stayed at the Surratt boarding house in February 1865 (for one night or several, sources differ), but he proved to be a heavy drinker, and Surratt evicted him after just a few days. He continued to visit the townhouse frequently afterward, however. Powell posed as a Baptist preacher and stayed at the boarding house for three days in March 1865. David Herold also called at the home several times. As part of the plot to kidnap Lincoln in March 1865, John, Atzerodt, and Herold hid two Spencer carbines, ammunition, and some other supplies at the Surratt tavern in Surrattsville. On April 11, Mary Surratt rented a carriage and drove to the Surratt tavern. She said that she made the trip to collect a debt owed her by a former neighbor. However, according to her tenant, John Lloyd, Surratt told him to get the "shooting irons" ready to be picked up. On April 14, Surratt said that she would once again visit the family tavern in Surrattsville to collect a debt. Shortly before she left the city, Booth visited the boarding house and spoke privately with her. He gave her a package, later found to contain binoculars, for Lloyd to pick up later that evening. Surratt did so and, according to Lloyd, again told Lloyd to have the "shooting irons" ready for pickup and handed him a wrapped package from Booth. Booth's plan was to assassinate Lincoln and have Atzerodt kill Vice President Andrew Johnson and Powell kill Secretary of State William H. Seward. Booth killed Lincoln, Atzerodt never attempted to kill Johnson, and Powell stabbed Seward repeatedly but failed to murder him. As they fled the city after Lincoln's assassination, Booth and Herold picked up the rifles and binoculars from Surratt's tavern. Lloyd repaired a broken spring on Surratt's wagon before they left. Arrest and incarceration Around 2 a.m. on April 15, 1865, members of the District of Columbia police visited the Surratt boarding house, seeking John Wilkes Booth and John Surratt. Why the police came to the house is not entirely clear. Most historians conclude that Weichmann's friend, Department of War employee Daniel Gleason, had alerted federal authorities to Confederate activity centered on the Surratt house, but that does not explain why police rather than federal agents appeared there. (Historian Roy Chamlee, however, says that there is evidence that Gleason did not tell police about his suspicions of Weichmann for several days.) Within 45 minutes of the attack on Lincoln, John Surratt's name had become associated with the attack on Secretary of State William H. Seward. The police as well as the Provost Marshal's office both had files on John Surratt Jr. and knew he was a close friend of Booth. (It is possible that either James L. Maddox, property supervisor at Ford's Theatre and a friend of Booth's, or actor John Matthews, both of whom may have known about the plot to attack government officials, mentioned Surratt's name.) Historian Otto Eisenschiml has argued that David Herold's attempt to steal a horse from John Fletcher may have led them to the Surratt boarding house, but at least one other scholar has called the link uncertain. Other sources claim that eyewitnesses had identified Booth as Lincoln's attacker, and the detectives had information (a tip from an unnamed actor and a bartender) linking John Jr. to Booth. Mary lied to the detectives that her son had been in Canada for two weeks. She also did not reveal that she had delivered a package to the tavern on Booth's behalf only hours earlier. On April 17, a Surratt neighbor told U.S. military authorities that he overheard one of the Surratt's servants saying that three men had come to the house on the night of Lincoln's assassination and that one of the men had mentioned Booth in a theater. (The servant was mistaken about the date, as John Surratt Jr. had indeed been in Elmira, New York, on a mission for a Confederate general). Other pieces of information also mentioned the boarding house as a key meeting place of the possible conspirators. Either Colonel Henry H. Wells, Provost Marshal (head of the military police) of the District of Columbia, or General Christopher C. Augur told Colonel Henry Steel Olcott to arrest everyone in the house. Federal soldiers visited the Surratt boarding house again late on the evening of April 17. John Jr. could not be found, but after a search of the house, the agents found in Mary's room a picture of Booth, hidden behind another photograph, pictures of Confederate leaders including Jefferson Davis, a pistol, a mold for making bullets, and percussion caps. As Mary was being arrested for conspiracy to assassinate Lincoln, Powell appeared at her door in disguise. Although Surratt denied knowing him, Powell claimed that he was a laborer hired by Surratt to dig a ditch the next morning. The discrepancy and Powell's remarkably well-dressed and -groomed appearance, quite unlike a ditch-digger, prompted his arrest. He was later identified as the man who had attempted to assassinate Secretary of State William Seward. After her arrest, she was held at an annex to the Old Capitol Prison before being transferred to the Washington Arsenal on April 30. Two armed guards stood before the door to her cell from the beginning of her imprisonment until her death. Her cell, while airy and larger than the others, was sparsely furnished, with a straw mattress, table, wash basin, chair, and a bucket. Food was served four times a day, always of bread; salt pork, beef, or beef soup; and coffee or water. The other arrested conspirators had their heads enclosed in a padded canvas bag to prevent a suicide attempt. Sources disagree as to whether Surratt was also forced to wear it. Although the others wore iron manacles on their feet and ankles, she was not manacled. (Rumors to the contrary were raised by reporters at the trial who could not see her or "heard" the clank of chains about her feet. The rumors were repeatedly investigated and denied.) She began to suffer menstrual bleeding and became weak during her detention. She was given a rocking chair and allowed visits from her daughter, Anna. She and Powell received the most attention from the press. The Northern press was also highly critical of her, claiming that she had a "criminal face" due to her small mouth and dark eyes. John Surratt Jr. was in Elmira at the time of the assassination, delivering messages on behalf of a Confederate general. After learning of Lincoln's death, he fled to Montreal, Quebec, Canada. Trial The trial for the alleged conspirators began on May 9. A military tribunal, rather than a civilian court, was chosen as the venue because government officials thought that its more lenient rules of evidence would enable the court to get to the bottom of what was then perceived by the public as a vast conspiracy. All eight alleged conspirators were tried simultaneously. Historians have conflicting views regarding Surratt's innocence. Historian Laurie Verge commented, "Only in the case of Dr. Samuel Alexander Mudd is there as much controversy as to the guilt or innocence of one of the defendants." Lincoln assassination scholar Thomas Reed Turner says that of the eight people accused of plotting to kill Lincoln, the case against Surratt remains "the most controversial... at that time and since." A room on the northeast corner of the third floor of the Arsenal was made into a courtroom, and the prisoners were brought into the room through a side door, which prevented them from passing by or being harassed by spectators. Surratt was given special considerations during the trial because of her illness and gender. In the courtroom, she sat apart from the other prisoners. Sources differ as to whether an armed guard sat on either side of her, as was done for other prisoners during the trial. While the others wore wrist and ankle manacles in the courtroom, she did not. She was also permitted a bonnet, fan, and veil to hide her face from spectators. As her illness worsened during the trial, she was moved to a larger and more comfortable prison cell. Surratt was charged with abetting, aiding, concealing, counseling, and harboring her co-defendants. The federal government initially attempted to find legal counsel for her and the others, but almost no attorneys were willing to take the job for fear they would be accused of disloyalty to the Union. Surratt retained Reverdy Johnson as her legal counsel. A member of the military commission trying the conspirators challenged Johnson's right to defend Surratt, as he had objected to requiring loyalty oaths from voters in the 1864 presidential election. After much discussion, this objection was withdrawn, but damage had been done to his influence, and he did not attend most of the court sessions. Most of Surratt's legal defense was presented by two other lawyers: Frederick Aiken and John Wesley Clampitt. The prosecution's strategy was to tie Surratt to the conspiracy. Powell's arrival at her boarding house, three days after the president's murder, was critical evidence against her, the government argued. The prosecution presented nine witnesses, but most of their case rested on the testimony of just two men: John M. Lloyd and Louis J. Weichmann. Lloyd testified on May 13 and 15, 1865 on the hiding of the carbines and other supplies at the tavern in March and the two conversations he had with her in which she told him to get the "shooting irons" ready. Weichmann's testimony was important, as it established an intimate relationship between her and the other conspirators. Weichmann testified May 16 to 19 and said that he had resided at the boarding house since November 1864. He had seen or overheard John Jr. meeting and talking with Atzerodt, Booth, and Powell many times over the past four and a half months. Weichmann had driven Surratt to the tavern on April 11 and 14, confirmed that she and Lloyd had spent much time in private conversation, testified that he saw Booth give her the package of binoculars, and attested that she had turned the package over to Lloyd. Weichmann also testified at length about the Surratt family's ties to the Confederate spy and courier rings operating in the area and their relationships with Atzerodt and Powell. He also testified about the December 23 meeting with Booth and John (which he also attended) and their subsequent meeting with Booth at Booth's room at the National Hotel. Finally, he told the military tribunal about the general excitement in the boarding house in March 1865 after the failed attempt to kidnap Lincoln. Other prosecution witnesses reinforced Weichmann's testimony. Lodger Honora Fitzpatrick confirmed visits by Atzerodt, Booth, and Powell to the boarding house. Emma Offut, Lloyd's sister-in-law, testified that she saw (but did not hear) Surratt speaking for long periods of time with Lloyd on April 11 and 14. Government agents testified about their arrest of Surratt, Powell's arrival, and her denial that she knew Powell. The fact that Powell sought refuge in the boarding house after Lincoln's murder left a bad impression of her. Surratt's refusal (or failure) to recognize him also weighed against her. The agents also testified about their search of the house, and the evidence (the photographs, the weapons, etc.) discovered there. Lloyd's testimony was the most important for the prosecution's case, for it indicated that she had played an active role in the conspiracy in the days before Lincoln's death. The prosecution rested its case on May 22. The defense strategy was to impeach the testimony of the key prosecution witnesses: Lloyd and Weichmann. It also wished to show that she was loyal to the Union, her trips to Surrattsville were of an innocent nature, and she had not been aware of Booth's plans. There were 31 witnesses who testified for the defense. George H. Calvert testified that he had pressed Surratt to pay a debt, Bennett Gwynn said Surratt had sought payment from John Nothey to satisfy the Calvert debt, and Nothey agreed that he had received a letter from Surratt for him to appear at the tavern on April 11 to pay what was owed. Several witnesses impugned Lloyd's character by testifying about his alcoholism, while others said he was too intoxicated on the day of Lincoln's assassination to remember that day clearly. Augustus Howell, a Confederate agent, testified Weichmann was an untrustworthy witness, as he had sought to become a Confederate spy himself. (The prosecution had attempted to show that Howell was a Confederate spy and should not be trusted.) Anna Surratt testified that it was Weichmann who had brought Atzerodt into the boarding house, that the photograph of Booth was hers, and that she owned photographs of Union political and military leaders. Anna denied ever overhearing any discussions of disloyal activities or ideas in the boarding house, and that Booth's visits to the house were always short. Anna explained her mother's failure to recognize Powell by asserting she could not see well. Augusta Howell, a former servant, and Honora Fitzpatrick, a former slave, testified to Mary's poor eyesight as well. The former servant and the former slave both said Surratt had given Union soldiers food. Numerous witnesses were called at the end of the defense's case to testify to her loyalty to the Union, her deep Christian faith, and her kindness. During the prosecution's rebuttal, government lawyers called four witnesses to the stand, who testified as to Weichmann's unimpeachable character. Johnson and Aiken presented the closing arguments for the defense. Johnson attacked the jurisdiction of a military tribunal over civilians, as had Mudd's attorney. Aiken also challenged the court's jurisdiction. He also reiterated that Lloyd and Weichmann were unreliable witnesses and that the evidence against her was all circumstantial. The only evidence linking Surratt to the conspiracy to kill Lincoln, he said, came from Lloyd and Weichmann, and neither man was telling the truth. (Dorothy Kunhardt has written that there is evidence the latter's perjured testimony was suborned by Secretary of War Edwin M. Stanton.) Judge Advocate John Bingham presented the closing argument for the prosecution. The military tribunal had jurisdiction, he said, not only because the court itself had ruled at the beginning of the trials that it did but because they were crimes committed in a military zone, during a time of war, and against high government officials in carrying out treasonous activities. Bingham pointed out that the Surratt boarding house was where the conspiracy was planned, and Atzerodt, Booth, and Powell had all met with Surratt. Booth had paid for the rental of the carriage that took Surratt to Surrattsville each time, and Bingham said that was evidence that Surratt's trips were critical to the conspiracy. Bingham also said that Lloyd's testimony had been corroborated by others and that his unwillingness to reveal the cache of weapons in the tavern was prompted by his subservient tenant relationship to Surratt. Bingham concluded by reiterating the government's key point: Powell had returned to the Surratt house seeking Surratt, and that alone was proof of her guilt. Bingham also pointed out for the tribunal that the charge a person was indicted for was irrelevant. Under the law of conspiracy, if one person carries out a crime, all conspirators are guilty of the same crime. The trial ended on June 28, 1865. Surratt was so ill the last four days of the trial that she was permitted to stay in her cell. In the opinion of historian Roy Z. Chamlee, both legal teams appeared to have flaws in their cases, and except for Reverdy Johnson, neither team employed highly skilled attorneys. The government's case was hindered by its failure to call as a witness the man who shared Lloyd's carriage when he talked with Surratt and could have verified Lloyd's version of the "shooting irons" story or Metropolitan Police Chief A.C. Richards whose investigation had had the most success in the early days of the investigation. The government did not fully investigate Booth's meetings with Surratt at noon or the evening of the murder, and its questioning and cross-examination of witnesses was poorly prepared and weak. What is most important, according to historian Roy Z. Chamber Jr., is that the government had botched the attempt to apprehend John Jr. The defense's case, too, had a problem. The defense never followed up on inconsistencies in Weichmann's chronology of Mary's last visit to the tavern, which could have undermined Weichmann's entire credibility. The military tribunal considered guilt and sentencing on June 29 and 30. Surratt's guilt was the second-last to be considered, as her case had problems of evidence and witness reliability. The sentence was handed down on June 30. The military tribunal found her guilty on all charges but two. A death sentence required six of the nine votes of the judges. Surratt was sentenced to death, the first woman executed by the federal government. The sentence was announced publicly on July 5. When Powell learned of his sentence, he declared that she was completely innocent of all charges. The night before the execution, Surratt's priests and Anna Surratt both visited Powell and elicited from him a strong statement declaring Mary innocent. Although it was delivered to Captain Christian Rath, who was overseeing the execution, Powell's statement had no effect on anyone with authority to prevent Surratt's death. George Atzerodt bitterly condemned her, implicating her even further in the conspiracy. Powell's was the only statement by any conspirator exonerating Surratt. Anna Surratt pleaded repeatedly for her mother's life with Judge Advocate General Joseph Holt, but he refused to consider clemency. She also attempted to see President Andrew Johnson several times to beg for mercy but was not granted permission to see him. Five of the nine judges signed a letter asking President Johnson to give Surratt clemency and commute her sentence to life in prison because of her age and sex. Holt did not deliver the recommendation to Johnson until July 5, two days before Surratt and the others were to hang. Johnson signed the order for execution but did not sign the order for clemency. Johnson later said he never saw the clemency request; Holt said he showed it to Johnson, who refused to sign it. Johnson, according to Holt, said in signing the death warrant that she had "kept the nest that hatched the egg." Execution Construction of the gallows for the hanging of the conspirators condemned to death began immediately on July 5, after the execution order was signed. It was constructed in the south part of the Arsenal courtyard, was high and about in size. Rath, who oversaw the preparations for the executions, made the nooses. Tired of making nooses and thinking that the government would never hang a woman, he made Surratt's noose the night before the execution with five loops rather than the regulation's seven. He tested the nooses that night by tying them to a tree limb and a bag of buckshot and then tossing the bag to the ground (the ropes held). Civilian workers did not want to dig the graves out of superstitious fear, so Rath asked for volunteers among the soldiers at the Arsenal and received more help than he needed. At noon on July 6, Surratt was informed she would be hanged the next day. She wept profusely. She was joined by two Catholic priests (Jacob Walter and B.F. Wiget) and her daughter Anna. Father Jacob remained with her almost until her death. Her menstrual problems had worsened, and she was in such pain and suffered from such severe cramps that the prison doctor gave her wine and medication. She repeatedly asserted her innocence. She spent the night on her mattress, weeping and moaning in pain and grief, ministered to by the priests. Anna left her mother's side at 8 A.M. on July 7 and went to the White House to beg for her mother's life one last time. Her entreaty rejected, she returned to the prison and her mother's cell at about 11 A.M. The soldiers began testing the gallows about 11:25 A.M.; the sound of the tests unnerved all the prisoners. Shortly before noon, Mary Surratt was taken from her cell and then allowed to sit in a chair near the entrance to the courtyard. The heat in the city that day was oppressive. By noon, it had already reached . The guards ordered all visitors to leave at 12:30 P.M. When she was forced to part from her mother, Anna's hysterical screams of grief could be heard throughout the prison. Clampitt and Aiken had not finished trying to save their client, however. On the morning of July 7, they asked a District of Columbia court for a writ of habeas corpus, arguing that the military tribunal had no jurisdiction over their client. The court issued the writ at 3 A.M., and it was served on General Winfield Scott Hancock. Hancock was ordered to produce Surratt by 10 A.M. General Hancock sent an aide to General John F. Hartranft, who commanded the Old Capitol Prison, ordering him not to admit any US marshal, as that would prevent the marshal from serving a similar writ on Hartranft. Johnson was informed that the court had issued the writ and promptly cancelled it at 11:30 A.M. under the authority granted to him by the Habeas Corpus Suspension Act of 1863. General Hancock and United States Attorney General James Speed personally appeared in court and informed the judge of the cancellation of the writ. On July 7, 1865, at 1:15 P.M., a procession led by General Hartranft escorted the four condemned prisoners through the courtyard and up the steps to the gallows. Each prisoner's ankles and wrists were bound by manacles. Surratt led the way, wearing a black bombazine dress, black bonnet, and black veil. More than 1,000 people, including government officials, members of the US armed forces, friends and family of the accused, official witnesses, and reporters, watched. General Hancock limited attendance to those who had a ticket, and only those who had a good reason to be present were given a ticket. (Most of those present were military officers and soldiers, as fewer than 200 tickets had been printed.) Alexander Gardner, who had photographed the body of Booth and taken portraits of several of the male conspirators while they were imprisoned aboard naval ships, photographed the execution for the government. Hartranft read the order for their execution. Surratt, either weak from her illness or swooning in fear (perhaps both), had to be supported by two soldiers and her priests. The condemned were seated in chairs, Surratt almost collapsing into hers. She was seated to the right of the others, the traditional "seat of honor" in an execution. White cloth was used to bind their arms to their sides and their ankles and thighs together. The cloths around Surratt's legs were tied around her dress below the knees. Each person was ministered to by a member of the clergy. From the scaffold, Powell said, "Mrs. Surratt is innocent. She doesn't deserve to die with the rest of us." Fathers Jacob and Wiget prayed over her and held a crucifix to her lips. About 16 minutes elapsed from the time the prisoners entered the courtyard until they were ready for execution. A white bag was placed over the head of each prisoner after the noose was put in place. Surratt's bonnet was removed, and the noose put around her neck by a U.S. Secret Service officer. She complained that the bindings about her arms hurt, and the officer preparing said, "Well, it won't hurt long." Finally, the prisoners were asked to stand and move forward a few feet to the nooses. The chairs were removed. Her last words, spoken to a guard as he moved her forward to the drop, were "Please don't let me fall." Surratt and the others stood on the drop for about 10 seconds, and then Captain Rath clapped his hands. Four soldiers of Company F of the 14th Veteran Reserves knocked out the supports holding the drops in place, and the condemned fell. Surratt, who had moved forward enough to barely step onto the drop, lurched forward and slid partway down the drop, her body snapping tight at the end of the rope, swinging back and forth. She appeared to die relatively quickly with little struggle. Atzerodt's stomach heaved once and his legs quivered; then, he was still. Herold and Powell struggled for nearly five minutes, strangling to death. Burial Each body was inspected by a physician to ensure that death had occurred. The bodies of the executed were allowed to hang for about 30 minutes and soldiers began to cut them down at 1:53 p.m. A corporal raced to the top of the gallows and cut down Atzerodt's body, which fell to the ground with a thud. He was reprimanded, and the other bodies were cut down more gently. Herold's body was next, followed by Powell's. Surratt's body was cut down at 1:58 p.m. As Surratt's body was cut loose, her head fell forward. A soldier joked, "She makes a good bow" and was rebuked by an officer for his poor use of humor. Upon examination, the military surgeons determined that no one's neck had been broken by the fall. The manacles and cloth bindings were removed but not the white execution masks, and the bodies were placed into the pine coffins. The name of each person was written on a piece of paper by acting Assistant Adjutant R. A. Watts, and inserted in a glass vial, which was placed into the coffin. The coffins were buried against the prison wall in shallow graves, just a few feet from the gallows. A white picket fence marked the burial site. The night that she died, a mob attacked the Surratt boarding house and began stripping it of souvenirs until the police stopped them. Anna Surratt unsuccessfully asked for her mother's body for four years. In 1867, the War Department decided to tear down the portion of the Washington Arsenal where the bodies of Surratt and the other executed conspirators lay. On October 1, 1867, the coffins were disinterred and reburied in Warehouse No. 1 at the Arsenal, with a wooden marker placed at the head of each burial vault. Booth's body lay alongside them. In February 1869, Edwin Booth asked Johnson for the body of his brother. Johnson agreed to turn the body over to the Booth family, and on February 8 Surratt's body was turned over to the Surratt family. She was buried in Mount Olivet Cemetery in Washington, D.C., on February 9, 1869. Lloyd is buried from her grave in the same cemetery. Surviving family and home Anna Surratt moved from the townhouse on H Street and lived with friends for a few years, ostracized from society. She married William Tonry, a government clerk. They lived in poverty for a while after he was dismissed from his job, but in time, he became a professor of chemistry in Baltimore and the couple became better off. The strain of her mother's death left Anna mentally unbalanced, and she suffered from periods of extreme fear that bordered on insanity. She died in 1904. After the dismissal of charges against him, John Jr. married and he and his family lived in Baltimore near his sister, Anna. Isaac Surratt also returned to the United States and lived in Baltimore. He died unmarried in 1907. Isaac and Anna were buried on either side of their mother in Mount Olivet Cemetery. John Jr. was buried in Baltimore in 1916. In 1968, a new headstone with a brass plaque replaced the old, defaced headstone over Mary Surratt's grave. Mary Surratt's boarding house still stands and was listed on the National Register of Historic Places in 2009. Those interested in Mary Surratt formed the Surratt Society. 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Santa Barbara, Calif.: Greenwood, 2011. Leonard, Elizabeth D. Lincoln's Avengers: Justice, Revenge, and Reunion After the Civil War. New York: Norton, 2004. MacHenry, Robert. Liberty's Women. Springfield, Mass.: G.C. Merriam Co., 1980. Miller, Edward A. Lincoln's Abolitionist General: The Biography of David Hunter. Columbia, S.C.: University of South Carolina Press, 1997. Morseberger, Robert E. and Morsberger, Katharine M. Lew Wallace, Militant Romantic. New York: McGraw-Hill, 1980. Oldroyd, Osborn H. The Assassination of Abraham Lincoln: Flight, Pursuit, Capture, and Punishment of the Conspirators. Washington, D.C.: O.H. Oldroyd, 1901. Ownsbey, Betty J. Alias 'Paine': Lewis Thorthon Powell, the Mystery Man of the Lincoln Conspiracy. Jefferson, N.C.: McFarland & Company, 2006. Phelps, Shirelle. World of Criminal Justice, Vol. 2: N-Z. Detroit: Gale Group, 2001. Phillips, Larissa. Women Civil War Spies of the Confederacy. New York: Rosen Publishing Group, 2004. Pittman, Benn. The Assassination of President Lincoln and the Trial of the Conspirators. Cincinnati: Moore, Wilstach & Baldwin, 1865. Rehnquist, William H. All the Laws But One: Civil Liberties in Wartime. New York: Vintage Books, 2000. Roscoe, Theodore. The Web of Conspiracy: The Complete Story of the Men Who Murdered Abraham Lincoln. Englewood Cliffs, N.J.: Prentice-Hall, 1959. Sachsman, David B.; Rushing, S. Kittrell; and Morris, Roy. Seeking A Voice: Images of Race and Gender in the 19th Century Press. West Lafayette, Ind.: Purdue University Press, 2009. Schroeder-Lein, Glenna R. and Zuczek, Richard. Andrew Johnson: A Biographical Companion. Santa Barbara, Calif.: ABC-CLIO, 2001. Steers Jr., Edward. Blood on the Moon. Lexington: University Press of Kentucky, 2001. Steers Jr., Edward. "'Let the Stain of Innocent Blood Be Removed from the Land': The Military Trial of the Lincoln Conspirators." In The Lincoln Assassination: Crime and Punishment, Myth and Memory. Harold Holzer, Craig L. Symonds, and Frank J. Williams, eds. New York: Fordham University Press, 2010. Steers Jr., Edward. The Lincoln Assassination Encyclopedia. New York: Harper Perennial, 2010. Steers Jr., Edward. Lincoln Legends: Myths, Hoaxes, and Confabulations Associated With Our Greatest President. Lexington, Ky.: University Press of Kentucky, 2007. Steers Jr. Edward and Holzer, Harold. The Lincoln Assassination Conspirators: Their Confinement and Execution, as Recorded in the Letterbook of John Frederick Hartranft. Baton Rouge, La.: Louisiana State University Press, 2009. Stern, Philip Van Doren. An End to Valor: The Last Days of the Civil War. Boston: Houghton Mifflin, 1958. "Surratt, Mary." In The New Encyclopædia Britannica. Chicago: Encyclopædia Britannica, 1998. "Surratt, Mary E. Jenkins (1823–1865)." In Women in the American Civil War. Lisa Tendrich Frank, ed. Santa Barbara, Calif.: ABC-CLIO, 2008. "Surratt, Mary Eugenia Jenkins (1817–1865)." In Historical Dictionary of Reconstruction. Hans Louis Trefousse, ed. New York: Greenwood Press, 1991. Swanson, James L. Manhunt: The Twelve Day Chase for Lincoln's Killer. New York: HarperCollins, 2007. Swanson, James L. and Weinberg, Daniel R. Lincoln's Assassins: Their Trial and Execution. New York: Harper Perennial, 2008. Townsend, George Alfred. The Life, Crime and Capture of John Wilkes Booth. New York: Dick and Fitzgerald, Publishers, 1886. Townsend, George Alfred. Washington, Outside and Inside: A Picture and a Narrative of the Origin, Growth, Excellencies, Abuses, Beauties, and Personages of Our Governing City. Hartford, Conn.: S.M. Betts & Co., 1874. Trindal, Elizabeth Steger. Mary Surratt: An American Tragedy. Pelican Pub. Co., 1996. Turner, Thomas Reed. Beware the People Weeping: Public Opinion and the Assassination of Abraham Lincoln. Baton Rouge: Louisiana State University Press, 1982. Van Doren, Charles Lincoln and McHenry, Robert. Webster's American Biographies. Springfield, Mass.: Merriam-Webster, 1984. Verge, Laurie. "Mary Elizabeth Surratt". In The Trial: The Assassination of President Lincoln and the Trial of the Conspirators. Lexington, Ky.: University Press of Kentucky, 2003. Watts, R.A. "Trial and Execution of the Lincoln Conspirators." Michigan History Magazine. 6:1 (1922). Weichmann, Louis J. and Richards, A.C. A True History of the Assassination of Abraham Lincoln and of the Conspiracy of 1865. New York: Knopf, 1975. Zanca, Kenneth J.. The Catholics and Mrs. Mary Surratt: How They Responded to the Trial and Execution of the Lincoln Conspirator. University Press of America, 2008. External links Anna Surratt, daughter Surratt Society and Museum Read through the Lincoln Assassination Papers about evidence against Mary Surratt Historic Marker at the Surratt Boarding House Brief Mary Surratt Biography (written by a retired teacher especially for students and schools) Category:1820s births Category:1865 deaths Category:19th-century American women Category:Burials at Mount Olivet Cemetery (Washington, D.C.) Category:American women slave owners Category:Converts to Roman Catholicism Category:Executed American women Category:Executed people from Maryland Category:Executed Lincoln assassination conspirators Category:People from Clinton, Maryland Category:People of Maryland in the American Civil War Category:Women in the American Civil War Category:Catholics from Maryland Category:Civilians who were court-martialed
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[ "She was involved in the conspiracy to kidnap Lincoln.", "The context mentions that Mary Surratt claimed to be collecting a debt owed to her by a former neighbor.", "It was a conspiracy because it involved a secret plan by a group to do something unlawful or harmful - in this case, the plan to kidnap President Abraham Lincoln.", "John Wilkes Booth and David Herold wanted the \"shooting irons,\" as they picked them up later that evening while fleeing the city after Lincoln's assassination.", "Based on the information provided in the text, it suggests that Mary Surratt might have been helping John Wilkes Booth. She had private conversations with him, accepted a package from him, and arranged for the \"shooting irons\" to be ready for pick up, which Booth later collected.", "The text does not provide specific details on how Mary Surratt came to know John Wilkes Booth. However, it is mentioned that Booth visited Surratt's boarding house many times, sometimes at Mary's request. She was also involved in his plot to kidnap Lincoln.", "The text does not provide information on when Mary Surratt was arrested." ]
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C_8651ff57168a40609c81539285279fd1_0
Mary Surratt
Mary Elizabeth Jenkins was born to Archibald and Elizabeth Anne (nee Webster) Jenkins on a tobacco plantation near the southern Maryland town of Waterloo (now known as Clinton). Sources differ as to whether she was born in 1820 or 1823. There is uncertainty as to the month as well, but most sources say May.
Burial
Each body was inspected by a physician to ensure that death had occurred. The bodies of the executed were allowed to hang for about 30 minutes and soldiers began to cut them down at 1:53 P.M. A corporal raced to the top of the gallows and cut down Atzerodt's body, which fell to the ground with a thud. He was reprimanded, and the other bodies were cut down more gently. Herold's body was next, followed by Powell's. Surratt's body was cut down at 1:58 P.M. As Surratt's body was cut loose, her head fell forward. A soldier joked, "She makes a good bow" and was rebuked by an officer for his poor use of humor. Upon examination, the military surgeons determined that no one's neck had been broken by the fall. The manacles and cloth bindings were removed but not the white execution masks, and the bodies were placed into the pine coffins. The name of each person was written on a piece of paper by acting Assistant Adjutant R. A. Watts, and inserted in a glass vial, which was placed into the coffin. The coffins were buried against the prison wall in shallow graves, just a few feet from the gallows. A white picket fence marked the burial site. The night that she died, a mob attacked the Surratt boarding house and began stripping it of souvenirs until the police stopped them. Anna Surratt unsuccessfully asked for her mother's body for four years. In 1867, the War Department decided to tear down the portion of the Washington Arsenal where the bodies of Surratt and the other executed conspirators lay. On October 1, 1867, the coffins were disinterred and reburied in Warehouse No. 1 at the Arsenal, with a wooden marker placed at the head of each burial vault. Booth's body lay alongside them. In February 1869, Edwin Booth asked Johnson for the body of his brother. Johnson agreed to turn the body over to the Booth family, and on February 8 Surratt's body was turned over to the Surratt family. She was buried in Mount Olivet Cemetery in Washington, D.C., on February 9, 1869. Lloyd is buried 100 yards (91 m) from her grave in the same cemetery. CANNOTANSWER
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Mary Elizabeth Jenkins Surratt (1820 or May 1823 – July 7, 1865) was an American boarding house owner in Washington, D.C., who was convicted of taking part in the conspiracy which led to the assassination of U.S. President Abraham Lincoln in 1865. Sentenced to death, she was hanged and became the first woman executed by the U.S. federal government. She maintained her innocence until her death, and the case against her was and remains controversial. Surratt was the mother of John Surratt, who was later tried, but due to statute of limitations, was not convicted. Born in Maryland in the 1820s, Surratt converted to Catholicism at a young age and remained a practicing Catholic for the rest of her life. She wed John Harrison Surratt in 1840 and had three children with him. An entrepreneur, John became the owner of a tavern, an inn, and a hotel. The Surratts were sympathetic to the Confederate States of America and often hosted fellow Confederate sympathizers at their tavern. Upon her husband's death in 1862, Surratt had to manage his estate. Tired of doing so without help, Surratt moved to her townhouse in Washington, D.C., which she then ran as a boardinghouse. There, she was introduced to John Wilkes Booth. Booth visited the boardinghouse numerous times, as did George Atzerodt and Lewis Powell, Booth's co-conspirators in the Lincoln assassination. Shortly before killing Lincoln, Booth spoke with Surratt and handed her a package containing binoculars for one of her tenants, John M. Lloyd. After Lincoln was assassinated, Surratt was arrested, then tried by a military tribunal the following month, along with the other conspirators. She was convicted primarily due to the testimonies of Lloyd, who said that she told him to have the "shooting irons" ready, and Louis J. Weichmann, who testified about Surratt's relationships with John. Five of the nine judges at her trial asked that Surratt be granted clemency by President Andrew Johnson because of her age and sex. Johnson did not grant her clemency, though accounts differ as to whether or not he received the clemency request. Surratt was hanged on July 7, 1865, and later buried in Mount Olivet Cemetery. Early life Mary Elizabeth Jenkins (baptismal name, Maria Eugenia) was born to Archibald and Elizabeth Anne (née Webster) Jenkins on a tobacco plantation near the southern Maryland town of Waterloo (now known as Clinton). Sources differ as to whether she was born in 1820 or 1823. There is uncertainty as to the month as well, but most sources say May. She had two brothers: John Jenkins, born in 1822, and James Jenkins, born in 1825. Her father died in the fall of 1825 when Mary was either two or five years old, and Mary's mother then inherited their property (originally part of the His Lordship's Kindness estate). Although her father was a nondenominational Protestant and her mother Episcopalian, Surratt was enrolled in a private Roman Catholic girls' boarding school, the Academy for Young Ladies in Alexandria, Virginia, on November 25, 1835. Mary's maternal aunt, Sarah Latham Webster, was a Catholic, which may have influenced where she was sent to school. Within two years, Mary converted to Roman Catholicism and adopted the baptismal name of Maria Eugenia. She stayed at the Academy for Young Ladies for four years, leaving in 1839, when the school closed. She remained an observant Catholic for the rest of her life. Married life Mary Jenkins met John Harrison Surratt in 1839, when she was 16 or 19 and he was 26. His family had settled in Maryland in the late 1600s. An orphan, he was adopted by Richard and Sarah Neale of Washington, D.C., a wealthy couple who owned a farm. The Neales divided their farm among their children, and Surratt inherited a portion of it. His background has been described by historian Kate Clifford Larson as "questionable", and he had fathered at least one child out of wedlock. They wed in August 1840. John converted to Roman Catholicism prior to the marriage, and the couple may have wed at a Catholic church in Washington, D.C. John purchased a mill in Oxon Hill, Maryland, and the couple moved there. The Surratts had three children over the next few years: Isaac (born June 2, 1841), Elizabeth Susanna (nicknamed "Anna", born January 1, 1843), and John Jr. (born April 1844). In 1843, John Surratt purchased from his adoptive father of land straddling the DC/Maryland border, a parcel named "Foxhall" (approximately the area between Wheeler Road and Owens Road today). Richard Neale died in September 1843, and a month later, John purchased of land adjoining Foxhall. John and Mary Surratt and their children moved back to John's childhood home in the District of Columbia in 1845 to help John's mother run the Neale farm. But Sarah Neale fell ill and died in August 1845, having shortly before her death deeded the remainder of the Neale farm to John. Mary Surratt became involved in raising funds to build St. Ignatius Church in Oxon Hill (it was constructed in 1850), but John was increasingly unhappy with his wife's religious activities. His behavior deteriorated over the next few years. John drank heavily, often failed to pay his debts, and his temper was increasingly volatile and violent. In 1851, the Neale farmhouse burned to the ground (an escaped family slave was suspected of setting the blaze). John found work on the Orange and Alexandria Railroad. Mary moved with her children into the home of her cousin, Thomas Jenkins, in nearby Clinton. Within a year, John purchased of farmland near what is now Clinton, and by 1853, he constructed a tavern and an inn there. Mary initially refused to move herself and the children into the new residence. She took up residence on the old Neale farm, but John sold both the Neale farm and Foxhall in May 1853 to pay debts and she was forced to move back in with him in December. With the money he earned from the tavern and sale of his other property, on December 6, 1853, John Surratt bought a townhouse at 541 H Street in Washington, D.C., and began renting it out to tenants. In 1854, John built a hotel as an addition to his tavern and called it Surratt's Hotel. The area around the tavern was officially named Surrattsville that same year. Travelers could take Branch Road (now Branch Avenue) north into Washington, D.C.; Piscataway Road southwest to Piscataway; or Woodyard Road northeast to Upper Marlboro. Although Surrattsville was a well-known crossroads, the community did not amount to much: just the tavern, a post office (inside the tavern), a forge, and a dozen or so houses (some of them log cabins). John Surratt was the hamlet's first postmaster. He expanded his family's holdings by selling off land, paying down debt, and starting new businesses. Over the next few years, Surratt acquired or built a carriage house, corn crib, general store, forge, granary, gristmill, stable, tobacco curing house, and wheelwright's shop. The family had enough money to send all three children to nearby Roman Catholic boarding schools. Isaac and John Jr. attended the school at St. Thomas Manor, and Anna enrolled at the Academy for Young Ladies (Mary's alma mater). The family's debts continued to mount, however, and John Sr.'s drinking worsened. John sold another of land in 1856 to pay debts. By 1857, Surratt had sold all but of the family's formerly extensive holdings (which represented about half the he had originally owned). Most of the family's slaves were also sold to pay debts. Still, his alcoholism worsened. In 1858, Mary wrote a letter to her local priest, telling him that Surratt was drunk every single day. In 1860, St. Thomas Manor School closed, and Isaac found work in Baltimore, Maryland. The Surratts sold off another of land, which enabled Anna to remain at the Academy for Young Ladies and for John Jr. to enroll at St. Charles College, Maryland (a Catholic seminary and boarding school in Ellicott's Mills). The couple also borrowed money that same year against their townhouse in Washington, DC, and at some point used the property as collateral for a $1,000 loan. Civil War and widowhood The American Civil War began on April 12, 1861. The border state of Maryland remained part of the United States ("the Union"), but the Surratts were Confederate sympathizers, and their tavern regularly hosted fellow sympathizers. The Surratt tavern was being used as a safe house for Confederate spies, and at least one author concludes that Mary had "de facto" knowledge of this. Confederate scout and spy Thomas Nelson Conrad visited Surratt's boarding house before and during the Civil War. On March 7, 1861, three days after Abraham Lincoln's inauguration as President of the United States, Isaac left Maryland and traveled to Texas, where he enlisted in the Confederate States Army (serving in the 33rd Cavalry, or Duff's Partisan Rangers, 14th Cavalry Battalion). John Jr. quit his studies at St. Charles College in July 1861 and became a courier for the Confederate Secret Service, moving messages, cash, and contraband back and forth across enemy lines. The Confederate activities in and around Surrattsville drew the attention of the Union government. In late 1861, Lafayette C. Baker, a detective with the Union Intelligence Service, and 300 Union soldiers camped in Surrattsville and investigated the Surratts and others for Confederate activities. He quickly uncovered evidence of a large Confederate courier network operating in the area, but despite some arrests and warnings, the courier network remained intact. John Surratt collapsed suddenly and died on either August 25 or August 26 in 1862 (sources differ as to the date). The cause of death was a stroke. The Surratt family affairs were in serious financial difficulties. John Jr. and Anna both left school to help their mother run the family's remaining farmland and businesses. On September 10, 1862, John Jr. was appointed postmaster of the Surrattsville post office. Lafayette Baker swept through Surrattsville again in 1862, and several postmasters were dismissed for disloyalty, but John Jr. was not one of them. In August 1863, he sought a job in the paymaster's department in the United States Department of War, but his application caused federal agents to be suspicious about his family's loyalties to the Union. On November 17, 1863, he was dismissed as postmaster for disloyalty. The loss of John Jr.'s job as postmaster caused a financial crisis for the Surratt family. When John Sr.'s estate was probated in late November 1862, the family owned only two middle-age male slaves. However, by 1863, Louis J. Weichmann, a friend of John Jr. from St. Charles College, observed that the family had six or more slaves working on the property. By 1864, Mary Surratt found that her husband's unpaid debts and bad business deals had left her with many creditors. Several of her slaves ran away. When he was not meeting with Confederate sympathizers in the city, her son was selling vegetables to raise cash for the family. Mary was tired of running the farm, tavern, and other businesses without her son's help. In the fall of 1864, she began considering moving to her townhouse in the city. On October 1, 1864, she took possession of the townhouse at 604 H Street NW in Washington, D.C. The gray brick house had four stories and stood on a lot wide, deep. The first floor, which was level with the street, had two large rooms, used as the kitchen and dining room. The second floor had a front and back parlor, with the room in the rear used as Mary Surratt's bedroom. The third floor had three rooms: two in the front and a larger one at the back. The fourth floor, which was considered an attic, had two large and one small room, occupied by a servant. Surratt began moving her belongings into the townhouse that month, and on November 1, 1864, Anna and John Jr. took up residence there. Mary Surratt herself moved into the home on December 1. That same day, she leased the tavern in Surrattsville to a former Washington, D.C., policeman and Confederate sympathizer John M. Lloyd for $500 a year. On November 30, December 8, and December 27, Mary Surratt advertised for lodgers in the Daily Evening Star newspaper. She had initially said that she wanted only lodgers who were known to her personally or were recommended by friends, but in her advertisements, she said rooms were "available for 4 gentlemen." Some scholars have raised questions about Surratt's move into the city. Historians Kate Larson and Roy Chamlee have noted that although there is no definite proof, a case can be made that Surratt made the move into the city in furtherance of her and her son's espionage activities. For example, Larson and Chamlee say that on September 21, 1864, John Surratt wrote to Louis J. Weichmann, observing that the family's plans to move into the city were advancing rapidly "on account of certain events having turned up," perhaps a cryptic reference to either his Confederate activities in general or the conspiracy to kidnap or kill Lincoln. Larson has observed that although the move made long-term economic sense for Surratt, it also, in the short term, would have meant moving expenses and furnishing up to 10 rooms in the townhouse, money that she did not have. Chamlee, too, found little economic reason to move into the city and concluded that it would have been more profitable to rent the H Street boarding house entirely to lodgers. During her time in the city, Surratt tried to keep her daughter away from what she felt were negative influences. Moreover, Surratt still owed money on both the tavern and the townhouse and would take out yet another mortgage against the townhouse in January 1865. John Jr. transferred all his title to the family property to his mother in January 1865. That act may have additional implications. A traitor's property could be seized, and John's spy knowledge was certainly his motivation for relinquishing his title to the houses and land. Mary may have known of his motivation as well or at least suspected. If she did, she would have possessed at least de facto knowledge of the conspiracy. Conspiracy Louis J. Weichmann moved into Surratt's boarding house on November 1, 1864. On December 23, 1864, Dr. Samuel Mudd introduced John Surratt Jr. to John Wilkes Booth. Booth recruited John Jr. into his conspiracy to kidnap Lincoln. Confederate agents began frequenting the boarding house. Booth visited the boarding house many times over the next few months, sometimes at Mary's request. George Atzerodt and Lewis Powell boarded at the townhouse for short periods. Atzerodt, a friend of both John Jr. and Booth and a co-conspirator in the plot to kidnap Lincoln, visited the boarding house several times in the first two months of 1865. He stayed at the Surratt boarding house in February 1865 (for one night or several, sources differ), but he proved to be a heavy drinker, and Surratt evicted him after just a few days. He continued to visit the townhouse frequently afterward, however. Powell posed as a Baptist preacher and stayed at the boarding house for three days in March 1865. David Herold also called at the home several times. As part of the plot to kidnap Lincoln in March 1865, John, Atzerodt, and Herold hid two Spencer carbines, ammunition, and some other supplies at the Surratt tavern in Surrattsville. On April 11, Mary Surratt rented a carriage and drove to the Surratt tavern. She said that she made the trip to collect a debt owed her by a former neighbor. However, according to her tenant, John Lloyd, Surratt told him to get the "shooting irons" ready to be picked up. On April 14, Surratt said that she would once again visit the family tavern in Surrattsville to collect a debt. Shortly before she left the city, Booth visited the boarding house and spoke privately with her. He gave her a package, later found to contain binoculars, for Lloyd to pick up later that evening. Surratt did so and, according to Lloyd, again told Lloyd to have the "shooting irons" ready for pickup and handed him a wrapped package from Booth. Booth's plan was to assassinate Lincoln and have Atzerodt kill Vice President Andrew Johnson and Powell kill Secretary of State William H. Seward. Booth killed Lincoln, Atzerodt never attempted to kill Johnson, and Powell stabbed Seward repeatedly but failed to murder him. As they fled the city after Lincoln's assassination, Booth and Herold picked up the rifles and binoculars from Surratt's tavern. Lloyd repaired a broken spring on Surratt's wagon before they left. Arrest and incarceration Around 2 a.m. on April 15, 1865, members of the District of Columbia police visited the Surratt boarding house, seeking John Wilkes Booth and John Surratt. Why the police came to the house is not entirely clear. Most historians conclude that Weichmann's friend, Department of War employee Daniel Gleason, had alerted federal authorities to Confederate activity centered on the Surratt house, but that does not explain why police rather than federal agents appeared there. (Historian Roy Chamlee, however, says that there is evidence that Gleason did not tell police about his suspicions of Weichmann for several days.) Within 45 minutes of the attack on Lincoln, John Surratt's name had become associated with the attack on Secretary of State William H. Seward. The police as well as the Provost Marshal's office both had files on John Surratt Jr. and knew he was a close friend of Booth. (It is possible that either James L. Maddox, property supervisor at Ford's Theatre and a friend of Booth's, or actor John Matthews, both of whom may have known about the plot to attack government officials, mentioned Surratt's name.) Historian Otto Eisenschiml has argued that David Herold's attempt to steal a horse from John Fletcher may have led them to the Surratt boarding house, but at least one other scholar has called the link uncertain. Other sources claim that eyewitnesses had identified Booth as Lincoln's attacker, and the detectives had information (a tip from an unnamed actor and a bartender) linking John Jr. to Booth. Mary lied to the detectives that her son had been in Canada for two weeks. She also did not reveal that she had delivered a package to the tavern on Booth's behalf only hours earlier. On April 17, a Surratt neighbor told U.S. military authorities that he overheard one of the Surratt's servants saying that three men had come to the house on the night of Lincoln's assassination and that one of the men had mentioned Booth in a theater. (The servant was mistaken about the date, as John Surratt Jr. had indeed been in Elmira, New York, on a mission for a Confederate general). Other pieces of information also mentioned the boarding house as a key meeting place of the possible conspirators. Either Colonel Henry H. Wells, Provost Marshal (head of the military police) of the District of Columbia, or General Christopher C. Augur told Colonel Henry Steel Olcott to arrest everyone in the house. Federal soldiers visited the Surratt boarding house again late on the evening of April 17. John Jr. could not be found, but after a search of the house, the agents found in Mary's room a picture of Booth, hidden behind another photograph, pictures of Confederate leaders including Jefferson Davis, a pistol, a mold for making bullets, and percussion caps. As Mary was being arrested for conspiracy to assassinate Lincoln, Powell appeared at her door in disguise. Although Surratt denied knowing him, Powell claimed that he was a laborer hired by Surratt to dig a ditch the next morning. The discrepancy and Powell's remarkably well-dressed and -groomed appearance, quite unlike a ditch-digger, prompted his arrest. He was later identified as the man who had attempted to assassinate Secretary of State William Seward. After her arrest, she was held at an annex to the Old Capitol Prison before being transferred to the Washington Arsenal on April 30. Two armed guards stood before the door to her cell from the beginning of her imprisonment until her death. Her cell, while airy and larger than the others, was sparsely furnished, with a straw mattress, table, wash basin, chair, and a bucket. Food was served four times a day, always of bread; salt pork, beef, or beef soup; and coffee or water. The other arrested conspirators had their heads enclosed in a padded canvas bag to prevent a suicide attempt. Sources disagree as to whether Surratt was also forced to wear it. Although the others wore iron manacles on their feet and ankles, she was not manacled. (Rumors to the contrary were raised by reporters at the trial who could not see her or "heard" the clank of chains about her feet. The rumors were repeatedly investigated and denied.) She began to suffer menstrual bleeding and became weak during her detention. She was given a rocking chair and allowed visits from her daughter, Anna. She and Powell received the most attention from the press. The Northern press was also highly critical of her, claiming that she had a "criminal face" due to her small mouth and dark eyes. John Surratt Jr. was in Elmira at the time of the assassination, delivering messages on behalf of a Confederate general. After learning of Lincoln's death, he fled to Montreal, Quebec, Canada. Trial The trial for the alleged conspirators began on May 9. A military tribunal, rather than a civilian court, was chosen as the venue because government officials thought that its more lenient rules of evidence would enable the court to get to the bottom of what was then perceived by the public as a vast conspiracy. All eight alleged conspirators were tried simultaneously. Historians have conflicting views regarding Surratt's innocence. Historian Laurie Verge commented, "Only in the case of Dr. Samuel Alexander Mudd is there as much controversy as to the guilt or innocence of one of the defendants." Lincoln assassination scholar Thomas Reed Turner says that of the eight people accused of plotting to kill Lincoln, the case against Surratt remains "the most controversial... at that time and since." A room on the northeast corner of the third floor of the Arsenal was made into a courtroom, and the prisoners were brought into the room through a side door, which prevented them from passing by or being harassed by spectators. Surratt was given special considerations during the trial because of her illness and gender. In the courtroom, she sat apart from the other prisoners. Sources differ as to whether an armed guard sat on either side of her, as was done for other prisoners during the trial. While the others wore wrist and ankle manacles in the courtroom, she did not. She was also permitted a bonnet, fan, and veil to hide her face from spectators. As her illness worsened during the trial, she was moved to a larger and more comfortable prison cell. Surratt was charged with abetting, aiding, concealing, counseling, and harboring her co-defendants. The federal government initially attempted to find legal counsel for her and the others, but almost no attorneys were willing to take the job for fear they would be accused of disloyalty to the Union. Surratt retained Reverdy Johnson as her legal counsel. A member of the military commission trying the conspirators challenged Johnson's right to defend Surratt, as he had objected to requiring loyalty oaths from voters in the 1864 presidential election. After much discussion, this objection was withdrawn, but damage had been done to his influence, and he did not attend most of the court sessions. Most of Surratt's legal defense was presented by two other lawyers: Frederick Aiken and John Wesley Clampitt. The prosecution's strategy was to tie Surratt to the conspiracy. Powell's arrival at her boarding house, three days after the president's murder, was critical evidence against her, the government argued. The prosecution presented nine witnesses, but most of their case rested on the testimony of just two men: John M. Lloyd and Louis J. Weichmann. Lloyd testified on May 13 and 15, 1865 on the hiding of the carbines and other supplies at the tavern in March and the two conversations he had with her in which she told him to get the "shooting irons" ready. Weichmann's testimony was important, as it established an intimate relationship between her and the other conspirators. Weichmann testified May 16 to 19 and said that he had resided at the boarding house since November 1864. He had seen or overheard John Jr. meeting and talking with Atzerodt, Booth, and Powell many times over the past four and a half months. Weichmann had driven Surratt to the tavern on April 11 and 14, confirmed that she and Lloyd had spent much time in private conversation, testified that he saw Booth give her the package of binoculars, and attested that she had turned the package over to Lloyd. Weichmann also testified at length about the Surratt family's ties to the Confederate spy and courier rings operating in the area and their relationships with Atzerodt and Powell. He also testified about the December 23 meeting with Booth and John (which he also attended) and their subsequent meeting with Booth at Booth's room at the National Hotel. Finally, he told the military tribunal about the general excitement in the boarding house in March 1865 after the failed attempt to kidnap Lincoln. Other prosecution witnesses reinforced Weichmann's testimony. Lodger Honora Fitzpatrick confirmed visits by Atzerodt, Booth, and Powell to the boarding house. Emma Offut, Lloyd's sister-in-law, testified that she saw (but did not hear) Surratt speaking for long periods of time with Lloyd on April 11 and 14. Government agents testified about their arrest of Surratt, Powell's arrival, and her denial that she knew Powell. The fact that Powell sought refuge in the boarding house after Lincoln's murder left a bad impression of her. Surratt's refusal (or failure) to recognize him also weighed against her. The agents also testified about their search of the house, and the evidence (the photographs, the weapons, etc.) discovered there. Lloyd's testimony was the most important for the prosecution's case, for it indicated that she had played an active role in the conspiracy in the days before Lincoln's death. The prosecution rested its case on May 22. The defense strategy was to impeach the testimony of the key prosecution witnesses: Lloyd and Weichmann. It also wished to show that she was loyal to the Union, her trips to Surrattsville were of an innocent nature, and she had not been aware of Booth's plans. There were 31 witnesses who testified for the defense. George H. Calvert testified that he had pressed Surratt to pay a debt, Bennett Gwynn said Surratt had sought payment from John Nothey to satisfy the Calvert debt, and Nothey agreed that he had received a letter from Surratt for him to appear at the tavern on April 11 to pay what was owed. Several witnesses impugned Lloyd's character by testifying about his alcoholism, while others said he was too intoxicated on the day of Lincoln's assassination to remember that day clearly. Augustus Howell, a Confederate agent, testified Weichmann was an untrustworthy witness, as he had sought to become a Confederate spy himself. (The prosecution had attempted to show that Howell was a Confederate spy and should not be trusted.) Anna Surratt testified that it was Weichmann who had brought Atzerodt into the boarding house, that the photograph of Booth was hers, and that she owned photographs of Union political and military leaders. Anna denied ever overhearing any discussions of disloyal activities or ideas in the boarding house, and that Booth's visits to the house were always short. Anna explained her mother's failure to recognize Powell by asserting she could not see well. Augusta Howell, a former servant, and Honora Fitzpatrick, a former slave, testified to Mary's poor eyesight as well. The former servant and the former slave both said Surratt had given Union soldiers food. Numerous witnesses were called at the end of the defense's case to testify to her loyalty to the Union, her deep Christian faith, and her kindness. During the prosecution's rebuttal, government lawyers called four witnesses to the stand, who testified as to Weichmann's unimpeachable character. Johnson and Aiken presented the closing arguments for the defense. Johnson attacked the jurisdiction of a military tribunal over civilians, as had Mudd's attorney. Aiken also challenged the court's jurisdiction. He also reiterated that Lloyd and Weichmann were unreliable witnesses and that the evidence against her was all circumstantial. The only evidence linking Surratt to the conspiracy to kill Lincoln, he said, came from Lloyd and Weichmann, and neither man was telling the truth. (Dorothy Kunhardt has written that there is evidence the latter's perjured testimony was suborned by Secretary of War Edwin M. Stanton.) Judge Advocate John Bingham presented the closing argument for the prosecution. The military tribunal had jurisdiction, he said, not only because the court itself had ruled at the beginning of the trials that it did but because they were crimes committed in a military zone, during a time of war, and against high government officials in carrying out treasonous activities. Bingham pointed out that the Surratt boarding house was where the conspiracy was planned, and Atzerodt, Booth, and Powell had all met with Surratt. Booth had paid for the rental of the carriage that took Surratt to Surrattsville each time, and Bingham said that was evidence that Surratt's trips were critical to the conspiracy. Bingham also said that Lloyd's testimony had been corroborated by others and that his unwillingness to reveal the cache of weapons in the tavern was prompted by his subservient tenant relationship to Surratt. Bingham concluded by reiterating the government's key point: Powell had returned to the Surratt house seeking Surratt, and that alone was proof of her guilt. Bingham also pointed out for the tribunal that the charge a person was indicted for was irrelevant. Under the law of conspiracy, if one person carries out a crime, all conspirators are guilty of the same crime. The trial ended on June 28, 1865. Surratt was so ill the last four days of the trial that she was permitted to stay in her cell. In the opinion of historian Roy Z. Chamlee, both legal teams appeared to have flaws in their cases, and except for Reverdy Johnson, neither team employed highly skilled attorneys. The government's case was hindered by its failure to call as a witness the man who shared Lloyd's carriage when he talked with Surratt and could have verified Lloyd's version of the "shooting irons" story or Metropolitan Police Chief A.C. Richards whose investigation had had the most success in the early days of the investigation. The government did not fully investigate Booth's meetings with Surratt at noon or the evening of the murder, and its questioning and cross-examination of witnesses was poorly prepared and weak. What is most important, according to historian Roy Z. Chamber Jr., is that the government had botched the attempt to apprehend John Jr. The defense's case, too, had a problem. The defense never followed up on inconsistencies in Weichmann's chronology of Mary's last visit to the tavern, which could have undermined Weichmann's entire credibility. The military tribunal considered guilt and sentencing on June 29 and 30. Surratt's guilt was the second-last to be considered, as her case had problems of evidence and witness reliability. The sentence was handed down on June 30. The military tribunal found her guilty on all charges but two. A death sentence required six of the nine votes of the judges. Surratt was sentenced to death, the first woman executed by the federal government. The sentence was announced publicly on July 5. When Powell learned of his sentence, he declared that she was completely innocent of all charges. The night before the execution, Surratt's priests and Anna Surratt both visited Powell and elicited from him a strong statement declaring Mary innocent. Although it was delivered to Captain Christian Rath, who was overseeing the execution, Powell's statement had no effect on anyone with authority to prevent Surratt's death. George Atzerodt bitterly condemned her, implicating her even further in the conspiracy. Powell's was the only statement by any conspirator exonerating Surratt. Anna Surratt pleaded repeatedly for her mother's life with Judge Advocate General Joseph Holt, but he refused to consider clemency. She also attempted to see President Andrew Johnson several times to beg for mercy but was not granted permission to see him. Five of the nine judges signed a letter asking President Johnson to give Surratt clemency and commute her sentence to life in prison because of her age and sex. Holt did not deliver the recommendation to Johnson until July 5, two days before Surratt and the others were to hang. Johnson signed the order for execution but did not sign the order for clemency. Johnson later said he never saw the clemency request; Holt said he showed it to Johnson, who refused to sign it. Johnson, according to Holt, said in signing the death warrant that she had "kept the nest that hatched the egg." Execution Construction of the gallows for the hanging of the conspirators condemned to death began immediately on July 5, after the execution order was signed. It was constructed in the south part of the Arsenal courtyard, was high and about in size. Rath, who oversaw the preparations for the executions, made the nooses. Tired of making nooses and thinking that the government would never hang a woman, he made Surratt's noose the night before the execution with five loops rather than the regulation's seven. He tested the nooses that night by tying them to a tree limb and a bag of buckshot and then tossing the bag to the ground (the ropes held). Civilian workers did not want to dig the graves out of superstitious fear, so Rath asked for volunteers among the soldiers at the Arsenal and received more help than he needed. At noon on July 6, Surratt was informed she would be hanged the next day. She wept profusely. She was joined by two Catholic priests (Jacob Walter and B.F. Wiget) and her daughter Anna. Father Jacob remained with her almost until her death. Her menstrual problems had worsened, and she was in such pain and suffered from such severe cramps that the prison doctor gave her wine and medication. She repeatedly asserted her innocence. She spent the night on her mattress, weeping and moaning in pain and grief, ministered to by the priests. Anna left her mother's side at 8 A.M. on July 7 and went to the White House to beg for her mother's life one last time. Her entreaty rejected, she returned to the prison and her mother's cell at about 11 A.M. The soldiers began testing the gallows about 11:25 A.M.; the sound of the tests unnerved all the prisoners. Shortly before noon, Mary Surratt was taken from her cell and then allowed to sit in a chair near the entrance to the courtyard. The heat in the city that day was oppressive. By noon, it had already reached . The guards ordered all visitors to leave at 12:30 P.M. When she was forced to part from her mother, Anna's hysterical screams of grief could be heard throughout the prison. Clampitt and Aiken had not finished trying to save their client, however. On the morning of July 7, they asked a District of Columbia court for a writ of habeas corpus, arguing that the military tribunal had no jurisdiction over their client. The court issued the writ at 3 A.M., and it was served on General Winfield Scott Hancock. Hancock was ordered to produce Surratt by 10 A.M. General Hancock sent an aide to General John F. Hartranft, who commanded the Old Capitol Prison, ordering him not to admit any US marshal, as that would prevent the marshal from serving a similar writ on Hartranft. Johnson was informed that the court had issued the writ and promptly cancelled it at 11:30 A.M. under the authority granted to him by the Habeas Corpus Suspension Act of 1863. General Hancock and United States Attorney General James Speed personally appeared in court and informed the judge of the cancellation of the writ. On July 7, 1865, at 1:15 P.M., a procession led by General Hartranft escorted the four condemned prisoners through the courtyard and up the steps to the gallows. Each prisoner's ankles and wrists were bound by manacles. Surratt led the way, wearing a black bombazine dress, black bonnet, and black veil. More than 1,000 people, including government officials, members of the US armed forces, friends and family of the accused, official witnesses, and reporters, watched. General Hancock limited attendance to those who had a ticket, and only those who had a good reason to be present were given a ticket. (Most of those present were military officers and soldiers, as fewer than 200 tickets had been printed.) Alexander Gardner, who had photographed the body of Booth and taken portraits of several of the male conspirators while they were imprisoned aboard naval ships, photographed the execution for the government. Hartranft read the order for their execution. Surratt, either weak from her illness or swooning in fear (perhaps both), had to be supported by two soldiers and her priests. The condemned were seated in chairs, Surratt almost collapsing into hers. She was seated to the right of the others, the traditional "seat of honor" in an execution. White cloth was used to bind their arms to their sides and their ankles and thighs together. The cloths around Surratt's legs were tied around her dress below the knees. Each person was ministered to by a member of the clergy. From the scaffold, Powell said, "Mrs. Surratt is innocent. She doesn't deserve to die with the rest of us." Fathers Jacob and Wiget prayed over her and held a crucifix to her lips. About 16 minutes elapsed from the time the prisoners entered the courtyard until they were ready for execution. A white bag was placed over the head of each prisoner after the noose was put in place. Surratt's bonnet was removed, and the noose put around her neck by a U.S. Secret Service officer. She complained that the bindings about her arms hurt, and the officer preparing said, "Well, it won't hurt long." Finally, the prisoners were asked to stand and move forward a few feet to the nooses. The chairs were removed. Her last words, spoken to a guard as he moved her forward to the drop, were "Please don't let me fall." Surratt and the others stood on the drop for about 10 seconds, and then Captain Rath clapped his hands. Four soldiers of Company F of the 14th Veteran Reserves knocked out the supports holding the drops in place, and the condemned fell. Surratt, who had moved forward enough to barely step onto the drop, lurched forward and slid partway down the drop, her body snapping tight at the end of the rope, swinging back and forth. She appeared to die relatively quickly with little struggle. Atzerodt's stomach heaved once and his legs quivered; then, he was still. Herold and Powell struggled for nearly five minutes, strangling to death. Burial Each body was inspected by a physician to ensure that death had occurred. The bodies of the executed were allowed to hang for about 30 minutes and soldiers began to cut them down at 1:53 p.m. A corporal raced to the top of the gallows and cut down Atzerodt's body, which fell to the ground with a thud. He was reprimanded, and the other bodies were cut down more gently. Herold's body was next, followed by Powell's. Surratt's body was cut down at 1:58 p.m. As Surratt's body was cut loose, her head fell forward. A soldier joked, "She makes a good bow" and was rebuked by an officer for his poor use of humor. Upon examination, the military surgeons determined that no one's neck had been broken by the fall. The manacles and cloth bindings were removed but not the white execution masks, and the bodies were placed into the pine coffins. The name of each person was written on a piece of paper by acting Assistant Adjutant R. A. Watts, and inserted in a glass vial, which was placed into the coffin. The coffins were buried against the prison wall in shallow graves, just a few feet from the gallows. A white picket fence marked the burial site. The night that she died, a mob attacked the Surratt boarding house and began stripping it of souvenirs until the police stopped them. Anna Surratt unsuccessfully asked for her mother's body for four years. In 1867, the War Department decided to tear down the portion of the Washington Arsenal where the bodies of Surratt and the other executed conspirators lay. On October 1, 1867, the coffins were disinterred and reburied in Warehouse No. 1 at the Arsenal, with a wooden marker placed at the head of each burial vault. Booth's body lay alongside them. In February 1869, Edwin Booth asked Johnson for the body of his brother. Johnson agreed to turn the body over to the Booth family, and on February 8 Surratt's body was turned over to the Surratt family. She was buried in Mount Olivet Cemetery in Washington, D.C., on February 9, 1869. Lloyd is buried from her grave in the same cemetery. Surviving family and home Anna Surratt moved from the townhouse on H Street and lived with friends for a few years, ostracized from society. She married William Tonry, a government clerk. They lived in poverty for a while after he was dismissed from his job, but in time, he became a professor of chemistry in Baltimore and the couple became better off. The strain of her mother's death left Anna mentally unbalanced, and she suffered from periods of extreme fear that bordered on insanity. She died in 1904. After the dismissal of charges against him, John Jr. married and he and his family lived in Baltimore near his sister, Anna. Isaac Surratt also returned to the United States and lived in Baltimore. He died unmarried in 1907. Isaac and Anna were buried on either side of their mother in Mount Olivet Cemetery. John Jr. was buried in Baltimore in 1916. In 1968, a new headstone with a brass plaque replaced the old, defaced headstone over Mary Surratt's grave. Mary Surratt's boarding house still stands and was listed on the National Register of Historic Places in 2009. Those interested in Mary Surratt formed the Surratt Society. The Surrattsville tavern and house are historical sites run today by the Surratt Society as a historic house museum. The Washington Arsenal is now Fort Lesley J. McNair. Portrayals Surratt was portrayed by actress Virginia Gregg in the 1956 episode "The Mary Surratt Case," telecast as part of the NBC anthology series The Joseph Cotten Show. She was portrayed by Robin Wright in the 2011 film The Conspirator, which was directed by Robert Redford. References Sources Boritt, G.S. and Forness, Norman O. The Historian's Lincoln: Pseudohistory, Psychohistory, and History. Urbana, Ill.: University of Illinois Press, 1996. Bryer, Jackson R. New Essays on F. Scott Fitzgerald's Neglected Stories. Columbia, Mo.: University of Missouri Press, 1996. Buchanan, Paul D. The American Women's Rights Movement: A Chronology of Events and of Opportunities From 1600 to 2008. Boston: Branden Books, 2009. Bucklee, Sally Mitchell. A Church and Its Village: St. Philip's Episcopal Church, Laurel, Maryland. Baltimore, Md.: Gateway Press, 2001. Busch, Francis X. Enemies of the state: An Account of the Trials of the Mary Eugenia Surrat Case, the Teapot Dome Cases, the Alphonse Capone Case and the Rosenburg Case. Indianapolis: Bobbs-Merrill, 1954. Cashin, Joan. The War Was You and Me: Civilians in the American Civil War. Princeton, N.J.: Princeton Univ. Press, 2002. Chaconas, Joan L. "John H. Surratt Jr." In The Trial: The Assassination of President Lincoln and the Trial of the Conspirators. Lexington, Ky.: University Press of Kentucky, 2003. Chamlee Jr., Roy Z. Lincoln's Assassins: A Complete Account of Their Capture, Trial, and Punishment. Jefferson, N.C.: McFarland & Co., 1989. Commire, Anne and Klezmer, Deborah. Women in World History: A Biographical Encyclopedia. Waterford, Conn.: Yorkin Publications, 2001. DeWitt, David Miller. The Judicial Murder of Mary E. Surratt. J. Murphy & Co., 1894. Eisenschiml, Otto. Why Was Lincoln Murdered? New York: Grosset & Dunlap, 1937. Evans, Eli N. Judah P. Benjamin, the Jewish Confederate. New York: Simon and Schuster, 1989. Federal Writers' Project. Washington, D.C.: A Guide to the Nation's Capital. New York: Hastings House, 1942. Fishel, Edwin C. Secret War for the Union. New York: Houghton Mifflin, 1996. Gamber, Wendy. The Boardinghouse in Nineteenth-Century America. Baltimore: Johns Hopkins University Press, 2007. Gillespie, L. Kay. Executed Women of the 20th and 21st Centuries. Lanham, Md.: University Press of America, 2009. Goodrich, Thomas. The Darkest Dawn: Lincoln, Booth, and the Great American Tragedy. Bloomington, Ind.: Indiana University Press, 2005. Griffin, John Chandler. Abraham Lincoln's Execution. Gretna, La.: Pelican Publishing Co., 2006. Harris, Thomas Mealey. Assassination of Lincoln: A History of the Great Conspiracy, Trial of the Conspirators by a Military Commission, and a Review of the Trial of John H. Surratt. Boston: American Citizen Company, 1892. Hartranft, John F.; Steers, Edward; and Holzer, Harold. The Lincoln Assassination Conspirators: Their Confinement and Execution, As Recorded in the Letterbook of John Frederick Hartranft. Baton Rouge: Louisiana State University Press, 2009. Heidler, David Stephen; Heidler, Jeanne T.; and Coles, David J. Encyclopedia of the American Civil War: A Political, Social, and Military History. New York: W.W. Norton & Co., 2000. Isacsson, Alfred. The Travels, Arrest and Trial of John H. Surratt. Middletown, N.Y.: Vestigium Press, 2003. James, Edward T. Notable American Women: A Biographical Dictionary. Cambridge, Mass.: Belknap Press of Harvard University Press, 2004. Jampoler, Andrew C.A. The Last Lincoln Conspirator: John Surratt's Flight From the Gallows. Annapolis, Md.: Naval Institute Press, 2008. Johnson, Andrew. The Papers of Andrew Johnson: September 1868 – April 1869. Paul H. Bergeron, ed. Knoxville, Tenn.: University of Tennessee Press, 1999. Johnson, Scott Patrick. Trials of the Century: An Encyclopedia of Popular Culture and the Law. Santa Barbara, Calif.: ABC-CLIO, 2011. Jones, John P. Dr. Mudd and the Lincoln Assassination: The Case Reopened. Conshohocken, Pa.: Combined Books, 1995. Jordan, David M. Winfield Scott Hancock: A Soldier's Life. Bloomington, Ind.: Indiana University Press, 1988. Katz, D. Mark. Witness to an Era: The Life and Photographs of Alexander Gardner: The Civil War, Lincoln, and the West. New York: Viking, 1991. Kauffman, Michael W. American Brutus. New York: Random House, 2004. Klement, Frank. Lincoln's Critics: The Copperheads of the North. Shippensburg, W.Va.: White Mane Books, 1999. Kuhn, Annette. Queen of the 'B's: Ida Lupino Behind the Camera. Westport, Conn.: Greenwood Press, 1995. Larson, Kate Clifford. The Assassin's Accomplice: Mary Surratt and the Plot to Kill Abraham Lincoln. Basic Books, 2008. Latimer, Christopher P. Civil Liberties and the State: A Documentary and Reference Guide. Santa Barbara, Calif.: Greenwood, 2011. Leonard, Elizabeth D. Lincoln's Avengers: Justice, Revenge, and Reunion After the Civil War. New York: Norton, 2004. MacHenry, Robert. Liberty's Women. Springfield, Mass.: G.C. Merriam Co., 1980. Miller, Edward A. Lincoln's Abolitionist General: The Biography of David Hunter. Columbia, S.C.: University of South Carolina Press, 1997. Morseberger, Robert E. and Morsberger, Katharine M. Lew Wallace, Militant Romantic. New York: McGraw-Hill, 1980. Oldroyd, Osborn H. The Assassination of Abraham Lincoln: Flight, Pursuit, Capture, and Punishment of the Conspirators. Washington, D.C.: O.H. Oldroyd, 1901. Ownsbey, Betty J. Alias 'Paine': Lewis Thorthon Powell, the Mystery Man of the Lincoln Conspiracy. Jefferson, N.C.: McFarland & Company, 2006. Phelps, Shirelle. World of Criminal Justice, Vol. 2: N-Z. Detroit: Gale Group, 2001. Phillips, Larissa. Women Civil War Spies of the Confederacy. New York: Rosen Publishing Group, 2004. Pittman, Benn. The Assassination of President Lincoln and the Trial of the Conspirators. Cincinnati: Moore, Wilstach & Baldwin, 1865. Rehnquist, William H. All the Laws But One: Civil Liberties in Wartime. New York: Vintage Books, 2000. Roscoe, Theodore. The Web of Conspiracy: The Complete Story of the Men Who Murdered Abraham Lincoln. Englewood Cliffs, N.J.: Prentice-Hall, 1959. Sachsman, David B.; Rushing, S. Kittrell; and Morris, Roy. Seeking A Voice: Images of Race and Gender in the 19th Century Press. West Lafayette, Ind.: Purdue University Press, 2009. Schroeder-Lein, Glenna R. and Zuczek, Richard. Andrew Johnson: A Biographical Companion. Santa Barbara, Calif.: ABC-CLIO, 2001. Steers Jr., Edward. Blood on the Moon. Lexington: University Press of Kentucky, 2001. Steers Jr., Edward. "'Let the Stain of Innocent Blood Be Removed from the Land': The Military Trial of the Lincoln Conspirators." In The Lincoln Assassination: Crime and Punishment, Myth and Memory. Harold Holzer, Craig L. Symonds, and Frank J. Williams, eds. New York: Fordham University Press, 2010. Steers Jr., Edward. The Lincoln Assassination Encyclopedia. New York: Harper Perennial, 2010. Steers Jr., Edward. Lincoln Legends: Myths, Hoaxes, and Confabulations Associated With Our Greatest President. Lexington, Ky.: University Press of Kentucky, 2007. Steers Jr. Edward and Holzer, Harold. The Lincoln Assassination Conspirators: Their Confinement and Execution, as Recorded in the Letterbook of John Frederick Hartranft. Baton Rouge, La.: Louisiana State University Press, 2009. Stern, Philip Van Doren. An End to Valor: The Last Days of the Civil War. Boston: Houghton Mifflin, 1958. "Surratt, Mary." In The New Encyclopædia Britannica. Chicago: Encyclopædia Britannica, 1998. "Surratt, Mary E. Jenkins (1823–1865)." In Women in the American Civil War. Lisa Tendrich Frank, ed. Santa Barbara, Calif.: ABC-CLIO, 2008. "Surratt, Mary Eugenia Jenkins (1817–1865)." In Historical Dictionary of Reconstruction. Hans Louis Trefousse, ed. New York: Greenwood Press, 1991. Swanson, James L. Manhunt: The Twelve Day Chase for Lincoln's Killer. New York: HarperCollins, 2007. Swanson, James L. and Weinberg, Daniel R. Lincoln's Assassins: Their Trial and Execution. New York: Harper Perennial, 2008. Townsend, George Alfred. The Life, Crime and Capture of John Wilkes Booth. New York: Dick and Fitzgerald, Publishers, 1886. Townsend, George Alfred. Washington, Outside and Inside: A Picture and a Narrative of the Origin, Growth, Excellencies, Abuses, Beauties, and Personages of Our Governing City. Hartford, Conn.: S.M. Betts & Co., 1874. Trindal, Elizabeth Steger. Mary Surratt: An American Tragedy. Pelican Pub. Co., 1996. Turner, Thomas Reed. Beware the People Weeping: Public Opinion and the Assassination of Abraham Lincoln. Baton Rouge: Louisiana State University Press, 1982. Van Doren, Charles Lincoln and McHenry, Robert. Webster's American Biographies. Springfield, Mass.: Merriam-Webster, 1984. Verge, Laurie. "Mary Elizabeth Surratt". In The Trial: The Assassination of President Lincoln and the Trial of the Conspirators. Lexington, Ky.: University Press of Kentucky, 2003. Watts, R.A. "Trial and Execution of the Lincoln Conspirators." Michigan History Magazine. 6:1 (1922). Weichmann, Louis J. and Richards, A.C. A True History of the Assassination of Abraham Lincoln and of the Conspiracy of 1865. New York: Knopf, 1975. Zanca, Kenneth J.. The Catholics and Mrs. Mary Surratt: How They Responded to the Trial and Execution of the Lincoln Conspirator. University Press of America, 2008. External links Anna Surratt, daughter Surratt Society and Museum Read through the Lincoln Assassination Papers about evidence against Mary Surratt Historic Marker at the Surratt Boarding House Brief Mary Surratt Biography (written by a retired teacher especially for students and schools) Category:1820s births Category:1865 deaths Category:19th-century American women Category:Burials at Mount Olivet Cemetery (Washington, D.C.) Category:American women slave owners Category:Converts to Roman Catholicism Category:Executed American women Category:Executed people from Maryland Category:Executed Lincoln assassination conspirators Category:People from Clinton, Maryland Category:People of Maryland in the American Civil War Category:Women in the American Civil War Category:Catholics from Maryland Category:Civilians who were court-martialed
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[ "The initial burial was against the prison wall in shallow graves, just a few feet from the gallows. The coffins were then disinterred and reburied in Warehouse No. 1 at the Washington Arsenal. Surratt's body was later turned over to the Surratt family and she was buried in Mount Olivet Cemetery in Washington, D.C.", "The text does not explicitly state who was at the execution or burials. The general indication is of soldiers, a physician, military surgeons, acting Assistant Adjutant R. A. Watts, and later on, the police. There were also members of a mob attacking the Surratt boarding house. Several years after the execution, Edwin Booth and Johnson are referenced, however it is not clear if they were physically present during the initial events.", "Yes, the bodies mentioned in the text were of people who had been executed by hanging.", "The text does not provide information on why the individuals were hanged.", "The text does not provide the specific year of the executions and burials. However, it does mention that Anna Surratt asked for her mother's body for four years starting from the time of the execution, and that the bodies were disinterred and reburied in 1867. Therefore, the executions likely occurred around 1863. Surratt's body was turned over to her family in February 1869.", "The text does not provide information on any other interesting aspects about this article.", "The text does not provide enough information to answer why they were \"like that.\"", "The text does not provide information on whether any family members attended the executions or the burials." ]
[ "Yes", "No", "Yes", "Yes", "No", "No", "No", "Yes" ]
C_df30359807ed477cb65127bce8505cbd_0
Silverchair
Silverchair were an Australian rock band, which formed in 1992 as Innocent Criminals in Merewether, Newcastle with the line-up of Ben Gillies on drums, Daniel Johns on vocals and guitars, and Chris Joannou on bass guitar. The group got their big break in mid-1994 when they won a national demo competition conducted by SBS TV show Nomad and ABC radio station, Triple J. The band were signed by Murmur, and were successful on the Australian and international rock stages. During their career, Silverchair won more ARIA Music Awards than any other artist in history with 21 wins from 49 nominations.
Extended break and side projects (2003-2005)
In 2000, while also working with Silverchair, Johns and Mac released an internet-only EP, I Can't Believe It's Not Rock. In mid-2003, during Silverchair's hiatus, the pair re-united and formed The Dissociatives, releasing a self-titled album in April 2004. The duo provided the theme music for the popular ABC-TV music quiz show Spicks and Specks - as a reworking of the Bee Gees' 1966 hit of the same name. Johns also collaborated with then-wife Natalie Imbruglia on her Counting Down the Days album, released in April 2005. Joannou worked with blues-rock group The Mess Hall; he co-produced - with Matt Lovell - their six-track extended play, Feeling Sideways, which was released in May 2003. The album was nominated for the ARIA Award for 'Best Independent Release' in 2003. Joannou and Lovell co-produced The Mess Hall's studio album, Notes from a Ceiling which was issued in June 2005. Joannou and Lovell received a nomination at the ARIA Music Awards of 2005 for 'Producer of the Year'. In 2003, Gillies formed Tambalane with Wes Carr, initially as a song-writing project, they released a self-titled album in 2005 and toured Australia. The 2004 Boxing Day tsunami resulted in the WaveAid fund-raising concert held in January 2005: Silverchair performed to help raise funds for aid organisations working in disaster affected areas. As a result of WaveAid the band decided to resume working together. Gillies explained the band's reunion as due to a special "chemistry" between band members, telling The Sydney Morning Herald, "It only took us 15 years, but recently we've realised, 'We've really got something special and we should just go for it.'" CANNOTANSWER
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Silverchair was an Australian rock band, which formed in 1992 as Innocent Criminals in Newcastle, New South Wales, with Daniel Johns on vocals and guitars, Ben Gillies on drums, and Chris Joannou on bass guitar. The group got their big break in mid-1994 when they won a national demo competition conducted by SBS TV show Nomad and ABC radio station Triple J. The band was signed by Murmur and were successful in Australia and internationally. Silverchair has sold over 10 million albums worldwide. Silverchair have won more ARIA Music Awards than any other artist in history, earning 21 wins from 49 nominations. They also received six APRA Awards, with Johns winning three songwriting awards in 2008. All five of their studio albums debuted at number one on the ARIA Albums Chart: Frogstomp (1995), Freak Show (1997), Neon Ballroom (1999), Diorama (2002), and Young Modern (2007). Three singles reached the number-one slot on the related ARIA Singles Chart: "Tomorrow" (1994), "Freak" (1997), and "Straight Lines" (2007). Silverchair's alternative rock sound evolved throughout their career, with differing styles on specific albums growing more ambitious over the years, from grunge on their debut to more recent work displaying orchestral and art rock influences. The songwriting and singing of Johns had evolved steadily while the band had developed an increased element of complexity. In 2003, following the release of Diorama, the band announced a hiatus, during which time members recorded with side projects the Dissociatives, the Mess Hall, and Tambalane. Silverchair reunited at the 2005 Wave Aid concerts. In 2007, they released their fifth album, Young Modern, and played the Across the Great Divide tour with contemporaries Powderfinger. In May 2011, Silverchair announced an indefinite hiatus. History Formation and early releases (1994–1996) Silverchair's founders, Ben Gillies and Daniel Johns, attended the same primary school in the Newcastle suburb of Merewether. At "age 11 or 12", singer-guitarist Johns and drummer Gillies rapped over an electronic keyboard's demo button under their first band name, The Silly Men. As teenagers, they started playing music together more prominently—in one class, they built a stage out of desks and played rap songs for their schoolmates. When they moved on to Newcastle High School, fellow student Chris Joannou joined the pair on bass guitar. In 1994, they formed Innocent Criminals with Tobin Finnane as a second guitarist, but he soon left. They played numerous shows around the Hunter Region in their early teens; their repertoire included cover versions of Led Zeppelin, Deep Purple, and Black Sabbath. In 1994, Innocent Criminals, entered YouthRock—a national competition for school-based bands—and placed first ahead of older competition. The band recorded demos of "Acid Rain", "Cicada", "Pure Massacre", and "Tomorrow" early in the year at Platinum Sound Studios. In April, the band's mainstream breakthrough came when they won a national competition called Pick Me, using their demo of "Tomorrow". The competition was conducted by the SBS TV show Nomad and Australian Broadcasting Corporation (ABC) alternative radio station Triple J. As part of the prize, Triple J recorded the song and ABC filmed a video, which was aired on 16 June. For the video's broadcast, they had changed their name to Silverchair (styled as silverchair until 2002). In a 1994 interview with Melbourne magazine Buzz, the band claimed the name derived from a radio request for "Sliver" by Nirvana and "Berlin Chair" by You Am I being mixed up as Silver Chair. It was later revealed they were named for the C. S. Lewis–penned novel The Silver Chair from The Chronicles of Narnia series. Aside from Innocent Criminals, the band has used The George Costanza Trio and Short Elvis as aliases. Following a bidding war between rival labels, Silverchair signed a three-album recording contract with Sony Music subsidiary Murmur Records. Initially, the group were managed by their parents. Sony A&R manager John Watson, who was jointly responsible for signing the group, subsequently left the label to become their band manager. In September, their Triple J recording of "Tomorrow" was released as a four-track extended play. From late October, it spent six weeks at number-one on the ARIA Singles Chart. In 1995, a re-recorded version of "Tomorrow" (and a new video) was made for the United States market, becoming the most played song on US modern rock radio that year. Silverchair's debut album, Frogstomp, was recorded in nine days, with production by Kevin Shirley (Lime Spiders, Peter Wells) and released in March 1995. At the time of recording, the band members were 15 years old and still attending high school. Frogstomps lyrical concepts were fiction-based, drawing inspiration from television, hometown tragedies, and perceptions of the pain of friends. The album was well received: AllMusic and Rolling Stone rated it in four and four-and-a-half stars, respectively, praising the intensity of the album, especially "Tomorrow". Frogstomp was a number-one album in Australia and New Zealand. It reached the Billboard 200 Top 10, making Silverchair the first Australian band to do so since INXS. It was certified as a US double-platinum album by the RIAA, triple-platinum in Canada by the CRIA, and multi-platinum in Australia. The album sold more than 4 million copies worldwide. Paste magazine called this album the "last stand" of grunge. As Frogstomp and "Tomorrow" continued to gain popularity through 1995, the group toured the US, where they supported Red Hot Chili Peppers in June, the Ramones in September, and played on the roof of Radio City Music Hall at the MTV Music Awards. In between touring, they continued their secondary education in Newcastle. At the ARIA Music Awards of 1995, the band won five awards out of nine nominations. To collect their awards on the night, they sent Josh Shirley, the young son of the album's producer. At the ceremony, they performed Radio Birdman's "New Race" with Tim Rogers (of You Am I); in 2019, Dan Condon of Double J rated this as one of the "7 great performances from the history of the ARIA Awards." On 9 December 1995, Silverchair played two songs, "Tomorrow" and "Pure Massacre" on Saturday Night Live. In a January 1996 murder case, the defendant counsel for Brian Bassett, 16, and Nicholaus McDonald, 18, of McCleary, Washington, claimed that the pair listened to "Israel's Son", from Frogstomp, which contributed to the 10 August 1995 murders of Bassett's parents and a younger brother. McDonald's lawyer cited the lyrics "Hate is what I feel for you/I want you to know that I want you dead" which were "almost a script. They're relevant to everything that happened". The band's manager, Watson, issued a statement that they did not condone nor intend any such acts of violence. Prosecutors rejected the defence case and convinced the jury that the murder was committed to "steal money and belongings and run off to California." Critical and commercial success (1997–2001) Silverchair began recording their second studio album, Freak Show, in May 1996 while experiencing the success of Frogstomp in Australia and the US. Produced by Nick Launay (Birthday Party, Models, Midnight Oil) and released in February 1997, the album reached number one in Australia and yielded three top-10 singles: "Freak", "Abuse Me", and "Cemetery". Its fourth single, "The Door", reached No. 25. The songs focused on the anger and backlash that the expectations of Frogstomp brought upon the band. Freak Show was certified gold in the US, 2× platinum in Australia, and global sales eventually exceeded 1.5 million copies. By late 1997, the trio had completed their secondary education, and, from May 1998, they worked on their third album, Neon Ballroom, with Launay producing again. It was released in March 1999 and peaked at the number-one position in Australia. Australian rock music historian Ian McFarlane said, "As well as being the band's best album to date, it was universally acknowledged as one of the best albums of the year." The band originally intended to take a 12-month break, but in the end they decided to devote their time to making music. Neon Ballroom provided three Australian top-20 singles: "Anthem for the Year 2000", "Ana's Song (Open Fire)" and "Miss You Love"; a fourth single, "Paint Pastel Princess", did not reach the top 50. The albums charted well internationally: Freak Show reached No. 2 in Canada, and Neon Ballroom reached No. 5. Both reached the top 40 on the United Kingdom Albums Chart. "Abuse Me" reached No. 4 on Billboard'''s Hot Modern Rock Tracks and Hot Mainstream Rock Tracks charts. "Ana's Song (Open Fire)" peaked at No. 12 on the Hot Modern Rock Tracks. In 1999, Johns announced that he had developed the eating disorder anorexia nervosa due to anxiety. Johns noted that the lyrics to "Ana's Song (Open Fire)" dealt with his disorder, where he would "eat what he needed ... to stay awake." He revealed that his eating problems developed from the time of Freak Show and when Neon Ballroom was written he "hated music, really everything about it", but he felt that he "couldn't stop doing it; I felt like a slave to it." Johns sought therapy and medication but felt "It's easier for me to express it through music and lyrics". Silverchair added an auxiliary keyboardist, Sam Holloway (ex-Cordrazine), for the Neon Ballroom Tour. The US leg had the group playing with The Offspring and Red Hot Chili Peppers, while Silverchair's tour of UK and European had The Living End as the support act. Rolling Stones Neva Chonin attributed their chart success to the album's more "mature" sound. In Europe and South America it became the group's most successful album to date. The group appeared at festivals in Reading and Edgefest, amongst others. Following the tour, the band announced that they would be taking a 12-month break. Their only live performance in 2000 was at the Falls Festival on New Year's Eve. On 21 January 2001, the band played to 250,000 people at Rock in Rio, a show they described as the highlight of their career until that point. After the release of Neon Ballroom, Silverchair's three-album contract with Sony Music had ended. The group eventually signed with Atlantic Records for North and South America, and they formed their own label with Watson, Eleven: A Music Company (distributed by EMI), for Australia and Asia. In November 2000, after the group had left the label, Sony issued The Best Of: Volume 1 without the band's involvement. Johns disavowed the compilation, saying, "We thought about putting out ads in the street press to make people aware that we weren't endorsing it, but that would have blown the whole thing out of proportion ... If people want to buy it, they can buy it[,] but I wouldn't buy it if I was a silverchair fan." Diorama (2001–2002) In June 2001, Silverchair entered a studio in Sydney with producer David Bottrill (Tool, Peter Gabriel, King Crimson) to start work on their fourth album, Diorama. Johns formally assumed the role of a co-producer. The album name means "a world within a world". Most tracks came from Johns' new-found method of writing material on a piano, a technique he developed during the band's break after Neon Ballroom. In order to complete the vision for Diorama, several other musicians contributed to the album, including Van Dyke Parks, who provided orchestral arrangements to "Tuna in the Brine", "Luv Your Life", and "Across the Night". Paul Mac (from Itch-E and Scratch-E) and Jim Moginie (from Midnight Oil) both on piano also collaborated with the band. While recording Diorama, Johns referred to himself as an artist, rather than simply being in a "rock band". Upon its release, critics commented that the album was more artistic than previous works. Early in December, the first single, "The Greatest View", was released to Australian radio networks. Its physical release in January 2002 coincided with the band's appearance on the Big Day Out tour. Early in 2002, Johns was diagnosed with reactive arthritis, which made it difficult for him to play the guitar, and subsequent performances supporting the album's release were cancelled. In March 2002, Diorama was issued and topped the ARIA Albums Chart; it became their fourth number-one album and spent 50 weeks in the top 50. Four singles were released from the album: "The Greatest View", "Without You", "Luv Your Life" and "Across the Night"; "The Greatest View" charted highest, reaching No. 3. In October, Silverchair were successful at the ARIA Music Awards of 2002, winning five awards, including 'Best Rock Album' and 'Best Group', and 'Producer of the Year' for Johns. The band played "The Greatest View" at the ceremony; the song was also nominated for 'Best Video'. Two singles (and a related video) were nominated for further ARIA Awards in 2003. Following the 2002 ARIA Awards, the band announced their first indefinite hiatus. Johns said it was necessary "given the fact the band were together for over a decade and yet were only, on average, 23 years old". From March to June 2003, Silverchair undertook the Across the Night Tour to perform Diorama. Their hometown performance on 19 April was recorded as Live from Faraway Stables for a 2-CD and 2-DVD release in November. After the tour finished in June, the group announced another indefinite hiatus. Extended break and side projects (2003–2005) In 2000, while also working with Silverchair, Johns and Mac released an internet-only EP, I Can't Believe It's Not Rock. In mid-2003, during Silverchair's hiatus, the pair re-united and formed The Dissociatives, releasing a self-titled album in April 2004. The duo provided the theme music for the popular ABC-TV music quiz show Spicks and Specks by reworking a 1966 Bee Gees hit of the same name. Johns also collaborated with then-wife Natalie Imbruglia on her Counting Down the Days album, released in April 2005. Joannou worked with blues rock group The Mess Hall; he co-produced—with Matt Lovell—their six-track extended play Feeling Sideways, which was released in May 2003. The album was nominated for the ARIA Award for 'Best Independent Release' in 2003. Joannou and Lovell co-produced The Mess Hall's studio album Notes from a Ceiling, which was issued in June 2005. Joannou and Lovell received a nomination at the ARIA Music Awards of 2005 for 'Producer of the Year'. In 2003, Gillies formed Tambalane with Wes Carr, initially as a song-writing project, and they released a self-titled album in 2005 and toured Australia. The 2004 Boxing Day tsunami resulted in the WaveAid fundraising concert held in January 2005; Silverchair performed to help raise funds for aid organisations working in disaster-affected areas. As a result of WaveAid, the band decided to resume working together. Gillies explained the band's reunion as due to a special "chemistry" between band members, telling the Sydney Morning Herald, "It only took us 15 years, but recently we've realised, 'We've really got something special and we should just go for it.'" Return from hiatus (2006–2010) After performing at Wave Aid, Silverchair reunited, and by late 2005 began preparations for their next studio album, Young Modern. Johns had written about 50 songs during the hiatus for a possible solo album or other project but decided to use them for Silverchair. In 2006, after five weeks' practice, the group demoed tracks in the Hunter Region before recording at Los Angeles' Seedy Underbelly Studios with Launay as producer. Parks again arranged orchestral tracks for the band—they travelled to Prague to record with the Czech Philharmonic Orchestra. The group also used Mac, Luke Steele (The Sleepy Jackson, Empire of the Sun) and Julian Hamilton (The Presets, The Dissociatives). Hamilton also co-wrote songs with Johns. Silverchair self-funded the album's production to ease the pressures they faced when working with a record label. The band toured extensively before releasing the album, performing at Homebake and numerous other shows. Both Mac and Hamilton joined the tour as auxiliary members providing keyboards. In October, they performed a cover of Midnight Oil's 1981 single "Don't Wanna Be the One" at the ARIA Music Awards of 2006 as part of that band's induction into the ARIA Hall of Fame. During the performance, Johns spray-painted "PG 4 PM" (Peter Garrett for Prime Minister) on a stage wall, paying tribute to that band's frontman, who was at that time a Federal Member of Parliament and Minister for the Environment, Heritage and the Arts.Young Modern was released in March 2007, as was the first single, "Straight Lines". Three more singles—"Reflections of a Sound", "If You Keep Losing Sleep", and "Mind Reader"—were released later. Young Modern became the fifth Silverchair album to top the ARIA Albums chart; they became the first artists to have five number-one albums on the ARIA Albums chart. "Straight Lines" also became the band's third number-one single in Australia. In June 2007, Silverchair and fellow rock group Powderfinger announced the Across the Great Divide Tour. The tour promoted the efforts of Reconciliation Australia in mending the 17-year gap in life expectancy between Indigenous and non-Indigenous children. Support acts on the tour were John Butler, Missy Higgins, Kev Carmody, Troy Cassar-Daley, Clare Bowditch and Deborah Conway.Young Modern and "Straight Lines" each won three awards at the ARIA Music Awards of 2007, taking Silverchair's total to 20. The group also won three APRA Awards for their song "Straight Lines", including Songwriter of the Year, which Johns was awarded for a record third time. At the ARIA Music Awards of 2008, Silverchair and Powderfinger each won Best Music DVD for Across the Great Divide, for Silverchair this was their 21st win from 49 nominations. According to Silverchair's website, as of June 2009, the group had begun work on the follow-up to Young Modern; they had spent three weeks recording in Australia with future sessions earmarked for later that year. No release date was set, but the band uploaded in-studio videos of them working on several tracks to their official website. In December, Johns called in to Triple J's breakfast show, Robbie, Marieke and The Doctor, and discussed the band's new album which they were working on in Newcastle. He told them, "the main difference is there's a lot of experimentation with instruments and synths... I think there's only guitar on four songs out of fifty so far," but added the new material is "surprisingly rocky given there's no guitar." In April 2010, via the band's website, Joannou announced they would perform two new songs called "16" and "Machina Collecta" at May's Groovin' the Moo festival. He said work was progressing well and confirmed there was, as yet, no title for the proposed album and that they were simply referring to it as Album No. 6. The final concert of the festival was at Bunbury on 15 May. By year's end, work on the album had stopped because each member had pursued other interests. "Indefinite hibernation" (2011–present) On 25 May 2011, Silverchair announced another indefinite hiatus:Sydney Morning Heralds music writer, Bernard Zuel, said the band's use of "indefinite hibernation" was a way to soften the blow of the group's break-up for fans; he expected future reunions and performances for worthy causes. By June, Gillies was in the final stages of about 12 months of working on his solo album, and he said that it was not a continuation of his earlier work with Tambalane. In October, Johns was working on the soundtrack for My Mind's Own Melody—a short film. In May 2012, Johns recorded the new anthem for Qantas, titled "Atlas". It is the first piece of commercial music Johns has composed. A remastered version of Frogstomp, which included bonus content, was released on 27 March 2015. The members of Silverchair have occasionally stated that they have not ruled out a reunion. Gillies has said that there are plans to release a new Silverchair album, which was almost finished before the hiatus. On 17 November 2017, the Silverchair tribute compilation album Spawn (Again): A Tribute to Silverchair was released by UNFD, with Johns saying he came to "appreciate" the experience. The album is composed of cover songs by Australian bands signed onto UNFD as a tribute to Silverchair, to celebrate the 20th anniversary of their album Freak Show. Speaking to The Daily Telegraph in 2018, Daniel Johns expressed his love for the band—and appreciation of what the band had produced—but said he had no desire to reform the band. In May 2020, a picture of Johns playing electric guitar appeared online, leading to the Newcastle Herald speculating that a reunion was possible. However, in October 2021, when Johns was interviewed by Carrie Bickmore on the Australian news-current affairs and talk show The Project, he once again affirmed that the band will not reunite, while also stating that he still plans to work on new music but has no intentions to perform live again. In a separate interview with Carrie Bickmore, Johns elaborated further, stating that during his time with Silverchair, he had been the victim of sustained verbal abuse from the public because of his association with the band. This impacted his mental health greatly. Johns was open to musical collaboration with his former bandmates but not as a continuation of Silverchair as a band. Musical style Silverchair are generally classified as an alternative rock and grunge band, although their loyalty to specific genres has changed as they have matured. Much of the band's early grunge and post-grunge work was inspired by Nirvana, Pearl Jam, Soundgarden, Alice in Chains and Black Sabbath. According to Ian McFarlane, "frogstomp captured the tempo of the times with its mix of Soundgarden/Pearl Jam/Bush post-grunge noise and teenage lyrical angst." In their early years, the perceived stylistic similarities led to Silverchair being derisively dubbed as 'Silverhighchair', 'not Soundgarden but ' and 'Nirvana in Pyjamas' by the Australian media. The latter is a sarcastic conflated reference to the band's youth and the popular Australian children's TV series Bananas in Pyjamas. McFarlane stated, "Freak Show and tracks like 'Freak' were firmly in Nirvana territory with a hint of Led Zeppelin's Eastern mysticism". Gillies noted that the band were inspired by the Seattle Sound, as well as The Beatles and The Doors, and were highly impressionable in their youth. Johns admitted that "We were always influenced a lot by Black Sabbath and Led Zeppelin[;] it just so happened that we weren't very good at playing that style of music. So we were put in the whole grunge category because it was such a garage-y, heavy music term." Australian rock music journalist Ed Nimmervoll felt that Johns "had never intended to use his problems for inspiration, but in the end the music was the best way to unburden himself. Neon Ballroom took six months to record. The album's passion and musical sophistication proved to the world that silverchair were a force to be reckoned with". According to 100 Best Australian Albums, by three fellow journalists—John O'Donnell, Toby Creswell and Craig Mathieson—Neon Ballrooms lead-in track, "Emotion Sickness", described Johns' life in the 1990s and "addressed [his] desire to move beyond the imitative sounds of Silverchair's first two albums ... and create something new and original". "Ana's Song (Open Fire)" directly focussed on his eating disorder; "[it] became a hit all over the world and opened up for discussion the fact that males could also be affected by anorexia." AllMusic's Stephen Thomas Erlewine felt Diorama "was a shockingly creative and impressive step forward that showed the band shedding its grunge past and adding horns, strings, and mature lyrics to its arsenal." Fellow AllMusic reviewer Bradley Torreano noted that "they somehow kept going and kept improving ... Silverchair has grown up and put together a fine mix of orchestral pop and rock on Diorama." Bernard Zuel described how the Diorama concert tour marked a move from hard rock towards art rock: "they stepped out of the arenas and barns and 'got classy' ... finally having admitted to harbouring artistic ambition (a very un-Australian band thing to do), they've proved they have the ability". In writing Young Modern, Johns tried to make the music sound very simple despite a complex musical structure. The lyrics were written after the music was created, sometimes as late as the day of recording. As Johns dreads writing lyrics, he suggested that the band could produce an instrumental album at some stage in the future. Johns is the band's primary songwriter, and notes that while Joannou and Gillies do not have significant influence on what he writes, they are key to the band's overall sound. For that album, Hamilton co-wrote four songs with Johns including the APRA Award-winning "Straight Lines". Joannou believed that Young Modern was simpler than Diorama but "still as complex underneath with simple pop song elements". He said that much of the band's success resulted from trying to push themselves harder in recording and writing. Self-producing has allowed the band to do so without the pressures of a record label. Gillies notes that Silverchair will often "run the risk of losing fans" with their work, and this was evident in the changes in musical direction in Diorama and Young Modern. However, he described this as a good thing, describing the fact "that we haven't been pigeonholed, and people really don't know what to expect" as one of the attractive elements of the band. Despite the ups and downs of success at a young age, Gillies says that he and the band "appreciate what we've achieved and what we've got" in their careers. The band have received six APRA Awards, with Johns winning three songwriting awards at the 2008 ceremony. Reception Frogstomp was described as similar to Nirvana and Pearl Jam; Erlewine noted that it followed in "the alternative rock tradition" of those bands. Erlewine also stated that "their songwriting abilities aren't as strong" as those of their peers. Contrarily, Rolling Stone claimed that the band had risen above their peers, applauding Johns' "ragged vocals". Herald Sun journalist Nue Te Koha praised Frogstomp for "breaking the drought of Australian music making an impact overseas". However, he felt "It is highly debatable whether the three teens have gone to the world with a new sound or something identifiably Australian ... Silverchair's image and sound are blatantly ... Nirvana meets Pearl Jam". Nimmervoll disputed Te Koha's view, "It's not original, it's not Australian. Bah, humbug ... It's just as well Britain didn't say the same thing when The Beatles reinvented American R&B".Freak Show saw the band show more of their own musical style rather than copying others, and thus received more praise for its songwriting than its predecessor. Yahoo! Music's Sandy Masuo described the lyrics as "moving" and "emotional". Johns' vocal delivery was complimented: "[his] bittersweet, crackly voice tops the ample power chordage ... [he] hits shivery, emotional notes that convey both sweet idealism and disappointment". Zuel felt that with this album, the band "have outgrown the jokes, predictions and their own understated teenage ambitions to find they have become (gasp!) career musicians." In 100 Best Australian Albums (2010), their third album, Neon Ballroom, was placed at No. 25, according to its authors. Entertainment Weekly approved of the further advancement in Neon Ballroom, commenting on "plush strings on these adult arrangements". There were once again significant advancements in songwriting; Johns was described as "furious, motivated, and all grown up". However, Rolling Stone said the album seemed confused, commenting that Silverchair "can't decide what they want to do" with their music. Meanwhile, Diorama was seen as an extension of the band's originality, with its "[h]eavy orchestration, unpredictable melodic shifts and a whimsical pop sensibility". According to PopMatters' Nikki Tranter, the album stood out in an otherwise dull Australian music market. AllMusic's Clayton Bolger described Young Modern as an improvement by the band, praising "catchy melodic hooks, inspired lyrical themes, and stunning string arrangements". He claimed the album was the pinnacle of the band's development. PopMatters' Nick Pearson saw the opposite, claiming that "[o]nce you reach the level of intellectual maturity where you can tell the difference between cryptic but poetic lyrics and nonsensical crap, you have outgrown Silverchair". Pearson called the album an attempt to secure a safer territory and assure sales, after the success of past works, calling it more boring than its predecessors. Other reviewers noted influences from cult British band XTC. In July 2009, "Tomorrow" was voted number 33 by the Australian public in Triple J's Hottest 100 of all time. As of January 2018, the group have sold 9 million albums worldwide. At the annual ARIA Music Awards, Silverchair holds the record for the most nominated artist, with 49, and the most awards won, with 21. Their breakthrough year was in 1995, when they won five out of nine nominations, including 'Best New Talent', and 'Breakthrough Artist' for both album and single categories. Their most successful year was at the 2007 ceremony, where they won six of eight nominations. Members Ben Gillies – drums, percussion Chris Joannou – bass guitar Daniel Johns – lead vocals, lead guitar, piano, harpsichord, orchestral arrangements Auxiliary members Tobin Finane – rhythm guitar (1992, only in Innocent Criminals) Sam Holloway – keyboards, samples (1999–2001) Paul Mac – keyboards, piano, remixing, programming (2001–2003, 2006–2007) Julian Hamilton – keyboards, backing vocals (2001–2003, 2007) Discography Studio albumsFrogstomp (1995)Freak Show (1997)Neon Ballroom (1999)Diorama (2002)Young Modern'' (2007) See also List of awards and nominations received by Silverchair Music of Australia References General Note: Archived [on-line] copy has limited functionality. Specific External links Category:1992 establishments in Australia Category:2011 disestablishments in Australia Category:ARIA Award winners Category:Australian post-grunge groups Category:Australian grunge groups Category:Australian rock music groups Category:Musical groups disestablished in 2011 Category:Musical groups established in 1992 Category:Australian musical trios Category:New South Wales musical groups Category:Newcastle, New South Wales Category:World Music Awards winners Category:Australian alternative metal musical groups
[ { "text": "Specific may refer to:\n\n Specificity (disambiguation)\n Specific, a cure or therapy for a specific illness\n\nLaw \n Specific deterrence, focussed on an individual\n Specific finding, intermediate verdict used by a jury in determining the final verdict\n Specific jurisdiction over an out-of-state party, specific to cases that have a substantial connection to the party's in-state activity\n Order of specific performance, court order to perform a specific act\n\nEconomics, finance, and accounting\n Asset specificity, the extent to which the investments made to support a particular transaction have a higher value to that transaction than they would have if they were redeployed for any other purpose\n Specific identification (inventories), summing purchase costs of all inventory items\n Specific rate duty, duty paid at a specific amount per unit\n Specific risk, risk that affects a very small number of assets\n\nPsychology \n Domain specificity, theory that many aspects of cognition are supported by specialized, presumably evolutionarily specified, learning devices\n Specific developmental disorder, disorders in which development is delayed in one specific area or areas, and in which basically all other areas of development are not affected\n Specific learning disability\n Specific phobia, phobia of a specific thing or situation\n Specific social phobia, triggered only by specific social situations\n\nBiology \n pertaining to a species\n Specific name (botany), species name of a plant\n Specific name (zoology), species name of an animal\n Specific appetite, drive to eat foods with specific flavors or other characteristics\n Specific granule, secretory vesicle in granulocytes\n Specific immunity, to a particular pathogen\n Specific Pathogen Free, of a laboratory animal guaranteed free of particular (i.e., specific and named) pathogens\n\nOther fields \n A specific quantity generally means a physical quantity normalized \"per unit\" of something (often mass).\n SPECIFIC, The Sustainable Product Engineering Centre for Innovative Functional Industrial Coatings\n Specific creation, creationism as opposed to evolution\n Specific interval, shortest possible clockwise distance between pitch classes on the chromatic circle\n Specific integral, in calculus, eliminates the constant of integration\n Specific Physical Preparedness, being prepared for the movements in a specific physical activity (usually a sport)\n\nSee also \n Species (disambiguation)\n Specification (disambiguation)\n Specialty (disambiguation)\n Site-specific (disambiguation)\n Language for specific purposes, has been primarily used to refer to two areas within applied linguistics", "title": "Specific" } ]
[ "The text does not provide information on what was extended break.", "The text does not provide information on what specific year you're asking about.", "In 2004, the music duo The Dissociatives, which was formed by Johns and Mac, released a self-titled album in April. Later in the year, the Boxing Day tsunami occurred, which led to the WaveAid fund-raising concert where Silverchair performed in January of the following year, 2005.", "One of the side projects mentioned in the context is The Dissociatives, formed by Johns and Mac in mid-2003 during Silverchair's hiatus. They released a self-titled album in April 2004.", "The side project, The Dissociatives, was formed in mid-2003. They released a self-titled album in April 2004.", "Indeed, there are several interesting aspects in the article. It mentions various side projects of the members of Silverchair during the band’s hiatus. For example, in addition to The Dissociatives, Joannou worked with the blues-rock group The Mess Hall and co-produced an album that was nominated for an ARIA Award. Another member, Gillies, formed Tambalane with Wes Carr and they released an album and toured Australia. Also, in response to the 2004 Boxing Day tsunami, the band Silverchair participated in the WaveAid fundraising concert, which consequently led to the band deciding to resume working together.", "Apart from their music and side projects, the members of Silverchair were known for their contributions to charitable causes. As noted in the text, the band performed at the WaveAid fundraising concert to help raise funds for aid organizations working in areas affected by the 2004 Boxing Day tsunami. This participation had a significant impact, as it inspired Silverchair to resume working together.", "The text does not provide information on other awards that they may have received.", "In 2005, several events took place. Johns collaborated with then-wife Natalie Imbruglia on her album Counting Down the Days released in April. Joannou and Matt Lovell were nominated for 'Producer of the Year' at the ARIA Music Awards for their work with The Mess Hall. In addition, Gillies and Wes Carr's band, Tambalane, released a self-titled album and toured Australia. Also, Silverchair decided to resume working together, following their performance at the WaveAid fund-raising concert in January 2005." ]
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Silverchair
Silverchair were an Australian rock band, which formed in 1992 as Innocent Criminals in Merewether, Newcastle with the line-up of Ben Gillies on drums, Daniel Johns on vocals and guitars, and Chris Joannou on bass guitar. The group got their big break in mid-1994 when they won a national demo competition conducted by SBS TV show Nomad and ABC radio station, Triple J. The band were signed by Murmur, and were successful on the Australian and international rock stages. During their career, Silverchair won more ARIA Music Awards than any other artist in history with 21 wins from 49 nominations.
Diorama (2001-2002)
In June 2001, Silverchair entered a studio in Sydney with producer David Bottrill (Tool, Peter Gabriel, King Crimson) to start work on their fourth album, Diorama. Johns formally assumed the role of a co-producer. The album name means "a world within a world". Most tracks came from Johns' new-found method of writing material on a piano, a technique he developed during the band's break after Neon Ballroom. In order to complete the vision for Diorama, several other musicians contributed to the album, including Van Dyke Parks, who provided orchestral arrangements to "Tuna in the Brine", "Luv Your Life", and "Across the Night". Paul Mac (from Itch-E and Scratch-E) and Jim Moginie (from Midnight Oil) both on piano also collaborated with the band. While recording Diorama, Johns referred to himself as an artist, rather than simply being in a "rock band". Upon its release, critics commented that the album was more artistic than previous works. Early in December, the first single, "The Greatest View", was released to Australian radio networks. Its physical release in January 2002 coincided with the band's appearance on the Big Day Out tour. Early in 2002, Johns was diagnosed with reactive arthritis which made it difficult for him to play the guitar and subsequent performances supporting the album's release were cancelled. In March, Diorama was issued and topped the ARIA Albums Chart - it became their fourth number-one album and spent 50 weeks in the top 50. Five singles were released from the album: "The Greatest View", "Without You", "Luv Your Life", "Across the Night", and "After All These Years" - "The Greatest View" charted highest, reaching No. 3. In October, Silverchair were successful at the ARIA Music Awards of 2002, winning five awards including 'Best Rock Album' and 'Best Group', and 'Producer of the Year' for Johns. The band played "The Greatest View" at the ceremony: the song was also nominated for 'Best Video'. Two singles (and a related video) were nominated for further ARIA Awards in 2003. Following the 2002 ARIA Awards, the band announced an indefinite hiatus. Johns said it was necessary "given the fact the band were together for over a decade and yet were only, on average, 23 years old". From March to June 2003, Silverchair undertook the Across the Night Tour to perform Diorama. Their hometown performance on 19 April was recorded as Live from Faraway Stables for a 2xCD and 2xDVD released in November. After the tour finished in June the group announced an indefinite hiatus. CANNOTANSWER
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[ "What is Diorama?", "Was this album successful?", "Were there any singles?", "Any other singles?", "Did the album win any awards?", "Are there any other interesting aspects about this article?", "Who produced it?", "What label was it on?", "Is there anything else of significance?" ]
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Silverchair was an Australian rock band, which formed in 1992 as Innocent Criminals in Newcastle, New South Wales, with Daniel Johns on vocals and guitars, Ben Gillies on drums, and Chris Joannou on bass guitar. The group got their big break in mid-1994 when they won a national demo competition conducted by SBS TV show Nomad and ABC radio station Triple J. The band was signed by Murmur and were successful in Australia and internationally. Silverchair has sold over 10 million albums worldwide. Silverchair have won more ARIA Music Awards than any other artist in history, earning 21 wins from 49 nominations. They also received six APRA Awards, with Johns winning three songwriting awards in 2008. All five of their studio albums debuted at number one on the ARIA Albums Chart: Frogstomp (1995), Freak Show (1997), Neon Ballroom (1999), Diorama (2002), and Young Modern (2007). Three singles reached the number-one slot on the related ARIA Singles Chart: "Tomorrow" (1994), "Freak" (1997), and "Straight Lines" (2007). Silverchair's alternative rock sound evolved throughout their career, with differing styles on specific albums growing more ambitious over the years, from grunge on their debut to more recent work displaying orchestral and art rock influences. The songwriting and singing of Johns had evolved steadily while the band had developed an increased element of complexity. In 2003, following the release of Diorama, the band announced a hiatus, during which time members recorded with side projects the Dissociatives, the Mess Hall, and Tambalane. Silverchair reunited at the 2005 Wave Aid concerts. In 2007, they released their fifth album, Young Modern, and played the Across the Great Divide tour with contemporaries Powderfinger. In May 2011, Silverchair announced an indefinite hiatus. History Formation and early releases (1994–1996) Silverchair's founders, Ben Gillies and Daniel Johns, attended the same primary school in the Newcastle suburb of Merewether. At "age 11 or 12", singer-guitarist Johns and drummer Gillies rapped over an electronic keyboard's demo button under their first band name, The Silly Men. As teenagers, they started playing music together more prominently—in one class, they built a stage out of desks and played rap songs for their schoolmates. When they moved on to Newcastle High School, fellow student Chris Joannou joined the pair on bass guitar. In 1994, they formed Innocent Criminals with Tobin Finnane as a second guitarist, but he soon left. They played numerous shows around the Hunter Region in their early teens; their repertoire included cover versions of Led Zeppelin, Deep Purple, and Black Sabbath. In 1994, Innocent Criminals, entered YouthRock—a national competition for school-based bands—and placed first ahead of older competition. The band recorded demos of "Acid Rain", "Cicada", "Pure Massacre", and "Tomorrow" early in the year at Platinum Sound Studios. In April, the band's mainstream breakthrough came when they won a national competition called Pick Me, using their demo of "Tomorrow". The competition was conducted by the SBS TV show Nomad and Australian Broadcasting Corporation (ABC) alternative radio station Triple J. As part of the prize, Triple J recorded the song and ABC filmed a video, which was aired on 16 June. For the video's broadcast, they had changed their name to Silverchair (styled as silverchair until 2002). In a 1994 interview with Melbourne magazine Buzz, the band claimed the name derived from a radio request for "Sliver" by Nirvana and "Berlin Chair" by You Am I being mixed up as Silver Chair. It was later revealed they were named for the C. S. Lewis–penned novel The Silver Chair from The Chronicles of Narnia series. Aside from Innocent Criminals, the band has used The George Costanza Trio and Short Elvis as aliases. Following a bidding war between rival labels, Silverchair signed a three-album recording contract with Sony Music subsidiary Murmur Records. Initially, the group were managed by their parents. Sony A&R manager John Watson, who was jointly responsible for signing the group, subsequently left the label to become their band manager. In September, their Triple J recording of "Tomorrow" was released as a four-track extended play. From late October, it spent six weeks at number-one on the ARIA Singles Chart. In 1995, a re-recorded version of "Tomorrow" (and a new video) was made for the United States market, becoming the most played song on US modern rock radio that year. Silverchair's debut album, Frogstomp, was recorded in nine days, with production by Kevin Shirley (Lime Spiders, Peter Wells) and released in March 1995. At the time of recording, the band members were 15 years old and still attending high school. Frogstomps lyrical concepts were fiction-based, drawing inspiration from television, hometown tragedies, and perceptions of the pain of friends. The album was well received: AllMusic and Rolling Stone rated it in four and four-and-a-half stars, respectively, praising the intensity of the album, especially "Tomorrow". Frogstomp was a number-one album in Australia and New Zealand. It reached the Billboard 200 Top 10, making Silverchair the first Australian band to do so since INXS. It was certified as a US double-platinum album by the RIAA, triple-platinum in Canada by the CRIA, and multi-platinum in Australia. The album sold more than 4 million copies worldwide. Paste magazine called this album the "last stand" of grunge. As Frogstomp and "Tomorrow" continued to gain popularity through 1995, the group toured the US, where they supported Red Hot Chili Peppers in June, the Ramones in September, and played on the roof of Radio City Music Hall at the MTV Music Awards. In between touring, they continued their secondary education in Newcastle. At the ARIA Music Awards of 1995, the band won five awards out of nine nominations. To collect their awards on the night, they sent Josh Shirley, the young son of the album's producer. At the ceremony, they performed Radio Birdman's "New Race" with Tim Rogers (of You Am I); in 2019, Dan Condon of Double J rated this as one of the "7 great performances from the history of the ARIA Awards." On 9 December 1995, Silverchair played two songs, "Tomorrow" and "Pure Massacre" on Saturday Night Live. In a January 1996 murder case, the defendant counsel for Brian Bassett, 16, and Nicholaus McDonald, 18, of McCleary, Washington, claimed that the pair listened to "Israel's Son", from Frogstomp, which contributed to the 10 August 1995 murders of Bassett's parents and a younger brother. McDonald's lawyer cited the lyrics "Hate is what I feel for you/I want you to know that I want you dead" which were "almost a script. They're relevant to everything that happened". The band's manager, Watson, issued a statement that they did not condone nor intend any such acts of violence. Prosecutors rejected the defence case and convinced the jury that the murder was committed to "steal money and belongings and run off to California." Critical and commercial success (1997–2001) Silverchair began recording their second studio album, Freak Show, in May 1996 while experiencing the success of Frogstomp in Australia and the US. Produced by Nick Launay (Birthday Party, Models, Midnight Oil) and released in February 1997, the album reached number one in Australia and yielded three top-10 singles: "Freak", "Abuse Me", and "Cemetery". Its fourth single, "The Door", reached No. 25. The songs focused on the anger and backlash that the expectations of Frogstomp brought upon the band. Freak Show was certified gold in the US, 2× platinum in Australia, and global sales eventually exceeded 1.5 million copies. By late 1997, the trio had completed their secondary education, and, from May 1998, they worked on their third album, Neon Ballroom, with Launay producing again. It was released in March 1999 and peaked at the number-one position in Australia. Australian rock music historian Ian McFarlane said, "As well as being the band's best album to date, it was universally acknowledged as one of the best albums of the year." The band originally intended to take a 12-month break, but in the end they decided to devote their time to making music. Neon Ballroom provided three Australian top-20 singles: "Anthem for the Year 2000", "Ana's Song (Open Fire)" and "Miss You Love"; a fourth single, "Paint Pastel Princess", did not reach the top 50. The albums charted well internationally: Freak Show reached No. 2 in Canada, and Neon Ballroom reached No. 5. Both reached the top 40 on the United Kingdom Albums Chart. "Abuse Me" reached No. 4 on Billboard'''s Hot Modern Rock Tracks and Hot Mainstream Rock Tracks charts. "Ana's Song (Open Fire)" peaked at No. 12 on the Hot Modern Rock Tracks. In 1999, Johns announced that he had developed the eating disorder anorexia nervosa due to anxiety. Johns noted that the lyrics to "Ana's Song (Open Fire)" dealt with his disorder, where he would "eat what he needed ... to stay awake." He revealed that his eating problems developed from the time of Freak Show and when Neon Ballroom was written he "hated music, really everything about it", but he felt that he "couldn't stop doing it; I felt like a slave to it." Johns sought therapy and medication but felt "It's easier for me to express it through music and lyrics". Silverchair added an auxiliary keyboardist, Sam Holloway (ex-Cordrazine), for the Neon Ballroom Tour. The US leg had the group playing with The Offspring and Red Hot Chili Peppers, while Silverchair's tour of UK and European had The Living End as the support act. Rolling Stones Neva Chonin attributed their chart success to the album's more "mature" sound. In Europe and South America it became the group's most successful album to date. The group appeared at festivals in Reading and Edgefest, amongst others. Following the tour, the band announced that they would be taking a 12-month break. Their only live performance in 2000 was at the Falls Festival on New Year's Eve. On 21 January 2001, the band played to 250,000 people at Rock in Rio, a show they described as the highlight of their career until that point. After the release of Neon Ballroom, Silverchair's three-album contract with Sony Music had ended. The group eventually signed with Atlantic Records for North and South America, and they formed their own label with Watson, Eleven: A Music Company (distributed by EMI), for Australia and Asia. In November 2000, after the group had left the label, Sony issued The Best Of: Volume 1 without the band's involvement. Johns disavowed the compilation, saying, "We thought about putting out ads in the street press to make people aware that we weren't endorsing it, but that would have blown the whole thing out of proportion ... If people want to buy it, they can buy it[,] but I wouldn't buy it if I was a silverchair fan." Diorama (2001–2002) In June 2001, Silverchair entered a studio in Sydney with producer David Bottrill (Tool, Peter Gabriel, King Crimson) to start work on their fourth album, Diorama. Johns formally assumed the role of a co-producer. The album name means "a world within a world". Most tracks came from Johns' new-found method of writing material on a piano, a technique he developed during the band's break after Neon Ballroom. In order to complete the vision for Diorama, several other musicians contributed to the album, including Van Dyke Parks, who provided orchestral arrangements to "Tuna in the Brine", "Luv Your Life", and "Across the Night". Paul Mac (from Itch-E and Scratch-E) and Jim Moginie (from Midnight Oil) both on piano also collaborated with the band. While recording Diorama, Johns referred to himself as an artist, rather than simply being in a "rock band". Upon its release, critics commented that the album was more artistic than previous works. Early in December, the first single, "The Greatest View", was released to Australian radio networks. Its physical release in January 2002 coincided with the band's appearance on the Big Day Out tour. Early in 2002, Johns was diagnosed with reactive arthritis, which made it difficult for him to play the guitar, and subsequent performances supporting the album's release were cancelled. In March 2002, Diorama was issued and topped the ARIA Albums Chart; it became their fourth number-one album and spent 50 weeks in the top 50. Four singles were released from the album: "The Greatest View", "Without You", "Luv Your Life" and "Across the Night"; "The Greatest View" charted highest, reaching No. 3. In October, Silverchair were successful at the ARIA Music Awards of 2002, winning five awards, including 'Best Rock Album' and 'Best Group', and 'Producer of the Year' for Johns. The band played "The Greatest View" at the ceremony; the song was also nominated for 'Best Video'. Two singles (and a related video) were nominated for further ARIA Awards in 2003. Following the 2002 ARIA Awards, the band announced their first indefinite hiatus. Johns said it was necessary "given the fact the band were together for over a decade and yet were only, on average, 23 years old". From March to June 2003, Silverchair undertook the Across the Night Tour to perform Diorama. Their hometown performance on 19 April was recorded as Live from Faraway Stables for a 2-CD and 2-DVD release in November. After the tour finished in June, the group announced another indefinite hiatus. Extended break and side projects (2003–2005) In 2000, while also working with Silverchair, Johns and Mac released an internet-only EP, I Can't Believe It's Not Rock. In mid-2003, during Silverchair's hiatus, the pair re-united and formed The Dissociatives, releasing a self-titled album in April 2004. The duo provided the theme music for the popular ABC-TV music quiz show Spicks and Specks by reworking a 1966 Bee Gees hit of the same name. Johns also collaborated with then-wife Natalie Imbruglia on her Counting Down the Days album, released in April 2005. Joannou worked with blues rock group The Mess Hall; he co-produced—with Matt Lovell—their six-track extended play Feeling Sideways, which was released in May 2003. The album was nominated for the ARIA Award for 'Best Independent Release' in 2003. Joannou and Lovell co-produced The Mess Hall's studio album Notes from a Ceiling, which was issued in June 2005. Joannou and Lovell received a nomination at the ARIA Music Awards of 2005 for 'Producer of the Year'. In 2003, Gillies formed Tambalane with Wes Carr, initially as a song-writing project, and they released a self-titled album in 2005 and toured Australia. The 2004 Boxing Day tsunami resulted in the WaveAid fundraising concert held in January 2005; Silverchair performed to help raise funds for aid organisations working in disaster-affected areas. As a result of WaveAid, the band decided to resume working together. Gillies explained the band's reunion as due to a special "chemistry" between band members, telling the Sydney Morning Herald, "It only took us 15 years, but recently we've realised, 'We've really got something special and we should just go for it.'" Return from hiatus (2006–2010) After performing at Wave Aid, Silverchair reunited, and by late 2005 began preparations for their next studio album, Young Modern. Johns had written about 50 songs during the hiatus for a possible solo album or other project but decided to use them for Silverchair. In 2006, after five weeks' practice, the group demoed tracks in the Hunter Region before recording at Los Angeles' Seedy Underbelly Studios with Launay as producer. Parks again arranged orchestral tracks for the band—they travelled to Prague to record with the Czech Philharmonic Orchestra. The group also used Mac, Luke Steele (The Sleepy Jackson, Empire of the Sun) and Julian Hamilton (The Presets, The Dissociatives). Hamilton also co-wrote songs with Johns. Silverchair self-funded the album's production to ease the pressures they faced when working with a record label. The band toured extensively before releasing the album, performing at Homebake and numerous other shows. Both Mac and Hamilton joined the tour as auxiliary members providing keyboards. In October, they performed a cover of Midnight Oil's 1981 single "Don't Wanna Be the One" at the ARIA Music Awards of 2006 as part of that band's induction into the ARIA Hall of Fame. During the performance, Johns spray-painted "PG 4 PM" (Peter Garrett for Prime Minister) on a stage wall, paying tribute to that band's frontman, who was at that time a Federal Member of Parliament and Minister for the Environment, Heritage and the Arts.Young Modern was released in March 2007, as was the first single, "Straight Lines". Three more singles—"Reflections of a Sound", "If You Keep Losing Sleep", and "Mind Reader"—were released later. Young Modern became the fifth Silverchair album to top the ARIA Albums chart; they became the first artists to have five number-one albums on the ARIA Albums chart. "Straight Lines" also became the band's third number-one single in Australia. In June 2007, Silverchair and fellow rock group Powderfinger announced the Across the Great Divide Tour. The tour promoted the efforts of Reconciliation Australia in mending the 17-year gap in life expectancy between Indigenous and non-Indigenous children. Support acts on the tour were John Butler, Missy Higgins, Kev Carmody, Troy Cassar-Daley, Clare Bowditch and Deborah Conway.Young Modern and "Straight Lines" each won three awards at the ARIA Music Awards of 2007, taking Silverchair's total to 20. The group also won three APRA Awards for their song "Straight Lines", including Songwriter of the Year, which Johns was awarded for a record third time. At the ARIA Music Awards of 2008, Silverchair and Powderfinger each won Best Music DVD for Across the Great Divide, for Silverchair this was their 21st win from 49 nominations. According to Silverchair's website, as of June 2009, the group had begun work on the follow-up to Young Modern; they had spent three weeks recording in Australia with future sessions earmarked for later that year. No release date was set, but the band uploaded in-studio videos of them working on several tracks to their official website. In December, Johns called in to Triple J's breakfast show, Robbie, Marieke and The Doctor, and discussed the band's new album which they were working on in Newcastle. He told them, "the main difference is there's a lot of experimentation with instruments and synths... I think there's only guitar on four songs out of fifty so far," but added the new material is "surprisingly rocky given there's no guitar." In April 2010, via the band's website, Joannou announced they would perform two new songs called "16" and "Machina Collecta" at May's Groovin' the Moo festival. He said work was progressing well and confirmed there was, as yet, no title for the proposed album and that they were simply referring to it as Album No. 6. The final concert of the festival was at Bunbury on 15 May. By year's end, work on the album had stopped because each member had pursued other interests. "Indefinite hibernation" (2011–present) On 25 May 2011, Silverchair announced another indefinite hiatus:Sydney Morning Heralds music writer, Bernard Zuel, said the band's use of "indefinite hibernation" was a way to soften the blow of the group's break-up for fans; he expected future reunions and performances for worthy causes. By June, Gillies was in the final stages of about 12 months of working on his solo album, and he said that it was not a continuation of his earlier work with Tambalane. In October, Johns was working on the soundtrack for My Mind's Own Melody—a short film. In May 2012, Johns recorded the new anthem for Qantas, titled "Atlas". It is the first piece of commercial music Johns has composed. A remastered version of Frogstomp, which included bonus content, was released on 27 March 2015. The members of Silverchair have occasionally stated that they have not ruled out a reunion. Gillies has said that there are plans to release a new Silverchair album, which was almost finished before the hiatus. On 17 November 2017, the Silverchair tribute compilation album Spawn (Again): A Tribute to Silverchair was released by UNFD, with Johns saying he came to "appreciate" the experience. The album is composed of cover songs by Australian bands signed onto UNFD as a tribute to Silverchair, to celebrate the 20th anniversary of their album Freak Show. Speaking to The Daily Telegraph in 2018, Daniel Johns expressed his love for the band—and appreciation of what the band had produced—but said he had no desire to reform the band. In May 2020, a picture of Johns playing electric guitar appeared online, leading to the Newcastle Herald speculating that a reunion was possible. However, in October 2021, when Johns was interviewed by Carrie Bickmore on the Australian news-current affairs and talk show The Project, he once again affirmed that the band will not reunite, while also stating that he still plans to work on new music but has no intentions to perform live again. In a separate interview with Carrie Bickmore, Johns elaborated further, stating that during his time with Silverchair, he had been the victim of sustained verbal abuse from the public because of his association with the band. This impacted his mental health greatly. Johns was open to musical collaboration with his former bandmates but not as a continuation of Silverchair as a band. Musical style Silverchair are generally classified as an alternative rock and grunge band, although their loyalty to specific genres has changed as they have matured. Much of the band's early grunge and post-grunge work was inspired by Nirvana, Pearl Jam, Soundgarden, Alice in Chains and Black Sabbath. According to Ian McFarlane, "frogstomp captured the tempo of the times with its mix of Soundgarden/Pearl Jam/Bush post-grunge noise and teenage lyrical angst." In their early years, the perceived stylistic similarities led to Silverchair being derisively dubbed as 'Silverhighchair', 'not Soundgarden but ' and 'Nirvana in Pyjamas' by the Australian media. The latter is a sarcastic conflated reference to the band's youth and the popular Australian children's TV series Bananas in Pyjamas. McFarlane stated, "Freak Show and tracks like 'Freak' were firmly in Nirvana territory with a hint of Led Zeppelin's Eastern mysticism". Gillies noted that the band were inspired by the Seattle Sound, as well as The Beatles and The Doors, and were highly impressionable in their youth. Johns admitted that "We were always influenced a lot by Black Sabbath and Led Zeppelin[;] it just so happened that we weren't very good at playing that style of music. So we were put in the whole grunge category because it was such a garage-y, heavy music term." Australian rock music journalist Ed Nimmervoll felt that Johns "had never intended to use his problems for inspiration, but in the end the music was the best way to unburden himself. Neon Ballroom took six months to record. The album's passion and musical sophistication proved to the world that silverchair were a force to be reckoned with". According to 100 Best Australian Albums, by three fellow journalists—John O'Donnell, Toby Creswell and Craig Mathieson—Neon Ballrooms lead-in track, "Emotion Sickness", described Johns' life in the 1990s and "addressed [his] desire to move beyond the imitative sounds of Silverchair's first two albums ... and create something new and original". "Ana's Song (Open Fire)" directly focussed on his eating disorder; "[it] became a hit all over the world and opened up for discussion the fact that males could also be affected by anorexia." AllMusic's Stephen Thomas Erlewine felt Diorama "was a shockingly creative and impressive step forward that showed the band shedding its grunge past and adding horns, strings, and mature lyrics to its arsenal." Fellow AllMusic reviewer Bradley Torreano noted that "they somehow kept going and kept improving ... Silverchair has grown up and put together a fine mix of orchestral pop and rock on Diorama." Bernard Zuel described how the Diorama concert tour marked a move from hard rock towards art rock: "they stepped out of the arenas and barns and 'got classy' ... finally having admitted to harbouring artistic ambition (a very un-Australian band thing to do), they've proved they have the ability". In writing Young Modern, Johns tried to make the music sound very simple despite a complex musical structure. The lyrics were written after the music was created, sometimes as late as the day of recording. As Johns dreads writing lyrics, he suggested that the band could produce an instrumental album at some stage in the future. Johns is the band's primary songwriter, and notes that while Joannou and Gillies do not have significant influence on what he writes, they are key to the band's overall sound. For that album, Hamilton co-wrote four songs with Johns including the APRA Award-winning "Straight Lines". Joannou believed that Young Modern was simpler than Diorama but "still as complex underneath with simple pop song elements". He said that much of the band's success resulted from trying to push themselves harder in recording and writing. Self-producing has allowed the band to do so without the pressures of a record label. Gillies notes that Silverchair will often "run the risk of losing fans" with their work, and this was evident in the changes in musical direction in Diorama and Young Modern. However, he described this as a good thing, describing the fact "that we haven't been pigeonholed, and people really don't know what to expect" as one of the attractive elements of the band. Despite the ups and downs of success at a young age, Gillies says that he and the band "appreciate what we've achieved and what we've got" in their careers. The band have received six APRA Awards, with Johns winning three songwriting awards at the 2008 ceremony. Reception Frogstomp was described as similar to Nirvana and Pearl Jam; Erlewine noted that it followed in "the alternative rock tradition" of those bands. Erlewine also stated that "their songwriting abilities aren't as strong" as those of their peers. Contrarily, Rolling Stone claimed that the band had risen above their peers, applauding Johns' "ragged vocals". Herald Sun journalist Nue Te Koha praised Frogstomp for "breaking the drought of Australian music making an impact overseas". However, he felt "It is highly debatable whether the three teens have gone to the world with a new sound or something identifiably Australian ... Silverchair's image and sound are blatantly ... Nirvana meets Pearl Jam". Nimmervoll disputed Te Koha's view, "It's not original, it's not Australian. Bah, humbug ... It's just as well Britain didn't say the same thing when The Beatles reinvented American R&B".Freak Show saw the band show more of their own musical style rather than copying others, and thus received more praise for its songwriting than its predecessor. Yahoo! Music's Sandy Masuo described the lyrics as "moving" and "emotional". Johns' vocal delivery was complimented: "[his] bittersweet, crackly voice tops the ample power chordage ... [he] hits shivery, emotional notes that convey both sweet idealism and disappointment". Zuel felt that with this album, the band "have outgrown the jokes, predictions and their own understated teenage ambitions to find they have become (gasp!) career musicians." In 100 Best Australian Albums (2010), their third album, Neon Ballroom, was placed at No. 25, according to its authors. Entertainment Weekly approved of the further advancement in Neon Ballroom, commenting on "plush strings on these adult arrangements". There were once again significant advancements in songwriting; Johns was described as "furious, motivated, and all grown up". However, Rolling Stone said the album seemed confused, commenting that Silverchair "can't decide what they want to do" with their music. Meanwhile, Diorama was seen as an extension of the band's originality, with its "[h]eavy orchestration, unpredictable melodic shifts and a whimsical pop sensibility". According to PopMatters' Nikki Tranter, the album stood out in an otherwise dull Australian music market. AllMusic's Clayton Bolger described Young Modern as an improvement by the band, praising "catchy melodic hooks, inspired lyrical themes, and stunning string arrangements". He claimed the album was the pinnacle of the band's development. PopMatters' Nick Pearson saw the opposite, claiming that "[o]nce you reach the level of intellectual maturity where you can tell the difference between cryptic but poetic lyrics and nonsensical crap, you have outgrown Silverchair". Pearson called the album an attempt to secure a safer territory and assure sales, after the success of past works, calling it more boring than its predecessors. Other reviewers noted influences from cult British band XTC. In July 2009, "Tomorrow" was voted number 33 by the Australian public in Triple J's Hottest 100 of all time. As of January 2018, the group have sold 9 million albums worldwide. At the annual ARIA Music Awards, Silverchair holds the record for the most nominated artist, with 49, and the most awards won, with 21. Their breakthrough year was in 1995, when they won five out of nine nominations, including 'Best New Talent', and 'Breakthrough Artist' for both album and single categories. Their most successful year was at the 2007 ceremony, where they won six of eight nominations. Members Ben Gillies – drums, percussion Chris Joannou – bass guitar Daniel Johns – lead vocals, lead guitar, piano, harpsichord, orchestral arrangements Auxiliary members Tobin Finane – rhythm guitar (1992, only in Innocent Criminals) Sam Holloway – keyboards, samples (1999–2001) Paul Mac – keyboards, piano, remixing, programming (2001–2003, 2006–2007) Julian Hamilton – keyboards, backing vocals (2001–2003, 2007) Discography Studio albumsFrogstomp (1995)Freak Show (1997)Neon Ballroom (1999)Diorama (2002)Young Modern'' (2007) See also List of awards and nominations received by Silverchair Music of Australia References General Note: Archived [on-line] copy has limited functionality. Specific External links Category:1992 establishments in Australia Category:2011 disestablishments in Australia Category:ARIA Award winners Category:Australian post-grunge groups Category:Australian grunge groups Category:Australian rock music groups Category:Musical groups disestablished in 2011 Category:Musical groups established in 1992 Category:Australian musical trios Category:New South Wales musical groups Category:Newcastle, New South Wales Category:World Music Awards winners Category:Australian alternative metal musical groups
[ { "text": "Specific may refer to:\n\n Specificity (disambiguation)\n Specific, a cure or therapy for a specific illness\n\nLaw \n Specific deterrence, focussed on an individual\n Specific finding, intermediate verdict used by a jury in determining the final verdict\n Specific jurisdiction over an out-of-state party, specific to cases that have a substantial connection to the party's in-state activity\n Order of specific performance, court order to perform a specific act\n\nEconomics, finance, and accounting\n Asset specificity, the extent to which the investments made to support a particular transaction have a higher value to that transaction than they would have if they were redeployed for any other purpose\n Specific identification (inventories), summing purchase costs of all inventory items\n Specific rate duty, duty paid at a specific amount per unit\n Specific risk, risk that affects a very small number of assets\n\nPsychology \n Domain specificity, theory that many aspects of cognition are supported by specialized, presumably evolutionarily specified, learning devices\n Specific developmental disorder, disorders in which development is delayed in one specific area or areas, and in which basically all other areas of development are not affected\n Specific learning disability\n Specific phobia, phobia of a specific thing or situation\n Specific social phobia, triggered only by specific social situations\n\nBiology \n pertaining to a species\n Specific name (botany), species name of a plant\n Specific name (zoology), species name of an animal\n Specific appetite, drive to eat foods with specific flavors or other characteristics\n Specific granule, secretory vesicle in granulocytes\n Specific immunity, to a particular pathogen\n Specific Pathogen Free, of a laboratory animal guaranteed free of particular (i.e., specific and named) pathogens\n\nOther fields \n A specific quantity generally means a physical quantity normalized \"per unit\" of something (often mass).\n SPECIFIC, The Sustainable Product Engineering Centre for Innovative Functional Industrial Coatings\n Specific creation, creationism as opposed to evolution\n Specific interval, shortest possible clockwise distance between pitch classes on the chromatic circle\n Specific integral, in calculus, eliminates the constant of integration\n Specific Physical Preparedness, being prepared for the movements in a specific physical activity (usually a sport)\n\nSee also \n Species (disambiguation)\n Specification (disambiguation)\n Specialty (disambiguation)\n Site-specific (disambiguation)\n Language for specific purposes, has been primarily used to refer to two areas within applied linguistics", "title": "Specific" } ]
[ "Diorama is the fourth album of the band Silverchair. The album name means \"a world within a world\".", "Yes, the album was successful. Upon its release, Diorama topped the ARIA Albums Chart, becoming Silverchair's fourth number-one album. It spent 50 weeks in the top 50. The band also won five awards at the ARIA Music Awards of 2002, including 'Best Rock Album' and 'Best Group', and 'Producer of the Year' for the band member Johns.", "Yes, there were. Five singles were released from the album: \"The Greatest View\", \"Without You\", \"Luv Your Life\", \"Across the Night\", and \"After All These Years\". \"The Greatest View\" was the highest charting single, reaching No. 3.", "No, based on the context provided, only five singles were released from the Diorama album: \"The Greatest View\", \"Without You\", \"Luv Your Life\", \"Across the Night\", and \"After All These Years\".", "Yes, the album did win awards. At the ARIA Music Awards of 2002, Silverchair won five awards including 'Best Rock Album' and 'Best Group', and 'Producer of the Year' for Johns. Furthermore, \"The Greatest View\" song from this album was also nominated for 'Best Video', and two singles were nominated for further ARIA Awards in 2003.", "Yes, the article mentions that Daniel Johns, the band's frontman, used a new method of writing material on a piano for most of the tracks on the album Diorama, a technique he developed during the band's break after their previous album, Neon Ballroom. Johns referred to himself as an artist during the recording of Diorama, indicating a shift from simply being in a \"rock band\". Additionally, while the album was successful, its supporting performances were cancelled as Johns was diagnosed with reactive arthritis in 2002, which made it difficult for him to play the guitar. After touring to perform Diorama, Silverchair announced an indefinite hiatus.", "The album Diorama was produced by Silverchair along with David Bottrill, who had previously worked with Tool, Peter Gabriel, and King Crimson. Daniel Johns from the band also formally assumed the role of a co-producer.", "The text does not provide information on what label the album Diorama by Silverchair was released on.", "Yes, several other musicians also contributed to the album Diorama. This included Van Dyke Parks, who provided orchestral arrangements to some tracks, and Paul Mac (from Itch-E and Scratch-E) and Jim Moginie (from Midnight Oil), both playing the piano. Towards the end of 2002 and in 2003, the band received various nominations for ARIA awards for their singles from Diorama, including a nomination for 'Best Video' for \"The Greatest View\". Also, after undertaking the Across the Night Tour to perform Diorama in 2003, the band recorded and released a performance as Live from Faraway Stables for a 2xCD and 2xDVD. After the tour, they announced an indefinite hiatus." ]
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C_24e50179b70d4e4c967b5d0e83b921af_1
Pat Riley
Patrick James Riley (born March 20, 1945) is an American professional basketball executive, and a former coach and player in the National Basketball Association (NBA). He has been the team president of the Miami Heat since 1995 and head coach in two separate tenures (1995 through 2003, and 2005 through 2008). Regarded as one of the greatest NBA coaches of all time, Riley has served as the head coach of five championship teams. He won four with the Los Angeles Lakers during their Showtime era in the 1980s, and one with the Heat in 2006.
Playing career
Riley played basketball for Linton High School in Schenectady, New York under head coach Walt Przybylo and his assistants Bill Rapavy and Ed Catino. Linton High School's 74-68 victory over New York City's Power Memorial on December 29, 1961, is remembered mostly for its two stars: Power Memorial's Lew Alcindor (who later changed his name to Kareem Abdul-Jabbar); and his future coach with the Los Angeles Lakers, Pat Riley. In 1991, Riley called it, "One of the greatest games in the history of Schenectady basketball." Riley was a versatile athlete in college, participating in both basketball and football. As a junior on the 1965-66 Kentucky Wildcats men's basketball team he was named First Team All-SEC, All-NCAA Tournament Team, NCAA Regional Player of the Year, SEC Player of the Year and AP Third Team All-American, leading the Wildcats to the 1966 NCAA title game. Coached by Adolph Rupp, UK lost to Texas Western (today's UTEP), a game that was reenacted in the movie Glory Road. In his senior year Riley made First Team All-SEC, one of the only players in storied Kentucky Basketball history to make two or more First Team All-SEC teams. He was selected by the San Diego Rockets in the 1st round of the 1967 NBA draft, and was also drafted as a wide receiver by the Dallas Cowboys in the 11th round of the 1967 NFL Draft. He joined the Rockets and was later selected by the Portland Trail Blazers in the 1970 NBA expansion draft, but was immediately traded to the Los Angeles Lakers, which he helped toward the 1972 NBA Championship both by coming off the bench in games and by guarding friend and Laker guard Jerry West in practice. He retired after the 1975-76 NBA season as a member of the Western Conference champion Phoenix Suns. Riley finished his NBA playing career with a 7.4 points per game scoring average and a field-goal percentage of 41.4%. CANNOTANSWER
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Patrick James Riley (born March 20, 1945) is an American professional basketball executive, former coach, and former player in the National Basketball Association (NBA). He has been the team president of the Miami Heat since 1995, and he also served as the team's head coach from 1995 to 2003 and again from 2005 to 2008. Regarded as one of the greatest NBA coaches of all time, Riley has won five NBA championships as a head coach, four with the Los Angeles Lakers during their Showtime era in the 1980s and one with the Heat in 2006. Riley is a nine-time NBA champion across his tenures as a player (1972), assistant coach (1980), head coach (1982, 1985, 1987, 1988, 2006), and executive (2012, 2013). Riley was named NBA Coach of the Year three times (1989–90, 1992–93 and 1996–97, as head coach of the Lakers, New York Knicks and Heat, respectively). He was head coach of an NBA All-Star Game team nine times: eight times with the Western Conference team (1982, 1983, 1985–1990, all as head coach of the Lakers) and once with the Eastern team (1993, as head coach of the Knicks). He is the first North American sports figure to win a championship as a player, as an assistant coach, as a head coach, and as an executive, and in various roles has reached the NBA finals in six different decades. In 1996, he was named one of the 10 Greatest Coaches in NBA history. Riley most recently won the 2012 and 2013 NBA championships with the Heat as their team president. He received the Chuck Daly Lifetime Achievement Award from the NBA Coaches Association on June 20, 2012. Early life Riley was born in Rome, New York and raised in Schenectady, New York. He is the son of Mary Rosalia (Balloga) and Leon Riley, who played 22 seasons of minor league baseball as an outfielder and first baseman, and appeared in four games for the 1944 Philadelphia Phillies. Riley played basketball for Linton High School in Schenectady under head coach Walt Przybylo and assistants Bill Rapavy and Ed Catino. Linton High School's 74–68 victory over New York City's Power Memorial on December 29, 1961, is remembered mostly for its two stars: Power Memorial's Lew Alcindor (who later changed his name to Kareem Abdul-Jabbar) and Riley, who would go on to coach Abdul-Jabbar with the Los Angeles Lakers. In 1991, Riley called it "one of the greatest games in the history of Schenectady basketball." College career Riley played college basketball for four seasons for the Kentucky Wildcats—one on the freshman team and three on the varsity. As a junior on the 1965–66 Kentucky Wildcats men's basketball team, he was named First Team All-SEC, All-NCAA Tournament Team, NCAA Regional Player of the Year, SEC Player of the Year and AP Third Team All-American, leading the Wildcats to the 1966 NCAA title game. Coached by Adolph Rupp, UK lost to Texas Western (today's UTEP), a game that was reenacted in the movie Glory Road. In his senior year, Riley made First Team All-SEC, becoming one of the few players in storied Kentucky basketball history to be named First Team All-SEC twice. Professional career San Diego Rockets (1967–1970) Riley was selected by the San Diego Rockets as the seventh overall pick of the 1967 NBA draft. Despite the fact that he had not played college football, Riley was also drafted as a wide receiver by the Dallas Cowboys in the 11th round of the 1967 NFL Draft. After playing three seasons with the Rockets, he was selected by the Portland Trail Blazers in the 1970 NBA expansion draft. Los Angeles Lakers (1970–1975) The Blazers traded Riley to the Los Angeles Lakers, where he played for five seasons. Riley played a significant role as a reserve on the Lakers' 1972 NBA Championship team. Phoenix Suns (1975–1976) During the 1975–76 NBA season, Riley was traded to the Phoenix Suns. He retired in 1976, having averaged 7.4 points per game over his nine seasons in the league. Coaching and executive career (1979–present) Los Angeles Lakers (1979–1990) Riley returned to the NBA in 1977 as a broadcaster for the Lakers. In November 1979, after the team's head coach, Jack McKinney, was injured in a near-fatal bicycle accident, assistant coach Paul Westhead took over the team's head coaching duties and hired Riley as an assistant coach. With rookie guard Magic Johnson and longtime star Kareem Abdul-Jabbar, the Lakers defeated the Philadelphia 76ers in six games in the 1980 NBA Finals, giving Westhead and Riley championship rings in their first year coaching the team. However, the team lost in the playoffs the next year to the Moses Malone-led Houston Rockets. Six games into the 1981–82 season, Magic Johnson said he wished to be traded because he was unhappy playing for Westhead. Shortly afterward, Lakers' owner Jerry Buss fired Westhead. At an ensuing press conference, with Jerry West at his side, Buss named West head coach. West, however, balked, and Buss awkwardly tried to name West as "offensive captain" and then named West and Riley as co-coaches. West made it clear during the press conference that he would only assist Riley, and that Riley was the head coach. Thereafter, Riley was the interim head coach, until his status became permanent. Riley ushered in the Lakers' "Showtime" era, along with superstar players Johnson and Abdul-Jabbar with their running game. Riley became a celebrity in his own right, a fashion icon for his Armani suits and slicked-back hair which complemented the team's Hollywood image. Besides using Lakers' up-tempo style established by McKinney and Westhead, Riley was also innovative on defense; he was one of the first coaches to employ a 1-3-1 half-court trap to pick up the pace of the game. Though the Showtime Lakers were known for their offense, they won championships with their defense. In Michael Cooper, they had one of the top defensive guards in the game. The league-wide perception was that the Lakers played with finesse and were not physical enough to win in the playoffs. Riley's mantra was "no rebounds, no rings", reinforcing the need to fight for rebounds in order to win championships. Riley led the Lakers to four consecutive NBA Finals appearances. His first title came in his first season, against the Philadelphia 76ers. Both teams returned to the Finals the next year, and this time Riley's Lakers were swept by the 76ers. The Lakers lost in the Finals again in 1984, to the Boston Celtics in seven games. The Lakers earned Riley his second NBA title in 1985 in a rematch of the previous year, as the Lakers beat the Celtics in six games. The Lakers' four-year Western Conference streak was broken the following year by the Houston Rockets. In 1987, Riley coached a Lakers team that is considered one of the best teams of all time. With future Hall of Famers Magic Johnson, James Worthy and Kareem Abdul-Jabbar, plus Byron Scott, A. C. Green, Mychal Thompson, Kurt Rambis, and Cooper, the Lakers finished 65–17 in the regular season, third-best in team history. They met with similar success in the playoffs, dispatching the Celtics in six games to win Riley his third NBA title. One of Riley's most famous moments came when he guaranteed the crowd a repeat championship during the Lakers' championship parade in downtown Los Angeles (he first made the guarantee during the post-victory locker room celebration). While the 1988 Lakers did not produce as many wins in the regular season as the 1987 Lakers, they still won the NBA title, becoming the first team in 19 years to repeat as champions. The Lakers beat the Detroit Pistons in seven games in the 1988 NBA Finals, making good on Riley's promise. Riley's titles with the Lakers make him one of six men to play for an NBA Championship team and later coach the same NBA team to a championship; the others are George Senesky, Bill Russell, Tom Heinsohn, K. C. Jones and Billy Cunningham. Although Riley would offer no further guarantees, his Lakers embarked upon a quest to obtain a third consecutive championship in 1989. Having successfully claimed a repeat championship the year before, the term used for this new goal was a three-peat championship, and Riley, through his corporate entity, Riles & Co., trademarked the phrase three-peat. However, in a rematch of the previous year's finals series, the Lakers were swept by the Pistons in the 1989 NBA Finals. Riley was named NBA Coach of the Year for the first time in 1989–90, but stepped down as Lakers head coach after they lost to the Phoenix Suns in the playoffs. At the time of his departure, Riley was the foremost coach in the NBA with a level of fame not seen since Red Auerbach. New York Knicks (1991–1995) After stepping down, Riley accepted a job as a television commentator for NBC for one year before being named head coach of the New York Knicks, starting with the 1991–92 season. Commentators admired Riley's ability to work with the physical, deliberate Knicks, adapting his "Showtime" style with the fast-paced Laker teams in the 1980s. The Chicago Bulls had easily swept the Knicks in 1991 en route to their first championship. However, in 1992, with Riley, the Knicks pushed the defending champion Bulls to seven games in the Eastern Conference semifinals. The physical defense of the Knicks against the Chicago Bulls' superstars Michael Jordan and Scottie Pippen during the 1992 playoffs led to a feud between Riley and Bulls head coach Phil Jackson regarding the officiating and the Knicks' rough style of play. In 1993, Riley led the Knicks to their best regular season record in team history (tied with the 1969–1970 team) and received his second Coach of the Year award. The Knicks again met the Bulls in the Eastern Conference finals but lost in six games after winning the first two games at home. Jackson's Bulls that season went on to win the finals and accomplish a "three-peat," despite Riley's trademark in 1989. Riley returned to the NBA Finals, in 1994, en route defeating the three-time defending champion Bulls (without Michael Jordan) in seven games during the Eastern Conference semifinals. However, New York lost in seven games to the Houston Rockets after being up 3–2 in the series. During the 1994 Finals, Riley became the first coach to participate in an NBA Finals Game 7 with two teams, having been with the Lakers in 1984 and 1988. However, he had the unfortunate distinction of becoming the first (and to date, only) coach to lose an NBA Finals Game 7 with two teams, having lost to the Celtics, in 1984. It also denied him the distinction of becoming the first coach to win a Game 7 in the Finals with two teams, having defeated the Pistons in seven games, in 1988. Miami Heat (1995–present) In 1995, Riley resigned from the Knicks via fax to become president and head coach of the Miami Heat, with complete control over basketball operations. The move caused some controversy, as the Heat were accused by the Knicks of tampering by pursuing Riley while he still had a year remaining on his contract with the Knicks. The matter was settled after the Heat sent their 1996 first-round pick (which the Knicks used to draft Walter McCarty) and $1 million in cash to the Knicks on September 1, 1995. In the 1995–96 NBA season, Riley led the Heat to a 42–40 record, which was a 10-game improvement over the team's previous season. Miami was swept in the first round of the playoffs by the Phil Jackson-coached Chicago Bulls, who went on to win the NBA championship. This Heat season was notable for personnel changes, as the team welcomed franchise building blocks Alonzo Mourning and Tim Hardaway. Following the season, the Heat also obtained Nets forward P.J. Brown and Suns swingman Dan Majerle. In 1997, Riley's Heat defeated his old team, the Knicks, in a physical seven-game series. Advancing to the Eastern Conference finals for the first time in franchise history, the Heat were again defeated by the eventual champion Bulls. Riley was selected as Coach of the Year for the third time after leading Miami to a 61–21 regular season record and first place in the Atlantic Division. The Heat lost to the archrival Knicks in the playoffs in 1998, 1999, and 2000. Riley then traded Brown and Jamal Mashburn in exchange for Eddie Jones in one trade and acquired Brian Grant in another, although the team suffered a major setback after Alonzo Mourning was lost for the season due to a kidney ailment. After finishing 50–32 in the 2000–01 season, the Heat were swept by the Charlotte Hornets in the first round of the NBA playoffs. The Heat then lost two of their best players when guard Tim Hardaway was traded to the Dallas Mavericks and Anthony Mason signed with the Milwaukee Bucks. In part because of these departures, the Heat crumbled to a 36–46 in 2002–the first time that a Riley-coached team had not had a winning season or made the playoffs. Riley was so disgusted with the Heat's performance that he declared he was about to "fire himself". After the Heat finished the 2002–03 season 25–57, Riley stepped down as head coach and was succeeded by longtime assistant Stan Van Gundy. In the 2003 NBA draft, the Heat held the fifth overall pick, which they used to select Dwyane Wade. In July 2004, Riley traded Caron Butler, Brian Grant, Lamar Odom, and a first-round draft pick to the Lakers for star center Shaquille O'Neal. Wade and O'Neal led the Heat to the Eastern Conference Finals during the 2005 playoffs, where they lost to the defending champions Detroit Pistons after leading the series 3–2. During the 2005 off-season, it was widely speculated that Riley was attempting to push Van Gundy out and make himself head coach once again now that the team was a championship contender. Van Gundy resigned from his position just 21 games into the 2005–06 season, citing a need to spend more time with his family, and Riley named himself as Van Gundy's successor. Riley's Heat team defeated the Detroit Pistons in the 2006 Eastern Conference Finals on June 2, 2006, the first time Miami reached the finals. Riley's Heat squared off against the Dallas Mavericks in the 2006 NBA Finals. Despite losing the first two games, the Heat rallied to win the next four and their first NBA championship. After Game 6, Riley commented that he had packed one suit, one shirt, and one tie for the trip to Dallas. It was Riley's fifth championship as a head coach and his first with a team other than the Lakers. Citing hip and knee problems, Riley took a leave of absence from coaching from January 3, 2007, through February 19, 2007. Assistant coach Ron Rothstein assumed interim duties. The Heat finished the season 44–38 and were swept in the first round of the playoffs by the Chicago Bulls, the first defending champions swept in the first round since the Philadelphia Warriors in 1957. The following season, the Heat finished 15–67. The team had lost several of its players to extended injuries, and a disgruntled Shaquille O'Neal was traded mid-season. Two years after winning the championship, they finished with one of the worst seasons in NBA history. It also tied the Heat's inaugural season of 1988–89 as the worst in franchise history, and was easily the worst full-season record compiled by a Riley-coached team. On April 28, 2008, Riley announced that he would step down as head coach while remaining team president. He named assistant Erik Spoelstra as head coach. Although the Heat have nominally had a general manager for most of Riley's tenure as team president (Randy Pfund until 2008, and Andy Elisburg since 2013), Riley has had the final say in basketball matters since his arrival in Miami. In 2010, Riley acquired LeBron James and Chris Bosh to form the Heat's "Big Three" with Dwyane Wade. The Heat reached the NBA Finals each of the next four seasons (2011 through 2014). In 2012, the Heat beat the Oklahoma City Thunder to give Riley his first championship purely as an executive. The Heat repeated as champions in 2013, defeating the San Antonio Spurs. In the 2019–20 season, the Heat became the fourth team in NBA history to finish lower than fourth place in their conference in the regular season and make it to the NBA Finals. The 2019–20 Heat team has been considered by some to be Riley's "magnum opus", since the team's Finals run was not preceded by a dramatic rebuild or by the selection of a high draft pick. Before the season, Riley traded for Jimmy Butler, drafted Tyler Herro, and signed the undrafted Kendrick Nunn. Before the 2019–20 trade deadline, the Heat obtained Andre Iguodala and Jae Crowder. Facing Riley's former team, the Los Angeles Lakers (led by former Heat superstar LeBron James), the Heat were defeated in six games. Outside basketball Outside basketball, Riley has developed into a pop culture figure. This is born out of Riley's signature look, a slicked-back hairstyle, which is often described as gangster- or mafioso-like, and his immaculate tan. Riley's nickname is "The Godfather" because of his appearance. In 1988, Riley published a book entitled Showtime: Inside the Lakers' Breakthrough Season, a New York Times best-seller which recapped the Lakers' successful run to the 1987 NBA Championship. One of the phrases Riley coined in the book was the "Disease of More", stating that "success is often the first step toward disaster" and that defending champions often fail the following season because every player who returns wants more playing time, more shots per game, and more money. The phrase stemmed from the Lakers' disappointing 1980–81 campaign coming off a championship the previous season. In 1993, while coaching the New York Knicks, Riley published a second New York Times bestseller entitled The Winner Within: A Life Plan for Team Players. Aimed at business leadership as well as basketball enthusiasts, it distilled a lesson in teamwork and leadership from each of Riley's seasons as a coach to that date. Byron Laursen, saluted by Riley as "...a true Showtime Warrior", co-authored both of Riley's books. Riley is known for his friendship with Giorgio Armani, preferring to wear Armani suits during basketball games and modeling once at an Armani show. Riley has been married to the former Christine Rodstrom since June 26, 1970. In 1985, the Rileys adopted a son, James Patrick. In 1989, they adopted a daughter, Elisabeth. Riley is a practicing Roman Catholic. On February 27, 2007, the Miami Heat were honored for their 2005–2006 NBA Championship at the White House. During the ceremony, Riley presented George W. Bush with a jersey before announcing, "I voted for the man. If you don't vote, you don't count." After the ceremony, Riley was questioned by reporters about the political nature of his comments. He responded by saying, "I'm pro-American, pro-democracy, I'm pro-government. I follow my boss. He's my boss." Career statistics NBA Regular season |- | style="text-align:left;"| | style="text-align:left;"|San Diego | 80 || || 15.8 || .379 || || .634 || 2.2 || 1.7 || || || 7.9 |- | style="text-align:left;"| | style="text-align:left;"|San Diego | 56 || || 18.3 || .406 || || .672 || 2.0 || 2.4 || || || 8.8 |- | style="text-align:left;"| | style="text-align:left;"|San Diego | 36 || || 13.2 || .417 || || .727 || 1.6 || 2.4 || || || 5.3 |- | style="text-align:left;"| | style="text-align:left;"|L.A. Lakers | 54 || || 9.4 || .413 || || .644 || 1.0 || 1.3 || || || 4.9 |- | style="text-align:left; background:#afe6ba;"| | style="text-align:left;"|L.A. Lakers | 67 || || 13.8 || .447 || || .743 || 1.9 || 1.1 || || || 6.7 |- | style="text-align:left;"| | style="text-align:left;"|L.A. Lakers | 55 || || 14.6 || .428 || || .793 || 1.2 || 1.5 || || || 7.3 |- | style="text-align:left;"| | style="text-align:left;"|L.A. Lakers | 72 || || 18.9 || .430 || || .764 || 1.8 || 2.1 || .8 || .0 || 9.5 |- | style="text-align:left;"| | style="text-align:left;"|L.A. Lakers | 46 || || 22.1 || .419 || || .742 || 1.8 || 2.6 || .8 || .1 || 11.0 |- | style="text-align:left;"| | style="text-align:left;"|L.A. Lakers | 2 || || 11.5 || .385 || || .333 || 1.5 || .0 || .5 || .5 || 5.5 |- | style="text-align:left;"| | style="text-align:left;"|Phoenix | 60 || || 13.2 || .389 || || .730 || .8 || 1.0 || .4 || .1 || 4.6 |- class="sortbottom" | style="text-align:center;" colspan="2"|Career | 528 || || 15.5 || .414 || || .705 || 1.6 || 1.7 || .6 || .1 || 7.4 Playoffs |- | style="text-align:left;"|1969 | style="text-align:left;"|San Diego | 5 || || 15.2 || .432 || || .833 || 2.2 || .4 || || || 7.4 |- | style="text-align:left;"|1971 | style="text-align:left;"|L.A. Lakers | 7 || || 19.3 || .420 || || .727 || 2.1 || 2.0 || || || 9.4 |- | style="text-align:left; background:#afe6ba;"|1972 | style="text-align:left;"|L.A. Lakers | 15 || || 16.3 || .333 || || .750 || 1.9 || .9 || || || 5.2 |- | style="text-align:left;"|1973 | style="text-align:left;"|L.A. Lakers | 7 || || 7.6 || .333 || || || .7 || 1.0 || || || 2.6 |- | style="text-align:left;"|1974 | style="text-align:left;"|L.A. Lakers | 5 || || 21.2 || .360 || || .750 || 1.2 || 2.0 || .8 || .0 || 7.8 |- | style="text-align:left;"|1976 | style="text-align:left;"|Phoenix | 5 || || 5.4 || .400 || || 1.000 || .0 || 1.0 || .0 || .0 || 2.6 |- class="sortbottom" | style="text-align:center;" colspan="2"|Career | 44 || || 14.6 || .374 || || .763 || 1.5 || 1.2 || .4 || .0 || 5.7 College |- | style="text-align:left;"|1964–65 | style="text-align:left;"|Kentucky | 25 || || 33.0 || .432 || || .618 || 8.5 || 1.1 || || || 15.0 |- | style="text-align:left;"|1965–66 | style="text-align:left;"|Kentucky | 29 || || 37.2 || .516 || || .699 || 8.9 || 2.2 || || || 22.0 |- | style="text-align:left;"|1966–67 | style="text-align:left;"|Kentucky | 26 || || 36.7 || .442 || || .782 || 7.7 || 2.6 || || || 17.4 |- class="sortbottom" | style="text-align:center;" colspan="2"|Career | 80 || || 35.7 || .469 || || .714 || 8.4 || 2.0 || || || 18.3 Head coaching record |- style="background:#FDE910;" | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 71||50||21|||| style="text-align:center;"|1st in Pacific||14||12||2|| | style="text-align:center;"|Won NBA Championship |- | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||58||24|||| style="text-align:center;"|1st in Pacific||15||8||7|| | style="text-align:center;"|Lost in NBA Finals |- | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||54||28|||| style="text-align:center;"|1st in Pacific||21||14||7|| | style="text-align:center;"|Lost in NBA Finals |- style="background:#FDE910;" | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||62||20|||| style="text-align:center;"|1st in Pacific||19||15||4|| | style="text-align:center;"|Won NBA Championship |- | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||62||20|||| style="text-align:center;"|1st in Pacific||14||8||6|| | style="text-align:center;"|Lost in Conference Finals |- style="background:#FDE910;" | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||65||17|||| style="text-align:center;"|1st in Pacific||18||15||3|| | style="text-align:center;"|Won NBA Championship |- style="background:#FDE910;" | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||62||20|||| style="text-align:center;"|1st in Pacific||25||15||9|| | style="text-align:center;"|Won NBA Championship |- | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||57||25|||| style="text-align:center;"|1st in Pacific||15||11||4|| | style="text-align:center;"|Lost in NBA Finals |- | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||63||19|||| style="text-align:center;"|1st in Pacific||9||4||5|| | style="text-align:center;"|Lost in Conference Semifinals |- | style="text-align:left;"|New York | style="text-align:left;"| | 82||51||31|||| style="text-align:center;"|1st in Atlantic||12||6||6|| | style="text-align:center;"|Lost in Conference Semifinals |- | style="text-align:left;"|New York | style="text-align:left;"| | 82||60||22|||| style="text-align:center;"|1st in Atlantic||15||9||6|| | style="text-align:center;"|Lost in Conference Finals |- | style="text-align:left;"|New York | style="text-align:left;"| | 82||57||25|||| style="text-align:center;"|1st in Atlantic||25||14||11|| | style="text-align:center;"|Lost in NBA Finals |- | style="text-align:left;"|New York | style="text-align:left;"| | 82||55||27|||| style="text-align:center;"|2nd in Atlantic||11||6||5|| | style="text-align:center;"|Lost in Conference Semifinals |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||42||40|||| style="text-align:center;"|3rd in Atlantic||3||0||3|| | style="text-align:center;"|Lost in First Round |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||61||21|||| style="text-align:center;"|1st in Atlantic||17||8||9|| | style="text-align:center;"|Lost in Conference Finals |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||55||27|||| style="text-align:center;"|1st in Atlantic||5||2||3|| | style="text-align:center;"|Lost in First Round |- | style="text-align:left;"|Miami | style="text-align:left;"| | 50||33||17|||| style="text-align:center;"|1st in Atlantic||5||2||3|| | style="text-align:center;"|Lost in First Round |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||52||30|||| style="text-align:center;"|1st in Atlantic||10||6||4|| | style="text-align:center;"|Lost in Conference Semifinals |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||50||32|||| style="text-align:center;"|2nd in Atlantic||3||0||3|| | style="text-align:center;"|Lost in First Round |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||36||46|||| style="text-align:center;"|6th in Atlantic||—||—||—||— | style="text-align:center;"|Missed playoffs |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||25||57|||| style="text-align:center;"|7th in Atlantic||—||—||—||— | style="text-align:center;"|Missed playoffs |- style="background:#FDE910;" | style="text-align:left;"|Miami | style="text-align:left;"| | 61||41||20|||| style="text-align:center;"|1st in Southeast||23||16||7|| | style="text-align:center;"|Won NBA Championship |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||44||38|||| style="text-align:center;"|1st in Southeast||4||0||4|| | style="text-align:center;"|Lost in First Round |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||15||67|||| style="text-align:center;"|5th in Southeast||—||—||—||— | style="text-align:center;"|Missed playoffs |- class="sortbottom" | style="text-align:center;" colspan="2"|Career | 1,904||1,210||694|||| ||282||171||111|||| Awards and honors Nine-time NBA Champion (one as a player, one as an assistant coach, five as a head coach, and two as an executive) Three-time NBA Coach of the Year Nine-time NBA All-Star Game head coach 2011 NBA Executive of the Year Naismith Memorial Basketball Hall of Fame (class of 2008) 1966 First Team All-American 2012 Chuck Daly Lifetime Achievement Award Number 42 retired by the Kentucky Wildcats See also List of NBA championship head coaches References Bibliography Heisler, Mark (1994). The Lives of Riley, Macmillan General Reference, External links Category:1945 births Category:Living people Category:All-American college men's basketball players Category:American men's basketball coaches Category:American men's basketball players Category:Basketball coaches from New York (state) Category:Basketball players from New York (state) Category:Catholics from New York (state) Category:Kentucky Wildcats men's basketball players Category:Los Angeles Lakers assistant coaches Category:Los Angeles Lakers announcers Category:Los Angeles Lakers head coaches Category:Los Angeles Lakers players Category:Miami Heat executives Category:Miami Heat head coaches Category:Naismith Memorial Basketball Hall of Fame inductees Category:National Basketball Association broadcasters Category:National Basketball Association championship-winning head coaches Category:National Basketball Association general managers Category:National Basketball Association team presidents Category:New York Knicks head coaches Category:Phoenix Suns players Category:Portland Trail Blazers expansion draft picks Category:San Diego Rockets draft picks Category:San Diego Rockets players Category:Shooting guards Category:Small forwards Category:Sportspeople from Rome, New York Category:Sportspeople from Schenectady, New York
[ { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
[ "Riley's career was as a professional basketball player.", "Riley played professional basketball for the San Diego Rockets, the Portland Trail Blazers, the Los Angeles Lakers, and the Phoenix Suns.", "Yes, there are several interesting aspects in the article. One is that Riley had a significant game in high school against Power Memorial, whose star player was Lew Alcindor, later known as Kareem Abdul-Jabbar, who he would go on to coach in the NBA. Riley was also a versatile athlete, playing both football and basketball in college, and was even drafted by the Dallas Cowboys, an NFL team. However, he chose to play basketball professionally. Additionally, a game he played in college was reenacted in the movie \"Glory Road.\" Moreover, Riley had a key role on the Lakers' 1972 NBA Championship team, both as a player and by guarding star player Jerry West in practice.", "Riley's NBA playing career lasted from 1967 until the end of the 1975-76 NBA season.", "The context does not provide a reason for why Pat Riley was traded from the Portland Trail Blazers to the Los Angeles Lakers.", "Yes, Pat Riley won the 1972 NBA Championship with the Los Angeles Lakers, which was his second team after being traded from the Portland Trail Blazers.", "The text does not mention Pat Riley winning any awards during his professional basketball career. However, while he was a college player, he received numerous accolades such as being named First Team All-SEC, All-NCAA Tournament Team, NCAA Regional Player of the Year, SEC Player of the Year and AP Third Team All-American." ]
[ "Yes", "No", "No", "No", "Yes", "Yes", "No" ]
C_24e50179b70d4e4c967b5d0e83b921af_0
Pat Riley
Patrick James Riley (born March 20, 1945) is an American professional basketball executive, and a former coach and player in the National Basketball Association (NBA). He has been the team president of the Miami Heat since 1995 and head coach in two separate tenures (1995 through 2003, and 2005 through 2008). Regarded as one of the greatest NBA coaches of all time, Riley has served as the head coach of five championship teams. He won four with the Los Angeles Lakers during their Showtime era in the 1980s, and one with the Heat in 2006.
New York Knicks
After stepping down, Riley accepted a job as a television commentator for NBC. However, this job only lasted one year, and he became head coach of the New York Knicks starting with the 1991-92 season. Commentators admired Riley's ability to work with the physical, deliberate Knicks, adapting from his style with the fast-paced Laker teams in the 1980s. The Chicago Bulls had easily swept the Knicks in 1991 en route to their first championship. However, in 1992 with Riley, the Knicks pushed the defending championship Bulls to seven games in the Eastern Conference semifinals. The physical defense of the Knicks against the Chicago Bulls' finesse superstars Michael Jordan and Scottie Pippen during the 1992 playoffs led to a feud between Riley and Bulls head coach Phil Jackson regarding the officiating and the Knicks' rough style of play. In 1993, Riley led the Knicks to their best regular season record in team history (tied with the 1969-1970 team) and received his second Coach of the Year award. The Knicks met the Bulls in the playoffs at the Eastern Conference finals where they lost in six games. Ironically, Jackson's Bulls went on to win the finals and accomplish the first "three-peat" in 1993, despite Riley's trademark in 1989. Riley returned to the NBA Finals in 1994, en route defeating the three-time defending champions Bulls (without Michael Jordan) in seven games during the Eastern Conference semi-finals. However his Knicks lost in seven games to the Houston Rockets after being up 3-2 in the series. During the 1994 Finals, Riley became the first coach to participate NBA Finals Game 7 with two different teams, having been with the Lakers in 1984 and 1988. However, he had the unfortunate distinction of having become the first (and to date, the only) coach to lose an NBA Finals Game 7 with two different teams, having lost to the Celtics in 1984. It also denied him the distinction of becoming the first coach to win a Game 7 NBA Finals on two different teams, having defeated the Pistons in 1988. CANNOTANSWER
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[ "What did Pat do for the Knicks?", "What year did he start coaching them?", "How long did he last with the team?", "Why so short of a time span?", "Did they win under his coaching?", "What else did you find interesting?", "How many points did they win by?" ]
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Patrick James Riley (born March 20, 1945) is an American professional basketball executive, former coach, and former player in the National Basketball Association (NBA). He has been the team president of the Miami Heat since 1995, and he also served as the team's head coach from 1995 to 2003 and again from 2005 to 2008. Regarded as one of the greatest NBA coaches of all time, Riley has won five NBA championships as a head coach, four with the Los Angeles Lakers during their Showtime era in the 1980s and one with the Heat in 2006. Riley is a nine-time NBA champion across his tenures as a player (1972), assistant coach (1980), head coach (1982, 1985, 1987, 1988, 2006), and executive (2012, 2013). Riley was named NBA Coach of the Year three times (1989–90, 1992–93 and 1996–97, as head coach of the Lakers, New York Knicks and Heat, respectively). He was head coach of an NBA All-Star Game team nine times: eight times with the Western Conference team (1982, 1983, 1985–1990, all as head coach of the Lakers) and once with the Eastern team (1993, as head coach of the Knicks). He is the first North American sports figure to win a championship as a player, as an assistant coach, as a head coach, and as an executive, and in various roles has reached the NBA finals in six different decades. In 1996, he was named one of the 10 Greatest Coaches in NBA history. Riley most recently won the 2012 and 2013 NBA championships with the Heat as their team president. He received the Chuck Daly Lifetime Achievement Award from the NBA Coaches Association on June 20, 2012. Early life Riley was born in Rome, New York and raised in Schenectady, New York. He is the son of Mary Rosalia (Balloga) and Leon Riley, who played 22 seasons of minor league baseball as an outfielder and first baseman, and appeared in four games for the 1944 Philadelphia Phillies. Riley played basketball for Linton High School in Schenectady under head coach Walt Przybylo and assistants Bill Rapavy and Ed Catino. Linton High School's 74–68 victory over New York City's Power Memorial on December 29, 1961, is remembered mostly for its two stars: Power Memorial's Lew Alcindor (who later changed his name to Kareem Abdul-Jabbar) and Riley, who would go on to coach Abdul-Jabbar with the Los Angeles Lakers. In 1991, Riley called it "one of the greatest games in the history of Schenectady basketball." College career Riley played college basketball for four seasons for the Kentucky Wildcats—one on the freshman team and three on the varsity. As a junior on the 1965–66 Kentucky Wildcats men's basketball team, he was named First Team All-SEC, All-NCAA Tournament Team, NCAA Regional Player of the Year, SEC Player of the Year and AP Third Team All-American, leading the Wildcats to the 1966 NCAA title game. Coached by Adolph Rupp, UK lost to Texas Western (today's UTEP), a game that was reenacted in the movie Glory Road. In his senior year, Riley made First Team All-SEC, becoming one of the few players in storied Kentucky basketball history to be named First Team All-SEC twice. Professional career San Diego Rockets (1967–1970) Riley was selected by the San Diego Rockets as the seventh overall pick of the 1967 NBA draft. Despite the fact that he had not played college football, Riley was also drafted as a wide receiver by the Dallas Cowboys in the 11th round of the 1967 NFL Draft. After playing three seasons with the Rockets, he was selected by the Portland Trail Blazers in the 1970 NBA expansion draft. Los Angeles Lakers (1970–1975) The Blazers traded Riley to the Los Angeles Lakers, where he played for five seasons. Riley played a significant role as a reserve on the Lakers' 1972 NBA Championship team. Phoenix Suns (1975–1976) During the 1975–76 NBA season, Riley was traded to the Phoenix Suns. He retired in 1976, having averaged 7.4 points per game over his nine seasons in the league. Coaching and executive career (1979–present) Los Angeles Lakers (1979–1990) Riley returned to the NBA in 1977 as a broadcaster for the Lakers. In November 1979, after the team's head coach, Jack McKinney, was injured in a near-fatal bicycle accident, assistant coach Paul Westhead took over the team's head coaching duties and hired Riley as an assistant coach. With rookie guard Magic Johnson and longtime star Kareem Abdul-Jabbar, the Lakers defeated the Philadelphia 76ers in six games in the 1980 NBA Finals, giving Westhead and Riley championship rings in their first year coaching the team. However, the team lost in the playoffs the next year to the Moses Malone-led Houston Rockets. Six games into the 1981–82 season, Magic Johnson said he wished to be traded because he was unhappy playing for Westhead. Shortly afterward, Lakers' owner Jerry Buss fired Westhead. At an ensuing press conference, with Jerry West at his side, Buss named West head coach. West, however, balked, and Buss awkwardly tried to name West as "offensive captain" and then named West and Riley as co-coaches. West made it clear during the press conference that he would only assist Riley, and that Riley was the head coach. Thereafter, Riley was the interim head coach, until his status became permanent. Riley ushered in the Lakers' "Showtime" era, along with superstar players Johnson and Abdul-Jabbar with their running game. Riley became a celebrity in his own right, a fashion icon for his Armani suits and slicked-back hair which complemented the team's Hollywood image. Besides using Lakers' up-tempo style established by McKinney and Westhead, Riley was also innovative on defense; he was one of the first coaches to employ a 1-3-1 half-court trap to pick up the pace of the game. Though the Showtime Lakers were known for their offense, they won championships with their defense. In Michael Cooper, they had one of the top defensive guards in the game. The league-wide perception was that the Lakers played with finesse and were not physical enough to win in the playoffs. Riley's mantra was "no rebounds, no rings", reinforcing the need to fight for rebounds in order to win championships. Riley led the Lakers to four consecutive NBA Finals appearances. His first title came in his first season, against the Philadelphia 76ers. Both teams returned to the Finals the next year, and this time Riley's Lakers were swept by the 76ers. The Lakers lost in the Finals again in 1984, to the Boston Celtics in seven games. The Lakers earned Riley his second NBA title in 1985 in a rematch of the previous year, as the Lakers beat the Celtics in six games. The Lakers' four-year Western Conference streak was broken the following year by the Houston Rockets. In 1987, Riley coached a Lakers team that is considered one of the best teams of all time. With future Hall of Famers Magic Johnson, James Worthy and Kareem Abdul-Jabbar, plus Byron Scott, A. C. Green, Mychal Thompson, Kurt Rambis, and Cooper, the Lakers finished 65–17 in the regular season, third-best in team history. They met with similar success in the playoffs, dispatching the Celtics in six games to win Riley his third NBA title. One of Riley's most famous moments came when he guaranteed the crowd a repeat championship during the Lakers' championship parade in downtown Los Angeles (he first made the guarantee during the post-victory locker room celebration). While the 1988 Lakers did not produce as many wins in the regular season as the 1987 Lakers, they still won the NBA title, becoming the first team in 19 years to repeat as champions. The Lakers beat the Detroit Pistons in seven games in the 1988 NBA Finals, making good on Riley's promise. Riley's titles with the Lakers make him one of six men to play for an NBA Championship team and later coach the same NBA team to a championship; the others are George Senesky, Bill Russell, Tom Heinsohn, K. C. Jones and Billy Cunningham. Although Riley would offer no further guarantees, his Lakers embarked upon a quest to obtain a third consecutive championship in 1989. Having successfully claimed a repeat championship the year before, the term used for this new goal was a three-peat championship, and Riley, through his corporate entity, Riles & Co., trademarked the phrase three-peat. However, in a rematch of the previous year's finals series, the Lakers were swept by the Pistons in the 1989 NBA Finals. Riley was named NBA Coach of the Year for the first time in 1989–90, but stepped down as Lakers head coach after they lost to the Phoenix Suns in the playoffs. At the time of his departure, Riley was the foremost coach in the NBA with a level of fame not seen since Red Auerbach. New York Knicks (1991–1995) After stepping down, Riley accepted a job as a television commentator for NBC for one year before being named head coach of the New York Knicks, starting with the 1991–92 season. Commentators admired Riley's ability to work with the physical, deliberate Knicks, adapting his "Showtime" style with the fast-paced Laker teams in the 1980s. The Chicago Bulls had easily swept the Knicks in 1991 en route to their first championship. However, in 1992, with Riley, the Knicks pushed the defending champion Bulls to seven games in the Eastern Conference semifinals. The physical defense of the Knicks against the Chicago Bulls' superstars Michael Jordan and Scottie Pippen during the 1992 playoffs led to a feud between Riley and Bulls head coach Phil Jackson regarding the officiating and the Knicks' rough style of play. In 1993, Riley led the Knicks to their best regular season record in team history (tied with the 1969–1970 team) and received his second Coach of the Year award. The Knicks again met the Bulls in the Eastern Conference finals but lost in six games after winning the first two games at home. Jackson's Bulls that season went on to win the finals and accomplish a "three-peat," despite Riley's trademark in 1989. Riley returned to the NBA Finals, in 1994, en route defeating the three-time defending champion Bulls (without Michael Jordan) in seven games during the Eastern Conference semifinals. However, New York lost in seven games to the Houston Rockets after being up 3–2 in the series. During the 1994 Finals, Riley became the first coach to participate in an NBA Finals Game 7 with two teams, having been with the Lakers in 1984 and 1988. However, he had the unfortunate distinction of becoming the first (and to date, only) coach to lose an NBA Finals Game 7 with two teams, having lost to the Celtics, in 1984. It also denied him the distinction of becoming the first coach to win a Game 7 in the Finals with two teams, having defeated the Pistons in seven games, in 1988. Miami Heat (1995–present) In 1995, Riley resigned from the Knicks via fax to become president and head coach of the Miami Heat, with complete control over basketball operations. The move caused some controversy, as the Heat were accused by the Knicks of tampering by pursuing Riley while he still had a year remaining on his contract with the Knicks. The matter was settled after the Heat sent their 1996 first-round pick (which the Knicks used to draft Walter McCarty) and $1 million in cash to the Knicks on September 1, 1995. In the 1995–96 NBA season, Riley led the Heat to a 42–40 record, which was a 10-game improvement over the team's previous season. Miami was swept in the first round of the playoffs by the Phil Jackson-coached Chicago Bulls, who went on to win the NBA championship. This Heat season was notable for personnel changes, as the team welcomed franchise building blocks Alonzo Mourning and Tim Hardaway. Following the season, the Heat also obtained Nets forward P.J. Brown and Suns swingman Dan Majerle. In 1997, Riley's Heat defeated his old team, the Knicks, in a physical seven-game series. Advancing to the Eastern Conference finals for the first time in franchise history, the Heat were again defeated by the eventual champion Bulls. Riley was selected as Coach of the Year for the third time after leading Miami to a 61–21 regular season record and first place in the Atlantic Division. The Heat lost to the archrival Knicks in the playoffs in 1998, 1999, and 2000. Riley then traded Brown and Jamal Mashburn in exchange for Eddie Jones in one trade and acquired Brian Grant in another, although the team suffered a major setback after Alonzo Mourning was lost for the season due to a kidney ailment. After finishing 50–32 in the 2000–01 season, the Heat were swept by the Charlotte Hornets in the first round of the NBA playoffs. The Heat then lost two of their best players when guard Tim Hardaway was traded to the Dallas Mavericks and Anthony Mason signed with the Milwaukee Bucks. In part because of these departures, the Heat crumbled to a 36–46 in 2002–the first time that a Riley-coached team had not had a winning season or made the playoffs. Riley was so disgusted with the Heat's performance that he declared he was about to "fire himself". After the Heat finished the 2002–03 season 25–57, Riley stepped down as head coach and was succeeded by longtime assistant Stan Van Gundy. In the 2003 NBA draft, the Heat held the fifth overall pick, which they used to select Dwyane Wade. In July 2004, Riley traded Caron Butler, Brian Grant, Lamar Odom, and a first-round draft pick to the Lakers for star center Shaquille O'Neal. Wade and O'Neal led the Heat to the Eastern Conference Finals during the 2005 playoffs, where they lost to the defending champions Detroit Pistons after leading the series 3–2. During the 2005 off-season, it was widely speculated that Riley was attempting to push Van Gundy out and make himself head coach once again now that the team was a championship contender. Van Gundy resigned from his position just 21 games into the 2005–06 season, citing a need to spend more time with his family, and Riley named himself as Van Gundy's successor. Riley's Heat team defeated the Detroit Pistons in the 2006 Eastern Conference Finals on June 2, 2006, the first time Miami reached the finals. Riley's Heat squared off against the Dallas Mavericks in the 2006 NBA Finals. Despite losing the first two games, the Heat rallied to win the next four and their first NBA championship. After Game 6, Riley commented that he had packed one suit, one shirt, and one tie for the trip to Dallas. It was Riley's fifth championship as a head coach and his first with a team other than the Lakers. Citing hip and knee problems, Riley took a leave of absence from coaching from January 3, 2007, through February 19, 2007. Assistant coach Ron Rothstein assumed interim duties. The Heat finished the season 44–38 and were swept in the first round of the playoffs by the Chicago Bulls, the first defending champions swept in the first round since the Philadelphia Warriors in 1957. The following season, the Heat finished 15–67. The team had lost several of its players to extended injuries, and a disgruntled Shaquille O'Neal was traded mid-season. Two years after winning the championship, they finished with one of the worst seasons in NBA history. It also tied the Heat's inaugural season of 1988–89 as the worst in franchise history, and was easily the worst full-season record compiled by a Riley-coached team. On April 28, 2008, Riley announced that he would step down as head coach while remaining team president. He named assistant Erik Spoelstra as head coach. Although the Heat have nominally had a general manager for most of Riley's tenure as team president (Randy Pfund until 2008, and Andy Elisburg since 2013), Riley has had the final say in basketball matters since his arrival in Miami. In 2010, Riley acquired LeBron James and Chris Bosh to form the Heat's "Big Three" with Dwyane Wade. The Heat reached the NBA Finals each of the next four seasons (2011 through 2014). In 2012, the Heat beat the Oklahoma City Thunder to give Riley his first championship purely as an executive. The Heat repeated as champions in 2013, defeating the San Antonio Spurs. In the 2019–20 season, the Heat became the fourth team in NBA history to finish lower than fourth place in their conference in the regular season and make it to the NBA Finals. The 2019–20 Heat team has been considered by some to be Riley's "magnum opus", since the team's Finals run was not preceded by a dramatic rebuild or by the selection of a high draft pick. Before the season, Riley traded for Jimmy Butler, drafted Tyler Herro, and signed the undrafted Kendrick Nunn. Before the 2019–20 trade deadline, the Heat obtained Andre Iguodala and Jae Crowder. Facing Riley's former team, the Los Angeles Lakers (led by former Heat superstar LeBron James), the Heat were defeated in six games. Outside basketball Outside basketball, Riley has developed into a pop culture figure. This is born out of Riley's signature look, a slicked-back hairstyle, which is often described as gangster- or mafioso-like, and his immaculate tan. Riley's nickname is "The Godfather" because of his appearance. In 1988, Riley published a book entitled Showtime: Inside the Lakers' Breakthrough Season, a New York Times best-seller which recapped the Lakers' successful run to the 1987 NBA Championship. One of the phrases Riley coined in the book was the "Disease of More", stating that "success is often the first step toward disaster" and that defending champions often fail the following season because every player who returns wants more playing time, more shots per game, and more money. The phrase stemmed from the Lakers' disappointing 1980–81 campaign coming off a championship the previous season. In 1993, while coaching the New York Knicks, Riley published a second New York Times bestseller entitled The Winner Within: A Life Plan for Team Players. Aimed at business leadership as well as basketball enthusiasts, it distilled a lesson in teamwork and leadership from each of Riley's seasons as a coach to that date. Byron Laursen, saluted by Riley as "...a true Showtime Warrior", co-authored both of Riley's books. Riley is known for his friendship with Giorgio Armani, preferring to wear Armani suits during basketball games and modeling once at an Armani show. Riley has been married to the former Christine Rodstrom since June 26, 1970. In 1985, the Rileys adopted a son, James Patrick. In 1989, they adopted a daughter, Elisabeth. Riley is a practicing Roman Catholic. On February 27, 2007, the Miami Heat were honored for their 2005–2006 NBA Championship at the White House. During the ceremony, Riley presented George W. Bush with a jersey before announcing, "I voted for the man. If you don't vote, you don't count." After the ceremony, Riley was questioned by reporters about the political nature of his comments. He responded by saying, "I'm pro-American, pro-democracy, I'm pro-government. I follow my boss. He's my boss." Career statistics NBA Regular season |- | style="text-align:left;"| | style="text-align:left;"|San Diego | 80 || || 15.8 || .379 || || .634 || 2.2 || 1.7 || || || 7.9 |- | style="text-align:left;"| | style="text-align:left;"|San Diego | 56 || || 18.3 || .406 || || .672 || 2.0 || 2.4 || || || 8.8 |- | style="text-align:left;"| | style="text-align:left;"|San Diego | 36 || || 13.2 || .417 || || .727 || 1.6 || 2.4 || || || 5.3 |- | style="text-align:left;"| | style="text-align:left;"|L.A. Lakers | 54 || || 9.4 || .413 || || .644 || 1.0 || 1.3 || || || 4.9 |- | style="text-align:left; background:#afe6ba;"| | style="text-align:left;"|L.A. Lakers | 67 || || 13.8 || .447 || || .743 || 1.9 || 1.1 || || || 6.7 |- | style="text-align:left;"| | style="text-align:left;"|L.A. Lakers | 55 || || 14.6 || .428 || || .793 || 1.2 || 1.5 || || || 7.3 |- | style="text-align:left;"| | style="text-align:left;"|L.A. Lakers | 72 || || 18.9 || .430 || || .764 || 1.8 || 2.1 || .8 || .0 || 9.5 |- | style="text-align:left;"| | style="text-align:left;"|L.A. Lakers | 46 || || 22.1 || .419 || || .742 || 1.8 || 2.6 || .8 || .1 || 11.0 |- | style="text-align:left;"| | style="text-align:left;"|L.A. Lakers | 2 || || 11.5 || .385 || || .333 || 1.5 || .0 || .5 || .5 || 5.5 |- | style="text-align:left;"| | style="text-align:left;"|Phoenix | 60 || || 13.2 || .389 || || .730 || .8 || 1.0 || .4 || .1 || 4.6 |- class="sortbottom" | style="text-align:center;" colspan="2"|Career | 528 || || 15.5 || .414 || || .705 || 1.6 || 1.7 || .6 || .1 || 7.4 Playoffs |- | style="text-align:left;"|1969 | style="text-align:left;"|San Diego | 5 || || 15.2 || .432 || || .833 || 2.2 || .4 || || || 7.4 |- | style="text-align:left;"|1971 | style="text-align:left;"|L.A. Lakers | 7 || || 19.3 || .420 || || .727 || 2.1 || 2.0 || || || 9.4 |- | style="text-align:left; background:#afe6ba;"|1972 | style="text-align:left;"|L.A. Lakers | 15 || || 16.3 || .333 || || .750 || 1.9 || .9 || || || 5.2 |- | style="text-align:left;"|1973 | style="text-align:left;"|L.A. Lakers | 7 || || 7.6 || .333 || || || .7 || 1.0 || || || 2.6 |- | style="text-align:left;"|1974 | style="text-align:left;"|L.A. Lakers | 5 || || 21.2 || .360 || || .750 || 1.2 || 2.0 || .8 || .0 || 7.8 |- | style="text-align:left;"|1976 | style="text-align:left;"|Phoenix | 5 || || 5.4 || .400 || || 1.000 || .0 || 1.0 || .0 || .0 || 2.6 |- class="sortbottom" | style="text-align:center;" colspan="2"|Career | 44 || || 14.6 || .374 || || .763 || 1.5 || 1.2 || .4 || .0 || 5.7 College |- | style="text-align:left;"|1964–65 | style="text-align:left;"|Kentucky | 25 || || 33.0 || .432 || || .618 || 8.5 || 1.1 || || || 15.0 |- | style="text-align:left;"|1965–66 | style="text-align:left;"|Kentucky | 29 || || 37.2 || .516 || || .699 || 8.9 || 2.2 || || || 22.0 |- | style="text-align:left;"|1966–67 | style="text-align:left;"|Kentucky | 26 || || 36.7 || .442 || || .782 || 7.7 || 2.6 || || || 17.4 |- class="sortbottom" | style="text-align:center;" colspan="2"|Career | 80 || || 35.7 || .469 || || .714 || 8.4 || 2.0 || || || 18.3 Head coaching record |- style="background:#FDE910;" | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 71||50||21|||| style="text-align:center;"|1st in Pacific||14||12||2|| | style="text-align:center;"|Won NBA Championship |- | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||58||24|||| style="text-align:center;"|1st in Pacific||15||8||7|| | style="text-align:center;"|Lost in NBA Finals |- | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||54||28|||| style="text-align:center;"|1st in Pacific||21||14||7|| | style="text-align:center;"|Lost in NBA Finals |- style="background:#FDE910;" | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||62||20|||| style="text-align:center;"|1st in Pacific||19||15||4|| | style="text-align:center;"|Won NBA Championship |- | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||62||20|||| style="text-align:center;"|1st in Pacific||14||8||6|| | style="text-align:center;"|Lost in Conference Finals |- style="background:#FDE910;" | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||65||17|||| style="text-align:center;"|1st in Pacific||18||15||3|| | style="text-align:center;"|Won NBA Championship |- style="background:#FDE910;" | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||62||20|||| style="text-align:center;"|1st in Pacific||25||15||9|| | style="text-align:center;"|Won NBA Championship |- | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||57||25|||| style="text-align:center;"|1st in Pacific||15||11||4|| | style="text-align:center;"|Lost in NBA Finals |- | style="text-align:left;"|L.A. Lakers | style="text-align:left;"| | 82||63||19|||| style="text-align:center;"|1st in Pacific||9||4||5|| | style="text-align:center;"|Lost in Conference Semifinals |- | style="text-align:left;"|New York | style="text-align:left;"| | 82||51||31|||| style="text-align:center;"|1st in Atlantic||12||6||6|| | style="text-align:center;"|Lost in Conference Semifinals |- | style="text-align:left;"|New York | style="text-align:left;"| | 82||60||22|||| style="text-align:center;"|1st in Atlantic||15||9||6|| | style="text-align:center;"|Lost in Conference Finals |- | style="text-align:left;"|New York | style="text-align:left;"| | 82||57||25|||| style="text-align:center;"|1st in Atlantic||25||14||11|| | style="text-align:center;"|Lost in NBA Finals |- | style="text-align:left;"|New York | style="text-align:left;"| | 82||55||27|||| style="text-align:center;"|2nd in Atlantic||11||6||5|| | style="text-align:center;"|Lost in Conference Semifinals |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||42||40|||| style="text-align:center;"|3rd in Atlantic||3||0||3|| | style="text-align:center;"|Lost in First Round |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||61||21|||| style="text-align:center;"|1st in Atlantic||17||8||9|| | style="text-align:center;"|Lost in Conference Finals |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||55||27|||| style="text-align:center;"|1st in Atlantic||5||2||3|| | style="text-align:center;"|Lost in First Round |- | style="text-align:left;"|Miami | style="text-align:left;"| | 50||33||17|||| style="text-align:center;"|1st in Atlantic||5||2||3|| | style="text-align:center;"|Lost in First Round |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||52||30|||| style="text-align:center;"|1st in Atlantic||10||6||4|| | style="text-align:center;"|Lost in Conference Semifinals |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||50||32|||| style="text-align:center;"|2nd in Atlantic||3||0||3|| | style="text-align:center;"|Lost in First Round |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||36||46|||| style="text-align:center;"|6th in Atlantic||—||—||—||— | style="text-align:center;"|Missed playoffs |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||25||57|||| style="text-align:center;"|7th in Atlantic||—||—||—||— | style="text-align:center;"|Missed playoffs |- style="background:#FDE910;" | style="text-align:left;"|Miami | style="text-align:left;"| | 61||41||20|||| style="text-align:center;"|1st in Southeast||23||16||7|| | style="text-align:center;"|Won NBA Championship |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||44||38|||| style="text-align:center;"|1st in Southeast||4||0||4|| | style="text-align:center;"|Lost in First Round |- | style="text-align:left;"|Miami | style="text-align:left;"| | 82||15||67|||| style="text-align:center;"|5th in Southeast||—||—||—||— | style="text-align:center;"|Missed playoffs |- class="sortbottom" | style="text-align:center;" colspan="2"|Career | 1,904||1,210||694|||| ||282||171||111|||| Awards and honors Nine-time NBA Champion (one as a player, one as an assistant coach, five as a head coach, and two as an executive) Three-time NBA Coach of the Year Nine-time NBA All-Star Game head coach 2011 NBA Executive of the Year Naismith Memorial Basketball Hall of Fame (class of 2008) 1966 First Team All-American 2012 Chuck Daly Lifetime Achievement Award Number 42 retired by the Kentucky Wildcats See also List of NBA championship head coaches References Bibliography Heisler, Mark (1994). The Lives of Riley, Macmillan General Reference, External links Category:1945 births Category:Living people Category:All-American college men's basketball players Category:American men's basketball coaches Category:American men's basketball players Category:Basketball coaches from New York (state) Category:Basketball players from New York (state) Category:Catholics from New York (state) Category:Kentucky Wildcats men's basketball players Category:Los Angeles Lakers assistant coaches Category:Los Angeles Lakers announcers Category:Los Angeles Lakers head coaches Category:Los Angeles Lakers players Category:Miami Heat executives Category:Miami Heat head coaches Category:Naismith Memorial Basketball Hall of Fame inductees Category:National Basketball Association broadcasters Category:National Basketball Association championship-winning head coaches Category:National Basketball Association general managers Category:National Basketball Association team presidents Category:New York Knicks head coaches Category:Phoenix Suns players Category:Portland Trail Blazers expansion draft picks Category:San Diego Rockets draft picks Category:San Diego Rockets players Category:Shooting guards Category:Small forwards Category:Sportspeople from Rome, New York Category:Sportspeople from Schenectady, New York
[ { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
[ "Pat Riley served as the head coach for the New York Knicks starting with the 1991-92 season. He led the Knicks to their best regular season record in team history (tied with the 1969-1970 team) and received his second Coach of the Year award in 1993. He also led the team to the NBA Finals in 1994.", "Pat Riley started coaching the New York Knicks in the 1991-92 season.", "The text does not provide information on how long Pat Riley was the head coach of the New York Knicks.", "CANNOTANSWER", "Under Pat Riley's coaching, the New York Knicks had some successes including pushing the defending championship Bulls to seven games in the Eastern Conference semifinals in 1992 and achieving the team's best regular season record in history in 1993. They also reached the NBA Finals in 1994. However, they did not win the NBA Championship during his tenure.", "CANNOTANSWER", "The text does not provide information on how many points the New York Knicks won by under Pat Riley's coaching." ]
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C_cc47c7df2d994d02b905ef7002dc163a_0
Mr. Children
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
1998-2000
On February 11, 1998, they released their 14th single "Nishi e Higashi e" (nishiehigashie), theme song to the Japanese drama Kira kira Hikaru (kirakirahikaru). The group was still on hiatus during this time and made no live performances to promote the single and did not appear in the music video for the song. Finally on October 21, 1998, Mr. Children officially re-grouped and released their 15th single, "Owarinaki Tabi" (Zhong warinakiLu ) with the Japanese drama Naguru Onna (Ou ruNu ) using it as their theme song. The song remains a public favorite in voting polls, Oricon citing its inspirational lyrics as the reason. On January 13, 1999, "Hikari no Sasu Hou E" (Guang noShe suFang he), their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999. Sakurai compared his approach to the songwriting for the record to surfing: Eleven days later they began the Discovery Tour '99, from February 14 to July 12, where the group visited 16 cities and held 42 shows. During the tour, Mr. Children released their 17th single "I'll Be" on May 12, which was used in Shiseido's (Zi Sheng Tang ) Sea Breeze commercials. Though originally released on the Discovery album, the song was re-released as a single with a lighter beat. The single was not a success and became Mr. Children's lowest selling single since "Cross Road". During the Discovery Tour '99, an idea for a live album was brought up. It was released as a 500,000 copy limited edition on September 8, 1999 and called 1/42 (referring to one of the 42 shows in the tour). Most of the tracks were recorded on June 16, 1999 at the Makomanai ice arena, while the bonus track "Dakishimetai" was recorded at the Okinawa Ginowan-Shi seaside park. At the beginning of a new century "Kuchibue" (Kou Di ), released on January 13, 2000 became the group's 18th single. While "I'll Be" failed to be a success, "Kuchibue" proved to be a hit selling 724,070 copies. On August 9, 2000, their 19th single "Not Found" was also used as the theme song to the Japanese drama Bus Stop (basusutotsupu), followed a month later by their 9th original album Q on September 27, 2000. The band went to New York to record this album, where they re-recorded some of their old indie material and for the first time, producer Takeshi Kobayashi performed with the band on a recording. The cover for the album was shot bought Size, Inc. at the Bonneville Salt Flats in the United States. The album was not a favorite amongst fans for various reasons and became their first album since Atomic Heart to not sell over one million copies. 'Concert tour Q' started, visiting 13 cities and holding 35 concerts between October 15, 2000 and February 24, 2001. CANNOTANSWER
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[ "What happened in 1998?", "Was the single a success?", "What happened in 1999?", "Did they win any awards?", "Are there any other interesting aspects about this article?" ]
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, commonly referred to by their contracted nickname , are a Japanese pop rock band formed in 1989. Consisting of Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki, they made their major label debut in 1992. They are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 75 million records and creating the in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single , have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign". As of 2012, Mr. Children has published fifteen original studio albums and 34 physical singles, along with five compilations, a live album, and fifteen home video releases. The band's music is mainly composed and written by lead singer Sakurai, with the exception of the Suzuki-penned songs "Asia" and "#2601" from the albums Atomic Heart and Discovery, and occasional collaborative song writing with producer Takeshi Kobayashi. In 2012 they celebrated their 20th debut anniversary by releasing dual best album titled Mr. Children 2001–2005 ＜micro＞ and Mr. Children 2005–2010 ＜macro＞. Both albums dominated the best-selling album category in the 2012 Oricon yearly chart, selling over 2.5 million copies. Mr.Children has become the third artists who achieved TOP 2 spots on the yearly album ranking, and this is the first time in 14 years for any artist to achieve this. Moreover, [(An Imitation) Blood Orange], an album of new material released in November 2012, debuted No.1 on the Oricon Chart—at the end of the year, all three albums released that year were in the Top 10 best selling albums of 2012. In 2015, Mr. Children was named No.1 Concert Mobilization Power Ranking based on the overall number of people whom attended their performances during 2015 in Japan, mobilizing 1,119,000 fans (36 concerts). History 1987–1992 The group's members first met in the year of 1987, when Sakurai, Tahara and Nakagawa were in The Walls, which was originally influenced by the band Echoes. The frontman of Echoes, Jinsei Tsuji, was a political activist, and because of this, The Walls too became a political band. Drummer Hideya Suzuki was not an original member of The Walls. When the original drummer departed, the band recruited Suzuki, who went to the same school as the other members. In late 1988, The Walls disintegrated, while the remaining members formed Mr. Children in early 1989. The name of Mr. Children supposedly came about during a talk at a dinner where the group thought the word "children" had a nice ring to it, but because they were no longer children themselves, they decided to add Mr. in front of it. They credit this change as a new way they started to look at the group. After changing their name and overall sound, Mr. Children auditioned at a music club called La Mama, failing to pass the first time, but passing a second audition to play at the club. After playing in the club, they were asked to try and debut as professionals. Mr. Children sent out five demo tapes; all failed to generate record label interest, and the group took a three-month hiatus in 1991. Hideya Suzuki worked as a receptionist at an economy hotel, while Kazutoshi Sakurai worked with his father who owned a construction company. When they returned, the group created a sixth demo tape and caught the attention of Toy's Factory. The label signed the group and had them play as the opening act for the rock group Jun Sky Walkers. It was also during this time that they were introduced to their long-time friend and producer Takeshi Kobayashi. Kobayashi was already known in the music industry as a music composer for Keisuke Kuwata of Southern All Stars and Kyōko Koizumi. 1992–1994 On May 10, 1992, Mr. Children's debut album, Everything, was released and represented the long journey they took to get to this point. Three months later their first single was released on August 21, 1992. After the release of the single the group held two tours for the album, both held between September 23, 1992 and November 5 of the same year, the '92 Everything Tour comprising ten and the '92 Your Everything Tour consisting of twelve performances. To cap off the year and lead them into the next, Mr. Children released their second album, Kind of Love and their second single on December 1, 1992. "Dakishimetai" was later used as an insert song for the Japanese drama . Shortly after, a new tour called '92–93 Kind of Love Tour started and lasted from December 7, 1992 till January 25, 1993. In 1993, with the completion of the band's tour they began work on for their third album. The first single of the new year to be released was "Replay", released on July 1, 1993 and used in commercials. On September 9, 1993 their third album Versus was released, but failed to bring the group into the spotlight. They continued on and held a new tour. The '93 Versus Tour was held from September 23 until November 5 and had the band holding nine performances. Shortly after, "Cross Road" was released on November 10, 1993, which was used to promote the Japanese drama . The single was not a hit, but through word of mouth "Cross Road" gained popularity and after 22 weeks sold over a million copies and later, though released in 1993, managed to become the fifteenth best selling single in Oricon's 1994 yearly charts. Sakurai confessed years later as to not liking his works up to this point. According to him: On June 1, 1994 a new single called "Innocent World" was released and used a promotional song for the soft drink . The single solidified the groups popularity with its sales, managing to sell 1,935,830 copies and becoming the No. 1 selling single in Oricon's 1994 yearly charts. Afterwards work began on their fourth original album Atomic Heart. The album was released on September 1, 1994 and became the band's highest selling album to date. Due to the huge success the band received from the album and "Innocent World" single, the groups popularity built up creating the in Japan. The band also had Takeshi Kobayashi produce two new tours for them. The first tour, named after the "Innocent World" single was held from September 18 to December 18. The band also released their sixth single "Tomorrow Never Knows" on November 10, 1994 which was used as the theme song to the Japanese drama . The song was written while the group was on tour, was later voted in 2006 as fans No. 1 all-time favorite song on Music Station, and is currently the third highest selling drama tie-in single in Japan. The next single, was released on December 12, 1994, though originally intended to be the B-side of "Tomorrow Never Knows". To end the year, "Innocent World" won the Song of the Year award at the 36th annual Japan Record Awards. 1995–1997 In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2. Mr. Children also became involved in charity work, doing a collaboration song with Keisuke Kuwata of Southern All Stars. The single was used as the theme song for the Act Against AIDS campaign, was produced by Mr. Children and written by Kuwata. To promote the single and the campaign, they held a one-month tour from April 18 until May 14, entitled , where the group did cover songs of many English speaking artists such as The Rolling Stones and Bob Dylan. During the tour the group was also filming a documentary/concert movie called Es ~Mr. Children in Film~. It was released in theaters on June 6, 1995, preceded by the group's eight single "Es (Theme of Es)" on May 10, to promote the movie. Two months later the group held an open air tour titled from July 16 to September 10, during which the ninth single, was released on August 10. On February 6, 1996 Mr. Children's tenth single was released, to promote the Japanese drama and also for Daio Paper's commercial. The single went on to become Japan's highest first week selling single of all time (which was later broken by idol group AKB48) and is currently Japan's eighth highest selling drama tie-in single. The success of the single was also a surprise for Sakurai, who admitted to spending very little time writing the song. Two months later, on April 5, 1996 the group's eleventh single was released, followed by their fifth original album on June 24 and their twelfth single , on August 8. To close the year, the Regress or Progress Tour started and lasted from August 24, 1996 to March 28, 1997. The group visited 14 cities and held 55 concerts. Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama . A month later, on March 5 Bolero, Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding. Sakurai's reply: "The band will dissolve only when we have no more talent and have relationship problems with each other." Yet the group then decided to take some time off. Nakagawa and Suzuki start a side project band called Hayashi Hideo, and joined by Kenji Fujii from My Little Lover and Sawao Yamanaka from The Pillows, went on a club tour. 1998–2000 On February 11, 1998, they released their 14th single , theme song to the Japanese drama . The group was still on hiatus during this time and made no live performances to promote the single and did not appear in the music video for the song. Finally on October 21, 1998, Mr. Children officially re-grouped and released their 15th single, with the Japanese drama using it as their theme song. The song remains a public favorite in voting polls, Oricon citing its inspirational lyrics as the reason. On January 13, 1999, , their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999. Sakurai compared his approach to the songwriting for the record to surfing: Eleven days later they began the Discovery Tour '99, from February 14 to July 12, where the group visited 16 cities and held 42 shows. During the tour, Mr. Children released their 17th single "I'll Be" on May 12, which was used in Sea Breeze commercials. Though originally released on the Discovery album, the song was re-released as a single with a lighter beat. The single was not a success and became Mr. Children's lowest selling single since "Cross Road". During the Discovery Tour '99, an idea for a live album was brought up. It was released as a 500,000 copy limited edition on September 8, 1999 and called 1/42 (referring to one of the 42 shows in the tour). Most of the tracks were recorded on June 16, 1999 at the Makomanai ice arena, while the bonus track "Dakishimetai" was recorded at the Okinawa Ginowan-Shi seaside park. At the beginning of a new century , released on January 13, 2000 became the group's 18th single. While "I'll Be" failed to be a success, "Kuchibue" proved to be a hit selling 724,070 copies. On August 9, 2000, their 19th single "Not Found" was also used as the theme song to the Japanese drama , followed a month later by their 9th original album Q on September 27, 2000. The band went to New York to record this album, where they re-recorded some of their old indie material and for the first time, producer Takeshi Kobayashi performed with the band on a recording. The cover for the album was shot bought Size, Inc. at the Bonneville Salt Flats in the United States. The album was not a favorite amongst fans for various reasons and became their first album since Atomic Heart to not sell over one million copies. ‘Concert tour Q’ started, visiting 13 cities and holding 35 concerts between October 15, 2000 and February 24, 2001. 2001–2003 In 2001, Mr. Children continued their Q tour, followed by dual "Best Of" albums. Titled Mr. Children 1992–1995 and Mr. Children 1996–2000, they were both released on July 11, 2001. Both albums went on to sell a combined total of 4,034,785 copies. According to an interview done with MTV Japan Sakurai stated the best of albums weren't something they had planned on doing yet. During this time, the group was finishing up work for their new upcoming album and had planned to start promoting singles on it. However it was decided that a best of album was needed and so they were released. Four days following the dual album release, the group launched the ‘Popsaurus’ tour, visiting 10 cities and playing 15 shows, lasting from July 15, 2001 all the way through September 25, 2001. A month into the tour their 20th single was released and used to promote the Wonda Canned Coffee by Asahi Soft Drinks. Two months after the Popsaurus tour ended, "Youthful Days" was released. Released on November 7, 2001, it was their 21st single and was an insert song for the Japanese drama Antique Bakery. "Youthful Days" debuted at number-one on Japanese Oricon's Charts in its first week at retail (ahead of Mr. Moonlight (Ai no Big Band) by Morning Musume, from album 4th Ikimashoi!), and It ended up being their best selling single for the year. The b-side for the single, "Drawing", originally had no commercial tie-in, but two years later was used as the theme song to the 2003 Japanese drama , Starring former Shibugakitai member Masahiro Motoki. Mr. Children released their 22nd single on New Year's Day of 2002 (January 1), which was used as a show song in the Japanese drama Antique Bakery. Four months later their tenth original album It's a Wonderful World was released on May 10, the groups' tenth anniversary. The release of the album on their 10th anniversary was not something that had originally intended. As the group was wrapping up recording, Sakurai asked if the album could be released in the spring time. While the group and their management was trying to think of how to promote an album in the spring time, they came up with releasing the album on their 10th anniversary. A new tour, titled Mr. Children Tour 2002 Dear Wonderful World was set to begin later that year. The previous single "I'll Be" from the Discovery album was selected to be used as an official theme for the 2002 FIFA World Cup, held in Japan and South Korea. On May 24, 2002 Mr. Children attended the first ever MTV Video Music Awards Japan and topped the awards show by winning 'Video of the Year' for the song "Kimi ga suki", the band also nominated in Best Group Category but losing to Backstreet Boys. Two months after the release of the new album, Mr.Children's 23rd single "Any", was released on July 11, 2002 and used to promote NTT DoCoMo Group 10th Anniversary. The group was not able to properly promote the single. As preparations for the new tour were beginning and promotion for the new single were being done, lead singer Sakurai was hospitalized on July 21, 2002, after a blockage in his cerebellum was detected. The Mr. Children Tour 2002 Dear Wonderful World was canceled and all group activities were put on a temporary hiatus. While recovering, Sakurai wrote a song called "Hero", that was inspired by his hospitalization. The song was released as the group's 24th single on December 11, 2002 and was used in NTT DoCoMo Group 10th Anniversary commercial. The first press version of the single included a DVD where, in addition to a Mr. Children 2002 documentary -Hero- that was aired, the singer talked about his hospitalization and inspiration for the song. On November 15, 2002 Mr.Children's website announced the band's return to the stage for a "stew of home pride" with a one night only live, December 21, 2002 the group returned to the stage for a single concert, later released on DVD, titled Wonederful World on Dec. 21. The group remained quiet for most of 2003. Sakurai helped to launch Artists' Power Bank (AP Bank), a non-profit environmental financial institution, in June. Sakamoto Ryuichi, a well known composer, came up with the initial idea to build a wind-power plant. With the help of Sakurai and music producer Takeshi Kobayashi, their goal later became to invest in environmentally friendly projects, such as renewable energy, and as of 2007, participated in other social issues such as helping the victims of a Chuetsu offshore earthquake in Niigata Prefecture on July 16, 2007. Near the end of the year, Mr. Children re-grouped and released their 25th single . It became their first double a-side single with "Tenohira" receiving no commercial tie-in, and "Kurumi" used to promote . The single was a hit and became Mr.Children's best selling single since 2001's "Youthful Days" single. 2004–2006 In 2004, Sakurai started a solo project titled Bank Band, which became a spin-off of AP Bank. As Bank Band, Sakurai released a first album, titled , which contained covers of two Mr. Children songs, "Hero" and "Yasashii Uta". Mr. Children released their eleventh album on April 4, 2004, titled , which came with a documentary DVD showing the group working and talking about the concept behind the album. To help promote the album, Mr. Children used the song in 'Nissin Cup Noodle – NO Border' commercials and as the 'News 23' theme song. According to Sakurai, is In the following month, they released their 26th single, "Sign", on May 26, which was used as the theme song to the Japanese drama Orange Days and went on to win the Song of the Year award at the 46th annual Japan Record Awards ten years after their win for 'Innocent World'. Most of the 2005 was spent working on a new album. As a solo act, Kazutoshi Sakurai appeared at Golden Circle vol.7 on February 28, 2005. Finally on June 29, 2005 the group released their 27th single . The single became a monster hit selling 569,000 copies its first week, and ending with 925,632 copies sold. As a quad a-side single, all four songs had a commercial tie in. promoted 'Pocari Sweat', "and I love you" promoted 'Nissin Cup Noodle – NO Border', became the theme song for the Japanese movie 'Fly Daddy Fly', and was used as a promotional song for Fuji TV's educational program 'Kodomo bangumi Ponkikkiizu, Gachagachapon'. Even though it was released as a single, it was classified as an album by the Recording Industry Association of Japan. A month later the group attended Kazutoshi Sakurai's 3-day festival 'ap bank fes’ 05' from July 16, 2005 through July 18, 2005, followed by 'SETSTOCK '05' at Kokuei bihoku kyuuryou park on July 23, 2005 and 'Higher Ground 2005' at Umi no nakamichi kaihinkouen outdoor theater on July 30, 2005. Three months later on September 21, 2005, I Love U (I♥U), Mr.Children’s 12th original album, was released. Two months later Dome Tour 2005 'I Love U' began, running from November 12, 2005 through December 27, 2005 and were only the fourth artist in Japanese history to play at the Osaka, Tokyo, Sapporo, Nagoya and Fukuoka dome's. The tour ended in Tokyo Come where they played to 45,000 fans, bringing the tour total to almost 390,000 fans. By the end of the year the group managed to pass the 45 million mark in sold records. The first single for 2006, was their 28th single released on July 5, 2006 and used as the promotion song for Toyota's "Tobira wo akeyou" commercial and as the theme song to NTV's 2006 FIFA World Cup broadcasting. Due to the groups involvement with ap bank fes. '06, there were no magazine or radio promotions, and only 3 live performances were done to promote the single. However the commercial tie-in's for the single proved to be a success and "Houkiboshi" was voted No. 3 as the favorite commercial song for 2006 and voted as the favorite winter song heard in the summer. Ten days following the release of 'Houkiboshi', Mr.Children participated in the 3 day festival, ap bank fes '06, where they performed "Hero", "Strange Chameleon", "Owarinaki tabi", and "Hokiboshi". One month later Mr.Children were special guests at The Mujintou fes. 2006 and performed "Mirai", "Innocent world", "Hokorobi", "Sign", "Owarinaki tabi", "Worlds end", and "Houkiboshi". Shortly after Mr.Children announced a joint tour with fellow Japanese rockers the pillows, known as 'Mr.Children & the pillows new big bang tour ~This is Hybrid Innocent~'. The tour was held from September 26, 2006 through October 11, 2006. On November 15, 2006, the group released their 29th single , which was used as the theme song , by NTV, a controversial television drama about underage pregnancy. Kazutoshi Sakurai had begun writing the song in February 2006 and finished writing in March 2006. and shot the promotional video in September 2006. One of the b-sides of single was a re-recording of Mr. Children's 2003 song "Kurumi", used as a theme song in the movie . 2007 On January 24, 2007, the band released their 30th single, , which was used as the theme song for the movie , and while only a limited edition single, brought the group to 26 consecutive No. 1 singles. Shortly after, the 13th original album, Home, was released on March 14, which would become the group's first in almost 13 years to chart at No. 1 for two consecutive weeks. It was also the first Japanese album in 2007 to sell more than a million copies. Work on the record had come to a standstill, during the recording of the song "Houkiboshi", due to a dispute among the group over "Home"'s direction. Producer Kobayashi suggested to make an album that "pays attention to the world with a message". The album reflected a more personal touch from the group, with talking about the 9/11 attacks at New York City, and , being inspired by Kazutoshi Sakurai father who had been sick. The title of the album, Home, was originally suggested to be titled "Home Made" or "Home Ground", because the group wanted the album to have the meaning that it was made by hand. However, they choose to name it just Home because they felt that by adding another word it would be limiting the idea in mind. Three days after the release of Home, Mr. Children won the awards Best Video of the Year and Best Group Video for the single "Shirushi" at the Space Shower Music Video Awards '07. For the album, the group held two promotional tours. The first half called Mr. Children Home Tour 2007, started on May 4 and lasted until June 23. During the tour, a new compilation album titled B-Side was released on May 10, which was also the group's 15th anniversary. The release of a B-side compilation had been suggested by singer Sakurai while working on Home: Releasing a public statement on their official site at Toy's Factory, both the group and Sakurai felt that the A-side tracks on their singles had started to dictate and overall theme as to who Mr. Children were as a group. They felt a lot of feelings and desires which have shaped them as a group came from these coupling songs, and thus decided to release them as a compilation album. On May 5, 2007, after the second concert for the first half of the Home tour, drummer Hideya Suzuki injured his hand after accidentally touching a ventilator. He injured his left index finger, which required four stitches and the following two concerts had to be rescheduled. Publicity for the tour reached a high, when they performed in front of a sold-out tour for 15,000 fans at Yokohama Arena on June 7, 2007 and reignited speculation that the Mr.Children phenomenon was alive and well. A second half of the tour to promote 'Home', titled Mr.Children Home Tour 2007 -In the Field- took place from August 4 to September 30. Both tours ended up being a big success for the group, and became the most attended Japan tour in 2007 at 550,000 fans. The main promotional track for the Home album, , was selected to promote the Olympus E-410. During the E Goes to World campaign, the camera manufacturer had customers submit pictures to create a new promotional video for the song. On July 10, Mr. Children announced a new song on their website titled . While initially a single release date wasn't issued, the group announced a month later it would be released on October 30, 2007. The title track, "Tabidachi no Uta", was used as a theme song for the Japanese movie , and a month later also be used to promote NTT Higashi Nihon. With the release of the single, Mr. Children managed to debut at number 1 for the week and in return obtained their 27th consecutive number 1 single. Similar to Jyūyonsai no Haha before, the movie Koizora deals with the struggles of a young girl, involving betrayal, rape and abortion. The group was scheduled to play at the ap bank fes '07 from July 14 to July 16, but due to a typhoon, the first two days had to be canceled, and only the final day proceeded as planned. With the announcement of the new single, Mr.Children also announced the 'Home' tour 2007 DVD, which was released on November 14, 2007. On December 18, 2007, Oricon announced that Home became their first album to top the yearly album charts since their debut with the sales of 1.18 million copies, surpassing the sales of Kumi Koda's album Black Cherry of 1.02 million copies. 2008 For the beginning of 2008, Sakurai released an album and DVD with his solo project Bank Band, followed a month later by the official announcement of a new song, , used in the NHK Japanese television drama . Afterwards Mr. Children announced the release of two singles. The first, "Gift", released on July 30, 2008, was used as the official theme song to the 2008 Beijing Olympics coverage on NHK. When writing this song, Sakurai focused on the meaning behind the Olympics and wanted to write a song not just for those who win, but for everyone who participates. The ap bank announced that Mr.Children would appear for all 3 days at ap bank fes '08. Their second single of the year, "Hanabi", released on September 3, 2008, was used as the theme song to the Japanese drama Code Blue, in which Tomohisa Yamashita played a main role. The single "Hanabi" topped the Oricon single charts for two weeks, becoming their 29th consecutive number-one single. However, their next single became their first download-only single for the music download market. The nun full-track ringtone downloads (Chaku Uta) of the song began on October 1 and the full-track downloads (Chaku Uta Full) began on November 1, 2008. Their studio album Supermarket Fantasy was released on December 10, 2008. Supermarket Fantasy sold about 708,000 copies in its initial week, debuting at the number-one position on the Oricon weekly album charts. 2009–2011 On October 20, 2009, it was announced that Mr. Children produced their first anime theme "Fanfare" for the movie One Piece Film: Strong World. "Fanfare" was digitally released as a non full-track ringtone song (Chaku Uta) on November 16 as a full-track ringtone song (Chaku Uta Full) on December 2, 2009. The song debuted at the number-one position on the RIAJ Digital Track Chart. On May 10, 2010, Mr. Children released the DVD Mr. Children Dome Tour 2009 Supermarket Fantasy in Tokyo Dome, but it sold about 49,000 copies one day before the official release day, debuting at No. 1 on the Oricon weekly music DVD chart with the one-day sales. It became their seventh consecutive number-one music DVD and they tied the records of Arashi and KAT-TUN for having the most consecutive number-one DVDs on the Oricon weekly music DVD chart. It also debuted at No. 1 on the Oricon weekly comprehensive DVD chart, eclipsing the sales of Avatar in the week. It topped the Oricon comprehensive DVD charts for three consecutive weeks, making them the second artist to achieve that with the music DVD while the first is Arashi. On September 4, 2010, Mr. Children released their second documentary/concert movie Mr. Children / Split the Difference (since first "Es" ~Mr. Children in Film~) and released DVD + CD includes the movie and selected songs by the band on November 10, 2010. It debuted at No. 1 on the Oricon weekly music DVD chart and they also became the first artist to have their eighth consecutive number-one music DVD. On December 1, 2010, Mr. Children released their sixteenth studio album Sense includes digital release only single "Fanfare". But the details such as track list, number of tracks, cover and title of the album were not announced until just before a release date, November 29. On April 4, 2011, Mr. Children released the download single "Kazoe Uta" to collect donations for the 2011 Tōhoku earthquake. "Kazoe Uta" debuted at number 1 on the RIAJ Digital Track Chart, surpassing the download sales of AKB48's charity single "Dareka no Tame ni (What Can I Do for Someone?)". 2012 On April 18, 2012, Mr. Children released the triple A-side single "Inori (Namida no Kidou)/End of the Day/Pieces", their first in three years and seven months; the single debuted at number one on the Oricon Weekly Singles Chart, selling 174,409 copies. Two of the songs, "Inori (Namida no Kidou)" and "Pieces", were used as the themes to the Bokura ga Ita movies. In addition, "Inori (Namida no Kidou)" spent four weeks atop the RIAJ Digital Track Chart, tying the record set by GReeeeN's "Haruka". Also released on April 18 was the band's Mr. Children 2011 Tour Sense: In the Field DVD, which debuted at number one on both the Oricon DVD and Blu-ray charts, making Mr. Children the first artist to top three of Oricon's charts in a single week. On May 10, 2012, Mr. Children released a pair of best-of albums titled Mr. Children 2001–2005 ＜micro＞ and Mr. Children 2005–2010 ＜macro＞ in celebration of their 20th anniversary. The band also embarked on a 2-month dome tour, titled "Popsaurus 2012", after the series of concerts they held in 2001 following the release of their first two best-of albums. On November 28, 2012, Mr. Children released new album titled (An Imitation) Blood Orange. At the end of the year, Mr. Children monopolized the yearly album ranking, with all three of their albums in the top 10. Their dual best-of albums Mr. Children 2005–2010 ＜macro＞ and Mr. Children 2001–2005 ＜micro＞ were the top two best-selling albums of 2012, selling 1.17 million copies and 1.11 million copies, respectively. Moreover, (An Imitation) Blood Orange placed eighth on the best-selling albums of 2012 list. They achieved both the highest-selling album and highest-selling artist for 2012. Mr. Children became the third artist to have achieved top two spots on the yearly album ranking, also making it the first time in 14 years that any artist achieved this. Mr.Children was the 4th artist by total sales revenue in Japan in 2012, with ¥9.947 billion (approximately $84 million). 2014 On November 19, 2014, Mr. Children released the CD single "Ashioto (Be Strong)". 2020 On December 2, 2020, Mr. Children released their 20th studio album Soundtracks. Photographers The band has collaborated with photographers such as Osami Yabuta, Reylia Slaby and Alfie Goodrich Oricon Chart statistics Artist's Total sales (CD Total Sales) : 58.61 million copies sold ( #2 most selling artist) No.1 on Oricon Year-End Charts: 1994 ("innocent world"); 1996 ("Namonaki Uta"), 2007 (HOME), 2012 (Mr.Children Macro 2005-2010) Double Million Seller Singles: 2nd overall (1st - CHAGE and ASKA) Million Seller Singles: 3rd overall (1st - B'z, 2nd - AKB48) Million Seller Albums: 2nd overall (1st - B'z, 3rd - DREAMS COME TRUE) The most non tie up Single sales : 1.82 million copies sold (by「See Saw Game」) Won Japan Record Grand Prix in 1994 for "innocent world" and won it again 10 years later for "Sign" Charitable and other activities Since their official debut, Mr.Children has engaged in social and charitable causes. As a group they participated in the live concert for Act Against AIDS on December 1, 1994 and again on December 1, 1995. The goal of live was to raise awareness about AIDS. The proceeds from the event were donated to support children living with HIV. The live was followed up by a collaboration Act Against AIDS charity single with fellow Japanese artist Kuwata Keisuke titled ‘Kiseki no hoshi’ and released on January 23, 1995. On April 25, 2001 Kazutoshi Sakurai also participated in the recording of Zero Landmine, a single created to promote awareness of the problem of landmines and promote a ban on landmines. In addition the group has also participated in Kazutoshi Sakura's solo project, AP bank. AP Bank, a nonprofit lending group, carries the goal of tackling environmental problems by financing environmentally friendly projects such as renewable energy, in addition to holding yearly festivals to raise money to fund additional projects. Since its inception in 2005, Mr.Children has been actively participating in the festivals, with an announcement in 2008 that the group will now work more closely with its cause by participating during the entire three-day festival duration in addition to further details to be announced at a later time. Members Kazutoshi Sakurai and Kenichi Tahara joined together to create Acid Test for the concert ‘Dream Power John Lennon Super live broadcasting’ on October 9, 2001. The live was part of Yoko Ono’s Dream Power and educational platform where artists came together to hold a charity concert to raise money for school construction funds for children in Africa and Asia. The John Lennon song covered by Acid Test during the live, "Mother", was later recorded and released on a tribute album Happy Birthday, John, and released on September 30, 2005. In addition to social causes, Mr.Children's music has been used as background music for numerous television advertisements, television programs, television drama's, and motion pictures. Examples of the group's commercial tie-ins include "and I love you", "Bokura no Oto", and "Tagatame" for Nissin Cup Noodle no Border commercials, 'Gift' for the 2008 Beijing Olympics on NHK, and "Tabidachi no uta" for the 2007 Japanese movie . As a group, Mr.Children have not endorsed products by physically appearing in television commercials or printed media advertisements. One of the methods used to help promote the group is through Brajackets, a dust jacket for books, which are available at stands in bookstores for free. The Brajacket serve as free advertising for various products from ice cream to movies and musicals. Mr. Children have used this method to promote singles and albums; for example and I Love U (I♥U). Fan club The official fan club of Mr. Children is called Father & Mother, the title being derived from their name. The fan club, which started in 1994, was kept relatively secretive at first, as the group has never made any mention of it on their official website. In 2006, for the release of the group's 29th single "Shirushi", the official website was revamped and with it information about the fan club was finally added. Just like before however, the fan club can only be joined by mail and requires an admission fee of 3,500 yen, with yearly re-applications for membership. Band members Current members Kazutoshi Sakurai – lead vocals, guitar, primary songwriter Kenichi Tahara – guitar, backing vocals He was born in Fukuoka and is charge of playing guitar in the band. He had joined the baseball team in high school but became interested in the guitar because he saw his classmate playing a guitar at a school festival. One day one of his classmates, Kazutoshi Sakurai brought his guitar to school. They bonded with each other over it and that became the catalyst for forming Mr.Children. Known for being quiet in live concerts, his fans become estatic when he says interacts with them. Keisuke Nakagawa – bass guitar, backing vocals Nakagawa was born in Nagasaki. His nickname is "Nakakei". He went to the same junior high school as Kenichi and Hideya where he started playing the bass. He is also famous for being a baseball fan. Hideya Suzuki – drums, backing vocals, also known as "Jen" and is the leader of Mr. Children Supporting members Takeshi Kobayashi – keyboards, producer Naoto Inti Raymi – guitar, chorus Takashi "Sunny" Katsuya – keyboards, backing vocals Shuji Kouguchi – guitar, harmonica Discography Albums * Compilation album.** Live album Bibliography [es] Mr.Children in 370 DAYS (April 25, 1995) C0076 Mr.Children Everything 天才・桜井和寿 終わりなき音の冒険 (Mr.Children Everything -Tensai Sakurai Kazutoshi owarinaki oto no bouken-) (December 25, 1996) C0073 Mr.Children詩集「優しい歌」 (Mr.Children song collection -Yasashii Uta-) (December 10, 2001) C0092 Tours '92 Everything Tour (September 23, 1992 – November 5, 1992) Visited 10 cities and held 10 concerts '92 Your Everything Tour (September 26, 1992 – November 22, 1992) Visited 11 cities and held 12 concerts '92–93 Kind of Love Tour (December 7, 1992 – January 25, 1993) Visited 9 cities and held 9 concerts '93 Versus Tour (September 23, 1993 – November 5, 1993) Visited 9 cities and held 9 concerts Mr. Children '94 tour innocent world (September 18, 1994 – December 18, 1994) Visited 24 cities and held 27 concerts Mr.Children '95 Tour Atomic Heart (January 7, 1995 – February 20, 1995) Visited 10 cities and held 21 concerts (July 16, 1995 – September 10, 1995) Visited 11 cities and held 19 concerts Regress or Progress (August 24, 1996 – March 28, 1997) Visited 14 cities and held 55 concerts "Discovery" Tour '99 (February 14, 1999 – July 12, 1999) Visited 16 cities and held 42 concerts Mr. Children Concert tour Q (October 15, 2000 – February 24, 2001) Visited 13 cities and held 35 concerts Popsaurus Mr. Children (July 15, 2001 – September 25, 2001) Visited 10 cities and held 15 concerts Wonderful World on Dec. 21 (December 21, 2002) A one night live. Originally intended to be a 26 city and 39 concert tour, but was canceled due to Kazutoshi Sakurai's hospitalization (June 12, 2004 – September 25, 2004) Stadium Tour, Visited 11 cities and held 21 concerts Dome tour 2005 "I ♥ U" (November 12, 2005 – December 27, 2005) Dome Tour, Visited 5 cities and held 10 concerts Mr. Children & the pillows new big bang tour ~This is Hybrid Innocent~ (September 26, 2006 – October 11, 2006) Hall tour, Visited 6 cities and held 7 concerts. The tour, a Zepp tour, was a joint effort with fellow rock group the pillows Mr. Children "Home" Tour 2007 (May 4, 2007 – June 23, 2007) Arena tour, Visited 7 cities and held 14 concerts Mr. Children "Home" Tour 2007 -in the field- (August 4, 2007 – September 30, 2007) Stadium tour, Visited 9 cities and held 14 concerts " (Feb 14, 2009 – March 31, 2009) Arena Tour, Visited 17 cities and held 34 concerts Mr.Children DOME TOUR 2009 ~SUPERMARKET FANTASY~ (November 28, 2009 – December 27, 2009) Dome tour, Visited 5 cities and held 11 concerts Mr.Children Tour 2011 SENSE (February 19, 2011 – May 15, 2011) Arena Tour, Visited 9 cities and held 19 concerts Mr.Children STADIUM TOUR 2011 SENSE -in the field- (August 20, 2011 – September 25, 2011) Stadium tour, Visited 6 cities and held 10 concerts MR.CHILDREN TOUR POPSAURUS 2012 (April 14, 2012 – June 6, 2012) Dome tour, Visited 6 cities and held 14 concerts Mr.Children [(an imitation) blood orange] Tour (December 15, 2012 – June 9, 2012) Dome tour, Visited 20 cities and held 40 concerts Mr.Children FATHER&MOTHER 21st anniversary Fanclub Tour (September 17, 2014 – October 9, 2014) Zepp tour, Visited 5 cities and held 5 concerts Mr.Children TOUR 2015 REFLECTION (March 14, 2015 – June 4, 2015) Arena Tour, Visited 10 cities and held 20 concerts (July 8, 2015 – September 20, 2015) Stadium tour, Visited 10 cities and held 16 concerts (April 15, 2016 – November 21, 2016) Hall Tour, Visited 28 cities and held 28 concerts Note: It is the first time in 14 years to hold Hall tour since 2002 (March 4, 2017 – May 12, 2017) Hall Tour, Visited 13 cities and held 14 concerts Mr.Children DOME & STADIUM TOUR 2017 Thanksgiving 25 (June 10, 2017 – September 9, 2017) Dome and Stadium Tour, Visited 9 cities and held 15 concerts (October 6, 2018 – February 2, 2019) Arena Tour, Visited 13 cities and held 26 concerts Note: Including the first overseas performance in Taiwan Mr.Children TOUR 2019 "Against All GRAVITY" (April 20, 2019 – June 2, 2019) Dome Tour, Visited 6 cities and held 11 concerts (April 23, 2022 – June 19, 2022) Dome and Stadium Tour, Visited 6 cities and held 12 concerts Awards and records See also Japanese rock Japan Record Awards MTV Video Music Awards Japan List of best-selling music artists in Japan List of best-selling singles in Japan Footnotes a. Early on in the group's career, Takeshi Kobayashi collaborated with Kazutoshi Sakurai on various songs in addition to writing songs himself. For example, "Dance dance dance" on the album Atomic Heart was co-composed by him, and on the album Versus, was both composed and written by him. Over the years, his composing and lyrical work with the group has lessened with the last a-side track co-written by him and Kazutoshi Sakurai being which was released on December 12, 1994 . References External links Official website Mr. Children at Toy's Factory Innocent World – Unofficial English translations of Mr. Children news and articles Mr. Children English Fansite – Unofficial English translations of Mr. Children lyrics, guitar tabs and album reviews Category:Toy's Factory artists Category:Japanese pop rock music groups Category:Musical groups from Tokyo Category:Musical quartets Category:Musical groups established in 1988
[]
[ "In 1998, the musical group Mr. Children released their 14th single \"Nishi e Higashi e\" on February 11, which was used as the theme song for the Japanese drama Kira kira Hikaru. At that time, the group was on hiatus and didn't appear in live performances or the song's music video. They officially regrouped later in the year on October 21 and released their 15th single, \"Owarinaki Tabi\". This song was used as the theme song for the Japanese drama Naguru Onna.", "The context does not provide information on whether the singles \"Nishi e Higashi e\" and \"Owarinaki Tabi\" released in 1998 were a success.", "In 1999, Mr. Children released their 16th single, \"Hikari no Sasu Hou E\" on January 13, followed by their seventh album, Discovery, on February 3. Sakurai compared his songwriting for the album to surfing. The group then started the Discovery Tour '99 on February 14 which ran until July 12, during which they visited 16 cities and held 42 shows. Their 17th single \"I'll Be\" was released on May 12, which was also used in Shiseido's Sea Breeze commercials. It was initially included in the Discovery album but re-released as a single, though it didn't achieve commercial success. During the tour, the idea for a live album was suggested, resulting in the limited edition release of 1/42 on September 8. This was a recording of one of the tour shows, most of it taken from the June 16 show at Makomanai ice arena, with a bonus track from the Okinawa Ginowan-Shi seaside park.", "The context does not provide information on Mr. Children winning any awards in 1999.", "Yes, some interesting aspects include how the band's approach to their music has been compared to surfing, the poor performance of the single \"I'll Be\", the idea and creation of the live album 1/42 which was a limited edition, and the release of their 18th single \"Kuchibue\" in 2000 which was a hit and sold 724,070 copies. Another noteworthy point is that despite the group’s hiatus, their music continued to be used as theme songs for Japanese dramas. Finally, the band’s travel to New York to record their 9th album \"Q\" and the involvement of producer Takeshi Kobayashi in performing with the band for the first time on a recording are also interesting." ]
[ "Yes", "Yes", "Yes", "Yes", "No" ]
C_cc47c7df2d994d02b905ef7002dc163a_1
Mr. Children
Mr. Children (misutachirudoren, Misuta Chirudoren), commonly referred to by their contracted nickname "Misu-Chiru" (misuchiru)) is a Japanese pop rock band formed in 1989 by Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki. They made their major debut in 1992. As a group, they are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 50 million records and creating the "Mis-chil Phenomenon" (misuchiruXian Xiang ) in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single "Namonaki Uta" (Ming monakiShi ), have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign".
1995-1997
In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2. Mr. Children also became involved in charity work, doing a collaboration song with Keisuke Kuwata of Southern All Stars. The single "Kiseki no hoshi" (Qi Ji noDi Qiu ) was used as the theme song for the Act Against AIDS campaign, was produced by Mr. Children and written by Kuwata. To promote the single and the campaign, they held a one-month tour from April 18 until May 14, entitled Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Kiseki no hoshi (Live UFO '95 Rock Opera "Acoustic Revolution with Orchestra" Qi Ji noDi Qiu ), where the group did cover songs of many English speaking artists such as The Rolling Stones and Bob Dylan. During the tour the group was also filming a documentary/concert movie called Es ~Mr. Children in Film~. It was released in theaters on June 6, 1995, preceded by the group's eight single "Es (Theme of Es)" on May 10, to promote the movie. Two months later the group held an open air tour titled -Hounen Mansaku- Natsu matsuri tour Sora [ku:] (-Hounen Mansaku- Xia Ji ri1995 Kong [ku:]) from July 16 to September 10, during which the ninth single, "See-Saw Game (Yukan na Koi no Uta)" (shisogemu ~ Yong Gan naLian noGe ~ ) was released on August 10. On February 6, 1996 Mr. Children's tenth single "Namonaki Uta" (Ming monakiShi ) was released, to promote the Japanese drama Pure (piyua) and also for Daio Paper's Elleair (erieru) commercial. The single went on to become Japan's highest first week selling single of all time (which was later broken by idol group AKB48) and is currently Japan's eighth highest selling drama tie-in single. The success of the single was also a surprise for Sakurai, who admitted to spending very little time writing the song. Two months later, on April 5, 1996 the group's eleventh single "Hana (Memento Mori)" (Hua -Memento-Mori-) was released, followed by their fifth original album Shinkai (Shen Hai ) on June 24 and their twelfth single "Machine Gun o Buppanase (Mr. Children Bootleg)" (mashinganwobutsuFang se -Mr.Children Bootleg-), on August 8. To close the year, the Regress or Progress Tour started and lasted from August 24, 1996 to March 28, 1997. The group visited 14 cities and held 55 concerts. Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama Koi no Bakansu (Lian nobakansu). A month later, on March 5 Bolero, Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding. Sakurai's reply: "The band will dissolve only when we have no more talent and have relationship problems with each other." Yet the group then decided to take some time off. Nakagawa and Suzuki start a side project band called Hayashi Hideo, and joined by Kenji Fujii from My Little Lover and Sawao Yamanaka from The Pillows, went on a club tour. CANNOTANSWER
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[ "What happened in 1995?", "was the tour successful?", "did they produce any albums?", "was it successful?", "did they produce anything else?" ]
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, commonly referred to by their contracted nickname , are a Japanese pop rock band formed in 1989. Consisting of Kazutoshi Sakurai, Kenichi Tahara, Keisuke Nakagawa, and Hideya Suzuki, they made their major label debut in 1992. They are one of the best selling artists in Japan and one of the most successful Japanese rock artists, having sold over 75 million records and creating the in the mid-1990s in Japan. They held the record for the highest first week sales of a single in Japan for 15 years, with 1.2 million copies of their 10th single , have 30 consecutive number 1 singles, replaced Glay as the all-male band (with 3 or more members) to have the most number 1 albums on the Oricon charts, and won the Japan Record Award in 1994 for "Innocent World" and in 2004 for "Sign". As of 2012, Mr. Children has published fifteen original studio albums and 34 physical singles, along with five compilations, a live album, and fifteen home video releases. The band's music is mainly composed and written by lead singer Sakurai, with the exception of the Suzuki-penned songs "Asia" and "#2601" from the albums Atomic Heart and Discovery, and occasional collaborative song writing with producer Takeshi Kobayashi. In 2012 they celebrated their 20th debut anniversary by releasing dual best album titled Mr. Children 2001–2005 ＜micro＞ and Mr. Children 2005–2010 ＜macro＞. Both albums dominated the best-selling album category in the 2012 Oricon yearly chart, selling over 2.5 million copies. Mr.Children has become the third artists who achieved TOP 2 spots on the yearly album ranking, and this is the first time in 14 years for any artist to achieve this. Moreover, [(An Imitation) Blood Orange], an album of new material released in November 2012, debuted No.1 on the Oricon Chart—at the end of the year, all three albums released that year were in the Top 10 best selling albums of 2012. In 2015, Mr. Children was named No.1 Concert Mobilization Power Ranking based on the overall number of people whom attended their performances during 2015 in Japan, mobilizing 1,119,000 fans (36 concerts). History 1987–1992 The group's members first met in the year of 1987, when Sakurai, Tahara and Nakagawa were in The Walls, which was originally influenced by the band Echoes. The frontman of Echoes, Jinsei Tsuji, was a political activist, and because of this, The Walls too became a political band. Drummer Hideya Suzuki was not an original member of The Walls. When the original drummer departed, the band recruited Suzuki, who went to the same school as the other members. In late 1988, The Walls disintegrated, while the remaining members formed Mr. Children in early 1989. The name of Mr. Children supposedly came about during a talk at a dinner where the group thought the word "children" had a nice ring to it, but because they were no longer children themselves, they decided to add Mr. in front of it. They credit this change as a new way they started to look at the group. After changing their name and overall sound, Mr. Children auditioned at a music club called La Mama, failing to pass the first time, but passing a second audition to play at the club. After playing in the club, they were asked to try and debut as professionals. Mr. Children sent out five demo tapes; all failed to generate record label interest, and the group took a three-month hiatus in 1991. Hideya Suzuki worked as a receptionist at an economy hotel, while Kazutoshi Sakurai worked with his father who owned a construction company. When they returned, the group created a sixth demo tape and caught the attention of Toy's Factory. The label signed the group and had them play as the opening act for the rock group Jun Sky Walkers. It was also during this time that they were introduced to their long-time friend and producer Takeshi Kobayashi. Kobayashi was already known in the music industry as a music composer for Keisuke Kuwata of Southern All Stars and Kyōko Koizumi. 1992–1994 On May 10, 1992, Mr. Children's debut album, Everything, was released and represented the long journey they took to get to this point. Three months later their first single was released on August 21, 1992. After the release of the single the group held two tours for the album, both held between September 23, 1992 and November 5 of the same year, the '92 Everything Tour comprising ten and the '92 Your Everything Tour consisting of twelve performances. To cap off the year and lead them into the next, Mr. Children released their second album, Kind of Love and their second single on December 1, 1992. "Dakishimetai" was later used as an insert song for the Japanese drama . Shortly after, a new tour called '92–93 Kind of Love Tour started and lasted from December 7, 1992 till January 25, 1993. In 1993, with the completion of the band's tour they began work on for their third album. The first single of the new year to be released was "Replay", released on July 1, 1993 and used in commercials. On September 9, 1993 their third album Versus was released, but failed to bring the group into the spotlight. They continued on and held a new tour. The '93 Versus Tour was held from September 23 until November 5 and had the band holding nine performances. Shortly after, "Cross Road" was released on November 10, 1993, which was used to promote the Japanese drama . The single was not a hit, but through word of mouth "Cross Road" gained popularity and after 22 weeks sold over a million copies and later, though released in 1993, managed to become the fifteenth best selling single in Oricon's 1994 yearly charts. Sakurai confessed years later as to not liking his works up to this point. According to him: On June 1, 1994 a new single called "Innocent World" was released and used a promotional song for the soft drink . The single solidified the groups popularity with its sales, managing to sell 1,935,830 copies and becoming the No. 1 selling single in Oricon's 1994 yearly charts. Afterwards work began on their fourth original album Atomic Heart. The album was released on September 1, 1994 and became the band's highest selling album to date. Due to the huge success the band received from the album and "Innocent World" single, the groups popularity built up creating the in Japan. The band also had Takeshi Kobayashi produce two new tours for them. The first tour, named after the "Innocent World" single was held from September 18 to December 18. The band also released their sixth single "Tomorrow Never Knows" on November 10, 1994 which was used as the theme song to the Japanese drama . The song was written while the group was on tour, was later voted in 2006 as fans No. 1 all-time favorite song on Music Station, and is currently the third highest selling drama tie-in single in Japan. The next single, was released on December 12, 1994, though originally intended to be the B-side of "Tomorrow Never Knows". To end the year, "Innocent World" won the Song of the Year award at the 36th annual Japan Record Awards. 1995–1997 In 1995, the second half of the Atomic Heart tour started, lasting from January 1 to February 2. Mr. Children also became involved in charity work, doing a collaboration song with Keisuke Kuwata of Southern All Stars. The single was used as the theme song for the Act Against AIDS campaign, was produced by Mr. Children and written by Kuwata. To promote the single and the campaign, they held a one-month tour from April 18 until May 14, entitled , where the group did cover songs of many English speaking artists such as The Rolling Stones and Bob Dylan. During the tour the group was also filming a documentary/concert movie called Es ~Mr. Children in Film~. It was released in theaters on June 6, 1995, preceded by the group's eight single "Es (Theme of Es)" on May 10, to promote the movie. Two months later the group held an open air tour titled from July 16 to September 10, during which the ninth single, was released on August 10. On February 6, 1996 Mr. Children's tenth single was released, to promote the Japanese drama and also for Daio Paper's commercial. The single went on to become Japan's highest first week selling single of all time (which was later broken by idol group AKB48) and is currently Japan's eighth highest selling drama tie-in single. The success of the single was also a surprise for Sakurai, who admitted to spending very little time writing the song. Two months later, on April 5, 1996 the group's eleventh single was released, followed by their fifth original album on June 24 and their twelfth single , on August 8. To close the year, the Regress or Progress Tour started and lasted from August 24, 1996 to March 28, 1997. The group visited 14 cities and held 55 concerts. Mr. Children's 13th single, "Everything (It's You)", was released on February 5, 1997, with the title track used as the theme song to the Japanese drama . A month later, on March 5 Bolero, Mr. Children's sixth album was released. Soon after, rumors started of the group disbanding. Sakurai's reply: "The band will dissolve only when we have no more talent and have relationship problems with each other." Yet the group then decided to take some time off. Nakagawa and Suzuki start a side project band called Hayashi Hideo, and joined by Kenji Fujii from My Little Lover and Sawao Yamanaka from The Pillows, went on a club tour. 1998–2000 On February 11, 1998, they released their 14th single , theme song to the Japanese drama . The group was still on hiatus during this time and made no live performances to promote the single and did not appear in the music video for the song. Finally on October 21, 1998, Mr. Children officially re-grouped and released their 15th single, with the Japanese drama using it as their theme song. The song remains a public favorite in voting polls, Oricon citing its inspirational lyrics as the reason. On January 13, 1999, , their 16th single, was released, followed by their seventh album, Discovery, on February 3, 1999. Sakurai compared his approach to the songwriting for the record to surfing: Eleven days later they began the Discovery Tour '99, from February 14 to July 12, where the group visited 16 cities and held 42 shows. During the tour, Mr. Children released their 17th single "I'll Be" on May 12, which was used in Sea Breeze commercials. Though originally released on the Discovery album, the song was re-released as a single with a lighter beat. The single was not a success and became Mr. Children's lowest selling single since "Cross Road". During the Discovery Tour '99, an idea for a live album was brought up. It was released as a 500,000 copy limited edition on September 8, 1999 and called 1/42 (referring to one of the 42 shows in the tour). Most of the tracks were recorded on June 16, 1999 at the Makomanai ice arena, while the bonus track "Dakishimetai" was recorded at the Okinawa Ginowan-Shi seaside park. At the beginning of a new century , released on January 13, 2000 became the group's 18th single. While "I'll Be" failed to be a success, "Kuchibue" proved to be a hit selling 724,070 copies. On August 9, 2000, their 19th single "Not Found" was also used as the theme song to the Japanese drama , followed a month later by their 9th original album Q on September 27, 2000. The band went to New York to record this album, where they re-recorded some of their old indie material and for the first time, producer Takeshi Kobayashi performed with the band on a recording. The cover for the album was shot bought Size, Inc. at the Bonneville Salt Flats in the United States. The album was not a favorite amongst fans for various reasons and became their first album since Atomic Heart to not sell over one million copies. ‘Concert tour Q’ started, visiting 13 cities and holding 35 concerts between October 15, 2000 and February 24, 2001. 2001–2003 In 2001, Mr. Children continued their Q tour, followed by dual "Best Of" albums. Titled Mr. Children 1992–1995 and Mr. Children 1996–2000, they were both released on July 11, 2001. Both albums went on to sell a combined total of 4,034,785 copies. According to an interview done with MTV Japan Sakurai stated the best of albums weren't something they had planned on doing yet. During this time, the group was finishing up work for their new upcoming album and had planned to start promoting singles on it. However it was decided that a best of album was needed and so they were released. Four days following the dual album release, the group launched the ‘Popsaurus’ tour, visiting 10 cities and playing 15 shows, lasting from July 15, 2001 all the way through September 25, 2001. A month into the tour their 20th single was released and used to promote the Wonda Canned Coffee by Asahi Soft Drinks. Two months after the Popsaurus tour ended, "Youthful Days" was released. Released on November 7, 2001, it was their 21st single and was an insert song for the Japanese drama Antique Bakery. "Youthful Days" debuted at number-one on Japanese Oricon's Charts in its first week at retail (ahead of Mr. Moonlight (Ai no Big Band) by Morning Musume, from album 4th Ikimashoi!), and It ended up being their best selling single for the year. The b-side for the single, "Drawing", originally had no commercial tie-in, but two years later was used as the theme song to the 2003 Japanese drama , Starring former Shibugakitai member Masahiro Motoki. Mr. Children released their 22nd single on New Year's Day of 2002 (January 1), which was used as a show song in the Japanese drama Antique Bakery. Four months later their tenth original album It's a Wonderful World was released on May 10, the groups' tenth anniversary. The release of the album on their 10th anniversary was not something that had originally intended. As the group was wrapping up recording, Sakurai asked if the album could be released in the spring time. While the group and their management was trying to think of how to promote an album in the spring time, they came up with releasing the album on their 10th anniversary. A new tour, titled Mr. Children Tour 2002 Dear Wonderful World was set to begin later that year. The previous single "I'll Be" from the Discovery album was selected to be used as an official theme for the 2002 FIFA World Cup, held in Japan and South Korea. On May 24, 2002 Mr. Children attended the first ever MTV Video Music Awards Japan and topped the awards show by winning 'Video of the Year' for the song "Kimi ga suki", the band also nominated in Best Group Category but losing to Backstreet Boys. Two months after the release of the new album, Mr.Children's 23rd single "Any", was released on July 11, 2002 and used to promote NTT DoCoMo Group 10th Anniversary. The group was not able to properly promote the single. As preparations for the new tour were beginning and promotion for the new single were being done, lead singer Sakurai was hospitalized on July 21, 2002, after a blockage in his cerebellum was detected. The Mr. Children Tour 2002 Dear Wonderful World was canceled and all group activities were put on a temporary hiatus. While recovering, Sakurai wrote a song called "Hero", that was inspired by his hospitalization. The song was released as the group's 24th single on December 11, 2002 and was used in NTT DoCoMo Group 10th Anniversary commercial. The first press version of the single included a DVD where, in addition to a Mr. Children 2002 documentary -Hero- that was aired, the singer talked about his hospitalization and inspiration for the song. On November 15, 2002 Mr.Children's website announced the band's return to the stage for a "stew of home pride" with a one night only live, December 21, 2002 the group returned to the stage for a single concert, later released on DVD, titled Wonederful World on Dec. 21. The group remained quiet for most of 2003. Sakurai helped to launch Artists' Power Bank (AP Bank), a non-profit environmental financial institution, in June. Sakamoto Ryuichi, a well known composer, came up with the initial idea to build a wind-power plant. With the help of Sakurai and music producer Takeshi Kobayashi, their goal later became to invest in environmentally friendly projects, such as renewable energy, and as of 2007, participated in other social issues such as helping the victims of a Chuetsu offshore earthquake in Niigata Prefecture on July 16, 2007. Near the end of the year, Mr. Children re-grouped and released their 25th single . It became their first double a-side single with "Tenohira" receiving no commercial tie-in, and "Kurumi" used to promote . The single was a hit and became Mr.Children's best selling single since 2001's "Youthful Days" single. 2004–2006 In 2004, Sakurai started a solo project titled Bank Band, which became a spin-off of AP Bank. As Bank Band, Sakurai released a first album, titled , which contained covers of two Mr. Children songs, "Hero" and "Yasashii Uta". Mr. Children released their eleventh album on April 4, 2004, titled , which came with a documentary DVD showing the group working and talking about the concept behind the album. To help promote the album, Mr. Children used the song in 'Nissin Cup Noodle – NO Border' commercials and as the 'News 23' theme song. According to Sakurai, is In the following month, they released their 26th single, "Sign", on May 26, which was used as the theme song to the Japanese drama Orange Days and went on to win the Song of the Year award at the 46th annual Japan Record Awards ten years after their win for 'Innocent World'. Most of the 2005 was spent working on a new album. As a solo act, Kazutoshi Sakurai appeared at Golden Circle vol.7 on February 28, 2005. Finally on June 29, 2005 the group released their 27th single . The single became a monster hit selling 569,000 copies its first week, and ending with 925,632 copies sold. As a quad a-side single, all four songs had a commercial tie in. promoted 'Pocari Sweat', "and I love you" promoted 'Nissin Cup Noodle – NO Border', became the theme song for the Japanese movie 'Fly Daddy Fly', and was used as a promotional song for Fuji TV's educational program 'Kodomo bangumi Ponkikkiizu, Gachagachapon'. Even though it was released as a single, it was classified as an album by the Recording Industry Association of Japan. A month later the group attended Kazutoshi Sakurai's 3-day festival 'ap bank fes’ 05' from July 16, 2005 through July 18, 2005, followed by 'SETSTOCK '05' at Kokuei bihoku kyuuryou park on July 23, 2005 and 'Higher Ground 2005' at Umi no nakamichi kaihinkouen outdoor theater on July 30, 2005. Three months later on September 21, 2005, I Love U (I♥U), Mr.Children’s 12th original album, was released. Two months later Dome Tour 2005 'I Love U' began, running from November 12, 2005 through December 27, 2005 and were only the fourth artist in Japanese history to play at the Osaka, Tokyo, Sapporo, Nagoya and Fukuoka dome's. The tour ended in Tokyo Come where they played to 45,000 fans, bringing the tour total to almost 390,000 fans. By the end of the year the group managed to pass the 45 million mark in sold records. The first single for 2006, was their 28th single released on July 5, 2006 and used as the promotion song for Toyota's "Tobira wo akeyou" commercial and as the theme song to NTV's 2006 FIFA World Cup broadcasting. Due to the groups involvement with ap bank fes. '06, there were no magazine or radio promotions, and only 3 live performances were done to promote the single. However the commercial tie-in's for the single proved to be a success and "Houkiboshi" was voted No. 3 as the favorite commercial song for 2006 and voted as the favorite winter song heard in the summer. Ten days following the release of 'Houkiboshi', Mr.Children participated in the 3 day festival, ap bank fes '06, where they performed "Hero", "Strange Chameleon", "Owarinaki tabi", and "Hokiboshi". One month later Mr.Children were special guests at The Mujintou fes. 2006 and performed "Mirai", "Innocent world", "Hokorobi", "Sign", "Owarinaki tabi", "Worlds end", and "Houkiboshi". Shortly after Mr.Children announced a joint tour with fellow Japanese rockers the pillows, known as 'Mr.Children & the pillows new big bang tour ~This is Hybrid Innocent~'. The tour was held from September 26, 2006 through October 11, 2006. On November 15, 2006, the group released their 29th single , which was used as the theme song , by NTV, a controversial television drama about underage pregnancy. Kazutoshi Sakurai had begun writing the song in February 2006 and finished writing in March 2006. and shot the promotional video in September 2006. One of the b-sides of single was a re-recording of Mr. Children's 2003 song "Kurumi", used as a theme song in the movie . 2007 On January 24, 2007, the band released their 30th single, , which was used as the theme song for the movie , and while only a limited edition single, brought the group to 26 consecutive No. 1 singles. Shortly after, the 13th original album, Home, was released on March 14, which would become the group's first in almost 13 years to chart at No. 1 for two consecutive weeks. It was also the first Japanese album in 2007 to sell more than a million copies. Work on the record had come to a standstill, during the recording of the song "Houkiboshi", due to a dispute among the group over "Home"'s direction. Producer Kobayashi suggested to make an album that "pays attention to the world with a message". The album reflected a more personal touch from the group, with talking about the 9/11 attacks at New York City, and , being inspired by Kazutoshi Sakurai father who had been sick. The title of the album, Home, was originally suggested to be titled "Home Made" or "Home Ground", because the group wanted the album to have the meaning that it was made by hand. However, they choose to name it just Home because they felt that by adding another word it would be limiting the idea in mind. Three days after the release of Home, Mr. Children won the awards Best Video of the Year and Best Group Video for the single "Shirushi" at the Space Shower Music Video Awards '07. For the album, the group held two promotional tours. The first half called Mr. Children Home Tour 2007, started on May 4 and lasted until June 23. During the tour, a new compilation album titled B-Side was released on May 10, which was also the group's 15th anniversary. The release of a B-side compilation had been suggested by singer Sakurai while working on Home: Releasing a public statement on their official site at Toy's Factory, both the group and Sakurai felt that the A-side tracks on their singles had started to dictate and overall theme as to who Mr. Children were as a group. They felt a lot of feelings and desires which have shaped them as a group came from these coupling songs, and thus decided to release them as a compilation album. On May 5, 2007, after the second concert for the first half of the Home tour, drummer Hideya Suzuki injured his hand after accidentally touching a ventilator. He injured his left index finger, which required four stitches and the following two concerts had to be rescheduled. Publicity for the tour reached a high, when they performed in front of a sold-out tour for 15,000 fans at Yokohama Arena on June 7, 2007 and reignited speculation that the Mr.Children phenomenon was alive and well. A second half of the tour to promote 'Home', titled Mr.Children Home Tour 2007 -In the Field- took place from August 4 to September 30. Both tours ended up being a big success for the group, and became the most attended Japan tour in 2007 at 550,000 fans. The main promotional track for the Home album, , was selected to promote the Olympus E-410. During the E Goes to World campaign, the camera manufacturer had customers submit pictures to create a new promotional video for the song. On July 10, Mr. Children announced a new song on their website titled . While initially a single release date wasn't issued, the group announced a month later it would be released on October 30, 2007. The title track, "Tabidachi no Uta", was used as a theme song for the Japanese movie , and a month later also be used to promote NTT Higashi Nihon. With the release of the single, Mr. Children managed to debut at number 1 for the week and in return obtained their 27th consecutive number 1 single. Similar to Jyūyonsai no Haha before, the movie Koizora deals with the struggles of a young girl, involving betrayal, rape and abortion. The group was scheduled to play at the ap bank fes '07 from July 14 to July 16, but due to a typhoon, the first two days had to be canceled, and only the final day proceeded as planned. With the announcement of the new single, Mr.Children also announced the 'Home' tour 2007 DVD, which was released on November 14, 2007. On December 18, 2007, Oricon announced that Home became their first album to top the yearly album charts since their debut with the sales of 1.18 million copies, surpassing the sales of Kumi Koda's album Black Cherry of 1.02 million copies. 2008 For the beginning of 2008, Sakurai released an album and DVD with his solo project Bank Band, followed a month later by the official announcement of a new song, , used in the NHK Japanese television drama . Afterwards Mr. Children announced the release of two singles. The first, "Gift", released on July 30, 2008, was used as the official theme song to the 2008 Beijing Olympics coverage on NHK. When writing this song, Sakurai focused on the meaning behind the Olympics and wanted to write a song not just for those who win, but for everyone who participates. The ap bank announced that Mr.Children would appear for all 3 days at ap bank fes '08. Their second single of the year, "Hanabi", released on September 3, 2008, was used as the theme song to the Japanese drama Code Blue, in which Tomohisa Yamashita played a main role. The single "Hanabi" topped the Oricon single charts for two weeks, becoming their 29th consecutive number-one single. However, their next single became their first download-only single for the music download market. The nun full-track ringtone downloads (Chaku Uta) of the song began on October 1 and the full-track downloads (Chaku Uta Full) began on November 1, 2008. Their studio album Supermarket Fantasy was released on December 10, 2008. Supermarket Fantasy sold about 708,000 copies in its initial week, debuting at the number-one position on the Oricon weekly album charts. 2009–2011 On October 20, 2009, it was announced that Mr. Children produced their first anime theme "Fanfare" for the movie One Piece Film: Strong World. "Fanfare" was digitally released as a non full-track ringtone song (Chaku Uta) on November 16 as a full-track ringtone song (Chaku Uta Full) on December 2, 2009. The song debuted at the number-one position on the RIAJ Digital Track Chart. On May 10, 2010, Mr. Children released the DVD Mr. Children Dome Tour 2009 Supermarket Fantasy in Tokyo Dome, but it sold about 49,000 copies one day before the official release day, debuting at No. 1 on the Oricon weekly music DVD chart with the one-day sales. It became their seventh consecutive number-one music DVD and they tied the records of Arashi and KAT-TUN for having the most consecutive number-one DVDs on the Oricon weekly music DVD chart. It also debuted at No. 1 on the Oricon weekly comprehensive DVD chart, eclipsing the sales of Avatar in the week. It topped the Oricon comprehensive DVD charts for three consecutive weeks, making them the second artist to achieve that with the music DVD while the first is Arashi. On September 4, 2010, Mr. Children released their second documentary/concert movie Mr. Children / Split the Difference (since first "Es" ~Mr. Children in Film~) and released DVD + CD includes the movie and selected songs by the band on November 10, 2010. It debuted at No. 1 on the Oricon weekly music DVD chart and they also became the first artist to have their eighth consecutive number-one music DVD. On December 1, 2010, Mr. Children released their sixteenth studio album Sense includes digital release only single "Fanfare". But the details such as track list, number of tracks, cover and title of the album were not announced until just before a release date, November 29. On April 4, 2011, Mr. Children released the download single "Kazoe Uta" to collect donations for the 2011 Tōhoku earthquake. "Kazoe Uta" debuted at number 1 on the RIAJ Digital Track Chart, surpassing the download sales of AKB48's charity single "Dareka no Tame ni (What Can I Do for Someone?)". 2012 On April 18, 2012, Mr. Children released the triple A-side single "Inori (Namida no Kidou)/End of the Day/Pieces", their first in three years and seven months; the single debuted at number one on the Oricon Weekly Singles Chart, selling 174,409 copies. Two of the songs, "Inori (Namida no Kidou)" and "Pieces", were used as the themes to the Bokura ga Ita movies. In addition, "Inori (Namida no Kidou)" spent four weeks atop the RIAJ Digital Track Chart, tying the record set by GReeeeN's "Haruka". Also released on April 18 was the band's Mr. Children 2011 Tour Sense: In the Field DVD, which debuted at number one on both the Oricon DVD and Blu-ray charts, making Mr. Children the first artist to top three of Oricon's charts in a single week. On May 10, 2012, Mr. Children released a pair of best-of albums titled Mr. Children 2001–2005 ＜micro＞ and Mr. Children 2005–2010 ＜macro＞ in celebration of their 20th anniversary. The band also embarked on a 2-month dome tour, titled "Popsaurus 2012", after the series of concerts they held in 2001 following the release of their first two best-of albums. On November 28, 2012, Mr. Children released new album titled (An Imitation) Blood Orange. At the end of the year, Mr. Children monopolized the yearly album ranking, with all three of their albums in the top 10. Their dual best-of albums Mr. Children 2005–2010 ＜macro＞ and Mr. Children 2001–2005 ＜micro＞ were the top two best-selling albums of 2012, selling 1.17 million copies and 1.11 million copies, respectively. Moreover, (An Imitation) Blood Orange placed eighth on the best-selling albums of 2012 list. They achieved both the highest-selling album and highest-selling artist for 2012. Mr. Children became the third artist to have achieved top two spots on the yearly album ranking, also making it the first time in 14 years that any artist achieved this. Mr.Children was the 4th artist by total sales revenue in Japan in 2012, with ¥9.947 billion (approximately $84 million). 2014 On November 19, 2014, Mr. Children released the CD single "Ashioto (Be Strong)". 2020 On December 2, 2020, Mr. Children released their 20th studio album Soundtracks. Photographers The band has collaborated with photographers such as Osami Yabuta, Reylia Slaby and Alfie Goodrich Oricon Chart statistics Artist's Total sales (CD Total Sales) : 58.61 million copies sold ( #2 most selling artist) No.1 on Oricon Year-End Charts: 1994 ("innocent world"); 1996 ("Namonaki Uta"), 2007 (HOME), 2012 (Mr.Children Macro 2005-2010) Double Million Seller Singles: 2nd overall (1st - CHAGE and ASKA) Million Seller Singles: 3rd overall (1st - B'z, 2nd - AKB48) Million Seller Albums: 2nd overall (1st - B'z, 3rd - DREAMS COME TRUE) The most non tie up Single sales : 1.82 million copies sold (by「See Saw Game」) Won Japan Record Grand Prix in 1994 for "innocent world" and won it again 10 years later for "Sign" Charitable and other activities Since their official debut, Mr.Children has engaged in social and charitable causes. As a group they participated in the live concert for Act Against AIDS on December 1, 1994 and again on December 1, 1995. The goal of live was to raise awareness about AIDS. The proceeds from the event were donated to support children living with HIV. The live was followed up by a collaboration Act Against AIDS charity single with fellow Japanese artist Kuwata Keisuke titled ‘Kiseki no hoshi’ and released on January 23, 1995. On April 25, 2001 Kazutoshi Sakurai also participated in the recording of Zero Landmine, a single created to promote awareness of the problem of landmines and promote a ban on landmines. In addition the group has also participated in Kazutoshi Sakura's solo project, AP bank. AP Bank, a nonprofit lending group, carries the goal of tackling environmental problems by financing environmentally friendly projects such as renewable energy, in addition to holding yearly festivals to raise money to fund additional projects. Since its inception in 2005, Mr.Children has been actively participating in the festivals, with an announcement in 2008 that the group will now work more closely with its cause by participating during the entire three-day festival duration in addition to further details to be announced at a later time. Members Kazutoshi Sakurai and Kenichi Tahara joined together to create Acid Test for the concert ‘Dream Power John Lennon Super live broadcasting’ on October 9, 2001. The live was part of Yoko Ono’s Dream Power and educational platform where artists came together to hold a charity concert to raise money for school construction funds for children in Africa and Asia. The John Lennon song covered by Acid Test during the live, "Mother", was later recorded and released on a tribute album Happy Birthday, John, and released on September 30, 2005. In addition to social causes, Mr.Children's music has been used as background music for numerous television advertisements, television programs, television drama's, and motion pictures. Examples of the group's commercial tie-ins include "and I love you", "Bokura no Oto", and "Tagatame" for Nissin Cup Noodle no Border commercials, 'Gift' for the 2008 Beijing Olympics on NHK, and "Tabidachi no uta" for the 2007 Japanese movie . As a group, Mr.Children have not endorsed products by physically appearing in television commercials or printed media advertisements. One of the methods used to help promote the group is through Brajackets, a dust jacket for books, which are available at stands in bookstores for free. The Brajacket serve as free advertising for various products from ice cream to movies and musicals. Mr. Children have used this method to promote singles and albums; for example and I Love U (I♥U). Fan club The official fan club of Mr. Children is called Father & Mother, the title being derived from their name. The fan club, which started in 1994, was kept relatively secretive at first, as the group has never made any mention of it on their official website. In 2006, for the release of the group's 29th single "Shirushi", the official website was revamped and with it information about the fan club was finally added. Just like before however, the fan club can only be joined by mail and requires an admission fee of 3,500 yen, with yearly re-applications for membership. Band members Current members Kazutoshi Sakurai – lead vocals, guitar, primary songwriter Kenichi Tahara – guitar, backing vocals He was born in Fukuoka and is charge of playing guitar in the band. He had joined the baseball team in high school but became interested in the guitar because he saw his classmate playing a guitar at a school festival. One day one of his classmates, Kazutoshi Sakurai brought his guitar to school. They bonded with each other over it and that became the catalyst for forming Mr.Children. Known for being quiet in live concerts, his fans become estatic when he says interacts with them. Keisuke Nakagawa – bass guitar, backing vocals Nakagawa was born in Nagasaki. His nickname is "Nakakei". He went to the same junior high school as Kenichi and Hideya where he started playing the bass. He is also famous for being a baseball fan. Hideya Suzuki – drums, backing vocals, also known as "Jen" and is the leader of Mr. Children Supporting members Takeshi Kobayashi – keyboards, producer Naoto Inti Raymi – guitar, chorus Takashi "Sunny" Katsuya – keyboards, backing vocals Shuji Kouguchi – guitar, harmonica Discography Albums * Compilation album.** Live album Bibliography [es] Mr.Children in 370 DAYS (April 25, 1995) C0076 Mr.Children Everything 天才・桜井和寿 終わりなき音の冒険 (Mr.Children Everything -Tensai Sakurai Kazutoshi owarinaki oto no bouken-) (December 25, 1996) C0073 Mr.Children詩集「優しい歌」 (Mr.Children song collection -Yasashii Uta-) (December 10, 2001) C0092 Tours '92 Everything Tour (September 23, 1992 – November 5, 1992) Visited 10 cities and held 10 concerts '92 Your Everything Tour (September 26, 1992 – November 22, 1992) Visited 11 cities and held 12 concerts '92–93 Kind of Love Tour (December 7, 1992 – January 25, 1993) Visited 9 cities and held 9 concerts '93 Versus Tour (September 23, 1993 – November 5, 1993) Visited 9 cities and held 9 concerts Mr. Children '94 tour innocent world (September 18, 1994 – December 18, 1994) Visited 24 cities and held 27 concerts Mr.Children '95 Tour Atomic Heart (January 7, 1995 – February 20, 1995) Visited 10 cities and held 21 concerts (July 16, 1995 – September 10, 1995) Visited 11 cities and held 19 concerts Regress or Progress (August 24, 1996 – March 28, 1997) Visited 14 cities and held 55 concerts "Discovery" Tour '99 (February 14, 1999 – July 12, 1999) Visited 16 cities and held 42 concerts Mr. Children Concert tour Q (October 15, 2000 – February 24, 2001) Visited 13 cities and held 35 concerts Popsaurus Mr. Children (July 15, 2001 – September 25, 2001) Visited 10 cities and held 15 concerts Wonderful World on Dec. 21 (December 21, 2002) A one night live. Originally intended to be a 26 city and 39 concert tour, but was canceled due to Kazutoshi Sakurai's hospitalization (June 12, 2004 – September 25, 2004) Stadium Tour, Visited 11 cities and held 21 concerts Dome tour 2005 "I ♥ U" (November 12, 2005 – December 27, 2005) Dome Tour, Visited 5 cities and held 10 concerts Mr. Children & the pillows new big bang tour ~This is Hybrid Innocent~ (September 26, 2006 – October 11, 2006) Hall tour, Visited 6 cities and held 7 concerts. The tour, a Zepp tour, was a joint effort with fellow rock group the pillows Mr. Children "Home" Tour 2007 (May 4, 2007 – June 23, 2007) Arena tour, Visited 7 cities and held 14 concerts Mr. Children "Home" Tour 2007 -in the field- (August 4, 2007 – September 30, 2007) Stadium tour, Visited 9 cities and held 14 concerts " (Feb 14, 2009 – March 31, 2009) Arena Tour, Visited 17 cities and held 34 concerts Mr.Children DOME TOUR 2009 ~SUPERMARKET FANTASY~ (November 28, 2009 – December 27, 2009) Dome tour, Visited 5 cities and held 11 concerts Mr.Children Tour 2011 SENSE (February 19, 2011 – May 15, 2011) Arena Tour, Visited 9 cities and held 19 concerts Mr.Children STADIUM TOUR 2011 SENSE -in the field- (August 20, 2011 – September 25, 2011) Stadium tour, Visited 6 cities and held 10 concerts MR.CHILDREN TOUR POPSAURUS 2012 (April 14, 2012 – June 6, 2012) Dome tour, Visited 6 cities and held 14 concerts Mr.Children [(an imitation) blood orange] Tour (December 15, 2012 – June 9, 2012) Dome tour, Visited 20 cities and held 40 concerts Mr.Children FATHER&MOTHER 21st anniversary Fanclub Tour (September 17, 2014 – October 9, 2014) Zepp tour, Visited 5 cities and held 5 concerts Mr.Children TOUR 2015 REFLECTION (March 14, 2015 – June 4, 2015) Arena Tour, Visited 10 cities and held 20 concerts (July 8, 2015 – September 20, 2015) Stadium tour, Visited 10 cities and held 16 concerts (April 15, 2016 – November 21, 2016) Hall Tour, Visited 28 cities and held 28 concerts Note: It is the first time in 14 years to hold Hall tour since 2002 (March 4, 2017 – May 12, 2017) Hall Tour, Visited 13 cities and held 14 concerts Mr.Children DOME & STADIUM TOUR 2017 Thanksgiving 25 (June 10, 2017 – September 9, 2017) Dome and Stadium Tour, Visited 9 cities and held 15 concerts (October 6, 2018 – February 2, 2019) Arena Tour, Visited 13 cities and held 26 concerts Note: Including the first overseas performance in Taiwan Mr.Children TOUR 2019 "Against All GRAVITY" (April 20, 2019 – June 2, 2019) Dome Tour, Visited 6 cities and held 11 concerts (April 23, 2022 – June 19, 2022) Dome and Stadium Tour, Visited 6 cities and held 12 concerts Awards and records See also Japanese rock Japan Record Awards MTV Video Music Awards Japan List of best-selling music artists in Japan List of best-selling singles in Japan Footnotes a. Early on in the group's career, Takeshi Kobayashi collaborated with Kazutoshi Sakurai on various songs in addition to writing songs himself. For example, "Dance dance dance" on the album Atomic Heart was co-composed by him, and on the album Versus, was both composed and written by him. Over the years, his composing and lyrical work with the group has lessened with the last a-side track co-written by him and Kazutoshi Sakurai being which was released on December 12, 1994 . References External links Official website Mr. Children at Toy's Factory Innocent World – Unofficial English translations of Mr. Children news and articles Mr. Children English Fansite – Unofficial English translations of Mr. Children lyrics, guitar tabs and album reviews Category:Toy's Factory artists Category:Japanese pop rock music groups Category:Musical groups from Tokyo Category:Musical quartets Category:Musical groups established in 1988
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C_41b3dde16fb04b6abc6ce7cc478fd6cf_1
Soo Wincci
Dr. Soo Wincci (Chinese: Su Ying Zhi ; pinyin: Su Yingzhi) is an award-winning Malaysian singer, recording artist, actress, composer, celebrity chef, host, model, beauty queen, PhD holder and also an entrepreneur. Soo was crowned Miss World Malaysia 2008 and represented Malaysia in the Miss World 2008 beauty pageant. In 2013, She was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women in the world.
2013-2015(All Rounder Artist From Malaysia Towards International Asia Platform In Taiwan
In 2013, she was selected by Hollywood's Independence Critics as the world Top 100 most beautiful women in the world. In 2014, Soo founded her own talent management company, Beyond Artistes. In 2014, she completed the 4th place for Master Chef All Stars Malaysia. In the same year, she released her 2nd international Chinese album in Taiwan. All the songs feature on chart of KKBox Taiwan and also other charts in Taiwan and Malaysia. The same year she played as the historical role of Hang Li Po in the tele movie titled "Takhta". The same year, she won awards for her Chinese songs. In 2015, she won the "Media Choice Award" in Malaysia's most prestige Chinese music award (PWH). She was selected as the Top 10 Chinese actor and actress for NTV7. She also acted as the main lead for the drama "The Injustice Stranger". She held her first solo concert Inwinccible at Plenary Hall, KLCC, showcasing her talents in singing, languages and also dangerous stunts. She invested RM500,000 of her own money for the concert after several sponsors pulled out due to a video she posted in August, where she urged the Malaysian Prime Minister, Datuk Seri Najib Razak to resign. In end of 2015, her drama titled "Injustice Stranger" garnered the highest rating drama of the year while winning all 5 out of 5 online voting awards which includes Most Popular Actress, Most Popular Actors, Most Popular On Screen Couple, Most Popular Drama Song and Most Popular Drama. CANNOTANSWER
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[ "What is the International Asia Platform?", "Was she in other pageants?", "What was her scandal?", "What was the video she posted?" ]
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Soo Wincci () is a Malaysian Chinese singer, recording artist, actress, composer, celebrity chef, host, model, beauty queen, and entrepreneur from Malaysia. She crowned Miss World Malaysia in 2008 and represented Malaysia in the Miss World 2008 beauty pageant. In 2013, she was selected by Hollywood's Independent Critics as one of the 100 most beautiful women in the world. In 2016 she was awarded the "Top 10 Most Outstanding Young Malaysian Award". In 2018 the Chinese media nicknamed her "The Most Beautiful Dr". She has four entries in the Malaysia Book of Records. Education Soo is a law graduate from the University of Reading (UK), an MBA holder from the University of Sunshine Coast, and a PhD recipient in Business administration from Open University Malaysia. In 2018, she graduated with a master's degree in music production, innovation and technology and later 2019 on with a Post master's degree Fellowship from Berklee College of Music in 2019. Beauty pageants Soo Wincci spent almost six years modelling and participated in over twenty pageants until she won her most desired title: Miss World Malaysia in 2008. In 2004, Wincci won second place in the Miss Malaysia Intercontinental pageant. However, the winner could not join the world pageant so she represented Malaysia in the Miss Intercontinental Pageant in China. She came third in the Miss Malaysia Oriental World pageant in the same year. In 2005, she was the first runner-up in the Miss Chinatown pageant. In 2008, after she completed her law degree in Uk, she won Miss World Malaysia and represented Malaysia in the Miss World beauty pageant in Johannesburg, South Africa. She was a semifinalist for the Miss World Top Model and top finalist for Miss World Talent contests. Career 2009–2012 In 2009, Soo began her acting career in a local NTV7 Chinese sitcom, titled Mr. Siao's Mandarin Class. She was appointed as SAMSUNG LED ambassador. On 18 August 2009, Soo released her self-composed singing album Soo Wincci. Her music video was sponsored by Samsung. Also, Samsung appointed her song "Beauty With a Purpose" (which was sung in English, Malay, and Chinese) as the theme for Samsung LED. Soo starred in the Media Corp Chinese drama titled Injustice as well as the second season of Mr. Siao's Mandarin Class in 2010. Soo was also appointed to be the spokesperson for Avon Anew Skin in Malaysia, as well as the ambassador of peace for Universal Peace Federation and the Red Crescent Society. She received a PhD scholarship from Open University Malaysia. Soo released her first full Chinese album titled Ying Guang in 2011. She acted as Hui Ying in the Mediacorp drama Destiny in Her Hands" and NTV7's legal drama Justice in the City. She also starred in Asia's first 3D thriller Hunter playing the role of a famous host named Hu Jing, aired in Asia in 2012. She composed and sang the movie's theme song. In 2011, she went to the London Media and Film Academy to attend the Acting Masterclass, and the Hosting Masterclass. She also worked on her vocal skills with famous UK singing coach, Kim Chadler. In 2012, she released her third Chinese album (with her own magazine) titled, In My Heart. Soo joined the celebrity edition of MasterChef Malaysia, reaching the top-five finalists and became known as the Queen of Desserts. After MasterChef, she launched her Malay EP titled Terus Teranglah. She launched her first Chinese international album titled Happiness in Taiwan. 2013–2015 In 2013, Soo was selected by Hollywood's Independent Critics for its list the 100 Most Beautiful Face of 2013. She was number 91. In 2014, Soo founded her own talent management company, Beyond Artistes. Soo won the Media Choice Award in Malaysia's most prestigious Chinese music award (PWH) in 2015. She was selected as the Top 10 Chinese actor and actress for NTV7. She also acted as the main lead for the drama The Injustice Stranger. She held her first solo concert Inwinccible at Plenary Hall in Kuala Lumpur Convention Centre, showcasing her talents in singing, languages as well as stunts. She invested RM500,000 of her own money for the concert after several sponsors pulled out because of a video she posted in August, where she urged the Malaysian Prime Minister, Datuk Seri Najib Razak to resign. 2016-2017 In 2016, she restructured her company Beyond Artistes and settled her concert debts by not receiving income for one year. She performed and acted non-stop to clear her debts and managed to save her company within less than a year. She managed to complete her Ph.D. research and passed her viva voce on 31 May 2016. Also in 2017 she wrote and produced her first book and audiobook titled Inwinccible X. She also became a music producer by writing, composing and producing her self-created first motivational pop song titled "I Am X A Loser". It has had over half a million views on YouTube. Her Drama I Am Not a Loser was one of the highest rated Chinese dramas of 2017. She held her first motivational speaking tour giving talks at over twenty universities across Malaysia. Her villain role inside "Kau Yang Satu" received good reviews and was successfully being released in cinemas, starring with famous local Malay actor and actress. 2017-2018 In 2017 she was accepted by the Hollywood renowned music school Berklee College of Music to pursue her second Master in Music Production & Innovation. Despite everyone going against her dream, she was determined to end her company Beyond Artistes and went ahead in furthering her studies in overseas. She was also working inside the studio in order to support herself overseas. She also kept attending variety shows in China and was being nicknamed by the China media as "The Most Beautiful Dr". She successfully graduated with her second Master's & was awarded her postmaster fellowship by Berklee Valencia. 2018-2019 She continued her postmaster fellowship while serving the college live sound department. In 2019 upon graduation, she was being awarded 2 records by the Malaysia Book of Records, "Beauty Queen with the Most Achieved Degrees" and "Recording Artist with the Most Achieved Degrees". She was then being accepted into Spain's No.1 Artistic University which is the University of Polytechnic Valencia in order to pursue her second Ph.D. in artistic production. 2020-2021 She started to travel frequently between Spain and Malaysia for work and study. At the beginning of the year, she was selected as the cultural ambassador for Thean Hou Temple of Malaysia. She was then being selected as the ambassador for the prestige title of Top Ten Most Outstanding Young Malaysian" and also being appointed as Berklee Alumni ambassador. In mid-2020, she broke the news of her new comeback song with Latin Grammy Award Winning Producers. She is now in the midst of her music production. 2022 She was appointed as an associate professor at Universiti Teknologi MARA. The Malaysia Book of Records awarded her as "First Miss World Malaysia Appointed As Associate Professor". Also released a Trilingual Single - Como Esta in July of the same year. She was also invited as a judge in the popular show "All Together Now Malaysia" Season 2. 2023 After completion of her one year tenure as associate professor, she then returned back to the industry acting in astro new originals series titled "The Queens's Ploy". Besides acting, she will be producing and composing for the drama theme songs. She will also be one of the judges for Sing China Season 6 in Malaysia to select young Malaysian to head to China for competition. Awards and recognitions 2016: The Malaysia Book of Records as "The First Miss World Malaysia To Receive a PhD" 2016: JCI Ten Outstanding Young Malaysian (TOYM) 2019: The Malaysia Book of Records for "Most Number of Academic Degrees Obtained by a Beauty Queen" 2019: The Malaysia Book of Records for "Most Number of Academic Degrees Obtained by a Recording Artiste" 2022: The Malaysia Book of Records as "First Miss World Malaysia Appointed As Associate Professor" 2022: Malaysia Excellence Celebrity Awards 2022: Malaysia Best Business Awards References External links Category:1985 births Category:Living people Category:People from Selangor Category:Malaysian beauty pageant winners Category:Miss World 2008 delegates Category:Malaysian people of Chinese descent Category:Malaysian female models Category:21st-century Malaysian women singers Category:Malaysian television personalities Category:University of the Sunshine Coast alumni Category:Malaysian expatriates in Taiwan
[]
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C_4598c4492aef4f269f626d07006018e2_1
Tony Orlando
Michael Anthony Orlando Cassavitis (born April 3, 1944), known professionally as Tony Orlando, is an American singer, songwriter, producer, music executive, and actor, best known as the lead singer of the group Tony Orlando and Dawn in the 1970s. Orlando formed the doowop group The Five Gents in 1959 at the age of 15, with whom he recorded demos, and got the attention of music publisher and producer Don Kirshner. Kirshner hired him to songwrite at 1650 Broadway, Manhattan as part New York's thriving Brill Building songwriting community, along with other songwriters Carole King, Neil Sedaka, Toni Wine, Barry Mann, Cynthia Weil, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they later changed their name to Simon and Garfunkel. Orlando was also hired to sing on songwriter demos, and singles released with Orlando as a solo artist began to hit the charts in the US and the UK beginning in 1961 with "Halfway to Paradise" and "Bless You" when he was 16.
Early life and career
Tony Orlando was born Michael Anthony Orlando Cassavitis on April 3, 1944, the son of a Greek father and a Puerto Rican mother. He spent his earliest years in Hell's Kitchen, New York. In his teenage years, the family moved to Union City, New Jersey and later Hasbrouck Heights, New Jersey. Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15, with whom he recorded demo tapes. He got the attention of music publisher and producer Don Kirshner, who hired him to songwrite in an office across from New York's Brill Building, along with Carole King, Neil Sedaka, Toni Wine, Barry Mann, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they changed their name to Simon and Garfunkel. Kirshner also hired Orlando to record songwriter demos as a solo artist, and his first success came at the age of 16 when he charted in the US and UK with the hits "Bless You" and "Halfway To Paradise." He also appeared at the Brooklyn Paramount Theater with DJ Murray the K. Orlando also had four records that "Bubbled Under" the Hot 100: "Chills" in 1962, "Shirley" and "I'll Be There" in 1963, and "I Was A Boy (When You Needed A Man)" as by Billy Shields in April 1969. Gerry Goffin and Jack Keller wrote a doo-wop version of Stephen Foster's song "Beautiful Dreamer" for Orlando. Released as a single in 1962, the song was picked up by the Beatles who included it in their set lists on the Beatles Winter 1963 Helen Shapiro Tour; a recorded version was released on their 2013 album On Air - Live at the BBC Volume 2. New Colony Six recorded an Orlando composition, "I'm Just Waitin' (Anticipatin' For Her To Show Up)", which charted locally in Chicago and "Bubbled Under" the Hot 100 in July 1967. That year, Clive Davis hired Orlando as general manager of Columbia Records publishing subsidiary April-Blackwood Music. By the late 1960s, Orlando had worked his way up to vice president of a larger publishing company, CBS Music, where he signed, co-wrote with and produced Barry Manilow (under the name "Featherbed") and worked with James Taylor, the Grateful Dead, Laura Nyro and other artists. In the summer of 1969 he recorded with the studio group Wind and had a #28 hit that year with "Make Believe" on producer Bo Gentry's Life Records. Orlando was experiencing success, primarily as a music executive, and Davis pretended not to notice when Orlando accepted a $3,000 advance and sang lead vocals on a song called "Candida" as a favor for two producer friends. If the record failed, Orlando didn't want it to affect his reputation, so he used a pseudonym: Dawn. CANNOTANSWER
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Michael Anthony Orlando Cassavitis (born April 3, 1944) is an American pop singer whose career spans over 60 years. He is best known for his work as part of Tony Orlando and Dawn. In 1993, he opened the Tony Orlando Yellow Ribbon Music Theatre in Branson, Missouri. He ended his act there in 2013 and has since continued to perform many live shows as a headliner, mostly in Las Vegas, Nevada. Early life Michael Anthony Orlando Cassavitis was born on April 3, 1944, the son of a Greek father and a Puerto Rican mother. He spent his earliest years in Hell's Kitchen, Manhattan, New York City. In his teenage years, the family moved to Union City, New Jersey, and later Hasbrouck Heights, New Jersey. Career Orlando's musical career started with The Five Gents, a doo-wop group he formed in 1959 at age 15, with whom he recorded demo tapes. He got the attention of music publisher and producer Don Kirshner, who hired him to write songs in an office across from New York's Brill Building, along with Carole King, Neil Sedaka, Toni Wine, Barry Mann, Bobby Darin, Connie Francis, and Tom and Jerry, who didn't make it in the office until they changed their name to Simon and Garfunkel. Kirshner also hired Orlando to record songwriter demos as a solo artist, and his first success came at the age of 16 when he charted in the US and UK with the hits "Bless You" and "Halfway To Paradise". He also appeared at the Brooklyn Paramount Theater with DJ Murray the K. Orlando also had four records that "Bubbled Under" the Hot 100: "Chills" in 1962, "Shirley" and "I'll Be There" in 1963, and "I Was A Boy (When You Needed A Man)" as by Billy Shields in April 1969. Gerry Goffin and Jack Keller wrote a doo-wop version of Stephen Foster's song "Beautiful Dreamer" for Orlando. Released as a single in 1962, the song was picked up by the Beatles who included it in their set lists on the Beatles Winter 1963 Helen Shapiro Tour; a recorded version was released on their 2013 album On Air – Live at the BBC Volume 2. New Colony Six recorded an Orlando composition, "I'm Just Waitin' (Anticipatin' For Her To Show Up)", which charted locally in Chicago and "Bubbled Under" the Hot 100 in July 1967. April-Blackwood period Orlando continued as a solo artist and also became a producer himself, as well as a successful music executive in the late 1960s. In 1967, Clive Davis hired Orlando as general manager of Columbia Records publishing subsidiary April-Blackwood Music. Earlier general managers for the publishing entity include David Kapralik who stepped into the position in 1964, and stayed until early 1965. During Kapralik's period, Van McCoy was employed as a staff writer. By the late 1960s, Orlando had worked his way up to vice president of a larger publishing company, CBS Music, where he signed, co-wrote with, and produced Barry Manilow (under the name "Featherbed"). He also worked with other artists, such as The Yardbirds; James Taylor; Grateful Dead; Blood, Sweat & Tears; and Laura Nyro. In the summer of 1969, he recorded with the studio group Wind and had a #28 hit that year with "Make Believe" on producer Bo Gentry's Life Records. Orlando was experiencing success, primarily as a music executive, and Davis pretended not to notice when Orlando accepted a $3,000 advance and sang lead vocals on a song called "Candida" as a favor for two producer friends. If the record failed, Orlando didn't want it to affect his reputation, so he used a pseudonym: Dawn. Further activities When the song "Candida" became an international number-one song, he began to use his name in the group becoming "Dawn featuring Tony Orlando" and then "Tony Orlando and Dawn". The group had 19 other top 40 tracks, including "Tie a Yellow Ribbon Round the Ole Oak Tree", the top-selling hit of 1973 and one of the biggest selling singles of all time. The group also had a hit variety program, The Tony Orlando and Dawn Show on CBS from 1974 to 1976. They then broke up in 1977, after which he has performed as Tony Orlando. Tony Orlando and Dawn Orlando recorded "Candida" with backup singers including Toni Wine (who wrote the song) and Linda November. Concerned about a possible conflict of interest with his April-Blackwood duties, Orlando sang under the condition that his name not be associated with the project, so it was released under the simple name of "Dawn", the middle name of the daughter of Bell records executive Steve Wax. "Candida" became a worldwide hit in 1970, reaching number one in five countries, and the top ten in many others, including number three in the United States. Dawn, with Wine and November again singing backup, recorded another song, "Knock Three Times", which itself became a #1 hit. Orlando then wanted to go on tour, and asked two other session singers, Telma Hopkins and Joyce Vincent Wilson to join for the tour. Orlando then discovered that there were six touring groups using that name, so Dawn became "Dawn featuring Tony Orlando", which changed to Tony Orlando and Dawn in 1973. The new group recorded more hits, including "Tie a Yellow Ribbon Round the Ole Oak Tree" (1973) and "He Don't Love You (Like I Love You)" (1975), a cover of the Jerry Butler hit, "He Will Break Your Heart". With a successful recording career, Orlando then set his sights on television. As described in The San Francisco Chronicle, "Tony Orlando and Dawn burst out of television sets during the Ford administration, a sunny antidote to the dark cynicism that followed Watergate. He represented simple, traditional values, a conservative return to pure entertainment. He drew a happy face in the "O" of his autograph. It was not terribly cool, but America loved him." The Tony Orlando and Dawn Show on CBS became a hit, a summer replacement for the Sonny & Cher show, and ran for four seasons from 1974 to 1976. It welcomed the biggest names in show business each week as Orlando's guests, including his boyhood idols, Jackie Gleason and Jerry Lewis. On October 12, 2015, with Telma Hopkins and Joyce Vincent Wilson present, Pacific Pioneer Broadcasters honored Orlando with their Art Gilmore Career Achievement Award at a celebrity luncheon. Late 1970s struggles and solo work Along with the fame, Orlando had personal battles in the 1970s. He was briefly addicted to cocaine, and battled both obesity and depression. In 1977, due to the death of his sister and the suicide of Orlando's close friend, comedian Freddie Prinze, Orlando had a breakdown and retired from singing. He was briefly institutionalized, but returned to television with an NBC comeback special. From then, he continued as a solo artist, charting with two singles – the dance hit "Don't Let Go" in 1978 and "Sweets For My Sweet" in 1979. In the 1980s, he was a dominant force in Las Vegas, headlining various hotels with sold-out audiences. Orlando continued primarily as a solo singer, performing on tour and regularly in Las Vegas and Branson, Missouri. He hosted the New York City portions of the MDA Labor Day Telethon on WWOR-TV since the 1980s but quit in 2011 in response to Jerry Lewis' firing from the Muscular Dystrophy Association. He has won the Casino Entertainer of the Year Award, the Best All Around Entertainer – Las Vegas four times, and, prior to that, three times in Atlantic City, the Jukebox Artist of the Year Award from the Amusement and Music Owners Association of New York, The Ellis Island Medal of Honor, and has also been bestowed with The Bob Hope Award for excellence in entertainment from the Congressional Medal of Honor Society in honor of his efforts on behalf of United States veterans. His work on behalf of American veterans led to his being named Honorary Chairman at the 40th Anniversary at the NAM-POW's Homecoming Celebration at the Richard M. Nixon Presidential Library in 2014. In 2020, Orlando began hosting a Saturday night oldies program for WABC Radio as the New York City station partially restored its music format. Acting career Orlando's first TV appearance was in 1976 on the series Chico and the Man as "Tomas Garcia". Orlando starred in the 1981 TV movie 300 Miles For Stephanie, playing a police officer who promises to walk over 300 miles to a sanctuary in order to obtain God's help to cure Stephanie, his gravely ill daughter. Others in the cast included Edward James Olmos, Pepe Serna and Julie Carmen. In May 1981, Orlando appeared on Broadway in the title role of Barnum, replacing Jim Dale, who was on a three-week vacation. During the 1984–85 season of The Cosby Show (its first season), Orlando played Tony Castillo, who runs a community center. He had a cameo appearance as himself in the 2002 film Waking Up In Reno, in which he sang a version of "Knock Three Times". In 2003, Orlando had a recurring role in the children's animated series Oswald, in which he did the voice of "Sammy Starfish". Orlando appeared in an episode of MADtv doing a sketch involving a court case, where the defense sings to persuade the jury about their side. He sang for the prosecution, thereby persuading the judge to give the defense jail for life. In another television program, Orlando was featured in "Larry the Cable Guy's Star Studded Christmas Extravaganza". He appeared in That's My Boy as Steve Spirou, a Happy Madison production starring Adam Sandler in 2012. Support for veterans Orlando is a longtime advocate for U.S. military veterans and "Tie a Yellow Ribbon Round the Ole Oak Tree" has become an anthem for service members. Orlando serves on the board of directors for the Eisenhower Foundation, as well as honorary chairman of Snowball Express, an organization that serves the children of fallen military heroes. He hosts the annual Congressional Medal of Honor dinner in Dallas, Texas. He has served as the master of ceremonies at the Secretary of Defense Freedom Awards at the Pentagon in Washington, DC. Personal life Orlando was introduced by Jerry Lee Lewis to his future wife, Elaine, who had previously dated Buddy Holly. Tony and Elaine married in 1965, and had one child, Jon; they divorced in 1984. Five years later, Orlando was engaged to Francine Amormino, whom he married on April 29, 1990. The couple remained married as of 2021; they have one child. On February 27, 2013, his mother, Ruth Schroeder of Hollister, Missouri, died in Branson, Missouri of a diabetic stroke. In 2002, he wrote a memoir, Halfway to Paradise with Patsi Bale Cox. Orlando was interviewed on The 700 Club explaining that he was raised Catholic and was "brought up with the Lord as my Savior"; but after a self-destructive period following his professional success with Dawn, he became a born-again Christian in 1978. In 1990, Orlando received a star on the Hollywood Walk of Fame at 6385 Hollywood Blvd. Discography Albums Bless You and 11 Other Great Hits (1961) Make Believe (1969) (with 'Wind') Before Dawn (1973) Tony Orlando (1978) I Got Rhythm (1979) Livin' for the Music (1980) Halfway to Paradise: The Complete Epic Masters 1961–1964 (2006) Bless You (2014) Solo singles See also List of Puerto Ricans Tony Orlando and Dawn (TV series) References External links Category:1944 births Category:20th-century American male actors Category:20th-century American singers Category:21st-century American male actors Category:21st-century American singers Category:American male musical theatre actors Category:American male pop singers Category:American male television actors Category:American people of Italian descent Category:American people of Greek descent Category:American people of Puerto Rican descent Category:Television personalities from New York City Category:Bell Records artists Category:Living people Category:Male actors from Missouri Category:Male actors from New Jersey Category:Male actors from New York City Category:People from Branson, Missouri Category:People from Hasbrouck Heights, New Jersey Category:People from Hell's Kitchen, Manhattan Category:People from Union City, New Jersey Category:Singers from Missouri Category:Singers from New Jersey Category:Singers from New York City Category:Tony Orlando and Dawn members Category:20th-century American male singers Category:21st-century American male singers
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C_0cd5b78e7cee473e88660def01cf752b_0
Louis Slotin
Slotin was the first of three children born to Israel and Sonia Slotin, Yiddish-speaking refugees who had fled the pogroms of Russia to Winnipeg, Manitoba. He grew up in the North End neighborhood of Winnipeg, an area with a large concentration of Eastern European immigrants. From his early days at Machray Elementary School through his teenage years at St. John's High School, Slotin was academically exceptional. His younger brother, Sam, later remarked that his brother "had an extreme intensity that enabled him to study long hours."
Radiation dosage
The radiation doses received in these two accidents are not known with any semblance of accuracy. A large part of the dose was due to neutron radiation, which could not be measured by dosimetry equipment of the day. The available equipment, film badges, were not worn by personnel during the accident, and badges that were supposed to be planted under tables in case of disasters like these were not found. Disaster badges hung on the walls did provide some useful data about gamma radiation. A "tentative" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be grossly incorrect. In the absence of personal dosimetry badges, the study authors relied on measurements of sodium activation in the victims' blood and urine samples as their primary source of data. This activation would have been caused by neutron radiation, but they converted all doses to equivalent doses of gamma or X-ray radiation. They concluded that Daghlian and Slotin had probably received doses equivalent to 290 and 880 rem (respectively) of gamma rays. Minimum and maximum estimates varied from about 50% to 200% of these values. The authors also calculated doses equivalent to a mix of soft 80 keV X-rays and gamma rays, which they believed gave a more realistic picture of the exposure than the gamma equivalent. In this model the equivalent X-ray doses were much higher, but would be concentrated in the tissues facing the source, whereas the gamma component penetrated the whole body. Slotin's equivalent dose was estimated to be 1930 R (roentgen) of X-ray with 114 R of gamma, while Daghlian's equivalent dose was estimated to be 480 R of X-ray with 110 R of gamma. Five hundred rem is usually a fatal dose for humans. In modern times dosimetry is done very differently. Equivalent doses would not be reported in roentgen; they would be calculated with different weighting factors, and they are not considered as relevant to acute radiation syndrome as absorbed doses. Recent documents have made various interpretations of Slotin's dose, ranging from 287 rad to 21 sievert. Based on citations and supporting reasoning, the most reliable estimate may be a 1978 Los Alamos memo which suggested 10 Gy(n) + 1.14 Gy(g) for Slotin and 2 Gy(n) + 1.1 Gy(g) for Daghlian. These doses are consistent with the symptoms they experienced. CANNOTANSWER
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Louis Alexander Slotin (1 December 1910 – 30 May 1946) was a Canadian physicist and chemist who took part in the Manhattan Project. Born and raised in the North End of Winnipeg, Manitoba, Slotin earned both his Bachelor of Science and Master of Science degrees from the University of Manitoba, before obtaining his doctorate in physical chemistry at King's College London in 1936. Afterwards, he joined the University of Chicago as a research associate to help design a cyclotron. In 1942, Slotin was invited to participate in the Manhattan Project, and subsequently performed experiments with uranium and plutonium cores to determine their critical mass values. After World War II he continued his research at Los Alamos National Laboratory in New Mexico. On 21 May 1946, he accidentally began a fission reaction which released a burst of hard radiation. He was rushed to the hospital and died nine days later on 30 May. Slotin had become the victim of the second criticality accident in history following Harry Daghlian, who had been fatally exposed to radiation by the same plutonium "demon core" that killed Slotin. Slotin was hailed as a hero by the United States government for reacting quickly enough to prevent the deaths of his colleagues. However, some physicists argue that Slotin's behavior preceding the accident was reckless and that his death was preventable. The accident and its aftermath have been dramatized in several fictional and non-fiction accounts. Early life Louis Slotin was the first of three children born to Israel and Sonia Slotin, Yiddish-speaking Jewish refugees who had fled the pogroms of Russia to Winnipeg, Manitoba. He grew up in the North End neighborhood of Winnipeg, an area with a large concentration of Eastern European immigrants. From his early days at Machray Elementary School through his teenage years at St. John's High School, Slotin was academically exceptional. His younger brother, Sam, later remarked that his brother "had an extreme intensity that enabled him to study long hours." At age 16, Slotin entered the University of Manitoba to pursue a degree in science. During his undergraduate years, he received a University Gold Medal in both physics and chemistry. Slotin received a B.Sc. degree in geology from the university in 1932 and a M.Sc. degree in 1933. With the assistance of one of his mentors, he obtained a fellowship to study at King's College London under the supervision of Arthur John Allmand, the chair of the chemistry department, who specialized in the field of applied electrochemistry and photochemistry. King's College London While at King's College London, Slotin distinguished himself as an amateur boxer by winning the college's amateur bantamweight boxing championship. Later, he gave the impression that he had fought for the Spanish Republic and trained to fly a fighter with the Royal Air Force. Author Robert Jungk recounted in his book Brighter than a Thousand Suns: A Personal History of the Atomic Scientists, the first published account of the Manhattan Project, that Slotin "had volunteered for service in the Spanish Civil War, more for the sake of the thrill of it than on political grounds. He had often been in extreme danger as an anti-aircraft gunner." During an interview years later, Sam stated that his brother had gone "on a walking tour in Spain" and he "did not take part in the war" as previously thought. Slotin earned a Ph.D. degree in physical chemistry from King's College London in 1936. He won a prize for his thesis entitled "An Investigation into the Intermediate Formation of Unstable Molecules During some Chemical Reactions." Afterwards, he spent six months working as a special investigator for Dublin's Great Southern Railways, testing the Drumm nickel-zinc rechargeable batteries used on the Dublin–Bray line. Career University of Chicago In 1937, after he unsuccessfully applied for a job with Canada's National Research Council, the University of Chicago accepted Slotin as a research associate. There, he gained his first experience with nuclear chemistry, helping to build the first cyclotron in the midwestern United States. The job paid poorly and Slotin's father had to support him for two years. From 1939 to 1940, Slotin collaborated with Earl Evans, the head of the university's biochemistry department, to produce radiocarbon (carbon-14 and carbon-11) from the cyclotron. While working together, the two men also used carbon11 to demonstrate that plant cells had the capacity to use carbon dioxide for carbohydrate synthesis, through carbon fixation. Slotin might have been present at the start-up of Enrico Fermi's "Chicago Pile-1", the first nuclear reactor, on 2 December 1942; the accounts of the event do not agree on this point. During this time, he also contributed to several papers in the field of radiobiology. His expertise on the subject garnered the attention of the United States government, and as a result he was invited to join the Manhattan Project, an effort to develop an atomic bomb. Slotin worked on the production of plutonium under future Nobel laureate Eugene Wigner at the university and later at the Oak Ridge National Laboratory in Oak Ridge, Tennessee. He moved to the Los Alamos National Laboratory in New Mexico in December 1944 to work in the bomb physics group of Robert Bacher. Work at Los Alamos At Los Alamos, Slotin's duties consisted of dangerous criticality testing, first with uranium in Otto Robert Frisch's experiments, and later with plutonium cores. Criticality testing involved bringing masses of fissile materials to near-critical levels to establish their critical mass values. Scientists referred to this flirting with the possibility of a nuclear chain reaction as "tickling the dragon's tail", based on a remark by physicist Richard Feynman, who compared the experiments to "tickling the tail of a sleeping dragon". On 16 July 1945, Slotin assembled the core for Trinity, the first detonated atomic device, and became known as the "chief armorer of the United States" for his expertise in assembling nuclear weapons. Slotin received two small circular lead and silver commemorative pins for his work on the project. In the winter of 1945–1946, Slotin shocked some of his colleagues with a bold action by repairing an instrument under water inside the Clinton Pile while it was operating, rather than wait an extra day for the reactor to be shut down. He did not wear his dosimetry badge, but his dose was estimated to be at least 100 roentgen. A dose of 1 Gy (~100 roentgen) can cause nausea and vomiting in 10% of cases, but is generally survivable. Harry Daghlian's death On 21 August 1945, laboratory assistant Harry Daghlian, one of Slotin's close colleagues, was performing a criticality experiment when he accidentally dropped a heavy tungsten carbide brick onto a plutonium–gallium alloy bomb core. The 24-year-old Daghlian was irradiated with a large dose of neutron radiation. Later estimates suggested that this dose might not have been fatal on its own, but he then received additional delayed gamma radiation and beta burns while disassembling his experiment. He quickly collapsed with acute radiation poisoning and died 25 days later in the Los Alamos base hospital. Planned return to teaching After World War II, Slotin expressed growing disdain for his personal involvement in the project. He remarked, "I have become involved in the Navy tests, much to my disgust." Unfortunately for Slotin, his participation at Los Alamos was still required because, as he said, "I am one of the few people left here who are experienced bomb putter-togetherers." He looked forward to resuming teaching and research into biophysics and radiobiology at the University of Chicago. He began training a replacement, Alvin C. Graves, to take over his role at Los Alamos. Criticality accident On 21 May 1946, with seven colleagues watching, Slotin performed an experiment that involved the creation of one of the first steps of a fission reaction by placing two half-spheres of beryllium (a neutron reflector) around a plutonium core. The experiment used the same plutonium core that had irradiated Daghlian, later called the "demon core" for its role in the two accidents. Slotin grasped the upper 228.6 mm (9-inch) beryllium hemisphere with his left hand through a thumb hole at the top while he maintained the separation of the half-spheres using the blade of a screwdriver with his right hand, having removed the shims normally used. Using a screwdriver was not a normal part of the experimental protocol. At 3:20 p.m., the screwdriver slipped and the upper beryllium hemisphere fell, causing a "prompt critical" reaction and a burst of hard radiation. At the time, the scientists in the room observed the blue glow of air ionization and felt a heat wave. Slotin experienced a sour taste in his mouth and an intense burning sensation in his left hand. He jerked his left hand upward, lifting the upper beryllium hemisphere, and dropped it to the floor, ending the reaction. He had already been exposed to a lethal dose of neutron radiation. At the time of the accident, dosimetry badges were in a locked box about from where the reaction occurred. Realizing that no one in the room had their film badges on, "immediately after the accident Dr. Slotin asked Dr. Raemer E. Schreiber to have the badges taken from the lead box and placed on the critical assembly". This peculiar response was of no value for determining the actual doses received by the men in the room and put Schreiber at "great personal risk" of additional exposure. A report later concluded that a heavy dose of radiation may produce vertigo and can leave a person "in no condition for rational behavior." As soon as Slotin left the building he vomited, a common reaction from exposure to extremely intense ionizing radiation. Slotin's colleagues rushed him to the hospital, but the radiation damage was irreversible. The seven other men present at the time of the reaction included Alvin Cushman Graves, Samuel Allan Kline, Marion Edward Cieslicki, Dwight Smith Young, Theodore P. Perlman, and Pvt. Patrick J. Cleary. By 25 May 1946, four of these seven men had been discharged from hospital. The United States Army physician responsible for the Los Alamos base hospital, Captain Paul Hageman, said that Slotin's, Graves', Kline's and Young's "immediate condition is satisfactory." Slotin's death Despite intensive medical care and offers from numerous volunteers to donate blood for transfusions, Slotin's condition was incurable. He called his parents and they were flown at Army expense from Winnipeg to be with him. They arrived on the fourth day after the incident, and by the fifth day his condition started to deteriorate rapidly. Over the next four days, Slotin suffered an "agonizing sequence of radiation-induced traumas", including severe diarrhea, reduced urine output, swollen hands, erythema, "massive blisters on his hands and forearms", intestinal paralysis and gangrene. He had internal radiation burns throughout his body, which one medical expert described as a "three-dimensional sunburn." By the seventh day, he was experiencing periods of "mental confusion." His lips turned blue and he was put in an oxygen tent. He ultimately experienced "a total disintegration of bodily functions" and slipped into a coma. Slotin died at 11 a.m. on 30 May, in the presence of his parents. He was buried in the Shaarey Zedek Cemetery in Winnipeg on 2 June 1946. Other injuries and death Graves, Kline and Young remained hospitalized after Slotin's death. Graves, who was standing the closest to Slotin, also developed acute radiation sickness and was hospitalized for several weeks. He survived, although he lived with chronic neurological and vision problems. Young also suffered from acute radiation syndrome, but recovered. By 28 January 1948 Graves, Kline and Perlman sought compensation for damages suffered during the incident. Graves settled his claim for $3,500. Three of the observers eventually died of conditions that are known to be promoted by radiation: Graves of a heart attack twenty years later at age 55; Cieslicki of acute myeloid leukemia nineteen years later at age 42; and Young of aplastic anemia and bacterial infection of the heart lining twenty-nine years later at age 83. Some of the deaths may have been a consequence of the incident. Louis Hempelman, M.D., a consultant to the Los Alamos Scientific Laboratory, believed that it is not possible to establish a causal relation between the incident and the specifics of the death from such a small sample. He stated this opinion in a publicly available report that included personal medical information which he had previously declined to release to Marion E. Cieslicki during the final stages of his illness. Disposal of core The core involved was intended to be used in the Able detonation, during the Crossroads series of nuclear weapons testing. Slotin's experiment was said to be the last conducted before the core's detonation and was intended to be the final demonstration of its ability to go critical. After the accident it needed time to cool. It was therefore rescheduled for the third test of the series, provisionally named Charlie, but this was cancelled due to the unexpected level of radioactivity after the underwater Baker test and the inability to decontaminate the target warships. The core was eventually melted down and reused in a later core. Radiation dosage The radiation doses received in these two accidents are not known with any accuracy. A large part of the dose was due to neutron radiation, which could not be measured by dosimetry equipment of the day. The available film badges were not worn by personnel during the accident, and badges that were supposed to be planted under tables in case of disasters like these were not found. Disaster badges hung on the walls provided some useful data about gamma radiation. A "tentative" estimate of the doses involved was made in 1948, based on dozens of assumptions, some of which are now known to be incorrect. In the absence of personal dosimetry badges, the study authors relied on measurements of sodium activation in the victims' blood and urine samples as their primary source of data. This activation would have been caused by neutron radiation, but they converted all doses to equivalent doses of gamma or X-ray radiation. They concluded that Daghlian and Slotin had probably received doses equivalent to 290 and 880 rem, respectively, of gamma rays. Minimum and maximum estimates varied from about 50% to 200% of these values. The authors also calculated doses equivalent to a mix of soft 80 keV X-rays and gamma rays, which they believed gave a more realistic picture of the exposure than the gamma equivalent. In this model, the equivalent X-ray doses were much higher, but would be concentrated in the tissues facing the source, whereas the gamma component penetrated the whole body. Slotin's equivalent dose was estimated to be 1930 R (roentgen) of X-ray with 114 R of gamma, while Daghlian's equivalent dose was estimated to be 480 R of X-ray with 110 R of gamma. Five hundred roentgen equivalent man (rem) is usually a fatal exposure for humans. In modern times dosimetry is done very differently. Equivalent doses would not be reported in roentgen; they would be calculated with different weighting factors, and they are not considered as relevant to acute radiation syndrome as absorbed doses. Recent documents have made various interpretations of Slotin's dose, ranging from to . Based on citations and supporting reasoning, the most reliable estimate may be a 1978 Los Alamos memo which suggested 10 Gy(n) + 1.14 Gy(γ) for Slotin and 2 Gy(n) + 1.1 Gy(γ) for Daghlian. These doses are consistent with the symptoms they experienced. Legacy After the accident, Los Alamos ended all hands-on critical assembly work. Subsequent criticality testing of fissile cores was done with remotely controlled machines, such as the "Godiva" series, with the operator located a safe distance away to prevent harm in case of accidents. On 14 June 1946, the associate editor of the Los Alamos Times, Thomas P. Ashlock, penned a poem entitled "Slotin – A Tribute": The official story released at the time was that Slotin, by quickly removing the upper hemisphere, was a hero for ending the reaction and protecting seven other observers in the room: "Dr. Slotin's quick reaction at the immediate risk of his own life prevented a more serious development of the experiment which would certainly have resulted in the death of the seven men working with him, as well as serious injury to others in the general vicinity." This interpretation of events was endorsed at the time by Graves, who stood closest to Slotin when the accident occurred. Graves, like Slotin, had previously displayed a low concern for nuclear safety and later alleged that fallout risks were "concocted in the minds of weak malingerers." Schreiber, another witness to the accident, spoke out publicly decades later, arguing that Slotin was using improper and unsafe procedures, endangering the others in the lab along with himself. Robert B. Brode had reported hearsay to that effect back in 1946. Slotin's accident is echoed in the 1947 film The Beginning or the End, in which a scientist assembling the bomb destined for Hiroshima dies after coming into contact with radioactive material. It was recounted in Dexter Masters' 1955 novel The Accident, a fictional account of the last few days of the life of a nuclear scientist suffering from radiation poisoning. Depictions of the criticality incident include the 1989 film Fat Man and Little Boy, in which John Cusack plays a fictional character named Michael Merriman based on Slotin, and the Louis Slotin Sonata, a 2001 off-Broadway play directed by David P. Moore. In 1948, Slotin's colleagues at Los Alamos and the University of Chicago initiated the Louis A. Slotin Memorial Fund for lectures on physics given by distinguished scientists such as Robert Oppenheimer, Luis Walter Alvarez, Hans Bethe. The memorial fund lasted until 1962. In 2002, an asteroid discovered in 1995 was named 12423 Slotin in his honour. Dollar unit of reactivity According to Weinberg and Wigner, Slotin was the first to propose the name dollar for the interval of reactivity between delayed and prompt criticality; 0 is the point of self-sustaining chain reaction, a dollar is the point at which slowly released, delayed neutrons are no longer required to support chain reaction, and enters the domain called "prompt critical". Stable nuclear reactors operate between 0 and a dollar; excursions and nuclear explosives operate above a dollar. The hundredth part of a dollar is called a cent. When speaking of purely prompt critical events, some users refer to cents "over critical" as a relative unit. Notes References External links Louis P. Slotin – The Manhattan Project Heritage Preservation Association Louis Slotin, profile – GCS Research Society The Secret Life of Louis Slotin – Canadian Nuclear Society Guide to the Louis Slotin Memorial Fund Records 1946–1962 at the University of Chicago Special Collections Research Center Category:1910 births Category:1946 deaths Category:Accidental deaths in New Mexico Category:Alumni of King's College London Category:Jewish Canadian scientists Category:Canadian nuclear physicists Category:Canadian people of Russian-Jewish descent Category:Deaths from laboratory accidents Category:Jewish physicists Category:Manhattan Project people Category:People from Los Alamos, New Mexico Category:People from Winnipeg Category:University of Chicago staff Category:University of Manitoba alumni Category:Victims of radiological poisoning Category:Canadian physical chemists Category:Inventors killed by their own invention Category:North End, Winnipeg Category:Scientists from Manitoba
[]
[ "The radiation dosage is important because it determines the extent of radiation exposure a person has received, which in turn can dictate the potential health risks or hazards they might face. It is crucial that the measurement of the dosage is accurate for proper assessments. However, in the accidents described in the context above, the radiation doses were not known accurately, and the estimates made later were based on many assumptions, some of which were later found to be incorrect. Also, neutron radiation, a large part of the doses, could not be measured by the dosimetry equipment of that time. Currently, dosimetry is done very differently, including the use of different weighting factors to calculate equivalent doses. It is noted that absorbed dose is more relevant to acute radiation syndrome than equivalent dose.", "Another pertinent point about the dosage is that different types of radiation - neutron, gamma, and X-ray - can impact the body in distinct ways. For example, gamma radiation penetrates the whole body, while X-ray radiation is concentrated in the tissues facing the source. The context mentions that both Daghlian and Slotin received doses equivalent to a combination of X-rays and gamma rays, with Slotin's dosage, in particular, being notably higher. The authors of the study converted all dosages to equivalent doses of gamma or X-ray radiation for comparative purposes. Also, the severity of the effects depends on the dosage; a 500 rem dose is usually fatal for humans.", "The context does not provide any information on treatment or cure for radiation exposure.", "The text does not provide specific information on what constitutes an acceptable dosage of radiation. However, it does mention that a dose of 500 rem is usually fatal for humans, implying that dosages below this level might be less lethal. It's also worth noting that the radioactive doses received by Daghlian and Slotin resulted in serious health implications, suggesting that their doses were too high. Exact acceptable dosages would likely depend on various factors, including the type of radiation, the length of exposure, and the individual's health condition.", "The article also discusses how estimates of the radiation dosages were made in the absence of personal dosimetry badges. Studying the activation of sodium in victims' blood and urine samples was a primary data source. This activation would have been caused by neutron radiation. The authors of the study made minimum and maximum estimates on the range of radiation doses received. They also attempted to calculate doses equivalent to a mix of soft 80 keV X-rays and gamma rays, which they believed provided a more realistic representation of the exposure than the gamma equivalent. The doses calculated by the authors were consistent with the symptoms experienced by Daghlian and Slotin. In modern times, dosimetry is performed differently, and absorbed doses are considered more relevant to acute radiation syndrome than equivalent doses." ]
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C_b18a1a332d3a464f910a815bc4ac2f78_0
Florence Nightingale
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
Literature and the women's movement
Historian of science I. Bernard Cohen argues: Lytton Strachey was famous for his book debunking 19th century heroes, Eminent Victorians (1918). Nightingale gets a full chapter, but instead of the debunking received praise that overall raised her national reputation and made her an icon for English feminists of the 1920s and 1930s. While better known for her contributions in the nursing and mathematical fields, Nightingale is also an important link in the study of English feminism. She wrote some 200 books, pamphlets and articles throughout her life. During 1850 and 1852, she was struggling with her self-definition and the expectations of an upper-class marriage from her family. As she sorted out her thoughts, she wrote Suggestions for Thought to Searchers after Religious Truth. This was an 829-page, three-volume work, which Nightingale had printed privately in 1860, but which until recently was never published in its entirety. An effort to correct this was made with a 2008 publication by Wilfrid Laurier University, as volume 11 of a 16 volume project, the Collected Works of Florence Nightingale. The best known of these essays, called "Cassandra", was previously published by Ray Strachey in 1928. Strachey included it in The Cause, a history of the women's movement. Apparently, the writing served its original purpose of sorting out thoughts; Nightingale left soon after to train at the Institute for deaconesses at Kaiserswerth. "Cassandra" protests the over-feminisation of women into near helplessness, such as Nightingale saw in her mother's and older sister's lethargic lifestyle, despite their education. She rejected their life of thoughtless comfort for the world of social service. The work also reflects her fear of her ideas being ineffective, as were Cassandra's. Cassandra was a princess of Troy who served as a priestess in the temple of Apollo during the Trojan War. The god gave her the gift of prophecy; when she refused his advances, he cursed her so that her prophetic warnings would go unheeded. Elaine Showalter called Nightingale's writing "a major text of English feminism, a link between Wollstonecraft and Woolf." In 1972 the poet Eleanor Ross Taylor wrote "Welcome Eumenides," a poem written in Nightingale's voice and quoting frequently from Nightingale's writings. Adrienne Rich wrote that "...Eleanor Taylor has brought together the waste of women in society and the waste of men in wars and twisted them inseparably." CANNOTANSWER
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[ "What literature did she write?", "What subjects did she write about?", "Was she well received by the public?", "What effect did she have on the Women's movement?", "Did she receive any awards?" ]
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Florence Nightingale (; 12 May 1820 – 13 August 1910) was an English social reformer, statistician and the founder of modern nursing. Nightingale came to prominence while serving as a manager and trainer of nurses during the Crimean War, in which she organised care for wounded soldiers at Constantinople. She significantly reduced death rates by improving hygiene and living standards. Nightingale gave nursing a favourable reputation and became an icon of Victorian culture, especially in the persona of "The Lady with the Lamp" making rounds of wounded soldiers at night. Recent commentators have asserted that Nightingale's Crimean War achievements were exaggerated by the media at the time, but critics agree on the importance of her later work in professionalising nursing roles for women. In 1860, she laid the foundation of professional nursing with the establishment of her nursing school at St Thomas' Hospital in London. It was the first secular nursing school in the world and is now part of King's College London. In recognition of her pioneering work in nursing, the Nightingale Pledge taken by new nurses, and the Florence Nightingale Medal, the highest international distinction a nurse can achieve, were named in her honour, and the annual International Nurses Day is celebrated on her birthday. Her social reforms included improving healthcare for all sections of British society, advocating better hunger relief in India, helping to abolish prostitution laws that were harsh for women, and expanding the acceptable forms of female participation in the workforce. Nightingale was a pioneer in statistics; she represented her analysis in graphical forms to ease drawing conclusions and actionables from data. She is famous for usage of the polar area diagram, also called the Nightingale rose diagram, equivalent to a modern circular histogram. This diagram is still regularly used in data visualisation. Nightingale was a prodigious and versatile writer. In her lifetime, much of her published work was concerned with spreading medical knowledge. Some of her tracts were written in simple English so that they could easily be understood by those with poor literary skills. She was also a pioneer in data visualisation with the use of infographics, using graphical presentations of statistical data in an effective way. Much of her writing, including her extensive work on religion and mysticism, has only been published posthumously. Early life Florence Nightingale was born on 12 May 1820 into a wealthy and well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire, and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family. Her parents were William Edward Nightingale, born William Edward Shore (1794–1874) and Frances ("Fanny") Nightingale ( Smith; 1788–1880). William's mother Mary ( Evans) was the niece of Peter Nightingale, under the terms of whose will William inherited his estate at Lea Hurst, and assumed the name and arms of Nightingale. Fanny's father (Florence's maternal grandfather) was the abolitionist and Unitarian William Smith. Nightingale's father educated her. A BBC documentary reported that "Florence and her older sister Parthenope benefited from their father's advanced ideas about women's education. They studied history, mathematics, Italian, classical literature, and philosophy, and from an early age Florence, who was the more academic of the two girls, displayed an extraordinary ability for collecting and analysing data which she would use to great effect in later life." In 1838, her father took the family on a tour in Europe where she was introduced to the English-born Parisian hostess Mary Clarke, with whom Florence bonded. She recorded that "Clarkey" was a stimulating hostess who did not care for her appearance, and while her ideas did not always agree with those of her guests, "she was incapable of boring anyone." Her behaviour was said to be exasperating and eccentric and she had little respect for upper-class British women, whom she regarded generally as inconsequential. She said that if given the choice between being a woman or a galley slave, then she would choose the freedom of the galleys. She generally rejected female company and spent her time with male intellectuals. Clarke made an exception, however, in the case of the Nightingale family and Florence in particular. She and Florence were to remain close friends for 40 years despite their 27-year age difference. Clarke demonstrated that women could be equals to men, an idea that Florence had not learnt from her mother. Nightingale underwent the first of several experiences that she believed were calls from God in February 1837 while at Embley Park, prompting a strong desire to devote her life to the service of others. In her youth she was respectful of her family's opposition to her working as a nurse, only announcing her decision to enter the field in 1844. Despite the anger and distress of her mother and sister, she rejected the expected role for a woman of her status to become a wife and mother. Nightingale worked hard to educate herself in the art and science of nursing, in the face of opposition from her family and the restrictive social code for affluent young English women. As a young woman, Nightingale was described as attractive, slender, and graceful. While her demeanour was often severe, she was said to be very charming and to possess a radiant smile. Her most persistent suitor was the politician and poet Richard Monckton Milnes, but after a nine-year courtship, she rejected him, convinced that marriage would interfere with her ability to follow her calling to nursing. In Rome in 1847, she met Sidney Herbert, a politician who had been Secretary at War (1845–1846) who was on his honeymoon. He and Nightingale became lifelong close friends. Herbert would be Secretary of War again during the Crimean War when he and his wife would be instrumental in facilitating Nightingale's nursing work in Crimea. She became Herbert's key adviser throughout his political career, though she was accused by some of having hastened Herbert's death from Bright's disease in 1861 because of the pressure her programme of reform placed on him. Nightingale also much later had strong relations with academic Benjamin Jowett, who may have wanted to marry her. Nightingale continued her travels (now with Charles and Selina Bracebridge) as far as Greece and Egypt. While in Athens, Greece, Nightingale rescued a juvenile little owl from a group of children who were tormenting it, and she named the owl Athena. Nightingale often carried the owl in her pocket, until the pet died (shortly before Nightingale left for Crimea). Her writings on Egypt, in particular, are testimony to her learning, literary skill, and philosophy of life. Sailing up the Nile as far as Abu Simbel in January 1850, she wrote of the Abu Simbel temples, "Sublime in the highest style of intellectual beauty, intellect without effort, without suffering ... not a feature is correct — but the whole effect is more expressive of spiritual grandeur than anything I could have imagined. It makes the impression upon one that thousands of voices do, uniting in one unanimous simultaneous feeling of enthusiasm or emotion, which is said to overcome the strongest man." At Thebes, she wrote of being "called to God", while a week later near Cairo she wrote in her diary (as distinct from her far longer letters that her elder sister Parthenope was to print after her return): "God called me in the morning and asked me would I do good for him alone without reputation." Later in 1850, she visited the Lutheran religious community at Kaiserswerth-am-Rhein in Germany, where she observed Pastor Theodor Fliedner and the deaconesses working for the sick and the deprived. She regarded the experience as a turning point in her life, and issued her findings anonymously in 1851; The Institution of Kaiserswerth on the Rhine, for the Practical Training of Deaconesses, etc. was her first published work. She also received four months of medical training at the institute, which formed the basis for her later care. On 22 August 1853, Nightingale took the post of superintendent at the Institute for the Care of Sick Gentlewomen in Upper Harley Street, London, a position she held until October 1854. Her father had given her an annual income of £500 (roughly £40,000/US$65,000 in present terms), which allowed her to live comfortably and to pursue her career. Crimean War Florence Nightingale's most famous contribution came during the Crimean War, which became her central focus when reports got back to Britain about the horrific conditions for the wounded at the military hospital on the Asiatic side of the Bosporus, opposite Constantinople, at Scutari (modern-day Üsküdar in Istanbul). Britain and France entered the war against Russia on the side of the Ottoman Empire. On 21 October 1854, she and the staff of 38 women volunteer nurses including her head nurse Eliza Roberts and her aunt Mai Smith, and 15 Catholic nuns (mobilised by Henry Edward Manning) were sent (under the authorisation of Sidney Herbert) to the Ottoman Empire. On the way, Nightingale was assisted in Paris by her friend Mary Clarke. The volunteer nurses worked about away from the main British camp across the Black Sea at Balaklava, in the Crimea. Nightingale arrived at Selimiye Barracks in Scutari early in November 1854. Her team found that poor care for wounded soldiers was being delivered by overworked medical staff in the face of official indifference. Medicines were in short supply, hygiene was being neglected, and mass infections were common, many of them fatal. There was no equipment to process food for the patients. After Nightingale sent a plea to The Times for a government solution to the poor condition of the facilities, the British Government commissioned Isambard Kingdom Brunel to design a prefabricated hospital that could be built in England and shipped to the Dardanelles. The result was Renkioi Hospital, a civilian facility that, under the management of Edmund Alexander Parkes, had a death rate less than one tenth of that of Scutari. Stephen Paget in the Dictionary of National Biography asserted that Nightingale reduced the death rate from 42% to 2%, either by making improvements in hygiene herself, or by calling for the Sanitary Commission. For example, Nightingale implemented handwashing in the hospital where she worked. During her first winter at Scutari, 4,077 soldiers died there. Ten times more soldiers died from illnesses such as typhus, typhoid, cholera, and dysentery than from battle wounds. With overcrowding, defective sewers and lack of ventilation, the Sanitary Commission had to be sent out by the British government to Scutari in March 1855, almost six months after Nightingale had arrived. The commission flushed out the sewers and improved ventilation. Death rates were sharply reduced, but she never claimed credit for helping to reduce the death rate. Head Nurse Eliza Roberts nursed Nightingale through her critical illness of May 1855. In 2001 and 2008 the BBC released documentaries that were critical of Nightingale's performance in the Crimean War, as were some follow-up articles published in The Guardian and the Sunday Times. Nightingale scholar Lynn McDonald has dismissed these criticisms as "often preposterous", arguing they are not supported by the primary sources. Nightingale still believed that the death rates were due to poor nutrition, lack of supplies, stale air, and overworking of the soldiers. After she returned to Britain and began collecting evidence before the Royal Commission on the Health of the Army, she came to believe that most of the soldiers at the hospital were killed by poor living conditions. This experience influenced her later career when she advocated sanitary living conditions as of great importance. Consequently, she reduced peacetime deaths in the army and turned her attention to the sanitary design of hospitals and the introduction of sanitation in working-class homes (see Statistics and Sanitary Reform, below). According to some secondary sources, Nightingale had a frosty relationship with her fellow nurse Mary Seacole, who ran a hotel/hospital for officers. Seacole's own memoir, Wonderful Adventures of Mrs. Seacole in Many Lands, records only one, friendly, meeting with her, when she asked her for a bed for the night and got it; Seacole was in Scutari en route to the Crimea to join her business partner and start their business. However, Seacole pointed out that when she tried to join Nightingale's group, one of Nightingale's colleagues rebuffed her, and Seacole inferred that racism was at the root of that rebuttal. Nightingale told her brother-in-law, in a private letter, that she was worried about contact between her work and Seacole's business, claiming that while "she was very kind to the men and, what is more, to the Officers – and did some good (she) made many drunk". Nightingale reportedly wrote, "I had the greatest difficulty in repelling Mrs. Seacole's advances, and in preventing association between her and my nurses (absolutely out of the question!)...Anyone who employs Mrs. Seacole will introduce much kindness – also much drunkenness and improper conduct". On the other hand, Seacole told the French chef Alexis Soyer that "You must know, M Soyer, that Miss Nightingale is very fond of me. When I passed through Scutari, she very kindly gave me board and lodging." The arrival of two waves of Irish nuns, the Sisters of Mercy to assist with nursing duties at Scutari met with different responses from Nightingale. Mary Clare Moore headed the first wave and placed herself and her Sisters under the authority of Nightingale. The two were to remain friends for the rest of their lives. The second wave, headed by Mary Francis Bridgeman met with a cooler reception as Bridgeman refused to give up her authority over her Sisters to Nightingale while at the same time not trusting Nightingale, whom she regarded as ambitious. The Lady with the Lamp During the Crimean war, Nightingale gained the nickname "The Lady with the Lamp" from a phrase in a report in The Times: The phrase was further popularised by Henry Wadsworth Longfellow's 1857 poem "Santa Filomena": Lo! in that house of misery A lady with a lamp I see Pass through the glimmering gloom, And flit from room to room. Later career In the Crimea on 29 November 1855, the Nightingale Fund was established for the training of nurses during a public meeting to recognise Nightingale for her work in the war. There was an outpouring of generous donations. Sidney Herbert served as honorary secretary of the fund and the Duke of Cambridge was chairman. In her 1856 letters she described spas in the Ottoman Empire, detailing the health conditions, physical descriptions, dietary information, and other vital details of patients whom she directed there. She noted that the treatment there was significantly less expensive than in Switzerland. Nightingale had £45,000 at her disposal from the Nightingale Fund to set up the first nursing school, the Nightingale Training School, at St Thomas' Hospital on 9 July 1860. The first trained Nightingale nurses began work on 16 May 1865 at the Liverpool Workhouse Infirmary. Now called the Florence Nightingale Faculty of Nursing and Midwifery, the school is part of King's College London. In 1866 she said the Royal Buckinghamshire Hospital in Aylesbury near her sister's home Claydon House would be "the most beautiful hospital in England", and in 1868 called it "an excellent model to follow". Nightingale wrote Notes on Nursing (1859). The book served as the cornerstone of the curriculum at the Nightingale School and other nursing schools, though it was written specifically for the education of those nursing at home. Nightingale wrote, "Every day sanitary knowledge, or the knowledge of nursing, or in other words, of how to put the constitution in such a state as that it will have no disease, or that it can recover from disease, takes a higher place. It is recognised as the knowledge which every one ought to have – distinct from medical knowledge, which only a profession can have". Notes on Nursing also sold well to the general reading public and is considered a classic introduction to nursing. Nightingale spent the rest of her life promoting and organising the nursing profession. In the introduction to the 1974 edition, Joan Quixley of the Nightingale School of Nursing wrote: "The book was the first of its kind ever to be written. It appeared at a time when the simple rules of health were only beginning to be known, when its topics were of vital importance not only for the well-being and recovery of patients, when hospitals were riddled with infection, when nurses were still mainly regarded as ignorant, uneducated persons. The book has, inevitably, its place in the history of nursing, for it was written by the founder of modern nursing". As Mark Bostridge has demonstrated, one of Nightingale's signal achievements was the introduction of trained nurses into the workhouse system in Britain from the 1860s onwards. This meant that sick paupers were no longer being cared for by other, able-bodied paupers, but by properly trained nursing staff. In the first half of the 19th century, nurses were usually former servants or widows who found no other job and therefore were forced to earn their living by this work. Charles Dickens caricatured the standard of care in his 1842–1843 published novel Martin Chuzzlewit in the figure of Sarah Gamp as being incompetent, negligent, alcoholic and corrupt. According to Caroline Worthington, director of the Florence Nightingale Museum, "When she [Nightingale] started out there was no such thing as nursing. The Dickens character Sarah Gamp, who was more interested in drinking gin than looking after her patients, was only a mild exaggeration. Hospitals were places of last resort where the floors were laid with straw to soak up the blood. Florence transformed nursing when she got back [from Crimea]. She had access to people in high places and she used it to get things done. Florence was stubborn, opinionated, and forthright but she had to be those things in order to achieve all that she did." Though Nightingale is sometimes said to have denied the theory of infection for her entire life, a 2008 biography disagrees, saying that she was simply opposed to a precursor of germ theory known as contagionism. This theory held that diseases could only be transmitted by touch. Before the experiments of the mid-1860s by Pasteur and Lister, hardly anyone took germ theory seriously; even afterwards, many medical practitioners were unconvinced. Bostridge points out that in the early 1880s Nightingale wrote an article for a textbook in which she advocated strict precautions designed, she said, to kill germs. Nightingale's work served as an inspiration for nurses in the American Civil War. The Union government approached her for advice in organising field medicine. Her ideas inspired the volunteer body of the United States Sanitary Commission. Nightingale advocated autonomous nursing leadership, and that her new style of matrons had full control and discipline over their nursing staff. The infamous 'Guy's Hospital dispute' in 1879-1880 between matron Margaret Burt and hospital medical staff highlighted how doctors sometimes felt that their authority was being challenged by these new style Nightingale matrons. This was not an isolated episode and other matrons experienced similar issues, such as Eva Luckes. In the 1870s, Nightingale mentored Linda Richards, "America's first trained nurse", and enabled her to return to the United States with adequate training and knowledge to establish high-quality nursing schools. Richards went on to become a nursing pioneer in the US and Japan. By 1882, several Nightingale nurses had become matrons at several leading hospitals, including, in London (St Mary's Hospital, Westminster Hospital, St Marylebone Workhouse Infirmary and the Hospital for Incurables at Putney) and throughout Britain (Royal Victoria Hospital, Netley; Edinburgh Royal Infirmary; Cumberland Infirmary and Liverpool Royal Infirmary), as well as at Sydney Hospital in New South Wales, Australia. In 1883, Nightingale became the first recipient of the Royal Red Cross. In 1904, she was appointed a Lady of Grace of the Order of St John (LGStJ). In 1907, she became the first woman to be awarded the Order of Merit. In the following year she was given the Honorary Freedom of the City of London. Her birthday is now celebrated as International CFS Awareness Day. From 1857 onwards, Nightingale was intermittently bedridden and suffered from depression. A recent biography cites brucellosis and associated spondylitis as the cause. Most authorities today accept that Nightingale suffered from a particularly extreme form of brucellosis, the effects of which only began to lift in the early 1880s. Despite her symptoms, she remained phenomenally productive in social reform. During her bedridden years, she also did pioneering work in the field of hospital planning, and her work propagated quickly across Britain and the world. Nightingale's output slowed down considerably in her last decade. She wrote very little during that period due to blindness and declining mental abilities, though she still retained an interest in current affairs. Relationships Although much of Nightingale's work improved the lot of women everywhere, Nightingale believed that women craved sympathy and were not as capable as men. She criticised early women's rights activists for decrying an alleged lack of careers for women at the same time that lucrative medical positions, under the supervision of Nightingale and others, went perpetually unfilled. She preferred the friendship of powerful men, insisting they had done more than women to help her attain her goals, writing: "I have never found one woman who has altered her life by one iota for me or my opinions." She often referred to herself as, for example, "a man of action" and "a man of business". However, she did have several important and long-lasting friendships with women. Later in life, she kept up a prolonged correspondence with Irish nun Sister Mary Clare Moore, with whom she had worked in Crimea. Her most beloved confidante was Mary Clarke, an Englishwoman she met in Paris in 1837 and kept in touch with throughout her life. Some scholars of Nightingale's life believe that she remained chaste for her entire life, perhaps because she felt a religious calling to her career. Death Florence Nightingale died peacefully in her sleep in her room at 10 South Street, Mayfair, London, on 13 August 1910, at the age of 90. The offer of burial in Westminster Abbey was declined by her relatives and she is buried in the churchyard of St Margaret's Church in East Wellow, Hampshire, near Embley Park with a memorial with just her initials and dates of birth and death. She left a large body of work, including several hundred notes that were previously unpublished. A memorial monument to Nightingale was created in Carrara marble by Francis William Sargant in 1913 and placed in the cloister of the Basilica of Santa Croce, in Florence, Italy. Contributions Statistics and sanitary reform Florence Nightingale exhibited a gift for mathematics from an early age and excelled in the subject under the tutelage of her father. Later, Nightingale became a pioneer in the visual presentation of information and statistical graphics. She used methods such as the pie chart, which had first been developed by William Playfair in 1801. While taken for granted now, it was at the time a relatively novel method of presenting data. Indeed, Nightingale is described as "a true pioneer in the graphical representation of statistics", and is especially well-known for her usage of a polar area diagram, or occasionally the Nightingale rose diagram, equivalent to a modern circular histogram, to illustrate seasonal sources of patient mortality in the military field hospital she managed. While frequently credited as the creator of the polar area diagram, it is known to have been used by André-Michel Guerry in 1829 and Léon Louis Lalanne by 1830. Nightingale called a compilation of such diagrams a "coxcomb", but later that term would frequently be used for the individual diagrams. She made extensive use of coxcombs to present reports on the nature and magnitude of the conditions of medical care in the Crimean War to Members of Parliament and civil servants who would have been unlikely to read or understand traditional statistical reports. In 1859, Nightingale was elected the first female member of the Royal Statistical Society. In 1874 she became an honorary member of the American Statistical Association. Her attention turned to the health of the British Army in India and she demonstrated that bad drainage, contaminated water, overcrowding, and poor ventilation were causing the high death rate. Following the report The Royal Commission on India (1858–1863), which included drawings done by her cousin, artist Hilary Bonham Carter, with whom Nightingale had lived, Nightingale concluded that the health of the army and the people of India had to go hand in hand and so campaigned to improve the sanitary conditions of the country as a whole. Nightingale made a comprehensive statistical study of sanitation in Indian rural life and was the leading figure in the introduction of improved medical care and public health service in India. In 1858 and 1859, she successfully lobbied for the establishment of a Royal Commission into the Indian situation. Two years later, she provided a report to the commission, which completed its own study in 1863. "After 10 years of sanitary reform, in 1873, Nightingale reported that mortality among the soldiers in India had declined from 69 to 18 per 1,000". The Royal Sanitary Commission of 1868–1869 presented Nightingale with an opportunity to press for compulsory sanitation in private houses. She lobbied the minister responsible, James Stansfeld, to strengthen the proposed Public Health Bill to require owners of existing properties to pay for connection to mains drainage. The strengthened legislation was enacted in the Public Health Acts of 1874 and 1875. At the same time, she combined with the retired sanitary reformer Edwin Chadwick to persuade Stansfeld to devolve powers to enforce the law to Local Authorities, eliminating central control by medical technocrats. Her Crimean War statistics had convinced her that non-medical approaches were more effective given the state of knowledge at the time. Historians now believe that both drainage and devolved enforcement played a crucial role in increasing average national life expectancy by 20 years between 1871 and the mid-1930s during which time medical science made no impact on the most fatal epidemic diseases. Literature and the women's movement Historian of science I. Bernard Cohen argues: Lytton Strachey was famous for his book debunking 19th-century heroes, Eminent Victorians (1918). Nightingale gets a full chapter, but instead of debunking her, Strachey praised her in a way that raised her national reputation and made her an icon for English feminists of the 1920s and 1930s. While better known for her contributions in the nursing and mathematical fields, Nightingale is also an important link in the study of English feminism. She wrote some 200 books, pamphlets and articles throughout her life. During 1850 and 1852, she was struggling with her self-definition and the expectations of an upper-class marriage from her family. As she sorted out her thoughts, she wrote Suggestions for Thought to Searchers after Religious Truth. This was an 829-page, three-volume work, which Nightingale had printed privately in 1860, but which until recently was never published in its entirety. An effort to correct this was made with a 2008 publication by Wilfrid Laurier University, as volume 11 of a 16 volume project, the Collected Works of Florence Nightingale. The best known of these essays, called "Cassandra", was previously published by Ray Strachey in 1928. Strachey included it in The Cause, a history of the women's movement. Apparently, the writing served its original purpose of sorting out thoughts; Nightingale left soon after to train at the Institute for deaconesses at Kaiserswerth. "Cassandra" protests the over-feminisation of women into near helplessness, such as Nightingale saw in her mother's and older sister's lethargic lifestyle, despite their education. She rejected their life of thoughtless comfort for the world of social service. The work also reflects her fear of her ideas being ineffective, as were Cassandra's. Cassandra was a princess of Troy who served as a priestess in the temple of Apollo during the Trojan War. The god gave her the gift of prophecy; when she refused his advances, he cursed her so that her prophetic warnings would go unheeded. Elaine Showalter called Nightingale's writing "a major text of English feminism, a link between Wollstonecraft and Woolf". Nightingale was initially reluctant to join the Women's Suffrage Society when asked by John Stuart Mill, but through Josephine Butler was convinced 'that women's enfranchisement is absolutely essential to a nation if moral and social progress is to be made'. In 1972, the poet Eleanor Ross Taylor wrote "Welcome Eumenides", a poem written in Nightingale's voice and quoting frequently from Nightingale's writings. Adrienne Rich wrote that "... Eleanor Taylor has brought together the waste of women in society and the waste of men in wars and twisted them inseparably." Theology Despite being named as a Unitarian in several older sources, Nightingale's own rare references to conventional Unitarianism are mildly negative. She remained in the Church of England throughout her life, albeit with unorthodox views. Influenced from an early age by the Wesleyan tradition, Nightingale felt that genuine religion should manifest in active care and love for others. She wrote a work of theology: Suggestions for Thought, her own theodicy, which develops her heterodox ideas. Nightingale questioned the goodness of a God who would condemn souls to hell and was a believer in universal reconciliation – the concept that even those who die without being saved will eventually make it to Heaven. She would sometimes comfort those in her care with this view. For example, a dying young prostitute being tended by Nightingale was concerned she was going to hell and said to her "Pray God, that you may never be in the despair I am in at this time". The nurse replied "Oh, my girl, are you not now more merciful than the God you think you are going to? Yet the real God is far more merciful than any human creature ever was or can ever imagine." Despite her intense personal devotion to Christ, Nightingale believed for much of her life that the pagan and eastern religions had also contained genuine revelation. She was a strong opponent of discrimination both against Christians of different denominations and against those of non-Christian religions. Nightingale believed religion helped provide people with the fortitude for arduous good work and would ensure the nurses in her care attended religious services. However, she was often critical of organised religion. She disliked the role the 19th century Church of England would sometimes play in worsening the oppression of the poor. Nightingale argued that secular hospitals usually provided better care than their religious counterparts. While she held that the ideal health professional should be inspired by a religious as well as professional motive, she said that in practice many religiously motivated health workers were concerned chiefly in securing their own salvation and that this motivation was inferior to the professional desire to deliver the best possible care. Legacy Nursing Nightingale's lasting contribution has been her role in founding the modern nursing profession. She set an example of compassion, commitment to patient care and diligent and thoughtful hospital administration. The first official nurses' training programme, her Nightingale School for Nurses, opened in 1860 and is now called the Florence Nightingale Faculty of Nursing and Midwifery at King's College London. In 1912, the International Committee of the Red Cross instituted the Florence Nightingale Medal, which is awarded every two years to nurses or nursing aides for outstanding service. It is the highest international distinction a nurse can achieve and is awarded to nurses or nursing aides for "exceptional courage and devotion to the wounded, sick or disabled or to civilian victims of a conflict or disaster" or "exemplary services or a creative and pioneering spirit in the areas of public health or nursing education". Since 1965, International Nurses Day has been celebrated on her birthday (12 May) each year. The President of India honours nursing professionals with the "National Florence Nightingale Award" every year on International Nurses Day. The award, established in 1973, is given in recognition of meritorious services of nursing professionals characterised by devotion, sincerity, dedication and compassion. The Nightingale Pledge is a modified version of the Hippocratic Oath which nurses recite at their pinning ceremony at the end of training. Created in 1893 and named after Nightingale as the founder of modern nursing, the pledge is a statement of the ethics and principles of the nursing profession. The Florence Nightingale Declaration Campaign, established by nursing leaders throughout the world through the Nightingale Initiative for Global Health (NIGH), aims to build a global grassroots movement to achieve two United Nations Resolutions for adoption by the UN General Assembly of 2008. They will declare: The International Year of the Nurse–2010 (the centenary of Nightingale's death); The UN Decade for a Healthy World – 2011 to 2020 (the bicentenary of Nightingale's birth). NIGH also works to rekindle awareness about the important issues highlighted by Florence Nightingale, such as preventive medicine and holistic health. As of 2016, the Florence Nightingale Declaration has been signed by over 25,000 signatories from 106 countries. During the Vietnam War, Nightingale inspired many US Army nurses, sparking a renewal of interest in her life and work. Her admirers include Country Joe of Country Joe and the Fish, who has assembled an extensive website in her honour. The Agostino Gemelli Medical School in Rome, the first university-based hospital in Italy and one of its most respected medical centres, honoured Nightingale's contribution to the nursing profession by giving the name "Bedside Florence" to a wireless computer system it developed to assist nursing. Hospitals Four hospitals in Istanbul are named after Nightingale: Florence Nightingale Hospital in Şişli (the biggest private hospital in Turkey), Metropolitan Florence Nightingale Hospital in Gayrettepe, European Florence Nightingale Hospital in Mecidiyeköy, and Kızıltoprak Florence Nightingale Hospital in Kadıköy, all belonging to the Turkish Cardiology Foundation. In 2011, an appeal was made for the former Derbyshire Royal Infirmary hospital in Derby, England to be named after Nightingale. It was suggested the name could be either Nightingale Community Hospital or Florence Nightingale Community Hospital. The area where the hospital is situated is sometimes referred to as the "Nightingale Quarter". During the COVID-19 pandemic, a number of temporary NHS Nightingale Hospitals were set up in readiness for an expected rise in the number of patients needing critical care. The first was housed in the ExCeL London and several others followed across England. Celebrations to mark her bicentenary in 2020, were disrupted by the coronavirus pandemic and Nightingale's contribution to scientific and statistical analysis of infectious disease and nursing practice may have led to the new temporary hospitals being in her name, in Scotland named the NHS Louisa Jordan after a nurse who followed in Nightingale's footsteps in battlefield nursing in World War One. Museums and monuments A statue of Florence Nightingale by the 20th-century war memorialist Arthur George Walker stands in Waterloo Place, Westminster, London, just off The Mall. There are three statues of Nightingale in Derby – one outside the Derbyshire Royal Infirmary (DRI), one in St Peter's Street, and one above the Nightingale-Macmillan Continuing Care Unit opposite the Derbyshire Royal Infirmary. A pub named after her stands close to the DRI. The Nightingale-Macmillan continuing care unit is now at the Royal Derby Hospital, formerly known as The City Hospital, Derby. A stained glass window was commissioned for inclusion in the DRI chapel in the late 1950s. When the chapel was demolished the window was removed and installed in the replacement chapel. At the closure of the DRI, the window was again removed and stored. In October 2010, £6,000 was raised to reposition the window in St Peter's Church, Derby. The work features nine panels, of the original ten, depicting scenes of hospital life, Derby townscapes, and Nightingale herself. Some of the work was damaged and the tenth panel was dismantled for the glass to be used in the repair of the remaining panels. All the figures, who are said to be modelled on prominent Derby town figures of the early sixties, surround and praise a central pane of the triumphant Christ. A nurse who posed for the top right panel in 1959 attended the rededication service in October 2010. The Florence Nightingale Museum at St Thomas' Hospital in London reopened in May 2010 in time for the centenary of Nightingale's death. Another museum devoted to her is at her sister's family home, Claydon House, now a property of the National Trust. Upon the centenary of Nightingale's death in 2010, and to commemorate her connection with Malvern, the Malvern Museum held a Florence Nightingale exhibit with a school poster competition to promote some events. In Istanbul, the northernmost tower of the Selimiye Barracks building is now the Florence Nightingale Museum. and in several of its rooms, relics and reproductions related to Florence Nightingale and her nurses are on exhibition. When Nightingale moved on to the Crimea itself in May 1855, she often travelled on horseback to make hospital inspections. She later transferred to a mule cart and was reported to have escaped serious injury when the cart was toppled in an accident. Following this, she used a solid Russian-built black carriage, with a waterproof hood and curtains. The carriage was returned to England by Alexis Soyer after the war and subsequently given to the Nightingale training school. The carriage was damaged when the hospital was bombed during the Second World War. It was restored and transferred to Claydon House and is now displayed at the Army Medical Services Museum in Mytchett, Surrey, near Aldershot. A bronze plaque, attached to the plinth of the Crimean Memorial in the Haydarpaşa Cemetery, Istanbul, Turkey and unveiled on Empire Day, 1954, to celebrate the 100th anniversary of her nursing service in that region, bears the inscription: "To Florence Nightingale, whose work near this Cemetery a century ago relieved much human suffering and laid the foundations for the nursing profession." Other monuments of Nightingale include a statue at Chiba University in Japan, a bust at Tarlac State University in the Philippines, and a bust at Gun Hill Park in Aldershot in the UK. Other nursing schools around the world are named after Nightingale, such as in Anápolis in Brazil. Audio Florence Nightingale's voice was saved for posterity in a phonograph recording from 1890 preserved in the British Library Sound Archive. The recording, made in aid of the Light Brigade Relief Fund and available to hear online, says: When I am no longer even a memory, just a name, I hope my voice may perpetuate the great work of my life. God bless my dear old comrades of Balaclava and bring them safe to shore. Florence Nightingale. Theatre The first theatrical representation of Nightingale was Reginald Berkeley's The Lady with the Lamp, premiering in London in 1929 with Edith Evans in the title role. It did not portray her as an entirely sympathetic character and draws much characterisation from Lytton Strachey's biography of her in Eminent Victorians. It was adapted as a film of the same name in 1951. In 2009, a stage musical play representation of Nightingale entitled The Voyage of the Lass was produced by the Association of Nursing Service Administrators of the Philippines. Film In 1912, a biographical silent film titled The Victoria Cross, starring Julia Swayne Gordon as Nightingale, was released, followed in 1915 by another silent film, Florence Nightingale, featuring Elisabeth Risdon. In 1936, Kay Francis played Nightingale in the film titled The White Angel. In 1951, The Lady with a Lamp starred Anna Neagle. In 1993, Nest Entertainment released an animated film Florence Nightingale, describing her service as a nurse in the Crimean War. Television Portrayals of Nightingale on television, in documentary as in fiction, vary – the BBC's 2008 Florence Nightingale, featuring Laura Fraser, emphasised her independence and feeling of religious calling, but in Channel 4's 2006 Mary Seacole: The Real Angel of the Crimea, she is portrayed as narrow-minded and opposed to Seacole's efforts. Other portrayals include: Laura Morgan in Victoria episode #3.4 "Foreign Bodies" (2018) Kate Isitt in the Magic Grandad episode "Famous People: Florence Nightingale" (1994) Jaclyn Smith in the TV biopic Florence Nightingale (1985) Emma Thompson in the ITV sketch comedy series Alfresco episode #1.2 (1983) Jayne Meadows in PBS series Meeting of Minds (1978) Janet Suzman in the British theatre-style biopic Miss Nightingale (1974) Julie Harris in Hallmark Hall of Fame episode #14.4 "The Holy Terror" (1965) Sarah Churchill in Hallmark Hall of Fame episode #1.6 "Florence Nightingale" (1952) Banknotes Florence Nightingale's image appeared on the reverse of £10 Series D banknotes issued by the Bank of England from 1975 until 1994. As well as a standing portrait, she was depicted on the notes in a field hospital, holding her lamp. Nightingale's note was in circulation alongside the images of Isaac Newton, William Shakespeare, Charles Dickens, Michael Faraday, Sir Christopher Wren, the Duke of Wellington and George Stephenson, and prior to 2002, other than the female monarchs, she was the only woman whose image had ever adorned British paper currency. Photographs Nightingale had a principled objection to having photographs taken or her portrait painted. An extremely rare photograph of her, taken at Embley on a visit to her family home in May 1858, was discovered in 2006 and is now at the Florence Nightingale Museum in London. A black-and-white photograph taken in about 1907 by Lizzie Caswall Smith at Nightingale's London home in South Street, Mayfair, was auctioned on 19 November 2008 by Dreweatts auction house in Newbury, Berkshire, England, for £5,500. Biographies The first biography of Nightingale was published in England in 1855. In 1911, Edward Tyas Cook was authorised by Nightingale's executors to write the official life, published in two volumes in 1913. Nightingale was also the subject of one of Lytton Strachey's four mercilessly provocative biographical essays, Eminent Victorians. Strachey regarded Nightingale as an intense, driven woman who was both personally intolerable and admirable in her achievements. Cecil Woodham-Smith, like Strachey, relied heavily on Cook's Life in her 1950 biography, though she did have access to new family material preserved at Claydon. In 2008, Mark Bostridge published a major new life of Nightingale, almost exclusively based on unpublished material from the Verney Collections at Claydon and from archival documents from about 200 archives around the world, some of which had been published by Lynn McDonald in her projected sixteen-volume edition of the Collected Works of Florence Nightingale (2001 to date). Other In 2002, Nightingale was ranked number 52 in the BBC's list of the 100 Greatest Britons following a UK-wide vote. In 2006, the Japanese public ranked Nightingale number 17 in The Top 100 Historical Persons in Japan. Several churches in the Anglican Communion commemorate Nightingale with a feast day on their liturgical calendars. The Evangelical Lutheran Church in America commemorates her as a Renewer of Society with Clara Maass on 13 August. Washington National Cathedral celebrates Nightingale's accomplishments with a double-lancet stained glass window featuring six scenes from her life, designed by artist Joseph G. Reynolds and installed in 1983. The US Navy ship the was commissioned in 1942. Beginning in 1968, the US Air Force operated a fleet of 20 C-9A "Nightingale" aeromedical evacuation aircraft, based on the McDonnell Douglas DC-9 platform. The last of these planes was retired from service in 2005. In 1981, the asteroid 3122 Florence was named after her. A Dutch KLM McDonnell-Douglas MD-11 (registration PH-KCD) was also named in her honour; it served the airline for 20 years, from 1994 to 2014. Nightingale has appeared on international postage stamps, including, the UK, Alderney, Australia, Belgium, Dominica, Hungary (showing the Florence Nightingale medal awarded by the International Red Cross), and Germany. Florence Nightingale is remembered in the Church of England with a commemoration on 13 August. Celebrations to mark her bicentenary in 2020, were disrupted by the coronavirus pandemic, but the NHS Nightingale hospitals were named after her. Gallery Works Privately printed by Nightingale in 1860. The Family, a critical essay in Fraser's Magazine (1870) Note: First few pages missing. Title page is present. . See also 2005 publication by Diggory Press, See also Crimean War Memorial Dasha from Sevastopol Florence Nightingale effect History of feminism Licensed practical nurse List of suffragists and suffragettes Nightingale's environmental theory Nursing process Cicely Saunders Timeline of women in science Women's suffrage in the United Kingdom Explanatory footnotes Citations General and cited references Primary sources Goldie, Sue, A Calendar of the Letters of Florence Nightingale, Oxford: Wellcome Institute for the History of Medicine, 1983. McDonald, Lynn, ed., Collected Works of Florence Nightingale. Wilfrid Laurier University Press. 16 volumes. Secondary sources Baly, Monica E., and Matthew, H.C.G., "Nightingale, Florence (1820–1910)", Oxford Dictionary of National Biography, Oxford University Press, 2004; online ed., January 2011. Bostridge, Mark (2008), Florence Nightingale: The Woman and Her Legend. Viking (2008), Penguin (2009). US title Florence Nightingale: The Making of an Icon. New York: Farrar, Straus and Giroux (2008). Bullough, Vern L.; Bullough, Bonnie; and Stanton, Marieta P., Florence Nightingale and Her Era: A Collection of New Scholarship, New York, Garland, 1990. Chaney, Edward (2006), "Egypt in England and America: The Cultural Memorials of Religion, Royalty and Revolution," in Sites of Exchange: European Crossroads and Faultlines, eds. Ascari, Maurizio, and Corrado, Adriana. Rodopi BV, Amsterdam and New York, 39–74. Cope, Zachary, Florence Nightingale and the Doctors, London: Museum Press, 1958; Philadelphia: J. B. Lippincott & Co., 1958. Gill, Gillian (2004). Nightingales: The Extraordinary Upbringing and Curious Life of Miss Florence Nightingale. Ballantine Books. Magnello, M. Eileen. "Victorian statistical graphics and the iconography of Florence Nightingale's polar area graph," BSHM Bulletin: Journal of the British Society for the History of Mathematics (2012) 27#1 pp 13–37 Nelson, Sioban, and Rafferty, Anne Marie, eds. Notes on Nightingale: The Influence and Legacy of a Nursing Icon (Cornell University Press; 2010) 184 pages. Essays on Nightingale's work in the Crimea and Britain's colonies, her links to the evolving science of statistics, and debates over her legacy and historical reputation and persona. Parton, James (1868). "Florence Nightingale," in Eminent Women of the Age; Being Narratives of the Lives and Deeds of the Most Prominent Women of the Present Generation, Hartford, Conn.: S. M. Betts & Company. Pugh, Martin, The March of the Women: A Revisionist Analysis of the Campaign for Women's Suffrage, 1866–1914, Oxford (2000), at 55. Rees, Joan. Women on the Nile: Writings of Harriet Martineau, Florence Nightingale, and Amelia Edwards. London: Rubicon Press (1995, 2008). Sokoloff, Nancy Boyd, Three Victorian Women Who Changed their World: Josephine Butler, Octavia Hill, Florence Nightingale, London: MacMillan (1982). Available online at Florence Nightingale: Part I. Strachey, Lytton. 1918. Eminent Victorians . Webb, Val, The Making of a Radical Theologician, Chalice Press (2002). Woodham-Smith, Cecil, Florence Nightingale, Penguin (1951), rev. 1955. Further reading External links UCLA Elmer Belt Florence Nightingale Collection, hosted at Internet Archive 1890 audio recording of Florence Nightingale speaking Victorians.co.uk: Florence Nightingale Eminent Victorians: Florence Nightingale by Lytton Strachey University of Guelph: Collected Works of Florence Nightingale project Florence Nightingale Foundation Florence Nightingale Correspondence from the Historic Psychiatry Collection, Menninger Archives, Kansas Historical Society Florence Nightingale Letters Collection – A collection of letters written by and to Florence Nightingale from the UBC Library Digital Collections Florence Nightingale Letters Collection – correspondence in the University of Illinois at Chicago digital collections Florence Nightingale Collection at Wayne State University Library consists primarily of letters written by Florence Nightingale throughout her life. Major topics of the letters include medical care for the soldiers and the poor, the role of nursing, and sanitation and public works in colonized India. Florence Nightingale Declaration Campaign for Global Health established by the Nightingale Initiative for Global Health (NIGH) Florence Nightingale Window at St Peter's, Derby Papers of Florence Nightingale, 1820–1910 Southern Star article Episode 6: Florence Nightingale from Babes of Science podcasts Texas Woman's University Special Collections has a large collection of Florence Nightingale artefacts, letters, and primary sources. 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[ { "text": "Florence ( ; ) is a city in Central Italy and the capital city of the Tuscany region. It is the most populated city in Tuscany, with 360,930 inhabitants in 2023, and 984,991 in its metropolitan area.\n\nFlorence was a centre of medieval European trade and finance and one of the wealthiest cities of that era. It is considered by many academics to have been the birthplace of the Renaissance, becoming a major artistic, cultural, commercial, political, economic and financial center. During this time, Florence rose to a position of enormous influence in Italy, Europe, and beyond. Its turbulent political history includes periods of rule by the powerful Medici family and numerous religious and republican revolutions. From 1865 to 1871 the city served as the capital of the Kingdom of Italy. The Florentine dialect forms the base of Standard Italian and it became the language of culture throughout Italy due to the prestige of the masterpieces by Dante Alighieri, Petrarch, Giovanni Boccaccio, Niccolò Machiavelli and Francesco Guicciardini.\n\nThe city attracts millions of tourists each year, and UNESCO declared the Historic Centre of Florence a World Heritage Site in 1982. The city is noted for its culture, Renaissance art and architecture and monuments. The city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florence's artistic and architectural heritage, Forbes ranked it as the most beautiful city in the world in 2010.\n\nFlorence plays an important role in Italian fashion, and is ranked in the top 15 fashion capitals of the world by Global Language Monitor; furthermore, it is a major national economic centre, as well as a tourist and industrial hub.\n\nEtymology \n\nThere are a number of theories as to the origin of the Latin name Florentia from which the name of Florence and Firenze derived:\n Legend attributes the origin of the name Florentia to Florio (a soldier killed on the spot) \n It may be related to the Latin word for flowers found in the area\n It may be related to Flora, since it was founded during the Floralia festival \n There is a theory that Florentia is a name to convey good luck, \"may you be florid\"\n\nHistory\n\nFlorence originated as a Roman city, and later, after a long period as a flourishing trading and banking medieval commune, it was the birthplace of the Italian Renaissance. It was politically, economically, and culturally one of the most important cities in Europe and the world from the 14th to 16th centuries.\n\nThe language spoken in the city during the 14th century came to be accepted as the model for what would become the Italian language. Thanks especially to the works of the Tuscans Dante, Petrarch and Boccaccio, the Florentine dialect, above all the local dialects, was adopted as the basis for a national literary language.\n\nStarting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of industry all over Europe, from Britain to Bruges, to Lyon and Hungary. Florentine bankers financed the English kings during the Hundred Years' War. They similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome.\n\nFlorence was home to the Medici, one of European history's most important noble families. Lorenzo de' Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century: Leo X and Clement VII. Catherine de Medici married King Henry II of France and, after his death in 1559, reigned as regent in France. Marie de' Medici married Henry IV of France and gave birth to the future King Louis XIII. The Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de' Medici in 1569 and ending with the death of Gian Gastone de' Medici in 1737.\n\nThe Kingdom of Italy, which was established in 1861, moved its capital from Turin to Florence in 1865, although the capital was moved to Rome in 1871.\n\nRoman origins\n\nFlorence was established by the Romans in 59 BC as a colony for veteran soldiers and was built in the style of an army camp. Situated along the Via Cassia, the main route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre and in AD 285 became the capital of the Tuscia region.\n\nEarly Middle Ages\n\nIn centuries to come, the city experienced turbulent alternate periods of Ostrogoth and Byzantine rule, during which the city was fought over, helping to cause the population to fall to as low as 1,000 people. Peace returned under Lombard rule in the 6th century and Florence was in turn conquered by Charlemagne in 774 becoming part of the March of Tuscany centred on Lucca. The population began to grow again and commerce prospered.\n\nSecond millennium\n\nMargrave Hugo chose Florence as his residency instead of Lucca around 1000 AD. The Golden Age of Florentine art began around this time. In 1100, Florence was a \"commune\", meaning a city-state. The city's primary resource was the Arno river, providing power and access for the industry (mainly textile industry), and access to the Mediterranean sea for international trade, helping the growth of an industrious merchant community. The Florentine merchant banking skills became recognised in Europe after they brought decisive financial innovation (e.g. bills of exchange, double-entry bookkeeping system) to medieval fairs. This period also saw the eclipse of Florence's formerly powerful rival Pisa. The growing power of the merchant elite culminated in an anti-aristocratic uprising, led by Giano della Bella, resulting in the Ordinances of Justice which entrenched the power of the elite guilds until the end of the Republic.\n\nMiddle Ages and Renaissance\n\nRise of the Medici\n\nAt the height of demographic expansion around 1325, the urban population may have been as great as 120,000, and the rural population around the city was probably close to 300,000. The Black Death of 1348 reduced it by over half, about 25,000 are said to have been supported by the city's wool industry: in 1345 Florence was the scene of an attempted strike by wool combers (ciompi), who in 1378 rose up in a brief revolt against oligarchic rule in the Revolt of the Ciompi. After their suppression, Florence came under the sway (1382–1434) of the Albizzi family, who became bitter rivals of the Medici.\n\nIn the 15th century, Florence was among the largest cities in Europe, with a population of 60,000, and was considered rich and economically successful. Cosimo de' Medici was the first Medici family member to essentially control the city from behind the scenes. Although the city was technically a democracy of sorts, his power came from a vast patronage network along with his alliance to the new immigrants, the gente nuova (new people). The fact that the Medici were bankers to the pope also contributed to their ascendancy. Cosimo was succeeded by his son Piero, who was, soon after, succeeded by Cosimo's grandson, Lorenzo in 1469. Lorenzo was a great patron of the arts, commissioning works by Michelangelo, Leonardo da Vinci and Botticelli. Lorenzo was an accomplished poet and musician and brought composers and singers to Florence, including Alexander Agricola, Johannes Ghiselin, and Heinrich Isaac. By contemporary Florentines (and since), he was known as \"Lorenzo the Magnificent\" (Lorenzo il Magnifico).\n\nFollowing Lorenzo de' Medici's death in 1492, he was succeeded by his son Piero II. When the French king Charles VIII invaded northern Italy, Piero II chose to resist his army. But when he realised the size of the French army at the gates of Pisa, he had to accept the humiliating conditions of the French king. These made the Florentines rebel, and they expelled Piero II. With his exile in 1494, the first period of Medici rule ended with the restoration of a republican government.\n\nSavonarola, Machiavelli, and the Medici popes\n\nDuring this period, the Dominican friar Girolamo Savonarola had become prior of the San Marco monastery in 1490. He was famed for his penitential sermons, lambasting what he viewed as widespread immorality and attachment to material riches. He praised the exile of the Medici as the work of God, punishing them for their decadence. He seized the opportunity to carry through political reforms leading to a more democratic rule. But when Savonarola publicly accused Pope Alexander VI of corruption, he was banned from speaking in public. When he broke this ban, he was excommunicated. The Florentines, tired of his teachings, turned against him and arrested him. He was convicted as a heretic, hanged and burned at the stake on the Piazza della Signoria on 23 May 1498. His ashes were dispersed in the Arno river.\n\nAnother Florentine of this period was Niccolò Machiavelli, whose prescriptions for Florence's regeneration under strong leadership have often been seen as a legitimization of political expediency and even malpractice. Machiavelli was a political thinker, renowned for his political handbook The Prince, which is about ruling and exercising power. Commissioned by the Medici, Machiavelli also wrote the Florentine Histories, the history of the city.\n\nIn 1512, the Medici retook control of Florence with the help of Spanish and Papal troops. They were led by two cousins, Giovanni and Giulio de' Medici, both of whom would later become Popes of the Catholic Church, (Leo X and Clement VII, respectively). Both were generous patrons of the arts, commissioning works like Michelangelo's Laurentian Library and Medici Chapel in Florence, to name just two. Their reigns coincided with political upheaval in Italy, and thus in 1527, Florentines drove out the Medici for a second time and re-established a theocratic republic on 16 May 1527, (Jesus Christ was named King of Florence). The Medici returned to power in Florence in 1530, with the armies of Holy Roman Emperor Charles V and the blessings of Pope Clement VII (Giulio de' Medici).\n\nFlorence officially became a monarchy in 1531, when Emperor Charles and Pope Clement named Alessandro de Medici as Duke of the Florentine Republic. The Medici's monarchy would last over two centuries. Alessandro's successor, Cosimo I de Medici, was named Grand Duke of Tuscany in 1569; in all Tuscany, only the Republic of Lucca (later a Duchy) and the Principality of Piombino were independent from Florence.\n\n18th and 19th centuries \n\nThe extinction of the Medici dynasty and the accession in 1737 of Francis Stephen, duke of Lorraine and husband of Maria Theresa of Austria, led to Tuscany's temporary inclusion in the territories of the Austrian crown. It became a secundogeniture of the Habsburg-Lorraine dynasty, who were deposed for the House of Bourbon-Parma in 1801. From 1801 to 1807 Florence was the capital of the Napoleonic client state Kingdom of Etruria. The Bourbon-Parma were deposed in December 1807 when Tuscany was annexed by France. Florence was the prefecture of the French département of Arno from 1808 to the fall of Napoleon in 1814. The Habsburg-Lorraine dynasty was restored on the throne of Tuscany at the Congress of Vienna but finally deposed in 1859. Tuscany became a region of the Kingdom of Italy in 1861.\n\nFlorence replaced Turin as Italy's capital in 1865 and, in an effort to modernise the city, the old market in the Piazza del Mercato Vecchio and many medieval houses were pulled down and replaced by a more formal street plan with newer houses. The Piazza (first renamed Piazza Vittorio Emanuele II, then Piazza della Repubblica, the present name) was significantly widened and a large triumphal arch was constructed at the west end. This development was unpopular and was prevented from continuing by the efforts of several British and American people living in the city. A museum recording the destruction stands nearby today.\n\nThe country's second capital city was superseded by Rome six years later, after the withdrawal of the French troops allowed the capture of Rome.\n\n20th century\n\nDuring World War II the city experienced a year-long German occupation (1943–1944) being part of the Italian Social Republic. Hitler declared it an open city on 3 July 1944 as troops of the British 8th Army closed in. In early August, the retreating Germans decided to demolish all the bridges along the Arno linking the district of Oltrarno to the rest of the city, making it difficult for troops of the 8th Army to cross. However, at the last moment Charles Steinhauslin, at the time consul of 26 countries in Florence, convinced the German general in Italy that the Ponte Vecchio was not to be destroyed due to its historical value. Instead, an equally historic area of streets directly to the south of the bridge, including part of the Corridoio Vasariano, was destroyed using mines. Since then the bridges have been restored to their original forms using as many of the remaining materials as possible, but the buildings surrounding the Ponte Vecchio have been rebuilt in a style combining the old with modern design. Shortly before leaving Florence, as they knew that they would soon have to retreat, the Germans executed many freedom fighters and political opponents publicly, in streets and squares including the Piazza Santo Spirito.\n\nFlorence was liberated by New Zealand, South African and British troops on 4 August 1944 alongside partisans from the Tuscan Committee of National Liberation (CTLN). The Allied soldiers who died driving the Germans from Tuscany are buried in cemeteries outside the city (Americans about south of the city, British and Commonwealth soldiers a few kilometres east of the centre on the right bank of the Arno).\n\nAt the end of World War II in May 1945, the US Army's Information and Educational Branch was ordered to establish an overseas university campus for demobilised American service men and women in Florence. The first American university for service personnel was established in June 1945 at the School of Aeronautics. Some 7,500 soldier-students were to pass through the university during its four one-month sessions (see G. I. American Universities).\n\nIn November 1966, the Arno flooded parts of the centre, damaging many art treasures. Around the city there are tiny placards on the walls noting where the flood waters reached at their highest point.\n\nGeography\n\nFlorence lies in a basin formed by the hills of Careggi, Fiesole, Settignano, Arcetri, Poggio Imperiale and Bellosguardo (Florence). The Arno river, three other minor rivers (Mugnone, Ema and Greve) and some streams flow through it.\n\nClimate\nFlorence has a humid subtropical climate (Cfa), tending to Mediterranean (Csa). It has hot summers with moderate or light rainfall and cool, damp winters. As Florence lacks a prevailing wind, summer temperatures are higher than along the coast. Rainfall in summer is convectional, while relief rainfall dominates in the winter. Snow flurries occur almost every year, but often result in no accumulation. The highest officially recorded temperature was on 26 July 1983 and the lowest was on 12 January 1985.\n\nDemographics\n\nIn 1200 the city was home to 50,000 people. By 1300 the population of the city proper was 120,000, with an additional 300,000 living in the Contado. Between 1500 and 1650 the population was around 70,000.\n\n, the population of the city proper is 370,702, while Eurostat estimates that 696,767 people live in the urban area of Florence. The Metropolitan Area of Florence, Prato and Pistoia, constituted in 2000 over an area of roughly , is home to 1.5 million people. Within Florence proper, 46.8% of the population was male in 2007 and 53.2% were female. Minors (children aged 18 and less) totalled 14.10% of the population compared to pensioners, who numbered 25.95 percent. This compares with the Italian average of 18.06 percent (minors) and 19.94 percent (pensioners). The average age of Florence resident is 49 compared to the Italian average of 42. In the five years between 2002 and 2007, the population of Florence grew by 3.22 percent, while Italy as a whole grew by 3.56 percent. The birth rate of Florence is 7.66 births per 1,000 inhabitants compared to the Italian average of 9.45 births.\n\n, 87.46% of the population was Italian. An estimated 6,000 Chinese live in the city. The largest immigrant group came from other European countries (mostly Romanians and Albanians): 3.52%, East Asia (mostly Chinese and Filipino): 2.17%, the Americas: 1.41%, and North Africa (mostly Moroccan): 0.9%.\n\nMuch like the rest of Italy most of the people in Florence are Roman Catholic, with more than 90% of the population belonging to the Archdiocese of Florence.\n\nEconomy\nTourism is, by far, the most important of all industries and most of the Florentine economy relies on the money generated by international arrivals and students studying in the city. The value tourism to the city totalled some €2.5 billion in 2015 and the number of visitors had increased by 5.5% from the previous year.\n\nIn 2013, Florence was listed as the second best world city by Condé Nast Traveler.\n\nManufacturing and commerce, however, still remain highly important. Florence is also Italy's 17th richest city in terms of average workers' earnings, with the figure being €23,265 (the overall city's income is €6,531,204,473), coming after Mantua, yet surpassing Bolzano.\n\nIndustry, commerce and services\nFlorence is a major production and commercial centre in Italy, where the Florentine industrial complexes in the suburbs produce all sorts of goods, from furniture, rubber goods, chemicals, and food. However, traditional and local products, such as antiques, handicrafts, glassware, leatherwork, art reproductions, jewellery, souvenirs, elaborate metal and iron-work, shoes, accessories and high fashion clothes also dominate a fair sector of Florence's economy. The city's income relies partially on services and commercial and cultural interests, such as annual fairs, theatrical and lyrical productions, art exhibitions, festivals and fashion shows, such as the Calcio Fiorentino. Heavy industry and machinery also take their part in providing an income. In Nuovo Pignone, numerous factories are still present, and small-to medium industrial businesses are dominant. The Florence-Prato-Pistoia industrial districts and areas were known as the 'Third Italy' in the 1990s, due to the exports of high-quality goods and automobile (especially the Vespa) and the prosperity and productivity of the Florentine entrepreneurs. Some of these industries even rivalled the traditional industrial districts in Emilia-Romagna and Veneto due to high profits and productivity.\n\nIn the fourth quarter of 2015, manufacturing increased by 2.4% and exports increased by 7.2%. Leading sectors included mechanical engineering, fashion, pharmaceutics, food and wine. During 2015, permanent employment contracts increased by 48.8 percent, boosted by nationwide tax break.\n\nTourism\n\nTourism is the most significant industry in central Florence. From April to October, tourists outnumber local population. Tickets to the Uffizi and Accademia museums are regularly sold out and large groups regularly fill the basilicas of Santa Croce and Santa Maria Novella, both of which charge for entry. Tickets for The Uffizi and Accademia can be purchased online prior to visiting. In 2010, readers of Travel + Leisure magazine ranked the city as their third favourite tourist destination. In 2015, Condé Nast Travel readers voted Florence as the best city in Europe.\n\nStudies by Euromonitor International have concluded that cultural and history-oriented tourism is generating significantly increased spending throughout Europe.\n\nFlorence is believed to have the greatest concentration of art (in proportion to its size) in the world. Thus, cultural tourism is particularly strong, with world-renowned museums such as the Uffizi selling over 1.93 million tickets in 2014. The city's convention centre facilities were restructured during the 1990s and host exhibitions, conferences, meetings, social forums, concerts and other events all year.\n\nIn 2016, Florence had 20,588 hotel rooms in 570 facilities. International visitors use 75% of the rooms; some 18% of those were from the U.S. In 2014, the city had 8.5 million overnight stays. A Euromonitor report indicates that in 2015 the city ranked as the world's 36th most visited in the world, with over 4.95 million arrivals for the year.\n\nTourism brings revenue to Florence, but also creates certain problems. The Ponte Vecchio, The San Lorenzo Market and Santa Maria Novella are plagued by pickpockets. The province of Florence receives roughly 13 million visitors per year and in peak seasons, popular locations may become overcrowded as a result. In 2015, Mayor Dario Nardella expressed concern over visitors who arrive on buses, stay only a few hours, spend little money but contribute significantly to overcrowding. \"No museum visit, just a photo from the square, the bus back and then on to Venice ... We don't want tourists like that\", he said.\n\nSome tourists are less than respectful of the city's cultural heritage, according to Nardella. In June 2017, he instituted a programme of spraying church steps with water to prevent tourists from using such areas as picnic spots. While he values the benefits of tourism, he claims that there has been \"an increase among those who sit down on church steps, eat their food and leave rubbish strewn on them\", he explained. To boost the sale of traditional foods, the mayor had introduced legislation (enacted in 2016) that requires restaurants to use typical Tuscan products and rejected McDonald's application to open a location in the Piazza del Duomo.\n\nIn October 2021, Florence was shortlisted for the European Commission's 2022 European Capital of Smart Tourism award along with Bordeaux, Copenhagen, Dublin, Ljubljana, Palma de Mallorca and Valencia.\n\nFood and wine production\n\nFood and wine have long been an important staple of the economy. The Chianti region is just south of the city, and its Sangiovese grapes figure prominently not only in its Chianti Classico wines but also in many of the more recently developed Supertuscan blends. Within to the west is the Carmignano area, also home to flavourful sangiovese-based reds. The celebrated Chianti Rufina district, geographically and historically separated from the main Chianti region, is also few kilometres east of Florence. More recently, the Bolgheri region (about southwest of Florence) has become celebrated for its \"Super Tuscan\" reds such as Sassicaia and Ornellaia.\n\nGovernment\n\nThe legislative body of the municipality is the City Council (Consiglio Comunale), which is composed of 36 councillors elected every five years with a proportional system, at the same time as the mayoral elections. The executive body is the City Committee (Giunta Comunale), composed of 7 assessors, nominated and presided over by a directly elected Mayor. The current mayor of Florence is Dario Nardella.\n\nThe municipality of Florence is subdivided into five administrative Boroughs (Quartieri). Each borough is governed by a Council (Consiglio) and a President, elected at the same time as the city mayor. The urban organisation is governed by the Italian Constitution (art. 114). The boroughs have the power to advise the Mayor with nonbinding opinions on a large spectrum of topics (environment, construction, public health, local markets) and exercise the functions delegated to them by the City Council; in addition they are supplied with an autonomous funding in order to finance local activities. The boroughs are:\n Q1 – Centro storico (Historic Centre); population: 67,170;\n Q2 – Campo di Marte; population: 88,588;\n Q3 – Gavinana-Galluzzo; population: 40,907;\n Q4 – Isolotto-Legnaia; population: 66,636;\n Q5 – Rifredi; population: 103,761.\n\nAll of the five boroughs are governed by the Democratic Party.\n\nThe former Italian Prime Minister (2014–2016), Matteo Renzi, served as mayor from 2009 to 2014.\n\nCulture\n\nArt\n\nFlorence was the birthplace of High Renaissance art, which lasted from about 1500 to 1527. Renaissance art put a larger emphasis on naturalism and human emotion. Medieval art was often formulaic and symbolic; the surviving works are mostly religious, their subjects were chosen by clerics. By contrast, Renaissance art became more rational, mathematical, individualistic, and produced by known artists such as Donatello, Michelangelo, and Raphael, who started to sign their works. Religion was important, but with this new age came the humanization of religious figures in art, such as Expulsion from the Garden of Eden, Ecce Homo (Bosch, 1470s), and Madonna Della Seggiola; People of this age began to understand themselves as human beings, which reflected in art. The Renaissance marked the rebirth of classical values in art and society as people studied the ancient masters of the Greco-Roman world; Art became focused on realism as opposed to idealism.\n\nCimabue and Giotto, the fathers of Italian painting, lived in Florence as well as Arnolfo and Andrea Pisano, renewers of architecture and sculpture; Brunelleschi, Donatello and Masaccio, forefathers of the Renaissance, Ghiberti and the Della Robbias, Filippo Lippi and Angelico; Botticelli, Paolo Uccello and the universal genius of Leonardo da Vinci and Michelangelo.\n\nTheir works, together with those of many other generations of artists, are gathered in the several museums of the town: the Uffizi Gallery, the Palatina gallery with the paintings of the \"Golden Ages\", the Bargello with the sculptures of the Renaissance, the museum of San Marco with Fra Angelico's works, the Academy, the chapels of the Medicis Buonarroti's house with the sculptures of Michelangelo, the following museums: Bardini, Horne, Stibbert, Romano, Corsini, The Gallery of Modern Art, the Museo dell'Opera del Duomo, the museum of Silverware and the museum of Precious Stones. Several monuments are located in Florence: the Florence Baptistery with its mosaics; the cathedral with its sculptures, the medieval churches with bands of frescoes; public as well as private palaces: Palazzo Vecchio, Palazzo Pitti, Palazzo Medici Riccardi, Palazzo Davanzati; monasteries, cloisters, refectories; the \"Certosa\". In the archaeological museum includes documents of Etruscan civilisation. In fact the city is so rich in art that some first time visitors experience the Stendhal syndrome as they encounter its art for the first time.\n\nFlorentine architects such as Filippo Brunelleschi (1377–1466) and Leon Battista Alberti (1404–1472) were among the fathers of both Renaissance and Neoclassical architecture.\n\nThe cathedral, topped by Brunelleschi's dome, dominates the Florentine skyline. The Florentines decided to start building it – late in the 13th century, without a design for the dome. The project proposed by Brunelleschi in the 14th century was the largest ever built at the time, and the first major dome built in Europe since the two great domes of Roman times – the Pantheon in Rome, and Hagia Sophia in Constantinople. The dome of Santa Maria del Fiore remains the largest brick construction of its kind in the world. In front of it is the medieval Baptistery. The two buildings incorporate in their decoration the transition from the Middle Ages to the Renaissance. In recent years, most of the important works of art from the two buildings – and from the nearby Giotto's Campanile, have been removed and replaced by copies. The originals are now housed in the Museum dell'Opera del Duomo, just to the east of the cathedral.\n\nFlorence has large numbers of art-filled churches, such as San Miniato al Monte, San Lorenzo, Santa Maria Novella, Santa Trinita, Santa Maria del Carmine, Santa Croce, Santo Spirito, the Annunziata, Ognissanti and numerous others.\n\nArtists associated with Florence range from Arnolfo di Cambio and Cimabue to Giotto, Nanni di Banco, and Paolo Uccello; through Lorenzo Ghiberti, and Donatello and Massaccio and the della Robbia family; through Fra Angelico and Botticelli and Piero della Francesca, and on to Michelangelo and Leonardo da Vinci. Others include Benvenuto Cellini, Andrea del Sarto, Benozzo Gozzoli, Domenico Ghirlandaio, Filippo Lippi, Bernardo Buontalenti, Orcagna, Pollaiuolo, Filippino Lippi, Verrocchio, Bronzino, Desiderio da Settignano, Michelozzo, the Rossellis, the Sangallos, and Pontormo. Artists from other regions who worked in Florence include Raphael, Andrea Pisano, Giambologna, Il Sodoma and Peter Paul Rubens.\n\nPicture galleries in Florence include the Uffizi and the Pitti Palace. Two superb collections of sculpture are in the Bargello and the Museum of the Works of the Duomo. They are filled with the creations of Donatello, Verrochio, Desiderio da Settignano, Michelangelo and others. The Galleria dell'Accademia has Michelangelo's David, which was created between 1501 and 1504 and is perhaps the best-known work of art anywhere, plus the unfinished statues of the slaves Michelangelo created for the tomb of Pope Julius II. Other sights include the medieval city hall, the Palazzo della Signoria (also known as the Palazzo Vecchio), the Archeological Museum, the Museum of the History of Science, the Palazzo Davanzatti, the Stibbert Museum, St. Marks, the Medici Chapels, the Museum of the Works of Santa Croce, the Museum of the Cloister of Santa Maria Novella, the Zoological Museum (\"La Specola\"), the Bardini, and the Museo Horne. There is also a collection of works by the modern sculptor, Marino Marini, in a museum named after him. The Strozzi Palace is the site of special exhibits.\n\nLanguage\n\nFlorentine (fiorentino), spoken by inhabitants of Florence and its environs, is a Tuscan dialect and the immediate parent language to modern Italian.\n\nAlthough its vocabulary and pronunciation are largely identical to standard Italian, differences do exist. The Vocabolario del fiorentino contemporaneo (Dictionary of Modern Florentine) reveals lexical distinctions from all walks of life. Florentines have a highly recognisable accent in phonetic terms due to the so-called gorgia toscana: \"hard c\" between two vowels is pronounced as a fricative similar to an English h, so that dico 'I say' is phonetically , i cani 'the dogs' is . Similarly, t between vowels is pronounced as in English thin, and p in the same position is the bilabial fricative . Other traits include using a form of the subjunctive mood last commonly used in medieval times, a frequent usage in everyday speech of the modern subjunctive, and a shortened pronunciation of the definite article, instead of \"il\", causing doubling of the consonant that follows, so that il cane 'the dog', for example, is pronounced .\n\nDante, Petrarch, and Boccaccio pioneered the use of the vernacular instead of the Latin used for most literary works at the time.\n\nLiterature\n\nDespite Latin being the main language of the courts and the Church in the Middle Ages, writers such as Dante Alighieri and many others used their own language, the Florentine vernacular descended from Latin, in composing their greatest works. The oldest literary pieces written in Florentine go as far back as the 13th century. Florence's literature fully blossomed in the 14th century, when not only Dante with his Divine Comedy (1306–1321) and Petrarch, but also poets such as Guido Cavalcanti and Lapo Gianni composed their most important works. Dante's masterpiece is the Divine Comedy, which mainly deals with the poet himself taking an allegoric and moral tour of Hell, Purgatory and finally Heaven, during which he meets numerous mythological or real characters of his age or before. He is first guided by the Roman poet Virgil, whose non-Christian beliefs damned him to Hell. Later on he is joined by Beatrice, who guides him through Heaven.\n\nIn the 14th century, Petrarch and Giovanni Boccaccio led the literary scene in Florence after Dante's death in 1321. Petrarch was an all-rounder writer, author and poet, but was particularly known for his Canzoniere, or the Book of Songs, where he conveyed his unremitting love for Laura. His style of writing has since become known as Petrarchism. Boccaccio was better known for his Decameron, a slightly grim story of Florence during the 1350s bubonic plague, known as the Black Death, when some people fled the ravaged city to an isolated country mansion, and spent their time there recounting stories and novellas taken from the medieval and contemporary tradition. All of this is written in a series of 100 distinct novellas.\n\nIn the 16th century, during the Renaissance, Florence was the home town of political writer and philosopher Niccolò Machiavelli, whose ideas on how rulers should govern the land, detailed in The Prince, spread across European courts and enjoyed enduring popularity for centuries. These principles became known as Machiavellianism.\n\nMusic\n\nFlorence became a musical centre during the Middle Ages and music and the performing arts remain an important part of its culture. The growth of Northern Italian Cities in the 1500s likely contributed to its increased prominence. During the Renaissance, there were four kinds of musical patronage in the city with respect to both sacred and secular music: state, corporate, church, and private. It was here that the Florentine Camerata convened in the mid-16th century and experimented with setting tales of Greek mythology to music and staging the result—in other words, the first operas, setting the wheels in motion not just for the further development of the operatic form, but for later developments of separate \"classical\" forms such as the symphony and concerto. After the year 1600, Italian trends prevailed across Europe, by 1750 it was the primary musical language. The genre of the Madrigal, born in Italy, gained popularity in Britain and elsewhere. Several Italian cities were \"larger on the musical map than their real-size for power suggested. Florence, was once such city which experienced a fantastic period in the early seventeenth Century of musico-theatrical innovation, including the beginning and flourishing of opera.\n\nOpera was invented in Florence in the late 16th century when Jacopo Peri's Dafne an opera in the style of monody, was premiered. Opera spread from Florence throughout Italy and eventually Europe. Vocal Music in the choir setting was also taking new identity at this time. At the beginning of the 17th century, two practices for writing music were devised, one the first practice or Stile Antico/Prima Prattica the other the Stile Moderno/Seconda Prattica. The Stile Antico was more prevalent in Northern Europe and Stile Moderno was practiced more by the Italian Composers of the time. The piano was invented in Florence in 1709 by Bartolomeo Cristofori. Composers and musicians who have lived in Florence include Piero Strozzi (1550 – after 1608), Giulio Caccini (1551–1618) and Mike Francis (1961–2009). Giulio Caccini's book Le Nuove Musiche was significant in performance practice technique instruction at the time. The book specified a new term, in use by the 1630s, called monody which indicated the combination of voice and basso continuo and connoted a practice of stating text in a free, lyrical, yet speech-like manner. This would occur while an instrument, usually a keyboard type such as harpsichord, played and held chords while the singer sang/spoke the monodic line.\n\nCinema\nFlorence has been a setting for numerous works of fiction and movies, including the novels and associated films, such as Light in the Piazza, The Girl Who Couldn't Say No, Calmi Cuori Appassionati, Hannibal, A Room with a View, Tea with Mussolini, Virgin Territory and Inferno. The city is home to renowned Italian actors and actresses, such as Roberto Benigni, Leonardo Pieraccioni and Vittoria Puccini.\n\nVideo games \nFlorence has appeared as a location in video games such as Assassin's Creed II. The Republic of Florence also appears as a playable nation in Paradox Interactive's grand strategy game Europa Universalis IV.\n\nOther media \n16th century Florence is the setting of the Japanese manga and anime series Arte.\n\nCuisine\n\nFlorentine food grows out of a tradition of peasant eating rather than rarefied high cooking. The majority of dishes are based on meat. The whole animal was traditionally eaten; tripe (trippa) and stomach (lampredotto) were once regularly on the menu and still are sold at the food carts stationed throughout the city. Antipasti include crostini toscani, sliced bread rounds topped with a chicken liver-based pâté, and sliced meats (mainly prosciutto and salame, often served with melon when in season). The typically saltless Tuscan bread, obtained with natural levain frequently features in Florentine courses, especially in its soups, ribollita and pappa al pomodoro, or in the salad of bread and fresh vegetables called panzanella that is served in summer. The bistecca alla fiorentina is a large (the customary size should weigh around ) – the \"date\" steak – T-bone steak of Chianina beef cooked over hot charcoal and served very rare with its more recently derived version, the tagliata, sliced rare beef served on a bed of arugula, often with slices of Parmesan cheese on top. Most of these courses are generally served with local olive oil, also a prime product enjoying a worldwide reputation. Among the desserts, schiacciata alla fiorentina, a white flatbread cake, is one of the most popular; it is a very soft cake, prepared with extremely simple ingredients, typical of Florentine cuisine, and is especially eaten at Carnival.\n\nResearch activity\n\nResearch institutes and university departments are located within the Florence area and within two campuses at Polo di Novoli and Polo Scientifico di Sesto Fiorentino as well as in the Research Area of Consiglio Nazionale delle Ricerche.\n\nScience and discovery\n\nFlorence has been an important scientific centre for centuries, notably during the Renaissance with scientists such as Leonardo da Vinci.\n\nFlorentines were one of the driving forces behind the Age of Discovery. Florentine bankers financed Henry the Navigator and the Portuguese explorers who pioneered the route around Africa to India and the Far East. It was a map drawn by the Florentine Paolo dal Pozzo Toscanelli, a student of Brunelleschi, that Christopher Columbus used to sell his \"enterprise\" to the Spanish monarchs, and which he used on his first voyage. Mercator's \"Projection\" is a refined version of Toscanelli's, taking the Americas into account.\n\nGalileo and other scientists pioneered the study of optics, ballistics, astronomy, anatomy, and other scientific disciplines. Pico della Mirandola, Leonardo Bruni, Machiavelli, and many others laid the groundwork for modern scientific understanding.\n\nFashion\n\nBy the year 1300 Florence had become a centre of textile production in Europe. Many of the rich families in Renaissance Florence were major purchasers of locally produced fine clothing, and the specialists of fashion in the economy and culture of Florence during that period is often underestimated. Florence is regarded by some as the birthplace and earliest centre of the modern (post World War Two) fashion industry in Italy. The Florentine \"soirées\" of the early 1950s organised by Giovanni Battista Giorgini were events where several Italian designers participated in group shows and first garnered international attention. Florence has served as the home of the Italian fashion company Salvatore Ferragamo since 1928. Gucci, Roberto Cavalli, and Emilio Pucci are also headquartered in Florence. Other major players in the fashion industry such as Prada and Chanel have large offices and stores in Florence or its outskirts. Florence's main upscale shopping street is Via de' Tornabuoni, where major luxury fashion houses and jewellery labels, such as Armani and Bulgari, have boutiques. Via del Parione and Via Roma are other streets that are also well known for their high-end fashion stores.\n\nHistorical evocations\n\nScoppio del Carro\nThe Scoppio del Carro (\"Explosion of the Cart\") is a celebration of the First Crusade. During the day of Easter, a cart, which the Florentines call the Brindellone and which is led by four white oxen, is taken to the Piazza del Duomo between the Baptistery of St. John the Baptist (Battistero di San Giovanni) and the Florence Cathedral (Santa Maria del Fiore). The cart is connected by a rope to the interior of the church. Near the cart there is a model of a dove, which, according to legend, is a symbol of good luck for the city: at the end of the Easter mass, the dove emerges from the nave of the Duomo and ignites the fireworks on the cart.\n\nCalcio Storico\n\nCalcio Storico Fiorentino (\"Historic Florentine Football\"), sometimes called Calcio in costume, is a traditional sport, regarded as a forerunner of soccer, though the actual gameplay most closely resembles rugby. The event originates from the Middle Ages, when the most important Florentine nobles amused themselves playing while wearing bright costumes. The most important match was played on 17 February 1530, during the siege of Florence. That day Papal troops besieged the city while the Florentines, with contempt of the enemies, decided to play the game notwithstanding the situation. The game is played in the Piazza di Santa Croce. A temporary arena is constructed, with bleachers and a sand-covered playing field. A series of matches are held between four teams representing each quartiere (quarter) of Florence during late June and early July. There are four teams: Azzurri (light blue), Bianchi (white), Rossi (red) and Verdi (green). The Azzurri are from the quarter of Santa Croce, Bianchi from the quarter of Santo Spirito, Verdi are from San Giovanni and Rossi from Santa Maria Novella.\n\nMain sights\n\nFlorence is known as the \"cradle of the Renaissance\" (la culla del Rinascimento) for its monuments, churches, and buildings. The best-known site of Florence is the domed cathedral of the city, Santa Maria del Fiore, known as The Duomo, whose dome was built by Filippo Brunelleschi. The nearby Campanile (partly designed by Giotto) and the Baptistery buildings are also highlights. The dome, 600 years after its completion, is still the largest dome built in brick and mortar in the world. In 1982, the historic centre of Florence (Italian: centro storico di Firenze) was declared a World Heritage Site by the UNESCO. The centre of the city is contained in medieval walls that were built in the 14th century to defend the city. At the heart of the city, in Piazza della Signoria, is Bartolomeo Ammannati's Fountain of Neptune (1563–1565), which is a masterpiece of marble sculpture at the terminus of a still functioning Roman aqueduct.\n\nThe layout and structure of Florence in many ways harkens back to the Roman era, where it was designed as a garrison settlement. Nevertheless, the majority of the city was built during the Renaissance. Despite the strong presence of Renaissance architecture within the city, traces of medieval, Baroque, Neoclassical and modern architecture can be found. The as well as the Duomo, or the city's Cathedral, are the two buildings which dominate Florence's skyline.\n\nThe river Arno, which cuts through the old part of the city, is as much a character in Florentine history as many of the people who lived there. Historically, the locals have had a love-hate relationship with the Arno – which alternated between nourishing the city with commerce, and destroying it by flood.\n\nOne of the bridges in particular stands out – the Ponte Vecchio (Old Bridge), whose most striking feature is the multitude of shops built upon its edges, held up by stilts. The bridge also carries Vasari's elevated corridor linking the Uffizi to the Medici residence (Palazzo Pitti). Although the original bridge was constructed by the Etruscans, the current bridge was rebuilt in the 14th century. It is the only bridge in the city to have survived World War II intact. It is the first example in the western world of a bridge built using segmental arches, that is, arches less than a semicircle, to reduce both span-to-rise ratio and the numbers of pillars to allow lesser encumbrance in the riverbed (being in this much more successful than the Roman Alconétar Bridge).\n\nThe church of San Lorenzo contains the Medici Chapel, the mausoleum of the Medici family—the most powerful family in Florence from the 15th to the 18th century. Nearby is the Uffizi Gallery, one of the finest art museums in the world – founded on a large bequest from the last member of the Medici family.\n\nThe Uffizi is located at the corner of Piazza della Signoria, a site important for being the centre of Florence's civil life and government for centuries. The Palazzo della Signoria facing it is still home of the municipal government. Many significant episodes in the history of art and political changes were staged here, such as:\n\n In 1301, Dante Alighieri was sent into exile from here (commemorated by a plaque on one of the walls of the Uffizi).\n On 26 April 1478, Jacopo de' Pazzi and his retainers tried to raise the city against the Medici after the plot known as La congiura dei Pazzi (The Pazzi conspiracy), murdering Giuliano di Piero de' Medici and wounding his brother Lorenzo. All the members of the plot who could be apprehended were seized by the Florentines and hanged from the windows of the palace.\n In 1497, it was the location of the Bonfire of the Vanities instigated by the Dominican friar and preacher Girolamo Savonarola\n On 23 May 1498, the same Savonarola and two followers were hanged and burnt at the stake. (A round plate in the ground marks the spot where he was hanged)\n In 1504, Michelangelo's David (now replaced by a replica, since the original was moved in 1873 to the Galleria dell'Accademia) was installed in front of the Palazzo della Signoria (also known as ).\n\nThe Loggia dei Lanzi in Piazza della Signoria is the location of a number of statues by other sculptors such as Donatello, Giambologna, Ammannati and Cellini, although some have been replaced with copies to preserve the originals.\n\nMonuments, museums and religious buildings\n\nFlorence contains several palaces and buildings from various eras. The is the town hall of Florence and also an art museum. This large Romanesque crenellated fortress-palace overlooks the Piazza della Signoria with its copy of Michelangelo's David statue as well as the gallery of statues in the adjacent Loggia dei Lanzi. Originally called the Palazzo della Signoria, after the Signoria of Florence, the ruling body of the Republic of Florence, it was also given several other names: Palazzo del Popolo, Palazzo dei Priori, and Palazzo Ducale, in accordance with the varying use of the palace during its long history. The building acquired its current name when the Medici duke's residence was moved across the Arno to the Palazzo Pitti. It is linked to the Uffizi and the Palazzo Pitti through the Corridoio Vasariano.\n\nPalazzo Medici Riccardi, designed by Michelozzo di Bartolomeo for Cosimo il Vecchio, of the Medici family, is another major edifice, and was built between 1445 and 1460. It was well known for its stone masonry that includes rustication and ashlar. Today it is the head office of the Metropolitan City of Florence and hosts museums and the Riccardiana Library. The Palazzo Strozzi, an example of civil architecture with its rusticated stone, was inspired by the Palazzo Medici, but with more harmonious proportions. Today the palace is used for international expositions like the annual antique show (founded as the Biennale dell'Antiquariato in 1959), fashion shows and other cultural and artistic events. Here also is the seat of the Istituto Nazionale del Rinascimento and the noted Gabinetto Vieusseux, with the library and reading room.\nThere are several other notable places, including the Palazzo Rucellai, designed by Leon Battista Alberti between 1446 and 1451 and executed, at least in part, by Bernardo Rossellino; the Palazzo Davanzati, which houses the museum of the Old Florentine House; the Palazzo delle Assicurazioni Generali, designed in the Neo-Renaissance style in 1871; the Palazzo Spini Feroni, in Piazza Santa Trinita, a historic 13th-century private palace, owned since the 1920s by shoe-designer Salvatore Ferragamo; as well as various others, including the Palazzo Borghese, the Palazzo di Bianca Cappello, the Palazzo Antinori, and the Royal building of Santa Maria Novella.\n\nFlorence contains numerous museums and art galleries where some of the world's most important works of art are held. The city is one of the best preserved Renaissance centres of art and architecture in the world and has a high concentration of art, architecture and culture. In the ranking list of the 15 most visited Italian art museums, ⅔ are represented by Florentine museums. The Uffizi is one of these, having a very large collection of international and Florentine art. The gallery is articulated in many halls, catalogued by schools and chronological order. Engendered by the Medici family's artistic collections through the centuries, it houses works of art by various painters and artists. The Vasari Corridor is another gallery, built connecting the with the Pitti Palace passing by the Uffizi and over the Ponte Vecchio. The Galleria dell'Accademia houses a Michelangelo collection, including the David. It has a collection of Russian icons and works by various artists and painters. Other museums and galleries include the Bargello, which concentrates on sculpture works by artists including Donatello, Giambologna and Michelangelo; the Palazzo Pitti, containing part of the Medici family's former private collection. In addition to the Medici collection, the palace's galleries contain many Renaissance works, including several by Raphael and Titian, large collections of costumes, ceremonial carriages, silver, porcelain and a gallery of modern art dating from the 18th century. Adjoining the palace are the Boboli Gardens, elaborately landscaped and with numerous sculptures.\n\nThere are several different churches and religious buildings in Florence. The cathedral is Santa Maria del Fiore. The San Giovanni Baptistery located in front of the cathedral, is decorated by numerous artists, notably by Lorenzo Ghiberti with the Gates of Paradise. Other churches in Florence include the Basilica of Santa Maria Novella, located in Santa Maria Novella square (near the Firenze Santa Maria Novella railway station) which contains works by Masaccio, Paolo Uccello, Filippino Lippi and Domenico Ghirlandaio; the Basilica of Santa Croce, the principal Franciscan church in the city, which is situated on the Piazza di Santa Croce, about southeast of the Duomo, and is the burial place of some of the most illustrious Italians, such as Michelangelo, Galileo, Machiavelli, Foscolo, Rossini, thus it is known also as the Temple of the Italian Glories (Tempio dell'Itale Glorie); the Basilica of San Lorenzo, which is one of the largest churches in the city, situated at the centre of Florence's main market district, and the burial place of all the principal members of the Medici family from Cosimo il Vecchio to Cosimo III; Santo Spirito, in the Oltrarno quarter, facing the square with the same name; Orsanmichele, whose building was constructed on the site of the kitchen garden of the monastery of San Michele, now demolished; Santissima Annunziata, a Roman Catholic basilica and the mother church of the Servite order; Ognissanti, which was founded by the lay order of the Umiliati, and is among the first examples of Baroque architecture built in the city; the Santa Maria del Carmine, in the Oltrarno district of Florence, which is the location of the Brancacci Chapel, housing outstanding Renaissance frescoes by Masaccio and Masolino da Panicale, later finished by Filippino Lippi; the Medici Chapel with statues by Michelangelo, in the San Lorenzo; as well as several others, including Santa Trinita, San Marco, Santa Felicita, Badia Fiorentina, San Gaetano, San Miniato al Monte, Florence Charterhouse, and Santa Maria del Carmine. The city additionally contains the Orthodox Russian church of Nativity, and the Great Synagogue of Florence, built in the 19th century.\n\nFlorence contains various theatres and cinemas. The Odeon Cinema of the Palazzo dello Strozzino is one of the oldest cinemas in the city. Established from 1920 to 1922 in a wing of the Palazzo dello Strozzino, it used to be called the Cinema Teatro Savoia (Savoy Cinema-Theatre), yet was later called Odeon. The Teatro della Pergola, located in the centre of the city on the eponymous street, is an opera house built in the 17th century. Another theatre is the Teatro Comunale (or Teatro del Maggio Musicale Fiorentino), originally built as the open-air amphitheatre, the Politeama Fiorentino Vittorio Emanuele, which was inaugurated on 17 May 1862 with a production of Donizetti's Lucia di Lammermoor and which seated 6,000 people. There are several other theatres, such as the Saloncino Castinelli, the Teatro Puccini, the Teatro Verdi, the Teatro Goldoni and the Teatro Niccolini.\n\nCathedral of Santa Maria del Fiore \nFlorence Cathedral, formally the Cattedrale di Santa Maria del Fiore, is the cathedral of Florence, Italy. It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome designed by Filippo Brunelleschi.\n\nSquares, streets and parks \n\nAside from such monuments, Florence contains numerous major squares (piazze) and streets. The Piazza della Repubblica is a square in the city centre, location of the cultural cafés and bourgeois palaces. Among the square's cafés (like Caffè Gilli, Paszkowski or the Hard Rock Cafè), the Giubbe Rosse café has long been a meeting place for artists and writers, notably those of Futurism. The Piazza Santa Croce is another; dominated by the Basilica of Santa Croce, it is a rectangular square in the centre of the city where the Calcio Fiorentino is played every year. Furthermore, there is the Piazza Santa Trinita, a square near the Arno that mark the end of the Via de' Tornabuoni street.\n\nOther squares include the Piazza San Marco, the Piazza Santa Maria Novella, the Piazza Beccaria and the Piazza della Libertà. The centre additionally contains several streets. Such include the Via Camillo Cavour, one of the main roads of the northern area of the historic centre; the Via Ghibellina, one of central Florence's longest streets; the Via dei Calzaiuoli, one of the most central streets of the historic centre which links Piazza del Duomo to Piazza della Signoria, winding parallel to via Roma and Piazza della Repubblica; the Via de' Tornabuoni, a luxurious street in the city centre that goes from Antinori square to ponte Santa Trinita, across Piazza Santa Trinita, characterised by the presence of fashion boutiques; the Viali di Circonvallazione, 6-lane boulevards surrounding the northern part of the historic centre; as well as others, such as Via Roma, Via degli Speziali, Via de' Cerretani, and the Viale dei Colli.\n\nFlorence also contains various parks and gardens. Such include the Boboli Gardens, the Parco delle Cascine, the Giardino Bardini and the Giardino dei Semplici, amongst others.\n\nSport \n\nIn association football, Florence is represented by ACF Fiorentina, which plays in Serie A, the top league of Italian league system. ACF Fiorentina has won two Italian Championships, in 1956 and 1969, and 6 Italian cups, since their formation in 1926. They play their games at the Stadio Artemio Franchi, which holds 47,282. The women's team, ACF Fiorentina Femminile, have won the women's association football Italian Championship of the 2016–17 season.\n\nThe city is home of the Centro Tecnico Federale di Coverciano, in Coverciano, Florence, the main training ground of the Italian national team, and the technical department of the Italian Football Federation.\n\nFlorence was one of the host cities for cycling's 2013 UCI Road World Championships. The city has also hosted stages of the Giro d'Italia, most recently in 2017.\n\nSince 2017 Florence is also represented in Eccellenza, the top tier of rugby union league system in Italy, by I Medicei, which is a club established in 2015 by the merging of the senior squads of I Cavalieri (of Prato) and Firenze Rugby 1931. I Medicei won the Serie A Championship in 2016–17 and were promoted to Eccellenza for the 2017–18 season.\n\nRari Nantes Florentia is a successful water polo club based in Florence; both its male and female squads have won several Italian championships and the female squad has also European titles in their palmarès.\n\nTransportation\n\nCars \nThe centre of Florence is closed to through-traffic, although buses, taxis and residents with appropriate permits are allowed in. This area is commonly referred to as the ZTL (Zona Traffico Limitato), which is divided into several subsections. Residents of one section, therefore, will only be able to drive in their district and perhaps some surrounding ones. Cars without permits are allowed to enter after 7.30 pm, or before 7.30 am. The rules shift during the tourist-filled summers, putting more restrictions on where one can get in and out.\n\nBuses \nATAF&Li-nea was the bus company who run the principal public transit network in the city; it was one the companies of the consortium ONE Scarl to accomplish the contract stipulated with the Regione Toscana for the public transport in the 2018-2019 period. Individual tickets, or a pass called Carta Agile with multiple rides, are purchased in advance and must be validated once on board. These tickets may be used on ATAF&Li-nea buses, Tramvia and second-class local trains only within city railway stations. The bus fleet consisted of 446 urban, 5 suburban, 20 intercity and 15 tourism buses.\n\nIntercity bus transit is run by the SITA, COPIT, and CAP Autolinee companies. The transit companies also accommodate travellers from the Amerigo Vespucci Airport, which is west of the city centre, and which has scheduled services run by major European carriers.\n\nSince 1 November 2021, the public local transport is operated by Autolinee Toscane.\n\nTrams \n\nIn an effort to reduce air pollution and car traffic in the city, a multi-line tram network called Tramvia is under construction. The first line began operation on 14 February 2010 and connects Florence's primary intercity railway station (Santa Maria Novella) with the southwestern suburb of Scandicci. This line is long and has 14 stops. The construction of a second line began on 5 November 2011, construction was stopped due to contractors' difficulties and restarted in 2014 with the new line opening on 11 February 2019. This second line connects Florence's airport with the city centre. A third line (from Santa Maria Novella to the Careggi area, where the most important hospitals of Florence are located) is also under construction.\n\nFlorence public transport statistics\nThe average amount of time people spend commuting with public transit in Firenze, for example to and from work, on a weekday is 59 min. 13% of public transit riders ride for more than 2 hours every day. The average amount of time people wait at a stop or station for public transit is 14 min, while 22% of riders wait for over 20 minutes on average every day. The average distance people usually ride in a single trip with public transit is 4.1 km, while 3% travel for over 12 km in a single direction.\n\nAirport\n\nThe Florence Airport, Peretola, is one of two main airports in the Tuscany region though it is not widely used by popular airlines. The other airport in the Tuscany region is the Galileo Galilei International Airport in Pisa.\n\nMobike (bike-sharing)\n\nMobike, a Chinese dockless bike sharing company, has been operating in Florence since July 2017. As of 2019, the company operates 4,000 bikes in Florence. The users scan the QR code on the bike using the Mobike app, and end the ride by parking curbside. The bikes have a fixed rate of €1 every 20 minutes. Since Mobike is a dock-less bike-sharing system, it does not provide stations, therefore the bikes can be left almost anywhere.\n\nRailway station\nFirenze Santa Maria Novella railway station is the main national and international railway station in Florence and is used by 59 million people every year. The building, designed by Giovanni Michelucci, was built in the Italian Rationalism style and it is one of the major rationalist buildings in Italy. It is located in Piazza della Stazione, near the Fortezza da Basso, a masterpiece of the military Renaissance architecture, and the Viali di Circonvallazione, and in front of the Basilica of Santa Maria Novella's apse from which it takes its name. As well as numerous high speed trains to major Italian cities Florence is served by international overnight sleeper services to Munich and Vienna operated by Austrian railways ÖBB.\n\nTrain tickets must be validated before boarding. The main bus station is next to Santa Maria Novella railway station. Trenitalia runs trains between the railway stations within the city, and to other destinations around Italy and Europe. The central railway station, Santa Maria Novella, is about northwest of the Piazza del Duomo. There are two other important stations: Campo di Marte and Rifredi. Most bundled routes are Firenze–Pisa, Firenze–Viareggio and Firenze–Arezzo (along the main line to Rome). Other local railways connect Florence with Borgo San Lorenzo in the Mugello area (Faentina railway) and Siena.\n\nA new high-speed rail station is under construction and is contracted to be operational by 2015. It is planned to be connected to Vespucci airport, Santa Maria Novella railway station, and to the city centre by the second line of Tramvia. The architectural firms Foster + Partners and Lancietti Passaleva Giordo and Associates designed this new rail station.\n\nEducation \n\nThe University of Florence was first founded in 1321, and was recognized by Pope Clement VI in 1349. In 2019, over 50,000 students were enrolled at the university. The European University Institute has been based in the suburb of Fiesole since 1976. Several American universities host a campus in Florence. Including New York University, Marist College, Pepperdine, Stanford, Florida State, Kent State, and James Madison. The Harvard University Center for Italian Renaissance Studies is based in Villa I Tatti. The center for arts and humanities advanced research has been located on the border of Florence, Fiesole and Settignano since 1961. Over 8,000 American students are enrolled for study in Florence, although mostly while studying in US based degree programs.\n\nThe private school, Centro Machiavelli which teaches Italian language and culture to foreigners, is located in Piazza Santo Spirito in Florence.\n\nNotable residents\n\n Antonia of Florence, saint\n Agnes of Montepulciano, saint\n Harold Acton, author and aesthete\n John Argyropoulos, scholar\n Leone Battista Alberti, polymath\n Dante Alighieri (1265-1321), poet\n Giovanni Boccaccio, poet\n Cesare Bomboni, architect\n Baldassarre Bonaiuti (1336-1385), 14th-century chronicler\n Sandro Botticelli (1445-1510), painter\n Egisto Bracci (1830–1909), architect\n Aureliano Brandolini, agronomist and development cooperation scholar\n Robert Browning and Elizabeth Barrett Browning, 19th-century English poets\n Filippo Brunelleschi (1377-1446), architect\n Michelangelo Buonarroti, sculptor, painter, author of the ceiling of the Sistine Chapel and David\n Francesco Casagrande, cyclist\n Roberto Cavalli, fashion designer\n Carlo Collodi, writer\n Enrico Coveri, fashion designer\n Donatello, sculptor\n Oriana Fallaci, journalist and author\n Salvatore Ferragamo, fashion designer and shoemaker\n Mike Francis (born Francesco Puccioni), singer and composer\n Silpa Bhirasri (born Corrado Feroci), sculptor, credited as the principal figure of modern art in Thailand\n Frescobaldi family, notable bankers and wine producers\n Galileo Galilei, Italian physicist, astronomer, and philosopher\n Giotto (1267-1337), early 14th-century painter, sculptor and architect\n Lorenzo Ghiberti (1378-1455), sculptor\n Guccio Gucci (1881-1953), founder of the Gucci label\n Pauline von Hügel (1858-1901), baroness, writer, philanthropist\n Bruno Innocenti (1906–1986), sculptor\n Robert Lowell, poet\n Niccolò Machiavelli (1469-1527), poet, philosopher and political thinker, author of The Prince and The Discourses\n Masaccio, painter\n Rose McGowan, Florence-born actress\n Medici family\n Girolamo Mei, historian and humanist\n Antonio Meucci (1808-1889), inventor of the telephone\n Pirrho Musefili, Florentine cryptographer and cryptanalyst\n Florence Nightingale, pioneer of modern nursing, and statistician\n Virginia Oldoini (1837-1899), Countess of Castiglione, early photographic artist, secret agent and courtesan\n Valerio Profondavalle, Flemish painter\n Giulio Racah (1909–1965), Italian-Israeli mathematician and physicist; Acting President of the Hebrew University of Jerusalem\n Raphael, painter\n Anna Sarfatti (born 1950), children's author\n Girolamo Savonarola, reformist\n Adriana Seroni, politician\n Giovanni Spadolini (1925-1994), politician\n Antonio Squarcialupi (1416-1480), organist and composer\n Andrei Tarkovsky, film director. Lived in the city during his exile\n Evangelista Torricelli, Italian physicist\n Anna Tonelli (c.1763–1846), Florence born portrait painter in the late 17th century and early 18th century\n Maria Giustina Turcotti (c. 1700 – after 1763), opera singer \n Giorgio Vasari, painter, architect, and historian\n Amerigo Vespucci (1451-1512), explorer and cartographer, namesake of the Americas\n Coriolano Vighi, (1846-1905), landscape painter\n Leonardo da Vinci, polymath\n Lisa del Giocondo, model of the Mona Lisa\n Giorgio Antonucci, physician, psychoanalyst and an international reference on the questioning of the basis of psychiatry\n\nInternational relations\n\nTwin towns – sister cities\n\nFlorence is twinned with:\n\nBethlehem, Palestine\nBudapest, Hungary\nDresden, Germany\nEdinburgh, Scotland, United Kingdom\nFez, Morocco\nIsfahan, Iran\nKassel, Germany\nKyiv, Ukraine\nKuwait City, Kuwait\nKyoto, Japan\nNanjing, China\nNazareth, Israel\nPhiladelphia, United States\nPuebla, Mexico\nReims, France\nRiga, Latvia\nSalvador, Brazil\nSydney, Australia\nTirana, Albania\nTurku, Finland\nValladolid, Spain\n\nOther partnerships\nFlorence has friendly relations with:\n\nArequipa, Peru\nCannes, France\nGifu, Japan\nJeonju, South Korea\nKraków, Poland\nMalmö Municipality, Sweden\nNingbo, China\nPorto-Vecchio, France\nProvidence, Rhode Island, United States\nTallinn, Estonia\n\nSee also\n\n Chancellor of Florence\n Cronaca fiorentina\n European University Institute\n Florentine School\n List of historic states of Italy\n List of squares in Florence\n :Category:Buildings and structures in Florence\n\nNotes\n\nReferences\n\nSources\n\n Niccolò Machiavelli. Florentine Histories\n \n \n \n Chaney, Edward (2003), A Traveller's Companion to Florence.\n \n \n \n \n \n \n Ferdinand Schevill, History of Florence: From the Founding of the City Through the Renaissance (Frederick Ungar, 1936) is the standard overall history of Florence.\n\nExternal links\n\n Florence Art Museums\n The High Renaissance in Florence – Video\n UNESCO video \n\n \nCategory:50s BC establishments\nCategory:59 BC\nCategory:Capitals of former nations\nCategory:Former capitals of Italy\nCategory:Populated places established in the 1st century BC", "title": "Florence" } ]
[ "Florence Nightingale wrote around 200 books, pamphlets, and articles throughout her life. Her best known work includes Suggestions for Thought to Searchers after Religious Truth, an 829-page, three-volume work which she had privately printed in 1860, and \"Cassandra,\" an essay included in The Cause, a history of the women's movement.", "Florence Nightingale wrote about various subjects. In her three-volume work, Suggestions for Thought to Searchers after Religious Truth, she was working through her self-definition and struggles with societal expectations. In her essay \"Cassandra,\" she protested against the over-feminisation of women into near helplessness, demonstrated a desire for social service over thoughtless comfort, and reflected her fear of her ideas being ineffective.", "The context does not provide specific information on how well Florence Nightingale's literature was received by the public. However, it mentions that Nightingale was praised in Lytton Strachey's book \"Eminent Victorians,\" which raised her national reputation and made her an icon for English feminists of the 1920s and 1930s.", "Florence Nightingale had a significant impact on the women's movement. Historian of science I. Bernard Cohen argues that she became an icon for English feminists of the 1920s and 1930s following her portrayal in Lytton Strachey's book, \"Eminent Victorians.\" Nightingale's writings, especially her essay \"Cassandra,\" are considered an important link in the study of English feminism. Elaine Showalter referred to her work as a \"major text of English feminism, a link between Wollstonecraft and Woolf.\"", "The context does not provide information on any awards received by Florence Nightingale." ]
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C_b18a1a332d3a464f910a815bc4ac2f78_1
Florence Nightingale
Florence Nightingale was born on 12 May 1820 into a rich, upper-class, well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family.
Statistics and sanitary reform
Florence Nightingale exhibited a gift for mathematics from an early age and excelled in the subject under the tutelage of her father. Later, Nightingale became a pioneer in the visual presentation of information and statistical graphics. She used methods such as the pie chart, which had first been developed by William Playfair in 1801. While taken for granted now, it was at the time a relatively novel method of presenting data. Indeed, Nightingale is described as "a true pioneer in the graphical representation of statistics", and is credited with developing a form of the pie chart now known as the polar area diagram, or occasionally the Nightingale rose diagram, equivalent to a modern circular histogram, to illustrate seasonal sources of patient mortality in the military field hospital she managed. Nightingale called a compilation of such diagrams a "coxcomb", but later that term would frequently be used for the individual diagrams. She made extensive use of coxcombs to present reports on the nature and magnitude of the conditions of medical care in the Crimean War to Members of Parliament and civil servants who would have been unlikely to read or understand traditional statistical reports. In 1859, Nightingale was elected the first female member of the Royal Statistical Society. In 1874 she became an honorary member of the American Statistical Association. Her attention turned to the health of the British army in India and she demonstrated that bad drainage, contaminated water, overcrowding and poor ventilation were causing the high death rate. She concluded that the health of the army and the people of India had to go hand in hand and so campaigned to improve the sanitary conditions of the country as a whole. Nightingale made a comprehensive statistical study of sanitation in Indian rural life and was the leading figure in the introduction of improved medical care and public health service in India. In 1858 and 1859, she successfully lobbied for the establishment of a Royal Commission into the Indian situation. Two years later, she provided a report to the commission, which completed its own study in 1863. "After 10 years of sanitary reform, in 1873, Nightingale reported that mortality among the soldiers in India had declined from 69 to 18 per 1,000". The Royal Sanitary Commission of 1868-9 presented Nightingale with an opportunity to press for compulsory sanitation in private houses. She lobbied the minister responsible, James Stansfeld, to strengthen the proposed Public Health Bill to require owners of existing properties to pay for connection to mains drainage. The strengthened legislation was enacted in the Public Health Acts of 1874 and 1875. At the same time she combined with the retired sanitary reformer Edwin Chadwick to persuade Stansfeld to devolve powers to enforce the law to Local Authorities, eliminating central control by medical technocrats. Her Crimean War statistics had convinced her that non-medical approaches were more effective given the state of knowledge at the time. Historians now believe that both drainage and devolved enforcement played a crucial role in increasing average national life expectancy by 20 years between 1871 and the mid-1930s during which time medical science made no impact on the most fatal epidemic diseases. CANNOTANSWER
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Florence Nightingale (; 12 May 1820 – 13 August 1910) was an English social reformer, statistician and the founder of modern nursing. Nightingale came to prominence while serving as a manager and trainer of nurses during the Crimean War, in which she organised care for wounded soldiers at Constantinople. She significantly reduced death rates by improving hygiene and living standards. Nightingale gave nursing a favourable reputation and became an icon of Victorian culture, especially in the persona of "The Lady with the Lamp" making rounds of wounded soldiers at night. Recent commentators have asserted that Nightingale's Crimean War achievements were exaggerated by the media at the time, but critics agree on the importance of her later work in professionalising nursing roles for women. In 1860, she laid the foundation of professional nursing with the establishment of her nursing school at St Thomas' Hospital in London. It was the first secular nursing school in the world and is now part of King's College London. In recognition of her pioneering work in nursing, the Nightingale Pledge taken by new nurses, and the Florence Nightingale Medal, the highest international distinction a nurse can achieve, were named in her honour, and the annual International Nurses Day is celebrated on her birthday. Her social reforms included improving healthcare for all sections of British society, advocating better hunger relief in India, helping to abolish prostitution laws that were harsh for women, and expanding the acceptable forms of female participation in the workforce. Nightingale was a pioneer in statistics; she represented her analysis in graphical forms to ease drawing conclusions and actionables from data. She is famous for usage of the polar area diagram, also called the Nightingale rose diagram, equivalent to a modern circular histogram. This diagram is still regularly used in data visualisation. Nightingale was a prodigious and versatile writer. In her lifetime, much of her published work was concerned with spreading medical knowledge. Some of her tracts were written in simple English so that they could easily be understood by those with poor literary skills. She was also a pioneer in data visualisation with the use of infographics, using graphical presentations of statistical data in an effective way. Much of her writing, including her extensive work on religion and mysticism, has only been published posthumously. Early life Florence Nightingale was born on 12 May 1820 into a wealthy and well-connected British family at the Villa Colombaia, in Florence, Tuscany, Italy, and was named after the city of her birth. Florence's older sister Frances Parthenope had similarly been named after her place of birth, Parthenope, a Greek settlement now part of the city of Naples. The family moved back to England in 1821, with Nightingale being brought up in the family's homes at Embley, Hampshire, and Lea Hurst, Derbyshire. Florence inherited a liberal-humanitarian outlook from both sides of her family. Her parents were William Edward Nightingale, born William Edward Shore (1794–1874) and Frances ("Fanny") Nightingale ( Smith; 1788–1880). William's mother Mary ( Evans) was the niece of Peter Nightingale, under the terms of whose will William inherited his estate at Lea Hurst, and assumed the name and arms of Nightingale. Fanny's father (Florence's maternal grandfather) was the abolitionist and Unitarian William Smith. Nightingale's father educated her. A BBC documentary reported that "Florence and her older sister Parthenope benefited from their father's advanced ideas about women's education. They studied history, mathematics, Italian, classical literature, and philosophy, and from an early age Florence, who was the more academic of the two girls, displayed an extraordinary ability for collecting and analysing data which she would use to great effect in later life." In 1838, her father took the family on a tour in Europe where she was introduced to the English-born Parisian hostess Mary Clarke, with whom Florence bonded. She recorded that "Clarkey" was a stimulating hostess who did not care for her appearance, and while her ideas did not always agree with those of her guests, "she was incapable of boring anyone." Her behaviour was said to be exasperating and eccentric and she had little respect for upper-class British women, whom she regarded generally as inconsequential. She said that if given the choice between being a woman or a galley slave, then she would choose the freedom of the galleys. She generally rejected female company and spent her time with male intellectuals. Clarke made an exception, however, in the case of the Nightingale family and Florence in particular. She and Florence were to remain close friends for 40 years despite their 27-year age difference. Clarke demonstrated that women could be equals to men, an idea that Florence had not learnt from her mother. Nightingale underwent the first of several experiences that she believed were calls from God in February 1837 while at Embley Park, prompting a strong desire to devote her life to the service of others. In her youth she was respectful of her family's opposition to her working as a nurse, only announcing her decision to enter the field in 1844. Despite the anger and distress of her mother and sister, she rejected the expected role for a woman of her status to become a wife and mother. Nightingale worked hard to educate herself in the art and science of nursing, in the face of opposition from her family and the restrictive social code for affluent young English women. As a young woman, Nightingale was described as attractive, slender, and graceful. While her demeanour was often severe, she was said to be very charming and to possess a radiant smile. Her most persistent suitor was the politician and poet Richard Monckton Milnes, but after a nine-year courtship, she rejected him, convinced that marriage would interfere with her ability to follow her calling to nursing. In Rome in 1847, she met Sidney Herbert, a politician who had been Secretary at War (1845–1846) who was on his honeymoon. He and Nightingale became lifelong close friends. Herbert would be Secretary of War again during the Crimean War when he and his wife would be instrumental in facilitating Nightingale's nursing work in Crimea. She became Herbert's key adviser throughout his political career, though she was accused by some of having hastened Herbert's death from Bright's disease in 1861 because of the pressure her programme of reform placed on him. Nightingale also much later had strong relations with academic Benjamin Jowett, who may have wanted to marry her. Nightingale continued her travels (now with Charles and Selina Bracebridge) as far as Greece and Egypt. While in Athens, Greece, Nightingale rescued a juvenile little owl from a group of children who were tormenting it, and she named the owl Athena. Nightingale often carried the owl in her pocket, until the pet died (shortly before Nightingale left for Crimea). Her writings on Egypt, in particular, are testimony to her learning, literary skill, and philosophy of life. Sailing up the Nile as far as Abu Simbel in January 1850, she wrote of the Abu Simbel temples, "Sublime in the highest style of intellectual beauty, intellect without effort, without suffering ... not a feature is correct — but the whole effect is more expressive of spiritual grandeur than anything I could have imagined. It makes the impression upon one that thousands of voices do, uniting in one unanimous simultaneous feeling of enthusiasm or emotion, which is said to overcome the strongest man." At Thebes, she wrote of being "called to God", while a week later near Cairo she wrote in her diary (as distinct from her far longer letters that her elder sister Parthenope was to print after her return): "God called me in the morning and asked me would I do good for him alone without reputation." Later in 1850, she visited the Lutheran religious community at Kaiserswerth-am-Rhein in Germany, where she observed Pastor Theodor Fliedner and the deaconesses working for the sick and the deprived. She regarded the experience as a turning point in her life, and issued her findings anonymously in 1851; The Institution of Kaiserswerth on the Rhine, for the Practical Training of Deaconesses, etc. was her first published work. She also received four months of medical training at the institute, which formed the basis for her later care. On 22 August 1853, Nightingale took the post of superintendent at the Institute for the Care of Sick Gentlewomen in Upper Harley Street, London, a position she held until October 1854. Her father had given her an annual income of £500 (roughly £40,000/US$65,000 in present terms), which allowed her to live comfortably and to pursue her career. Crimean War Florence Nightingale's most famous contribution came during the Crimean War, which became her central focus when reports got back to Britain about the horrific conditions for the wounded at the military hospital on the Asiatic side of the Bosporus, opposite Constantinople, at Scutari (modern-day Üsküdar in Istanbul). Britain and France entered the war against Russia on the side of the Ottoman Empire. On 21 October 1854, she and the staff of 38 women volunteer nurses including her head nurse Eliza Roberts and her aunt Mai Smith, and 15 Catholic nuns (mobilised by Henry Edward Manning) were sent (under the authorisation of Sidney Herbert) to the Ottoman Empire. On the way, Nightingale was assisted in Paris by her friend Mary Clarke. The volunteer nurses worked about away from the main British camp across the Black Sea at Balaklava, in the Crimea. Nightingale arrived at Selimiye Barracks in Scutari early in November 1854. Her team found that poor care for wounded soldiers was being delivered by overworked medical staff in the face of official indifference. Medicines were in short supply, hygiene was being neglected, and mass infections were common, many of them fatal. There was no equipment to process food for the patients. After Nightingale sent a plea to The Times for a government solution to the poor condition of the facilities, the British Government commissioned Isambard Kingdom Brunel to design a prefabricated hospital that could be built in England and shipped to the Dardanelles. The result was Renkioi Hospital, a civilian facility that, under the management of Edmund Alexander Parkes, had a death rate less than one tenth of that of Scutari. Stephen Paget in the Dictionary of National Biography asserted that Nightingale reduced the death rate from 42% to 2%, either by making improvements in hygiene herself, or by calling for the Sanitary Commission. For example, Nightingale implemented handwashing in the hospital where she worked. During her first winter at Scutari, 4,077 soldiers died there. Ten times more soldiers died from illnesses such as typhus, typhoid, cholera, and dysentery than from battle wounds. With overcrowding, defective sewers and lack of ventilation, the Sanitary Commission had to be sent out by the British government to Scutari in March 1855, almost six months after Nightingale had arrived. The commission flushed out the sewers and improved ventilation. Death rates were sharply reduced, but she never claimed credit for helping to reduce the death rate. Head Nurse Eliza Roberts nursed Nightingale through her critical illness of May 1855. In 2001 and 2008 the BBC released documentaries that were critical of Nightingale's performance in the Crimean War, as were some follow-up articles published in The Guardian and the Sunday Times. Nightingale scholar Lynn McDonald has dismissed these criticisms as "often preposterous", arguing they are not supported by the primary sources. Nightingale still believed that the death rates were due to poor nutrition, lack of supplies, stale air, and overworking of the soldiers. After she returned to Britain and began collecting evidence before the Royal Commission on the Health of the Army, she came to believe that most of the soldiers at the hospital were killed by poor living conditions. This experience influenced her later career when she advocated sanitary living conditions as of great importance. Consequently, she reduced peacetime deaths in the army and turned her attention to the sanitary design of hospitals and the introduction of sanitation in working-class homes (see Statistics and Sanitary Reform, below). According to some secondary sources, Nightingale had a frosty relationship with her fellow nurse Mary Seacole, who ran a hotel/hospital for officers. Seacole's own memoir, Wonderful Adventures of Mrs. Seacole in Many Lands, records only one, friendly, meeting with her, when she asked her for a bed for the night and got it; Seacole was in Scutari en route to the Crimea to join her business partner and start their business. However, Seacole pointed out that when she tried to join Nightingale's group, one of Nightingale's colleagues rebuffed her, and Seacole inferred that racism was at the root of that rebuttal. Nightingale told her brother-in-law, in a private letter, that she was worried about contact between her work and Seacole's business, claiming that while "she was very kind to the men and, what is more, to the Officers – and did some good (she) made many drunk". Nightingale reportedly wrote, "I had the greatest difficulty in repelling Mrs. Seacole's advances, and in preventing association between her and my nurses (absolutely out of the question!)...Anyone who employs Mrs. Seacole will introduce much kindness – also much drunkenness and improper conduct". On the other hand, Seacole told the French chef Alexis Soyer that "You must know, M Soyer, that Miss Nightingale is very fond of me. When I passed through Scutari, she very kindly gave me board and lodging." The arrival of two waves of Irish nuns, the Sisters of Mercy to assist with nursing duties at Scutari met with different responses from Nightingale. Mary Clare Moore headed the first wave and placed herself and her Sisters under the authority of Nightingale. The two were to remain friends for the rest of their lives. The second wave, headed by Mary Francis Bridgeman met with a cooler reception as Bridgeman refused to give up her authority over her Sisters to Nightingale while at the same time not trusting Nightingale, whom she regarded as ambitious. The Lady with the Lamp During the Crimean war, Nightingale gained the nickname "The Lady with the Lamp" from a phrase in a report in The Times: The phrase was further popularised by Henry Wadsworth Longfellow's 1857 poem "Santa Filomena": Lo! in that house of misery A lady with a lamp I see Pass through the glimmering gloom, And flit from room to room. Later career In the Crimea on 29 November 1855, the Nightingale Fund was established for the training of nurses during a public meeting to recognise Nightingale for her work in the war. There was an outpouring of generous donations. Sidney Herbert served as honorary secretary of the fund and the Duke of Cambridge was chairman. In her 1856 letters she described spas in the Ottoman Empire, detailing the health conditions, physical descriptions, dietary information, and other vital details of patients whom she directed there. She noted that the treatment there was significantly less expensive than in Switzerland. Nightingale had £45,000 at her disposal from the Nightingale Fund to set up the first nursing school, the Nightingale Training School, at St Thomas' Hospital on 9 July 1860. The first trained Nightingale nurses began work on 16 May 1865 at the Liverpool Workhouse Infirmary. Now called the Florence Nightingale Faculty of Nursing and Midwifery, the school is part of King's College London. In 1866 she said the Royal Buckinghamshire Hospital in Aylesbury near her sister's home Claydon House would be "the most beautiful hospital in England", and in 1868 called it "an excellent model to follow". Nightingale wrote Notes on Nursing (1859). The book served as the cornerstone of the curriculum at the Nightingale School and other nursing schools, though it was written specifically for the education of those nursing at home. Nightingale wrote, "Every day sanitary knowledge, or the knowledge of nursing, or in other words, of how to put the constitution in such a state as that it will have no disease, or that it can recover from disease, takes a higher place. It is recognised as the knowledge which every one ought to have – distinct from medical knowledge, which only a profession can have". Notes on Nursing also sold well to the general reading public and is considered a classic introduction to nursing. Nightingale spent the rest of her life promoting and organising the nursing profession. In the introduction to the 1974 edition, Joan Quixley of the Nightingale School of Nursing wrote: "The book was the first of its kind ever to be written. It appeared at a time when the simple rules of health were only beginning to be known, when its topics were of vital importance not only for the well-being and recovery of patients, when hospitals were riddled with infection, when nurses were still mainly regarded as ignorant, uneducated persons. The book has, inevitably, its place in the history of nursing, for it was written by the founder of modern nursing". As Mark Bostridge has demonstrated, one of Nightingale's signal achievements was the introduction of trained nurses into the workhouse system in Britain from the 1860s onwards. This meant that sick paupers were no longer being cared for by other, able-bodied paupers, but by properly trained nursing staff. In the first half of the 19th century, nurses were usually former servants or widows who found no other job and therefore were forced to earn their living by this work. Charles Dickens caricatured the standard of care in his 1842–1843 published novel Martin Chuzzlewit in the figure of Sarah Gamp as being incompetent, negligent, alcoholic and corrupt. According to Caroline Worthington, director of the Florence Nightingale Museum, "When she [Nightingale] started out there was no such thing as nursing. The Dickens character Sarah Gamp, who was more interested in drinking gin than looking after her patients, was only a mild exaggeration. Hospitals were places of last resort where the floors were laid with straw to soak up the blood. Florence transformed nursing when she got back [from Crimea]. She had access to people in high places and she used it to get things done. Florence was stubborn, opinionated, and forthright but she had to be those things in order to achieve all that she did." Though Nightingale is sometimes said to have denied the theory of infection for her entire life, a 2008 biography disagrees, saying that she was simply opposed to a precursor of germ theory known as contagionism. This theory held that diseases could only be transmitted by touch. Before the experiments of the mid-1860s by Pasteur and Lister, hardly anyone took germ theory seriously; even afterwards, many medical practitioners were unconvinced. Bostridge points out that in the early 1880s Nightingale wrote an article for a textbook in which she advocated strict precautions designed, she said, to kill germs. Nightingale's work served as an inspiration for nurses in the American Civil War. The Union government approached her for advice in organising field medicine. Her ideas inspired the volunteer body of the United States Sanitary Commission. Nightingale advocated autonomous nursing leadership, and that her new style of matrons had full control and discipline over their nursing staff. The infamous 'Guy's Hospital dispute' in 1879-1880 between matron Margaret Burt and hospital medical staff highlighted how doctors sometimes felt that their authority was being challenged by these new style Nightingale matrons. This was not an isolated episode and other matrons experienced similar issues, such as Eva Luckes. In the 1870s, Nightingale mentored Linda Richards, "America's first trained nurse", and enabled her to return to the United States with adequate training and knowledge to establish high-quality nursing schools. Richards went on to become a nursing pioneer in the US and Japan. By 1882, several Nightingale nurses had become matrons at several leading hospitals, including, in London (St Mary's Hospital, Westminster Hospital, St Marylebone Workhouse Infirmary and the Hospital for Incurables at Putney) and throughout Britain (Royal Victoria Hospital, Netley; Edinburgh Royal Infirmary; Cumberland Infirmary and Liverpool Royal Infirmary), as well as at Sydney Hospital in New South Wales, Australia. In 1883, Nightingale became the first recipient of the Royal Red Cross. In 1904, she was appointed a Lady of Grace of the Order of St John (LGStJ). In 1907, she became the first woman to be awarded the Order of Merit. In the following year she was given the Honorary Freedom of the City of London. Her birthday is now celebrated as International CFS Awareness Day. From 1857 onwards, Nightingale was intermittently bedridden and suffered from depression. A recent biography cites brucellosis and associated spondylitis as the cause. Most authorities today accept that Nightingale suffered from a particularly extreme form of brucellosis, the effects of which only began to lift in the early 1880s. Despite her symptoms, she remained phenomenally productive in social reform. During her bedridden years, she also did pioneering work in the field of hospital planning, and her work propagated quickly across Britain and the world. Nightingale's output slowed down considerably in her last decade. She wrote very little during that period due to blindness and declining mental abilities, though she still retained an interest in current affairs. Relationships Although much of Nightingale's work improved the lot of women everywhere, Nightingale believed that women craved sympathy and were not as capable as men. She criticised early women's rights activists for decrying an alleged lack of careers for women at the same time that lucrative medical positions, under the supervision of Nightingale and others, went perpetually unfilled. She preferred the friendship of powerful men, insisting they had done more than women to help her attain her goals, writing: "I have never found one woman who has altered her life by one iota for me or my opinions." She often referred to herself as, for example, "a man of action" and "a man of business". However, she did have several important and long-lasting friendships with women. Later in life, she kept up a prolonged correspondence with Irish nun Sister Mary Clare Moore, with whom she had worked in Crimea. Her most beloved confidante was Mary Clarke, an Englishwoman she met in Paris in 1837 and kept in touch with throughout her life. Some scholars of Nightingale's life believe that she remained chaste for her entire life, perhaps because she felt a religious calling to her career. Death Florence Nightingale died peacefully in her sleep in her room at 10 South Street, Mayfair, London, on 13 August 1910, at the age of 90. The offer of burial in Westminster Abbey was declined by her relatives and she is buried in the churchyard of St Margaret's Church in East Wellow, Hampshire, near Embley Park with a memorial with just her initials and dates of birth and death. She left a large body of work, including several hundred notes that were previously unpublished. A memorial monument to Nightingale was created in Carrara marble by Francis William Sargant in 1913 and placed in the cloister of the Basilica of Santa Croce, in Florence, Italy. Contributions Statistics and sanitary reform Florence Nightingale exhibited a gift for mathematics from an early age and excelled in the subject under the tutelage of her father. Later, Nightingale became a pioneer in the visual presentation of information and statistical graphics. She used methods such as the pie chart, which had first been developed by William Playfair in 1801. While taken for granted now, it was at the time a relatively novel method of presenting data. Indeed, Nightingale is described as "a true pioneer in the graphical representation of statistics", and is especially well-known for her usage of a polar area diagram, or occasionally the Nightingale rose diagram, equivalent to a modern circular histogram, to illustrate seasonal sources of patient mortality in the military field hospital she managed. While frequently credited as the creator of the polar area diagram, it is known to have been used by André-Michel Guerry in 1829 and Léon Louis Lalanne by 1830. Nightingale called a compilation of such diagrams a "coxcomb", but later that term would frequently be used for the individual diagrams. She made extensive use of coxcombs to present reports on the nature and magnitude of the conditions of medical care in the Crimean War to Members of Parliament and civil servants who would have been unlikely to read or understand traditional statistical reports. In 1859, Nightingale was elected the first female member of the Royal Statistical Society. In 1874 she became an honorary member of the American Statistical Association. Her attention turned to the health of the British Army in India and she demonstrated that bad drainage, contaminated water, overcrowding, and poor ventilation were causing the high death rate. Following the report The Royal Commission on India (1858–1863), which included drawings done by her cousin, artist Hilary Bonham Carter, with whom Nightingale had lived, Nightingale concluded that the health of the army and the people of India had to go hand in hand and so campaigned to improve the sanitary conditions of the country as a whole. Nightingale made a comprehensive statistical study of sanitation in Indian rural life and was the leading figure in the introduction of improved medical care and public health service in India. In 1858 and 1859, she successfully lobbied for the establishment of a Royal Commission into the Indian situation. Two years later, she provided a report to the commission, which completed its own study in 1863. "After 10 years of sanitary reform, in 1873, Nightingale reported that mortality among the soldiers in India had declined from 69 to 18 per 1,000". The Royal Sanitary Commission of 1868–1869 presented Nightingale with an opportunity to press for compulsory sanitation in private houses. She lobbied the minister responsible, James Stansfeld, to strengthen the proposed Public Health Bill to require owners of existing properties to pay for connection to mains drainage. The strengthened legislation was enacted in the Public Health Acts of 1874 and 1875. At the same time, she combined with the retired sanitary reformer Edwin Chadwick to persuade Stansfeld to devolve powers to enforce the law to Local Authorities, eliminating central control by medical technocrats. Her Crimean War statistics had convinced her that non-medical approaches were more effective given the state of knowledge at the time. Historians now believe that both drainage and devolved enforcement played a crucial role in increasing average national life expectancy by 20 years between 1871 and the mid-1930s during which time medical science made no impact on the most fatal epidemic diseases. Literature and the women's movement Historian of science I. Bernard Cohen argues: Lytton Strachey was famous for his book debunking 19th-century heroes, Eminent Victorians (1918). Nightingale gets a full chapter, but instead of debunking her, Strachey praised her in a way that raised her national reputation and made her an icon for English feminists of the 1920s and 1930s. While better known for her contributions in the nursing and mathematical fields, Nightingale is also an important link in the study of English feminism. She wrote some 200 books, pamphlets and articles throughout her life. During 1850 and 1852, she was struggling with her self-definition and the expectations of an upper-class marriage from her family. As she sorted out her thoughts, she wrote Suggestions for Thought to Searchers after Religious Truth. This was an 829-page, three-volume work, which Nightingale had printed privately in 1860, but which until recently was never published in its entirety. An effort to correct this was made with a 2008 publication by Wilfrid Laurier University, as volume 11 of a 16 volume project, the Collected Works of Florence Nightingale. The best known of these essays, called "Cassandra", was previously published by Ray Strachey in 1928. Strachey included it in The Cause, a history of the women's movement. Apparently, the writing served its original purpose of sorting out thoughts; Nightingale left soon after to train at the Institute for deaconesses at Kaiserswerth. "Cassandra" protests the over-feminisation of women into near helplessness, such as Nightingale saw in her mother's and older sister's lethargic lifestyle, despite their education. She rejected their life of thoughtless comfort for the world of social service. The work also reflects her fear of her ideas being ineffective, as were Cassandra's. Cassandra was a princess of Troy who served as a priestess in the temple of Apollo during the Trojan War. The god gave her the gift of prophecy; when she refused his advances, he cursed her so that her prophetic warnings would go unheeded. Elaine Showalter called Nightingale's writing "a major text of English feminism, a link between Wollstonecraft and Woolf". Nightingale was initially reluctant to join the Women's Suffrage Society when asked by John Stuart Mill, but through Josephine Butler was convinced 'that women's enfranchisement is absolutely essential to a nation if moral and social progress is to be made'. In 1972, the poet Eleanor Ross Taylor wrote "Welcome Eumenides", a poem written in Nightingale's voice and quoting frequently from Nightingale's writings. Adrienne Rich wrote that "... Eleanor Taylor has brought together the waste of women in society and the waste of men in wars and twisted them inseparably." Theology Despite being named as a Unitarian in several older sources, Nightingale's own rare references to conventional Unitarianism are mildly negative. She remained in the Church of England throughout her life, albeit with unorthodox views. Influenced from an early age by the Wesleyan tradition, Nightingale felt that genuine religion should manifest in active care and love for others. She wrote a work of theology: Suggestions for Thought, her own theodicy, which develops her heterodox ideas. Nightingale questioned the goodness of a God who would condemn souls to hell and was a believer in universal reconciliation – the concept that even those who die without being saved will eventually make it to Heaven. She would sometimes comfort those in her care with this view. For example, a dying young prostitute being tended by Nightingale was concerned she was going to hell and said to her "Pray God, that you may never be in the despair I am in at this time". The nurse replied "Oh, my girl, are you not now more merciful than the God you think you are going to? Yet the real God is far more merciful than any human creature ever was or can ever imagine." Despite her intense personal devotion to Christ, Nightingale believed for much of her life that the pagan and eastern religions had also contained genuine revelation. She was a strong opponent of discrimination both against Christians of different denominations and against those of non-Christian religions. Nightingale believed religion helped provide people with the fortitude for arduous good work and would ensure the nurses in her care attended religious services. However, she was often critical of organised religion. She disliked the role the 19th century Church of England would sometimes play in worsening the oppression of the poor. Nightingale argued that secular hospitals usually provided better care than their religious counterparts. While she held that the ideal health professional should be inspired by a religious as well as professional motive, she said that in practice many religiously motivated health workers were concerned chiefly in securing their own salvation and that this motivation was inferior to the professional desire to deliver the best possible care. Legacy Nursing Nightingale's lasting contribution has been her role in founding the modern nursing profession. She set an example of compassion, commitment to patient care and diligent and thoughtful hospital administration. The first official nurses' training programme, her Nightingale School for Nurses, opened in 1860 and is now called the Florence Nightingale Faculty of Nursing and Midwifery at King's College London. In 1912, the International Committee of the Red Cross instituted the Florence Nightingale Medal, which is awarded every two years to nurses or nursing aides for outstanding service. It is the highest international distinction a nurse can achieve and is awarded to nurses or nursing aides for "exceptional courage and devotion to the wounded, sick or disabled or to civilian victims of a conflict or disaster" or "exemplary services or a creative and pioneering spirit in the areas of public health or nursing education". Since 1965, International Nurses Day has been celebrated on her birthday (12 May) each year. The President of India honours nursing professionals with the "National Florence Nightingale Award" every year on International Nurses Day. The award, established in 1973, is given in recognition of meritorious services of nursing professionals characterised by devotion, sincerity, dedication and compassion. The Nightingale Pledge is a modified version of the Hippocratic Oath which nurses recite at their pinning ceremony at the end of training. Created in 1893 and named after Nightingale as the founder of modern nursing, the pledge is a statement of the ethics and principles of the nursing profession. The Florence Nightingale Declaration Campaign, established by nursing leaders throughout the world through the Nightingale Initiative for Global Health (NIGH), aims to build a global grassroots movement to achieve two United Nations Resolutions for adoption by the UN General Assembly of 2008. They will declare: The International Year of the Nurse–2010 (the centenary of Nightingale's death); The UN Decade for a Healthy World – 2011 to 2020 (the bicentenary of Nightingale's birth). NIGH also works to rekindle awareness about the important issues highlighted by Florence Nightingale, such as preventive medicine and holistic health. As of 2016, the Florence Nightingale Declaration has been signed by over 25,000 signatories from 106 countries. During the Vietnam War, Nightingale inspired many US Army nurses, sparking a renewal of interest in her life and work. Her admirers include Country Joe of Country Joe and the Fish, who has assembled an extensive website in her honour. The Agostino Gemelli Medical School in Rome, the first university-based hospital in Italy and one of its most respected medical centres, honoured Nightingale's contribution to the nursing profession by giving the name "Bedside Florence" to a wireless computer system it developed to assist nursing. Hospitals Four hospitals in Istanbul are named after Nightingale: Florence Nightingale Hospital in Şişli (the biggest private hospital in Turkey), Metropolitan Florence Nightingale Hospital in Gayrettepe, European Florence Nightingale Hospital in Mecidiyeköy, and Kızıltoprak Florence Nightingale Hospital in Kadıköy, all belonging to the Turkish Cardiology Foundation. In 2011, an appeal was made for the former Derbyshire Royal Infirmary hospital in Derby, England to be named after Nightingale. It was suggested the name could be either Nightingale Community Hospital or Florence Nightingale Community Hospital. The area where the hospital is situated is sometimes referred to as the "Nightingale Quarter". During the COVID-19 pandemic, a number of temporary NHS Nightingale Hospitals were set up in readiness for an expected rise in the number of patients needing critical care. The first was housed in the ExCeL London and several others followed across England. Celebrations to mark her bicentenary in 2020, were disrupted by the coronavirus pandemic and Nightingale's contribution to scientific and statistical analysis of infectious disease and nursing practice may have led to the new temporary hospitals being in her name, in Scotland named the NHS Louisa Jordan after a nurse who followed in Nightingale's footsteps in battlefield nursing in World War One. Museums and monuments A statue of Florence Nightingale by the 20th-century war memorialist Arthur George Walker stands in Waterloo Place, Westminster, London, just off The Mall. There are three statues of Nightingale in Derby – one outside the Derbyshire Royal Infirmary (DRI), one in St Peter's Street, and one above the Nightingale-Macmillan Continuing Care Unit opposite the Derbyshire Royal Infirmary. A pub named after her stands close to the DRI. The Nightingale-Macmillan continuing care unit is now at the Royal Derby Hospital, formerly known as The City Hospital, Derby. A stained glass window was commissioned for inclusion in the DRI chapel in the late 1950s. When the chapel was demolished the window was removed and installed in the replacement chapel. At the closure of the DRI, the window was again removed and stored. In October 2010, £6,000 was raised to reposition the window in St Peter's Church, Derby. The work features nine panels, of the original ten, depicting scenes of hospital life, Derby townscapes, and Nightingale herself. Some of the work was damaged and the tenth panel was dismantled for the glass to be used in the repair of the remaining panels. All the figures, who are said to be modelled on prominent Derby town figures of the early sixties, surround and praise a central pane of the triumphant Christ. A nurse who posed for the top right panel in 1959 attended the rededication service in October 2010. The Florence Nightingale Museum at St Thomas' Hospital in London reopened in May 2010 in time for the centenary of Nightingale's death. Another museum devoted to her is at her sister's family home, Claydon House, now a property of the National Trust. Upon the centenary of Nightingale's death in 2010, and to commemorate her connection with Malvern, the Malvern Museum held a Florence Nightingale exhibit with a school poster competition to promote some events. In Istanbul, the northernmost tower of the Selimiye Barracks building is now the Florence Nightingale Museum. and in several of its rooms, relics and reproductions related to Florence Nightingale and her nurses are on exhibition. When Nightingale moved on to the Crimea itself in May 1855, she often travelled on horseback to make hospital inspections. She later transferred to a mule cart and was reported to have escaped serious injury when the cart was toppled in an accident. Following this, she used a solid Russian-built black carriage, with a waterproof hood and curtains. The carriage was returned to England by Alexis Soyer after the war and subsequently given to the Nightingale training school. The carriage was damaged when the hospital was bombed during the Second World War. It was restored and transferred to Claydon House and is now displayed at the Army Medical Services Museum in Mytchett, Surrey, near Aldershot. A bronze plaque, attached to the plinth of the Crimean Memorial in the Haydarpaşa Cemetery, Istanbul, Turkey and unveiled on Empire Day, 1954, to celebrate the 100th anniversary of her nursing service in that region, bears the inscription: "To Florence Nightingale, whose work near this Cemetery a century ago relieved much human suffering and laid the foundations for the nursing profession." Other monuments of Nightingale include a statue at Chiba University in Japan, a bust at Tarlac State University in the Philippines, and a bust at Gun Hill Park in Aldershot in the UK. Other nursing schools around the world are named after Nightingale, such as in Anápolis in Brazil. Audio Florence Nightingale's voice was saved for posterity in a phonograph recording from 1890 preserved in the British Library Sound Archive. The recording, made in aid of the Light Brigade Relief Fund and available to hear online, says: When I am no longer even a memory, just a name, I hope my voice may perpetuate the great work of my life. God bless my dear old comrades of Balaclava and bring them safe to shore. Florence Nightingale. Theatre The first theatrical representation of Nightingale was Reginald Berkeley's The Lady with the Lamp, premiering in London in 1929 with Edith Evans in the title role. It did not portray her as an entirely sympathetic character and draws much characterisation from Lytton Strachey's biography of her in Eminent Victorians. It was adapted as a film of the same name in 1951. In 2009, a stage musical play representation of Nightingale entitled The Voyage of the Lass was produced by the Association of Nursing Service Administrators of the Philippines. Film In 1912, a biographical silent film titled The Victoria Cross, starring Julia Swayne Gordon as Nightingale, was released, followed in 1915 by another silent film, Florence Nightingale, featuring Elisabeth Risdon. In 1936, Kay Francis played Nightingale in the film titled The White Angel. In 1951, The Lady with a Lamp starred Anna Neagle. In 1993, Nest Entertainment released an animated film Florence Nightingale, describing her service as a nurse in the Crimean War. Television Portrayals of Nightingale on television, in documentary as in fiction, vary – the BBC's 2008 Florence Nightingale, featuring Laura Fraser, emphasised her independence and feeling of religious calling, but in Channel 4's 2006 Mary Seacole: The Real Angel of the Crimea, she is portrayed as narrow-minded and opposed to Seacole's efforts. Other portrayals include: Laura Morgan in Victoria episode #3.4 "Foreign Bodies" (2018) Kate Isitt in the Magic Grandad episode "Famous People: Florence Nightingale" (1994) Jaclyn Smith in the TV biopic Florence Nightingale (1985) Emma Thompson in the ITV sketch comedy series Alfresco episode #1.2 (1983) Jayne Meadows in PBS series Meeting of Minds (1978) Janet Suzman in the British theatre-style biopic Miss Nightingale (1974) Julie Harris in Hallmark Hall of Fame episode #14.4 "The Holy Terror" (1965) Sarah Churchill in Hallmark Hall of Fame episode #1.6 "Florence Nightingale" (1952) Banknotes Florence Nightingale's image appeared on the reverse of £10 Series D banknotes issued by the Bank of England from 1975 until 1994. As well as a standing portrait, she was depicted on the notes in a field hospital, holding her lamp. Nightingale's note was in circulation alongside the images of Isaac Newton, William Shakespeare, Charles Dickens, Michael Faraday, Sir Christopher Wren, the Duke of Wellington and George Stephenson, and prior to 2002, other than the female monarchs, she was the only woman whose image had ever adorned British paper currency. Photographs Nightingale had a principled objection to having photographs taken or her portrait painted. An extremely rare photograph of her, taken at Embley on a visit to her family home in May 1858, was discovered in 2006 and is now at the Florence Nightingale Museum in London. A black-and-white photograph taken in about 1907 by Lizzie Caswall Smith at Nightingale's London home in South Street, Mayfair, was auctioned on 19 November 2008 by Dreweatts auction house in Newbury, Berkshire, England, for £5,500. Biographies The first biography of Nightingale was published in England in 1855. In 1911, Edward Tyas Cook was authorised by Nightingale's executors to write the official life, published in two volumes in 1913. Nightingale was also the subject of one of Lytton Strachey's four mercilessly provocative biographical essays, Eminent Victorians. Strachey regarded Nightingale as an intense, driven woman who was both personally intolerable and admirable in her achievements. Cecil Woodham-Smith, like Strachey, relied heavily on Cook's Life in her 1950 biography, though she did have access to new family material preserved at Claydon. In 2008, Mark Bostridge published a major new life of Nightingale, almost exclusively based on unpublished material from the Verney Collections at Claydon and from archival documents from about 200 archives around the world, some of which had been published by Lynn McDonald in her projected sixteen-volume edition of the Collected Works of Florence Nightingale (2001 to date). Other In 2002, Nightingale was ranked number 52 in the BBC's list of the 100 Greatest Britons following a UK-wide vote. In 2006, the Japanese public ranked Nightingale number 17 in The Top 100 Historical Persons in Japan. Several churches in the Anglican Communion commemorate Nightingale with a feast day on their liturgical calendars. The Evangelical Lutheran Church in America commemorates her as a Renewer of Society with Clara Maass on 13 August. Washington National Cathedral celebrates Nightingale's accomplishments with a double-lancet stained glass window featuring six scenes from her life, designed by artist Joseph G. Reynolds and installed in 1983. The US Navy ship the was commissioned in 1942. Beginning in 1968, the US Air Force operated a fleet of 20 C-9A "Nightingale" aeromedical evacuation aircraft, based on the McDonnell Douglas DC-9 platform. The last of these planes was retired from service in 2005. In 1981, the asteroid 3122 Florence was named after her. A Dutch KLM McDonnell-Douglas MD-11 (registration PH-KCD) was also named in her honour; it served the airline for 20 years, from 1994 to 2014. Nightingale has appeared on international postage stamps, including, the UK, Alderney, Australia, Belgium, Dominica, Hungary (showing the Florence Nightingale medal awarded by the International Red Cross), and Germany. Florence Nightingale is remembered in the Church of England with a commemoration on 13 August. Celebrations to mark her bicentenary in 2020, were disrupted by the coronavirus pandemic, but the NHS Nightingale hospitals were named after her. Gallery Works Privately printed by Nightingale in 1860. The Family, a critical essay in Fraser's Magazine (1870) Note: First few pages missing. Title page is present. . See also 2005 publication by Diggory Press, See also Crimean War Memorial Dasha from Sevastopol Florence Nightingale effect History of feminism Licensed practical nurse List of suffragists and suffragettes Nightingale's environmental theory Nursing process Cicely Saunders Timeline of women in science Women's suffrage in the United Kingdom Explanatory footnotes Citations General and cited references Primary sources Goldie, Sue, A Calendar of the Letters of Florence Nightingale, Oxford: Wellcome Institute for the History of Medicine, 1983. McDonald, Lynn, ed., Collected Works of Florence Nightingale. Wilfrid Laurier University Press. 16 volumes. Secondary sources Baly, Monica E., and Matthew, H.C.G., "Nightingale, Florence (1820–1910)", Oxford Dictionary of National Biography, Oxford University Press, 2004; online ed., January 2011. Bostridge, Mark (2008), Florence Nightingale: The Woman and Her Legend. Viking (2008), Penguin (2009). US title Florence Nightingale: The Making of an Icon. New York: Farrar, Straus and Giroux (2008). Bullough, Vern L.; Bullough, Bonnie; and Stanton, Marieta P., Florence Nightingale and Her Era: A Collection of New Scholarship, New York, Garland, 1990. Chaney, Edward (2006), "Egypt in England and America: The Cultural Memorials of Religion, Royalty and Revolution," in Sites of Exchange: European Crossroads and Faultlines, eds. Ascari, Maurizio, and Corrado, Adriana. Rodopi BV, Amsterdam and New York, 39–74. Cope, Zachary, Florence Nightingale and the Doctors, London: Museum Press, 1958; Philadelphia: J. B. Lippincott & Co., 1958. Gill, Gillian (2004). Nightingales: The Extraordinary Upbringing and Curious Life of Miss Florence Nightingale. Ballantine Books. Magnello, M. Eileen. "Victorian statistical graphics and the iconography of Florence Nightingale's polar area graph," BSHM Bulletin: Journal of the British Society for the History of Mathematics (2012) 27#1 pp 13–37 Nelson, Sioban, and Rafferty, Anne Marie, eds. Notes on Nightingale: The Influence and Legacy of a Nursing Icon (Cornell University Press; 2010) 184 pages. Essays on Nightingale's work in the Crimea and Britain's colonies, her links to the evolving science of statistics, and debates over her legacy and historical reputation and persona. Parton, James (1868). "Florence Nightingale," in Eminent Women of the Age; Being Narratives of the Lives and Deeds of the Most Prominent Women of the Present Generation, Hartford, Conn.: S. M. Betts & Company. Pugh, Martin, The March of the Women: A Revisionist Analysis of the Campaign for Women's Suffrage, 1866–1914, Oxford (2000), at 55. Rees, Joan. Women on the Nile: Writings of Harriet Martineau, Florence Nightingale, and Amelia Edwards. London: Rubicon Press (1995, 2008). Sokoloff, Nancy Boyd, Three Victorian Women Who Changed their World: Josephine Butler, Octavia Hill, Florence Nightingale, London: MacMillan (1982). Available online at Florence Nightingale: Part I. Strachey, Lytton. 1918. Eminent Victorians . Webb, Val, The Making of a Radical Theologician, Chalice Press (2002). Woodham-Smith, Cecil, Florence Nightingale, Penguin (1951), rev. 1955. Further reading External links UCLA Elmer Belt Florence Nightingale Collection, hosted at Internet Archive 1890 audio recording of Florence Nightingale speaking Victorians.co.uk: Florence Nightingale Eminent Victorians: Florence Nightingale by Lytton Strachey University of Guelph: Collected Works of Florence Nightingale project Florence Nightingale Foundation Florence Nightingale Correspondence from the Historic Psychiatry Collection, Menninger Archives, Kansas Historical Society Florence Nightingale Letters Collection – A collection of letters written by and to Florence Nightingale from the UBC Library Digital Collections Florence Nightingale Letters Collection – correspondence in the University of Illinois at Chicago digital collections Florence Nightingale Collection at Wayne State University Library consists primarily of letters written by Florence Nightingale throughout her life. Major topics of the letters include medical care for the soldiers and the poor, the role of nursing, and sanitation and public works in colonized India. Florence Nightingale Declaration Campaign for Global Health established by the Nightingale Initiative for Global Health (NIGH) Florence Nightingale Window at St Peter's, Derby Papers of Florence Nightingale, 1820–1910 Southern Star article Episode 6: Florence Nightingale from Babes of Science podcasts Texas Woman's University Special Collections has a large collection of Florence Nightingale artefacts, letters, and primary sources. 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[ { "text": "Florence ( ; ) is a city in Central Italy and the capital city of the Tuscany region. It is the most populated city in Tuscany, with 360,930 inhabitants in 2023, and 984,991 in its metropolitan area.\n\nFlorence was a centre of medieval European trade and finance and one of the wealthiest cities of that era. It is considered by many academics to have been the birthplace of the Renaissance, becoming a major artistic, cultural, commercial, political, economic and financial center. During this time, Florence rose to a position of enormous influence in Italy, Europe, and beyond. Its turbulent political history includes periods of rule by the powerful Medici family and numerous religious and republican revolutions. From 1865 to 1871 the city served as the capital of the Kingdom of Italy. The Florentine dialect forms the base of Standard Italian and it became the language of culture throughout Italy due to the prestige of the masterpieces by Dante Alighieri, Petrarch, Giovanni Boccaccio, Niccolò Machiavelli and Francesco Guicciardini.\n\nThe city attracts millions of tourists each year, and UNESCO declared the Historic Centre of Florence a World Heritage Site in 1982. The city is noted for its culture, Renaissance art and architecture and monuments. The city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florence's artistic and architectural heritage, Forbes ranked it as the most beautiful city in the world in 2010.\n\nFlorence plays an important role in Italian fashion, and is ranked in the top 15 fashion capitals of the world by Global Language Monitor; furthermore, it is a major national economic centre, as well as a tourist and industrial hub.\n\nEtymology \n\nThere are a number of theories as to the origin of the Latin name Florentia from which the name of Florence and Firenze derived:\n Legend attributes the origin of the name Florentia to Florio (a soldier killed on the spot) \n It may be related to the Latin word for flowers found in the area\n It may be related to Flora, since it was founded during the Floralia festival \n There is a theory that Florentia is a name to convey good luck, \"may you be florid\"\n\nHistory\n\nFlorence originated as a Roman city, and later, after a long period as a flourishing trading and banking medieval commune, it was the birthplace of the Italian Renaissance. It was politically, economically, and culturally one of the most important cities in Europe and the world from the 14th to 16th centuries.\n\nThe language spoken in the city during the 14th century came to be accepted as the model for what would become the Italian language. Thanks especially to the works of the Tuscans Dante, Petrarch and Boccaccio, the Florentine dialect, above all the local dialects, was adopted as the basis for a national literary language.\n\nStarting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of industry all over Europe, from Britain to Bruges, to Lyon and Hungary. Florentine bankers financed the English kings during the Hundred Years' War. They similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome.\n\nFlorence was home to the Medici, one of European history's most important noble families. Lorenzo de' Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century: Leo X and Clement VII. Catherine de Medici married King Henry II of France and, after his death in 1559, reigned as regent in France. Marie de' Medici married Henry IV of France and gave birth to the future King Louis XIII. The Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de' Medici in 1569 and ending with the death of Gian Gastone de' Medici in 1737.\n\nThe Kingdom of Italy, which was established in 1861, moved its capital from Turin to Florence in 1865, although the capital was moved to Rome in 1871.\n\nRoman origins\n\nFlorence was established by the Romans in 59 BC as a colony for veteran soldiers and was built in the style of an army camp. Situated along the Via Cassia, the main route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre and in AD 285 became the capital of the Tuscia region.\n\nEarly Middle Ages\n\nIn centuries to come, the city experienced turbulent alternate periods of Ostrogoth and Byzantine rule, during which the city was fought over, helping to cause the population to fall to as low as 1,000 people. Peace returned under Lombard rule in the 6th century and Florence was in turn conquered by Charlemagne in 774 becoming part of the March of Tuscany centred on Lucca. The population began to grow again and commerce prospered.\n\nSecond millennium\n\nMargrave Hugo chose Florence as his residency instead of Lucca around 1000 AD. The Golden Age of Florentine art began around this time. In 1100, Florence was a \"commune\", meaning a city-state. The city's primary resource was the Arno river, providing power and access for the industry (mainly textile industry), and access to the Mediterranean sea for international trade, helping the growth of an industrious merchant community. The Florentine merchant banking skills became recognised in Europe after they brought decisive financial innovation (e.g. bills of exchange, double-entry bookkeeping system) to medieval fairs. This period also saw the eclipse of Florence's formerly powerful rival Pisa. The growing power of the merchant elite culminated in an anti-aristocratic uprising, led by Giano della Bella, resulting in the Ordinances of Justice which entrenched the power of the elite guilds until the end of the Republic.\n\nMiddle Ages and Renaissance\n\nRise of the Medici\n\nAt the height of demographic expansion around 1325, the urban population may have been as great as 120,000, and the rural population around the city was probably close to 300,000. The Black Death of 1348 reduced it by over half, about 25,000 are said to have been supported by the city's wool industry: in 1345 Florence was the scene of an attempted strike by wool combers (ciompi), who in 1378 rose up in a brief revolt against oligarchic rule in the Revolt of the Ciompi. After their suppression, Florence came under the sway (1382–1434) of the Albizzi family, who became bitter rivals of the Medici.\n\nIn the 15th century, Florence was among the largest cities in Europe, with a population of 60,000, and was considered rich and economically successful. Cosimo de' Medici was the first Medici family member to essentially control the city from behind the scenes. Although the city was technically a democracy of sorts, his power came from a vast patronage network along with his alliance to the new immigrants, the gente nuova (new people). The fact that the Medici were bankers to the pope also contributed to their ascendancy. Cosimo was succeeded by his son Piero, who was, soon after, succeeded by Cosimo's grandson, Lorenzo in 1469. Lorenzo was a great patron of the arts, commissioning works by Michelangelo, Leonardo da Vinci and Botticelli. Lorenzo was an accomplished poet and musician and brought composers and singers to Florence, including Alexander Agricola, Johannes Ghiselin, and Heinrich Isaac. By contemporary Florentines (and since), he was known as \"Lorenzo the Magnificent\" (Lorenzo il Magnifico).\n\nFollowing Lorenzo de' Medici's death in 1492, he was succeeded by his son Piero II. When the French king Charles VIII invaded northern Italy, Piero II chose to resist his army. But when he realised the size of the French army at the gates of Pisa, he had to accept the humiliating conditions of the French king. These made the Florentines rebel, and they expelled Piero II. With his exile in 1494, the first period of Medici rule ended with the restoration of a republican government.\n\nSavonarola, Machiavelli, and the Medici popes\n\nDuring this period, the Dominican friar Girolamo Savonarola had become prior of the San Marco monastery in 1490. He was famed for his penitential sermons, lambasting what he viewed as widespread immorality and attachment to material riches. He praised the exile of the Medici as the work of God, punishing them for their decadence. He seized the opportunity to carry through political reforms leading to a more democratic rule. But when Savonarola publicly accused Pope Alexander VI of corruption, he was banned from speaking in public. When he broke this ban, he was excommunicated. The Florentines, tired of his teachings, turned against him and arrested him. He was convicted as a heretic, hanged and burned at the stake on the Piazza della Signoria on 23 May 1498. His ashes were dispersed in the Arno river.\n\nAnother Florentine of this period was Niccolò Machiavelli, whose prescriptions for Florence's regeneration under strong leadership have often been seen as a legitimization of political expediency and even malpractice. Machiavelli was a political thinker, renowned for his political handbook The Prince, which is about ruling and exercising power. Commissioned by the Medici, Machiavelli also wrote the Florentine Histories, the history of the city.\n\nIn 1512, the Medici retook control of Florence with the help of Spanish and Papal troops. They were led by two cousins, Giovanni and Giulio de' Medici, both of whom would later become Popes of the Catholic Church, (Leo X and Clement VII, respectively). Both were generous patrons of the arts, commissioning works like Michelangelo's Laurentian Library and Medici Chapel in Florence, to name just two. Their reigns coincided with political upheaval in Italy, and thus in 1527, Florentines drove out the Medici for a second time and re-established a theocratic republic on 16 May 1527, (Jesus Christ was named King of Florence). The Medici returned to power in Florence in 1530, with the armies of Holy Roman Emperor Charles V and the blessings of Pope Clement VII (Giulio de' Medici).\n\nFlorence officially became a monarchy in 1531, when Emperor Charles and Pope Clement named Alessandro de Medici as Duke of the Florentine Republic. The Medici's monarchy would last over two centuries. Alessandro's successor, Cosimo I de Medici, was named Grand Duke of Tuscany in 1569; in all Tuscany, only the Republic of Lucca (later a Duchy) and the Principality of Piombino were independent from Florence.\n\n18th and 19th centuries \n\nThe extinction of the Medici dynasty and the accession in 1737 of Francis Stephen, duke of Lorraine and husband of Maria Theresa of Austria, led to Tuscany's temporary inclusion in the territories of the Austrian crown. It became a secundogeniture of the Habsburg-Lorraine dynasty, who were deposed for the House of Bourbon-Parma in 1801. From 1801 to 1807 Florence was the capital of the Napoleonic client state Kingdom of Etruria. The Bourbon-Parma were deposed in December 1807 when Tuscany was annexed by France. Florence was the prefecture of the French département of Arno from 1808 to the fall of Napoleon in 1814. The Habsburg-Lorraine dynasty was restored on the throne of Tuscany at the Congress of Vienna but finally deposed in 1859. Tuscany became a region of the Kingdom of Italy in 1861.\n\nFlorence replaced Turin as Italy's capital in 1865 and, in an effort to modernise the city, the old market in the Piazza del Mercato Vecchio and many medieval houses were pulled down and replaced by a more formal street plan with newer houses. The Piazza (first renamed Piazza Vittorio Emanuele II, then Piazza della Repubblica, the present name) was significantly widened and a large triumphal arch was constructed at the west end. This development was unpopular and was prevented from continuing by the efforts of several British and American people living in the city. A museum recording the destruction stands nearby today.\n\nThe country's second capital city was superseded by Rome six years later, after the withdrawal of the French troops allowed the capture of Rome.\n\n20th century\n\nDuring World War II the city experienced a year-long German occupation (1943–1944) being part of the Italian Social Republic. Hitler declared it an open city on 3 July 1944 as troops of the British 8th Army closed in. In early August, the retreating Germans decided to demolish all the bridges along the Arno linking the district of Oltrarno to the rest of the city, making it difficult for troops of the 8th Army to cross. However, at the last moment Charles Steinhauslin, at the time consul of 26 countries in Florence, convinced the German general in Italy that the Ponte Vecchio was not to be destroyed due to its historical value. Instead, an equally historic area of streets directly to the south of the bridge, including part of the Corridoio Vasariano, was destroyed using mines. Since then the bridges have been restored to their original forms using as many of the remaining materials as possible, but the buildings surrounding the Ponte Vecchio have been rebuilt in a style combining the old with modern design. Shortly before leaving Florence, as they knew that they would soon have to retreat, the Germans executed many freedom fighters and political opponents publicly, in streets and squares including the Piazza Santo Spirito.\n\nFlorence was liberated by New Zealand, South African and British troops on 4 August 1944 alongside partisans from the Tuscan Committee of National Liberation (CTLN). The Allied soldiers who died driving the Germans from Tuscany are buried in cemeteries outside the city (Americans about south of the city, British and Commonwealth soldiers a few kilometres east of the centre on the right bank of the Arno).\n\nAt the end of World War II in May 1945, the US Army's Information and Educational Branch was ordered to establish an overseas university campus for demobilised American service men and women in Florence. The first American university for service personnel was established in June 1945 at the School of Aeronautics. Some 7,500 soldier-students were to pass through the university during its four one-month sessions (see G. I. American Universities).\n\nIn November 1966, the Arno flooded parts of the centre, damaging many art treasures. Around the city there are tiny placards on the walls noting where the flood waters reached at their highest point.\n\nGeography\n\nFlorence lies in a basin formed by the hills of Careggi, Fiesole, Settignano, Arcetri, Poggio Imperiale and Bellosguardo (Florence). The Arno river, three other minor rivers (Mugnone, Ema and Greve) and some streams flow through it.\n\nClimate\nFlorence has a humid subtropical climate (Cfa), tending to Mediterranean (Csa). It has hot summers with moderate or light rainfall and cool, damp winters. As Florence lacks a prevailing wind, summer temperatures are higher than along the coast. Rainfall in summer is convectional, while relief rainfall dominates in the winter. Snow flurries occur almost every year, but often result in no accumulation. The highest officially recorded temperature was on 26 July 1983 and the lowest was on 12 January 1985.\n\nDemographics\n\nIn 1200 the city was home to 50,000 people. By 1300 the population of the city proper was 120,000, with an additional 300,000 living in the Contado. Between 1500 and 1650 the population was around 70,000.\n\n, the population of the city proper is 370,702, while Eurostat estimates that 696,767 people live in the urban area of Florence. The Metropolitan Area of Florence, Prato and Pistoia, constituted in 2000 over an area of roughly , is home to 1.5 million people. Within Florence proper, 46.8% of the population was male in 2007 and 53.2% were female. Minors (children aged 18 and less) totalled 14.10% of the population compared to pensioners, who numbered 25.95 percent. This compares with the Italian average of 18.06 percent (minors) and 19.94 percent (pensioners). The average age of Florence resident is 49 compared to the Italian average of 42. In the five years between 2002 and 2007, the population of Florence grew by 3.22 percent, while Italy as a whole grew by 3.56 percent. The birth rate of Florence is 7.66 births per 1,000 inhabitants compared to the Italian average of 9.45 births.\n\n, 87.46% of the population was Italian. An estimated 6,000 Chinese live in the city. The largest immigrant group came from other European countries (mostly Romanians and Albanians): 3.52%, East Asia (mostly Chinese and Filipino): 2.17%, the Americas: 1.41%, and North Africa (mostly Moroccan): 0.9%.\n\nMuch like the rest of Italy most of the people in Florence are Roman Catholic, with more than 90% of the population belonging to the Archdiocese of Florence.\n\nEconomy\nTourism is, by far, the most important of all industries and most of the Florentine economy relies on the money generated by international arrivals and students studying in the city. The value tourism to the city totalled some €2.5 billion in 2015 and the number of visitors had increased by 5.5% from the previous year.\n\nIn 2013, Florence was listed as the second best world city by Condé Nast Traveler.\n\nManufacturing and commerce, however, still remain highly important. Florence is also Italy's 17th richest city in terms of average workers' earnings, with the figure being €23,265 (the overall city's income is €6,531,204,473), coming after Mantua, yet surpassing Bolzano.\n\nIndustry, commerce and services\nFlorence is a major production and commercial centre in Italy, where the Florentine industrial complexes in the suburbs produce all sorts of goods, from furniture, rubber goods, chemicals, and food. However, traditional and local products, such as antiques, handicrafts, glassware, leatherwork, art reproductions, jewellery, souvenirs, elaborate metal and iron-work, shoes, accessories and high fashion clothes also dominate a fair sector of Florence's economy. The city's income relies partially on services and commercial and cultural interests, such as annual fairs, theatrical and lyrical productions, art exhibitions, festivals and fashion shows, such as the Calcio Fiorentino. Heavy industry and machinery also take their part in providing an income. In Nuovo Pignone, numerous factories are still present, and small-to medium industrial businesses are dominant. The Florence-Prato-Pistoia industrial districts and areas were known as the 'Third Italy' in the 1990s, due to the exports of high-quality goods and automobile (especially the Vespa) and the prosperity and productivity of the Florentine entrepreneurs. Some of these industries even rivalled the traditional industrial districts in Emilia-Romagna and Veneto due to high profits and productivity.\n\nIn the fourth quarter of 2015, manufacturing increased by 2.4% and exports increased by 7.2%. Leading sectors included mechanical engineering, fashion, pharmaceutics, food and wine. During 2015, permanent employment contracts increased by 48.8 percent, boosted by nationwide tax break.\n\nTourism\n\nTourism is the most significant industry in central Florence. From April to October, tourists outnumber local population. Tickets to the Uffizi and Accademia museums are regularly sold out and large groups regularly fill the basilicas of Santa Croce and Santa Maria Novella, both of which charge for entry. Tickets for The Uffizi and Accademia can be purchased online prior to visiting. In 2010, readers of Travel + Leisure magazine ranked the city as their third favourite tourist destination. In 2015, Condé Nast Travel readers voted Florence as the best city in Europe.\n\nStudies by Euromonitor International have concluded that cultural and history-oriented tourism is generating significantly increased spending throughout Europe.\n\nFlorence is believed to have the greatest concentration of art (in proportion to its size) in the world. Thus, cultural tourism is particularly strong, with world-renowned museums such as the Uffizi selling over 1.93 million tickets in 2014. The city's convention centre facilities were restructured during the 1990s and host exhibitions, conferences, meetings, social forums, concerts and other events all year.\n\nIn 2016, Florence had 20,588 hotel rooms in 570 facilities. International visitors use 75% of the rooms; some 18% of those were from the U.S. In 2014, the city had 8.5 million overnight stays. A Euromonitor report indicates that in 2015 the city ranked as the world's 36th most visited in the world, with over 4.95 million arrivals for the year.\n\nTourism brings revenue to Florence, but also creates certain problems. The Ponte Vecchio, The San Lorenzo Market and Santa Maria Novella are plagued by pickpockets. The province of Florence receives roughly 13 million visitors per year and in peak seasons, popular locations may become overcrowded as a result. In 2015, Mayor Dario Nardella expressed concern over visitors who arrive on buses, stay only a few hours, spend little money but contribute significantly to overcrowding. \"No museum visit, just a photo from the square, the bus back and then on to Venice ... We don't want tourists like that\", he said.\n\nSome tourists are less than respectful of the city's cultural heritage, according to Nardella. In June 2017, he instituted a programme of spraying church steps with water to prevent tourists from using such areas as picnic spots. While he values the benefits of tourism, he claims that there has been \"an increase among those who sit down on church steps, eat their food and leave rubbish strewn on them\", he explained. To boost the sale of traditional foods, the mayor had introduced legislation (enacted in 2016) that requires restaurants to use typical Tuscan products and rejected McDonald's application to open a location in the Piazza del Duomo.\n\nIn October 2021, Florence was shortlisted for the European Commission's 2022 European Capital of Smart Tourism award along with Bordeaux, Copenhagen, Dublin, Ljubljana, Palma de Mallorca and Valencia.\n\nFood and wine production\n\nFood and wine have long been an important staple of the economy. The Chianti region is just south of the city, and its Sangiovese grapes figure prominently not only in its Chianti Classico wines but also in many of the more recently developed Supertuscan blends. Within to the west is the Carmignano area, also home to flavourful sangiovese-based reds. The celebrated Chianti Rufina district, geographically and historically separated from the main Chianti region, is also few kilometres east of Florence. More recently, the Bolgheri region (about southwest of Florence) has become celebrated for its \"Super Tuscan\" reds such as Sassicaia and Ornellaia.\n\nGovernment\n\nThe legislative body of the municipality is the City Council (Consiglio Comunale), which is composed of 36 councillors elected every five years with a proportional system, at the same time as the mayoral elections. The executive body is the City Committee (Giunta Comunale), composed of 7 assessors, nominated and presided over by a directly elected Mayor. The current mayor of Florence is Dario Nardella.\n\nThe municipality of Florence is subdivided into five administrative Boroughs (Quartieri). Each borough is governed by a Council (Consiglio) and a President, elected at the same time as the city mayor. The urban organisation is governed by the Italian Constitution (art. 114). The boroughs have the power to advise the Mayor with nonbinding opinions on a large spectrum of topics (environment, construction, public health, local markets) and exercise the functions delegated to them by the City Council; in addition they are supplied with an autonomous funding in order to finance local activities. The boroughs are:\n Q1 – Centro storico (Historic Centre); population: 67,170;\n Q2 – Campo di Marte; population: 88,588;\n Q3 – Gavinana-Galluzzo; population: 40,907;\n Q4 – Isolotto-Legnaia; population: 66,636;\n Q5 – Rifredi; population: 103,761.\n\nAll of the five boroughs are governed by the Democratic Party.\n\nThe former Italian Prime Minister (2014–2016), Matteo Renzi, served as mayor from 2009 to 2014.\n\nCulture\n\nArt\n\nFlorence was the birthplace of High Renaissance art, which lasted from about 1500 to 1527. Renaissance art put a larger emphasis on naturalism and human emotion. Medieval art was often formulaic and symbolic; the surviving works are mostly religious, their subjects were chosen by clerics. By contrast, Renaissance art became more rational, mathematical, individualistic, and produced by known artists such as Donatello, Michelangelo, and Raphael, who started to sign their works. Religion was important, but with this new age came the humanization of religious figures in art, such as Expulsion from the Garden of Eden, Ecce Homo (Bosch, 1470s), and Madonna Della Seggiola; People of this age began to understand themselves as human beings, which reflected in art. The Renaissance marked the rebirth of classical values in art and society as people studied the ancient masters of the Greco-Roman world; Art became focused on realism as opposed to idealism.\n\nCimabue and Giotto, the fathers of Italian painting, lived in Florence as well as Arnolfo and Andrea Pisano, renewers of architecture and sculpture; Brunelleschi, Donatello and Masaccio, forefathers of the Renaissance, Ghiberti and the Della Robbias, Filippo Lippi and Angelico; Botticelli, Paolo Uccello and the universal genius of Leonardo da Vinci and Michelangelo.\n\nTheir works, together with those of many other generations of artists, are gathered in the several museums of the town: the Uffizi Gallery, the Palatina gallery with the paintings of the \"Golden Ages\", the Bargello with the sculptures of the Renaissance, the museum of San Marco with Fra Angelico's works, the Academy, the chapels of the Medicis Buonarroti's house with the sculptures of Michelangelo, the following museums: Bardini, Horne, Stibbert, Romano, Corsini, The Gallery of Modern Art, the Museo dell'Opera del Duomo, the museum of Silverware and the museum of Precious Stones. Several monuments are located in Florence: the Florence Baptistery with its mosaics; the cathedral with its sculptures, the medieval churches with bands of frescoes; public as well as private palaces: Palazzo Vecchio, Palazzo Pitti, Palazzo Medici Riccardi, Palazzo Davanzati; monasteries, cloisters, refectories; the \"Certosa\". In the archaeological museum includes documents of Etruscan civilisation. In fact the city is so rich in art that some first time visitors experience the Stendhal syndrome as they encounter its art for the first time.\n\nFlorentine architects such as Filippo Brunelleschi (1377–1466) and Leon Battista Alberti (1404–1472) were among the fathers of both Renaissance and Neoclassical architecture.\n\nThe cathedral, topped by Brunelleschi's dome, dominates the Florentine skyline. The Florentines decided to start building it – late in the 13th century, without a design for the dome. The project proposed by Brunelleschi in the 14th century was the largest ever built at the time, and the first major dome built in Europe since the two great domes of Roman times – the Pantheon in Rome, and Hagia Sophia in Constantinople. The dome of Santa Maria del Fiore remains the largest brick construction of its kind in the world. In front of it is the medieval Baptistery. The two buildings incorporate in their decoration the transition from the Middle Ages to the Renaissance. In recent years, most of the important works of art from the two buildings – and from the nearby Giotto's Campanile, have been removed and replaced by copies. The originals are now housed in the Museum dell'Opera del Duomo, just to the east of the cathedral.\n\nFlorence has large numbers of art-filled churches, such as San Miniato al Monte, San Lorenzo, Santa Maria Novella, Santa Trinita, Santa Maria del Carmine, Santa Croce, Santo Spirito, the Annunziata, Ognissanti and numerous others.\n\nArtists associated with Florence range from Arnolfo di Cambio and Cimabue to Giotto, Nanni di Banco, and Paolo Uccello; through Lorenzo Ghiberti, and Donatello and Massaccio and the della Robbia family; through Fra Angelico and Botticelli and Piero della Francesca, and on to Michelangelo and Leonardo da Vinci. Others include Benvenuto Cellini, Andrea del Sarto, Benozzo Gozzoli, Domenico Ghirlandaio, Filippo Lippi, Bernardo Buontalenti, Orcagna, Pollaiuolo, Filippino Lippi, Verrocchio, Bronzino, Desiderio da Settignano, Michelozzo, the Rossellis, the Sangallos, and Pontormo. Artists from other regions who worked in Florence include Raphael, Andrea Pisano, Giambologna, Il Sodoma and Peter Paul Rubens.\n\nPicture galleries in Florence include the Uffizi and the Pitti Palace. Two superb collections of sculpture are in the Bargello and the Museum of the Works of the Duomo. They are filled with the creations of Donatello, Verrochio, Desiderio da Settignano, Michelangelo and others. The Galleria dell'Accademia has Michelangelo's David, which was created between 1501 and 1504 and is perhaps the best-known work of art anywhere, plus the unfinished statues of the slaves Michelangelo created for the tomb of Pope Julius II. Other sights include the medieval city hall, the Palazzo della Signoria (also known as the Palazzo Vecchio), the Archeological Museum, the Museum of the History of Science, the Palazzo Davanzatti, the Stibbert Museum, St. Marks, the Medici Chapels, the Museum of the Works of Santa Croce, the Museum of the Cloister of Santa Maria Novella, the Zoological Museum (\"La Specola\"), the Bardini, and the Museo Horne. There is also a collection of works by the modern sculptor, Marino Marini, in a museum named after him. The Strozzi Palace is the site of special exhibits.\n\nLanguage\n\nFlorentine (fiorentino), spoken by inhabitants of Florence and its environs, is a Tuscan dialect and the immediate parent language to modern Italian.\n\nAlthough its vocabulary and pronunciation are largely identical to standard Italian, differences do exist. The Vocabolario del fiorentino contemporaneo (Dictionary of Modern Florentine) reveals lexical distinctions from all walks of life. Florentines have a highly recognisable accent in phonetic terms due to the so-called gorgia toscana: \"hard c\" between two vowels is pronounced as a fricative similar to an English h, so that dico 'I say' is phonetically , i cani 'the dogs' is . Similarly, t between vowels is pronounced as in English thin, and p in the same position is the bilabial fricative . Other traits include using a form of the subjunctive mood last commonly used in medieval times, a frequent usage in everyday speech of the modern subjunctive, and a shortened pronunciation of the definite article, instead of \"il\", causing doubling of the consonant that follows, so that il cane 'the dog', for example, is pronounced .\n\nDante, Petrarch, and Boccaccio pioneered the use of the vernacular instead of the Latin used for most literary works at the time.\n\nLiterature\n\nDespite Latin being the main language of the courts and the Church in the Middle Ages, writers such as Dante Alighieri and many others used their own language, the Florentine vernacular descended from Latin, in composing their greatest works. The oldest literary pieces written in Florentine go as far back as the 13th century. Florence's literature fully blossomed in the 14th century, when not only Dante with his Divine Comedy (1306–1321) and Petrarch, but also poets such as Guido Cavalcanti and Lapo Gianni composed their most important works. Dante's masterpiece is the Divine Comedy, which mainly deals with the poet himself taking an allegoric and moral tour of Hell, Purgatory and finally Heaven, during which he meets numerous mythological or real characters of his age or before. He is first guided by the Roman poet Virgil, whose non-Christian beliefs damned him to Hell. Later on he is joined by Beatrice, who guides him through Heaven.\n\nIn the 14th century, Petrarch and Giovanni Boccaccio led the literary scene in Florence after Dante's death in 1321. Petrarch was an all-rounder writer, author and poet, but was particularly known for his Canzoniere, or the Book of Songs, where he conveyed his unremitting love for Laura. His style of writing has since become known as Petrarchism. Boccaccio was better known for his Decameron, a slightly grim story of Florence during the 1350s bubonic plague, known as the Black Death, when some people fled the ravaged city to an isolated country mansion, and spent their time there recounting stories and novellas taken from the medieval and contemporary tradition. All of this is written in a series of 100 distinct novellas.\n\nIn the 16th century, during the Renaissance, Florence was the home town of political writer and philosopher Niccolò Machiavelli, whose ideas on how rulers should govern the land, detailed in The Prince, spread across European courts and enjoyed enduring popularity for centuries. These principles became known as Machiavellianism.\n\nMusic\n\nFlorence became a musical centre during the Middle Ages and music and the performing arts remain an important part of its culture. The growth of Northern Italian Cities in the 1500s likely contributed to its increased prominence. During the Renaissance, there were four kinds of musical patronage in the city with respect to both sacred and secular music: state, corporate, church, and private. It was here that the Florentine Camerata convened in the mid-16th century and experimented with setting tales of Greek mythology to music and staging the result—in other words, the first operas, setting the wheels in motion not just for the further development of the operatic form, but for later developments of separate \"classical\" forms such as the symphony and concerto. After the year 1600, Italian trends prevailed across Europe, by 1750 it was the primary musical language. The genre of the Madrigal, born in Italy, gained popularity in Britain and elsewhere. Several Italian cities were \"larger on the musical map than their real-size for power suggested. Florence, was once such city which experienced a fantastic period in the early seventeenth Century of musico-theatrical innovation, including the beginning and flourishing of opera.\n\nOpera was invented in Florence in the late 16th century when Jacopo Peri's Dafne an opera in the style of monody, was premiered. Opera spread from Florence throughout Italy and eventually Europe. Vocal Music in the choir setting was also taking new identity at this time. At the beginning of the 17th century, two practices for writing music were devised, one the first practice or Stile Antico/Prima Prattica the other the Stile Moderno/Seconda Prattica. The Stile Antico was more prevalent in Northern Europe and Stile Moderno was practiced more by the Italian Composers of the time. The piano was invented in Florence in 1709 by Bartolomeo Cristofori. Composers and musicians who have lived in Florence include Piero Strozzi (1550 – after 1608), Giulio Caccini (1551–1618) and Mike Francis (1961–2009). Giulio Caccini's book Le Nuove Musiche was significant in performance practice technique instruction at the time. The book specified a new term, in use by the 1630s, called monody which indicated the combination of voice and basso continuo and connoted a practice of stating text in a free, lyrical, yet speech-like manner. This would occur while an instrument, usually a keyboard type such as harpsichord, played and held chords while the singer sang/spoke the monodic line.\n\nCinema\nFlorence has been a setting for numerous works of fiction and movies, including the novels and associated films, such as Light in the Piazza, The Girl Who Couldn't Say No, Calmi Cuori Appassionati, Hannibal, A Room with a View, Tea with Mussolini, Virgin Territory and Inferno. The city is home to renowned Italian actors and actresses, such as Roberto Benigni, Leonardo Pieraccioni and Vittoria Puccini.\n\nVideo games \nFlorence has appeared as a location in video games such as Assassin's Creed II. The Republic of Florence also appears as a playable nation in Paradox Interactive's grand strategy game Europa Universalis IV.\n\nOther media \n16th century Florence is the setting of the Japanese manga and anime series Arte.\n\nCuisine\n\nFlorentine food grows out of a tradition of peasant eating rather than rarefied high cooking. The majority of dishes are based on meat. The whole animal was traditionally eaten; tripe (trippa) and stomach (lampredotto) were once regularly on the menu and still are sold at the food carts stationed throughout the city. Antipasti include crostini toscani, sliced bread rounds topped with a chicken liver-based pâté, and sliced meats (mainly prosciutto and salame, often served with melon when in season). The typically saltless Tuscan bread, obtained with natural levain frequently features in Florentine courses, especially in its soups, ribollita and pappa al pomodoro, or in the salad of bread and fresh vegetables called panzanella that is served in summer. The bistecca alla fiorentina is a large (the customary size should weigh around ) – the \"date\" steak – T-bone steak of Chianina beef cooked over hot charcoal and served very rare with its more recently derived version, the tagliata, sliced rare beef served on a bed of arugula, often with slices of Parmesan cheese on top. Most of these courses are generally served with local olive oil, also a prime product enjoying a worldwide reputation. Among the desserts, schiacciata alla fiorentina, a white flatbread cake, is one of the most popular; it is a very soft cake, prepared with extremely simple ingredients, typical of Florentine cuisine, and is especially eaten at Carnival.\n\nResearch activity\n\nResearch institutes and university departments are located within the Florence area and within two campuses at Polo di Novoli and Polo Scientifico di Sesto Fiorentino as well as in the Research Area of Consiglio Nazionale delle Ricerche.\n\nScience and discovery\n\nFlorence has been an important scientific centre for centuries, notably during the Renaissance with scientists such as Leonardo da Vinci.\n\nFlorentines were one of the driving forces behind the Age of Discovery. Florentine bankers financed Henry the Navigator and the Portuguese explorers who pioneered the route around Africa to India and the Far East. It was a map drawn by the Florentine Paolo dal Pozzo Toscanelli, a student of Brunelleschi, that Christopher Columbus used to sell his \"enterprise\" to the Spanish monarchs, and which he used on his first voyage. Mercator's \"Projection\" is a refined version of Toscanelli's, taking the Americas into account.\n\nGalileo and other scientists pioneered the study of optics, ballistics, astronomy, anatomy, and other scientific disciplines. Pico della Mirandola, Leonardo Bruni, Machiavelli, and many others laid the groundwork for modern scientific understanding.\n\nFashion\n\nBy the year 1300 Florence had become a centre of textile production in Europe. Many of the rich families in Renaissance Florence were major purchasers of locally produced fine clothing, and the specialists of fashion in the economy and culture of Florence during that period is often underestimated. Florence is regarded by some as the birthplace and earliest centre of the modern (post World War Two) fashion industry in Italy. The Florentine \"soirées\" of the early 1950s organised by Giovanni Battista Giorgini were events where several Italian designers participated in group shows and first garnered international attention. Florence has served as the home of the Italian fashion company Salvatore Ferragamo since 1928. Gucci, Roberto Cavalli, and Emilio Pucci are also headquartered in Florence. Other major players in the fashion industry such as Prada and Chanel have large offices and stores in Florence or its outskirts. Florence's main upscale shopping street is Via de' Tornabuoni, where major luxury fashion houses and jewellery labels, such as Armani and Bulgari, have boutiques. Via del Parione and Via Roma are other streets that are also well known for their high-end fashion stores.\n\nHistorical evocations\n\nScoppio del Carro\nThe Scoppio del Carro (\"Explosion of the Cart\") is a celebration of the First Crusade. During the day of Easter, a cart, which the Florentines call the Brindellone and which is led by four white oxen, is taken to the Piazza del Duomo between the Baptistery of St. John the Baptist (Battistero di San Giovanni) and the Florence Cathedral (Santa Maria del Fiore). The cart is connected by a rope to the interior of the church. Near the cart there is a model of a dove, which, according to legend, is a symbol of good luck for the city: at the end of the Easter mass, the dove emerges from the nave of the Duomo and ignites the fireworks on the cart.\n\nCalcio Storico\n\nCalcio Storico Fiorentino (\"Historic Florentine Football\"), sometimes called Calcio in costume, is a traditional sport, regarded as a forerunner of soccer, though the actual gameplay most closely resembles rugby. The event originates from the Middle Ages, when the most important Florentine nobles amused themselves playing while wearing bright costumes. The most important match was played on 17 February 1530, during the siege of Florence. That day Papal troops besieged the city while the Florentines, with contempt of the enemies, decided to play the game notwithstanding the situation. The game is played in the Piazza di Santa Croce. A temporary arena is constructed, with bleachers and a sand-covered playing field. A series of matches are held between four teams representing each quartiere (quarter) of Florence during late June and early July. There are four teams: Azzurri (light blue), Bianchi (white), Rossi (red) and Verdi (green). The Azzurri are from the quarter of Santa Croce, Bianchi from the quarter of Santo Spirito, Verdi are from San Giovanni and Rossi from Santa Maria Novella.\n\nMain sights\n\nFlorence is known as the \"cradle of the Renaissance\" (la culla del Rinascimento) for its monuments, churches, and buildings. The best-known site of Florence is the domed cathedral of the city, Santa Maria del Fiore, known as The Duomo, whose dome was built by Filippo Brunelleschi. The nearby Campanile (partly designed by Giotto) and the Baptistery buildings are also highlights. The dome, 600 years after its completion, is still the largest dome built in brick and mortar in the world. In 1982, the historic centre of Florence (Italian: centro storico di Firenze) was declared a World Heritage Site by the UNESCO. The centre of the city is contained in medieval walls that were built in the 14th century to defend the city. At the heart of the city, in Piazza della Signoria, is Bartolomeo Ammannati's Fountain of Neptune (1563–1565), which is a masterpiece of marble sculpture at the terminus of a still functioning Roman aqueduct.\n\nThe layout and structure of Florence in many ways harkens back to the Roman era, where it was designed as a garrison settlement. Nevertheless, the majority of the city was built during the Renaissance. Despite the strong presence of Renaissance architecture within the city, traces of medieval, Baroque, Neoclassical and modern architecture can be found. The as well as the Duomo, or the city's Cathedral, are the two buildings which dominate Florence's skyline.\n\nThe river Arno, which cuts through the old part of the city, is as much a character in Florentine history as many of the people who lived there. Historically, the locals have had a love-hate relationship with the Arno – which alternated between nourishing the city with commerce, and destroying it by flood.\n\nOne of the bridges in particular stands out – the Ponte Vecchio (Old Bridge), whose most striking feature is the multitude of shops built upon its edges, held up by stilts. The bridge also carries Vasari's elevated corridor linking the Uffizi to the Medici residence (Palazzo Pitti). Although the original bridge was constructed by the Etruscans, the current bridge was rebuilt in the 14th century. It is the only bridge in the city to have survived World War II intact. It is the first example in the western world of a bridge built using segmental arches, that is, arches less than a semicircle, to reduce both span-to-rise ratio and the numbers of pillars to allow lesser encumbrance in the riverbed (being in this much more successful than the Roman Alconétar Bridge).\n\nThe church of San Lorenzo contains the Medici Chapel, the mausoleum of the Medici family—the most powerful family in Florence from the 15th to the 18th century. Nearby is the Uffizi Gallery, one of the finest art museums in the world – founded on a large bequest from the last member of the Medici family.\n\nThe Uffizi is located at the corner of Piazza della Signoria, a site important for being the centre of Florence's civil life and government for centuries. The Palazzo della Signoria facing it is still home of the municipal government. Many significant episodes in the history of art and political changes were staged here, such as:\n\n In 1301, Dante Alighieri was sent into exile from here (commemorated by a plaque on one of the walls of the Uffizi).\n On 26 April 1478, Jacopo de' Pazzi and his retainers tried to raise the city against the Medici after the plot known as La congiura dei Pazzi (The Pazzi conspiracy), murdering Giuliano di Piero de' Medici and wounding his brother Lorenzo. All the members of the plot who could be apprehended were seized by the Florentines and hanged from the windows of the palace.\n In 1497, it was the location of the Bonfire of the Vanities instigated by the Dominican friar and preacher Girolamo Savonarola\n On 23 May 1498, the same Savonarola and two followers were hanged and burnt at the stake. (A round plate in the ground marks the spot where he was hanged)\n In 1504, Michelangelo's David (now replaced by a replica, since the original was moved in 1873 to the Galleria dell'Accademia) was installed in front of the Palazzo della Signoria (also known as ).\n\nThe Loggia dei Lanzi in Piazza della Signoria is the location of a number of statues by other sculptors such as Donatello, Giambologna, Ammannati and Cellini, although some have been replaced with copies to preserve the originals.\n\nMonuments, museums and religious buildings\n\nFlorence contains several palaces and buildings from various eras. The is the town hall of Florence and also an art museum. This large Romanesque crenellated fortress-palace overlooks the Piazza della Signoria with its copy of Michelangelo's David statue as well as the gallery of statues in the adjacent Loggia dei Lanzi. Originally called the Palazzo della Signoria, after the Signoria of Florence, the ruling body of the Republic of Florence, it was also given several other names: Palazzo del Popolo, Palazzo dei Priori, and Palazzo Ducale, in accordance with the varying use of the palace during its long history. The building acquired its current name when the Medici duke's residence was moved across the Arno to the Palazzo Pitti. It is linked to the Uffizi and the Palazzo Pitti through the Corridoio Vasariano.\n\nPalazzo Medici Riccardi, designed by Michelozzo di Bartolomeo for Cosimo il Vecchio, of the Medici family, is another major edifice, and was built between 1445 and 1460. It was well known for its stone masonry that includes rustication and ashlar. Today it is the head office of the Metropolitan City of Florence and hosts museums and the Riccardiana Library. The Palazzo Strozzi, an example of civil architecture with its rusticated stone, was inspired by the Palazzo Medici, but with more harmonious proportions. Today the palace is used for international expositions like the annual antique show (founded as the Biennale dell'Antiquariato in 1959), fashion shows and other cultural and artistic events. Here also is the seat of the Istituto Nazionale del Rinascimento and the noted Gabinetto Vieusseux, with the library and reading room.\nThere are several other notable places, including the Palazzo Rucellai, designed by Leon Battista Alberti between 1446 and 1451 and executed, at least in part, by Bernardo Rossellino; the Palazzo Davanzati, which houses the museum of the Old Florentine House; the Palazzo delle Assicurazioni Generali, designed in the Neo-Renaissance style in 1871; the Palazzo Spini Feroni, in Piazza Santa Trinita, a historic 13th-century private palace, owned since the 1920s by shoe-designer Salvatore Ferragamo; as well as various others, including the Palazzo Borghese, the Palazzo di Bianca Cappello, the Palazzo Antinori, and the Royal building of Santa Maria Novella.\n\nFlorence contains numerous museums and art galleries where some of the world's most important works of art are held. The city is one of the best preserved Renaissance centres of art and architecture in the world and has a high concentration of art, architecture and culture. In the ranking list of the 15 most visited Italian art museums, ⅔ are represented by Florentine museums. The Uffizi is one of these, having a very large collection of international and Florentine art. The gallery is articulated in many halls, catalogued by schools and chronological order. Engendered by the Medici family's artistic collections through the centuries, it houses works of art by various painters and artists. The Vasari Corridor is another gallery, built connecting the with the Pitti Palace passing by the Uffizi and over the Ponte Vecchio. The Galleria dell'Accademia houses a Michelangelo collection, including the David. It has a collection of Russian icons and works by various artists and painters. Other museums and galleries include the Bargello, which concentrates on sculpture works by artists including Donatello, Giambologna and Michelangelo; the Palazzo Pitti, containing part of the Medici family's former private collection. In addition to the Medici collection, the palace's galleries contain many Renaissance works, including several by Raphael and Titian, large collections of costumes, ceremonial carriages, silver, porcelain and a gallery of modern art dating from the 18th century. Adjoining the palace are the Boboli Gardens, elaborately landscaped and with numerous sculptures.\n\nThere are several different churches and religious buildings in Florence. The cathedral is Santa Maria del Fiore. The San Giovanni Baptistery located in front of the cathedral, is decorated by numerous artists, notably by Lorenzo Ghiberti with the Gates of Paradise. Other churches in Florence include the Basilica of Santa Maria Novella, located in Santa Maria Novella square (near the Firenze Santa Maria Novella railway station) which contains works by Masaccio, Paolo Uccello, Filippino Lippi and Domenico Ghirlandaio; the Basilica of Santa Croce, the principal Franciscan church in the city, which is situated on the Piazza di Santa Croce, about southeast of the Duomo, and is the burial place of some of the most illustrious Italians, such as Michelangelo, Galileo, Machiavelli, Foscolo, Rossini, thus it is known also as the Temple of the Italian Glories (Tempio dell'Itale Glorie); the Basilica of San Lorenzo, which is one of the largest churches in the city, situated at the centre of Florence's main market district, and the burial place of all the principal members of the Medici family from Cosimo il Vecchio to Cosimo III; Santo Spirito, in the Oltrarno quarter, facing the square with the same name; Orsanmichele, whose building was constructed on the site of the kitchen garden of the monastery of San Michele, now demolished; Santissima Annunziata, a Roman Catholic basilica and the mother church of the Servite order; Ognissanti, which was founded by the lay order of the Umiliati, and is among the first examples of Baroque architecture built in the city; the Santa Maria del Carmine, in the Oltrarno district of Florence, which is the location of the Brancacci Chapel, housing outstanding Renaissance frescoes by Masaccio and Masolino da Panicale, later finished by Filippino Lippi; the Medici Chapel with statues by Michelangelo, in the San Lorenzo; as well as several others, including Santa Trinita, San Marco, Santa Felicita, Badia Fiorentina, San Gaetano, San Miniato al Monte, Florence Charterhouse, and Santa Maria del Carmine. The city additionally contains the Orthodox Russian church of Nativity, and the Great Synagogue of Florence, built in the 19th century.\n\nFlorence contains various theatres and cinemas. The Odeon Cinema of the Palazzo dello Strozzino is one of the oldest cinemas in the city. Established from 1920 to 1922 in a wing of the Palazzo dello Strozzino, it used to be called the Cinema Teatro Savoia (Savoy Cinema-Theatre), yet was later called Odeon. The Teatro della Pergola, located in the centre of the city on the eponymous street, is an opera house built in the 17th century. Another theatre is the Teatro Comunale (or Teatro del Maggio Musicale Fiorentino), originally built as the open-air amphitheatre, the Politeama Fiorentino Vittorio Emanuele, which was inaugurated on 17 May 1862 with a production of Donizetti's Lucia di Lammermoor and which seated 6,000 people. There are several other theatres, such as the Saloncino Castinelli, the Teatro Puccini, the Teatro Verdi, the Teatro Goldoni and the Teatro Niccolini.\n\nCathedral of Santa Maria del Fiore \nFlorence Cathedral, formally the Cattedrale di Santa Maria del Fiore, is the cathedral of Florence, Italy. It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome designed by Filippo Brunelleschi.\n\nSquares, streets and parks \n\nAside from such monuments, Florence contains numerous major squares (piazze) and streets. The Piazza della Repubblica is a square in the city centre, location of the cultural cafés and bourgeois palaces. Among the square's cafés (like Caffè Gilli, Paszkowski or the Hard Rock Cafè), the Giubbe Rosse café has long been a meeting place for artists and writers, notably those of Futurism. The Piazza Santa Croce is another; dominated by the Basilica of Santa Croce, it is a rectangular square in the centre of the city where the Calcio Fiorentino is played every year. Furthermore, there is the Piazza Santa Trinita, a square near the Arno that mark the end of the Via de' Tornabuoni street.\n\nOther squares include the Piazza San Marco, the Piazza Santa Maria Novella, the Piazza Beccaria and the Piazza della Libertà. The centre additionally contains several streets. Such include the Via Camillo Cavour, one of the main roads of the northern area of the historic centre; the Via Ghibellina, one of central Florence's longest streets; the Via dei Calzaiuoli, one of the most central streets of the historic centre which links Piazza del Duomo to Piazza della Signoria, winding parallel to via Roma and Piazza della Repubblica; the Via de' Tornabuoni, a luxurious street in the city centre that goes from Antinori square to ponte Santa Trinita, across Piazza Santa Trinita, characterised by the presence of fashion boutiques; the Viali di Circonvallazione, 6-lane boulevards surrounding the northern part of the historic centre; as well as others, such as Via Roma, Via degli Speziali, Via de' Cerretani, and the Viale dei Colli.\n\nFlorence also contains various parks and gardens. Such include the Boboli Gardens, the Parco delle Cascine, the Giardino Bardini and the Giardino dei Semplici, amongst others.\n\nSport \n\nIn association football, Florence is represented by ACF Fiorentina, which plays in Serie A, the top league of Italian league system. ACF Fiorentina has won two Italian Championships, in 1956 and 1969, and 6 Italian cups, since their formation in 1926. They play their games at the Stadio Artemio Franchi, which holds 47,282. The women's team, ACF Fiorentina Femminile, have won the women's association football Italian Championship of the 2016–17 season.\n\nThe city is home of the Centro Tecnico Federale di Coverciano, in Coverciano, Florence, the main training ground of the Italian national team, and the technical department of the Italian Football Federation.\n\nFlorence was one of the host cities for cycling's 2013 UCI Road World Championships. The city has also hosted stages of the Giro d'Italia, most recently in 2017.\n\nSince 2017 Florence is also represented in Eccellenza, the top tier of rugby union league system in Italy, by I Medicei, which is a club established in 2015 by the merging of the senior squads of I Cavalieri (of Prato) and Firenze Rugby 1931. I Medicei won the Serie A Championship in 2016–17 and were promoted to Eccellenza for the 2017–18 season.\n\nRari Nantes Florentia is a successful water polo club based in Florence; both its male and female squads have won several Italian championships and the female squad has also European titles in their palmarès.\n\nTransportation\n\nCars \nThe centre of Florence is closed to through-traffic, although buses, taxis and residents with appropriate permits are allowed in. This area is commonly referred to as the ZTL (Zona Traffico Limitato), which is divided into several subsections. Residents of one section, therefore, will only be able to drive in their district and perhaps some surrounding ones. Cars without permits are allowed to enter after 7.30 pm, or before 7.30 am. The rules shift during the tourist-filled summers, putting more restrictions on where one can get in and out.\n\nBuses \nATAF&Li-nea was the bus company who run the principal public transit network in the city; it was one the companies of the consortium ONE Scarl to accomplish the contract stipulated with the Regione Toscana for the public transport in the 2018-2019 period. Individual tickets, or a pass called Carta Agile with multiple rides, are purchased in advance and must be validated once on board. These tickets may be used on ATAF&Li-nea buses, Tramvia and second-class local trains only within city railway stations. The bus fleet consisted of 446 urban, 5 suburban, 20 intercity and 15 tourism buses.\n\nIntercity bus transit is run by the SITA, COPIT, and CAP Autolinee companies. The transit companies also accommodate travellers from the Amerigo Vespucci Airport, which is west of the city centre, and which has scheduled services run by major European carriers.\n\nSince 1 November 2021, the public local transport is operated by Autolinee Toscane.\n\nTrams \n\nIn an effort to reduce air pollution and car traffic in the city, a multi-line tram network called Tramvia is under construction. The first line began operation on 14 February 2010 and connects Florence's primary intercity railway station (Santa Maria Novella) with the southwestern suburb of Scandicci. This line is long and has 14 stops. The construction of a second line began on 5 November 2011, construction was stopped due to contractors' difficulties and restarted in 2014 with the new line opening on 11 February 2019. This second line connects Florence's airport with the city centre. A third line (from Santa Maria Novella to the Careggi area, where the most important hospitals of Florence are located) is also under construction.\n\nFlorence public transport statistics\nThe average amount of time people spend commuting with public transit in Firenze, for example to and from work, on a weekday is 59 min. 13% of public transit riders ride for more than 2 hours every day. The average amount of time people wait at a stop or station for public transit is 14 min, while 22% of riders wait for over 20 minutes on average every day. The average distance people usually ride in a single trip with public transit is 4.1 km, while 3% travel for over 12 km in a single direction.\n\nAirport\n\nThe Florence Airport, Peretola, is one of two main airports in the Tuscany region though it is not widely used by popular airlines. The other airport in the Tuscany region is the Galileo Galilei International Airport in Pisa.\n\nMobike (bike-sharing)\n\nMobike, a Chinese dockless bike sharing company, has been operating in Florence since July 2017. As of 2019, the company operates 4,000 bikes in Florence. The users scan the QR code on the bike using the Mobike app, and end the ride by parking curbside. The bikes have a fixed rate of €1 every 20 minutes. Since Mobike is a dock-less bike-sharing system, it does not provide stations, therefore the bikes can be left almost anywhere.\n\nRailway station\nFirenze Santa Maria Novella railway station is the main national and international railway station in Florence and is used by 59 million people every year. The building, designed by Giovanni Michelucci, was built in the Italian Rationalism style and it is one of the major rationalist buildings in Italy. It is located in Piazza della Stazione, near the Fortezza da Basso, a masterpiece of the military Renaissance architecture, and the Viali di Circonvallazione, and in front of the Basilica of Santa Maria Novella's apse from which it takes its name. As well as numerous high speed trains to major Italian cities Florence is served by international overnight sleeper services to Munich and Vienna operated by Austrian railways ÖBB.\n\nTrain tickets must be validated before boarding. The main bus station is next to Santa Maria Novella railway station. Trenitalia runs trains between the railway stations within the city, and to other destinations around Italy and Europe. The central railway station, Santa Maria Novella, is about northwest of the Piazza del Duomo. There are two other important stations: Campo di Marte and Rifredi. Most bundled routes are Firenze–Pisa, Firenze–Viareggio and Firenze–Arezzo (along the main line to Rome). Other local railways connect Florence with Borgo San Lorenzo in the Mugello area (Faentina railway) and Siena.\n\nA new high-speed rail station is under construction and is contracted to be operational by 2015. It is planned to be connected to Vespucci airport, Santa Maria Novella railway station, and to the city centre by the second line of Tramvia. The architectural firms Foster + Partners and Lancietti Passaleva Giordo and Associates designed this new rail station.\n\nEducation \n\nThe University of Florence was first founded in 1321, and was recognized by Pope Clement VI in 1349. In 2019, over 50,000 students were enrolled at the university. The European University Institute has been based in the suburb of Fiesole since 1976. Several American universities host a campus in Florence. Including New York University, Marist College, Pepperdine, Stanford, Florida State, Kent State, and James Madison. The Harvard University Center for Italian Renaissance Studies is based in Villa I Tatti. The center for arts and humanities advanced research has been located on the border of Florence, Fiesole and Settignano since 1961. Over 8,000 American students are enrolled for study in Florence, although mostly while studying in US based degree programs.\n\nThe private school, Centro Machiavelli which teaches Italian language and culture to foreigners, is located in Piazza Santo Spirito in Florence.\n\nNotable residents\n\n Antonia of Florence, saint\n Agnes of Montepulciano, saint\n Harold Acton, author and aesthete\n John Argyropoulos, scholar\n Leone Battista Alberti, polymath\n Dante Alighieri (1265-1321), poet\n Giovanni Boccaccio, poet\n Cesare Bomboni, architect\n Baldassarre Bonaiuti (1336-1385), 14th-century chronicler\n Sandro Botticelli (1445-1510), painter\n Egisto Bracci (1830–1909), architect\n Aureliano Brandolini, agronomist and development cooperation scholar\n Robert Browning and Elizabeth Barrett Browning, 19th-century English poets\n Filippo Brunelleschi (1377-1446), architect\n Michelangelo Buonarroti, sculptor, painter, author of the ceiling of the Sistine Chapel and David\n Francesco Casagrande, cyclist\n Roberto Cavalli, fashion designer\n Carlo Collodi, writer\n Enrico Coveri, fashion designer\n Donatello, sculptor\n Oriana Fallaci, journalist and author\n Salvatore Ferragamo, fashion designer and shoemaker\n Mike Francis (born Francesco Puccioni), singer and composer\n Silpa Bhirasri (born Corrado Feroci), sculptor, credited as the principal figure of modern art in Thailand\n Frescobaldi family, notable bankers and wine producers\n Galileo Galilei, Italian physicist, astronomer, and philosopher\n Giotto (1267-1337), early 14th-century painter, sculptor and architect\n Lorenzo Ghiberti (1378-1455), sculptor\n Guccio Gucci (1881-1953), founder of the Gucci label\n Pauline von Hügel (1858-1901), baroness, writer, philanthropist\n Bruno Innocenti (1906–1986), sculptor\n Robert Lowell, poet\n Niccolò Machiavelli (1469-1527), poet, philosopher and political thinker, author of The Prince and The Discourses\n Masaccio, painter\n Rose McGowan, Florence-born actress\n Medici family\n Girolamo Mei, historian and humanist\n Antonio Meucci (1808-1889), inventor of the telephone\n Pirrho Musefili, Florentine cryptographer and cryptanalyst\n Florence Nightingale, pioneer of modern nursing, and statistician\n Virginia Oldoini (1837-1899), Countess of Castiglione, early photographic artist, secret agent and courtesan\n Valerio Profondavalle, Flemish painter\n Giulio Racah (1909–1965), Italian-Israeli mathematician and physicist; Acting President of the Hebrew University of Jerusalem\n Raphael, painter\n Anna Sarfatti (born 1950), children's author\n Girolamo Savonarola, reformist\n Adriana Seroni, politician\n Giovanni Spadolini (1925-1994), politician\n Antonio Squarcialupi (1416-1480), organist and composer\n Andrei Tarkovsky, film director. Lived in the city during his exile\n Evangelista Torricelli, Italian physicist\n Anna Tonelli (c.1763–1846), Florence born portrait painter in the late 17th century and early 18th century\n Maria Giustina Turcotti (c. 1700 – after 1763), opera singer \n Giorgio Vasari, painter, architect, and historian\n Amerigo Vespucci (1451-1512), explorer and cartographer, namesake of the Americas\n Coriolano Vighi, (1846-1905), landscape painter\n Leonardo da Vinci, polymath\n Lisa del Giocondo, model of the Mona Lisa\n Giorgio Antonucci, physician, psychoanalyst and an international reference on the questioning of the basis of psychiatry\n\nInternational relations\n\nTwin towns – sister cities\n\nFlorence is twinned with:\n\nBethlehem, Palestine\nBudapest, Hungary\nDresden, Germany\nEdinburgh, Scotland, United Kingdom\nFez, Morocco\nIsfahan, Iran\nKassel, Germany\nKyiv, Ukraine\nKuwait City, Kuwait\nKyoto, Japan\nNanjing, China\nNazareth, Israel\nPhiladelphia, United States\nPuebla, Mexico\nReims, France\nRiga, Latvia\nSalvador, Brazil\nSydney, Australia\nTirana, Albania\nTurku, Finland\nValladolid, Spain\n\nOther partnerships\nFlorence has friendly relations with:\n\nArequipa, Peru\nCannes, France\nGifu, Japan\nJeonju, South Korea\nKraków, Poland\nMalmö Municipality, Sweden\nNingbo, China\nPorto-Vecchio, France\nProvidence, Rhode Island, United States\nTallinn, Estonia\n\nSee also\n\n Chancellor of Florence\n Cronaca fiorentina\n European University Institute\n Florentine School\n List of historic states of Italy\n List of squares in Florence\n :Category:Buildings and structures in Florence\n\nNotes\n\nReferences\n\nSources\n\n Niccolò Machiavelli. Florentine Histories\n \n \n \n Chaney, Edward (2003), A Traveller's Companion to Florence.\n \n \n \n \n \n \n Ferdinand Schevill, History of Florence: From the Founding of the City Through the Renaissance (Frederick Ungar, 1936) is the standard overall history of Florence.\n\nExternal links\n\n Florence Art Museums\n The High Renaissance in Florence – Video\n UNESCO video \n\n \nCategory:50s BC establishments\nCategory:59 BC\nCategory:Capitals of former nations\nCategory:Former capitals of Italy\nCategory:Populated places established in the 1st century BC", "title": "Florence" } ]
[ "The text does not provide information on whether Florence Nightingale ever received backlash.", "The text does not provide information on whether Florence Nightingale's work was considered immoral.", "The text does not provide information on whether Florence Nightingale ever received threats to shut her down.", "The text does not provide information on whether Florence Nightingale's family ever scorned her works.", "The text does not provide information on whether Florence Nightingale's personal life ever reflected her works." ]
[ "Yes", "No", "No", "Yes", "Yes" ]
C_97b0c650ab81497eb4dd8513b839b788_0
Beyoncé
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
Influences
Beyonce names Michael Jackson as her major musical influence. Aged five, Beyonce attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyonce said, "if it wasn't for Michael Jackson, I would never ever have performed." She admires Diana Ross as an "all-around entertainer" and Whitney Houston, who she said "inspired me to get up there and do what she did." She credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker and Rachelle Ferrell. The feminism and female empowerment themes on Beyonce's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyonce paid homage to Baker by performing "Deja Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyonce's third solo album I Am... Sasha Fierce was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyonce to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyonce has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "She proves you can do it all" and she has described Oprah Winfrey as "the definition of inspiration and a strong woman". She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyonce has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music... he is lyrical and raw". In February 2013, Beyonce said that Madonna inspired her to take control of her own career. She commented: "I think about Madonna and how she took all of the great things she achieved and started the label and developed other artists. But there are not enough of those women.". CANNOTANSWER
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Beyoncé Giselle Knowles-Carter ( ) (born September 4, 1981) is an American singer, songwriter, and businesswoman. Nicknamed "Queen Bey", she has been widely recognized for her boundary-pushing artistry and vocal performances. Beyoncé is regarded as one of the greatest entertainers of her generation, and an influential figure in contemporary popular music. Her contributions to music and visual media have made her a prominent pop culture icon of the 2000s and 2010s. Beyoncé started performing in various singing and dancing competitions as a child. She rose to fame in the late 1990s as a member of the R&B girl group Destiny's Child, one of the best-selling girl groups of all time. Their hiatus saw the release of her debut album Dangerously in Love (2003). Following the 2006 disbanding of Destiny's Child, Beyoncé released the commercially successful solo albums B'Day (2006) and I Am... Sasha Fierce (2008). After professionally splitting from her manager and father, Mathew Knowles, in 2010, Beyoncé's artistry achieved wider critical acclaim for releasing sonically experimental visual albums, including 4 (2011), Beyoncé (2013), Lemonade (2016), and Renaissance (2022), all of which explored societal themes such as infidelity, feminism, womanism, escapism, and hedonism. She became the first solo artist to have their first seven studio albums debut at number one on the Billboard 200. Throughout her career, she has amassed multiple chart-topping singles worldwide, including "Crazy in Love", "Baby Boy", "Check on It", "Irreplaceable", "If I Were a Boy", "Halo", "Single Ladies", "Perfect Duet", "Savage" and "Break My Soul." Beyoncé's other music ventures included Everything Is Love (2018), a collaborative album with her husband, Jay-Z, as the Carters, and the musical film Black Is King (2020), inspired by the music of the film soundtrack The Lion King: The Gift (2019). She also starred in multiple films such as Austin Powers in Goldmember (2002), The Pink Panther (2006), Dreamgirls (2006), Cadillac Records (2008), Obsessed (2009), and The Lion King (2019). Having sold 200 million records worldwide, Beyoncé is one of the world's best-selling recording artists. Her accolades include 32 Grammy Awards, 26 MTV Video Music Awards (including the Michael Jackson Video Vanguard Award in 2014), 24 NAACP Image Awards, 31 BET Awards, and 17 Soul Train Music Awards, all of which are more than any other artist. With 31 career top-ten singles on the Billboard Hot 100 – including eight chart-toppers – she became the first female artist and third overall to achieve at least twenty as a solo artist and ten as a group member. Her success during the 2000s earned her recognition as the Recording Industry Association of America (RIAA)'s Top Certified Artist of the Decade and Billboard Top Female Artist of the Decade. In 2014, Billboard named her the highest-earning black musician of all time. She is the most successful black touring act in history. In 2020, Time magazine featured her among a list of 100 women who defined the last century. In 2023, Rolling Stone ranked her the eighth-greatest singer of all time. Life and career 1981–1996: Early life and career beginnings Beyonce Giselle Knowles was born on September 4, 1981, in Houston, Texas, to Celestine "Tina" Knowles (née Beyonce), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Tina is Louisiana Creole, and Mathew is African American. Beyoncé's younger sister, Solange Knowles, is also a singer and a former backup dancer for Destiny's Child. Solange and Beyoncé are the first sisters to have both had number one solo albums. Beyoncé's maternal grandparents, Lumas Beyince, and Agnez Dereon (daughter of Odilia Broussard and Eugene DeRouen), were French-speaking Louisiana Creoles, with roots in New Iberia. Beyoncé is considered a Creole, passed on to her by her grandparents. Through her mother, Beyoncé is a descendant of many French aristocrats from the southwest of France, including the family of the Viscounts de Béarn since the 9th century, and the Viscounts de Belzunce. She is a descendant of Acadian militia officer Joseph Broussard, who was exiled to French Louisiana after the expulsion of the Acadians. Her fourth great-grandmother, Marie-Françoise Trahan, was born in 1774 in Bangor, located on Belle Île, France. Trahan was a daughter of Acadians who had taken refuge on Belle Île after the Acadian expulsion. The Estates of Brittany had divided the lands of Belle Île to distribute them among 78 other Acadian families and the already settled inhabitants. The Trahan family lived on Belle Île for over ten years before immigrating to Louisiana, where she married a Broussard descendant. Beyoncé researched her ancestry and discovered that she is descended from a slave owner who married his slave. Her mother is also of distant Jewish, Spanish, Chinese and Indonesian ancestry. Beyoncé was raised Catholic and attended St. Mary's Montessori School in Houston, where she enrolled in dance classes. Her singing was discovered when dance instructor Darlette Johnson began humming a song and she finished it, able to hit the high-pitched notes. Beyoncé's interest in music and performing continued after winning a school talent show at age seven, singing John Lennon's "Imagine" to beat 15/16-year-olds. In the fall of 1990, Beyoncé enrolled in Parker Elementary School, a music magnet school in Houston, where she would perform with the school's choir. She also attended the High School for the Performing and Visual Arts and later Alief Elsik High School. Beyoncé was also a member of the choir at St. John's United Methodist Church as a soloist for two years. When Beyoncé was eight, she met LaTavia Roberson at an audition for an all-girl entertainment group. They were placed into a group called Girl's Tyme with three other girls, and rapped and danced on the talent show circuit in Houston. After seeing the group, R&B producer Arne Frager brought them to his Northern California studio and placed them in Star Search, the largest talent show on national TV at the time. Girl's Tyme failed to win, and Beyoncé later said the song they performed was not good. In 1995, Beyoncé's father resigned from his job to manage the group. The move reduced Beyoncé's family's income by half, and her parents were forced to sell their house and cars and move into separated apartments. Mathew cut the original line-up to four and the group continued performing as an opening act for other established R&B girl groups. The girls auditioned before record labels and were finally signed to Elektra Records, moving to Atlanta Records briefly to work on their first recording, only to be cut by the company. This put further strain on the family, and Beyoncé's parents separated. On October 5, 1995, Dwayne Wiggins's Grass Roots Entertainment signed the group. In 1996, the girls began recording their debut album under an agreement with Sony Music, the Knowles family reunited, and shortly after, the group got a contract with Columbia Records with the assistance of Columbia talent scout Teresa LaBarbera Whites. 1997–2002: Destiny's Child The group changed their name to Destiny's Child in 1996, based upon a passage in the Book of Isaiah. In 1997, Destiny's Child released their major label debut song "Killing Time" on the soundtrack to the 1997 film Men in Black. In November, the group released their debut single and first major hit, "No, No, No". They released their self-titled debut album in February 1998, which established the group as a viable act in the music industry, with moderate sales and winning the group three Soul Train Lady of Soul Awards for Best R&B/Soul Album of the Year, Best R&B/Soul or Rap New Artist, and Best R&B/Soul Single for "No, No, No". The group released their Multi-Platinum second album The Writing's on the Wall in 1999. The record features some of the group's most widely known songs such as "Bills, Bills, Bills", the group's first number-one single, "Jumpin' Jumpin' and "Say My Name", which became their most successful song at the time, and would remain one of their signature songs. "Say My Name" won the Best R&B Performance by a Duo or Group with Vocals and the Best R&B Song at the 43rd Annual Grammy Awards. The Writing's on the Wall sold more than eight million copies worldwide. During this time, Beyoncé recorded a duet with Marc Nelson, an original member of Boyz II Men, on the song "After All Is Said and Done" for the soundtrack to the 1999 film, The Best Man. LeToya Luckett and Roberson became unhappy with Mathew's managing of the band and eventually were replaced by Farrah Franklin and Michelle Williams. Beyoncé experienced depression following the split with Luckett and Roberson after being publicly blamed by the media, critics, and blogs for its cause. Her long-standing boyfriend left her at this time. The depression was so severe it lasted for a couple of years, during which she occasionally kept herself in her bedroom for days and refused to eat anything. Beyoncé stated that she struggled to speak about her depression because Destiny's Child had just won their first Grammy Award, and she feared no one would take her seriously. Beyoncé would later speak of her mother as the person who helped her fight it. Franklin was then dismissed, leaving just Beyoncé, Rowland, and Williams. The remaining band members recorded "Independent Women Part I", which appeared on the soundtrack to the 2000 film Charlie's Angels. It became their best-charting single, topping the U.S. Billboard Hot 100 chart for eleven consecutive weeks. In early 2001, while Destiny's Child was completing their third album, Beyoncé landed a major role in the MTV made-for-television film, Carmen: A Hip Hopera, starring alongside American actor Mekhi Phifer. Set in Philadelphia, the film is a modern interpretation of the 19th-century opera Carmen by French composer Georges Bizet. When the third album Survivor was released in May 2001, Luckett and Roberson filed a lawsuit claiming that the songs were aimed at them. The album debuted at number one on the U.S. Billboard 200, with first-week sales of 663,000 copies sold. The album spawned other number-one hits, "Bootylicious" and the title track, "Survivor", the latter of which earned the group a Grammy Award for Best R&B Performance by a Duo or Group with Vocals. After releasing their holiday album 8 Days of Christmas in October 2001, the group announced a hiatus to further pursue solo careers. In July 2002, Beyoncé made her theatrical film debut, playing Foxxy Cleopatra alongside Mike Myers in the comedy film Austin Powers in Goldmember, which spent its first weekend atop the U.S. box office and grossed $73 million. Beyoncé released "Work It Out" as the lead single from its soundtrack album which entered the top ten in the UK, Norway, and Belgium. In 2003, Beyoncé starred opposite Cuba Gooding, Jr., in the musical comedy The Fighting Temptations as Lilly, a single mother with whom Gooding's character falls in love. The film received mixed reviews from critics but grossed $30 million in the U.S. Beyoncé released "Fighting Temptation" as the lead single from the film's soundtrack album, with Missy Elliott, MC Lyte, and Free which was also used to promote the film. Another of Beyoncé's contributions to the soundtrack, "Summertime", fared better on the U.S. charts. 2003–2005: Dangerously in Love and Destiny Fulfilled Beyoncé's first solo recording was a feature on Jay-Z's song '03 Bonnie & Clyde" that was released in October 2002, peaking at number four on the U.S. Billboard Hot 100 chart. On June 14, 2003, Beyoncé premiered songs from her first solo album Dangerously in Love during her first solo concert and the pay-per-view television special, "Ford Presents Beyoncé Knowles, Friends & Family, Live From Ford's 100th Anniversary Celebration in Dearborn, Michigan". The album was released on June 24, 2003, after Michelle Williams and Kelly Rowland had released their solo efforts. The album sold 317,000 copies in its first week, debuted atop the Billboard 200, and has since sold 11 million copies worldwide. The album's lead single, "Crazy in Love", featuring Jay-Z, became Beyoncé's first number-one single as a solo artist in the US. The single "Baby Boy" also reached number one, and singles, "Me, Myself and I" and "Naughty Girl", both reached the top-five. The album earned Beyoncé a then record-tying five awards at the 46th Annual Grammy Awards; Best Contemporary R&B Album, Best Female R&B Vocal Performance for "Dangerously in Love 2", Best R&B Song and Best Rap/Sung Collaboration for "Crazy in Love", and Best R&B Performance by a Duo or Group with Vocals for "The Closer I Get to You" with Luther Vandross. During the ceremony, she performed with Prince. In November 2003, she embarked on the Dangerously in Love Tour in Europe and later toured alongside Missy Elliott and Alicia Keys for the Verizon Ladies First Tour in North America. On February 1, 2004, Beyoncé performed the American national anthem at Super Bowl XXXVIII, at the Reliant Stadium in Houston, Texas. After the release of Dangerously in Love, Beyoncé had planned to produce a follow-up album using several of the left-over tracks. However, this was put on hold so she could concentrate on recording Destiny Fulfilled, the final studio album by Destiny's Child. Released on November 15, 2004, in the US and peaking at number two on the Billboard 200, Destiny Fulfilled included the singles "Lose My Breath" and "Soldier", which reached the top five on the Billboard Hot 100 chart. Destiny's Child embarked on a worldwide concert tour, Destiny Fulfilled... and Lovin' It sponsored by McDonald's Corporation, and performed hits such as "No, No, No", "Survivor", "Say My Name", "Independent Women" and "Lose My Breath". In addition to renditions of the group's recorded material, they also performed songs from each singer's solo careers, most notably numbers from Dangerously in Love. and during the last stop of their European tour, in Barcelona on June 11, 2005, Rowland announced that Destiny's Child would disband following the North American leg of the tour. The group released their first compilation album Number 1's on October 25, 2005, in the US and accepted a star on the Hollywood Walk of Fame in March 2006. The group has sold 60 million records worldwide. 2006–2007: B'Day and Dreamgirls Beyoncé's second solo album B'Day was released on September 4, 2006, in the US, to coincide with her twenty-fifth birthday. It sold 541,000 copies in its first week and debuted atop the Billboard 200, becoming Beyoncé's second consecutive number-one album in the United States. The album's lead single "Déjà Vu", featuring Jay-Z, reached the top five on the Billboard Hot 100 chart. The second international single "Irreplaceable" was a commercial success worldwide, reaching number one in Australia, Hungary, Ireland, New Zealand and the United States. B'Day also produced three other singles; "Ring the Alarm", "Get Me Bodied", and "Green Light" (released in the United Kingdom only). At the 49th Annual Grammy Awards (2007), B'Day was nominated for five Grammy Awards, including Best Contemporary R&B Album, Best Female R&B Vocal Performance for "Ring the Alarm" and Best R&B Song and Best Rap/Sung Collaboration"for "Déjà Vu"; the Freemasons club mix of "Déjà Vu" without the rap was put forward in the Best Remixed Recording, Non-Classical category. B'Day won the award for Best Contemporary R&B Album. The following year, B'Day received two nominations – for Record of the Year for "Irreplaceable" and Best Pop Collaboration with Vocals for "Beautiful Liar" (with Shakira), also receiving a nomination for Best Compilation Soundtrack Album for Motion Pictures, Television or Other Visual Media for her appearance on Dreamgirls: Music from the Motion Picture (2006). Her first acting role of 2006 was in the comedy film The Pink Panther starring opposite Steve Martin, grossing $158.8 million at the box office worldwide. Her second film Dreamgirls, the film version of the 1981 Broadway musical loosely based on The Supremes, received acclaim from critics and grossed $154 million internationally. In it, she starred opposite Jennifer Hudson, Jamie Foxx, and Eddie Murphy playing a pop singer based on Diana Ross. To promote the film, Beyoncé released "Listen" as the lead single from the soundtrack album. In April 2007, Beyoncé embarked on The Beyoncé Experience, her first worldwide concert tour, visiting 97 venues and grossed over $24 million. Beyoncé conducted pre-concert food donation drives during six major stops in conjunction with her pastor at St. John's and America's Second Harvest. At the same time, B'Day was re-released with five additional songs, including her duet with Shakira "Beautiful Liar". 2008–2010: I Am... Sasha Fierce I Am... Sasha Fierce was released on November 18, 2008, in the United States. The album formally introduces Beyoncé's alter ego Sasha Fierce, conceived during the making of her 2003 single "Crazy in Love". It was met with generally mediocre reviews from critics, but sold 482,000 copies in its first week, debuting atop the Billboard 200, and giving Beyoncé her third consecutive number-one album in the US. The album featured the number-one song "Single Ladies (Put a Ring on It)" and the top-five songs "If I Were a Boy" and "Halo". Achieving the accomplishment of becoming her longest-running Hot 100 single in her career, "Halos success in the U.S. helped Beyoncé attain more top-ten singles on the list than any other woman during the 2000s. It also included the successful "Sweet Dreams", and singles "Diva", "Ego", "Broken-Hearted Girl" and "Video Phone". The music video for "Single Ladies" has been parodied and imitated around the world, spawning the "first major dance craze" of the Internet age according to the Toronto Star. The video has won several awards, including Best Video at the 2009 MTV Europe Music Awards, the 2009 Scottish MOBO Awards, and the 2009 BET Awards. At the 2009 MTV Video Music Awards, the video was nominated for nine awards, ultimately winning three including Video of the Year. Its failure to win the Best Female Video category, which went to American singer-songwriter Taylor Swift's "You Belong with Me", led to Kanye West interrupting the ceremony and Beyoncé improvising a re-presentation of Swift's award during her own acceptance speech. In March 2009, Beyoncé embarked on the I Am... World Tour, her second headlining worldwide concert tour, consisting of 108 shows, grossing $119.5 million. Beyoncé further expanded her acting career, starring as blues singer Etta James in the 2008 musical biopic Cadillac Records. Her performance in the film received praise from critics, and she garnered several nominations for her portrayal of James, including a Satellite Award nomination for Best Supporting Actress, and a NAACP Image Award nomination for Outstanding Supporting Actress. Beyoncé donated her entire salary from the film to Phoenix House, an organization of rehabilitation centers for heroin addicts around the country. On January 20, 2009, Beyoncé performed James' "At Last" at First Couple Barack and Michelle Obama's first inaugural ball. Beyoncé starred opposite Ali Larter and Idris Elba in the thriller, Obsessed. She played Sharon Charles, a mother and wife whose family is threatened by her husband's stalker. Although the film received negative reviews from critics, the movie did well at the U.S. box office, grossing $68 million – $60 million more than Cadillac Records – on a budget of $20 million. The fight scene finale between Sharon and the character played by Ali Larter also won the 2010 MTV Movie Award for Best Fight. At the 52nd Annual Grammy Awards, Beyoncé received ten nominations, including Album of the Year for I Am... Sasha Fierce, Record of the Year for "Halo", and Song of the Year for "Single Ladies (Put a Ring on It)", among others. She tied with Lauryn Hill for most Grammy nominations in a single year by a female artist. Beyoncé went on to win six of those nominations, breaking a record she previously tied in 2004 for the most Grammy awards won in a single night by a female artist with six. In 2010, Beyoncé was featured on Lady Gaga's single "Telephone" and appeared in its music video. The song topped the U.S. Pop Songs chart, becoming the sixth number-one for both Beyoncé and Gaga, tying them with Mariah Carey for most number-ones since the Nielsen Top 40 airplay chart launched in 1992. "Telephone" received a Grammy Award nomination for Best Pop Collaboration with Vocals. Beyoncé announced a hiatus from her music career in January 2010, heeding her mother's advice, "to live life, to be inspired by things again". During the break she and her father parted ways as business partners. Beyoncé's musical break lasted nine months and saw her visit multiple European cities, the Great Wall of China, the Egyptian pyramids, Australia, English music festivals and various museums and ballet performances. 2011–2013: 4 and Super Bowl XLVII halftime show On June 26, 2011, she became the first solo female artist to headline the main Pyramid stage at the 2011 Glastonbury Festival in over twenty years. Her fourth studio album 4 was released two days later in the US. 4 sold 310,000 copies in its first week and debuted atop the Billboard 200 chart, giving Beyoncé her fourth consecutive number-one album in the US. The album was preceded by two of its singles "Run the World (Girls)" and "Best Thing I Never Had". The fourth single "Love on Top" spent seven consecutive weeks at number one on the Hot R&B/Hip-Hop Songs chart, while peaking at number 20 on the Billboard Hot 100, the highest peak from the album. 4 produced four other singles; "Party", "Countdown", "I Care" and "End of Time". "Eat, Play, Love", a cover story written by Beyoncé for Essence that detailed her 2010 career break, won her a writing award from the New York Association of Black Journalists. In late 2011, she took the stage at New York's Roseland Ballroom for four nights of special performances: the 4 Intimate Nights with Beyoncé concerts saw the performance of her 4 album to a standing room only. On August 1, 2011, the album was certified platinum by the Recording Industry Association of America (RIAA), having shipped 1 million copies to retail stores. By December 2015, it reached sales of 1.5 million copies in the US. The album reached one billion Spotify streams on February 5, 2018, making Beyoncé the first female artist to have three of their albums surpass one billion streams on the platform. In June 2012, she performed for four nights at Revel Atlantic City's Ovation Hall to celebrate the resort's opening, her first performances since giving birth to her daughter. In January 2013, Destiny's Child released Love Songs, a compilation album of the romance-themed songs from their previous albums and a newly recorded track, "Nuclear". Beyoncé performed the American national anthem singing along with a pre-recorded track at President Obama's second inauguration in Washington, D.C. The following month, Beyoncé performed at the Super Bowl XLVII halftime show, held at the Mercedes-Benz Superdome in New Orleans. The performance stands as the second most tweeted about moment in history at 268,000 tweets per minute. At the 55th Annual Grammy Awards, Beyoncé won for Best Traditional R&B Performance for "Love on Top". Her feature-length documentary film, Life Is But a Dream, first aired on HBO on February 16, 2013. The film was co-directed by Beyoncé herself. 2013–2015: Beyoncé Beyoncé embarked on The Mrs. Carter Show World Tour on April 15 in Belgrade, Serbia; the tour included 132 dates that ran through to March 2014. It became the most successful tour of her career and one of the most successful tours of all time. In May, Beyoncé's cover of Amy Winehouse's "Back to Black" with André 3000 on The Great Gatsby soundtrack was released. Beyoncé voiced Queen Tara in the 3D CGI animated film, Epic, released by 20th Century Fox on May 24, and recorded an original song for the film, "Rise Up", co-written with Sia. On December 13, 2013, Beyoncé unexpectedly released her eponymous fifth studio album on the iTunes Store without any prior announcement or promotion. The album debuted atop the Billboard 200 chart, giving Beyoncé her fifth consecutive number-one album in the US. This made her the first woman in the chart's history to have her first five studio albums debut at number one. Beyoncé received critical acclaim and commercial success, selling one million digital copies worldwide in six days; Musically an electro-R&B album, it concerns darker themes previously unexplored in her work, such as "bulimia, postnatal depression [and] the fears and insecurities of marriage and motherhood". The single "Drunk in Love", featuring Jay-Z, peaked at number two on the Billboard Hot 100 chart. In April 2014, Beyoncé and Jay-Z officially announced their On the Run Tour. It served as the couple's first co-headlining stadium tour together. On August 24, 2014, she received the Michael Jackson Video Vanguard Award at the 2014 MTV Video Music Awards. Beyoncé also won home three competitive awards: Best Video with a Social Message and Best Cinematography for "Pretty Hurts", as well as best collaboration for "Drunk in Love". In November, Forbes reported that Beyoncé was the top-earning woman in music for the second year in a row – earning $115 million in the year, more than double her earnings in 2013. Beyoncé was reissued with new material as part of a platinum edition box set. According to the International Federation of the Phonographic Industry (IFPI), in the last 19 days of 2013, the album sold 2.3 million units worldwide, becoming the tenth best-selling album of 2013. The album also went on to become the twentieth best-selling album of 2014. , Beyoncé has sold over 5 million copies worldwide and has generated over 1 billion streams, . At the 57th Annual Grammy Awards in February 2015, Beyoncé was nominated for six awards, ultimately winning three: Best R&B Performance and Best R&B Song for "Drunk in Love", and Best Surround Sound Album for Beyoncé. She was nominated for Album of the Year, but the award went to Beck for his album Morning Phase. 2016–2018: Lemonade and Everything Is Love On February 6, 2016, Beyoncé released "Formation" and its accompanying music video exclusively on the music streaming platform Tidal; the song was made available to download for free. She performed "Formation" live for the first time during the NFL Super Bowl 50 halftime show. The appearance was considered controversial as it appeared to reference the 50th anniversary of the Black Panther Party and the NFL forbids political statements in its performances. Immediately following the performance, Beyoncé announced The Formation World Tour, which highlighted stops in both North America and Europe. It ended on October 7, with Beyoncé bringing out her husband Jay-Z, Kendrick Lamar, and Serena Williams for the last show. The tour went on to win Tour of the Year at the 44th American Music Awards. In April 2016, Beyoncé released a teaser clip for a project called Lemonade. A one-hour film which aired on HBO on April 23, a corresponding album with the same title was released on the same day exclusively on Tidal. Lemonade debuted at number one on the U.S. Billboard 200, making Beyoncé the first act in Billboard history to have their first six studio albums debut atop the chart; she broke a record previously tied with DMX in 2013. With all 12 tracks of Lemonade debuting on the Billboard Hot 100 chart, Beyoncé also became the first female act to chart 12 or more songs at the same time. Lemonade was streamed 115 million times through Tidal, setting a record for the most-streamed album in a single week by a female artist in history. It was 2016's third highest-selling album in the U.S. with 1.554 million copies sold in that time period within the country as well as the best-selling album worldwide with global sales of 2.5 million throughout the year. In June 2019, Lemonade was certified 3× Platinum, having sold up to 3 million album-equivalent units in the United States alone. Lemonade became her most critically acclaimed work to date, receiving universal acclaim according to Metacritic, a website collecting reviews from professional music critics. Several music publications included the album among the best of 2016, including Rolling Stone, which listed Lemonade at number one. The album's visuals were nominated in 11 categories at the 2016 MTV Video Music Awards, the most ever received by Beyoncé in a single year, and went on to win 8 awards, including Video of the Year for "Formation". The eight wins made Beyoncé the most-awarded artist in the history of the VMAs (24), surpassing Madonna (20). Beyoncé occupied the sixth place for Time magazine's 2016 Person of the Year. In January 2017, it was announced that Beyoncé would headline the Coachella Music and Arts Festival. This would make Beyoncé only the second female headliner of the festival since it was founded in 1999. It was later announced on February 23, 2017, that Beyoncé would no longer be able to perform at the festival due to doctor's concerns regarding her pregnancy. The festival owners announced that she will instead headline the 2018 festival. Upon the announcement of Beyoncé's departure from the festival lineup, ticket prices dropped by 12%. At the 59th Grammy Awards in February 2017, Lemonade led the nominations with nine, including Album, Record, and Song of the Year for Lemonade and "Formation" respectively. and ultimately won two, Best Urban Contemporary Album for Lemonade and Best Music Video for "Formation". Adele, upon winning her Grammy for Album of the Year, stated Lemonade was monumental and more deserving. In September 2017, Beyoncé collaborated with J Balvin and Willy William, to release a remix of the song "Mi Gente". Beyoncé donated all proceeds from the song to hurricane charities for those affected by Hurricane Harvey and Hurricane Irma in Texas, Mexico, Puerto Rico, and other Caribbean Islands. On November 10, Eminem released "Walk on Water" featuring Beyoncé as the lead single from his album Revival. On November 30, Ed Sheeran announced that Beyoncé would feature on the remix to his song "Perfect". "Perfect Duet" was released on December 1, 2017. The song reached number-one in the United States, becoming Beyoncé's sixth song of her solo career to do so. On January 4, 2018, the music video of Beyoncé and Jay-Z's 4:44 collaboration, "Family Feud" was released. It was directed by Ava DuVernay. On March 1, 2018, DJ Khaled released "Top Off" as the first single from his forthcoming album Father of Asahd featuring Beyoncé, husband Jay-Z, and Future. On March 5, 2018, a joint tour with Knowles's husband Jay-Z, was leaked on Facebook. Information about the tour was later taken down. The couple announced the joint tour officially as On the Run II Tour on March 12 and simultaneously released a trailer for the tour on YouTube. On April 14, 2018, Beyoncé played the first of two weekends as the headlining act of the Coachella Music Festival. Her performance of April 14, attended by 125,000 festival-goers, was immediately praised, with multiple media outlets describing it as historic. The performance became the most-tweeted-about performance of weekend one, as well as the most-watched live Coachella performance and the most-watched live performance on YouTube of all time. The show paid tribute to black culture, specifically historically black colleges and universities and featured a live band with over 100 dancers. Destiny's Child also reunited during the show. On June 6, 2018, Beyoncé and husband Jay-Z kicked-off the On the Run II Tour in Cardiff, United Kingdom. Ten days later, at their final London performance, the pair unveiled Everything Is Love, their joint studio album, credited under the name The Carters, and initially available exclusively on Tidal. The pair also released the video for the album's lead single, "Apeshit", on Beyoncé's official YouTube channel. Everything Is Love received generally positive reviews, and debuted at number two on the U.S. Billboard 200, with 123,000 album-equivalent units, of which 70,000 were pure album sales. On December 2, 2018, Beyoncé alongside Jay-Z headlined the Global Citizen Festival: Mandela 100 which was held at FNB Stadium in Johannesburg, South Africa. Their 2-hour performance had concepts similar to the On the Run II Tour and Beyoncé was praised for her outfits, which paid tribute to Africa's diversity. 2019–2021: Homecoming, The Lion King and Black Is King Homecoming, a documentary and concert film focusing on Beyoncé's historic 2018 Coachella performances, was released by Netflix on April 17, 2019. The film was accompanied by the surprise live album Homecoming: The Live Album. It was later reported that Beyoncé and Netflix had signed a $60 million deal to produce three different projects, one of which is Homecoming. Homecoming received six nominations at the 71st Primetime Creative Arts Emmy Awards. Beyoncé starred as the voice of Nala in the remake The Lion King, which was released in July 2019. Beyoncé is featured on the film's soundtrack, released on July 11, 2019, with a remake of the song "Can You Feel the Love Tonight" alongside Donald Glover, Billy Eichner and Seth Rogen, which was originally composed by Elton John. An original song from the film by Beyoncé, "Spirit", was released as the lead single from both the soundtrack and The Lion King: The Gift – a companion album released alongside the film, produced and curated by Beyoncé. Beyoncé called The Lion King: The Gift a "sonic cinema". She stated that the album is influenced by everything from R&B, pop, hip hop and Afro Beat. The songs were produced by African producers, which Beyoncé said was because "authenticity and heart were important to [her]", since the film is set in Africa. In September of the same year, a documentary chronicling the development, production and early music video filming of The Lion King: The Gift entitled "Beyoncé Presents: Making The Gift" was aired on ABC. In April 2020, Beyoncé was featured on the remix of Megan Thee Stallion's song "Savage", marking her first material of music for the year. The song peaked at number one on the Billboard Hot 100, marking Beyoncé's eleventh song to do so across all acts. On June 19, 2020, Beyoncé released the nonprofit charity single "Black Parade". On June 23, she followed up the release of its studio version with an a cappella version exclusively on Tidal. Black Is King, a visual album based on the music of The Lion King: The Gift, premiered globally on Disney+ on July 31, 2020. Produced by Disney and Parkwood Entertainment, the film was written, directed and executive produced by Beyoncé. The film was described by Disney as "a celebratory memoir for the world on the Black experience". Beyoncé received the most nominations (9) at the 63rd Annual Grammy Awards and the most awards (4), which made her the most-awarded singer, most-awarded female artist, and second-most-awarded artist in Grammy history. Beyoncé wrote and recorded a song titled "Be Alive" for the biographical drama film King Richard. She received her first Academy Award nomination for Best Original Song at the 94th Academy Awards for the song, alongside co-writer DIXSON. 2022–present: Renaissance On June 9, 2022, Beyoncé removed her profile pictures across various social media platforms causing speculation that she would be releasing new music. Days later, Beyoncé caused further speculation via her nonprofit BeyGood's Twitter account hinting at her upcoming seventh studio album. On June 15, 2022, Beyoncé officially announced her seventh studio album, titled Renaissance. The album was released on July 29, 2022. The first single from Renaissance, "Break My Soul", was released on June 20, 2022. The song became Beyoncé's 20th top ten single on the Billboard Hot 100, and in doing so, Beyoncé joined Paul McCartney and Michael Jackson as the only artists in Hot 100 history to achieve at least twenty top tens as a solo artist and ten as a member of a group. Upon release, Renaissance received universal acclaim from critics. Renaissance debuted at number one on the Billboard 200 chart, and in doing so, Beyoncé became the first female artist to have her first seven studio albums debut at number one in the United States. "Break My Soul" concurrently rose to number 1 on the Billboard Hot 100, becoming the twelfth song to do so across her career discography. The song "Heated," which was co-written with Canadian rapper Drake, originally included the lyrics Spazzin' on that ass / spazz on that ass". Critics, including a number of disability charities and activists, argued that the word "spaz" represented a derogatory term for spastic diplegia, a form of cerebral palsy. In response, in August 2022, a representative for Beyoncé issued a statement and explained that "The word, not used intentionally in a harmful way, will be replaced". On January 21, 2023, Beyoncé performed in Dubai at a private show. The performance, which was her first full concert in more than four years, was delivered to an audience of influencers and journalists. Beyoncé was reportedly paid $24 million to perform. Beyoncé faced criticism for her decision to perform in the United Arab Emirates where homosexuality is illegal. On February 1, Beyoncé announced the Renaissance World Tour with dates in North America and Europe. Artistry Voice and musical style Beyoncé's voice type is classified as Coloratura mezzo-soprano. Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyoncé's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." On the 2023 Rolling Stones list of the 200 Greatest Singers of all time, Beyoncé ranked at number 8, with the publication noting that "in [her] voice lies the entire history of Black music". Beyoncé's music is generally R&B, pop and hip hop but she also incorporates soul and funk into her songs. 4 demonstrated Beyoncé's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyoncé recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyoncé was coached phonetically by American record producer Rudy Perez. Songwriting Beyoncé has received co-writing credits for most of her songs. In regards to the way she approaches collaborative songwriting, Beyoncé explained: "I love being around great writers because I'm finding that a lot of the things I want to say, I don't articulate as good as maybe Amanda Ghost, so I want to keep collaborating with writers, and I love classics and I want to make sure years from now the song is still something that's relevant." Her early songs with Destiny's Child were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyoncé's songwriting process is also notorious for combining parts of different tracks, resulting in alteration of song structures. Sia, who co-wrote "Pretty Hurts", called Beyoncé "very Frankenstein when she comes to songs"; Diana Gordon, who co-wrote "Don't Hurt Yourself" called her a "scientist of songs"; Caroline Polachek who co-wrote "No Angel", called her a "genius writer and producer for this reason. She's so good at seeing connections." In 2001, she became the first Black woman and second female lyricist to win the Pop Songwriter of the Year award at the ASCAP Pop Music Awards. Beyoncé was the third woman to have writing credits on three number-one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine songwriting credits on number-one singles. The latter wrote her 9/11-motivated song "I Was Here" for 4. In May 2011, Billboard magazine listed Beyoncé at number 17 on their list of the Top 20 Hot 100 Songwriters for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift. Influences Beyoncé names Michael Jackson as her major musical influence. Aged five, Beyoncé attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyoncé said, "if it wasn't for Michael Jackson, I would never ever have performed." Beyoncé was heavily influenced by Tina Turner, who she said "Tina Turner is someone that I admire, because she made her strength feminine and sexy". She admires Diana Ross as an "all-around entertainer", and Whitney Houston, who she said "inspired me to get up there and do what she did." Beyoncé cited Madonna as an influence "not only for her musical style, but also for her business sense", saying that she wanted to "follow in the footsteps of Madonna and be a powerhouse and have my own empire." She also credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Rachelle Ferrell, Aaliyah, Janet Jackson, Prince, Shakira, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Anita Baker, and Toni Braxton. The feminism and female empowerment themes on Beyoncé's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyoncé paid homage to Baker by performing "Déjà Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyoncé's third solo album, I Am... Sasha Fierce, was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyoncé to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyoncé has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "she proves you can do it all", and has described Oprah Winfrey as "the definition of inspiration and a strong woman." She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyoncé has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music ... he is lyrical and raw". Beyoncé also cited Cher as a fashion inspiration. Music videos and stage In 2006, Beyoncé introduced her all-female tour band Suga Mama (also the name of a song on B'Day) which includes bassists, drummers, guitarists, horn players, keyboardists and percussionists. Her background singers, The Mamas, consist of Montina Cooper-Donnell, Crystal Collins and Tiffany Moniqué Riddick. They made their debut appearance at the 2006 BET Awards and re-appeared in the music videos for "Irreplaceable" and "Green Light". The band have supported Beyoncé in most subsequent live performances, including her 2007 concert tour The Beyoncé Experience, I Am... World Tour (2009–2010), The Mrs. Carter Show World Tour (2013–2014) and The Formation World Tour (2016). Beyoncé has received praise for her stage presence and voice during live performances. Jarett Wieselman of the New York Post placed her at number one on her list of the Five Best Singer/Dancers. According to Barbara Ellen of The Guardian Beyoncé is the most in-charge female artist she's seen onstage, while Alice Jones of The Independent wrote she "takes her role as entertainer so seriously she's almost too good." The ex-President of Def Jam L.A. Reid has described Beyoncé as the greatest entertainer alive. Jim Farber of the Daily News and Stephanie Classen of The StarPhoenix both praised her strong voice and her stage presence. Beyoncé's stage outfits have been met with criticism from many countries, such as Malaysia, where she has postponed or cancelled performances due to the country's strict laws banning revealing costumes. Beyoncé has worked with numerous directors for her music videos throughout her career, including Melina Matsoukas, Jonas Åkerlund, and Jake Nava. Bill Condon, director of Beauty and the Beast, stated that the Lemonade visuals in particular served as inspiration for his film, commenting, "You look at Beyoncé's brilliant movie Lemonade, this genre is taking on so many different forms ... I do think that this very old-school break-out-into-song traditional musical is something that people understand again and really want." Alter ego Described as being "sexy, seductive and provocative" when performing on stage, Beyoncé has said that she originally created the alter ego "Sasha Fierce" to keep that stage persona separate from who she really is. She described Sasha as being "too aggressive, too strong, too sassy [and] too sexy", stating, "I'm not like her in real life at all." Sasha was conceived during the making of "Crazy in Love", and Beyoncé introduced her with the release of her 2008 album, I Am... Sasha Fierce. In February 2010, she announced in an interview with Allure magazine that she was comfortable enough with herself to no longer need Sasha Fierce. However, Beyoncé announced in May 2012 that she would bring her back for her Revel Presents: Beyoncé Live shows later that month. Public image Beyoncé has been described as having a wide-ranging sex appeal, with music journalist Touré writing that since the release of Dangerously in Love, she has "become a crossover sex symbol". Offstage Beyoncé says that while she likes to dress sexily, her onstage dress "is absolutely for the stage". Due to her curves and the term's catchiness, in the 2000s, the media often used the term "bootylicious" (a portmanteau of the words "booty" and "delicious") to describe Beyoncé, the term popularized by Destiny's Child's single of the same name. In 2006, it was added to the Oxford English Dictionary. In September 2010, Beyoncé made her runway modelling debut at Tom Ford's Spring/Summer 2011 fashion show. She was named the "World's Most Beautiful Woman" by People and the "Hottest Female Singer of All Time" by Complex in 2012. In January 2013, GQ placed her on its cover, featuring her atop its "100 Sexiest Women of the 21st Century" list. VH1 listed her at number 1 on its 100 Sexiest Artists list. Several wax figures of Beyoncé are found at Madame Tussauds Wax Museums in major cities around the world, including New York, Washington, D.C., Amsterdam, Bangkok, Hollywood and Sydney. According to Italian fashion designer Roberto Cavalli, Beyoncé uses different fashion styles to work with her music while performing. Her mother co-wrote a book, published in 2002, titled Destiny's Style, an account of how fashion affected the trio's success. The B'Day Anthology Video Album showed many instances of fashion-oriented footage, depicting classic to contemporary wardrobe styles. In 2007, Beyoncé was featured on the cover of the Sports Illustrated Swimsuit Issue, becoming the second African American woman after Tyra Banks, and People magazine recognized Beyoncé as the best-dressed celebrity. Beyoncé has been named "Queen Bey" from publications over the years. The term is a reference to the common phrase "queen bee", a term used for the leader of a group of females. The nickname also refers to the queen of a beehive, with her fan base being named "The BeyHive". The BeyHive was previously titled "The Beyontourage", (a portmanteau of Beyoncé and entourage), but was changed after online petitions on Twitter and online news reports during competitions. In 2006, the animal rights organization People for the Ethical Treatment of Animals (PETA), criticized Beyoncé for wearing and using fur in her clothing line House of Deréon. In 2011, she appeared on the cover of French fashion magazine L'Officiel, in "blackface" and tribal makeup that drew criticism from the media. A statement released from a spokesperson for the magazine said that Beyoncé's look was "far from the glamorous Sasha Fierce" and that it was "a return to her African roots". Beyoncé's lighter skin color and costuming has drawn criticism from some in the African-American community. Emmett Price, a professor of music at Northeastern University, wrote in 2007 that he thinks race plays a role in many of these criticisms, saying white celebrities who dress similarly do not attract as many comments. In 2008, L'Oréal was accused of whitening her skin in their Feria hair color advertisements, responding that "it is categorically untrue", and in 2013, Beyoncé herself criticized H&M for their proposed "retouching" of promotional images of her, and according to Vogue requested that only "natural pictures be used". Beyoncé has been a vocal advocate for the Black Lives Matter movement. The release of "Formation" on February 6, 2016, saw her celebrate her heritage, with the song's music video featuring pro-black imagery and most notably a shot of wall graffiti that says "Stop shooting us". The day after the song's release she performed it at the 2016 Super Bowl halftime show with back up dancers dressed to represent the Black Panther Party. This incited criticism from politicians and police officers, with some police boycotting Beyoncé's then upcoming Formation World Tour. Beyoncé responded to the backlash by releasing tour merchandise that said "Boycott Beyoncé", and later clarified her sentiment, saying: "Anyone who perceives my message as anti-police is completely mistaken. I have so much admiration and respect for officers and the families of officers who sacrifice themselves to keep us safe," Beyoncé said. "But let's be clear: I am against police brutality and injustice. Those are two separate things." Personal life Marriage and children In 2002, Beyoncé and Jay-Z collaborated on the song "'03 Bonnie & Clyde", which appeared on his seventh album The Blueprint 2: The Gift & The Curse (2002). Beyoncé appeared as Jay-Z's girlfriend in the music video for the song, fueling speculation about their relationship. On April 4, 2008, Beyoncé and Jay-Z married without publicity. , the couple had sold a combined 300 million records together. They are known for their private relationship, although they have appeared to become more relaxed since 2013. Both have acknowledged difficulty that arose in their marriage after Jay-Z had an affair. Beyoncé miscarried around 2010 or 2011, describing it as "the saddest thing" she had ever endured. She returned to the studio and wrote music to cope with the loss. In April 2011, Beyoncé and Jay-Z traveled to Paris to shoot the album cover for 4, and she unexpectedly became pregnant in Paris. In August, the couple attended the 2011 MTV Video Music Awards, at which Beyoncé performed "Love on Top" and ended the performance by revealing she was pregnant. Her appearance helped that year's MTV Video Music Awards become the most-watched broadcast in MTV history, pulling in 12.4 million viewers; the announcement was listed in Guinness World Records for "most tweets per second recorded for a single event" on Twitter, receiving 8,868 tweets per second and "Beyonce pregnant" was the most Googled phrase the week of August 29, 2011. On January 7, 2012, Beyoncé gave birth to a daughter, Blue Ivy, at Lenox Hill Hospital in New York City. Following the release of Lemonade, which included the single "Sorry", in 2016, speculations arose about Jay-Z's alleged infidelity with a mistress referred to as "Becky". Jon Pareles in The New York Times pointed out that many of the accusations were "aimed specifically and recognizably" at him. Similarly, Rob Sheffield of Rolling Stone magazine noted the lines "Suck on my balls, I've had enough" were an "unmistakable hint" that the lyrics revolve around Jay-Z. On February 1, 2017, she revealed on her Instagram account that she was expecting twins. Her announcement gained over 6.3 million likes within eight hours, breaking the world record for the most liked image on the website at the time. On July 13, 2017, Beyoncé uploaded the first image of herself and the twins onto her Instagram account, confirming their birth date as a month prior, on June 13, 2017, with the post becoming the second most liked on Instagram, behind her own pregnancy announcement. The twins, a daughter named Rumi and a son named Sir, were born at Ronald Reagan UCLA Medical Center in California. She wrote of her pregnancy and its aftermath in the September 2018 issue of Vogue, in which she had full control of the cover, shot at Hammerwood Park by photographer Tyler Mitchell. Activism Beyoncé performed "America the Beautiful" at President Barack Obama's 2009 presidential inauguration, as well as "At Last" during the first inaugural dance at the Neighborhood Ball two days later. The couple held a fundraiser at Jay-Z's 40/40 Club in Manhattan for President Obama's 2012 presidential campaign which raised $4 million. Beyoncé voted for Obama in the 2012 presidential election. She performed the American national anthem "The Star-Spangled Banner" at his second inauguration in January 2013. The Washington Post reported in May 2015, that Beyoncé attended a major celebrity fundraiser for 2016 presidential nominee Hillary Clinton. She also headlined for Clinton in a concert held the weekend before Election Day the next year. In this performance, Beyoncé and her entourage of backup dancers wore pantsuits; a clear allusion to Clinton's frequent dress-of-choice. The backup dancers also wore "I'm with her" tee shirts, the campaign slogan for Clinton. In a brief speech at this performance Beyoncé said, "I want my daughter to grow up seeing a woman lead our country and knowing that her possibilities are limitless." She endorsed the bid of Beto O'Rourke during the 2018 United States Senate election in Texas. In 2013, Beyoncé stated in an interview in Vogue that she considered herself to be "a modern-day feminist". She would later align herself more publicly with the movement, sampling "We should all be feminists", a speech delivered by Nigerian author Chimamanda Ngozi Adichie at a TEDx talk in April 2013, in her song "Flawless", released later that year. The next year she performed live at the MTV Video Awards in front a giant backdrop reading "Feminist". Her self-identification incited a circulation of opinions and debate about whether her feminism is aligned with older, more established feminist ideals. Annie Lennox, celebrated artist and feminist advocate, referred to Beyoncé's use of her word feminist as 'feminist lite'. bell hooks critiqued Beyoncé, referring to her as a "terrorist" towards feminism, harmfully impacting her audience of young girls. Adichie responded with "her type of feminism is not mine, as it is the kind that, at the same time, gives quite a lot of space to the necessity of men." Adichie expands upon what "feminist lite" means to her, referring that "more troubling is the idea, in Feminism Lite, that men are naturally superior but should be expected to 'treat women well'" and "we judge powerful women more harshly than we judge powerful men. And Feminism Lite enables this." Beyoncé responded about her intent by utilizing the definition of feminist with her platform was to "give clarity to the true meaning" behind it. She says to understand what being a feminist is, "it's very simple. It's someone who believes in equal rights for men and women." She advocated to provide equal opportunities for young boys and girls, men and women must begin to understand the double standards that remain persistent in our societies and the issue must be illuminated in effort to start making changes. She has also contributed to the Ban Bossy campaign, which uses TV and social media to encourage leadership in girls. Following Beyoncé's public identification as a feminist, the sexualized nature of her performances and the fact that she championed her marriage was questioned. In December 2012, Beyoncé along with a variety of other celebrities teamed up and produced a video campaign for "Demand A Plan", a bipartisan effort by a group of 950 U.S. mayors and others designed to influence the federal government into rethinking its gun control laws, following the Sandy Hook Elementary School shooting. Beyoncé publicly endorsed same-sex marriage on March 26, 2013, after the Supreme Court debate on California's Proposition 8. She spoke against North Carolina's Public Facilities Privacy & Security Act, a bill passed (and later repealed) that discriminated against the LGBT community in public places in a statement during her concert in Raleigh as part of the Formation World Tour in 2016. She has condemned police brutality against black Americans. She and Jay-Z attended a rally in 2013 in response to the acquittal of George Zimmerman for the killing of Trayvon Martin. The film for her sixth album Lemonade included the mothers of Trayvon Martin, Michael Brown and Eric Garner, holding pictures of their sons in the video for "Freedom". In a 2016 interview with Elle, Beyoncé responded to the controversy surrounding her song "Formation" which was perceived to be critical of the police. She clarified, "I am against police brutality and injustice. Those are two separate things. If celebrating my roots and culture during Black History Month made anyone uncomfortable, those feelings were there long before a video and long before me". In February 2017, Beyoncé spoke out against the withdrawal of protections for transgender students in public schools by Donald Trump's presidential administration. Posting a link to the 100 Days of Kindness campaign on her Facebook page, Beyoncé voiced her support for transgender youth and joined a roster of celebrities who spoke out against Trump's decision. In November 2017, Beyoncé presented Colin Kaepernick with the 2017 Sports Illustrated Muhammad Ali Legacy Award, stating, "Thank you for your selfless heart and your conviction, thank you for your personal sacrifice", and that "Colin took action with no fear of consequence ... To change perception, to change the way we treat each other, especially people of color. We're still waiting for the world to catch up." Muhammad Ali was heavily penalized in his career for protesting the status quo of US civil rights through opposition to the Vietnam War, by refusing to serve in the military. 40 years later, Kaepernick had already lost one professional year due to taking a much quieter and legal stand "for people that are oppressed". Wealth Forbes magazine began reporting on Beyoncé's earnings in 2008, calculating that the $80 million earned between June 2007 to June 2008, for her music, tour, films and clothing line made her the world's best-paid music personality at the time, above Madonna and Celine Dion. It placed her fourth on the Celebrity 100 list in 2009 and ninth on the "Most Powerful Women in the World" list in 2010. The following year, the magazine placed her eighth on the "Best-Paid Celebrities Under 30" list, having earned $35 million in the past year for her clothing line and endorsement deals. In 2012, Forbes placed Beyoncé at number 16 on the Celebrity 100 list, twelve places lower than three years ago yet still having earned $40 million in the past year for her album 4, clothing line and endorsement deals. In 2012, Beyoncé and Jay-Z placed at number one on the "World's Highest-Paid Celebrity Couples", for collectively earning $78 million. The couple made it into the previous year's Guinness World Records as the "highest-earning power couple" for collectively earning $122 million in 2009. For the years 2009 to 2011, Beyoncé earned an average of $70 million per year, and earned $40 million in 2012. In 2013, Beyoncé's endorsements of Pepsi and H&M made her and Jay-Z the world's first billion dollar couple in the music industry. That year, Beyoncé was published as the fourth most-powerful celebrity in the Forbes rankings. MTV estimated that by the end of 2014, Beyoncé would become the highest-paid Black musician in history; this became the case in April 2014. In June 2014, Beyoncé ranked at number one on the Forbes Celebrity 100 list, earning an estimated $115 million throughout June 2013 – June 2014. This in turn was the first time she had topped the Celebrity 100 list as well as being her highest yearly earnings to date. In 2016, Beyoncé ranked at number 34 on the Celebrity 100 list with earnings of $54 million. She and Jay-Z also topped the highest paid celebrity couple list, with combined earnings of $107.5 million. , Forbes calculated her net worth to be $355 million, and in June of the same year, ranked her as the 35th highest earning celebrity with annual earnings of $60 million. This tied Beyoncé with Madonna as the only two female artists to earn more than $100 million within a single year twice. As a couple, Beyoncé and Jay-Z have a combined net worth of $1.16 billion. In July 2017, Billboard announced that Beyoncé was the highest paid musician of 2016, with an estimated total of $62.1 million. In 2023 the couple bought 27712 Pacific Coast Highway, a house in Malibu, California designed by the architect Tadao Ando, for $200 million. It established a record for the most expensive residence sold in California. Legacy Beyoncé's success has led to her becoming a cultural icon and earning her the nickname "Queen Bey". Constance Grady wrote for Vox, "The transformation of Beyoncé from well-liked pop star to cultural icon came in three phases, punctuated by the self-titled Beyoncé album of 2013, 2016's Lemonade, and 2018's Homecoming concert at Coachella." In The New Yorker, music critic Jody Rosen described Beyoncé as "the most important and compelling popular musician of the twenty-first century ... the result, the logical end point, of a century-plus of pop." She topped NPR list of the "21st Century's Most Influential Women Musicians". James Clear, in his book Atomic Habits (2018), draws a parallel between Beyoncé's success and the dramatic transformations in modern society: "In the last one hundred years, we have seen the rise of the car, the airplane, the television, the personal computer, the internet, the smartphone, and Beyoncé." The Observer named her Artist of the Decade (2000s) in 2009. Writing for Entertainment Weekly, Alex Suskind noticed how Beyoncé was the decade's (2010s) defining pop star, stating that "no one dominated music in the 2010s like Queen Bey", explaining that her "songs, album rollouts, stage presence, social justice initiatives, and disruptive public relations strategy have influenced the way we've viewed music since 2010." British publication NME also shared similar thoughts on her impact in the 2010s, including Beyoncé on their list of the "10 Artists Who Defined The Decade". In 2018, Rolling Stone included her on its Millennial 100 list. Music critics have often credited Beyoncé with the invention of the staccato rap-singing style that has since dominated pop, R&B, and rap music. Lakin Starling of The Fader wrote that Beyoncé's innovative implementation of the delivery style on Destiny's Child's 1999 album The Writing's on the Wall invented a new form of R&B. Beyoncé's new style subsequently changed the nature of music, revolutionizing both singing in urban music and rapping in pop music, and becoming the dominant sound of both genres. The style helped to redefine both the breadth of commercial R&B and the sound of hip hop, with artists such as Kanye West and Drake implementing Beyoncé's cadence in the late 2000s and early 2010s. The staccato rap-singing style continued to be used in the music industry in the late 2010s and early 2020s; Aaron Williams of Uproxx described Beyoncé as the "primary pioneer" of the rapping style that dominates the music industry today, with many contemporary rappers implementing Beyoncé's rap-singing. Michael Eric Dyson agrees, saying that Beyoncé "changed the whole genre" and has become the "godmother" of mumble rappers, who use the staccato rap-singing cadence. Dyson added: "She doesn't get credit for the remarkable way in which she changed the musical vocabulary of contemporary art." Beyoncé has been credited with reviving the album as an art form in an era dominated by singles and streaming. This started with her 2011 album 4; while mainstream R&B artists were forgoing albums-led R&B in favor of singles-led EDM, Beyoncé aimed to place the focus back on albums as an art form and re-establish R&B as a mainstream concern. This remained a focus of Beyoncé's, and in 2013, she made her eponymous album only available to purchase as a full album on iTunes, rather than being able to purchase individual tracks or consume the album via streaming. Kaitlin Menza of Marie Claire wrote that this made listeners "experience the album as one whole sonic experience, the way people used to, noting the musical and lyrical themes". Jamieson Cox for The Verge described how Beyoncé's 2013 album initiated a gradual trend of albums becoming more cohesive and self-referential, and this phenomenon reached its endpoint with Lemonade, which set "a new standard for pop storytelling at the highest possible scale". Megan Carpentier of The Guardian wrote that with Lemonade, Beyoncé has "almost revived the album format" by releasing an album that can only be listened to in its entirety. Myf Warhurst on Double J's "Lunch With Myf" explained that while most artists' albums consist of a few singles plus filler songs, Beyoncé "brought the album back", changing the art form of the album "to a narrative with an arc and a story and you have to listen to the entire thing to get the concept". She is known for coining popular phrases such as "put a ring on it", a euphemism for marriage proposal, "I woke up like this", which started a trend of posting morning selfies with the hashtag #iwokeuplikethis, and "boy, bye", which was used as part of the Democratic National Committee's campaign for the 2020 election. Similarly, she also came up with the phrase "visual album" following the release of her fifth studio album, which had a video for every song. This has been recreated by many other artists since, such as Frank Ocean and Melanie Martinez. The album also popularized surprise releases, with many artists releasing songs, videos or albums with no prior announcement, such as Taylor Swift, Nicki Minaj, Eminem, Frank Ocean, Jay-Z and Drake. In January 2012, research scientist Bryan Lessard named Scaptia beyonceae, a species of horse-fly found in Northern Queensland, Australia after Beyoncé due to the fly's unique golden hairs on its abdomen. Influence on other artists Various recording artists and celebrities have cited Beyoncé as their influence. Lady Gaga explained how Beyoncé gave her the determination to become a musician, recalling seeing her in Destiny's Child music video and saying: "Oh, she's a star. I want that." Rihanna was inspired to start her singing career after watching Beyoncé, telling etalk that after Beyoncé released Dangerously In Love (2003), "I was like 'wow, I want to be just like that.' She's huge and just an inspiration." Lizzo was first inspired by Beyoncé to start singing after watching her perform at a Destiny's Child concert, and she also taught herself to sing by copying Beyoncé's B'Day (2006). Ariana Grande said she learned to sing by mimicking Beyoncé. Adele cited Beyoncé as her inspiration and favorite artist, telling Vogue: "She's been a huge and constant part of my life as an artist since I was about ten or eleven ... I think she's inspiring. She's beautiful. She's ridiculously talented, and she is one of the kindest people I've ever met ... She makes me want to do things with my life." Both Paul McCartney and Garth Brooks said they watch Beyoncé's performances to get inspiration for their shows, with Brooks saying that when watching one of her performances, "take out your notebook and take notes. No matter how long you've been on the stage – take notes on that one." Beyoncé has also been cited as an influence by various other mainstream artists. Achievements Beyoncé has received numerous awards and is the most-awarded female artist of all time. Having sold over 200 million records worldwide (a further 60 million additionally with Destiny's Child), Beyoncé is one of the best-selling music artists of all time. The Recording Industry Association of America (RIAA) listed Beyoncé as the top certified artist of the 2000s decade, with a total of 64 certifications. Her songs "Single Ladies (Put a Ring on It)", "Halo", and "Irreplaceable" are some of the best-selling singles of all time worldwide. In 2009, Billboard named her the Top Female Artist and Top Radio Songs Artist of the Decade. In 2010, Billboard named her in their Top 50 R&B/Hip-Hop Artists of the Past 25 Years list at number 15. In 2012, VH1 ranked her third on their list of the "100 Greatest Women in Music", behind Mariah Carey and Madonna. In 2002, she received Songwriter of the Year from American Society of Composers, Authors and Publishers becoming the First African American woman to win the award. In 2004 and 2019, she received NAACP Image Award for Entertainer of the Year and the Soul Train Music Award for Sammy Davis Jr. – Entertainer of the Year. In 2005, she also received APEX Award at the Trumpet Award honoring the achievements of Black African Americans. In 2007, Beyoncé received the International Artist of Excellence award by the American Music Awards. She also received Honorary Otto at the Bravo Otto. The following year, she received the Legend Award for Outstanding Contribution to the Arts at the World Music Awards and Career Achievement Award at the LOS40 Music Awards. In 2010, she received the Award of Honor for Artist of the Decade at the NRJ Music Award. At the 2011 Billboard Music Awards, Beyoncé received the inaugural Billboard Millennium Award. Beyoncé received the Michael Jackson Video Vanguard Award at the 2014 MTV Video Music Awards and was honored as Honorary Mother of the Year at the Australian Mother of the Year Award in Barnardo's Australia for her Humanitarian Effort in the region and the Council of Fashion Designers of America Fashion Icon Award in 2016. In 2019, alongside Jay-Z, she received GLAAD Vanguard Award which is presented to a member of the entertainment community who does not identify as LGBT but who has made a significant difference in promoting equal rights for LGBT people. In 2020, she was awarded the BET Humanitarian Award. Consequence of Sound named her the 30th best singer of all time. Beyoncé has won 32 Grammy Awards, both as a solo artist and member of Destiny's Child and The Carters, making her the most honored singer, male or female, by the Grammys. She is also the most nominated artist in Grammy Award history with a total of 88 nominations. "Single Ladies (Put a Ring on It)" won Song of the Year in 2010 while "Say My Name", "Crazy in Love" and "Drunk in Love" have each won Best R&B Song. Dangerously in Love, B'Day and I Am... Sasha Fierce have won Best Contemporary R&B Album, while Lemonade has won Best Urban Contemporary Album. Beyoncé set the record for the most Grammy awards won by a female artist in one night in 2010 when she won six awards, breaking the tie she previously held with Alicia Keys, Norah Jones, Alison Krauss, and Amy Winehouse, with Adele equaling this in 2012. Beyoncé has won 29 MTV Video Music Awards, making her the most-awarded artist in Video Music Award history. She won two awards each with The Carters and Destiny's Child making her lifetime total of 29 VMAs. "Single Ladies (Put a Ring on It)" and "Formation" won Video of the Year in 2009 and 2016 respectively. Beyoncé tied the record set by Lady Gaga in 2010 for the most VMAs won in one night for a female artist with eight in 2016. She is also the most-awarded and nominated artist in BET Award history, winning 29 awards from a total of 60 nominations, the most-awarded person at the Soul Train Music Awards with 17 awards as a solo artist, and the most-awarded person at the NAACP Image Awards with 24 awards as a solo artist. Additionally, Beyoncé is the most-awarded artist at the NAACP Image Awards with 22 awards, the BET Awards with 32 awards, and the Soul Train Music Awards with 21 awards. Following her role in Dreamgirls, Beyoncé was nominated for Best Original Song for "Listen" and Best Actress at the Golden Globe Awards, and Outstanding Actress in a Motion Picture at the NAACP Image Awards. Beyoncé won two awards at the Broadcast Film Critics Association Awards 2006; Best Song for "Listen" and Best Original Soundtrack for Dreamgirls: Music from the Motion Picture. According to Fuse in 2014, Beyoncé is the second-most award-winning artist of all time, after Michael Jackson. Lemonade won a Peabody Award in 2017. In 2022, "Be Alive" was nominated for the Academy Award for Best Original Song, the Critics' Choice Movie Award for Best Song, and the Golden Globe Award for Best Original Song. She was named on the 2016 BBC Radio 4 Woman's Hour Power List as one of seven women judged to have had the biggest impact on women's lives over the past 70 years, alongside Margaret Thatcher, Barbara Castle, Helen Brook, Germaine Greer, Jayaben Desai and Bridget Jones, She was named the Most Powerful Woman in Music on the same list in 2020. In the same year, Billboard named her with Destiny's Child the third Greatest Music Video artists of all time, behind Madonna and Michael Jackson. On June 16, 2021, Beyoncé was among several celebrities at the Pollstar Awards where she won the award of "top touring artist" of the decade (2010s). On June 17, 2021, Beyoncé was inducted into the Black Music & Entertainment Walk of Fame as a member of the inaugural class. Business and ventures In 2010, Beyoncé founded her own entertainment company Parkwood Entertainment which formed as an imprint based from Columbia Records, the company began as a production unit for videos and films in 2008. Parkwood Entertainment is named after a street in Houston, Texas where Beyoncé once lived. With headquarters in New York City, the company serves as an umbrella for the entertainer's various brands in music, movies, videos, and fashion. The staff of Parkwood Entertainment have experiences in arts and entertainment, from filmmaking and video production to web and fashion design. In addition to departments in marketing, digital, creative, publicity, fashion design and merchandising, the company houses a state-of-the-art editing suite, where Beyoncé works on content for her worldwide tours, music videos, and television specials. Parkwood Entertainment's first production was the musical biopic Cadillac Records (2008), in which Beyoncé starred and co-produced. The company has distributed Beyoncé's albums such as her self-titled fifth studio album (2013), Lemonade (2016) and The Carters, Everything is Love (2018). Beyoncé has signed other artists to Parkwood such as Chloe x Halle, who performed at Super Bowl LIII in February 2019. Endorsements and partnerships Beyoncé has worked with Pepsi since 2002, and in 2004 appeared in a Gladiator-themed commercial with Britney Spears, Pink, and Enrique Iglesias. In 2012, Beyoncé signed a $50 million deal to endorse Pepsi. The Center for Science in the Public Interest (CSPINET) wrote Beyoncé an open letter asking her to reconsider the deal because of the unhealthiness of the product and to donate the proceeds to a medical organisation. Nevertheless, NetBase found that Beyoncé's campaign was the most talked about endorsement in April 2013, with a 70 percent positive audience response to the commercial and print ads. Beyoncé has worked with Tommy Hilfiger for the fragrances True Star (singing a cover version of "Wishing on a Star") and True Star Gold; she also promoted Emporio Armani's Diamonds fragrance in 2007. Beyoncé launched her first official fragrance, Heat, in 2010. The commercial, which featured the 1956 song "Fever", was shown after the watershed in the United Kingdom as it begins with an image of Beyoncé appearing to lie naked in a room. In February 2011, Beyoncé launched her second fragrance, Heat Rush. Beyoncé's third fragrance, Pulse, was launched in September 2011. In 2013, The Mrs. Carter Show Limited Edition version of Heat was released. The six editions of Heat are the world's best-selling celebrity fragrance line, with sales of over $400 million. The release of a video-game Starpower: Beyoncé was cancelled after Beyoncé pulled out of a $100 million with GateFive who alleged the cancellation meant the sacking of 70 staff and millions of pounds lost in development. It was settled out of court by her lawyers in June 2013 who said that they had cancelled because GateFive had lost its financial backers. Beyoncé also has had deals with American Express, Nintendo DS and L'Oréal since the age of 18. In March 2015, Beyoncé became a co-owner, with other artists, of the music streaming service Tidal. The service specializes in lossless audio and high definition music videos. Beyoncé's husband Jay-Z acquired the parent company of Tidal, Aspiro, in the first quarter of 2015. Including Beyoncé and Jay-Z, sixteen artist stakeholders (such as Kanye West, Rihanna, Madonna, Chris Martin, Nicki Minaj and more) co-own Tidal, with the majority owning a 3% equity stake. The idea of having an all artist owned streaming service was created by those involved to adapt to the increased demand for streaming within the current music industry. In November 2020, Beyoncé formed a multi-year partnership with exercise equipment and media company Peloton. The partnership was formed to celebrate homecoming season in historically black colleges and universities, providing themed workout experiences inspired by Beyoncé's 2019 Homecoming film and live album after 2020's homecoming celebrations were cancelled due to the COVID-19 pandemic. As part of the partnership, Beyoncé and Peloton are donating free memberships to all students at 10 HBCUs, and Peloton are pursuing long-term recruiting partnerships at the HCBUs. Gwen Bethel Riley, head of music at Peloton, said: "When we had conversations with Beyoncé around how critical a social impact component was to all of us, it crystallized how important it was to embrace Homecoming as an opportunity to celebrate and create dialogue around Black culture and music, in partnership with HBCUs." Upon news of the partnership, a decline in Peloton's shares reversed, and its shares rose by 8.6%. In 2021, Beyoncé and Jay-Z partnered with Tiffany & Co. for the company's "About Love" campaign. Beyoncé became the fourth woman, and first Black woman, to wear the Tiffany Yellow Diamond. The campaign featured a robin egg blue painting by Jean-Michel Basquiat titled Equals Pi (1982). Fashion lines Beyoncé and her mother introduced House of Deréon, a contemporary women's fashion line, in 2005. The concept is inspired by three generations of women in their family, with the name paying tribute to Beyoncé's grandmother, Agnèz Deréon, a respected seamstress. According to Tina, the overall style of the line best reflects her and Beyoncé's taste and style. Beyoncé and her mother founded their family's company Beyond Productions, which provides the licensing and brand management for House of Deréon, and its junior collection, Deréon. House of Deréon pieces were exhibited in Destiny's Child's shows and tours, during their Destiny Fulfilled era. The collection features sportswear, denim offerings with fur, outerwear and accessories that include handbags and footwear, and are available at department and specialty stores across the U.S. and Canada. In 2005, Beyoncé teamed up with House of Brands, a shoe company, to produce a range of footwear for House of Deréon. In January 2008, Starwave Mobile launched Beyoncé Fashion Diva, a "high-style" mobile game with a social networking component, featuring the House of Deréon collection. In July 2009, Beyoncé and her mother launched a new junior apparel label, Sasha Fierce for Deréon, for back-to-school selling. The collection included sportswear, outerwear, handbags, footwear, eyewear, lingerie and jewelry. It was available at department stores including Macy's and Dillard's, and specialty stores Jimmy Jazz and Against All Odds. In May 2010, Beyoncé teamed up with clothing store C&A to launch Deréon by Beyoncé at their stores in Brazil. The collection included tailored blazers with padded shoulders, little black dresses, embroidered tops and shirts and bandage dresses. In October 2014, Beyoncé signed a deal to launch an activewear line of clothing with British fashion retailer Topshop. The 50–50 venture is called Ivy Park and was launched in April 2016. The brand's name is a nod to Beyoncé's daughter and her favorite number four (IV in Roman numerals), and also references the park where she used to run in Texas. She has since bought out Topshop owner Philip Green from his 50% share after he was alleged to have sexually harassed, bullied and racially abused employees. She now owns the brand herself. In April 2019, it was announced that Beyoncé would become a creative partner with Adidas and further develop her athletic brand Ivy Park with the company. Knowles will also develop new clothes and footwear for Adidas. Shares for the company rose 1.3% upon the news release. In December 2019, they announced a launch date of January 18, 2020. Beyoncé uploaded a teaser on her website and Instagram. The collection was previewed on the upcoming Elle January 2020 issue, where Beyoncé is seen wearing several garments, accessories and footwear from the first collection. In March, 2023, it was announced that Beyoncé and Adidas reached a mutual decision to end their partnership. Later in March, 2023, Olivier Rousteing, the creative director of Balmain, announced that he and Beyoncé collaborated on a couture collection complete with sixteen looks corresponding to the sixteen tracks on her album Renaissance. This "Renaissance Couture" collection marked the first time that a Black woman oversaw the development of a collection from a Parisian couture house. Philanthropy In 2002, Beyoncé, Kelly Rowland and Tina Knowles built the Knowles-Rowland Center for Youth, a community center in Downtown Houston. After Hurricane Katrina in 2005, Beyoncé and Rowland founded the Survivor Foundation to provide transitional housing to displaced families and provide means for new building construction, to which Beyoncé contributed an initial $250,000. The foundation has since expanded to work with other charities in the city, and also provided relief following Hurricane Ike three years later. Beyoncé also donated $100,000 to the Gulf Coast Ike Relief Fund. In 2007, Beyoncé founded the Knowles-Temenos Place Apartments, a housing complex offering living space for 43 displaced individuals. As of 2016, Beyoncé had donated $7 million for the maintenance of the complex. After starring in Cadillac Records in 2009 and learning about Phoenix House, a non-profit drug and alcohol rehabilitation organization, Beyoncé donated her full $4 million salary from the film to the organization. Beyoncé and her mother subsequently established the Beyoncé Cosmetology Center, which offers a seven-month cosmetology training course helping Phoenix House's clients gain career skills during their recovery. In January 2010, Beyoncé participated in George Clooney and Wyclef Jean's Hope for Haiti Now: A Global Benefit for Earthquake Relief telethon, donated a large sum to the organization, and was named the official face of the limited edition CFDA "Fashion For Haiti" T-shirt, made by Theory which raised a total of $1 million. In April 2011, Beyoncé joined forces with U.S. First Lady Michelle Obama and the National Association of Broadcasters Education Foundation, to help boost the latter's campaign against child obesity by reworking her single "Get Me Bodied". Following the death of Osama bin Laden, Beyoncé released her cover of the Lee Greenwood song "God Bless the USA", as a charity single to help raise funds for the New York Police and Fire Widows' and Children's Benefit Fund. Beyoncé became an ambassador for the 2012 World Humanitarian Day campaign donating her song "I Was Here" and its music video, shot in the UN, to the campaign. In 2013, it was announced that Beyoncé would work with Salma Hayek and Frida Giannini on a Gucci "Chime for Change" campaign that aims to spread female empowerment. The campaign, which aired on February 28, was set to her new music. A concert for the cause took place on June 1, 2013, in London. With help of the crowdfunding platform Catapult, visitors of the concert could choose between several projects promoting education of women and girls. Beyoncé also took part in "Miss a Meal", a food-donation campaign, and supported Goodwill Industries through online charity auctions at Charitybuzz that support job creation throughout Europe and the U.S. Beyoncé and Jay-Z secretly donated tens of thousands of dollars to bail out Black Lives Matter protesters in Baltimore and Ferguson, as well as funded infrastructure for the establishment of Black Lives Matter chapters across the US. Before Beyoncé's Formation World Tour show in Tampa, her team held a private luncheon for more than 20 community leaders to discuss how Beyoncé could support local charitable initiatives, including pledging on the spot to fund 10 scholarships to provide students with financial aid. Tampa Sports Authority board member Thomas Scott said: "I don't know of a prior artist meeting with the community, seeing what their needs are, seeing how they can invest in the community. It says a lot to me about Beyoncé. She not only goes into a community and walks away with (money), but she also gives money back to that community." In June 2016, Beyoncé donated over $82,000 to the United Way of Genesee County to support victims of the Flint water crisis. Beyoncé additionally donated money to support 14 students in Michigan with their college expenses. In August 2016, Beyoncé and Jay-Z donated $1.5 million to civil rights groups including Black Lives Matter, Hands Up United and Dream Defenders. After Hurricane Matthew, Beyoncé and Jay-Z donated $15 million to the Usain Bolt Foundation to support its efforts in rebuilding homes in Haiti. During Hurricane Harvey in August 2017, Beyoncé launched BeyGOOD Houston to support those affected by the hurricane in Houston. The organization donated necessities such as cots, blankets, pillows, baby products, feminine products and wheelchairs, and funded long-term revitalization projects. On September 8, Beyoncé visited Houston, where she sponsored a lunch for 400 survivors at her local church, visited the George R Brown Convention Center to discuss with people displaced by the flooding about their needs, served meals to those who lost their homes, and made a significant donation to local causes. Beyoncé additionally donated $75,000 worth of new mattresses to survivors of the hurricane. Later that month, Beyoncé released a remix of J Balvin and Willy William's "Mi Gente", with all of her proceeds being donated to disaster relief charities in Puerto Rico, Mexico, the U.S. and the Caribbean after hurricanes Harvey, Irma and Maria, and the Chiapas and Puebla earthquakes. In April 2020, Beyoncé donated $6 million to the National Alliance in Mental Health, UCLA and local community-based organizations in order to provide mental health and personal wellness services to essential workers during the COVID-19 pandemic. BeyGOOD also teamed up with local organizations to help provide resources to communities of color, including food, water, cleaning supplies, medicines and face masks. The same month Beyoncé released a remix of Megan Thee Stallion's "Savage", with all proceeds benefiting Bread of Life Houston's COVID-19 relief efforts, which includes providing over 14 tons of food and supplies to 500 families and 100 senior citizens in Houston weekly. In May 2020, Beyoncé provided 1,000 free COVID-19 tests in Houston as part of her and her mother's #IDidMyPart initiative, which was established due to the disproportionate deaths in African-American communities. Additionally, 1,000 gloves, masks, hot meals, essential vitamins, grocery vouchers and household items were provided. In July 2020, Beyoncé established the Black-Owned Small Business Impact Fund in partnership with the NAACP, which offers $10,000 grants to black-owned small businesses in need following the George Floyd protests. All proceeds from Beyoncé's single "Black Parade" were donated to the fund. In September 2020, Beyoncé announced that she had donated an additional $1 million to the fund. As of December 31, 2020, the fund had given 715 grants to black-owned small businesses, amounting to $7.15 million donated. In October 2020, Beyoncé released a statement that she has been working with the Feminist Coalition to assist supporters of the End Sars movement in Nigeria, including covering medical costs for injured protestors, covering legal fees for arrested protestors, and providing food, emergency shelter, transportation and telecommunication means to those in need. Beyoncé also showed support for those fighting against other issues in Africa, such as the Anglophone Crisis in Cameroon, ShutItAllDown in Namibia, Zimbabwean Lives Matter in Zimbabwe and the Rape National Emergency in Liberia. In December 2020, Beyoncé donated $500,000 to help alleviate the housing crisis in the U.S. caused by the cessation of the eviction moratorium, giving 100 $5,000 grants to individuals and families facing foreclosures and evictions. Discography Studio albums Dangerously in Love (2003) B'Day (2006) I Am... Sasha Fierce (2008) 4 (2011) Beyoncé (2013) Lemonade (2016) Renaissance (2022)with Destiny's Child Destiny's Child (1998) The Writing's on the Wall (1999) Survivor (2001) 8 Days of Christmas (2001) Destiny Fulfilled (2004)with Jay-Z (as The Carters) Everything Is Love (2018)Soundtrack albums The Lion King: The Gift (2019) Filmography Films starred Carmen: A Hip Hopera (2001) Austin Powers in Goldmember (2002) The Fighting Temptations (2003) Fade to Black (2004) The Pink Panther (2006) Dreamgirls (2006) Cadillac Records (2008) Obsessed (2009) Epic (2013) The Lion King (2019)Films directed Life Is But a Dream (2013) Beyoncé: Lemonade (2016) Homecoming (2019) Black Is King (2020) Tours and residencies Headlining tours Dangerously in Love Tour (2003) The Beyoncé Experience (2007) I Am... World Tour (2009–2010) The Mrs. Carter Show World Tour (2013–2014) The Formation World Tour (2016) Renaissance World Tour (2023)Co-headlining tours Verizon Ladies First Tour (with Alicia Keys and Missy Elliott) (2004) On the Run Tour (with Jay-Z) (2014) On the Run II Tour (with Jay-Z) (2018)Residencies' I Am... Yours (2009) 4 Intimate Nights with Beyoncé (2011) Revel Presents: Beyoncé Live (2012) See also Forbes list of highest-earning musicians Honorific nicknames in popular music List of artists who reached number one in the United States List of artists with the most number-one European singles List of Billboard Social 50 number-one artists List of black Golden Globe Award winners and nominees List of highest-grossing live music artists List of best-selling female music artists List of most-followed Instagram accounts Notes References External links Category:1981 births Category:Living people Category:20th-century African-American businesspeople Category:20th-century African-American women Category:20th-century American businesspeople Category:20th-century American businesswomen Category:20th-century American singers Category:20th-century American women singers Category:21st-century African-American women Category:21st-century American actresses Category:21st-century American businesspeople Category:21st-century American businesswomen Category:21st-century American singers Category:21st-century American women singers Category:Actresses from Houston Category:African-American actresses Category:African-American artists Category:African-American choreographers Category:African-American dancers Category:African-American fashion designers Category:American fashion designers Category:African-American female dancers Category:African-American women rappers Category:African-American women singers Category:African-American feminists Category:American feminists Category:African-American Methodists Category:African-American record producers Category:African-American women in business Category:African-American women writers Category:American choreographers Category:American contemporary R&B singers Category:American cosmetics businesspeople Category:American fashion businesspeople Category:American women pop singers Category:American film actresses Category:American mezzo-sopranos Category:American music publishers (people) Category:American music video directors Category:American people of Acadian descent Category:American people of Creole descent Category:American retail chief executives Category:American television actresses Category:American United Methodists Category:American voice actresses Category:American women business executives Category:American women philanthropists Category:American women record producers Category:Black Lives Matter people Category:Brit Award winners Category:Businesspeople from Houston Category:Businesspeople from Texas Category:Columbia Records artists Category:Dance-pop musicians Category:Destiny's Child members Category:Female music video directors Category:Feminist musicians Category:Gold Star Records artists Category:Grammy Award winners Category:Grammy Award winners for rap music Category:High School for the Performing and Visual Arts alumni Category:Ivor Novello Award winners Category:Jay-Z Category:Solange Knowles Category:Louisiana Creole people Category:MTV Europe Music Award winners Category:MTV Video Music Award winners Category:Music video codirectors Category:Musicians from Houston Category:Musicians from Texas Category:NME Awards winners Category:Parkwood Entertainment artists Category:Record producers from Texas Category:Shoe designers Category:Singers from Texas Category:Singers with a four-octave vocal range Category:Texas Democrats Category:Women who experienced pregnancy loss Category:World Music Awards winners Category:Writers from Houston
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[ "Beyonce's influences include Michael Jackson, Diana Ross, Whitney Houston, Mariah Carey, Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker, Rachelle Ferrell, Josephine Baker, Jay-Z, Etta James, Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, Michelle Obama, Oprah Winfrey, Jean-Michel Basquiat, and Madonna.", "The text does not provide information on whether Beyonce ever worked with Michael Jackson.", "Michael Jackson's performance at a concert Beyonce attended when she was five years old is what made her realize her purpose. She later claimed that if it wasn't for Jackson, she would never have performed. Jackson is a major musical influence to Beyonce.", "In addition to Michael Jackson, Beyonce was also influenced by Diana Ross, Whitney Houston, Mariah Carey, Aaliyah, Prince, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Janet Jackson, Anita Baker, Rachelle Ferrell, Josephine Baker, Jay-Z, Etta James, Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, Michelle Obama, Oprah Winfrey, Jean-Michel Basquiat, and Madonna.", "According to the text, the mentioned individuals and groups are the ones who influenced Beyonce in terms of her music, career and personal development. However, the text does not provide information on whether these are the only influences in her life.", "The text does not provide information on whether any of Beyonce's family members influenced her.", "The text does not provide information on when Beyonce met Jay-Z.", "Interesting aspects of the article include the range and diversity of Beyonce's influences, which include a broad spectrum of musicians across different genres, as well as non-musical influences such as Michelle Obama and Oprah Winfrey. The text also highlights how she used these influences creatively in her work, such as her homage to Josephine Baker and exploration of different musical styles inspired by artists like Etta James. Additionally, the text reveals how Beyonce's perspectives and intentions in her career have been shaped by these figures, such as her aim to 'do it all' like Michelle Obama, or take control of her career inspired by Madonna.", "The text does not provide information on any other influences besides the ones already mentioned.", "Yes, according to the text, the individuals mentioned, who include a combination of musicians, former First Lady Michelle Obama, and media proprietor Oprah Winfrey, are all the people that have influenced Beyonce." ]
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C_97b0c650ab81497eb4dd8513b839b788_1
Beyoncé
Beyonce Giselle Knowles was born in Houston, Texas, to Celestine "Tina" Knowles (nee Beyince), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Beyonce's name is a tribute to her mother's maiden name. Beyonce's younger sister Solange is also a singer and a former back up dancer for Destiny's Child.
Voice and songwriting
Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyonce's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." Beyonce's music is generally R&B, but she also incorporates pop, soul and funk into her songs. 4 demonstrated Beyonce's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyonce recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyonce was coached phonetically by American record producer Rudy Perez. She has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. Her early songs were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyonce has also received co-producing credits for most of the records in which she has been involved, especially during her solo efforts. However, she does not formulate beats herself, but typically comes up with melodies and ideas during production, sharing them with producers. In 2001, she became the first black woman and second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards. Beyonce was the third woman to have writing credits on three number one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. (The latter wrote her 9/11-motivated song "I Was Here" for 4.) In May 2011, Billboard magazine listed Beyonce at number 17 on their list of the "Top 20 Hot 100 Songwriters", for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift. CANNOTANSWER
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[ "What can you tell me about Beyonce's voice?", "What are some other facts about her voice?", "What else can you tell me about her voice?", "Is there any negative criticism about her voice?", "Did she write songs?", "Did she write any other songs?", "Did she win any other awards?", "Did she ever write songs for a movie or film?", "Are there any other aspects of the article that are related to her voice or songwriting?", "What kind of feedback did she receive from her fans?" ]
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Beyoncé Giselle Knowles-Carter ( ) (born September 4, 1981) is an American singer, songwriter, and businesswoman. Nicknamed "Queen Bey", she has been widely recognized for her boundary-pushing artistry and vocal performances. Beyoncé is regarded as one of the greatest entertainers of her generation, and an influential figure in contemporary popular music. Her contributions to music and visual media have made her a prominent pop culture icon of the 2000s and 2010s. Beyoncé started performing in various singing and dancing competitions as a child. She rose to fame in the late 1990s as a member of the R&B girl group Destiny's Child, one of the best-selling girl groups of all time. Their hiatus saw the release of her debut album Dangerously in Love (2003). Following the 2006 disbanding of Destiny's Child, Beyoncé released the commercially successful solo albums B'Day (2006) and I Am... Sasha Fierce (2008). After professionally splitting from her manager and father, Mathew Knowles, in 2010, Beyoncé's artistry achieved wider critical acclaim for releasing sonically experimental visual albums, including 4 (2011), Beyoncé (2013), Lemonade (2016), and Renaissance (2022), all of which explored societal themes such as infidelity, feminism, womanism, escapism, and hedonism. She became the first solo artist to have their first seven studio albums debut at number one on the Billboard 200. Throughout her career, she has amassed multiple chart-topping singles worldwide, including "Crazy in Love", "Baby Boy", "Check on It", "Irreplaceable", "If I Were a Boy", "Halo", "Single Ladies", "Perfect Duet", "Savage" and "Break My Soul." Beyoncé's other music ventures included Everything Is Love (2018), a collaborative album with her husband, Jay-Z, as the Carters, and the musical film Black Is King (2020), inspired by the music of the film soundtrack The Lion King: The Gift (2019). She also starred in multiple films such as Austin Powers in Goldmember (2002), The Pink Panther (2006), Dreamgirls (2006), Cadillac Records (2008), Obsessed (2009), and The Lion King (2019). Having sold 200 million records worldwide, Beyoncé is one of the world's best-selling recording artists. Her accolades include 32 Grammy Awards, 26 MTV Video Music Awards (including the Michael Jackson Video Vanguard Award in 2014), 24 NAACP Image Awards, 31 BET Awards, and 17 Soul Train Music Awards, all of which are more than any other artist. With 31 career top-ten singles on the Billboard Hot 100 – including eight chart-toppers – she became the first female artist and third overall to achieve at least twenty as a solo artist and ten as a group member. Her success during the 2000s earned her recognition as the Recording Industry Association of America (RIAA)'s Top Certified Artist of the Decade and Billboard Top Female Artist of the Decade. In 2014, Billboard named her the highest-earning black musician of all time. She is the most successful black touring act in history. In 2020, Time magazine featured her among a list of 100 women who defined the last century. In 2023, Rolling Stone ranked her the eighth-greatest singer of all time. Life and career 1981–1996: Early life and career beginnings Beyonce Giselle Knowles was born on September 4, 1981, in Houston, Texas, to Celestine "Tina" Knowles (née Beyonce), a hairdresser and salon owner, and Mathew Knowles, a Xerox sales manager. Tina is Louisiana Creole, and Mathew is African American. Beyoncé's younger sister, Solange Knowles, is also a singer and a former backup dancer for Destiny's Child. Solange and Beyoncé are the first sisters to have both had number one solo albums. Beyoncé's maternal grandparents, Lumas Beyince, and Agnez Dereon (daughter of Odilia Broussard and Eugene DeRouen), were French-speaking Louisiana Creoles, with roots in New Iberia. Beyoncé is considered a Creole, passed on to her by her grandparents. Through her mother, Beyoncé is a descendant of many French aristocrats from the southwest of France, including the family of the Viscounts de Béarn since the 9th century, and the Viscounts de Belzunce. She is a descendant of Acadian militia officer Joseph Broussard, who was exiled to French Louisiana after the expulsion of the Acadians. Her fourth great-grandmother, Marie-Françoise Trahan, was born in 1774 in Bangor, located on Belle Île, France. Trahan was a daughter of Acadians who had taken refuge on Belle Île after the Acadian expulsion. The Estates of Brittany had divided the lands of Belle Île to distribute them among 78 other Acadian families and the already settled inhabitants. The Trahan family lived on Belle Île for over ten years before immigrating to Louisiana, where she married a Broussard descendant. Beyoncé researched her ancestry and discovered that she is descended from a slave owner who married his slave. Her mother is also of distant Jewish, Spanish, Chinese and Indonesian ancestry. Beyoncé was raised Catholic and attended St. Mary's Montessori School in Houston, where she enrolled in dance classes. Her singing was discovered when dance instructor Darlette Johnson began humming a song and she finished it, able to hit the high-pitched notes. Beyoncé's interest in music and performing continued after winning a school talent show at age seven, singing John Lennon's "Imagine" to beat 15/16-year-olds. In the fall of 1990, Beyoncé enrolled in Parker Elementary School, a music magnet school in Houston, where she would perform with the school's choir. She also attended the High School for the Performing and Visual Arts and later Alief Elsik High School. Beyoncé was also a member of the choir at St. John's United Methodist Church as a soloist for two years. When Beyoncé was eight, she met LaTavia Roberson at an audition for an all-girl entertainment group. They were placed into a group called Girl's Tyme with three other girls, and rapped and danced on the talent show circuit in Houston. After seeing the group, R&B producer Arne Frager brought them to his Northern California studio and placed them in Star Search, the largest talent show on national TV at the time. Girl's Tyme failed to win, and Beyoncé later said the song they performed was not good. In 1995, Beyoncé's father resigned from his job to manage the group. The move reduced Beyoncé's family's income by half, and her parents were forced to sell their house and cars and move into separated apartments. Mathew cut the original line-up to four and the group continued performing as an opening act for other established R&B girl groups. The girls auditioned before record labels and were finally signed to Elektra Records, moving to Atlanta Records briefly to work on their first recording, only to be cut by the company. This put further strain on the family, and Beyoncé's parents separated. On October 5, 1995, Dwayne Wiggins's Grass Roots Entertainment signed the group. In 1996, the girls began recording their debut album under an agreement with Sony Music, the Knowles family reunited, and shortly after, the group got a contract with Columbia Records with the assistance of Columbia talent scout Teresa LaBarbera Whites. 1997–2002: Destiny's Child The group changed their name to Destiny's Child in 1996, based upon a passage in the Book of Isaiah. In 1997, Destiny's Child released their major label debut song "Killing Time" on the soundtrack to the 1997 film Men in Black. In November, the group released their debut single and first major hit, "No, No, No". They released their self-titled debut album in February 1998, which established the group as a viable act in the music industry, with moderate sales and winning the group three Soul Train Lady of Soul Awards for Best R&B/Soul Album of the Year, Best R&B/Soul or Rap New Artist, and Best R&B/Soul Single for "No, No, No". The group released their Multi-Platinum second album The Writing's on the Wall in 1999. The record features some of the group's most widely known songs such as "Bills, Bills, Bills", the group's first number-one single, "Jumpin' Jumpin' and "Say My Name", which became their most successful song at the time, and would remain one of their signature songs. "Say My Name" won the Best R&B Performance by a Duo or Group with Vocals and the Best R&B Song at the 43rd Annual Grammy Awards. The Writing's on the Wall sold more than eight million copies worldwide. During this time, Beyoncé recorded a duet with Marc Nelson, an original member of Boyz II Men, on the song "After All Is Said and Done" for the soundtrack to the 1999 film, The Best Man. LeToya Luckett and Roberson became unhappy with Mathew's managing of the band and eventually were replaced by Farrah Franklin and Michelle Williams. Beyoncé experienced depression following the split with Luckett and Roberson after being publicly blamed by the media, critics, and blogs for its cause. Her long-standing boyfriend left her at this time. The depression was so severe it lasted for a couple of years, during which she occasionally kept herself in her bedroom for days and refused to eat anything. Beyoncé stated that she struggled to speak about her depression because Destiny's Child had just won their first Grammy Award, and she feared no one would take her seriously. Beyoncé would later speak of her mother as the person who helped her fight it. Franklin was then dismissed, leaving just Beyoncé, Rowland, and Williams. The remaining band members recorded "Independent Women Part I", which appeared on the soundtrack to the 2000 film Charlie's Angels. It became their best-charting single, topping the U.S. Billboard Hot 100 chart for eleven consecutive weeks. In early 2001, while Destiny's Child was completing their third album, Beyoncé landed a major role in the MTV made-for-television film, Carmen: A Hip Hopera, starring alongside American actor Mekhi Phifer. Set in Philadelphia, the film is a modern interpretation of the 19th-century opera Carmen by French composer Georges Bizet. When the third album Survivor was released in May 2001, Luckett and Roberson filed a lawsuit claiming that the songs were aimed at them. The album debuted at number one on the U.S. Billboard 200, with first-week sales of 663,000 copies sold. The album spawned other number-one hits, "Bootylicious" and the title track, "Survivor", the latter of which earned the group a Grammy Award for Best R&B Performance by a Duo or Group with Vocals. After releasing their holiday album 8 Days of Christmas in October 2001, the group announced a hiatus to further pursue solo careers. In July 2002, Beyoncé made her theatrical film debut, playing Foxxy Cleopatra alongside Mike Myers in the comedy film Austin Powers in Goldmember, which spent its first weekend atop the U.S. box office and grossed $73 million. Beyoncé released "Work It Out" as the lead single from its soundtrack album which entered the top ten in the UK, Norway, and Belgium. In 2003, Beyoncé starred opposite Cuba Gooding, Jr., in the musical comedy The Fighting Temptations as Lilly, a single mother with whom Gooding's character falls in love. The film received mixed reviews from critics but grossed $30 million in the U.S. Beyoncé released "Fighting Temptation" as the lead single from the film's soundtrack album, with Missy Elliott, MC Lyte, and Free which was also used to promote the film. Another of Beyoncé's contributions to the soundtrack, "Summertime", fared better on the U.S. charts. 2003–2005: Dangerously in Love and Destiny Fulfilled Beyoncé's first solo recording was a feature on Jay-Z's song '03 Bonnie & Clyde" that was released in October 2002, peaking at number four on the U.S. Billboard Hot 100 chart. On June 14, 2003, Beyoncé premiered songs from her first solo album Dangerously in Love during her first solo concert and the pay-per-view television special, "Ford Presents Beyoncé Knowles, Friends & Family, Live From Ford's 100th Anniversary Celebration in Dearborn, Michigan". The album was released on June 24, 2003, after Michelle Williams and Kelly Rowland had released their solo efforts. The album sold 317,000 copies in its first week, debuted atop the Billboard 200, and has since sold 11 million copies worldwide. The album's lead single, "Crazy in Love", featuring Jay-Z, became Beyoncé's first number-one single as a solo artist in the US. The single "Baby Boy" also reached number one, and singles, "Me, Myself and I" and "Naughty Girl", both reached the top-five. The album earned Beyoncé a then record-tying five awards at the 46th Annual Grammy Awards; Best Contemporary R&B Album, Best Female R&B Vocal Performance for "Dangerously in Love 2", Best R&B Song and Best Rap/Sung Collaboration for "Crazy in Love", and Best R&B Performance by a Duo or Group with Vocals for "The Closer I Get to You" with Luther Vandross. During the ceremony, she performed with Prince. In November 2003, she embarked on the Dangerously in Love Tour in Europe and later toured alongside Missy Elliott and Alicia Keys for the Verizon Ladies First Tour in North America. On February 1, 2004, Beyoncé performed the American national anthem at Super Bowl XXXVIII, at the Reliant Stadium in Houston, Texas. After the release of Dangerously in Love, Beyoncé had planned to produce a follow-up album using several of the left-over tracks. However, this was put on hold so she could concentrate on recording Destiny Fulfilled, the final studio album by Destiny's Child. Released on November 15, 2004, in the US and peaking at number two on the Billboard 200, Destiny Fulfilled included the singles "Lose My Breath" and "Soldier", which reached the top five on the Billboard Hot 100 chart. Destiny's Child embarked on a worldwide concert tour, Destiny Fulfilled... and Lovin' It sponsored by McDonald's Corporation, and performed hits such as "No, No, No", "Survivor", "Say My Name", "Independent Women" and "Lose My Breath". In addition to renditions of the group's recorded material, they also performed songs from each singer's solo careers, most notably numbers from Dangerously in Love. and during the last stop of their European tour, in Barcelona on June 11, 2005, Rowland announced that Destiny's Child would disband following the North American leg of the tour. The group released their first compilation album Number 1's on October 25, 2005, in the US and accepted a star on the Hollywood Walk of Fame in March 2006. The group has sold 60 million records worldwide. 2006–2007: B'Day and Dreamgirls Beyoncé's second solo album B'Day was released on September 4, 2006, in the US, to coincide with her twenty-fifth birthday. It sold 541,000 copies in its first week and debuted atop the Billboard 200, becoming Beyoncé's second consecutive number-one album in the United States. The album's lead single "Déjà Vu", featuring Jay-Z, reached the top five on the Billboard Hot 100 chart. The second international single "Irreplaceable" was a commercial success worldwide, reaching number one in Australia, Hungary, Ireland, New Zealand and the United States. B'Day also produced three other singles; "Ring the Alarm", "Get Me Bodied", and "Green Light" (released in the United Kingdom only). At the 49th Annual Grammy Awards (2007), B'Day was nominated for five Grammy Awards, including Best Contemporary R&B Album, Best Female R&B Vocal Performance for "Ring the Alarm" and Best R&B Song and Best Rap/Sung Collaboration"for "Déjà Vu"; the Freemasons club mix of "Déjà Vu" without the rap was put forward in the Best Remixed Recording, Non-Classical category. B'Day won the award for Best Contemporary R&B Album. The following year, B'Day received two nominations – for Record of the Year for "Irreplaceable" and Best Pop Collaboration with Vocals for "Beautiful Liar" (with Shakira), also receiving a nomination for Best Compilation Soundtrack Album for Motion Pictures, Television or Other Visual Media for her appearance on Dreamgirls: Music from the Motion Picture (2006). Her first acting role of 2006 was in the comedy film The Pink Panther starring opposite Steve Martin, grossing $158.8 million at the box office worldwide. Her second film Dreamgirls, the film version of the 1981 Broadway musical loosely based on The Supremes, received acclaim from critics and grossed $154 million internationally. In it, she starred opposite Jennifer Hudson, Jamie Foxx, and Eddie Murphy playing a pop singer based on Diana Ross. To promote the film, Beyoncé released "Listen" as the lead single from the soundtrack album. In April 2007, Beyoncé embarked on The Beyoncé Experience, her first worldwide concert tour, visiting 97 venues and grossed over $24 million. Beyoncé conducted pre-concert food donation drives during six major stops in conjunction with her pastor at St. John's and America's Second Harvest. At the same time, B'Day was re-released with five additional songs, including her duet with Shakira "Beautiful Liar". 2008–2010: I Am... Sasha Fierce I Am... Sasha Fierce was released on November 18, 2008, in the United States. The album formally introduces Beyoncé's alter ego Sasha Fierce, conceived during the making of her 2003 single "Crazy in Love". It was met with generally mediocre reviews from critics, but sold 482,000 copies in its first week, debuting atop the Billboard 200, and giving Beyoncé her third consecutive number-one album in the US. The album featured the number-one song "Single Ladies (Put a Ring on It)" and the top-five songs "If I Were a Boy" and "Halo". Achieving the accomplishment of becoming her longest-running Hot 100 single in her career, "Halos success in the U.S. helped Beyoncé attain more top-ten singles on the list than any other woman during the 2000s. It also included the successful "Sweet Dreams", and singles "Diva", "Ego", "Broken-Hearted Girl" and "Video Phone". The music video for "Single Ladies" has been parodied and imitated around the world, spawning the "first major dance craze" of the Internet age according to the Toronto Star. The video has won several awards, including Best Video at the 2009 MTV Europe Music Awards, the 2009 Scottish MOBO Awards, and the 2009 BET Awards. At the 2009 MTV Video Music Awards, the video was nominated for nine awards, ultimately winning three including Video of the Year. Its failure to win the Best Female Video category, which went to American singer-songwriter Taylor Swift's "You Belong with Me", led to Kanye West interrupting the ceremony and Beyoncé improvising a re-presentation of Swift's award during her own acceptance speech. In March 2009, Beyoncé embarked on the I Am... World Tour, her second headlining worldwide concert tour, consisting of 108 shows, grossing $119.5 million. Beyoncé further expanded her acting career, starring as blues singer Etta James in the 2008 musical biopic Cadillac Records. Her performance in the film received praise from critics, and she garnered several nominations for her portrayal of James, including a Satellite Award nomination for Best Supporting Actress, and a NAACP Image Award nomination for Outstanding Supporting Actress. Beyoncé donated her entire salary from the film to Phoenix House, an organization of rehabilitation centers for heroin addicts around the country. On January 20, 2009, Beyoncé performed James' "At Last" at First Couple Barack and Michelle Obama's first inaugural ball. Beyoncé starred opposite Ali Larter and Idris Elba in the thriller, Obsessed. She played Sharon Charles, a mother and wife whose family is threatened by her husband's stalker. Although the film received negative reviews from critics, the movie did well at the U.S. box office, grossing $68 million – $60 million more than Cadillac Records – on a budget of $20 million. The fight scene finale between Sharon and the character played by Ali Larter also won the 2010 MTV Movie Award for Best Fight. At the 52nd Annual Grammy Awards, Beyoncé received ten nominations, including Album of the Year for I Am... Sasha Fierce, Record of the Year for "Halo", and Song of the Year for "Single Ladies (Put a Ring on It)", among others. She tied with Lauryn Hill for most Grammy nominations in a single year by a female artist. Beyoncé went on to win six of those nominations, breaking a record she previously tied in 2004 for the most Grammy awards won in a single night by a female artist with six. In 2010, Beyoncé was featured on Lady Gaga's single "Telephone" and appeared in its music video. The song topped the U.S. Pop Songs chart, becoming the sixth number-one for both Beyoncé and Gaga, tying them with Mariah Carey for most number-ones since the Nielsen Top 40 airplay chart launched in 1992. "Telephone" received a Grammy Award nomination for Best Pop Collaboration with Vocals. Beyoncé announced a hiatus from her music career in January 2010, heeding her mother's advice, "to live life, to be inspired by things again". During the break she and her father parted ways as business partners. Beyoncé's musical break lasted nine months and saw her visit multiple European cities, the Great Wall of China, the Egyptian pyramids, Australia, English music festivals and various museums and ballet performances. 2011–2013: 4 and Super Bowl XLVII halftime show On June 26, 2011, she became the first solo female artist to headline the main Pyramid stage at the 2011 Glastonbury Festival in over twenty years. Her fourth studio album 4 was released two days later in the US. 4 sold 310,000 copies in its first week and debuted atop the Billboard 200 chart, giving Beyoncé her fourth consecutive number-one album in the US. The album was preceded by two of its singles "Run the World (Girls)" and "Best Thing I Never Had". The fourth single "Love on Top" spent seven consecutive weeks at number one on the Hot R&B/Hip-Hop Songs chart, while peaking at number 20 on the Billboard Hot 100, the highest peak from the album. 4 produced four other singles; "Party", "Countdown", "I Care" and "End of Time". "Eat, Play, Love", a cover story written by Beyoncé for Essence that detailed her 2010 career break, won her a writing award from the New York Association of Black Journalists. In late 2011, she took the stage at New York's Roseland Ballroom for four nights of special performances: the 4 Intimate Nights with Beyoncé concerts saw the performance of her 4 album to a standing room only. On August 1, 2011, the album was certified platinum by the Recording Industry Association of America (RIAA), having shipped 1 million copies to retail stores. By December 2015, it reached sales of 1.5 million copies in the US. The album reached one billion Spotify streams on February 5, 2018, making Beyoncé the first female artist to have three of their albums surpass one billion streams on the platform. In June 2012, she performed for four nights at Revel Atlantic City's Ovation Hall to celebrate the resort's opening, her first performances since giving birth to her daughter. In January 2013, Destiny's Child released Love Songs, a compilation album of the romance-themed songs from their previous albums and a newly recorded track, "Nuclear". Beyoncé performed the American national anthem singing along with a pre-recorded track at President Obama's second inauguration in Washington, D.C. The following month, Beyoncé performed at the Super Bowl XLVII halftime show, held at the Mercedes-Benz Superdome in New Orleans. The performance stands as the second most tweeted about moment in history at 268,000 tweets per minute. At the 55th Annual Grammy Awards, Beyoncé won for Best Traditional R&B Performance for "Love on Top". Her feature-length documentary film, Life Is But a Dream, first aired on HBO on February 16, 2013. The film was co-directed by Beyoncé herself. 2013–2015: Beyoncé Beyoncé embarked on The Mrs. Carter Show World Tour on April 15 in Belgrade, Serbia; the tour included 132 dates that ran through to March 2014. It became the most successful tour of her career and one of the most successful tours of all time. In May, Beyoncé's cover of Amy Winehouse's "Back to Black" with André 3000 on The Great Gatsby soundtrack was released. Beyoncé voiced Queen Tara in the 3D CGI animated film, Epic, released by 20th Century Fox on May 24, and recorded an original song for the film, "Rise Up", co-written with Sia. On December 13, 2013, Beyoncé unexpectedly released her eponymous fifth studio album on the iTunes Store without any prior announcement or promotion. The album debuted atop the Billboard 200 chart, giving Beyoncé her fifth consecutive number-one album in the US. This made her the first woman in the chart's history to have her first five studio albums debut at number one. Beyoncé received critical acclaim and commercial success, selling one million digital copies worldwide in six days; Musically an electro-R&B album, it concerns darker themes previously unexplored in her work, such as "bulimia, postnatal depression [and] the fears and insecurities of marriage and motherhood". The single "Drunk in Love", featuring Jay-Z, peaked at number two on the Billboard Hot 100 chart. In April 2014, Beyoncé and Jay-Z officially announced their On the Run Tour. It served as the couple's first co-headlining stadium tour together. On August 24, 2014, she received the Michael Jackson Video Vanguard Award at the 2014 MTV Video Music Awards. Beyoncé also won home three competitive awards: Best Video with a Social Message and Best Cinematography for "Pretty Hurts", as well as best collaboration for "Drunk in Love". In November, Forbes reported that Beyoncé was the top-earning woman in music for the second year in a row – earning $115 million in the year, more than double her earnings in 2013. Beyoncé was reissued with new material as part of a platinum edition box set. According to the International Federation of the Phonographic Industry (IFPI), in the last 19 days of 2013, the album sold 2.3 million units worldwide, becoming the tenth best-selling album of 2013. The album also went on to become the twentieth best-selling album of 2014. , Beyoncé has sold over 5 million copies worldwide and has generated over 1 billion streams, . At the 57th Annual Grammy Awards in February 2015, Beyoncé was nominated for six awards, ultimately winning three: Best R&B Performance and Best R&B Song for "Drunk in Love", and Best Surround Sound Album for Beyoncé. She was nominated for Album of the Year, but the award went to Beck for his album Morning Phase. 2016–2018: Lemonade and Everything Is Love On February 6, 2016, Beyoncé released "Formation" and its accompanying music video exclusively on the music streaming platform Tidal; the song was made available to download for free. She performed "Formation" live for the first time during the NFL Super Bowl 50 halftime show. The appearance was considered controversial as it appeared to reference the 50th anniversary of the Black Panther Party and the NFL forbids political statements in its performances. Immediately following the performance, Beyoncé announced The Formation World Tour, which highlighted stops in both North America and Europe. It ended on October 7, with Beyoncé bringing out her husband Jay-Z, Kendrick Lamar, and Serena Williams for the last show. The tour went on to win Tour of the Year at the 44th American Music Awards. In April 2016, Beyoncé released a teaser clip for a project called Lemonade. A one-hour film which aired on HBO on April 23, a corresponding album with the same title was released on the same day exclusively on Tidal. Lemonade debuted at number one on the U.S. Billboard 200, making Beyoncé the first act in Billboard history to have their first six studio albums debut atop the chart; she broke a record previously tied with DMX in 2013. With all 12 tracks of Lemonade debuting on the Billboard Hot 100 chart, Beyoncé also became the first female act to chart 12 or more songs at the same time. Lemonade was streamed 115 million times through Tidal, setting a record for the most-streamed album in a single week by a female artist in history. It was 2016's third highest-selling album in the U.S. with 1.554 million copies sold in that time period within the country as well as the best-selling album worldwide with global sales of 2.5 million throughout the year. In June 2019, Lemonade was certified 3× Platinum, having sold up to 3 million album-equivalent units in the United States alone. Lemonade became her most critically acclaimed work to date, receiving universal acclaim according to Metacritic, a website collecting reviews from professional music critics. Several music publications included the album among the best of 2016, including Rolling Stone, which listed Lemonade at number one. The album's visuals were nominated in 11 categories at the 2016 MTV Video Music Awards, the most ever received by Beyoncé in a single year, and went on to win 8 awards, including Video of the Year for "Formation". The eight wins made Beyoncé the most-awarded artist in the history of the VMAs (24), surpassing Madonna (20). Beyoncé occupied the sixth place for Time magazine's 2016 Person of the Year. In January 2017, it was announced that Beyoncé would headline the Coachella Music and Arts Festival. This would make Beyoncé only the second female headliner of the festival since it was founded in 1999. It was later announced on February 23, 2017, that Beyoncé would no longer be able to perform at the festival due to doctor's concerns regarding her pregnancy. The festival owners announced that she will instead headline the 2018 festival. Upon the announcement of Beyoncé's departure from the festival lineup, ticket prices dropped by 12%. At the 59th Grammy Awards in February 2017, Lemonade led the nominations with nine, including Album, Record, and Song of the Year for Lemonade and "Formation" respectively. and ultimately won two, Best Urban Contemporary Album for Lemonade and Best Music Video for "Formation". Adele, upon winning her Grammy for Album of the Year, stated Lemonade was monumental and more deserving. In September 2017, Beyoncé collaborated with J Balvin and Willy William, to release a remix of the song "Mi Gente". Beyoncé donated all proceeds from the song to hurricane charities for those affected by Hurricane Harvey and Hurricane Irma in Texas, Mexico, Puerto Rico, and other Caribbean Islands. On November 10, Eminem released "Walk on Water" featuring Beyoncé as the lead single from his album Revival. On November 30, Ed Sheeran announced that Beyoncé would feature on the remix to his song "Perfect". "Perfect Duet" was released on December 1, 2017. The song reached number-one in the United States, becoming Beyoncé's sixth song of her solo career to do so. On January 4, 2018, the music video of Beyoncé and Jay-Z's 4:44 collaboration, "Family Feud" was released. It was directed by Ava DuVernay. On March 1, 2018, DJ Khaled released "Top Off" as the first single from his forthcoming album Father of Asahd featuring Beyoncé, husband Jay-Z, and Future. On March 5, 2018, a joint tour with Knowles's husband Jay-Z, was leaked on Facebook. Information about the tour was later taken down. The couple announced the joint tour officially as On the Run II Tour on March 12 and simultaneously released a trailer for the tour on YouTube. On April 14, 2018, Beyoncé played the first of two weekends as the headlining act of the Coachella Music Festival. Her performance of April 14, attended by 125,000 festival-goers, was immediately praised, with multiple media outlets describing it as historic. The performance became the most-tweeted-about performance of weekend one, as well as the most-watched live Coachella performance and the most-watched live performance on YouTube of all time. The show paid tribute to black culture, specifically historically black colleges and universities and featured a live band with over 100 dancers. Destiny's Child also reunited during the show. On June 6, 2018, Beyoncé and husband Jay-Z kicked-off the On the Run II Tour in Cardiff, United Kingdom. Ten days later, at their final London performance, the pair unveiled Everything Is Love, their joint studio album, credited under the name The Carters, and initially available exclusively on Tidal. The pair also released the video for the album's lead single, "Apeshit", on Beyoncé's official YouTube channel. Everything Is Love received generally positive reviews, and debuted at number two on the U.S. Billboard 200, with 123,000 album-equivalent units, of which 70,000 were pure album sales. On December 2, 2018, Beyoncé alongside Jay-Z headlined the Global Citizen Festival: Mandela 100 which was held at FNB Stadium in Johannesburg, South Africa. Their 2-hour performance had concepts similar to the On the Run II Tour and Beyoncé was praised for her outfits, which paid tribute to Africa's diversity. 2019–2021: Homecoming, The Lion King and Black Is King Homecoming, a documentary and concert film focusing on Beyoncé's historic 2018 Coachella performances, was released by Netflix on April 17, 2019. The film was accompanied by the surprise live album Homecoming: The Live Album. It was later reported that Beyoncé and Netflix had signed a $60 million deal to produce three different projects, one of which is Homecoming. Homecoming received six nominations at the 71st Primetime Creative Arts Emmy Awards. Beyoncé starred as the voice of Nala in the remake The Lion King, which was released in July 2019. Beyoncé is featured on the film's soundtrack, released on July 11, 2019, with a remake of the song "Can You Feel the Love Tonight" alongside Donald Glover, Billy Eichner and Seth Rogen, which was originally composed by Elton John. An original song from the film by Beyoncé, "Spirit", was released as the lead single from both the soundtrack and The Lion King: The Gift – a companion album released alongside the film, produced and curated by Beyoncé. Beyoncé called The Lion King: The Gift a "sonic cinema". She stated that the album is influenced by everything from R&B, pop, hip hop and Afro Beat. The songs were produced by African producers, which Beyoncé said was because "authenticity and heart were important to [her]", since the film is set in Africa. In September of the same year, a documentary chronicling the development, production and early music video filming of The Lion King: The Gift entitled "Beyoncé Presents: Making The Gift" was aired on ABC. In April 2020, Beyoncé was featured on the remix of Megan Thee Stallion's song "Savage", marking her first material of music for the year. The song peaked at number one on the Billboard Hot 100, marking Beyoncé's eleventh song to do so across all acts. On June 19, 2020, Beyoncé released the nonprofit charity single "Black Parade". On June 23, she followed up the release of its studio version with an a cappella version exclusively on Tidal. Black Is King, a visual album based on the music of The Lion King: The Gift, premiered globally on Disney+ on July 31, 2020. Produced by Disney and Parkwood Entertainment, the film was written, directed and executive produced by Beyoncé. The film was described by Disney as "a celebratory memoir for the world on the Black experience". Beyoncé received the most nominations (9) at the 63rd Annual Grammy Awards and the most awards (4), which made her the most-awarded singer, most-awarded female artist, and second-most-awarded artist in Grammy history. Beyoncé wrote and recorded a song titled "Be Alive" for the biographical drama film King Richard. She received her first Academy Award nomination for Best Original Song at the 94th Academy Awards for the song, alongside co-writer DIXSON. 2022–present: Renaissance On June 9, 2022, Beyoncé removed her profile pictures across various social media platforms causing speculation that she would be releasing new music. Days later, Beyoncé caused further speculation via her nonprofit BeyGood's Twitter account hinting at her upcoming seventh studio album. On June 15, 2022, Beyoncé officially announced her seventh studio album, titled Renaissance. The album was released on July 29, 2022. The first single from Renaissance, "Break My Soul", was released on June 20, 2022. The song became Beyoncé's 20th top ten single on the Billboard Hot 100, and in doing so, Beyoncé joined Paul McCartney and Michael Jackson as the only artists in Hot 100 history to achieve at least twenty top tens as a solo artist and ten as a member of a group. Upon release, Renaissance received universal acclaim from critics. Renaissance debuted at number one on the Billboard 200 chart, and in doing so, Beyoncé became the first female artist to have her first seven studio albums debut at number one in the United States. "Break My Soul" concurrently rose to number 1 on the Billboard Hot 100, becoming the twelfth song to do so across her career discography. The song "Heated," which was co-written with Canadian rapper Drake, originally included the lyrics Spazzin' on that ass / spazz on that ass". Critics, including a number of disability charities and activists, argued that the word "spaz" represented a derogatory term for spastic diplegia, a form of cerebral palsy. In response, in August 2022, a representative for Beyoncé issued a statement and explained that "The word, not used intentionally in a harmful way, will be replaced". On January 21, 2023, Beyoncé performed in Dubai at a private show. The performance, which was her first full concert in more than four years, was delivered to an audience of influencers and journalists. Beyoncé was reportedly paid $24 million to perform. Beyoncé faced criticism for her decision to perform in the United Arab Emirates where homosexuality is illegal. On February 1, Beyoncé announced the Renaissance World Tour with dates in North America and Europe. Artistry Voice and musical style Beyoncé's voice type is classified as Coloratura mezzo-soprano. Jody Rosen highlights her tone and timbre as particularly distinctive, describing her voice as "one of the most compelling instruments in popular music". Her vocal abilities mean she is identified as the centerpiece of Destiny's Child. Jon Pareles of The New York Times commented that her voice is "velvety yet tart, with an insistent flutter and reserves of soul belting". Rosen notes that the hip hop era highly influenced Beyoncé's unique rhythmic vocal style, but also finds her quite traditionalist in her use of balladry, gospel and falsetto. Other critics praise her range and power, with Chris Richards of The Washington Post saying she was "capable of punctuating any beat with goose-bump-inducing whispers or full-bore diva-roars." On the 2023 Rolling Stones list of the 200 Greatest Singers of all time, Beyoncé ranked at number 8, with the publication noting that "in [her] voice lies the entire history of Black music". Beyoncé's music is generally R&B, pop and hip hop but she also incorporates soul and funk into her songs. 4 demonstrated Beyoncé's exploration of 1990s-style R&B, as well as further use of soul and hip hop than compared to previous releases. While she almost exclusively releases English songs, Beyoncé recorded several Spanish songs for Irreemplazable (re-recordings of songs from B'Day for a Spanish-language audience), and the re-release of B'Day. To record these, Beyoncé was coached phonetically by American record producer Rudy Perez. Songwriting Beyoncé has received co-writing credits for most of her songs. In regards to the way she approaches collaborative songwriting, Beyoncé explained: "I love being around great writers because I'm finding that a lot of the things I want to say, I don't articulate as good as maybe Amanda Ghost, so I want to keep collaborating with writers, and I love classics and I want to make sure years from now the song is still something that's relevant." Her early songs with Destiny's Child were personally driven and female-empowerment themed compositions like "Independent Women" and "Survivor", but after the start of her relationship with Jay-Z, she transitioned to more man-tending anthems such as "Cater 2 U". Beyoncé's songwriting process is also notorious for combining parts of different tracks, resulting in alteration of song structures. Sia, who co-wrote "Pretty Hurts", called Beyoncé "very Frankenstein when she comes to songs"; Diana Gordon, who co-wrote "Don't Hurt Yourself" called her a "scientist of songs"; Caroline Polachek who co-wrote "No Angel", called her a "genius writer and producer for this reason. She's so good at seeing connections." In 2001, she became the first Black woman and second female lyricist to win the Pop Songwriter of the Year award at the ASCAP Pop Music Awards. Beyoncé was the third woman to have writing credits on three number-one songs ("Irreplaceable", "Grillz" and "Check on It") in the same year, after Carole King in 1971 and Mariah Carey in 1991. She is tied with American lyricist Diane Warren at third with nine songwriting credits on number-one singles. The latter wrote her 9/11-motivated song "I Was Here" for 4. In May 2011, Billboard magazine listed Beyoncé at number 17 on their list of the Top 20 Hot 100 Songwriters for having co-written eight singles that hit number one on the Billboard Hot 100 chart. She was one of only three women on that list, along with Alicia Keys and Taylor Swift. Influences Beyoncé names Michael Jackson as her major musical influence. Aged five, Beyoncé attended her first ever concert where Jackson performed and she claims to have realized her purpose. When she presented him with a tribute award at the World Music Awards in 2006, Beyoncé said, "if it wasn't for Michael Jackson, I would never ever have performed." Beyoncé was heavily influenced by Tina Turner, who she said "Tina Turner is someone that I admire, because she made her strength feminine and sexy". She admires Diana Ross as an "all-around entertainer", and Whitney Houston, who she said "inspired me to get up there and do what she did." Beyoncé cited Madonna as an influence "not only for her musical style, but also for her business sense", saying that she wanted to "follow in the footsteps of Madonna and be a powerhouse and have my own empire." She also credits Mariah Carey's singing and her song "Vision of Love" as influencing her to begin practicing vocal runs as a child. Her other musical influences include Rachelle Ferrell, Aaliyah, Janet Jackson, Prince, Shakira, Lauryn Hill, Sade Adu, Donna Summer, Mary J. Blige, Anita Baker, and Toni Braxton. The feminism and female empowerment themes on Beyoncé's second solo album B'Day were inspired by her role in Dreamgirls and by singer Josephine Baker. Beyoncé paid homage to Baker by performing "Déjà Vu" at the 2006 Fashion Rocks concert wearing Baker's trademark mini-hula skirt embellished with fake bananas. Beyoncé's third solo album, I Am... Sasha Fierce, was inspired by Jay-Z and especially by Etta James, whose "boldness" inspired Beyoncé to explore other musical genres and styles. Her fourth solo album, 4, was inspired by Fela Kuti, 1990s R&B, Earth, Wind & Fire, DeBarge, Lionel Richie, Teena Marie, The Jackson 5, New Edition, Adele, Florence and the Machine, and Prince. Beyoncé has stated that she is personally inspired by Michelle Obama (the 44th First Lady of the United States), saying "she proves you can do it all", and has described Oprah Winfrey as "the definition of inspiration and a strong woman." She has also discussed how Jay-Z is a continuing inspiration to her, both with what she describes as his lyrical genius and in the obstacles he has overcome in his life. Beyoncé has expressed admiration for the artist Jean-Michel Basquiat, posting in a letter "what I find in the work of Jean-Michel Basquiat, I search for in every day in music ... he is lyrical and raw". Beyoncé also cited Cher as a fashion inspiration. Music videos and stage In 2006, Beyoncé introduced her all-female tour band Suga Mama (also the name of a song on B'Day) which includes bassists, drummers, guitarists, horn players, keyboardists and percussionists. Her background singers, The Mamas, consist of Montina Cooper-Donnell, Crystal Collins and Tiffany Moniqué Riddick. They made their debut appearance at the 2006 BET Awards and re-appeared in the music videos for "Irreplaceable" and "Green Light". The band have supported Beyoncé in most subsequent live performances, including her 2007 concert tour The Beyoncé Experience, I Am... World Tour (2009–2010), The Mrs. Carter Show World Tour (2013–2014) and The Formation World Tour (2016). Beyoncé has received praise for her stage presence and voice during live performances. Jarett Wieselman of the New York Post placed her at number one on her list of the Five Best Singer/Dancers. According to Barbara Ellen of The Guardian Beyoncé is the most in-charge female artist she's seen onstage, while Alice Jones of The Independent wrote she "takes her role as entertainer so seriously she's almost too good." The ex-President of Def Jam L.A. Reid has described Beyoncé as the greatest entertainer alive. Jim Farber of the Daily News and Stephanie Classen of The StarPhoenix both praised her strong voice and her stage presence. Beyoncé's stage outfits have been met with criticism from many countries, such as Malaysia, where she has postponed or cancelled performances due to the country's strict laws banning revealing costumes. Beyoncé has worked with numerous directors for her music videos throughout her career, including Melina Matsoukas, Jonas Åkerlund, and Jake Nava. Bill Condon, director of Beauty and the Beast, stated that the Lemonade visuals in particular served as inspiration for his film, commenting, "You look at Beyoncé's brilliant movie Lemonade, this genre is taking on so many different forms ... I do think that this very old-school break-out-into-song traditional musical is something that people understand again and really want." Alter ego Described as being "sexy, seductive and provocative" when performing on stage, Beyoncé has said that she originally created the alter ego "Sasha Fierce" to keep that stage persona separate from who she really is. She described Sasha as being "too aggressive, too strong, too sassy [and] too sexy", stating, "I'm not like her in real life at all." Sasha was conceived during the making of "Crazy in Love", and Beyoncé introduced her with the release of her 2008 album, I Am... Sasha Fierce. In February 2010, she announced in an interview with Allure magazine that she was comfortable enough with herself to no longer need Sasha Fierce. However, Beyoncé announced in May 2012 that she would bring her back for her Revel Presents: Beyoncé Live shows later that month. Public image Beyoncé has been described as having a wide-ranging sex appeal, with music journalist Touré writing that since the release of Dangerously in Love, she has "become a crossover sex symbol". Offstage Beyoncé says that while she likes to dress sexily, her onstage dress "is absolutely for the stage". Due to her curves and the term's catchiness, in the 2000s, the media often used the term "bootylicious" (a portmanteau of the words "booty" and "delicious") to describe Beyoncé, the term popularized by Destiny's Child's single of the same name. In 2006, it was added to the Oxford English Dictionary. In September 2010, Beyoncé made her runway modelling debut at Tom Ford's Spring/Summer 2011 fashion show. She was named the "World's Most Beautiful Woman" by People and the "Hottest Female Singer of All Time" by Complex in 2012. In January 2013, GQ placed her on its cover, featuring her atop its "100 Sexiest Women of the 21st Century" list. VH1 listed her at number 1 on its 100 Sexiest Artists list. Several wax figures of Beyoncé are found at Madame Tussauds Wax Museums in major cities around the world, including New York, Washington, D.C., Amsterdam, Bangkok, Hollywood and Sydney. According to Italian fashion designer Roberto Cavalli, Beyoncé uses different fashion styles to work with her music while performing. Her mother co-wrote a book, published in 2002, titled Destiny's Style, an account of how fashion affected the trio's success. The B'Day Anthology Video Album showed many instances of fashion-oriented footage, depicting classic to contemporary wardrobe styles. In 2007, Beyoncé was featured on the cover of the Sports Illustrated Swimsuit Issue, becoming the second African American woman after Tyra Banks, and People magazine recognized Beyoncé as the best-dressed celebrity. Beyoncé has been named "Queen Bey" from publications over the years. The term is a reference to the common phrase "queen bee", a term used for the leader of a group of females. The nickname also refers to the queen of a beehive, with her fan base being named "The BeyHive". The BeyHive was previously titled "The Beyontourage", (a portmanteau of Beyoncé and entourage), but was changed after online petitions on Twitter and online news reports during competitions. In 2006, the animal rights organization People for the Ethical Treatment of Animals (PETA), criticized Beyoncé for wearing and using fur in her clothing line House of Deréon. In 2011, she appeared on the cover of French fashion magazine L'Officiel, in "blackface" and tribal makeup that drew criticism from the media. A statement released from a spokesperson for the magazine said that Beyoncé's look was "far from the glamorous Sasha Fierce" and that it was "a return to her African roots". Beyoncé's lighter skin color and costuming has drawn criticism from some in the African-American community. Emmett Price, a professor of music at Northeastern University, wrote in 2007 that he thinks race plays a role in many of these criticisms, saying white celebrities who dress similarly do not attract as many comments. In 2008, L'Oréal was accused of whitening her skin in their Feria hair color advertisements, responding that "it is categorically untrue", and in 2013, Beyoncé herself criticized H&M for their proposed "retouching" of promotional images of her, and according to Vogue requested that only "natural pictures be used". Beyoncé has been a vocal advocate for the Black Lives Matter movement. The release of "Formation" on February 6, 2016, saw her celebrate her heritage, with the song's music video featuring pro-black imagery and most notably a shot of wall graffiti that says "Stop shooting us". The day after the song's release she performed it at the 2016 Super Bowl halftime show with back up dancers dressed to represent the Black Panther Party. This incited criticism from politicians and police officers, with some police boycotting Beyoncé's then upcoming Formation World Tour. Beyoncé responded to the backlash by releasing tour merchandise that said "Boycott Beyoncé", and later clarified her sentiment, saying: "Anyone who perceives my message as anti-police is completely mistaken. I have so much admiration and respect for officers and the families of officers who sacrifice themselves to keep us safe," Beyoncé said. "But let's be clear: I am against police brutality and injustice. Those are two separate things." Personal life Marriage and children In 2002, Beyoncé and Jay-Z collaborated on the song "'03 Bonnie & Clyde", which appeared on his seventh album The Blueprint 2: The Gift & The Curse (2002). Beyoncé appeared as Jay-Z's girlfriend in the music video for the song, fueling speculation about their relationship. On April 4, 2008, Beyoncé and Jay-Z married without publicity. , the couple had sold a combined 300 million records together. They are known for their private relationship, although they have appeared to become more relaxed since 2013. Both have acknowledged difficulty that arose in their marriage after Jay-Z had an affair. Beyoncé miscarried around 2010 or 2011, describing it as "the saddest thing" she had ever endured. She returned to the studio and wrote music to cope with the loss. In April 2011, Beyoncé and Jay-Z traveled to Paris to shoot the album cover for 4, and she unexpectedly became pregnant in Paris. In August, the couple attended the 2011 MTV Video Music Awards, at which Beyoncé performed "Love on Top" and ended the performance by revealing she was pregnant. Her appearance helped that year's MTV Video Music Awards become the most-watched broadcast in MTV history, pulling in 12.4 million viewers; the announcement was listed in Guinness World Records for "most tweets per second recorded for a single event" on Twitter, receiving 8,868 tweets per second and "Beyonce pregnant" was the most Googled phrase the week of August 29, 2011. On January 7, 2012, Beyoncé gave birth to a daughter, Blue Ivy, at Lenox Hill Hospital in New York City. Following the release of Lemonade, which included the single "Sorry", in 2016, speculations arose about Jay-Z's alleged infidelity with a mistress referred to as "Becky". Jon Pareles in The New York Times pointed out that many of the accusations were "aimed specifically and recognizably" at him. Similarly, Rob Sheffield of Rolling Stone magazine noted the lines "Suck on my balls, I've had enough" were an "unmistakable hint" that the lyrics revolve around Jay-Z. On February 1, 2017, she revealed on her Instagram account that she was expecting twins. Her announcement gained over 6.3 million likes within eight hours, breaking the world record for the most liked image on the website at the time. On July 13, 2017, Beyoncé uploaded the first image of herself and the twins onto her Instagram account, confirming their birth date as a month prior, on June 13, 2017, with the post becoming the second most liked on Instagram, behind her own pregnancy announcement. The twins, a daughter named Rumi and a son named Sir, were born at Ronald Reagan UCLA Medical Center in California. She wrote of her pregnancy and its aftermath in the September 2018 issue of Vogue, in which she had full control of the cover, shot at Hammerwood Park by photographer Tyler Mitchell. Activism Beyoncé performed "America the Beautiful" at President Barack Obama's 2009 presidential inauguration, as well as "At Last" during the first inaugural dance at the Neighborhood Ball two days later. The couple held a fundraiser at Jay-Z's 40/40 Club in Manhattan for President Obama's 2012 presidential campaign which raised $4 million. Beyoncé voted for Obama in the 2012 presidential election. She performed the American national anthem "The Star-Spangled Banner" at his second inauguration in January 2013. The Washington Post reported in May 2015, that Beyoncé attended a major celebrity fundraiser for 2016 presidential nominee Hillary Clinton. She also headlined for Clinton in a concert held the weekend before Election Day the next year. In this performance, Beyoncé and her entourage of backup dancers wore pantsuits; a clear allusion to Clinton's frequent dress-of-choice. The backup dancers also wore "I'm with her" tee shirts, the campaign slogan for Clinton. In a brief speech at this performance Beyoncé said, "I want my daughter to grow up seeing a woman lead our country and knowing that her possibilities are limitless." She endorsed the bid of Beto O'Rourke during the 2018 United States Senate election in Texas. In 2013, Beyoncé stated in an interview in Vogue that she considered herself to be "a modern-day feminist". She would later align herself more publicly with the movement, sampling "We should all be feminists", a speech delivered by Nigerian author Chimamanda Ngozi Adichie at a TEDx talk in April 2013, in her song "Flawless", released later that year. The next year she performed live at the MTV Video Awards in front a giant backdrop reading "Feminist". Her self-identification incited a circulation of opinions and debate about whether her feminism is aligned with older, more established feminist ideals. Annie Lennox, celebrated artist and feminist advocate, referred to Beyoncé's use of her word feminist as 'feminist lite'. bell hooks critiqued Beyoncé, referring to her as a "terrorist" towards feminism, harmfully impacting her audience of young girls. Adichie responded with "her type of feminism is not mine, as it is the kind that, at the same time, gives quite a lot of space to the necessity of men." Adichie expands upon what "feminist lite" means to her, referring that "more troubling is the idea, in Feminism Lite, that men are naturally superior but should be expected to 'treat women well'" and "we judge powerful women more harshly than we judge powerful men. And Feminism Lite enables this." Beyoncé responded about her intent by utilizing the definition of feminist with her platform was to "give clarity to the true meaning" behind it. She says to understand what being a feminist is, "it's very simple. It's someone who believes in equal rights for men and women." She advocated to provide equal opportunities for young boys and girls, men and women must begin to understand the double standards that remain persistent in our societies and the issue must be illuminated in effort to start making changes. She has also contributed to the Ban Bossy campaign, which uses TV and social media to encourage leadership in girls. Following Beyoncé's public identification as a feminist, the sexualized nature of her performances and the fact that she championed her marriage was questioned. In December 2012, Beyoncé along with a variety of other celebrities teamed up and produced a video campaign for "Demand A Plan", a bipartisan effort by a group of 950 U.S. mayors and others designed to influence the federal government into rethinking its gun control laws, following the Sandy Hook Elementary School shooting. Beyoncé publicly endorsed same-sex marriage on March 26, 2013, after the Supreme Court debate on California's Proposition 8. She spoke against North Carolina's Public Facilities Privacy & Security Act, a bill passed (and later repealed) that discriminated against the LGBT community in public places in a statement during her concert in Raleigh as part of the Formation World Tour in 2016. She has condemned police brutality against black Americans. She and Jay-Z attended a rally in 2013 in response to the acquittal of George Zimmerman for the killing of Trayvon Martin. The film for her sixth album Lemonade included the mothers of Trayvon Martin, Michael Brown and Eric Garner, holding pictures of their sons in the video for "Freedom". In a 2016 interview with Elle, Beyoncé responded to the controversy surrounding her song "Formation" which was perceived to be critical of the police. She clarified, "I am against police brutality and injustice. Those are two separate things. If celebrating my roots and culture during Black History Month made anyone uncomfortable, those feelings were there long before a video and long before me". In February 2017, Beyoncé spoke out against the withdrawal of protections for transgender students in public schools by Donald Trump's presidential administration. Posting a link to the 100 Days of Kindness campaign on her Facebook page, Beyoncé voiced her support for transgender youth and joined a roster of celebrities who spoke out against Trump's decision. In November 2017, Beyoncé presented Colin Kaepernick with the 2017 Sports Illustrated Muhammad Ali Legacy Award, stating, "Thank you for your selfless heart and your conviction, thank you for your personal sacrifice", and that "Colin took action with no fear of consequence ... To change perception, to change the way we treat each other, especially people of color. We're still waiting for the world to catch up." Muhammad Ali was heavily penalized in his career for protesting the status quo of US civil rights through opposition to the Vietnam War, by refusing to serve in the military. 40 years later, Kaepernick had already lost one professional year due to taking a much quieter and legal stand "for people that are oppressed". Wealth Forbes magazine began reporting on Beyoncé's earnings in 2008, calculating that the $80 million earned between June 2007 to June 2008, for her music, tour, films and clothing line made her the world's best-paid music personality at the time, above Madonna and Celine Dion. It placed her fourth on the Celebrity 100 list in 2009 and ninth on the "Most Powerful Women in the World" list in 2010. The following year, the magazine placed her eighth on the "Best-Paid Celebrities Under 30" list, having earned $35 million in the past year for her clothing line and endorsement deals. In 2012, Forbes placed Beyoncé at number 16 on the Celebrity 100 list, twelve places lower than three years ago yet still having earned $40 million in the past year for her album 4, clothing line and endorsement deals. In 2012, Beyoncé and Jay-Z placed at number one on the "World's Highest-Paid Celebrity Couples", for collectively earning $78 million. The couple made it into the previous year's Guinness World Records as the "highest-earning power couple" for collectively earning $122 million in 2009. For the years 2009 to 2011, Beyoncé earned an average of $70 million per year, and earned $40 million in 2012. In 2013, Beyoncé's endorsements of Pepsi and H&M made her and Jay-Z the world's first billion dollar couple in the music industry. That year, Beyoncé was published as the fourth most-powerful celebrity in the Forbes rankings. MTV estimated that by the end of 2014, Beyoncé would become the highest-paid Black musician in history; this became the case in April 2014. In June 2014, Beyoncé ranked at number one on the Forbes Celebrity 100 list, earning an estimated $115 million throughout June 2013 – June 2014. This in turn was the first time she had topped the Celebrity 100 list as well as being her highest yearly earnings to date. In 2016, Beyoncé ranked at number 34 on the Celebrity 100 list with earnings of $54 million. She and Jay-Z also topped the highest paid celebrity couple list, with combined earnings of $107.5 million. , Forbes calculated her net worth to be $355 million, and in June of the same year, ranked her as the 35th highest earning celebrity with annual earnings of $60 million. This tied Beyoncé with Madonna as the only two female artists to earn more than $100 million within a single year twice. As a couple, Beyoncé and Jay-Z have a combined net worth of $1.16 billion. In July 2017, Billboard announced that Beyoncé was the highest paid musician of 2016, with an estimated total of $62.1 million. In 2023 the couple bought 27712 Pacific Coast Highway, a house in Malibu, California designed by the architect Tadao Ando, for $200 million. It established a record for the most expensive residence sold in California. Legacy Beyoncé's success has led to her becoming a cultural icon and earning her the nickname "Queen Bey". Constance Grady wrote for Vox, "The transformation of Beyoncé from well-liked pop star to cultural icon came in three phases, punctuated by the self-titled Beyoncé album of 2013, 2016's Lemonade, and 2018's Homecoming concert at Coachella." In The New Yorker, music critic Jody Rosen described Beyoncé as "the most important and compelling popular musician of the twenty-first century ... the result, the logical end point, of a century-plus of pop." She topped NPR list of the "21st Century's Most Influential Women Musicians". James Clear, in his book Atomic Habits (2018), draws a parallel between Beyoncé's success and the dramatic transformations in modern society: "In the last one hundred years, we have seen the rise of the car, the airplane, the television, the personal computer, the internet, the smartphone, and Beyoncé." The Observer named her Artist of the Decade (2000s) in 2009. Writing for Entertainment Weekly, Alex Suskind noticed how Beyoncé was the decade's (2010s) defining pop star, stating that "no one dominated music in the 2010s like Queen Bey", explaining that her "songs, album rollouts, stage presence, social justice initiatives, and disruptive public relations strategy have influenced the way we've viewed music since 2010." British publication NME also shared similar thoughts on her impact in the 2010s, including Beyoncé on their list of the "10 Artists Who Defined The Decade". In 2018, Rolling Stone included her on its Millennial 100 list. Music critics have often credited Beyoncé with the invention of the staccato rap-singing style that has since dominated pop, R&B, and rap music. Lakin Starling of The Fader wrote that Beyoncé's innovative implementation of the delivery style on Destiny's Child's 1999 album The Writing's on the Wall invented a new form of R&B. Beyoncé's new style subsequently changed the nature of music, revolutionizing both singing in urban music and rapping in pop music, and becoming the dominant sound of both genres. The style helped to redefine both the breadth of commercial R&B and the sound of hip hop, with artists such as Kanye West and Drake implementing Beyoncé's cadence in the late 2000s and early 2010s. The staccato rap-singing style continued to be used in the music industry in the late 2010s and early 2020s; Aaron Williams of Uproxx described Beyoncé as the "primary pioneer" of the rapping style that dominates the music industry today, with many contemporary rappers implementing Beyoncé's rap-singing. Michael Eric Dyson agrees, saying that Beyoncé "changed the whole genre" and has become the "godmother" of mumble rappers, who use the staccato rap-singing cadence. Dyson added: "She doesn't get credit for the remarkable way in which she changed the musical vocabulary of contemporary art." Beyoncé has been credited with reviving the album as an art form in an era dominated by singles and streaming. This started with her 2011 album 4; while mainstream R&B artists were forgoing albums-led R&B in favor of singles-led EDM, Beyoncé aimed to place the focus back on albums as an art form and re-establish R&B as a mainstream concern. This remained a focus of Beyoncé's, and in 2013, she made her eponymous album only available to purchase as a full album on iTunes, rather than being able to purchase individual tracks or consume the album via streaming. Kaitlin Menza of Marie Claire wrote that this made listeners "experience the album as one whole sonic experience, the way people used to, noting the musical and lyrical themes". Jamieson Cox for The Verge described how Beyoncé's 2013 album initiated a gradual trend of albums becoming more cohesive and self-referential, and this phenomenon reached its endpoint with Lemonade, which set "a new standard for pop storytelling at the highest possible scale". Megan Carpentier of The Guardian wrote that with Lemonade, Beyoncé has "almost revived the album format" by releasing an album that can only be listened to in its entirety. Myf Warhurst on Double J's "Lunch With Myf" explained that while most artists' albums consist of a few singles plus filler songs, Beyoncé "brought the album back", changing the art form of the album "to a narrative with an arc and a story and you have to listen to the entire thing to get the concept". She is known for coining popular phrases such as "put a ring on it", a euphemism for marriage proposal, "I woke up like this", which started a trend of posting morning selfies with the hashtag #iwokeuplikethis, and "boy, bye", which was used as part of the Democratic National Committee's campaign for the 2020 election. Similarly, she also came up with the phrase "visual album" following the release of her fifth studio album, which had a video for every song. This has been recreated by many other artists since, such as Frank Ocean and Melanie Martinez. The album also popularized surprise releases, with many artists releasing songs, videos or albums with no prior announcement, such as Taylor Swift, Nicki Minaj, Eminem, Frank Ocean, Jay-Z and Drake. In January 2012, research scientist Bryan Lessard named Scaptia beyonceae, a species of horse-fly found in Northern Queensland, Australia after Beyoncé due to the fly's unique golden hairs on its abdomen. Influence on other artists Various recording artists and celebrities have cited Beyoncé as their influence. Lady Gaga explained how Beyoncé gave her the determination to become a musician, recalling seeing her in Destiny's Child music video and saying: "Oh, she's a star. I want that." Rihanna was inspired to start her singing career after watching Beyoncé, telling etalk that after Beyoncé released Dangerously In Love (2003), "I was like 'wow, I want to be just like that.' She's huge and just an inspiration." Lizzo was first inspired by Beyoncé to start singing after watching her perform at a Destiny's Child concert, and she also taught herself to sing by copying Beyoncé's B'Day (2006). Ariana Grande said she learned to sing by mimicking Beyoncé. Adele cited Beyoncé as her inspiration and favorite artist, telling Vogue: "She's been a huge and constant part of my life as an artist since I was about ten or eleven ... I think she's inspiring. She's beautiful. She's ridiculously talented, and she is one of the kindest people I've ever met ... She makes me want to do things with my life." Both Paul McCartney and Garth Brooks said they watch Beyoncé's performances to get inspiration for their shows, with Brooks saying that when watching one of her performances, "take out your notebook and take notes. No matter how long you've been on the stage – take notes on that one." Beyoncé has also been cited as an influence by various other mainstream artists. Achievements Beyoncé has received numerous awards and is the most-awarded female artist of all time. Having sold over 200 million records worldwide (a further 60 million additionally with Destiny's Child), Beyoncé is one of the best-selling music artists of all time. The Recording Industry Association of America (RIAA) listed Beyoncé as the top certified artist of the 2000s decade, with a total of 64 certifications. Her songs "Single Ladies (Put a Ring on It)", "Halo", and "Irreplaceable" are some of the best-selling singles of all time worldwide. In 2009, Billboard named her the Top Female Artist and Top Radio Songs Artist of the Decade. In 2010, Billboard named her in their Top 50 R&B/Hip-Hop Artists of the Past 25 Years list at number 15. In 2012, VH1 ranked her third on their list of the "100 Greatest Women in Music", behind Mariah Carey and Madonna. In 2002, she received Songwriter of the Year from American Society of Composers, Authors and Publishers becoming the First African American woman to win the award. In 2004 and 2019, she received NAACP Image Award for Entertainer of the Year and the Soul Train Music Award for Sammy Davis Jr. – Entertainer of the Year. In 2005, she also received APEX Award at the Trumpet Award honoring the achievements of Black African Americans. In 2007, Beyoncé received the International Artist of Excellence award by the American Music Awards. She also received Honorary Otto at the Bravo Otto. The following year, she received the Legend Award for Outstanding Contribution to the Arts at the World Music Awards and Career Achievement Award at the LOS40 Music Awards. In 2010, she received the Award of Honor for Artist of the Decade at the NRJ Music Award. At the 2011 Billboard Music Awards, Beyoncé received the inaugural Billboard Millennium Award. Beyoncé received the Michael Jackson Video Vanguard Award at the 2014 MTV Video Music Awards and was honored as Honorary Mother of the Year at the Australian Mother of the Year Award in Barnardo's Australia for her Humanitarian Effort in the region and the Council of Fashion Designers of America Fashion Icon Award in 2016. In 2019, alongside Jay-Z, she received GLAAD Vanguard Award which is presented to a member of the entertainment community who does not identify as LGBT but who has made a significant difference in promoting equal rights for LGBT people. In 2020, she was awarded the BET Humanitarian Award. Consequence of Sound named her the 30th best singer of all time. Beyoncé has won 32 Grammy Awards, both as a solo artist and member of Destiny's Child and The Carters, making her the most honored singer, male or female, by the Grammys. She is also the most nominated artist in Grammy Award history with a total of 88 nominations. "Single Ladies (Put a Ring on It)" won Song of the Year in 2010 while "Say My Name", "Crazy in Love" and "Drunk in Love" have each won Best R&B Song. Dangerously in Love, B'Day and I Am... Sasha Fierce have won Best Contemporary R&B Album, while Lemonade has won Best Urban Contemporary Album. Beyoncé set the record for the most Grammy awards won by a female artist in one night in 2010 when she won six awards, breaking the tie she previously held with Alicia Keys, Norah Jones, Alison Krauss, and Amy Winehouse, with Adele equaling this in 2012. Beyoncé has won 29 MTV Video Music Awards, making her the most-awarded artist in Video Music Award history. She won two awards each with The Carters and Destiny's Child making her lifetime total of 29 VMAs. "Single Ladies (Put a Ring on It)" and "Formation" won Video of the Year in 2009 and 2016 respectively. Beyoncé tied the record set by Lady Gaga in 2010 for the most VMAs won in one night for a female artist with eight in 2016. She is also the most-awarded and nominated artist in BET Award history, winning 29 awards from a total of 60 nominations, the most-awarded person at the Soul Train Music Awards with 17 awards as a solo artist, and the most-awarded person at the NAACP Image Awards with 24 awards as a solo artist. Additionally, Beyoncé is the most-awarded artist at the NAACP Image Awards with 22 awards, the BET Awards with 32 awards, and the Soul Train Music Awards with 21 awards. Following her role in Dreamgirls, Beyoncé was nominated for Best Original Song for "Listen" and Best Actress at the Golden Globe Awards, and Outstanding Actress in a Motion Picture at the NAACP Image Awards. Beyoncé won two awards at the Broadcast Film Critics Association Awards 2006; Best Song for "Listen" and Best Original Soundtrack for Dreamgirls: Music from the Motion Picture. According to Fuse in 2014, Beyoncé is the second-most award-winning artist of all time, after Michael Jackson. Lemonade won a Peabody Award in 2017. In 2022, "Be Alive" was nominated for the Academy Award for Best Original Song, the Critics' Choice Movie Award for Best Song, and the Golden Globe Award for Best Original Song. She was named on the 2016 BBC Radio 4 Woman's Hour Power List as one of seven women judged to have had the biggest impact on women's lives over the past 70 years, alongside Margaret Thatcher, Barbara Castle, Helen Brook, Germaine Greer, Jayaben Desai and Bridget Jones, She was named the Most Powerful Woman in Music on the same list in 2020. In the same year, Billboard named her with Destiny's Child the third Greatest Music Video artists of all time, behind Madonna and Michael Jackson. On June 16, 2021, Beyoncé was among several celebrities at the Pollstar Awards where she won the award of "top touring artist" of the decade (2010s). On June 17, 2021, Beyoncé was inducted into the Black Music & Entertainment Walk of Fame as a member of the inaugural class. Business and ventures In 2010, Beyoncé founded her own entertainment company Parkwood Entertainment which formed as an imprint based from Columbia Records, the company began as a production unit for videos and films in 2008. Parkwood Entertainment is named after a street in Houston, Texas where Beyoncé once lived. With headquarters in New York City, the company serves as an umbrella for the entertainer's various brands in music, movies, videos, and fashion. The staff of Parkwood Entertainment have experiences in arts and entertainment, from filmmaking and video production to web and fashion design. In addition to departments in marketing, digital, creative, publicity, fashion design and merchandising, the company houses a state-of-the-art editing suite, where Beyoncé works on content for her worldwide tours, music videos, and television specials. Parkwood Entertainment's first production was the musical biopic Cadillac Records (2008), in which Beyoncé starred and co-produced. The company has distributed Beyoncé's albums such as her self-titled fifth studio album (2013), Lemonade (2016) and The Carters, Everything is Love (2018). Beyoncé has signed other artists to Parkwood such as Chloe x Halle, who performed at Super Bowl LIII in February 2019. Endorsements and partnerships Beyoncé has worked with Pepsi since 2002, and in 2004 appeared in a Gladiator-themed commercial with Britney Spears, Pink, and Enrique Iglesias. In 2012, Beyoncé signed a $50 million deal to endorse Pepsi. The Center for Science in the Public Interest (CSPINET) wrote Beyoncé an open letter asking her to reconsider the deal because of the unhealthiness of the product and to donate the proceeds to a medical organisation. Nevertheless, NetBase found that Beyoncé's campaign was the most talked about endorsement in April 2013, with a 70 percent positive audience response to the commercial and print ads. Beyoncé has worked with Tommy Hilfiger for the fragrances True Star (singing a cover version of "Wishing on a Star") and True Star Gold; she also promoted Emporio Armani's Diamonds fragrance in 2007. Beyoncé launched her first official fragrance, Heat, in 2010. The commercial, which featured the 1956 song "Fever", was shown after the watershed in the United Kingdom as it begins with an image of Beyoncé appearing to lie naked in a room. In February 2011, Beyoncé launched her second fragrance, Heat Rush. Beyoncé's third fragrance, Pulse, was launched in September 2011. In 2013, The Mrs. Carter Show Limited Edition version of Heat was released. The six editions of Heat are the world's best-selling celebrity fragrance line, with sales of over $400 million. The release of a video-game Starpower: Beyoncé was cancelled after Beyoncé pulled out of a $100 million with GateFive who alleged the cancellation meant the sacking of 70 staff and millions of pounds lost in development. It was settled out of court by her lawyers in June 2013 who said that they had cancelled because GateFive had lost its financial backers. Beyoncé also has had deals with American Express, Nintendo DS and L'Oréal since the age of 18. In March 2015, Beyoncé became a co-owner, with other artists, of the music streaming service Tidal. The service specializes in lossless audio and high definition music videos. Beyoncé's husband Jay-Z acquired the parent company of Tidal, Aspiro, in the first quarter of 2015. Including Beyoncé and Jay-Z, sixteen artist stakeholders (such as Kanye West, Rihanna, Madonna, Chris Martin, Nicki Minaj and more) co-own Tidal, with the majority owning a 3% equity stake. The idea of having an all artist owned streaming service was created by those involved to adapt to the increased demand for streaming within the current music industry. In November 2020, Beyoncé formed a multi-year partnership with exercise equipment and media company Peloton. The partnership was formed to celebrate homecoming season in historically black colleges and universities, providing themed workout experiences inspired by Beyoncé's 2019 Homecoming film and live album after 2020's homecoming celebrations were cancelled due to the COVID-19 pandemic. As part of the partnership, Beyoncé and Peloton are donating free memberships to all students at 10 HBCUs, and Peloton are pursuing long-term recruiting partnerships at the HCBUs. Gwen Bethel Riley, head of music at Peloton, said: "When we had conversations with Beyoncé around how critical a social impact component was to all of us, it crystallized how important it was to embrace Homecoming as an opportunity to celebrate and create dialogue around Black culture and music, in partnership with HBCUs." Upon news of the partnership, a decline in Peloton's shares reversed, and its shares rose by 8.6%. In 2021, Beyoncé and Jay-Z partnered with Tiffany & Co. for the company's "About Love" campaign. Beyoncé became the fourth woman, and first Black woman, to wear the Tiffany Yellow Diamond. The campaign featured a robin egg blue painting by Jean-Michel Basquiat titled Equals Pi (1982). Fashion lines Beyoncé and her mother introduced House of Deréon, a contemporary women's fashion line, in 2005. The concept is inspired by three generations of women in their family, with the name paying tribute to Beyoncé's grandmother, Agnèz Deréon, a respected seamstress. According to Tina, the overall style of the line best reflects her and Beyoncé's taste and style. Beyoncé and her mother founded their family's company Beyond Productions, which provides the licensing and brand management for House of Deréon, and its junior collection, Deréon. House of Deréon pieces were exhibited in Destiny's Child's shows and tours, during their Destiny Fulfilled era. The collection features sportswear, denim offerings with fur, outerwear and accessories that include handbags and footwear, and are available at department and specialty stores across the U.S. and Canada. In 2005, Beyoncé teamed up with House of Brands, a shoe company, to produce a range of footwear for House of Deréon. In January 2008, Starwave Mobile launched Beyoncé Fashion Diva, a "high-style" mobile game with a social networking component, featuring the House of Deréon collection. In July 2009, Beyoncé and her mother launched a new junior apparel label, Sasha Fierce for Deréon, for back-to-school selling. The collection included sportswear, outerwear, handbags, footwear, eyewear, lingerie and jewelry. It was available at department stores including Macy's and Dillard's, and specialty stores Jimmy Jazz and Against All Odds. In May 2010, Beyoncé teamed up with clothing store C&A to launch Deréon by Beyoncé at their stores in Brazil. The collection included tailored blazers with padded shoulders, little black dresses, embroidered tops and shirts and bandage dresses. In October 2014, Beyoncé signed a deal to launch an activewear line of clothing with British fashion retailer Topshop. The 50–50 venture is called Ivy Park and was launched in April 2016. The brand's name is a nod to Beyoncé's daughter and her favorite number four (IV in Roman numerals), and also references the park where she used to run in Texas. She has since bought out Topshop owner Philip Green from his 50% share after he was alleged to have sexually harassed, bullied and racially abused employees. She now owns the brand herself. In April 2019, it was announced that Beyoncé would become a creative partner with Adidas and further develop her athletic brand Ivy Park with the company. Knowles will also develop new clothes and footwear for Adidas. Shares for the company rose 1.3% upon the news release. In December 2019, they announced a launch date of January 18, 2020. Beyoncé uploaded a teaser on her website and Instagram. The collection was previewed on the upcoming Elle January 2020 issue, where Beyoncé is seen wearing several garments, accessories and footwear from the first collection. In March, 2023, it was announced that Beyoncé and Adidas reached a mutual decision to end their partnership. Later in March, 2023, Olivier Rousteing, the creative director of Balmain, announced that he and Beyoncé collaborated on a couture collection complete with sixteen looks corresponding to the sixteen tracks on her album Renaissance. This "Renaissance Couture" collection marked the first time that a Black woman oversaw the development of a collection from a Parisian couture house. Philanthropy In 2002, Beyoncé, Kelly Rowland and Tina Knowles built the Knowles-Rowland Center for Youth, a community center in Downtown Houston. After Hurricane Katrina in 2005, Beyoncé and Rowland founded the Survivor Foundation to provide transitional housing to displaced families and provide means for new building construction, to which Beyoncé contributed an initial $250,000. The foundation has since expanded to work with other charities in the city, and also provided relief following Hurricane Ike three years later. Beyoncé also donated $100,000 to the Gulf Coast Ike Relief Fund. In 2007, Beyoncé founded the Knowles-Temenos Place Apartments, a housing complex offering living space for 43 displaced individuals. As of 2016, Beyoncé had donated $7 million for the maintenance of the complex. After starring in Cadillac Records in 2009 and learning about Phoenix House, a non-profit drug and alcohol rehabilitation organization, Beyoncé donated her full $4 million salary from the film to the organization. Beyoncé and her mother subsequently established the Beyoncé Cosmetology Center, which offers a seven-month cosmetology training course helping Phoenix House's clients gain career skills during their recovery. In January 2010, Beyoncé participated in George Clooney and Wyclef Jean's Hope for Haiti Now: A Global Benefit for Earthquake Relief telethon, donated a large sum to the organization, and was named the official face of the limited edition CFDA "Fashion For Haiti" T-shirt, made by Theory which raised a total of $1 million. In April 2011, Beyoncé joined forces with U.S. First Lady Michelle Obama and the National Association of Broadcasters Education Foundation, to help boost the latter's campaign against child obesity by reworking her single "Get Me Bodied". Following the death of Osama bin Laden, Beyoncé released her cover of the Lee Greenwood song "God Bless the USA", as a charity single to help raise funds for the New York Police and Fire Widows' and Children's Benefit Fund. Beyoncé became an ambassador for the 2012 World Humanitarian Day campaign donating her song "I Was Here" and its music video, shot in the UN, to the campaign. In 2013, it was announced that Beyoncé would work with Salma Hayek and Frida Giannini on a Gucci "Chime for Change" campaign that aims to spread female empowerment. The campaign, which aired on February 28, was set to her new music. A concert for the cause took place on June 1, 2013, in London. With help of the crowdfunding platform Catapult, visitors of the concert could choose between several projects promoting education of women and girls. Beyoncé also took part in "Miss a Meal", a food-donation campaign, and supported Goodwill Industries through online charity auctions at Charitybuzz that support job creation throughout Europe and the U.S. Beyoncé and Jay-Z secretly donated tens of thousands of dollars to bail out Black Lives Matter protesters in Baltimore and Ferguson, as well as funded infrastructure for the establishment of Black Lives Matter chapters across the US. Before Beyoncé's Formation World Tour show in Tampa, her team held a private luncheon for more than 20 community leaders to discuss how Beyoncé could support local charitable initiatives, including pledging on the spot to fund 10 scholarships to provide students with financial aid. Tampa Sports Authority board member Thomas Scott said: "I don't know of a prior artist meeting with the community, seeing what their needs are, seeing how they can invest in the community. It says a lot to me about Beyoncé. She not only goes into a community and walks away with (money), but she also gives money back to that community." In June 2016, Beyoncé donated over $82,000 to the United Way of Genesee County to support victims of the Flint water crisis. Beyoncé additionally donated money to support 14 students in Michigan with their college expenses. In August 2016, Beyoncé and Jay-Z donated $1.5 million to civil rights groups including Black Lives Matter, Hands Up United and Dream Defenders. After Hurricane Matthew, Beyoncé and Jay-Z donated $15 million to the Usain Bolt Foundation to support its efforts in rebuilding homes in Haiti. During Hurricane Harvey in August 2017, Beyoncé launched BeyGOOD Houston to support those affected by the hurricane in Houston. The organization donated necessities such as cots, blankets, pillows, baby products, feminine products and wheelchairs, and funded long-term revitalization projects. On September 8, Beyoncé visited Houston, where she sponsored a lunch for 400 survivors at her local church, visited the George R Brown Convention Center to discuss with people displaced by the flooding about their needs, served meals to those who lost their homes, and made a significant donation to local causes. Beyoncé additionally donated $75,000 worth of new mattresses to survivors of the hurricane. Later that month, Beyoncé released a remix of J Balvin and Willy William's "Mi Gente", with all of her proceeds being donated to disaster relief charities in Puerto Rico, Mexico, the U.S. and the Caribbean after hurricanes Harvey, Irma and Maria, and the Chiapas and Puebla earthquakes. In April 2020, Beyoncé donated $6 million to the National Alliance in Mental Health, UCLA and local community-based organizations in order to provide mental health and personal wellness services to essential workers during the COVID-19 pandemic. BeyGOOD also teamed up with local organizations to help provide resources to communities of color, including food, water, cleaning supplies, medicines and face masks. The same month Beyoncé released a remix of Megan Thee Stallion's "Savage", with all proceeds benefiting Bread of Life Houston's COVID-19 relief efforts, which includes providing over 14 tons of food and supplies to 500 families and 100 senior citizens in Houston weekly. In May 2020, Beyoncé provided 1,000 free COVID-19 tests in Houston as part of her and her mother's #IDidMyPart initiative, which was established due to the disproportionate deaths in African-American communities. Additionally, 1,000 gloves, masks, hot meals, essential vitamins, grocery vouchers and household items were provided. In July 2020, Beyoncé established the Black-Owned Small Business Impact Fund in partnership with the NAACP, which offers $10,000 grants to black-owned small businesses in need following the George Floyd protests. All proceeds from Beyoncé's single "Black Parade" were donated to the fund. In September 2020, Beyoncé announced that she had donated an additional $1 million to the fund. As of December 31, 2020, the fund had given 715 grants to black-owned small businesses, amounting to $7.15 million donated. In October 2020, Beyoncé released a statement that she has been working with the Feminist Coalition to assist supporters of the End Sars movement in Nigeria, including covering medical costs for injured protestors, covering legal fees for arrested protestors, and providing food, emergency shelter, transportation and telecommunication means to those in need. Beyoncé also showed support for those fighting against other issues in Africa, such as the Anglophone Crisis in Cameroon, ShutItAllDown in Namibia, Zimbabwean Lives Matter in Zimbabwe and the Rape National Emergency in Liberia. In December 2020, Beyoncé donated $500,000 to help alleviate the housing crisis in the U.S. caused by the cessation of the eviction moratorium, giving 100 $5,000 grants to individuals and families facing foreclosures and evictions. Discography Studio albums Dangerously in Love (2003) B'Day (2006) I Am... Sasha Fierce (2008) 4 (2011) Beyoncé (2013) Lemonade (2016) Renaissance (2022)with Destiny's Child Destiny's Child (1998) The Writing's on the Wall (1999) Survivor (2001) 8 Days of Christmas (2001) Destiny Fulfilled (2004)with Jay-Z (as The Carters) Everything Is Love (2018)Soundtrack albums The Lion King: The Gift (2019) Filmography Films starred Carmen: A Hip Hopera (2001) Austin Powers in Goldmember (2002) The Fighting Temptations (2003) Fade to Black (2004) The Pink Panther (2006) Dreamgirls (2006) Cadillac Records (2008) Obsessed (2009) Epic (2013) The Lion King (2019)Films directed Life Is But a Dream (2013) Beyoncé: Lemonade (2016) Homecoming (2019) Black Is King (2020) Tours and residencies Headlining tours Dangerously in Love Tour (2003) The Beyoncé Experience (2007) I Am... World Tour (2009–2010) The Mrs. Carter Show World Tour (2013–2014) The Formation World Tour (2016) Renaissance World Tour (2023)Co-headlining tours Verizon Ladies First Tour (with Alicia Keys and Missy Elliott) (2004) On the Run Tour (with Jay-Z) (2014) On the Run II Tour (with Jay-Z) (2018)Residencies' I Am... Yours (2009) 4 Intimate Nights with Beyoncé (2011) Revel Presents: Beyoncé Live (2012) See also Forbes list of highest-earning musicians Honorific nicknames in popular music List of artists who reached number one in the United States List of artists with the most number-one European singles List of Billboard Social 50 number-one artists List of black Golden Globe Award winners and nominees List of highest-grossing live music artists List of best-selling female music artists List of most-followed Instagram accounts Notes References External links Category:1981 births Category:Living people Category:20th-century African-American businesspeople Category:20th-century African-American women Category:20th-century American businesspeople Category:20th-century American businesswomen Category:20th-century American singers Category:20th-century American women singers Category:21st-century African-American women Category:21st-century American actresses Category:21st-century American businesspeople Category:21st-century American businesswomen Category:21st-century American singers Category:21st-century American women singers Category:Actresses from Houston Category:African-American actresses Category:African-American artists Category:African-American choreographers Category:African-American dancers Category:African-American fashion designers Category:American fashion designers Category:African-American female dancers Category:African-American women rappers Category:African-American women singers Category:African-American feminists Category:American feminists Category:African-American Methodists Category:African-American record producers Category:African-American women in business Category:African-American women writers Category:American choreographers Category:American contemporary R&B singers Category:American cosmetics businesspeople Category:American fashion businesspeople Category:American women pop singers Category:American film actresses Category:American mezzo-sopranos Category:American music publishers (people) Category:American music video directors Category:American people of Acadian descent Category:American people of Creole descent Category:American retail chief executives Category:American television actresses Category:American United Methodists Category:American voice actresses Category:American women business executives Category:American women philanthropists Category:American women record producers Category:Black Lives Matter people Category:Brit Award winners Category:Businesspeople from Houston Category:Businesspeople from Texas Category:Columbia Records artists Category:Dance-pop musicians Category:Destiny's Child members Category:Female music video directors Category:Feminist musicians Category:Gold Star Records artists Category:Grammy Award winners Category:Grammy Award winners for rap music Category:High School for the Performing and Visual Arts alumni Category:Ivor Novello Award winners Category:Jay-Z Category:Solange Knowles Category:Louisiana Creole people Category:MTV Europe Music Award winners Category:MTV Video Music Award winners Category:Music video codirectors Category:Musicians from Houston Category:Musicians from Texas Category:NME Awards winners Category:Parkwood Entertainment artists Category:Record producers from Texas Category:Shoe designers Category:Singers from Texas Category:Singers with a four-octave vocal range Category:Texas Democrats Category:Women who experienced pregnancy loss Category:World Music Awards winners Category:Writers from Houston
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[ "Beyonce's voice is considered one of the most compelling instruments in popular music, characterized by her unique rhythmic vocal style that is heavily influenced by the hip hop era. Her voice is velvet yet tart, and she has reserves of soul belting. She is capable of punctuating any beat with whispers or full-bore diva-roars, revealing her range and power. Despite her modern style, she also draws on traditional elements, utilizing balladry, gospel and falsetto. Her vocal abilities have led to her being identified as the centerpiece of Destiny's Child.", "Beyonce's vocal style is also heavily inspired by 1990s-style R&B, and she frequently uses elements of soul and hip hop in her music. She is highly praised for her range and power, including her capability of whispering goose-bump-inducing notes or producing full-bore diva-roars. While most of her songs are in English, she has recorded a number of Spanish songs with the help of phonetic coaching from American record producer Rudy Perez.", "Beyonce's voice is known for its distinctive tone and timbre which contributes greatly to the R&B, pop, soul, and funk elements in her music. Her voice has been described as \"velvety yet tart, with an insistent flutter and reserves of soul belting.\" She also has been recognized for her use of the falsetto technique and her inclination for balladry and gospel music. Her vocal prowess is acknowledged to such an extent that she is identified as the centerpiece of Destiny's Child. Beyonce has also ventured into singing in Spanish, for which she was coached phonetically by record producer Rudy Perez.", "The text does not provide any negative criticism about Beyonce's voice.", "Yes, Beyonce has received co-writing credits for most of the songs recorded with Destiny's Child and her solo efforts. She does not formulate beats herself, but comes up with melodies and ideas during production, sharing them with producers. She was the first black woman and the second female lyricist to win the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards in 2001. She was the third woman to have writing credits on three number one songs in the same year. Beyonce tied with American lyricist Diane Warren at third with nine song-writing credits on number-one singles. She was listed at number 17 on Billboard magazine's list of the \"Top 20 Hot 100 Songwriters\", for having co-written eight singles that hit number one on the Billboard Hot 100 chart.", "Beyonce has received co-writing credits for most of her songs, both as part of Destiny's Child and in her solo career. She started with personally driven and female-empowerment themed compositions like \"Independent Women\" and \"Survivor\", but later transitioned to more man-tending anthems such as \"Cater 2 U\". She was the third woman to have writing credits on three number one songs: \"Irreplaceable\", \"Grillz\" and \"Check on It\" in the same year, and she has nine song-writing credits on number-one singles in total. Additionally, she was listed at number 17 on Billboard magazine's list of the \"Top 20 Hot 100 Songwriters\" for having co-written eight singles that hit number one on the Billboard Hot 100 chart.", "The text mentions that Beyonce won the Pop Songwriter of the Year award at the American Society of Composers, Authors, and Publishers Pop Music Awards in 2001. She was the first black woman and second female lyricist to receive this award. However, the text does not mention any other specific awards that she has won.", "The text does not provide information on whether Beyonce has written songs for a movie or film.", "The main aspects of the article related to Beyonce's voice and songwriting include the distinctive qualities of her voice, her wide range from whispers to impactful roars, and her unique rhythmic style influenced by the hip hop era. Her use of different techniques like balladry, gospel and falsetto is also mentioned. On the songwriting side, the article notes that Beyonce has received co-writing credits for most of her songs, both within Destiny's Child and in her solo career. She is also known to share her melodies and ideas with producers during the production process. Her songwriting successes include being the third woman to have writing credits on three number one songs in the same year and having nine song-writing credits on number-one singles. She was also listed at number 17 on Billboard's \"Top 20 Hot 100 Songwriters\".", "The text does not provide information on the feedback Beyonce received from her fans." ]
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C_68a7ed5781ac4c04aaaa3f72ea29c491_1
Om Shanti Om
Om Shanti Om (Hindi pronunciation: [o:m Sa:ntI o:m]) is a 2007 Indian romantic melodrama film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist of the 1970s who has a crush on a secretly married superstar, played by Deepika Padukone. Her husband, a producer played by Arjun Rampal, kills her in a fire;
Casting
Shah Rukh was cast as the lead; he gained six packs for a song sequence. He felt Om Shanti Om was a "happy film". Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Roddick, under whom Padukone was working. She was cast without a screen test. Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s. She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him." In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language. Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl. Rampal was approached by both Khan amd Shah Rukh at the latter's New Years Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh. Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role. Kirron Kher, Bindu and Javed Sheikh also appear in the film. 31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested at Dubai airport in a drug case. Dev Anand refused as he always played lead roles in his career. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan refused due to his son's wedding, while Aamir Khan refused due to Taare Zameen Par's (2007) pending editing. Khan hsd wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch. CANNOTANSWER
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Om Shanti Om (transl. Peace Be With You) is a 2007 Indian Hindi-language romantic fantasy film written and directed by Farah Khan, co-written by Mayur Puri and Mushtaq Shiekh, and produced by Gauri Khan under the banner of Red Chillies Entertainment. Spanning three decades, the film stars Shah Rukh Khan as Om Prakash Makhija, a poor junior film artist in 1977, who falls in love with a secretly-married film actress Shantipriya, portrayed by Deepika Padukone (in her Hindi debut). Her husband and a film producer Mukesh Mehra, played by Arjun Rampal, betrays her and murders her in a fire. Om witnesses this and is severely injured while trying to rescue her, resulting in his death as well. Being reborn as rich superstar Om Kapoor in 2007, he sets out to seek revenge from Mukesh with the help of Shanti's doppelganger Sandy Bansal. Shreyas Talpade and Kirron Kher appear in the film as well and cameos from several Indian film celebrities are seen in several sequences and songs. Om Shanti Om was produced on a budget of . Farah conceived the film while directing the musical Bombay Dreams (2002), which was based on the Indian film industry. After Shah Rukh rejected the first version of her next film Happy New Year, she was reminded of Om Shanti Om; the film's title derives from a similar titled popular song from Subhash Ghai's popular film Karz (1980) which starred Rishi Kapoor as the main protagonist. The soundtrack album was composed by Vishal–Shekhar, with lyrics written by Javed Akhtar. The background score was performed by Sandeep Chowta. The album was a critical and commercial success, becoming the highest-selling album of the year in India. Om Shanti Om released on 9 November 2007 on the occasion of the festival of Diwali, earning ₹150 crore worldwide, thus becoming the highest grossing Hindi film of 2007, in addition to becoming the highest-grossing Hindi film ever at the time of its release. It received positive reviews from critics upon release, with praise for its story, screenplay, soundtrack, production design, costumes and performances of the cast. At the 55th National Film Awards, Om Shanti Om won Best Production Design (Sabu Cyril). At the 53rd Filmfare Awards, it received a leading 13 nominations, including Best Film, Best Director (Farah), Best Actor (Shah Rukh), Best Actress (Padukone) and Best Supporting Actor (Talpade), and won 2 awards – Best Female Debut (Padukone) and Best Special Effects. Plot 1977 Om Prakash Makhija is a poor young man who is an extra in Indian Hindi films and lives with his widowed mother Bela Makhija and close friend Pappu Master in a small chawl in Mumbai. He is in love with Shantipriya, a glamorous young woman who is a renowned film actress in the industry. Om often expresses his feelings before Shanti's film poster and desires to meet her. One night, he sneaks into the premiere of one of her films "Dreamy Girl" along with Pappu in disguise. Later that night, a drunk Om gives an emotional speech to Pappu as he dreams of becoming a great actor. Om and Pappu take small acting roles in films which are filmed at R.C. Studios, a major filming compound owned by Mukesh Mehra, a charming but egotistical person who is a wealthy and famous film producer. While shooting one day, Shanti gets trapped in a fire that grows out of control during filming. Risking his life, Om jumps into the fire and rescues her. Shanti is grateful towards him, and the two become friends. Om lies to Shanti that he is a popular Tamil film actor to impress her. He even puts an act of the filming of his feature, but ultimately tells Shanti the truth of him being a small-time extra upon seeing her genuine fondness for him. Shanti forgives Om and they spend a happy evening with each other, and she gifts him a snow globe. However, things take a turn when Om accidentally ends up overhearing a heated conversation between Shanti and Mukesh. He is shocked to discover that they have been married for two years but have not revealed it in public as that will ruin both of their careers. Shanti reveals to Mukesh that she is also pregnant with his child, leaving Om heartbroken. He avoids Shanti entirely. The next night, Mukesh takes Shanti to the set of her upcoming film titled Om Shanti Om and tells her that they will cancel its production and instead have a grand marriage ceremony. Om goes to the set to meet Shanti for the last time and return her snow globe but is dejected upon seeing her with Mukesh. He leaves and throws the snow globe in a fountain pond nearby. Meanwhile, Mukesh tells Shanti that his marriage with Shanti and the unborn child will destroy his successful career. In order to prevent that, he sets fire to the set and locks a horrified Shanti in it, in order to kill her and the unborn child. As he exits the set, Om spots Shanti in the flames and attempts to go and rescue her but is attacked by Mukesh's guards, leaving him severely injured. After they leave, he manages to enter the set but is thrown out of the building by a big explosion. Om staggers on the road as the set burns down with Shanti in it. Om is left devastated upon witnessing this and suddenly gets hit by the car of renowned actor Rajesh Kapoor. He takes him to a hospital with his pregnant wife Lovely Kapoor who is under labor. The serious injuries of Om result in his death while still reminiscing about Shanti. Rajesh's assistant Nasser asks his surgeon to keep this a secret from Bela and Pappu. Moments later, Rajesh and Lovely are blessed with a baby boy, and they name him Om Kapoor. 2007 30 years later, Om Kapoor is shown as a rich young man who is a superstar in Hindi films and is revealed to be the rebirth of Om Prakash Makhija. He experiences Pyrophobia and often comes across Bela who believes him to be her son and tries to take him to her house. An aged Pappu tries to make her understand that he is someone else but she pays no heed to him. Om also ignores her and leaves upon thinking that she has gone crazy. He and his assistant Anwar Sheikh subsequently drive to the abandoned R.C. Studios for the filming of one of Om's films. Om recognizes the place and experiences some flashbacks of his previous life. He even finds Shanti's broken snow globe and is confused. That night, Om remembers the emotional speech he had given to Pappu in a drunken state when he wins the Filmfare Award for Best Actor. As he gives the same speech to the audience, Pappu watches his award function on TV and realizes that his friend is reborn as Om Kapoor. Meanwhile, a grand party is thrown for Om's success. Om remembers his whole previous life upon being visited by Mukesh, who now works in Hollywood and wishes to make a film with him. Later that night, he traces Bela and Pappu to the crawl and has an emotional reunion with them. The three plan to avenge Shanti's death by making Mukesh confess his crime. The next day, Om manages to convince Mukesh to resume the filming of Om Shanti Om at the same ruined R.C. Studios. He auditions several actresses to find Shanti's look-alike but in vain. However, Om ends up coming across Sandhya aka Sandy, a ditzy but lovely girl who is an exact doppelganger of Shanti. He hires her without revealing his plan and ends up firing her as she is unable to act properly. On Pappu's advice, Om reveals his plan to Sandy who promises him that she will help him according to his plan. At the inaugural ceremony of the Om Shanti Om set, Bela scares Mukesh in the disguise of an old witch, and Om and Pappu try to light Shanti's photograph on fire to remind him of his crime. Although the setup doesn't work, the photograph is supernaturally lit by fire which disturbs Mukesh and confuses Om and Pappu. Mukesh is more horrified when Sandy appears in front of him dressed as Shanti in a make-up room. Eventually, he decides to leave for US after seeing Shanti in the footage of Om Shanti Om but Om asks him to wait for some days. He eventually performs the story of Shanti's life through a song in front of Mukesh during the music launch of Om Shanti Om. However, Mukesh discovers Sandy's real identity as her body bleeds due to an injury. Mukesh attempts to chase her but is knocked unconscious by a falling chandelier. After he regains consciousness, Om confronts him over his crime but Mukesh taunts him that he or his "duplicate Shanti" cannot convict him for the murder as there is no proof for it. Just then, Sandy reaches the scene. She reveals that after the fire in the set died down, Mukesh returned to the place. Shanti was still alive then, but he buried her alive under the chandelier. She concludes that Shanti's corpse will be found under the chandelier, which will be proof of her murder for the court. Mukesh denies her revelation and attempts to shoot her but Om attacks him and a fire breaks out on the set. He shoots him in his leg and is about to murder him but Sandy stops him, saying that Mukesh is destined to die but not in his hands. She looks at the chandelier which falls and strikes Mukesh dead. The next moment, Om is shocked when Pappu and Anwar reach the scene along with "Sandy". As he glances back at the one in front of him, he realizes that the one who had revealed the proof of Shanti's murder and killed Mukesh was the real Shanti, a.k.a. the ghost of Shanti. She was responsible for lighting the photograph with fire and knocking Mukesh unconscious too, helping him in his plan. Om reunites with Sandy and waves at Shanti who tearfully smiles at him and disappears, having finally attained peace. The film ends with all its cast and crew approaching the set of Om Shanti Om and the credits roll. Cast Shah Rukh Khan as Om Prakash Makhija and Om Kapoor "O.K." (dual role) Deepika Padukone as Shantipriya and Sandhya "Sandy" Bansal (dual role) Shreyas Talpade as Pappu Master (Om Makhija's friend) Kirron Kher as Bela Makhija (Om Makhija's mother) Arjun Rampal as Mukesh "Mike" Mehra (Shanti's husband) Javed Sheikh as Rajesh Kapoor (Om Kapoor's father) Asavari Joshi as Lovely Kapoor (Om Kapoor's mother) Yuvika Chaudhary as Dolly Arora (Om Kapoor's heroine in the movie-within-a-movie Om Shanti Om) Bindu Desai as Kamini Arora (Dolly's mother) Nitesh Pandey as Anwar Sheikh (Om Kapoor's assistant) Vishal Dadlani (director of Mohabbat Man) Haresh Hingorani as Faizan ‘F’ Khan (director of Om Shanti Om) Naseer Abdullah as Naseer (Rajesh's assistant) Suresh Chatwal as Suresh (Om Makhija's friend) Manikandan Velayutham as the director of Mind It Mayur Puri as Director of Apahij Pyar Sanjiv Chawla as Producer of Apahij Pyar Priya Patil as Natasha (Om Kapoor's heroine in Apahij Pyar) Vikram Sahu as Om Kapoor's doctor Suhas Khandke as Om Makhija's surgeon Sharad as Mukesh's guard Yaseen as Mukesh's guard Farah Khan as the woman who makes fun of Om Makhija Cameo appearances Subhash Ghai Rishi Kapoor Akshay Kumar Abhishek Bachchan Satish Shah as Partho Roy (film director) Karan Johar Aarti Gupta Surendranath Malaika Arora Khan (Om Kapoor's heroine in Mohabbat Man) (in alphabetical order) Amitabh Bachchan Ameesha Patel (Om Kapoor's heroine in Phir Bhi Dil Hai N.R.I.) Bipasha Basu Bappi Lahiri Chunky Pandey Dia Mirza (Om Kapoor's heroine in Main Bhi Hoon Na) Feroz Khan Hrithik Roshan Karisma Kapoor Koena Mitra Preity Zinta Rakesh Roshan Rani Mukerjee Sanjay Dutt Sanjay Kapoor (uncredited) Shabana Azmi Yash Chopra Special appearances during the "Deewangi Deewangi" song (in order of appearance) Rani Mukerji Zayed Khan Vidya Balan Jeetendra Tusshar Kapoor Priyanka Chopra Shilpa Shetty Dharmendra Shabana Azmi Urmila Matondkar Karishma Kapoor Arbaaz Khan Malaika Arora Dino Morea Amrita Arora Juhi Chawla Aftab Shivdasani Tabu Govinda Mithun Chakraborty Kajol Bobby Deol Preity Zinta Rekha Riteish Deshmukh Salman Khan Saif Ali Khan Sanjay Dutt Lara Dutta Suniel Shetty Production Development In 2002, Farah Khan worked as a choreographer for the musical Bombay Dreams in London, which she felt presented a "clichéd and outdated version" of the Indian film industry. She thought that the musical would not be successful if released in India. She instead thought of a new story, writing her initial thoughts about the subject on Andrew Lloyd Webber's letterhead while staying in his house. Later in 2006, Farah began to work on her next project, which was tentatively titled Happy New Year. Amid speculations that Shah Rukh Khan would star in Happy New Year, the actor rejected the first draft of the film, upon which Farah's husband and editor Shirish Kunder reminded her of the story she had conceived while in London. Happy New Year, which was to mark Deepika Padukone's Hindi debut, was put on hiatus and revived more than 8 years later under the same title. Farah completed writing the first script of Om Shanti Om within two weeks. She set the first half in the 1970s as she felt the Hindi films made during that period were much more influential than those made in other periods, particularly the 1980s, which she felt was a period when "the worst movies were made". She also included many references to the 1970s, which were also prevalent in films of that time. She said, "Everything in the first half is about the 70ssuch as the mother who overacts, mouthing clichéd dialogues. Then there are cabarets, badminton and other stuff popular during that era." Shah Rukh's costumes were designed by Karan Johar, while Manish Malhotra designed Padukone's costumes. The rest of the cast had their costumes designed by Sanjeev Mulchandani. In addition to directing the film, Farah co-wrote the story with Mayur Puri and Mushtaq Shiekh. She was also the film's choreographer. Puri wrote the screenplay and dialogues. He completed the writing process in two months and rewrote the film's second half. Puri created the screenplay by writing his natural reaction to the characters as scenarios. He knew that despite being part of a crowd, junior artists do not want to be recognised as such, ruins their chances of landing a leading role in future. This was used in a sequence involving Shah Rukh and Talpade, who play junior artists. Puri blended different genres together in Om Shanti Om, which he felt was challenging. He used his personal memories from childhood for creating the 1970s. Shirish Kunder was the editor, while V. Manikandan was the cinematographer. Sabu Cyril was the film's production designer. Sabu was first offered the Mani Ratnam-directed Guru (2007) at a time when Om Shanti Om was being planned, but ultimately chosen the latter due to his earlier commitment to Farah for her future project. Farah used two particular dialogues in the film: "When you want something badly, the whole universe conspires to give to you" and "In the end everything will be ok and if its not ok its not the end". These were used as Khan felt that it reflected her philosophy in her life. Farah stated that the film's opening scene was her most favourite in it. In 2008, Puri felt his most favourite dialogue from the ones he wrote would be the Filmfare Awards speech. The film's title derives from the eponymous song from the film Karz (1980). Om is a Hindu mantra; Om Shanti Om roughly translates to "Peace Be With You". The film opens with the grandeur shot of the most famous songs of Karz that is Om Shanti Om featuring Rishi Kapoor and SRK as a junior film artist standing in the crowd. Casting Shah Rukh was cast as the lead; he gained six packs for a song sequence. He felt Om Shanti Om was a "happy film". Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Rodricks, under whom Padukone was working. She was cast without a screen test. Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s. She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him." In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language. Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl. Rampal was approached by both Khan and Shah Rukh at the latter's New Year's Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh. Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role. Kirron Kher, Bindu and Javed Sheikh also appear in the film. 31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested in Dubai over a drug case. Dev Anand refused as he always played lead roles in his career. Madhuri Dixit refused due to the promotional activities of Aaja Nachle (2007). Ajay Devgn refused due to his friend Arjun Rampal playing the villainous role in the film. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan refused due to his son Abhishek Bachchan's wedding to Aishwarya Rai, while Aamir Khan refused due to Taare Zameen Par (2007) on his pending editing. Farah had wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch. Principal photography Om Shanti Om was made on a budget of ₹40 crore. The first scene to be filmed was one where Talpade's character tells Shah Rukh's character that he will be a hero; Shah Rukh was an hour late for filming. Farah was pregnant with triplets while filming and experienced difficulties while shooting, she would constantly vomit while directing the film. The film was shot entirely in sync sound; Farah dismissed rumours of Padukone's voice being dubbed. In 2015, however, Mona Ghosh Shetty admitted to have dubbed for Padukone in the film. The fake fight scene involving a stuffed tiger was inspired by a similar scene in the film Tarzan 303. Old cars owned by actors Rajesh Khanna and Hema Malini were used for filming for authenticity. A number of references to real life was also filmed, including a scene in which Om rescues Shanti from a fire, which was a spoof of Sunil Dutt rescuing Nargis from a fire on the sets of Mother India (1957). For a shot involving a Filmfare Awards ceremony, Khan stood on the red carpet of an actual Filmfare Award ceremony and requested actors to dictate dialogues as she stated. The song "Deewangi Deewangi" was shot over a period of six days. The song "Dhoom Taana" has digitally altered guest appearances, which included Sunil Dutt from Amrapali (1966), Rajesh Khanna from Sachaa Jhutha (1970) and Jeetendra from Jay Vejay (1977). Farah wanted to film Shakira for filming a special appearance had made her commit a few days for the role. Due to the uncertainty of her dates, the idea was scrapped. In February 2007, a filming schedule was completed in Film City. It was then reported that filming would move outdoors after Shah Rukh completed filming for Kaun Banega Crorepati. In October 2007, Abhishek Bachchan finished filming for his cameo appearance; he shot between 10 and 2 in the night for his screen time of about one and a half minutes. Filming of the last sequence and the end-credit song was done in Film City. Farah continued the tradition of featuring an end-credits song beginning with Main Hoon Na (2004). Om Shanti Om was produced by Shah Rukh's wife Gauri Khan under their Red Chillies Entertainment banner. While Marching Ants handled the publicity design, Gauri was the presenter. Shyam Kaushal, Amar Shetty and Shah Rukh were the action directors. The film's final reel length was 4013.94 ft (1223.45 m). Music Initially, A. R. Rahman was signed in to compose original songs and background score for the film but he opted out after disagreements with T-Series as he wanted them to share the copyrights of music between him and the lyricist. The film score was composed by Sandeep Chowta while the original songs featured in Om Shanti Om were composed by the duo Vishal–Shekhar with lyrics by Javed Akhtar, Kumaar and Vishal Dadlani. One song was composed by Pyarelal of the Laxmikant-Pyarelal duo. The vocals are provided by KK, Sukhwinder Singh, Marianne, Nisha, Caralisa Monteiro, Shaan, Udit Narayan, Shreya Ghoshal, Sunidhi Chauhan, Rahul Saxena, Sonu Nigam, Rahat Fateh Ali Khan, Richa Sharma, Abhijeet Bhattacharya, DJ Aqeel, DJ G, Kiran Karnath, Jackie V, Nikhil Chinapa, DJ Nawed and Zoheb. They intended the soundtrack to be a tribute to the music of the 1960s and 1970s, while appealing to newer audiences at the same time. Trade reports predicted the album to be commercially successful. The soundtrack album of Om Shanti Om was released on 15 August 2007 on CD. Pyarelal of the Laxmikant-Pyarelal duo guest composed the title Dhoom Taana. He had stopped composing after the death of his partner Laxmikant, but after Farah Khan requested a song as tribute to the music of the 70s and the 80s, he agreed at the insistence of his wife and daughter. The song was recorded with a 150-member-orchestra and traditional instruments like drums, tabla, dholak and dafli, a trademark of Laxmikant-Pyarelal. He used more than 40 different percussion instruments. In a soundtrack review, Joginder Tuteja of Bollywood Hungama gave it four stars out of five and opines, "Om Shanti Om is easily one of the most complete scores by Vishal-Shekhar and Javed Akhtar." Sukanya Verma of Rediff.com also gave it four stars out of five, applauding the tracks but criticised the "Dark Side" mix. She concludes her review by writing, "Om Shanti Om is an out-and-out musical that captivates with its roaring polyphony and unabashed drama." Aakash Gandhi of Planet Bollywood gave a rating of 8.5 stars out of 10 and writes, "not only have [Vishal–Shekhar] proven themselves in terms of musical ingenuity and quality, they have shown us the confidence, the poise, and the ability to step up to the plate and hit a grand-slam when they're called upon to do so." He further gave them a "standing ovation". Writing for AllMusic, Bhaskar Gupta gave the album 4.5 stars out of five and praises the composers, writing, "Vishal-Shekhar finally delivered a soundtrack that could be deemed their signature offering." Vishal–Shekhar was nominated for the Best Music Director at the 53rd Filmfare Awards, Producers Guild Awards 2008 and Zee Cine Awards 2008, winning for Best Composer at the 2nd Asian Film Awards. Vishal Dadlani was alone nominated for Best Lyrics for "Ajab Si" at the Filmfare and Producers Film Guild award ceremonies. Akhtar was nominated for Best Lyrics at the Filmfare and Zee Cine awards, winning at the 9th IIFA Awards for "Main Agar Kahoon". It was the highest-selling music album of the year in India, with sales of around 2 million units. Release Theatrical Screening and statics Om Shanti Om created a record of sorts by going in for an unheard of 2000 prints (worldwide) release. This was the highest number of prints (including digital) for any Indian movie at the time of its release. Pre-sale records Om Shanti Om set another record for registered pre-advance booking of 18,000 tickets in a chain of theatres in Delhi a few days before the advance booking was to start. A special screening was conducted for Bollywood actors. Red Chillies Entertainment had reportedly sold the world rights for the film to Eros International for an amount between Rs. 720–750 million. Baba Films, a production and distribution company, had offered a record Rs. 110 million for the rights to the Mumbai Circuit, surpassing the highest amount ever paid for the territory. As a marketing strategy, Amul advertised Shah Rukh. Home media In the United Kingdom, the film was watched by 750,000 viewers on Channel 4 in 2010. This made it the year's most-watched foreign-language film on UK television, above the Japanese anime film Spirited Away and German animated film The Little Polar Bear. Legal issue Manoj Kumar planned to sue the makers of Om Shanti Om for showing his body double in bad taste. Kumar added, "Are the Mumbai police so stupid that they can't recognise Manoj Kumar and lathicharge him in the '70s when he was a star?". Later, in a press conference, Shahrukh Khan and director Farah Khan accepted their mistake and apologised for the matter. Farah Khan even offered to cut the scene which Manoj Kumar felt was hurtful, but Kumar refused on grounds that, as Farah had stated, "I [Farah Khan] am like his daughter. He said, 'Betiyaan maafi nahi maangti' (Daughters don't ask for forgiveness). I told him that he could've called me and scolded me." Later, Kumar said that though this incident was hurtful to him, he wishes to forgive, ignore, and move on, saying that he prefers to "see Ram in everyone and ignore the Ravana." Before the film's television premiere on Sony TV, Manoj Kumar filed for a stay on the television release, at civil court in Mumbai. On 8 August 2008, he won permanent injunction on the scenes in Om Shanti Om that lampooned him. The court ordered the producers and Sony Entertainment Television, to edit the Manoj Kumar look-alike scenes before showing the film on the channel on 10 August 2008. It also ordered that the film could not be shown in any media—TV, DVD or Internet—without the scene being deleted. Plagiarism allegations On 7 August 2008, before its television release, scriptwriter Ajay Monga moved the Bombay High Court alleging that the basic storyline of the film was lifted from a film script he had emailed to Shah Rukh Khan in 2006. According to the petition, "Monga, along with one more writer Hemant Hegde, had registered the script with the Cine Writers Association (CWA) in September 2005. In January 2008, Cine Writers Association (CWA) rejected Monga's appeal at a special Executive Committee meeting. Thereafter, he approached the court to stay the film's screening on television. Though, on 6 August the court rejected Monga's plea for seeking a stay on the television telecast, it directed all the respondents including Shahrukh Khan, Farah Khan, Red Chillies Entertainment, Gauri Khan (director Red Chillies) and film's co-writer Mushtaq Sheikh, to file their say by the next hearing on 29 September 2008. In November 2008, the Film Writers' association sent a communication to Red Chillies and Ajay Monga that it had found similarities in Om Shanti Om and Monga's script. The similarities were more than mere coincidences according to Sooni Taraporewala who chaired a special committee that has investigated the case on behalf of the Film Writers' association. Another allegation of plagiarism came from Rinki Bhattacharya, daughter of late Bimal Roy, who directed Madhumati (1958). She threatened legal action against Red Chillies Entertainment and the producer-director of Om Shanti Om, as she felt that the film's second half was similar to Madhumati, also a rebirth saga. Reception Box office Om Shanti Om opened across 1100 cinemas in 3000 prints worldwide. The film's net gross (after deducting entertainment tax) was in India. The film collected $2.78 million in the United Kingdom, $3.6 million in North America, and $6,857,816 collectively from the rest of the world, which resulted in total overseas collections of $13,077,815, the fourth largest of all time as of 2010. As a result of these collections, a worldwide gross of was accumulated. Critical response On the review aggregator Rotten Tomatoes, Om Shanti Om holds an approval rating of 76%, based on 17 reviews with an average score of 7.21/10. India Om Shanti Om was received positively by Indian film critics. Taran Adarsh of Bollywood Hungama gave it four stars out of five and writes, "Om Shanti Om is Bollywood masala in its truest form and also, at its best" but notes, "the second half could've been crisper". Khalid Mohamed of Hindustan Times gave the film four stars out of five and appreciated the performances, observing how Rampal is "consistently first-rate as the suave villain" while Padukone is "fantastic, so surprisingly assured that you marvel at her poised debut". He notes that "the enterprise belongs to Shah Rukh Khan, who tackles comedy, high drama and action with his signature stylespontaneous and intuitively intelligent. Six-pack or no-packs, he's the entertainer of the year in this valentine to the movies." Nikhat Kazmi of The Times of India gave the film three and a half stars out of five and writes, "Farah Khan's re-birth saga literally makes an art of retro and paints the seventies pop culture in Andy Warholish strokes". She called it an "unabashed tribute" to Karz. Raja Sen of Rediff.com gave it three and a half stars out of five and applauded the performances of Shah Rukh, Padukone and Talpade. He writes, "Om Shanti Om is an exultant, heady, joyous film reveling in Bollywood, and as at most parties where the bubbly flows free, there is much silly giggling and tremendous immaturity." He criticised the dialogues and excessive cameos in the film. Rajeev Masand of News18 gave the film three stars out of five and writes, "Unpretentious and completely transparent in its intentions, Om Shanti Om is an entertainer in the true sense of the word, mixing up genre elements like comedy, drama, action and emotion to create a heady broth of Manmohan Desai-style exaggerated entertainment." He compliments the dialogues "which so cleverly incorporates Bollywood's oldest clichés into these characters' everyday parlance." A commentator for Indo-Asian News Service felt that Shah Rukh's acting was repetitive and writes, "He needs to curtail his unwarranted superstar mannerisms even in a total masala film like Om Shanti Om", while complimenting the performances of Padukone, Rampal and Talpade. Sudish Kamnath of The Hindu stated that the film is "an unabashed celebration of willing suspension of disbelief, calling it a "light-hearted tribute to Hindi cinema the way we know it and love it". He praised the performances of Shah Rukh, Padukone and Talpade, while criticising Rampal and Kher. He also praised the various spoofs, especially the ones directed at Manoj Kumar, Sanjay Leela Bhansali and Abhishek Bachchan. Writing for SantaBanta.com, Subhash K. Jha gave it one star out of five and criticised the spoofs "which keeps swinging from homage to imitation with infuriating artifice", writing, "The mood is one of patronizing and condescension rather than genuine admiration for an era that's gone with the wind". International Tajpal Rathore of BBC gave it 4 out of 5 stars as well and stated, "Both a homage to and parody of Hindi Films, this cinematic feast delivered straight from the heart of the film industry will have you glued to your seats till the end." Mark Medley of National Post gave 3 stars and stated, "The film is a mess for all the right reasons; elements of comedy, drama, romance, action and the supernatural are packed in. But really, the plot is just a vehicle to get from one song-and-dance number to the next." AOL gave the film 3 out of 5 stars stating, "The movie consists of all the elements that are essentially called the 'navratnas' of Indian cinema – from joy to grief to romance to revenge. And she mixes these well to cook up a potboiler, which is sure to be a runaway hit." Accolades Impact Nina Davuluri's talent for Miss America 2014 was a Hindi Film fusion dance choreographed by Nakul Dev Mahajan and performed to Dhoom Taana. It was the first time Indian film ever appeared on the Miss America stage and Davuluri is the first Indian American to win the competition. Om Shanti Om was remade into a Japanese musical titled Oomu Shanti Oumu. A book, titled The Making of Om Shanti Om written by Mushtaq Sheikh, was released after the release of the film. The book gives an insight into the production and happenings behind the camera of the film. Further reading Footnotes References External links Category:Red Chillies Entertainment films Category:2007 films Category:2000s Hindi-language films Category:Films about reincarnation Category:Indian ghost films Category:Paranormal films Category:Films directed by Farah Khan Category:Films involved in plagiarism controversies Category:Films about actors Category:Films scored by Vishal–Shekhar Category:Films whose production designer won the Best Production Design National Film Award Category:Films about Bollywood Category:Cultural depictions of actors Category:Cultural depictions of Rajesh Khanna
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[ "Shah Rukh Khan, Deepika Padukone, Arjun Rampal, and Shreyas Talpade were cast for roles in the film Om Shanti Om.", "Shah Rukh Khan was cast as the lead character in the film.", "Some interesting aspects about this article include the process of choosing the cast such as how Deepika Padukone was not required to do a screen test for her role and how Arjun Rampal was persuaded to play a role he initially thought was \"too evil\". Another interesting detail is Padukone's preparation method for her role, which involved studying the body language of actresses Helen and Hema Malini. The gesture of offering gifts like a Blackberry phone and a Tag Heuer watch to those who participated in cameo appearances for the song \"Deewangi Deewangi\" is unusual as well. The article also mentions several Bollywood actors who were planned to have cameo appearances but couldn't due to various reasons including legal issues and other work engagements.", "CANNOTANSWER", "Apart from Shah Rukh Khan, Deepika Padukone, and Arjun Rampal, Shreyas Talpade was also cast for a role in the film Om Shanti Om. He played a supporting role as the best friend of Khan's character.", "Arjun Rampal was approached by both Khan and Shah Rukh Khan to play a role in the film, which took place at Shah Rukh's New Year's Eve party.", "Yes, Arjun Rampal agreed to do the role after persuasion from Shah Rukh Khan.", "In addition to the main cast (Shah Rukh Khan, Deepika Padukone, Arjun Rampal, and Shreyas Talpade), Kirron Kher, Bindu and Javed Sheikh were also cast in the film Om Shanti Om, though the context does not specify their roles." ]
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C_af5ace0e54e44e05b4de6c976e6f8035_0
Burlesque
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
Victorian theatrical burlesque
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy. CANNOTANSWER
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A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian , which, in turn, is derived from the Italian – a joke, ridicule or mockery. Burlesque overlaps with caricature, parody and travesty, and, in its theatrical form, with extravaganza, as presented during the Victorian era. The word "burlesque" has been used in English in this literary and theatrical sense since the late 17th century. It has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Contrasting examples of literary burlesque are Alexander Pope's The Rape of the Lock and Samuel Butler's Hudibras. An example of musical burlesque is Richard Strauss's 1890 Burleske for piano and orchestra. Examples of theatrical burlesques include W. S. Gilbert's Robert the Devil and the A. C. Torr – Meyer Lutz shows, including Ruy Blas and the Blasé Roué. A later use of the term, particularly in the United States, refers to performances in a variety show format. These were popular from the 1860s to the 1940s, often in cabarets and clubs, as well as theatres, and featured bawdy comedy and female striptease. Some Hollywood films attempted to recreate the spirit of these performances from the 1930s to the 1960s, or included burlesque-style scenes within dramatic films, such as 1972's Cabaret and 1979's All That Jazz, among others. There has been a resurgence of interest in this format since the 1990s. Literary origins and development The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition. In music Classical music Beginning in the early 18th century, the term burlesque was used throughout Europe to describe musical works in which serious and comic elements were juxtaposed or combined to achieve a grotesque effect. As derived from literature and theatre, "burlesque" was used, and is still used, in music to indicate a bright or high-spirited mood, sometimes in contrast to seriousness. In this sense of farce and exaggeration rather than parody, it appears frequently on the German-language stage between the middle of the 19th century and the 1920s. Burlesque operettas were written by Johann Strauss II (Die lustigen Weiber von Wien, 1868), Ziehrer (Mahomed's Paradies, 1866; Das Orakel zu Delfi, 1872; Cleopatra, oder Durch drei Jahrtausende, 1875; In fünfzig Jahren, 1911) and Bruno Granichstaedten (Casimirs Himmelfahrt, 1911). French references to burlesque are less common than German, though Grétry composed for a "drame burlesque" (Matroco, 1777). Stravinsky called his 1916 one-act chamber opera-ballet Renard (The Fox) a "Histoire burlesque chantée et jouée" (burlesque tale sung and played) and his 1911 ballet Petrushka a "burlesque in four scenes". A later example is the 1927 burlesque operetta by Ernst Krenek entitled Schwergewicht (Heavyweight) (1927). Some orchestral and chamber works have also been designated as burlesques, of which two early examples are the Ouverture-Suite Burlesque de Quixotte, TWV 55, by Telemann and the Sinfonia Burlesca by Leopold Mozart (1760). Another often-performed piece is Richard Strauss's 1890 Burleske for piano and orchestra. Other examples include the following: 1901: Six Burlesques, Op. 58 for piano four hands by Max Reger 1904: Scherzo Burlesque, Op. 2 for piano and orchestra by Béla Bartók 1911: Three Burlesques, Op. 8c for piano by Bartók 1920: Burlesque for Piano, by Arnold Bax 1931: Ronde burlesque, Op. 78 for orchestra by Florent Schmitt 1932: Fantaisie burlesque, for piano by Olivier Messiaen 1956: Burlesque for Piano and Chamber Orchestra, Op. 13g by Bertold Hummel 1982: Burlesque for Wind Quintet, Op. 76b by Hummel Burlesque can be used to describe particular movements of instrumental musical compositions, often involving dance rhythms. Examples are the Burlesca, in Partita No. 3 for keyboard (BWV 827) by Bach, the "Rondo-Burleske" third movement of Symphony No. 9 by Mahler, and the "Burlesque" fourth movement of Shostakovich's Violin Concerto No. 1. Jazz The use of burlesque has not been confined to classical music. Well-known ragtime travesties include Russian Rag, by George L. Cobb, which is based on Rachmaninoff's Prelude in C-sharp minor, and Harry Alford's Lucy's Sextette based on the sextet, 'Chi mi frena in tal momento?', from Lucia di Lammermoor by Donizetti. Victorian theatrical burlesque Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risqué in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planché. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign. A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risqué. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy. American burlesque American burlesque shows were originally an offshoot of Victorian burlesque. The English genre had been successfully staged in New York from the 1840s, and it was popularised by a visiting British burlesque troupe, Lydia Thompson and the "British Blondes", beginning in 1868. New York burlesque shows soon incorporated elements and the structure of the popular minstrel shows. They consisted of three parts: first, songs and ribald comic sketches by low comedians; second, assorted olios and male acts, such as acrobats, magicians and solo singers; and third, chorus numbers and sometimes a burlesque in the English style on politics or a current play. The entertainment was usually concluded by an exotic dancer or a wrestling or boxing match. The entertainments were given in clubs and cabarets, as well as music halls and theatres. By the early 20th century, there were two national circuits of burlesque shows competing with the vaudeville circuit, as well as resident companies in New York, such as Minsky's at the Winter Garden. The transition from burlesque on the old lines to striptease was gradual. At first, soubrettes showed off their figures while singing and dancing; some were less active but compensated by appearing in elaborate stage costumes. The strippers gradually supplanted the singing and dancing soubrettes; by 1932 there were at least 150 strip principals in the US. Star strippers included Sally Rand, Gypsy Rose Lee, Tempest Storm, Lili St. Cyr, Blaze Starr, Ann Corio and Margie Hart, who was celebrated enough to be mentioned in song lyrics by Lorenz Hart and Cole Porter. By the late 1930s, burlesque shows would have up to six strippers supported by one or two comics and a master of ceremonies. Comics who appeared in burlesque early in their careers included Fanny Brice, Mae West, Eddie Cantor, Abbott and Costello, W. C. Fields, Jackie Gleason, Danny Thomas, Al Jolson, Bert Lahr, Phil Silvers, Sid Caesar, Danny Kaye, Red Skelton and Sophie Tucker. The uninhibited atmosphere of burlesque establishments owed much to the free flow of alcoholic liquor, and the enforcement of Prohibition was a serious blow. In New York, Mayor Fiorello H. La Guardia clamped down on burlesque, effectively putting it out of business by the early 1940s. It lingered on elsewhere in the US, increasingly neglected, and by the 1970s, with nudity commonplace in theatres, reached "its final shabby demise." Both during its declining years and afterwards there have been films that sought to capture American burlesque, including Lady of Burlesque (1943), Striporama (1953), and The Night They Raided Minsky's (1968). In recent decades, there has been a revival of burlesque, sometimes called Neo-Burlesque, on both sides of the Atlantic. A new generation, nostalgic for the spectacle and perceived glamour of the classic American burlesque, developed a cult following for the art in the early 1990s at Billie Madley's "Cinema" and later at the "Dutch Weismann's Follies" revues in New York City, "The Velvet Hammer" troupe in Los Angeles and The Shim-Shamettes in New Orleans. Ivan Kane's Royal Jelly Burlesque Nightclub at Revel Atlantic City opened in 2012. Notable Neo-burlesque performers include Dita Von Teese, and Julie Atlas Muz and Agitprop groups like Cabaret Red Light incorporated political satire and performance art into their burlesque shows. Annual conventions such as the Vancouver International Burlesque Festival and the Miss Exotic World Pageant are held. See also Cabaret Nightclub act Striptease Notes References Abrams, M. H. (1999) A Glossary of Literary Terms. Seventh edition. Fort Worth, TX: Harcourt Brace College Publishers Adams, William Davenport (1904) A dictionary of the drama London: Chatto & Windus Allan, Kirsty L. 'A Guide to Classical Burlesque – Funny Ha Ha or Funny Peculiar?' Allan, Kirsty L. and Charms, G. 'Diamonds From the Rough – The Darker Side of American Burlesque striptease' Allen, Robert Clyde (1991). Horrible Prettiness: Burlesque and American Culture. Chapel Hill: University of North Carolina Press. Baldwin, Michelle. Burlesque and the New Bump-n-Grind Briggeman, Jane (2009) Burlesque: A Living History. BearManor Media, 2009. DiNardo, Kelly. "Gilded Lili: Lili St. Cyr and the Striptease Mystique"; Archive of articles, video, pictures and interviews about neo-burlesque. Frye, Northrop. (1957) Anatomy of Criticism: Four Essays. Princeton: Princeton University Press Hedin, Thomas F. (2001) The Petite Commande of 1664: Burlesque in the gardens of Versailles, The Art Bulletin Hollingshead, John. (1903) Good Old Gaiety: An Historiette & Remembrance London: Gaity Theatre Co Kennedy, Michael (2006), The Oxford Dictionary of Music, Oxford: Oxford University Press. Kenrick, John. A History of The Musical Burlesque Sanders, Andrew (1994). The Short Oxford History of English Literature. Oxford: Oxford University Press. Stanton, Sarah and Banham, Martin (1996). Cambridge Paperback Guide to Theatre, Cambridge: Cambridge University Press. Warrack, John and West, Ewan (1992), The Oxford Dictionary of Opera, Oxford: Oxford University Press. Wilson, Frederic Woodbridge (1992), 'Burlesque' in The New Grove Dictionary of Opera, ed. Stanley Sadie (London) Zeidman, Irving: The American Burlesque Show. Hawthorn Books, Inc 1967, , External links Ruckus! American Entertainments at the Turn of the Twentieth Century From the collection of the Beinecke Rare Book and Manuscript Library at Yale University Classic Burlesque: We Aim to Tease – slideshow by Life magazine History of Burlesque at Musicals101.com, The Cyber Encyclopedia of Musical Theatre, TV and Film "A Guide to Classical Burlesque – Funny Ha Ha or Funny Peculiar?" Allan, K., The Curious Adventures of Kittie The History of Burlesque Category:Comedy genres Category:Erotic dance Category:Musical theatre Category:Theatrical genres Category:Variety shows Category:History of theatre Category:Entertainment Category:Humour Category:Nudity in theatre and dance Category:Rhetoric Category:Satire
[]
[ "Victorian era burlesque, also known as \"travesty\" or \"extravaganza\", was a form of musical theatre parody popular in London between the 1830s and 1890s. It typically involved a well-known opera, play, or ballet being adapted into a broad comic play, often risqué in style and mocking the conventions and styles of the original work. It often included incongruities and absurdities, such as classical subjects with realistic historical dress and settings being juxtaposed with modern activities. The comedy also involved the use of bad puns and rhyming couplets. It partially derived from English pantomime and frequently portrayed attractive women in travesty roles, dressed in tights to show off their legs.", "These shows included musical theatre parodies, often involving a well-known opera, play, or ballet adapted into a broad comic play. They subtly mocked the conventions and styles of the original work, and quoted or pastiched the text or music from the original pieces. They featured the juxtaposition of classical subjects and realistic historical settings with modern activities. Comedy in these shows often stemmed from the absurdity and incongruity of this mix, and from liberal use of bad puns and rhyming couplets in the dialogue. Another element was the portrayal of attractive women in travesty roles, dressed in tights to emphasize their legs. The shows often included pastiches and parodies of popular songs and opera arias that the audience would readily recognize.", "Yes, the text indicates that Victorian burlesque shows were popular in London theatres between the 1830s and the 1890s. They even became a specialty of certain London theatres like the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. The English style of burlesque was also successfully introduced to New York in the 1840s, suggesting a wide appeal among the public.", "The context mentions that some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera, implying that these were particularly popular. However, the text does not specify which individual performances were especially popular.", "Yes, there were some actors who became house stars during the Victorian Burlesque era, including Nellie Farren, John D'Auban, Edward Terry, and Fred Leslie.", "The text does not provide information on whether the actors in Victorian era burlesque were paid well.", "CANNOTANSWER", "No, the actors in Victorian burlesque were not silent. The text mentions that the dialogue in these performances was often written in rhyming couplets and filled with bad puns. An example is given from a burlesque of Macbeth, where the actors engage in a humorous, pun-filled exchange.", "During this period, burlesque was characterized by parodies of well-known works, filled with humor and often risqué in style, but not overly so. The performances combined elements from opera, operetta, music hall, and revue, and sometimes even used original music compositions. In addition to playacting, these shows frequently featured attractive women in travesty roles, enhancing their appeal by dressing the women in tights to display their legs. The shows were often one-act pieces up until the 1880s when they started to become lengthy enough for a whole evening's entertainment. The use of rhyming couplets and bad puns made them unique, juxtaposing the high culture of classical subjects with modern, comedic elements for comic effect.", "Victorian burlesque went out of fashion in London in the early 1890s. After this time, the focus of theatres like the Gaiety and others that had specialized in burlesque shifted to the more wholesome but less literary genre of Edwardian musical comedy.", "The text does not provide a specific reason why Victorian burlesques went out of fashion in the early 1890s. It does, however, indicate a shift during this period to the more wholesome but less literary genre of Edwardian musical comedy." ]
[ "Yes", "Yes", "No", "No", "Yes", "Yes", "No", "Yes", "No", "Yes", "Yes" ]
C_af5ace0e54e44e05b4de6c976e6f8035_1
Burlesque
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
Literary origins and development
The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition. CANNOTANSWER
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A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian , which, in turn, is derived from the Italian – a joke, ridicule or mockery. Burlesque overlaps with caricature, parody and travesty, and, in its theatrical form, with extravaganza, as presented during the Victorian era. The word "burlesque" has been used in English in this literary and theatrical sense since the late 17th century. It has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Contrasting examples of literary burlesque are Alexander Pope's The Rape of the Lock and Samuel Butler's Hudibras. An example of musical burlesque is Richard Strauss's 1890 Burleske for piano and orchestra. Examples of theatrical burlesques include W. S. Gilbert's Robert the Devil and the A. C. Torr – Meyer Lutz shows, including Ruy Blas and the Blasé Roué. A later use of the term, particularly in the United States, refers to performances in a variety show format. These were popular from the 1860s to the 1940s, often in cabarets and clubs, as well as theatres, and featured bawdy comedy and female striptease. Some Hollywood films attempted to recreate the spirit of these performances from the 1930s to the 1960s, or included burlesque-style scenes within dramatic films, such as 1972's Cabaret and 1979's All That Jazz, among others. There has been a resurgence of interest in this format since the 1990s. Literary origins and development The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic. Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation. In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615. The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics. Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic". Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted. 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock. Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire. In more recent times, burlesque true to its literary origins is still performed in revues and sketches. Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition. In music Classical music Beginning in the early 18th century, the term burlesque was used throughout Europe to describe musical works in which serious and comic elements were juxtaposed or combined to achieve a grotesque effect. As derived from literature and theatre, "burlesque" was used, and is still used, in music to indicate a bright or high-spirited mood, sometimes in contrast to seriousness. In this sense of farce and exaggeration rather than parody, it appears frequently on the German-language stage between the middle of the 19th century and the 1920s. Burlesque operettas were written by Johann Strauss II (Die lustigen Weiber von Wien, 1868), Ziehrer (Mahomed's Paradies, 1866; Das Orakel zu Delfi, 1872; Cleopatra, oder Durch drei Jahrtausende, 1875; In fünfzig Jahren, 1911) and Bruno Granichstaedten (Casimirs Himmelfahrt, 1911). French references to burlesque are less common than German, though Grétry composed for a "drame burlesque" (Matroco, 1777). Stravinsky called his 1916 one-act chamber opera-ballet Renard (The Fox) a "Histoire burlesque chantée et jouée" (burlesque tale sung and played) and his 1911 ballet Petrushka a "burlesque in four scenes". A later example is the 1927 burlesque operetta by Ernst Krenek entitled Schwergewicht (Heavyweight) (1927). Some orchestral and chamber works have also been designated as burlesques, of which two early examples are the Ouverture-Suite Burlesque de Quixotte, TWV 55, by Telemann and the Sinfonia Burlesca by Leopold Mozart (1760). Another often-performed piece is Richard Strauss's 1890 Burleske for piano and orchestra. Other examples include the following: 1901: Six Burlesques, Op. 58 for piano four hands by Max Reger 1904: Scherzo Burlesque, Op. 2 for piano and orchestra by Béla Bartók 1911: Three Burlesques, Op. 8c for piano by Bartók 1920: Burlesque for Piano, by Arnold Bax 1931: Ronde burlesque, Op. 78 for orchestra by Florent Schmitt 1932: Fantaisie burlesque, for piano by Olivier Messiaen 1956: Burlesque for Piano and Chamber Orchestra, Op. 13g by Bertold Hummel 1982: Burlesque for Wind Quintet, Op. 76b by Hummel Burlesque can be used to describe particular movements of instrumental musical compositions, often involving dance rhythms. Examples are the Burlesca, in Partita No. 3 for keyboard (BWV 827) by Bach, the "Rondo-Burleske" third movement of Symphony No. 9 by Mahler, and the "Burlesque" fourth movement of Shostakovich's Violin Concerto No. 1. Jazz The use of burlesque has not been confined to classical music. Well-known ragtime travesties include Russian Rag, by George L. Cobb, which is based on Rachmaninoff's Prelude in C-sharp minor, and Harry Alford's Lucy's Sextette based on the sextet, 'Chi mi frena in tal momento?', from Lucia di Lammermoor by Donizetti. Victorian theatrical burlesque Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risqué in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planché. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign. A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risqué. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy. American burlesque American burlesque shows were originally an offshoot of Victorian burlesque. The English genre had been successfully staged in New York from the 1840s, and it was popularised by a visiting British burlesque troupe, Lydia Thompson and the "British Blondes", beginning in 1868. New York burlesque shows soon incorporated elements and the structure of the popular minstrel shows. They consisted of three parts: first, songs and ribald comic sketches by low comedians; second, assorted olios and male acts, such as acrobats, magicians and solo singers; and third, chorus numbers and sometimes a burlesque in the English style on politics or a current play. The entertainment was usually concluded by an exotic dancer or a wrestling or boxing match. The entertainments were given in clubs and cabarets, as well as music halls and theatres. By the early 20th century, there were two national circuits of burlesque shows competing with the vaudeville circuit, as well as resident companies in New York, such as Minsky's at the Winter Garden. The transition from burlesque on the old lines to striptease was gradual. At first, soubrettes showed off their figures while singing and dancing; some were less active but compensated by appearing in elaborate stage costumes. The strippers gradually supplanted the singing and dancing soubrettes; by 1932 there were at least 150 strip principals in the US. Star strippers included Sally Rand, Gypsy Rose Lee, Tempest Storm, Lili St. Cyr, Blaze Starr, Ann Corio and Margie Hart, who was celebrated enough to be mentioned in song lyrics by Lorenz Hart and Cole Porter. By the late 1930s, burlesque shows would have up to six strippers supported by one or two comics and a master of ceremonies. Comics who appeared in burlesque early in their careers included Fanny Brice, Mae West, Eddie Cantor, Abbott and Costello, W. C. Fields, Jackie Gleason, Danny Thomas, Al Jolson, Bert Lahr, Phil Silvers, Sid Caesar, Danny Kaye, Red Skelton and Sophie Tucker. The uninhibited atmosphere of burlesque establishments owed much to the free flow of alcoholic liquor, and the enforcement of Prohibition was a serious blow. In New York, Mayor Fiorello H. La Guardia clamped down on burlesque, effectively putting it out of business by the early 1940s. It lingered on elsewhere in the US, increasingly neglected, and by the 1970s, with nudity commonplace in theatres, reached "its final shabby demise." Both during its declining years and afterwards there have been films that sought to capture American burlesque, including Lady of Burlesque (1943), Striporama (1953), and The Night They Raided Minsky's (1968). In recent decades, there has been a revival of burlesque, sometimes called Neo-Burlesque, on both sides of the Atlantic. A new generation, nostalgic for the spectacle and perceived glamour of the classic American burlesque, developed a cult following for the art in the early 1990s at Billie Madley's "Cinema" and later at the "Dutch Weismann's Follies" revues in New York City, "The Velvet Hammer" troupe in Los Angeles and The Shim-Shamettes in New Orleans. Ivan Kane's Royal Jelly Burlesque Nightclub at Revel Atlantic City opened in 2012. Notable Neo-burlesque performers include Dita Von Teese, and Julie Atlas Muz and Agitprop groups like Cabaret Red Light incorporated political satire and performance art into their burlesque shows. Annual conventions such as the Vancouver International Burlesque Festival and the Miss Exotic World Pageant are held. See also Cabaret Nightclub act Striptease Notes References Abrams, M. H. (1999) A Glossary of Literary Terms. Seventh edition. Fort Worth, TX: Harcourt Brace College Publishers Adams, William Davenport (1904) A dictionary of the drama London: Chatto & Windus Allan, Kirsty L. 'A Guide to Classical Burlesque – Funny Ha Ha or Funny Peculiar?' Allan, Kirsty L. and Charms, G. 'Diamonds From the Rough – The Darker Side of American Burlesque striptease' Allen, Robert Clyde (1991). Horrible Prettiness: Burlesque and American Culture. Chapel Hill: University of North Carolina Press. Baldwin, Michelle. Burlesque and the New Bump-n-Grind Briggeman, Jane (2009) Burlesque: A Living History. BearManor Media, 2009. DiNardo, Kelly. "Gilded Lili: Lili St. Cyr and the Striptease Mystique"; Archive of articles, video, pictures and interviews about neo-burlesque. Frye, Northrop. (1957) Anatomy of Criticism: Four Essays. Princeton: Princeton University Press Hedin, Thomas F. (2001) The Petite Commande of 1664: Burlesque in the gardens of Versailles, The Art Bulletin Hollingshead, John. (1903) Good Old Gaiety: An Historiette & Remembrance London: Gaity Theatre Co Kennedy, Michael (2006), The Oxford Dictionary of Music, Oxford: Oxford University Press. Kenrick, John. A History of The Musical Burlesque Sanders, Andrew (1994). The Short Oxford History of English Literature. Oxford: Oxford University Press. Stanton, Sarah and Banham, Martin (1996). Cambridge Paperback Guide to Theatre, Cambridge: Cambridge University Press. Warrack, John and West, Ewan (1992), The Oxford Dictionary of Opera, Oxford: Oxford University Press. Wilson, Frederic Woodbridge (1992), 'Burlesque' in The New Grove Dictionary of Opera, ed. Stanley Sadie (London) Zeidman, Irving: The American Burlesque Show. Hawthorn Books, Inc 1967, , External links Ruckus! American Entertainments at the Turn of the Twentieth Century From the collection of the Beinecke Rare Book and Manuscript Library at Yale University Classic Burlesque: We Aim to Tease – slideshow by Life magazine History of Burlesque at Musicals101.com, The Cyber Encyclopedia of Musical Theatre, TV and Film "A Guide to Classical Burlesque – Funny Ha Ha or Funny Peculiar?" Allan, K., The Curious Adventures of Kittie The History of Burlesque Category:Comedy genres Category:Erotic dance Category:Musical theatre Category:Theatrical genres Category:Variety shows Category:History of theatre Category:Entertainment Category:Humour Category:Nudity in theatre and dance Category:Rhetoric Category:Satire
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[ "The literary origins of 'burlesque' trace back to the early 16th century, first appearing in Francesco Berni's Opere burlesche. It became widespread in the 17th century in Italy, France, and subsequently England, where it was used to denote a grotesque imitation of the dignified or pathetic. Early examples of such imitation include Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream along with Beaumont and Fletcher's The Knight of the Burning Pestle. The term has also been retrospectively applied to works of Chaucer, Shakespeare, and the Graeco-Roman classics.", "The development of burlesque as a literary genre involved several stages. Originally, this term was used in 16th and 17th century to denote a grotesque imitation of the dignified or pathetic. Early examples of such imitations were seen in the works of Shakespeare, Beaumont, and Fletcher. In the 17th century, the Spanish playwright Miguel de Cervantes also employed burlesque in his satirical works. Subsequently, two types of burlesque emerged: 'High burlesque', where an elevated manner was applied to a commonplace or inappropriately comic subject, and 'Low burlesque', which applied a mocking style to a serious subject. In recent times, burlesque — true to its literary origins — is still performed, as in revues and sketches, with Tom Stoppard's 1974 play 'Travesties' acting as an example of a full-length play drawing on the burlesque tradition.", "Yes, there are several interesting aspects in this article. One of them is how the term 'burlesque' has been used interchangeably with 'pastiche', 'parody', and the 'mock-heroic'. Another is how the effectiveness of burlesque was heavily dependent on the reader's or listener's level of literacy and knowledge of the subject being imitated. Lastly, the origination of the term 'burlesque' itself is interesting, as it was initially used to honour Francesco Berni and was referred to as 'poesie bernesca' after the circulation of his works.", "Apart from satirizing and imitating subjects in a grotesque manner, burlesque also combined imitations of certain authors and artists with absurd descriptions, often intersecting multiple styles. This required the reader's or listener's comprehensive knowledge to understand and appreciate the humor or satire, implying a high degree of literacy. It played an important role in the literary world, serving as a vehicle for societal or political commentary by providing an outlet for mocking and critiquing through humor. Additionally, it could be sub-divided into \"High burlesque\" and \"Low burlesque\" based on the type of imitation applied to the subject matter.", "The two types of burlesque in the 17th and 18th centuries were High burlesque and Low burlesque. High burlesque referred to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as seen in literary parody and the mock-heroic. An example of high burlesque is Alexander Pope's \"The Rape of the Lock.\" On the other hand, Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which satirically portrayed the misadventures of a Puritan knight in a colloquial idiom.", "This article provides valuable insights into the evolution of burlesque from its early origins to its modern manifestations. It traces the development of the genre across centuries and cultures, highlighting key works, authors, and styles associated with it. The article also highlights how burlesque relies on the audience's literacy and subject knowledge for its effectiveness, casting light on the societal context in which these works were created and appreciated. Additionally, it delineates the classifications of burlesque into 'High' and 'Low', demonstrating different ways serious or mundane subjects can be rendered comically or satirically. These insights can provide a deeper understanding of the genre's historical and cultural significance.", "The subject of this article is the literary genre of 'burlesque' - its origins, development, classifications and notable examples throughout history. This includes the early origins of the term 'burlesque' in the works of Francesco Berni, its 17th century spread through Italy, France and England, the differentiation into 'High burlesque' and 'Low burlesque' and the persistence of burlesque in modern times with works such as Tom Stoppard's play 'Travesties'.", "Apart from Francesco Berni where the term first appeared, other writers who have created burlesque works include Shakespeare, who used it in his Pyramus and Thisbe scene in Midsummer Night's Dream; Beaumont and Fletcher, who mocked romance in The Knight of the Burning Pestle; Miguel de Cervantes, who used it in his satirical works; Alexander Pope, who wrote the high burlesque \"The Rape of the Lock\"; and Samuel Butler, who used low burlesque in his poem Hudibras. The term has been retrospectively applied to the works of Chaucer, Shakespeare, and to the Graeco-Roman classics. Tom Stoppard's 'Travesties' is a more recent example of a full-length play that draws on the burlesque tradition.", "According to the context provided, burlesque is a literary genre that originated in the 16th century and became widespread in the 17th century. Early instances were seen in the works of Francesco Berni and English playwrights like Shakespeare. Retrospectively, it was also applied to works of Chaucer, Greek and Roman classics. It imitates various styles by combining imitation of authors and artists with absurd descriptions. Two types define burlesque in the 17th and 18th centuries: High burlesque, which applies an elevated manner to an inappropriate subject, and Low burlesque, which applies mockery to serious subjects. Examples include Alexander Pope's \"The Rape of the Lock\" and Samuel Butler's \"Hudibras\". Modern burlesque trends can be seen in full-length plays such as Tom Stoppard's 'Travesties'.", "The context does not provide any other types of origins and development of burlesque beyond what has been mentioned. The genre originated in the 16th century and became widespread in the 17th century, with roots in the works of Francesco Berni, Shakespeare, and others. The term was retrospectively applied to works by Chaucer and Greek and Roman classics. Evolution of the genre led to the establishment of two types of burlesque - high and low - in the 17th and 18th centuries. The genre continued to evolve and is still incorporated into contemporary literary and performance works.", "One of the notable aspects in this article is how the effectiveness of burlesque depends heavily on the reader's or listener's knowledge and literacy in understanding the subject, which is being imitated or satirized. Thus, the genre assumes a high degree of literacy among its audience. Another interesting point is how the genre serves as a tool for satirizing and critiquing societal, political, or literary contexts through humor and exaggeration, showcasing its importance not just as a comedic element, but as a form of commentary. Furthermore, burlesque has shown an incredible level of resilience, weathering changes in societal and cultural norms and proving itself adaptable enough to continue as a relevant and usable form in contemporary times." ]
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C_2bf2b3d7e1cb48e1acfbc373119171b7_1
Ruhollah Khomeini
Sayyid Ruhollah Musavi Khomeini (Persian: syd rwHllh mwswy khmyny [ru:hol'la:he khomei'ni:] ( listen); 24 September 1902 - 3 June 1989), known in the Western world as Ayatollah Khomeini, was an Iranian Shia Muslim religious leader and politician. He was the founder of Iran as an Islamic republic and the leader of its 1979 Iranian Revolution that saw the overthrow of 2500 years of Persian monarchy and Mohammad Reza Pahlavi, the last Shah of Iran.
Islamic constitution
In January 1963, the Shah announced the "White Revolution", a six-point programme of reform calling for land reform, nationalization of the forests, the sale of state-owned enterprises to private interests, electoral changes to enfranchise women and allow non-Muslims to hold office, profit-sharing in industry, and a literacy campaign in the nation's schools. Some of these initiatives were regarded as dangerous, especially by the powerful and privileged Shi'a ulama (religious scholars), and as Westernizing trends by traditionalists (Khomeini viewed them as "an attack on Islam"). Ayatollah Khomeini summoned a meeting of the other senior marjas of Qom and persuaded them to decree a boycott of the referendum on the White Revolution. On 22 January 1963 Khomeini issued a strongly worded declaration denouncing the Shah and his plans. Two days later the Shah took an armored column to Qom, and delivered a speech harshly attacking the ulama as a class. Khomeini continued his denunciation of the Shah's programmes, issuing a manifesto that bore the signatures of eight other senior Iranian Shia religious scholars. In it he listed the various ways in which the Shah had allegedly violated the constitution, condemned the spread of moral corruption in the country, and accused the Shah of submission to the United States and Israel. He also decreed that the Nowruz celebrations for the Iranian year 1342 (which fell on 21 March 1963) be canceled as a sign of protest against government policies. On the afternoon of 'Ashura (3 June 1963), Khomeini delivered a speech at the Feyziyeh madrasah drawing parallels between the Sunni Muslim caliph Yazid, who is perceived as a 'tyrant' by Shias, and the Shah, denouncing the Shah as a "wretched, miserable man," and warning him that if he did not change his ways the day would come when the people would offer up thanks for his departure from the country. On 5 June 1963 (15 of Khordad) at 3:00 am, two days after this public denunciation of the Shah Mohammad Reza Pahlavi, Khomeini was detained in Qom and transferred to Tehran. This sparked three days of major riots throughout Iran and led to the deaths of some 400. That event is now referred to as the Movement of 15 Khordad. Khomeini was kept under house arrest and released in August. Khomeini was not allowed to return to Iran during the Shah's reign (as he had been in exile). On 17 January 1979, the Shah left the country (ostensibly "on vacation"), never to return. Two weeks later, on Thursday, 1 February 1979, Khomeini returned in triumph to Iran, welcomed by a joyous crowd estimated (by BBC) to be of up to five million people. On his chartered Air France flight back to Tehran 120 journalists accompanied him, including three women. One of the journalists, Peter Jennings, asked: "Ayatollah, would you be so kind as to tell us how you feel about being back in Iran?" Khomeini answered via his aide Sadegh Ghotbzadeh: "Hichi" (Nothing). This statement--much discussed at the time and since--was considered by some reflective of his mystical beliefs and non-attachment to ego. Others considered it a warning to Iranians who hoped he would be a "mainstream nationalist leader" that they were in for disappointment. To others, it was a reflection of an unfeeling leader incapable or unconcerned with understanding the thoughts, beliefs, or the needs of the Iranian populace. Khomeini adamantly opposed the provisional government of Shapour Bakhtiar, promising "I shall kick their teeth in. I appoint the government." On 11 February (Bahman 22), Khomeini appointed his own competing interim prime minister, Mehdi Bazargan, demanding, "since I have appointed him, he must be obeyed." It was "God's government," he warned, disobedience against him or Bazargan was considered a "revolt against God." As Khomeini's movement gained momentum, soldiers began to defect to his side and Khomeini declared ill fortune on troops who did not surrender. On 11 February, as revolt spread and armories were taken over, the military declared neutrality and the Bakhtiar regime collapsed. On 30 and 31 March 1979, a referendum to replace the monarchy with an Islamic Republic passed with 98% voting in favour of the replacement, with the question: "should the monarchy be abolished in favour of an Islamic Government?" Although revolutionaries were now in charge and Khomeini was their leader, some opposition groups claim that several secular and religious groups were unaware of Khomeini's plan for Islamic government by wilayat al-faqih, which involved rule by a marja' Islamic cleric. They claim that this provisional constitution for the Islamic Republic did not include the post of supreme Islamic clerical ruler. The Islamic government was clearly defined by Khomeini in his book Hokumat-e Islami: Velayat-e faqih (Islamic Government: Governance of the Jurist) which was published while Khomeini was in exile in 1970, smuggled into Iran, and distributed to Khomeini's supporters. This book included Khomeini's notion of wilayat al-faqih (Governance of the Jurist) as well as the reasoning and in his view, the necessity of it in running an Islamic state. Khomeini and his supporters worked to suppress some former allies and rewrote the proposed constitution. Some newspapers were closed, and those protesting the closings were attacked. Opposition groups such as the National Democratic Front and Muslim People's Republican Party were attacked and finally banned. Through popular support, Khomeini supporters gained an overwhelming majority of the seats in the Assembly of Experts which revised the proposed constitution. The newly proposed constitution included an Islamic jurist Supreme Leader of the country, and a Council of Guardians to veto un-Islamic legislation and screen candidates for office, disqualifying those found un-Islamic. In November 1979, the new constitution of the Islamic Republic was adopted by national referendum. Khomeini himself became instituted as the Supreme Leader (Guardian Jurist), and officially became known as the "Leader of the Revolution." On 4 February 1980, Abolhassan Banisadr was elected as the first president of Iran. Critics complain that Khomeini had gone back on his word to advise, rather than rule the country. CANNOTANSWER
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Ruhollah Khomeini (born Ruhollah Mostafavi Musavi; 17 May 1900 – 3 June 1989), also known as Ayatollah Khomeini, was an Iranian political and religious leader who served as the first supreme leader of Iran from 1979 until his death in 1989. He was the founder of the Islamic Republic of Iran and the leader of the 1979 Iranian Revolution, which saw the overthrow of Shah Mohammad Reza Pahlavi and the end of the Persian monarchy. Following the revolution, Khomeini became the country's first supreme leader, a position created in the constitution of the Islamic Republic as the highest-ranking political and religious authority of the nation, which he held until his death. Most of his period in power was taken up by the Iran–Iraq War of 1980–1988. He was succeeded by Ali Khamenei on 4 June 1989. Khomeini was born in Khomeyn, in what is now Iran's Markazi province. His father was murdered in 1903 when Khomeini was two years old. He began studying the Quran and Arabic from a young age and was assisted in his religious studies by his relatives, including his mother's cousin and older brother. Khomeini was a high ranking cleric in Twelver Shi'ism, an ayatollah, a marja' ("source of emulation"), a Mujtahid or faqīh (an expert in Sharia), and author of more than 40 books. He spent more than 15 years in exile for his opposition to the last shah. In 1970, in his writing and preaching, he began expanding on the theory of Velâyat-e Faqih, the "Guardianship of the Islamic Jurist (clerical authority)", to include theocratic political rule by Islamic jurists. This principle, though not known to the wider public before the revolution, was appended to the new Iranian constitution after the revolution. He was Time magazine's Man of the Year in 1979 for his international influence, and Khomeini has been described as the "virtual face of Shia Islam in Western popular culture", where he was known for his support of the hostage takers during the Iran hostage crisis, his fatwa calling for the murder of British Indian novelist Salman Rushdie, and for referring to the United States as the "Great Satan" and the Soviet Union as the "Lesser Satan". Khomeini has been criticized for these acts and for human rights violations of Iranians (including his ordering of attacks against demonstrators, execution of thousands of political prisoners, war criminals and prisoners of the Iran–Iraq War). Khomeini has also been lauded as politically asute, a "charismatic leader of immense popularity", a "champion of Islamic revival" by Shia scholars, and a major innovator in political theory and religious-oriented populist political strategy. A cult of personality is said to have developed around Khomeini after the Iranian Revolution, and Khomeini is officially known as Imam Khomeini inside Iran and by his supporters internationally. His funeral was attended by up to 10 million people, or 1/6 of the population, one of the largest human gatherings in history. In Iran, his gold-domed tomb in Tehran's Behesht-e Zahrāʾ cemetery has become a shrine for his adherents, and he is legally considered "inviolable", with Iranians regularly punished for insulting him. While he publicly spoke of Islamic unity and minimized differences with Sunni Muslims, he is accused by some of privately rebuking Sunni Islam as heretical and covertly promoted an anti-Sunni foreign policy in the region. Early years Background Ruhollah Khomeini came from a lineage of small land owners, clerics, and merchants. His ancestors migrated towards the end of the 18th century from their original home in Nishapur, Khorasan province, in northeastern part of Iran, for a short stay, to the Kingdom of Awadh, a region in the modern state of Uttar Pradesh, India, whose rulers were Twelver Shia Muslims of Persian origin. During their rule they extensively invited, and received, a steady stream of Persian scholars, poets, jurists, architects, and painters. The family eventually settled in the small town of Kintoor, near Lucknow, the capital of Awadh. Ayatollah Khomeini's paternal grandfather, Seyyed Ahmad Musavi Hindi, was born in Kintoor. He left Lucknow in 1830, on a pilgrimage to the tomb of Ali in Najaf, Ottoman Iraq (now Iraq) and never returned. According to Moin, this migration was to escape from the spread of British power in India. In 1834 Seyyed Ahmad Musavi Hindi visited Persia, and in 1839 he settled in Khomein. Although he stayed and settled in Iran, he continued to be known as Hindi, indicating his stay in India, and Ruhollah Khomeini even used Hindi as a pen name in some of his ghazals. Khomeini's grandfather, Mirza Ahmad Mojtahed-e Khonsari was the cleric issuing a fatwa to forbid usage of Tobacco during the Tobacco Protest. Childhood According to his birth certificate, Ruhollah Musavi Khomeini, whose first name means "spirit of Allah", was born on 17 May 1900 in Khomeyn, Markazi Province although his brother Mortaza (later known as Ayatollah Pasandideh) gives his birth date of 24 September 1902, the birth anniversary of Muhammad's daughter, Fatima. He was raised by his mother, Hajieh Agha Khanum, and his aunt, Sahebeth, following the murder of his father, Mustapha Musavi, over two years after his birth in 1903. Ruhollah began to study the Qur'an and elementary Persian at the age of six. The following year, he began to attend a local school, where he learned religion, noheh khani (lamentation recital), and other traditional subjects. Throughout his childhood, he continued his religious education with the assistance of his relatives, including his mother's cousin, Ja'far, and his elder brother, Morteza Pasandideh. Education and lecturing After World War I arrangements were made for him to study at the Islamic seminary in Isfahan, but he was attracted instead to the seminary in Arak. He was placed under the leadership of Ayatollah Abdolkarim Haeri Yazdi. In 1920, Khomeini moved to Arak and commenced his studies. The following year, Ayatollah Haeri Yazdi transferred to the Islamic seminary in the holy city of Qom, southwest of Tehran, and invited his students to follow. Khomeini accepted the invitation, moved, and took up residence at the Dar al-Shafa school in Qom. Khomeini's studies included Islamic law (sharia) and jurisprudence (fiqh), but by that time, Khomeini had also acquired an interest in poetry and philosophy (irfan). So, upon arriving in Qom, Khomeini sought the guidance of Mirza Ali Akbar Yazdi, a scholar of philosophy and mysticism. Yazdi died in 1924, but Khomeini continued to pursue his interest in philosophy with two other teachers, Javad Aqa Maleki Tabrizi and Rafi'i Qazvini. However, perhaps Khomeini's biggest influences were another teacher, Mirza Muhammad 'Ali Shahabadi, and a variety of historic Sufi mystics, including Mulla Sadra and Ibn Arabi. Khomeini studied ancient Greek philosophy and was influenced by both the philosophy of Aristotle, whom he regarded as the founder of logic, and Plato, whose views "in the field of divinity" he regarded as "grave and solid". Among Islamic philosophers, Khomeini was mainly influenced by Avicenna and Mulla Sadra. Apart from philosophy, Khomeini was interested in literature and poetry. His poetry collection was released after his death. Beginning in his adolescent years, Khomeini composed mystic, political and social poetry. His poetry works were published in three collections: The Confidant, The Decanter of Love and Turning Point, and Divan. His knowledge of poetry is further attested by the modern poet Nader Naderpour (1929–2000), who "had spent many hours exchanging poems with Khomeini in the early 1960s". Naderpour remembered: "For four hours we recited poetry. Every single line I recited from any poet, he recited the next." Ruhollah Khomeini was a lecturer at Najaf and Qom seminaries for decades before he was known on the political scene. He soon became a leading scholar of Shia Islam. He taught political philosophy, Islamic history and ethics. Several of his students – for example, Morteza Motahhari – later became leading Islamic philosophers and also marja'. As a scholar and teacher, Khomeini produced numerous writings on Islamic philosophy, law, and ethics. He showed an exceptional interest in subjects like philosophy and mysticism that not only were usually absent from the curriculum of seminaries but were often an object of hostility and suspicion. Inaugurating his teaching career at the age of 27 by giving private lessons on irfan and Mulla Sadra to a private circle, around the same time, in 1928, he also released his first publication, Sharh Du'a al-Sahar (Commentary on the Du'a al-Baha), "a detailed commentary, in Arabic, on the prayer recited before dawn during Ramadan by Imam Ja'far al-Sadiq", followed, some years later, by Sirr al-Salat (Secret of the Prayer), where "the symbolic dimensions and inner meaning of every part of the prayer, from the ablution that precedes it to the salam that concludes it, are expounded in a rich, complex, and eloquent language that owes much to the concepts and terminology of Ibn 'Arabi. As Sayyid Fihri, the editor and translator of Sirr al-Salat, has remarked, the work is addressed only to the foremost among the spiritual elite (akhass-i khavass) and establishes its author as one of their number." The second book has been translated by Sayyid Amjad Hussain Shah Naqavi and released by BRILL in 2015, under the title "The Mystery of Prayer: The Ascension of the Wayfarers and the Prayer of the Gnostics ". Political aspects His seminary teaching often focused on the importance of religion to practical social and political issues of the day, and he worked against secularism in the 1940s. His first political book, Kashf al-Asrar (Uncovering of Secrets) published in 1942, was a point-by-point refutation of Asrar-e hezar sale (Secrets of a Thousand Years), a tract written by a disciple of Iran's leading anti-clerical historian, Ahmad Kasravi, as well as a condemnation of innovations such as international time zones, and the banning of hijab by Reza Shah. In addition, he went from Qom to Tehran to listen to Ayatullah Hasan Mudarris, the leader of the opposition majority in Iran's parliament during the 1920s. Khomeini became a marja''' in 1963, following the death of Grand Ayatollah Seyyed Husayn Borujerdi. Khomeini also valued the ideals of Islamists such as Sheikh Fazlollah Noori and Abol-Ghasem Kashani. Khomeini saw Fazlollah Nuri as a "heroic figure", and his own objections to constitutionalism and a secular government derived from Nuri's objections to the 1907 constitution. Early political activity Background Most Iranians had a deep respect for the Shi'a clergy or Ulama, and tended to be religious, traditional, and alienated from the process of Westernization pursued by the Shah. In the late 19th century the clergy had shown themselves to be a powerful political force in Iran initiating the Tobacco Protest against a concession to a foreign (British) interest. At the age of 61, Khomeini found the arena of leadership open following the deaths of Ayatollah Sayyed Husayn Borujerdi (1961), the leading, although quiescent, Shi'ah religious leader; and Ayatollah Abol-Ghasem Kashani (1962), an activist cleric. The clerical class had been on the defensive ever since the 1920s when the secular, anti-clerical modernizer Reza Shah Pahlavi rose to power. Reza's son Mohammad Reza Shah, instituted a "White Revolution", which was a further challenge to the Ulama. Opposition to the White Revolution In January 1963, the Shah announced the "White Revolution", a six-point programme of reform calling for land reform, nationalization of the forests, the sale of state-owned enterprises to private interests, electoral changes to enfranchise women and allow non-Muslims to hold office, profit-sharing in industry, and a literacy campaign in the nation's schools. Some of these initiatives were regarded as dangerous, especially by the powerful and privileged Shi'a ulama (religious scholars), and as Westernizing trends by traditionalists. Khomeini viewed them as "an attack on Islam". Ayatollah Khomeini summoned a meeting of the other senior marjas of Qom and persuaded them to decree a boycott of the referendum on the White Revolution. On 22 January 1963, Khomeini issued a strongly worded declaration denouncing both the Shah and his reform plan. Two days later, the Shah took an armored column to Qom, and delivered a speech harshly attacking the ulama as a class. Khomeini continued his denunciation of the Shah's programmes, issuing a manifesto that bore the signatures of eight other senior Shia religious scholars. Khomeini's manifesto argued that the Shah had violated the constitution in various ways, he condemned the spread of moral corruption in the country, and accused the Shah of submission to the United States and Israel. He also decreed that the Nowruz celebrations for the Iranian year 1342 (which fell on 21 March 1963) be canceled as a sign of protest against government policies. On the afternoon of 'Ashura (3 June 1963), Khomeini delivered a speech at the Feyziyeh madrasah drawing parallels between the Sunni Muslim caliph Yazid, who is perceived as a 'tyrant' by Shias, and the Shah, denouncing the Shah as a "wretched, miserable man," and warning him that if he did not change his ways the day would come when the people would offer up thanks for his departure from the country. On 5 June 1963 (15 of Khordad) at 3:00 am, two days after this public denunciation of the Shah, Khomeini was detained in Qom and transferred to Tehran. Following this action, there were three days of major riots throughout Iran and the deaths of some 400 people. That event is now referred to as the Movement of 15 Khordad. Khomeini remained under house arrest until August. Opposition to capitulation On 26 October 1964, Khomeini denounced both the Shah and the United States. This time it was in response to the "capitulations" or diplomatic immunity granted by the Shah to American military personnel in Iran.Shirley, Know Thine Enemy (1997), p. 207. What Khomeini labeled a capitulation law, was in fact a "status-of-forces agreement", stipulating that U.S. servicemen facing criminal charges stemming from a deployment in Iran, were to be tried before a U.S. court martial, not an Iranian court. Khomeini was arrested in November 1964 and held for half a year. Upon his release, Khomeini was brought before Prime Minister Hassan Ali Mansur, who tried to convince him to apologize for his harsh rhetoric and going forward, cease his opposition to the Shah and his government. When Khomeini refused, Mansur slapped him in the face in a fit of rage. Two months later, Mansur was assassinated on his way to parliament. Four members of the Fadayan-e Islam, a Shia militia sympathetic to Khomeini, were later executed for the murder. Life in exile Khomeini spent more than 14 years in exile, mostly in the holy Iraqi city of Najaf. Initially, he was sent to Turkey on 4 November 1964 where he stayed in Bursa in the home of Colonel Ali Cetiner of the Turkish Military Intelligence. In October 1965, after less than a year, he was allowed to move to Najaf, Iraq, where he stayed until 1978, when he was expelled by then-Vice President Saddam Hussein. By this time discontent with the Shah was becoming intense and Khomeini visited Neauphle-le-Château, a suburb of Paris, France, on a tourist visa on 6 October 1978.According to Alexandre de Marenches, chief of External Documentation and Counter-Espionage Service (now known as the DGSE), the Shah did not ask France to expel Khomeini for fear that the cleric should move to Syria or Libya. (source: Christine Ockrent et Alexandre de Marenches, Dans le secret des princes, Stock, 1986, , p. 254) [Donate book to Archive.org] By the late 1960s, Khomeini was a marja-e taqlid (model for imitation) for "hundreds of thousands" of Shia, one of six or so models in the Shia world. While in the 1940s Khomeini accepted the idea of a limited monarchy under the Persian Constitution of 1906 – as evidenced by his book Kashf al-Asrar – by the 1970s he had rejected the idea. In early 1970, Khomeini gave a series of lectures in Najaf on Islamic government, later published as a book titled variously Islamic Government or Islamic Government: Governance of the Jurist (Hokumat-e Islami: Velayat-e faqih). Velayat-e faqih This was his best known and most influential work, and laid out his ideas on governance (at that time): That the laws of society should be made up only of the laws of God (Sharia), which are sufficient because they cover "all human affairs" and "provide instruction and establish norms" for every "topic" in "human life." Since Shariah, or Islamic law, is the proper law, those holding government posts should have knowledge of Sharia. Since Islamic jurists or faqih have studied and are the most knowledgeable in Sharia, the country's ruler should be a faqih who "surpasses all others in knowledge" of Islamic law and justice, (known as a marja'), as well as having intelligence and administrative ability. Rule by monarchs and/or assemblies of "those claiming to be representatives of the majority of the people" (i.e. elected parliaments and legislatures) has been proclaimed "wrong" by Islam. This system of clerical rule is necessary to prevent injustice, corruption, oppression by the powerful over the poor and weak, innovation and deviation of Islam and Sharia law; and also to destroy anti-Islamic influence and conspiracies by non-Muslim foreign powers. Pre-revolutionary political activity A modified form of this wilayat al-faqih system was adopted after Khomeini and his followers took power, and Khomeini was the Islamic Republic's first "Guardian" or "Supreme Leader". In the meantime, however, Khomeini talked only about "Islamic Government", never spelling out what exactly that meant. His network may have been learning about the necessity of rule by Jurists, but "in his interview, speeches, messages and fatvas during this period, there is not a single reference to velayat-e faqih." Khomenei was careful not to publicize his ideas for clerical rule outside of his Islamic network of opposition to the Shah and so not frighten away the secular middle class from his movement. His movement emphasized populism, talking about fighting for the mustazafin, a Quranic term for the oppressed or deprived, that in this context came to mean "just about everyone in Iran except the shah and the imperial court". In Iran, a number of missteps by the Shah including his repression of opponents began to build opposition to his regime. Cassette copies of his lectures fiercely denouncing the Shah as (for example) "the Jewish agent, the American serpent whose head must be smashed with a stone", became common items in the markets of Iran, helping to demythologize the power and dignity of the Shah and his reign. As Iran became more polarized and opposition more radical, Khomeini "was able to mobilize the entire network of mosques in Iran", along with their pious faithful, regular gatherings, hitherto skeptical Mullah leaders, and supported by "over 20,000 properties and buildings throughout Iran" -- a political resource the secular middle class and Shiite socialists could not hope to compete with. Aware of the importance of broadening his base, Khomeini reached out to Islamic reformist and secular enemies of the Shah, groups that were supressed after he took and consolidated power. After the 1977 death of Ali Shariati (an Islamic reformist and political revolutionary author/academic/philosopher who greatly assisted the Islamic revival among young educated Iranians), Khomeini became the most influential leader of the opposition to the Shah. Adding to his mystique was the circulation among Iranians in the 1970s of an old Shia saying attributed to the Imam Musa al-Kadhem. Prior to his death in 799, al-Kadhem was said to have prophesied that "A man will come out from Qom and he will summon people to the right path". In late 1978, a rumour swept the country that Khomeini's face could be seen in the full moon. Millions of people were said to have seen it and the event was celebrated in thousands of mosques.see also Gölz, "Khomeini's Face is in the Moon: Limitations of Sacredness and the Origins of Sovereignty.", In Sakralität und Heldentum. Edited by Felix Heinzer, Jörn Leonhard and von den Hoff, Ralf, 229–44. Helden – Heroisierungen – Heroismen 6. Würzburg: Ergon, 2017, p. 229-244.. The phenomenon was thought to demonstrate that by late 1978 he was increasingly regarded as a messianic figure in Iran, and perceived by many as the spiritual as well as political leader of the revolt. As protests grew, so did his profile and importance. Although several thousand kilometers away from Iran in Paris, Khomeini set the course of the revolution, urging Iranians not to compromise and ordering work stoppages against the regime. During the last few months of his exile, Khomeini received a constant stream of reporters, supporters, and notables, eager to hear the spiritual leader of the revolution. While in exile, Khomeini developed what historian Ervand Abrahamian described as a "populist clerical version of Shii Islam". Khomeini modified previous Shii interpretations of Islam in a number of ways that included aggressive approaches to espousing the general interests of the mostazafin, forcefully arguing that the clergy's sacred duty was to take over the state so that it could implement shari'a, and exhorting followers to protest. Despite their ideological differences, Khomeini also allied with the People's Mujahedin of Iran during the early 1970s and started funding their armed operations against the Shah. Khomeini's contact with the US According to the BBC, Khomeini's contact with the US "is part of a trove of newly declassified US government documents—diplomatic cables, policy memos, meeting records". The documents suggest that the Carter administration helped Khomeini return to Iran by preventing the Iranian army from launching a military coup, and that Khomeini told an American in France to convey a message to Washington that "There should be no fear about oil. It is not true that we wouldn't sell to the US." The Guardian wrote that it "did not have access to the newly declassified documents and was not able to independently verify them," however it did confirm Khomeini's contact with the Kennedy administration and claims of support for US interest in Iran particularly oil through a CIA analysis report titled "Islam in Iran". According to a 1980 CIA study, "in November 1963 Ayatollah Khomeini sent a message to the United States Government through [Tehran University professor] Haj Mirza Khalil Kamarei", where he expressed "that he was not opposed to American interests in Iran", "on the contrary, he thought the American presence was necessary as a counterbalance to Soviet and possibly British influence". According to the BBC, "these document show that in his long quest for power, he [Khomeini] was tactically flexible; he played the moderate even pro-American card to take control but once change had come he put in place an anti-America legacy that would last for decades." Supreme leader Ayatollah Ali Khamenei denied the report, and described the documents as "fabricated". Other Iranian politicians including Ebrahim Yazdi (Khomeini's spokesman and adviser at the time of the revolution) have denounced the documents and the BBC's report. Leader of Iran Return to Iran Khomeini was not allowed to return to Iran during the Shah's reign (as he had been in exile). On 16 January 1979, the Shah left the country for medical treatment (ostensibly "on vacation"), never to return. Two weeks later, on Thursday, 1 February 1979, Khomeini returned in triumph to Iran, welcomed by a joyous crowd estimated (by the BBC) to be of up to five million people. On his chartered Air France flight back to Tehran, he was accompanied by 120 journalists, including three women. One of the journalists, Peter Jennings, asked: "Ayatollah, would you be so kind as to tell us how you feel about being back in Iran?" Khomeini answered via his aide Sadegh Ghotbzadeh: "Hichi" (Nothing). This statement—much discussed at the time and since—was considered by some reflective of his mystical beliefs and non-attachment to ego. Others considered it a warning to Iranians who hoped he would be a "mainstream nationalist leader" that they were in for disappointment. To others, it was a reflection of Khomeini's disinterest in the desires, beliefs, or the needs of the Iranian populace. Revolution Khomeini adamantly opposed the provisional government of Shapour Bakhtiar, promising "I shall kick their teeth in. I appoint the government." On 11 February (Bahman 22), Khomeini appointed his own competing interim prime minister, Mehdi Bazargan, demanding, "since I have appointed him, he must be obeyed." It was "God's government," he warned, disobedience against him or Bazargan was considered a "revolt against God," and "revolt against God is Blasphemy". As Khomeini's movement gained momentum, soldiers began to defect to his side and Khomeini declared ill fortune on troops who did not surrender. On 11 February, as revolt spread and armories were taken over, the military declared neutrality and the Bakhtiar regime collapsed. On 30 and 31 March 1979, a referendum to replace the monarchy with an Islamic Republic -- with the question: "should the monarchy be abolished in favour of an Islamic Government?" -- passed with 98% voting in favour of the replacement, Beginning of the consolidation of power While in Paris, Khomeini had "promised a democratic political system" for Iran, but once in power, he advocated for the creation of theocracy based on the Velayat-e faqih. Thus began the process of suppression of groups inside his broad coalition but outside his network, that had placed their hopes in Khomeini but whose support was no longer needed. This led to the purge or replacement of many secular politicians in Iran, with Khomeini and his close associates taking the following steps: Establishing Islamic Revolutionary courts; replacing the previous military and police force; placing Iran's top theologians and Islamic intellectuals in charge of writing a theocratic constitutions, with a central role for Velayat-e faqih; creating the Islamic Republic Party (IRP) through Khomeini's Motjaheds with the aim of establishing a theocratic government and tearing down any secular opposition; replacing all secular laws with Islamic laws; neutralising or punishing top theologians ("Khomeini's competitors in the religious hierarchy"), whose ideas conflicted with Khomeini's, including Mohammad Kazem Shariatmadari, Hassan Tabatabaei Qomi, and Hossein Ali Montazeri. Some newspapers were closed, and those protesting the closings were attacked. Opposition groups such as the National Democratic Front and Muslim People's Republican Party were attacked and finally banned. Islamic constitution As part of the pivot from guide of a broad political movement to strict clerical ruler, Khomeini's first expressed approval of the provisional constitution for the Islamic Republic that had no post of supreme Islamic clerical ruler. But after his supporters gained an overwhelming majority of the seats in the body making final changes in the draft (the Assembly of Experts), they rewrote the proposed constitution to include an Islamic jurist Supreme Leader of the country, and a more powerful Council of Guardians to veto un-Islamic legislation and screen candidates for office, disqualifying those found un-Islamic. The Supreme Leader followed closely but not completely Khomeini ideas in his 1970 book Hokumat-e Islami: Velayat-e faqih (Islamic Government: Governance of the Jurist) (mentioned above), that had been distributed to his supporters and kept from the public. Becoming Supreme Leader of the Islamic Republic In November 1979, the new constitution of the Islamic Republic was adopted by national referendum. Khomeini himself became instituted as the Supreme Leader (Guardian Jurist), and officially became known as the "Leader of the Revolution." On 4 February 1980, Abolhassan Banisadr was elected as the first president of Iran. Critics complain that Khomeini had gone back on his word to advise, rather than rule the country. Hostage crisis Before the constitution was approved, on 22 October 1979, the United States admitted the exiled and ailing Shah into the country for cancer treatment. In Iran, there was an immediate outcry, with both Khomeini and leftist groups demanding the Shah's return to Iran for trial and execution. On 4 November, a group of Iranian college students calling themselves the Muslim Student Followers of the Imam's Line, took control of the American Embassy in Tehran, holding 52 embassy staff hostage for 444 days – an event known as the Iran hostage crisis. In the United States, the hostage-taking was seen as a flagrant violation of international law and aroused intense anger and anti-Iranian sentiment.Bowden, Mark, Guests of the Ayatollah, Atlantic Monthly Press, (2006) In Iran, the takeover was immensely popular and earned the support of Khomeini under the slogan "America can't do a damn thing against us." The seizure of the embassy of a country he called the "Great Satan" helped to advance the cause of theocratic government and outflank politicians and groups who emphasized stability and normalized relations with other countries. Khomeini is reported to have told his president: "This action has many benefits ... this has united our people. Our opponents do not dare act against us. We can put the constitution to the people's vote without difficulty, and carry out presidential and parliamentary elections." The new constitution was successfully passed by referendum a month after the hostage crisis began. The crisis had the effect of splitting of the opposition into two groups – radicals supporting the hostage taking, and the moderates opposing it.Example of anti-theocratic support for the hostage crisis in Nafisi, Azar, Reading Lolita in Tehran: A Memoir in Books, Random House, 2003, p.105–106, 112 On 23 February 1980, Khomeini proclaimed Iran's Majlis would decide the fate of the American embassy hostages, and demanded that the United States hand over the Shah for trial in Iran for crimes against the nation. Although the Shah died a few months later, during the summer, the crisis continued. In Iran, supporters of Khomeini named the embassy a "Den of Espionage", publicizing details regarding armaments, espionage equipment and many volumes of official and classified documents which they found there. Relationship with Islamic and non-aligned countries Khomeini believed in Muslim unity and solidarity and the export of his revolution throughout the world. He believed Shia and (the significantly more numerous) Sunni Muslims should be "united and stand firmly against Western and arrogant powers." "Establishing the Islamic state world-wide belong to the great goals of the revolution." He declared the birth week of Muhammad (the week between 12th to 17th of Rabi' al-awwal) as the Unity week. Then he declared the last Friday of Ramadan as Quds Day in 1981. Iran–Iraq War Shortly after assuming power, Khomeini began calling for Islamic revolutions across the Muslim world, including Iran's Arab neighbor Iraq, the one large state besides Iran with a Shia majority population. At the same time Saddam Hussein, Iraq's secular Arab nationalist Ba'athist leader, was eager to take advantage of Iran's weakened military and (what he assumed was) revolutionary chaos, and in particular to occupy Iran's adjacent oil-rich province of Khuzestan, and to undermine Iranian Islamic revolutionary attempts to incite the Shi'a majority of his country. In September 1980, Iraq launched a full-scale invasion of Iran, beginning the Iran–Iraq War (September 1980 – August 1988). A combination of fierce resistance by Iranians and military incompetence by Iraqi forces soon stalled the Iraqi advance and, despite Saddam's internationally condemned use of poison gas, Iran had by early 1982 regained almost all of the territory lost to the invasion. The invasion rallied Iranians behind the new regime, enhancing Khomeini's stature and allowing him to consolidate and stabilize his leadership. After this reversal, Khomeini refused an Iraqi offer of a truce, instead demanding reparations and the toppling of Saddam Hussein from power. In 1982, there was an attempted military coup against Khomeini. Although Iran's population and economy were three times the size of Iraq's, the latter was aided by neighboring Persian Gulf Arab states, as well as the Soviet Bloc and Western countries. The Persian Gulf Arabs and the West wanted to be sure the Islamic revolution did not spread across the Persian Gulf, while the Soviet Union was concerned about the potential threat posed to its rule in central Asia to the north. However, Iran had large amounts of ammunition provided by the United States of America during the Shah's era and the United States illegally smuggled arms to Iran during the 1980s despite Khomeini's anti-Western policy (see Iran–Contra affair). During war Iranians used human wave attacks (people walking to certain death including child soldiers) on Iraq, with his promise that they would automatically go to paradise—al Janna— if they died in battle, and his pursuit of victory in the Iran–Iraq War that ultimately proved futile. By March 1984, two million of Iran's most educated citizens had left the country. In July 1988, Khomeini, in his words, "drank the cup of poison" and accepted a truce mediated by the United Nations. Despite the high cost of the war – 450,000 to 950,000 Iranian casualties and US$300 billion – Khomeini insisted that extending the war into Iraq in an attempt to overthrow Saddam had not been a mistake. In a "Letter to Clergy" he wrote: "... we do not repent, nor are we sorry for even a single moment for our performance during the war. Have we forgotten that we fought to fulfill our religious duty and that the result is a marginal issue?" Fatwa against chemical weapons In an interview with Gareth Porter, Mohsen Rafighdoost, the eight-year war time minister of the Islamic Revolutionary Guard Corps, disclosed how Khomeini had opposed his proposal for beginning work on both nuclear and chemical weapons by a fatwa which had never been made public in details of when and how it was issued. Rushdie fatwa In early 1989, Khomeini issued a fatwa calling for the assassination of Salman Rushdie, an India-born British author. Rushdie's book, The Satanic Verses, published in 1988, was alleged to commit blasphemy against Islam and Khomeini's juristic ruling (fatwā) prescribed Rushdie's assassination by any Muslim. The fatwā required not only Rushdie's execution, but also the execution of "all those involved in the publication" of the book. Khomeini's fatwā was condemned across the Western world by governments on the grounds that it violated the universal human rights of free speech and freedom of religion. The fatwā has also been attacked for violating the rules of fiqh by not allowing the accused an opportunity to defend himself, and because "even the most rigorous and extreme of the classical jurist only require a Muslim to kill anyone who insults the Prophet in his hearing and in his presence." Though Rushdie publicly regretted "the distress that publication has occasioned to sincere followers of Islam", the fatwa was not revoked. The fatwa was followed by a number of deaths, including the lethal stabbing of Hitoshi Igarashi, the Japanese translator of the book, in 1991. Rushdie himself and two other translators of the book survived murder attempts, the last – in Rushdie's case – in August 2022. The controversy, and subsequent unrest associated with the fatwa has been linked to surges in sales for Rushdie's work. Life under Khomeini In a speech on 1 February 1979 delivered to a huge crowd after returning to Iran from exile, Khomeini made a variety of promises to Iranians for his coming Islamic regime: a popularly elected government that would represent the people of Iran and with which the clergy would not interfere. He promised that "no one should remain homeless in this country," and that Iranians would have free telephone, heating, electricity, bus services and free oil at their doorstep. Under Khomeini's rule, Sharia (Islamic law) was introduced, with the Islamic dress code enforced for both men and women by Islamic Revolutionary Guards and other Islamic groups. Women were required to cover their hair, and men were forbidden to wear shorts. Alcoholic drinks, most Western movies, and the practice of men and women swimming or sunbathing together were banned. The Iranian educational curriculum was Islamized at all levels with the Islamic Cultural Revolution; the "Committee for Islamization of Universities" carried this out thoroughly. The broadcasting of any music other than martial or religious on Iranian radio and television was banned by Khomeini in July 1979. The ban lasted 10 years (approximately the rest of his life). According to Janet Afari, "the newly established regime of Ayatollah Khomeini moved quickly to repress feminists, ethnic and religious minorities, liberals, and leftists – all in the name of Islam." Women and child rights Khomeini took on extensive and proactive support of the female populace during the ousting of the Shah and his subsequent homecoming, advocating for mainstreaming of women into all spheres of life and even hypothesizing about a woman head of state. However, once he returned, his stances on women's rights exhibited drastic changes. Khomeini revoked Iran's 1967 divorce law, considering any divorce granted under this law to be invalid. Nevertheless, Khomeini supported women's right to divorce as allowed by Islamic law. Khomeini reaffirmed the traditional position of rape in Islamic law in which rape by a spouse was not equivalent to rape or zina, declaring "a woman must surrender to her husband for any pleasure". A mere three weeks after assuming power, under the pretext of reversing the Shah's affinity for westernization and backed by a vocal conservative section of Iranian society, he revoked the divorce law. Under Khomeini the minimum age of marriage was lowered to 15 for boys and 13 for girls; nevertheless, the average age of women at marriage continued to increase. Laws were passed that encouraged polygamy, made it impossible for women to divorce men, and treated adultery as the highest form of criminal offense. Women were compelled to wear veils and the image of Western women was carefully reconstructed as a symbol of impiety. Morality and modesty were perceived as fundamental womanly traits that needed state protection, and concepts of individual gender rights were relegated to women's social rights as ordained in Islam. Fatima was widely presented as the ideal emulatable woman. At the same time, amidst the religious orthodoxy, there was an active effort to rehabilitate women into employment. Female participation in healthcare, education and the workforce increased drastically during his regime. Reception among women of his regime has been mixed. Whilst a section were dismayed at the increasing Islamisation and concurrent degradation of women's rights, others did notice more opportunities and mainstreaming of relatively religiously conservative women. LGBTQ rights Shortly after his accession as supreme leader in February 1979, Khomeini imposed capital punishment on homosexuals. Between February and March, sixteen Iranians were executed due to offenses related to sexual violations. Khomeini also created the "Revolutionary Tribunals". According to historian Ervand Abrahamian, Khomeini encouraged the clerical courts to continue implementing their version of the Shari'a. As part of the campaign to "cleanse" the society, these courts executed over 100 drug addicts, prostitutes, homosexuals, rapists, and adulterers on the charge of "sowing corruption on earth." According to author Arno Schmitt, "Khomeini asserted that 'homosexuals' had to be exterminated because they were parasites and corruptors of the nation by spreading the 'stain of wickedness.'" In 1979, he had declared that the execution of homosexuals (as well as prostitutes and adulterers) was reasonable in a moral civilization in the same sense as cutting off decayed skin. Being transgender, however, was designated by Khomeini as a sickness that was able to be cured through gender-affirming surgery. Since the mid-1980s, the Iranian government has legalized the practice of sex reassignment surgery (under medical approval) and the modification of pertinent legal documents to reflect the reassigned gender. In 1983, Khomeini passed a fatwa allowing gender reassignment operations as a cure for "diagnosed transsexuals", allowing for the basis of this practice becoming legal. Emigration and economy Khomeini is said to have stressed "the spiritual over the material".(Brumberg, Reinventing Khomeini (2001), p. 125) Six months after his first speech he expressed exasperation with complaints about the sharp drop in Iran's standard of living, saying that: "I cannot believe that the purpose of all these sacrifices was to have less expensive melons." On another occasion emphasizing the importance of martyrdom over material prosperity, he said: "Could anyone wish his child to be martyred to obtain a good house? This is not the issue. The issue is another world." He also reportedly answered a question about his economic policies by declaring that 'economics is for donkeys'.The original quote which is part of a speech made in 1979 can be found here: I cannot imagine and no wise person can presume the claim that we spared our bloods so watermelon becomes cheaper. No wise person would sacrifice his young offspring for [say] affordable housing. People [on the contrary] want everything for their young offspring. Human being wants economy for his own self; it would therefore be unwise for him to spare his life in order to improve economy [...] Those who keep bringing up economy and find economy the infrastructure of everything -not knowing what human[ity] means- think of human being as an animal who is defined by means of food and clothes[...] Those who find economy the infrastructure of everything, find human beings animals. Animal too sacrifices everything for its economy and economy is its sole infrastructure. A donkey too considers economy as its only infrastructure. These people did not realize what human being [truly] is. This disinterest in economic policy is said to be "one factor explaining the inchoate performance of the Iranian economy since the revolution." Other factors include the long war with Iraq, the cost of which led to government debt and inflation, eroding personal incomes, and unprecedented unemployment, ideological disagreement over the economy, and "international pressure and isolation" such as US sanctions following the hostage crisis. Due to the Iran–Iraq War, poverty is said to have risen by nearly 45% during the first 6 years of Khomeini's rule. Emigration from Iran also developed, reportedly for the first time in the country's history. Since the revolution and war with Iraq, an estimated "two to four million entrepreneurs, professionals, technicians, and skilled craftspeople (and their capital)" have emigrated to other countries. Suppression of opposition In a talk at the Fayzieah School in Qom on 30 August 1979, Khomeini warned pro-imperialist opponents: "Those who are trying to bring corruption and destruction to our country in the name of democracy will be oppressed. They are worse than Bani-Ghorizeh Jews, and they must be hanged. We will oppress them by God's order and God's call to prayer." However, in 1983, the Central Intelligence Agency (CIA) helped him by providing a list of Soviet KGB agents and collaborators operating in Iran to Khomeini, who then executed up to 200 suspects and closed down the Communist Tudeh Party of Iran. Available online here. The Shah Mohammad Reza Pahlavi and his family left Iran and escaped harm, but hundreds of former members of the overthrown monarchy and military met their ends in firing squads, with exiled critics complaining of "secrecy, vagueness of the charges, the absence of defense lawyers or juries", or the opportunity of the accused "to defend themselves." In later years these were followed in larger numbers by the erstwhile revolutionary allies of Khomeini's movement—Marxists and socialists, mostly university students—who opposed the theocratic regime. From 1980 to 1981, the People's Mojahedin Organization of Iran and other opposition groups (including leftist and moderate groups) rallied against the takeover of the Islamic Republic Party through large demonstrations. Acting on the orders of Khomeini, the Islamic Republic responded by shooting demonstrators, including children. The 1981 Hafte Tir bombing escalated the conflict, leading to increasing arrests, torture, and executions of thousands of Iranians. Targets also included "innocent, non political civilians, such as members of the Baha'i religious minority, and others deemed problematic by the IRP." The number of those executed between 1981 and 1985's "reign of terror" is reported to be between 8,000 and 10,000. In the 1988 executions of Iranian political prisoners, following the People's Mujahedin of Iran unsuccessful operation Forough-e Javidan against the Islamic Republic, Khomeini issued an order to judicial officials to judge every Iranian political prisoner (mostly but not all Mujahedin) and kill those judged to be apostates from Islam (mortad) or "waging war on God" (moharebeh). Almost all of those interrogated were killed, around 30,000 of them. Because of the large number, prisoners were loaded into forklift trucks in groups of six and hanged from cranes in half-hour intervals. Minority religions Zoroastrians, Jews, and Christians are officially recognized and protected by the government. Shortly after Khomeini's return from exile in 1979, he issued a fatwa ordering that Jews and other minorities (except those of the Baháʼí Faith) be treated well. In power, Khomeini distinguished between Zionism as a secular political party that employs Jewish symbols and ideals and Judaism as the religion of Moses. Senior government posts were reserved for Muslims. Schools set up by Jews, Christians and Zoroastrians had to be run by Muslim principals. Conversion to Islam was encouraged by entitling converts to inherit the entire share of their parents (or even uncle's) estate if their siblings (or cousins) remain non-Muslim. Iran's non-Muslim population has decreased. For example, the Jewish population in Iran dropped from 80,000 to 30,000. The Zoroastrian population has also decreased, due to suffering from renewed persecution and the revived legal contrasts between a Muslim and Zoroastrian, which mirrors the laws that Zoroastrians experienced under earlier Islamic regimes. The view that Zoroastrians are najis ("unclean") has also been renewed. Four of the 270 seats in parliament were reserved for each three non-Muslim minority religions, under the Islamic constitution that Khomeini oversaw. Khomeini also called for unity between Sunni and Shi'a Muslims. Sunni Muslims make up 9% of the entire Muslim population in Iran. One non-Muslim group treated differently were the 300,000 members of the Baháʼí Faith. Starting in late 1979 the new government systematically targeted the leadership of the Baháʼí community by focusing on the Baháʼí National Spiritual Assembly (NSA) and Local Spiritual Assemblies (LSAs); prominent members of NSAs and LSAs were often detained and even executed. "Some 200 of whom have been executed and the rest forced to convert or subjected to the most horrendous disabilities." Like most conservative Muslims, Khomeini believed Baháʼí to be apostates. He claimed they were a political rather than a religious movement, declaring: Ethnic minorities After the Shah left Iran in 1979, a Kurdish delegation traveled to Qom to present the Kurds' demands to Khomeini. Their demands included language rights and the provision for a degree of political autonomy. Khomeini responded that such demands were unacceptable since it involved the division of the Iranian nation. In a speech during the same year, Khomeini hinted that the new government's attitutes were to curb contrasts instead of accepting them. Khomeini is quoted saying: "Sometimes the word minorities is used to refer to people such as Kurds, Lurs, Turks, Persians, Baluchis, and such. These people should not be called minorities because this term assumes there is a difference between these brothers." The following months saw numerous clashes between Kurdish militia groups and the Revolutionary Guards. The referendum on the Islamic Republic was massively boycotted in Kurdistan, where it was thought 85 to 90% of voters abstained. Khomeini ordered additional attacks later on in the year, and by September most of Iranian Kurdistan was under direct martial law. Death and funeral Khomeini's health declined several years prior to his death. After spending eleven days in Jamaran hospital, Ruhollah Khomeini died on 3 June 1989 after suffering five heart attacks in just ten days, at the age of 89 just before midnight. He was succeeded as Supreme Leader by Ali Khamenei. Large numbers of Iranians took to the streets to publicly mourn his death and in the scorching summer heat, fire trucks sprayed water on the crowds to cool them. At least 10 mourners were trampled to death, more than 400 were badly hurt and several thousand more were treated for injuries sustained in the ensuing pandemonium.In the Name of God: The Khomeini Decade by Robin Wright, (1989), p. 204 According to Iran's official estimates, 10.2 million people lined the route to Tehran's Behesht-e Zahra cemetery on 11 June 1989, for the funeral of Ayatollah Ruhollah Khomeini. Western agencies estimated that 2 million paid their respects as the body lay in state. Figures about Khomeini's initial funeral attendance which took place on 4 June range around 2.5–3.5 million people. Early the following day, Khomeini's corpse was flown in by helicopter for burial at the Behesht-e Zahra. Iranian officials postponed Khomeini's first funeral after a huge mob stormed the funeral procession, destroying Khomeini's wooden coffin in order to get a last glimpse of his body or touch of his coffin. In some cases, armed soldiers were compelled to fire warning shots in the air to restrain the crowds. At one point, Khomeini's body fell to the ground, as the crowd ripped off pieces of the death shroud, trying to keep them as if they were holy relics. According to journalist James Buchan: The second funeral was held under much tighter security five hours later. This time, Khomeini's casket was made of steel, and in accordance with Islamic tradition, the casket was only to carry the body to the burial site. In 1995, his son Ahmad was buried next to him. Khomeini's grave is now housed within a larger mausoleum complex. Succession Grand Ayatollah Hussein-Ali Montazeri, a former student of Khomeini and a major figure of the Revolution, was chosen by Khomeini to be his successor as Supreme Leader and approved as such by the Assembly of Experts in November 1985. The principle of velayat-e faqih and the Islamic constitution called for the Supreme Leader to be a marja (a grand ayatollah), and of the dozen or so grand ayatollahs living in 1981 only Montazeri qualified as a potential Leader (this was either because only he accepted totally Khomeini's concept of rule by Islamic jurists,Mackay, Iranians, (1998), p.353 or, as at least one other source stated, because only Montazeri had the "political credentials" Khomeini found suitable for his successor). The execution of Mehdi Hashemi in September 1987 on charges of counterrevolutionary activities was a blow to Ayatollah Montazeri, who knew Hashemi since their childhood. In 1989 Montazeri began to call for liberalization, freedom for political parties. Following the execution of thousands of political prisoners by the Islamic government, Montazeri told Khomeini: "Your prisons are far worse than those of the Shah and his SAVAK." After a letter of his complaints was leaked to Europe and broadcast on the BBC, a furious Khomeini ousted him in March 1989 from his position as official successor. His portraits were removed from offices and mosques. To deal with the disqualification of the only suitable marja, Khomeini called for an 'Assembly for Revising the Constitution' to be convened. An amendment was made to Iran's constitution removing the requirement that the Supreme Leader be a Marja and this allowed Ali Khamenei, the new favoured jurist who had suitable revolutionary credentials but lacked scholarly ones and who was not a Grand Ayatollah, to be designated as successor.Mackey, Sandra, The Iranians (1996), p. 353 Ayatollah Khamenei was elected Supreme Leader by the Assembly of Experts on 4 June 1989. Grand Ayatollah Hossein Montazeri continued his criticism of the regime and in 1997 was put under house arrest for questioning what he regarded to be an unaccountable rule exercised by the supreme leader.Leader Khamenei PBS Anniversary The anniversary of Khomeini's death is a public holiday. To commemorate Khomeini, people visit his mausoleum placed on Behesht-e Zahra to hear sermons and practice prayers on his death day. Political thought and legacy According to at least one scholar, politics in the Islamic Republic of Iran "are largely defined by attempts to claim Khomeini's legacy" and that "staying faithful to his ideology has been the litmus test for all political activity" there. Throughout his many writings and speeches, Khomeini's views on governance evolved. Originally declaring rule by monarchs or others permissible so long as sharia law was followed Khomeini later adamantly opposed monarchy, arguing that only rule by a leading Islamic jurist (a marja') would ensure Sharia was properly followed (velâyat-e faqih), before finally insisting the ruling jurist need not be a leading one and Sharia rule could be overruled by that jurist if necessary to serve the interests of Islam and the "divine government" of the Islamic state. Khomeini's concept of Guardianship of the Islamic Jurist (ولایت فقیه, velayat-e faqih) as Islamic government did not win the support of the leading Iranian Shi'i clergy of the time. Towards the 1979 Revolution, many clerics gradually became disillusioned with the rule of the Shah, although none came around to supporting Khomeini's vision of a theocratic Islamic Republic. There is much debate to as whether Khomeini's ideas are or are not compatible with democracy and whether he intended the Islamic Republic to be a democratic republic. According to the state-run Aftab News, both ultraconservative supporters (Mohammad Taghi Mesbah Yazdi) and reformist opponents of the regime (Akbar Ganji and Abdolkarim Soroush) believe he did not, while regime officials and supporters like Ali Khamenei, Mohammad Khatami and Mortaza Motahhari maintain the Islamic republic is democratic as Khomeini intended it to be. Khomeini himself also made statements at different times indicating both support and opposition to democracy. One scholar, Shaul Bakhash, explains this contradiction as coming from Khomeini's belief that the huge turnout of Iranians in anti-Shah demonstrations during the revolution constituted a 'referendum' in favor of an Islamic republic, more important than any elections. Khomeini also wrote that since Muslims must support a government based on Islamic law, Sharia-based government will always have more popular support in Muslim countries than any government based on elected representatives. Khomeini offered himself as a "champion of Islamic revival" and unity, emphasizing issues Muslims agreed upon – the fight against Zionism and imperialism – and downplaying Shia issues that would divide Shia from Sunni. (The Egyptian Jihadist ideologue Sayyid Qutb was an important source of influence to Khomeini and the 1979 Iranian Revolution. The Islamic Republic of Iran under Khomeini honoured Qutb's "martyrdom" by issuing an iconic postage stamp in 1984, and before the revolution prominent figures in the Khomeini network translated Qutb's works into Persian.) Khomeini strongly opposed close relations with either Eastern or Western Bloc nations, believing the Islamic world should be its own bloc, or rather converge into a single unified power. He viewed Western culture as being inherently decadent and a corrupting influence upon the youth. The Islamic Republic banned or discouraged popular Western fashions, music, cinema, and literature. In the Western world it is said "his glowering visage became the virtual face of Islam in Western popular culture" and "inculcated fear and distrust towards Islam," making the word 'Ayatollah' "a synonym for a dangerous madman ... in popular parlance." This has particularly been the case in the United States where some Iranians complained that even at universities they felt the need to hide their Iranian identity for fear of physical attack. There Khomeini and the Islamic Republic are remembered for the American embassy hostage taking and accused of sponsoring hostage-taking and terrorist attacks,for example the 1983 Beirut barracks bombing see:Hizb'allah in Lebanon: The Politics of the Western Hostage Crisis Magnus Ranstorp, Department of International Relations University of St. Andrews St. Martins Press, New York, 1997, p.54, 117 and which continues to apply economic sanctions against Iran. Before taking power Khomeini expressed support for the Universal Declaration of Human Rights. "We would like to act according to the Universal Declaration of Human Rights. We would like to be free. We would like independence." However once in power Khomeini took a firm line against dissent, warning opponents of theocracy for example: "I repeat for the last time: abstain from holding meetings, from blathering, from publishing protests. Otherwise I will break your teeth." Many of Khomeini's political and religious ideas were considered to be progressive and reformist by leftist intellectuals and activists prior to the Revolution. However, once in power his ideas often clashed with those of modernist or secular Iranian intellectuals. This conflict came to a head during the writing of the Islamic constitution when many newspapers were closed by the government. Khomeini angrily told the intellectuals: Yes, we are reactionaries, and you are enlightened intellectuals: You intellectuals do not want us to go back 1400 years. You, who want freedom, freedom for everything, the freedom of parties, you who want all the freedoms, you intellectuals: freedom that will corrupt our youth, freedom that will pave the way for the oppressor, freedom that will drag our nation to the bottom. In contrast to his alienation from Iranian intellectuals, and "in an utter departure from all other Islamist movements," Khomeini embraced international revolution and Third World solidarity, giving it "precedence over Muslim fraternity." From the time Khomeini's supporters gained control of the media until his death, the Iranian media "devoted extensive coverage to non-Muslim revolutionary movements (from the Sandinistas to the African National Congress and the Irish Republican Army) and downplayed the role of the Islamic movements considered conservative, such as the Afghan mujahidin." Khomeini's legacy to the economy of the Islamic Republic has been expressions of concern for the mustazafin (a Quranic term for the oppressed or deprived), but not always results that aided them. During the 1990s the mustazafin and disabled war veterans rioted on several occasions, protesting the demolition of their shantytowns and rising food prices, etc. Khomeini's disdain for the science of economics ("economics is for donkeys") is said to have been "mirrored" by the populist redistribution policies of former president, Mahmoud Ahmadinejad, who allegedly wears "his contempt for economic orthodoxy as a badge of honour", and has overseen sluggish growth and rising inflation and unemployment. In 1963, Ayatollah Ruhollah Khomeini wrote a book in which he stated that there is no religious restriction on corrective surgery for transgender individuals. At the time Khomeini was an anti-Shah revolutionary and his fatwas did not carry any weight with the Imperial government, which did not have any specific policies regarding transsexual individuals. However, after 1979, his fatwa "formed the basis for a national policy" and perhaps in part because of a penal code that "allows for the execution of homosexuals", as of 2005 Iran "permits and partly finances seven times as many gender reassignment operations as the entire European Union". Appearance and habits Khomeini was described as "slim", but athletic and "heavily boned". He was known for his punctuality: Khomeini was also known for his aloofness and austere demeanor. He is said to have had "variously inspired admiration, awe, and fear from those around him." His practice of moving "through the halls of the madresehs never smiling at anybody or anything; his practice of ignoring his audience while he taught, contributed to his charisma." Khomeini adhered to traditional beliefs of Islamic hygienical jurisprudence holding that things like urine, excrement, blood, wine, and also non-Muslims were some of eleven ritualistically "impure" things that physical contact with which while wet required ritual washing or Ghusl before prayer or salat.Mottahedeh, Roy, The Mantle of the Prophet: Religion and Politics in Iran, One World, Oxford, 1985, 2000, p.383 He is reported to have refused to eat or drink in a restaurant unless he knew for sure the waiter was a Muslim. Mystique According to Baqer Moin, with the success of the revolution, not only had a personality cult developed around Khomeini, but he "had been transformed into a semi-divine figure. He was no longer a grand ayatollah and deputy of the Imam, one who represents the Hidden Imam, but simply 'The Imam'." Khomeini's personality cult fills a central position in foreign- and domestically targeted Iranian publications. The methods used to create his personality cult have been compared to those used by such figures as Joseph Stalin, Mao Zedong and Fidel Castro. An eight-century Hadith attributed to the Imam Musa al-Kazim that said "A man will come out from Qom and he will summon people to the right path. There will rally to him people resembling pieces of iron, not to be shaken by violent winds, unsparing and relying on God" was repeated in Iran as a tribute to Khomeini. (In Lebanon, however, this saying was also attributed to Musa al-Sadr.) Khomeini was the first and only Iranian cleric to be addressed as "Imam", a title hitherto reserved in Iran for the twelve infallible leaders of the early Shi'a. He was also associated with the Mahdi or 12th Imam of Shia belief in a number of ways. One of his titles was Na'eb-e Imam (Deputy to the Twelfth Imam). His enemies were often attacked as taghut and Mofsed-e-filarz, religious terms used for enemies of the Twelfth Imam. Many of the officials of the overthrown Shah's government executed by Revolutionary Courts were convicted of "fighting against the Twelfth Imam". When a deputy in the majlis asked Khomeini directly if he was the 'promised Mahdi', Khomeini did not answer, "astutely" neither confirming nor denying the title. As the revolution gained momentum, even some non-supporters exhibited awe towards Khomeini, called him "magnificently clear-minded, single-minded and unswerving." His image was as "absolute, wise, and indispensable leader of the nation": The Imam, it was generally believed, had shown by his uncanny sweep to power, that he knew how to act in ways which others could not begin to understand. His timing was extraordinary, and his insight into the motivation of others, those around him as well as his enemies, could not be explained as ordinary knowledge. This emergent belief in Khomeini as a divinely guided figure was carefully fostered by the clerics who supported him and spoke up for him in front of the people. Even many secularists who firmly disapproved of his policies were said to feel the power of his "messianic" appeal. Comparing him to a father figure who retains the enduring loyalty even of children he disapproves of, journalist Afshin Molavi writes that defenses of Khomeini are "heard in the most unlikely settings": Another journalist tells the story of listening to bitter criticism of the regime by an Iranian who tells her of his wish for his son to leave the country and who "repeatedly" makes the point "that life had been better" under the Shah. When his complaint is interrupted by news that "the Imam" – over 85 years old at the time and known to be ailing – might be dying, the critic becomes "ashen faced" and speechless, pronouncing the news to be "terrible for my country." Non-Iranians were not immune from the effect. In 1982, after listening to a half-hour-long speech on the Quran by him, a Muslim scholar from South Africa, Sheikh Ahmad Deedat gushed, Family and descendants In 1929, Khomeini married Khadijeh Saqafi, the daughter of a cleric in Tehran. Some sources claim that Khomeini married Saqafi when she was ten years old, while others claim she was fifteen years old. By all accounts their marriage was harmonious and happy. She died in 2009. They had seven children, though only five survived infancy. His daughters all married into either merchant or clerical families, and both his sons entered into religious life. Mostafa, the elder son, died in 1977 while in exile in Najaf, Iraq with his father and was rumored by supporters of his father to have been murdered by SAVAK. Ahmad Khomeini, who died in 1995 at the age of 50, was also rumoured to be a victim of foul play, but at the hands of the regime. Perhaps his "most prominent daughter", Zahra Mostafavi, is a professor at the University of Tehran, and still alive. Khomeini's fifteen grandchildren include: Zahra Eshraghi, granddaughter, married to Mohammad Reza Khatami, head of the Islamic Iran Participation Front, the main reformist party in the country, and is considered a pro-reform character herself. Hassan Khomeini, Khomeini's elder grandson Sayid Hasan Khomeini, son of the Seyyed Ahmad Khomeini, is a cleric and the trustee of the Mausoleum of Khomeini and also has shown support for the reform movement in Iran, and Mir-Hossein Mousavi's call to cancel the 2009 election results. Husain Khomeini (Sayid Husain Khomeini), Khomeini's other grandson, son of Sayid Mustafa Khomeini, is a mid-level cleric who is strongly against the system of the Islamic republic. In 2003, he was quoted as saying: "Iranians need freedom now, and if they can only achieve it with American interference I think they would welcome it. As an Iranian, I would welcome it." In that same year Husain Khomeini visited the United States, where he met figures such as Reza Pahlavi, the son of the last Shah and the pretender to the Sun Throne. Later that year, Husain returned to Iran after receiving an urgent message from his grandmother. According to Michael Ledeen, quoting "family sources", he was blackmailed into returning. In 2006, he called for an American invasion and overthrow of the Islamic Republic, telling Al-Arabiyah television station viewers, "If you were a prisoner, what would you do? I want someone to break the prison [doors open]. Another of Khomeini's grandchildren, Ali Eshraghi, was disqualified from the 2008 parliamentary elections on grounds of being insufficiently loyal to the principles of the Islamic revolution, but later reinstated. Bibliography Khomeini was a writer and speaker (200 of his books are online) who authored commentaries on the Qur'an, on Islamic jurisprudence, the roots of Islamic law, and Islamic traditions. He also released books about philosophy, gnosticism, poetry, literature, government and politics. His books include: Hokumat-e Islami: Velayat-e faqih (Islamic Government: Governance of the Jurist) The Little Green Book: A sort of manifesto of Khomeini's political thought Forty Hadith (Forty Traditions) Adab as Salat (The Disciplines of Prayers) Jihade Akbar (The Greater Struggle) Tahrir al-Wasilah Kashf al-Asrar See also Khomeinism Political thought and legacy of Ruhollah Khomeini Islamic Government (book by Khomeini) Muhammad Kazim Khurasani Mirza Husayn Tehrani Abdallah Mazandarani Mirza Ali Aqa Tabrizi Mirza Sayyed Mohammad Tabatabai Seyyed Abdollah Behbahani Fazlullah Nouri Mohammad Baqir al-Hakim Muhammad Baqir al-Sadr Islamic fundamentalism in Iran Execution of Imam Khomeini's Order Exiles of Imam Khomeini Ideocracy List of cults of personality Ruhollah Khomeini's letter to Mikhail Gorbachev Ruhollah Khomeini's residency (Jamaran) 1979 Iranian Revolution conspiracy theory Notes References Citations Sources External links Imam Khomeini's Official Website Documentary: Imam Khomeini P1 (Free Press TV documentary) Imam Khomeini – Reformer of the Century (English Subtitles – Press TV Documentary) The New York Times article on Khomeini's poetry Rouhollah Khomeini's Website Who Is Imam Khomeini? Selected bibliography Syed Ruhollah Moosavi Khomeini – Islamic Government (Hukumat-i Islami) Syed Ruhollah Moosavi Khomeini – The Last Will... Books by and or about Rouhollah Khomeini Letter by Ayatollah Khomeini to Mikhail Gorbachev, dated 1 January 1989. Kayhan'' Khomeinism: Essays on the Islamic Republic, 1993 by the Regents of the University of California Category:1900 births Category:1902 births Category:1989 deaths Category:20th-century imams Category:20th-century poets Category:Al-Moussawi family Category:Anti-Americanism Category:Anti-monarchists Category:Anti-Zionism in the Middle East Ruhollah Category:Biographical evaluation scholars Category:Burials at Behesht-e Zahra Category:Commanders-in-Chief of Iran Category:Iran hostage crisis Category:Iranian anti-communists Category:Iranian emigrants to France Category:Iranian emigrants to Iraq Category:Iranian emigrants to Turkey Category:Iranian dissidents Category:Iranian exiles Category:Iranian grand ayatollahs Category:Iranian people of the Iran–Iraq War Category:Iranian Qutbists Category:20th-century Iranian poets Category:Iranian revolutionaries Category:Islamic philosophers Category:Pan-Islamism Category:People from Markazi Province Category:People of the Iranian Revolution Category:Politicide perpetrators Category:Religious policy in Iran Category:Simple living advocates Category:Supreme Leaders of Iran Category:Time Person of the Year
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[ "The Islamic constitution was important to Khomeini as it established his notion of wilayat al-faqih (Governance of the Jurist), which, according to him, was necessary for running an Islamic state. The constitution provided for an Islamic jurist Supreme Leader of the country, and a Council of Guardians to veto un-Islamic legislation and screen candidates for office, disqualifying those found un-Islamic. Khomeini himself became instituted as the Supreme Leader, hence the Islamic constitution was crucial for him to gain and uphold power.", "After the adoption of the new constitution of the Islamic Republic by national referendum in November 1979, Khomeini became instituted as the Supreme Leader (Guardian Jurist) and officially became known as the \"Leader of the Revolution.\" On the 4th of February, 1980, Abolhassan Banisadr was elected as the first president of Iran. Critics indicated that Khomeini had gone back on his word to advise, rather than rule the country.", "Khomeini became instituted as the Supreme Leader and became officially known as the \"Leader of the Revolution\" after the new constitution of the Islamic Republic was adopted by national referendum in November 1979. Abolhassan Banisadr was elected as the first president of Iran on 4th February 1980.", "After the boycott of the referendum on the White Revolution, Ayatollah Khomeini continued to denounce the Shah's programmes. He issued a manifesto against the Shah's actions, garnering support from eight other senior Iranian Shia religious scholars. In a public speech, Khomeini warned the Shah of people's discontent and potential upheaval. Two days after this public denunciation of the Shah Mohammad Reza Pahlavi, Khomeini was detained in Qom and transferred to Tehran. This sparked three days of major riots throughout Iran, leading to the deaths of some 400 people. This event is referred to as the Movement of 15 Khordad. Khomeini was kept under house arrest and released in August." ]
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C_b200a4798a7349ff8822b7bcf5addda2_1
Zhang Heng
Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.
Odometer and south-pointing chariot
Zhang Heng is often credited with inventing the first odometer, an achievement also attributed to Archimedes (c. 287-212 BC) and Heron of Alexandria (fl. AD 10-70). Similar devices were used by the Roman and Han-Chinese empires at about the same period. By the 3rd century, the Chinese had termed the device the ji li gu che, or "li-recording drum carriage" (the modern measurement of li = 500 m/1640 ft). Ancient Chinese texts describe the mechanical carriage's functions; after one li was traversed, a mechanically driven wooden figure struck a drum, and after ten li had been covered, another wooden figure struck a gong or a bell with its mechanically operated arm. However, there is evidence to suggest that the invention of the odometer was a gradual process in Han Dynasty China that centered on the "huang men"--court people (i.e. eunuchs, palace officials, attendants and familiars, actors, acrobats, etc.) who followed the musical procession of the royal "drum-chariot". There is speculation that at some time during the 1st century BC the beating of drums and gongs was mechanically driven by the rotation of the road wheels. This might have actually been the design of Luoxia Hong (c. 110 BC), yet by at least 125 the mechanical odometer carriage was already known, as it was depicted in a mural of the Xiao Tang Shan Tomb. The south-pointing chariot was another mechanical device credited to Zhang Heng. It was a non-magnetic compass vehicle in the form of a two-wheeled chariot. Differential gears driven by the chariot's wheels allowed a wooden figurine (in the shape of a Chinese state minister) to constantly point to the south, hence its name. The Song Shu (c. AD 500 ) records that Zhang Heng re-invented it from a model used in the Zhou Dynasty era, but the violent collapse of the Han Dynasty unfortunately did not allow it to be preserved. Whether Zhang Heng invented it or not, Ma Jun (200-265) succeeded in creating the chariot in the following century. CANNOTANSWER
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[ "What is the south-point chariot?", "Are there any other interesting aspects about this article?", "When was it created?", "Did any one aid him on its construction?", "Was there anything else he created?", "When was this invented?", "Did someone help him finish this one as well?" ]
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Zhang Heng (; AD 78–139), formerly romanized as Chang Heng, was a Chinese polymathic scientist and statesman who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, seismologist, hydraulic engineer, inventor, geographer, cartographer, ethnographer, artist, poet, philosopher, politician, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court. His uncompromising stance on historical and calendrical issues led to his becoming a controversial figure, preventing him from rising to the status of Grand Historian. His political rivalry with the palace eunuchs during the reign of Emperor Shun (r. 125–144) led to his decision to retire from the central court to serve as an administrator of Hejian Kingdom in present-day Hebei. Zhang returned home to Nanyang for a short time, before being recalled to serve in the capital once more in 138. He died there a year later, in 139. Zhang applied his extensive knowledge of mechanics and gears in several of his inventions. He invented the world's first water-powered armillary sphere to assist astronomical observation; improved the inflow water clock by adding another tank; and invented the world's first seismoscope, which discerned the cardinal direction of an earthquake away. He improved previous Chinese calculations for pi. In addition to documenting about 2,500 stars in his extensive star catalog, Zhang also posited theories about the Moon and its relationship to the Sun: specifically, he discussed the Moon's sphericity, its illumination by reflected sunlight on one side and the hidden nature of the other, and the nature of solar and lunar eclipses. His fu (rhapsody) and shi poetry were renowned in his time and studied and analyzed by later Chinese writers. Zhang received many posthumous honors for his scholarship and ingenuity; some modern scholars have compared his work in astronomy to that of the Greco-Roman Ptolemy (AD 86–161). Life Early life Born in the town of Xi'e in Nanyang Commandery (north of the modern Nanyang City in Henan province), Zhang Heng came from a distinguished but not affluent family. His grandfather Zhang Kan () had been governor of a commandery and one of the leaders who supported the restoration of the Han by Emperor Guangwu (r. 25–57), following the death of the usurping Wang Mang of the Xin (AD 9–23). When he was ten, Zhang's father died, leaving him in the care of his mother and grandmother. An accomplished writer in his youth, Zhang left home in the year 95 to pursue his studies in the capitals of Chang'an and Luoyang. While traveling to Luoyang, Zhang passed by a hot spring near Mount Li and dedicated one of his earliest fu poems to it. This work, entitled "Fu on the Hot Springs" (Wēnquán fù 溫泉賦), describes the throngs of people attending the hot springs, which later became famous as the "Huaqing Hot Springs", a favorite retreat of imperial concubine Yang Guifei during the Tang dynasty. After studying for some years at Luoyang's Taixue, he was well-versed in the classics and friends with several notable persons, including the mathematician and calligrapher Cui Yuan (78–143), the official and philosophical commentator Ma Rong (79–166), and the philosopher Wang Fu (78–163). Government authorities offered Zhang appointments to several offices, including a position as one of the Imperial Secretaries, yet he acted modestly and declined. At age 23, Zhang returned home with the title "Officer of Merit in Nanyang", serving as the master of documents under the administration of Governor Bao De (in office from 103 to 111). As he was charged with composing inscriptions and dirges for the governor, he gained experience in writing official documents. As Officer of Merit in the commandery, he was also responsible for local appointments to office and recommendations to the capital of nominees for higher office. He spent much of his time composing rhapsodies on the capital cities. When Bao De was recalled to the capital in 111 to serve as a minister of finance, Zhang continued his literary work at home in Xi'e. Zhang Heng began his studies in astronomy at the age of 30 and began publishing his works on astronomy and mathematics. Official career In 112, Zhang was summoned to the court of Emperor An (r. 106–125), who had heard of his expertise in mathematics. When he was nominated to serve at the capital, Zhang was escorted by carriage—a symbol of his official status—to Luoyang, where he became a court gentleman working for the Imperial Secretariat. He was promoted to Chief Astronomer for the court, serving his first term from 115 to 120 under Emperor An and his second under the succeeding emperor from 126 to 132. As Chief Astronomer, Zhang was a subordinate of the Minister of Ceremonies, one of Nine Ministers ranked just below the Three Excellencies. In addition to recording heavenly observations and portents, preparing the calendar, and reporting which days were auspicious and which ill-omened, Zhang was also in charge of an advanced literacy test for all candidates to the Imperial Secretariat and the Censorate, both of whose members were required to know at least 9,000 characters and all major writing styles. Under Emperor An, Zhang also served as Prefect of the Majors for Official Carriages under the Ministry of Guards, in charge of receiving memorials to the throne (formal essays on policy and administration) as well as nominees for official appointments. When the government official Dan Song proposed the Chinese calendar should be reformed in 123 to adopt certain apocryphal teachings, Zhang opposed the idea. He considered the teachings to be of questionable stature and believed they could introduce errors. Others shared Zhang's opinion and the calendar was not altered, yet Zhang's proposal that apocryphal writings should be banned was rejected. The officials Liu Zhen and Liu Taotu, members of a committee to compile the dynastic history (), sought permission from the court to consult Zhang Heng. However, Zhang was barred from assisting the committee due to his controversial views on apocrypha and his objection to the relegation of the Gengshi Emperor's (r. 23–25) role in the restoration of the Han dynasty as lesser than Emperor Guangwu's. Liu Zhen and Liu Taotu were Zhang's only historian allies at court, and after their deaths Zhang had no further opportunities for promotion to the prestigious post of court historian. Despite this setback in his official career, Zhang was reappointed as Chief Astronomer in 126 after Emperor Shun of Han (r. 125–144) ascended to the throne. His intensive astronomical work was rewarded only with the rank and salary of 600 bushels, or shi, of grain (mostly commuted to coin cash or bolts of silk). To place this number in context, in a hierarchy of twenty official ranks, the lowest-paid official earned the rank and salary of 100 bushels and the highest-paid official earned 10,000 bushels during the Han. The 600-bushel rank was the lowest the emperor could directly appoint to a central government position; any official of lower status was overseen by central or provincial officials of high rank. In 132, Zhang introduced an intricate seismoscope to the court, which he claimed could detect the precise cardinal direction of a distant earthquake. On one occasion his device indicated that an earthquake had occurred in the northwest. As there was no perceivable tremor felt in the capital his political enemies were briefly able to relish the failure of his device, until a messenger arrived shortly afterwards to report that an earthquake had occurred about 400 km (248 mi) to 500 km (310 mi) northwest of Luoyang in Gansu province. A year after Zhang presented his seismoscope to the court, officials and candidates were asked to provide comments about a series of recent earthquakes which could be interpreted as signs of displeasure from Heaven. The ancient Chinese viewed natural calamities as cosmological punishments for misdeeds that were perpetrated by the Chinese ruler or his subordinates on earth. In Zhang's memorial discussing the reasons behind these natural disasters, he criticized the new recruitment system of Zuo Xiong which fixed the age of eligible candidates for the title "Filial and Incorrupt" at age forty. The new system also transferred the power of the candidates' assessment to the Three Excellencies rather than the Generals of the Household, who by tradition oversaw the affairs of court gentlemen. Although Zhang's memorial was rejected, his status was significantly elevated soon after to Palace Attendant, a position he used to influence the decisions of Emperor Shun. With this prestigious new position, Zhang earned a salary of 2,000 bushels and had the right to escort the emperor. As Palace Attendant to Emperor Shun, Zhang Heng attempted to convince him that the court eunuchs represented a threat to the imperial court. Zhang pointed to specific examples of past court intrigues involving eunuchs, and convinced Shun that he should assume greater authority and limit their influence. The eunuchs attempted to slander Zhang, who responded with a fu rhapsody called "Fu on Pondering the Mystery", which vents his frustration. Rafe de Crespigny states that Zhang's rhapsody used imagery similar to Qu Yuan's (340–278 BC) poem "Li Sao" and focused on whether or not good men should flee the corrupted world or remain virtuous within it. Literature and poetry While working for the central court, Zhang Heng had access to a variety of written materials located in the Archives of the Eastern Pavilion. Zhang read many of the great works of history in his day and claimed he had found ten instances where the Records of the Grand Historian by Sima Qian (145–90 BC) and the Book of Han by Ban Gu (AD 32–92) differed from other ancient texts that were available to him. His account was preserved and recorded in the 5th-century text of the Book of Later Han by Fan Ye (398–445). His rhapsodies and other literary works displayed a deep knowledge of classic texts, Chinese philosophy, and histories. He also compiled a commentary on the Taixuan (, "Great Mystery") by the Daoist author Yang Xiong (53 BC–AD 18). Xiao Tong (501–531), a crown prince of the Liang dynasty (502–557), immortalized several of Zhang's works in his literary anthology Selections of Refined Literature (Wen xuan ). Zhang's fu rhapsodies include "Western Metropolis Rhapsody" (Xī jīng fù ), "Eastern Metropolis Rhapsody" (Dōng jīng fù ), "Southern Capital Rhapsody" (Nán dū fù ), "Rhapsody on Contemplating the Mystery" (Sī xuán fù ), and "Rhapsody on Returning to the Fields" (Guī tián fù ). The latter fuses Daoist ideas with Confucianism and was a precursor to later Chinese metaphysical nature poetry, according to Liu Wu-chi. A set of four short lyric poems (shi 詩) entitled "Lyric Poems on Four Sorrows" (Sì chóu shī ), is also included with Zhang's preface. This set constitutes some of the earliest heptasyllabic shi Chinese poetry written. While still in Luoyang, Zhang became inspired to write his "Western Metropolis Rhapsody" and "Eastern Metropolis Rhapsody", which were based on the "Rhapsody on the Two Capitals" by the historian Ban Gu. Zhang's work was similar to Ban's, although the latter fully praised the contemporaneous Eastern Han regime while Zhang provided a warning that it could suffer the same fate as the Western Han if it too declined into a state of decadence and moral depravity. These two works satirized and criticized what he saw as the excessive luxury of the upper classes. Zhang's "Southern Capital Rhapsody" commemorated his home city of Nanyang, home of the restorer of the Han dynasty, Guangwu. In Zhang Heng's poem "Four Sorrows", he laments that he is unable to woo a beautiful woman due to the impediment of mountains, snows and rivers. Scholars Rafe de Crespigny and David R. Knechtges claim that Zhang wrote this as an innuendo hinting at his inability to keep in contact with the emperor, hindered by unworthy rivals and petty men. This poem is one of the first in China to have seven words per line. His "Four Sorrows" reads: In another poem of his called "Stabilizing the Passions" (Dìng qíng fù 定情賦)—preserved in a Tang dynasty (618–907) encyclopedia, but referred to earlier by Tao Qian (365–427) in praise of Zhang's lyrical minimalism—Zhang displays his admiration for an attractive and exemplary woman. This simpler type of fu poem influenced later works by the prominent official and scholar Cai Yong (132–192). Zhang wrote: Zhang's long lyrical poems also revealed a great amount of information on urban layout and basic geography. His rhapsody "Sir Based-On-Nothing" provides details on terrain, palaces, hunting parks, markets, and prominent buildings of Chang'an, the Western Han capital. Exemplifying his attention to detail, his rhapsody on Nanyang described gardens filled with spring garlic, summer bamboo shoots, autumn leeks, winter rape-turnips, perilla, evodia, and purple ginger. Zhang Heng's writing confirms the size of the imperial hunting park in the suburbs of Chang'an, as his estimate for the circumference of the park's encircling wall agrees with the historian Ban Gu's estimate of roughly 400 li (one li in Han times was equal to 415.8 m, or 1,364 ft, making the circumference of the park wall 166,320 m, or 545,600 ft). Along with Sima Xiangru (179–117 BC), Zhang listed a variety of animals and hunting game inhabiting the park, which were divided in the northern and southern portions of the park according to where the animals had originally come from: northern or southern China. Somewhat similar to the description of Sima Xiangru, Zhang described the Western Han emperors and their entourage enjoying boat outings, water plays, fishing, and displays of archery targeting birds and other animals with stringed arrows from the tops of tall towers along Chang'an's Kunming Lake. The focus of Zhang's writing on specific places and their terrain, society, people, and their customs could also be seen as early attempts of ethnographic categorization. In his poem "Xijing fu", Zhang shows that he was aware of the new foreign religion of Buddhism, introduced via the Silk Road, as well as the legend of the birth of Buddha with the vision of the white elephant bringing about conception. In his "Western Metropolis Rhapsody" (), Zhang described court entertainments such as juedi (), a form of theatrical wrestling accompanied by music in which participants butted heads with bull horn masks. With his "Responding to Criticism" (Ying jian ), a work modeled on Yang Xiong's "Justification Against Ridicule", Zhang was an early writer and proponent of the Chinese literary genre shelun, or hypothetical discourse. Authors of this genre created a written dialogue between themselves and an imaginary person (or a real person of their entourage or association); the latter poses questions to the author on how to lead a successful life. He also used it as a means to criticize himself for failing to obtain high office, but coming to the conclusion that the true gentleman displays virtue instead of greed for power. In this work, Dominik Declercq asserts that the person urging Zhang to advance his career in a time of government corruption most likely represented the eunuchs or Empress Liang's (116–150) powerful relatives in the Liang clan. Declercq states that these two groups would have been "anxious to know whether this famous scholar could be lured over to their side", but Zhang flatly rejected such an alignment by declaring in this politically charged piece of literature that his gentlemanly quest for virtue trumped any desire of his for power. Zhang wrote about the various love affairs of emperors dissatisfied with the imperial harem, going out into the city incognito to seek out prostitutes and sing-song girls. This was seen as a general criticism of the Eastern Han emperors and their imperial favorites, guised in the criticism of earlier Western Han emperors. Besides criticizing the Western Han emperors for lavish decadence, Zhang also pointed out that their behavior and ceremonies did not properly conform with the Chinese cyclical beliefs in yin and yang. In a poem criticizing the previous Western Han dynasty, Zhang wrote: Achievements in science and technology Mathematics For centuries the Chinese approximated pi as 3; Liu Xin (d. AD 23) made the first known Chinese attempt at a more accurate calculation of 3.1457, but there is no record detailing the method he used to obtain this figure. In his work around 130, Zhang Heng compared the celestial circle to the diameter of the earth, proportioning the former as 736 and the latter as 232, thus calculating pi as 3.1724. In Zhang's day, the ratio 4:3 was given for the area of a square to the area of its inscribed circle and the volume of a cube and volume of the inscribed sphere should also be 42:32. In formula, with D as diameter and V as volume, D3:V = 16:9 or V=D3; Zhang realized that the value for diameter in this formula was inaccurate, noting the discrepancy as the value taken for the ratio. Zhang then attempted to remedy this by amending the formula with an additional D3, hence V=D3 + D3 = D3. With the ratio of the volume of the cube to the inscribed sphere at 8:5, the implied ratio of the area of the square to the circle is √8:√5. From this formula, Zhang calculated pi as the square root of 10 (or approximately 3.162). Zhang also calculated pi as = 3.1466 in his book Ling Xian (). In the 3rd century, Liu Hui made the calculation more accurate with his π algorithm, which allowed him to obtain the value 3.14159. Later, Zu Chongzhi (429–500) approximated pi as or 3.141592, the most accurate calculation for pi the ancient Chinese would achieve. Astronomy In his publication of AD 120 called The Spiritual Constitution of the Universe (靈憲, Ling Xian, lit. "Sublime Model"), Zhang Heng theorized that the universe was like an egg "as round as a crossbow pellet" with the stars on the shell and the Earth as the central yolk. This universe theory is congruent with the geocentric model as opposed to the heliocentric model. Although the ancient Warring States (403–221 BC) Chinese astronomers Shi Shen and Gan De had compiled China's first star catalogue in the 4th century BC, Zhang nonetheless catalogued 2,500 stars which he placed in a "brightly shining" category (the Chinese estimated the total to be 14,000), and he recognized 124 constellations. In comparison, this star catalogue featured many more stars than the 850 documented by the Greek astronomer Hipparchus (c. 190–c.120 BC) in his catalogue, and more than Ptolemy (AD 83–161), who catalogued over 1,000. Zhang supported the "radiating influence" theory to explain solar and lunar eclipses, a theory which was opposed by Wang Chong (AD 27–97). In the Ling Xian, Zhang wrote: Zhang Heng viewed these astronomical phenomena in supernatural terms as well. The signs of comets, eclipses, and movements of heavenly bodies could all be interpreted by him as heavenly guides on how to conduct affairs of state. Contemporary writers also wrote about eclipses and the sphericity of heavenly bodies. The music theorist and mathematician Jing Fang (78–37 BC) wrote about the spherical shape of the Sun and Moon while discussing eclipses: The Moon and the planets are Yin; they have shape but no light. This they receive only when the Sun illuminates them. The former masters regarded the Sun as round like a crossbow bullet, and they thought the Moon had the nature of a mirror. Some of them recognized the Moon as a ball too. Those parts of the Moon which the Sun illuminates look bright, those parts which it does not, remain dark. The theory posited by Zhang and Jing was supported by later pre-modern scientists such as Shen Kuo (1031–1095), who expanded on the reasoning of why the Sun and Moon were spherical. The theory of the celestial sphere surrounding a flat, square Earth was later criticized by the Jin-dynasty scholar-official Yu Xi (fl. 307–345). He suggested that the Earth could be round like the heavens, a spherical Earth theory fully accepted by mathematician Li Ye (1192–1279) but not by mainstream Chinese science until European influence in the 17th century. Extra tank for inflow clepsydra The outflow clepsydra was a timekeeping device used in China as long ago as the Shang dynasty (c. 1600–c. 1050 BC), and certainly by the Zhou dynasty (1122–256 BC). The inflow clepsydra with an indicator rod on a float had been known in China since the beginning of the Han dynasty in 202 BC and had replaced the outflow type. The Han Chinese noted the problem with the falling pressure head in the reservoir, which slowed the timekeeping of the device as the inflow vessel was filled. Zhang Heng was the first to address this problem, indicated in his writings from 117, by adding an extra compensating tank between the reservoir and the inflow vessel. Zhang also mounted two statuettes of a Chinese immortal and a heavenly guard on the top of the inflow clepsydra, the two of which would guide the indicator rod with their left hand and point out the graduations with their right. Joseph Needham states that this was perhaps the ancestor of all clock jacks that would later sound the hours found in mechanical clocks by the 8th century, but he notes that these figures did not actually move like clock jack figurines or sound the hours. Many additional compensation tanks were added to later clepsydras in the tradition of Zhang Heng. In 610 the Sui dynasty (581–618) engineers Geng Xun and Yuwen Kai crafted an unequal-armed steelyard balance able to make seasonal adjustments in the pressure head of the compensating tank, so that it could control the rate of water flow for different lengths of day and night during the year. Zhang mentioned a "jade dragon's neck", which in later times meant a siphon. He wrote of the floats and indicator-rods of the inflow clepsydra as follows: Water-powered armillary sphere Zhang Heng is the first person known to have applied hydraulic motive power (i.e. by employing a waterwheel and clepsydra) to rotate an armillary sphere, an astronomical instrument representing the celestial sphere. The Greek astronomer Eratosthenes (276–194 BC) invented the first armillary sphere in 255 BC. The Chinese armillary sphere was fully developed by 52 BC, with the astronomer Geng Shouchang's addition of a permanently fixed equatorial ring. In AD 84 the astronomers Fu An and Jia Kui added the ecliptic ring, and finally Zhang Heng added the horizon and meridian rings. This invention is described and attributed to Zhang in quotations by Hsu Chen and Li Shan, referencing his book Lou Shui Chuan Hun Thien I Chieh (Apparatus for Rotating an Armillary Sphere by Clepsydra Water). It was likely not an actual book by Zhang, but a chapter from his Hun I or Hun I Thu Chu, written in 117 AD. His water-powered armillary influenced the design of later Chinese water clocks and led to the discovery of the escapement mechanism by the 8th century. The historian Joseph Needham (1900–1995) states: What were the factors leading to the first escapement clock in China? The chief tradition leading to Yi Xing (AD 725 ) was of course the succession of 'pre-clocks' which had started with Zhang Heng about 125. Reason has been given for believing that these applied power to the slow turning movement of computational armillary spheres and celestial globes by means of a water-wheel using clepsydra drip, which intermittently exerted the force of a lug to act on the teeth of a wheel on a polar-axis shaft. Zhang Heng in his turn had composed this arrangement by uniting the armillary rings of his predecessors into the equatorial armillary sphere, and combining it with the principles of the water-mills and hydraulic trip-hammers which had become so widespread in Chinese culture in the previous century. Zhang did not initiate the Chinese tradition of hydraulic engineering, which began during the mid Zhou dynasty (c. 6th century BC), through the work of engineers such as Sunshu Ao and Ximen Bao. Zhang's contemporary, Du Shi, (d. AD 38) was the first to apply the motive power of waterwheels to operate the bellows of a blast furnace to make pig iron, and the cupola furnace to make cast iron. Zhang provided a valuable description of his water-powered armillary sphere in the treatise of 125, stating: The equatorial ring goes around the belly of the armillary sphere 91 and 5/19 (degrees) away from the pole. The circle of the ecliptic also goes round the belly of the instrument at an angle of 24 (degrees) with the equator. Thus at the summer solstice the ecliptic is 67 (degrees) and a fraction away from the pole, while at the winter solstice it is 115 (degrees) and a fraction away. Hence (the points) where the ecliptic and the equator intersect should give the north polar distances of the spring and autumn equinoxes. But now (it has been recorded that) the spring equinox is 90 and 1/4 (degrees) away from the pole, and the autumn equinox is 92 and 1/4 (degrees) away. The former figure is adopted only because it agrees with the (results obtained by the) method of measuring solstitial sun shadows as embodied in the Xia (dynasty) calendar. Zhang Heng's water-powered armillary sphere had profound effects on Chinese astronomy and mechanical engineering in later generations. His model and its complex use of gears greatly influenced the water-powered instruments of later astronomers such as Yi Xing (683–727), Zhang Sixun (fl. 10th century), Su Song (1020–1101), Guo Shoujing (1231–1316), and many others. Water-powered armillary spheres in the tradition of Zhang Heng's were used in the eras of the Three Kingdoms (220–280) and Jin dynasty (266–420), yet the design for it was temporarily out of use between 317 and 418, due to invasions of northern Xiongnu nomads. Zhang Heng's old instruments were recovered in 418, when Emperor Wu of Liu Song (r. 420–422) captured the ancient capital of Chang'an. Although still intact, the graduation marks and the representations of the stars, Moon, Sun, and planets were quite worn down by time and rust. In 436, the emperor ordered Qian Luozhi, the Secretary of the Bureau of Astronomy and Calendar, to recreate Zhang's device, which he managed to do successfully. Qian's water-powered celestial globe was still in use at the time of the Liang dynasty (502–557), and successive models of water-powered armillary spheres were designed in subsequent dynasties. Zhang's seismoscope From the earliest times, the Chinese were concerned with the destructive force of earthquakes. It was recorded in Sima Qian's Records of the Grand Historian of 91 BC that in 780 BC an earthquake had been powerful enough to divert the courses of three rivers. It was not known at the time that earthquakes were caused by the shifting of tectonic plates in the Earth's crust; instead, the people of the ancient Zhou dynasty explained them as disturbances with cosmic yin and yang, along with the heavens' displeasure with acts committed (or the common peoples' grievances ignored) by the current ruling dynasty. These theories were ultimately derived from the ancient text of the Yijing (Book of Changes), in its fifty-first hexagram. There were other early theories about earthquakes, developed by those such as the ancient Greeks. Anaxagoras (c. 500–428 BC) believed that they were caused by excess water near the surface crust of the earth bursting into the Earth's hollows; Democritus (c. 460–370 BC) believed that the saturation of the Earth with water caused them; Anaximenes (c. 585–c. 525 BC) believed they were the result of massive pieces of the Earth falling into the cavernous hollows due to drying; and Aristotle (384–322 BC) believed they were caused by instability of vapor (pneuma) caused by the drying of the moist Earth by the Sun's rays. During the Han dynasty, many learned scholars—including Zhang Heng—believed in the "oracles of the winds". These oracles of the occult observed the direction, force, and timing of the winds, to speculate about the operation of the cosmos and to predict events on Earth. These ideas influenced Zhang Heng's views on the cause of earthquakes. In 132, Zhang Heng presented to the Han court what many historians consider to be his most impressive invention, the first seismoscope. A seismoscope records the motions of Earth's shaking, but unlike a seismometer, it does not retain a time record of those motions. It was named "earthquake weathervane" ( ), and it was able to roughly determine the direction (out of eight directions) where the earthquake came from. According to the Book of Later Han (compiled by Fan Ye in the 5th century), his bronze urn-shaped device, with a swinging pendulum inside, was able to detect the direction of an earthquake hundreds of miles/kilometers away. This was essential for the Han government in sending quick aid and relief to regions devastated by this type of natural disaster. The Book of Later Han records that, on one occasion, Zhang's device was triggered, though no observer had felt any seismic disturbance; several days later a messenger arrived from the west and reported that an earthquake had occurred in Longxi (modern Gansu Province), the same direction that Zhang's device had indicated, and thus the court was forced to admit the efficacy of the device. To indicate the direction of a distant earthquake, Zhang's device dropped a bronze ball from one of eight tubed projections shaped as dragon heads; the ball fell into the mouth of a corresponding metal object shaped as a toad, each representing a direction like the points on a compass rose. His device had eight mobile arms (for all eight directions) connected with cranks having catch mechanisms at the periphery. When tripped, a crank and right angle lever would raise a dragon head and release a ball which had been supported by the lower jaw of the dragon head. His device also included a vertical pin passing through a slot in the crank, a catch device, a pivot on a projection, a sling suspending the pendulum, an attachment for the sling, and a horizontal bar supporting the pendulum. Wang Zhenduo (王振鐸) argued that the technology of the Eastern Han era was sophisticated enough to produce such a device, as evidenced by contemporary levers and cranks used in other devices such as crossbow triggers. Later Chinese of subsequent periods were able to reinvent Zhang's seismoscope. They included the 6th-century mathematician and surveyor Xindu Fang of the Northern Qi dynasty (550–577) and the astronomer and mathematician Lin Xiaogong of the Sui dynasty (581–618). Like Zhang, Xindu Fang and Lin Xiaogong were given imperial patronage for their services in craftsmanship of devices for the court. By the time of the Yuan dynasty (1271–1368), it was acknowledged that all devices previously made were preserved, except for that of the seismoscope. This was discussed by the scholar Zhou Mi around 1290, who remarked that the books of Xindu Fang and Lin Xiaogong detailing their seismological devices were no longer to be found. Horwitz, Kreitner, and Needham speculate if Tang dynasty (618–907) era seismographs found their way to contemporary Japan; according to Needham, "instruments of apparently traditional type there in which a pendulum carries pins projecting in many directions and able to pierce a surrounding paper cylinder, have been described." Hong-sen Yan states that modern replicas of Zhang's device have failed to reach the level of accuracy and sensitivity described in Chinese historical records. Wang Zhenduo presented two different models of the seismoscope based on the ancient descriptions of Zhang's device. In his 1936 reconstruction, the central pillar (du zhu) of the device was a suspended pendulum acting as a movement sensor, while the central pillar of his second model in 1963 was an inverted pendulum. According to Needham, while working in the Seismological Observatory of Tokyo University in 1939, Akitsune Imamura and Hagiwara made a reconstruction of Zhang's device. While it was John Milne and Wang Zhenduo who argued early on that Zhang's "central pillar" was a suspended pendulum, Imamura was the first to propose an inverted model. He argued that transverse shock would have rendered Wang's immobilization mechanism ineffective, as it would not have prevented further motion that could knock other balls out of their position. On June 13, 2005, modern Chinese seismologists announced that they had successfully created a replica of the instrument. Anthony J. Barbieri-Low, a professor of early Chinese history at the University of California, Santa Barbara, names Zhang Heng as one of several high-ranking Eastern-Han officials who engaged in crafts that were traditionally reserved for artisans (gong 工), such as mechanical engineering. Barbieri-Low speculates that Zhang only designed his seismoscope, but did not actually craft the device himself. He asserts that this would most likely have been the job of artisans commissioned by Zhang. He writes: "Zhang Heng was an official of moderately high rank and could not be seen sweating in the foundries with the gong artisans and the government slaves. Most likely, he worked collaboratively with the professional casters and mold makers in the imperial workshops." Cartography The Wei (220–265) and Jin dynasty (266–420) cartographer and official Pei Xiu (224–271) was the first in China to describe in full the geometric grid reference for maps that allowed for precise measurements using a graduated scale, as well as topographical elevation. However, map-making in China had existed since at least the 4th century BC with the Qin state maps found in Gansu in 1986. Pinpointed accuracy of the winding courses of rivers and familiarity with scaled distance had been known since the Qin and Han dynasty, respectively, as evidenced by their existing maps, while the use of a rectangular grid had been known in China since the Han as well. Historian Howard Nelson states that, although the accounts of Zhang Heng's work in cartography are somewhat vague and sketchy, there is ample written evidence that Pei Xiu derived the use of the rectangular grid reference from the maps of Zhang Heng. Rafe de Crespigny asserts that it was Zhang who established the rectangular grid system in Chinese cartography. Needham points out that the title of his book Flying Bird Calendar may have been a mistake, and that the book is more accurately entitled Bird's Eye Map. Historian Florian C. Reiter notes that Zhang's narrative "Guitian fu" contains a phrase about applauding the maps and documents of Confucius of the Zhou dynasty, which Reiter suggests places maps (tu) on a same level of importance with documents (shu). It is documented that a physical geography map was first presented by Zhang Heng in 116 AD, called a Ti Hsing Thu. Odometer and south-pointing chariot Zhang Heng is often credited with inventing the first odometer, an achievement also attributed to Archimedes (c. 287–212 BC) and Heron of Alexandria (fl. AD 10–70). Similar devices were used by the Roman and Han-Chinese empires at about the same period. By the 3rd century, the Chinese had termed the device the jili guche (, "li-recording drum carriage" (the modern measurement of li = 500 m/1640 ft). Ancient Chinese texts describe the mechanical carriage's functions; after one li was traversed, a mechanically driven wooden figure struck a drum, and after ten li had been covered, another wooden figure struck a gong or a bell with its mechanically operated arm. However, there is evidence to suggest that the invention of the odometer was a gradual process in Han dynasty China that centered on the "huang men"—court people (i.e. eunuchs, palace officials, attendants and familiars, actors, acrobats, etc.) who followed the musical procession of the royal "drum-chariot". There is speculation that at some time during the 1st century BC the beating of drums and gongs was mechanically driven by the rotation of the road wheels. This might have actually been the design of Luoxia Hong (c. 110 BC), yet by at least 125 the mechanical odometer carriage was already known, as it was depicted in a mural of the Xiao Tang Shan Tomb. The south-pointing chariot was another mechanical device credited to Zhang Heng. It was a non-magnetic compass vehicle in the form of a two-wheeled chariot. Differential gears driven by the chariot's wheels allowed a wooden figurine (in the shape of a Chinese state minister) to constantly point to the south, hence its name. The Song Shu (c. AD 500 ) records that Zhang Heng re-invented it from a model used in the Zhou dynasty era, but the violent collapse of the Han dynasty unfortunately did not allow it to be preserved. Whether Zhang Heng invented it or not, Ma Jun (200–265) succeeded in creating the chariot in the following century. Legacy Science and technology Zhang Heng's mechanical inventions influenced later Chinese inventors such as Yi Xing, Zhang Sixun, Su Song, and Guo Shoujing. Su Song directly named Zhang's water-powered armillary sphere as the inspiration for his 11th-century clock tower. The cosmic model of nine points of Heaven corresponding with nine regions of earth conceived in the work of the scholar-official Chen Hongmou (1696–1771) followed in the tradition of Zhang's book Spiritual Constitution of the Universe. The seismologist John Milne, who created the modern seismograph in 1876 alongside Thomas Gray and James A. Ewing at the Imperial College of Engineering in Tokyo, commented in 1886 on Zhang Heng's contributions to seismology. The historian Joseph Needham emphasized his contributions to pre-modern Chinese technology, stating that Zhang was noted even in his day for being able to "make three wheels rotate as if they were one." More than one scholar has described Zhang as a polymath. However, some scholars also point out that Zhang's writing lacks concrete scientific theories. Comparing Zhang with his contemporary, Ptolemy (83–161) of Roman Egypt, Jin Guantao, Fan Hongye, and Liu Qingfeng state: Based on the theories of his predecessors, Zhang Heng systematically developed the celestial sphere theory. An armillary constructed on the basis of his hypotheses bears a remarkable similarity to Ptolemy's earth-centered theory. However, Zhang Heng did not definitely propose a theoretical model like Ptolemy's earth-centered one. It is astonishing that the celestial model Zhang Heng constructed was almost a physical model of Ptolemy's earth-centered theory. Only a single step separates the celestial globe from the earth-centered theory, but Chinese astronomers never took that step. Here we can see how important the exemplary function of the primitive scientific structure is. In order to use the Euclidean system of geometry as a model for the development of astronomical theory, Ptolemy first had to select hypotheses which could serve as axioms. He naturally regarded circular motion as fundamental and then used the circular motion of deferents and epicycles in his earth-centered theory. Although Zhang Heng understood that the sun, moon and planets move in circles, he lacked a model for a logically structured theory and so could not establish a corresponding astronomical theory. Chinese astronomy was most interested in extracting the algebraic features of planetary motion (that is, the length of the cyclic periods) to establish astronomical theories. Thus astronomy was reduced to arithmetic operations, extracting common multiples and divisors from the observed cyclic motions of the heavenly bodies. Poetic literature Zhang's poetry was widely read during his life and after his death. In addition to the compilation of Xiao Tong mentioned above, the Eastern Wu official Xue Zong (d. 237) wrote commentary on Zhang's poems "Dongjing fu" and "Xijing fu". The influential poet Tao Qian wrote that he admired the poetry of Zhang Heng for its "curbing extravagant diction and aiming at simplicity", in regards to perceived tranquility and rectitude correlating with the simple but effective language of the poet. Tao wrote that both Zhang Heng and Cai Yong "avoided inflated language, aiming chiefly at simplicity", and adding that their "compositions begin by giving free expression to their fancies but end on a note of quiet, serving admirably to restrain undisciplined and passionate nature". Posthumous honors Zhang was given great honors in life and in death. The philosopher and poet Fu Xuan (217–278) of the Wei and Jin dynasties once lamented in an essay over the fact that Zhang Heng was never placed in the Ministry of Works. Writing highly of Zhang and the 3rd-century mechanical engineer Ma Jun, Fu Xuan wrote, "Neither of them was ever an official of the Ministry of Works, and their ingenuity did not benefit the world. When (authorities) employ personnel with no regard to special talent, and having heard of genius neglect even to test it—is this not hateful and disastrous?" In honor of Zhang's achievements in science and technology, his friend Cui Ziyu (Cui Yuan) wrote a memorial inscription on his burial stele, which has been preserved in the Guwen yuan. Cui stated, "[Zhang Heng's] mathematical computations exhausted (the riddles of) the heavens and the earth. His inventions were comparable even to those of the Author of Change. The excellence of his talent and the splendour of his art were one with those of the gods." The minor official Xiahou Zhan (243–291) of the Wei dynasty made an inscription for his own commemorative stele to be placed at Zhang Heng's tomb. It read: "Ever since gentlemen have composed literary texts, none has been as skillful as the Master [Zhang Heng] in choosing his words well ... if only the dead could rise, oh I could then turn to him for a teacher!" Several things have been named after Zhang in modern times, including the lunar crater Chang Heng, the asteroid 1802 Zhang Heng, and the mineral zhanghengite. In 2018, China launched a research satellite called China Seismo-Electromagnetic Satellite (CSES) which is also named Zhangheng-1 (ZH-1). See also Han poetry Fu (poetry) Return to the Field Yu Xi References Citation Bibliography Asiapac Editorial. (2004). Origins of Chinese Science and Technology. Translated by Yang Liping and Y.N. Han. Singapore: Asiapac Books Pte. Ltd. . Balchin, Jon. (2003). Science: 100 Scientists Who Changed the World. New York: Enchanted Lion Books. . Barbieri-Low, Anthony J. (2007). Artisans in Early Imperial China. Seattle & London: University of Washington Press. . Declercq, Dominik (1998). Writings Against the State: Political Rhetorics in Third and Fourth Century China. Leiden: Koninklijke Brill NV. Dillon, Michael. (1998). China: A Historical and Cultural Dictionary. Surrey: Routledge Curzon Press. . Fraser, Ian W. (2014). "Zhang Heng 张衡", in Kerry Brown, ed., The Berkshire Dictionary of Chinese Biography (pp. 369–376). Great Barrington, MA: Berkshire Publishing. . Huang, Ray (1997). China: A Macro History. New York: An East Gate Book, M. E. SHARPE Inc. Jones, Kenneth Glyn. (1991). Messier's Nebulae and Star Clusters. Cambridge: Cambridge University Press. . Krebs, Robert E. (2003). The Basics of Earth Science. Westport: Greenwood Press of Greenwood Publishing Group, Inc. . Lewis, Mark Edward (2006). The Construction of Space in Early China. New York: State University of New York Press. . Liu, Wu-chi. (1990). An Introduction to Chinese Literature. Westport: Greenwood Press of Greenwood Publishing Group. . Loewe, Michael. (1968). Everyday Life in Early Imperial China during the Han Period 202 BC-AD 220. London: B.T. Batsford Ltd.; New York: G.P. Putnam's Sons. Loewe, Michael. (1990). "The Juedi Games: a re-enactment of the battle between Chiyou and Xianyuan", in Thought and Law in Qin and Han China: Studies dedicated to Anthony Huslewé on the occasion of his eightieth birthday, 140–157, edited by W.L. Idema and E. Zürcher. Leiden: E.J. Brill. . Loewe, Michael. (2005). Faith, Myth, and Reason in Han China. Indianapolis: Hacket Publishing Company, Inc. . Mair, Victor H. (2001). The Columbia History of Chinese Literature. New York: Columbia University Press. . Mansvelt-Beck, B.J. (1990). The Treatises of Later Han: Their Author, Sources, Contents, and Place in Chinese Historiography. Leiden: E.J. Brill. . Minford, John and Joseph S.M. Lau. (2002). Classical Chinese literature: an anthology of translations. New York: Columbia University Press. . Morton, W. Scott and Charlton M. Lewis (2005). China: Its History and Culture. New York: McGraw-Hill, Inc. Needham, Joseph (1986). Science and Civilization in China: Volume 3, Mathematics and the Sciences of the Heavens and the Earth. Cambridge: Cambridge University Press. reprinted: Taipei: Caves Books, Ltd. Needham, Joseph (1965). Science and Civilization in China: Volume 4, Part 1: Physics. Cambridge: Cambridge University Press. Needham, Joseph (1986). Science and Civilization in China: Volume 4, Physics and Physical Technology, Part 2: Mechanical Engineering. Cambridge: Cambridge University Press. reprinted: Taipei: Caves Books, Ltd. Neinhauser, William H., Charles Hartman, Y.W. Ma, and Stephen H. West. (1986). The Indiana Companion to Traditional Chinese Literature: Volume 1. Bloomington: Indiana University Press. . Rowe, William T. (2001). Saving the World: Chen Hongmou and Elite Consciousness in Eighteenth-Century China. Stanford: Stanford University Press. . Stein, S., and M. E. Wysession. (2002). An Introduction to Seismology, Earthquakes, and Earth Structure. London: Wiley-Blackwell. ASIN B010WFPEOO. Wagner, Donald B. (2001). The State and the Iron Industry in Han China. Copenhagen: Nordic Institute of Asian Studies Publishing. . Wilson, Robin J. (2001). Stamping Through Mathematics. New York: Springer-Verlag New York, Inc. Wright, David Curtis (2001) The History of China. Westport: Greenwood Press. Xiao, Tong and David Knechtges. (1996). Wen Xuan, Or, Selections of Refined Literature. Princeton: Princeton University Press. . Further reading Category:78 births Category:139 deaths Category:1st-century Chinese poets Category:2nd-century Chinese poets Category:2nd-century Chinese astronomers Category:Ancient Chinese mathematicians Category:Chinese cartographers Category:Chinese Confucianists Category:Chinese ethnographers Category:Chinese geographers Category:Chinese inventors Category:Chinese mechanical engineers Category:Chinese non-fiction writers Category:Chinese scholars Category:Chinese seismologists Category:Engineers from Henan Category:Han dynasty philosophers Category:Han dynasty poets Category:Han dynasty politicians from Henan Category:Han dynasty science writers Category:Hydraulic engineers Category:Mathematicians from Henan Category:Philosophers from Henan Category:Physicists from Henan Category:Poets from Henan Category:Politicians from Nanyang, Henan Category:Technical writers Category:Writers from Nanyang, Henan Category:2nd-century geographers
[ { "text": "Han poetry as a style of poetry resulted in significant poems which are still preserved today, and whose origins are associated with the Han dynasty era of China, 206 BC – 220 AD, including the Wang Mang interregnum (9–23 AD). The final years at the end of the Han era (known by the name Jian'an, 196–220) often receive special handling for purposes of literary analysis because, among other things, the poetry and culture of this period is less than typical of the Han period, and has important characteristics of its own, or it shares literary aspects with the subsequent Three Kingdoms period. This poetry reflects one of the poetry world's more important flowerings, as well as being a special period in Classical Chinese poetry, particularly in regard to the development of the quasipoetic fu; the activities of the Music Bureau in connection with the collection of popular ballads and the resultant development of what would eventually become known as the yuefu, or as the rhapsodic formal style; and, finally, towards the end of the Han dynasty, the development of a new style of shi poetry, as the later development of the yuehfu into regular, fixed-line length forms makes it difficult to distinguish in form from the shi form of poetic verse, and at what point specific poems are classified as one or the other is somewhat arbitrary. Another important poetic contribution from the Han era is the compilation of the Chuci anthology, which contains some of the oldest and most important poetic verses to be preserved from ancient China, as well as the transmission of the Shijing anthology.\n\nGeneral background\n\nThe ruling dynastic family of the Han dynasty was the Liu family, founded by Liu Bang, whose career ranged from being a minor official (sort of like a local sheriff during the rapid disintegration and chaos of the final years of the Qin dynasty) to being an outlaw and a rebel hiding out in the hills, to being the King of Chu during the Division of Qin into 18 states, or kingdoms. He was posthumously honored as Han High Founder or Han Great Ancestor (Gaozu) Emperor. Despite his folksy background, general lack of literacy, and what were considered generally vulgar ways, Liu Bang had a great regard for literature and learning. His patronage of literature and the arts, as well as his connections with the unique culture of Chu would set a precedent for the rest of the dynasty which he founded, and which managed to keep much of the political power in the hands of the Liu family: often this was implemented by allowing Liu family princes a great deal of autonomy in their local areas, thus encouraging the development of subsidiary royal courts, besides the main imperial court; and, in some cases, this encouraged princely patronage of literature and the arts, with some greater diversity and cross-fertilization of artistic genres and styles. Other important features of the Han era include the location of the capital in Chang'an during Western Han, and its move to Luoyang in Eastern Han, the extension of the Han empire into new regions, and contact with new peoples and cultures, a development which was extended by the further explorations by people such as Zhang Qian of the Silk Roads fame who in the 2nd century BC got as far as Bactria and Dayuan (Ferghana, in modern eastern Uzbekistan), and among other things brought back alfalfa and grapes to China. Also important in the history of the Han dynasty is the method of recording words, such as poems. Brushing characters with ink is archeologically attested to during the Han period, including on silk, hemp paper, and bamboo slips. The bamboo (or wood) slips were tied together carefully with delicate string cords. When these rotted and broke, the individual slips would become mixed up, and the text which was written upon them thus have often become scrambled. Methods such as stamping or marking on clay or engraving on stone were also used; and, though relatively durable required fairly elaborate craftsmanship to produce. Little poetry from the Han dynasty survives as originally recorded or published, instead most of the preserved poems exist as passed on to the future by the Six Dynasties poetry era anthologies.\n\nPoetic background\n\nAn important part of the poetic legacy received by Han dynasty poets was the Shijing verse style, typified by its \"classic\" four-character line verse. The influences of the Shijing verses during the Han era were directed towards important aspects of Classical Chinese poetry, such as use of the direct voice of immediate experience which was intended to provide a window into expressing a person's soul. Another important legacy received by the Han poets was that of the Chu Ci genre of poetry with innovations in some of its verse forms, such as varied line lengths, a body of material which was expanded by further additions by Han poets, and then published in an edited anthology. Furthermore, there was a received tradition of orally transmitted folk songs and folk ballads. The imperial court of the preceding primitive Qin dynasty was not known for its poetry: the primitive Qin, instead, preferred the primitive activity known as the burning of books and burying of scholars (Chinese: 焚書坑儒; pinyin: fénshū kēngrú) and, in the end, the \"fires of Qin\" extended to the destruction of its imperial library. There was little or no direct poetic influence from that source. The extension of the Han empire into new areas introduced new and exotic concepts and material objects, which sometimes became the topics of works in the fu prose-poetry literary form. Also, during the Han dynasty, state policies in regard to the philosophical dialog associated with Confucius focused a certain amount of public attention and public funding supporting the Shijing (Classic of Poetry), which from then on was regarded as one of the few members of the select list of canonical classic works.\n\nHan dynasty poets\nSome well-known poets from Han times are known; however, many of the poets are anonymous, including the poets behind the Music Bureau collections including the Nineteen Old Songs, as is typical of verses from the folk ballad tradition. Important individual Han era authors of poetry include Zhang Heng and Liu Xiang. Many of the Han poets who wrote in their own personal voice under their own name or pen-name wrote in the fu style, in the sao (Chuci) style, or both. In other cases, poems have been attributed to specific Han dynasty persons, or written in perspective of their persona, but the real author remains unknown. For example, the cases of the poems attributed to Su Wu and Consort Ban are not determined. Other Han poets include Sima Xiangru, Ban Gu, and Mi Heng.\n\nSima Xiangru\n\nSima Xiangru (179–127 BC, also known as Szu-ma Hsiang-ju) was one of the most important poets of the Han dynastic era, writing in both the Chuci and the fu styles.\n\nSu Wu\n\nSu Wu (140 – 60 BC) was held captive for 19 years, returning to China in 81 BC: 4 poems collected in the Wen Xuan are only questionably attributed to him. However, at the time, it was not uncustomary to confuse the persona of a poem with the person of the author. There is a story about Su Wu which became a common allusion in Chinese poetry. According to this story, during the beginning of his captivity in the Xiongnu empire Su Wu was treated harshly, to the point it is said of having to eat the lining of his coat for food and to drink snow which he melted for water. Later Su was elevated in status, even it is said given a wife who bore him children. Upon the Han emperor sending an ambassadorial mission toward the territory in which he was being held, the Xiongnu ruler (the chanyu) wished to conceal the presence of Su Wu, presumably in order avoid diplomatic complications; but, Su Wu hearing of this tricked the chanyu by claiming that he had sent a message to the emperor by tying it to the leg of a goose, and accordingly, that since his presence was already known to the Chinese delegation that any attempts at concealing his presence would be viewed as unseemly. This is at least part of the origin of the use of the image of a flying goose as a messenger, carrying tied to its foot (perhaps symbolically) a letter between two people separated so far seasonally north and south that a migrating goose could be conceived as a possible mode of communication.\n\nBan Jieyu (Lady Pan)\nBan Jieyu also known as Lady Pan (Pan Chieh-Yü) was a concubine to Emperor Cheng of Han (reigned 33–7 BC) and the great-aunt of the poet, historian, and author Ban Gu. A well-known poem in the Wen Xuan is attributed to her. Although most unlikely to actually be by her (especially since it is not in her grand-nephew Ban's biography of her), it is certainly written as if it could have been written by her or someone in her position. It is an important early example of the secluded palace lady genre of poetry.\n\nBan Gu\n\nBan Gu was a 1st-century Chinese historian and poet best known for his part in compiling the historical compendium the Book of Han. Ban Gu also wrote a number of fu, which are anthologized in the Wen Xuan.\n\nChuci\n\nOne of the most important Han era contributions to poetry is the compilation of the Chuci anthology of poetry, which preserves many poems attributed to Qu Yuan and Song Yu from the Warring States period (ended 221 BC), though about half of the poems seem to have been in fact composed during the Han Dynasty. The meaning of Chuci is something like \"The Material of Chu\", referring to the ancient Land of Chu. The traditional version of the Chu Ci contains 17 major sections, anthologized with its current contents by Wang Yi, a 2nd-century AD librarian who served under Emperor Shun of Han, who appended his own verses derivative of the Chuci or \"sao\" style at the end of the collection, under the title of Nine Longings. The poems and pieces of the Chu Ci anthology vary in their formal poetic styles, including varying line metrics, varying use of exclamatory particles, the use or not of titles for individual pieces within a section, and the varying presence of the luan (or, envoi). Other Han period poets besides Wang Yi the librarian who are known or thought to be contributors of poems collected in the Chuci include the poet Wang Bao and the scholar Liu Xiang. Liu An, the Prince of Huainan, and his literary circle were involved with the Chuci material, but the attribution of authorship of any particular poems is uncertain.\n\nFu\n\nOne of the major forms of literature during the Han dynasty was the fu (sometimes translated as \"rhapsody\"), a kind of eclectic grab bag of prose and verse, not easy to classify in English as being either poetry or prose. In Chinese, the fu is classified as wen rather than shi, however these terms do not correspond to English categories of prose and verse (one of the differences in the traditional Chinese categorization being that shi was sung or chanted, whereas the fu was not, at least according to the Hanshu), the credibility of this being enhanced by the fact that one of the compilers of the Hanshu (also known as Book of Han or History of the Former Han Dynasty) was Ban Gu, who was himself a practitioner of the fu style. The Han fu derived from the Chuci, which was traditionally considered to be the work of Qu Yuan, who was a wanderer through the countryside and villages of the Kingdom of Chu, after his exile from court. In this context the \"Li Sao\" is particularly relevant. The Han fu of the second and first centuries BCE were intimately associated with the courts of the emperor and his princes. In other words, they were refined literary products, ornate, polished, and with an elite vocabulary; and, often the subject matter includes topics such as life in the palaces of the Han capital cities. The development of the fu form of literature during the Han dynasty shows a movement toward later more personal poetry and the poems of reclusion, typical for example, of Tao Yuanming, the Six Dynasties poet. The famous Han dynasty astronomer, mathematician, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar Zhang Heng (78–139 CE) wrote a fu about his own, personal experience (real or imagined) of getting out of the city and its politics and getting back to the country and nature. The fu form continued to be popular in the centuries following the demise of the Han imperial power.\n\nOral tradition folk ballads\nAn important aspect of Han poetry involves the influence of the folk ballad tradition, which can be seen in the poetry collections Nineteen Old Poems and the yuefu of the Music Bureau.\n\nNineteen Old Poems of Han\n\nOne of the stylistically most important developments of Han poetry can be found in the Nineteen Old Poems collection. Although extant versions exist only in later collections, particularly the Wen Xuan literary compendium, the 19 poems themselves appear to be from the Han period. They are influential both toward the gushi (\"old style\") poetic form, but also for their \"tone of brooding melancholy....Anonymous voices speaking to us from a shadowy past, they sound a note of sadness that is to dominate the poetry of the centuries that follow.\" Many versions of these 19 poems thus continued to be reinvented in post-Han times, including a major revival in Tang poetry times. As Nineteen Old Poems literally means \"19 gushi, poetry written in inspiration by this style were referred to as being in the gushi style, or simply labeled gushi (also transcribed as ku-shi, in English).\n\nMusic Bureau (Yuefu)\n\nAnother important aspect of Han poetry involved the institution known as the Music Bureau, or, in Chinese, Yuefu (or, Yüeh-fu). This is contrast with the \"literary yuefu\", which are written in the general style of Music Bureau's collection of yuefu, or derived from particular pieces thereof. The Music Bureau was a Chinese governmental institution existing to historical and archeological evidence at various times during the history of China, including an incarnation during the Qin dynasty. The Han dynasty largely adopted the Qin institutions for their own organizational model, and in particular Han Wudi is associated with a revival or an elevation in the status of the Music Bureau, which he relied upon for the elaborately spectacular ceremonial performances conducted under his regime. The traditional functions of the Music Bureau included collecting music and poetry lyrics from around the empire, and conducting and choreographing their performance for the emperor and his court. Poetry verses published by the Music Bureau are known as \"Music Bureau\" pieces, later works modeled on the style of the Music Bureau pieces are known as \"Music Bureau style\" pieces (yuefu); and, some of these \"literary yuefu\" and \"new yuefu\" poems were written by some of the best of the subsequent poets. The Han era Music Bureau (yuefu) pieces were collected and transmitted to future times in such (mostly Six Dynasties era) anthologies as the Wen Xuan and the New Songs from the Jade Terrace.\n\nJian'an poetry and the future of Yuefu\n\nThe final regnal era of Han was called Jian'an. At this period the political structure of Han was breaking down, while new developments in poetry were arising. This Jian'an yuefu poetry style continued on into the Three Kingdoms and Six Dynasties era, as did the lives of some of the authors of poetry such as Cao Cao, who was born during the Han dynasty but survived it. The Han Music Bureau style which developed out of the models of the Music Bureau poetry was a particularly important feature of Jian'an poetry and the subsequent Six Dynasties poetry: the evolutionary trajectory of this poetry was towards the regular, fixed-length line verse which reached such acclaim in its Tang realization. Poetry preserved from the Han dynastic era not only exists as a monument to the achievement and skill of the poets of that time, but also serves as a link in a poetic legacy that was explicitly valued during the Tang dynastic era (during which the poems developed in the tradition of this style were known to critics as (\"new yuefu\"), and continued to be valued in subsequent Classical Chinese poetry, and on to the poetry of today; which is in turn, another link in a long chain of development in the field of poetry, to which the poets known and anonymous made their unique contributions.\n\nSee also\nBan Gu\nChu Ci\nClassical Chinese poetry\nClassic of Poetry\nEighteen Songs of a Nomad Flute\nEmperor Wu of Han\nFu (poetry)\nGuo Maoqian\nGushi (poetry)\nJian'an poetry\nKanshi (poetry)\nMusic Bureau\nReturn to the Field\nSima Xiangru\nSociety and culture of the Han Dynasty\nTang poetry\nZhang Heng\n\nNotes and references\n Birrell, Anne (1988). Popular Songs and Ballads of Han China. (London: Unwin Hyman). \n Davis, A. R. (Albert Richard), Editor and Introduction,(1970), The Penguin Book of Chinese Verse. (Baltimore: Penguin Books).\n Hawkes, David, translation, introduction, and notes (2011 [1985]). Qu Yuan et al., The Songs of the South: An Ancient Chinese Anthology of Poems by Qu Yuan and Other Poets. London: Penguin Books. \n Hinton, David (2008). Classical Chinese Poetry: An Anthology. New York: Farrar, Straus, and Giroux. / .\n Watson, Burton (1971). CHINESE LYRICISM: Shih Poetry from the Second to the Twelfth Century. (New York: Columbia University Press). \n\nCategory:Han dynasty poetry", "title": "Han poetry" }, { "text": "Fu (), often translated \"rhapsody\" or \"poetic exposition\", is a form of Chinese rhymed prose that was the dominant literary form in China during the Han dynasty (206AD220). Fu are intermediary pieces between poetry and prose in which a place, object, feeling, or other subject is described and rhapsodized in exhaustive detail and from as many angles as possible. Fu distinguishing characteristics include alternating rhyme and prose, varying line length, close alliteration, onomatopoeia, loose parallelism, and extensive cataloging of their topics. Classical fu composers often tried to use as wide a vocabulary as possible, and their compositions are usually replete with rare and archaic Chinese words. They were not sung like songs, but were recited or chanted.\n\nThe fu genre came into being around the 3rd to 2nd centuries BC and continued to be regularly used into the Song dynasty (9601279). Fu were used as grand praises for the imperial courts, palaces, and cities, but were also used to write \"fu on things\", in which any place, object, or feeling was rhapsodized in exhaustive detail. The largest collections of historical fu are the Selections of Refined Literature (Wen xuan), the Book of Han, New Songs from the Jade Terrace, and official dynastic histories.\n\nThere is no counterpart or similar form to the fu genre in Western literature. During a large part of the 20th century, fu poetry was harshly criticized by Chinese scholars as excessively ornate, lacking in real emotion, and ambiguous in its moral messages. Because of these historical associations, scholarship on fu poetry in China almost ceased entirely between 1949 and the end of the Cultural Revolution in 1976. Since then, study of fu has gradually returned to its previous level.\n\nHistory\n\nOrigins\nThe term \"fu\", when applied to Chinese literature, first appears in the Zhou dynasty ( 1046221), where it meant \"to present\", as in poetic recitations. It was also one of the three literary devices traditionally assigned to the songs of the Classic of Poetry (Shijing). Over the course of the late 1st millennium BC, fu became the name of poetic expositions in which an author or composer created a comprehensive exposition and performed it as a rhapsody. Han dynasty historian Ban Gu in the \"Monograph on Arts and Letters\" defined fu as \"to recite without singing\" (bù gē ér sòng ).\n\nFu poetry is often viewed as a descendant of the Verses of Chu (Chu ci) songs combined with the rhetorical expositions of the Intrigues of the Warring States (Zhanguo ce). During the golden age of fu in the 2nd century BC, many of the greatest fu composers were from the southwestern area of Shu (modern Sichuan Province). A chapter of Xunzi containing a series of riddles has been theorized to be the earliest known fu. The earliest preserved and definitely datable fu is Jia Yi's \"Fu on the Owl\" (Fúniǎo fù ), composed about 170. Jia's surviving writings mention an earlier fu he wrote upon his exile to Changsha which he modeled upon Qu Yuan's \"Encountering Sorrow\" (Li Sao), but it has not survived to the present.\n\nHan dynasty\n\nWestern Han\nFu achieved its greatest prominence during the early Han dynasty. Jia Yi's \"Fu on the Owl\", written around 170 BC, was composed following on the third year of his exile to Changsha, and uses much of the style of the Li Sao and other songs of the Verses of Chu. \"Fu on the Owl\", besides being the earliest known fu, is unusual in the author's extended use of philosophical reflection upon his own situation in life.\n\nEmperor Wu of Han ascended the throne in 141 BC, and his 54-year reign is considered the golden age of \"grand fu\" (). Emperor Wu summoned famous fu writers to the imperial court in Chang'an, where many of them composed and presented fu to the entire court. The earliest grand fu of Emperor Wu's reign is \"Seven Stimuli\" (Qī fā ), by Mei Sheng (; d. 140 BC). In \"Seven Stimuli\", Mei Sheng acts as a Warring States-style travelling orator who tries to cure a Chu prince of an illness caused by overindulgence in sensual pleasures by pushing his senses to their limits with his fu descriptions.\n\nOf all the authors from the golden age of \"grand fu\" composition, Sima Xiangru is generally considered to be the greatest. A native of Chengdu, he was traditionally said to have been summoned to the imperial court after Emperor Wu happened to personally read his \"Fu of Sir Vacuous\" (Zǐxū fù ), though this is almost certainly a story added later. After arriving in the capital around 136 BC, Sima Xiangru expanded his \"Fu of Sir Vacuous\" into his magnum opus, \"Fu on the Imperial Park\" (Shànglín fù ), generally considered the most famous fu of all. This work, whose original title was probably \"Fu on the Excursion Hunt of the Son of Heaven\" (Tiānzǐ yóuliè fù ), is a grand celebration of the Emperor's personal hunting park east of Chang'an, and is famed for its rich number of rare and difficult words and characters. If not for the survival of Chinese scholar Guo Pu's early 4th century AD annotations to \"Fu on the Imperial Park\", much of its ancient and esoteric terminology would now be unintelligible. The following portion of the rhymed list of names of minerals, precious stones, and flora and fauna from the first half of the \"Fu on the Imperial Park\" exemplifies much of the cataloging and rare terminology characteristic of grand fu:\n\nThe grand fu of the Western Han dynasty were read and recited as celebrations of pure poetic delight, and were the first pieces of Chinese literature to fuse both unrestrained entertainment and moral admonitions together in single works. However, after the reign of Emperor Wu, his court culture began to be criticized as having placed undue emphasis on the grandiose language in fu and therefore having missed opportunities to encourage moral restraint. The most prominent critic of \"grand fu\" was the other great fu writer of the Han dynasty: Yang Xiong. As a youth, Yang was an admirer and imitator of Sima Xiangru's fu, but later came to disapprove of grand fu. Yang believed that the original purpose of fu was to \"indirectly admonish\" (fèng ), but that the extended rhetorical arguments and complex vocabulary used in grand fu caused their hearers and readers to marvel at their aesthetic beauty while missing their moral messages. Yang juxtaposed early Han dynasty fu with the fu-like expositions in the Classic of Poetry, saying that while those in the Poetry provided moral standards, the fu of the Han poets \"led to excess\". While known as one of the fu masters of the Han dynasty, Yang's fu are generally known for their focus on admonishing readers and listeners to uphold moral values.\n\nEastern Han\nTwo of the most famous fu writers of the Eastern Han period were the polymaths Zhang Heng and Cai Yong. Among Zhang Heng's large corpus of writings are a significant number of fu poems, which are the first to have been written in the shorter style that became typical of post-Han fu. Zhang's earliest known fu is \"Fu on the Hot Springs\" (Wēnquán fù ), which describes the hot springs at Mount Li (modern Huaqing Pool) which famously later became a favorite of Imperial Concubine Yang during the Tang dynasty. \"Fu on the Two Metropolises\" (Èr jīng fù ) is considered Zhang's masterpiece. Zhang spent ten years gathering material for the fu, a response to an earlier fu by Ban Gu that is a poetic comparison between the two capitals of the Han dynasty: Luoyang and Chang'an. Zhang's fu is highly satirical and cleverly mocks many aspects of the Western Han period, including Emperor Wu himself The piece contains long passages colorfully describing life in the two capitals in great detail, including the entertainment areas.\n\nCai Yong, like Zhang Heng, was a prolific writer in addition to his mathematical, astronomical, and musical interests. In 159 CE, Cai was summoned to Chang'an to perform on the guqin for the imperial court, but became ill shortly before arriving and returned to his home. Cai composed a poetic record of his journey in \"Fu on Recounting a Journey\" (Shù xíng fù ), his most well-known fu. In \"Fu on Recounting a Journey\", Cai cites examples of treacherous and dishonest rulers and officials from Chinese history, then criticizes the eunuchs of the capital for similar crimes.\n\nA number of fu writers from the late 2nd and early 3rd centuries CE became considered great fu poets, and were noted for their descriptions of the chaos and destruction following the collapse of the Han dynasty. Wang Can, who lived as a refugee in Chu following the assassination of Dong Zhuo in 192 CE, wrote a famous fu entitled \"Fu on Climbing the Tower\" (Dènglóu fù ) in which Wang movingly describes climbing a tower near Jingzhou and gazing longingly in the direction of his home in Luoyang. Poets often used subjects of descriptive fu poems to symbolize themselves, as in \"Fu on the Parrot\" (Yīngwǔ fù ), by Mi Heng, in which Mi uses a caged parrot as an allegory for a scholar whose talents go unrecognized and whose inability to control his tongue results in his captivity. During the Three Kingdoms period, the court of the warlord Cao Cao and his sons Cao Pi and Cao Zhi became a famous literary salon, and a number of fu poems from their court have survived to modern times.\n\nSix Dynasties\n\nDuring the Six Dynasties period (220589), fu remained a major part of contemporary poetry, although shi poetry was gradually increasing in popularity. Six Dynasties fu are generally much shorter and less extravagant than Han dynasty fu, likely due to a tradition of composing works entirely in parallel couplets that arose during the period. While lyrical fu and \"fu on things\" had been starkly different forms in the Han dynasty, after the 2nd century CE the distinction mostly disappeared. Although the extravagant fu style of the Han mostly disappeared, \"fu on things\" continued to be widely written.\n\nXie Lingyun is one of the best-known poets of the entire Six Dynasties period, second only to Tao Yuanming. In contrast to his older contemporary Tao, Xie is known for the difficult language, dense allusions, and frequent parallelisms of his poetry. Xie's greatest fu is \"Fu on Dwelling in the Mountains\" (Shān jū fù ), a Han-style \"grand fu\" describing Xie's personal estate that borrows its style from the famous \"Fu on the Imperial Park\" by Sima Xiangru. Like classical Han fu, the poem uses a large number of obscure and rare characters, but \"Fu on Dwelling in the Mountains\" is unique in that Xie included his own annotations to the poem, without which the poem would be nearly incomprehensible.\n\nDuring the Liang dynasty (502587), fu continued to be a popular form of literature, though it began to merge with the popular five- and seven-syllable poetry forms, which completely eclipsed fu during the Tang dynasty. Some fu pieces, such as Shen Yue's \"Fu on Dwelling in the Suburbs\" (Jiāo jū fù )an homage to Xie Lingyun's \"Fu on Dwelling in the Mountains\"followed the traditional forms and subjects of classical fu, but an increasing number did not. \"Fu on Lotus-picking\" (Cǎi lián fù ), by Xiao Gang (later Emperor Jianwen of Liang), is a short, lyrical fu that mixes freely with popular lyric poetry, and portrayed southern China as a romantic land of pleasure and sensuality. Lotus-picking was an activity traditionally associated with peasant women, but in the early 5th century became a popular topic in fu and poetry.\n\nYu Xin is generally considered the last great fu poet of Chinese history. Yu, like Yan Zhitui, was born in the south but forced to relocate to northern China after the south's defeat, and spent the rest of his career writing of the loss of the south as a loss of an entire culture and way of life. Yu's most famous piece is \"Fu on Lamenting the South\" (Āi Jiāngnán fù ), in which he describes his life's experiences in the context of the larger context of the destruction of the south and its culture.\n\nTang and Song dynasties\nThe fu genre changed rapidly during the Tang dynasty (618907). During the early Tang, a new form of fu called \"regulated fu\" (lǜfù ) supplanted the original form. \"Regulated fu\" had strict rules of form and expression, and required the use of consistent rhymes throughout each piece. Additionally, rules were created to govern the arrangement of tones in each poem, as the introduction of Buddhist texts written in Sanskrit and Pali had stimulated the Chinese to methodical study of their own language and the identification of the four tones of Middle Chinese. Beginning in the Tang dynasty, these \"regulated fu\" were required for the composition sections of the imperial examinations. Tang writers added new topics to the traditional subjects of fu, such as purely moral topics or scenes from Chinese antiquity. The \"parallel fu\" (piānfù ) was another variant of the fu developed in the Tang, and was only used for rhetorical compositions.\n\nIn 826, Tang poet Du Mu's poem \"Fu on E-pang Palace\" (Ēpáng gōng fù ) laid the foundation for a new form of fu called \"prose fu\" (wénfù ), in which prose is freely rhymed. This form of fu became the dominant fu form during the late Tang and the Song dynasty (9601279). By the 9th and 10th centuries, traditional fu had become mainly historical pursuits, and were largely read and copied because of their inclusion on the imperial examinations.\n\nTopics\n\n\"Fu on things\"\nBetween 130 and 100 BC, Emperor Wu greatly expanded China's territory into Central Asia, northern Vietnam, and the Korean Peninsula through a series of military campaigns and invasions. As the expansion progressed, a large number of foreign plants, animals, goods, and rarities were brought to the imperial capital at Chang'an. Throughout the Han dynasty, court officials and poets often composed special fu called \"fu on things\" (yǒngwù fù ) on these new and unusual things, in which they described and catalogued extensively. These \"fu on things\" became a major genre in fu poetry, and cover a vast number of instruments, objects, and phenomena.\n\nBan Zhao, one of the most famous female poets of Chinese history, wrote a well-known fu during the reign of Emperor He of Han entitled \"Fu on the Great Bird\" (Dà què fù ), believed to be a description of an ostrich brought to the Han court from Parthia around 110 CE. Scholar Ma Rong wrote two well-known fu on ancient board games: his \"Fu on Chaupar\" (Chūpú fù ), which the Chinese believed to actually have been invented by Laozi after he departed west out of China, and his \"Fu on Encirclement Chess\" (Wěiqí fù ), one of the earliest known descriptions of the game Go. Han dynasty librarian Wang Yi, best known as the compiler of the received version of the Verses of Chu, wrote several object-description fu in the early 2nd century CE, such as \"Fu on the Lychee\" (Lìzhī fù ), the earliest known poetic description of the lychee fruit.\n\nThe literary salon of Cao Pi's court produced a number of notable \"fu on things\" in which a group of poets known as the Seven Masters of the Jian'an period each composed their own version of the fu. During this period, Cao Pi was once presented with a large agate of unusual quality which Cao had made into a bridle. Each of the men composed their own \"Fu on the Agate Bridle\" (Mǎnǎo lè fù ) for the occasion. Another object-description fu from the Cao court is \"Fu on the Musāragalva Bowl\" (Chēqú wǎn fù ), which was a bowl made of a coral- or shell-like substance from somewhere near India, which was then known as the \"Western Regions\".\n\nOne of the poet Shu Xi's (; 263–302 CE) fu has become well known in the history of Chinese cuisine: his \"Fu on Pasta\" (Bǐng fù ) is an encyclopedic description of a wide variety of dough-based foods, including noodles, steamed buns, and dumplings, which had not yet become the traditional Chinese foods they are in modern times. Western Jin poet Fu Xian's \"Fu on Paper\" (Zhǐ fù ) is well known as an early description of writing paper, which had only been invented about 150 years earlier.\n\nSociopolitical protest\nPart of the legacy associated with the fu is its use as a form of sociopolitical protest, such as the theme of the loyal minister who has been unjustly exiled by the ruler or those in power at the court, rather than receiving the promotion and respect which he truly deserves. In the Verses of Chu, one of the works attributed to Qu Yuan is the \"Li Sao\", which is one of the earliest known works in this tradition, both as ancestral to the fu as well as its incorporation of political criticism as a theme of poetry. The theme of unjust exile is related to the development of Xiaoxiang poetry, or the poetry stylistically or thematically based upon lamenting the unjust exile of the poet, either directly, or allegorically through the use of the persona of a friend or historical figure (a safer course in the case of a poet-official who might be punished for any too blatant criticism of the current emperor). During the Han Dynasty, along with the development of the fu stylistically, the idea that it incorporate political criticism through indirection and allegory also developed. Han Dynasty historian and author Ban Gu in his Book of Han pointedly refers to a fu by Qu Yuan as a literary example of the use of the theme of the loyal minister who has been unjustly exiled, rather than receiving the promotion and respect which he truly deserves. As Hellmut Wilhelm puts it: \"...the Han fu can easily be classified into a limited number of types. All types have one feature in common: almost without exception they can be and have been interpreted as voicing criticism—either of the ruler, the ruler's behavior, or certain political acts or plans of the ruler; or of the court officials or the ruler's favorites; or, generally, of the lack of discrimination in the employment of officials. The few examples that are positive in tone recommend the authors or their peers for employment, or even contain specific political suggestions. In short, almost all fu have a political purport, and, in addition, almost all of them deal with the relationship between the ruler and his officials.\" Seen in context, Ban Gu's discussion of Qu Yuan and the Chu sao style is less to the point of the actual evolutionary path of the fu and more to the point that the main purpose of the fu is political and social criticism through poetic indirection: thus, in fu, paradoxically, the \"fantastic descriptions and an overflowing rhetoric...can be reduced to...restraint\", as the sociopolitical criticism which was key to the fu was constrained within a very subtle, elaborately indirect, occasional, and allusive mode.\n\nCollections\nFu pieces comprise the first main category in the Wen Xuan (Selections of Refined Literature), an early Chinese literary anthology which is still extant. The Selections collects all known fu pieces from the early Han dynasty to its compilation in the 6th century CE, during the Liang dynasty; it has since been the traditional source for studying classical fu.\n\nIn the late 17th and early 18th centuries, during the reign of the Kangxi Emperor, scholar Chen Yuanlong (16521736) compiled a collection of all known fu extant in his day, publishing his collection in 1706 as Collection of Fu Through the Ages (Lìdài fù huì ). Chen's Collection in total contains 4,155 fu.\n\nSee also\nClassical Chinese poetry forms\nDong Zhongshu\nHan poetry\n\nNotes\n\nReferences\n\nFootnotes\n\nWorks cited\n\n \n \n \n \n \n \n \n \n \n \n \n\nCategory:Chinese poetry forms\nCategory:Han dynasty poetry", "title": "Fu (poetry)" }, { "text": "Return to the Field (歸田賦 Gui tian fu) is a literary work written in the Chinese style known as a rhapsody, or fu style: it is by Zhang Heng (AD 78–139), an official, inventor, mathematician, and astronomer of the Han Dynasty of China (202 BC–220 AD). Zhang's Return to the Field is a seminal work in the Fields and Gardens poetry genre which helped to sparked centuries of poetic enthusiasm for poems of various forms which share a common theme of nature foremost with human beings and human thought seemingly not in main focus, somewhat similar to the Landscape poetry genre; however, in the case of the Fields and Gardens genre, nature was focused upon in its more domestic manifestation, paying homage to the appearance of nature in gardens, as found in backyards, and cultivated in the countryside. Return to the Field also invokes traditional themes of Classical Chinese poetry involving nature versus society.\n\nBackground\nReturn to the Field was written as Zhang rejoicefully went into retirement in 138, after retiring from the corrupted politics of the capital Luoyang and then serving a post as administrator over Hejian Kingdom. His poem reflected the life he wished to lead in retirement while emphasizing markedly Daoist ideas over his Confucian background. Liu Wu-chi writes that by combining Daoist ideas with Confucian ones, Zhang's poem \"heralded the metaphysical verse and nature poetry of the later centuries.\" In the rhapsody, Zhang also explicitly mentions the sage of Daoism, Laozi (fl. 6th century BC), as well as Confucius (6th century BC), the Duke of Zhou (fl. 11th century BC), and the Three Sovereigns.\n\nRhapsody selection\nA section about spring in Zhang Heng's rhapsody, translated in Liu Wu-chi's book An Introduction to Chinese Literature (1990), reads as thus:\n\nSee also\nClassical Chinese poetry\nFu (poetry)\nHan poetry\n\nNotes\n\nReferences\nde Crespigny, Rafe. (2007). A Biographical Dictionary of Later Han to the Three Kingdoms (23-220 AD). Leiden: Koninklijke Brill. .\nLiu, Wu-chi. (1990). An Introduction to Chinese Literature. Westport: Greenwood Press of Greenwood Publishing Group. .\nNeinhauser, William H., Charles Hartman, Y.W. Ma, and Stephen H. West. (1986). The Indiana Companion to Traditional Chinese Literature: Volume 1. Bloomington: Indiana University Press. .\n\nCategory:Han dynasty texts\nCategory:Han dynasty literature\nCategory:Chinese poems\nCategory:Taoist texts\nCategory:Confucian texts", "title": "Return to the Field" }, { "text": "Yu Xi (虞喜; 307–345 AD), courtesy name Zhongning (仲寧), was a Chinese astronomer and writer of the Jin dynasty (266–420 AD). He is best known for his discovery of the precession of the equinoxes, independently of the earlier ancient Greek astronomer Hipparchus. He also postulated that the Earth could be spherical in shape instead of being flat and square, long before the idea became widely accepted in Chinese science with the advances in circumnavigation by Europeans from the 16th-20th centuries, especially with their arrival into the capital's imperial court in the 17th century.\n\nBackground and official career\n\nThe life and works of Yu Xi are described in his biography found in the Book of Jin, the official history of the Jin dynasty. He was born in Yuyao, Guiji (modern Shaoxing, Zhejiang province, China). His father Yu Cha (虞察) was a military commander and his younger brother Yu Yu (虞預; fl. 307–329 AD) was likewise a scholar and writer. During the reign of Emperor Min of Jin (r. 313–317 AD) he obtained a low-level position in the administration of the governor of Guiji commandery. He declined a series of nominations and promotions thereafter, including a teaching position at the imperial university in 325 AD, an appointment at the imperial court in 333 AD, and the post of cavalier attendant-in-ordinary in 335 AD.\n\nWorks\n\nIn 336 AD Yu Xi wrote the An Tian Lun (安天論; Discussion of Whether the Heavens Are At Rest or Disquisition on the Conformation of the Heavens). In it he described the precession of the equinoxes (i.e. axial precession). He observed that the position of the sun during the winter solstice had drifted roughly one degree over the course of fifty years relative to the position of the stars. This was the same discovery made earlier by the ancient Greek astronomer Hipparchus (c. 190–120 BC), who found that the measurements for either the sun's path around the ecliptic to the vernal equinox or the sun's relative position to the stars were not equal in length.\n\nYu Xi wrote a critical analysis of the huntian (渾天) theory of the celestial sphere, arguing that the heavens surrounding the earth were infinite and motionless. He advanced the idea that the shape of the earth was either square or round, but that it had to correspond to the shape of the heavens enveloping it. The huntian theory, as mentioned by Western Han dynasty astronomer Luoxia Hong (fl. 140–104 BC) and fully described by the Eastern Han dynasty polymath scientist and statesman Zhang Heng (78–139 AD), insisted that the heavens were spherical and that the earth was like an egg yolk at its center. Yu Xi's ideas about the infinity of outer space seem to echo Zhang's ideas of endless space even beyond the celestial sphere. Although mainstream Chinese science before European influence in the 17th century surmised that the Earth was flat and square-shaped, some scholars, such as Song dynasty mathematician Li Ye (1192–1279 AD), proposed the idea that it was spherical like the heavens. The acceptance of a spherical earth can be seen in the astronomical and geographical treatise Gezhicao (格致草) written in 1648 by Xiong Mingyu (熊明遇). It rejects the square-earth theory and, with clear European influence, explains that ships are capable of circumnavigating the globe. However, it explained this using classical Chinese phrases, such as the earth being as round as a crossbow bullet, a phrase Zhang Heng had previously used to describe the shape of both the sun and moon. Ultimately, though, it was the European Jesuits in China of the 17th century that dispelled the Chinese theory of a flat earth, convincing the Chinese to adopt the spherical earth theory established by the ancient Greeks Anaxagoras (c. 500–428 BC), Philolaus (c. 470–385), Aristotle (384–322 BC), and Eratosthenes (c. 276–195 BC). \n\nYu Xi is known to have written commentaries on the various Chinese classics. His commentaries and notes were mostly lost before the Tang dynasty, but the fragments preserved in other texts were collected in a single compendium by Qing-dynasty scholar Ma Guohan (1794–1857).\n\nSee also\n History of science and technology in China\n Kunyu Wanguo Quantu, Chinese world map published in 1602 by the Jesuit Matteo Ricci and Ming-Chinese colleagues, based on European discoveries\n Shanhai Yudi Quantu, Chinese world map published in 1609\n\nCitations\n\nReferences\n\n Cullen, Christopher. (1993). \"Appendix A: A Chinese Eratosthenes of the Flat Earth: a Study of a Fragment of Cosmology in Huainanzi\", in Major, John. S. (ed), Heaven and Earth in Early Han Thought: Chapters Three, Four, and Five of the Huananzi. Albany: State University of New York Press. .\n Knechtges, David R.; Chang, Taiping. (2014). Ancient and Early Medieval Chinese Literature: a Reference Guide, vol 3. Leiden: Brill. .\n Needham, Joseph; Wang, Ling. (1995) [1959]. Science and Civilization in China: Mathematics and the Sciences of the Heavens and the Earth, vol. 3, reprint edition. Cambridge: Cambridge University Press. .\n Song, Zhenghai; Chen, Chuankang. (1996). \"Why did Zheng He’s Sea Voyage Fail to Lead the Chinese to Make the ‘Great Geographic Discovery’?\" in Fan, Dainian; Cohen, Robert S. (eds), Chinese Studies in the History and Philosophy of Science and Technology, translated by Kathleen Dugan and Jiang Mingshan, pp 303-314. Dordrecht: Kluwer Academic Publishers. .\n Sun, Kwok. (2017). Our Place in the Universe: Understanding Fundamental Astronomy from Ancient Discoveries, second edition. Cham, Switzerland: Springer. .\n\nExternal links\n \"Yu Xi 虞喜 (fl. 307–46) (Zhongning 仲寧) - Astronome et érudit érémitique des Jin de l'Est\" Archives-Ouvertes (French)\n\nCategory:4th-century Chinese writers\nCategory:4th-century Chinese astronomers\nCategory:Jin dynasty (266–420) people\nCategory:Jin dynasty (266–420) science writers", "title": "Yu Xi" }, { "text": "A citation is a reference to a source. More precisely, a citation is an abbreviated alphanumeric expression embedded in the body of an intellectual work that denotes an entry in the bibliographic references section of the work for the purpose of acknowledging the relevance of the works of others to the topic of discussion at the spot where the citation appears.\n\nGenerally, the combination of both the in-body citation and the bibliographic entry constitutes what is commonly thought of as a citation (whereas bibliographic entries by themselves are not).\n\nCitations have several important purposes. While their uses for upholding intellectual honesty and bolstering claims are typically foregrounded in teaching materials and style guides (e.g.,), correct attribution of insights to previous sources is just one of these purposes. Linguistic analysis of citation-practices has indicated that they also serve critical roles in orchestrating the state of knowledge on a particular topic, identifying gaps in the existing knowledge that should be filled or describing areas where inquiries should be continued or replicated. Citation has also been identified as a critical means by which researchers establish stance: aligning themselves with or against subgroups of fellow researchers working on similar projects and staking out opportunities for creating new knowledge.\n\nConventions of citation (e.g., placement of dates within parentheses, superscripted endnotes vs. footnotes, colons or commas for page numbers, etc.) vary by the citation-system used (e.g., Oxford, Harvard, MLA, NLM, American Sociological Association (ASA), American Psychological Association (APA), etc.). Each system is associated with different academic disciplines, and academic journals associated with these disciplines maintain the relevant citational style by recommending and adhering to the relevant style guides.\n\nConcept \nA bibliographic citation is a reference to a book, article, web page, or other published item. Citations should supply detail to identify the item uniquely. Different citation systems and styles are used in scientific citation, legal citation, prior art, the arts, and the humanities. Regarding the use of citations in the scientific literature, some scholars also put forward \"the right to refuse unwanted citations\" in certain situations deemed inappropriate.\n\nContent \nCitation content can vary depending on the type of source and may include:\n Book: author(s), book title, place of publication, publisher, date of publication, and page number(s) if appropriate.\n Journal: author(s), article title, journal title, date of publication, and page number(s).\n Newspaper: author(s), article title, name of newspaper, section title and page number(s) if desired, date of publication.\n Web site: author(s), article, and publication title where appropriate, as well as a URL, and a date when the site was accessed.\n Play: inline citations offer part, scene, and line numbers, the latter separated by periods: 4.452 refers to scene 4, line 452. For example, \"In Eugene Onegin, Onegin rejects Tanya when she is free to be his, and only decides he wants her when she is already married\" (Pushkin 4.452–53).\n Poem: spaced slashes are normally used to indicate separate lines of a poem, and parenthetical citations usually include the line number(s). For example: \"For I must love because I live / And life in me is what you give.\" (Brennan, lines 15–16).\n Interview: name of interviewer, interview descriptor (ex. personal interview), and date of interview.\n Data: author(s), dataset title, date of publication, and publisher.\n\nUnique identifiers \nAlong with information such as author(s), date of publication, title and page numbers, citations may also include unique identifiers depending on the type of work being referred to.\n Citations of books may include an International Standard Book Number (ISBN).\n Specific volumes, articles, or other identifiable parts of a periodical, may have an associated Serial Item and Contribution Identifier (SICI) or an International Standard Serial Number (ISSN).\n Electronic documents may have a digital object identifier (DOI).\n Biomedical research articles may have a PubMed Identifier (PMID).\n\nSystems \nBroadly speaking, there are two types of citation systems, the Vancouver system and parenthetical referencing. However, the Council of Science Editors (CSE) adds a third, the citation-name system.\n\nVancouver system \n\nThe Vancouver system uses sequential numbers in the text, either bracketed or superscript or both. The numbers refer to either footnotes (notes at the end of the page) or endnotes (notes on a page at the end of the paper) that provide source detail. The notes system may or may not require a full bibliography, depending on whether the writer has used a full-note form or a shortened-note form. The organizational logic of the bibliography is that sources are listed in their order of appearance in-text, rather than alphabetically by author last name.\n\nFor example, an excerpt from the text of a paper using a notes system without a full bibliography could look like:\n\n\"The five stages of grief are denial, anger, bargaining, depression, and acceptance.\"1\n\nThe note, located either at the foot of the page (footnote) or at the end of the paper (endnote) would look like this:\n\n1. Elisabeth Kübler-Ross, On Death and Dying (New York: Macmillan, 1969) 45–60.\n\nIn a paper with a full bibliography, the shortened note might look like:\n\n1. Kübler-Ross, On Death and Dying 45–60.\n\nThe bibliography entry, which is required with a shortened note, would look like this:\n\nKübler-Ross, Elisabeth. On Death and Dying. New York: Macmillan, 1969.\n\nIn the humanities, many authors also use footnotes or endnotes to supply anecdotal information. In this way, what looks like a citation is actually supplementary material, or suggestions for further reading.\n\nParenthetical referencing \n\nParenthetical referencing, also known as Harvard referencing, has full or partial, in-text, citations enclosed in circular brackets and embedded in the paragraph.\n\nAn example of a parenthetical reference:\n\"The five stages of grief are denial, anger, bargaining, depression, and acceptance\" (Kübler-Ross, 1969, pp. 45–60).\n\nDepending on the choice of style, fully cited parenthetical references may require no end section. Other styles include a list of the citations, with complete bibliographical references, in an end section, sorted alphabetically by author. This section is often called \"References\", \"Bibliography\", \"Works cited\" or \"Works consulted\".\n\nIn-text references for online publications may differ from conventional parenthetical referencing. A full reference can be hidden, only displayed when wanted by the reader, in the form of a tooltip. This style makes citing easier and improves the reader's experience.\n\nStyles \n\nCitation styles can be broadly divided into styles common to the Humanities and the Sciences, though there is considerable overlap. Some style guides, such as the Chicago Manual of Style, are quite flexible and cover both parenthetical and note citation systems. Others, such as MLA and APA styles, specify formats within the context of a single citation system. These may be referred to as citation formats as well as citation styles. The various guides thus specify order of appearance, for example, of publication date, title, and page numbers following the author name, in addition to conventions of punctuation, use of italics, emphasis, parenthesis, quotation marks, etc., particular to their style.\n\nA number of organizations have created styles to fit their needs; consequently, a number of different guides exist. Individual publishers often have their own in-house variations as well, and some works are so long-established as to have their own citation methods too: Stephanus pagination for Plato; Bekker numbers for Aristotle; citing the Bible by book, chapter and verse; or Shakespeare notation by play.\n\nThe Citation Style Language (CSL) is an open XML-based language to describe the formatting of citations and bibliographies.\n\nHumanities \n The Chicago Style (CMOS) was developed and its guide is The Chicago Manual of Style. It is most widely used in history and economics as well as some social sciences. The closely related Turabian style—which derives from it—is for student references, and is distinguished from the CMOS by omission of quotation marks in reference lists, and mandatory access date citation.\n The Columbia Style was created by Janice R. Walker and Todd Taylor to give detailed guidelines for citing internet sources. Columbia Style offers models for both the humanities and the sciences.\n Evidence Explained: Citing History Sources from Artifacts to Cyberspace by Elizabeth Shown Mills covers primary sources not included in CMOS, such as censuses, court, land, government, business, and church records. Includes sources in electronic format. Used by genealogists and historians.\n Harvard referencing (or author-date system) is a specific kind of parenthetical referencing. Parenthetical referencing is recommended by both the British Standards Institution and the Modern Language Association. Harvard referencing involves a short author-date reference, e.g., \"(Smith, 2000)\", being inserted after the cited text within parentheses and the full reference to the source being listed at the end of the article.\n MLA style was developed by the Modern Language Association and is most often used in the arts and the humanities, particularly in English studies, other literary studies, including comparative literature and literary criticism in languages other than English (\"foreign languages\"), and some interdisciplinary studies, such as cultural studies, drama and theatre, film, and other media, including television. This style of citations and bibliographical format uses parenthetical referencing with author-page (Smith 395) or author-[short] title-page (Smith, Contingencies 42) in the case of more than one work by the same author within parentheses in the text, keyed to an alphabetical list of sources on a \"Works Cited\" page at the end of the paper, as well as notes (footnotes or endnotes).\n The MHRA Style Guide is published by the Modern Humanities Research Association (MHRA) and most widely used in the arts and humanities in the United Kingdom, where the MHRA is based. It is available for sale both in the UK and in the United States. It is similar to MLA style, but has some differences. For example, MHRA style uses footnotes that reference a citation fully while also providing a bibliography. Some readers find it advantageous that the footnotes provide full citations, instead of shortened references, so that they do not need to consult the bibliography while reading for the rest of the publication details.\n\nIn some areas of the Humanities, footnotes are used exclusively for references, and their use for conventional footnotes (explanations or examples) is avoided. In these areas, the term \"footnote\" is actually used as a synonym for \"reference\", and care must be taken by editors and typesetters to ensure that they understand how the term is being used by their authors.\n\nLaw \n\n The Bluebook is a citation system traditionally used in American academic legal writing, and the Bluebook (or similar systems derived from it) are used by many courts. At present, academic legal articles are always footnoted, but motions submitted to courts and court opinions traditionally use inline citations, which are either separate sentences or separate clauses. Inline citations allow readers to quickly determine the strength of a source based on, for example, the court a case was decided in and the year it was decided.\n The legal citation style used almost universally in Canada is based on the Canadian Guide to Uniform Legal Citation (AKA \"McGill Guide\"), published by McGill Law Journal.\n British legal citation almost universally follows the Oxford Standard for Citation of Legal Authorities (OSCOLA).\n\nSciences, mathematics, engineering, physiology, and medicine \n The American Chemical Society style, or ACS style, is often used in Chemistry and some of the physical sciences. In ACS style references are numbered in the text and in the reference list, and numbers are repeated throughout the text as needed.\n In the style of the American Institute of Physics (AIP style), references are also numbered in the text and in the reference list, with numbers repeated throughout the text as needed.\n Styles developed for the American Mathematical Society (AMS), or AMS styles, such as AMS-LaTeX, are typically implemented using the BibTeX tool in the LaTeX typesetting environment. Brackets with the author's initials and year are inserted in the text and at the beginning of the reference. Typical citations are listed in line with alphabetic-label format, e.g. [AB90]. This type of style is also called an \"Authorship trigraph.\"\n The Vancouver system, recommended by the Council of Science Editors (CSE), is used in medical and scientific papers and research.\n In one major variant, that used by the American Society of Mechanical Engineers (ASME), citation numbers are included in the text in square brackets rather than as superscripts. All bibliographical information is exclusively included in the list of references at the end of the document, next to the respective citation number.\n The International Committee of Medical Journal Editors (ICMJE) is reportedly the original kernel of this biomedical style, which evolved from the Vancouver 1978 editors' meeting. The MEDLINE/PubMed database uses this citation style and the National Library of Medicine provides \"ICMJE Uniform Requirements for Manuscripts Submitted to Biomedical Journals – Sample References\".\n The American Medical Association has its own variant of Vancouver style with only minor differences. See AMA Manual of Style.\n The style of the Institute of Electrical and Electronics Engineers (IEEE), or IEEE style, encloses citation numbers within square brackets and numbers them consecutively, with numbers repeated throughout the text as needed.\n In areas of biology that falls within the ICNafp (which itself uses this citation style throughout), a variant form of author-title citation is the primary method used when making nomenclatural citations and sometimes general citations (for example in code-related proposals published in Taxon), with the works in question not cited in the bibliography unless also cited in the text. Titles use standardized abbreviations following Botanico-Periodicum-Huntianum for periodicals and Taxonomic Literature 2 (later IPNI) for books.\n Pechenik Citation Style is a style described in A Short Guide to Writing about Biology, 6th ed. (2007), by Jan A. Pechenik.\n In 1955, Eugene Garfield proposed a bibliographic system for scientific literature, to consolidate the integrity of scientific publications.\n\nSocial sciences \n The style of the American Psychological Association, or APA style, published in the Publication Manual of the American Psychological Association, is most often used in social sciences. APA citation style is similar to Harvard referencing, listing the author's name and year of publication, although these can take two forms: name citations in which the surnames of the authors appear in the text and the year of publication then appears in parentheses, and author-date citations, in which the surnames of the authors and the year of publication all appear in parentheses. In both cases, in-text citations point to an alphabetical list of sources at the end of the paper in a References section.\n The American Political Science Association publishes both a style manual and a style guide for publications in this field. The style is close to the CMOS.\n The American Anthropological Association utilizes a modified form of the Chicago Style laid out in their Publishing Style Guide.\n The ASA style of American Sociological Association is one of the main styles used in sociological publications.\n\nIssues \n\nIn their research on footnotes in scholarly journals in the field of communication, Michael Bugeja and Daniela V. Dimitrova have found that citations to online sources have a rate of decay (as cited pages are taken down), which they call a \"half-life\", that renders footnotes in those journals less useful for scholarship over time.\n\nOther experts have found that published replications do not have as many citations as original publications.\n\nAnother important issue is citation errors, which often occur due to carelessness on either the researcher or journal editor's part in the publication procedure. For example, a study that analyzed 1,200 randomly selected citations from three major business ethics journal concluded that an average article contains at least three plagiarized citations when authors copy and paste a citation entry from another publication without consulting the original source. Experts have found that simple precautions, such as consulting the author of a cited source about proper citations, reduce the likelihood of citation errors and thus increase the quality of research.\n\nResearch suggests the impact of an article can be, partly, explained by superficial factors and not only by the scientific merits of an article. Field-dependent factors are usually listed as an issue to be tackled not only when comparisons across disciplines are made, but also when different fields of research of one discipline are being compared. For example, in medicine, among other factors, the number of authors, the number of references, the article length, and the presence of a colon in the title influence the impact; while in sociology the number of references, the article length, and title length are among the factors.\n\nStudies of methodological quality and reliability have found that \"reliability of published research works in several fields may be decreasing with increasing journal rank\". Nature Index recognizes that citations remain a controversial and yet important metric for academics. They report five ways to increase citation counts: (1) watch the title length and punctuation; (2) release the results early as preprints; (3) avoid referring to a country in the title, abstract, or keywords; (4) link the article to supporting data in a repository; and (5) avoid hyphens in the titles of research articles.\n\nCitation patterns are also known to be affected by unethical behavior of both the authors and journal staff. Such behavior is called impact factor boosting and was reported to involve even the top-tier journals. Specifically the high-ranking journals of medical science, including The Lancet, JAMA and The New England Journal of Medicine, are thought to be associated with such behavior, with up to 30% of citations to these journals being generated by commissioned opinion articles. On the other hand, the phenomenon of citation cartels is rising. Citation cartels are defined as groups of authors that cite each other disproportionately more than they do other groups of authors who work on the same subject.\n\nResearch and development\nThere is research about citations and development of related tools and systems, mainly relating to scientific citations. Citation analysis is a method widely used in metascience.\n\nCitation analysis\n\nCitation frequency\n\nProgress and citation consolidation\n\nIT systems\n\nSee also\n\nNotes\n\nReferences\n\nFurther reading \n \n \n\n \n \n \n\nCategory:Bibliography\nCategory:Intellectual history\nCategory:Reference\nCategory:Sources\nCategory:Writing", "title": "Citation" } ]
[ "The south-pointing chariot was a non-magnetic compass vehicle in the form of a two-wheeled chariot. Differential gears driven by the chariot's wheels allowed a wooden figurine, in the shape of a Chinese state minister, to constantly point to the south. It was another mechanical device credited to Zhang Heng.", "The article also discusses the development of the odometer in ancient China, credited to Zhang Heng, Archimedes, and Heron of Alexandria. It was called the ji li gu che, or \"li-recording drum carriage\" and served to measure distance traveled. The Chinese version involved mechanically driven wooden figures that would strike a drum or a gong as certain distances were covered. It also mentions a theory that this technology may have evolved slowly in the Han Dynasty and centered on the \"huang men,\" court individuals who were part of the royal \"drum-chariot\" musical procession. Also, post Zhang Heng, Ma Jun also had a significant contribution as he succeeded in creating the south-pointing chariot in the subsequent century.", "The exact creation date of the south-pointing chariot is not specified in the text. However, it is mentioned that Zhang Heng, who is often credited with its invention, was active around the 1st century AD, and Ma Jun created the chariot in the following century, between 200-265 AD.", "The text does not provide any information about whether anyone aided Zhang Heng or Ma Jun in the construction of the south-pointing chariot.", "Zhang Heng is also often credited with inventing the first odometer, a device used to measure distance travelled. However, this invention might also be attributed to Archimedes and Heron of Alexandria. The design might have actually been by Luoxia Hong around 110 BC, as per the context provided.", "The text does not provide a specific date for the invention of the odometer. It states that by at least 125 AD the mechanical odometer carriage was already known, as it was depicted in a mural of the Xiao Tang Shan Tomb. The concept of the odometer might have started developing slowly during the Han Dynasty around the 1st century BC.", "The text does not provide any information about whether anyone aided Zhang Heng in the invention or development of the odometer." ]
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C_b200a4798a7349ff8822b7bcf5addda2_0
Zhang Heng
Zhang Heng (Chinese: Zhang Heng ; AD 78-139), formerly romanized as Chang Heng, was a Han Chinese polymath from Nanyang who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, scientist, engineer, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court.
Science and technology
Zhang Heng's mechanical inventions influenced later Chinese inventors such as Yi Xing, Zhang Sixun, Su Song, and Guo Shoujing. Su Song directly named Zhang's water-powered armillary sphere as the inspiration for his 11th-century clock tower. The cosmic model of nine points of Heaven corresponding with nine regions of earth conceived in the work of the scholar-official Chen Hongmou (1696-1771) followed in the tradition of Zhang's book Spiritual Constitution of the Universe. The seismologist John Milne, who created the modern seismograph in 1876 alongside Thomas Gray and James A. Ewing at the Imperial College of Engineering in Tokyo, commented in 1886 on Zhang Heng's contributions to seismology. The historian Joseph Needham emphasized his contributions to pre-modern Chinese technology, stating that Zhang was noted even in his day for being able to "make three wheels rotate as if they were one." More than one scholar has described Zhang as a polymath. However, some scholars also point out that Zhang's writing lacks concrete scientific theories. Comparing Zhang with his contemporary, Ptolemy (83-161) of Roman Egypt, Jin Guantao, Fan Hongye, and Liu Qingfeng state: Based on the theories of his predecessors, Zhang Heng systematically developed the celestial sphere theory. An armillary constructed on the basis of his hypotheses bears a remarkable similarity to Ptolemy's earth-centered theory. However, Zhang Heng did not definitely propose a theoretical model like Ptolemy's earth-centered one. It is astonishing that the celestial model Zhang Heng constructed was almost a physical model of Ptolemy's earth-centered theory. Only a single step separates the celestial globe from the earth-centered theory, but Chinese astronomers never took that step. Here we can see how important the exemplary function of the primitive scientific structure is. In order to use the Euclidean system of geometry as a model for the development of astronomical theory, Ptolemy first had to select hypotheses which could serve as axioms. He naturally regarded circular motion as fundamental and then used the circular motion of deferents and epicycles in his earth-centered theory. Although Zhang Heng understood that the sun, moon and planets move in circles, he lacked a model for a logically structured theory and so could not establish a corresponding astronomical theory. Chinese astronomy was most interested in extracting the algebraic features of planetary motion (that is, the length of the cyclic periods) to establish astronomical theories. Thus astronomy was reduced to arithmetic operations, extracting common multiples and divisors from the observed cyclic motions of the heavenly bodies. CANNOTANSWER
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Zhang Heng (; AD 78–139), formerly romanized as Chang Heng, was a Chinese polymathic scientist and statesman who lived during the Han dynasty. Educated in the capital cities of Luoyang and Chang'an, he achieved success as an astronomer, mathematician, seismologist, hydraulic engineer, inventor, geographer, cartographer, ethnographer, artist, poet, philosopher, politician, and literary scholar. Zhang Heng began his career as a minor civil servant in Nanyang. Eventually, he became Chief Astronomer, Prefect of the Majors for Official Carriages, and then Palace Attendant at the imperial court. His uncompromising stance on historical and calendrical issues led to his becoming a controversial figure, preventing him from rising to the status of Grand Historian. His political rivalry with the palace eunuchs during the reign of Emperor Shun (r. 125–144) led to his decision to retire from the central court to serve as an administrator of Hejian Kingdom in present-day Hebei. Zhang returned home to Nanyang for a short time, before being recalled to serve in the capital once more in 138. He died there a year later, in 139. Zhang applied his extensive knowledge of mechanics and gears in several of his inventions. He invented the world's first water-powered armillary sphere to assist astronomical observation; improved the inflow water clock by adding another tank; and invented the world's first seismoscope, which discerned the cardinal direction of an earthquake away. He improved previous Chinese calculations for pi. In addition to documenting about 2,500 stars in his extensive star catalog, Zhang also posited theories about the Moon and its relationship to the Sun: specifically, he discussed the Moon's sphericity, its illumination by reflected sunlight on one side and the hidden nature of the other, and the nature of solar and lunar eclipses. His fu (rhapsody) and shi poetry were renowned in his time and studied and analyzed by later Chinese writers. Zhang received many posthumous honors for his scholarship and ingenuity; some modern scholars have compared his work in astronomy to that of the Greco-Roman Ptolemy (AD 86–161). Life Early life Born in the town of Xi'e in Nanyang Commandery (north of the modern Nanyang City in Henan province), Zhang Heng came from a distinguished but not affluent family. His grandfather Zhang Kan () had been governor of a commandery and one of the leaders who supported the restoration of the Han by Emperor Guangwu (r. 25–57), following the death of the usurping Wang Mang of the Xin (AD 9–23). When he was ten, Zhang's father died, leaving him in the care of his mother and grandmother. An accomplished writer in his youth, Zhang left home in the year 95 to pursue his studies in the capitals of Chang'an and Luoyang. While traveling to Luoyang, Zhang passed by a hot spring near Mount Li and dedicated one of his earliest fu poems to it. This work, entitled "Fu on the Hot Springs" (Wēnquán fù 溫泉賦), describes the throngs of people attending the hot springs, which later became famous as the "Huaqing Hot Springs", a favorite retreat of imperial concubine Yang Guifei during the Tang dynasty. After studying for some years at Luoyang's Taixue, he was well-versed in the classics and friends with several notable persons, including the mathematician and calligrapher Cui Yuan (78–143), the official and philosophical commentator Ma Rong (79–166), and the philosopher Wang Fu (78–163). Government authorities offered Zhang appointments to several offices, including a position as one of the Imperial Secretaries, yet he acted modestly and declined. At age 23, Zhang returned home with the title "Officer of Merit in Nanyang", serving as the master of documents under the administration of Governor Bao De (in office from 103 to 111). As he was charged with composing inscriptions and dirges for the governor, he gained experience in writing official documents. As Officer of Merit in the commandery, he was also responsible for local appointments to office and recommendations to the capital of nominees for higher office. He spent much of his time composing rhapsodies on the capital cities. When Bao De was recalled to the capital in 111 to serve as a minister of finance, Zhang continued his literary work at home in Xi'e. Zhang Heng began his studies in astronomy at the age of 30 and began publishing his works on astronomy and mathematics. Official career In 112, Zhang was summoned to the court of Emperor An (r. 106–125), who had heard of his expertise in mathematics. When he was nominated to serve at the capital, Zhang was escorted by carriage—a symbol of his official status—to Luoyang, where he became a court gentleman working for the Imperial Secretariat. He was promoted to Chief Astronomer for the court, serving his first term from 115 to 120 under Emperor An and his second under the succeeding emperor from 126 to 132. As Chief Astronomer, Zhang was a subordinate of the Minister of Ceremonies, one of Nine Ministers ranked just below the Three Excellencies. In addition to recording heavenly observations and portents, preparing the calendar, and reporting which days were auspicious and which ill-omened, Zhang was also in charge of an advanced literacy test for all candidates to the Imperial Secretariat and the Censorate, both of whose members were required to know at least 9,000 characters and all major writing styles. Under Emperor An, Zhang also served as Prefect of the Majors for Official Carriages under the Ministry of Guards, in charge of receiving memorials to the throne (formal essays on policy and administration) as well as nominees for official appointments. When the government official Dan Song proposed the Chinese calendar should be reformed in 123 to adopt certain apocryphal teachings, Zhang opposed the idea. He considered the teachings to be of questionable stature and believed they could introduce errors. Others shared Zhang's opinion and the calendar was not altered, yet Zhang's proposal that apocryphal writings should be banned was rejected. The officials Liu Zhen and Liu Taotu, members of a committee to compile the dynastic history (), sought permission from the court to consult Zhang Heng. However, Zhang was barred from assisting the committee due to his controversial views on apocrypha and his objection to the relegation of the Gengshi Emperor's (r. 23–25) role in the restoration of the Han dynasty as lesser than Emperor Guangwu's. Liu Zhen and Liu Taotu were Zhang's only historian allies at court, and after their deaths Zhang had no further opportunities for promotion to the prestigious post of court historian. Despite this setback in his official career, Zhang was reappointed as Chief Astronomer in 126 after Emperor Shun of Han (r. 125–144) ascended to the throne. His intensive astronomical work was rewarded only with the rank and salary of 600 bushels, or shi, of grain (mostly commuted to coin cash or bolts of silk). To place this number in context, in a hierarchy of twenty official ranks, the lowest-paid official earned the rank and salary of 100 bushels and the highest-paid official earned 10,000 bushels during the Han. The 600-bushel rank was the lowest the emperor could directly appoint to a central government position; any official of lower status was overseen by central or provincial officials of high rank. In 132, Zhang introduced an intricate seismoscope to the court, which he claimed could detect the precise cardinal direction of a distant earthquake. On one occasion his device indicated that an earthquake had occurred in the northwest. As there was no perceivable tremor felt in the capital his political enemies were briefly able to relish the failure of his device, until a messenger arrived shortly afterwards to report that an earthquake had occurred about 400 km (248 mi) to 500 km (310 mi) northwest of Luoyang in Gansu province. A year after Zhang presented his seismoscope to the court, officials and candidates were asked to provide comments about a series of recent earthquakes which could be interpreted as signs of displeasure from Heaven. The ancient Chinese viewed natural calamities as cosmological punishments for misdeeds that were perpetrated by the Chinese ruler or his subordinates on earth. In Zhang's memorial discussing the reasons behind these natural disasters, he criticized the new recruitment system of Zuo Xiong which fixed the age of eligible candidates for the title "Filial and Incorrupt" at age forty. The new system also transferred the power of the candidates' assessment to the Three Excellencies rather than the Generals of the Household, who by tradition oversaw the affairs of court gentlemen. Although Zhang's memorial was rejected, his status was significantly elevated soon after to Palace Attendant, a position he used to influence the decisions of Emperor Shun. With this prestigious new position, Zhang earned a salary of 2,000 bushels and had the right to escort the emperor. As Palace Attendant to Emperor Shun, Zhang Heng attempted to convince him that the court eunuchs represented a threat to the imperial court. Zhang pointed to specific examples of past court intrigues involving eunuchs, and convinced Shun that he should assume greater authority and limit their influence. The eunuchs attempted to slander Zhang, who responded with a fu rhapsody called "Fu on Pondering the Mystery", which vents his frustration. Rafe de Crespigny states that Zhang's rhapsody used imagery similar to Qu Yuan's (340–278 BC) poem "Li Sao" and focused on whether or not good men should flee the corrupted world or remain virtuous within it. Literature and poetry While working for the central court, Zhang Heng had access to a variety of written materials located in the Archives of the Eastern Pavilion. Zhang read many of the great works of history in his day and claimed he had found ten instances where the Records of the Grand Historian by Sima Qian (145–90 BC) and the Book of Han by Ban Gu (AD 32–92) differed from other ancient texts that were available to him. His account was preserved and recorded in the 5th-century text of the Book of Later Han by Fan Ye (398–445). His rhapsodies and other literary works displayed a deep knowledge of classic texts, Chinese philosophy, and histories. He also compiled a commentary on the Taixuan (, "Great Mystery") by the Daoist author Yang Xiong (53 BC–AD 18). Xiao Tong (501–531), a crown prince of the Liang dynasty (502–557), immortalized several of Zhang's works in his literary anthology Selections of Refined Literature (Wen xuan ). Zhang's fu rhapsodies include "Western Metropolis Rhapsody" (Xī jīng fù ), "Eastern Metropolis Rhapsody" (Dōng jīng fù ), "Southern Capital Rhapsody" (Nán dū fù ), "Rhapsody on Contemplating the Mystery" (Sī xuán fù ), and "Rhapsody on Returning to the Fields" (Guī tián fù ). The latter fuses Daoist ideas with Confucianism and was a precursor to later Chinese metaphysical nature poetry, according to Liu Wu-chi. A set of four short lyric poems (shi 詩) entitled "Lyric Poems on Four Sorrows" (Sì chóu shī ), is also included with Zhang's preface. This set constitutes some of the earliest heptasyllabic shi Chinese poetry written. While still in Luoyang, Zhang became inspired to write his "Western Metropolis Rhapsody" and "Eastern Metropolis Rhapsody", which were based on the "Rhapsody on the Two Capitals" by the historian Ban Gu. Zhang's work was similar to Ban's, although the latter fully praised the contemporaneous Eastern Han regime while Zhang provided a warning that it could suffer the same fate as the Western Han if it too declined into a state of decadence and moral depravity. These two works satirized and criticized what he saw as the excessive luxury of the upper classes. Zhang's "Southern Capital Rhapsody" commemorated his home city of Nanyang, home of the restorer of the Han dynasty, Guangwu. In Zhang Heng's poem "Four Sorrows", he laments that he is unable to woo a beautiful woman due to the impediment of mountains, snows and rivers. Scholars Rafe de Crespigny and David R. Knechtges claim that Zhang wrote this as an innuendo hinting at his inability to keep in contact with the emperor, hindered by unworthy rivals and petty men. This poem is one of the first in China to have seven words per line. His "Four Sorrows" reads: In another poem of his called "Stabilizing the Passions" (Dìng qíng fù 定情賦)—preserved in a Tang dynasty (618–907) encyclopedia, but referred to earlier by Tao Qian (365–427) in praise of Zhang's lyrical minimalism—Zhang displays his admiration for an attractive and exemplary woman. This simpler type of fu poem influenced later works by the prominent official and scholar Cai Yong (132–192). Zhang wrote: Zhang's long lyrical poems also revealed a great amount of information on urban layout and basic geography. His rhapsody "Sir Based-On-Nothing" provides details on terrain, palaces, hunting parks, markets, and prominent buildings of Chang'an, the Western Han capital. Exemplifying his attention to detail, his rhapsody on Nanyang described gardens filled with spring garlic, summer bamboo shoots, autumn leeks, winter rape-turnips, perilla, evodia, and purple ginger. Zhang Heng's writing confirms the size of the imperial hunting park in the suburbs of Chang'an, as his estimate for the circumference of the park's encircling wall agrees with the historian Ban Gu's estimate of roughly 400 li (one li in Han times was equal to 415.8 m, or 1,364 ft, making the circumference of the park wall 166,320 m, or 545,600 ft). Along with Sima Xiangru (179–117 BC), Zhang listed a variety of animals and hunting game inhabiting the park, which were divided in the northern and southern portions of the park according to where the animals had originally come from: northern or southern China. Somewhat similar to the description of Sima Xiangru, Zhang described the Western Han emperors and their entourage enjoying boat outings, water plays, fishing, and displays of archery targeting birds and other animals with stringed arrows from the tops of tall towers along Chang'an's Kunming Lake. The focus of Zhang's writing on specific places and their terrain, society, people, and their customs could also be seen as early attempts of ethnographic categorization. In his poem "Xijing fu", Zhang shows that he was aware of the new foreign religion of Buddhism, introduced via the Silk Road, as well as the legend of the birth of Buddha with the vision of the white elephant bringing about conception. In his "Western Metropolis Rhapsody" (), Zhang described court entertainments such as juedi (), a form of theatrical wrestling accompanied by music in which participants butted heads with bull horn masks. With his "Responding to Criticism" (Ying jian ), a work modeled on Yang Xiong's "Justification Against Ridicule", Zhang was an early writer and proponent of the Chinese literary genre shelun, or hypothetical discourse. Authors of this genre created a written dialogue between themselves and an imaginary person (or a real person of their entourage or association); the latter poses questions to the author on how to lead a successful life. He also used it as a means to criticize himself for failing to obtain high office, but coming to the conclusion that the true gentleman displays virtue instead of greed for power. In this work, Dominik Declercq asserts that the person urging Zhang to advance his career in a time of government corruption most likely represented the eunuchs or Empress Liang's (116–150) powerful relatives in the Liang clan. Declercq states that these two groups would have been "anxious to know whether this famous scholar could be lured over to their side", but Zhang flatly rejected such an alignment by declaring in this politically charged piece of literature that his gentlemanly quest for virtue trumped any desire of his for power. Zhang wrote about the various love affairs of emperors dissatisfied with the imperial harem, going out into the city incognito to seek out prostitutes and sing-song girls. This was seen as a general criticism of the Eastern Han emperors and their imperial favorites, guised in the criticism of earlier Western Han emperors. Besides criticizing the Western Han emperors for lavish decadence, Zhang also pointed out that their behavior and ceremonies did not properly conform with the Chinese cyclical beliefs in yin and yang. In a poem criticizing the previous Western Han dynasty, Zhang wrote: Achievements in science and technology Mathematics For centuries the Chinese approximated pi as 3; Liu Xin (d. AD 23) made the first known Chinese attempt at a more accurate calculation of 3.1457, but there is no record detailing the method he used to obtain this figure. In his work around 130, Zhang Heng compared the celestial circle to the diameter of the earth, proportioning the former as 736 and the latter as 232, thus calculating pi as 3.1724. In Zhang's day, the ratio 4:3 was given for the area of a square to the area of its inscribed circle and the volume of a cube and volume of the inscribed sphere should also be 42:32. In formula, with D as diameter and V as volume, D3:V = 16:9 or V=D3; Zhang realized that the value for diameter in this formula was inaccurate, noting the discrepancy as the value taken for the ratio. Zhang then attempted to remedy this by amending the formula with an additional D3, hence V=D3 + D3 = D3. With the ratio of the volume of the cube to the inscribed sphere at 8:5, the implied ratio of the area of the square to the circle is √8:√5. From this formula, Zhang calculated pi as the square root of 10 (or approximately 3.162). Zhang also calculated pi as = 3.1466 in his book Ling Xian (). In the 3rd century, Liu Hui made the calculation more accurate with his π algorithm, which allowed him to obtain the value 3.14159. Later, Zu Chongzhi (429–500) approximated pi as or 3.141592, the most accurate calculation for pi the ancient Chinese would achieve. Astronomy In his publication of AD 120 called The Spiritual Constitution of the Universe (靈憲, Ling Xian, lit. "Sublime Model"), Zhang Heng theorized that the universe was like an egg "as round as a crossbow pellet" with the stars on the shell and the Earth as the central yolk. This universe theory is congruent with the geocentric model as opposed to the heliocentric model. Although the ancient Warring States (403–221 BC) Chinese astronomers Shi Shen and Gan De had compiled China's first star catalogue in the 4th century BC, Zhang nonetheless catalogued 2,500 stars which he placed in a "brightly shining" category (the Chinese estimated the total to be 14,000), and he recognized 124 constellations. In comparison, this star catalogue featured many more stars than the 850 documented by the Greek astronomer Hipparchus (c. 190–c.120 BC) in his catalogue, and more than Ptolemy (AD 83–161), who catalogued over 1,000. Zhang supported the "radiating influence" theory to explain solar and lunar eclipses, a theory which was opposed by Wang Chong (AD 27–97). In the Ling Xian, Zhang wrote: Zhang Heng viewed these astronomical phenomena in supernatural terms as well. The signs of comets, eclipses, and movements of heavenly bodies could all be interpreted by him as heavenly guides on how to conduct affairs of state. Contemporary writers also wrote about eclipses and the sphericity of heavenly bodies. The music theorist and mathematician Jing Fang (78–37 BC) wrote about the spherical shape of the Sun and Moon while discussing eclipses: The Moon and the planets are Yin; they have shape but no light. This they receive only when the Sun illuminates them. The former masters regarded the Sun as round like a crossbow bullet, and they thought the Moon had the nature of a mirror. Some of them recognized the Moon as a ball too. Those parts of the Moon which the Sun illuminates look bright, those parts which it does not, remain dark. The theory posited by Zhang and Jing was supported by later pre-modern scientists such as Shen Kuo (1031–1095), who expanded on the reasoning of why the Sun and Moon were spherical. The theory of the celestial sphere surrounding a flat, square Earth was later criticized by the Jin-dynasty scholar-official Yu Xi (fl. 307–345). He suggested that the Earth could be round like the heavens, a spherical Earth theory fully accepted by mathematician Li Ye (1192–1279) but not by mainstream Chinese science until European influence in the 17th century. Extra tank for inflow clepsydra The outflow clepsydra was a timekeeping device used in China as long ago as the Shang dynasty (c. 1600–c. 1050 BC), and certainly by the Zhou dynasty (1122–256 BC). The inflow clepsydra with an indicator rod on a float had been known in China since the beginning of the Han dynasty in 202 BC and had replaced the outflow type. The Han Chinese noted the problem with the falling pressure head in the reservoir, which slowed the timekeeping of the device as the inflow vessel was filled. Zhang Heng was the first to address this problem, indicated in his writings from 117, by adding an extra compensating tank between the reservoir and the inflow vessel. Zhang also mounted two statuettes of a Chinese immortal and a heavenly guard on the top of the inflow clepsydra, the two of which would guide the indicator rod with their left hand and point out the graduations with their right. Joseph Needham states that this was perhaps the ancestor of all clock jacks that would later sound the hours found in mechanical clocks by the 8th century, but he notes that these figures did not actually move like clock jack figurines or sound the hours. Many additional compensation tanks were added to later clepsydras in the tradition of Zhang Heng. In 610 the Sui dynasty (581–618) engineers Geng Xun and Yuwen Kai crafted an unequal-armed steelyard balance able to make seasonal adjustments in the pressure head of the compensating tank, so that it could control the rate of water flow for different lengths of day and night during the year. Zhang mentioned a "jade dragon's neck", which in later times meant a siphon. He wrote of the floats and indicator-rods of the inflow clepsydra as follows: Water-powered armillary sphere Zhang Heng is the first person known to have applied hydraulic motive power (i.e. by employing a waterwheel and clepsydra) to rotate an armillary sphere, an astronomical instrument representing the celestial sphere. The Greek astronomer Eratosthenes (276–194 BC) invented the first armillary sphere in 255 BC. The Chinese armillary sphere was fully developed by 52 BC, with the astronomer Geng Shouchang's addition of a permanently fixed equatorial ring. In AD 84 the astronomers Fu An and Jia Kui added the ecliptic ring, and finally Zhang Heng added the horizon and meridian rings. This invention is described and attributed to Zhang in quotations by Hsu Chen and Li Shan, referencing his book Lou Shui Chuan Hun Thien I Chieh (Apparatus for Rotating an Armillary Sphere by Clepsydra Water). It was likely not an actual book by Zhang, but a chapter from his Hun I or Hun I Thu Chu, written in 117 AD. His water-powered armillary influenced the design of later Chinese water clocks and led to the discovery of the escapement mechanism by the 8th century. The historian Joseph Needham (1900–1995) states: What were the factors leading to the first escapement clock in China? The chief tradition leading to Yi Xing (AD 725 ) was of course the succession of 'pre-clocks' which had started with Zhang Heng about 125. Reason has been given for believing that these applied power to the slow turning movement of computational armillary spheres and celestial globes by means of a water-wheel using clepsydra drip, which intermittently exerted the force of a lug to act on the teeth of a wheel on a polar-axis shaft. Zhang Heng in his turn had composed this arrangement by uniting the armillary rings of his predecessors into the equatorial armillary sphere, and combining it with the principles of the water-mills and hydraulic trip-hammers which had become so widespread in Chinese culture in the previous century. Zhang did not initiate the Chinese tradition of hydraulic engineering, which began during the mid Zhou dynasty (c. 6th century BC), through the work of engineers such as Sunshu Ao and Ximen Bao. Zhang's contemporary, Du Shi, (d. AD 38) was the first to apply the motive power of waterwheels to operate the bellows of a blast furnace to make pig iron, and the cupola furnace to make cast iron. Zhang provided a valuable description of his water-powered armillary sphere in the treatise of 125, stating: The equatorial ring goes around the belly of the armillary sphere 91 and 5/19 (degrees) away from the pole. The circle of the ecliptic also goes round the belly of the instrument at an angle of 24 (degrees) with the equator. Thus at the summer solstice the ecliptic is 67 (degrees) and a fraction away from the pole, while at the winter solstice it is 115 (degrees) and a fraction away. Hence (the points) where the ecliptic and the equator intersect should give the north polar distances of the spring and autumn equinoxes. But now (it has been recorded that) the spring equinox is 90 and 1/4 (degrees) away from the pole, and the autumn equinox is 92 and 1/4 (degrees) away. The former figure is adopted only because it agrees with the (results obtained by the) method of measuring solstitial sun shadows as embodied in the Xia (dynasty) calendar. Zhang Heng's water-powered armillary sphere had profound effects on Chinese astronomy and mechanical engineering in later generations. His model and its complex use of gears greatly influenced the water-powered instruments of later astronomers such as Yi Xing (683–727), Zhang Sixun (fl. 10th century), Su Song (1020–1101), Guo Shoujing (1231–1316), and many others. Water-powered armillary spheres in the tradition of Zhang Heng's were used in the eras of the Three Kingdoms (220–280) and Jin dynasty (266–420), yet the design for it was temporarily out of use between 317 and 418, due to invasions of northern Xiongnu nomads. Zhang Heng's old instruments were recovered in 418, when Emperor Wu of Liu Song (r. 420–422) captured the ancient capital of Chang'an. Although still intact, the graduation marks and the representations of the stars, Moon, Sun, and planets were quite worn down by time and rust. In 436, the emperor ordered Qian Luozhi, the Secretary of the Bureau of Astronomy and Calendar, to recreate Zhang's device, which he managed to do successfully. Qian's water-powered celestial globe was still in use at the time of the Liang dynasty (502–557), and successive models of water-powered armillary spheres were designed in subsequent dynasties. Zhang's seismoscope From the earliest times, the Chinese were concerned with the destructive force of earthquakes. It was recorded in Sima Qian's Records of the Grand Historian of 91 BC that in 780 BC an earthquake had been powerful enough to divert the courses of three rivers. It was not known at the time that earthquakes were caused by the shifting of tectonic plates in the Earth's crust; instead, the people of the ancient Zhou dynasty explained them as disturbances with cosmic yin and yang, along with the heavens' displeasure with acts committed (or the common peoples' grievances ignored) by the current ruling dynasty. These theories were ultimately derived from the ancient text of the Yijing (Book of Changes), in its fifty-first hexagram. There were other early theories about earthquakes, developed by those such as the ancient Greeks. Anaxagoras (c. 500–428 BC) believed that they were caused by excess water near the surface crust of the earth bursting into the Earth's hollows; Democritus (c. 460–370 BC) believed that the saturation of the Earth with water caused them; Anaximenes (c. 585–c. 525 BC) believed they were the result of massive pieces of the Earth falling into the cavernous hollows due to drying; and Aristotle (384–322 BC) believed they were caused by instability of vapor (pneuma) caused by the drying of the moist Earth by the Sun's rays. During the Han dynasty, many learned scholars—including Zhang Heng—believed in the "oracles of the winds". These oracles of the occult observed the direction, force, and timing of the winds, to speculate about the operation of the cosmos and to predict events on Earth. These ideas influenced Zhang Heng's views on the cause of earthquakes. In 132, Zhang Heng presented to the Han court what many historians consider to be his most impressive invention, the first seismoscope. A seismoscope records the motions of Earth's shaking, but unlike a seismometer, it does not retain a time record of those motions. It was named "earthquake weathervane" ( ), and it was able to roughly determine the direction (out of eight directions) where the earthquake came from. According to the Book of Later Han (compiled by Fan Ye in the 5th century), his bronze urn-shaped device, with a swinging pendulum inside, was able to detect the direction of an earthquake hundreds of miles/kilometers away. This was essential for the Han government in sending quick aid and relief to regions devastated by this type of natural disaster. The Book of Later Han records that, on one occasion, Zhang's device was triggered, though no observer had felt any seismic disturbance; several days later a messenger arrived from the west and reported that an earthquake had occurred in Longxi (modern Gansu Province), the same direction that Zhang's device had indicated, and thus the court was forced to admit the efficacy of the device. To indicate the direction of a distant earthquake, Zhang's device dropped a bronze ball from one of eight tubed projections shaped as dragon heads; the ball fell into the mouth of a corresponding metal object shaped as a toad, each representing a direction like the points on a compass rose. His device had eight mobile arms (for all eight directions) connected with cranks having catch mechanisms at the periphery. When tripped, a crank and right angle lever would raise a dragon head and release a ball which had been supported by the lower jaw of the dragon head. His device also included a vertical pin passing through a slot in the crank, a catch device, a pivot on a projection, a sling suspending the pendulum, an attachment for the sling, and a horizontal bar supporting the pendulum. Wang Zhenduo (王振鐸) argued that the technology of the Eastern Han era was sophisticated enough to produce such a device, as evidenced by contemporary levers and cranks used in other devices such as crossbow triggers. Later Chinese of subsequent periods were able to reinvent Zhang's seismoscope. They included the 6th-century mathematician and surveyor Xindu Fang of the Northern Qi dynasty (550–577) and the astronomer and mathematician Lin Xiaogong of the Sui dynasty (581–618). Like Zhang, Xindu Fang and Lin Xiaogong were given imperial patronage for their services in craftsmanship of devices for the court. By the time of the Yuan dynasty (1271–1368), it was acknowledged that all devices previously made were preserved, except for that of the seismoscope. This was discussed by the scholar Zhou Mi around 1290, who remarked that the books of Xindu Fang and Lin Xiaogong detailing their seismological devices were no longer to be found. Horwitz, Kreitner, and Needham speculate if Tang dynasty (618–907) era seismographs found their way to contemporary Japan; according to Needham, "instruments of apparently traditional type there in which a pendulum carries pins projecting in many directions and able to pierce a surrounding paper cylinder, have been described." Hong-sen Yan states that modern replicas of Zhang's device have failed to reach the level of accuracy and sensitivity described in Chinese historical records. Wang Zhenduo presented two different models of the seismoscope based on the ancient descriptions of Zhang's device. In his 1936 reconstruction, the central pillar (du zhu) of the device was a suspended pendulum acting as a movement sensor, while the central pillar of his second model in 1963 was an inverted pendulum. According to Needham, while working in the Seismological Observatory of Tokyo University in 1939, Akitsune Imamura and Hagiwara made a reconstruction of Zhang's device. While it was John Milne and Wang Zhenduo who argued early on that Zhang's "central pillar" was a suspended pendulum, Imamura was the first to propose an inverted model. He argued that transverse shock would have rendered Wang's immobilization mechanism ineffective, as it would not have prevented further motion that could knock other balls out of their position. On June 13, 2005, modern Chinese seismologists announced that they had successfully created a replica of the instrument. Anthony J. Barbieri-Low, a professor of early Chinese history at the University of California, Santa Barbara, names Zhang Heng as one of several high-ranking Eastern-Han officials who engaged in crafts that were traditionally reserved for artisans (gong 工), such as mechanical engineering. Barbieri-Low speculates that Zhang only designed his seismoscope, but did not actually craft the device himself. He asserts that this would most likely have been the job of artisans commissioned by Zhang. He writes: "Zhang Heng was an official of moderately high rank and could not be seen sweating in the foundries with the gong artisans and the government slaves. Most likely, he worked collaboratively with the professional casters and mold makers in the imperial workshops." Cartography The Wei (220–265) and Jin dynasty (266–420) cartographer and official Pei Xiu (224–271) was the first in China to describe in full the geometric grid reference for maps that allowed for precise measurements using a graduated scale, as well as topographical elevation. However, map-making in China had existed since at least the 4th century BC with the Qin state maps found in Gansu in 1986. Pinpointed accuracy of the winding courses of rivers and familiarity with scaled distance had been known since the Qin and Han dynasty, respectively, as evidenced by their existing maps, while the use of a rectangular grid had been known in China since the Han as well. Historian Howard Nelson states that, although the accounts of Zhang Heng's work in cartography are somewhat vague and sketchy, there is ample written evidence that Pei Xiu derived the use of the rectangular grid reference from the maps of Zhang Heng. Rafe de Crespigny asserts that it was Zhang who established the rectangular grid system in Chinese cartography. Needham points out that the title of his book Flying Bird Calendar may have been a mistake, and that the book is more accurately entitled Bird's Eye Map. Historian Florian C. Reiter notes that Zhang's narrative "Guitian fu" contains a phrase about applauding the maps and documents of Confucius of the Zhou dynasty, which Reiter suggests places maps (tu) on a same level of importance with documents (shu). It is documented that a physical geography map was first presented by Zhang Heng in 116 AD, called a Ti Hsing Thu. Odometer and south-pointing chariot Zhang Heng is often credited with inventing the first odometer, an achievement also attributed to Archimedes (c. 287–212 BC) and Heron of Alexandria (fl. AD 10–70). Similar devices were used by the Roman and Han-Chinese empires at about the same period. By the 3rd century, the Chinese had termed the device the jili guche (, "li-recording drum carriage" (the modern measurement of li = 500 m/1640 ft). Ancient Chinese texts describe the mechanical carriage's functions; after one li was traversed, a mechanically driven wooden figure struck a drum, and after ten li had been covered, another wooden figure struck a gong or a bell with its mechanically operated arm. However, there is evidence to suggest that the invention of the odometer was a gradual process in Han dynasty China that centered on the "huang men"—court people (i.e. eunuchs, palace officials, attendants and familiars, actors, acrobats, etc.) who followed the musical procession of the royal "drum-chariot". There is speculation that at some time during the 1st century BC the beating of drums and gongs was mechanically driven by the rotation of the road wheels. This might have actually been the design of Luoxia Hong (c. 110 BC), yet by at least 125 the mechanical odometer carriage was already known, as it was depicted in a mural of the Xiao Tang Shan Tomb. The south-pointing chariot was another mechanical device credited to Zhang Heng. It was a non-magnetic compass vehicle in the form of a two-wheeled chariot. Differential gears driven by the chariot's wheels allowed a wooden figurine (in the shape of a Chinese state minister) to constantly point to the south, hence its name. The Song Shu (c. AD 500 ) records that Zhang Heng re-invented it from a model used in the Zhou dynasty era, but the violent collapse of the Han dynasty unfortunately did not allow it to be preserved. Whether Zhang Heng invented it or not, Ma Jun (200–265) succeeded in creating the chariot in the following century. Legacy Science and technology Zhang Heng's mechanical inventions influenced later Chinese inventors such as Yi Xing, Zhang Sixun, Su Song, and Guo Shoujing. Su Song directly named Zhang's water-powered armillary sphere as the inspiration for his 11th-century clock tower. The cosmic model of nine points of Heaven corresponding with nine regions of earth conceived in the work of the scholar-official Chen Hongmou (1696–1771) followed in the tradition of Zhang's book Spiritual Constitution of the Universe. The seismologist John Milne, who created the modern seismograph in 1876 alongside Thomas Gray and James A. Ewing at the Imperial College of Engineering in Tokyo, commented in 1886 on Zhang Heng's contributions to seismology. The historian Joseph Needham emphasized his contributions to pre-modern Chinese technology, stating that Zhang was noted even in his day for being able to "make three wheels rotate as if they were one." More than one scholar has described Zhang as a polymath. However, some scholars also point out that Zhang's writing lacks concrete scientific theories. Comparing Zhang with his contemporary, Ptolemy (83–161) of Roman Egypt, Jin Guantao, Fan Hongye, and Liu Qingfeng state: Based on the theories of his predecessors, Zhang Heng systematically developed the celestial sphere theory. An armillary constructed on the basis of his hypotheses bears a remarkable similarity to Ptolemy's earth-centered theory. However, Zhang Heng did not definitely propose a theoretical model like Ptolemy's earth-centered one. It is astonishing that the celestial model Zhang Heng constructed was almost a physical model of Ptolemy's earth-centered theory. Only a single step separates the celestial globe from the earth-centered theory, but Chinese astronomers never took that step. Here we can see how important the exemplary function of the primitive scientific structure is. In order to use the Euclidean system of geometry as a model for the development of astronomical theory, Ptolemy first had to select hypotheses which could serve as axioms. He naturally regarded circular motion as fundamental and then used the circular motion of deferents and epicycles in his earth-centered theory. Although Zhang Heng understood that the sun, moon and planets move in circles, he lacked a model for a logically structured theory and so could not establish a corresponding astronomical theory. Chinese astronomy was most interested in extracting the algebraic features of planetary motion (that is, the length of the cyclic periods) to establish astronomical theories. Thus astronomy was reduced to arithmetic operations, extracting common multiples and divisors from the observed cyclic motions of the heavenly bodies. Poetic literature Zhang's poetry was widely read during his life and after his death. In addition to the compilation of Xiao Tong mentioned above, the Eastern Wu official Xue Zong (d. 237) wrote commentary on Zhang's poems "Dongjing fu" and "Xijing fu". The influential poet Tao Qian wrote that he admired the poetry of Zhang Heng for its "curbing extravagant diction and aiming at simplicity", in regards to perceived tranquility and rectitude correlating with the simple but effective language of the poet. Tao wrote that both Zhang Heng and Cai Yong "avoided inflated language, aiming chiefly at simplicity", and adding that their "compositions begin by giving free expression to their fancies but end on a note of quiet, serving admirably to restrain undisciplined and passionate nature". Posthumous honors Zhang was given great honors in life and in death. The philosopher and poet Fu Xuan (217–278) of the Wei and Jin dynasties once lamented in an essay over the fact that Zhang Heng was never placed in the Ministry of Works. Writing highly of Zhang and the 3rd-century mechanical engineer Ma Jun, Fu Xuan wrote, "Neither of them was ever an official of the Ministry of Works, and their ingenuity did not benefit the world. When (authorities) employ personnel with no regard to special talent, and having heard of genius neglect even to test it—is this not hateful and disastrous?" In honor of Zhang's achievements in science and technology, his friend Cui Ziyu (Cui Yuan) wrote a memorial inscription on his burial stele, which has been preserved in the Guwen yuan. Cui stated, "[Zhang Heng's] mathematical computations exhausted (the riddles of) the heavens and the earth. His inventions were comparable even to those of the Author of Change. The excellence of his talent and the splendour of his art were one with those of the gods." The minor official Xiahou Zhan (243–291) of the Wei dynasty made an inscription for his own commemorative stele to be placed at Zhang Heng's tomb. It read: "Ever since gentlemen have composed literary texts, none has been as skillful as the Master [Zhang Heng] in choosing his words well ... if only the dead could rise, oh I could then turn to him for a teacher!" Several things have been named after Zhang in modern times, including the lunar crater Chang Heng, the asteroid 1802 Zhang Heng, and the mineral zhanghengite. In 2018, China launched a research satellite called China Seismo-Electromagnetic Satellite (CSES) which is also named Zhangheng-1 (ZH-1). See also Han poetry Fu (poetry) Return to the Field Yu Xi References Citation Bibliography Asiapac Editorial. (2004). Origins of Chinese Science and Technology. Translated by Yang Liping and Y.N. Han. Singapore: Asiapac Books Pte. Ltd. . Balchin, Jon. (2003). Science: 100 Scientists Who Changed the World. New York: Enchanted Lion Books. . Barbieri-Low, Anthony J. (2007). Artisans in Early Imperial China. Seattle & London: University of Washington Press. . Declercq, Dominik (1998). Writings Against the State: Political Rhetorics in Third and Fourth Century China. Leiden: Koninklijke Brill NV. Dillon, Michael. (1998). China: A Historical and Cultural Dictionary. Surrey: Routledge Curzon Press. . Fraser, Ian W. (2014). "Zhang Heng 张衡", in Kerry Brown, ed., The Berkshire Dictionary of Chinese Biography (pp. 369–376). Great Barrington, MA: Berkshire Publishing. . Huang, Ray (1997). China: A Macro History. New York: An East Gate Book, M. E. SHARPE Inc. Jones, Kenneth Glyn. (1991). Messier's Nebulae and Star Clusters. Cambridge: Cambridge University Press. . Krebs, Robert E. (2003). The Basics of Earth Science. Westport: Greenwood Press of Greenwood Publishing Group, Inc. . Lewis, Mark Edward (2006). The Construction of Space in Early China. New York: State University of New York Press. . Liu, Wu-chi. (1990). An Introduction to Chinese Literature. Westport: Greenwood Press of Greenwood Publishing Group. . Loewe, Michael. (1968). Everyday Life in Early Imperial China during the Han Period 202 BC-AD 220. London: B.T. Batsford Ltd.; New York: G.P. Putnam's Sons. Loewe, Michael. (1990). "The Juedi Games: a re-enactment of the battle between Chiyou and Xianyuan", in Thought and Law in Qin and Han China: Studies dedicated to Anthony Huslewé on the occasion of his eightieth birthday, 140–157, edited by W.L. Idema and E. Zürcher. Leiden: E.J. Brill. . Loewe, Michael. (2005). Faith, Myth, and Reason in Han China. Indianapolis: Hacket Publishing Company, Inc. . Mair, Victor H. (2001). The Columbia History of Chinese Literature. New York: Columbia University Press. . Mansvelt-Beck, B.J. (1990). The Treatises of Later Han: Their Author, Sources, Contents, and Place in Chinese Historiography. Leiden: E.J. Brill. . Minford, John and Joseph S.M. Lau. (2002). Classical Chinese literature: an anthology of translations. New York: Columbia University Press. . Morton, W. Scott and Charlton M. Lewis (2005). China: Its History and Culture. New York: McGraw-Hill, Inc. Needham, Joseph (1986). Science and Civilization in China: Volume 3, Mathematics and the Sciences of the Heavens and the Earth. Cambridge: Cambridge University Press. reprinted: Taipei: Caves Books, Ltd. Needham, Joseph (1965). Science and Civilization in China: Volume 4, Part 1: Physics. Cambridge: Cambridge University Press. Needham, Joseph (1986). Science and Civilization in China: Volume 4, Physics and Physical Technology, Part 2: Mechanical Engineering. Cambridge: Cambridge University Press. reprinted: Taipei: Caves Books, Ltd. Neinhauser, William H., Charles Hartman, Y.W. Ma, and Stephen H. West. (1986). The Indiana Companion to Traditional Chinese Literature: Volume 1. Bloomington: Indiana University Press. . Rowe, William T. (2001). Saving the World: Chen Hongmou and Elite Consciousness in Eighteenth-Century China. Stanford: Stanford University Press. . Stein, S., and M. E. Wysession. (2002). An Introduction to Seismology, Earthquakes, and Earth Structure. London: Wiley-Blackwell. ASIN B010WFPEOO. Wagner, Donald B. (2001). The State and the Iron Industry in Han China. Copenhagen: Nordic Institute of Asian Studies Publishing. . Wilson, Robin J. (2001). Stamping Through Mathematics. New York: Springer-Verlag New York, Inc. Wright, David Curtis (2001) The History of China. Westport: Greenwood Press. Xiao, Tong and David Knechtges. (1996). Wen Xuan, Or, Selections of Refined Literature. Princeton: Princeton University Press. . Further reading Category:78 births Category:139 deaths Category:1st-century Chinese poets Category:2nd-century Chinese poets Category:2nd-century Chinese astronomers Category:Ancient Chinese mathematicians Category:Chinese cartographers Category:Chinese Confucianists Category:Chinese ethnographers Category:Chinese geographers Category:Chinese inventors Category:Chinese mechanical engineers Category:Chinese non-fiction writers Category:Chinese scholars Category:Chinese seismologists Category:Engineers from Henan Category:Han dynasty philosophers Category:Han dynasty poets Category:Han dynasty politicians from Henan Category:Han dynasty science writers Category:Hydraulic engineers Category:Mathematicians from Henan Category:Philosophers from Henan Category:Physicists from Henan Category:Poets from Henan Category:Politicians from Nanyang, Henan Category:Technical writers Category:Writers from Nanyang, Henan Category:2nd-century geographers
[ { "text": "Han poetry as a style of poetry resulted in significant poems which are still preserved today, and whose origins are associated with the Han dynasty era of China, 206 BC – 220 AD, including the Wang Mang interregnum (9–23 AD). The final years at the end of the Han era (known by the name Jian'an, 196–220) often receive special handling for purposes of literary analysis because, among other things, the poetry and culture of this period is less than typical of the Han period, and has important characteristics of its own, or it shares literary aspects with the subsequent Three Kingdoms period. This poetry reflects one of the poetry world's more important flowerings, as well as being a special period in Classical Chinese poetry, particularly in regard to the development of the quasipoetic fu; the activities of the Music Bureau in connection with the collection of popular ballads and the resultant development of what would eventually become known as the yuefu, or as the rhapsodic formal style; and, finally, towards the end of the Han dynasty, the development of a new style of shi poetry, as the later development of the yuehfu into regular, fixed-line length forms makes it difficult to distinguish in form from the shi form of poetic verse, and at what point specific poems are classified as one or the other is somewhat arbitrary. Another important poetic contribution from the Han era is the compilation of the Chuci anthology, which contains some of the oldest and most important poetic verses to be preserved from ancient China, as well as the transmission of the Shijing anthology.\n\nGeneral background\n\nThe ruling dynastic family of the Han dynasty was the Liu family, founded by Liu Bang, whose career ranged from being a minor official (sort of like a local sheriff during the rapid disintegration and chaos of the final years of the Qin dynasty) to being an outlaw and a rebel hiding out in the hills, to being the King of Chu during the Division of Qin into 18 states, or kingdoms. He was posthumously honored as Han High Founder or Han Great Ancestor (Gaozu) Emperor. Despite his folksy background, general lack of literacy, and what were considered generally vulgar ways, Liu Bang had a great regard for literature and learning. His patronage of literature and the arts, as well as his connections with the unique culture of Chu would set a precedent for the rest of the dynasty which he founded, and which managed to keep much of the political power in the hands of the Liu family: often this was implemented by allowing Liu family princes a great deal of autonomy in their local areas, thus encouraging the development of subsidiary royal courts, besides the main imperial court; and, in some cases, this encouraged princely patronage of literature and the arts, with some greater diversity and cross-fertilization of artistic genres and styles. Other important features of the Han era include the location of the capital in Chang'an during Western Han, and its move to Luoyang in Eastern Han, the extension of the Han empire into new regions, and contact with new peoples and cultures, a development which was extended by the further explorations by people such as Zhang Qian of the Silk Roads fame who in the 2nd century BC got as far as Bactria and Dayuan (Ferghana, in modern eastern Uzbekistan), and among other things brought back alfalfa and grapes to China. Also important in the history of the Han dynasty is the method of recording words, such as poems. Brushing characters with ink is archeologically attested to during the Han period, including on silk, hemp paper, and bamboo slips. The bamboo (or wood) slips were tied together carefully with delicate string cords. When these rotted and broke, the individual slips would become mixed up, and the text which was written upon them thus have often become scrambled. Methods such as stamping or marking on clay or engraving on stone were also used; and, though relatively durable required fairly elaborate craftsmanship to produce. Little poetry from the Han dynasty survives as originally recorded or published, instead most of the preserved poems exist as passed on to the future by the Six Dynasties poetry era anthologies.\n\nPoetic background\n\nAn important part of the poetic legacy received by Han dynasty poets was the Shijing verse style, typified by its \"classic\" four-character line verse. The influences of the Shijing verses during the Han era were directed towards important aspects of Classical Chinese poetry, such as use of the direct voice of immediate experience which was intended to provide a window into expressing a person's soul. Another important legacy received by the Han poets was that of the Chu Ci genre of poetry with innovations in some of its verse forms, such as varied line lengths, a body of material which was expanded by further additions by Han poets, and then published in an edited anthology. Furthermore, there was a received tradition of orally transmitted folk songs and folk ballads. The imperial court of the preceding primitive Qin dynasty was not known for its poetry: the primitive Qin, instead, preferred the primitive activity known as the burning of books and burying of scholars (Chinese: 焚書坑儒; pinyin: fénshū kēngrú) and, in the end, the \"fires of Qin\" extended to the destruction of its imperial library. There was little or no direct poetic influence from that source. The extension of the Han empire into new areas introduced new and exotic concepts and material objects, which sometimes became the topics of works in the fu prose-poetry literary form. Also, during the Han dynasty, state policies in regard to the philosophical dialog associated with Confucius focused a certain amount of public attention and public funding supporting the Shijing (Classic of Poetry), which from then on was regarded as one of the few members of the select list of canonical classic works.\n\nHan dynasty poets\nSome well-known poets from Han times are known; however, many of the poets are anonymous, including the poets behind the Music Bureau collections including the Nineteen Old Songs, as is typical of verses from the folk ballad tradition. Important individual Han era authors of poetry include Zhang Heng and Liu Xiang. Many of the Han poets who wrote in their own personal voice under their own name or pen-name wrote in the fu style, in the sao (Chuci) style, or both. In other cases, poems have been attributed to specific Han dynasty persons, or written in perspective of their persona, but the real author remains unknown. For example, the cases of the poems attributed to Su Wu and Consort Ban are not determined. Other Han poets include Sima Xiangru, Ban Gu, and Mi Heng.\n\nSima Xiangru\n\nSima Xiangru (179–127 BC, also known as Szu-ma Hsiang-ju) was one of the most important poets of the Han dynastic era, writing in both the Chuci and the fu styles.\n\nSu Wu\n\nSu Wu (140 – 60 BC) was held captive for 19 years, returning to China in 81 BC: 4 poems collected in the Wen Xuan are only questionably attributed to him. However, at the time, it was not uncustomary to confuse the persona of a poem with the person of the author. There is a story about Su Wu which became a common allusion in Chinese poetry. According to this story, during the beginning of his captivity in the Xiongnu empire Su Wu was treated harshly, to the point it is said of having to eat the lining of his coat for food and to drink snow which he melted for water. Later Su was elevated in status, even it is said given a wife who bore him children. Upon the Han emperor sending an ambassadorial mission toward the territory in which he was being held, the Xiongnu ruler (the chanyu) wished to conceal the presence of Su Wu, presumably in order avoid diplomatic complications; but, Su Wu hearing of this tricked the chanyu by claiming that he had sent a message to the emperor by tying it to the leg of a goose, and accordingly, that since his presence was already known to the Chinese delegation that any attempts at concealing his presence would be viewed as unseemly. This is at least part of the origin of the use of the image of a flying goose as a messenger, carrying tied to its foot (perhaps symbolically) a letter between two people separated so far seasonally north and south that a migrating goose could be conceived as a possible mode of communication.\n\nBan Jieyu (Lady Pan)\nBan Jieyu also known as Lady Pan (Pan Chieh-Yü) was a concubine to Emperor Cheng of Han (reigned 33–7 BC) and the great-aunt of the poet, historian, and author Ban Gu. A well-known poem in the Wen Xuan is attributed to her. Although most unlikely to actually be by her (especially since it is not in her grand-nephew Ban's biography of her), it is certainly written as if it could have been written by her or someone in her position. It is an important early example of the secluded palace lady genre of poetry.\n\nBan Gu\n\nBan Gu was a 1st-century Chinese historian and poet best known for his part in compiling the historical compendium the Book of Han. Ban Gu also wrote a number of fu, which are anthologized in the Wen Xuan.\n\nChuci\n\nOne of the most important Han era contributions to poetry is the compilation of the Chuci anthology of poetry, which preserves many poems attributed to Qu Yuan and Song Yu from the Warring States period (ended 221 BC), though about half of the poems seem to have been in fact composed during the Han Dynasty. The meaning of Chuci is something like \"The Material of Chu\", referring to the ancient Land of Chu. The traditional version of the Chu Ci contains 17 major sections, anthologized with its current contents by Wang Yi, a 2nd-century AD librarian who served under Emperor Shun of Han, who appended his own verses derivative of the Chuci or \"sao\" style at the end of the collection, under the title of Nine Longings. The poems and pieces of the Chu Ci anthology vary in their formal poetic styles, including varying line metrics, varying use of exclamatory particles, the use or not of titles for individual pieces within a section, and the varying presence of the luan (or, envoi). Other Han period poets besides Wang Yi the librarian who are known or thought to be contributors of poems collected in the Chuci include the poet Wang Bao and the scholar Liu Xiang. Liu An, the Prince of Huainan, and his literary circle were involved with the Chuci material, but the attribution of authorship of any particular poems is uncertain.\n\nFu\n\nOne of the major forms of literature during the Han dynasty was the fu (sometimes translated as \"rhapsody\"), a kind of eclectic grab bag of prose and verse, not easy to classify in English as being either poetry or prose. In Chinese, the fu is classified as wen rather than shi, however these terms do not correspond to English categories of prose and verse (one of the differences in the traditional Chinese categorization being that shi was sung or chanted, whereas the fu was not, at least according to the Hanshu), the credibility of this being enhanced by the fact that one of the compilers of the Hanshu (also known as Book of Han or History of the Former Han Dynasty) was Ban Gu, who was himself a practitioner of the fu style. The Han fu derived from the Chuci, which was traditionally considered to be the work of Qu Yuan, who was a wanderer through the countryside and villages of the Kingdom of Chu, after his exile from court. In this context the \"Li Sao\" is particularly relevant. The Han fu of the second and first centuries BCE were intimately associated with the courts of the emperor and his princes. In other words, they were refined literary products, ornate, polished, and with an elite vocabulary; and, often the subject matter includes topics such as life in the palaces of the Han capital cities. The development of the fu form of literature during the Han dynasty shows a movement toward later more personal poetry and the poems of reclusion, typical for example, of Tao Yuanming, the Six Dynasties poet. The famous Han dynasty astronomer, mathematician, inventor, geographer, cartographer, artist, poet, statesman, and literary scholar Zhang Heng (78–139 CE) wrote a fu about his own, personal experience (real or imagined) of getting out of the city and its politics and getting back to the country and nature. The fu form continued to be popular in the centuries following the demise of the Han imperial power.\n\nOral tradition folk ballads\nAn important aspect of Han poetry involves the influence of the folk ballad tradition, which can be seen in the poetry collections Nineteen Old Poems and the yuefu of the Music Bureau.\n\nNineteen Old Poems of Han\n\nOne of the stylistically most important developments of Han poetry can be found in the Nineteen Old Poems collection. Although extant versions exist only in later collections, particularly the Wen Xuan literary compendium, the 19 poems themselves appear to be from the Han period. They are influential both toward the gushi (\"old style\") poetic form, but also for their \"tone of brooding melancholy....Anonymous voices speaking to us from a shadowy past, they sound a note of sadness that is to dominate the poetry of the centuries that follow.\" Many versions of these 19 poems thus continued to be reinvented in post-Han times, including a major revival in Tang poetry times. As Nineteen Old Poems literally means \"19 gushi, poetry written in inspiration by this style were referred to as being in the gushi style, or simply labeled gushi (also transcribed as ku-shi, in English).\n\nMusic Bureau (Yuefu)\n\nAnother important aspect of Han poetry involved the institution known as the Music Bureau, or, in Chinese, Yuefu (or, Yüeh-fu). This is contrast with the \"literary yuefu\", which are written in the general style of Music Bureau's collection of yuefu, or derived from particular pieces thereof. The Music Bureau was a Chinese governmental institution existing to historical and archeological evidence at various times during the history of China, including an incarnation during the Qin dynasty. The Han dynasty largely adopted the Qin institutions for their own organizational model, and in particular Han Wudi is associated with a revival or an elevation in the status of the Music Bureau, which he relied upon for the elaborately spectacular ceremonial performances conducted under his regime. The traditional functions of the Music Bureau included collecting music and poetry lyrics from around the empire, and conducting and choreographing their performance for the emperor and his court. Poetry verses published by the Music Bureau are known as \"Music Bureau\" pieces, later works modeled on the style of the Music Bureau pieces are known as \"Music Bureau style\" pieces (yuefu); and, some of these \"literary yuefu\" and \"new yuefu\" poems were written by some of the best of the subsequent poets. The Han era Music Bureau (yuefu) pieces were collected and transmitted to future times in such (mostly Six Dynasties era) anthologies as the Wen Xuan and the New Songs from the Jade Terrace.\n\nJian'an poetry and the future of Yuefu\n\nThe final regnal era of Han was called Jian'an. At this period the political structure of Han was breaking down, while new developments in poetry were arising. This Jian'an yuefu poetry style continued on into the Three Kingdoms and Six Dynasties era, as did the lives of some of the authors of poetry such as Cao Cao, who was born during the Han dynasty but survived it. The Han Music Bureau style which developed out of the models of the Music Bureau poetry was a particularly important feature of Jian'an poetry and the subsequent Six Dynasties poetry: the evolutionary trajectory of this poetry was towards the regular, fixed-length line verse which reached such acclaim in its Tang realization. Poetry preserved from the Han dynastic era not only exists as a monument to the achievement and skill of the poets of that time, but also serves as a link in a poetic legacy that was explicitly valued during the Tang dynastic era (during which the poems developed in the tradition of this style were known to critics as (\"new yuefu\"), and continued to be valued in subsequent Classical Chinese poetry, and on to the poetry of today; which is in turn, another link in a long chain of development in the field of poetry, to which the poets known and anonymous made their unique contributions.\n\nSee also\nBan Gu\nChu Ci\nClassical Chinese poetry\nClassic of Poetry\nEighteen Songs of a Nomad Flute\nEmperor Wu of Han\nFu (poetry)\nGuo Maoqian\nGushi (poetry)\nJian'an poetry\nKanshi (poetry)\nMusic Bureau\nReturn to the Field\nSima Xiangru\nSociety and culture of the Han Dynasty\nTang poetry\nZhang Heng\n\nNotes and references\n Birrell, Anne (1988). Popular Songs and Ballads of Han China. (London: Unwin Hyman). \n Davis, A. R. (Albert Richard), Editor and Introduction,(1970), The Penguin Book of Chinese Verse. (Baltimore: Penguin Books).\n Hawkes, David, translation, introduction, and notes (2011 [1985]). Qu Yuan et al., The Songs of the South: An Ancient Chinese Anthology of Poems by Qu Yuan and Other Poets. London: Penguin Books. \n Hinton, David (2008). Classical Chinese Poetry: An Anthology. New York: Farrar, Straus, and Giroux. / .\n Watson, Burton (1971). CHINESE LYRICISM: Shih Poetry from the Second to the Twelfth Century. (New York: Columbia University Press). \n\nCategory:Han dynasty poetry", "title": "Han poetry" }, { "text": "Fu (), often translated \"rhapsody\" or \"poetic exposition\", is a form of Chinese rhymed prose that was the dominant literary form in China during the Han dynasty (206AD220). Fu are intermediary pieces between poetry and prose in which a place, object, feeling, or other subject is described and rhapsodized in exhaustive detail and from as many angles as possible. Fu distinguishing characteristics include alternating rhyme and prose, varying line length, close alliteration, onomatopoeia, loose parallelism, and extensive cataloging of their topics. Classical fu composers often tried to use as wide a vocabulary as possible, and their compositions are usually replete with rare and archaic Chinese words. They were not sung like songs, but were recited or chanted.\n\nThe fu genre came into being around the 3rd to 2nd centuries BC and continued to be regularly used into the Song dynasty (9601279). Fu were used as grand praises for the imperial courts, palaces, and cities, but were also used to write \"fu on things\", in which any place, object, or feeling was rhapsodized in exhaustive detail. The largest collections of historical fu are the Selections of Refined Literature (Wen xuan), the Book of Han, New Songs from the Jade Terrace, and official dynastic histories.\n\nThere is no counterpart or similar form to the fu genre in Western literature. During a large part of the 20th century, fu poetry was harshly criticized by Chinese scholars as excessively ornate, lacking in real emotion, and ambiguous in its moral messages. Because of these historical associations, scholarship on fu poetry in China almost ceased entirely between 1949 and the end of the Cultural Revolution in 1976. Since then, study of fu has gradually returned to its previous level.\n\nHistory\n\nOrigins\nThe term \"fu\", when applied to Chinese literature, first appears in the Zhou dynasty ( 1046221), where it meant \"to present\", as in poetic recitations. It was also one of the three literary devices traditionally assigned to the songs of the Classic of Poetry (Shijing). Over the course of the late 1st millennium BC, fu became the name of poetic expositions in which an author or composer created a comprehensive exposition and performed it as a rhapsody. Han dynasty historian Ban Gu in the \"Monograph on Arts and Letters\" defined fu as \"to recite without singing\" (bù gē ér sòng ).\n\nFu poetry is often viewed as a descendant of the Verses of Chu (Chu ci) songs combined with the rhetorical expositions of the Intrigues of the Warring States (Zhanguo ce). During the golden age of fu in the 2nd century BC, many of the greatest fu composers were from the southwestern area of Shu (modern Sichuan Province). A chapter of Xunzi containing a series of riddles has been theorized to be the earliest known fu. The earliest preserved and definitely datable fu is Jia Yi's \"Fu on the Owl\" (Fúniǎo fù ), composed about 170. Jia's surviving writings mention an earlier fu he wrote upon his exile to Changsha which he modeled upon Qu Yuan's \"Encountering Sorrow\" (Li Sao), but it has not survived to the present.\n\nHan dynasty\n\nWestern Han\nFu achieved its greatest prominence during the early Han dynasty. Jia Yi's \"Fu on the Owl\", written around 170 BC, was composed following on the third year of his exile to Changsha, and uses much of the style of the Li Sao and other songs of the Verses of Chu. \"Fu on the Owl\", besides being the earliest known fu, is unusual in the author's extended use of philosophical reflection upon his own situation in life.\n\nEmperor Wu of Han ascended the throne in 141 BC, and his 54-year reign is considered the golden age of \"grand fu\" (). Emperor Wu summoned famous fu writers to the imperial court in Chang'an, where many of them composed and presented fu to the entire court. The earliest grand fu of Emperor Wu's reign is \"Seven Stimuli\" (Qī fā ), by Mei Sheng (; d. 140 BC). In \"Seven Stimuli\", Mei Sheng acts as a Warring States-style travelling orator who tries to cure a Chu prince of an illness caused by overindulgence in sensual pleasures by pushing his senses to their limits with his fu descriptions.\n\nOf all the authors from the golden age of \"grand fu\" composition, Sima Xiangru is generally considered to be the greatest. A native of Chengdu, he was traditionally said to have been summoned to the imperial court after Emperor Wu happened to personally read his \"Fu of Sir Vacuous\" (Zǐxū fù ), though this is almost certainly a story added later. After arriving in the capital around 136 BC, Sima Xiangru expanded his \"Fu of Sir Vacuous\" into his magnum opus, \"Fu on the Imperial Park\" (Shànglín fù ), generally considered the most famous fu of all. This work, whose original title was probably \"Fu on the Excursion Hunt of the Son of Heaven\" (Tiānzǐ yóuliè fù ), is a grand celebration of the Emperor's personal hunting park east of Chang'an, and is famed for its rich number of rare and difficult words and characters. If not for the survival of Chinese scholar Guo Pu's early 4th century AD annotations to \"Fu on the Imperial Park\", much of its ancient and esoteric terminology would now be unintelligible. The following portion of the rhymed list of names of minerals, precious stones, and flora and fauna from the first half of the \"Fu on the Imperial Park\" exemplifies much of the cataloging and rare terminology characteristic of grand fu:\n\nThe grand fu of the Western Han dynasty were read and recited as celebrations of pure poetic delight, and were the first pieces of Chinese literature to fuse both unrestrained entertainment and moral admonitions together in single works. However, after the reign of Emperor Wu, his court culture began to be criticized as having placed undue emphasis on the grandiose language in fu and therefore having missed opportunities to encourage moral restraint. The most prominent critic of \"grand fu\" was the other great fu writer of the Han dynasty: Yang Xiong. As a youth, Yang was an admirer and imitator of Sima Xiangru's fu, but later came to disapprove of grand fu. Yang believed that the original purpose of fu was to \"indirectly admonish\" (fèng ), but that the extended rhetorical arguments and complex vocabulary used in grand fu caused their hearers and readers to marvel at their aesthetic beauty while missing their moral messages. Yang juxtaposed early Han dynasty fu with the fu-like expositions in the Classic of Poetry, saying that while those in the Poetry provided moral standards, the fu of the Han poets \"led to excess\". While known as one of the fu masters of the Han dynasty, Yang's fu are generally known for their focus on admonishing readers and listeners to uphold moral values.\n\nEastern Han\nTwo of the most famous fu writers of the Eastern Han period were the polymaths Zhang Heng and Cai Yong. Among Zhang Heng's large corpus of writings are a significant number of fu poems, which are the first to have been written in the shorter style that became typical of post-Han fu. Zhang's earliest known fu is \"Fu on the Hot Springs\" (Wēnquán fù ), which describes the hot springs at Mount Li (modern Huaqing Pool) which famously later became a favorite of Imperial Concubine Yang during the Tang dynasty. \"Fu on the Two Metropolises\" (Èr jīng fù ) is considered Zhang's masterpiece. Zhang spent ten years gathering material for the fu, a response to an earlier fu by Ban Gu that is a poetic comparison between the two capitals of the Han dynasty: Luoyang and Chang'an. Zhang's fu is highly satirical and cleverly mocks many aspects of the Western Han period, including Emperor Wu himself The piece contains long passages colorfully describing life in the two capitals in great detail, including the entertainment areas.\n\nCai Yong, like Zhang Heng, was a prolific writer in addition to his mathematical, astronomical, and musical interests. In 159 CE, Cai was summoned to Chang'an to perform on the guqin for the imperial court, but became ill shortly before arriving and returned to his home. Cai composed a poetic record of his journey in \"Fu on Recounting a Journey\" (Shù xíng fù ), his most well-known fu. In \"Fu on Recounting a Journey\", Cai cites examples of treacherous and dishonest rulers and officials from Chinese history, then criticizes the eunuchs of the capital for similar crimes.\n\nA number of fu writers from the late 2nd and early 3rd centuries CE became considered great fu poets, and were noted for their descriptions of the chaos and destruction following the collapse of the Han dynasty. Wang Can, who lived as a refugee in Chu following the assassination of Dong Zhuo in 192 CE, wrote a famous fu entitled \"Fu on Climbing the Tower\" (Dènglóu fù ) in which Wang movingly describes climbing a tower near Jingzhou and gazing longingly in the direction of his home in Luoyang. Poets often used subjects of descriptive fu poems to symbolize themselves, as in \"Fu on the Parrot\" (Yīngwǔ fù ), by Mi Heng, in which Mi uses a caged parrot as an allegory for a scholar whose talents go unrecognized and whose inability to control his tongue results in his captivity. During the Three Kingdoms period, the court of the warlord Cao Cao and his sons Cao Pi and Cao Zhi became a famous literary salon, and a number of fu poems from their court have survived to modern times.\n\nSix Dynasties\n\nDuring the Six Dynasties period (220589), fu remained a major part of contemporary poetry, although shi poetry was gradually increasing in popularity. Six Dynasties fu are generally much shorter and less extravagant than Han dynasty fu, likely due to a tradition of composing works entirely in parallel couplets that arose during the period. While lyrical fu and \"fu on things\" had been starkly different forms in the Han dynasty, after the 2nd century CE the distinction mostly disappeared. Although the extravagant fu style of the Han mostly disappeared, \"fu on things\" continued to be widely written.\n\nXie Lingyun is one of the best-known poets of the entire Six Dynasties period, second only to Tao Yuanming. In contrast to his older contemporary Tao, Xie is known for the difficult language, dense allusions, and frequent parallelisms of his poetry. Xie's greatest fu is \"Fu on Dwelling in the Mountains\" (Shān jū fù ), a Han-style \"grand fu\" describing Xie's personal estate that borrows its style from the famous \"Fu on the Imperial Park\" by Sima Xiangru. Like classical Han fu, the poem uses a large number of obscure and rare characters, but \"Fu on Dwelling in the Mountains\" is unique in that Xie included his own annotations to the poem, without which the poem would be nearly incomprehensible.\n\nDuring the Liang dynasty (502587), fu continued to be a popular form of literature, though it began to merge with the popular five- and seven-syllable poetry forms, which completely eclipsed fu during the Tang dynasty. Some fu pieces, such as Shen Yue's \"Fu on Dwelling in the Suburbs\" (Jiāo jū fù )an homage to Xie Lingyun's \"Fu on Dwelling in the Mountains\"followed the traditional forms and subjects of classical fu, but an increasing number did not. \"Fu on Lotus-picking\" (Cǎi lián fù ), by Xiao Gang (later Emperor Jianwen of Liang), is a short, lyrical fu that mixes freely with popular lyric poetry, and portrayed southern China as a romantic land of pleasure and sensuality. Lotus-picking was an activity traditionally associated with peasant women, but in the early 5th century became a popular topic in fu and poetry.\n\nYu Xin is generally considered the last great fu poet of Chinese history. Yu, like Yan Zhitui, was born in the south but forced to relocate to northern China after the south's defeat, and spent the rest of his career writing of the loss of the south as a loss of an entire culture and way of life. Yu's most famous piece is \"Fu on Lamenting the South\" (Āi Jiāngnán fù ), in which he describes his life's experiences in the context of the larger context of the destruction of the south and its culture.\n\nTang and Song dynasties\nThe fu genre changed rapidly during the Tang dynasty (618907). During the early Tang, a new form of fu called \"regulated fu\" (lǜfù ) supplanted the original form. \"Regulated fu\" had strict rules of form and expression, and required the use of consistent rhymes throughout each piece. Additionally, rules were created to govern the arrangement of tones in each poem, as the introduction of Buddhist texts written in Sanskrit and Pali had stimulated the Chinese to methodical study of their own language and the identification of the four tones of Middle Chinese. Beginning in the Tang dynasty, these \"regulated fu\" were required for the composition sections of the imperial examinations. Tang writers added new topics to the traditional subjects of fu, such as purely moral topics or scenes from Chinese antiquity. The \"parallel fu\" (piānfù ) was another variant of the fu developed in the Tang, and was only used for rhetorical compositions.\n\nIn 826, Tang poet Du Mu's poem \"Fu on E-pang Palace\" (Ēpáng gōng fù ) laid the foundation for a new form of fu called \"prose fu\" (wénfù ), in which prose is freely rhymed. This form of fu became the dominant fu form during the late Tang and the Song dynasty (9601279). By the 9th and 10th centuries, traditional fu had become mainly historical pursuits, and were largely read and copied because of their inclusion on the imperial examinations.\n\nTopics\n\n\"Fu on things\"\nBetween 130 and 100 BC, Emperor Wu greatly expanded China's territory into Central Asia, northern Vietnam, and the Korean Peninsula through a series of military campaigns and invasions. As the expansion progressed, a large number of foreign plants, animals, goods, and rarities were brought to the imperial capital at Chang'an. Throughout the Han dynasty, court officials and poets often composed special fu called \"fu on things\" (yǒngwù fù ) on these new and unusual things, in which they described and catalogued extensively. These \"fu on things\" became a major genre in fu poetry, and cover a vast number of instruments, objects, and phenomena.\n\nBan Zhao, one of the most famous female poets of Chinese history, wrote a well-known fu during the reign of Emperor He of Han entitled \"Fu on the Great Bird\" (Dà què fù ), believed to be a description of an ostrich brought to the Han court from Parthia around 110 CE. Scholar Ma Rong wrote two well-known fu on ancient board games: his \"Fu on Chaupar\" (Chūpú fù ), which the Chinese believed to actually have been invented by Laozi after he departed west out of China, and his \"Fu on Encirclement Chess\" (Wěiqí fù ), one of the earliest known descriptions of the game Go. Han dynasty librarian Wang Yi, best known as the compiler of the received version of the Verses of Chu, wrote several object-description fu in the early 2nd century CE, such as \"Fu on the Lychee\" (Lìzhī fù ), the earliest known poetic description of the lychee fruit.\n\nThe literary salon of Cao Pi's court produced a number of notable \"fu on things\" in which a group of poets known as the Seven Masters of the Jian'an period each composed their own version of the fu. During this period, Cao Pi was once presented with a large agate of unusual quality which Cao had made into a bridle. Each of the men composed their own \"Fu on the Agate Bridle\" (Mǎnǎo lè fù ) for the occasion. Another object-description fu from the Cao court is \"Fu on the Musāragalva Bowl\" (Chēqú wǎn fù ), which was a bowl made of a coral- or shell-like substance from somewhere near India, which was then known as the \"Western Regions\".\n\nOne of the poet Shu Xi's (; 263–302 CE) fu has become well known in the history of Chinese cuisine: his \"Fu on Pasta\" (Bǐng fù ) is an encyclopedic description of a wide variety of dough-based foods, including noodles, steamed buns, and dumplings, which had not yet become the traditional Chinese foods they are in modern times. Western Jin poet Fu Xian's \"Fu on Paper\" (Zhǐ fù ) is well known as an early description of writing paper, which had only been invented about 150 years earlier.\n\nSociopolitical protest\nPart of the legacy associated with the fu is its use as a form of sociopolitical protest, such as the theme of the loyal minister who has been unjustly exiled by the ruler or those in power at the court, rather than receiving the promotion and respect which he truly deserves. In the Verses of Chu, one of the works attributed to Qu Yuan is the \"Li Sao\", which is one of the earliest known works in this tradition, both as ancestral to the fu as well as its incorporation of political criticism as a theme of poetry. The theme of unjust exile is related to the development of Xiaoxiang poetry, or the poetry stylistically or thematically based upon lamenting the unjust exile of the poet, either directly, or allegorically through the use of the persona of a friend or historical figure (a safer course in the case of a poet-official who might be punished for any too blatant criticism of the current emperor). During the Han Dynasty, along with the development of the fu stylistically, the idea that it incorporate political criticism through indirection and allegory also developed. Han Dynasty historian and author Ban Gu in his Book of Han pointedly refers to a fu by Qu Yuan as a literary example of the use of the theme of the loyal minister who has been unjustly exiled, rather than receiving the promotion and respect which he truly deserves. As Hellmut Wilhelm puts it: \"...the Han fu can easily be classified into a limited number of types. All types have one feature in common: almost without exception they can be and have been interpreted as voicing criticism—either of the ruler, the ruler's behavior, or certain political acts or plans of the ruler; or of the court officials or the ruler's favorites; or, generally, of the lack of discrimination in the employment of officials. The few examples that are positive in tone recommend the authors or their peers for employment, or even contain specific political suggestions. In short, almost all fu have a political purport, and, in addition, almost all of them deal with the relationship between the ruler and his officials.\" Seen in context, Ban Gu's discussion of Qu Yuan and the Chu sao style is less to the point of the actual evolutionary path of the fu and more to the point that the main purpose of the fu is political and social criticism through poetic indirection: thus, in fu, paradoxically, the \"fantastic descriptions and an overflowing rhetoric...can be reduced to...restraint\", as the sociopolitical criticism which was key to the fu was constrained within a very subtle, elaborately indirect, occasional, and allusive mode.\n\nCollections\nFu pieces comprise the first main category in the Wen Xuan (Selections of Refined Literature), an early Chinese literary anthology which is still extant. The Selections collects all known fu pieces from the early Han dynasty to its compilation in the 6th century CE, during the Liang dynasty; it has since been the traditional source for studying classical fu.\n\nIn the late 17th and early 18th centuries, during the reign of the Kangxi Emperor, scholar Chen Yuanlong (16521736) compiled a collection of all known fu extant in his day, publishing his collection in 1706 as Collection of Fu Through the Ages (Lìdài fù huì ). Chen's Collection in total contains 4,155 fu.\n\nSee also\nClassical Chinese poetry forms\nDong Zhongshu\nHan poetry\n\nNotes\n\nReferences\n\nFootnotes\n\nWorks cited\n\n \n \n \n \n \n \n \n \n \n \n \n\nCategory:Chinese poetry forms\nCategory:Han dynasty poetry", "title": "Fu (poetry)" }, { "text": "Return to the Field (歸田賦 Gui tian fu) is a literary work written in the Chinese style known as a rhapsody, or fu style: it is by Zhang Heng (AD 78–139), an official, inventor, mathematician, and astronomer of the Han Dynasty of China (202 BC–220 AD). Zhang's Return to the Field is a seminal work in the Fields and Gardens poetry genre which helped to sparked centuries of poetic enthusiasm for poems of various forms which share a common theme of nature foremost with human beings and human thought seemingly not in main focus, somewhat similar to the Landscape poetry genre; however, in the case of the Fields and Gardens genre, nature was focused upon in its more domestic manifestation, paying homage to the appearance of nature in gardens, as found in backyards, and cultivated in the countryside. Return to the Field also invokes traditional themes of Classical Chinese poetry involving nature versus society.\n\nBackground\nReturn to the Field was written as Zhang rejoicefully went into retirement in 138, after retiring from the corrupted politics of the capital Luoyang and then serving a post as administrator over Hejian Kingdom. His poem reflected the life he wished to lead in retirement while emphasizing markedly Daoist ideas over his Confucian background. Liu Wu-chi writes that by combining Daoist ideas with Confucian ones, Zhang's poem \"heralded the metaphysical verse and nature poetry of the later centuries.\" In the rhapsody, Zhang also explicitly mentions the sage of Daoism, Laozi (fl. 6th century BC), as well as Confucius (6th century BC), the Duke of Zhou (fl. 11th century BC), and the Three Sovereigns.\n\nRhapsody selection\nA section about spring in Zhang Heng's rhapsody, translated in Liu Wu-chi's book An Introduction to Chinese Literature (1990), reads as thus:\n\nSee also\nClassical Chinese poetry\nFu (poetry)\nHan poetry\n\nNotes\n\nReferences\nde Crespigny, Rafe. (2007). A Biographical Dictionary of Later Han to the Three Kingdoms (23-220 AD). Leiden: Koninklijke Brill. .\nLiu, Wu-chi. (1990). An Introduction to Chinese Literature. Westport: Greenwood Press of Greenwood Publishing Group. .\nNeinhauser, William H., Charles Hartman, Y.W. Ma, and Stephen H. West. (1986). The Indiana Companion to Traditional Chinese Literature: Volume 1. Bloomington: Indiana University Press. .\n\nCategory:Han dynasty texts\nCategory:Han dynasty literature\nCategory:Chinese poems\nCategory:Taoist texts\nCategory:Confucian texts", "title": "Return to the Field" }, { "text": "Yu Xi (虞喜; 307–345 AD), courtesy name Zhongning (仲寧), was a Chinese astronomer and writer of the Jin dynasty (266–420 AD). He is best known for his discovery of the precession of the equinoxes, independently of the earlier ancient Greek astronomer Hipparchus. He also postulated that the Earth could be spherical in shape instead of being flat and square, long before the idea became widely accepted in Chinese science with the advances in circumnavigation by Europeans from the 16th-20th centuries, especially with their arrival into the capital's imperial court in the 17th century.\n\nBackground and official career\n\nThe life and works of Yu Xi are described in his biography found in the Book of Jin, the official history of the Jin dynasty. He was born in Yuyao, Guiji (modern Shaoxing, Zhejiang province, China). His father Yu Cha (虞察) was a military commander and his younger brother Yu Yu (虞預; fl. 307–329 AD) was likewise a scholar and writer. During the reign of Emperor Min of Jin (r. 313–317 AD) he obtained a low-level position in the administration of the governor of Guiji commandery. He declined a series of nominations and promotions thereafter, including a teaching position at the imperial university in 325 AD, an appointment at the imperial court in 333 AD, and the post of cavalier attendant-in-ordinary in 335 AD.\n\nWorks\n\nIn 336 AD Yu Xi wrote the An Tian Lun (安天論; Discussion of Whether the Heavens Are At Rest or Disquisition on the Conformation of the Heavens). In it he described the precession of the equinoxes (i.e. axial precession). He observed that the position of the sun during the winter solstice had drifted roughly one degree over the course of fifty years relative to the position of the stars. This was the same discovery made earlier by the ancient Greek astronomer Hipparchus (c. 190–120 BC), who found that the measurements for either the sun's path around the ecliptic to the vernal equinox or the sun's relative position to the stars were not equal in length.\n\nYu Xi wrote a critical analysis of the huntian (渾天) theory of the celestial sphere, arguing that the heavens surrounding the earth were infinite and motionless. He advanced the idea that the shape of the earth was either square or round, but that it had to correspond to the shape of the heavens enveloping it. The huntian theory, as mentioned by Western Han dynasty astronomer Luoxia Hong (fl. 140–104 BC) and fully described by the Eastern Han dynasty polymath scientist and statesman Zhang Heng (78–139 AD), insisted that the heavens were spherical and that the earth was like an egg yolk at its center. Yu Xi's ideas about the infinity of outer space seem to echo Zhang's ideas of endless space even beyond the celestial sphere. Although mainstream Chinese science before European influence in the 17th century surmised that the Earth was flat and square-shaped, some scholars, such as Song dynasty mathematician Li Ye (1192–1279 AD), proposed the idea that it was spherical like the heavens. The acceptance of a spherical earth can be seen in the astronomical and geographical treatise Gezhicao (格致草) written in 1648 by Xiong Mingyu (熊明遇). It rejects the square-earth theory and, with clear European influence, explains that ships are capable of circumnavigating the globe. However, it explained this using classical Chinese phrases, such as the earth being as round as a crossbow bullet, a phrase Zhang Heng had previously used to describe the shape of both the sun and moon. Ultimately, though, it was the European Jesuits in China of the 17th century that dispelled the Chinese theory of a flat earth, convincing the Chinese to adopt the spherical earth theory established by the ancient Greeks Anaxagoras (c. 500–428 BC), Philolaus (c. 470–385), Aristotle (384–322 BC), and Eratosthenes (c. 276–195 BC). \n\nYu Xi is known to have written commentaries on the various Chinese classics. His commentaries and notes were mostly lost before the Tang dynasty, but the fragments preserved in other texts were collected in a single compendium by Qing-dynasty scholar Ma Guohan (1794–1857).\n\nSee also\n History of science and technology in China\n Kunyu Wanguo Quantu, Chinese world map published in 1602 by the Jesuit Matteo Ricci and Ming-Chinese colleagues, based on European discoveries\n Shanhai Yudi Quantu, Chinese world map published in 1609\n\nCitations\n\nReferences\n\n Cullen, Christopher. (1993). \"Appendix A: A Chinese Eratosthenes of the Flat Earth: a Study of a Fragment of Cosmology in Huainanzi\", in Major, John. S. (ed), Heaven and Earth in Early Han Thought: Chapters Three, Four, and Five of the Huananzi. Albany: State University of New York Press. .\n Knechtges, David R.; Chang, Taiping. (2014). Ancient and Early Medieval Chinese Literature: a Reference Guide, vol 3. Leiden: Brill. .\n Needham, Joseph; Wang, Ling. (1995) [1959]. Science and Civilization in China: Mathematics and the Sciences of the Heavens and the Earth, vol. 3, reprint edition. Cambridge: Cambridge University Press. .\n Song, Zhenghai; Chen, Chuankang. (1996). \"Why did Zheng He’s Sea Voyage Fail to Lead the Chinese to Make the ‘Great Geographic Discovery’?\" in Fan, Dainian; Cohen, Robert S. (eds), Chinese Studies in the History and Philosophy of Science and Technology, translated by Kathleen Dugan and Jiang Mingshan, pp 303-314. Dordrecht: Kluwer Academic Publishers. .\n Sun, Kwok. (2017). Our Place in the Universe: Understanding Fundamental Astronomy from Ancient Discoveries, second edition. Cham, Switzerland: Springer. .\n\nExternal links\n \"Yu Xi 虞喜 (fl. 307–46) (Zhongning 仲寧) - Astronome et érudit érémitique des Jin de l'Est\" Archives-Ouvertes (French)\n\nCategory:4th-century Chinese writers\nCategory:4th-century Chinese astronomers\nCategory:Jin dynasty (266–420) people\nCategory:Jin dynasty (266–420) science writers", "title": "Yu Xi" }, { "text": "A citation is a reference to a source. More precisely, a citation is an abbreviated alphanumeric expression embedded in the body of an intellectual work that denotes an entry in the bibliographic references section of the work for the purpose of acknowledging the relevance of the works of others to the topic of discussion at the spot where the citation appears.\n\nGenerally, the combination of both the in-body citation and the bibliographic entry constitutes what is commonly thought of as a citation (whereas bibliographic entries by themselves are not).\n\nCitations have several important purposes. While their uses for upholding intellectual honesty and bolstering claims are typically foregrounded in teaching materials and style guides (e.g.,), correct attribution of insights to previous sources is just one of these purposes. Linguistic analysis of citation-practices has indicated that they also serve critical roles in orchestrating the state of knowledge on a particular topic, identifying gaps in the existing knowledge that should be filled or describing areas where inquiries should be continued or replicated. Citation has also been identified as a critical means by which researchers establish stance: aligning themselves with or against subgroups of fellow researchers working on similar projects and staking out opportunities for creating new knowledge.\n\nConventions of citation (e.g., placement of dates within parentheses, superscripted endnotes vs. footnotes, colons or commas for page numbers, etc.) vary by the citation-system used (e.g., Oxford, Harvard, MLA, NLM, American Sociological Association (ASA), American Psychological Association (APA), etc.). Each system is associated with different academic disciplines, and academic journals associated with these disciplines maintain the relevant citational style by recommending and adhering to the relevant style guides.\n\nConcept \nA bibliographic citation is a reference to a book, article, web page, or other published item. Citations should supply detail to identify the item uniquely. Different citation systems and styles are used in scientific citation, legal citation, prior art, the arts, and the humanities. Regarding the use of citations in the scientific literature, some scholars also put forward \"the right to refuse unwanted citations\" in certain situations deemed inappropriate.\n\nContent \nCitation content can vary depending on the type of source and may include:\n Book: author(s), book title, place of publication, publisher, date of publication, and page number(s) if appropriate.\n Journal: author(s), article title, journal title, date of publication, and page number(s).\n Newspaper: author(s), article title, name of newspaper, section title and page number(s) if desired, date of publication.\n Web site: author(s), article, and publication title where appropriate, as well as a URL, and a date when the site was accessed.\n Play: inline citations offer part, scene, and line numbers, the latter separated by periods: 4.452 refers to scene 4, line 452. For example, \"In Eugene Onegin, Onegin rejects Tanya when she is free to be his, and only decides he wants her when she is already married\" (Pushkin 4.452–53).\n Poem: spaced slashes are normally used to indicate separate lines of a poem, and parenthetical citations usually include the line number(s). For example: \"For I must love because I live / And life in me is what you give.\" (Brennan, lines 15–16).\n Interview: name of interviewer, interview descriptor (ex. personal interview), and date of interview.\n Data: author(s), dataset title, date of publication, and publisher.\n\nUnique identifiers \nAlong with information such as author(s), date of publication, title and page numbers, citations may also include unique identifiers depending on the type of work being referred to.\n Citations of books may include an International Standard Book Number (ISBN).\n Specific volumes, articles, or other identifiable parts of a periodical, may have an associated Serial Item and Contribution Identifier (SICI) or an International Standard Serial Number (ISSN).\n Electronic documents may have a digital object identifier (DOI).\n Biomedical research articles may have a PubMed Identifier (PMID).\n\nSystems \nBroadly speaking, there are two types of citation systems, the Vancouver system and parenthetical referencing. However, the Council of Science Editors (CSE) adds a third, the citation-name system.\n\nVancouver system \n\nThe Vancouver system uses sequential numbers in the text, either bracketed or superscript or both. The numbers refer to either footnotes (notes at the end of the page) or endnotes (notes on a page at the end of the paper) that provide source detail. The notes system may or may not require a full bibliography, depending on whether the writer has used a full-note form or a shortened-note form. The organizational logic of the bibliography is that sources are listed in their order of appearance in-text, rather than alphabetically by author last name.\n\nFor example, an excerpt from the text of a paper using a notes system without a full bibliography could look like:\n\n\"The five stages of grief are denial, anger, bargaining, depression, and acceptance.\"1\n\nThe note, located either at the foot of the page (footnote) or at the end of the paper (endnote) would look like this:\n\n1. Elisabeth Kübler-Ross, On Death and Dying (New York: Macmillan, 1969) 45–60.\n\nIn a paper with a full bibliography, the shortened note might look like:\n\n1. Kübler-Ross, On Death and Dying 45–60.\n\nThe bibliography entry, which is required with a shortened note, would look like this:\n\nKübler-Ross, Elisabeth. On Death and Dying. New York: Macmillan, 1969.\n\nIn the humanities, many authors also use footnotes or endnotes to supply anecdotal information. In this way, what looks like a citation is actually supplementary material, or suggestions for further reading.\n\nParenthetical referencing \n\nParenthetical referencing, also known as Harvard referencing, has full or partial, in-text, citations enclosed in circular brackets and embedded in the paragraph.\n\nAn example of a parenthetical reference:\n\"The five stages of grief are denial, anger, bargaining, depression, and acceptance\" (Kübler-Ross, 1969, pp. 45–60).\n\nDepending on the choice of style, fully cited parenthetical references may require no end section. Other styles include a list of the citations, with complete bibliographical references, in an end section, sorted alphabetically by author. This section is often called \"References\", \"Bibliography\", \"Works cited\" or \"Works consulted\".\n\nIn-text references for online publications may differ from conventional parenthetical referencing. A full reference can be hidden, only displayed when wanted by the reader, in the form of a tooltip. This style makes citing easier and improves the reader's experience.\n\nStyles \n\nCitation styles can be broadly divided into styles common to the Humanities and the Sciences, though there is considerable overlap. Some style guides, such as the Chicago Manual of Style, are quite flexible and cover both parenthetical and note citation systems. Others, such as MLA and APA styles, specify formats within the context of a single citation system. These may be referred to as citation formats as well as citation styles. The various guides thus specify order of appearance, for example, of publication date, title, and page numbers following the author name, in addition to conventions of punctuation, use of italics, emphasis, parenthesis, quotation marks, etc., particular to their style.\n\nA number of organizations have created styles to fit their needs; consequently, a number of different guides exist. Individual publishers often have their own in-house variations as well, and some works are so long-established as to have their own citation methods too: Stephanus pagination for Plato; Bekker numbers for Aristotle; citing the Bible by book, chapter and verse; or Shakespeare notation by play.\n\nThe Citation Style Language (CSL) is an open XML-based language to describe the formatting of citations and bibliographies.\n\nHumanities \n The Chicago Style (CMOS) was developed and its guide is The Chicago Manual of Style. It is most widely used in history and economics as well as some social sciences. The closely related Turabian style—which derives from it—is for student references, and is distinguished from the CMOS by omission of quotation marks in reference lists, and mandatory access date citation.\n The Columbia Style was created by Janice R. Walker and Todd Taylor to give detailed guidelines for citing internet sources. Columbia Style offers models for both the humanities and the sciences.\n Evidence Explained: Citing History Sources from Artifacts to Cyberspace by Elizabeth Shown Mills covers primary sources not included in CMOS, such as censuses, court, land, government, business, and church records. Includes sources in electronic format. Used by genealogists and historians.\n Harvard referencing (or author-date system) is a specific kind of parenthetical referencing. Parenthetical referencing is recommended by both the British Standards Institution and the Modern Language Association. Harvard referencing involves a short author-date reference, e.g., \"(Smith, 2000)\", being inserted after the cited text within parentheses and the full reference to the source being listed at the end of the article.\n MLA style was developed by the Modern Language Association and is most often used in the arts and the humanities, particularly in English studies, other literary studies, including comparative literature and literary criticism in languages other than English (\"foreign languages\"), and some interdisciplinary studies, such as cultural studies, drama and theatre, film, and other media, including television. This style of citations and bibliographical format uses parenthetical referencing with author-page (Smith 395) or author-[short] title-page (Smith, Contingencies 42) in the case of more than one work by the same author within parentheses in the text, keyed to an alphabetical list of sources on a \"Works Cited\" page at the end of the paper, as well as notes (footnotes or endnotes).\n The MHRA Style Guide is published by the Modern Humanities Research Association (MHRA) and most widely used in the arts and humanities in the United Kingdom, where the MHRA is based. It is available for sale both in the UK and in the United States. It is similar to MLA style, but has some differences. For example, MHRA style uses footnotes that reference a citation fully while also providing a bibliography. Some readers find it advantageous that the footnotes provide full citations, instead of shortened references, so that they do not need to consult the bibliography while reading for the rest of the publication details.\n\nIn some areas of the Humanities, footnotes are used exclusively for references, and their use for conventional footnotes (explanations or examples) is avoided. In these areas, the term \"footnote\" is actually used as a synonym for \"reference\", and care must be taken by editors and typesetters to ensure that they understand how the term is being used by their authors.\n\nLaw \n\n The Bluebook is a citation system traditionally used in American academic legal writing, and the Bluebook (or similar systems derived from it) are used by many courts. At present, academic legal articles are always footnoted, but motions submitted to courts and court opinions traditionally use inline citations, which are either separate sentences or separate clauses. Inline citations allow readers to quickly determine the strength of a source based on, for example, the court a case was decided in and the year it was decided.\n The legal citation style used almost universally in Canada is based on the Canadian Guide to Uniform Legal Citation (AKA \"McGill Guide\"), published by McGill Law Journal.\n British legal citation almost universally follows the Oxford Standard for Citation of Legal Authorities (OSCOLA).\n\nSciences, mathematics, engineering, physiology, and medicine \n The American Chemical Society style, or ACS style, is often used in Chemistry and some of the physical sciences. In ACS style references are numbered in the text and in the reference list, and numbers are repeated throughout the text as needed.\n In the style of the American Institute of Physics (AIP style), references are also numbered in the text and in the reference list, with numbers repeated throughout the text as needed.\n Styles developed for the American Mathematical Society (AMS), or AMS styles, such as AMS-LaTeX, are typically implemented using the BibTeX tool in the LaTeX typesetting environment. Brackets with the author's initials and year are inserted in the text and at the beginning of the reference. Typical citations are listed in line with alphabetic-label format, e.g. [AB90]. This type of style is also called an \"Authorship trigraph.\"\n The Vancouver system, recommended by the Council of Science Editors (CSE), is used in medical and scientific papers and research.\n In one major variant, that used by the American Society of Mechanical Engineers (ASME), citation numbers are included in the text in square brackets rather than as superscripts. All bibliographical information is exclusively included in the list of references at the end of the document, next to the respective citation number.\n The International Committee of Medical Journal Editors (ICMJE) is reportedly the original kernel of this biomedical style, which evolved from the Vancouver 1978 editors' meeting. The MEDLINE/PubMed database uses this citation style and the National Library of Medicine provides \"ICMJE Uniform Requirements for Manuscripts Submitted to Biomedical Journals – Sample References\".\n The American Medical Association has its own variant of Vancouver style with only minor differences. See AMA Manual of Style.\n The style of the Institute of Electrical and Electronics Engineers (IEEE), or IEEE style, encloses citation numbers within square brackets and numbers them consecutively, with numbers repeated throughout the text as needed.\n In areas of biology that falls within the ICNafp (which itself uses this citation style throughout), a variant form of author-title citation is the primary method used when making nomenclatural citations and sometimes general citations (for example in code-related proposals published in Taxon), with the works in question not cited in the bibliography unless also cited in the text. Titles use standardized abbreviations following Botanico-Periodicum-Huntianum for periodicals and Taxonomic Literature 2 (later IPNI) for books.\n Pechenik Citation Style is a style described in A Short Guide to Writing about Biology, 6th ed. (2007), by Jan A. Pechenik.\n In 1955, Eugene Garfield proposed a bibliographic system for scientific literature, to consolidate the integrity of scientific publications.\n\nSocial sciences \n The style of the American Psychological Association, or APA style, published in the Publication Manual of the American Psychological Association, is most often used in social sciences. APA citation style is similar to Harvard referencing, listing the author's name and year of publication, although these can take two forms: name citations in which the surnames of the authors appear in the text and the year of publication then appears in parentheses, and author-date citations, in which the surnames of the authors and the year of publication all appear in parentheses. In both cases, in-text citations point to an alphabetical list of sources at the end of the paper in a References section.\n The American Political Science Association publishes both a style manual and a style guide for publications in this field. The style is close to the CMOS.\n The American Anthropological Association utilizes a modified form of the Chicago Style laid out in their Publishing Style Guide.\n The ASA style of American Sociological Association is one of the main styles used in sociological publications.\n\nIssues \n\nIn their research on footnotes in scholarly journals in the field of communication, Michael Bugeja and Daniela V. Dimitrova have found that citations to online sources have a rate of decay (as cited pages are taken down), which they call a \"half-life\", that renders footnotes in those journals less useful for scholarship over time.\n\nOther experts have found that published replications do not have as many citations as original publications.\n\nAnother important issue is citation errors, which often occur due to carelessness on either the researcher or journal editor's part in the publication procedure. For example, a study that analyzed 1,200 randomly selected citations from three major business ethics journal concluded that an average article contains at least three plagiarized citations when authors copy and paste a citation entry from another publication without consulting the original source. Experts have found that simple precautions, such as consulting the author of a cited source about proper citations, reduce the likelihood of citation errors and thus increase the quality of research.\n\nResearch suggests the impact of an article can be, partly, explained by superficial factors and not only by the scientific merits of an article. Field-dependent factors are usually listed as an issue to be tackled not only when comparisons across disciplines are made, but also when different fields of research of one discipline are being compared. For example, in medicine, among other factors, the number of authors, the number of references, the article length, and the presence of a colon in the title influence the impact; while in sociology the number of references, the article length, and title length are among the factors.\n\nStudies of methodological quality and reliability have found that \"reliability of published research works in several fields may be decreasing with increasing journal rank\". Nature Index recognizes that citations remain a controversial and yet important metric for academics. They report five ways to increase citation counts: (1) watch the title length and punctuation; (2) release the results early as preprints; (3) avoid referring to a country in the title, abstract, or keywords; (4) link the article to supporting data in a repository; and (5) avoid hyphens in the titles of research articles.\n\nCitation patterns are also known to be affected by unethical behavior of both the authors and journal staff. Such behavior is called impact factor boosting and was reported to involve even the top-tier journals. Specifically the high-ranking journals of medical science, including The Lancet, JAMA and The New England Journal of Medicine, are thought to be associated with such behavior, with up to 30% of citations to these journals being generated by commissioned opinion articles. On the other hand, the phenomenon of citation cartels is rising. Citation cartels are defined as groups of authors that cite each other disproportionately more than they do other groups of authors who work on the same subject.\n\nResearch and development\nThere is research about citations and development of related tools and systems, mainly relating to scientific citations. Citation analysis is a method widely used in metascience.\n\nCitation analysis\n\nCitation frequency\n\nProgress and citation consolidation\n\nIT systems\n\nSee also\n\nNotes\n\nReferences\n\nFurther reading \n \n \n\n \n \n \n\nCategory:Bibliography\nCategory:Intellectual history\nCategory:Reference\nCategory:Sources\nCategory:Writing", "title": "Citation" } ]
[ "Zhang Heng made significant contributions to science and technology. His mechanical inventions greatly influenced later Chinese inventors and his cosmic model of nine points of Heaven corresponding with nine regions of earth was carried on by scholar-official Chen Hongmou. An 11th-century clock tower was directly inspired by Zhang's water-powered armillary sphere. John Milne, the creator of the modern seismograph, noted Zhang's contributions to seismology. Zhang Heng was also lauded for his ability to \"make three wheels rotate as if they were one,\" an achievement noted by historian Joseph Needham. Furthermore, Zhang Heng developed the celestial sphere theory based on his predecessors' theories and constructed an armillary on the basis of his hypotheses.", "Zhang Heng's works greatly influenced later Chinese inventors and astronomers. For example, Su Song was directly inspired by Zhang's water-powered armillary sphere to construct an 11th-century clock tower. In another case, the cosmic model, conceived by scholar-official Chen Hongmou, of having nine points of Heaven corresponding with nine regions of earth, followed in the tradition of Zhang's book Spiritual Constitution of the Universe. Zhang's work also influenced the way Chinese astronomers approached astronomical theories, focusing on extracting the algebraic features of planetary motion instead of constructing a logically structured theory like Ptolemy's earth-centered theory.", "The text does not clearly state what Zhang Heng's biggest accomplishment was. However, it outlines several significant achievements, from mechanical inventions that influenced later inventors (including a water-powered armillary sphere that inspired Su Song's 11th-century clock tower) to his cosmic model of nine points of Heaven which was carried on by Chen Hongmou. His contribution to the field of seismology was also noted by John Milne. Zhang Heng was also praised for being able to \"make three wheels rotate as if they were one.\" Furthermore, he systematically developed the celestial sphere theory, an achievement that bears a remarkable similarity to Ptolemy's earth-centered theory.", "The text does not provide information on how the world reacted to Zhang Heng's celestial sphere theory.", "The text does not specify what Zhang Heng's greatest accomplishment was. However, it mentions several significant achievements, including mechanical inventions influencing later inventors, the inspiration for Su Song's 11th-century clock tower, noted contributions to seismology, and the development of the celestial sphere theory.", "The text does not provide information on whether Zhang Heng won any sort of praise or awards for his work.", "The article provides some interesting aspects about the historical progression of science and technology, and the role Zhang Heng played in it. For instance, it describes how Zhang Heng’s theories and inventions not only influenced his contemporary scientists, but also later inventors and astronomers. Su Song's clock tower and Chen Hongmou's cosmic model, for example, are directly influenced by Zhang's work. It also highlights the difference between Western and Chinese astronomy during Zhang's time. Unlike Ptolemy of Roman Egypt who saw circular motion as fundamental, Chinese astronomers, including Zhang Heng, focused on the algebraic features of planetary motion. The article also interestingly hints at the notion of “a step not taken” by Chinese astronomers in translating their celestial observations into a structured, earth-centered theory similar to Ptolemy’s." ]
[ "Yes", "Yes", "Yes", "no", "No", "Yes", "Yes" ]
C_f2689620104d4ab6a2c8719b0d2c8944_1
Nadine Dorries
Dorries was born as Nadine Vanessa Bargery in Liverpool. Her father was a bus driver who became a lift operator having suffered from Raynaud's disease, which had necessitated the amputation of his toes. Her father was a Roman Catholic of Irish descent, while her mother was an English Protestant. Dorries was raised as a Protestant.
Abortion time limits
In 2009, she gave this account of her 2005 selection: "Three weeks before the 2005 general election I, a council estate Scouser, was selected as the Conservative candidate to represent a southern rural constituency. Because the vacancy occurred so quickly and so close to D-day, the party provided my association with a shortlist of seventeen candidates, of which about five were women. Following a long day of interviews in hot sunny rooms, the list was whittled down to a shortlist of three ... I was informed that I had been selected outright on the first ballot ... That pride, that sense of achievement, the knowledge that I was selected on the basis of my performance and merit above all other candidates on that day is what enables me to hold my head up high in this place." Dorries's account of her own selection appears to contradict a news report which The Times ran at the time, reporting that Conservative Campaign Headquarters placed a majority of women on the shortlist and pressed for the selection of a female candidate: "Mrs Dorries, who has three teenage children, easily beat her 11 rivals and won the plum safe seat on the first ballot at the selection this weekend. Party officials were thrilled that the seat has gone to a woman. Previously, only two women had been selected in the 17 safe seats where sitting MPs have retired. Senior party figures had made clear to local dignitaries that they would like the seat to go to a woman and presented the constituency with a shortlist of seven women and five men to underline the point." In a debate on Woman's Hour, broadcast on 22 August 2001, Dorries (as Nadine Bargery) had advocated all-women shortlists if the behaviour of Conservative selection committees did not change. In 2009 though, Dorries was highly critical of David Cameron's proposal to consider using all-women shortlists, arguing against a move which would create "two classes of MPs". She wrote that "Sometimes I feel sorry for some of the Labour women who were selected via all-women shortlists. Everyone knows who they are. They are constantly derided." Dorries was elected to the House of Commons at the 2005 general election for the safe seat of Mid-Bedfordshire on the retirement through ill health after a series of scandals of Jonathan Sayeed, with a majority of 11,355, and made her maiden speech on 25 May 2005. She was re-elected in 2010, with an increased majority and a swing of 2.3% from the Lib Dems. Dorries, described as "a right-wing, working-class Conservative", is a member of the socially conservative Cornerstone Group. A Christian, she has said in an interview for a Salvation Army newspaper: "I am not an MP for any reason other than because God wants me to be. There is nothing I did that got me here; it is what God did. There is nothing amazing or special about me, I am just a conduit for God to use." Dorries initially supported the attempt of David Davis to become Conservative leader in 2005 but later withdrew her endorsement. David Cameron, the successful candidate, though "represent[s] everything that through my life . . . [I have] been suspicious of." In May 2007, she criticised Cameron for ignoring the recommendations of the Conservative public policy working group in favour of grammar schools. However, she did defend the selection of Elizabeth Truss in 2009, whose Conservative candidature was called into question after an extra-marital affair was revealed. Dorries served as a member of the Innovation, Universities, Science and Skills Committee. In the year to November 2008, she attended only 2% of sessions. The committee then reformed as the Science and Technology Select Committee; she did not attend a single session. In 2010, she was elected to the Health Select Committee. Dorries has said she witnessed "botched" abortions on two occasions, an experience that influenced her campaign to lower the point during a pregnancy at which an abortion can be performed. On 31 October 2006, Dorries introduced a Private Member's Bill in the House of Commons, which would have reduced the time limit for abortion in Great Britain from 24 to 21 weeks; introduced a ten-day 'cooling-off' period for women wishing to have an abortion, during which time the woman would be required to undergo counselling; and accelerate access to abortion at the end of the cooling-off period. Dorries alleged she had received death threats from pro-choice activists and was given police protection. Parliament voted by 187 to 108 to reject the bill. In May 2008, Dorries tabled an amendment to the proposed Human Fertilisation and Embryology Bill seeking to reduce the upper limit for abortions to 20 weeks from the current 24 weeks of pregnancy. Reportedly written by Andrea Williams then of The Lawyers' Christian Fellowship, Dorries has denied that her campaigning on the abortion issue receives funding from Christian fundamentalist groups, although Dorries website for the "20 Reasons for 20 Weeks" campaign in 2008 was registered by Christian Concern For Our Nation (CCFON), another organisation with which Williams is involved; one of the pressure group's interns set up the website without charge to Dorries. According to Guardian journalist Kira Cochrane it was the greatest challenge to women's abortion rights in nearly 20 years. Dorries' amendment was defeated by 332 votes to 190, with a separate 22-week limit opposed by 304 votes to 233. A majority of MPs continued to support the 24-week limit. She said of her tactics on this issue in 2007: "If I were to argue that all abortions should be banned, the ethical discussions would go round in circles ... My view is that the only way forward is to argue for a reduction in the time limit ... it's every baby's right to have a life." CANNOTANSWER
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Nadine Vanessa Dorries (née Bargery, 21 May 1957) is a British politician who served as Secretary of State for Digital, Culture, Media and Sport from 2021 to 2022 under Prime Minister Boris Johnson. A member of the Conservative Party, she has been the Member of Parliament (MP) for Mid Bedfordshire since 2005. Born in Liverpool to a working-class family, Dorries was raised in the city's Anfield district and the nearby towns of Halewood and Runcorn. She began work as a trainee nurse in Warrington and subsequently became a medical representative. During her early career, she spent a year in Zambia as the head of a community school. After returning to England, she founded Company Kids Ltd, which provided child day-care services for working parents. She sold the company in 1998. She was first elected to the House of Commons at the 2005 general election for the Conservative safe seat of Mid Bedfordshire. As a backbencher, Dorries introduced several unsuccessful private member's bills, including attempts to reduce the time limit for abortions in the UK and changes to the rules regarding counselling for the women involved, and the advocacy of sexual abstinence for girls in sex education. An opponent of John Bercow, she attempted to have him removed as Speaker of the House of Commons. She also clashed with David Cameron and George Osborne, describing them as "two arrogant posh boys". In 2012, she lost the Conservative whip after she took part in the reality TV programme I'm a Celebrity...Get Me Out of Here! without informing the chief whip. It was returned in 2013 and she was re-admitted to the parliamentary party. In July 2019, Boris Johnson appointed Dorries as Parliamentary Under-Secretary of State for Patient Safety, Suicide Prevention and Mental Health. In May 2020, she was promoted to Minister of State. In Johnson's cabinet reshuffle in September 2021, he promoted her to Secretary of State for Digital, Culture, Media and Sport. Despite being made an offer to stay on, she resigned from her role as Secretary of State ahead of the formation of the Truss ministry, after Liz Truss took over from Johnson on 6 September 2022. On 9 February 2023, she announced her intention to stand down at the next general election. Early life Dorries was born Nadine Vanessa Bargery in Liverpool on 21 May 1957. Her father, a Catholic of Irish descent, was a bus driver who became a lift operator and had Raynaud's disease. Her mother was an Anglican, and Dorries was raised as such. She was brought up in the Anfield district of Liverpool, where she attended Rose Heath Primary School. She then attended Halewood Grange Comprehensive School before moving with her family to Runcorn. She grew up on a council estate and entered nursing in 1975 as a trainee at Warrington General Hospital. According to an interview with The Times in 2014, Dorries' parents divorced during her adolescence. While training to be a nurse at 21, she shared a flat with her father. He died at the age of 42. Early career From 1978 to 1981, Dorries was a nurse in Warrington and Liverpool according to a 2009 report. Her CV when she was a parliamentary candidate in 2001 stated Liverpool and London as places where she worked as a nurse. She left the Liverpool area after she married mining engineer Paul Dorries. In 1982, Dorries became a medical representative to Ethicla Ltd for a year, before spending a year in Zambia (1983–84) as the head of a community school, where her husband ran a copper mine. In 1987 she founded Company Kids Ltd, which provided child day-care services for working parents. The company was sold in 1998 to BUPA; Dorries was subsequently a director of the health provider during the following year. As Nadine Bargery, she was selected as the prospective parliamentary candidate (PPC) for Hazel Grove, near Manchester in spring 2000. Her candidacy split the constituency party, and she was briefly deselected in August before being imposed by Conservative Central Office. Standing for the seat at the 2001 general election, she was unsuccessful in her attempt to succeed the Liberal Democrat candidate Andrew Stunell, who retained the seat with a majority of 8,435 votes. Dorries worked for three years as a special adviser to Oliver Letwin, when Shadow Chancellor, to sort out his relations with the media amongst other things. Parliamentary career (2005–present) Dorries won the Conservative candidacy for the safe seat of Mid Bedfordshire in 2005 on the retirement through ill health after a series of scandals of Jonathan Sayeed. In 2009, she gave this account of her selection: Dorries' account of her own selection appears to contradict a news report which The Times ran at the time, reporting that Conservative Campaign Headquarters placed a majority of women on the shortlist and pressed for the selection of a female candidate: Dorries was elected to the House of Commons at the 2005 general election with a majority of 11,355, and made her maiden speech on 25 May 2005. Dorries initially supported David Davis to become Conservative leader in 2005, later withdrawing her endorsement. David Cameron, the successful candidate, though "represent[s] everything that through my life . . . [I have] been suspicious of." In May 2007, she criticised Cameron for ignoring the recommendations of the Conservative public policy working group in favour of grammar schools. However, she did defend the selection of Liz Truss in 2009, whose Conservative candidature was called into question after an extra-marital affair was revealed. Dorries served as a member of the Innovation, Universities, Science and Skills Committee, although by November 2008 she had attended only 2% of sessions. The committee then reformed as the Science and Technology Select Committee; she did not attend a single session. In 2010, she was elected to the Health Select Committee. In May 2008, Dorries featured in the Channel 4 Dispatches documentary "In God's Name". The programme examined the growing influence of Christian evangelical movements in the UK and highlighted the Lawyers' Christian Fellowship's involvement in lobbying the British Government on issues such as abortion, gay rights and the enforcing of laws relating to blasphemy. The programme included footage of an LCF representative meeting with Dorries to influence policy on matters where they had a common agenda. In February 2010 Dorries took part in the Channel 4 documentary series Tower Block of Commons, in which MPs stay with welfare claimants. Dorries was re-elected in the 2010 general election with an increased majority and a swing of 2.3% from the Liberal Democrats. In 2013, Dorries' daughter was reportedly among the highest-earning family members employed by MPs with a salary of £40,000–45,000 as an office manager, even though her daughter lived 96 miles away from the office. Subsequently, Dorries' sister was taken on as "senior secretary" with a salary of £30,000–35,000. In reply to an enquiry by Ben Glaze, deputy political editor of the Daily Mirror, about the employment of her daughter, Dorries tweeted: "Be seen within a mile of my daughters and I will nail your balls to the floor... using your own front teeth. Do you get that?" In October 2013, Dorries described a fellow Conservative MP, Kris Hopkins, as "one of parliament's slimiest, nastiest MPs" on her Twitter account, and criticised Prime Minister Cameron's decision to promote Hopkins to a junior ministerial post within the Department for Communities and Local Government as "a really awful decision". On 29 May 2015, the independent candidate in Mid Bedfordshire, Tim Ireland, lodged an appeal against the result accusing Dorries of breaches of Section 106 of the Representation of the People Act 1983 by making false statements about his character. The development first emerged in early-June after the three-week petition for such an action had expired. The petition was rejected by the High Court of Justice because it was served at Dorries' constituency office and not her home address. Damian McBride email affair In April 2009, Dorries stated that she had commenced legal action following the leaked publication of emails sent by Damian McBride, Prime Minister Gordon Brown's head of strategy and planning, which suggested spreading a rumour that Dorries had a one-night stand with a fellow MP, in an email to Derek Draper, a Labour-supporting blogger. McBride resigned and Dorries denounced the accusation as libellous: "[t]he allegations regarding myself are 100 per cent untrue", and demanded an apology intent on exposing the Number 10 "cesspit". Brown subsequently said he was "sorry" and that he took "full responsibility for what happened". Dorries threatened libel proceedings against McBride, Draper and Downing Street but did not carry out that threat. McBride paid Dorries an undisclosed sum, estimated at £1,000 plus £2,500 towards her costs. Expenses claims In May 2009, The Daily Telegraph, as part of its exposure of MPs' expenses claims, questioned whether the property in Dorries' constituency, on which she claimed £24,222 additional costs allowance (for "secondary" housing costs), had been in fact her main or only home from 2007 onwards. The newspaper also queried hotel bills, including one for 'Mr N Dorries': these had been disallowed by the Fees Office and Dorries said they were submitted by mistake. On 22 May 2009, she spoke on BBC Radio 4 and drew parallels between the McCarthy 'Witch-Hunts' and the press's 'drip-drip' revelation of MP's expenses, eliciting Cameron's public criticism. She said everyone was fearing a 'suicide', and colleagues were constantly checking up on each other. Later in the day her blog was taken down. It transpired that Withers, lawyers acting for the Barclay Brothers, the owners of the Daily Telegraph, had required the removal of the blog, on threat of libel action against the service provider. In January 2010, it was reported that Dorries was still being investigated by John Lyon, the Parliamentary Commissioner for Standards, regarding her claim for second home expenses. There was some debate as to the location of her main home. It was also reported that Dorries had claimed £20,000 in office expenses for work undertaken by a media relations and public affairs company. On 9 May 2010, two days after being returned at the general election for Mid Bedfordshire, The Sunday Times reported that Dorries was facing the first complaint about an MP's expenses claim of the new parliament. The newspaper reported that she had claimed around £10,000 for an annual report in 2007 on her performance as an MP, but that her former Commons researcher had never seen the report or worked on it. Dorries insisted that she had indeed published the report, placing a photograph of it on her blog. She subsequently told the Biggleswade Advertiser that the report was never printed and a credit note issued with refund on 13 September 2008. On 13 January 2011, it was reported by the Daily Mirror that police were investigating Dorries concerning her expenses. Three days later, The Sunday Times reported that police had since handed a file to the Crown Prosecution Service for consideration. In February 2013, it was reported that Dorries was being investigated by the Independent Parliamentary Standards Authority over her expenses, although no specific details were given at this time. On 27 June 2013, Dorries announced she would no longer claim her personal expenses as an MP, but would draw on her salary for such costs. She argued that she would be in a better position to campaign for the abolition of the present expenses arrangements by doing so. Dorries herself stood for election as a deputy speaker after one of the three posts became vacant. In the Commons vote during October 2013, she gained the support of 13 MPs, and was the first of the six candidates to be eliminated in the voting process. Blog A complaint from the Liberal Conspiracy website, regarding Dorries' use of the House of Commons' Portcullis emblem on her blog, had been upheld in March 2008, on the basis that Dorries "gave the impression it had some kind of parliamentary endorsement or authority". On 21 October 2010, the MP's standards watchdog criticised Dorries for maintaining a blog which would "mislead constituents" as to how much actual time she was spending in her constituency. Dorries announced: "my blog is 70% fiction and 30% fact! It is written as a tool to enable my constituents to know me better and to reassure them of my commitment to Mid Bedfordshire. I rely heavily on poetic licence and frequently replace one place name/event/fact with another." Referring to her main home being in Gloucestershire, she said: "I have always been aware that should my personal domestic arrangements become the knowledge of my political opponents, they would be able to exaggerate that to good effect." She gave an explanation of the statement to her local newspaper, in which she said that her whereabouts on her blog had been disguised, on police advice, because of unwanted attention. She also said that she made the statement in order to protect her staff and family. On 27 October 2010, Dorries partially retracted her 70% fiction claim, posting a blog entry which stated that "It also only takes any individual with a smattering of intelligence to see that everything on the blog is accurate, because it is largely a record of real time events. It was only ever the perception of where I was on any particular day which was disguised." The conservative journalist Peter Oborne suggested, in his Daily Telegraph blog a fortnight later, that Cameron should have "ordered Mrs Dorries to apologise personally to her constituents, and stripped her of the party whip there and then". In 2012, she was voted best MP on Twitter by the politics.co.uk website. Visit to Equatorial Guinea with other MPs In August 2011, Dorries led the first delegation of Members of Parliament to Equatorial Guinea. It is a small African country, but the third-biggest oil producer on the continent, ruled since 1979 by President Teodoro Obiang Nguema. It has one of the worst human rights records on the continent. She met the Prime Minister of Equatorial Guinea, Ignacio Milam Tang. She has been quoted as saying to him: "We are here to dispel some of the myths about Equatorial Guinea and also with humility to offer you help to avoid the mistakes we have made." According to the official website of Equatorial Guinea, Dorries was one of nine MPs on the trip. Reality TV and temporary suspension Early in November 2012, it was announced that Dorries had agreed to appear in I'm a Celebrity... Get Me Out of Here. Other Conservatives objected to her decision and her constituents were "overwhelmingly negative" on local radio. Neither the Conservative chief whip, Sir George Young, nor the chairman of the Mid Bedfordshire Conservative Association were informed of her absence from Parliament. The Conservative Party suspended Dorries from the party whip on 6 November, after her confirmation that she was planning to be absent from Parliament. John Lyon, the Parliamentary Commissioner for Standards, received a complaint about her behaviour. The series began on 11 November 2012, but on 21 November, Dorries became the first contestant to be voted off the show. On 27 November Dorries met Sir George Young, who asked her to rebuild her relationship with the party. She then sat as an independent MP, but continued to deny the whip had been withdrawn, stating it had merely been suspended. On 8 May 2013, Dorries regained the Conservative whip without any conditions having been applied. George Osborne reportedly objected to her regaining the parliamentary whip, while commentators speculated that, should she not be readmitted, Dorries might join UKIP, which had made gains from the Conservatives in the previous week's local elections. Peter Oborne observed at this point that Dorries had still not declared the amount she was paid for her appearance on I'm a Celebrity... in the register of members interests, last published on 22 April, despite her promise to do so. Shortly after regaining the whip, Dorries floated the idea of joint Conservative-UKIP candidates at the next general election in 2015, with herself as such a candidate. "This is not party policy and it's not going to happen", a Conservative Party spokesman told the Press Association. Following the publication of a report by the Standards Committee on 11 November 2013, Dorries apologised in the House of Commons to her fellow MPs for two errors of judgement. Her confidentiality agreement with ITV over her fee for appearing on I'm A Celebrity... had led to her refusing to disclose the information to Kathryn Hudson, the parliamentary commissioner for standards. In so doing, she had broken the MP's code of conduct. The all-party standards committee said that she should never have agreed to such a clause in her contract. In addition, Dorries had falsely claimed that payment for eight pieces of work in the media did not need to be declared as they were made to Averbrook, her company, rather than to herself directly. Andy McSmith, writing in The Independent at the beginning of December 2013, said that Dorries had finally disclosed her income (amounting to £20,228 in total) from appearing on I'm a Celebrity... in the register of members' interests. Brexit In the June 2016 EU referendum, Dorries supported the Leave campaign and was critical of Cameron, who backed Remain. Dorries called for Cameron to resign during the campaign in May 2016, and submitted a letter of no confidence to Graham Brady, chairman of the 1922 Committee. Buzzfeed reported that in October 2017 Dorries had become confused about her party's position on Brexit after talking with a politics teacher about a key element of her party's position, Britain's proposed exit from the European Union Customs Union. The EU Customs Union is an agreement between EU members not to impose tariffs (i.e. import taxes) on goods passing across their mutual borders. From a semi-private discussion that Buzzfeed made public, it was suggested that Dorries believed the UK could leave the EU but stay within the Customs Union whilst at the same time negotiating free trade deals with other countries. Later in December 2017 she tweeted: "If we stay in the Single Market and the Customs Union, we haven't left." In November 2018, Dorries, who was strongly in favour of Brexit, said of the Withdrawal Agreement negotiated between the UK Government and the EU27: "This is a very sad place to be, but unfortunately, the future of the country and of our relationship with Europe is at stake. This deal gives us no voice, no votes, no MEPs, no commissioner". Minister for Patient Safety, Suicide Prevention and Mental Health (2019–2021) When Boris Johnson became prime minister in July 2019, Dorries was appointed as Parliamentary Under-Secretary of State for Patient Safety, Suicide Prevention and Mental Health at the Department of Health and Social Care. She was promoted in May 2020 to the ministerial rank of Minister of State for Patient Safety, Suicide Prevention and Mental Health. On 10 March 2020, Dorries became the first MP to be diagnosed with COVID-19. It is not known exactly when she contracted the disease, but it was reported that she had attended Parliament and visited 10 Downing Street before being required to self-isolate. On 14 May 2020, Dorries was criticised after she retweeted a doctored video from a far-right Twitter account which falsely claimed that Labour leader Keir Starmer obstructed the prosecution of grooming gangs while he served as Director of Public Prosecutions. In November 2020, Dorries attracted media criticism after rejecting an offer of cross-party talks to discuss a mental health support package for frontline NHS and care staff during the COVID-19 pandemic. In March 2021, she defended the government's 1% NHS pay-offer on the grounds that it would protect the financial support of those on furlough, stating that the "unprecedented" pressure on the UK's finances was behind the pay offer. Secretary of State for Digital, Culture, Media and Sport (2021–2022) On 15 September 2021, Dorries was promoted as Secretary of State for Digital, Culture, Media and Sport following Oliver Dowden's appointment as Conservative Party Co-chairman. She is a critic of what she believes to be elitism in the BBC and wants to push for "BBC reform". Dorries was criticised in the Digital, Culture, Media and Sport Select Committee by John Nicolson due to her previous tweets towards LBC journalist James O'Brien. In February 2022, amidst a controversy over a joke about Romani genocide, made by Jimmy Carr on a Netflix special, Dorries said that the government would bring in legislation to "hold to account" streaming companies for offensive content. She said there was no disconnect between this view and her previous opinions that "left-wing snowflakes are killing comedy". During the July–September 2022 Conservative Party leadership election, Dorries was reported as considering herself as a candidate, but ultimately didn't stand and instead endorsed Liz Truss. In July 2022, Dorries personally granted Grade II-listed status to a plaque of Cecil Rhodes which she believed is of "special historic interest". This decision attracted controversy as Rhodes has been labelled the "Architect of Apartheid" because he passed laws in Cape Colony which expropriated land from black Africans and effectively banned them from political participation. Return to the backbenches 2022–present On 5 September 2022, in anticipation of the appointment of Liz Truss as Prime Minister, Dorries tendered her resignation as Culture Secretary (effective 6 September) and returned to the backbenches. Truss had asked Dorries to stay on as Secretary of State in her new government, but Dorries instead decided to step down to concentrate on writing books. On 9 February 2023, Dorries announced her intention to stand down at the next general election, blaming "infighting and stupidity" that led to resignation of Boris Johnson. Author It became public knowledge in September 2013 that Dorries had signed a three-book deal for a six-figure advance; her first book was published the following April. Her first novel, The Four Streets, which draws on her Liverpool Catholic background, became a No.1 best-selling e-book with 100,000 copies sold in the format by July 2014, although print sales in hardback and paperback were significantly lower with, respectively, 2,735 and 637 sales by then. Dorries' work of fiction gained mostly negative reviews. Sarah Ditum in the New Statesman complained that some of the sentences "read like clippings from Wikipedia" while Christopher Howse, writing for The Daily Telegraph, described The Four Streets as "the worst novel I've read in 10 years". "You should read the next one. It's much better", Dorries told Ann Treneman of The Times. By 2022, Dorries had published 16 books and announced a series of six more with publisher Head of Zeus. Political views Dorries, described as "a right-wing, working-class Conservative", is a member of the socially conservative Cornerstone Group. Abortion time limits and counselling Dorries says she witnessed "botched" abortions on two occasions, an experience that influenced her campaign to lower the point during a pregnancy at which an abortion can be performed. On 31 October 2006, Dorries introduced a Private Member's Bill in the House of Commons, which would have reduced the time limit for abortion in Great Britain from 24 to 21 weeks; introduced a ten-day 'cooling-off' period for women wishing to have an abortion, during which time the woman would be required to undergo counselling; and accelerate access to abortion at the end of the cooling-off period. Dorries said she had received death threats from activists and was given police protection. Parliament voted by 187 to 108 to reject the bill. In May 2008, Dorries tabled an amendment to the proposed Human Fertilisation and Embryology Bill seeking to reduce the upper limit for abortions from the current 24 weeks of pregnancy to 20 weeks. Reportedly written by Andrea Williams, then of The Lawyers' Christian Fellowship, Dorries has denied that her campaigning on the abortion issue receives funding from Christian fundamentalist groups, although Dorries's website for the "20 Reasons for 20 Weeks" campaign in 2008 was registered by Christian Concern For Our Nation (CCFON), another organisation with which Williams is involved; one of the pressure group's interns set up the website without charge to Dorries. According to Guardian journalist Kira Cochrane, it was the greatest challenge to women's abortion rights in nearly 20 years. Andrea Williams (now director of Christian Concern and Christian Legal Centre) was a team member of the campaign. In the Channel 4 Dispatches documentary, "In God's Name", Dorries was asked how closely she worked with Williams and Dorries replied, ""Closely? We've been stuck to the hip. Very closely." In reference to her campaign, Dorries also said:Dorries' amendment was defeated by 332 votes to 190, with a separate 22-week limit opposed by 304 votes to 233. A majority of MPs continued to support the 24-week limit. She said of her tactics on this issue in 2007: "If I were to argue that all abortions should be banned, the ethical discussions would go round in circles ... My view is that the only way forward is to argue for a reduction in the time limit ... it's every baby's right to have a life." Dorries proposed amendments to the Health and Social Care Bill 2011 which would have blocked abortion services such as BPAS and Marie Stopes International from providing counselling services. She argued that these organisations had a vested financial interest in encouraging abortions, but according to Zoe Williams "independent" counselling services could be "faith-based groups" intent on discouraging women from having an abortion. Cameron's government at first supported the proposal, but later changed its mind, reportedly because then-Liberal Democrat Leader and Deputy Prime Minister Nick Clegg was opposed to the change. Dorries' criticism of Cameron's policy shift was supported by some commentators such as Cristina Odone, who shares Dorries concerns. Clegg's apparent opposition was, for Dorries, a means of "blackmailing our Prime Minister", and a question regarding Liberal Democrats' influence was the source of Cameron's description of Dorries as "extremely frustrated" at Prime Minister's questions on 7 September. Cameron was criticised by feminists among others for the comment, and subsequently apologised. The issue of abortion counselling was debated in the Commons immediately following this incident. The motion was originally seconded by Labour MP Frank Field, but he withdrew his support after Health Minister Anne Milton intervened to suggest the Government would support the spirit of Dorries' amendment. The amendment was lost by 368 votes to 118, a majority of 250. Despite this, Dorries claimed a victory because of Milton's comments. Abstinence advocacy for girls in sex education On 4 May 2011, Dorries proposed a Bill to require that sex education in schools should include content promoting abstinence to girls aged 13–16, which was presented as teaching them "how to say no". While sex education already mentions the option of abstinence, the bill would have required active promotion of abstinence to girls, with no such requirement in the education provided to boys. Owing to Dorries' claims about practices used in teaching about sex, Sarah Ditum in The Guardian accused Dorries of making Sex and Relationship Education (SRE) "sound like a terrifying exercise in depravity". The Bill drew criticism from healthcare and sex education professionals, questioning claims made during the Bill's reading. Labour MP Chris Bryant described the Bill as being "the daftest piece of legislation I have seen". The Sexual Abstinence Bill was set for second reading on 20 January 2012 (Bill 185), after she was granted leave to introduce the Bill on a vote of 67 to 61 on 4 May 2011. The Bill, placed eighth on the order paper, was withdrawn shortly before its second reading. Same-sex marriage Dorries opposed the government's successful legislation to introduce same-sex marriage. In May 2012, on the Conservative Home website she wrote: "Gay marriage is a policy which has been pursued by the metro elite gay activists and needs to be put into the same bin [as reform of the House of Lords]". In an interview with Mehdi Hasan in October 2012, Dorries said she favoured gay marriage, but only after Britain has left the European Convention on Human Rights. In an exchange with Iain Dale around the same time, she speculated that the issue could cost her party four million votes at the next general election. In February 2013, at the time of the Bill's second reading in the House of Commons, she argued that the Bill avoided the issue of consummation and thus contradicted the Marriages Act 1973, and therefore did not make gay marriage equal to heterosexual marriage. She also argued that there was no provision for adultery, or faithlessness, as it might apply to gay couples because the term applies to heterosexual couples only. Burka ban In August 2018, Boris Johnson was criticised for a column that he had written in the Daily Telegraph. As part of an article discussing the introduction of a burka ban in Denmark, Johnson said that Muslim women who wore burkas "look like letter boxes" and the garment gave them the appearance of "bank robbers", although the point of the article was to condemn governments who tell "a free-born adult woman what she may or may not wear, in a public place, when she is simply minding her own business". Dorries, however, said that Johnson "did not go far enough", saying the burka should have no place in Britain and it was "shameful that countries like France and Denmark are way ahead of us on this". On 7 August 2018, Dorries tweeted "No woman in a liberal, progressive society should be forced to cover up her beauty or her bruises." Speaker John Bercow Prior to John Bercow's election as Speaker of the House of Commons in June 2009, Dorries accused him of opportunism and disloyalty to the Conservative Party. She described his election as "a two-fingered salute to the British people from Labour MPs, and to the Conservative Party". After Bercow's wife, Sally, was approved as a Labour parliamentary candidate and gave an interview about her personal life, Dorries argued that the Bercows were damaging the historic respect accorded to the office of speaker. Dorries was reportedly part of a plot to oust Bercow from the speaker's chair in the run-up to the 2010 general election, and, after the election, sent an email to all new MPs advocating his removal. Cameron, Clegg and Osborne On 6 March 2012, Dorries criticised Cameron and Nick Clegg of the coalition government over their taxation policies. Referring to the proposed cuts in child benefit, she told the Financial Times "The problem is that policy is being run by two public schoolboys who don't know what it's like to go to the supermarket and have to put things back on the shelves because they can't afford it for their children's lunchboxes. What's worse, they don't care, either". She again criticised Cameron, and also George Osborne, in similar terms on 23 April, calling them "two arrogant posh boys who don't know the price of milk – who show no remorse, no contrition and no passion to want to understand the lives of others". Osborne said on The Andrew Marr Show on 6 May 2012: "Nadine Dorries, for the last seven years, I don't think has agreed with anything either myself, David Cameron, or indeed most Conservatives in the leadership of the party have done." In the summer of 2012, Dorries criticised Osborne again for sending a badly briefed junior Treasury minister, Chloe Smith, to deputise for him on Newsnight in order to defend a government u-turn on fuel duty. All-women shortlists In a debate on Woman's Hour, broadcast on 22 August 2001, Dorries (as Nadine Bargery) had advocated all-women shortlists if the behaviour of Conservative selection committees did not change. In 2009 though, Dorries was highly critical of Cameron's proposal to consider using all-women shortlists, arguing against a move which would create "two classes of MPs". She wrote that "Sometimes I feel sorry for some of the Labour women who were selected via all-women shortlists. Everyone knows who they are. They are constantly derided." High heels at work In late 2009, Dorries campaigned against what she called "a proposal to ban the wearing of high heels in the office" which was to be debated at the 2009 Trades Union Congress (TUC). The motion, submitted to the TUC by the Society of Chiropodists and Podiatrists, pointed out that "around two million days a year are lost through sickness as a result of lower limb disorders" and that "many employers in the retail sector force women workers to wear high heels as part of their dress code". It did not call for a ban on high heels at work, but rather called on employers to consider the health impact of their dress codes and encourage the wearing of healthy, comfortable shoes. Benefit claimants In October 2010, Dorries suggested that benefit claimants who made more than 35,000 postings on Twitter should be reported to the Department for Work and Pensions. On being told by the Bedfordshire on Sunday newspaper that one of her constituents was out of work because of ill health and had posted more than 37,000 tweets, Dorries told the newspaper that her constituent's tweeting gave housebound disabled people a bad name. Personal life Dorries married mining engineer Paul Dorries in 1984. They had three daughters before separating in 2007 and subsequently divorcing; he had multiple sclerosis and she said they had reached "entirely different stages in [their] lives". A Christian, she has said in an interview for a Salvation Army newspaper: "I am not an MP for any reason other than because God wants me to be. There is nothing I did that got me here; it is what God did. There is nothing amazing or special about me, I am just a conduit for God to use." Dorries is a keen supporter of Liverpool F.C., but has said that her great-grandfather George Bargery was one of the founders of rival team Everton F.C. and was the team's first ever goalkeeper. Dorries has dyslexia. On 23 April 2022, after accidentally saying "downstream" instead of download and tennis "pitch" instead of tennis court in a TikTok video, she said it was sometimes "difficult" to say words correctly and said she "found it tough seeing commentators and media outlets mock me for something that is beyond my control." Honours Dorries was sworn in as a member of Her Majesty's Most Honourable Privy Council on 20 September 2021 at Balmoral Castle. This gave her the honorific prefix "The Right Honourable" for life. Awards In 2008, Dorries won The Spectators 'Readers' Representative Award'. Books The Four Streets Saga series The Four Streets (volume 1), Head of Zeus, April 2014, Hide Her Name (volume 2), Head of Zeus, December 2014, The Ballymara Road (volume 3), Head of Zeus, June 2015, Coming Home to the Four Streets (volume 4), Head of Zeus, 2021, Run to Him (short story), Head of Zeus, November 2014, A Girl Called Eilinora (short story), Head of Zeus, September 2015, Ruby Flynn, Head of Zeus, November 2015, The Lovely Lane series The Angels of Lovely Lane (volume 1), Head of Zeus, June 2016, The Children of Lovely Lane (volume 2), Head of Zeus, December 2016, The Mothers of Lovely Lane (volume 3), Head of Zeus, June 2017, Christmas Angels (volume 4), Head of Zeus, November 2017, An Angel Sings (short story), Head of Zeus, November 2018, Snow Angels (volume 5), Head of Zeus, October 2019, The Tarabeg series Shadows in Heaven (volume 1), Head of Zeus, July 2018, Mary Kate (volume 2), Head of Zeus, January 2019, The Velvet Ribbon (volume 3), Head of Zeus, January 2020, The Bellfont Legacy series (6 volumes announced) A Wicked Woman (volume 1), Head of Zeus, announced March 2024, Notes References External links Nadine Dorries: brave Tory rebel or a self-serving stunt woman? | profile Guardian profile of Dorries The Blog of Nadine Dorries official site "The Columnists: Nadine Dorries", ConservativeHome Mid Bedfordshire Conservatives Meet the MP: Nadine Dorries, BBC News, 28 November 2005 Category:1957 births Category:Living people Category:English people of Irish descent Category:Politicians from Liverpool Category:21st-century English women Category:21st-century British women politicians Category:British anti-abortion activists Category:British Protestants Category:British Secretaries of State Category:Conservative Party (UK) MPs for English constituencies Category:English nurses Category:British women bloggers Category:Female members of the Parliament of the United Kingdom for English constituencies Category:UK MPs 2005–2010 Category:UK MPs 2010–2015 Category:UK MPs 2015–2017 Category:UK MPs 2017–2019 Category:UK MPs 2019–present Category:Female members of the Cabinet of the United Kingdom Category:Members of the Privy Council of the United Kingdom Category:Independent members of the House of Commons of the United Kingdom Category:Politicians with dyslexia Category:British politicians with disabilities
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C_f2689620104d4ab6a2c8719b0d2c8944_0
Nadine Dorries
Dorries was born as Nadine Vanessa Bargery in Liverpool. Her father was a bus driver who became a lift operator having suffered from Raynaud's disease, which had necessitated the amputation of his toes. Her father was a Roman Catholic of Irish descent, while her mother was an English Protestant. Dorries was raised as a Protestant.
Bercow and Dorries' new expenses issues
She was reportedly part of a plot to oust John Bercow from the Speaker's chair in the run up to the 2010 general election, and, after the election, sent an email to all new MPs advocating his removal. Writing in the Daily Mail, just before his tenure was reapproved, she objected to Bercow's abandonment of the speaker's "magnificent" ceremonial clothes and placed herself among those MPs who accuse him of not carrying forward "the great tradition of authority, control and impartiality". On 9 May 2010, two days after retaining the Mid-Bedfordshire seat at the general election, The Sunday Times revealed that Dorries was facing the first complaint about an MP's expenses claim of the new parliament. The newspaper reported that she had claimed around PS10,000 for an annual report in 2007 on her performance as an MP, but that her former Commons researcher had never seen the report or worked on it. Dorries insisted that she had indeed published the report, placing a photograph of it on her blog. She subsequently told the Biggleswade Advertiser that the report was never printed and a credit note issued with refund on 13 September 2008. On 13 January 2011, it was announced by the Daily Mirror that police were investigating Dorries concerning her expenses. Three days later, The Sunday Times reported that police had since handed a file to the Crown Prosecution Service for consideration. In February 2013, it was reported that Dorries was being investigated by the Independent Parliamentary Standards Authority over her expenses, although no specific details were given at this time. On 27 June 2013, Dorries announced she would no longer claim her personal expenses as an MP, but would draw on her salary for such costs. She argued that she would be in a better position to campaign for the abolition of the present expenses arrangements by doing so. Dorries herself stood for election as a deputy speaker after one of the three posts became vacant. In the Commons vote during October 2013, she gained the support of 13 MPs, and was the first of the six candidates to be eliminated in the voting process. CANNOTANSWER
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Nadine Vanessa Dorries (née Bargery, 21 May 1957) is a British politician who served as Secretary of State for Digital, Culture, Media and Sport from 2021 to 2022 under Prime Minister Boris Johnson. A member of the Conservative Party, she has been the Member of Parliament (MP) for Mid Bedfordshire since 2005. Born in Liverpool to a working-class family, Dorries was raised in the city's Anfield district and the nearby towns of Halewood and Runcorn. She began work as a trainee nurse in Warrington and subsequently became a medical representative. During her early career, she spent a year in Zambia as the head of a community school. After returning to England, she founded Company Kids Ltd, which provided child day-care services for working parents. She sold the company in 1998. She was first elected to the House of Commons at the 2005 general election for the Conservative safe seat of Mid Bedfordshire. As a backbencher, Dorries introduced several unsuccessful private member's bills, including attempts to reduce the time limit for abortions in the UK and changes to the rules regarding counselling for the women involved, and the advocacy of sexual abstinence for girls in sex education. An opponent of John Bercow, she attempted to have him removed as Speaker of the House of Commons. She also clashed with David Cameron and George Osborne, describing them as "two arrogant posh boys". In 2012, she lost the Conservative whip after she took part in the reality TV programme I'm a Celebrity...Get Me Out of Here! without informing the chief whip. It was returned in 2013 and she was re-admitted to the parliamentary party. In July 2019, Boris Johnson appointed Dorries as Parliamentary Under-Secretary of State for Patient Safety, Suicide Prevention and Mental Health. In May 2020, she was promoted to Minister of State. In Johnson's cabinet reshuffle in September 2021, he promoted her to Secretary of State for Digital, Culture, Media and Sport. Despite being made an offer to stay on, she resigned from her role as Secretary of State ahead of the formation of the Truss ministry, after Liz Truss took over from Johnson on 6 September 2022. On 9 February 2023, she announced her intention to stand down at the next general election. Early life Dorries was born Nadine Vanessa Bargery in Liverpool on 21 May 1957. Her father, a Catholic of Irish descent, was a bus driver who became a lift operator and had Raynaud's disease. Her mother was an Anglican, and Dorries was raised as such. She was brought up in the Anfield district of Liverpool, where she attended Rose Heath Primary School. She then attended Halewood Grange Comprehensive School before moving with her family to Runcorn. She grew up on a council estate and entered nursing in 1975 as a trainee at Warrington General Hospital. According to an interview with The Times in 2014, Dorries' parents divorced during her adolescence. While training to be a nurse at 21, she shared a flat with her father. He died at the age of 42. Early career From 1978 to 1981, Dorries was a nurse in Warrington and Liverpool according to a 2009 report. Her CV when she was a parliamentary candidate in 2001 stated Liverpool and London as places where she worked as a nurse. She left the Liverpool area after she married mining engineer Paul Dorries. In 1982, Dorries became a medical representative to Ethicla Ltd for a year, before spending a year in Zambia (1983–84) as the head of a community school, where her husband ran a copper mine. In 1987 she founded Company Kids Ltd, which provided child day-care services for working parents. The company was sold in 1998 to BUPA; Dorries was subsequently a director of the health provider during the following year. As Nadine Bargery, she was selected as the prospective parliamentary candidate (PPC) for Hazel Grove, near Manchester in spring 2000. Her candidacy split the constituency party, and she was briefly deselected in August before being imposed by Conservative Central Office. Standing for the seat at the 2001 general election, she was unsuccessful in her attempt to succeed the Liberal Democrat candidate Andrew Stunell, who retained the seat with a majority of 8,435 votes. Dorries worked for three years as a special adviser to Oliver Letwin, when Shadow Chancellor, to sort out his relations with the media amongst other things. Parliamentary career (2005–present) Dorries won the Conservative candidacy for the safe seat of Mid Bedfordshire in 2005 on the retirement through ill health after a series of scandals of Jonathan Sayeed. In 2009, she gave this account of her selection: Dorries' account of her own selection appears to contradict a news report which The Times ran at the time, reporting that Conservative Campaign Headquarters placed a majority of women on the shortlist and pressed for the selection of a female candidate: Dorries was elected to the House of Commons at the 2005 general election with a majority of 11,355, and made her maiden speech on 25 May 2005. Dorries initially supported David Davis to become Conservative leader in 2005, later withdrawing her endorsement. David Cameron, the successful candidate, though "represent[s] everything that through my life . . . [I have] been suspicious of." In May 2007, she criticised Cameron for ignoring the recommendations of the Conservative public policy working group in favour of grammar schools. However, she did defend the selection of Liz Truss in 2009, whose Conservative candidature was called into question after an extra-marital affair was revealed. Dorries served as a member of the Innovation, Universities, Science and Skills Committee, although by November 2008 she had attended only 2% of sessions. The committee then reformed as the Science and Technology Select Committee; she did not attend a single session. In 2010, she was elected to the Health Select Committee. In May 2008, Dorries featured in the Channel 4 Dispatches documentary "In God's Name". The programme examined the growing influence of Christian evangelical movements in the UK and highlighted the Lawyers' Christian Fellowship's involvement in lobbying the British Government on issues such as abortion, gay rights and the enforcing of laws relating to blasphemy. The programme included footage of an LCF representative meeting with Dorries to influence policy on matters where they had a common agenda. In February 2010 Dorries took part in the Channel 4 documentary series Tower Block of Commons, in which MPs stay with welfare claimants. Dorries was re-elected in the 2010 general election with an increased majority and a swing of 2.3% from the Liberal Democrats. In 2013, Dorries' daughter was reportedly among the highest-earning family members employed by MPs with a salary of £40,000–45,000 as an office manager, even though her daughter lived 96 miles away from the office. Subsequently, Dorries' sister was taken on as "senior secretary" with a salary of £30,000–35,000. In reply to an enquiry by Ben Glaze, deputy political editor of the Daily Mirror, about the employment of her daughter, Dorries tweeted: "Be seen within a mile of my daughters and I will nail your balls to the floor... using your own front teeth. Do you get that?" In October 2013, Dorries described a fellow Conservative MP, Kris Hopkins, as "one of parliament's slimiest, nastiest MPs" on her Twitter account, and criticised Prime Minister Cameron's decision to promote Hopkins to a junior ministerial post within the Department for Communities and Local Government as "a really awful decision". On 29 May 2015, the independent candidate in Mid Bedfordshire, Tim Ireland, lodged an appeal against the result accusing Dorries of breaches of Section 106 of the Representation of the People Act 1983 by making false statements about his character. The development first emerged in early-June after the three-week petition for such an action had expired. The petition was rejected by the High Court of Justice because it was served at Dorries' constituency office and not her home address. Damian McBride email affair In April 2009, Dorries stated that she had commenced legal action following the leaked publication of emails sent by Damian McBride, Prime Minister Gordon Brown's head of strategy and planning, which suggested spreading a rumour that Dorries had a one-night stand with a fellow MP, in an email to Derek Draper, a Labour-supporting blogger. McBride resigned and Dorries denounced the accusation as libellous: "[t]he allegations regarding myself are 100 per cent untrue", and demanded an apology intent on exposing the Number 10 "cesspit". Brown subsequently said he was "sorry" and that he took "full responsibility for what happened". Dorries threatened libel proceedings against McBride, Draper and Downing Street but did not carry out that threat. McBride paid Dorries an undisclosed sum, estimated at £1,000 plus £2,500 towards her costs. Expenses claims In May 2009, The Daily Telegraph, as part of its exposure of MPs' expenses claims, questioned whether the property in Dorries' constituency, on which she claimed £24,222 additional costs allowance (for "secondary" housing costs), had been in fact her main or only home from 2007 onwards. The newspaper also queried hotel bills, including one for 'Mr N Dorries': these had been disallowed by the Fees Office and Dorries said they were submitted by mistake. On 22 May 2009, she spoke on BBC Radio 4 and drew parallels between the McCarthy 'Witch-Hunts' and the press's 'drip-drip' revelation of MP's expenses, eliciting Cameron's public criticism. She said everyone was fearing a 'suicide', and colleagues were constantly checking up on each other. Later in the day her blog was taken down. It transpired that Withers, lawyers acting for the Barclay Brothers, the owners of the Daily Telegraph, had required the removal of the blog, on threat of libel action against the service provider. In January 2010, it was reported that Dorries was still being investigated by John Lyon, the Parliamentary Commissioner for Standards, regarding her claim for second home expenses. There was some debate as to the location of her main home. It was also reported that Dorries had claimed £20,000 in office expenses for work undertaken by a media relations and public affairs company. On 9 May 2010, two days after being returned at the general election for Mid Bedfordshire, The Sunday Times reported that Dorries was facing the first complaint about an MP's expenses claim of the new parliament. The newspaper reported that she had claimed around £10,000 for an annual report in 2007 on her performance as an MP, but that her former Commons researcher had never seen the report or worked on it. Dorries insisted that she had indeed published the report, placing a photograph of it on her blog. She subsequently told the Biggleswade Advertiser that the report was never printed and a credit note issued with refund on 13 September 2008. On 13 January 2011, it was reported by the Daily Mirror that police were investigating Dorries concerning her expenses. Three days later, The Sunday Times reported that police had since handed a file to the Crown Prosecution Service for consideration. In February 2013, it was reported that Dorries was being investigated by the Independent Parliamentary Standards Authority over her expenses, although no specific details were given at this time. On 27 June 2013, Dorries announced she would no longer claim her personal expenses as an MP, but would draw on her salary for such costs. She argued that she would be in a better position to campaign for the abolition of the present expenses arrangements by doing so. Dorries herself stood for election as a deputy speaker after one of the three posts became vacant. In the Commons vote during October 2013, she gained the support of 13 MPs, and was the first of the six candidates to be eliminated in the voting process. Blog A complaint from the Liberal Conspiracy website, regarding Dorries' use of the House of Commons' Portcullis emblem on her blog, had been upheld in March 2008, on the basis that Dorries "gave the impression it had some kind of parliamentary endorsement or authority". On 21 October 2010, the MP's standards watchdog criticised Dorries for maintaining a blog which would "mislead constituents" as to how much actual time she was spending in her constituency. Dorries announced: "my blog is 70% fiction and 30% fact! It is written as a tool to enable my constituents to know me better and to reassure them of my commitment to Mid Bedfordshire. I rely heavily on poetic licence and frequently replace one place name/event/fact with another." Referring to her main home being in Gloucestershire, she said: "I have always been aware that should my personal domestic arrangements become the knowledge of my political opponents, they would be able to exaggerate that to good effect." She gave an explanation of the statement to her local newspaper, in which she said that her whereabouts on her blog had been disguised, on police advice, because of unwanted attention. She also said that she made the statement in order to protect her staff and family. On 27 October 2010, Dorries partially retracted her 70% fiction claim, posting a blog entry which stated that "It also only takes any individual with a smattering of intelligence to see that everything on the blog is accurate, because it is largely a record of real time events. It was only ever the perception of where I was on any particular day which was disguised." The conservative journalist Peter Oborne suggested, in his Daily Telegraph blog a fortnight later, that Cameron should have "ordered Mrs Dorries to apologise personally to her constituents, and stripped her of the party whip there and then". In 2012, she was voted best MP on Twitter by the politics.co.uk website. Visit to Equatorial Guinea with other MPs In August 2011, Dorries led the first delegation of Members of Parliament to Equatorial Guinea. It is a small African country, but the third-biggest oil producer on the continent, ruled since 1979 by President Teodoro Obiang Nguema. It has one of the worst human rights records on the continent. She met the Prime Minister of Equatorial Guinea, Ignacio Milam Tang. She has been quoted as saying to him: "We are here to dispel some of the myths about Equatorial Guinea and also with humility to offer you help to avoid the mistakes we have made." According to the official website of Equatorial Guinea, Dorries was one of nine MPs on the trip. Reality TV and temporary suspension Early in November 2012, it was announced that Dorries had agreed to appear in I'm a Celebrity... Get Me Out of Here. Other Conservatives objected to her decision and her constituents were "overwhelmingly negative" on local radio. Neither the Conservative chief whip, Sir George Young, nor the chairman of the Mid Bedfordshire Conservative Association were informed of her absence from Parliament. The Conservative Party suspended Dorries from the party whip on 6 November, after her confirmation that she was planning to be absent from Parliament. John Lyon, the Parliamentary Commissioner for Standards, received a complaint about her behaviour. The series began on 11 November 2012, but on 21 November, Dorries became the first contestant to be voted off the show. On 27 November Dorries met Sir George Young, who asked her to rebuild her relationship with the party. She then sat as an independent MP, but continued to deny the whip had been withdrawn, stating it had merely been suspended. On 8 May 2013, Dorries regained the Conservative whip without any conditions having been applied. George Osborne reportedly objected to her regaining the parliamentary whip, while commentators speculated that, should she not be readmitted, Dorries might join UKIP, which had made gains from the Conservatives in the previous week's local elections. Peter Oborne observed at this point that Dorries had still not declared the amount she was paid for her appearance on I'm a Celebrity... in the register of members interests, last published on 22 April, despite her promise to do so. Shortly after regaining the whip, Dorries floated the idea of joint Conservative-UKIP candidates at the next general election in 2015, with herself as such a candidate. "This is not party policy and it's not going to happen", a Conservative Party spokesman told the Press Association. Following the publication of a report by the Standards Committee on 11 November 2013, Dorries apologised in the House of Commons to her fellow MPs for two errors of judgement. Her confidentiality agreement with ITV over her fee for appearing on I'm A Celebrity... had led to her refusing to disclose the information to Kathryn Hudson, the parliamentary commissioner for standards. In so doing, she had broken the MP's code of conduct. The all-party standards committee said that she should never have agreed to such a clause in her contract. In addition, Dorries had falsely claimed that payment for eight pieces of work in the media did not need to be declared as they were made to Averbrook, her company, rather than to herself directly. Andy McSmith, writing in The Independent at the beginning of December 2013, said that Dorries had finally disclosed her income (amounting to £20,228 in total) from appearing on I'm a Celebrity... in the register of members' interests. Brexit In the June 2016 EU referendum, Dorries supported the Leave campaign and was critical of Cameron, who backed Remain. Dorries called for Cameron to resign during the campaign in May 2016, and submitted a letter of no confidence to Graham Brady, chairman of the 1922 Committee. Buzzfeed reported that in October 2017 Dorries had become confused about her party's position on Brexit after talking with a politics teacher about a key element of her party's position, Britain's proposed exit from the European Union Customs Union. The EU Customs Union is an agreement between EU members not to impose tariffs (i.e. import taxes) on goods passing across their mutual borders. From a semi-private discussion that Buzzfeed made public, it was suggested that Dorries believed the UK could leave the EU but stay within the Customs Union whilst at the same time negotiating free trade deals with other countries. Later in December 2017 she tweeted: "If we stay in the Single Market and the Customs Union, we haven't left." In November 2018, Dorries, who was strongly in favour of Brexit, said of the Withdrawal Agreement negotiated between the UK Government and the EU27: "This is a very sad place to be, but unfortunately, the future of the country and of our relationship with Europe is at stake. This deal gives us no voice, no votes, no MEPs, no commissioner". Minister for Patient Safety, Suicide Prevention and Mental Health (2019–2021) When Boris Johnson became prime minister in July 2019, Dorries was appointed as Parliamentary Under-Secretary of State for Patient Safety, Suicide Prevention and Mental Health at the Department of Health and Social Care. She was promoted in May 2020 to the ministerial rank of Minister of State for Patient Safety, Suicide Prevention and Mental Health. On 10 March 2020, Dorries became the first MP to be diagnosed with COVID-19. It is not known exactly when she contracted the disease, but it was reported that she had attended Parliament and visited 10 Downing Street before being required to self-isolate. On 14 May 2020, Dorries was criticised after she retweeted a doctored video from a far-right Twitter account which falsely claimed that Labour leader Keir Starmer obstructed the prosecution of grooming gangs while he served as Director of Public Prosecutions. In November 2020, Dorries attracted media criticism after rejecting an offer of cross-party talks to discuss a mental health support package for frontline NHS and care staff during the COVID-19 pandemic. In March 2021, she defended the government's 1% NHS pay-offer on the grounds that it would protect the financial support of those on furlough, stating that the "unprecedented" pressure on the UK's finances was behind the pay offer. Secretary of State for Digital, Culture, Media and Sport (2021–2022) On 15 September 2021, Dorries was promoted as Secretary of State for Digital, Culture, Media and Sport following Oliver Dowden's appointment as Conservative Party Co-chairman. She is a critic of what she believes to be elitism in the BBC and wants to push for "BBC reform". Dorries was criticised in the Digital, Culture, Media and Sport Select Committee by John Nicolson due to her previous tweets towards LBC journalist James O'Brien. In February 2022, amidst a controversy over a joke about Romani genocide, made by Jimmy Carr on a Netflix special, Dorries said that the government would bring in legislation to "hold to account" streaming companies for offensive content. She said there was no disconnect between this view and her previous opinions that "left-wing snowflakes are killing comedy". During the July–September 2022 Conservative Party leadership election, Dorries was reported as considering herself as a candidate, but ultimately didn't stand and instead endorsed Liz Truss. In July 2022, Dorries personally granted Grade II-listed status to a plaque of Cecil Rhodes which she believed is of "special historic interest". This decision attracted controversy as Rhodes has been labelled the "Architect of Apartheid" because he passed laws in Cape Colony which expropriated land from black Africans and effectively banned them from political participation. Return to the backbenches 2022–present On 5 September 2022, in anticipation of the appointment of Liz Truss as Prime Minister, Dorries tendered her resignation as Culture Secretary (effective 6 September) and returned to the backbenches. Truss had asked Dorries to stay on as Secretary of State in her new government, but Dorries instead decided to step down to concentrate on writing books. On 9 February 2023, Dorries announced her intention to stand down at the next general election, blaming "infighting and stupidity" that led to resignation of Boris Johnson. Author It became public knowledge in September 2013 that Dorries had signed a three-book deal for a six-figure advance; her first book was published the following April. Her first novel, The Four Streets, which draws on her Liverpool Catholic background, became a No.1 best-selling e-book with 100,000 copies sold in the format by July 2014, although print sales in hardback and paperback were significantly lower with, respectively, 2,735 and 637 sales by then. Dorries' work of fiction gained mostly negative reviews. Sarah Ditum in the New Statesman complained that some of the sentences "read like clippings from Wikipedia" while Christopher Howse, writing for The Daily Telegraph, described The Four Streets as "the worst novel I've read in 10 years". "You should read the next one. It's much better", Dorries told Ann Treneman of The Times. By 2022, Dorries had published 16 books and announced a series of six more with publisher Head of Zeus. Political views Dorries, described as "a right-wing, working-class Conservative", is a member of the socially conservative Cornerstone Group. Abortion time limits and counselling Dorries says she witnessed "botched" abortions on two occasions, an experience that influenced her campaign to lower the point during a pregnancy at which an abortion can be performed. On 31 October 2006, Dorries introduced a Private Member's Bill in the House of Commons, which would have reduced the time limit for abortion in Great Britain from 24 to 21 weeks; introduced a ten-day 'cooling-off' period for women wishing to have an abortion, during which time the woman would be required to undergo counselling; and accelerate access to abortion at the end of the cooling-off period. Dorries said she had received death threats from activists and was given police protection. Parliament voted by 187 to 108 to reject the bill. In May 2008, Dorries tabled an amendment to the proposed Human Fertilisation and Embryology Bill seeking to reduce the upper limit for abortions from the current 24 weeks of pregnancy to 20 weeks. Reportedly written by Andrea Williams, then of The Lawyers' Christian Fellowship, Dorries has denied that her campaigning on the abortion issue receives funding from Christian fundamentalist groups, although Dorries's website for the "20 Reasons for 20 Weeks" campaign in 2008 was registered by Christian Concern For Our Nation (CCFON), another organisation with which Williams is involved; one of the pressure group's interns set up the website without charge to Dorries. According to Guardian journalist Kira Cochrane, it was the greatest challenge to women's abortion rights in nearly 20 years. Andrea Williams (now director of Christian Concern and Christian Legal Centre) was a team member of the campaign. In the Channel 4 Dispatches documentary, "In God's Name", Dorries was asked how closely she worked with Williams and Dorries replied, ""Closely? We've been stuck to the hip. Very closely." In reference to her campaign, Dorries also said:Dorries' amendment was defeated by 332 votes to 190, with a separate 22-week limit opposed by 304 votes to 233. A majority of MPs continued to support the 24-week limit. She said of her tactics on this issue in 2007: "If I were to argue that all abortions should be banned, the ethical discussions would go round in circles ... My view is that the only way forward is to argue for a reduction in the time limit ... it's every baby's right to have a life." Dorries proposed amendments to the Health and Social Care Bill 2011 which would have blocked abortion services such as BPAS and Marie Stopes International from providing counselling services. She argued that these organisations had a vested financial interest in encouraging abortions, but according to Zoe Williams "independent" counselling services could be "faith-based groups" intent on discouraging women from having an abortion. Cameron's government at first supported the proposal, but later changed its mind, reportedly because then-Liberal Democrat Leader and Deputy Prime Minister Nick Clegg was opposed to the change. Dorries' criticism of Cameron's policy shift was supported by some commentators such as Cristina Odone, who shares Dorries concerns. Clegg's apparent opposition was, for Dorries, a means of "blackmailing our Prime Minister", and a question regarding Liberal Democrats' influence was the source of Cameron's description of Dorries as "extremely frustrated" at Prime Minister's questions on 7 September. Cameron was criticised by feminists among others for the comment, and subsequently apologised. The issue of abortion counselling was debated in the Commons immediately following this incident. The motion was originally seconded by Labour MP Frank Field, but he withdrew his support after Health Minister Anne Milton intervened to suggest the Government would support the spirit of Dorries' amendment. The amendment was lost by 368 votes to 118, a majority of 250. Despite this, Dorries claimed a victory because of Milton's comments. Abstinence advocacy for girls in sex education On 4 May 2011, Dorries proposed a Bill to require that sex education in schools should include content promoting abstinence to girls aged 13–16, which was presented as teaching them "how to say no". While sex education already mentions the option of abstinence, the bill would have required active promotion of abstinence to girls, with no such requirement in the education provided to boys. Owing to Dorries' claims about practices used in teaching about sex, Sarah Ditum in The Guardian accused Dorries of making Sex and Relationship Education (SRE) "sound like a terrifying exercise in depravity". The Bill drew criticism from healthcare and sex education professionals, questioning claims made during the Bill's reading. Labour MP Chris Bryant described the Bill as being "the daftest piece of legislation I have seen". The Sexual Abstinence Bill was set for second reading on 20 January 2012 (Bill 185), after she was granted leave to introduce the Bill on a vote of 67 to 61 on 4 May 2011. The Bill, placed eighth on the order paper, was withdrawn shortly before its second reading. Same-sex marriage Dorries opposed the government's successful legislation to introduce same-sex marriage. In May 2012, on the Conservative Home website she wrote: "Gay marriage is a policy which has been pursued by the metro elite gay activists and needs to be put into the same bin [as reform of the House of Lords]". In an interview with Mehdi Hasan in October 2012, Dorries said she favoured gay marriage, but only after Britain has left the European Convention on Human Rights. In an exchange with Iain Dale around the same time, she speculated that the issue could cost her party four million votes at the next general election. In February 2013, at the time of the Bill's second reading in the House of Commons, she argued that the Bill avoided the issue of consummation and thus contradicted the Marriages Act 1973, and therefore did not make gay marriage equal to heterosexual marriage. She also argued that there was no provision for adultery, or faithlessness, as it might apply to gay couples because the term applies to heterosexual couples only. Burka ban In August 2018, Boris Johnson was criticised for a column that he had written in the Daily Telegraph. As part of an article discussing the introduction of a burka ban in Denmark, Johnson said that Muslim women who wore burkas "look like letter boxes" and the garment gave them the appearance of "bank robbers", although the point of the article was to condemn governments who tell "a free-born adult woman what she may or may not wear, in a public place, when she is simply minding her own business". Dorries, however, said that Johnson "did not go far enough", saying the burka should have no place in Britain and it was "shameful that countries like France and Denmark are way ahead of us on this". On 7 August 2018, Dorries tweeted "No woman in a liberal, progressive society should be forced to cover up her beauty or her bruises." Speaker John Bercow Prior to John Bercow's election as Speaker of the House of Commons in June 2009, Dorries accused him of opportunism and disloyalty to the Conservative Party. She described his election as "a two-fingered salute to the British people from Labour MPs, and to the Conservative Party". After Bercow's wife, Sally, was approved as a Labour parliamentary candidate and gave an interview about her personal life, Dorries argued that the Bercows were damaging the historic respect accorded to the office of speaker. Dorries was reportedly part of a plot to oust Bercow from the speaker's chair in the run-up to the 2010 general election, and, after the election, sent an email to all new MPs advocating his removal. Cameron, Clegg and Osborne On 6 March 2012, Dorries criticised Cameron and Nick Clegg of the coalition government over their taxation policies. Referring to the proposed cuts in child benefit, she told the Financial Times "The problem is that policy is being run by two public schoolboys who don't know what it's like to go to the supermarket and have to put things back on the shelves because they can't afford it for their children's lunchboxes. What's worse, they don't care, either". She again criticised Cameron, and also George Osborne, in similar terms on 23 April, calling them "two arrogant posh boys who don't know the price of milk – who show no remorse, no contrition and no passion to want to understand the lives of others". Osborne said on The Andrew Marr Show on 6 May 2012: "Nadine Dorries, for the last seven years, I don't think has agreed with anything either myself, David Cameron, or indeed most Conservatives in the leadership of the party have done." In the summer of 2012, Dorries criticised Osborne again for sending a badly briefed junior Treasury minister, Chloe Smith, to deputise for him on Newsnight in order to defend a government u-turn on fuel duty. All-women shortlists In a debate on Woman's Hour, broadcast on 22 August 2001, Dorries (as Nadine Bargery) had advocated all-women shortlists if the behaviour of Conservative selection committees did not change. In 2009 though, Dorries was highly critical of Cameron's proposal to consider using all-women shortlists, arguing against a move which would create "two classes of MPs". She wrote that "Sometimes I feel sorry for some of the Labour women who were selected via all-women shortlists. Everyone knows who they are. They are constantly derided." High heels at work In late 2009, Dorries campaigned against what she called "a proposal to ban the wearing of high heels in the office" which was to be debated at the 2009 Trades Union Congress (TUC). The motion, submitted to the TUC by the Society of Chiropodists and Podiatrists, pointed out that "around two million days a year are lost through sickness as a result of lower limb disorders" and that "many employers in the retail sector force women workers to wear high heels as part of their dress code". It did not call for a ban on high heels at work, but rather called on employers to consider the health impact of their dress codes and encourage the wearing of healthy, comfortable shoes. Benefit claimants In October 2010, Dorries suggested that benefit claimants who made more than 35,000 postings on Twitter should be reported to the Department for Work and Pensions. On being told by the Bedfordshire on Sunday newspaper that one of her constituents was out of work because of ill health and had posted more than 37,000 tweets, Dorries told the newspaper that her constituent's tweeting gave housebound disabled people a bad name. Personal life Dorries married mining engineer Paul Dorries in 1984. They had three daughters before separating in 2007 and subsequently divorcing; he had multiple sclerosis and she said they had reached "entirely different stages in [their] lives". A Christian, she has said in an interview for a Salvation Army newspaper: "I am not an MP for any reason other than because God wants me to be. There is nothing I did that got me here; it is what God did. There is nothing amazing or special about me, I am just a conduit for God to use." Dorries is a keen supporter of Liverpool F.C., but has said that her great-grandfather George Bargery was one of the founders of rival team Everton F.C. and was the team's first ever goalkeeper. Dorries has dyslexia. On 23 April 2022, after accidentally saying "downstream" instead of download and tennis "pitch" instead of tennis court in a TikTok video, she said it was sometimes "difficult" to say words correctly and said she "found it tough seeing commentators and media outlets mock me for something that is beyond my control." Honours Dorries was sworn in as a member of Her Majesty's Most Honourable Privy Council on 20 September 2021 at Balmoral Castle. This gave her the honorific prefix "The Right Honourable" for life. Awards In 2008, Dorries won The Spectators 'Readers' Representative Award'. Books The Four Streets Saga series The Four Streets (volume 1), Head of Zeus, April 2014, Hide Her Name (volume 2), Head of Zeus, December 2014, The Ballymara Road (volume 3), Head of Zeus, June 2015, Coming Home to the Four Streets (volume 4), Head of Zeus, 2021, Run to Him (short story), Head of Zeus, November 2014, A Girl Called Eilinora (short story), Head of Zeus, September 2015, Ruby Flynn, Head of Zeus, November 2015, The Lovely Lane series The Angels of Lovely Lane (volume 1), Head of Zeus, June 2016, The Children of Lovely Lane (volume 2), Head of Zeus, December 2016, The Mothers of Lovely Lane (volume 3), Head of Zeus, June 2017, Christmas Angels (volume 4), Head of Zeus, November 2017, An Angel Sings (short story), Head of Zeus, November 2018, Snow Angels (volume 5), Head of Zeus, October 2019, The Tarabeg series Shadows in Heaven (volume 1), Head of Zeus, July 2018, Mary Kate (volume 2), Head of Zeus, January 2019, The Velvet Ribbon (volume 3), Head of Zeus, January 2020, The Bellfont Legacy series (6 volumes announced) A Wicked Woman (volume 1), Head of Zeus, announced March 2024, Notes References External links Nadine Dorries: brave Tory rebel or a self-serving stunt woman? | profile Guardian profile of Dorries The Blog of Nadine Dorries official site "The Columnists: Nadine Dorries", ConservativeHome Mid Bedfordshire Conservatives Meet the MP: Nadine Dorries, BBC News, 28 November 2005 Category:1957 births Category:Living people Category:English people of Irish descent Category:Politicians from Liverpool Category:21st-century English women Category:21st-century British women politicians Category:British anti-abortion activists Category:British Protestants Category:British Secretaries of State Category:Conservative Party (UK) MPs for English constituencies Category:English nurses Category:British women bloggers Category:Female members of the Parliament of the United Kingdom for English constituencies Category:UK MPs 2005–2010 Category:UK MPs 2010–2015 Category:UK MPs 2015–2017 Category:UK MPs 2017–2019 Category:UK MPs 2019–present Category:Female members of the Cabinet of the United Kingdom Category:Members of the Privy Council of the United Kingdom Category:Independent members of the House of Commons of the United Kingdom Category:Politicians with dyslexia Category:British politicians with disabilities
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C_ae72c5400b5a49c085dbfc653b36df8b_1
Testament (band)
Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises guitarists Eric Peterson and Alex Skolnick, lead vocalist Chuck Billy, drummer Gene Hoglan, and bassist Steve Di Giorgio. Since its inception, Testament has had numerous lineup changes, leaving Peterson as the only constant member. Billy replaced original singer Steve "Zetro" Souza (who left the band to join Exodus as the replacement of Paul Baloff) in 1986, prior to the recording of their first studio album, The Legacy, and has been a member of the band since.
Increasing popularity (1988-1992)
Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, and managed to sell over 250,000 copies. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Death Angel, Vio-Lence and Raven. After touring in support of The New Order, the band headed back into the studio to record their third studio album Practice What You Preach. Released in August 1989, the album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption. Practice What You Preach performed better on the charts than The New Order, reaching at number 77 on the Billboard 200, and included the hit single, the title track, which saw extensive airplay on Headbangers Ball. Testament toured for nearly a year behind Practice What You Preach with several bands, including Annihilator, Wrathchild America, Mortal Sin, Nuclear Assault and Savatage. By 1990, the album had sold over 450,000 copies. In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. They also opened for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. The Ritual saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound. The Ritual peaked at 55 on the Billboard Hot 100, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. In support of the album, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of The Ritual did not put an end to the tensions within the band. CANNOTANSWER
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Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick, bassist Steve Di Giorgio and drummer Chris Dovas. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who had been out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had left to replace Paul Baloff in Exodus. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall. Referred to as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs. After signing to Atlantic/Megaforce Records in 1986, and changing its name from Legacy to Testament, the band released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which saw a brief reunion of The Legacy lineup, resulting in the live album Live in London. Since then, Testament has experienced a resurgence of popularity, with four of their studio albums—The Formation of Damnation (2008), Dark Roots of Earth (2012), Brotherhood of the Snake (2016) and Titans of Creation (2020)—all entering the Top 100 on the Billboard 200, and they have continued to tour consistently. The band is currently working on new material for their fourteenth studio album, which is tentatively due for release in 2024. History Early years and first two albums (1983–1989) The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned. The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987. Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful North American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour. Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's "Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows. Commercial breakthrough (1989–1992) Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA. In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments. Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at number 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band. Transitional period (1992–2004) For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band. Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records. Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament. The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine. By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bassist Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord. Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums. By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth. Reunion of classic lineup and The Formation of Damnation (2005–2010) In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time. Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down. In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest. In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page. In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada. Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low. The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra. Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with Lamb of God. Dark Roots of Earth (2010–2013) As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future. After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death". Dark Roots of Thrash and Brotherhood of the Snake (2013–2019) In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album. On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013. In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band. When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox and Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord and Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators. In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019. Titans of Creation and upcoming fourteenth studio album (2019–present) By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020. The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition. Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this was a summer European tour, which included festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura, and then the second North American leg of the Bay Strikes Back tour in the fall. The band also co-headlined the Klash of the Titans tour in Latin America with Kreator in the spring of 2023, followed by a European tour with Voivod. On some dates of the latter tour, Phil Demmel of Vio-lence and formerly of Machine Head stepped in for guitarist Alex Skolnick, as the latter had sat out in order to tend to a family emergency. In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album. On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail." On March 1, it was announced that drummer Dave Lombardo had rejoined the band in time for the North American leg of The Bay Strikes Back tour, which became Testament's first major outing with Lombardo, who had left the band before the 1999-2000 tour for The Gathering. The band later discussed the possibility of recording a new album with Lombardo, and Billy stated in September 2022 that the band would likely begin work on it after the conclusion of The Bay Strikes Back tour. He later stated that he hoped they would begin recording their new album towards the end of 2023 for a 2024 release. In April 2023, Lombardo announced that he would not be joining Testament throughout their 2023 tour dates, citing scheduling conflicts as the reasons, and cited uncertainty that he would return to the band afterwards. He was later replaced by Chris Dovas, who had previously filled in for Lombardo for a few U.S. dates the previous fall. Legacy and influence Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s." Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Raven, Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus. Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry. In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts. Band members Current members Eric Peterson – rhythm and lead guitar, backing vocals Alex Skolnick – lead guitar, backing vocals Chuck Billy – lead vocals Steve Di Giorgio – bass , backing vocals Chris Dovas – drums Discography The Legacy (1987) The New Order (1988) Practice What You Preach (1989) Souls of Black (1990) The Ritual (1992) Low (1994) Demonic (1997) The Gathering (1999) First Strike Still Deadly (2001) The Formation of Damnation (2008) Dark Roots of Earth (2012) Brotherhood of the Snake (2016) Titans of Creation (2020) References External links Category:1983 establishments in California Category:Heavy metal musical groups from California Category:Musical groups established in 1983 Category:Musical groups from Berkeley, California Category:Musical groups from the San Francisco Bay Area Category:Musical quintets Category:Nuclear Blast artists Category:Thrash metal musical groups from California
[]
[ "The context does not provide information on the line up members of the band Testament.", "The context does not provide information on any member leaving the band Testament in any specific year.", "The context does not provide information on which songs by Testament were popular in a specific year.", "The context mentions \"Practice What You Preach\" and \"Return to Serenity\" as popular songs from the band Testament that had extensive radio airplay and reached the Billboard charts. The title track from the Souls of Black album also contributed to the their popularity.", "The context does not provide information on Testament receiving any awards.", "Testament saw varying degrees of success with their songs. Their second album, \"The New Order,\" reached number 136 on the Billboard 200 and sold over 250,000 copies. Their third album, \"Practice What You Preach,\" performed better on the charts, reaching number 77 on the Billboard 200, and sold 450,000 copies by 1990. The title track from \"Practice What You Preach\" saw extensive airplay on Headbangers Ball. Their song \"Return to Serenity\" from their album \"The Ritual\" received radio airplay and peaked at number 22. \"The Ritual\" peaked at 55 on the Billboard Hot 100, which was the band's highest chart position at the time.", "Yes, Testament had several concerts and participated in many tours. They opened for Megadeth on their So Far, So Good... So What! tour in Europe, toured the United States with Death Angel, Vio-Lence and Raven, and performed in arena tours including the European Clash of the Titans tour with Megadeth, Slayer, and Suicidal Tendencies. They also opened for Judas Priest on their Painkiller tour, and for Slayer on their Seasons in the Abyss tour. In addition, Testament headlined their own tours and opened for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour.", "The context does not provide information on any other tours that Testament made.", "The context provides some interesting aspects such as the themes of Testament's music - they transitioned from occult and gothic themes to focusing on real-life issues like politics and corruption. Also noteworthy is that Testament made a stylistic shift from thrash to a slower, more traditional heavy metal sound with their album \"The Ritual\" in an attempt to reconnect with an audience distracted by the growing grunge movement. Despite achieving their highest chart position, this did not end the tensions within the band. However, the text does not provide specific details about these tensions.", "The context does not provide information on Testament receiving any awards." ]
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C_9f978ffbb8c143c78a470791e7eb792c_0
Henry Irving
Sir Henry Irving (6 February 1838 - 13 October 1905), born John Henry Brodribb, sometimes known as J. H. Irving, was an English stage actor in the Victorian era, known as an actor-manager because he took complete responsibility (supervision of sets, lighting, direction, casting, as well as playing the leading roles) for season after season at the Lyceum Theatre, establishing himself and his company as representative of English classical theatre. In 1895 he became the first actor to be awarded a knighthood, indicating full acceptance into the higher circles of British society. Irving is widely acknowledged to be one of the inspirations for Count Dracula, the title character of the 1897 novel Dracula whose author, Bram Stoker, was business manager of the theatre.
Peak years
In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation of the role. After the production of Tennyson's The Cup and revivals of Othello (in which Irving played Iago to Edwin Booth's title character) and Romeo and Juliet, there began a period at the Lyceum which had a potent effect on the English stage. Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885); Faust (1886); Macbeth (1888, with incidental music by Arthur Sullivan); The Dead Heart, by Watts Phillips (1889); Ravenswood by Herman, and Merivales' dramatic version of Scott's Bride of Lammermoor (1890). Portrayals in 1892 of the characters of Wolsey in Henry VIII and of the title character in King Lear were followed in 1893 by a performance of Becket in Tennyson's play of the same name. During these years, too, Irving, with the whole Lyceum company, paid several successful visits to the United States and Canada, which were repeated in succeeding years. As Terry aged, there seemed to be fewer opportunities for her in his company; that was one reason she eventually left, moving on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women. CANNOTANSWER
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[ "What years were considered Irving's peak years?", "What did Irving and Ellen Terry do as partners?", "Did he act in anything during these peak years?", "Did he win any awards for his works?", "What else did he do during these years?", "When did he retire from acting?", "Are there any other interesting aspects about this article?", "What did he do when he had no more opportunities for Terry?" ]
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Sir Henry Irving (6 February 1838 – 13 October 1905), christened John Henry Brodribb, sometimes known as J. H. Irving, was an English stage actor in the Victorian era, known as an actor-manager because he took complete responsibility (supervision of sets, lighting, direction, casting, as well as playing the leading roles) for season after season at the West End's Lyceum Theatre, establishing himself and his company as representative of English classical theatre. In 1895 he became the first actor to be awarded a knighthood, indicating full acceptance into the higher circles of British society. Life and career Irving was born to a working-class family in Keinton Mandeville in the county of Somerset. W.H. Davies, the celebrated poet, was a cousin. Irving spent his childhood living with his aunt, Mrs Penberthy, at Halsetown in Cornwall. He competed in a recitation contest at a local Methodist chapel where he was beaten by William Curnow, later the editor of The Sydney Morning Herald. He attended City Commercial School for two years before going to work in the office of a law firm at age 13. When he saw Samuel Phelps play Hamlet soon after this, he sought lessons, letters of introduction, and work in the Lyceum Theatre in Sunderland in 1856, labouring against great odds until his 1871 success in The Bells in London set him apart from all the rest. He married Florence O'Callaghan on 15 July 1869 at St. Marylebone, London, but his personal life took second place to his professional life. On opening night of The Bells, 25 November 1871, Florence, who was pregnant with their second child, criticised his profession: "Are you going on making a fool of yourself like this all your life?" Irving exited their carriage at Hyde Park Corner, walked off into the night, and chose never to see her again. He maintained a discreet distance from his children as well, but became closer to them as they grew older. Florence Irving never divorced Irving, and once he had been knighted she styled herself "Lady Irving"; Irving never remarried. His elder son, Harry Brodribb Irving (1870–1919), usually known as "H B Irving", became a famous actor and later a theatre manager. His younger son, Laurence Irving (1871–1914), became a dramatist and later drowned, with his wife Mabel Hackney, in the sinking of the Empress of Ireland. H B married Dorothea Baird and they had a son, Laurence Irving (1897–1988), who became a well-known Hollywood art director and his grandfather's biographer. In November 1882 Irving became a Freemason, being initiated into the prestigious Jerusalem Lodge No 197 in London. In 1887 he became a founder member and first Treasurer of the Savage Club Lodge No 2190, a Lodge associated with London's Savage Club. He eventually took over the management of the Lyceum Theatre and brought actress Ellen Terry into partnership with him as Ophelia to his Hamlet, Lady Macbeth to his Macbeth, Portia to his Shylock, Beatrice to his Benedick, etc. Before joining the Lyceum, Terry had fled her first marriage and conceived two out-of-wedlock children with architect-designer Edward William Godwin, but regardless of how much and how often her behavior defied the strict morality expected by her Victorian audiences, she somehow remained popular. It could be said that Irving found his family in his professional company, which included his ardent supporter and manager Bram Stoker and Terry's two illegitimate children, Teddy and Edy. Whether Irving's long, spectacularly successful relationship with leading lady Ellen Terry was romantic as well as professional has been the subject of much historical speculation. Most of their correspondence was lost or burned by her descendants. According to Michael Holroyd's book about Irving and Terry, A Strange Eventful History: Terry's son Teddy, later known as Edward Gordon Craig, spent much of his childhood (from 1879, when he was 8, until 1897) indulged by Irving backstage at the Lyceum. Craig, who came to be regarded as something of a visionary for the theatre of the future, wrote an especially vivid, book-length tribute to Irving. ("Let me state at once, in clearest unmistakable terms, that I have never known of, or seen, or heard, a greater actor than was Irving.") George Bernard Shaw, at the time a theatre critic who was jealous of Irving's connection to Ellen Terry (whom Shaw himself wanted in his own plays), conceded Irving's genius after Irving died. Early career After a few years' schooling while living at Halsetown, near St Ives, Cornwall, Irving became a clerk to a firm of East India merchants in London, but he soon gave up a commercial career for acting. On 29 September 1856 he made his first appearance at Sunderland as Gaston, Duke of Orleans, in Bulwer Lytton's play, Richelieu, billed as Henry Irving. This name he eventually assumed by royal licence. When the inexperienced Irving got stage fright and was hissed off the stage the actor Samuel Johnson was among those who supported him with practical advice. Later in life Irving gave them all regular work when he formed his own Company at the Lyceum Theatre. For 10 years, he went through an arduous training in various stock companies in Scotland and the north of England, taking more than 500 parts. He gained recognition by degrees, and in 1866 Ruth Herbert engaged him as her leading man and sometime stage director at the St. James's Theatre, London, where she first played Doricourt in The Belle's Stratagem. One piece that he directed there was W. S. Gilbert's first successful solo play, Dulcamara, or the Little Duck and the Great Quack (1866) The next year he joined the company of the newly opened Queen's Theatre, where he acted with Charles Wyndham, J. L. Toole, Lionel Brough, John Clayton, Mr. and Mrs. Alfred Wigan, Ellen Terry and Nellie Farren. This was followed by short engagements at the Haymarket Theatre, Drury Lane, and the Gaiety Theatre. In the spring of 1869, Irving was one of the original twelve members of The Lambs of London—assembled by John Hare as a social club for actors—and would be made an Honorary Lifetime member in 1883. He finally made his first conspicuous success as Digby Grant in James Albery's Two Roses, which was produced at the Vaudeville Theatre on 4 June 1870 and ran for a very successful 300 nights. In 1871, Irving began his association with the Lyceum Theatre by an engagement under Bateman's management. The fortunes of the house were at a low ebb when the tide was turned by Irving's sudden success as Mathias in The Bells, a version of Erckmann-Chatrian's Le Juif polonais by Leopold Lewis, a property which Irving had found for himself. The play ran for 150 nights, established Irving at the forefront of the British drama, and would prove a popular vehicle for Irving for the rest of his professional life. With Bateman, Irving was seen in W. G. Wills' Charles I and Eugene Aram, in Richelieu, and in 1874 in Hamlet. The unconventionality of this last performance, during a run of 200 nights, aroused keen discussion and singled him out as the most interesting English actor of his day. In 1875, again with Bateman, he was seen as the title character in Macbeth; in 1876 as Othello, and as Philip in Alfred Lord Tennyson's Queen Mary; in 1877 in Richard III; and in The Lyons Mail. During this time he became lifelong friends with Bram Stoker, who praised him in his review of Hamlet and thereafter joined Irving as the manager for the company. Peak years In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation of the role. After the production of Tennyson's The Cup and revivals of Othello (in which Irving played Iago to Edwin Booth's title character) and Romeo and Juliet, there began a period at the Lyceum which had a potent effect on the English stage. Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885); Faust (1885); Macbeth (1888, with incidental music by Arthur Sullivan); The Dead Heart, by Watts Phillips (1889); Ravenswood by Herman, and Merivales' dramatic version of Scott's Bride of Lammermoor (1890). Portrayals in 1892 of the characters of Wolsey in Henry VIII and of the title character in King Lear were followed in 1893 by a performance of Becket in Tennyson's play of the same name. During these years, too, Irving, with the whole Lyceum company, paid several successful visits to the United States and Canada, which were repeated in succeeding years. As Terry aged, there seemed to be fewer opportunities for her in his company; that was one reason she eventually left, moving on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women. Safety theatres In 1887, the Exeter Theatre Royal fire claimed the lives of 186 people, injuring dozens more, during a performance of The Romany Rye being staged by fellow actor-manager Wilson Barrett at the Theatre Royal, Exeter. Irving was one of the first high-profile people to donate to the relief fund for survivors and orphans, sending £100. The fire caused Irving to become involved in ensuring better safety for theatres, and he developed the "Irving Safety Theatre" principles, working with eminent architect Alfred Darbyshire. These principles included making the theatre site isolated, dividing the auditorium from the back of house, a minimum height above street level for any part of the audience, providing two separate exits for every section of the audience, improved stage construction including a smoke flue, and fire-resistant construction throughout. The first theatre built to these principles was the rebuilt New Theatre Royal in Exeter. Influence on Bram Stoker's Dracula From 1878, Bram Stoker worked for Irving as a business manager at the Lyceum. Stoker idolised Irving to the point that "As one contemporary remarked, 'To Bram, Irving is as a god, and can do no wrong.' In the considered judgment of one biographer, Stoker's friendship with Irving was 'the most important love relationship of his adult life.'" Irving, however, "… was a self-absorbed and profoundly manipulative man. He enjoyed cultivating rivalries between his followers, and to remain in his circle required constant, careful courting of his notoriously fickle affections." When Stoker began writing Dracula, Irving was the chief inspiration for the title character. In his 2002 paper for The American Historical Review, "Buffalo Bill Meets Dracula: William F. Cody, Bram Stoker, and the Frontiers of Racial Decay", historian Louis S. Warren writes: Later years The chief remaining novelties at the Lyceum during Irving's term as sole manager (at the beginning of 1899 the theatre passed into the hands of a limited-liability company) were Arthur Conan Doyle's Waterloo (1894); J. Comyns Carr's King Arthur in 1895; Cymbeline, in which Irving played Iachimo, in 1896; Sardou's Madame Sans-Gene in 1897; and Peter the Great, a play by Laurence Irving, the actor's second son, in 1898. Irving received a death threat in 1899 from fellow actor (and murderer of William Terriss) Richard Archer Prince. Terriss had been stabbed at the stage door of the Adelphi Theatre in December 1897 and in the wake of his death, Prince was committed to Broadmoor Criminal Lunatic Asylum. Irving was critical of the unusually lenient sentence, remarking "Terriss was an actor, so his murderer will not be executed." Two years later, Prince had found Irving's home address and threatened to murder him "when he gets out". Irving was advised to submit the letter to the Home Office to ensure Prince's continued incarceration, which Irving declined to do. In 1898 Irving was Rede Lecturer at the University of Cambridge. The new regime at the Lyceum was signalled by the production of Sardou's Robespierre in 1899, in which Irving reappeared after a serious illness, and in 1901 by an elaborate revival of Coriolanus. Irving's only subsequent production in London was as Sardou's Dante (1903) at the Drury Lane. Death On 13 October 1905, at 67 years old, Irving had completed a performance and suffered a stroke after returning to his lodging at the lobby of the Midland Hotel, Bradford, where he died before medical attention could arrive. A more dramatic, but untrue story, would later be written by Thomas Anstey Guthrie in his 'Long Retrospect': "Within three months, on October 13, 1905, Henry Irving, when appearing as Becket at the Bradford Theatre, was seized with syncope just after uttering Becket's dying words 'Into thy hands, O Lord, into thy hands', and though he lived for an hour or so longer he never spoke again." (Thomas Anstey Guthrie. "Long Retrospect") Another witness at the play, Bram Stoker (known for being the author of Dracula), told reporters later that "We chatted for awhile after the play, and I left him, although not notably strong, not in any way cast down and not more exhausted than had been usual for some time. A little more than three-quarters of an hour afterward I was sent for by the man who attended Sir Henry from the theatre, who told me that he had fainted or collapsed on entering the Midland Hotel. Hurrying down, I found Sir Henry lying in the passage— dead." Stoker added, "Had he died on the stage, as might have happened, it would have given shock and bitter memory to many tender hearts." Guthrie's confusion may have come from the fact that the character Becket's last words in the play are "O Lord, into thy hands," but, as a correspondent noted, "Then the curtain falls, and within a very short time, having just reached his hotel, the great actor breathed his last." The chair that he was sitting in before he died is now at the Garrick Club. He was cremated and his ashes buried in Westminster Abbey, thereby becoming the first person ever to be cremated prior to interment at Westminster. There is a statue of him near the National Portrait Gallery in London. That statue, as well as the influence of Irving himself, plays an important part in the Robertson Davies novel World of Wonders. The Irving Memorial Garden was opened on 19 July 1951 by Laurence Olivier. Legacy Both on and off the stage, Irving always maintained a high ideal of his profession, and in 1895 he received a knighthood (first offered in 1883), the first ever accorded an actor. He was also the recipient of honorary degrees from the universities of Dublin (LL.D 1892), Cambridge (Litt.D 1898), and Glasgow (LL.D 1899). He also received the Komthur Cross, 2nd class, of the Saxe-Ernestine House Order of Saxe-Coburg-Gotha and Saxe-Meiningen. His acting divided critics; opinions differed as to the extent to which his mannerisms of voice and deportment interfered with or assisted the expression of his ideas. Irving's idiosyncratic style of acting and its effect on amateur players was mildly satirised in The Diary of a Nobody. Mr Pooter's son brings Mr Burwin-Fosselton of the Holloway Comedians to supper, a young man who entirely monopolised the conversation, and: "...who not only looked rather like Mr Irving but seemed to imagine he was the celebrated actor... he began doing the Irving business all through supper. He sank so low down in his chair that his chin was almost on a level with the table, and twice he kicked Carrie under the table, upset his wine, and flashed a knife uncomfortably near Gowing's face." In T. S. Eliot's poem, "Gus: The Theatre Cat" (), the title character's old age and theatrical distinction are expressed in the couplet: For he once was a Star of the highest degree-- He has acted with Irving, he's acted with Tree. These verses appear in the lyrics of the homonymous song in Andrew Lloyd Webber's 1981 musical Cats. In the 1963 West End musical comedy Half a Sixpence the actor Chitterlow does an impression of Irving in The Bells. Percy French's burlesque heroic poem "Abdul Abulbul Amir" lists among the mock-heroic attributes of Abdul's adversary, the Russian Count Ivan Skavinsky Skavar, that "he could imitate Irving". In the 1995 film A Midwinter's Tale by Kenneth Branagh, two actors discuss Irving, and one of them, Richard Briers does an imitation of his speech. In the play The Woman in Black, set in the Victorian era, the actor playing Kipps tells Kipps 'We'll make an Irving of you yet,' in Act 1, as Kipps is not a very good actor due to his inexperience. In the political sitcom Yes, Prime Minister (sequel to Yes, Minister), in the episode "The Patron of the Arts", first aired on 14 January 1988, the Prime Minister is asked what was the last play he'd seen, and replies "Hamlet." When asked "Whose?" — specifically, who played Hamlet, not who wrote it — he is unable to remember and is prompted with the suggestion "Henry Irving?" to audience laughter. Biography In 1906, Bram Stoker published a two-volume biography about Irving called Personal Reminiscences of Henry Irving. See also Irving Family Notes References Further reading Stoker, Bram. Personal Reminiscences of Henry Irving: Volume 1 and Volume 2. London : W. Heinemann, 1906. Scanned books via Internet Archive. Archer, William 1885. Henry Irving, Actor and Manager: A Critical Study, London:Field & Tuer. Beerbohm, Max. 1928. 'Henry Irving' in A Variety of Things. New York, Knopf. Holroyd, Michael. 2008. A Strange Eventful History, Farrar Straus Giroux, Irving, Laurence. 1989. Henry Irving: The Actor and His World. Lively Arts. External links The Irving Society The Henry Irving Foundation Information about Irving at the PeoplePlay UK website NY Times article that includes information about Irving's American tour and the lease of the Lyceum to the American company at the same time My First "Reading" by Henry Irving, an article written by Irving about a personal experience Henry Irving North American Theatre Online with bio and pics Henry Irving-Ellen Terry tour correspondence, 1884-1896, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts Irving Disher Collection, Rare Books, Special Collections, and Preservation, River Campus Libraries, University of Rochester Category:1838 births Category:1905 deaths Category:English male stage actors Category:English male Shakespearean actors Category:19th-century English male actors Category:20th-century English male actors Category:19th-century theatre Category:Actor-managers Category:Knights Bachelor Category:Actors awarded knighthoods Category:English people of Cornish descent Category:People from South Somerset (district) Category:Burials at Westminster Abbey Category:Freemasons of the United Grand Lodge of England Category:19th-century theatre managers Category:20th-century theatre managers Category:Members of The Lambs Club
[]
[ "The text does not provide specific years considered to be Irving's peak years.", "Irving and Ellen Terry re-opened the Lyceum under Irving's management. Together, they revived Hamlet and produced The Merchant of Venice, with Terry playing the roles of Ophelia and Portia. They also carried out a series of other theatrical productions and paid several successful visits to the United States and Canada with the whole Lyceum company.", "Yes, during what can be inferred as his \"peak years\", Irving acted in several productions including Hamlet, The Merchant of Venice, Othello, Romeo and Juliet, Much Ado About Nothing, Twelfth Night, an adaptation of Goldsmith's Vicar of Wakefield, Faust, Macbeth, The Dead Heart, Ravenswood, Bride of Lammermoor, Henry VIII, King Lear and Becket.", "The text does not provide information on Irving winning any awards for his works.", "During these years, in addition to his acting and directing duties at the Lyceum, Irving and his company also made several successful touring visits to the United States and Canada. Moreover, he also brought about a significant impact on the English stage through his distinctive portrayals and productions.", "The text does not provide information on when Irving retired from acting.", "One interesting aspect of the article is the discussion about Irving's portrayal of Shylock, a character from \"The Merchant of Venice\". The text notes that Irving's portrayal was notable because he invested the character with dignity, which marked a departure from the traditional interpretation of the role. Additionally, his partnership with actress Ellen Terry and their joint influence on the English stage, particularly through the works staged at the Lyceum, also make for intriguing points of discussion. Finally, the regular tours to the United States and Canada where they found success is another interesting aspect.", "The text does not provide specific information on what Irving did when there were fewer opportunities for Ellen Terry in his company. However, it is stated that Terry eventually left the company and moved on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women." ]
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C_274cfa666914416f8f1f7ca3c2e440cf_1
Rhapsody of Fire
Rhapsody of Fire (formerly known as Rhapsody) is an Italian symphonic power metal band created by Luca Turilli and Alex Staropoli, widely seen as a pioneer of the symphonic power metal subgenre. Since forming in 1993 as Thundercross, the band has released twelve studio albums, two live albums, two EPs, and a Live DVD. Rhapsody of Fire is known for its conceptual lyrics that constitute a fantasy story throughout all of their albums from 1997 to 2011. After using the moniker of Rhapsody for nearly ten years, the band changed their name to Rhapsody of Fire in 2006 due to trademark issues.
Success and conclusion of The Emerald Sword Saga (2000-2004)
In the spring Rhapsody started their first tour, starting in Sweden. They performed with Stratovarius and Sonata Arctica in Spring 2000 supported by their new drummer Alex Holzwarth. After the tour they began recording their new album, Dawn of Victory. The first single "Holy Thunderforce" was released in 2000 with some success. The new album showed Rhapsody in a whole new light, with a more aggressive style and sped-up tempo. It continued the third part of the Emerald Sword Saga, and the orchestra still played an important part of the album, with songs such as "Lux Triumphans", "The Village of Dwarves" and "The Bloody Rage of the Titans", played beside more bombastic melodies as "Dawn of Victory", "Triumph for My Magic Steel", "Dargor, Shadowlord of the Black Mountain" and "Holy Thunderforce". It was more successful than any of their previous outings, and "Dawn of Victory" ranked at #32 in the German charts, while in Japan it peaked in 4th place. In early summer 2001, Rhapsody toured through South America and Europe. Rain of a Thousand Flames served as a bridge between the last part of the Emerald Sword Saga and Power of the Dragonflame. Power of the Dragonflame was released in February 2002 and saw incredible success around the world. Marking the end of the Emerald Sword Saga, it contained soft ballads, upbeat metal melodies, and the epic 19-minute-long concluding song, "Gargoyles, Angels of Darkness". The band was joined by another two members, Patrice Guers (bass) and Dominique Leurquin (guitars). Alex Holzwarth, who had been playing drums for Rhapsody onstage since 2000 was listed in the official band line-up on these releases, although Holzwarth has played drums in the studio since The Dark Secret EP. CANNOTANSWER
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{ "answer_starts": [ 0, 69, 184, 254, 431, 587, 806, 923, 1035 ], "texts": [ "In the spring Rhapsody started their first tour, starting in Sweden.", "They performed with Stratovarius and Sonata Arctica in Spring 2000 supported by their new drummer Alex Holzwarth.", "After the tour they began recording their new album, Dawn of Victory.", "The first single \"Holy Thunderforce\" was released in 2000 with some success.", "It continued the third part of the Emerald Sword Saga, and the orchestra still played an important part of the album,", "The Village of Dwarves\" and \"The Bloody Rage of the Titans\", played beside more bombastic melodies as \"Dawn of Victory", "It was more successful than any of their previous outings, and \"Dawn of Victory\" ranked at #32 in the German charts,", "while in Japan it peaked in 4th place. In early summer 2001, Rhapsody toured through South America and Europe.", "Rain of a Thousand Flames served as a bridge between the last part of the Emerald Sword Saga and Power of the Dragonflame." ] }
Rhapsody of Fire (formerly known as Rhapsody) is an Italian symphonic power metal band formed by Luca Turilli and Alex Staropoli, widely seen as a pioneer of the symphonic power metal subgenre. Since forming in 1993 as Thundercross, the band has released twelve studio albums, two live albums, three EPs, and a Live DVD. Rhapsody of Fire is known for its conceptual lyrics that constitute a fantasy story throughout all of their albums from 1997 to 2011. After using the moniker of Rhapsody for nearly ten years, the band changed its name to Rhapsody of Fire in 2006 due to trademark issues. In 2011, following the release of their album From Chaos to Eternity which concluded The Dark Secret Saga, and after 18 years as co-leader of the band, Turilli left Rhapsody of Fire (on good terms) to form a new Rhapsody band, Luca Turilli's Rhapsody, along with two other members who left with him, Dominique Leurquin, Patrice Guers. They describe their discography as a parallel continuation of Rhapsody of Fire's discography, with their first album being their own "Rhapsody's 11th album" and consider that they didn't leave the band, rather that it amicably split in two. In 2016, other long-term members Fabio Lione and Alex Holzwarth left the band, and reunited with Turilli, Leurquin, and Guers, to play again under the name Rhapsody for their 20th Anniversary Farewell Tour; in December 2018, several months after announcing that Luca Turilli's Rhapsody was now inactive, Turilli announced the creation of a new Rhapsody band named Turilli / Lione Rhapsody, with the lineup of the 20th Anniversary Farewell Tour (recreating, minus Staropoli, the original band's 2002–2011 lineup). History Early years as Thundercross (1993–1997) The power metal band Thundercross was formed in 1993 by Luca Turilli, Alex Staropoli, and Daniele Carbonera. Turilli has said in interviews that both Thundercross and the early Rhapsody material were heavily influenced by Helloween, Crimson Glory and Manowar's style of heavy metal, and that Yngwie Malmsteen and Jason Becker were a big influence from a guitar playing perspective. In 1994, Thundercross released their first demo, Land of Immortals, with vocalist Cristiano Adacher. During this period of time, they went through a few bassist changes in their lineup. After accepting a proposal from Limb Music Products & Publishing, the band started recording their second demo, Eternal Glory. At this time they also changed their name to Rhapsody. Shortly after the release of Eternal Glory, Adacher and bassist Furlan left the band. Former vocalist of Labyrinth and Athena Fabio Lione joined Rhapsody afterwards. Album debut: Legendary Tales and Symphony of Enchanted Lands (1997–2000) With these four members, the band started recording their debut album, Legendary Tales, which was released in 1997. Rhapsody incorporated classical music, baroque and heavy metal styles in a subgenre they call "film score metal" due to its resemblance to movie soundtracks. The album was recorded in Germany by the well-known producer Sascha Paeth (Heaven's Gate), who also helped Rhapsody with their bass parts. The album was also the beginning story of the Emerald Sword Saga. The lyrics on the album (written by Turilli) often refer to mystical medieval folklore and the heroic valor of those times and are centered around high fantasy, highlighting, in particular, the everlasting fight between good and evil. In the years that followed, Turilli, Staropoli, and Lione developed their new sound even more with their second album, Symphony of Enchanted Lands, in 1998, having been joined by bass player Alessandro Lotta. They wrote pieces such as "Emerald Sword", drawing on Russian folklore and Celtic style elements and adding to the Emerald Sword Saga. 1999 was a quiet year for Rhapsody, but Luca and Fabio both released solo albums. Success and conclusion of The Emerald Sword Saga (2000–2004) In the spring Rhapsody started their first tour, starting in Sweden. They performed with Stratovarius and Sonata Arctica in Spring 2000 supported by their new drummer Alex Holzwarth. After the tour, they began recording their new album, Dawn of Victory. The first single "Holy Thunderforce" was released in 2000 with some success. The new album showed Rhapsody in a whole new light, with a more aggressive style and sped-up tempo. It continued the third part of the Emerald Sword Saga, and the orchestra still played an important part of the album, with songs such as "Lux Triumphans", "The Village of Dwarves" and "The Bloody Rage of the Titans", played beside more bombastic melodies as "Dawn of Victory", "Triumph for My Magic Steel", "Dargor, Shadowlord of the Black Mountain" and "Holy Thunderforce". It was more successful than any of their previous outings, and "Dawn of Victory" ranked at #32 in the German charts, while in Japan it peaked in 4th place. In early summer 2001, Rhapsody toured through South America and Europe. Rain of a Thousand Flames served as a bridge between the last part of the Emerald Sword Saga and Power of the Dragonflame. Power of the Dragonflame was released in February 2002 and saw incredible success worldwide. Marking the end of the Emerald Sword Saga, it contained soft ballads, upbeat metal melodies, and the epic 19-minute-long concluding song, "Gargoyles, Angels of Darkness". The band was joined by another two members, Patrice Guers (bass) and Dominique Leurquin (guitars). Alex Holzwarth, who had been playing drums for Rhapsody onstage since 2000 was listed in the official band line-up on these releases, although Holzwarth has played drums in the studio since The Dark Secret EP. Beginning of The Dark Secret Saga, name change and legal issues (2004–2008) The Dark Secret EP was released on 28 June 2004. It gave listeners a taste of what could be expected from the new album, labeled Symphony of Enchanted Lands II: The Dark Secret which was released several months later in September. Christopher Lee was involved in this project, narrating part of the storyline. Symphony of Enchanted Lands II was a follow-up to the Emerald Sword Saga called The Dark Secret Saga. In July 2006 the band formerly known as Rhapsody changed their name to Rhapsody of Fire due to trademark issues. The band's website goes into further detail: The band members consider this a great new start, reflecting the emboldened and increasingly grandiose direction that their music has taken. "The power of the Dragonflame will burn brighter than ever before," says guitarist/songwriter Luca Turilli. Keyboardist/songwriter Alex Staropoli adds, "The name Rhapsody of Fire better represents the energy that has always been present in this band and its music." The band released Triumph or Agony on 25 September 2006 in Europe. The second chapter in The Dark Secret Saga, Triumph or Agony, continues the bombastic Rhapsody of Fire tradition with a live 70-piece orchestra and choir as Turilli and Staropoli continued to self-produce the band's work with the assistance of co-producer Sascha Paeth. Newer songs include "Silent Dream", "Son of Pain" and the epic 16-minute-long "The Mystic Prophecy of the Demonknight", an example of a cinema soundtrack adapted to a metal song. In addition, vocalist Fabio Lione gave his songwriting debut for Rhapsody of Fire with the song "Il canto del Vento". In June 2008, Luca Turilli reported on the band's official website about a "hard legal fight with Magic Circle Music and his main representative Mr. Joey DeMaio". Since then, the band had gone on a hiatus for nearly a year and a half. Any studio or live activity was suspended for the period. Luca Turilli concentrated on his solo albums, Fabio Lione collaborated with Vision Divine and Kamelot, Alex Holzwarth collaborated with his brother Oliver, and Staropoli also announced his plans to record a solo album. Final albums with Turilli, end of The Dark Secret Saga; split into two bands (2009–2011) In late 2009 Limb Music re-released their back-catalogue from 1997 to 2001, along with the compilation album Tales from the Emerald Sword Saga on digital music stores. On 18 November 2009, it was announced that the band had signed with Nuclear Blast Records and that their new album, The Frozen Tears of Angels, would be released on 5 March 2010. However, Nuclear Blast stated that the album would not be released until 30 April. On 5 March 2010, the official Rhapsody of Fire website announced that it would indeed be released on 30 April. A new song was made available to download soon after. The album was produced by Luca Turilli and Alex Staropoli and mixed and mastered by Sascha Paeth at the Gate Studio in Wolfsburg. As well as the standard edition, it was released as a "special limited deluxe digipak" which included two bonus tracks and a 32-page booklet, and on vinyl. A 35-minute EP entitled The Cold Embrace of Fear – A Dark Romantic Symphony was released in Europe on 15 October 2010 and in the United States on 25 January 2011. The story is directly connected to The Frozen Tears of Angels. Rhapsody of Fire's ninth studio album, From Chaos to Eternity, was released on 12 July 2011. From Chaos to Eternity is the final album in the band's fantasy storyline, The Algalord Chronicles, which began with the release of Legendary Tales. It also marks the conclusion of The Dark Secret Saga, which began on Symphony of Enchanted Lands II: The Dark Secret. The final song on the album, the five-part "Heroes of the Waterfalls' Kingdom", is the band's longest, at almost twenty minutes long. After the release of From Chaos to Eternity, the band underwent many line-up changes. On 15 April 2011, it was announced that Tom Hess had become Rhapsody of Fire's second guitarist. Hess had actually joined the band in December 2010, recording all the rhythm guitar parts and contributing several solos for From Chaos to Eternity. Hess began touring with the band starting in 2011. On 16 August 2011, Rhapsody of Fire announced the friendly departure of long-time guitarist, songwriter, and founding member Luca Turilli, along with bassist Patrice Guers. They went on to found a new Rhapsody band, Luca Turilli's Rhapsody. With the departure of Turilli, Tom Hess became the lead guitarist of the band. Oliver Holzwarth, brother of drummer Alex Holzwarth, was announced to be Guers' replacement on 1 September 2011. Soon after, on 27 September 2011, the band announced that Roberto De Micheli had joined them as a second guitar player. Continued line-up changes, parallel farewell tour (2012–2017) The band embarked on their "From Chaos to Eternity World Tour" in the Spring of 2012. This tour was their largest yet, spanning three continents. Later that year, on 11 December 2012, the band signed with AFM Records. On 3 May 2013, a second live album was released, titled Live – From Chaos to Eternity, recorded during the European dates of their From Chaos to Eternity World Tour 2012. In July 2013, Tom Hess respectfully parted ways with the band due to "philosophical differences" with Alex Staropoli. Hess would not be replaced, with the band continuing with just one guitarist. Recording for the band's next studio album, Dark Wings of Steel, also began in July 2013. Dark Wings of Steel was released at the end of the year and was the band's first album not to be based on the band's fantasy saga, The Algalord Chronicles, which spanned from Legendary Tales to From Chaos to Eternity. A European tour followed the release of the album. Bassist Oliver Holzwarth left the band in August 2014. Alessandro Sala was announced as his replacement in June 2015, although he had joined the band a few months prior. Sala had previously been a bandmate of Roberto De Micheli in the band Sinestesia. Songwriting for a followup to Dark Wings of Steel began in the Fall of 2014. Album artwork and the track listings for the new album, titled Into the Legend, were revealed in November 2015. The album was released in January 2016. After a short tour to promote the new album, Fabio Lione announced his departure on 28 September 2016. Drummer Alex Holzwarth also announced his departure on the band's Facebook page a couple of days later on 9 October 2016. On 21 November 2016, former members Luca Turilli, Fabio Lione, Alex Holzwarth, Patrice Guers and Dominique Leurquin announced a Rhapsody "20th Anniversary Farewell Tour", in parallel to the current band. The tour celebrated the 20th anniversary of Rhapsody's first album Legendary Tales and featured, among other songs, the album Symphony of Enchanted Lands played in its entirety. The 20th Anniversary Farewell Tour started on 26 April 2017 in Annecy, France, and ended on 20 March 2018 in Madrid, Spain. On 11 November 2016, the band announced their new lead vocalist, Giacomo Voli. Manu Lotter was announced as the new drummer on 22 December 2016. On 20 January 2017, the band announced that their new album will be 14 classic Rhapsody songs re-recorded. The new album titled Legendary Years was announced on 17 March 2017 from the band's Facebook page. The album was released on 26 May 2017. The new lineup performed for the first time at the Trieste Summer Rock Festival at the castle of San Giusto on 29 July 2017 in Trieste, Italy. Following after the new line-up's debut performance was a tour with Orden Ogan in the fall of 2017. The Nephilim's Empire Saga (2018–present) On 14 March 2018, the band had posted a narrative extract on their Facebook page, hinting that another album was being made. The band later revealed the title of their twelfth album The Eighth Mountain, as the first chapter of a new saga titled The Nephilim's Empire Saga on 16 November 2018. The album was released on 22 February 2019. On 6 April 2020, Vocalist Giacomo Voli in an exclusive interview revealed that the band is currently working on their next album. Giacomo said, "This year we will record the new album and probably start already in the summer. At the end of the tour, I will start working on the lyrics with Roby De Micheli because some songs are already in the pre-production phase so they can be released in the spring of next year. As for the development of the saga, we will continue to narrate the events of this strange protagonist who was able to get out of hell thanks to the Nephilim. There are many possible ways and we will see what will happen." On 22 June 2020, it was announced that drummer Manu Lotter had departed from the band. The band announced Paolo Marchesich as their new drummer on 14 July 2020. Rhapsody of Fire had announced that the recording of the album had been completed on 24 September 2020, and were confirmed to be mixing the album with Sebastian "Seeb" Levermann in April 2021. On 23 April 2021, it was announced that Rhapsody of Fire would be releasing their upcoming EP, I'll Be Your Hero, on 4 June 2021 which contains a song recorded for the band's thirteenth studio album, Glory for Salvation, the second chapter to The Nephilim's Empire Saga which was released on 26 November 2021. A second single named after the title of the album was released on 9 July 2021. The third single off of the album, "Magic Signs", was released on 2 September 2021. The fourth single, "Terial the Hawk", was released on 15 October 2021. The fifth single, "Chains of Destiny" was released on 7 November 2021, along with a music video. On May 12, 2023, Rhapsody of Fire had released the single, "Kreel's Magic Staff", which is set to be featured on the upcoming fourteenth studio album, the third chapter to The Nephilim's Empire Saga. Band members Current members Alex Staropoli – keyboards (1993–present) Roberto De Micheli – lead guitar (2011–present), rhythm guitar (2013–present) Alessandro Sala – bass (2015–present) Giacomo Voli – lead vocals (2016–present) Paolo Marchesich – drums (2020–present) Former members Luca Turilli – lead guitar (1993–2011), rhythm guitar (1993–2000), lead vocals (1993) Cristiano Adacher – lead vocals (1993–1995) Andrea Furlan – bass (1993–1995) Daniele Carbonera – drums (1993–1999) Fabio Lione – lead vocals (1995–2016) Alessandro Lotta – bass (1998–2002) Alex Holzwarth – drums (2000–2016) Patrice Guers – bass (2002–2011) Tom Hess – rhythm guitar (2011–2013) Oliver Holzwarth – bass (2011–2014) Manu Lotter – drums (2016–2020) Session musicians Manuel Staropoli – studio baroque recorders (1997–present), composition (2013–present) Leone Conti – live bass (2020–present) Former session musicians Robert Hunecke-Rizzo – studio bass (1997) Sascha Paeth – studio bass (1997, 2002, 2014–2015) Jay Lansford – studio narration (1997–2002) Thunderforce – studio drums (2000–2002) Dominique Leurquin – live and studio guitars (2000–2011) Petr Pololanik – studio conductor and orchestrator (2004, 2006) Christopher Lee – studio narration, spoken vocals, occasional singing vocals (2004–2011, 2019) Vito Lo Re – orchestra conductor (2013, 2016, 2019) Timeline Discography Studio albums Legendary Tales (1997) Symphony of Enchanted Lands (1998) Dawn of Victory (2000) Rain of a Thousand Flames (2001) Power of the Dragonflame (2002) Symphony of Enchanted Lands II – The Dark Secret (2004) Triumph or Agony (2006) The Frozen Tears of Angels (2010) From Chaos to Eternity (2011) Dark Wings of Steel (2013) Into the Legend (2016) The Eighth Mountain (2019) Glory for Salvation (2021) References External links Official website Official fan club The Forest of Unicorns Fabio Lione official website Category:1993 establishments in Italy Category:Italian power metal musical groups Category:Italian symphonic metal musical groups Category:Musical groups established in 1993 Category:Nuclear Blast artists
[]
[ "Rhapsody started things off with their first tour, which began in Sweden.", "The text does not provide specific information on why starting their first tour in Sweden was important.", "The text does not provide any information on anything related to Rhapsody's activities being terrible.", "The text does not provide any information on anything being terrible.", "The text does not provide information on whether Rhapsody tried or not.", "The text does not provide any information on anything being terrible.", "After their first tour, Rhapsody began recording their new album, Dawn of Victory. The first single \"Holy Thunderforce\" was released in 2000. The album was more successful than their previous ones. \"Dawn of Victory\" ranked at #32 in the German charts, and in Japan it peaked in 4th place. In early summer 2001, Rhapsody toured through South America and Europe. They released another album, Power of the Dragonflame, in February 2002. Two new members, Patrice Guers (bass) and Dominique Leurquin (guitars), joined the band. Alex Holzwarth, who had been playing drums for Rhapsody onstage since 2000, was listed in the official band line-up on these releases.", "The text does not provide any information on anything being \"shitty\" about Rhapsody's activities or experiences.", "Rhapsody's next endeavor after their first tour was recording their new album, Dawn of Victory. Followed by another tour in early summer 2001 through South America and Europe, and then releasing another album, Power of the Dragonflame, in February 2002." ]
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C_274cfa666914416f8f1f7ca3c2e440cf_0
Rhapsody of Fire
Rhapsody of Fire (formerly known as Rhapsody) is an Italian symphonic power metal band created by Luca Turilli and Alex Staropoli, widely seen as a pioneer of the symphonic power metal subgenre. Since forming in 1993 as Thundercross, the band has released twelve studio albums, two live albums, two EPs, and a Live DVD. Rhapsody of Fire is known for its conceptual lyrics that constitute a fantasy story throughout all of their albums from 1997 to 2011. After using the moniker of Rhapsody for nearly ten years, the band changed their name to Rhapsody of Fire in 2006 due to trademark issues.
Name change, legal issues and Triumph or Agony (2006-2008)
In July 2006 the band formerly known as Rhapsody changed their name to Rhapsody of Fire due to trademark issues. The band's website goes into further detail: The band members consider this a great new start, reflecting the emboldened and increasingly grandiose direction that their music has taken. "The power of the Dragonflame will burn brighter than ever before," says guitarist/songwriter Luca Turilli. Keyboardist/songwriter Alex Staropoli adds, "The name Rhapsody of Fire better represents the energy that has always been present in this band and its music." The band released Triumph or Agony, on September 25, 2006, in Europe. The second chapter in The Dark Secret Saga, Triumph or Agony, continues the bombastic Rhapsody of Fire tradition with a live 70-piece orchestra and choir as Turilli and Staropoli continued to self-produce the band's work with the assistance of co-producer Sascha Paeth. New songs include "Silent Dream", "Son of Pain" and the epic 16-minute-long "The Mystic Prophecy of the Demonknight", an example of a cinema soundtrack adapted to a metal song. In addition, vocalist Fabio Lione gave his songwriting debut for Rhapsody of Fire with the song "Il canto del vento". In June 2008, Luca Turilli reported on the band's official website about a "hard legal fight with Magic Circle Music and his main representative Mr. Joey DeMaio". Since then, the band went on a hiatus for nearly one and a half years. Any studio or live activity was suspended for the period. Luca Turilli concentrated on his solo albums, Fabio Lione collaborated with Vision Divine and Kamelot, Alex Holzwarth collaborated with his brother Oliver, and Staropoli also announced his plans to record a solo album. In late 2009 Limb Music re-released their back-catalogue from 1997 to 2001, along with the compilation album Tales from the Emerald Sword Saga on digital music stores. CANNOTANSWER
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Rhapsody of Fire (formerly known as Rhapsody) is an Italian symphonic power metal band formed by Luca Turilli and Alex Staropoli, widely seen as a pioneer of the symphonic power metal subgenre. Since forming in 1993 as Thundercross, the band has released twelve studio albums, two live albums, three EPs, and a Live DVD. Rhapsody of Fire is known for its conceptual lyrics that constitute a fantasy story throughout all of their albums from 1997 to 2011. After using the moniker of Rhapsody for nearly ten years, the band changed its name to Rhapsody of Fire in 2006 due to trademark issues. In 2011, following the release of their album From Chaos to Eternity which concluded The Dark Secret Saga, and after 18 years as co-leader of the band, Turilli left Rhapsody of Fire (on good terms) to form a new Rhapsody band, Luca Turilli's Rhapsody, along with two other members who left with him, Dominique Leurquin, Patrice Guers. They describe their discography as a parallel continuation of Rhapsody of Fire's discography, with their first album being their own "Rhapsody's 11th album" and consider that they didn't leave the band, rather that it amicably split in two. In 2016, other long-term members Fabio Lione and Alex Holzwarth left the band, and reunited with Turilli, Leurquin, and Guers, to play again under the name Rhapsody for their 20th Anniversary Farewell Tour; in December 2018, several months after announcing that Luca Turilli's Rhapsody was now inactive, Turilli announced the creation of a new Rhapsody band named Turilli / Lione Rhapsody, with the lineup of the 20th Anniversary Farewell Tour (recreating, minus Staropoli, the original band's 2002–2011 lineup). History Early years as Thundercross (1993–1997) The power metal band Thundercross was formed in 1993 by Luca Turilli, Alex Staropoli, and Daniele Carbonera. Turilli has said in interviews that both Thundercross and the early Rhapsody material were heavily influenced by Helloween, Crimson Glory and Manowar's style of heavy metal, and that Yngwie Malmsteen and Jason Becker were a big influence from a guitar playing perspective. In 1994, Thundercross released their first demo, Land of Immortals, with vocalist Cristiano Adacher. During this period of time, they went through a few bassist changes in their lineup. After accepting a proposal from Limb Music Products & Publishing, the band started recording their second demo, Eternal Glory. At this time they also changed their name to Rhapsody. Shortly after the release of Eternal Glory, Adacher and bassist Furlan left the band. Former vocalist of Labyrinth and Athena Fabio Lione joined Rhapsody afterwards. Album debut: Legendary Tales and Symphony of Enchanted Lands (1997–2000) With these four members, the band started recording their debut album, Legendary Tales, which was released in 1997. Rhapsody incorporated classical music, baroque and heavy metal styles in a subgenre they call "film score metal" due to its resemblance to movie soundtracks. The album was recorded in Germany by the well-known producer Sascha Paeth (Heaven's Gate), who also helped Rhapsody with their bass parts. The album was also the beginning story of the Emerald Sword Saga. The lyrics on the album (written by Turilli) often refer to mystical medieval folklore and the heroic valor of those times and are centered around high fantasy, highlighting, in particular, the everlasting fight between good and evil. In the years that followed, Turilli, Staropoli, and Lione developed their new sound even more with their second album, Symphony of Enchanted Lands, in 1998, having been joined by bass player Alessandro Lotta. They wrote pieces such as "Emerald Sword", drawing on Russian folklore and Celtic style elements and adding to the Emerald Sword Saga. 1999 was a quiet year for Rhapsody, but Luca and Fabio both released solo albums. Success and conclusion of The Emerald Sword Saga (2000–2004) In the spring Rhapsody started their first tour, starting in Sweden. They performed with Stratovarius and Sonata Arctica in Spring 2000 supported by their new drummer Alex Holzwarth. After the tour, they began recording their new album, Dawn of Victory. The first single "Holy Thunderforce" was released in 2000 with some success. The new album showed Rhapsody in a whole new light, with a more aggressive style and sped-up tempo. It continued the third part of the Emerald Sword Saga, and the orchestra still played an important part of the album, with songs such as "Lux Triumphans", "The Village of Dwarves" and "The Bloody Rage of the Titans", played beside more bombastic melodies as "Dawn of Victory", "Triumph for My Magic Steel", "Dargor, Shadowlord of the Black Mountain" and "Holy Thunderforce". It was more successful than any of their previous outings, and "Dawn of Victory" ranked at #32 in the German charts, while in Japan it peaked in 4th place. In early summer 2001, Rhapsody toured through South America and Europe. Rain of a Thousand Flames served as a bridge between the last part of the Emerald Sword Saga and Power of the Dragonflame. Power of the Dragonflame was released in February 2002 and saw incredible success worldwide. Marking the end of the Emerald Sword Saga, it contained soft ballads, upbeat metal melodies, and the epic 19-minute-long concluding song, "Gargoyles, Angels of Darkness". The band was joined by another two members, Patrice Guers (bass) and Dominique Leurquin (guitars). Alex Holzwarth, who had been playing drums for Rhapsody onstage since 2000 was listed in the official band line-up on these releases, although Holzwarth has played drums in the studio since The Dark Secret EP. Beginning of The Dark Secret Saga, name change and legal issues (2004–2008) The Dark Secret EP was released on 28 June 2004. It gave listeners a taste of what could be expected from the new album, labeled Symphony of Enchanted Lands II: The Dark Secret which was released several months later in September. Christopher Lee was involved in this project, narrating part of the storyline. Symphony of Enchanted Lands II was a follow-up to the Emerald Sword Saga called The Dark Secret Saga. In July 2006 the band formerly known as Rhapsody changed their name to Rhapsody of Fire due to trademark issues. The band's website goes into further detail: The band members consider this a great new start, reflecting the emboldened and increasingly grandiose direction that their music has taken. "The power of the Dragonflame will burn brighter than ever before," says guitarist/songwriter Luca Turilli. Keyboardist/songwriter Alex Staropoli adds, "The name Rhapsody of Fire better represents the energy that has always been present in this band and its music." The band released Triumph or Agony on 25 September 2006 in Europe. The second chapter in The Dark Secret Saga, Triumph or Agony, continues the bombastic Rhapsody of Fire tradition with a live 70-piece orchestra and choir as Turilli and Staropoli continued to self-produce the band's work with the assistance of co-producer Sascha Paeth. Newer songs include "Silent Dream", "Son of Pain" and the epic 16-minute-long "The Mystic Prophecy of the Demonknight", an example of a cinema soundtrack adapted to a metal song. In addition, vocalist Fabio Lione gave his songwriting debut for Rhapsody of Fire with the song "Il canto del Vento". In June 2008, Luca Turilli reported on the band's official website about a "hard legal fight with Magic Circle Music and his main representative Mr. Joey DeMaio". Since then, the band had gone on a hiatus for nearly a year and a half. Any studio or live activity was suspended for the period. Luca Turilli concentrated on his solo albums, Fabio Lione collaborated with Vision Divine and Kamelot, Alex Holzwarth collaborated with his brother Oliver, and Staropoli also announced his plans to record a solo album. Final albums with Turilli, end of The Dark Secret Saga; split into two bands (2009–2011) In late 2009 Limb Music re-released their back-catalogue from 1997 to 2001, along with the compilation album Tales from the Emerald Sword Saga on digital music stores. On 18 November 2009, it was announced that the band had signed with Nuclear Blast Records and that their new album, The Frozen Tears of Angels, would be released on 5 March 2010. However, Nuclear Blast stated that the album would not be released until 30 April. On 5 March 2010, the official Rhapsody of Fire website announced that it would indeed be released on 30 April. A new song was made available to download soon after. The album was produced by Luca Turilli and Alex Staropoli and mixed and mastered by Sascha Paeth at the Gate Studio in Wolfsburg. As well as the standard edition, it was released as a "special limited deluxe digipak" which included two bonus tracks and a 32-page booklet, and on vinyl. A 35-minute EP entitled The Cold Embrace of Fear – A Dark Romantic Symphony was released in Europe on 15 October 2010 and in the United States on 25 January 2011. The story is directly connected to The Frozen Tears of Angels. Rhapsody of Fire's ninth studio album, From Chaos to Eternity, was released on 12 July 2011. From Chaos to Eternity is the final album in the band's fantasy storyline, The Algalord Chronicles, which began with the release of Legendary Tales. It also marks the conclusion of The Dark Secret Saga, which began on Symphony of Enchanted Lands II: The Dark Secret. The final song on the album, the five-part "Heroes of the Waterfalls' Kingdom", is the band's longest, at almost twenty minutes long. After the release of From Chaos to Eternity, the band underwent many line-up changes. On 15 April 2011, it was announced that Tom Hess had become Rhapsody of Fire's second guitarist. Hess had actually joined the band in December 2010, recording all the rhythm guitar parts and contributing several solos for From Chaos to Eternity. Hess began touring with the band starting in 2011. On 16 August 2011, Rhapsody of Fire announced the friendly departure of long-time guitarist, songwriter, and founding member Luca Turilli, along with bassist Patrice Guers. They went on to found a new Rhapsody band, Luca Turilli's Rhapsody. With the departure of Turilli, Tom Hess became the lead guitarist of the band. Oliver Holzwarth, brother of drummer Alex Holzwarth, was announced to be Guers' replacement on 1 September 2011. Soon after, on 27 September 2011, the band announced that Roberto De Micheli had joined them as a second guitar player. Continued line-up changes, parallel farewell tour (2012–2017) The band embarked on their "From Chaos to Eternity World Tour" in the Spring of 2012. This tour was their largest yet, spanning three continents. Later that year, on 11 December 2012, the band signed with AFM Records. On 3 May 2013, a second live album was released, titled Live – From Chaos to Eternity, recorded during the European dates of their From Chaos to Eternity World Tour 2012. In July 2013, Tom Hess respectfully parted ways with the band due to "philosophical differences" with Alex Staropoli. Hess would not be replaced, with the band continuing with just one guitarist. Recording for the band's next studio album, Dark Wings of Steel, also began in July 2013. Dark Wings of Steel was released at the end of the year and was the band's first album not to be based on the band's fantasy saga, The Algalord Chronicles, which spanned from Legendary Tales to From Chaos to Eternity. A European tour followed the release of the album. Bassist Oliver Holzwarth left the band in August 2014. Alessandro Sala was announced as his replacement in June 2015, although he had joined the band a few months prior. Sala had previously been a bandmate of Roberto De Micheli in the band Sinestesia. Songwriting for a followup to Dark Wings of Steel began in the Fall of 2014. Album artwork and the track listings for the new album, titled Into the Legend, were revealed in November 2015. The album was released in January 2016. After a short tour to promote the new album, Fabio Lione announced his departure on 28 September 2016. Drummer Alex Holzwarth also announced his departure on the band's Facebook page a couple of days later on 9 October 2016. On 21 November 2016, former members Luca Turilli, Fabio Lione, Alex Holzwarth, Patrice Guers and Dominique Leurquin announced a Rhapsody "20th Anniversary Farewell Tour", in parallel to the current band. The tour celebrated the 20th anniversary of Rhapsody's first album Legendary Tales and featured, among other songs, the album Symphony of Enchanted Lands played in its entirety. The 20th Anniversary Farewell Tour started on 26 April 2017 in Annecy, France, and ended on 20 March 2018 in Madrid, Spain. On 11 November 2016, the band announced their new lead vocalist, Giacomo Voli. Manu Lotter was announced as the new drummer on 22 December 2016. On 20 January 2017, the band announced that their new album will be 14 classic Rhapsody songs re-recorded. The new album titled Legendary Years was announced on 17 March 2017 from the band's Facebook page. The album was released on 26 May 2017. The new lineup performed for the first time at the Trieste Summer Rock Festival at the castle of San Giusto on 29 July 2017 in Trieste, Italy. Following after the new line-up's debut performance was a tour with Orden Ogan in the fall of 2017. The Nephilim's Empire Saga (2018–present) On 14 March 2018, the band had posted a narrative extract on their Facebook page, hinting that another album was being made. The band later revealed the title of their twelfth album The Eighth Mountain, as the first chapter of a new saga titled The Nephilim's Empire Saga on 16 November 2018. The album was released on 22 February 2019. On 6 April 2020, Vocalist Giacomo Voli in an exclusive interview revealed that the band is currently working on their next album. Giacomo said, "This year we will record the new album and probably start already in the summer. At the end of the tour, I will start working on the lyrics with Roby De Micheli because some songs are already in the pre-production phase so they can be released in the spring of next year. As for the development of the saga, we will continue to narrate the events of this strange protagonist who was able to get out of hell thanks to the Nephilim. There are many possible ways and we will see what will happen." On 22 June 2020, it was announced that drummer Manu Lotter had departed from the band. The band announced Paolo Marchesich as their new drummer on 14 July 2020. Rhapsody of Fire had announced that the recording of the album had been completed on 24 September 2020, and were confirmed to be mixing the album with Sebastian "Seeb" Levermann in April 2021. On 23 April 2021, it was announced that Rhapsody of Fire would be releasing their upcoming EP, I'll Be Your Hero, on 4 June 2021 which contains a song recorded for the band's thirteenth studio album, Glory for Salvation, the second chapter to The Nephilim's Empire Saga which was released on 26 November 2021. A second single named after the title of the album was released on 9 July 2021. The third single off of the album, "Magic Signs", was released on 2 September 2021. The fourth single, "Terial the Hawk", was released on 15 October 2021. The fifth single, "Chains of Destiny" was released on 7 November 2021, along with a music video. On May 12, 2023, Rhapsody of Fire had released the single, "Kreel's Magic Staff", which is set to be featured on the upcoming fourteenth studio album, the third chapter to The Nephilim's Empire Saga. Band members Current members Alex Staropoli – keyboards (1993–present) Roberto De Micheli – lead guitar (2011–present), rhythm guitar (2013–present) Alessandro Sala – bass (2015–present) Giacomo Voli – lead vocals (2016–present) Paolo Marchesich – drums (2020–present) Former members Luca Turilli – lead guitar (1993–2011), rhythm guitar (1993–2000), lead vocals (1993) Cristiano Adacher – lead vocals (1993–1995) Andrea Furlan – bass (1993–1995) Daniele Carbonera – drums (1993–1999) Fabio Lione – lead vocals (1995–2016) Alessandro Lotta – bass (1998–2002) Alex Holzwarth – drums (2000–2016) Patrice Guers – bass (2002–2011) Tom Hess – rhythm guitar (2011–2013) Oliver Holzwarth – bass (2011–2014) Manu Lotter – drums (2016–2020) Session musicians Manuel Staropoli – studio baroque recorders (1997–present), composition (2013–present) Leone Conti – live bass (2020–present) Former session musicians Robert Hunecke-Rizzo – studio bass (1997) Sascha Paeth – studio bass (1997, 2002, 2014–2015) Jay Lansford – studio narration (1997–2002) Thunderforce – studio drums (2000–2002) Dominique Leurquin – live and studio guitars (2000–2011) Petr Pololanik – studio conductor and orchestrator (2004, 2006) Christopher Lee – studio narration, spoken vocals, occasional singing vocals (2004–2011, 2019) Vito Lo Re – orchestra conductor (2013, 2016, 2019) Timeline Discography Studio albums Legendary Tales (1997) Symphony of Enchanted Lands (1998) Dawn of Victory (2000) Rain of a Thousand Flames (2001) Power of the Dragonflame (2002) Symphony of Enchanted Lands II – The Dark Secret (2004) Triumph or Agony (2006) The Frozen Tears of Angels (2010) From Chaos to Eternity (2011) Dark Wings of Steel (2013) Into the Legend (2016) The Eighth Mountain (2019) Glory for Salvation (2021) References External links Official website Official fan club The Forest of Unicorns Fabio Lione official website Category:1993 establishments in Italy Category:Italian power metal musical groups Category:Italian symphonic metal musical groups Category:Musical groups established in 1993 Category:Nuclear Blast artists
[]
[ "The text does not provide specific information on why the events described were so important.", "The text does not provide specific information on why the events described were bad.", "The \"this\" in the text could refer to multiple events, such as the band name change from Rhapsody to Rhapsody of Fire, the release of their album Triumph or Agony, or their legal issues with Magic Circle Music. Each of these events had different implications: the name change represented a new start and grandiose direction for the band; the release of the album continued their musical tradition; and the legal issues led to a hiatus in band activity as the members focused on individual projects.", "The text does not provide information on how these events affected people.", "The text does not describe any event as being 'terrible'.", "After the band went on a hiatus due to a legal fight, the text mentions that several band members concentrate on their own projects. Specifically, Luca Turilli worked on his solo albums, Fabio Lione collaborated with Vision Divine and Kamelot, Alex Holzwarth collaborated with his brother Oliver, and Staropoli planned to record a solo album.", "The text does not describe any event as being 'terrible'.", "The text does not provide information on what was considered the worst event for the band members.", "After the band went on a hiatus due to a legal fight, the text mentions that several band members concentrate on their own projects. Specifically, Luca Turilli worked on his solo albums, Fabio Lione collaborated with Vision Divine and Kamelot, Alex Holzwarth collaborated with his brother Oliver, and Staropoli planned to record a solo album." ]
[ "No", "No", "Neutral", "No", "No", "No", "No", "No", "No" ]
C_9f978ffbb8c143c78a470791e7eb792c_1
Henry Irving
Sir Henry Irving (6 February 1838 - 13 October 1905), born John Henry Brodribb, sometimes known as J. H. Irving, was an English stage actor in the Victorian era, known as an actor-manager because he took complete responsibility (supervision of sets, lighting, direction, casting, as well as playing the leading roles) for season after season at the Lyceum Theatre, establishing himself and his company as representative of English classical theatre. In 1895 he became the first actor to be awarded a knighthood, indicating full acceptance into the higher circles of British society. Irving is widely acknowledged to be one of the inspirations for Count Dracula, the title character of the 1897 novel Dracula whose author, Bram Stoker, was business manager of the theatre.
Early career
After a few years' schooling while living at Halsetown, near St Ives, Cornwall, Irving became a clerk to a firm of East India merchants in London, but he soon gave up a commercial career for acting. On 29 September 1856 he made his first appearance at Sunderland as Gaston, Duke of Orleans, in Bulwer Lytton's play, Richelieu, billed as Henry Irving. This name he eventually assumed by royal licence. When the inexperienced Irving got stage fright and was hissed off the stage the actor Samuel Johnson was among those who supported him with practical advice. Later in life Irving gave them all regular work when he formed his own Company at the Lyceum Theatre. For 10 years, he went through an arduous training in various stock companies in Scotland and the north of England, taking more than 500 parts. his delineations of the various characters (...) were admirably graphic, and met with repeated rounds of applause. Possesed of a fine voice, which he modulated with great taste and judgment, he was able to mark the depth or frivolity of the character he was representing with remarkable facility. He gained recognition by degrees, and in 1866 Ruth Herbert engaged him as her leading man and sometime stage director at the St. James's Theatre, London, where she first played Doricourt in The Belle's Stratagem. One piece that he directed there was W. S. Gilbert's first successful solo play, Dulcamara, or the Little Duck and the Great Quack (1866) The next year he joined the company of the newly opened Queen's Theatre, where he acted with Charles Wyndham, J. L. Toole, Lionel Brough, John Clayton, Mr. and Mrs. Alfred Wigan, Ellen Terry and Nellie Farren. This was followed by short engagements at the Haymarket Theatre, Drury Lane, and the Gaiety Theatre. Finally he made his first conspicuous success as Digby Grant in James Albery's Two Roses, which was produced at the Vaudeville Theatre on 4 June 1870 and ran for a very successful 300 nights. In 1871, Irving began his association with the Lyceum Theatre by an engagement under Bateman's management. The fortunes of the house were at a low ebb when the tide was turned by Irving's sudden success as Mathias in The Bells, a version of Erckmann-Chatrian's Le Juif polonais by Leopold Lewis, a property which Irving had found for himself. The play ran for 150 nights, established Irving at the forefront of the British drama, and would prove a popular vehicle for Irving for the rest of his professional life. With Bateman, Irving was seen in W. G. Wills' Charles I and Eugene Aram, in Richelieu, and in 1874 in Hamlet. The unconventionality of this last performance, during a run of 200 nights, aroused keen discussion and singled him out as the most interesting English actor of his day. In 1875, again with Bateman, he was seen as the title character in Macbeth; in 1876 as Othello, and as Philip in Alfred Lord Tennyson's Queen Mary; in 1877 in Richard III; and in The Lyons Mail. During this time he became lifelong friends with Bram Stoker, who praised him in his review of Hamlet and thereafter joined Irving as the manager for the company. CANNOTANSWER
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Sir Henry Irving (6 February 1838 – 13 October 1905), christened John Henry Brodribb, sometimes known as J. H. Irving, was an English stage actor in the Victorian era, known as an actor-manager because he took complete responsibility (supervision of sets, lighting, direction, casting, as well as playing the leading roles) for season after season at the West End's Lyceum Theatre, establishing himself and his company as representative of English classical theatre. In 1895 he became the first actor to be awarded a knighthood, indicating full acceptance into the higher circles of British society. Life and career Irving was born to a working-class family in Keinton Mandeville in the county of Somerset. W.H. Davies, the celebrated poet, was a cousin. Irving spent his childhood living with his aunt, Mrs Penberthy, at Halsetown in Cornwall. He competed in a recitation contest at a local Methodist chapel where he was beaten by William Curnow, later the editor of The Sydney Morning Herald. He attended City Commercial School for two years before going to work in the office of a law firm at age 13. When he saw Samuel Phelps play Hamlet soon after this, he sought lessons, letters of introduction, and work in the Lyceum Theatre in Sunderland in 1856, labouring against great odds until his 1871 success in The Bells in London set him apart from all the rest. He married Florence O'Callaghan on 15 July 1869 at St. Marylebone, London, but his personal life took second place to his professional life. On opening night of The Bells, 25 November 1871, Florence, who was pregnant with their second child, criticised his profession: "Are you going on making a fool of yourself like this all your life?" Irving exited their carriage at Hyde Park Corner, walked off into the night, and chose never to see her again. He maintained a discreet distance from his children as well, but became closer to them as they grew older. Florence Irving never divorced Irving, and once he had been knighted she styled herself "Lady Irving"; Irving never remarried. His elder son, Harry Brodribb Irving (1870–1919), usually known as "H B Irving", became a famous actor and later a theatre manager. His younger son, Laurence Irving (1871–1914), became a dramatist and later drowned, with his wife Mabel Hackney, in the sinking of the Empress of Ireland. H B married Dorothea Baird and they had a son, Laurence Irving (1897–1988), who became a well-known Hollywood art director and his grandfather's biographer. In November 1882 Irving became a Freemason, being initiated into the prestigious Jerusalem Lodge No 197 in London. In 1887 he became a founder member and first Treasurer of the Savage Club Lodge No 2190, a Lodge associated with London's Savage Club. He eventually took over the management of the Lyceum Theatre and brought actress Ellen Terry into partnership with him as Ophelia to his Hamlet, Lady Macbeth to his Macbeth, Portia to his Shylock, Beatrice to his Benedick, etc. Before joining the Lyceum, Terry had fled her first marriage and conceived two out-of-wedlock children with architect-designer Edward William Godwin, but regardless of how much and how often her behavior defied the strict morality expected by her Victorian audiences, she somehow remained popular. It could be said that Irving found his family in his professional company, which included his ardent supporter and manager Bram Stoker and Terry's two illegitimate children, Teddy and Edy. Whether Irving's long, spectacularly successful relationship with leading lady Ellen Terry was romantic as well as professional has been the subject of much historical speculation. Most of their correspondence was lost or burned by her descendants. According to Michael Holroyd's book about Irving and Terry, A Strange Eventful History: Terry's son Teddy, later known as Edward Gordon Craig, spent much of his childhood (from 1879, when he was 8, until 1897) indulged by Irving backstage at the Lyceum. Craig, who came to be regarded as something of a visionary for the theatre of the future, wrote an especially vivid, book-length tribute to Irving. ("Let me state at once, in clearest unmistakable terms, that I have never known of, or seen, or heard, a greater actor than was Irving.") George Bernard Shaw, at the time a theatre critic who was jealous of Irving's connection to Ellen Terry (whom Shaw himself wanted in his own plays), conceded Irving's genius after Irving died. Early career After a few years' schooling while living at Halsetown, near St Ives, Cornwall, Irving became a clerk to a firm of East India merchants in London, but he soon gave up a commercial career for acting. On 29 September 1856 he made his first appearance at Sunderland as Gaston, Duke of Orleans, in Bulwer Lytton's play, Richelieu, billed as Henry Irving. This name he eventually assumed by royal licence. When the inexperienced Irving got stage fright and was hissed off the stage the actor Samuel Johnson was among those who supported him with practical advice. Later in life Irving gave them all regular work when he formed his own Company at the Lyceum Theatre. For 10 years, he went through an arduous training in various stock companies in Scotland and the north of England, taking more than 500 parts. He gained recognition by degrees, and in 1866 Ruth Herbert engaged him as her leading man and sometime stage director at the St. James's Theatre, London, where she first played Doricourt in The Belle's Stratagem. One piece that he directed there was W. S. Gilbert's first successful solo play, Dulcamara, or the Little Duck and the Great Quack (1866) The next year he joined the company of the newly opened Queen's Theatre, where he acted with Charles Wyndham, J. L. Toole, Lionel Brough, John Clayton, Mr. and Mrs. Alfred Wigan, Ellen Terry and Nellie Farren. This was followed by short engagements at the Haymarket Theatre, Drury Lane, and the Gaiety Theatre. In the spring of 1869, Irving was one of the original twelve members of The Lambs of London—assembled by John Hare as a social club for actors—and would be made an Honorary Lifetime member in 1883. He finally made his first conspicuous success as Digby Grant in James Albery's Two Roses, which was produced at the Vaudeville Theatre on 4 June 1870 and ran for a very successful 300 nights. In 1871, Irving began his association with the Lyceum Theatre by an engagement under Bateman's management. The fortunes of the house were at a low ebb when the tide was turned by Irving's sudden success as Mathias in The Bells, a version of Erckmann-Chatrian's Le Juif polonais by Leopold Lewis, a property which Irving had found for himself. The play ran for 150 nights, established Irving at the forefront of the British drama, and would prove a popular vehicle for Irving for the rest of his professional life. With Bateman, Irving was seen in W. G. Wills' Charles I and Eugene Aram, in Richelieu, and in 1874 in Hamlet. The unconventionality of this last performance, during a run of 200 nights, aroused keen discussion and singled him out as the most interesting English actor of his day. In 1875, again with Bateman, he was seen as the title character in Macbeth; in 1876 as Othello, and as Philip in Alfred Lord Tennyson's Queen Mary; in 1877 in Richard III; and in The Lyons Mail. During this time he became lifelong friends with Bram Stoker, who praised him in his review of Hamlet and thereafter joined Irving as the manager for the company. Peak years In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation of the role. After the production of Tennyson's The Cup and revivals of Othello (in which Irving played Iago to Edwin Booth's title character) and Romeo and Juliet, there began a period at the Lyceum which had a potent effect on the English stage. Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885); Faust (1885); Macbeth (1888, with incidental music by Arthur Sullivan); The Dead Heart, by Watts Phillips (1889); Ravenswood by Herman, and Merivales' dramatic version of Scott's Bride of Lammermoor (1890). Portrayals in 1892 of the characters of Wolsey in Henry VIII and of the title character in King Lear were followed in 1893 by a performance of Becket in Tennyson's play of the same name. During these years, too, Irving, with the whole Lyceum company, paid several successful visits to the United States and Canada, which were repeated in succeeding years. As Terry aged, there seemed to be fewer opportunities for her in his company; that was one reason she eventually left, moving on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women. Safety theatres In 1887, the Exeter Theatre Royal fire claimed the lives of 186 people, injuring dozens more, during a performance of The Romany Rye being staged by fellow actor-manager Wilson Barrett at the Theatre Royal, Exeter. Irving was one of the first high-profile people to donate to the relief fund for survivors and orphans, sending £100. The fire caused Irving to become involved in ensuring better safety for theatres, and he developed the "Irving Safety Theatre" principles, working with eminent architect Alfred Darbyshire. These principles included making the theatre site isolated, dividing the auditorium from the back of house, a minimum height above street level for any part of the audience, providing two separate exits for every section of the audience, improved stage construction including a smoke flue, and fire-resistant construction throughout. The first theatre built to these principles was the rebuilt New Theatre Royal in Exeter. Influence on Bram Stoker's Dracula From 1878, Bram Stoker worked for Irving as a business manager at the Lyceum. Stoker idolised Irving to the point that "As one contemporary remarked, 'To Bram, Irving is as a god, and can do no wrong.' In the considered judgment of one biographer, Stoker's friendship with Irving was 'the most important love relationship of his adult life.'" Irving, however, "… was a self-absorbed and profoundly manipulative man. He enjoyed cultivating rivalries between his followers, and to remain in his circle required constant, careful courting of his notoriously fickle affections." When Stoker began writing Dracula, Irving was the chief inspiration for the title character. In his 2002 paper for The American Historical Review, "Buffalo Bill Meets Dracula: William F. Cody, Bram Stoker, and the Frontiers of Racial Decay", historian Louis S. Warren writes: Later years The chief remaining novelties at the Lyceum during Irving's term as sole manager (at the beginning of 1899 the theatre passed into the hands of a limited-liability company) were Arthur Conan Doyle's Waterloo (1894); J. Comyns Carr's King Arthur in 1895; Cymbeline, in which Irving played Iachimo, in 1896; Sardou's Madame Sans-Gene in 1897; and Peter the Great, a play by Laurence Irving, the actor's second son, in 1898. Irving received a death threat in 1899 from fellow actor (and murderer of William Terriss) Richard Archer Prince. Terriss had been stabbed at the stage door of the Adelphi Theatre in December 1897 and in the wake of his death, Prince was committed to Broadmoor Criminal Lunatic Asylum. Irving was critical of the unusually lenient sentence, remarking "Terriss was an actor, so his murderer will not be executed." Two years later, Prince had found Irving's home address and threatened to murder him "when he gets out". Irving was advised to submit the letter to the Home Office to ensure Prince's continued incarceration, which Irving declined to do. In 1898 Irving was Rede Lecturer at the University of Cambridge. The new regime at the Lyceum was signalled by the production of Sardou's Robespierre in 1899, in which Irving reappeared after a serious illness, and in 1901 by an elaborate revival of Coriolanus. Irving's only subsequent production in London was as Sardou's Dante (1903) at the Drury Lane. Death On 13 October 1905, at 67 years old, Irving had completed a performance and suffered a stroke after returning to his lodging at the lobby of the Midland Hotel, Bradford, where he died before medical attention could arrive. A more dramatic, but untrue story, would later be written by Thomas Anstey Guthrie in his 'Long Retrospect': "Within three months, on October 13, 1905, Henry Irving, when appearing as Becket at the Bradford Theatre, was seized with syncope just after uttering Becket's dying words 'Into thy hands, O Lord, into thy hands', and though he lived for an hour or so longer he never spoke again." (Thomas Anstey Guthrie. "Long Retrospect") Another witness at the play, Bram Stoker (known for being the author of Dracula), told reporters later that "We chatted for awhile after the play, and I left him, although not notably strong, not in any way cast down and not more exhausted than had been usual for some time. A little more than three-quarters of an hour afterward I was sent for by the man who attended Sir Henry from the theatre, who told me that he had fainted or collapsed on entering the Midland Hotel. Hurrying down, I found Sir Henry lying in the passage— dead." Stoker added, "Had he died on the stage, as might have happened, it would have given shock and bitter memory to many tender hearts." Guthrie's confusion may have come from the fact that the character Becket's last words in the play are "O Lord, into thy hands," but, as a correspondent noted, "Then the curtain falls, and within a very short time, having just reached his hotel, the great actor breathed his last." The chair that he was sitting in before he died is now at the Garrick Club. He was cremated and his ashes buried in Westminster Abbey, thereby becoming the first person ever to be cremated prior to interment at Westminster. There is a statue of him near the National Portrait Gallery in London. That statue, as well as the influence of Irving himself, plays an important part in the Robertson Davies novel World of Wonders. The Irving Memorial Garden was opened on 19 July 1951 by Laurence Olivier. Legacy Both on and off the stage, Irving always maintained a high ideal of his profession, and in 1895 he received a knighthood (first offered in 1883), the first ever accorded an actor. He was also the recipient of honorary degrees from the universities of Dublin (LL.D 1892), Cambridge (Litt.D 1898), and Glasgow (LL.D 1899). He also received the Komthur Cross, 2nd class, of the Saxe-Ernestine House Order of Saxe-Coburg-Gotha and Saxe-Meiningen. His acting divided critics; opinions differed as to the extent to which his mannerisms of voice and deportment interfered with or assisted the expression of his ideas. Irving's idiosyncratic style of acting and its effect on amateur players was mildly satirised in The Diary of a Nobody. Mr Pooter's son brings Mr Burwin-Fosselton of the Holloway Comedians to supper, a young man who entirely monopolised the conversation, and: "...who not only looked rather like Mr Irving but seemed to imagine he was the celebrated actor... he began doing the Irving business all through supper. He sank so low down in his chair that his chin was almost on a level with the table, and twice he kicked Carrie under the table, upset his wine, and flashed a knife uncomfortably near Gowing's face." In T. S. Eliot's poem, "Gus: The Theatre Cat" (), the title character's old age and theatrical distinction are expressed in the couplet: For he once was a Star of the highest degree-- He has acted with Irving, he's acted with Tree. These verses appear in the lyrics of the homonymous song in Andrew Lloyd Webber's 1981 musical Cats. In the 1963 West End musical comedy Half a Sixpence the actor Chitterlow does an impression of Irving in The Bells. Percy French's burlesque heroic poem "Abdul Abulbul Amir" lists among the mock-heroic attributes of Abdul's adversary, the Russian Count Ivan Skavinsky Skavar, that "he could imitate Irving". In the 1995 film A Midwinter's Tale by Kenneth Branagh, two actors discuss Irving, and one of them, Richard Briers does an imitation of his speech. In the play The Woman in Black, set in the Victorian era, the actor playing Kipps tells Kipps 'We'll make an Irving of you yet,' in Act 1, as Kipps is not a very good actor due to his inexperience. In the political sitcom Yes, Prime Minister (sequel to Yes, Minister), in the episode "The Patron of the Arts", first aired on 14 January 1988, the Prime Minister is asked what was the last play he'd seen, and replies "Hamlet." When asked "Whose?" — specifically, who played Hamlet, not who wrote it — he is unable to remember and is prompted with the suggestion "Henry Irving?" to audience laughter. Biography In 1906, Bram Stoker published a two-volume biography about Irving called Personal Reminiscences of Henry Irving. See also Irving Family Notes References Further reading Stoker, Bram. Personal Reminiscences of Henry Irving: Volume 1 and Volume 2. London : W. Heinemann, 1906. Scanned books via Internet Archive. Archer, William 1885. Henry Irving, Actor and Manager: A Critical Study, London:Field & Tuer. Beerbohm, Max. 1928. 'Henry Irving' in A Variety of Things. New York, Knopf. Holroyd, Michael. 2008. A Strange Eventful History, Farrar Straus Giroux, Irving, Laurence. 1989. Henry Irving: The Actor and His World. Lively Arts. External links The Irving Society The Henry Irving Foundation Information about Irving at the PeoplePlay UK website NY Times article that includes information about Irving's American tour and the lease of the Lyceum to the American company at the same time My First "Reading" by Henry Irving, an article written by Irving about a personal experience Henry Irving North American Theatre Online with bio and pics Henry Irving-Ellen Terry tour correspondence, 1884-1896, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts Irving Disher Collection, Rare Books, Special Collections, and Preservation, River Campus Libraries, University of Rochester Category:1838 births Category:1905 deaths Category:English male stage actors Category:English male Shakespearean actors Category:19th-century English male actors Category:20th-century English male actors Category:19th-century theatre Category:Actor-managers Category:Knights Bachelor Category:Actors awarded knighthoods Category:English people of Cornish descent Category:People from South Somerset (district) Category:Burials at Westminster Abbey Category:Freemasons of the United Grand Lodge of England Category:19th-century theatre managers Category:20th-century theatre managers Category:Members of The Lambs Club
[]
[ "Henry's first job was a clerk to a firm of East India merchants in London.", "His first acting job was at Sunderland where he played Gaston, Duke of Orleans, in Bulwer Lytton's play, Richelieu.", "Henry Irving experienced stage fright on his first appearance and was hissed off the stage, which suggests that he struggled initially. However, he subsequently received practical advice and support, and he went on to have a successful acting career.", "No, there is no information suggesting that he looked for another kind of work after his initial struggles in acting. Instead, he continued in the same field and eventually became a successful actor, even forming his own company at the Lyceum Theatre.", "The context does not provide specific information about when Henry Irving went back to acting. However, it mentions that after his initial experience with stage fright, he went through an arduous training in various stock companies in Scotland and the north of England for 10 years, taking more than 500 parts. This suggests that he continued with acting fairly soon after his initial setback, although the exact time frame is not provided.", "He directed W. S. Gilbert's first successful solo play, Dulcamara, or the Little Duck and the Great Quack.", "The context does not provide specific information about how long Henry Irving worked with Ruth Herbert.", "Henry Irving's biggest achievement during the early years was his performance as Mathias in The Bells, a version of Erckmann-Chatrian's Le Juif polonais. The play ran for 150 nights, established Irving at the forefront of the British drama, and would prove a popular vehicle for Irving for the rest of his professional life." ]
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C_630f9be9978947188f06e7a9c12883d4_1
Inspiral Carpets
Inspiral Carpets are an English alternative rock band, formed in 1983 in Oldham, Greater Manchester. The band's most successful lineup featured frontman Tom Hingley, drummer Craig Gill, guitarist Graham Lambert, bassist Martyn Walsh and keyboardist Clint Boon. Formed by guitarist Graham Lambert and singer Stephen Holt, the latter of which departed the band prior to the band signing with Mute Records, the band's sound was characterised by the use of organ playing and distorted guitars. The band both preceded and was a part of the late 1980s and early 1990s Madchester movement.
1983-1995
Graham Lambert and Stephen Holt had a friendship from their school days. They formed Inspiral Carpets in 1983, originally as a garage rock and punk inspired band, with keyboardist Glenn Chesworth and bassist Tony Feeley. The musicians recruited drummer Craig Gill in 1986, when Gill was 14 years old. In 1987, following the departures of Chesworth and Feeley, the line-up included first Mark Hughes, then Dave Swift on bass and organist Clint Boon (whose Ashton-under-Lyne studio the band had been using for rehearsals). The band released two albums worth of demos in the 1980s, Waiting for Ours and Songs of Shallow Intensity, including songs that would later be re-recorded. They came to prominence, alongside bands like The Stone Roses and Happy Mondays, in the 'Madchester' scene of the late 1980s. After a flexi-disc featuring "Garage Full of Flowers" given free with Manchester's Debris magazine in 1987, followed by the Cow cassette, their first release proper, the 1988 Planecrash EP on the Playtime label received much airplay from Radio 1 DJ John Peel, who asked the band to record a session for his show. The band reworked their single "Find Out Why" as the theme tune to the 8:15 from Manchester. As their popularity grew, Playtime's distributor Red Rhino Records went bankrupt, leading the band to form their own label, Cow Records in March 1989, the label's first release being the Trainsurfing EP. But with half of the first album, Life, written, Holt and Swift departed and formed The Rainkings, so the band recruited Too Much Texas singer Tom Hingley and Martin "Bungle" Walsh of The Next Step to replace them. Martyn Walsh became the band's thirteenth bass player. After a handful of singles on their own label, the last of which, "Move", came close to the UK top 40, they signed a deal with Mute Records, and immediately had their first top 40 chart success in the UK with "This Is How It Feels". The single reached No. 14 in the singles chart, and debut album Life reached No. 2 in the albums chart, both in 1990. The following year's The Beast Inside was less well received by critics, but still achieved a top 5 album chart placing. The "Caravan" and "Please be Cruel" singles only reached No. 30 and No. 50 respectively, and an attempt to crack the American market largely failed. The band did, however, gain a strong following in Portugal, Germany, and Argentina, with the band's 1992 album Revenge of the Goldfish becoming their most successful in those countries. The album peaked at number 17 in the UK, and spawned four UK hit singles. The next album, Devil Hopping (1994) reached number 10 in the album chart, with "Saturn 5" and "I Want You" giving them top 20 hits, from that album (the latter's single version featured Mark E. Smith). The next single "Uniform" stalled at No. 51 and in 1995, after the release of a Singles collection, the band were dropped by Mute, and split up soon after. CANNOTANSWER
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Inspiral Carpets are an English rock band, part of the late-1980s/early-1990s Madchester movement. Formed in Oldham in 1983, the band's most successful lineup featured frontman Tom Hingley, drummer Craig Gill, guitarist Graham Lambert, bassist Martyn Walsh and keyboardist Clint Boon. Several line-ups were loosely used from 1980 until Lambert and singer Stephen Holt met at The Moor End indie disco in Oldham 1983. Holt sang on the first two independent singles. Holt departed the band before they signed with Mute Records, Inspiral Carpets was known for using organs and distorted guitars with influences from psychedelic rock. In 2011, Hingley departed the band, though members disagree about the circumstances. The band continued, reuniting with Holt. Inactive since Gill's death in 2016, on 17 October 2022 the band announced they would be reforming and going on a tour of the UK in March and April 2023. History 1983–1995 Graham Lambert and Stephen Holt, friends from their school days, formed Inspiral Carpets in 1983, originally as a garage rock- and punk-inspired band. Manchester drummer Chris Goodwin and bassist Tony Welsh helped record a demo and play live in and around the Oldham area. Due to Goodwin's commitments the band recruited 14-year-old drummer Craig Gill in 1986. Tony Welsh also had other music commitments and departed in 1986. The band then had a succession of bass players (Rick Garage, Mark Hughes, Scott Carey) before Dave Swift, on bass and organist Clint Boon (at whose Ashton-under-Lyne studio the band had been rehearsing). The band released two albums of demos in the 1980s, Waiting for Ours and Songs of Shallow Intensity, including songs that would later be re-recorded. Inspiral Carpets came to prominence along with bands such as the Stone Roses and Happy Mondays in the Madchester scene of the late 1980s. The band first appeared on a flexi-disc with "Garage Full of Flowers" that was given free with Manchester's Debris magazine in 1987. Their first proper release, the Cow cassette, soon followed. The 1988 Planecrash EP on the Playtime label received much airplay from Radio 1 DJ John Peel, who asked the band to record a session for his show. The band reworked their single "Find Out Why" as the theme song for the show 8:15 from Manchester. As the band's popularity grew, Playtime's distributor Red Rhino Records went bankrupt, leading Inspiral Carpets to form their own label, Cow Records, in March 1989. The label's first release was the Trainsurfing EP. With half of the first album, Life, written, Holt and Swift departed and formed the Rainkings, so the band recruited Too Much Texas singer Tom Hingley and Martyn "Bungle" Walsh of The Next Step to replace them. Martyn Walsh became the band's 13th bass player. After a handful of singles on their own label, with "Move" nearly reaching the UK top 40, the band signed a deal with Mute Records and soon experienced their first top-40 chart success in the UK with "This Is How It Feels." The single reached No. 14 on the singles chart, and the debut album Life reached No. 2 on the albums chart in 1990. The following year's The Beast Inside was less well received by critics, but still achieved a top-5 album chart ranking. The "Caravan" and "Please be Cruel" singles only reached No. 30 and No. 50 respectively, and an attempt to crack the American market largely failed. However, the band gained a strong following in Portugal, Germany and Argentina, where the 1992 album Revenge of the Goldfish became their most successful. The album peaked at number 17 in the UK and spawned four UK hit singles. The next album, Devil Hopping (1994), reached number 10 in the album chart, with "Saturn 5" and "I Want You" (featuring Mark E. Smith) as top-20 hits. The next single, "Uniform", stalled at No. 51 and in 1995, after the release of a Singles collection, the band were dropped by Mute and split up soon after. Post-split activities (1995–2003) Hingley formed a new band, the Lovers, along with Jerry Kelly of the Lotus Eaters (which later featured Steve and Paul Hanley of the Fall), while Boon formed the Clint Boon Experience, releasing a string of singles on the Artful label. Gill also formed a new band, Hustler, who eventually changed their name to Proud Mary after a song by Creedence Clearwater Revival. Proud Mary signed to Noel Gallagher's Big Brother label some years later, while Walsh moved into production, largely working on techno and dance music. Two of the band's roadies enjoyed musical success themselves: van driver Mark Collins joined the Charlatans in 1991 and drum technician Noel Gallagher joined Oasis. In 1999, Strange Fruit Records released a compilation of tracks recorded for BBC Radio 1 sessions. Reformation (2003–2011) Inspiral Carpets reunited in 2003, playing to sellout crowds on tour and releasing the single "Come Back Tomorrow" (recorded in 1995) and a number of new compilation records, most notably the Cool As box set. The band have toured sporadically since, reuniting again in 2007 to tour in support of an iTunes-exclusive compilation of their B-sides and rarities. They played a tour in 2008 under the banner "Return of the Cow", announcing that their own Cow Records label was to be revived. Hingley departs, Holt returns and Gill's death (2011–2016) In February 2011, it was revealed that Tom Hingley was no longer part of the band, with the circumstances of his departure unclear. Band members indicated that Hingley had left of his own accord, with Clint Boon contradicting Hingley's suggestion that the band had split up whilst Hingley later claimed that he had been fired by the band at a meeting. In August 2011, the band announced a reunion with original singer Stephen Holt. Their website indicated that "Inspirals will be recording their first material in 15 years coupled with concerts in South America & Greece." The band recorded "You're So Good For Me"/"Head for the Sun" for Record Store Day, a 7" single that was released, sold and deleted on 21 April 2012. The accompanying video for the main track was shot at a concert in Buenos Aires in November 2011. In support of the single, the band toured the UK in March 2012 for the first time with Holt in 24 years. In May, the band were special guests on a Happy Mondays tour. In the summer of 2012, the band played at several festivals, culminating with a live performance at the Old Trafford cricket ground on 10 September during England's T20I match with South Africa. For Record Store Day in April 2014, Inspiral Carpets released Dung 4, a previously cassette-only collection of demos from 1987, on vinyl and CD, with the earlier tape Cow Demo added as a free 7" with the vinyl version. Uncut said of the album: "... the whole package is a fine summation of the Inspirals' enduring appeal". In October 2014, the band released Inspiral Carpets on Cherry Red Records. Their first album in 20 years, Inspiral Carpets contained two past singles, "You're So Good For Me" and "Spitfire", plus 10 new tracks. The album also included "Let You Down", co-written by and featuring punk poet John Cooper Clarke. Interviewed in Record Collector, Boon described the album as "Diverse. A couple (of the songs) have an R.E.M. flavour, one nod to the 50s, two to Joy Division, several the Doors, one Northern soul, two the Beach Boys." After several dates in Europe over the summer, the band played 12 UK dates in December 2014 in support of the album's release. On 20 November 2016, drummer Craig Gill died at the age of 44. Memorial services were attended by music-industry friends including Inspiral Carpets members, Oasis singer Liam Gallagher, Stone Roses bassist Mani and Happy Mondays singer Rowetta. Soon after his death, Gill's friends began a social-media campaign to make the band's 1994 hit "Saturn 5" the Christmas number-one song for 2016. Reunion 2023 In October 2022 the band announced they would be reforming and performing a live UK tour in March and April 2023. The band also announced that longtime bassist Martyn Walsh would not be joining them on their forthcoming tour. It was announced that Jake Fletcher will be touring with Inspiral Carpets in 2023 & Kev Clark from Dub Sex will be on the drums for the tour. On 15 February 2023, the group also announced their return to Australia for the first time in 30 years that August, as well as their first shows in New Zealand. On Friday 17 March 2023, the band released a singles compilation, featuring all of their hit singles on cd/vinyl from 1988 to 2015 and remixes of the tracks. On Thursday 23 March 2023, just as the band's tour starts, it was announced that Clint's son Oscar would be joining the band for some of the tour on Bass. Members Current members Graham Lambert (born Graham Paul Lambert, on 10 July 1964, in Chadderton, Oldham) – guitars (1980–1995, 2003–2016, 2022–present) Stephen Holt – (born Stephen Edward Holt, on 14 October 1964) lead vocals (1983–1989, 2011–2016, 2022–present) Clint Boon (born Clinton David Boon, on 28 June 1959, in Oldham) – keyboards, backing vocals (1987–1995, 2003–2016, 2022–present) Kev Clark – drums (2022–present) Oscar Boon - bass (2023-present) Past members Glenn Chesworth (born 28 January 1963, in Chadderton, Oldham) – bass and vocals (1980–1982) Tony Feeley (born Mark Anthony Feeley on 27 December 1962, in Oldham) – keyboards (1980–1982) Tony Welsh – guitar (1980–1982) and bass (1983–1986) Mark 'Joe' Jordan – guitars, bass and effects (1981) Mark Hindley – bass (1982) Kevin Foey – bass (1983) Chris Goodwin – drums (1986) Craig Gill (born Craig Douglas Gill on 5 December 1971, in Salford; died 20 November 2016) – drums (1986–1995, 2003–2016) Rick Garage – bass (1986) Mark Hughes – bass (1987) Scott Carey – bass (1987) Dave Swift (born David Swift on 11 January 1964, Wolverhampton) – bass (1988) Tom Hingley (born Thomas William Hingley, on 9 July 1965, in Abingdon) – lead vocals (1989–1995, 2003–2011) Martyn Walsh (born Martyn John Walsh, on 3 July 1968, in Rusholme, Manchester) – bass (1988–1995, 2003–2016) Jake Fletcher – bass (2022–2023) Timeline Discography Life (1990) The Beast Inside (1991) Revenge of the Goldfish (1992) Devil Hopping (1994) Inspiral Carpets (2014) References External links BBC interview with Tom Hingley Inspiral Carpets Biography. Mute Records. (Accessed 4 December 2005). Category:English alternative rock groups Category:English garage rock groups Category:English indie rock groups Category:Alternative dance musical groups Category:Madchester groups Category:Musical groups from the Metropolitan Borough of Oldham Category:Musical groups established in 1983 Category:Musical groups disestablished in 1995 Category:Musical groups reestablished in 2003 Category:Musical groups disestablished in 2016 Category:Musical groups reestablished in 2022 Category:Mute Records artists Category:Cherry Red Records artists
[]
[ "In 1983, Graham Lambert and Stephen Holt formed the band Inspiral Carpets, initially as a garage rock and punk inspired band with keyboardist Glenn Chesworth and bassist Tony Feeley.", "The band gained prominence in the 'Madchester' scene of the late 1980s and had several top 40 hits in the UK. They formed their own label, Cow Records, in 1989 and later signed a deal with Mute Records. Their debut album \"Life\" reached No. 2 in the UK albums chart in 1990. However, they were dropped by Mute Records in 1995 and split up soon after.", "The band released two albums worth of demos in the 1980s, titled \"Waiting for Ours\" and \"Songs of Shallow Intensity\". These demos included songs that would be re-recorded later on.", "The text does not provide information on whether the demo albums \"Waiting for Ours\" and \"Songs of Shallow Intensity\" made the charts." ]
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C_7828041471464945b18c682415601908_0
Mongolian language
The Mongolian language (in Mongolian script: monggol qele MoNGgol kele; in Mongolian Cyrillic: mongol khel, mongol khel) is the official language of Mongolia and both the most widely-spoken and best-known member of the Mongolic language family. The number of speakers across all its dialects may be 5.2 million, including the vast majority of the residents of Mongolia and many of the Mongolian residents of the Inner Mongolia Autonomous Region. In Mongolia, the Khalkha dialect, written in Cyrillic (and at times in Latin for social networking), is predominant, while in Inner Mongolia, the language is dialectally more diverse and is written in the traditional Mongolian script. In the discussion of grammar to follow, the variety of Mongolian treated is Standard Khalkha Mongolian (i.e., the standard written language as formalized in the writing conventions and in the school grammar), but much of what is to be said is also valid for vernacular (spoken) Khalkha and for other Mongolian dialects, especially Chakhar.
Phrase structure
The noun phrase has the order: demonstrative pronoun/numeral, adjective, noun. Attributive sentences precede the whole NP. Titles or occupations of people, low numerals indicating groups, and focus clitics are put behind the head noun. Possessive pronouns (in different forms) may either precede or follow the NP. Examples: The verbal phrase consists of the predicate in the center, preceded by its complements and by the adverbials modifying it and followed (mainly if the predicate is sentence-final) by modal particles, as in the following example with predicate bicsen: In this clause the adverbial, helehgujgeer 'without saying [so]' must precede the predicate's complement, uunijg 'it-accusative' in order to avoid syntactic ambiguity, since helehgujgeer is itself derived from a verb and hence an uunijg preceding it could be construed as its complement. If the adverbial was an adjective such as hurdan 'fast', it could optionally immediately precede the predicate. There are also cases in which the adverb must immediately precede the predicate. For Khalkha, the most complete treatment of the verbal forms is Luvsanvandan (ed.) 1987. However, the analysis of predication presented here, while valid for Khalkha, is adapted from the description of Khorchin by Matsuoka 2007. Most often, of course, the predicate consists of a verb. However, there are several types of nominal predicative constructions, with or without a copula. Auxiliaries that express direction and aktionsart (among other meanings) can with the assistance of a linking converb occupy the immediate postverbal position, e.g. uuz orhison drink-converb leave-perfect 'drank up'. The next position is filled by converb suffixes in connection with the auxiliary, baj- 'to be', e.g. ter gujz bajna s/he run-converb be-nonpast 'she is running'. Suffixes occupying this position express grammatical aspect, e.g., progressive and resultative. In the next position, participles followed by baj- may follow, e.g., ter irsen bajna s/he come-perfect be-nonpast 'he has come'. Here, an explicit perfect and habituality can be marked, which is aspectual in meaning as well. This position may be occupied by multiple suffixes in a single predication, and it can still be followed by a converbal Progressive. The last position is occupied by suffixes that express tense, evidentiality, modality, and aspect. CANNOTANSWER
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Mongolian is the official language of Mongolia and both the most widely spoken and best-known member of the Mongolic language family. The number of speakers across all its dialects may be 5.2 million, including the vast majority of the residents of Mongolia and many of the ethnic Mongol residents of the Inner Mongolia Autonomous Region of the People's Republic of China. In Mongolia, Khalkha Mongolian is predominant, and is currently written in both Cyrillic and the traditional Mongolian script. In Inner Mongolia, it is dialectally more diverse and written in the traditional Mongolian script. However, Mongols in both countries often use the Latin script for convenience on the Internet. In the discussion of grammar to follow, the variety of Mongolian treated is the standard written Khalkha formalized in the writing conventions and in grammar as taught in schools, but much of it is also valid for vernacular (spoken) Khalkha and other Mongolian dialects, especially Chakhar Mongolian. Some classify several other Mongolic languages like Buryat and Oirat as varieties of Mongolian, but this classification is not in line with the current international standard. Mongolian is a language with vowel harmony and a complex syllabic structure compared to other Mongolic languages, allowing clusters of up to three consonants syllable-finally. It is a typical agglutinative language that relies on suffix chains in the verbal and nominal domains. While there is a basic word order, subject–object–predicate, ordering among noun phrases is relatively free, as grammatical roles are indicated by a system of about eight grammatical cases. There are five voices. Verbs are marked for voice, aspect, tense and epistemic modality/evidentiality. In sentence linking, a special role is played by converbs. Modern Mongolian evolved from Middle Mongol, the language spoken in the Mongol Empire of the 13th and 14th centuries. In the transition, a major shift in the vowel-harmony paradigm occurred, long vowels developed, the case system changed slightly, and the verbal system was restructured. Mongolian is related to the extinct Khitan language. It was believed that Mongolian was related to Turkic, Tungusic, Korean and Japonic languages but this view is now seen as obsolete by a majority of (but not all) comparative linguists. These languages have been grouped under the Altaic language family and contrasted with the Mainland Southeast Asia linguistic area. However, instead of a common genetic origin, Clauson, Doerfer, and Shcherbak proposed that Turkic, Mongolic and Tungusic languages form a language Sprachbund, rather than common origin. Mongolian literature is well attested in written form from the 13th century but has earlier Mongolic precursors in the literature of the Khitan and other Xianbei peoples. The Bugut inscription dated to 584 CE and the Inscription of Hüis Tolgoi dated to 604–620 CE appear to be the oldest substantial Mongolic or Para-Mongolic texts discovered. Name Writers such as Owen Lattimore referred to Mongolian as "the Mongol language". Geographic distribution Mongolian is the official national language of Mongolia, where it is spoken (but not always written) by nearly 3.6 million people (2014 estimate), and the official provincial language (both spoken and written forms) of Inner Mongolia, China, where there are at least 4.1 million ethnic Mongols. Across the whole of China, the language is spoken by roughly half of the country's 5.8 million ethnic Mongols (2005 estimate) However, the exact number of Mongolian speakers in China is unknown, as there is no data available on the language proficiency of that country's citizens. The use of Mongolian in Inner Mongolia, has witnessed periods of decline and revival over the last few hundred years. The language experienced a decline during the late Qing period, a revival between 1947 and 1965, a second decline between 1966 and 1976, a second revival between 1977 and 1992, and a third decline between 1995 and 2012. However, in spite of the decline of the Mongolian language in some of Inner Mongolia's urban areas and educational spheres, the ethnic identity of the urbanized Chinese-speaking Mongols is most likely going to survive due to the presence of urban ethnic communities. The multilingual situation in Inner Mongolia does not appear to obstruct efforts by ethnic Mongols to preserve their language. Although an unknown number of Mongols in China, such as the Tumets, may have completely or partially lost the ability to speak their language, they are still registered as ethnic Mongols and continue to identify themselves as ethnic Mongols. The children of inter-ethnic Mongol-Chinese marriages also claim to be and are registered as ethnic Mongols so they can benefit from the preferential policies for minorities in education, healthcare, family planning, school admissions, the hiring and promotion, the financing and taxation of businesses, and regional infrastructural support given to ethnic minorities in China. In 2020, the Chinese government required three subjects — language and literature, politics, and history — to be taught in Mandarin in Mongolian-language primary and secondary schools in the Inner Mongolia since September, which caused widespread protests among ethnic Mongol communities. These protests were quickly suppressed by the Chinese government. Classification and varieties Mongolian belongs to the Mongolic languages. The delimitation of the Mongolian language within Mongolic is a much disputed theoretical problem, one whose resolution is impeded by the fact that existing data for the major varieties is not easily arrangeable according to a common set of linguistic criteria. Such data might account for the historical development of the Mongolian dialect continuum, as well as for its sociolinguistic qualities. Though phonological and lexical studies are comparatively well developed, the basis has yet to be laid for a comparative morphosyntactic study, for example between such highly diverse varieties as Khalkha and Khorchin. In Juha Janhunen's book titled Mongolian, he groups the Mongolic language family into four distinct linguistic branches: the Dagur branch, made up of just the Dagur language, which is spoken in the northeast area of Manchuria in China, specifically in Morin Dawa Daur Autonomous Banner of Hulunbuir, and in Meilisi Daur District of Qiqihar, Heilongjiang; the Moghol branch, made up of just the Moghol language, spoken in Afghanistan, and is possibly extinct; the Shirongolic (or Southern Mongolic) branch, made up of roughly seven languages, which are spoken in the Amdo region of Tibet; the Common Mongolic (or Central Mongolic) branch, made up of roughly six language varieties, to which Mongolian proper belongs. The Common Mongolic branch is grouped in the following way: Khalkha () is spoken in Mongolia, but some dialects (e.g. Cahar) are also spoken in the Inner Mongolia region of China. Khorchin () is spoken to the east in eastern Inner Mongolia and Manchuria. Ordos is spoken to the south, in Ordos City in Inner Mongolia. Oirat, is spoken to the west, in Dzungaria. Khamnigan () is spoken in northeast Mongolia and in northwest of Manchuria. Buryat () is spoken to the north, in the Republic of Buryatia of Russia, as well as in the Barga region of Hulun Buir League in Inner Mongolia. There is no disagreement that the Khalkha dialect of the Mongolian state is Mongolian. However, the status of certain varieties in the Common Mongolic group—whether they are languages distinct from Mongolian or just dialects of it—is disputed. There are at least three such varieties: Oirat (including the Kalmyk variety) and Buryat, both of which are spoken in Russia, Mongolia, and China; and Ordos, spoken around Inner Mongolia's Ordos City. The influential classification of Sanžeev (1953) proposed a "Mongolian language" consisting of just the three dialects Khalkha, Chakhar, and Ordos, with Buryat and Oirat judged to be independent languages. On the other hand, Luvsanvandan (1959) proposed a much broader "Mongolian language" consisting of a Central dialect (Khalkha, Chakhar, Ordos), an Eastern dialect (Kharchin, Khorchin), a Western dialect (Oirat, Kalmyk), and a Northern dialect (consisting of two Buryat varieties). Additionally, the Language Policy in the People's Republic of China: Theory and Practice Since 1949, states that Mongolian can be classified into four dialects: the Khalkha dialect in the middle, the Horcin-Haracin dialect in the East, Oriat-Hilimag in the west, and Bargu-Buriyad in the north. Some Western scholars propose that the relatively well researched Ordos variety is an independent language due to its conservative syllable structure and phoneme inventory. While the placement of a variety like Alasha, which is under the cultural influence of Inner Mongolia but historically tied to Oirat, and of other border varieties like Darkhad would very likely remain problematic in any classification, the central problem remains the question of how to classify Chakhar, Khalkha, and Khorchin in relation to each other and in relation to Buryat and Oirat. The split of into before *i and before all other reconstructed vowels, which is found in Mongolia but not in Inner Mongolia, is often cited as a fundamental distinction, for example Proto-Mongolic , Khalkha , Chakhar 'year' versus Proto-Mongolic , Khalkha , Chakhar 'few'. On the other hand, the split between the past tense verbal suffixes - in the Central varieties v. - in the Eastern varieties is usually seen as a merely stochastic difference. In Inner Mongolia, official language policy divides the Mongolian language into three dialects: Southern Mongolian, Oirat, and Barghu-Buryat. Southern Mongolian is said to consist of Chakhar, Ordos, Baarin, Khorchin, Kharchin, and Alasha. The authorities have synthesized a literary standard for Mongolian in whose grammar is said to be based on Southern Mongolian and whose pronunciation is based on the Chakhar dialect as spoken in the Plain Blue Banner. Dialectologically, however, western Southern Mongolian dialects are closer to Khalkha than they are to eastern Southern Mongolian dialects: e.g. Chakhar is closer to Khalkha than to Khorchin. List of dialects Juha Janhunen (2003: 179) lists the following Mongol dialects, most of which are spoken in Inner Mongolia. Tongliao group Horchin Jasagtu Jarut Jalait Dörbet Gorlos Juu Uda group Aru Horchin Baarin Ongniut Naiman Aohan Josotu group Harachin Tümet Ulan cab group Cahar Urat Darhan Muumingan Dörben Küüket Keshigten Shilingol group Üdzümüchin Huuchit Abaga Abaganar Sönit Outer Mongolian group Halh Hotogoit Darhad Congol Sartul Dariganga Standard varieties There are two standard varieties of Mongolian. Mongolia Standard Mongolian in the state of Mongolia is based on the northern Khalkha Mongolian dialects, which include the dialect of Ulaanbaatar, and is written in the Mongolian Cyrillic script. China Standard Mongolian in Inner Mongolia is based on the Chakhar Mongolian of the Khalkha dialect group, spoken in the Shuluun Huh/Zhènglán Banner, and is written in the traditional Mongolian script. The number of Mongolian speakers in China is still larger than in the state of Mongolia, where the majority of Mongolians in China speak one of the Khorchin dialects, or rather more than two million of them speak the Khorchin dialect itself as their mother tongue, so that the Khorchin dialect group has about as many speakers as the Khalkha dialect group in the State of Mongolia. Nevertheless, the Chakhar dialect, which today has only about 100,000 native speakers and belongs to the Khalkha dialect group, is the basis of standard Mongolian in China. Differences The characteristic differences in the pronunciation of the two standard varieties include the umlauts in Inner Mongolia and the palatalized consonants in Mongolia (see below) as well as the splitting of the Middle Mongol affricates * ( ) and * ( ) into ( ) and ( ) versus ( ) and ( ) in Mongolia: Aside from these differences in pronunciation, there are also differences in vocabulary and language use: in the state of Mongolia more loanwords from Russian are being used, while in Inner Mongolia more loanwords from Chinese have been adopted. History The earliest surviving Mongolian text may be the , a report on sports composed in Mongolian script on stone, which is most often dated at 1224 or 1225. The Mongolian-Armenian wordlist of 55 words compiled by Kirakos of Gandzak (13th century) is the first written record of Mongolian words. From the 13th to the 15th centuries, Mongolian language texts were written in four scripts (not counting some vocabulary written in Western scripts): Uyghur Mongolian (UM) script (an adaptation of the Uyghur alphabet), 'Phags-pa script (Ph) (used in decrees), Chinese (SM) (The Secret History of the Mongols), and Arabic (AM) (used in dictionaries). While they are the earliest texts available, these texts have come to be called "Middle Mongol" in scholarly practice. The documents in UM script show some distinct linguistic characteristics and are therefore often distinguished by terming their language "Preclassical Mongolian". The Yuan dynasty referred to the Mongolian language in Chinese as "Guoyu" (), which means "National language", a term also used by other non-Han dynasties to refer to their languages such as the Manchu language during the Qing dynasty, the Jurchen language during the Jin dynasty (1115–1234), the Khitan language during the Liao dynasty, and the Xianbei language during the Northern Wei period. The next distinct period is Classical Mongolian, which is dated from the 17th to the 19th century. This is a written language with a high degree of standardization in orthography and syntax that sets it quite apart from the subsequent Modern Mongolian. The most notable documents in this language are the Mongolian Kangyur and Tengyur as well as several chronicles. In 1686, the Soyombo alphabet (Buddhist texts) was created, giving distinctive evidence on early classical Mongolian phonological peculiarities. Phonology The following description is based primarily on the Khalkha dialect as spoken in Ulaanbaatar, Mongolia's capital. The phonologies of other varieties such as Ordos, Khorchin, and even Chakhar, differ considerably. This section discusses the phonology of Khalkha Mongolian with subsections on Vowels, Consonants, Phonotactics and Stress. Vowels The standard language has seven monophthong vowel phonemes. They are aligned into three vowel harmony groups by a parameter called ATR (advanced tongue root); the groups are −ATR, +ATR, and neutral. This alignment seems to have superseded an alignment according to oral backness. However, some scholars still describe Mongolian as being characterized by a distinction between front vowels and back vowels, and the front vowel spellings 'ö' and 'ü' are still often used in the West to indicate two vowels which were historically front. The Mongolian vowel system also has rounding harmony. Length is phonemic for vowels, and each of the seven phonemes occurs short or long. Phonetically, short has become centralized to the central vowel . In the following table, the seven vowel phonemes, with their length variants, are arranged and described phonetically. The vowels in the Mongolian Cyrillic alphabet are: {| class="wikitable" |+ !Mongolian Cyrillic !IPA !Romanization |- |а, аа |[a, aː] |a, aa |- |и, ий/ы |[i, iː] |i, ii |- |о, оо |[ɔ, ɔː] |o, oo |- |ө, өө |[ɵ, oː] /o, oː/ |ö, öö |- |у, уу |[ʊ, ʊː] |u, uu |- |ү, үү |[u, uː] |ü, üü |- |э, ээ |[e, eː] |e, ee |} {| class="wikitable" style="text-align: center;" ! ! colspan="2" |Front ! colspan="2" |Central ! colspan="2" |Back |- ! ! Short ! Long ! Short ! Long ! Short ! Long |- ! style="text-align: left;" |Close | | | | | | |- ! style="text-align: left;" |Near-Close | | | | | | |- ! style="text-align: left;" |Close-Mid | | | | | | |- ! style="text-align: left;" |Open-mid | | | | | | |- ! style="text-align: left;" |Open | | | | | | |} Khalkha also has four diphthongs: historically but are pronounced more like ; e.g. ой in () 'dog', ай in () sea', уй in () 'to cry', үй in () 'factory', эй in () 'necessary'. There are three additional rising diphthongs (иа), (уа) (эй); e.g. иа in () 'individually', уа in () 'barracks'. Allophones This table below lists vowel allophones (note that short vowels allophones in non-initial positions are used interchangeably with schwa): ATR harmony Mongolian divides vowels into three groups in a system of vowel harmony: {| class="wikitable" style="text-align: center;" ! ! +ATR ("front") ! −ATR ("back") ! Neutral |- |IPA | | | |- |Cyrillic |э, ү, ө |а, у, о |и, ы and й |} For historical reasons, these have been traditionally labeled as "front" vowels and "back" vowels, as /o/ and /u/ developed from /ø/ and /y/, while /ɔ/ and /ʊ/ developed from /o/ and /u/ in Middle Mongolian. Indeed, in Mongolian romanizations, the vowels and are often conventionally rendered as and , while the vowels and are expressed as and . However, for modern Mongolian phonology, it is more appropriate to instead characterize the two vowel-harmony groups by the dimension of tongue root position. There is also one neutral vowel, , not belonging to either group. All the vowels in a noncompound word, including all its suffixes, must belong to the same group. If the first vowel is −ATR, then every vowel of the word must be either or a −ATR vowel. Likewise, if the first vowel is a +ATR vowel, then every vowel of the word must be either or a +ATR vowel. In the case of suffixes, which must change their vowels to conform to different words, two patterns predominate. Some suffixes contain an archiphoneme that can be realized as ; e.g. 'household' + (instrumental) → 'by a household' 'sentry' + (instrumental) → 'by a sentry' Other suffixes can occur in being realized as , in which case all −ATR vowels lead to and all +ATR vowels lead to ; e.g. 'to take"l' + (causative) → If the only vowel in the word stem is , the suffixes will use the +ATR suffix forms. Rounding harmony Mongolian also has rounding harmony, which does not apply to close vowels. If a stem contains (or ), a suffix that is specified for an open vowel will have (or , respectively) as well. However, this process is blocked by the presence of (or ) and ; e.g. 'came in', but 'inserted'. Vowel length The pronunciation of long and short vowels depends on the syllable's position in the word. In word-initial syllables, there is a phonemic contrast in vowel length. A long vowel has about 208% the length of a short vowel. In word-medial and word-final syllables, formerly long vowels are now only 127% as long as short vowels in initial syllables, but they are still distinct from initial-syllable short vowels. Short vowels in noninitial syllables differ from short vowels in initial syllables by being only 71% as long and by being centralized in articulation. As they are nonphonemic, their position is determined according to phonotactic requirements. Consonants The following table lists the consonants of Khalkha Mongolian. The consonants enclosed in parentheses occur only in loanwords. A rare feature among the world's languages, Mongolian lacks the voiced lateral approximant, and the voiceless velar plosive ; instead, it has a voiced alveolar lateral fricative, , which is often realized as voiceless . In word-final position, (if not followed by a vowel in historical forms) is realized as . The occurrence of palatalized consonant phonemes seems to be restricted to words that contain [−ATR] vowels. Aspirated consonants are preaspirated in medial and word-final contexts, devoicing preceding consonants and vowels. Devoiced short vowels are often deleted. Syllable structure and phonotactics The maximal syllable is CVVCCC, where the last C is a word-final suffix. A single short vowel rarely appears in syllable-final position. If a word was monosyllabic historically, *CV has become CVV. is restricted to codas (else it becomes ), and and do not occur in codas for historical reasons. For two-consonant clusters, the following restrictions obtain: a palatalized consonant can be preceded only by another palatalized consonant or sometimes by and may precede only and does not seem to appear in second position and do not occur as first consonant and as second consonant only if preceded by or or their palatalized counterparts. Clusters that do not conform to these restrictions will be broken up by an epenthetic nonphonemic vowel in a syllabification that takes place from right to left. For instance, 'two', 'work', and 'neutral' are, phonemically, , , and respectively. In such cases, an epenthetic vowel is inserted to prevent disallowed consonant clusters. Thus, in the examples given above, the words are phonetically , , and . The phonetic form of the epenthetic vowel follows from vowel harmony triggered by the vowel in the preceding syllable. Usually it is a centralized version of the same sound, with the following exceptions: preceding produces ; will be ignored if there is a nonneutral vowel earlier in the word; and a postalveolar or palatalized consonant will be followed by an epenthetic , as in . Stress Stress in Mongolian is nonphonemic (does not distinguish different meanings) and thus is considered to depend entirely on syllable structure. But scholarly opinions on stress placement diverge sharply. Most native linguists, regardless of which dialect they speak, claim that stress falls on the first syllable. Between 1941 and 1975, several Western scholars proposed that the leftmost heavy syllable gets the stress. Yet other positions were taken in works published between 1835 and 1915. Walker (1997) proposes that stress falls on the rightmost heavy syllable unless this syllable is word-final: {| | HˈHLL || || || 'to be organized' |- | LHˈHL || || || 'separating' (adverbial) |- | LHHˈHL || || || 'the residents of Ulaanbaatar' |- | HˈHH || || || 'angrily' |- | ˈHLH || || || 'sad' |} A "heavy syllable" is defined as one that is at least the length of a full vowel; short word-initial syllables are thereby excluded. If a word is bisyllabic and the only heavy syllable is word-final, it gets stressed anyway. In cases where there is only one phonemic short word-initial syllable, even this syllable can get the stress: {| | LˈH || || || 'goose' |- | ˈLL || || || 'having read' |} More recently, the most extensive collection of phonetic data so far in Mongolian studies has been applied to a partial account of stress placement in the closely related Chakhar dialect. The conclusion is drawn that di- and trisyllabic words with a short first syllable are stressed on the second syllable. But if their first syllable is long, then the data for different acoustic parameters seems to support conflicting conclusions: intensity data often seems to indicate that the first syllable is stressed, while F0 seems to indicate that it is the second syllable that is stressed. Grammar The grammar in this article is also based primarily on Khalkha Mongolian. Unlike the phonology, most of what is said about morphology and syntax also holds true for Chakhar, while Khorchin is somewhat more diverse. Morphology Modern Mongolian is an agglutinative—almost exclusively suffixing—language, with the only exception being reduplication. Mongolian also does not have gendered nouns, or definite articles like "the". Most of the suffixes consist of a single morpheme. There are many derivational morphemes. For example, the word consists of the root 'to be', an epenthetic ‑‑, the causative ‑‑ (hence 'to find'), the derivative suffix ‑ that forms nouns created by the action (like -ation in organisation) and the complex suffix ‑ denoting something that belongs to the modified word (‑ would be genitive). Nominal compounds are quite frequent. Some derivational verbal suffixes are rather productive, e.g. 'to speak', 'to speak with each other'. Formally, the independent words derived using verbal suffixes can roughly be divided into three classes: final verbs, which can only be used sentence-finally, i.e. ‑ (mainly future or generic statements) or ‑ (second person imperative); participles (often called "verbal nouns"), which can be used clause-finally or attributively, i.e. ‑ (perfect-past) or ‑ 'want to'; and converbs, which can link clauses or function adverbially, i.e. ‑ (qualifies for any adverbial function or neutrally connects two sentences) or ‑ (the action of the main clause takes place until the action expressed by the suffixed verb begins). Nouns Roughly speaking, Mongolian has between seven and nine cases: nominative (unmarked), genitive, dative-locative, accusative, ablative, instrumental, comitative, privative and directive, though the final two are not always considered part of the case paradigm. If a direct object is definite, it must take the accusative, while it must take the nominative if it is indefinite. In addition to case, a number of postpositions exist that usually govern the genitive, dative-locative, comitative and privative cases, including a marked form of the nominative (which can itself then take further case forms). There is also a possible attributive case (when a noun is used attributively), which is unmarked in most nouns but takes the suffix ‑ (‑) when the stem has an unstable nasal. Nouns can also take a reflexive-possessive suffix, indicating that the marked noun is possessed by the subject of the sentence: I friend- save- "I saved my friend". However, there are also somewhat noun-like adjectives to which case suffixes seemingly cannot be attached directly unless there is ellipsis. {| class="wikitable" |- |+Mongolian noun cases |- ! Case !! Suffix !! English preposition !Example (Cyrillic)!! Transliteration !! Translation |- | nominative || – || – |ном|| || book |- | accusative || ‑ (‑)‑ (‑), ‑ (‑) || – | || || the book (as object) |- | genitive || ‑ (‑)‑ (‑), ‑ (‑)‑ (‑), ‑ (‑)‑ (‑)‑ (‑), ‑ (‑)‑ (‑), ‑ (‑) || of | || || of (a) book; book's |- | dative-locative|| ‑ (‑)‑ (‑)‑ (‑), ‑ (‑), ‑ (‑), ‑ (‑)‑ (‑)‑ (‑)‑ (‑), ‑ (‑), ‑ (‑), ‑ (‑)‑ (‑) || on, to, at, in | || || in (a) book |- | ablative || ‑ (‑), ‑ (‑), ‑ (‑), ‑ (‑)‑ (‑), ‑ (‑), ‑ (‑), ‑ (‑)‑ (‑), ‑ (‑), ‑ (‑), ‑ (‑) || from | || || from (a) book |- | instrumental || ‑ (‑), ‑ (‑), ‑ (‑), ‑ (‑)‑ (‑), ‑ (‑), ‑ (‑), ‑ (‑) || with, using | || || with (e.g. by means of a) book |- | comitative || ‑ (‑), ‑ (‑), ‑ (‑) || together with | || || with (e.g. alongside a) book |- | privative || ‑ (‑) || without || || || without (a) book |- | directive ||  (),  () (),  () || towards || || || towards (a) book |} Note: the rules governing the morphology of Mongolian case endings are intricate, and so the rules given below are only indicative. In many situations, further (more general) rules must also be taken into account in order to produce the correct form: these include the presence of an unstable nasal or unstable velar, as well as the rules governing when a penultimate vowel should be deleted from the stem with certain case endings (e.g.  () →  ()). The additional morphological rules specific to loanwords are not covered. Nominative case The nominative case is used when a noun (or other part of speech acting as one) is the subject of the sentence, and the agent of whatever action (not just physically) takes place in the sentence. In Mongolian, the nominative case does not have an ending. Accusative case The accusative case is used when a noun acts as a direct object (or just "object"), and receives action from a transitive verb. It is formed by: ‑ (‑) after stems ending in long vowels or diphthongs, or when a stem ending in  () has an unstable velar (unstable g). ‑ (‑) after back vowel stems ending in unpalatalized consonants (except and ), short vowels (except ) or iotated vowels. ‑ (‑) after front vowel stems ending in consonants, short vowels or iotated vowels; and after all stems ending in the palatalized consonants  (),  () and  (), as well as  (),  (),  () or  (). Note: If the stem ends in a short vowel or  (), it is replaced by the suffix. Genitive case The genitive case is used to show possession of something. For regular stems, it is formed by: ‑ (‑) after stems ending in the diphthongs  (),  (),  (),  (),  () or  (), or the long vowel  (). ‑ (‑) after back vowel stems ending in  (). ‑ (‑) after front vowel stems ending in  (). ‑ (‑) after back vowel stems ending in unpalatalized consonants (except , and ), short vowels (except ) or iotated vowels. ‑ (‑) after front vowel stems ending in consonants (other than ), short vowels or iotated vowels; and after all stems ending in the palatalized consonants  (),  () and  (), as well as  (),  (),  () or  (). ‑ (‑) after stems ending in a long vowel (other than ), or after the diphthongs  (),  () or  (). Note: If the stem ends in a short vowel or  (), it is replaced by the suffix. For stems with an unstable nasal (unstable n), it is formed by: ‑ (‑) after back vowel stems (other than those ending in or ). ‑ (‑) after front vowel stems (other than those ending in or ). ‑ (‑) after back vowel stems ending in  () or  (). ‑ (‑) after front vowel stems ending in  () or  (). Note: If the stem ends in  () or  (), it is replaced by the suffix. For stems with an unstable velar (unstable g), it is formed by ‑ (‑). Dative-locative case The dative-locative case is used to show the location of something, or to specify that something is in something else. For regular stems or those with an unstable velar (unstable g), it is formed by: ‑ (‑) after stems ending in vowels or the vocalized consonants  (),  () and  (), and a small number of stems ending in  () and  (). ‑ (‑) after stems ending in  () and  (), most stems ending in  () and  (), and stems ending in  () when it is preceded by a vowel. ‑ (‑) after stems ending in the palatalized consonants  (),  () and  (). ‑ (‑), ‑ (‑), ‑ (‑) or ‑ (‑) after all other stems (depending on the vowel harmony of the stem). For stems with an unstable nasal (unstable n), it is formed by: ‑ (‑) after stems ending in vowels. ‑ (‑) after stems ending in the palatalized consonants  (),  () and  (). ‑ (‑), ‑ (‑), ‑ (‑) or ‑ (‑) after all other stems (depending on the vowel harmony of the stem). Plurals Source: Plurality may be left unmarked, but there are overt plurality markers, some of which are restricted to humans. A noun that is modified by a numeral usually does not take any plural affix. There are four ways of forming plurals in Mongolian: Some plurals are formed by adding - -nuud or - -nüüd. If the last vowel of the previous word is a (a), o (y), or ɔ (o), then - is used; e.g. harh 'rat' becomes harhnuud 'rats'. If the last vowel of the previous word is e (э), ʊ (ө), ü (ү), or i (и) then is used; e.g. nüd 'eye' becomes nüdnüüd 'eyes'. In other plurals, just - -uud or - -üüd is added without the "n"; e.g. hot 'city' becomes hotuud 'cities', and eezh 'mother' becomes eezhüüd 'mothers'. Another way of forming plurals is by adding - -nar; e.g. bagsh 'teacher' becomes bagsh nar 'teachers'. The final way is an irregular form used: hün 'person' becomes hümüüs 'people'. Pronouns Personal pronouns exist for the first and second person, while the old demonstrative pronouns have come to form third person (proximal and distal) pronouns. Other word (sub-)classes include interrogative pronouns, conjunctions (which take participles), spatials, and particles, the last being rather numerous. Negation Negation is mostly expressed by -güi (-) after participles and by the negation particle bish () after nouns and adjectives; negation particles preceding the verb (for example in converbal constructions) exist, but tend to be replaced by analytical constructions. Numbers Forming questions When asking questions in Mongolian, a question marker is used to show a question is being asked. There are different question markers for yes/no questions and for information questions. For yes/no questions, and are used when the last word ends in a short vowel or a consonant, and their use depends on the vowel harmony of the previous word. When the last word ends in a long vowel or a diphthong, then and are used (again depending on vowel harmony). For information questions (questions asking for information with an interrogative word like who, what, when, where, why, etc.), the question particles are and , depending on the last sound in the previous word. Yes/No Question Particles - () Open Ended Question Particles - () Basic interrogative pronouns - ( 'what'), - ( 'where'), ( 'who'), ( 'why'), ( 'how'), ( 'when'), ( 'what kind') Verbs In Mongolian, verbs have a stem and an ending. For example, the stems , , and are suffixed with , , and respectively: , , and . These are the infinitive or dictionary forms. The present/future tense is formed by adding either , , , or to the stem. These do not change for different pronouns, so 'I/you/he/she/we/you all/they study' will always be . is the present/future tense verb for 'to be'; likewise, is 'to read', and is 'to see'. The final vowel is barely pronounced and is not pronounced at all if the word after begins with a vowel, so is pronounced 'hello, how are you?'. Past Tense () Informed Past Tense (any point in past) () Informed Past Tense (not long ago) () Non-Informed Past Tense (generally a slightly to relatively more distant past) () Present Perfect Tense () Present Progressive Tense () (Reflective) Present Progressive Tense () Simple Present Tense () Simple Future () Infinitive () Negative form There are several ways to form negatives in Mongolian. For example: () – the negative form of the verb 'to be' ( ) – means 'is/are not'. - (). This suffix is added to verbs, so ( 'go/will go') becomes ( 'do not go/will not go'). () is the word for 'no'. () is used for negative imperatives; e.g. ( 'don't go') () is the formal version of . Syntax Differential case marking Mongolian uses differential case marking, being a regular Differential Object Marking (DOM) language. DOM emerges from a complicated interaction of factors such as referentiality, animacy and topicality. Mongolian also exhibits a specific type of Differential Subject Marking (DSM), in which the subjects of embedded clauses (including adverbial clauses) occur with accusative case. Phrase structure The noun phrase has the order: demonstrative pronoun/numeral, adjective, noun. Attributive sentences precede the whole NP. Titles or occupations of people, low numerals indicating groups, and focus clitics are put behind the head noun. Possessive pronouns (in different forms) may either precede or follow the NP. Examples: The verbal phrase consists of the predicate in the center, preceded by its complements and by the adverbials modifying it and followed (mainly if the predicate is sentence-final) by modal particles, as in the following example with predicate bichsen: In this clause the adverbial, helehgüigeer 'without saying [so]' must precede the predicate's complement, üüniig 'it-' in order to avoid syntactic ambiguity, since helehgüigeer is itself derived from a verb and hence an üüniig preceding it could be construed as its complement. If the adverbial was an adjective such as hurdan 'fast', it could optionally immediately precede the predicate. There are also cases in which the adverb must immediately precede the predicate. For Khalkha, the most complete treatment of the verbal forms is by Luvsanvandan (ed.) (1987). However, the analysis of predication presented here, while valid for Khalkha, is adapted from the description of Khorchin. Most often, of course, the predicate consists of a verb. However, there are several types of nominal predicative constructions, with or without a copula. Auxiliaries that express direction and aktionsart (among other meanings) can with the assistance of a linking converb occupy the immediate postverbal position; e.g. The next position is filled by converb suffixes in connection with the auxiliary, baj- 'to be', e.g. Suffixes occupying this position express grammatical aspect; e.g. progressive and resultative. In the next position, participles followed by baj- may follow, e.g., Here, an explicit perfect and habituality can be marked, which is aspectual in meaning as well. This position may be occupied by multiple suffixes in a single predication, and it can still be followed by a converbal Progressive. The last position is occupied by suffixes that express tense, evidentiality, modality, and aspect. Clauses Unmarked phrase order is subject–object–predicate. While the predicate generally has to remain in clause-final position, the other phrases are free to change order or to wholly disappear. The topic tends to be placed clause-initially, new information rather at the end of the clause. Topic can be overtly marked with bol, which can also mark contrastive focus, overt additive focus ('even, also') can be marked with the clitic ch, and overt restrictive focus with the clitic l ('only'). The inventory of voices in Mongolian consists of passive, causative, reciprocal, plurative, and cooperative. In a passive sentence, the verb takes the suffix -gd- and the agent takes either dative or instrumental case, the first of which is more common. In the causative, the verb takes the suffix -uul-, the causee (the person caused to do something) in a transitive action (e.g. 'raise') takes dative or instrumental case, and the causee in an intransitive action (e.g. 'rise') takes accusative case. Causative morphology is also used in some passive contexts: The semantic attribute of animacy is syntactically important: thus the sentence, 'the bread was eaten by me', which is acceptable in English, would not be acceptable in Mongolian. The reciprocal voice is marked by -ld-, the plurative by -cgaa-, and the cooperative by -lc-. Mongolian allows for adjectival depictives that relate to either the subject or the direct object, e.g. Liena nücgen untdag 'Lena sleeps naked', while adjectival resultatives are marginal. Complex sentences One way to conjoin clauses is to have the first clause end in a converb, as in the following example using the converb -bol: Some verbal nouns in the dative (or less often in the instrumental) function very similar to converbs: e.g. replacing olbol in the preceding sentence with olohod find- yields 'when we find it we'll give it to you'. Quite often, postpositions govern complete clauses. In contrast, conjunctions take verbal nouns without case: Finally, there is a class of particles, usually clause-initial, that are distinct from conjunctions but that also relate clauses: Mongolian has a complementizer auxiliary verb ge- very similar to Japanese to iu. ge- literally means 'to say' and in converbal form gezh precedes either a psych verb or a verb of saying. As a verbal noun like gedeg (with ni) it can form a subset of complement clauses. As gene it may function as an evidentialis marker. Mongolian clauses tend to be combined paratactically, which sometimes gives rise to sentence structures which are subordinative despite resembling coordinative structures in European languages: In the subordinate clause the subject, if different from the subject of main clause, sometimes has to take accusative or genitive case. There is marginal occurrence of subjects taking ablative case as well. Subjects of attributive clauses in which the head has a function (as is the case for all English relative clauses) usually require that if the subject is not the head, then it take the genitive, e.g. tüünii idsen hool that.one- eat- meal 'the meal that s/he had eaten'. Loanwords and coined words Mongolian first adopted loanwords from many languages including Old Turkic, Sanskrit (these often via Uyghur), Persian, Arabic, Tibetan, Tungusic, and Chinese. However, more recent loanwords come from Russian, English, and Mandarin Chinese (mainly in Inner Mongolia). Language commissions of the Mongolian state continuously translate new terminology into Mongolian, so as the Mongolian vocabulary now has 'president' ('generalizer') and 'beer' ('yellow kumys'). There are several loan translations, e.g. 'train' ('fire-having cart') from Chinese ( 'fire cart') 'train'. Other loan translations include 'essence' from Chinese ( 'true quality'), 'population' from Chinese ( 'person mouth'), 'corn, maize' from Chinese ( 'jade rice') and 'republic' from Chinese ( 'public collaboration nation'). Sanskrit loanwords include ( 'religion'), ( 'space'), ( 'talent'), ( 'good deeds'), ( 'instant'), ( 'continent'), ( 'planet'), ( 'tales, stories'), ( 'poems, verses'), ( 'strophe'), ( 'mineral water, nectar'), ( 'chronicle'), ( 'Mercury'), ( 'Venus'), ( 'Jupiter'), and ( 'Saturn'). Persian loanwords include ( 'amethyst'), ( 'brandy', ultimately from Arabic), ( 'building'), ( 'tiger'), ( 'chess queen/female tiger'), ( 'steel'), ( 'crystal'), ( 'sesame'), ( 'prison'), ( 'powder/gunpowder, medicine'), ( 'telescope'), ( 'telescope/microscope'), ( 'notebook'), ( 'high God'), ( 'soap'), ( 'stool'), and ( 'cup'). Chinese loanwords include ( bǎnzi 'board'), ( là 'candle'), ( lúobo 'radish'), ( húlu 'gourd'), ( dēnglù 'lamp'), ( qìdēng 'electric lamp'), ( bǐr 'paintbrush'), ( zhǎnbǎnzi 'cutting board'), ( qīngjiāo 'pepper'), ( jiǔcài 'leek'), ( mógu 'mushroom'), ( cù 'vinegar, soy sauce'), ( báicài 'cabbage'), ( mántou 'steamed bun'), ( mǎimài 'trade'), ( gùamiàn 'noodles'), ( dān 'single'), ( gāng 'steel'), ( lángtou 'sledgehammer'), ( chūanghu 'window'), ( bāozi 'dumplings'), ( hǔoshāor 'fried dumpling'), ( rǔzhītāng 'cream soup'), ( fěntāng 'flour soup'), ( jiàng 'soy'), ( wáng 'king'), ( gōngzhǔ 'princess'), ( gōng 'duke'), ( jiāngjūn 'general'), ( tàijiàn 'eunuch'), ( piànzi 'recorded disc'), ( guǎnzi 'restaurant'), ( liánhuā 'lotus'), ( huār 'flower'), ( táor 'peach'), ( yīngtáor 'cherry'), ( jiè 'borrow, lend'), ( wāndòu 'pea'), ( yàngzi 'manner, appearance'), ( xìngzhì 'characteristic'), ( lír 'pear'), ( páizi 'target'), ( jīn 'weight'), ( bǐng 'pancake'), ( huángli 'calendar'), ( shāocí 'porcelain'), ( kǎndōudu 'sleeveless vest'), ( fěntiáozi 'potato noodles'), and ( chá 'tea'). In the 20th century, many Russian loanwords entered the Mongolian language, including 'doctor', 'chocolate', 'train wagon', 'calendar', 'system', (from 'T-shirt'), and 'car'. In more recent times, due to socio-political reforms, Mongolian has loaned various words from English; some of which have gradually evolved as official terms: 'management', 'computer', 'file', 'marketing', 'credit', 'online', and 'message'. Most of these are confined to the Mongolian state. Other languages have borrowed words from Mongolian. Examples (Mongolian in brackets) include Persian کشيكچى (from 'royal guard'), (from 'pheasant'), (from 'iron armour'), (from 'chief of commandant'), (from 'scissors'); Uzbek (from 'island'); Chinese 衚衕 hutong (from 'passageway'), 站赤 zhanchi (from 'courier/post station'); Middle Chinese 犢 duk (from 'calf'); Korean (from 'royal meal'), (from 'castrated animal'), (from 'chest of an animal'); Old English cocer (from 'container'); Old French quivre (from 'container'); Old High German Baldrian (from 'valerian plant'). Köküür and balchirgan-a are thought to have been brought to Europe by the Huns or Pannonian Avars. Despite having a diverse range of loanwords, Mongolian dialects such as Khalkha and Khorchin, within a comparative vocabulary of 452 words of Common Mongolic vocabulary, retain as many as 95% of these native words, contrasting e.g. with Southern Mongolic languages at 39–77% retentions. Writing systems Mongolian has been written in a variety of alphabets, making it a language with one of the largest number of scripts used historically. The earliest stages of Mongolian (Xianbei, Wuhuan languages) may have used an indigenous runic script as indicated by Chinese sources. The Khitan large script adopted in 920 CE is an early Mongol (or according to some, para-Mongolic) script. The traditional Mongolian script was first adopted by Temüjin in 1204, who recognized the need to represent his own people's language. It developed from the Uyghur script when several members of the Uyghur elite who were brought into the Mongol confederation early on shared their knowledge of their written language with the Mongol imperial clan. Among the Uyghurs sharing that knowledge were Tata-tonga (), Bilge Buqa (比俚伽普華), Kara Igach Buyruk (哈剌亦哈赤北魯), and Mengsus (孟速思). From that time, the script underwent some minor disambiguations and supplementation. Between 1930 and 1932, a short-lived attempt was made to introduce the Latin script in the Mongolian state. In 1941, the Latin alphabet was adopted, though it lasted only two months. The Mongolian Cyrillic script was the result of the spreading of Russian influence following the expansion of Russian Empire. The establishment of Soviet Union helped the influence continue, and the Cyrillic alphabet was slowly introduced with the effort by Russian/Soviet linguists in collaboration with their Mongolian counterparts. It was made mandatory by government decree in 1941. It has been argued that the introduction of the Cyrillic script, with its smaller discrepancy between written and spoken form, contributed to the success of the large-scale government literacy campaign, which increased the literacy rate from 17.3% to 73.5% between 1941 and 1950. Earlier government campaigns to eradicate illiteracy, employing the traditional script, had only managed to raise literacy from 3.0% to 17.3% between 1921 and 1940. From 1991 to 1994, an attempt at reintroducing the traditional alphabet failed in the face of popular resistance. In informal contexts of electronic text production, the use of the Latin alphabet is common. In the People's Republic of China, Mongolian is the official language along with Mandarin Chinese in some regions, notably the entire Inner Mongolia Autonomous Region. The traditional alphabet has always been used there, although Cyrillic was considered briefly before the Sino-Soviet split. There are two types of written Mongolian used in China: the traditional Mongolian script, which is official among Mongols nationwide, and the Clear Script, used predominantly among Oirats in Xinjiang. In March 2020, the Mongolian government announced plans to use both Cyrillic and the traditional Mongolian script in official documents by 2025. Example text Article 1 of the Universal Declaration of Human Rights in Mongolian, written in the Cyrillic alphabet: Хүн бүр төрж мэндлэхэд эрх чөлөөтэй, адилхан нэр төртэй, ижил эрхтэй байдаг. Оюун ухаан, нандин чанар заяасан хүн гэгч өөр хоорондоо ахан дүүгийн үзэл санаагаар харьцах учиртай. Article 1 of the Universal Declaration of Human Rights in Mongolian, written in the Mongolian Latin alphabet: Hün bür törzh mendlehed erh chölöötei, adilhan ner törtei, izhil erhtei baidag. Oyuun uhaan nandin chanar zayaasan hün gegch öör hoorondoo ahan düügiin üzel sanaagaar haricah uchirtai. Article 1 of the Universal Declaration of Human Rights in Mongolian, written in the Mongolian script: Article 1 of the Universal Declaration of Human Rights in English: All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood. See also Mongolian writing systems Mongolian script Galik alphabet Todo alphabet ʼPhags-pa script Horizontal square script Soyombo script Mongolian Latin alphabet SASM/GNC romanization § Mongolian Mongolian Cyrillic alphabet Mongolian transliteration of Chinese characters Mongolian Braille Mongolian Sign Language Mongolian name Notes References Citations Sources For some Mongolian authors, the Mongolian version of their name is also given in square brackets, e.g., "Harnud [Köke]". Köke is the author's native name. It is a practice common among Mongolian scholars, for purposes of publishing and being cited abroad, to adopt a surname based on one's patronymic, in this example "Harnud"; compare Mongolian name. Some library catalogs write Chinese language titles with each syllable separate, even syllables belonging to a single word. List of abbreviations used TULIP is in official use by some librarians; the remainder have been contrived for this listing. Journals KULIP = Kyūshū daigaku gengogaku ronshū [Kyushu University linguistics papers] MKDKH = Muroran kōgyō daigaku kenkyū hōkoku [Memoirs of the Muroran Institute of Technology] TULIP = Tōkyō daigaku gengogaku ronshū [Tokyo University linguistics papers] Publishers ÖMAKQ = Öbür mongγul-un arad-un keblel-ün qoriy-a ÖMSKKQ = Öbür mongγul-un surγan kümüǰil-ün keblel-ün qoriy-a ÖMYSKQ = Öbür mongγul-un yeke surγaγuli-yin keblel-ün qoriy-a ŠUA = [Mongol Ulsyn] Šinžleh Uhaany Akademi Amaržargal, B. 1988. BNMAU dah' Mongol helnij nutgijn ajalguuny tol' bichig: halh ajalguu. Ulaanbaatar: ŠUA. Apatóczky, Ákos Bertalan. 2005. On the problem of the subject markers of the Mongolian language. In Wú Xīnyīng, Chén Gānglóng (eds.), Miànxiàng xīn shìjìde ménggǔxué [The Mongolian studies in the new century : review and prospect]. Běijīng: Mínzú Chūbǎnshè. 334–343. . Ashimura, Takashi. 2002. Mongorugo jarōto gengo no no yōhō ni tsuite. TULIP, 21: 147–200. Bajansan, Ž. and Š. Odontör. 1995. Hel šinžlelijn ner tom"joony züjlčilsen tajlbar toli. Ulaanbaatar. Bayančoγtu. 2002. Qorčin aman ayalγun-u sudulul. Kökeqota: ÖMYSKQ. . Bjambasan, P. 2001. Mongol helnij ügüjsgeh har'caa ilerhijleh hereglüürüüd. Mongol hel, sojolijn surguul: Erdem šinžilgeenij bičig, 18: 9–20. Bosson, James E. 1964. Modern Mongolian; a primer and reader. Uralic and Altaic series; 38. Bloomington: Indiana University. Brosig, Benjamin. 2009. Depictives and resultatives in Modern Khalkh Mongolian. Hokkaidō gengo bunka kenkyū, 7: 71–101. Chuluu, Ujiyediin. 1998. Studies on Mongolian verb morphology . Dissertation, University of Toronto. Činggeltei. 1999. Odu üj-e-jin mongγul kelen-ü ǰüi. Kökeqota: ÖMAKQ. . Coloo, Ž. 1988. BNMAU dah' mongol helnij nutgijn ajalguuny tol' bichig: ojrd ajalguu. Ulaanbaatar: ŠUA. Djahukyan, Gevork. (1991). Armenian Lexicography. In Franz Josef Hausmann (Ed.), An International Encyclopedia of Lexicography (pp. 2367–2371). Berlin: Walter de Gruyter. [Dobu] Dàobù. 1983. Ménggǔyǔ jiǎnzhì. Běijīng: Mínzú. Garudi. 2002. Dumdadu üy-e-yin mongγul kelen-ü bütüče-yin kelberi-yin sudulul. Kökeqota: ÖMAKQ. Georg, Stefan, Peter A. Michalove, Alexis Manaster Ramer, Paul J. Sidwell. 1999. Telling general linguists about Altaic. Journal of Linguistics, 35: 65–98. Guntsetseg, D. 2008. Differential Object Marking in Mongolian. Working Papers of the SFB 732 Incremental Specification in Context, 1: 53–69. Hammar, Lucia B. 1983. Syntactic and pragmatic options in Mongolian – a study of bol and n'. Ph.D. Thesis. Bloomington: Indiana University. [Köke] Harnud, Huhe. 2003. A Basic Study of Mongolian Prosody. Helsinki: Publications of the Department of Phonetics, University of Helsinki. Series A; 45. Dissertation. . Hashimoto, Kunihiko. 1993. <-san> no imiron. MKDKH, 43: 49–94. Sapporo: Dō daigaku. Hashimoto, Kunihiko. 2004. Mongorugo no kopyura kōbun no imi no ruikei. Muroran kōdai kiyō, 54: 91–100. Janhunen, Juha (ed.). 2003. The Mongolic languages. London: Routledge. Janhunen, Juha. 2003a. Written Mongol. In Janhunen 2003: 30–56. Janhunen, Juha. 2003b. Para-Mongolic. In Janhunen 2003: 391–402. Janhunen, Juha. 2003c. Proto-Mongolic. In Janhunen 2003: 1–29. Janhunen, Juha. 2003d. Mongol dialects. In Janhunen 2003: 177–191. Janhunen, Juha. 2006. Mongolic languages. In K. Brown (ed.), The encyclopedia of language & linguistics. Amsterdam: Elsevier: 231–234. Johanson, Lars. 1995. On Turkic Converb Clauses. In Martin Haspelmath and Ekkehard König (eds.), Converbs in cross-linguistic perspective. Berlin: Mouton de Gruyter: 313–347. . Kang, Sin Hyen. 2000. Tay.mong.kol.e chem.sa č-uy uy.mi.wa ki.nung. Monggolhak [Mongolian Studies], 10: 1–23. Seoul: Hanʼguk Monggol Hakhoe [Korean Association for Mongolian Studies]. Karlsson, Anastasia Mukhanova. 2005. Rhythm and intonation in Halh Mongolian. Ph.D. Thesis. Lund: Lund University. Series: Travaux de l'Institut de Linguistique de Lund; 46. Lund: Lund University. . Ko, Seongyeon. 2011. Vowel Contrast and Vowel Harmony Shift in the Mongolic Languages. Language Research, 47.1: 23–43. Luvsanvandan, Š. 1959. Mongol hel ajalguuny učir. Studia Mongolica [Mongolyn sudlal], 1. Luvsanvandan, Š. (ed.). 1987. (Authors: P. Bjambasan, C. Önörbajan, B. Pürev-Očir, Ž. Sanžaa, C. Žančivdorž) Orčin cagijn mongol helnij ügzüjn bajguulalt. Ulaanbaatar: Ardyn bolovsrolyn jaamny surah bičig, setgüülijn negdsen rjedakcijn gazar. Matsuoka, Yūta. 2007. Gendai mongorugo no asupekuto to dōshi no genkaisei. KULIP, 28: 39–68. Mizuno, Masanori. 1995. Gendai mongorugo no jūzokusetsushugo ni okeru kakusentaku. TULIP, 14: 667–680. Mönh-Amgalan, J. 1998. Orčin tsagijn mongol helnij bajmžijn aj. Ulaanbaatar: Moncame. . Nadmid, Ž. 1967. Mongol hel, tüünij bičgijn tüühen högžlijn tovč tojm. Ulaanbaatar: ŠUA. Norčin et al. (eds.) 1999. Mongγol kelen-ü toli. Kökeqota: ÖMAKQ. . Okada, Hidehiro. 1984. Mongol chronicles and Chinggisid genealogies . Journal of Asian and African studies, 27: 147–154. Öbür mongγul-un yeke surγaγuli. 2005 [1964]. Odu üy-e-yin mongγul kele. Kökeqota: ÖMAKQ. . Poppe, Nicholas. 1955. Introduction to Mongolian comparative studies. Helsinki: Finno-Ugrian Society. Poppe, Nicholas. 1970. Mongolian language handbook. Washington D.C.: Center for Applied Linguistics. Pürev-Očir, B. 1997. Orčin cagijn mongol helnij ögüülberzüj. Ulaanbaatar: n.a. Rachewiltz, Igor de. 1976. Some Remarks on the Stele of Yisuüngge. In Walter Heissig et al., Tractata Altaica – Denis Sinor, sexagenario optime de rebus altaicis merito dedicata. Wiesbaden: Harrassowitz. pp. 487–508. Rachewiltz, Igor de. 1999. Some reflections on so-called Written Mongolian. In: Helmut Eimer, Michael Hahn, Maria Schetelich, Peter Wyzlic (eds.). Studia Tibetica et Mongolica – Festschrift Manfred Taube. Swisttal-Odendorf: Indica et Tibetica Verlag: 235–246. Rinchen, Byambyn (ed.). 1979. Mongol ard ulsyn ugsaatny sudlal helnij šinžlelijn atlas. Ulaanbaatar: ŠUA. Rybatzki, Volker. 2003a. Intra-Mongolic Taxonomy. In Janhunen 2003: 364–390. Rybatzki, Volker. 2003b. Middle Mongol. In Janhunen 2003: 47–82. Sajto, Kosüke. 1999. Orčin čagyn mongol helnij "neršsen" temdeg nerijn onclog (temdeglel). Mongol ulsyn ih surguulijn Mongol sudlalyn surguul' Erdem šinžilgeenij bičig XV bot', 13: 95–111. Sanžaa, Ž. and D. Tujaa. 2001. Darhad ajalguuny urt egšgijg avialbaryn tövšind sudalsan n'. Mongol hel šinžlel, 4: 33–50. Sanžeev, G. D. 1953. Sravnitel'naja grammatika mongol'skih jazykov. Moskva: Akademija Nauk USSR. Sečen. 2004. Odu üy-e-yin mongγul bičig-ün kelen-ü üge bütügekü daγaburi-yin sudulul. Kökeqota: ÖMASKKQ. . Sechenbaatar [Sečenbaγatur], Borjigin. 2003. The Chakhar dialect of Mongol: a morphological description. Helsinki: Finno-Ugrian society. . Sečenbaγatur, Qasgerel, Tuyaγ-a [Туяa], Bu. Jirannige, Wu Yingzhe, Činggeltei. 2005. Mongγul kelen-ü nutuγ-un ayalγun-u sinǰilel-ün uduridqal [A guide to the regional dialects of Mongolian]. Kökeqota: ÖMAKQ. . Siqinchaoketu [=Sečenčoγtu]. 1999). Kangjiayu yanjiu. Shanghai: Shanghai Yuandong Chubanshe. Slater, Keith. 2003. A grammar of Mangghuer. London: RoutledgeCurzon. . Starostin, Sergei A., Anna V. Dybo, and Oleg A. Mudrak. 2003. Etymological Dictionary of the Altaic Languages, 3 volumes. Leiden: Brill. . Street, John C. 1957. The language of the Secret History of the Mongols. New Haven: American Oriental Society. American Oriental series; 42. Street, John C. 2008. Middle Mongolian Past-tense -BA in the Secret History. Journal of the American Oriental Society 128 (3): 399–422. Svantesson, Jan-Olof. 2003. Khalkha. In Janhunen 2003: 154–176. Svantesson, Jan-Olof, Anna Tsendina, Anastasia Karlsson, Vivan Franzén. 2005. The Phonology of Mongolian. New York: Oxford University Press. . Temürcereng, J̌. 2004. Mongγul kelen-ü üge-yin sang-un sudulul. Kökeqota: ÖMASKKQ. . Toγtambayar, L. 2006. Mongγul kelen-ü kele ǰüiǰigsen yabuča-yin tuqai sudulul. Liyuuning-un ündüsüten-ü keblel-ün qoriy-a. . Tömörtogoo, D. 1992. Mongol helnij tüühen helzüj. Ulaanbaatar. Tömörtogoo, D. 2002. Mongol dörvölžin üsegijn durashalyn sudalgaa. Ulaanbaatar: IAMS. . Tsedendamba, Ts. and Sürengiin Möömöö (eds.). 1997. Orčin cagijn mongol hel. Ulaanbaatar. Tserenpil, D. and R. Kullmann. 2005. Mongolian grammar. Ulaanbaatar: Admon. . Tümenčečeg. 1990. Dumdadu ǰaγun-u mongγul kelen-ü toγačin ögülekü tölüb-ün kelberi-nügüd ba tegün-ü ularil kögǰil. Öbür mongγul-un yeke surγaγuli, 3: 102–120. Walker, Rachel. 1997. Mongolian stress, licensing, and factorial typology . Rutgers Optimality Archive, ROA-172. Weiers, Michael. 1969. Untersuchungen zu einer historischen Grammatik des präklassischen Schriftmongolisch. Wiesbaden: Otto Harrassowitz. Asiatische Forschungen, 28. (Revision of 1966 dissertation submitted to the Universität Bonn.) Yu, Wonsoo. 1991. A study of Mongolian negation (Ph.D. thesis). Bloomington: Indiana University. Further reading Janhunen, Juha A. (2012): Mongolian. (London Oriental and African Language Library, 19.) Amsterdam: John Benjamins Publishing Company. . Traditional Mongolian script (ru) Schmidt, Isaak Jakob, Грамматика монгольскaго языка (Grammatika mongolʹskago i︠a︡zyka), Saint-Petersburg, 1832 (ru) Bobrovnikov, Aleksieĭ Aleksandrovich Грамматика монгольско-калмыцкого языка (Grammatika mongolʹsko-kalmyt͡skago i͡azyka), Kazan, 1849 (de) Schmidt, Isaak Jakob, Grammatik der mongolischen Sprache, St. Petersburg, 1831 (fr) Rémusat, Abel Récherches sur les langues tartares, Paris, 1820 (fr, ru) Kovalevskiĭ, Osip Mikhaĭlovich, Dictionnaire Mongol-Russe-Franca̧is, Volumes 1-3, Kazan 1844-46-49 (fr) Soulié, Charles Georges, Éléments de grammaire mongole (dialecte ordoss), Paris, 1903 (it) Puini, Carlo, Elementi della grammatica mongolica, Firenze, 1878 External links Lingua Mongolia (a website dedicated to the Mongolian language, mostly as written in the Mongolian Uyghur script) Bolor Mongolian-English dictionary Category:Agglutinative languages Category:Central Mongolic languages Category:Languages of Mongolia Category:Languages of Russia Category:Articles containing Mongolian script text Category:Subject–object–verb languages Category:Articles containing video clips Category:Languages attested from the 13th century Category:Languages with own distinct writing systems Category:Languages written in Cyrillic script
[ { "text": "The classical or traditional Mongolian script, also known as the Hudum Mongol bichig, was the first writing system created specifically for the Mongolian language, and was the most widespread until the introduction of Cyrillic in 1946. It is traditionally written in vertical lines . Derived from the Old Uyghur alphabet, it is a true alphabet, with separate letters for consonants and vowels. It has been adapted for such languages as Oirat and Manchu. Alphabets based on this classical vertical script continue to be used in Mongolia and Inner Mongolia to write Mongolian, Xibe and, experimentally, Evenki.\n\nComputer operating systems have been slow to adopt support for Mongolian script; almost all have incomplete support or other text rendering difficulties.\n\nHistory \n\nThe Mongolian vertical script developed as an adaptation of the Old Uyghur alphabet for the Mongolian language. From the seventh and eighth to the fifteenth and sixteenth centuries, the Mongolian language separated into southern, eastern and western dialects. The principal documents from the period of the Middle Mongol language are: in the eastern dialect, the famous text The Secret History of the Mongols, monuments in the Square script, materials of the Chinese–Mongolian glossary of the fourteenth century and materials of the Mongolian language of the middle period in Chinese transcription, etc.; in the western dialect, materials of the Arab–Mongolian and Persian–Mongolian dictionaries, Mongolian texts in Arabic transcription, etc. The main features of the period are that the vowels ï and i had lost their phonemic significance, creating the i phoneme (in the Chakhar dialect, the Standard Mongolian in Inner Mongolia, these vowels are still distinct); inter-vocal consonants γ/g, b/w had disappeared and the preliminary process of the formation of Mongolian long vowels had begun; the initial h was preserved in many words; grammatical categories were partially absent, etc. The development over this period explains why the Mongolian script looks like a vertical Arabic script (in particular the presence of the dot system).\n\nEventually, minor concessions were made to the differences between the Uyghur and Mongol languages: In the 17th and 18th centuries, smoother and more angular versions of the letter tsadi became associated with and respectively, and in the 19th century, the Manchu hooked yodh was adopted for initial . Zain was dropped as it was redundant for . Various schools of orthography, some using diacritics, were developed to avoid ambiguity.\n\nTraditional Mongolian is written vertically from top to bottom, flowing in lines from left to right. The Old Uyghur script and its descendants, of which traditional Mongolian is one among Oirat Clear, Manchu, and Buryat are the only known vertical scripts written from left to right. This developed because the Uyghurs rotated their Sogdian-derived script, originally written right to left, 90 degrees counterclockwise to emulate Chinese writing, but without changing the relative orientation of the letters.\n\nThe reed pen was the writing instrument of choice until the 18th century, when the brush took its place under Chinese influence. Pens were also historically made of wood, reed, bamboo, bone, bronze, or iron. Ink used was black or cinnabar red, and written with on birch bark, paper, cloths made of silk or cotton, and wooden or silver plates.\n\nMongols learned their script as a syllabary, dividing the syllables into twelve different classes, based on the final phonemes of the syllables, all of which ended in vowels.\n\nThe script remained in continuous use by Mongolian speakers in Inner Mongolia in the People's Republic of China. In the Mongolian People's Republic, it was largely replaced by the Mongolian Cyrillic alphabet, although the vertical script remained in limited use. In March 2020, the Mongolian government announced plans to increase the use of the traditional Mongolian script and to use both Cyrillic and Mongolian script in official documents by 2025. However, due to the particularity of the traditional Mongolian script, a large part of the Sinicized Mongols in China can't read the script, and in many cases the script is only used symbolically on plaques in many cities.\n\nNames \nThe script is known by a wide variety of names. As it was derived from the Old Uyghur alphabet, the Mongol script is known as the Uighur(-)Mongol script. From 1941 onwards, it became known as the Old Script, in contrast to the New Script, referring to Cyrillic. The Mongolian script is also known as the Hudum or 'not exact' script,, in comparison with the Todo 'clear, exact' script .\n\nOverview \nThe traditional or classical Mongolian alphabet, sometimes called Hudum 'traditional' in Oirat in contrast to the Clear script (Todo 'exact'), is the original form of the Mongolian script used to write the Mongolian language. It does not distinguish several vowels (/, /, final /) and consonants (syllable-initial / and /, sometimes /) that were not required for Uyghur, which was the source of the Mongol (or Uyghur-Mongol) script. The result is somewhat comparable to the situation of English, which must represent ten or more vowels with only five letters and uses the digraph th for two distinct sounds. Ambiguity is sometimes prevented by context, as the requirements of vowel harmony and syllable sequence usually indicate the correct sound. Moreover, as there are few words with an exactly identical spelling, actual ambiguities are rare for a reader who knows the orthography.\n\nLetters have different forms depending on their position in a word: initial, medial, or final. In some cases, additional graphic variants are selected for visual harmony with the subsequent character.\n\nThe rules for writing below apply specifically for the Mongolian language, unless stated otherwise.\n\nSort orders \n Traditional: , /, /, , , , , , , , , ...\n Modern: , , , /, /, , , , , , , ...\n Other modern orderings that apply to specific dictionaries also exist.\n\nVowel harmony \nMongolian vowel harmony separates the vowels of words into three groups – two mutually exclusive and one neutral:\n The back, male, masculine, hard, or yang vowels , , and .\n The front, female, feminine, soft, or yin vowels , , and .\n The neutral vowel , able to appear in all words.\n\nAny Mongolian word can contain the neutral vowel , but only vowels from either of the other two groups. The vowel qualities of visually separated vowels and suffixes must likewise harmonize with those of the preceding word stem. Such suffixes are written with front or neutral vowels when preceded by a word stem containing only neutral vowels. Any of these rules might not apply for foreign words however.\n\nSeparated final vowels \n\nA separated final form of vowels or is common, and can appear at the end of a word stem, or suffix. This form requires a final-shaped preceding letter, and an inter-word gap in between. This gap can be transliterated with a hyphen.\n\nThe presence or lack of a separated or can also indicate differences in meaning between different words (compare 'black' with 'to look').\n\nIts form could be confused with that of the identically shaped traditional dative-locative suffix / exemplified further down. That form however, is more commonly found in older texts, and more commonly takes the forms of / or / instead.\n\nSeparated suffixes \n\nAll case suffixes, as well as any plural suffixes consisting of one or two syllables, are likewise separated by a preceding and hyphen-transliterated gap. A maximum of two case suffixes can be added to a stem.\n\nSuch single-letter vowel suffixes appear with the final-shaped forms of /, , or /, as in 'to the country' and 'on the day', or 'the state' etc. Multi-letter suffixes most often start with an initial- (consonants), medial- (vowels), or variant-shaped form. Medial-shaped in the two-letter suffix / is exemplified in the adjacent newspaper logo.\n\nConsonant clusters \nTwo medial consonants are the most that can come together in original Mongolian words. There are however, a few loanwords that can begin or end with two or more.\n\nCompound names \nIn the modern language, proper names (but not words) usually forms graphic compounds (such as those of 'Jasper-jewel' or – the city of Hohhot). These also allow components of different harmonic classes to be joined together, and where the vowels of an added suffix will harmonize with those of the latter part of the compound. Orthographic peculiarities are most often retained, as with the short and long teeth of an initial-shaped in 'Bad Girl' (protective name). Medial and , in contrast, are not affected in this way.\n\nIsolate citation forms \nIsolate citation forms for syllables containing , , , and may in dictionaries appear without a final tail as in / or /, and with a vertical tail as in / or / (as well as in transcriptions of Chinese syllables).\n\nLetters\n\nNative Mongolian\n\nGalik characters \n\nIn 1587, the translator and scholar Ayuush Güüsh () created the Galik alphabet ( ), inspired by the third Dalai Lama, Sonam Gyatso. It primarily added extra characters for transcribing Tibetan and Sanskrit terms when translating religious texts, and later also from Chinese. Some of those characters are still in use today for writing foreign names (as listed below).\n\nSyllabary\n\nPunctuation and numerals\n\nPunctuation \n\nWhen written between words, punctuation marks use space on both sides of them. They can also appear at the very end of a line, regardless of where the preceding word ends. Red (cinnabar) ink is used in many manuscripts, to either symbolize emphasis or respect. Modern punctuation incorporates Western marks: parentheses; quotation, question, and exclamation marks; including precomposed and .\n\nNumerals \n\nMongolian numerals are either written from left to right, or from top to bottom.\n\nComponents and writing styles\n\nComponents \nListed in the table below are letter components (graphemes) commonly used across the script. Some of these are used with several letters, and others to contrast between them. As their forms and usage may differ between writing styles, however, examples of these can be found under this section below.\n\nWriting styles \nAs exemplified in this section, the shapes of glyphs may vary widely between different styles of writing and choice of medium with which to produce them. The development of written Mongolian can be divided into the three periods of pre-classical (beginning – 17th century), classical (16/17th century – 20th century), and modern (20th century onward):\n\nRounded letterforms \n Rounded letterforms tend to be more prevalent with handwritten styles (compare printed and handwritten 'ten').\n\nTail \n Final letterforms with a right-pointing tail (such as those of , , , , , , , , , and ) may have the notch preceding it in printed form, written in a span between two extremes: from as a more or less tapered point, to a fully rounded curve in handwriting.\n The long final tails of , , , and in the texts of pre-classical Mongolian can become elongated vertically to fill up the remainder of a line. Such tails are used consistently for these letters in the earliest 13th to 15th century Uyghur Mongolian style of texts.\n\nYodh \n A hooked form of yodh was borrowed from the Manchu alphabet in the 19th century to distinguish initial from . The handwritten form of final-shaped yodh (, , ), can be greatly shortened in comparison with its initial and medial forms.\n\nDiacritics \n The definite status or function of diacritics was not established prior to classical Mongolian. As such, the dotted letters , , and , can be found sporadically dotted or altogether lacking them. Additionally, both and could be (double-)dotted to identify them regardless of their sound values. Final dotted is also found in modern Mongolian words. Any diacritical dots of and can be offset downward from their respective letters\n\nBow \n When a bow-shaped consonant is followed by a vowel in Uyghur style text, said bow can be found to notably overlap it (see ). A final has, in its final pre-modern form, a bow-less final form as opposed to the common modern one:\n\nGimel-heth and kaph \n As in / , , and separated /, two teeth can also make up the top-left part of a kaph (/) or aleph (/) in pre-classical texts. In back-vocalic words of Uyghur Mongolian, was used in place of , and can therefore be used to identify this stage of the written language. An example of this appears in the suffix\n\nLigatures \n In pre-modern Mongolian, medial () forms a ligature: .\n\nShort tail \n A pre-modern variant form for final appears in the shape of a short final , derived from Old Uyghur zayin (). It tended to be replaced by the mouth-shaped form and is no longer used. An early example of it is found in the name of Gengis Khan on the Stele of Yisüngge: . A zayin-shaped final can also appear as part of final and .\n\nTaw and lamedh \n Initial taw (/) can, akin to final mem (), be found written quite explicitly loopy (as in 'book' and 'mirror'). The lamedh ( or ) may appear simply as an oval loop or looped shin, or as more angular, with an either closed or open counter (as in / or /). As in , a Uyghur style word-medial can sometimes be written with the pre-consonantal form otherwise used for . Taw was applied to both initial and from the outset of the script's adoption. This was done in imitation of Old Uyghur which, however, had lacked the phoneme in this position.\n\nTsade \n Following the late classical Mongolian orthography of the 17th and 18th centuries, a smooth and angular tsade ( and ) has come to represent and respectively. The tsade before this was used for both these phonemes, regardless of graphical variants, as no had existed in Old Uyghur:\n\nResh \n As in and /, a resh (of , and sometimes of ) can appear as two teeth or crossed shins; adjacent, angled, attached to a shin and/or overlapping.\n\nExample\n\nGallery\n\nUnicode \nThe Mongolian script was added to the Unicode standard in September 1999 with the release of version 3.0. However, several design issues have been pointed out.\n\n The 1999 Mongolian script Unicode codes are duplicated and not searchable.\n The 1999 Mongolian script Unicode model has multiple layers of FVS (free variation selectors), MVS, ZWJ, NNBSP, and those variation selections conflict with each other, which create incorrect results. Furthermore, different vendors understood the definition of each FVS differently, and developed multiple applications in different standards.\n\nBlocks \n\nThe Unicode block for Mongolian is U+1800–U+18AF. It includes letters, digits and various punctuation marks for Hudum Mongolian, Todo Mongolian, Xibe (Manchu), Manchu proper, and Ali Gali, as well as extensions for transcribing Sanskrit and Tibetan.\n\nThe Mongolian Supplement block (U+11660–U+1167F) was added to the Unicode Standard in June 2016 with the release of version 9.0:\n\nKeyboard layout \nThe standard Mongolian traditional script keyboard layout for personal computers is as follows (note that the characters have been rotated 90 degrees counterclockwise):\n\nSee also \n\n Mongolian writing systems\nMongolian script\nMongolian script multigraphs\nGalik alphabet\nTodo alphabet\nʼPhags-pa script\nHorizontal square script\nSoyombo script\nMongolian Latin alphabet\nSASM/GNC romanization § Mongolian\nMongolian Cyrillic alphabet\nMongolian transliteration of Chinese characters\n\nMongolian Braille\n Mongolian Sign Language\n Mongolian name\n\nNotes\n\nReferences\n\nExternal links \n\n Keyboards Mongolian script layout online\n Lexilogos\n Typingbaba\n Branah.com\n\n Summaries\n University of Vienna: Grammar of Written Mongolian by Nicholas POPPE Index\n CJVlang: Making Sense of the Traditional Mongolian Script\n StudyMongolian: Written forms with audio pronunciation\n The Silver Horde: Mongol Scripts\n Lingua Mongolia: Uighur-script Mongolian Resources\n Omniglot: Mongolian Alphabet (note: contains several table inaccuracies regarding glyphs and transliterations)\n\n Studies\n (fr) Rémusat, Abel Récherches sur les langues tartares, Paris, 1820\n\n Grammars\n (ru) Schmidt, Isaak Jakob, Грамматика монгольскaго языка (Grammatika mongolʹskago i︠a︡zyka), Saint-Petersburg, 1832\n (ru) Bobrovnikov, Aleksieĭ Aleksandrovich Грамматика монгольско-калмыцкого языка (Grammatika mongolʹsko-kalmyt͡skago i͡azyka), Kazan, 1849\n (de) Schmidt, Isaak Jakob, Grammatik der mongolischen Sprache, St. Petersburg, 1831\n (fr) Soulié, Charles Georges, Éléments de grammaire mongole (dialecte ordoss), Paris, 1903\n (it) Puini, Carlo, Elementi della grammatica mongolica, Firenze, 1878\n\n Dictionaries\n (fr, ru) Kovalevskiĭ, Osip Mikhaĭlovich, Dictionnaire Mongol-Russe-Franca̧is, Volumes 1-3, Kazan 1844-46-49\n Bolor Dictionary\n Mongol toli dictionary: state dictionary of Mongolia\n\n Transliteration\n University of Virginia: Transliteration Schemes For Mongolian Vertical Script\n Online tool for Mongolian script transliteration\n Automatic converter for Traditional Mongolian and Cyrillic Mongolian by the Computer College of Inner Mongolia University\n\n Manuscripts\n Mongolian Manuscripts from Olon Süme – Yokohama Museum of EurAsian Cultures\n Digitised Mongolian manuscripts – The Royal Library, National Library of Denmark\n Mongolian texts – Digitales Turfan-Archiv, the Berlin-Brandenburg Academy of Sciences and Humanities\n Preservation of unique and historic newspapers printed in traditional Mongolian script between 1936-1945 – Endangered Archives Programme, British Library\n\n Other\n Official Mongolian script version of the People's Daily Online\n Office of the President of Mongolia website in Mongolian script\n \n\nCategory:Alphabets\nCategory:Mongolian writing systems\nCategory:Articles containing Mongolian script text", "title": "Mongolian script" }, { "text": "The Galik script (, Ali-Gali üseg) is an extension to the traditional Mongolian script. It was created in 1587 by the translator and scholar Ayuush Güüsh (), inspired by the third Dalai Lama, Sonam Gyatso. He added extra characters for transcribing Tibetan and Sanskrit terms when translating religious texts, and later also from Chinese. Some of those characters are still in use today for writing foreign names.\n\nSome authors (particularly historic ones like Isaac Taylor in his The Alphabet: an account of the origin and development of letters, 1883) don't distinguish between the Galik and standard Mongolian alphabets.\n\nTo ensure that most text in the script displays correctly in your browser, the text sample below should resemble its image counterpart. Additional notes on the affected characters and their desired components are provided in the tables further down. For relevant terminology, see Mongolian script § Components.\n\nLetters\n\nSymbols & diacritics\n\nNotes\n\nReferences \n\nCategory:Mongolian writing systems", "title": "Galik alphabet" }, { "text": "The Phagspa script or Phags-pa script is an alphabet designed by the Tibetan monk and State Preceptor (later Imperial Preceptor) Drogön Chögyal Phagpa for Kublai Khan, the founder of the Yuan dynasty, as a unified script for the written languages within the Yuan. The actual use of this script was limited to about a hundred years during the Mongol-led Yuan dynasty, and it fell out of use with the advent of the Ming dynasty.\n\nIt was used to write and transcribe varieties of Chinese, the Tibetic languages, Mongolian, the Uyghur language, Sanskrit, probably Persian, and other neighboring languages during the Yuan era. For historical linguists, the documentation of its use provides clues about the changes in these languages.\n\nIts descendant systems include Horizontal square script, used to write Tibetan and Sanskrit. There is a theory that the Korean Hangul alphabet had a limited influence from Phags-pa (see Origin of Hangul). During the Pax Mongolica the script has even made numerous appearances in western medieval art.\n\nNomenclature \nPhags-pa script: , \"Mongolian script\";\n\n , \"square script\"; , \"square writing\"\n\n \"new Mongolian script\";\n\nYuan dynasty \"new Mongolian script\"; ; pinyin: guózì \"national script\";\n\nModern \"Phags-pa script\"; \n\nIn English, it is also written as ḥPags-pa, Phaspa, Paspa, Baschpah, and Pa-sse-pa.\n\nHistory \nDuring the Mongol Empire, the Mongol rulers wanted a universal script to write down the languages of the people they subjugated. The Uyghur-based Mongolian alphabet is not a perfect fit for the Middle Mongol language, and it would be impractical to extend it to a language with a very different phonology like Chinese. Therefore, during the Yuan dynasty (c. 1269), Kublai Khan asked the Tibetan monk Phags-pa to design a new alphabet for use by the whole empire. Phags-pa extended his native Tibetan alphabet to encompass Mongol and Chinese, evidently Central Plains Mandarin. The resulting 38 letters have been known by several descriptive names, such as \"square script\" based on their shape, but today are primarily known as the Phags-pa alphabet.\n\nDescending from Tibetan script it is part of the Brahmic family of scripts, which includes Devanagari and scripts used throughout Southeast Asia and Central Asia. It is unique among Brahmic scripts in that it is written top bottom, like how classical Chinese used to be written; and like the Manchu alphabet or later Mongolian alphabet.\n\nDespite its origin, the script was written vertically (top to bottom) like the previous Mongolian scripts. It did not receive wide acceptance and was not a popular script even among the elite Mongols themselves, although it was used as an official script of the Yuan dynasty until the early 1350s when the Red Turban Rebellion started. After this it was mainly used as a phonetic gloss for Mongols learning Chinese characters. It was also used as one of the scripts on Tibetan currency in the twentieth century, as script for Tibetan seal inscriptions from the Middle Ages up to the 20th century and for inscriptions on the entrance doors of Tibetan monasteries.\n\nSyllable formation \nAlthough it is an alphabet, phagspa is written like a syllabary or abugida, with letters forming a single syllable glued or 'ligated' together.\nUnlike the ancestral Tibetan script, all Phags-pa letters are written in temporal order (that is, /CV/ is written in the order C–V for all vowels) and in-line (that is, the vowels are not diacritics). However, vowel letters retain distinct initial forms, and short /a/ is not written except initially, making Phags-pa transitional between an abugida, a syllabary, and a full alphabet. The letters of a Phags-pa syllable are linked together so that they form syllabic blocks.\n\nTypographic forms \nPhags-pa was written in a variety of graphic forms. The standard form (top, at right) was blocky, but a \"Tibetan\" form (bottom) was even more so, consisting almost entirely of straight orthogonal lines and right angles. A \"seal script\" form ( ; \"Mongolian Seal Script\"), used for imperial seals and the like, was more elaborate, with squared sinusoidal lines and spirals. This 'Phags-pa script is different from the 'Phags-pa script, or 八思巴字 in Chinese, that shares the same name but its earliest usage can be traced back to the late 16th century, the early reign of Wanli Emperor. According to Professor Junast 照那斯图 of the Chinese Academy of Social Sciences, the later 'Phags-pa script is actually a seal script of Tibetan.\n\nKorean records state that hangul was based on an \"Old Seal Script\" (古篆字), which may be Phags-pa and a reference to its Chinese name 蒙古篆字 měnggǔ zhuànzì (see origin of hangul). However, it is the simpler standard form of Phags-pa that is the closer graphic match to hangul.\n\nLetters\n\nBasic Letters \nThe following 41 are the basic Phags-pa letters.\n\nLetters 1-30 and 35-38 are base consonants. The order of Letters 1-30 is the same as the traditional order of the thirty basic letters of the Tibetan script, to which they correspond. Letters 35-38 represent sounds that do not occur in Tibetan, and are either derived from an existing Tibetan base consonant (e.g. Letters 2 and 35 are both derived from the simple Tibetan letter KHA, but are graphically distinct from each other) or from a combination of an existing Tibetan base consonant and the semi-vowel (subjoined) letter WA (e.g. Letter 36 is derived from the complex Tibetan letter KHWA).\n\nAs is the case with Tibetan, these letters have an inherent [a] vowel sound attached to them in non-final positions when no other vowel sign is present (e.g. the letter KA with no attached vowel represents the syllable ka, but with an appended vowel i represents the syllable ki).\n\nLetters 31-34 and 39 are vowels. Letters 31-34 follow the traditional order of the corresponding Tibetan vowels. Letter 39 represents a vowel quality that does not occur in Tibetan, and may be derived from the Tibetan double-E vowel sign.\n\nUnlike Tibetan, in which vowels signs may not occur in isolation but must always be attached to a base consonant to form a valid syllable, in the Phags-pa script initial vowels other than a may occur without a base consonant when they are not the first element in a diphthong (e.g. ue) or a digraph (e.g. eeu and eeo). Thus in Chinese Phags-pa texts the syllables u 吾 wú, on 刓 wán and o 訛 é occur, and in Mongolian Phags-pa texts the words ong qo chas \"boats\", u su nu (gen.) \"water\", e du -ee \"now\" and i hee -een \"protection\" occur. These are all examples of where 'o, 'u, 'e, 'i etc. would be expected if the Tibetan model had been followed exactly. An exception to this rule is the Mongolian word 'er di nis \"jewels\", where a single vowel sign is attached to a null base consonant. Note that the letter EE is never found in an initial position in any language written in the Phags-pa script (for example, in Tao Zongyi's description of the Old Uighur script, he glosses all instances of Uighur e with the Phags-pa letter EE, except for when it is found in the initial position, when he glosses it with the Phags-pa letter E instead).\n\nHowever, initial semi-vowels, diphthongs and digraphs must be attached to the null base consonant 'A (Letter 30). So in Chinese Phags-pa texts the syllables 'wen 元 yuán, 'ue 危 wēi and 'eeu 魚 yú occur; and in Mongolian Phags-pa texts the words 'eeu lu \"not\" and 'eeog bee.e \"gave\" occur. As there is no sign for the vowel a, which is implicit in an initial base consonant with no attached vowel sign, then words that start with an a vowel must also use the null base consonant letter 'A (e.g. Mongolian 'a mi than \"living beings\"). In Chinese, and rarely Mongolian, another null base consonant -A (Letter 23) may be found before initial vowels (see \"Letter 23\" below).\n\nAdditional Letters\n\nMenggu Ziyun \nFollowing are the initials of the Phags-pa script as presented in Menggu Ziyun. They are ordered according to the Chinese philological tradition of the 36 initials.\n\nShilin Guangji \nThe Shilin Guangji used Phagspa to annotate Chinese text, serving as a precursor to modern pinyin. The following are the Phagspa transcriptions of a section of the Hundred Family Surnames in the Shilin Guangji. For example, the name Jin (金), meaning gold, is written as or Gim, similar to how it is transliterated in Korean (Kim).\n\nUnicode \n\nPhags-pa script was added to the Unicode Standard in July 2006 with the release of version 5.0.\n\nThe Unicode block for Phags-pa is U+A840–U+A877:\n\nU+A856 is transliterated using from the Latin Extended-D Unicode block.\n\nSee also \n Brahmic scripts\n Mongolian alphabets\n Origin of hangul\n Mongol elements in Western medieval art\n Menggu Ziyun (Yuan dynasty Phags-pa—Chinese rhyming dictionary)\n Shilin Guangji\n Siddhaṃ script\n\nReferences\n\nFurther reading\n\nExternal links \n\nBabelStone: Phags-pa Script (with free fonts)\n Omniglot: Phags-pa script\n Ancientscripts: hPhags-pa\n Mongolian characters after Kublai Khan\n\nCategory:Brahmic scripts\nCategory:Mongolian writing systems\nCategory:Transcription of Chinese\nCategory:Obsolete writing systems\nCategory:Abugida writing systems\nCategory:Writing systems without word boundaries\nCategory:Old Mandarin\nCategory:Yuan dynasty\nCategory:Mongolia–Tibet relations", "title": "ʼPhags-pa script" }, { "text": "The Soyombo script (, Soyombo biçig) is an abugida developed by the monk and scholar Zanabazar in 1686 to write Mongolian. It can also be used to write Tibetan and Sanskrit.\n\nA special character of the script, the Soyombo symbol, became a national symbol of Mongolia and has appeared on the national flag and emblem of Mongolia since 1911, as well as money, stamps, etc.\n\nCreation \nThe script was designed in 1686 by Zanabazar, the first spiritual leader of Tibetan Buddhism in Mongolia, who also designed the Horizontal square script. The Soyombo script was created as the fourth Mongolian script, only 38 years after the invention of the Clear script. The name of the script alludes to this story. It is derived from the Sanskrit word Svayambhu \"self-created\".\n\nThe syllabic system in fact appears to be based on Devanagari, while the base shape of the letters is derived from the Ranjana alphabet. Details of individual characters resemble traditional Mongolian alphabets and the Old Turkic alphabet.\n\nUse \n\nThe eastern Mongols used the script primarily as a ceremonial and decorative script. Zanabazar had created it for the translation of Buddhist texts from Sanskrit or Tibetan, and both he and his students used it extensively for that purpose.\n\nAs it was much too complicated to be adopted as an everyday script, its use is practically nonexistent today. Aside from historical texts, it can usually be found in temple inscriptions. It also has some relevance to linguistic research, because it reflects certain developments in the Mongolian language, such as that of long vowels.\n\nForm \nThe Soyombo script was the first Mongolian script to be written horizontally from left to right, in contrast to earlier scripts that had been written vertically. As in the Tibetan and Devanagari scripts, the signs are suspended below a horizontal line, giving each line of text a visible \"backbone\".\n\nThe two variations of the Soyombo symbol are used as special characters to mark the start and end of a text. Two of its elements (the upper triangle and the right vertical bar) form the angular base frame for the other characters.\n\nWithin this frame, the syllables are composed of one to three elements. The first consonant is placed high within the angle.\nThe vowel is given by a mark above the frame, except for u and ü which are marked in the low center.\nA second consonant is specified by a small mark, appended to the inside of the vertical bar, pushing any u or ü mark to the left side.\nA short oblique hook at the bottom of the vertical bar marks a long vowel.\nThere is also a curved or jagged mark to the right of the vertical bar for the two diphthongs.\n\nAlphabet \n\nThe first character of the alphabet represents a syllable starting with a short a. Syllables starting with other vowels are constructed by adding a vowel mark to the same base character. All remaining base characters represent syllables starting with a consonant. A starting consonant without a vowel mark implies a following a.\n\nIn theory, 20 consonants and 14 vowels would result in almost 4,000 combinations, but not all of those actually occur in Mongolian. There are additional base characters and marks for writing Tibetan or Sanskrit, and some of the symbols used in these two languages will also not be used in Mongolian.\n\nMongolian\n\nA syllable in Mongolian can contain the following elements: consonant or vocal carrier (Cb), vowel (V), length marker (L), diphthong marker (Vd) and a final consonant Cf).\n\nVowels\nMongolian uses seven vowels, all of which have a short and a long form. The long form is indicated with the length mark:\n\nDiphthong markers are used with other vowel signs to represent diphthongs in Mongolian:\n\nConsonants\n\nA final consonant is written with a simplified variant of the basic letter in the bottom of the frame. In cases where it would conflict with the vowels u or ü the vowel is written to the left.\n\nSanskrit and Tibetan\n\nA syllable in Sanskrit or Tibetan can contain the following elements: Consonant in prefix form (Cp), consonant or vocal carrier (Cb), stack of medial consonants (C2…Cn), vowel (V) and length marker (L). For Sanskrit, there are two diacritics: anusvara (Sa) and visarga (Sv). In Tibetan, syllables can be separated by tsheg (T), a small triangle-shaped sign comparable to a space.\n\nVowels\nSanskrit contains additional vowels ṛ, ṝ, ḷ and ḹ. \n\nAn anusvara diacritic indicates nasalization (transcribed as ṃ). A visarga indicates post-vocalic aspiration (transcribed as ḥ).\n\nConsonants\nSoyombo contains the full set of letters to reproduce Sanskrit and Tibetan. Note that some of the letters represent different sounds in Mongolian, Sanskrit, and Tibetan. The primary difference between the three occurs in Mongolian where letters for Sanskrit voiceless sounds are used for voiced stops, while the letters for voiceless aspirated sounds are used for voiceless stops. In Mongolian, letters used specifically for Tibetan and Sanskrit are called 'гали' galig noting they are characters used for the transcription of foreign sounds.\n\nConsonant clusters in Sanskrit and Tibetan are usually written by stacking several consonants vertically within the same frame. In existing sources clusters occur with up to three consonants, but in theory they could contain as many as possible. Four consonants, ra, la, śa and sa, can also be written as a special prefix, consisting of a small sign written to the left of the main triangle. They are pronounced before the other consonants.\n\nPunctuation\n\nApart from the Soyombo symbol, the only punctuation mark is a full stop, represented by a vertical bar. In inscriptions, words are often separated by a dot at the height of the upper triangle (tsheg).\n\nUnicode \n\nSoyombo script has been included in the Unicode Standard since the release of Unicode version 10.0 in June 2017. The Soyombo block currently comprises 83 characters. The proposal to encode Soyombo was submitted by Anshuman Pandey. The Unicode proposal was revised in December 2015. \n\nThe Unicode block for Soyombo is U+11A50–U+11AAF:\n\nThe Menksoft IMEs provide alternative input methods.\n\nSee also \n Mongolian writing systems\n\nReferences\n\nExternal links \nSoyombo script - Omniglot\n Soyombo fonts (TeX/Metafont)\n Soyombo fonts (TTF)\n\nFurther reading \n Соёмбын нууц ба синергетик. Эмхэтгэсэн Б. Болдсайхан, Б. Батсанаа, Ц. Оюунцэцэг. Улаанбаатар 2005. (Secrets and Synergetic of Soyombo. Compiled by B. Boldsaikhan, B. Batsanaa, Ts. Oyuntsetseg. Ulaanbaatar 2005.)\n\nCategory:Mongolian writing systems\nCategory:Brahmic scripts\nCategory:Obsolete writing systems\nCategory:1686 introductions", "title": "Soyombo script" }, { "text": "The Mongolian Latin script (Mongolian Cyrillic: , ; Mongolian Latin: ; Traditional Mongolian script: ; ) was officially adopted in Mongolia in 1931. In 1939, a second version of the Latin alphabet was introduced but not widely used, and was replaced by the Cyrillic script in 1941.\n\nHistory \nIn the early 1930s, under the influence of latinisation in the Soviet Union, a draft alphabet on a Latin basis was developed in the Mongolian People's Republic. This alphabet was used in several articles in the Ynen newspaper, but did not receive official status.\n\nOn 1 February 1941, Mongolia officially switched to a modified Latin alphabet, which was successfully used for some time to print books and newspapers. However, two months later, on 25 March, this decision was canceled. According to official explanations, the adopted writing system was not well thought out: it did not cover all the sounds of the Mongolian language and was difficult to use.\n\nThe adoption of the Cyrillic alphabet occurred almost simultaneously with the Cyrillization in the Soviet Union, therefore, the rejection of the Latin alphabet could have been due to political considerations.\n\nIn the Mongolian version of the Latin alphabet, there were additional letters ɵ (), ç (), ş () and ƶ (); Y corresponded to the Cyrillic . K transliterated the sound that would later come to be represented in Cyrillic by in native Mongolian words.\n\nThe letters f, h, p, v were rarely used except in Russian loanwords, and q, w, and x were almost never used.\n\nDespite being neither widely promoted nor having any official status, Mongolians were increasingly using Latin script on smartphones and social networking services .\n\nIn 1975, preparations began in China for the romanization of Mongolian writing in Mongol areas based on the pinyin system used for Mandarin Chinese. According to the plan, the Latin alphabet should have been introduced in 1977, but the death of Mao Zedong and the changes in domestic policy that had begun did not allow the project to materialize. This system forms the basis of the SASM/GNC romanization of Mongolian that has been used in China to transcribe personal names and toponyms since 1978.\n\nCharacters \n\nFirst Latin alphabet was using \"y\" as feminine \"u\", with additional feminine \"o\" (\"ɵ\") and with additional consonants \"ç\" for \"ch\", \"ş\" for \"sh\" and \"ƶ\" for \"j\", it successfully served in printing books and newspapers. A few of the letters (f, k, p, v) were rarely used, being found only in borrowings, while q, w and x were excluded altogether. Since k transcribed in loans, it is unclear how loans in were written. \"j\" is used for vowel combinations of the [ja] type. Letter \"c\" is used for the sound [ts] and \"k\" is used for the sound [h]. The first version was inspired by the Yanalif script used for the Soviet Union's Turkic languages.\n\nThe second version of Latin alphabet made few minor changes to make the way it works to look more familiar to European languages. That change was including replacement of \"y\" by \"ü\", \"ɵ\" by \"ö\", \"ƶ\" by \"j\", \"j\" by \"y\" and also \"k\" by \"x\" in native words. Also reduced the number of letters in the alphabet by erasing \"ç\" \"ş\" and write them as a combination of ch and sh. And the rest of the alphabet and orthography kept same.\n\nList of characters \n\nThe unaspirated stops are often realized as voiced . The non-nasal sonorants are often devoiced to .\n\nText samples\n\nOrthography \n\nThe orthography of the Mongolian Latin is based on the orthography of the Classical Mongolian script. It preserves short final vowels. It does not drop unstressed vowels in the closing syllables when the word is conjugated. The suffixes and inflections without long or i-coupled vowels are made open syllables ending with a vowel, which is harmonized with the stressed vowel. The rule for the vowel harmony for unstressed vowels is similar to that of the Mongolian Cyrillic. It does not use consonant combinations to denote new consonant sounds. For both of the version, letter \"b\" is used both in the beginning and in the middle of the word. Because it phonetically assimilates into sound , no ambiguity is caused.\n\nSee also \n\n Latinisation in the Soviet Union\n Mongolian writing systems\nMongolian script\nGalik alphabet\nTodo alphabet\nʼPhags-pa script\nHorizontal square script\nSoyombo script\nMongolian Latin alphabet\nSASM/GNC romanization § Mongolian\nMongolian Cyrillic alphabet\nMongolian transliteration of Chinese characters\n\nMongolian Braille\n Mongolian Sign Language\n Mongolian name\n\nReferences \n\nLatin script\nCategory:Latin alphabets", "title": "Mongolian Latin alphabet" }, { "text": "The Mongolian Cyrillic alphabet (Mongolian: , or , ) is the writing system used for the standard dialect of the Mongolian language in the modern state of Mongolia. It has a largely phonemic orthography, meaning that there is a fair degree of consistency in the representation of individual sounds. Cyrillic has not been adopted as the writing system in the Inner Mongolia region of China, which continues to use the traditional Mongolian script.\n\nHistory\nMongolian Cyrillic is the most recent of the many writing systems that have been used for Mongolian. It uses the same characters as the Russian alphabet except for the two additional characters Өө and Үү .\n\nIt was introduced in the 1940s in the Mongolian People's Republic under Soviet influence, after two months in 1941 where Latin was used as the official script, while Latinisation in the Soviet Union was in vogue. After the Mongolian democratic revolution in 1990, the traditional Mongolian script was briefly considered to replace Cyrillic, but the plan was canceled in the end. However, the Mongolian script has become a compulsory subject in primary and secondary schooling and is slowly gaining in popularity. The Mongolian script is a highly uncommon vertical script, and unlike other historically vertical-only scripts such as the Chinese script it cannot easily be adapted for horizontal use, which puts it at a disadvantage compared to Cyrillic for many modern purposes. Thus, the Cyrillic script continues to be used in everyday life.\n\nIn March 2020, the Mongolian government announced plans to use both Cyrillic and the traditional Mongolian script in official documents by 2025.\n\nIn China, Cyrillic alphabet also used by the Chinese to learn the modern Mongolian language, and by some Mongols in Inner Mongolia to demonstrate their ethnic identity.\n\nDescription\n\nThe Cyrillic alphabet used for Mongolian is as follows (with borrowed sounds in parentheses):\n\nҮү and Өө are sometimes also written as the Ukrainian letters Її (or Vv) and Єє respectively, when using Russian software or keyboards that do not support them.\n\nInitial long vowels and non-initial full vowels are written with double vowel letters, while initial short vowels and non-initial epenthetic vowels are written with single vowel letters. Conversely, every vowel letter except у and ү can also represent schwa and zero in non-first syllables. Palatalisation is indicated by и (i), the soft sign ь (') or е (ye), ё (yo), я (ya) and ю (yu) after the palatalised consonant. These latter letters are pronounced without [j] in that position. Щ is never used in Mongolian and only used in Russian words containing the letter. It is pronounced identically to Ш, and is often omitted when teaching the Cyrillic alphabet. Sometimes, Russian loanwords with Щ will be spelled with Ш instead: борш, Хрушев. The difference between [e~i] might be dialectal, while the difference between ɵ~o is positional.\n\n and are both indicated by the letter г , but the phonetic value of that letter is mostly predictable. In words with \"front\" (+ATR) vowels (see Mongolian phonology for details), it always means , because only occurs in such words. In words with \"back\" (−ATR) vowels, it always means , except syllable-finally, where it means ; to acquire the value of , it is written as followed by a single mute syllable-final vowel letter. Similarly, a mute vowel is added to final н to make it denote and not . ф (f) and к (k) are loan consonants and will often be adapted into the Mongolian sound system as and .\n\nThe original plan as at 10 October 1945 was to use э only at the beginning of words and in long vowel combinations (as is done in other languages written using Russian-based Cyrillic), дз for modern з, дж for modern ж, ии for modern ий and йө for modern е (to represent the \"yö\" sound at the beginning of words), but the alphabet was changed to its final form on 13 November.\n\nKeyboard layout\n\nThe standard Mongolian Cyrillic keyboard layout for personal computers is as follows:\n\nSee also\n\n Mongolian writing systems\nMongolian script\nGalik alphabet\nTodo alphabet\nʼPhags-pa script\nHorizontal square script\nSoyombo script\nMongolian Latin alphabet\nSASM/GNC romanization § Mongolian\nMongolian transliteration of Chinese characters\n\nMongolian Braille\n Mongolian Sign Language\n Mongolian name\n\nReferences \n\nCategory:Cyrillic alphabets\nCategory:Mongolian writing systems\n\nmn:Кирилл монгол бичгийн дүрэм", "title": "Mongolian Cyrillic alphabet" }, { "text": "Mongolian transliteration of Chinese characters is a system of transliterating the Standard Chinese pinyin readings of Chinese characters using the traditional Mongolian script that is used in Inner Mongolia, China.\n\nReferences \n\nCategory:Chinese characters\nCategory:Mongolian writing systems\nCategory:Transliteration", "title": "Mongolian transliteration of Chinese characters" }, { "text": "Mongolian Braille is the braille alphabet used for the Mongolian language in Mongolia. It is based on Russian Braille, with two additional letters for print letters found in the Mongolian Cyrillic alphabet.\n\nAlphabet \nThe printed Mongolian Cyrillic alphabet has all the letters of printed Russian, though some are only used in loan words, plus the letters ө, ү. \n\nThe non-Russian letters ө, ү, have the forms of two obsolete letters of Russian Braille. The Mongolian vowel ө (ö) is coincidentally similar in print to the old Russian consonant ѳ (th), and it takes the latter's braille assignment, ; the Mongolian vowel ү (ü) takes the assignment of the old Russian vowel yat, .\n\nPunctuation\n\nSee also \nMongolian Cyrillic alphabet, for the braille alphabet aligned with Cyrillic\n\nReferences\n\nCategory:French-ordered braille alphabets\nCategory:Mongolian language", "title": "Mongolian Braille" } ]
[ "The context describes the phrasing of nominal and verbal phrases in what appears to be a specific language, though the language itself is not specified. Nominal phrases have a specific order: demonstrative pronoun/numeral, adjective, noun. The verbal phrase is centered around the predicate, preceded by its complements and the adverbials modifying it, and often followed by modal particles. Adverbials must precede the predicate's complement in some cases to avoid syntactic ambiguity. In some instances, adverbs must immediately precede the predicate. Nominal predicative constructions can have a verb or no verb (copula). Auxiliaries that express direction and aktionsart can occupy the immediate postverbal position with the assistance of a linking converb. The usual positions following the verb are filled by converb suffixes, participles with auxiliary, and finally by suffixes that express tense, evidentiality, modality, and aspect.", "The context does not provide information on whether proper nouns sound different.", "The context does not provide any additional information that could be categorized as interesting aspects of the article.", "The context describes several different types of grammatical constructions, mostly revolving around nominal and verbal phrases. In the case of nominal phrases, the order of words is often: demonstrative pronoun/numeral, adjective, noun, with possessive pronouns either preceding or following this phrase. Titles or occupations of people, low numerals indicating groups, and focus clitics are placed behind the head noun. \n\nWith verbal phrases, the predicate is at the center and is usually preceded by both its complements and any adverbials modifying it. Adverbials derived from verbs must precede the predicate's complement, while adjectives could optionally precede the predicate. There are cases where adverbs must follow the predicate immediately. \n\nThe context also discusses nominal predicative constructions that can be with or without a copula. Auxiliaries expressing direction and aktionsart can occupy the immediate postverbal position with help from a linking converb. The next positions after the verb are filled by converb suffixes associated with the auxiliary, followed by participles, and finally by suffixes expressing tense, evidentiality, modality, and aspect.", "A predicative construction with a copula implies the inclusion of a verb form, often ‘be’, that links the subject of the sentence to the predicate, and supply additional implications or meanings. In the context provided, 'baj-' meaning 'to be' is given as an example of such a copula, which then connects with converb suffixes and participles in the sentence construction. The use of copula is not always mandatory and the context mentions both types of constructs in the language: those with a copula and those without one.", "The context mentions two dialects or variations of this unspecified language - Khalkha, for which the most complete treatment of the verbal forms is cited as Luvsanvandan (ed.) 1987, and Khorchin, from which the analysis of predication is adapted, as specified by Matsuoka 2007. However, specific dialectic differences or characteristics are not elaborated in the context provided.", "In the language discussed in the context, nominal phrases are formed with the order: demonstrative pronoun/numeral, adjective, noun. Attributive sentences precede the whole noun phrase. Titles, occupations, low numerals indicating groups, and focus clitics are placed behind the head noun. Possessive pronouns may either precede or follow the noun phrase.\n\nVerbal phrases consist of the predicate in the center, which is preceded by its complements and by the adverbials modifying it, and is often followed by modal particles. To avoid syntactic ambiguity, the adverbial must precede the predicate's complement. There are also cases where the adverb must immediately precede the predicate. Predicate usually consists of a verb but there could be several types of nominal predicative constructions, with or without a copula. \n\nSuffixes express grammatical aspect, e.g., progressive and resultative, followed by participles and then finally by suffixes that express tense, evidentiality, modality, and aspect.", "In the language described in the context, multiple suffixes can be used in a single predication to express and distinguish between various grammatical aspects, tense, evidentiality, modality, and aspect. The position after the verb typically accommodates these suffixes alongside converb suffixes and participles. For instance, in the sentence \"ter irsen bajna s/he come-perfect be-nonpast 'he has come',\" the \"-sen\" and \"-na\" are suffixes that denote perfect aspect and non-past tense respectively. The use of multiple suffixes helps to provide precise information about the action taking place in the sentence." ]
[ "Yes", "Yes", "No", "No", "No", "No", "No", "No" ]
C_2bdaab02168043d394ffbc0451581d47_1
RuPaul's Drag Race
RuPaul's Drag Race is an American reality competition television series produced by World of Wonder for Logo TV and, beginning with the ninth season, VH1. The show documents RuPaul in the search for "America's next drag superstar." RuPaul plays the role of host, mentor, and head judge for this series, as contestants are given different challenges each week. RuPaul's Drag Race employs a panel of judges, including RuPaul, Michelle Visage, Ross Mathews, Carson Kressley, and a host of other guest judges, who critique contestants' progress throughout the competition.
Judging
Beginning with the seventh season, Michelle Visage, Ross Mathews and Carson Kressley are the staple judges alongside RuPaul. Visage joined the show at the start of season 3, while Mathews and Kressley joined at the start of season 7, and each joins RuPaul and Visage on alternate episodes. Past fixtures on the panel include Merle Ginsberg, who was a regular judge in the first two seasons, and Santino Rice, who held his position from the first season until the conclusion of the sixth. Until season 8, Rice was the only person, apart from RuPaul, to take part in every season of the show, serving as a main judge for seasons one through six, and all stars 1, and guest judging for season seven. In certain instances, Rice was absent and replacement judging has been provided by make-up artist Billy Brasfield (better known as Billy B), Mike Ruiz, Jeffrey Moran (Absolut Vodka marketing executive), or Lucian Piane. However, due to Brasfield's numerous appearances in seasons three and four, including appearing in the Reunited episodes both seasons, Rice and Billy B are considered to have been alternates for the same seat at the judges table throughout the two seasons. Prior to the grande finale, the three main judges are joined by two celebrity guest judges each week. Guest judges have included Paula Abdul, Pamela Anderson, Eve, Ariana Grande, Neil Patrick Harris, Kathy Griffin, Debbie Harry, Khloe Kardashian, La Toya Jackson, Adam Lambert, Demi Lovato, Bob Mackie, Rose McGowan, Olivia Newton-John, Rebecca Romijn, Gigi Hadid, Sharon Osbourne, Dan Savage, John Waters, Michelle Williams, Candis Cayne, Martha Wash, Natalie Cole, Dita Von Teese, Niecy Nash, Debbie Reynolds, Vanessa Williams, Wilmer Valderrama, The Pointer Sisters, Trina, Leah Remini, The B-52's, Kesha and Lady Gaga. The judges each provide their opinion on the contestants' performances in the main challenge and on the runway before RuPaul announces which queen is the episode's winner and which two had the weakest performances. The day before judging, the contestants are all provided with a song to which they must learn the lyrics. The contestants deemed as being the bottom two must "lip sync for their lives" to the song in a final attempt to impress RuPaul. After the lip sync, RuPaul alone decides who stays and who leaves. RuPaul describes the qualities the contestants must have to be crowned the winner of the show as "Charisma, Uniqueness, Nerve, and Talent... These are people who have taken adversity and turned it into something that is beautiful and something powerful." The phrase "charisma, uniqueness, nerve, and talent" is used repeatedly on the show, the acronym of which is CUNT. On the first All Stars season, "synergy" was added to provide an explanation behind the contestants being sorted into teams (expanding the acronym into CUNTS). CANNOTANSWER
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[ "Who were the judges?", "Who judged after these judges?", "What do the judges judge?", "What else do the judges do?", "What else is there to know about the judges?", "What do they do once they learn the lyrics?", "What happens after the lip sync?", "Has this been successful?", "Does RuPaul just keep the contestant he likes the most?" ]
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RuPaul's Drag Race is an American reality competition television series, the first in the Drag Race franchise, produced by World of Wonder for Logo TV (season 1–8), WOW Presents Plus, VH1 (season 9–14) and, beginning with the fifteenth season, MTV. The show documents RuPaul in the search for "America's next drag superstar". RuPaul plays the role of host, mentor, and head judge for this series, as contestants are given different challenges each week. Contestants are judged by a panel that includes RuPaul, Michelle Visage, an alternating third main judge of either Carson Kressley, Ross Mathews, or Ts Madison, and one or more guest judges, who critique their progress throughout the competition. The title of the show is a play on drag queen and drag racing, and the title sequence and song "Drag Race" both have a drag-racing theme. RuPaul's Drag Race has spanned fifteen seasons and inspired the spin-off shows RuPaul's Drag U, RuPaul's Drag Race All Stars, and RuPaul's Secret Celebrity Drag Race; the companion series RuPaul's Drag Race: Untucked; and numerous international franchises including British and Australian and New Zealand versions hosted by RuPaul as well as Chilean, Thai, Canadian, Dutch, Spanish, Italian, French, Philippine, Belgian, and Swedish editions, upcoming Mexican, German, and Brazilian installments, and international vs. the World competitions hosted in The United Kingdom and Canada. The show has become the highest-rated television program on Logo TV, and airs internationally, including in the United Kingdom, Australia, Canada, the Netherlands and Israel. The show earned RuPaul seven consecutive Emmy Awards (2016 to 2022) for Outstanding Host for a Reality or Competition Program. The show itself has been awarded as the Primetime Emmy Award for Outstanding Reality-Competition Program 4 consecutive times (2018 to 2021), and the Outstanding Reality Program Award at the GLAAD Media Awards. It has been nominated for four Critics' Choice Television Awards including Best Reality Series – Competition and Best Reality Show Host for RuPaul, and was nominated for a Creative Arts Emmy Award for Outstanding Make-up for a Multi-Camera Series or Special (Non-Prosthetic). Later in 2018, the show became the first show to win a Primetime Emmy Award for Outstanding Reality-Competition Program and a Primetime Emmy Award for Outstanding Host for a Reality or Reality-Competition Program in the same year, a feat it has since repeated three times. Format Prospective Drag Race contestants submit video auditions to the show's production company, World of Wonder. RuPaul, the host and head judge, views each tape and selects the season's competitors. Once the chosen pool of performers is on set, they film a series of episodes in which they compete against each other in various challenges. Each episode typically concludes with the removal of one contestant from the competition. Rarely, the outcome of an episode has been a double elimination, no elimination, contestant disqualification or removal of a contestant on medical grounds. Each episode features a so-called maxi challenge that tests competitors' skills in a variety of areas of drag performance. Some episodes also feature a mini challenge, the prize of which is often an advantage or benefit in the upcoming maxi challenge. Following the maxi challenge, contestants present themed looks in a runway walk. RuPaul and a panel of judges then critique each contestant's performance, deliberate amongst themselves, and announce the week's winner and bottom two competitors. The bottom two queens compete in a so-called Lip Sync for Your Life; the winner of the lip sync remains in the competition, and the loser is eliminated. Generally, the contestant that the judges feel has displayed the most "charisma, uniqueness, nerve and talent" (C.U.N.T.) is the one who advances. The final three, or four depending on what RuPaul chooses, contestants remaining compete in a special finale episode wherein the season's winner is crowned. In early seasons, the finale was pre-recorded in the studio with no audience. More recently, the finale has taken the form of a lip sync tournament before a live audience. The season 12 finale was filmed remotely due to the COVID-19 pandemic. The whole season is typically filmed in four weeks. Mini and maxi challenges Mini challenges are quick, small assignments that RuPaul announces at the beginning of an episode. One of the most popular mini challenges, which recurs from season to season, is the reading challenge. In it, contestants satirically criticize one another in a process called "reading", which was popularized by the film Paris Is Burning. Maxi challenges vary in the skill they test; some are group challenges that involve singing and acting, while others feature comedy, a talent of choice, dancing, or makeovers. The winner receives a material or monetary prize. Until the show's sixth season, the winner sometimes also received immunity against elimination the following week. Drag Races most popular seasonal maxi challenge is Snatch Game, a spoof on Match Game wherein contestants impersonate celebrities or famous fictional personas. Judging RuPaul has been the series' head judge since its premiere. For the first two seasons, Merle Ginsberg joined him on the panel; she was replaced in season 3 by longtime friend of RuPaul and co-host of The RuPaul Show Michelle Visage. Santino Rice served as a judge from season 1 through season 6. From season 7 onward, Ross Mathews and Carson Kressley have occupied Rice's former seat. New York City makeup artist Billy B held a regular judging spot in the third and fourth seasons when Rice was absent. Most weeks, one or two celebrity guest judges join the panel. After appearing as a recurring guest judge in seasons 13 and 14, Ts Madison became a regular member of the judging panel from the fifteenth season. Companion series The first season of Drag Race was accompanied by a seven-episode web series titled Under the Hood of RuPaul's Drag Race, which Logo TV made available for streaming on its website. The series featured behind-the-scenes and deleted footage from the main show's tapes. From season 2 onward, a companion show called RuPaul's Drag Race: Untucked, which has the same premise, has aired instead. Untucked largely focuses on conversations and drama that occur between contestants backstage while the judges deliberate on each episode's results. In most seasons, it has aired on TV following the main show, but it was available only online for season 7 through season 9. A number of smaller web series also accompany each episode of Drag Race. Whatcha Packin, which began at the start of the sixth season, features Michelle Visage interviewing the most recently eliminated queen about their run on the show and showcasing runway outfits they had brought but did not have the opportunity to wear. In 2014, the web-series Fashion Photo Ruview aired for the first time, co-hosted by Raja Gemini and Raven who evaluate the runway looks of the main show. Since season 8, a five- to fifteen-minute (later eighteen- to thirty-minute) aftershow called The Pit Stop has also been produced. It involves a host and guest, typically past competitors of Drag Race, discussing the recently aired episode. Each season's host (or hosts) are different; to date, these have included the YouTuber Kingsley, Raja Gemini, Bob the Drag Queen, Alaska Thunderfuck, Trixie Mattel, Manila Luzon, Monét X Change, and Bianca Del Rio. Series overview Seasons 1–8 (2009–2016): Logo TV Season 1 premiered in the U.S. on February 2, 2009, on Logo TV. Nine contestants competed to become "America's Next Drag Superstar". The winner won a lifetime supply of MAC Cosmetics, was featured on the cover of Paper and in an LA Eyeworks campaign, joined the Absolut Pride tour, and won a cash prize of $20,000. One of the nine, Nina Flowers, was determined by an audience vote via the show's official website. The winner of season 1 was BeBe Zahara Benet, with Nina Flowers winning Miss Congeniality. In late 2013, Logo re-aired the season as RuPaul's Drag Race: The Lost Season Ru-Vealed, featuring commentary from RuPaul. For season 2 (2010), 12 contestants competed for a lifetime supply of NYX Cosmetics and be the face of nyxcosmetics.com, an exclusive one year public relations contract with LGBT firm Project Publicity, be featured in an LA Eyeworks campaign, join the Logo Drag Race Tour, and a cash prize of $25,000. A new tradition of writing a farewell message in lipstick on the workstation mirror was started by the first eliminated queen, Shangela. Each week's episode is followed by a behind-the-scenes show, RuPaul's Drag Race Untucked. The winner of season 2 was Tyra Sanchez, with Pandora Boxx winning Miss Congeniality. On December 6, 2011, Amazon.com released season 2 on DVD via the CreateSpace program. Season 3 (2011) had Michelle Visage replacing Merle Ginsberg on the judging panel as well as Billy Brasfield (commonly known as Billy B), Mike Ruiz, and Jeffrey Moran (courtesy of Absolut Vodka) filling in for Santino Rice's absence during several episodes. Due to Billy B's continued appearances, he and Rice are considered to have been alternate judges for the same seat on judges panel. Other changes made included the introduction of a wildcard contestant from the past season, Shangela; an episode with no elimination; and a contestant, Carmen Carrera, being brought back into the competition after having been eliminated a few episodes prior. A new pit crew was also introduced consisting of Jason Carter and Shawn Morales. As with the previous season, each week's episode was followed by a behind-the-scenes show, RuPaul's Drag Race: Untucked. The winner of the season 3 was Raja, with Yara Sofia winning Miss Congeniality. On December 6, 2011, Amazon.com released this season on DVD via their CreateSpace program. Season 4 began airing on January 30, 2012, with cast members announced November 13, 2011. The winner headlined Logo's Drag Race Tour featuring Absolut Vodka, won a one-of-a-kind trip, a lifetime supply of NYX Cosmetics, a cash prize of $100,000, and the title of "America's Next Drag Superstar". Like the previous season, Rice and Billy B (Billy Brasfield), shared the same seat at the judges table alternatively, with Brasfield filling in for Rice when needed. The winner of season 4 was Sharon Needles, with Latrice Royale winning Miss Congeniality. Season 5 began airing on January 28, 2013, with a 90-minute premiere episode. Fourteen contestants competed for the title of "America's Next Drag Superstar" along with a lifetime supply of Colorevolution Cosmetics, a one-of-a-kind trip courtesy of AlandChuck.travel, a headlining spot on Logo's Drag Race Tour featuring Absolut Vodka and a cash prize of $100,000. Rice and Visage were back as judges on the panel. The winner of season 5 was Jinkx Monsoon, with Ivy Winters winning Miss Congeniality. Season 6 began airing February 24, 2014. Like season 5, season 6 saw 14 contestants competing for the title of "America's Next Drag Superstar". For the first time in the show's history, the season premiere was split into two episodes; the fourteen queens are split into two groups and the seven queens in each group compete against one another before being united as one group in the third episode. Rice and Visage returned as judges at the panel. Two new pit crew members, Miles Moody and Simon Sherry-Wood, joined Carter and Morales. The winner won a prize package that included a supply from Colorevolution Cosmetics and a cash prize of $100,000. The winner of season 6 was Bianca Del Rio, with BenDeLaCreme winning Miss Congeniality. Season 7 began airing on March 2, 2015. Returning judges included RuPaul and Visage, while the space previously occupied by Rice was filled by new additions Ross Mathews and Carson Kressley. Mathews and Kressley were both present for the season premiere and then took turns sharing judging responsibilities. Morales and Simon Sherry-Wood did not appear this season and were replaced by Bryce Eilenberg. Like the previous two seasons, this one featured fourteen contestants competing for the title of "America's Next Drag Superstar", a one-year supply of Anastasia Beverly Hills cosmetics, and a cash prize of $100,000. The season premiere debuted with a live and same-day viewership of 348,000, a 20 percent increase from the previous season. On March 20, 2015, it was announced that Logo had given the series an early renewal for an eighth season. The winner of season 7 was Violet Chachki, with Katya winning Miss Congeniality. Season 8 on began airing on March 7, 2016, with cast members announced during the NewNowNext Honors on February 1, 2016. Visage returned as a main judge, while Kressley and Mathews returned as rotating main judges. The first episode celebrated the 100th taping of the show, and the 100th drag queen to compete. Similar to season 2, this season had twelve contestants competing for the title of "America's Next Drag Superstar", a one-year supply of Anastasia Beverly Hills cosmetics, and a cash prize of $100,000. The winner of season 8 was Bob the Drag Queen, with Cynthia Lee Fontaine winning Miss Congeniality. Seasons 9–14 (2017–2022): VH1 Season 9 began airing on March 24, 2017 on VH1, with cast members being announced on February 2, 2017. Visage returned as a main judge, while Kressley and Mathews returned as rotating main judges. This season features fourteen contestants competing for the title of "America's Next Drag Superstar", a one-year supply of Anastasia Beverly Hills cosmetics, and a cash prize of $100,000. The ninth season aired on VH1, with encore presentations continuing to air on Logo. This season featured the return of Cynthia Lee Fontaine, who previously participated in the season 8. Season 9 featured a top four in the finale episode, as opposed to the top three, which was previously established in season 4. The winner of season 9 was Sasha Velour, with Valentina winning Miss Congeniality. Season 10 began airing on March 22, 2018. Visage returned as a main judge, while Kressley and Mathews returned as rotating main judges. This season features thirteen new contestants, and one returning contestant, competing for the title of "America's Next Drag Superstar", a one-year supply of Anastasia Beverly Hills cosmetics, and a cash prize of $100,000. Eureka O'Hara, who was removed from the ninth season due to an injury, returned to the show after she accepted an open invitation. Season 10 premiered alongside the televised return of Untucked. The tenth season featured a top four following the previous season's finale format. The winner of season 10 was Aquaria, with Monét X Change winning Miss Congeniality. Season 11 began airing February 28, 2019. This season had fifteen contestants, whereas previous seasons typically had fourteen contestants. Visage returned as a main judge, while Kressley and Mathews returned as rotating main judges. This season features fourteen new contestants, and one returning contestant, competing for the title of "America's Next Drag Superstar", a one-year supply of Anastasia Beverly Hills cosmetics, and a cash prize of $100,000. This season saw the return of Vanessa Vanjie Mateo, who was the first contestant eliminated in season 10. Season 11 again featured a top four in the finale. As with season 10, each week's episode was followed by an episode of the televised return of RuPaul's Drag Race: Untucked. The winner of season 11 was Yvie Oddly, with Nina West winning Miss Congeniality. On January 22, 2019, casting for Season 12 (2020) was announced via YouTube and Twitter and was closed on March 1, 2019. On August 19, 2019, it was announced that the series had been renewed for a twelfth season. The season began airing on February 28, 2020. This is the first and only season to have the reunion and finale recorded virtually from the contestants' homes due to the COVID-19 pandemic. The winner of season 12 was Jaida Essence Hall, with Heidi N Closet winning Miss Congeniality. On December 2, 2019, casting for Season 13 (2021) was announced via YouTube and Twitter. The casting call closed on January 24, 2020. On August 20, 2020, it was announced the thirteenth season had been ordered by VH1. It began airing on January 1, 2021. The winner of season 13 was Symone, with Kandy Muse as runner-up, and LaLa Ri as Miss Congeniality. Casting for Season 14 began on November 23, 2020. In August 2021, it was announced the fourteenth season had been ordered by VH1. The cast for the fourteenth season was revealed through VH1 on December 2, 2021. The season started airing on January 7, 2022. The season welcomed Maddy Morphosis, the show's first heterosexual, cisgender male contestant. The season notably also featured five transgender contestants: Kerri Colby and Kornbread "The Snack" Jeté (both of whom entered the competition openly trans), Jasmine Kennedie (who came out as a trans woman during filming of the show), Bosco (who also came out as a trans woman as the season aired), and Willow Pill (who came out as trans femme as the season aired). The winner of season 14 was Willow Pill, with Lady Camden as runner-up, and Kornbread "The Snack" Jeté as Miss Congeniality. The winning queen received a cash prize of $150,000, the highest amount awarded to date in a regular season. The runner-up received a $50,000 cash prize. Casting for Season 15 began on November 4, 2021, and closed on January 7, 2022. Season 15 (2023): MTV Season 15 premiered on January 6, 2023, on MTV. This season features the largest cast in the show's history, with sixteen queens competing and the largest cash prize, with the winner earning $200,000. It is also the first season to feature biological relatives, twins Sugar and Spice. The winner of season 15 was Sasha Colby, with Anetra as runner-up, and Malaysia Babydoll Foxx as Miss Congeniality. Contestants More than 150 contestants have competed on the U.S. version of the show. Spin-offs Specials RuPaul's Drag Race: Green Screen Christmas (2015): On December 13, 2015, Logo aired a seasonal themed episode of Drag Race. The non-competitive special was released in conjunction with RuPaul's holiday album Slay Belles and featured music videos for songs from the album. The cast included RuPaul, Michelle Visage, Siedah Garrett, and Todrick Hall, and former contestants Alyssa Edwards, Laganja Estranja, Latrice Royale, Raja, and Shangela. RuPaul's Drag Race Holi-slay Spectacular (2018): On November 1, 2018, VH1 announced a seasonal themed special episode of Drag Race scheduled to air on December 7, 2018. The special saw eight former contestants compete for the title of "America's first Drag Race Christmas Queen". Competitors included Eureka O'Hara, Jasmine Masters, Kim Chi, Latrice Royale, Mayhem Miller, Shangela, Sonique, and Trixie Mattel. RuPaul's Drag Race: Corona Can't Keep a Good Queen Down (2021): On February 26, 2021, the one hour special aired on VH1 in between episodes 8 and 9 of Season 13 and detailed the contestants' journeys with filming the season amid the ongoing COVID-19 pandemic. Television series RuPaul's Drag U (2010–2012): In each episode, three women are paired with former Drag Race contestants ("Drag Professors"), who give them drag makeovers and help them to access their "inner divas". RuPaul's Drag Race All Stars (2012–present): Past contestants return and compete for a spot in the Drag Race Hall of Fame. The show's format is similar to that of RuPaul's Drag Race, with challenges and a panel of judges. Dancing Queen (2018): In April 2013, RuPaul confirmed that he planned to executive-produce a spin-off of Drag Race that stars season five and All Stars season two contestant Alyssa Edwards. Alyssa Edwards has confirmed that the spin-off's title is Beyond Belief (later retitled as Dancing Queen), and that his dance company in Mesquite, Texas is the setting. The series aired on Netflix on October 5, 2018. RuPaul's Secret Celebrity Drag Race (2020–Present): On April 10, 2020, VH1 announced a celebrity edition of Drag Race scheduled to air for four weeks beginning on April 24, 2020. The series featured a trio of celebrities receiving makeovers from former contestants. After receiving help from "Queen Supremes" Alyssa Edwards, Asia O'Hara, Bob the Drag Queen, Kim Chi, Monét X Change, Monique Heart, Nina West, Trinity the Tuck, Trixie Mattel and Vanessa Vanjie Mateo, the celebrities competed in fan-favorite challenges and on the runway to be named "America's Next Celebrity Drag Race Superstar" and prize money for choice charities. RuPaul's Drag Race: Vegas Revue (2020): On July 22, 2020, it was announced that a docu-series would premiere on August 21, 2020. International adaptations The Switch Drag Race (2015–2018): This licensed glocalization of Drag Race premiered in October 2015 on Chilean television channel Mega. As in Drag Race, queens compete in "mini-challenges" and a main challenge and are evaluated by a panel of judges. Similar to Drag Race, The Switch requires contestants to lip-sync, dance, and perform impersonations. Drag Race Thailand (2018–present): In October 2017, Kantana Group acquired the rights to produce its own version of Drag Race. Season 1 of Drag Race Thailand was met with successful ratings on Thai television. It was later announced that the first season will premiere in the U.S. in May 2018. The first season also made stirs in the Asian LGBT community, the most prominent of which was a campaign to establish versions of Drag Race in the Philippines and Taiwan as well, two of the most LGBT-accepting nations in Asia. RuPaul's Drag Race UK (2019–present): On December 5, 2018, it was announced that the British version of RuPaul's Drag Race would be an eight-part series filmed in London based on local drag queens and would air on BBC Three in 2019. Visage confirmed via social media that she would appear as a judge. Canada's Drag Race (2020–present): On June 27, 2019, OutTV and Bell Media's streaming service Crave announced that they had co-commissioned a Canadian version of Drag Race. Rights to the series, as well as the U.S. and British versions, will be shared by OutTV and Crave. Additionally, season 11 runner-up Brooke Lynn Hytes was confirmed as one of the judges, becoming the first Drag Race contestant to serve as a permanent judge. The show premiered on July 2, 2020. Drag Race Holland (2020–2021): A Dutch version of Drag Race was announced on July 26, 2020. The series debuted on Videoland in The Netherlands, and aired on WOW Presents Plus internationally. The show is hosted by Fred van Leer and premiered . RuPaul's Drag Race Down Under (2021–present): On August 26, 2019, an Oceanic version was announced to be in production and said to air in 2020, but was likely delayed due to the COVID-19 pandemic. Filming began in Auckland, New Zealand in January 2021. The series premiered on TVNZ 2 and TVNZ OnDemand in New Zealand, Stan in Australia, and on WOW Presents Plus internationally on 1 May 2021. The judging panel features RuPaul, Michelle Visage, and Rhys Nicholson. Drag Race España (2021–present): On November 16, 2020, Atresmedia announced that they would produce a Spanish version of Drag Race together with Buendía Estudios after reaching an agreement with Passion Distribution in favour of World of Wonder. The series debuted on Atresmedia's pay streaming service ATRESplayer Premium on 30 May 2021, and aired on WOW Presents Plus internationally. It is hosted by Supremme de Luxe. Drag Race Italia (2021–present): An Italian version of Drag Race was announced on June 30, 2021. The series debuted in November 2021 on Discovery+. Drag Race France (2022–present): On November 17, 2021, a French version of Drag Race was announced. Drag Race Philippines (2022–present): On August 17, 2021, a Filipino version of Drag Race was announced. The series debuted on August 17, 2022 on Discovery+ and HBO Go in the Philippines and aired on WOW Presents Plus internationally. Drag Race Belgique (2023): A Belgian version of Drag Race was announced on April 29, 2022 and is set to broadcast February 16, 2023 on Tipik and to stream on WOW Presents Plus internationally. Drag Race Sverige (2023): A Swedish version of Drag Race was announced on April 5, 2022 to broadcast on Sveriges Television and stream on WOW Presents Plus. Drag Race Brasil (TBA): Announced on December 12, 2022. Drag Race Mexico (TBA): Announced on December 12, 2022. Drag Race Germany (TBA): Announced on December 12, 2022. Other media Feature film: In August 2015, RuPaul revealed that a movie featuring all of the contestants was in the works. "We've got a director for it, we've got a light script, but it just needs a little more retooling and scheduling." RuPaul's Drag Race Superstar is a mobile app by World of Wonder and Leaf Mobile's subsidiary East Side Games, which was released on October 25, 2021. Home media Full seasons of shows in the Drag Race franchise are available to stream on WOW Presents Plus in over 200 territories. The show is also currently available on the following streaming platforms: United States — Hulu (seasons 3–8; All Stars 1–4); Paramount Plus (seasons 1–12, All Stars 1–6, Untucked seasons 9–11, All Stars Untucked seasons 5–6), WOW Presents Plus (Untucked seasons 7–8, Thailand season 2, and all other international series) Canada — Netflix (seasons 1–12, All Stars 4, Untucked seasons 11 and 12), Crave (all seasons, All Stars 1–6, UK series 1–3, Canada season 1 and 2, Down Under season 1), WOW Presents Plus (seasons 1–10, Untucked seasons 1–10, All Stars 1–4) UK & Ireland — Netflix (seasons 11-13, Untucked seasons 11–13, All Stars 4-6, Celebrity season 1), BBC iPlayer (UK series 1,2 and 3, Canada season 1 and 2, Down Under season 1), WOW Presents Plus (seasons 1–10, Untucked seasons 1–10, all episodes of All Stars and Holland) Australia — Stan (all seasons of original, All Stars, Untucked, UK, Canada, Down Under and Thailand Season 2), WOW Presents Plus (UK series 1, Canada season 1) Awards and nominations RuPaul's Drag Race has been nominated for thirty-nine Emmy Awards, and won twenty-four. It has also been nominated for nine Reality Television Awards, winning three, and nominated for six NewNowNext Awards, winning three. Critical reception Thrillist called Drag Race "the closest gay culture gets to a sports league". In 2019, the TV series was ranked 93rd on The Guardians list of the 100 best TV shows of the 21st century. Shannon Keating for BuzzFeed News wrote about the show’s “subversive, irreverent beginnings” briefly turning “comfortably mainstream... humdrum and derivative” prior to season 13’s release. She recalls that a flurry of political disputes, as well as “overexposure”, threatened to ruin Drag Race’s legacy before the refreshed 2021 season. Coleman Splide for The Daily Beast wrote in 2021 that “RuPaul has continually allowed the legacy of his subversive landmark reality show to be slowly chipped away at”. Though Splide states that the show is “a critical part of bringing empowering inclusivity to the forefront of mainstream culture”, he maintains that it also invites indignation from an ever-expanding and oftentimes toxic fanbase, as well as contributing to the increasingly capitalised nature of pride celebrations around the globe. Controversy In March 2014, Drag Race sparked controversy over the use of the term "shemale" in the season 6 mini challenge "Female or She-male?". Logo has since removed the segment from all platforms and addressed the allegations of transphobia by removing the "You've got she-mail" intro from new episodes of the series. This was replaced with, "She done already done had herses!" RuPaul additionally came under fire for comments made in an interview with The Guardian, in which he stated he would "probably not" allow a transgender contestant to compete. He compared transgender drag performers to doping athletes on his Twitter, and has since apologized. Sasha Velour (season 9) disagreed, tweeting "My drag was born in a community full of trans women, trans men, and gender non-conforming folks doing drag. That's the real world of drag, like it or not. I thinks it's fabulous and I will fight my entire life to protect and uplift it". Relationship with the trans community For the first twelve seasons, RuPaul would say, "Gentlemen, start your engines, and may the best woman win," before the contestants' runway looks for the episode were shown. When season 13 introduced the show's first ever transgender male contestant, Gottmik, RuPaul's catchphrase was changed in order to promote inclusivity: "Racers, start your engines, and may the best drag queen win." In season 6 of All Stars, an altered version of the show's opening theme was introduced with the new tag line. Performers of any sexual orientation and gender identity are eligible to audition, although most contestants to date have been gay, cisgender men. Transgender competitors have become more common as seasons have progressed; Sonique, a season two contestant, became the first openly trans contestant when she came out as a woman during the reunion special. Sonique later won All Stars 6, becoming the first trans woman to win an English-language version of the show and the second overall. Monica Beverly Hillz (season 5) became the first contestant to come out as a trans woman during the competition. Peppermint (season 9) is the first contestant who was out as a trans woman prior to the airing of her season. Other trans contestants came out as women after their elimination, including Carmen Carrera, Kenya Michaels, Stacy Layne Matthews, Jiggly Caliente, Gia Gunn, Laganja Estranja and Gigi Goode. Additionally, Gottmik (season 13) was the first AFAB and currently the only openly transgender male contestant in the franchise's history. Various contestants have come out as non-binary as well, including Jinkx Monsoon and Adore Delano. Season 14 is the first regular season to feature five transgender women in the cast—Kerri Colby, Kornbread "The Snack" Jeté, Bosco, Jasmine Kennedie, and Willow Pill. While Kerri Colby and Kornbread entered the show openly trans, Bosco and Willow came out after the show's taping, and Jasmine Kennedie came out in episode 7 of Untucked. Broadcast Australia: In Australia, lifestyle channel LifeStyle YOU regularly showed and re-screened seasons 1–7, including Untucked. In addition, free-to-air channel SBS2 began screening the first season on August 31, 2013. On March 13, 2017, it was announced that on-demand service Stan would fast-track season 9 (including Untucked). As of 2020, Stan streams all seasons since Season 1, as well as Untucked, All Stars, All Stars Untucked, Canada's Drag Race, Secret Celebrity, Drag Race UK and Season 2 of Drag Race Thailand. Canada: The series airs on OutTV in Canada at the same time as the US airing. Unlike Logo, OutTV continues to broadcast Untucked immediately after each Drag Race episode. Beginning with season 12, OutTV has shared its first-run rights to the main series (but not Untucked) with the more widely subscribed Crave streaming service, with episodes available on Crave shortly after they premiere on OutTV, in connection with Crave and OutTV's co-production of Canada's Drag Race. Past seasons are also available on Netflix in Canada, with each season released there shortly before the next season begins. Ireland: In Ireland, season 2 to season 8 of the programme were available on Netflix; as of the release of Season 10, only seasons 8 & 9 are available. Netflix has started airing season 10 episodes one day after they air in the USA. All seasons of the show have been made available on Netflix since October 2018 Indonesia: In Indonesia, season 1 to season 13 of the programme were available on Netflix, alongside the Christmas spectacular; As of the release of All Stars, only season 4 and 5 is available. Netflix also aired Untucked season 10 episodes one day after they air in the USA. UK: E4 aired season 1 in 2009, followed by season 2 in 2010. Since its success on Netflix in the UK, TruTV acquired the broadcast rights for all eight seasons of the show including Untucked episodes. In June 2015, TruTV started airing two episodes of the show a week, starting with season 4, followed by All Stars, then season 5. As of May 2018, the series airs on VH1 UK Monday–Thursday at 11pm, beginning with All Stars season 3.Israel''': Yes has broadcast all seasons and Untucked episodes. Seasons 1–12, All Stars seasons 4–5 and Untucked'' seasons 11–12 are also available on Netflix. Discography See also List of reality television programs with LGBT cast members List of Rusicals LGBT culture in New York City Paris Is Burning (film) References External links Edgar, E. (2011). "Xtravaganza!": Drag Representation and Articulation in "RuPaul's Drag Race". Studies in Popular Culture,34(1), 133–146. Retrieved from "Xtravaganza!": Drag Representation and Articulation in "RuPaul's Drag Race" Category:2000s American LGBT-related television series Category:2000s American reality television series Category:2000s LGBT-related reality television series Category:2009 American television series debuts Category:2010s American LGBT-related television series Category:2010s American reality television series Category:2010s LGBT-related reality television series Category:2020s American LGBT-related television series Category:2020s American reality television series Category:2020s LGBT-related reality television series Category:American LGBT-related reality television series Category:English-language television shows Category:Logo TV original programming Category:MTV original programming Category:Primetime Emmy Award for Outstanding Reality Program winners Category:Primetime Emmy Award-winning television series Category:Television series by World of Wonder (company) Category:Transgender-related television shows Category:VH1 original programming
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[ "The judges mentioned in the context are Michelle Visage, Ross Mathews, Carson Kressley, RuPaul, Merle Ginsberg, Santino Rice, Billy Brasfield (Billy B), Mike Ruiz, Jeffrey Moran, Lucian Piane and various celebrity guest judges.", "The context does not provide information on who judged after Michelle Visage, Ross Mathews, Carson Kressley, RuPaul, Merle Ginsberg, Santino Rice, Billy Brasfield, Mike Ruiz, Jeffrey Moran, Lucian Piane, and the various celebrity guest judges.", "The judges provide their opinion on the contestants' performances in the main challenge and on the runway. They decide which queen is the episode's winner and which two had the weakest performances. In addition, bottom two contestants \"lip sync for their lives\" in a final attempt to impress RuPaul, who decides who stays and who leaves.", "Apart from judging the contestants' performances in the main challenge and on the runway, the judges also join two celebrity guest judges each week prior to the grand finale. Additionally, RuPaul makes the final decision on which contestant leaves the show after the bottom two contestants \"lip sync for their lives.\"", "Michelle Visage joined the show at the start of season 3, while Ross Mathews and Carson Kressley joined at the start of season 7. They would join RuPaul and Visage on alternate episodes. Past judges on the panel include Merle Ginsberg, who was a regular judge in the first two seasons, and Santino Rice, who held his position from the first season until the conclusion of the sixth. Santino Rice was the only person, apart from RuPaul, to take part in every season of the show until season 8. Guest judges have included numerous celebrities such as Ariana Grande, Neil Patrick Harris, Olivia Newton-John, Debbie Reynolds, Lady Gaga among others.", "Once the contestants learn the lyrics to the provided song, the ones deemed as being in the bottom two must \"lip sync for their lives\" to the song in a final attempt to impress RuPaul. After this lip sync performance, RuPaul alone decides who stays in the competition and who leaves.", "After the lip sync, RuPaul alone decides who stays in the competition and who leaves.", "The context does not provide information on the success or failure of the lip sync portion of the competition.", "The context suggests that RuPaul makes the decision to keep a contestant based on their performance in the \"lip sync for their lives\" portion of the show, not simply based on personal preference." ]
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C_d89de81934a1413f801b02acd1dedcf4_0
The Simpsons Movie
The Simpsons Movie is a 2007 American animated comedy film based on the Fox television series The Simpsons. The film was directed by David Silverman, and stars the regular television cast of Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Tress MacNeille, Pamela Hayden, Maggie Roswell and Russi Taylor, with Tom Hanks, Green Day and Albert Brooks in guest roles. The film follows Homer Simpson, whose irresponsibility gets the best of him when he pollutes the lake in Springfield after the town has cleaned it up following receipt of a warning from the Environmental Protection Agency. As the townspeople exile him and eventually his family abandons him, Homer works to redeem his folly by stopping Russ Cargill, the head of the EPA, when he intends to destroy Springfield.
Box office
The Simpsons Movie won the award for Best Comedy Film at the British Comedy Awards, Best Animation at the inaugural ITV National Movie Awards, and Best Movie at the UK Nickelodeon Kids Choice Awards, beating Harry Potter and the Order of the Phoenix, Pirates of the Caribbean: At World's End, and Shrek the Third. The film's trailer won a Golden Trailer Award in the category Best Animated/Family Film Trailer at the 8th Annual Golden Trailer Awards. Forbes named the film the third best of the year, based on its box office takings and Metacritic critical response score. The film's website received a Webby Award at the 12th Annual Webby Awards in the category "Best Movie and Film Website". At the 35th Annie Awards the film was nominated in four categories: Best Animated Feature, Directing in an Animated Feature Production, Writing in an Animated Feature Production, and Voice Acting in an Animated Feature Production for Julie Kavner. All four awards were won by Ratatouille. It was nominated for Best Animated Feature Film at the 65th Golden Globe Awards, the BAFTA for Best Animated Film, and the Producers Guild Award for Animated Theatrical Motion Picture. It also received nominations for the Satellite Award for Best Animated or Mixed Media Feature, the Chicago Film Critics Association Award for Best Animated Feature, and the Broadcast Film Critics Association Award for Best Animated Feature. Before its release, the film received a nomination at the 2007 MTV Movie Awards for "Best Summer Movie You Haven't Seen Yet", with the award ultimately won by Transformers, and lost the Teen Choice Award for "Choice Summer Movie - Comedy/Musical", which was won by Hairspray. It was also nominated for Favorite Movie Comedy at the People's Choice Awards, losing to Knocked Up. CANNOTANSWER
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[ "How much money did the movie make its opening weekend?", "How much did the movie make in US theaters?", "What other countries was the film released in?", "How many people saw the movie opening weekend?", "When did the movie premiere?", "Was there a star-studded premiere event?", "When did the movie come out on video?", "Do you have any information about how much money the movie made?" ]
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The Simpsons Movie is a 2007 American animated comedy film based on the Fox animated sitcom The Simpsons. The film was directed by the show's supervising director David Silverman and stars the show's regular cast of Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Tress MacNeille, Pamela Hayden, Karl Wiedergott, Marcia Wallace, Maggie Roswell, Russi Taylor, and Joe Mantegna reprising their roles and Albert Brooks as the film's main antagonist, Russ Cargill, head of the EPA. The film follows Homer Simpson, who irresponsibly pollutes the lake in Springfield, causing the Environmental Protection Agency (EPA) to imprison the town under a giant glass dome. After he and his family escape, they ultimately abandon Homer for his selfishness and return to Springfield to prevent the town's demolition by Cargill. Homer works to redeem his folly by returning to Springfield himself in an effort to save it. Although previous attempts to create a Simpsons film had been made, they failed due to the lack of a script. Eventually in 2001, producers James L. Brooks, Matt Groening, Al Jean, Mike Scully and Richard Sakai began development on the film and a writing team consisting of Brooks, Groening, Jean, Scully, Ian Maxtone-Graham, George Meyer, David Mirkin, Mike Reiss, Matt Selman, John Swartzwelder and Jon Vitti were assembled. They conceived numerous plot ideas, with Groening's being the one adapted. The script was rewritten over a hundred times, also continuing after work on the animation began in 2006. Consequently, hours of finished material was cut from the final release, including cameo roles from Erin Brockovich, Minnie Driver, Isla Fisher, Edward Norton, and Kelsey Grammer, who would have reprised his role as Sideshow Bob. Tom Hanks and the members of Green Day voice their own animated counterparts in the final cut of the film, while Albert Brooks, a frequent guest performer on the series, provides the voice of its main antagonist, Russ Cargill. Tie-in promotions were made with several companies to promote the film's release, including Burger King and 7-Eleven, the latter of which transformed selected stores into Kwik-E-Marts. The film premiered in Springfield, Vermont, on July 21, 2007 and was released theatrically six days later on July 27 by 20th Century Fox across the United States. The Simpsons Movie received positive reviews and grossed $536.4 million worldwide, becoming the eighth-highest-grossing film of 2007, the second-highest-grossing traditionally animated film (behind Walt Disney Animation Studios' The Lion King), and the highest-grossing film based on an animated television series. The film received praise for its humor, emotional weight, and callbacks to early seasons. The film was nominated for numerous awards, including a Golden Globe Award for Best Animated Feature Film at the 65th Golden Globe Awards. Plot After finishing a concert at Lake Springfield, Green Day tries to engage the audience in a discussion about the environment, but the people refuse to listen and instead throw trash at them. The pollution in the lake erodes the band's barge, causing them to sink and drown. During their memorial, Grampa Simpson has a spiritual experience and frantically prophesies that a disaster will befall Springfield, but only Marge takes it seriously. Concerned about the terrible state of the environment, Lisa and her new friend, Colin (who later becomes her love interest), hold a seminar and convince the town to clean up the lake. Meanwhile, following a series of dares, Homer and Bart go to Krusty Burger, where Homer adopts a pig to save it from being killed by Krusty the Clown. Marge, identifying the pig as a part of Grampa's prophecy, warns Homer to get rid of it, but he refuses. Homer's fawning over the pig makes Bart, now fed up with his father's carelessness, look to their neighbor, Ned Flanders, as a father figure. Homer stores the pig's feces (and his own) in an overflowing silo, disgusting Marge. Homer attempts to dispose of it safely at Marge's request, but then learns that Lard Lad's Donuts is giving away their donuts for free after being shut down by the health inspector. In a rush to get to the giveaway, Homer dumps the silo in the lake, critically polluting it. Moments later, a squirrel stumbles into it after being chased by a raccoon and becomes severely mutated with many eyes, another part of the prophecy. While bonding on a hike, Bart and Ned notice the squirrel, which is captured by the Environmental Protection Agency (EPA). Russ Cargill, head of the EPA, informs president Arnold Schwarzenegger on Springfield's pollution crisis. As a response, the president orders the federals to imprison Springfield under a giant glass dome, completely fulfilling the prophecy. When Homer's silo is discovered on live television, most of the townspeople form an angry mob and attempt to lynch them. The family escapes through a sinkhole, which destroys the house soon after. The family flees to Alaska, where they try to restart their lives. Within 93 days, Springfield completely exhausts its daily supplies and the townspeople lose their sanity while trying to escape from the dome. Cargill, who does not want word of his imprisonment of Springfield to spread, plots to destroy Springfield by tricking the president into ordering its demolition. The Simpsons see a television advertisement, featuring Tom Hanks, for a new Grand Canyon on the site of Springfield. Realizing that their hometown is in danger, all of them decide to save it, leaving Homer behind after he selfishly refuses to help the people who tried to kill them, with Marge leaving behind a video explaining they have no intentions of returning recorded over their wedding video, causing him to run off in search of them. The family is captured by the EPA in Seattle and placed back inside the dome. After an encounter with a mysterious Inuit shaman who saves him from being eaten by a polar bear, Homer has an epiphany about saving the town to save himself. Homer returns to Springfield and learns about his family's capture as a helicopter lowers a time bomb suspended by a rope through a hole at the top of the dome. Homer enters the dome and descends the rope, knocking the escaping townspeople and the bomb off, inadvertently shortening its countdown. Taking a motorcycle, he rides to the church and reunites with Bart. After reconciling, Bart and Homer use the motorcycle to travel up the side of the dome. Bart throws the bomb through the hole seconds before it detonates, shattering the dome and freeing the town. Later, Cargill confronts the pair with a shotgun and attempts to kill them for foiling his plan, but before he can do so, Maggie knocks him out by dropping a large rock on his head. As Cargill is fired and arrested for his actions, the townspeople decide to forgive Homer and hail him a hero for saving Springfield from destruction. He rides into the sunset with Marge, after which the townspeople restore Springfield to normal. As a symbol of their gratitude, the townspeople also help the Simpsons rebuild their house. Cast Production Development The production staff had considered a film adaptation of The Simpsons since early in the series. The show's creator, Matt Groening, felt a feature-length film would allow them to increase the show's scale and animate sequences too complex for the TV series. He intended the film to be made after the show ended, "but that [...] was undone by good ratings". There were attempts to adapt the fourth season episode "Kamp Krusty" into a film, but difficulties were encountered in expanding the episode to feature-length. For a long time, the project was held up. There was difficulty finding a story that was sufficient for a film, and the crew did not have enough time to complete such a project, as they already worked full-time on the show. Groening also expressed a wish to make Simpstasia, a parody of Fantasia; it was never produced, partly because it would have been too difficult to write a feature-length script. At another point, it was briefly suggested to do an anthology-style Treehouse of Horror film, but such suggestion was never pursued. Recurring guest performer Phil Hartman had wished to make a live-action film based on his character Troy McClure; several of the show's staff expressed a desire to help create it, and Josh Weinstein proposed to use the plot of the 1996 episode "A Fish Called Selma" for the film, but the project was canceled following Hartman's death in 1998. The project was officially green-lit by 20th Century Fox in 1997, and Groening and James L. Brooks were set to produce the film. The voice cast was signed on to do the film in 2001, and work then began on the script. The producers were initially worried that creating a film would have a negative effect on the series, as they did not have enough crew to focus their attention on both projects. As the series progressed, additional writers and animators were hired so that both the show and the film could be produced at the same time. Groening and Brooks invited Mike Scully and Al Jean (who continued to work as showrunner on the television series) to produce the film with them. They then signed series director David Silverman to direct the film. The "strongest possible" writing team was assembled, with many of the writers from the show's early seasons being chosen. David Mirkin, Mike Reiss, George Meyer, John Swartzwelder, and Jon Vitti were selected. Ian Maxtone-Graham and Matt Selman would also join later, and Brooks, Groening, Scully, and Jean also wrote parts of the script. Sam Simon did not return having left the show over creative differences in 1993. Former writer Conan O'Brien expressed interest in working with the Simpsons staff again, although he later joked that "I worry that the Simpsons-writing portion of my brain has been destroyed after 14 years of talking to Lindsay Lohan and that guy from One Tree Hill, so maybe it's all for the best." The same went for director Brad Bird who said he had "entertained fantasies of asking if [he] could work on the movie", but did not have enough time due to work on films like The Incredibles and Ratatouille. The producers arranged a deal with Fox that would allow them to abandon production of the film at any point if they felt the script was unsatisfactory. Work continued on the screenplay from late 2003 onwards, taking place in the small bungalow where Matt Groening first pitched The Simpsons in 1987. The writers spent six months discussing a plot, and each of them offered sketchy ideas. On their first brainstorming session, Scully suggested a story in which Steven Spielberg (intended to be voiced by Spielberg himself) would try to blow up Springfield so he could shoot a film with Tom Hanks (who ultimately made a guest appearance voicing himself in the finished film). It was also on this same reunion that Groening introduced the idea of Homer adopting a pet pig, inspired by a pig-waste management story he had read in the news. Jean suggested the family rescue manatees, which became the 2005 episode "The Bonfire of the Manatees", and there was also a notion similar to that of The Truman Show where the characters discovered their lives were a TV show. Groening rejected this, as he felt that the Simpsons should "never become aware of themselves as celebrities", but the idea was later used in the video game The Simpsons Game. Groening read about a town that had to get rid of pig feces in their water supply, which inspired the plot of the film. The decision for Flanders to have an important role also came early on, as Jean wished to see Bart wonder what his life would be like if Flanders were his father. Hank Scorpio, a character from the 1996 episode "You Only Move Twice", was originally meant to return as the main antagonist, but the staff dropped the idea and created Russ Cargill instead. Having eventually decided on the basic outline of the plot for the film, the writers then separated it into seven sections. Jean, Scully, Reiss, Swartzwelder, Vitti, Mirkin, and Meyer wrote 25 pages each, and the group met one month later to merge the seven sections into one "very rough draft". The film's script was written in the same way as the television series: the writers sitting around a table, pitching ideas, and trying to make each other laugh. The script was rewritten over 100 times, and at one point, the film was a musical. However, the songs were continually being shortened and the idea was dropped. Groening described his desire to also make the film dramatically stronger than a TV episode, saying that he wanted to "give you something that you haven't seen before". Animation Animation for the film began in January 2006, with the Itchy & Scratchy short being the first scene to be storyboarded. Groening rejected making either a live-action or a CGI film, calling the film's animation "deliberately imperfect" and "a tribute to the art of hand-drawn animation". The film was produced in a widescreen 2.40:1 aspect ratio, to distinguish it from the then 4:3 fullscreen look of the television series, and colored with the largest palette the animators ever had available to them. A lot of the animation was produced using Wacom Cintiq tablets, which allowed images to be drawn directly onto a computer monitor to facilitate production. Animation production work was divided among four studios around the world: Film Roman in Burbank, California, Rough Draft Studios in Glendale, California and Seoul, South Korea, and AKOM, also in Seoul, South Korea, all of whom previously worked on the series. As with the television series, the storyboarding, character designs, background layout, general animation, and animatic parts of production, were done in America. The overseas studios completed the camera work, inbetweening, and digital ink and paint before being shipping the animation back to the United States. Director David Silverman said that unlike the TV series where "you [have] to pick and choose", the film gave them the opportunity to "lavish that attention [on] every single scene". The characters have shadows, unlike in the show. Silverman and the animators looked to films such as The Incredibles, The Triplets of Belleville, and Bad Day at Black Rock for inspiration, as they were "a great education in staging because of how the characters are placed". They also looked for ideas for a dream sequence, in Disney films such as Dumbo and the Pluto cartoon Pluto's Judgment Day and for crowd scenes in It's a Mad, Mad, Mad, Mad World. Silverman looked at some of the Simpsons episodes he had directed, primarily his two favorites, "Homie the Clown" and "Three Men and a Comic Book". Mike B. Anderson, Lauren MacMullan, Rich Moore and Steven Dean Moore each directed the animation for around a quarter of the film under Silverman's supervision, with numerous other animators working on scenes. Casting For inspiration for the crowd scenes in the film, the production staff referenced a poster featuring more than 320 Simpsons characters. Groening said they tried to include every single character in the film, with 98 having speaking parts, and most members of the crowds being previously established characters instead of generic people. The series' regular voice actors: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer, as well as semi-regular performers Tress MacNeille, Pamela Hayden, Marcia Wallace, Maggie Roswell, Russi Taylor and Karl Wiedergott, reprised their roles. Joe Mantegna returned as Fat Tony, while Albert Brooks, who supplied many guest voices in episodes, was cast as the main antagonist Russ Cargill after he told the staff that he wanted to be part of the film. For "about a week", Brooks was to reprise the role of Hank Scorpio, but when the character was omitted from the film, he ended up voicing Cargill himself. The cast did the first of three table readings in May 2005, and began recording every week from June 2006 until the end of production. James L. Brooks directed them for the first time since the television show's early seasons. Castellaneta found the recording sessions "more intense" than recording the television series and "more emotionally dramatic". Some scenes, such as Marge's video message to Homer, were recorded over one hundred times, leaving the voice cast exhausted. The writers had written the opening concert scene without a specific band in mind. Green Day were cast in that role having requested to guest star in the show. Tom Hanks also appears as himself in the film and accepted the offer after just one phone call. Everybody Loves Raymond creator Philip Rosenthal provides the voice of the father in the "new Grand Canyon" commercial with Hanks. Due to time restraints, several guests who had recorded parts were cut from the film. Minnie Driver recorded the part of a patronizing grievance counselor in a scene that ended up being cut. Edward Norton recorded the part of the man who gets crushed as the dome is implemented, performing a Woody Allen impression. The staff felt the voice was too distracting, so Castellaneta re-recorded Norton's dialogue with a different voice. Isla Fisher and Erin Brockovich also recorded cameos, but their scenes were cut. Kelsey Grammer recorded lines for Sideshow Bob, who was to appear at several different points, but these scenes were also cut. Johnny Knoxville was also touted as a possible guest star. Although he does not provide the voice, Arnold Schwarzenegger is president of the United States rather than then-President George W. Bush because, according to Groening, "in two years ... the film [would be] out of date". Brooks was nervous about the idea, noting that "[Schwarzenegger's] opinion polls were way down", and has said that they "were [hoping] he'd make a political comeback". The animators began by drawing an accurate caricature of Schwarzenegger, but one of the staff instead suggested an altered version of recurring character Rainier Wolfcastle as President. This idea was developed, with the design of Wolfcastle, himself also a caricature of Schwarzenegger, being given more wrinkles under his eyes and a different hairstyle. Editing Every aspect of the film was constantly analyzed, with storylines, jokes and characters regularly being rewritten. Although most animated films do not make extensive changes to the film during active production due to budget restrictions, The Simpsons Movie crew continued to edit their film into 2007, with some edits taking place as late as May, two months before the film was released. James L. Brooks noted, "70 percent of the things in [one of the trailers]—based on where we were eight weeks ago—are no longer in the movie." Matt Groening said that enough material for two more films was cut. Various new characters were created, and then cut because they did not contribute enough. Originally Marge was the character who had the prophetic vision in church. The writers however considered this to be too dark and it was changed to Grampa. The role of Lisa's love interest Colin was frequently revised. He was previously named Dexter and Adrien, and his appearance was completely altered. One idea was to have Milhouse act as Lisa's love interest, but the writers realized "the audience was not as familiar with [his] long-standing crush on [Lisa] as [they had] thought". A car chase in which Homer throws flaming mummies out of a truck at the EPA was replaced with "more emotional and realistic" scenes at the motel and carnival that allowed for a change of pace. The scene of a naked Bart on his skateboard was Matt Groening's idea, who had always wanted to have Bart skateboarding naked, and Mike Scully had the idea of showing Bart's penis for two seconds. Storyboard artist Martin Archer was credited for devising the way to cover Bart's genitals with different things before they are exposed to the viewer. While the crew agreed that the gag would be funny, they wondered it if would mean an R-rating for the film, as they were happy with a PG-13 rating and that the gag was nonsexual and silly. They were ultimately able to get away with the joke because it wasn't live-action nor was it Homer's genitals. Further changes were made after the March 2007 preview screenings of the film in Portland, Oregon and Phoenix, Arizona. This included the deletion of Kang and Kodos heavily criticizing the film during the end credits. A lot of people at the screenings found the original film too coarse, and some of Homer's behavior too unkind, so several scenes were toned down to make him appear nicer. Russ Cargill was redesigned several times, originally appearing as an older man whose speech patterns Albert Brooks based on Donald Rumsfeld. The older model was the one used by Burger King for the action figure. Cargill's scene with Bart and Homer at the film's conclusion was added in to fully resolve his story, and the "Spider-Pig" gag was also a late addition. One excised scene, before the dome is put over Springfield, had Mr. Burns reminding viewers that it was the last point in the film that they could get a refund. Other deletions included Homer's encounter with a sausage truck driver, a scene with Plopper the pig at the end, and a news report, showing the dome's effect on daily life in Springfield in areas such as farming and sports, all of which were featured on the DVD, were cut because they did not fit the overall context of the film. Several musical numbers, at various intervals throughout the film, were cut. These included a song about Alaska, featuring music by Dave Stewart of Eurythmics. Jean said it "got pretty far along in the animation, and then we got scared that the movie began to drag in that section." Music Producer James L. Brooks chose Hans Zimmer to compose the film's score, as they were good friends and regular collaborators. Zimmer felt that the score was a "unique challenge", and he had to "try and express the style of The Simpsons without wearing the audience out". He used Danny Elfman's original opening theme, but did not wish to overuse it. He created themes for each member of the family. Homer's leitmotif was a major focus, and Zimmer also composed smaller themes for Bart and Marge. Regular television series composer Alf Clausen was not asked to score the film, noting: "sometimes you're the windshield, sometimes you're the bug". In addition to their appearance in the film, Green Day recorded its own version of the Simpsons theme, and released it as a single. Zimmer turned the Spider-Pig song into a choral piece, which was a joke he never intended to be put into the film. Zimmer also had to write foreign-language lyrics for the 32 dubbed versions of the song when the film was released internationally. He found translating the song into Spanish the hardest to write. The same choir learned to sing the piece for each of the foreign-language dubs. Themes Al Jean described the film's message as being "a man should listen to his wife". In addition, the film parodies two major contemporary issues, religion and environmentalism. The theme of environmentalism is present throughout the film: in Homer's polluting of Lake Springfield, Green Day's cameo, Lisa's activism and her romance with Colin. The villainous Russ Cargill is head of the Environmental Protection Agency. Reviewer Ed Gonzalez argued the plot was a satire of the government's reaction to the effects of Hurricane Katrina on New Orleans. Ian Nathan of Empire magazine criticized this focus, believing it gave the film an "overt political agenda [which] border[s] on polemic". James D. Bloom of Muhlenberg College commented on the "explicitness" of the film's "intellectual agenda", on this issue, shown particularly through Lisa. He wrote that the film's first post-opening credits scene, which sees Green Day fail in an attempt to engage their audience on the issue of the environment, "sets in motion a plot expressly built around cultural agenda-setting" and "reflection on timely 'issues'." Religion is focused on in Grampa's momentary possession, and Marge believing what he said to be a message from God. Groening joked the film "posit[s] the existence of a very active God", when asked if he believed it was likely to offend. Mark I. Pinsky, author of The Gospel According to The Simpsons, said the film "treats genuine faith with respect, while keeping a sharp eye out for religious pretension and hypocrisy of all kinds". Regarding the scene where the tenants of Moe's Tavern and the Church switch locations, he believed it took the "chance to unmask everyone's human fallibility." In analyzing the role of Ned Flanders, he wrote, "It is [the] willingness of The Simpsons to depict all the different sides of us [...] that makes it so rich and funny on our complicated relationship with religion." Trees are a motif in the film, and they were implemented in every important or emotional scene throughout the film. The animators inserted an apple tree behind Lisa and Colin during their initial meeting, which was a reference to the biblical figures of Adam and Eve and the Garden of Eden. Cultural references Many cultural references and allusions are made throughout the film. Green Day play "Nearer, My God, to Thee" on violins as their barge sinks, in a sequence parodying the film Titanic. When Bart is riding his skateboard naked, different passing objects are almost constantly covering his genitalia, a nod to similar techniques used in Austin Powers: International Man of Mystery. Homer and Marge's love scene parodies many Disney films, including Cinderella, with Disney-style animals helping them undress. Originally, the music from The Wizard of Oz was used in that scene, and the fawn had white spots; these were removed because the animators felt it resembled Bambi too clearly. Bart impersonates Mickey Mouse on the train, calling himself "the mascot of an evil corporation". Homer plays Grand Theft Walrus, an allusion to the video game series Grand Theft Auto. In the game, his character shoots a tap-dancing penguin in reference to the film Happy Feet. The "Spider-Pig" song is a parody of the theme song of the 1967 Spider-Man TV series, and the name of Lisa's lecture is An Irritating Truth, a play on Al Gore's film An Inconvenient Truth. The bomb disposal robot was based on Vincent D'Onofrio's character Leonard "Pyle" Lawrence from the film Full Metal Jacket, who commits suicide in a similar way. At the end of the film, the crowd's celebration is similar to the conclusion of Return of the Jedi, with Carl performing exactly the same hand gestures as Lando Calrissian. The $1,000 Homer received when entering Alaska is a reference to the Alaska Permanent Fund Dividend. As Homer leaves Eski-Moe's he grabs on to a passing truck and uses it to propel himself back to the house, a tribute to actor Buster Keaton, while the epiphany scene features homages to the film Brazil and the works of Salvador Dalí. Hillary Clinton appears as Itchy's vice president, while an Orc from The Lord of the Rings appears in the mob scene. A scene that was cut had Marge and the kids appear on the TV talk show The View to spread the news of Springfield's impending doom. Parts were written for the show's entire panel and the scene was planned to feature Russ Cargill having a gunfight with Joy Behar. Another dropped scene featured Moe describing Springfield's varying physical states inside the dome, one of which was the Disneyland ride Autopia. There are several references to events in previous TV episodes of The Simpsons. These include the wreckage of the ambulance from the episode "Bart the Daredevil" crashed into a tree next to Springfield Gorge. The Carpenters' song "(They Long to Be) Close to You" was used in Homer and Marge's wedding video and had also been used in several emotional moments between them in the TV series. Release Theatrical On April 1, 2006, 20th Century Fox announced that the film would be released worldwide on July 27, 2007. The film was released a day earlier in Australia and the United Kingdom. Little information about the plot was released in the weeks building up to the film's release. Groening did not feel that "people look in the TV section of the newspaper and think, 'I'll watch this week's Simpsons because I like the plot.' You just tune in and see what happens." Fox held a competition among 16 Springfields across the United States to host the American premiere. Each Springfield produced a film, explaining why their town should host the premiere, with the results being decided via a vote on the USA Today website. Springfield, Minnesota dropped out on May 31, 2007. The winner was announced on July 10 to be Springfield, Vermont. The town beat Springfield, Illinois by 15,367 votes to 14,634. Each of the other 14 entrants held their own smaller screenings of the film on July 26. Springfield, Vermont hosted the world premiere of the film on July 21 with a yellow carpet instead of the traditional red. The film was rated PG-13 by the Motion Picture Association of America for "irreverent humor throughout"; the production staff had expected this rating. However, the British Board of Film Classification passed the film as a PG with no cuts made. A BBFC spokeswoman said regarding Bart's brief nude scene, "natural nudity with no sexual content is acceptable in PG films". The film was banned in Myanmar, not for the scene of nudity, but for the excessive use of the colors yellow and red, which is prohibited in the country. Marketing The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion. Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker bus-sized floating inflatable Spider Pig was set up next to Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away. McFarlane Toys released a line of action figures based on the film while EA Games released The Simpsons Game to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system. Home media The film was released on DVD and Blu-ray Disc worldwide on December 3, 2007, and on December 18 in the United States. It contains commentary tracks from both the producers and animators, six short deleted scenes, and a selection of material used to promote the film release. An unfinished deleted scene of the townspeople singing the Springfield Anthem was also included on The Simpsons The Complete Tenth Season DVD box set. Promotions for the DVD release occurred across the United States. The Empire State Building was illuminated yellow, the first time the building had ever been used as part of a film promotion. In the United Kingdom, Fox launched a £5 million advertising campaign. They also signed a £1.6 million deal with the yogurt company Yoplait, to produce a The Simpsons Movie design for their brand Frubes. In its first week it topped the U.S. DVD chart, and generated $11.8 million in rental revenue. Reception Critical reception On Rotten Tomatoes, the film has an approval rating of 87% based on 223 reviews and an average rating of 7.5/10. The site's critical consensus reads, "The Simpsons Movie contains the hearty laughs, biting satire, and honest portrayal of an American family that makes the show so popular. And it boasts slicker animation and polished writing that hearkens back to the show's glory days." On Metacritic, it received a score of 80 out of 100, based on 36 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale. British newspapers The Guardian and The Times both gave the film four out of five stars. The Times' James Bone said that it "boasts the same sly cultural references and flashes of brilliance that have earned the television series a following that ranges from tots to comparative literature PhDs". The Guardian's Peter Bradshaw stated that it "gives you everything you could possibly want" and that he thought, "Eighty-five minutes [was] not long enough to do justice to 17 years of comedy genius". Ed Gonzalez praised the film for its political message, likening the Itchy & Scratchy cartoon at the beginning to President Schwarzenegger's situation later on, as well as the film's visual gags. Randy Shulman praised the cast, and described them as having "elevated their vocal work to a craft that goes way beyond simple line readings", and particularly praised Kavner who he said "gave what must be the most heartfelt performance ever". Roger Ebert gave a positive review of three out of four stars, but admitted he was "generally [not] a fan of movies spun off from TV animation". He called it "radical and simple at the same time, subversive and good-hearted, offensive without really meaning to be". Richard Corliss of Time said that the film "doesn't try to be ruder or kinkier, just bigger and better". USA Today film critic Claudia Puig said that the story did "warrant a full-length feature, thanks to a clever plot and non-stop irreverent humor". Patrick Kolan believed that the film was "easily the best stuff to come [from the Simpsons] since season 12 or 13" and praised the animation, but also said that the appearances of characters such as Comic Book Guy and Seymour Skinner were "small and unfunny". Kirk Honeycutt of The Hollywood Reporter praised the film's good nature, stating that the laughs "come in all sizes", but also noted that, "little has been gained bringing the Simpsons to the screen." Variety's Brian Lowry called it "clever, irreverent, satirical and outfitted" but that it was "just barely" capable of sustaining a running time longer than a television episode. Lisa Schwarzbaum praised the voice cast but stated that the "'action' sequences sometimes falter". When comparing the film to the early episodes of the show, Stephen Rowley concluded that the film "has more going for it than the show in its later years, but is still a long way short of what made it so invigorating". The Monthly critic Luke Davies echoed Lowry's concerns about the length: "everything moves with the whip-crack speed of a half-hour episode. And that's the paradox: it makes the film feel like three episodes strung together. We're in a cinema, and we expect something epic." He opined that "in the great arc that is the history of The Simpsons, this film will come to be seen as oddity rather than apotheosis." More negative reception came from the magazine Empire, where reviewer Ian Nathan compared the film to New Coke, saying that "it utterly failed". Phil Villarreal believed that there were "too few laugh-worthy moments" and that "instead of stretching to new frontiers, the film rests on the familiar". Sheila Johnston criticized the pacing of the film and its joke level saying that "the overall momentum flags at times" and that it was "a salvo of comic squibs, some very funny, others limp". David Edwards agreed with this, writing that although "there's a great half-hour show rattling around...the rest is padding at its very dullest", concluding that it "isn't a terrible film, just a terribly disappointing one." Cosmo Landesman believed, "the humour seem[ed] to have lost its satirical bite and wit" and that "much of the comedy is structured around the idiocy of Homer". This assessment was shared by Carina Chocano of the Los Angeles Times, who felt that "once the movie wanders into its contemplation of mortality and meaning, the trenchancy kind of creaks and falls off." She negatively compared it to South Park: Bigger, Longer & Uncut (1999), a film similarly adapted from an animated television series, saying that, in terms of satire, it offers "nothing we don't hear every night on The Daily Show with Jon Stewart." Bruce Newman criticized the fleeting appearances of many of the show's secondary characters, and found the film to be "a disappointment". Box office The film earned $30,758,269 on its opening day in the United States making it the 25th-highest, and fifth-highest non-sequel opening day revenue of all time. It grossed a combined total of $74,036,787 in its opening weekend on 5,500 screens at 3,922 theaters, reaching the top of the box office for that weekend. This made it the tenth-highest revenue of all time, for an opening weekend in July, and highest among non-sequels, and the highest animated TV adaptation of all time, surpassing The SpongeBob SquarePants Movie. This outperformed the expectations of $40 million that Fox had for the release. It set several American box office records, including highest grossing opening weekend for a non-CG animated film and for a film based on a television series, surpassing Mission: Impossible 2. It was also the third-highest grossing opening weekend for an animated film. It opened at the top of the international box office taking $96 million from 71 overseas territories, including $27.8 million in the United Kingdom, the second-highest UK opening ever for a 20th Century Fox film. It contributed to over half of the record 5.5 million people attending British cinemas that weekend. In Australia, it grossed $13.2 million, the third-highest opening weekend in the country, and the highest for an animated film. The United Kingdom is the highest-grossing country for the film outside in the United States with a $78.4 million gross overall, with Germany in second place with a $36.3 million gross overall. The film closed on December 20, 2007 with a gross of $183.1 million in the United States and a worldwide gross of $536.4 million. It was the eighth-highest-grossing film worldwide and the tenth-highest grossing in the United States of 2007. Accolades The Simpsons Movie won the award for Best Comedy Film at the British Comedy Awards, Best Animation at the inaugural ITV National Movie Awards, and Best Movie at the UK Nickelodeon Kids Choice Awards, beating Harry Potter and the Order of the Phoenix, Pirates of the Caribbean: At World's End, and Shrek the Third. The film's trailer won a Golden Trailer Award in the category Best Animated/Family Film Trailer at the 8th Annual Golden Trailer Awards. Forbes named the film the third best of the year, based on its box office takings and Metacritic critical response score. The film's website received a Webby Award at the 12th Annual Webby Awards in the category "Best Movie and Film Website". At the 35th Annie Awards the film was nominated in four categories: Best Animated Feature, Directing in an Animated Feature Production, Writing in an Animated Feature Production, and Voice Acting in an Animated Feature Production for Julie Kavner. All four awards were won by Ratatouille. It was nominated for Best Animated Feature Film at the 65th Golden Globe Awards, the BAFTA for Best Animated Film, and the Producers Guild Award for Animated Theatrical Motion Picture. It also received nominations for the Satellite Award for Best Animated or Mixed Media Feature, the Chicago Film Critics Association Award for Best Animated Feature, and the Broadcast Film Critics Association Award for Best Animated Feature. Before its release, the film received a nomination at the 2007 MTV Movie Awards for "Best Summer Movie You Haven't Seen Yet", with the award ultimately won by Transformers, and lost the Teen Choice Award for "Choice Summer Movie – Comedy/Musical", which was won by Hairspray. It was also nominated for Favorite Movie Comedy at the People's Choice Awards, losing to Knocked Up. Sequel In 2014, Brooks stated that he had been approached by Fox and that they had requested a second film. He added that there were no immediate plans, stating, "We've been asked to [develop it], but we haven't. We're doing a lot of other stuff." In December 2014, just prior to the broadcast of the episode "The Man Who Came to Be Dinner", Jean wrote on Twitter that the episode (which had been produced in 2012 and was originally set to air in May 2013) had been held back by himself and Brooks because it was being considered for adaptation into a sequel film as the episode was "cinematic". Jean later expanded that there was the fear of the potential film being considered "not canonical" with the TV series and the potential backlash of overcoming it by using a "memory wipe". In July 2017, Silverman and Jean said that the sequel was in the early stages of development and stressed the toll production of the first picture took on the entire staff. On August 10, 2018, it was reported that a sequel was in development. On July 22, 2019, Groening stated that he had "no doubts" that The Walt Disney Company, which acquired 21st Century Fox early that year, would likely produce a sequel one day. In July 2021, Jean stated that discussions for the potential sequel had stalled due to the COVID-19 pandemic. References External links Category:2007 films Category:2007 animated films Category:2007 comedy films Category:2007 directorial debut films Category:2000s American animated films Category:20th Century Fox animated films Category:20th Century Fox Animation films Category:20th Century Fox films Category:Film Roman films Category:Fox Television Animation films Category:Gracie Films films Category:Rough Draft Studios films Category:American adult animated films Category:American animated comedy films Category:Animated films based on animated series Category:Animated films based on animated television series Category:Animated films set in the United States Category:Films based on television series Category:The Simpsons Category:Films about dysfunctional families Category:Films directed by David Silverman Category:Films produced by James L. Brooks Category:Films produced by Matt Groening Category:Films set in 2007 Category:Films scored by Hans Zimmer Category:Films with screenplays by James L. Brooks Category:Films with screenplays by John Swartzwelder Category:Films with screenplays by Matt Groening Category:2000s English-language films
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The Simpsons Movie
The Simpsons Movie is a 2007 American animated comedy film based on the Fox television series The Simpsons. The film was directed by David Silverman, and stars the regular television cast of Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Tress MacNeille, Pamela Hayden, Maggie Roswell and Russi Taylor, with Tom Hanks, Green Day and Albert Brooks in guest roles. The film follows Homer Simpson, whose irresponsibility gets the best of him when he pollutes the lake in Springfield after the town has cleaned it up following receipt of a warning from the Environmental Protection Agency. As the townspeople exile him and eventually his family abandons him, Homer works to redeem his folly by stopping Russ Cargill, the head of the EPA, when he intends to destroy Springfield.
Marketing
The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion. Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away. McFarlane Toys released a line of action figures based on the film, EA Games released The Simpsons Game, to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system. CANNOTANSWER
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The Simpsons Movie is a 2007 American animated comedy film based on the Fox animated sitcom The Simpsons. The film was directed by the show's supervising director David Silverman and stars the show's regular cast of Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Harry Shearer, Tress MacNeille, Pamela Hayden, Karl Wiedergott, Marcia Wallace, Maggie Roswell, Russi Taylor, and Joe Mantegna reprising their roles and Albert Brooks as the film's main antagonist, Russ Cargill, head of the EPA. The film follows Homer Simpson, who irresponsibly pollutes the lake in Springfield, causing the Environmental Protection Agency (EPA) to imprison the town under a giant glass dome. After he and his family escape, they ultimately abandon Homer for his selfishness and return to Springfield to prevent the town's demolition by Cargill. Homer works to redeem his folly by returning to Springfield himself in an effort to save it. Although previous attempts to create a Simpsons film had been made, they failed due to the lack of a script. Eventually in 2001, producers James L. Brooks, Matt Groening, Al Jean, Mike Scully and Richard Sakai began development on the film and a writing team consisting of Brooks, Groening, Jean, Scully, Ian Maxtone-Graham, George Meyer, David Mirkin, Mike Reiss, Matt Selman, John Swartzwelder and Jon Vitti were assembled. They conceived numerous plot ideas, with Groening's being the one adapted. The script was rewritten over a hundred times, also continuing after work on the animation began in 2006. Consequently, hours of finished material was cut from the final release, including cameo roles from Erin Brockovich, Minnie Driver, Isla Fisher, Edward Norton, and Kelsey Grammer, who would have reprised his role as Sideshow Bob. Tom Hanks and the members of Green Day voice their own animated counterparts in the final cut of the film, while Albert Brooks, a frequent guest performer on the series, provides the voice of its main antagonist, Russ Cargill. Tie-in promotions were made with several companies to promote the film's release, including Burger King and 7-Eleven, the latter of which transformed selected stores into Kwik-E-Marts. The film premiered in Springfield, Vermont, on July 21, 2007 and was released theatrically six days later on July 27 by 20th Century Fox across the United States. The Simpsons Movie received positive reviews and grossed $536.4 million worldwide, becoming the eighth-highest-grossing film of 2007, the second-highest-grossing traditionally animated film (behind Walt Disney Animation Studios' The Lion King), and the highest-grossing film based on an animated television series. The film received praise for its humor, emotional weight, and callbacks to early seasons. The film was nominated for numerous awards, including a Golden Globe Award for Best Animated Feature Film at the 65th Golden Globe Awards. Plot After finishing a concert at Lake Springfield, Green Day tries to engage the audience in a discussion about the environment, but the people refuse to listen and instead throw trash at them. The pollution in the lake erodes the band's barge, causing them to sink and drown. During their memorial, Grampa Simpson has a spiritual experience and frantically prophesies that a disaster will befall Springfield, but only Marge takes it seriously. Concerned about the terrible state of the environment, Lisa and her new friend, Colin (who later becomes her love interest), hold a seminar and convince the town to clean up the lake. Meanwhile, following a series of dares, Homer and Bart go to Krusty Burger, where Homer adopts a pig to save it from being killed by Krusty the Clown. Marge, identifying the pig as a part of Grampa's prophecy, warns Homer to get rid of it, but he refuses. Homer's fawning over the pig makes Bart, now fed up with his father's carelessness, look to their neighbor, Ned Flanders, as a father figure. Homer stores the pig's feces (and his own) in an overflowing silo, disgusting Marge. Homer attempts to dispose of it safely at Marge's request, but then learns that Lard Lad's Donuts is giving away their donuts for free after being shut down by the health inspector. In a rush to get to the giveaway, Homer dumps the silo in the lake, critically polluting it. Moments later, a squirrel stumbles into it after being chased by a raccoon and becomes severely mutated with many eyes, another part of the prophecy. While bonding on a hike, Bart and Ned notice the squirrel, which is captured by the Environmental Protection Agency (EPA). Russ Cargill, head of the EPA, informs president Arnold Schwarzenegger on Springfield's pollution crisis. As a response, the president orders the federals to imprison Springfield under a giant glass dome, completely fulfilling the prophecy. When Homer's silo is discovered on live television, most of the townspeople form an angry mob and attempt to lynch them. The family escapes through a sinkhole, which destroys the house soon after. The family flees to Alaska, where they try to restart their lives. Within 93 days, Springfield completely exhausts its daily supplies and the townspeople lose their sanity while trying to escape from the dome. Cargill, who does not want word of his imprisonment of Springfield to spread, plots to destroy Springfield by tricking the president into ordering its demolition. The Simpsons see a television advertisement, featuring Tom Hanks, for a new Grand Canyon on the site of Springfield. Realizing that their hometown is in danger, all of them decide to save it, leaving Homer behind after he selfishly refuses to help the people who tried to kill them, with Marge leaving behind a video explaining they have no intentions of returning recorded over their wedding video, causing him to run off in search of them. The family is captured by the EPA in Seattle and placed back inside the dome. After an encounter with a mysterious Inuit shaman who saves him from being eaten by a polar bear, Homer has an epiphany about saving the town to save himself. Homer returns to Springfield and learns about his family's capture as a helicopter lowers a time bomb suspended by a rope through a hole at the top of the dome. Homer enters the dome and descends the rope, knocking the escaping townspeople and the bomb off, inadvertently shortening its countdown. Taking a motorcycle, he rides to the church and reunites with Bart. After reconciling, Bart and Homer use the motorcycle to travel up the side of the dome. Bart throws the bomb through the hole seconds before it detonates, shattering the dome and freeing the town. Later, Cargill confronts the pair with a shotgun and attempts to kill them for foiling his plan, but before he can do so, Maggie knocks him out by dropping a large rock on his head. As Cargill is fired and arrested for his actions, the townspeople decide to forgive Homer and hail him a hero for saving Springfield from destruction. He rides into the sunset with Marge, after which the townspeople restore Springfield to normal. As a symbol of their gratitude, the townspeople also help the Simpsons rebuild their house. Cast Production Development The production staff had considered a film adaptation of The Simpsons since early in the series. The show's creator, Matt Groening, felt a feature-length film would allow them to increase the show's scale and animate sequences too complex for the TV series. He intended the film to be made after the show ended, "but that [...] was undone by good ratings". There were attempts to adapt the fourth season episode "Kamp Krusty" into a film, but difficulties were encountered in expanding the episode to feature-length. For a long time, the project was held up. There was difficulty finding a story that was sufficient for a film, and the crew did not have enough time to complete such a project, as they already worked full-time on the show. Groening also expressed a wish to make Simpstasia, a parody of Fantasia; it was never produced, partly because it would have been too difficult to write a feature-length script. At another point, it was briefly suggested to do an anthology-style Treehouse of Horror film, but such suggestion was never pursued. Recurring guest performer Phil Hartman had wished to make a live-action film based on his character Troy McClure; several of the show's staff expressed a desire to help create it, and Josh Weinstein proposed to use the plot of the 1996 episode "A Fish Called Selma" for the film, but the project was canceled following Hartman's death in 1998. The project was officially green-lit by 20th Century Fox in 1997, and Groening and James L. Brooks were set to produce the film. The voice cast was signed on to do the film in 2001, and work then began on the script. The producers were initially worried that creating a film would have a negative effect on the series, as they did not have enough crew to focus their attention on both projects. As the series progressed, additional writers and animators were hired so that both the show and the film could be produced at the same time. Groening and Brooks invited Mike Scully and Al Jean (who continued to work as showrunner on the television series) to produce the film with them. They then signed series director David Silverman to direct the film. The "strongest possible" writing team was assembled, with many of the writers from the show's early seasons being chosen. David Mirkin, Mike Reiss, George Meyer, John Swartzwelder, and Jon Vitti were selected. Ian Maxtone-Graham and Matt Selman would also join later, and Brooks, Groening, Scully, and Jean also wrote parts of the script. Sam Simon did not return having left the show over creative differences in 1993. Former writer Conan O'Brien expressed interest in working with the Simpsons staff again, although he later joked that "I worry that the Simpsons-writing portion of my brain has been destroyed after 14 years of talking to Lindsay Lohan and that guy from One Tree Hill, so maybe it's all for the best." The same went for director Brad Bird who said he had "entertained fantasies of asking if [he] could work on the movie", but did not have enough time due to work on films like The Incredibles and Ratatouille. The producers arranged a deal with Fox that would allow them to abandon production of the film at any point if they felt the script was unsatisfactory. Work continued on the screenplay from late 2003 onwards, taking place in the small bungalow where Matt Groening first pitched The Simpsons in 1987. The writers spent six months discussing a plot, and each of them offered sketchy ideas. On their first brainstorming session, Scully suggested a story in which Steven Spielberg (intended to be voiced by Spielberg himself) would try to blow up Springfield so he could shoot a film with Tom Hanks (who ultimately made a guest appearance voicing himself in the finished film). It was also on this same reunion that Groening introduced the idea of Homer adopting a pet pig, inspired by a pig-waste management story he had read in the news. Jean suggested the family rescue manatees, which became the 2005 episode "The Bonfire of the Manatees", and there was also a notion similar to that of The Truman Show where the characters discovered their lives were a TV show. Groening rejected this, as he felt that the Simpsons should "never become aware of themselves as celebrities", but the idea was later used in the video game The Simpsons Game. Groening read about a town that had to get rid of pig feces in their water supply, which inspired the plot of the film. The decision for Flanders to have an important role also came early on, as Jean wished to see Bart wonder what his life would be like if Flanders were his father. Hank Scorpio, a character from the 1996 episode "You Only Move Twice", was originally meant to return as the main antagonist, but the staff dropped the idea and created Russ Cargill instead. Having eventually decided on the basic outline of the plot for the film, the writers then separated it into seven sections. Jean, Scully, Reiss, Swartzwelder, Vitti, Mirkin, and Meyer wrote 25 pages each, and the group met one month later to merge the seven sections into one "very rough draft". The film's script was written in the same way as the television series: the writers sitting around a table, pitching ideas, and trying to make each other laugh. The script was rewritten over 100 times, and at one point, the film was a musical. However, the songs were continually being shortened and the idea was dropped. Groening described his desire to also make the film dramatically stronger than a TV episode, saying that he wanted to "give you something that you haven't seen before". Animation Animation for the film began in January 2006, with the Itchy & Scratchy short being the first scene to be storyboarded. Groening rejected making either a live-action or a CGI film, calling the film's animation "deliberately imperfect" and "a tribute to the art of hand-drawn animation". The film was produced in a widescreen 2.40:1 aspect ratio, to distinguish it from the then 4:3 fullscreen look of the television series, and colored with the largest palette the animators ever had available to them. A lot of the animation was produced using Wacom Cintiq tablets, which allowed images to be drawn directly onto a computer monitor to facilitate production. Animation production work was divided among four studios around the world: Film Roman in Burbank, California, Rough Draft Studios in Glendale, California and Seoul, South Korea, and AKOM, also in Seoul, South Korea, all of whom previously worked on the series. As with the television series, the storyboarding, character designs, background layout, general animation, and animatic parts of production, were done in America. The overseas studios completed the camera work, inbetweening, and digital ink and paint before being shipping the animation back to the United States. Director David Silverman said that unlike the TV series where "you [have] to pick and choose", the film gave them the opportunity to "lavish that attention [on] every single scene". The characters have shadows, unlike in the show. Silverman and the animators looked to films such as The Incredibles, The Triplets of Belleville, and Bad Day at Black Rock for inspiration, as they were "a great education in staging because of how the characters are placed". They also looked for ideas for a dream sequence, in Disney films such as Dumbo and the Pluto cartoon Pluto's Judgment Day and for crowd scenes in It's a Mad, Mad, Mad, Mad World. Silverman looked at some of the Simpsons episodes he had directed, primarily his two favorites, "Homie the Clown" and "Three Men and a Comic Book". Mike B. Anderson, Lauren MacMullan, Rich Moore and Steven Dean Moore each directed the animation for around a quarter of the film under Silverman's supervision, with numerous other animators working on scenes. Casting For inspiration for the crowd scenes in the film, the production staff referenced a poster featuring more than 320 Simpsons characters. Groening said they tried to include every single character in the film, with 98 having speaking parts, and most members of the crowds being previously established characters instead of generic people. The series' regular voice actors: Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer, as well as semi-regular performers Tress MacNeille, Pamela Hayden, Marcia Wallace, Maggie Roswell, Russi Taylor and Karl Wiedergott, reprised their roles. Joe Mantegna returned as Fat Tony, while Albert Brooks, who supplied many guest voices in episodes, was cast as the main antagonist Russ Cargill after he told the staff that he wanted to be part of the film. For "about a week", Brooks was to reprise the role of Hank Scorpio, but when the character was omitted from the film, he ended up voicing Cargill himself. The cast did the first of three table readings in May 2005, and began recording every week from June 2006 until the end of production. James L. Brooks directed them for the first time since the television show's early seasons. Castellaneta found the recording sessions "more intense" than recording the television series and "more emotionally dramatic". Some scenes, such as Marge's video message to Homer, were recorded over one hundred times, leaving the voice cast exhausted. The writers had written the opening concert scene without a specific band in mind. Green Day were cast in that role having requested to guest star in the show. Tom Hanks also appears as himself in the film and accepted the offer after just one phone call. Everybody Loves Raymond creator Philip Rosenthal provides the voice of the father in the "new Grand Canyon" commercial with Hanks. Due to time restraints, several guests who had recorded parts were cut from the film. Minnie Driver recorded the part of a patronizing grievance counselor in a scene that ended up being cut. Edward Norton recorded the part of the man who gets crushed as the dome is implemented, performing a Woody Allen impression. The staff felt the voice was too distracting, so Castellaneta re-recorded Norton's dialogue with a different voice. Isla Fisher and Erin Brockovich also recorded cameos, but their scenes were cut. Kelsey Grammer recorded lines for Sideshow Bob, who was to appear at several different points, but these scenes were also cut. Johnny Knoxville was also touted as a possible guest star. Although he does not provide the voice, Arnold Schwarzenegger is president of the United States rather than then-President George W. Bush because, according to Groening, "in two years ... the film [would be] out of date". Brooks was nervous about the idea, noting that "[Schwarzenegger's] opinion polls were way down", and has said that they "were [hoping] he'd make a political comeback". The animators began by drawing an accurate caricature of Schwarzenegger, but one of the staff instead suggested an altered version of recurring character Rainier Wolfcastle as President. This idea was developed, with the design of Wolfcastle, himself also a caricature of Schwarzenegger, being given more wrinkles under his eyes and a different hairstyle. Editing Every aspect of the film was constantly analyzed, with storylines, jokes and characters regularly being rewritten. Although most animated films do not make extensive changes to the film during active production due to budget restrictions, The Simpsons Movie crew continued to edit their film into 2007, with some edits taking place as late as May, two months before the film was released. James L. Brooks noted, "70 percent of the things in [one of the trailers]—based on where we were eight weeks ago—are no longer in the movie." Matt Groening said that enough material for two more films was cut. Various new characters were created, and then cut because they did not contribute enough. Originally Marge was the character who had the prophetic vision in church. The writers however considered this to be too dark and it was changed to Grampa. The role of Lisa's love interest Colin was frequently revised. He was previously named Dexter and Adrien, and his appearance was completely altered. One idea was to have Milhouse act as Lisa's love interest, but the writers realized "the audience was not as familiar with [his] long-standing crush on [Lisa] as [they had] thought". A car chase in which Homer throws flaming mummies out of a truck at the EPA was replaced with "more emotional and realistic" scenes at the motel and carnival that allowed for a change of pace. The scene of a naked Bart on his skateboard was Matt Groening's idea, who had always wanted to have Bart skateboarding naked, and Mike Scully had the idea of showing Bart's penis for two seconds. Storyboard artist Martin Archer was credited for devising the way to cover Bart's genitals with different things before they are exposed to the viewer. While the crew agreed that the gag would be funny, they wondered it if would mean an R-rating for the film, as they were happy with a PG-13 rating and that the gag was nonsexual and silly. They were ultimately able to get away with the joke because it wasn't live-action nor was it Homer's genitals. Further changes were made after the March 2007 preview screenings of the film in Portland, Oregon and Phoenix, Arizona. This included the deletion of Kang and Kodos heavily criticizing the film during the end credits. A lot of people at the screenings found the original film too coarse, and some of Homer's behavior too unkind, so several scenes were toned down to make him appear nicer. Russ Cargill was redesigned several times, originally appearing as an older man whose speech patterns Albert Brooks based on Donald Rumsfeld. The older model was the one used by Burger King for the action figure. Cargill's scene with Bart and Homer at the film's conclusion was added in to fully resolve his story, and the "Spider-Pig" gag was also a late addition. One excised scene, before the dome is put over Springfield, had Mr. Burns reminding viewers that it was the last point in the film that they could get a refund. Other deletions included Homer's encounter with a sausage truck driver, a scene with Plopper the pig at the end, and a news report, showing the dome's effect on daily life in Springfield in areas such as farming and sports, all of which were featured on the DVD, were cut because they did not fit the overall context of the film. Several musical numbers, at various intervals throughout the film, were cut. These included a song about Alaska, featuring music by Dave Stewart of Eurythmics. Jean said it "got pretty far along in the animation, and then we got scared that the movie began to drag in that section." Music Producer James L. Brooks chose Hans Zimmer to compose the film's score, as they were good friends and regular collaborators. Zimmer felt that the score was a "unique challenge", and he had to "try and express the style of The Simpsons without wearing the audience out". He used Danny Elfman's original opening theme, but did not wish to overuse it. He created themes for each member of the family. Homer's leitmotif was a major focus, and Zimmer also composed smaller themes for Bart and Marge. Regular television series composer Alf Clausen was not asked to score the film, noting: "sometimes you're the windshield, sometimes you're the bug". In addition to their appearance in the film, Green Day recorded its own version of the Simpsons theme, and released it as a single. Zimmer turned the Spider-Pig song into a choral piece, which was a joke he never intended to be put into the film. Zimmer also had to write foreign-language lyrics for the 32 dubbed versions of the song when the film was released internationally. He found translating the song into Spanish the hardest to write. The same choir learned to sing the piece for each of the foreign-language dubs. Themes Al Jean described the film's message as being "a man should listen to his wife". In addition, the film parodies two major contemporary issues, religion and environmentalism. The theme of environmentalism is present throughout the film: in Homer's polluting of Lake Springfield, Green Day's cameo, Lisa's activism and her romance with Colin. The villainous Russ Cargill is head of the Environmental Protection Agency. Reviewer Ed Gonzalez argued the plot was a satire of the government's reaction to the effects of Hurricane Katrina on New Orleans. Ian Nathan of Empire magazine criticized this focus, believing it gave the film an "overt political agenda [which] border[s] on polemic". James D. Bloom of Muhlenberg College commented on the "explicitness" of the film's "intellectual agenda", on this issue, shown particularly through Lisa. He wrote that the film's first post-opening credits scene, which sees Green Day fail in an attempt to engage their audience on the issue of the environment, "sets in motion a plot expressly built around cultural agenda-setting" and "reflection on timely 'issues'." Religion is focused on in Grampa's momentary possession, and Marge believing what he said to be a message from God. Groening joked the film "posit[s] the existence of a very active God", when asked if he believed it was likely to offend. Mark I. Pinsky, author of The Gospel According to The Simpsons, said the film "treats genuine faith with respect, while keeping a sharp eye out for religious pretension and hypocrisy of all kinds". Regarding the scene where the tenants of Moe's Tavern and the Church switch locations, he believed it took the "chance to unmask everyone's human fallibility." In analyzing the role of Ned Flanders, he wrote, "It is [the] willingness of The Simpsons to depict all the different sides of us [...] that makes it so rich and funny on our complicated relationship with religion." Trees are a motif in the film, and they were implemented in every important or emotional scene throughout the film. The animators inserted an apple tree behind Lisa and Colin during their initial meeting, which was a reference to the biblical figures of Adam and Eve and the Garden of Eden. Cultural references Many cultural references and allusions are made throughout the film. Green Day play "Nearer, My God, to Thee" on violins as their barge sinks, in a sequence parodying the film Titanic. When Bart is riding his skateboard naked, different passing objects are almost constantly covering his genitalia, a nod to similar techniques used in Austin Powers: International Man of Mystery. Homer and Marge's love scene parodies many Disney films, including Cinderella, with Disney-style animals helping them undress. Originally, the music from The Wizard of Oz was used in that scene, and the fawn had white spots; these were removed because the animators felt it resembled Bambi too clearly. Bart impersonates Mickey Mouse on the train, calling himself "the mascot of an evil corporation". Homer plays Grand Theft Walrus, an allusion to the video game series Grand Theft Auto. In the game, his character shoots a tap-dancing penguin in reference to the film Happy Feet. The "Spider-Pig" song is a parody of the theme song of the 1967 Spider-Man TV series, and the name of Lisa's lecture is An Irritating Truth, a play on Al Gore's film An Inconvenient Truth. The bomb disposal robot was based on Vincent D'Onofrio's character Leonard "Pyle" Lawrence from the film Full Metal Jacket, who commits suicide in a similar way. At the end of the film, the crowd's celebration is similar to the conclusion of Return of the Jedi, with Carl performing exactly the same hand gestures as Lando Calrissian. The $1,000 Homer received when entering Alaska is a reference to the Alaska Permanent Fund Dividend. As Homer leaves Eski-Moe's he grabs on to a passing truck and uses it to propel himself back to the house, a tribute to actor Buster Keaton, while the epiphany scene features homages to the film Brazil and the works of Salvador Dalí. Hillary Clinton appears as Itchy's vice president, while an Orc from The Lord of the Rings appears in the mob scene. A scene that was cut had Marge and the kids appear on the TV talk show The View to spread the news of Springfield's impending doom. Parts were written for the show's entire panel and the scene was planned to feature Russ Cargill having a gunfight with Joy Behar. Another dropped scene featured Moe describing Springfield's varying physical states inside the dome, one of which was the Disneyland ride Autopia. There are several references to events in previous TV episodes of The Simpsons. These include the wreckage of the ambulance from the episode "Bart the Daredevil" crashed into a tree next to Springfield Gorge. The Carpenters' song "(They Long to Be) Close to You" was used in Homer and Marge's wedding video and had also been used in several emotional moments between them in the TV series. Release Theatrical On April 1, 2006, 20th Century Fox announced that the film would be released worldwide on July 27, 2007. The film was released a day earlier in Australia and the United Kingdom. Little information about the plot was released in the weeks building up to the film's release. Groening did not feel that "people look in the TV section of the newspaper and think, 'I'll watch this week's Simpsons because I like the plot.' You just tune in and see what happens." Fox held a competition among 16 Springfields across the United States to host the American premiere. Each Springfield produced a film, explaining why their town should host the premiere, with the results being decided via a vote on the USA Today website. Springfield, Minnesota dropped out on May 31, 2007. The winner was announced on July 10 to be Springfield, Vermont. The town beat Springfield, Illinois by 15,367 votes to 14,634. Each of the other 14 entrants held their own smaller screenings of the film on July 26. Springfield, Vermont hosted the world premiere of the film on July 21 with a yellow carpet instead of the traditional red. The film was rated PG-13 by the Motion Picture Association of America for "irreverent humor throughout"; the production staff had expected this rating. However, the British Board of Film Classification passed the film as a PG with no cuts made. A BBFC spokeswoman said regarding Bart's brief nude scene, "natural nudity with no sexual content is acceptable in PG films". The film was banned in Myanmar, not for the scene of nudity, but for the excessive use of the colors yellow and red, which is prohibited in the country. Marketing The convenience store chain 7-Eleven transformed 11 of its stores in the U.S. and one in Canada into Kwik-E-Marts, at the cost of approximately $10 million. 7-Eleven also sold Simpsons-themed merchandise in many of its stores. This included "Squishees", "Buzz Cola", "Krusty-O's" Cereal, and "Pink Movie Donuts". This promotion resulted in a 30% increase in profits for the altered 7-Eleven stores. Homer performed a special animated opening monologue for the edition of July 24, 2007 of The Tonight Show with Jay Leno, as part of another promotion. Promotions also occurred around the world. 20th Century Fox erected a "giant pink donut" in the town of Springfield in Canterbury, New Zealand to celebrate being named Springfield, while in London a double decker bus-sized floating inflatable Spider Pig was set up next to Battersea Power Station. In Dorset, England, an image of Homer was painted next to the hill figure, the Cerne Abbas Giant. This caused outrage amongst local neopagans who performed "rain magic" to try to get it washed away. McFarlane Toys released a line of action figures based on the film while EA Games released The Simpsons Game to coincide with the film's DVD release, although the plot of the game was not based on the film. Samsung released The Simpsons Movie phone, and Microsoft produced a limited edition The Simpsons Movie Xbox 360. Ben & Jerry's created a Simpsons-themed beer and donut-flavored ice cream, entitled "Duff & D'oh! Nuts". Windows Live Messenger presented their users with the opportunity to download a free animated and static content for use within their conversations. Burger King produced a line of Simpsons toy figures that were given away with children's meals, and ran a series of Simpsons-themed television adverts to promote this. JetBlue Airways held a series of online sweepstakes to win a trip to the film's Los Angeles, California premiere. They also included a channel dedicated to The Simpsons on their planes' in-flight entertainment system. Home media The film was released on DVD and Blu-ray Disc worldwide on December 3, 2007, and on December 18 in the United States. It contains commentary tracks from both the producers and animators, six short deleted scenes, and a selection of material used to promote the film release. An unfinished deleted scene of the townspeople singing the Springfield Anthem was also included on The Simpsons The Complete Tenth Season DVD box set. Promotions for the DVD release occurred across the United States. The Empire State Building was illuminated yellow, the first time the building had ever been used as part of a film promotion. In the United Kingdom, Fox launched a £5 million advertising campaign. They also signed a £1.6 million deal with the yogurt company Yoplait, to produce a The Simpsons Movie design for their brand Frubes. In its first week it topped the U.S. DVD chart, and generated $11.8 million in rental revenue. Reception Critical reception On Rotten Tomatoes, the film has an approval rating of 87% based on 223 reviews and an average rating of 7.5/10. The site's critical consensus reads, "The Simpsons Movie contains the hearty laughs, biting satire, and honest portrayal of an American family that makes the show so popular. And it boasts slicker animation and polished writing that hearkens back to the show's glory days." On Metacritic, it received a score of 80 out of 100, based on 36 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale. British newspapers The Guardian and The Times both gave the film four out of five stars. The Times' James Bone said that it "boasts the same sly cultural references and flashes of brilliance that have earned the television series a following that ranges from tots to comparative literature PhDs". The Guardian's Peter Bradshaw stated that it "gives you everything you could possibly want" and that he thought, "Eighty-five minutes [was] not long enough to do justice to 17 years of comedy genius". Ed Gonzalez praised the film for its political message, likening the Itchy & Scratchy cartoon at the beginning to President Schwarzenegger's situation later on, as well as the film's visual gags. Randy Shulman praised the cast, and described them as having "elevated their vocal work to a craft that goes way beyond simple line readings", and particularly praised Kavner who he said "gave what must be the most heartfelt performance ever". Roger Ebert gave a positive review of three out of four stars, but admitted he was "generally [not] a fan of movies spun off from TV animation". He called it "radical and simple at the same time, subversive and good-hearted, offensive without really meaning to be". Richard Corliss of Time said that the film "doesn't try to be ruder or kinkier, just bigger and better". USA Today film critic Claudia Puig said that the story did "warrant a full-length feature, thanks to a clever plot and non-stop irreverent humor". Patrick Kolan believed that the film was "easily the best stuff to come [from the Simpsons] since season 12 or 13" and praised the animation, but also said that the appearances of characters such as Comic Book Guy and Seymour Skinner were "small and unfunny". Kirk Honeycutt of The Hollywood Reporter praised the film's good nature, stating that the laughs "come in all sizes", but also noted that, "little has been gained bringing the Simpsons to the screen." Variety's Brian Lowry called it "clever, irreverent, satirical and outfitted" but that it was "just barely" capable of sustaining a running time longer than a television episode. Lisa Schwarzbaum praised the voice cast but stated that the "'action' sequences sometimes falter". When comparing the film to the early episodes of the show, Stephen Rowley concluded that the film "has more going for it than the show in its later years, but is still a long way short of what made it so invigorating". The Monthly critic Luke Davies echoed Lowry's concerns about the length: "everything moves with the whip-crack speed of a half-hour episode. And that's the paradox: it makes the film feel like three episodes strung together. We're in a cinema, and we expect something epic." He opined that "in the great arc that is the history of The Simpsons, this film will come to be seen as oddity rather than apotheosis." More negative reception came from the magazine Empire, where reviewer Ian Nathan compared the film to New Coke, saying that "it utterly failed". Phil Villarreal believed that there were "too few laugh-worthy moments" and that "instead of stretching to new frontiers, the film rests on the familiar". Sheila Johnston criticized the pacing of the film and its joke level saying that "the overall momentum flags at times" and that it was "a salvo of comic squibs, some very funny, others limp". David Edwards agreed with this, writing that although "there's a great half-hour show rattling around...the rest is padding at its very dullest", concluding that it "isn't a terrible film, just a terribly disappointing one." Cosmo Landesman believed, "the humour seem[ed] to have lost its satirical bite and wit" and that "much of the comedy is structured around the idiocy of Homer". This assessment was shared by Carina Chocano of the Los Angeles Times, who felt that "once the movie wanders into its contemplation of mortality and meaning, the trenchancy kind of creaks and falls off." She negatively compared it to South Park: Bigger, Longer & Uncut (1999), a film similarly adapted from an animated television series, saying that, in terms of satire, it offers "nothing we don't hear every night on The Daily Show with Jon Stewart." Bruce Newman criticized the fleeting appearances of many of the show's secondary characters, and found the film to be "a disappointment". Box office The film earned $30,758,269 on its opening day in the United States making it the 25th-highest, and fifth-highest non-sequel opening day revenue of all time. It grossed a combined total of $74,036,787 in its opening weekend on 5,500 screens at 3,922 theaters, reaching the top of the box office for that weekend. This made it the tenth-highest revenue of all time, for an opening weekend in July, and highest among non-sequels, and the highest animated TV adaptation of all time, surpassing The SpongeBob SquarePants Movie. This outperformed the expectations of $40 million that Fox had for the release. It set several American box office records, including highest grossing opening weekend for a non-CG animated film and for a film based on a television series, surpassing Mission: Impossible 2. It was also the third-highest grossing opening weekend for an animated film. It opened at the top of the international box office taking $96 million from 71 overseas territories, including $27.8 million in the United Kingdom, the second-highest UK opening ever for a 20th Century Fox film. It contributed to over half of the record 5.5 million people attending British cinemas that weekend. In Australia, it grossed $13.2 million, the third-highest opening weekend in the country, and the highest for an animated film. The United Kingdom is the highest-grossing country for the film outside in the United States with a $78.4 million gross overall, with Germany in second place with a $36.3 million gross overall. The film closed on December 20, 2007 with a gross of $183.1 million in the United States and a worldwide gross of $536.4 million. It was the eighth-highest-grossing film worldwide and the tenth-highest grossing in the United States of 2007. Accolades The Simpsons Movie won the award for Best Comedy Film at the British Comedy Awards, Best Animation at the inaugural ITV National Movie Awards, and Best Movie at the UK Nickelodeon Kids Choice Awards, beating Harry Potter and the Order of the Phoenix, Pirates of the Caribbean: At World's End, and Shrek the Third. The film's trailer won a Golden Trailer Award in the category Best Animated/Family Film Trailer at the 8th Annual Golden Trailer Awards. Forbes named the film the third best of the year, based on its box office takings and Metacritic critical response score. The film's website received a Webby Award at the 12th Annual Webby Awards in the category "Best Movie and Film Website". At the 35th Annie Awards the film was nominated in four categories: Best Animated Feature, Directing in an Animated Feature Production, Writing in an Animated Feature Production, and Voice Acting in an Animated Feature Production for Julie Kavner. All four awards were won by Ratatouille. It was nominated for Best Animated Feature Film at the 65th Golden Globe Awards, the BAFTA for Best Animated Film, and the Producers Guild Award for Animated Theatrical Motion Picture. It also received nominations for the Satellite Award for Best Animated or Mixed Media Feature, the Chicago Film Critics Association Award for Best Animated Feature, and the Broadcast Film Critics Association Award for Best Animated Feature. Before its release, the film received a nomination at the 2007 MTV Movie Awards for "Best Summer Movie You Haven't Seen Yet", with the award ultimately won by Transformers, and lost the Teen Choice Award for "Choice Summer Movie – Comedy/Musical", which was won by Hairspray. It was also nominated for Favorite Movie Comedy at the People's Choice Awards, losing to Knocked Up. Sequel In 2014, Brooks stated that he had been approached by Fox and that they had requested a second film. He added that there were no immediate plans, stating, "We've been asked to [develop it], but we haven't. We're doing a lot of other stuff." In December 2014, just prior to the broadcast of the episode "The Man Who Came to Be Dinner", Jean wrote on Twitter that the episode (which had been produced in 2012 and was originally set to air in May 2013) had been held back by himself and Brooks because it was being considered for adaptation into a sequel film as the episode was "cinematic". Jean later expanded that there was the fear of the potential film being considered "not canonical" with the TV series and the potential backlash of overcoming it by using a "memory wipe". In July 2017, Silverman and Jean said that the sequel was in the early stages of development and stressed the toll production of the first picture took on the entire staff. On August 10, 2018, it was reported that a sequel was in development. On July 22, 2019, Groening stated that he had "no doubts" that The Walt Disney Company, which acquired 21st Century Fox early that year, would likely produce a sequel one day. In July 2021, Jean stated that discussions for the potential sequel had stalled due to the COVID-19 pandemic. References External links Category:2007 films Category:2007 animated films Category:2007 comedy films Category:2007 directorial debut films Category:2000s American animated films Category:20th Century Fox animated films Category:20th Century Fox Animation films Category:20th Century Fox films Category:Film Roman films Category:Fox Television Animation films Category:Gracie Films films Category:Rough Draft Studios films Category:American adult animated films Category:American animated comedy films Category:Animated films based on animated series Category:Animated films based on animated television series Category:Animated films set in the United States Category:Films based on television series Category:The Simpsons Category:Films about dysfunctional families Category:Films directed by David Silverman Category:Films produced by James L. Brooks Category:Films produced by Matt Groening Category:Films set in 2007 Category:Films scored by Hans Zimmer Category:Films with screenplays by James L. Brooks Category:Films with screenplays by John Swartzwelder Category:Films with screenplays by Matt Groening Category:2000s English-language films
[]
[ "The text does not provide specific information on the total cost of marketing.", "Yes, there were several marketing stunts. For example, 7-Eleven transformed 11 of its U.S. stores into Kwik-E-Marts among other Simpsons-themed merchandise. In another instance, a \"giant pink donut\" was erected in the town of Springfield in Canterbury, New Zealand, and in London, a double decker-sized floating inflatable Spider Pig was set up by the Battersea Power Station. Also, in Dorset, England, an image of Homer was painted next to the Cerne Abbas Giant hill figure.", "Yes, there are several interesting aspects in the article. It highlights various promotional strategies for The Simpsons movie, not just within the U.S., but also globally. These included unique product launches like a Simpsons-themed beer and donut-flavored ice cream by Ben & Jerry's called \"Duff & D'oh! Nuts\", and electronics like a Simpsons Movie phone by Samsung and a limited edition The Simpsons Movie Xbox 360 by Microsoft. There were also digital promotions, as Windows Live Messenger offered free Simpsons-themed content for their users, and JetBlue Airways included a Simpsons channel in their in-flight entertainment system. Moreover, the campaign sparked interesting local responses - especially the painting of Homer next to the Cerne Abbas Giant hill figure in England, which angered local neopagans into performing \"rain magic\".", "In addition to those already mentioned, McFarlane Toys released a line of Simpsons Movie action figures, EA Games released The Simpsons Game, and Windows Live Messenger provided free Simpsons-themed content for users' conversations. Samsung released a Simpsons Movie phone and Microsoft produced a limited edition Simpsons Movie Xbox 360. Burger King also produced a line of Simpsons toy figures given away with children's meals and ran Simpsons-themed television adverts to promote this. Additionally, JetBlue Airways held online sweepstakes for a trip to the movie's premiere in Los Angeles, California and dedicated a channel to The Simpsons on their in-flight entertainment systems. Ben & Jerry's launched a Simpsons-themed beer and donut flavored ice cream titled \"Duff & D'oh! Nuts\".", "The text does not provide specific information on any marketing stunts that did not work.", "The text mentions that the transformation of 7-Eleven stores into Kwik-E-Marts cost approximately $10 million, but it does not provide a total cost for all the marketing activities associated with the Simpsons movie.", "All the marketing ploys mentioned in the context include: 7-Eleven transforming stores into Kwik-E-Marts and selling Simpsons-themed merchandise, Homer's special animated opening monologue on The Tonight Show with Jay Leno, a \"giant pink donut\" erected in Springfield in Canterbury, New Zealand, a floating inflatable Spider Pig set up in London, a painting of Homer made next to the hill figure in Dorset, England, the release of action figures, The Simpsons Game, The Simpsons Movie phone and limited edition Xbox 360, a Simpsons-themed beer and donut-flavored ice cream, free Simpsons-themed content on Windows Live Messenger, a line of Simpsons toy figures by Burger King, Simpsons-themed television adverts by Burger King, online sweepstakes by JetBlue Airways to win a trip to the film's Los Angeles premiere and a Simpsons channel on JetBlue Airways' in-flight entertainment system. There are no additional marketing ploys mentioned in the context." ]
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C_52d70196ad264d9a8a032c6f1377a2f6_0
Alan Jones (racing driver)
Alan Stanley Jones, (born 2 November 1946 in Melbourne, Victoria) is an Australian former Formula One driver. He was the first driver to win a Formula One World Championship with the Williams team, becoming the 1980 World Drivers' Champion and the second Australian to do so following triple World Champion Sir Jack Brabham. He competed in a total of 117 Grands Prix, winning 12 and achieving 24 podium finishes. In 1978 Jones won the Can-Am championship driving a Lola.
1978-1981: Williams
By late 1977, he had caught the attention of Frank Williams, who was looking to rebuild his Formula One racing team. Williams Grand Prix had struggled for success in its first years and Jones was entrusted to give them their first taste of it. As well as Williams, he also signed with Haas-Hall for 1978, and competed in a Lola 333CS in the Can-Am series, winning the title. Jones took nine poles in ten races but missed the Laguna Seca race due to a Formula One scheduling conflict. Stand-in Brian Redman finished twelfth in that race after the kill wire was crimped under a valve cover, resulting in intermittent ignition. Of the nine races in which he competed, Jones won five (Atlanta, Mosport, Road America, Mid-Ohio, and Riverside.) He finished second to Elliot Forbes-Robinson at Charlotte after hitting a chicane and losing a spark plug wire, retired through accident at St Jovite and lost a radiator at Watkins Glen. He finished third at Trois-Rivieres after losing a shift fork and being stuck with only second and fifth gears on the tight road circuit. At that race, water-injected brakes were first used in Can-Am, developed by the Haas team and copied with varying degrees of success by others. Jones ran one Can-Am race in 1979 (Mid-Ohio), where he and Keke Rosberg finished 1-2, with Jones winning his last Can-Am start. For Williams, his best result that season was a second-place finish at Watkins Glen. Jones helped put the team on the Formula One map in 1979 using the Williams FW07, after winning four races in the span of five events near the end of the season. Jones finished third in the championship that year, and it was the springboard to an excellent 1980 campaign. Jones's best years in Formula One had just begun, in the middle of the ground-effect era. Jones won seven races in 1980, although the Spanish Grand Prix was later removed from the championship and the Australian Grand Prix was a non-championship race, so only five counted towards the Championship. Throughout the season he had a car which consistently made the podium, and he achieved ten during the year. At the end of the season he had beaten Nelson Piquet by 13 points in the standings, becoming Australia's first World Champion since Sir Jack Brabham. He had a good chance to repeat his success in 1981, but a very combative relationship with Carlos Reutemann led to an intense rivalry that possibly cost both drivers a chance at the championship. He finished four points behind Piquet for the championship and three behind Reutemann. After winning the championship in 1980, Jones and Williams competed in the then non-championship Australian Grand Prix at Calder Park in November. Driving his FW07B against a field consisting mostly of Formula 5000's (and Bruno Giacomelli's Alfa Romeo 179), Jones, who had previously finished 4th in the race in 1977 (he was penalised 60 seconds for a jumped start, and officially finished just 20 seconds behind winner Warwick Brown showing that if not for the penalty he would have won by 40 seconds), joined his father Stan as a winner of the Australian Grand Prix. CANNOTANSWER
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[ "What was Williams doing in 1978?", "Did he win any races in this time frame?", "Why did the williams deal end in 1981?", "anymore interesting information?", "did jones have any wrecks while with williams?", "Did he win any championships?" ]
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Alan Stanley Jones, (born 2 November 1946) is an Australian former Formula One driver. He was the first driver to win a Formula One World Championship with the Williams team, becoming the 1980 World Drivers' Champion and the second Australian to do so following triple World Champion Sir Jack Brabham. He competed in a total of 117 Grands Prix, winning 12 and achieving 24 podium finishes. In 1978 Jones won the Can-Am championship driving a Lola. Jones is also the last Australian driver to win the Australian Grand Prix, winning the 1980 event at Calder Park Raceway, having lapped the field consisting mostly of Formula 5000 cars while he was driving his Formula One Championship winning Williams FW07B. Early life and career Jones attended Xavier College and is the son of Stan Jones, an Australian racing driver and winner of the 1959 Australian Grand Prix, and wanted to follow in his footsteps. Jones initially worked in his father's Holden dealership while racing a Mini and a Cooper. The younger Jones left for Europe in 1967, to make a name for himself, but found that he could not afford even a Formula Ford drive. He therefore returned home but was back in the UK in 1970 and set about building his career in company with compatriot Brian McGuire. The two men bought and sold second-hand cars and Jones was eventually able to afford a Formula Three, Lotus 41 which he intended to adapt to Formula Two specification and take back to Australia to sell, in order to finance a season of Formula Three. However, the machine was written off in a testing accident at Brands Hatch in which Jones suffered a broken leg. In late 1970, Jones signed with a firm for whom McGuire was working, designed to promote drivers' interests and was selected to compete in a series of races in Brazil. However, in his first two races the engine failed and in the third the gearbox broke, which meant the opportunity ended. For 1971, Jones campaigned a Brabham BT 28 converted to BT35 specification, in Formula Three and had a moderately successful season which led to a series of tests for March at Silverstone. However, despite the success of the test, Jones was not offered a drive by March and for 1972, drove a GRD in Formula Three. Jones did enough that season to be kept on by GRD for the next year with a new sponsor and only lost the 1973 championship due to a misfiring engine in the last round at Brands Hatch. In 1974, Jones began the season in Formula Atlantic but felt it was a very amateurish effort, but a chance meeting with Harry Stiller led to a drive in the latter's March 74. At the end of the season, Jones made his F5000 debut for Stiller in the final round of the European Championship at Brands Hatch in a Chevron B24/28 owned by John MacDonald. It was planned to enter Formula 5000 for 1975. However, Stiller's initial plans fell through but after some delay, during which Jones was effectively unemployed, Stiller arranged to purchase a Formula One Hesketh 308 and signed Jones to drive the car. Formula One 1975–1977: Hesketh, Hill, Surtees and Shadow His first race was the 1975 Spanish Grand Prix at the fast Montjuïc circuit in the purchased Hesketh although the weekend turned out to be one of the most tragic in Formula One history when Rolf Stommelen's crash caused the death of five spectators. After four races in Formula One the team ceased racing after Stiller moved abroad. However, Jones was named as a replacement for the injured Stommelen in Graham Hill's team. His best finish with Hill, in four races for the team, was fifth at the Nürburgring. He earned his first full-time Formula One drive in 1976, in John Surtees' team. Jones' car was known for its infamous Durex sponsorship which led the BBC refusing to cover Formula One races during the season. He managed several good finishes in the TS19, a fourth in Japan in the final race of the season being the best of them. Jones refused to drive for Surtees in 1977, preferring to sit out a season than continue with the team. Jones was racing in America when he was signed by the Shadow team as a replacement for Tom Pryce, who had been killed in a freak racing accident in South Africa. He made the most of the opportunity and won at the Österreichring for his maiden victory, finishing seventh in the championship, with 22 points. 1978–1981: Williams By late 1977, he had caught the attention of Frank Williams as well as Enzo Ferrari. Ferrari had a meeting with him at Maranello, but in the end, Gilles Villeneuve got the drive. Williams, who was looking to rebuild his Formula One racing team. Williams Grand Prix had struggled for success in its first years and after Williams had restarted his team in 1977, Jones was entrusted to give them their first taste of it. As well as Williams, he also signed with Haas-Hall for 1978, and competed in a Lola 333CS in the Can-Am series, winning the title. Jones took nine poles in ten races but missed the Laguna Seca race due to a Formula One scheduling conflict. Stand-in Brian Redman finished twelfth in that race after the kill wire was crimped under a valve cover, resulting in intermittent ignition. Of the nine races in which he competed, Jones won five (Atlanta, Mosport, Road America, Mid-Ohio, and Riverside.) He finished second to Elliot Forbes-Robinson at Charlotte after hitting a chicane and losing a spark plug wire, retired through accident at St Jovite and lost a radiator at Watkins Glen. He finished third at Trois-Rivières after losing a shift fork and being stuck with only second and fifth gears on the tight road circuit. At that race, water-injected brakes were first used in Can-Am, developed by the Haas team and copied with varying degrees of success by others. Jones ran one Can-Am race in 1979 (Mid-Ohio), where he and Keke Rosberg finished 1–2, with Jones winning his last Can-Am start. For Williams, his best result that season was a second-place finish at Watkins Glen. Jones helped put the team on the Formula One map in 1979 using the Williams FW07, after winning four races in the span of five events near the end of the season. Jones finished third in the championship that year, and it was the springboard to an excellent 1980 campaign. Jones's best years in Formula One had just begun, in the middle of the ground-effect era. Jones won seven races in 1980, although the Spanish Grand Prix was later removed from the championship and the Australian Grand Prix was a non-championship race, so only five counted towards the Championship. Throughout the season he had a car which consistently made the podium, and he achieved ten during the year. At the end of the season he had beaten Nelson Piquet by 13 points in the standings, becoming Australia's first World Champion since Sir Jack Brabham. He had a good chance to repeat his success in 1981, but a very combative relationship with Carlos Reutemann led to an intense rivalry that possibly cost both drivers a chance at the championship. He finished four points behind Piquet for the championship and three behind Reutemann. After winning the championship in 1980, Jones and Williams competed in the then non-championship Australian Grand Prix at Calder Park in November. Driving his FW07B against a field consisting mostly of Formula 5000's (and Bruno Giacomelli's Alfa Romeo 179), Jones, who had previously finished 4th in the race in 1977 (he was penalised 60 seconds for a jumped start, and officially finished just 20 seconds behind winner Warwick Brown showing that if not for the penalty he would have won by 40 seconds), joined his father Stan as a winner of the Australian Grand Prix. From 1979 to 1981, Jones was awarded the No.1 driver of the season by the editor of the AUTOCOURSE annual. During his championship year in 1980, the AUTOCOURSE editor awarded Jones the No.1 slot not just because he was World Champion but because in the editor's opinion "Jones extracted every ounce of potential from the Williams FW07 -and more importantly, he did it consistently. All season Jones never gave anything less than his best." In 1981 despite missing the championship, the AUTOCOURSE editor still gave the No.1 driver award to Jones because "in 1981 Alan Jones was outstanding, his racing instincts sharper than ever, his driving aggressive and confident." Later Formula One career: 1982–1986 Jones announced his retirement after the 1981 season, which he managed to cap with a win in Las Vegas, but came out of retirement for a one-time drive with Arrows in at the United States Grand Prix West at Long Beach where he qualified 12th but retired after 58 laps through driver fatigue. A week later he again drove for Arrows in the non-championship Race of Champions at Brands Hatch where he qualified and finished third behind reigning World Champion Keke Rosberg (Williams) and rookie American driver Danny Sullivan (Tyrrell). This was to be his last drive for the team, a bid to raise enough money to drive in the French Grand Prix the week after the Race of Champions failed which saw Arrows use its regular drivers Marc Surer and Chico Serra (whom Jones had replaced at Long Beach) instead. During a 2012 Grand Prix Legends interview, Jones revealed that he had been contacted by Ferrari to drive for the team from mid-1982 after the death of Gilles Villeneuve and the injury forced retirement of Didier Pironi. As he was enjoying life back in Australia at the time, Jones did not give them an answer straight away and basically gave them the run around, a move he regrets as it was possible that, as the 1980 World Champion, Ferrari would have wanted to keep him for 1983 when he was looking to make a comeback, which would have seen him drive the car which won the Constructors' Championship in 1983. After taking too long to give them an answer, the Scuderia instead offered the drive to World Champion Mario Andretti who drove the last two races of the 1982 season at Monza and Caesars Palace. Jones did not compete in Formula One during , though he did drive some World Sportscar Championship races in 1983 and 1984. He made a full-time comeback to F1 late in when Team Haas was created and Jones became the first driver for the team. The American owned and sponsored team was based in England and made its debut at the 1985 Italian Grand Prix at Monza. Jones qualified the new Lola THL1 9.851 seconds slower than pole man Ayrton Senna in his Lotus-Renault and retired after only 6 laps with a blown engine. Jones was joined at Haas in by former Ferrari and Renault works driver Patrick Tambay. The comeback was unsuccessful more due to the Ford V6 engine's lack of power compared to its rivals from Honda, TAG-Porsche, BMW, Ferrari and Renault, than any lack of effort from the team and its drivers. At the end of the 1986 season after the Haas team lost its sponsorship and ran out of money, Jones retired from Formula One for good having won 12 races, 6 pole positions and one World Championship. Post Formula One career Sports and Touring Car racing Jones' post Formula One career was initially spasmodic in nature. Briefly in demand for his services as a Touring Car co-driver, he raced occasionally in his home country's biggest endurance race, the Bathurst 1000 but success was elusive. In 1982 he attempted his first full season of racing, driving a Porsche 935 to dominate the 1982 Australian GT Championship. This championship included races against local touring car ace Peter Brock driving Bob Jane's 6.0 litre Chevrolet Monza. The duels between Australia's two biggest motorsport names at the time have often been regarded as some of the best racing seen domestically in Australia. Soon after he made his first failed comeback to Formula One. During 1982 he formed his own touring Car team, combining the resources of V8 Ford Falcon driver Bob Morris and rotary Mazda RX-7 racer Barry Jones into a single two-car team but results were mixed and the exercise dissipated by the end of the season, though Jones and Jones did win the CRC 300 at Amaroo Park in a Mazda RX-7 (Alan Jones was to drive with Bob Morris in the Falcon in the Oran Park 250 endurance race, but elected after the race started to let Morris drive the 100 lap race solo. Morris went on to win the race). 1984 brought a top six finish at the 24 Hours of Le Mans with Kremer Racing, and a top four finish at the Bathurst 1000, again teaming with Warren Cullen in a Holden VK Commodore. Cullen and Jones, who drove the final stint in the race and required pain killing injections after having the steering wheel wrench out of his hands during practice which damaged ligaments in his elbow, were unlucky not to finish 2nd, but a brake problem with the car saw him forced to use more fuel than normal and a late race stop for fuel allowed the Holden Dealer Team VK Commodore of David Parsons and John Harvey to sneak into 2nd and the Mazda RX-7 of Allan Moffat and Gregg Hansford to claim 3rd. Jones was quickly snapped up as teammate to Colin Bond in Bond's newly formed factory supported Network Alfa touring car team for the 1985 Australian Touring Car Championship driving an underpowered Alfa Romeo GTV6 in Australia's first full year using the international Group A touring car rules. After some giant killing performances in the early rounds of the championship, Jones abandoned his first serious ATCC campaign to make his second Formula One comeback with the Haas Lola team. Jones joined Kremer Racing for the 1984 24 Hours of Le Mans where he would share a Porsche 956B with 1983 Le Mans winner (and fellow Aussie) Vern Schuppan along with former F1 driver Jean-Pierre Jarier. After dicing for the lead with the pole sitting Lancia LC2 of Bob Wollek and Alessandro Nannini for the first third of the race, damage caused when Schuppan was the innocent victim of a spinning Roger Dorchy, and finally a broken conrod, saw Jones finish his first 24 Hours of Le Mans start in 6th place. Jones had previously driven for the Kremer brothers when he and Schuppan drove a 956 to 5th place in the 1983 1000 km of Silversone. Later in 1984, Jones drove with Schuppan for the factory backed Rothmans Porsche team at the 1000 km of Sandown Park, the final round of the 1984 World Sportscar Championship and the first ever FIA World Championship race to be held in Australia. After Schuppan qualified the Porsche 956B 3rd behind teammates Stefan Bellof and Jochen Mass, Jones started the race and got the jump on the West German pair and had the honour of leading the first lap of the first FIA World Championship race ever held in Australia. Jones and Schuppan eventually finished 9th, 12 laps down on Bellof and Derek Bell after numerous punctures. On 20 September 1987 at SUGO Jones won a round of All Japan Touring Car Championship driving Toyota Team Tom's, Group A, Toyota Supra MA70 Turbo. Unfortunately the factory backed Supra could not compete, even with the Private Ford Sierras, thus for the remaining two JGTC races he scored only one additional podium on 6 December at Suzuka where he finished 3rd. After returning home again in 1987 his career did not pick up again until a competitive 3rd placing at the 1988 Bathurst 1000 with Colin Bond's team in a Ford Sierra RS500, saw him signed up as full-time number two driver to Tony Longhurst in Longhurst's Frank Gardner run team to drive a Sierra in 1990. The Benson & Hedges sponsored Sierra's were brutally fast but disappointingly fragile and results were again elusive. The team switched to BMW M3 Evolution's in 1991 saw the return of reliability at the cost of speed. Jones took the occasional podium result while Longhurst took two wins against the all-powerful Nissan Skyline R32 GT-R's. A switch to Glenn Seton Racing mid-season in 1992 brought improved results and race wins and he finished runner up to his team leader Glenn Seton as their V8 Ford Falcons dominated the 1993 Australian Touring Car Championship. Jones' reputation as a hard charger was shown in the 1993 ATCC when he was involved in a number of incidents, most notably pushing the Holden Commodore of Mark Skaife off the track at Symmons Plains Raceway before also doing the same to the Holden Racing Team's Commodore driven by Australia's 1987 500cc Grand Prix motorcycle World Champion Wayne Gardner less than half a lap later. Rule changes to make the Commodore's more competitive saw the team's dominance fade over the next few years. The 1995 Bathurst 1000 looked to be a high point with a memorable 1–2 finish for their two cars fading into just a second for the car Jones shared with veteran Allan Grice, the pair finishing behind the Holden Commodore of ex-F1 driver Larry Perkins and Russell Ingall (Seton, leading by 5 seconds with just 9 laps remaining, retired with a dead engine). By this point the team was sundering apart and Jones took the major sponsor (Philip Morris International) to form a new team with engineering brothers Ross and Jim Stone as partners, known commercially as Pack Leader Racing (the Pack Leader name came about as the use of the Peter Jackson cigarette brand was banned following the Australian Government's blanket ban on all cigarette advertising from 1 January 1996). Initially fast, the partnership was fading by 1997 and the Stones bought Jones out, re-badging the team as Stone Brothers Racing. Jones returned to race with Tony Longhurst's Longhurst Racing team again in 1998 by this time his form was fading. From 1999 onwards he no longer raced full-time, driving just the endurance races as a hired gun. His final race was with Dick Johnson Racing, driving into a 7th-placed finish at the 2002 Bathurst 1000. CART In August 1985, one month before his return to Formula One at the Italian Grand Prix, Jones' association with Team Haas owner Carl Haas saw him used as a substitute for injured Newman/Haas Racing driver (and World F1 Champion) Mario Andretti in a Champ Car World Series race at Road America in Wisconsin. In his only IndyCar start and showing he had lost none of the speed, skill and determination that took him to the World Championship, Jones drove Andretti's Lola T900-Cosworth to third place behind Jacques Villeneuve Sr. (winner) and Mario's son Michael Andretti (2nd). A1 Grand Prix Jones then become involved in the Australian franchise of the A1 Grand Prix as Team Director in 2005 until the series demise in 2010. Grand Prix Masters He attempted to race in the Grand Prix Masters World Series at Kyalami in November 2005 but had to pull out before qualifying due to neck pains. Media After retiring from F1 for good after 1986, Jones became a commentator with Channel Nine as part of their Formula One coverage in Australia in , a role which lasted until 2002 with change of network rights for Formula 1. This association with Nine saw him hosting F1 telecasts from Nine's Sydney studios working mostly with Darrell Eastlake, but sometimes with former Grand Prix motorcycle World Champion Barry Sheene on 500cc Grand Prix telecasts. Jones also worked as a pit reporter during the Australian Grand Prix where his relationships with those in F1 made it easier for him to obtain relevant information, and also as a pit reporter for Nine's broadcasts of the Australian Motorcycle Grand Prix. In March 2013, Jones signed with Network Ten as a commentator for their Formula One coverage where he joins regular hosts Matthew White and former MotoGP rider Daryl Beattie. Author His autobiography AJ: How Alan Jones Climbed to the top of Formula One has been co-authored with motorsport writer Andrew Clarke was released in August 2017 by Penguin Random House. Personal life Jones separated from his wife Beverley in the late 1980s. In 1996 he began a relationship with Amanda Butler Davis and in 2001 their twins, Zara and Jack, were born. Jones also has a daughter, Camilla, born in 1990. Jones' adopted son Christian now races in various forms of motorsport. His eldest daughter, Emma, has two daughters (born 2001 and 2004). Honours Jones was made a Member of the Order of the British Empire (MBE) in 1980 for "service to motor racing" and was inducted into the Sport Australia Hall of Fame in 1989. Jones and his father Stan, along with Graham and Damon Hill, and Keke and Nico Rosberg, are the only father/son combinations to ever win the Australian Grand Prix. Racing record Career summary Complete World Sportscar Championship results (key) (Races in bold indicate pole position) (Races in italics indicate fastest lap) Footnotes Complete European F5000 Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) Complete Formula One World Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) Non-championship Formula One results (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) Complete Shellsport International Series results (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) American open-wheel racing (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) USAC Championship Car CART PPG Indy Car World Series Complete European Formula Two Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete BMW M1 Procar Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete 24 Hours of Le Mans results V8 Supercar Championship results (key) (Races in bold indicate pole position) (Races in italics indicate fastest lap) Complete Asia-Pacific Touring Car Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) Complete Bathurst 1000 results * Super Touring race Complete Grand Prix Masters results (key) References Notes Bibliography External links Richard's F1 interview with Alan Jones Motor Sport Magazine: Lunch with... Alan Jones, by Simon Taylor (April 2008) Driver Data Base Stats Racing Reference Profile Category:1946 births Category:Living people Category:24 Hours of Le Mans drivers Category:A1 Grand Prix team owners Category:Arrows Formula One drivers Category:Australian Formula One drivers Category:Australian Members of the Order of the British Empire Category:Australian people of English descent Category:Australian Touring Car Championship drivers Category:BRDC Gold Star winners Category:British Formula Three Championship drivers Category:Formula One World Drivers' Champions Category:Formula One race winners Category:Grand Prix Masters drivers Category:Haas Lola Formula One drivers Category:Hesketh Formula One drivers Category:Hill Formula One drivers Category:International Race of Champions drivers Category:People educated at Xavier College Category:Shadow Formula One drivers Category:Sport Australia Hall of Fame inductees Category:Sportspeople from Melbourne Category:Surtees Formula One drivers Category:Supercars Championship drivers Category:Williams Formula One drivers Category:World Sportscar Championship drivers Category:Japanese Sportscar Championship drivers Category:Australian Endurance Championship drivers Category:BMW M drivers Category:Porsche Motorsports drivers Category:TOM'S drivers Category:Newman/Haas Racing drivers Category:Jaguar Racing drivers Category:Dick Johnson Racing drivers Category:Racing drivers from Melbourne
[ { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
[ "In 1978, Williams was looking to rebuild his Formula One racing team. As part of this effort, he enlisted the help of the racer Jones.", "The text does not provide information on whether Williams won any races in 1978.", "The text does not provide information on why the deal with Williams ended in 1981.", "Yes, the text provides a lot of interesting information about Jones's racing career. For example, in 1979 he helped put the Williams team on the Formula One map by winning four races in five events near the end of the season using the Williams FW07. And then in 1980, Jones won seven races, becoming Australia's first World Champion since Sir Jack Brabham. However, his chance to repeat this success in 1981 was possibly thwarted by a combative relationship with Carlos Reutemann, which led to an intense rivalry. After winning the World Championship in 1980, Jones also competed in the non-championship Australian Grand Prix at Calder Park in November, where he drove his FW07B against a field mostly consisting of Formula 5000's. Jones, who had previously finished 4th in 1977, emerged as the winner of the Australian Grand Prix.", "The text mentions that during his time with Williams, Jones experienced an accident at St Jovite and hit a chicane at Charlotte, which resulted in him losing a spark plug wire and finishing second.", "Yes, Jones won the Formula One World Championship in 1980, becoming Australia's first World Champion since Sir Jack Brabham." ]
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C_52d70196ad264d9a8a032c6f1377a2f6_1
Alan Jones (racing driver)
Alan Stanley Jones, (born 2 November 1946 in Melbourne, Victoria) is an Australian former Formula One driver. He was the first driver to win a Formula One World Championship with the Williams team, becoming the 1980 World Drivers' Champion and the second Australian to do so following triple World Champion Sir Jack Brabham. He competed in a total of 117 Grands Prix, winning 12 and achieving 24 podium finishes. In 1978 Jones won the Can-Am championship driving a Lola.
Early life and career
Jones attended Xavier College and is the son of Stan Jones, an Australian racing driver and winner of the 1959 Australian Grand Prix, and wanted to follow in his footsteps. Jones initially worked in his father's Holden dealership while racing a Mini and a Cooper. The younger Jones left for Europe in 1967 to make a name for himself, but found that he could not afford even a Formula Ford drive. He therefore returned home but was back in 1970 and set about building his career in company with compatriot Brian McGuire. The two men bought and sold second-hand cars and Jones was eventually able to afford a Formula Three Lotus 41 which he intended to adapt to Formula Two specification and take back to Australia to sell, in order to finance a season of Formula Three. However the machine was written off in a testing accident at Brands Hatch in which Jones suffered a broken leg. In late 1970, Jones signed with a firm for whom McGuire was working, designed to promote drivers' interests and was selected to compete in a series of races in Brazil. However, in his first two races the engine failed and in the third the gearbox broke, which meant the opportunity ended. For 1971, Jones campaigned a Brabham BT 28 converted to BT35 specification, in Formula Three and had a moderately successful season which led to a series of tests for March at Silverstone. However, despite the success of the test, Jones was not offered a drive by March and for 1972, drove a GRD in Formula Three. Jones did enough that season to be kept on by GRD for the next year with a new sponsor and only lost the 1973 championship due to a misfiring engine in the last round at Brands Hatch. In 1974 Jones began the season in Formula Atlantic but felt it was a very amateurish effort, but a chance meeting with Harry Stiller led to a drive in the latter's March 74. At the end of the season Jones made his F5000 debut for Stiller in the final round of the European Championship at Brands Hatch in a Chevron B24/28 owned by John MacDonald. It was planned to enter Formula 5000 for 1975. However, Stiller's initial plans fell through but after some delay, during which Jones was effectively unemployed, Stiller arranged to purchase a Formula One Hesketh 308 and signed Jones to drive the car. CANNOTANSWER
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Alan Stanley Jones, (born 2 November 1946) is an Australian former Formula One driver. He was the first driver to win a Formula One World Championship with the Williams team, becoming the 1980 World Drivers' Champion and the second Australian to do so following triple World Champion Sir Jack Brabham. He competed in a total of 117 Grands Prix, winning 12 and achieving 24 podium finishes. In 1978 Jones won the Can-Am championship driving a Lola. Jones is also the last Australian driver to win the Australian Grand Prix, winning the 1980 event at Calder Park Raceway, having lapped the field consisting mostly of Formula 5000 cars while he was driving his Formula One Championship winning Williams FW07B. Early life and career Jones attended Xavier College and is the son of Stan Jones, an Australian racing driver and winner of the 1959 Australian Grand Prix, and wanted to follow in his footsteps. Jones initially worked in his father's Holden dealership while racing a Mini and a Cooper. The younger Jones left for Europe in 1967, to make a name for himself, but found that he could not afford even a Formula Ford drive. He therefore returned home but was back in the UK in 1970 and set about building his career in company with compatriot Brian McGuire. The two men bought and sold second-hand cars and Jones was eventually able to afford a Formula Three, Lotus 41 which he intended to adapt to Formula Two specification and take back to Australia to sell, in order to finance a season of Formula Three. However, the machine was written off in a testing accident at Brands Hatch in which Jones suffered a broken leg. In late 1970, Jones signed with a firm for whom McGuire was working, designed to promote drivers' interests and was selected to compete in a series of races in Brazil. However, in his first two races the engine failed and in the third the gearbox broke, which meant the opportunity ended. For 1971, Jones campaigned a Brabham BT 28 converted to BT35 specification, in Formula Three and had a moderately successful season which led to a series of tests for March at Silverstone. However, despite the success of the test, Jones was not offered a drive by March and for 1972, drove a GRD in Formula Three. Jones did enough that season to be kept on by GRD for the next year with a new sponsor and only lost the 1973 championship due to a misfiring engine in the last round at Brands Hatch. In 1974, Jones began the season in Formula Atlantic but felt it was a very amateurish effort, but a chance meeting with Harry Stiller led to a drive in the latter's March 74. At the end of the season, Jones made his F5000 debut for Stiller in the final round of the European Championship at Brands Hatch in a Chevron B24/28 owned by John MacDonald. It was planned to enter Formula 5000 for 1975. However, Stiller's initial plans fell through but after some delay, during which Jones was effectively unemployed, Stiller arranged to purchase a Formula One Hesketh 308 and signed Jones to drive the car. Formula One 1975–1977: Hesketh, Hill, Surtees and Shadow His first race was the 1975 Spanish Grand Prix at the fast Montjuïc circuit in the purchased Hesketh although the weekend turned out to be one of the most tragic in Formula One history when Rolf Stommelen's crash caused the death of five spectators. After four races in Formula One the team ceased racing after Stiller moved abroad. However, Jones was named as a replacement for the injured Stommelen in Graham Hill's team. His best finish with Hill, in four races for the team, was fifth at the Nürburgring. He earned his first full-time Formula One drive in 1976, in John Surtees' team. Jones' car was known for its infamous Durex sponsorship which led the BBC refusing to cover Formula One races during the season. He managed several good finishes in the TS19, a fourth in Japan in the final race of the season being the best of them. Jones refused to drive for Surtees in 1977, preferring to sit out a season than continue with the team. Jones was racing in America when he was signed by the Shadow team as a replacement for Tom Pryce, who had been killed in a freak racing accident in South Africa. He made the most of the opportunity and won at the Österreichring for his maiden victory, finishing seventh in the championship, with 22 points. 1978–1981: Williams By late 1977, he had caught the attention of Frank Williams as well as Enzo Ferrari. Ferrari had a meeting with him at Maranello, but in the end, Gilles Villeneuve got the drive. Williams, who was looking to rebuild his Formula One racing team. Williams Grand Prix had struggled for success in its first years and after Williams had restarted his team in 1977, Jones was entrusted to give them their first taste of it. As well as Williams, he also signed with Haas-Hall for 1978, and competed in a Lola 333CS in the Can-Am series, winning the title. Jones took nine poles in ten races but missed the Laguna Seca race due to a Formula One scheduling conflict. Stand-in Brian Redman finished twelfth in that race after the kill wire was crimped under a valve cover, resulting in intermittent ignition. Of the nine races in which he competed, Jones won five (Atlanta, Mosport, Road America, Mid-Ohio, and Riverside.) He finished second to Elliot Forbes-Robinson at Charlotte after hitting a chicane and losing a spark plug wire, retired through accident at St Jovite and lost a radiator at Watkins Glen. He finished third at Trois-Rivières after losing a shift fork and being stuck with only second and fifth gears on the tight road circuit. At that race, water-injected brakes were first used in Can-Am, developed by the Haas team and copied with varying degrees of success by others. Jones ran one Can-Am race in 1979 (Mid-Ohio), where he and Keke Rosberg finished 1–2, with Jones winning his last Can-Am start. For Williams, his best result that season was a second-place finish at Watkins Glen. Jones helped put the team on the Formula One map in 1979 using the Williams FW07, after winning four races in the span of five events near the end of the season. Jones finished third in the championship that year, and it was the springboard to an excellent 1980 campaign. Jones's best years in Formula One had just begun, in the middle of the ground-effect era. Jones won seven races in 1980, although the Spanish Grand Prix was later removed from the championship and the Australian Grand Prix was a non-championship race, so only five counted towards the Championship. Throughout the season he had a car which consistently made the podium, and he achieved ten during the year. At the end of the season he had beaten Nelson Piquet by 13 points in the standings, becoming Australia's first World Champion since Sir Jack Brabham. He had a good chance to repeat his success in 1981, but a very combative relationship with Carlos Reutemann led to an intense rivalry that possibly cost both drivers a chance at the championship. He finished four points behind Piquet for the championship and three behind Reutemann. After winning the championship in 1980, Jones and Williams competed in the then non-championship Australian Grand Prix at Calder Park in November. Driving his FW07B against a field consisting mostly of Formula 5000's (and Bruno Giacomelli's Alfa Romeo 179), Jones, who had previously finished 4th in the race in 1977 (he was penalised 60 seconds for a jumped start, and officially finished just 20 seconds behind winner Warwick Brown showing that if not for the penalty he would have won by 40 seconds), joined his father Stan as a winner of the Australian Grand Prix. From 1979 to 1981, Jones was awarded the No.1 driver of the season by the editor of the AUTOCOURSE annual. During his championship year in 1980, the AUTOCOURSE editor awarded Jones the No.1 slot not just because he was World Champion but because in the editor's opinion "Jones extracted every ounce of potential from the Williams FW07 -and more importantly, he did it consistently. All season Jones never gave anything less than his best." In 1981 despite missing the championship, the AUTOCOURSE editor still gave the No.1 driver award to Jones because "in 1981 Alan Jones was outstanding, his racing instincts sharper than ever, his driving aggressive and confident." Later Formula One career: 1982–1986 Jones announced his retirement after the 1981 season, which he managed to cap with a win in Las Vegas, but came out of retirement for a one-time drive with Arrows in at the United States Grand Prix West at Long Beach where he qualified 12th but retired after 58 laps through driver fatigue. A week later he again drove for Arrows in the non-championship Race of Champions at Brands Hatch where he qualified and finished third behind reigning World Champion Keke Rosberg (Williams) and rookie American driver Danny Sullivan (Tyrrell). This was to be his last drive for the team, a bid to raise enough money to drive in the French Grand Prix the week after the Race of Champions failed which saw Arrows use its regular drivers Marc Surer and Chico Serra (whom Jones had replaced at Long Beach) instead. During a 2012 Grand Prix Legends interview, Jones revealed that he had been contacted by Ferrari to drive for the team from mid-1982 after the death of Gilles Villeneuve and the injury forced retirement of Didier Pironi. As he was enjoying life back in Australia at the time, Jones did not give them an answer straight away and basically gave them the run around, a move he regrets as it was possible that, as the 1980 World Champion, Ferrari would have wanted to keep him for 1983 when he was looking to make a comeback, which would have seen him drive the car which won the Constructors' Championship in 1983. After taking too long to give them an answer, the Scuderia instead offered the drive to World Champion Mario Andretti who drove the last two races of the 1982 season at Monza and Caesars Palace. Jones did not compete in Formula One during , though he did drive some World Sportscar Championship races in 1983 and 1984. He made a full-time comeback to F1 late in when Team Haas was created and Jones became the first driver for the team. The American owned and sponsored team was based in England and made its debut at the 1985 Italian Grand Prix at Monza. Jones qualified the new Lola THL1 9.851 seconds slower than pole man Ayrton Senna in his Lotus-Renault and retired after only 6 laps with a blown engine. Jones was joined at Haas in by former Ferrari and Renault works driver Patrick Tambay. The comeback was unsuccessful more due to the Ford V6 engine's lack of power compared to its rivals from Honda, TAG-Porsche, BMW, Ferrari and Renault, than any lack of effort from the team and its drivers. At the end of the 1986 season after the Haas team lost its sponsorship and ran out of money, Jones retired from Formula One for good having won 12 races, 6 pole positions and one World Championship. Post Formula One career Sports and Touring Car racing Jones' post Formula One career was initially spasmodic in nature. Briefly in demand for his services as a Touring Car co-driver, he raced occasionally in his home country's biggest endurance race, the Bathurst 1000 but success was elusive. In 1982 he attempted his first full season of racing, driving a Porsche 935 to dominate the 1982 Australian GT Championship. This championship included races against local touring car ace Peter Brock driving Bob Jane's 6.0 litre Chevrolet Monza. The duels between Australia's two biggest motorsport names at the time have often been regarded as some of the best racing seen domestically in Australia. Soon after he made his first failed comeback to Formula One. During 1982 he formed his own touring Car team, combining the resources of V8 Ford Falcon driver Bob Morris and rotary Mazda RX-7 racer Barry Jones into a single two-car team but results were mixed and the exercise dissipated by the end of the season, though Jones and Jones did win the CRC 300 at Amaroo Park in a Mazda RX-7 (Alan Jones was to drive with Bob Morris in the Falcon in the Oran Park 250 endurance race, but elected after the race started to let Morris drive the 100 lap race solo. Morris went on to win the race). 1984 brought a top six finish at the 24 Hours of Le Mans with Kremer Racing, and a top four finish at the Bathurst 1000, again teaming with Warren Cullen in a Holden VK Commodore. Cullen and Jones, who drove the final stint in the race and required pain killing injections after having the steering wheel wrench out of his hands during practice which damaged ligaments in his elbow, were unlucky not to finish 2nd, but a brake problem with the car saw him forced to use more fuel than normal and a late race stop for fuel allowed the Holden Dealer Team VK Commodore of David Parsons and John Harvey to sneak into 2nd and the Mazda RX-7 of Allan Moffat and Gregg Hansford to claim 3rd. Jones was quickly snapped up as teammate to Colin Bond in Bond's newly formed factory supported Network Alfa touring car team for the 1985 Australian Touring Car Championship driving an underpowered Alfa Romeo GTV6 in Australia's first full year using the international Group A touring car rules. After some giant killing performances in the early rounds of the championship, Jones abandoned his first serious ATCC campaign to make his second Formula One comeback with the Haas Lola team. Jones joined Kremer Racing for the 1984 24 Hours of Le Mans where he would share a Porsche 956B with 1983 Le Mans winner (and fellow Aussie) Vern Schuppan along with former F1 driver Jean-Pierre Jarier. After dicing for the lead with the pole sitting Lancia LC2 of Bob Wollek and Alessandro Nannini for the first third of the race, damage caused when Schuppan was the innocent victim of a spinning Roger Dorchy, and finally a broken conrod, saw Jones finish his first 24 Hours of Le Mans start in 6th place. Jones had previously driven for the Kremer brothers when he and Schuppan drove a 956 to 5th place in the 1983 1000 km of Silversone. Later in 1984, Jones drove with Schuppan for the factory backed Rothmans Porsche team at the 1000 km of Sandown Park, the final round of the 1984 World Sportscar Championship and the first ever FIA World Championship race to be held in Australia. After Schuppan qualified the Porsche 956B 3rd behind teammates Stefan Bellof and Jochen Mass, Jones started the race and got the jump on the West German pair and had the honour of leading the first lap of the first FIA World Championship race ever held in Australia. Jones and Schuppan eventually finished 9th, 12 laps down on Bellof and Derek Bell after numerous punctures. On 20 September 1987 at SUGO Jones won a round of All Japan Touring Car Championship driving Toyota Team Tom's, Group A, Toyota Supra MA70 Turbo. Unfortunately the factory backed Supra could not compete, even with the Private Ford Sierras, thus for the remaining two JGTC races he scored only one additional podium on 6 December at Suzuka where he finished 3rd. After returning home again in 1987 his career did not pick up again until a competitive 3rd placing at the 1988 Bathurst 1000 with Colin Bond's team in a Ford Sierra RS500, saw him signed up as full-time number two driver to Tony Longhurst in Longhurst's Frank Gardner run team to drive a Sierra in 1990. The Benson & Hedges sponsored Sierra's were brutally fast but disappointingly fragile and results were again elusive. The team switched to BMW M3 Evolution's in 1991 saw the return of reliability at the cost of speed. Jones took the occasional podium result while Longhurst took two wins against the all-powerful Nissan Skyline R32 GT-R's. A switch to Glenn Seton Racing mid-season in 1992 brought improved results and race wins and he finished runner up to his team leader Glenn Seton as their V8 Ford Falcons dominated the 1993 Australian Touring Car Championship. Jones' reputation as a hard charger was shown in the 1993 ATCC when he was involved in a number of incidents, most notably pushing the Holden Commodore of Mark Skaife off the track at Symmons Plains Raceway before also doing the same to the Holden Racing Team's Commodore driven by Australia's 1987 500cc Grand Prix motorcycle World Champion Wayne Gardner less than half a lap later. Rule changes to make the Commodore's more competitive saw the team's dominance fade over the next few years. The 1995 Bathurst 1000 looked to be a high point with a memorable 1–2 finish for their two cars fading into just a second for the car Jones shared with veteran Allan Grice, the pair finishing behind the Holden Commodore of ex-F1 driver Larry Perkins and Russell Ingall (Seton, leading by 5 seconds with just 9 laps remaining, retired with a dead engine). By this point the team was sundering apart and Jones took the major sponsor (Philip Morris International) to form a new team with engineering brothers Ross and Jim Stone as partners, known commercially as Pack Leader Racing (the Pack Leader name came about as the use of the Peter Jackson cigarette brand was banned following the Australian Government's blanket ban on all cigarette advertising from 1 January 1996). Initially fast, the partnership was fading by 1997 and the Stones bought Jones out, re-badging the team as Stone Brothers Racing. Jones returned to race with Tony Longhurst's Longhurst Racing team again in 1998 by this time his form was fading. From 1999 onwards he no longer raced full-time, driving just the endurance races as a hired gun. His final race was with Dick Johnson Racing, driving into a 7th-placed finish at the 2002 Bathurst 1000. CART In August 1985, one month before his return to Formula One at the Italian Grand Prix, Jones' association with Team Haas owner Carl Haas saw him used as a substitute for injured Newman/Haas Racing driver (and World F1 Champion) Mario Andretti in a Champ Car World Series race at Road America in Wisconsin. In his only IndyCar start and showing he had lost none of the speed, skill and determination that took him to the World Championship, Jones drove Andretti's Lola T900-Cosworth to third place behind Jacques Villeneuve Sr. (winner) and Mario's son Michael Andretti (2nd). A1 Grand Prix Jones then become involved in the Australian franchise of the A1 Grand Prix as Team Director in 2005 until the series demise in 2010. Grand Prix Masters He attempted to race in the Grand Prix Masters World Series at Kyalami in November 2005 but had to pull out before qualifying due to neck pains. Media After retiring from F1 for good after 1986, Jones became a commentator with Channel Nine as part of their Formula One coverage in Australia in , a role which lasted until 2002 with change of network rights for Formula 1. This association with Nine saw him hosting F1 telecasts from Nine's Sydney studios working mostly with Darrell Eastlake, but sometimes with former Grand Prix motorcycle World Champion Barry Sheene on 500cc Grand Prix telecasts. Jones also worked as a pit reporter during the Australian Grand Prix where his relationships with those in F1 made it easier for him to obtain relevant information, and also as a pit reporter for Nine's broadcasts of the Australian Motorcycle Grand Prix. In March 2013, Jones signed with Network Ten as a commentator for their Formula One coverage where he joins regular hosts Matthew White and former MotoGP rider Daryl Beattie. Author His autobiography AJ: How Alan Jones Climbed to the top of Formula One has been co-authored with motorsport writer Andrew Clarke was released in August 2017 by Penguin Random House. Personal life Jones separated from his wife Beverley in the late 1980s. In 1996 he began a relationship with Amanda Butler Davis and in 2001 their twins, Zara and Jack, were born. Jones also has a daughter, Camilla, born in 1990. Jones' adopted son Christian now races in various forms of motorsport. His eldest daughter, Emma, has two daughters (born 2001 and 2004). Honours Jones was made a Member of the Order of the British Empire (MBE) in 1980 for "service to motor racing" and was inducted into the Sport Australia Hall of Fame in 1989. Jones and his father Stan, along with Graham and Damon Hill, and Keke and Nico Rosberg, are the only father/son combinations to ever win the Australian Grand Prix. Racing record Career summary Complete World Sportscar Championship results (key) (Races in bold indicate pole position) (Races in italics indicate fastest lap) Footnotes Complete European F5000 Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) Complete Formula One World Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) Non-championship Formula One results (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) Complete Shellsport International Series results (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) American open-wheel racing (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) USAC Championship Car CART PPG Indy Car World Series Complete European Formula Two Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete BMW M1 Procar Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap) Complete 24 Hours of Le Mans results V8 Supercar Championship results (key) (Races in bold indicate pole position) (Races in italics indicate fastest lap) Complete Asia-Pacific Touring Car Championship results (key) (Races in bold indicate pole position; races in italics indicate fastest lap.) Complete Bathurst 1000 results * Super Touring race Complete Grand Prix Masters results (key) References Notes Bibliography External links Richard's F1 interview with Alan Jones Motor Sport Magazine: Lunch with... Alan Jones, by Simon Taylor (April 2008) Driver Data Base Stats Racing Reference Profile Category:1946 births Category:Living people Category:24 Hours of Le Mans drivers Category:A1 Grand Prix team owners Category:Arrows Formula One drivers Category:Australian Formula One drivers Category:Australian Members of the Order of the British Empire Category:Australian people of English descent Category:Australian Touring Car Championship drivers Category:BRDC Gold Star winners Category:British Formula Three Championship drivers Category:Formula One World Drivers' Champions Category:Formula One race winners Category:Grand Prix Masters drivers Category:Haas Lola Formula One drivers Category:Hesketh Formula One drivers Category:Hill Formula One drivers Category:International Race of Champions drivers Category:People educated at Xavier College Category:Shadow Formula One drivers Category:Sport Australia Hall of Fame inductees Category:Sportspeople from Melbourne Category:Surtees Formula One drivers Category:Supercars Championship drivers Category:Williams Formula One drivers Category:World Sportscar Championship drivers Category:Japanese Sportscar Championship drivers Category:Australian Endurance Championship drivers Category:BMW M drivers Category:Porsche Motorsports drivers Category:TOM'S drivers Category:Newman/Haas Racing drivers Category:Jaguar Racing drivers Category:Dick Johnson Racing drivers Category:Racing drivers from Melbourne
[ { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
[ "The text does not provide information on how old Jones was when he showed an interest in racing.", "The text does not provide information on where Jones's first race was.", "The text does not provide information on when Jones won his first race.", "The text does not provide information on any other interesting aspects about this article.", "The text does not provide information on whether Jones tried to race with a broken leg.", "In his first two races in Brazil, the engine failed and in the third the gearbox broke, which meant the opportunity ended.", "After Brazil, in 1971, Jones campaigned a Brabham BT 28 converted to BT35 specification, in Formula Three. It led to a series of tests for March at Silverstone, however, Jones was not offered a drive by March and for 1972, drove a GRD in Formula Three.", "The text does not state that Jones won any championships in that season, however, it mentions that he only lost the 1973 championship due to a misfiring engine in the last round at Brands Hatch." ]
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C_2bdaab02168043d394ffbc0451581d47_0
RuPaul's Drag Race
RuPaul's Drag Race is an American reality competition television series produced by World of Wonder for Logo TV and, beginning with the ninth season, VH1. The show documents RuPaul in the search for "America's next drag superstar." RuPaul plays the role of host, mentor, and head judge for this series, as contestants are given different challenges each week. RuPaul's Drag Race employs a panel of judges, including RuPaul, Michelle Visage, Ross Mathews, Carson Kressley, and a host of other guest judges, who critique contestants' progress throughout the competition.
Untucked
The first season of Drag Race was accompanied by a seven-episode web series, titled Under the Hood of RuPaul's Drag Race. LOGOonline published a webisode of Under the Hood after each episode of Drag Race. In this companion series, RuPaul presents a documentary of contestants' conversation in the green room, replays pertinent moments from Drag Race, and airs deleted footage. Starting with the second season of Drag Race in 2010, Logo reformatted Under the Hood, increased its production budget, moved it from the web to television, and re-titled it to RuPaul's Drag Race: Untucked. Logo broadcast an episode of Untucked after each episode of Drag Race. Untucked replaces the basic green room of Under the Hood with two decorated rooms that were until season 6 sponsored by Absolut Vodka and Interior Illusions, Inc.: the Interior Illusions Lounge and the Gold Bar. FormDecor sponsored the Lounge for season 6. These two backstage areas allow for separated group conversation. At the start of the seventh season of the Drag Race, Untucked reverted to a webseries, as part of the World of Wonder YouTube page. Instead of two decorated rooms, Untucked was moved back to the one room, an empty backstage space that connects to the main stage and work room, with couches for contestants to chat on. The newly renovated version also follows contestants following their elimination from the show, documenting them packing their belongings and leaving the set. The webseries format continued for the eighth and ninth season. For the show's tenth season, Untucked returned to television. CANNOTANSWER
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[ "What is Untucked?", "When did it air?", "When did it begin?", "Were there prizes?", "What happens in Untucked?", "How many seasons are there?", "Anything else interesting about it?", "Who sponsored it after 6?", "What did you find most interesting about the article?" ]
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RuPaul's Drag Race is an American reality competition television series, the first in the Drag Race franchise, produced by World of Wonder for Logo TV (season 1–8), WOW Presents Plus, VH1 (season 9–14) and, beginning with the fifteenth season, MTV. The show documents RuPaul in the search for "America's next drag superstar". RuPaul plays the role of host, mentor, and head judge for this series, as contestants are given different challenges each week. Contestants are judged by a panel that includes RuPaul, Michelle Visage, an alternating third main judge of either Carson Kressley, Ross Mathews, or Ts Madison, and one or more guest judges, who critique their progress throughout the competition. The title of the show is a play on drag queen and drag racing, and the title sequence and song "Drag Race" both have a drag-racing theme. RuPaul's Drag Race has spanned fifteen seasons and inspired the spin-off shows RuPaul's Drag U, RuPaul's Drag Race All Stars, and RuPaul's Secret Celebrity Drag Race; the companion series RuPaul's Drag Race: Untucked; and numerous international franchises including British and Australian and New Zealand versions hosted by RuPaul as well as Chilean, Thai, Canadian, Dutch, Spanish, Italian, French, Philippine, Belgian, and Swedish editions, upcoming Mexican, German, and Brazilian installments, and international vs. the World competitions hosted in The United Kingdom and Canada. The show has become the highest-rated television program on Logo TV, and airs internationally, including in the United Kingdom, Australia, Canada, the Netherlands and Israel. The show earned RuPaul seven consecutive Emmy Awards (2016 to 2022) for Outstanding Host for a Reality or Competition Program. The show itself has been awarded as the Primetime Emmy Award for Outstanding Reality-Competition Program 4 consecutive times (2018 to 2021), and the Outstanding Reality Program Award at the GLAAD Media Awards. It has been nominated for four Critics' Choice Television Awards including Best Reality Series – Competition and Best Reality Show Host for RuPaul, and was nominated for a Creative Arts Emmy Award for Outstanding Make-up for a Multi-Camera Series or Special (Non-Prosthetic). Later in 2018, the show became the first show to win a Primetime Emmy Award for Outstanding Reality-Competition Program and a Primetime Emmy Award for Outstanding Host for a Reality or Reality-Competition Program in the same year, a feat it has since repeated three times. Format Prospective Drag Race contestants submit video auditions to the show's production company, World of Wonder. RuPaul, the host and head judge, views each tape and selects the season's competitors. Once the chosen pool of performers is on set, they film a series of episodes in which they compete against each other in various challenges. Each episode typically concludes with the removal of one contestant from the competition. Rarely, the outcome of an episode has been a double elimination, no elimination, contestant disqualification or removal of a contestant on medical grounds. Each episode features a so-called maxi challenge that tests competitors' skills in a variety of areas of drag performance. Some episodes also feature a mini challenge, the prize of which is often an advantage or benefit in the upcoming maxi challenge. Following the maxi challenge, contestants present themed looks in a runway walk. RuPaul and a panel of judges then critique each contestant's performance, deliberate amongst themselves, and announce the week's winner and bottom two competitors. The bottom two queens compete in a so-called Lip Sync for Your Life; the winner of the lip sync remains in the competition, and the loser is eliminated. Generally, the contestant that the judges feel has displayed the most "charisma, uniqueness, nerve and talent" (C.U.N.T.) is the one who advances. The final three, or four depending on what RuPaul chooses, contestants remaining compete in a special finale episode wherein the season's winner is crowned. In early seasons, the finale was pre-recorded in the studio with no audience. More recently, the finale has taken the form of a lip sync tournament before a live audience. The season 12 finale was filmed remotely due to the COVID-19 pandemic. The whole season is typically filmed in four weeks. Mini and maxi challenges Mini challenges are quick, small assignments that RuPaul announces at the beginning of an episode. One of the most popular mini challenges, which recurs from season to season, is the reading challenge. In it, contestants satirically criticize one another in a process called "reading", which was popularized by the film Paris Is Burning. Maxi challenges vary in the skill they test; some are group challenges that involve singing and acting, while others feature comedy, a talent of choice, dancing, or makeovers. The winner receives a material or monetary prize. Until the show's sixth season, the winner sometimes also received immunity against elimination the following week. Drag Races most popular seasonal maxi challenge is Snatch Game, a spoof on Match Game wherein contestants impersonate celebrities or famous fictional personas. Judging RuPaul has been the series' head judge since its premiere. For the first two seasons, Merle Ginsberg joined him on the panel; she was replaced in season 3 by longtime friend of RuPaul and co-host of The RuPaul Show Michelle Visage. Santino Rice served as a judge from season 1 through season 6. From season 7 onward, Ross Mathews and Carson Kressley have occupied Rice's former seat. New York City makeup artist Billy B held a regular judging spot in the third and fourth seasons when Rice was absent. Most weeks, one or two celebrity guest judges join the panel. After appearing as a recurring guest judge in seasons 13 and 14, Ts Madison became a regular member of the judging panel from the fifteenth season. Companion series The first season of Drag Race was accompanied by a seven-episode web series titled Under the Hood of RuPaul's Drag Race, which Logo TV made available for streaming on its website. The series featured behind-the-scenes and deleted footage from the main show's tapes. From season 2 onward, a companion show called RuPaul's Drag Race: Untucked, which has the same premise, has aired instead. Untucked largely focuses on conversations and drama that occur between contestants backstage while the judges deliberate on each episode's results. In most seasons, it has aired on TV following the main show, but it was available only online for season 7 through season 9. A number of smaller web series also accompany each episode of Drag Race. Whatcha Packin, which began at the start of the sixth season, features Michelle Visage interviewing the most recently eliminated queen about their run on the show and showcasing runway outfits they had brought but did not have the opportunity to wear. In 2014, the web-series Fashion Photo Ruview aired for the first time, co-hosted by Raja Gemini and Raven who evaluate the runway looks of the main show. Since season 8, a five- to fifteen-minute (later eighteen- to thirty-minute) aftershow called The Pit Stop has also been produced. It involves a host and guest, typically past competitors of Drag Race, discussing the recently aired episode. Each season's host (or hosts) are different; to date, these have included the YouTuber Kingsley, Raja Gemini, Bob the Drag Queen, Alaska Thunderfuck, Trixie Mattel, Manila Luzon, Monét X Change, and Bianca Del Rio. Series overview Seasons 1–8 (2009–2016): Logo TV Season 1 premiered in the U.S. on February 2, 2009, on Logo TV. Nine contestants competed to become "America's Next Drag Superstar". The winner won a lifetime supply of MAC Cosmetics, was featured on the cover of Paper and in an LA Eyeworks campaign, joined the Absolut Pride tour, and won a cash prize of $20,000. One of the nine, Nina Flowers, was determined by an audience vote via the show's official website. The winner of season 1 was BeBe Zahara Benet, with Nina Flowers winning Miss Congeniality. In late 2013, Logo re-aired the season as RuPaul's Drag Race: The Lost Season Ru-Vealed, featuring commentary from RuPaul. For season 2 (2010), 12 contestants competed for a lifetime supply of NYX Cosmetics and be the face of nyxcosmetics.com, an exclusive one year public relations contract with LGBT firm Project Publicity, be featured in an LA Eyeworks campaign, join the Logo Drag Race Tour, and a cash prize of $25,000. A new tradition of writing a farewell message in lipstick on the workstation mirror was started by the first eliminated queen, Shangela. Each week's episode is followed by a behind-the-scenes show, RuPaul's Drag Race Untucked. The winner of season 2 was Tyra Sanchez, with Pandora Boxx winning Miss Congeniality. On December 6, 2011, Amazon.com released season 2 on DVD via the CreateSpace program. Season 3 (2011) had Michelle Visage replacing Merle Ginsberg on the judging panel as well as Billy Brasfield (commonly known as Billy B), Mike Ruiz, and Jeffrey Moran (courtesy of Absolut Vodka) filling in for Santino Rice's absence during several episodes. Due to Billy B's continued appearances, he and Rice are considered to have been alternate judges for the same seat on judges panel. Other changes made included the introduction of a wildcard contestant from the past season, Shangela; an episode with no elimination; and a contestant, Carmen Carrera, being brought back into the competition after having been eliminated a few episodes prior. A new pit crew was also introduced consisting of Jason Carter and Shawn Morales. As with the previous season, each week's episode was followed by a behind-the-scenes show, RuPaul's Drag Race: Untucked. The winner of the season 3 was Raja, with Yara Sofia winning Miss Congeniality. On December 6, 2011, Amazon.com released this season on DVD via their CreateSpace program. Season 4 began airing on January 30, 2012, with cast members announced November 13, 2011. The winner headlined Logo's Drag Race Tour featuring Absolut Vodka, won a one-of-a-kind trip, a lifetime supply of NYX Cosmetics, a cash prize of $100,000, and the title of "America's Next Drag Superstar". Like the previous season, Rice and Billy B (Billy Brasfield), shared the same seat at the judges table alternatively, with Brasfield filling in for Rice when needed. The winner of season 4 was Sharon Needles, with Latrice Royale winning Miss Congeniality. Season 5 began airing on January 28, 2013, with a 90-minute premiere episode. Fourteen contestants competed for the title of "America's Next Drag Superstar" along with a lifetime supply of Colorevolution Cosmetics, a one-of-a-kind trip courtesy of AlandChuck.travel, a headlining spot on Logo's Drag Race Tour featuring Absolut Vodka and a cash prize of $100,000. Rice and Visage were back as judges on the panel. The winner of season 5 was Jinkx Monsoon, with Ivy Winters winning Miss Congeniality. Season 6 began airing February 24, 2014. Like season 5, season 6 saw 14 contestants competing for the title of "America's Next Drag Superstar". For the first time in the show's history, the season premiere was split into two episodes; the fourteen queens are split into two groups and the seven queens in each group compete against one another before being united as one group in the third episode. Rice and Visage returned as judges at the panel. Two new pit crew members, Miles Moody and Simon Sherry-Wood, joined Carter and Morales. The winner won a prize package that included a supply from Colorevolution Cosmetics and a cash prize of $100,000. The winner of season 6 was Bianca Del Rio, with BenDeLaCreme winning Miss Congeniality. Season 7 began airing on March 2, 2015. Returning judges included RuPaul and Visage, while the space previously occupied by Rice was filled by new additions Ross Mathews and Carson Kressley. Mathews and Kressley were both present for the season premiere and then took turns sharing judging responsibilities. Morales and Simon Sherry-Wood did not appear this season and were replaced by Bryce Eilenberg. Like the previous two seasons, this one featured fourteen contestants competing for the title of "America's Next Drag Superstar", a one-year supply of Anastasia Beverly Hills cosmetics, and a cash prize of $100,000. The season premiere debuted with a live and same-day viewership of 348,000, a 20 percent increase from the previous season. On March 20, 2015, it was announced that Logo had given the series an early renewal for an eighth season. The winner of season 7 was Violet Chachki, with Katya winning Miss Congeniality. Season 8 on began airing on March 7, 2016, with cast members announced during the NewNowNext Honors on February 1, 2016. Visage returned as a main judge, while Kressley and Mathews returned as rotating main judges. The first episode celebrated the 100th taping of the show, and the 100th drag queen to compete. Similar to season 2, this season had twelve contestants competing for the title of "America's Next Drag Superstar", a one-year supply of Anastasia Beverly Hills cosmetics, and a cash prize of $100,000. The winner of season 8 was Bob the Drag Queen, with Cynthia Lee Fontaine winning Miss Congeniality. Seasons 9–14 (2017–2022): VH1 Season 9 began airing on March 24, 2017 on VH1, with cast members being announced on February 2, 2017. Visage returned as a main judge, while Kressley and Mathews returned as rotating main judges. This season features fourteen contestants competing for the title of "America's Next Drag Superstar", a one-year supply of Anastasia Beverly Hills cosmetics, and a cash prize of $100,000. The ninth season aired on VH1, with encore presentations continuing to air on Logo. This season featured the return of Cynthia Lee Fontaine, who previously participated in the season 8. Season 9 featured a top four in the finale episode, as opposed to the top three, which was previously established in season 4. The winner of season 9 was Sasha Velour, with Valentina winning Miss Congeniality. Season 10 began airing on March 22, 2018. Visage returned as a main judge, while Kressley and Mathews returned as rotating main judges. This season features thirteen new contestants, and one returning contestant, competing for the title of "America's Next Drag Superstar", a one-year supply of Anastasia Beverly Hills cosmetics, and a cash prize of $100,000. Eureka O'Hara, who was removed from the ninth season due to an injury, returned to the show after she accepted an open invitation. Season 10 premiered alongside the televised return of Untucked. The tenth season featured a top four following the previous season's finale format. The winner of season 10 was Aquaria, with Monét X Change winning Miss Congeniality. Season 11 began airing February 28, 2019. This season had fifteen contestants, whereas previous seasons typically had fourteen contestants. Visage returned as a main judge, while Kressley and Mathews returned as rotating main judges. This season features fourteen new contestants, and one returning contestant, competing for the title of "America's Next Drag Superstar", a one-year supply of Anastasia Beverly Hills cosmetics, and a cash prize of $100,000. This season saw the return of Vanessa Vanjie Mateo, who was the first contestant eliminated in season 10. Season 11 again featured a top four in the finale. As with season 10, each week's episode was followed by an episode of the televised return of RuPaul's Drag Race: Untucked. The winner of season 11 was Yvie Oddly, with Nina West winning Miss Congeniality. On January 22, 2019, casting for Season 12 (2020) was announced via YouTube and Twitter and was closed on March 1, 2019. On August 19, 2019, it was announced that the series had been renewed for a twelfth season. The season began airing on February 28, 2020. This is the first and only season to have the reunion and finale recorded virtually from the contestants' homes due to the COVID-19 pandemic. The winner of season 12 was Jaida Essence Hall, with Heidi N Closet winning Miss Congeniality. On December 2, 2019, casting for Season 13 (2021) was announced via YouTube and Twitter. The casting call closed on January 24, 2020. On August 20, 2020, it was announced the thirteenth season had been ordered by VH1. It began airing on January 1, 2021. The winner of season 13 was Symone, with Kandy Muse as runner-up, and LaLa Ri as Miss Congeniality. Casting for Season 14 began on November 23, 2020. In August 2021, it was announced the fourteenth season had been ordered by VH1. The cast for the fourteenth season was revealed through VH1 on December 2, 2021. The season started airing on January 7, 2022. The season welcomed Maddy Morphosis, the show's first heterosexual, cisgender male contestant. The season notably also featured five transgender contestants: Kerri Colby and Kornbread "The Snack" Jeté (both of whom entered the competition openly trans), Jasmine Kennedie (who came out as a trans woman during filming of the show), Bosco (who also came out as a trans woman as the season aired), and Willow Pill (who came out as trans femme as the season aired). The winner of season 14 was Willow Pill, with Lady Camden as runner-up, and Kornbread "The Snack" Jeté as Miss Congeniality. The winning queen received a cash prize of $150,000, the highest amount awarded to date in a regular season. The runner-up received a $50,000 cash prize. Casting for Season 15 began on November 4, 2021, and closed on January 7, 2022. Season 15 (2023): MTV Season 15 premiered on January 6, 2023, on MTV. This season features the largest cast in the show's history, with sixteen queens competing and the largest cash prize, with the winner earning $200,000. It is also the first season to feature biological relatives, twins Sugar and Spice. The winner of season 15 was Sasha Colby, with Anetra as runner-up, and Malaysia Babydoll Foxx as Miss Congeniality. Contestants More than 150 contestants have competed on the U.S. version of the show. Spin-offs Specials RuPaul's Drag Race: Green Screen Christmas (2015): On December 13, 2015, Logo aired a seasonal themed episode of Drag Race. The non-competitive special was released in conjunction with RuPaul's holiday album Slay Belles and featured music videos for songs from the album. The cast included RuPaul, Michelle Visage, Siedah Garrett, and Todrick Hall, and former contestants Alyssa Edwards, Laganja Estranja, Latrice Royale, Raja, and Shangela. RuPaul's Drag Race Holi-slay Spectacular (2018): On November 1, 2018, VH1 announced a seasonal themed special episode of Drag Race scheduled to air on December 7, 2018. The special saw eight former contestants compete for the title of "America's first Drag Race Christmas Queen". Competitors included Eureka O'Hara, Jasmine Masters, Kim Chi, Latrice Royale, Mayhem Miller, Shangela, Sonique, and Trixie Mattel. RuPaul's Drag Race: Corona Can't Keep a Good Queen Down (2021): On February 26, 2021, the one hour special aired on VH1 in between episodes 8 and 9 of Season 13 and detailed the contestants' journeys with filming the season amid the ongoing COVID-19 pandemic. Television series RuPaul's Drag U (2010–2012): In each episode, three women are paired with former Drag Race contestants ("Drag Professors"), who give them drag makeovers and help them to access their "inner divas". RuPaul's Drag Race All Stars (2012–present): Past contestants return and compete for a spot in the Drag Race Hall of Fame. The show's format is similar to that of RuPaul's Drag Race, with challenges and a panel of judges. Dancing Queen (2018): In April 2013, RuPaul confirmed that he planned to executive-produce a spin-off of Drag Race that stars season five and All Stars season two contestant Alyssa Edwards. Alyssa Edwards has confirmed that the spin-off's title is Beyond Belief (later retitled as Dancing Queen), and that his dance company in Mesquite, Texas is the setting. The series aired on Netflix on October 5, 2018. RuPaul's Secret Celebrity Drag Race (2020–Present): On April 10, 2020, VH1 announced a celebrity edition of Drag Race scheduled to air for four weeks beginning on April 24, 2020. The series featured a trio of celebrities receiving makeovers from former contestants. After receiving help from "Queen Supremes" Alyssa Edwards, Asia O'Hara, Bob the Drag Queen, Kim Chi, Monét X Change, Monique Heart, Nina West, Trinity the Tuck, Trixie Mattel and Vanessa Vanjie Mateo, the celebrities competed in fan-favorite challenges and on the runway to be named "America's Next Celebrity Drag Race Superstar" and prize money for choice charities. RuPaul's Drag Race: Vegas Revue (2020): On July 22, 2020, it was announced that a docu-series would premiere on August 21, 2020. International adaptations The Switch Drag Race (2015–2018): This licensed glocalization of Drag Race premiered in October 2015 on Chilean television channel Mega. As in Drag Race, queens compete in "mini-challenges" and a main challenge and are evaluated by a panel of judges. Similar to Drag Race, The Switch requires contestants to lip-sync, dance, and perform impersonations. Drag Race Thailand (2018–present): In October 2017, Kantana Group acquired the rights to produce its own version of Drag Race. Season 1 of Drag Race Thailand was met with successful ratings on Thai television. It was later announced that the first season will premiere in the U.S. in May 2018. The first season also made stirs in the Asian LGBT community, the most prominent of which was a campaign to establish versions of Drag Race in the Philippines and Taiwan as well, two of the most LGBT-accepting nations in Asia. RuPaul's Drag Race UK (2019–present): On December 5, 2018, it was announced that the British version of RuPaul's Drag Race would be an eight-part series filmed in London based on local drag queens and would air on BBC Three in 2019. Visage confirmed via social media that she would appear as a judge. Canada's Drag Race (2020–present): On June 27, 2019, OutTV and Bell Media's streaming service Crave announced that they had co-commissioned a Canadian version of Drag Race. Rights to the series, as well as the U.S. and British versions, will be shared by OutTV and Crave. Additionally, season 11 runner-up Brooke Lynn Hytes was confirmed as one of the judges, becoming the first Drag Race contestant to serve as a permanent judge. The show premiered on July 2, 2020. Drag Race Holland (2020–2021): A Dutch version of Drag Race was announced on July 26, 2020. The series debuted on Videoland in The Netherlands, and aired on WOW Presents Plus internationally. The show is hosted by Fred van Leer and premiered . RuPaul's Drag Race Down Under (2021–present): On August 26, 2019, an Oceanic version was announced to be in production and said to air in 2020, but was likely delayed due to the COVID-19 pandemic. Filming began in Auckland, New Zealand in January 2021. The series premiered on TVNZ 2 and TVNZ OnDemand in New Zealand, Stan in Australia, and on WOW Presents Plus internationally on 1 May 2021. The judging panel features RuPaul, Michelle Visage, and Rhys Nicholson. Drag Race España (2021–present): On November 16, 2020, Atresmedia announced that they would produce a Spanish version of Drag Race together with Buendía Estudios after reaching an agreement with Passion Distribution in favour of World of Wonder. The series debuted on Atresmedia's pay streaming service ATRESplayer Premium on 30 May 2021, and aired on WOW Presents Plus internationally. It is hosted by Supremme de Luxe. Drag Race Italia (2021–present): An Italian version of Drag Race was announced on June 30, 2021. The series debuted in November 2021 on Discovery+. Drag Race France (2022–present): On November 17, 2021, a French version of Drag Race was announced. Drag Race Philippines (2022–present): On August 17, 2021, a Filipino version of Drag Race was announced. The series debuted on August 17, 2022 on Discovery+ and HBO Go in the Philippines and aired on WOW Presents Plus internationally. Drag Race Belgique (2023): A Belgian version of Drag Race was announced on April 29, 2022 and is set to broadcast February 16, 2023 on Tipik and to stream on WOW Presents Plus internationally. Drag Race Sverige (2023): A Swedish version of Drag Race was announced on April 5, 2022 to broadcast on Sveriges Television and stream on WOW Presents Plus. Drag Race Brasil (TBA): Announced on December 12, 2022. Drag Race Mexico (TBA): Announced on December 12, 2022. Drag Race Germany (TBA): Announced on December 12, 2022. Other media Feature film: In August 2015, RuPaul revealed that a movie featuring all of the contestants was in the works. "We've got a director for it, we've got a light script, but it just needs a little more retooling and scheduling." RuPaul's Drag Race Superstar is a mobile app by World of Wonder and Leaf Mobile's subsidiary East Side Games, which was released on October 25, 2021. Home media Full seasons of shows in the Drag Race franchise are available to stream on WOW Presents Plus in over 200 territories. The show is also currently available on the following streaming platforms: United States — Hulu (seasons 3–8; All Stars 1–4); Paramount Plus (seasons 1–12, All Stars 1–6, Untucked seasons 9–11, All Stars Untucked seasons 5–6), WOW Presents Plus (Untucked seasons 7–8, Thailand season 2, and all other international series) Canada — Netflix (seasons 1–12, All Stars 4, Untucked seasons 11 and 12), Crave (all seasons, All Stars 1–6, UK series 1–3, Canada season 1 and 2, Down Under season 1), WOW Presents Plus (seasons 1–10, Untucked seasons 1–10, All Stars 1–4) UK & Ireland — Netflix (seasons 11-13, Untucked seasons 11–13, All Stars 4-6, Celebrity season 1), BBC iPlayer (UK series 1,2 and 3, Canada season 1 and 2, Down Under season 1), WOW Presents Plus (seasons 1–10, Untucked seasons 1–10, all episodes of All Stars and Holland) Australia — Stan (all seasons of original, All Stars, Untucked, UK, Canada, Down Under and Thailand Season 2), WOW Presents Plus (UK series 1, Canada season 1) Awards and nominations RuPaul's Drag Race has been nominated for thirty-nine Emmy Awards, and won twenty-four. It has also been nominated for nine Reality Television Awards, winning three, and nominated for six NewNowNext Awards, winning three. Critical reception Thrillist called Drag Race "the closest gay culture gets to a sports league". In 2019, the TV series was ranked 93rd on The Guardians list of the 100 best TV shows of the 21st century. Shannon Keating for BuzzFeed News wrote about the show’s “subversive, irreverent beginnings” briefly turning “comfortably mainstream... humdrum and derivative” prior to season 13’s release. She recalls that a flurry of political disputes, as well as “overexposure”, threatened to ruin Drag Race’s legacy before the refreshed 2021 season. Coleman Splide for The Daily Beast wrote in 2021 that “RuPaul has continually allowed the legacy of his subversive landmark reality show to be slowly chipped away at”. Though Splide states that the show is “a critical part of bringing empowering inclusivity to the forefront of mainstream culture”, he maintains that it also invites indignation from an ever-expanding and oftentimes toxic fanbase, as well as contributing to the increasingly capitalised nature of pride celebrations around the globe. Controversy In March 2014, Drag Race sparked controversy over the use of the term "shemale" in the season 6 mini challenge "Female or She-male?". Logo has since removed the segment from all platforms and addressed the allegations of transphobia by removing the "You've got she-mail" intro from new episodes of the series. This was replaced with, "She done already done had herses!" RuPaul additionally came under fire for comments made in an interview with The Guardian, in which he stated he would "probably not" allow a transgender contestant to compete. He compared transgender drag performers to doping athletes on his Twitter, and has since apologized. Sasha Velour (season 9) disagreed, tweeting "My drag was born in a community full of trans women, trans men, and gender non-conforming folks doing drag. That's the real world of drag, like it or not. I thinks it's fabulous and I will fight my entire life to protect and uplift it". Relationship with the trans community For the first twelve seasons, RuPaul would say, "Gentlemen, start your engines, and may the best woman win," before the contestants' runway looks for the episode were shown. When season 13 introduced the show's first ever transgender male contestant, Gottmik, RuPaul's catchphrase was changed in order to promote inclusivity: "Racers, start your engines, and may the best drag queen win." In season 6 of All Stars, an altered version of the show's opening theme was introduced with the new tag line. Performers of any sexual orientation and gender identity are eligible to audition, although most contestants to date have been gay, cisgender men. Transgender competitors have become more common as seasons have progressed; Sonique, a season two contestant, became the first openly trans contestant when she came out as a woman during the reunion special. Sonique later won All Stars 6, becoming the first trans woman to win an English-language version of the show and the second overall. Monica Beverly Hillz (season 5) became the first contestant to come out as a trans woman during the competition. Peppermint (season 9) is the first contestant who was out as a trans woman prior to the airing of her season. Other trans contestants came out as women after their elimination, including Carmen Carrera, Kenya Michaels, Stacy Layne Matthews, Jiggly Caliente, Gia Gunn, Laganja Estranja and Gigi Goode. Additionally, Gottmik (season 13) was the first AFAB and currently the only openly transgender male contestant in the franchise's history. Various contestants have come out as non-binary as well, including Jinkx Monsoon and Adore Delano. Season 14 is the first regular season to feature five transgender women in the cast—Kerri Colby, Kornbread "The Snack" Jeté, Bosco, Jasmine Kennedie, and Willow Pill. While Kerri Colby and Kornbread entered the show openly trans, Bosco and Willow came out after the show's taping, and Jasmine Kennedie came out in episode 7 of Untucked. Broadcast Australia: In Australia, lifestyle channel LifeStyle YOU regularly showed and re-screened seasons 1–7, including Untucked. In addition, free-to-air channel SBS2 began screening the first season on August 31, 2013. On March 13, 2017, it was announced that on-demand service Stan would fast-track season 9 (including Untucked). As of 2020, Stan streams all seasons since Season 1, as well as Untucked, All Stars, All Stars Untucked, Canada's Drag Race, Secret Celebrity, Drag Race UK and Season 2 of Drag Race Thailand. Canada: The series airs on OutTV in Canada at the same time as the US airing. Unlike Logo, OutTV continues to broadcast Untucked immediately after each Drag Race episode. Beginning with season 12, OutTV has shared its first-run rights to the main series (but not Untucked) with the more widely subscribed Crave streaming service, with episodes available on Crave shortly after they premiere on OutTV, in connection with Crave and OutTV's co-production of Canada's Drag Race. Past seasons are also available on Netflix in Canada, with each season released there shortly before the next season begins. Ireland: In Ireland, season 2 to season 8 of the programme were available on Netflix; as of the release of Season 10, only seasons 8 & 9 are available. Netflix has started airing season 10 episodes one day after they air in the USA. All seasons of the show have been made available on Netflix since October 2018 Indonesia: In Indonesia, season 1 to season 13 of the programme were available on Netflix, alongside the Christmas spectacular; As of the release of All Stars, only season 4 and 5 is available. Netflix also aired Untucked season 10 episodes one day after they air in the USA. UK: E4 aired season 1 in 2009, followed by season 2 in 2010. Since its success on Netflix in the UK, TruTV acquired the broadcast rights for all eight seasons of the show including Untucked episodes. In June 2015, TruTV started airing two episodes of the show a week, starting with season 4, followed by All Stars, then season 5. As of May 2018, the series airs on VH1 UK Monday–Thursday at 11pm, beginning with All Stars season 3.Israel''': Yes has broadcast all seasons and Untucked episodes. Seasons 1–12, All Stars seasons 4–5 and Untucked'' seasons 11–12 are also available on Netflix. Discography See also List of reality television programs with LGBT cast members List of Rusicals LGBT culture in New York City Paris Is Burning (film) References External links Edgar, E. (2011). "Xtravaganza!": Drag Representation and Articulation in "RuPaul's Drag Race". Studies in Popular Culture,34(1), 133–146. Retrieved from "Xtravaganza!": Drag Representation and Articulation in "RuPaul's Drag Race" Category:2000s American LGBT-related television series Category:2000s American reality television series Category:2000s LGBT-related reality television series Category:2009 American television series debuts Category:2010s American LGBT-related television series Category:2010s American reality television series Category:2010s LGBT-related reality television series Category:2020s American LGBT-related television series Category:2020s American reality television series Category:2020s LGBT-related reality television series Category:American LGBT-related reality television series Category:English-language television shows Category:Logo TV original programming Category:MTV original programming Category:Primetime Emmy Award for Outstanding Reality Program winners Category:Primetime Emmy Award-winning television series Category:Television series by World of Wonder (company) Category:Transgender-related television shows Category:VH1 original programming
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[ "Untucked is a companion series to Drag Race. It started as a seven-episode web series titled Under the Hood of RuPaul's Drag Race before being reformatted and renamed for the second season of Drag Race. Untucked presents a documentary of contestants' conversations in the green room, replays moments from Drag Race, and airs deleted footage. It has had various formats, including being aired on the web and on television, and its setting has alternated between two decorated rooms and one basic room. The show also follows contestants after their elimination from the show.", "Untucked, as a reformatted version of Under the Hood, started with the second season of Drag Race in 2010. It aired after each episode of Drag Race. At the start of the seventh season of the Drag Race, Untucked was moved to a webseries, and this webseries format continued for the eighth and ninth season. For the show's tenth season, Untucked returned to television.", "Untucked began with the second season of Drag Race in 2010.", "The text does not provide any information about prizes being awarded in Untucked.", "In Untucked, RuPaul presents a documentary of contestants' conversations in the green room, replays moments from Drag Race, and airs deleted footage. The show allows for group conversation in either one or two backstage areas, depending on the season. The series also follows contestants after their elimination from Drag Race, documenting them as they pack their belongings and leave the set.", "The text does not provide the total number of seasons for Untucked. However, it does mention that the show started with the second season of Drag Race in 2010 and continued at least until the tenth season of Drag Race.", "Yes, one interesting aspect of Untucked is that it has alternated between different formats and settings. For instance, it initially aired on the web as Under the Hood before being moved to television and renamed to Untucked. Moreover, its setting switched from a basic green room to two decorated rooms that were sponsored by Absolut Vodka and Interior Illusions, Inc., and then back to one basic room. The show has also varied in how it documents the contestants, including both group conversations and following contestants after they are eliminated from Drag Race.", "FormDecor sponsored the Lounge for season 6 of Untucked. However, the text does not provide information on who sponsored Untucked after season 6.", "As an AI, I don't have personal thoughts or feelings. However, a reader might find the changes in format, setting, and presentation methods of Untucked across the seasons to be particularly interesting. For example, its transformation from a web series to a television show, the variation in the number and decor of the lounge spaces where contestants chat, and the range of content presented, from backstage conversations to follow-ups on eliminated contestants." ]
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C_633b3b3a8bf44ac4a89212c5d58ee2c3_0
Teena Marie
Mary Christine Brockert (March 5, 1956 - December 26, 2010), better known by her stage name Teena Marie, was an American singer-songwriter, and producer. She was known by her childhood nickname Tina before taking the stage name Teena Marie and later acquired the nickname Lady Tee (sometimes spelled Lady T), given to her by her collaborator and friend, Rick James. She was known for her distinctive soulful vocals, which caused many listeners to believe she was African-American. Her success in R&B and soul music, and loyalty to these genres would earn her the title Ivory Queen of Soul.
Epic era (1983-1990)
Contacted by Epic Records in the fall of 1982, after expressing dismay over her Motown contract, Teena Marie signed a worldwide deal with the Columbia Records subsidiary that also allowed her to establish her own publishing company, Midnight Magnet. Epic released the concept album Robbery, which featured the hit "Fix It" (#21 R&B), as well as "Shadow Boxing" and "Casanova Brown." (The latter was one of many tracks Teena Marie would write over the years about her real-life romance with one-time mentor Rick James. The relationship had ended by that point, but the two continued a sometimes tempestuous friendship until James' death, in August 2004.) In 1984, Teena Marie released her biggest-selling album, Starchild. It yielded her biggest hit "Lovergirl", which peaked at No. 4 on the U.S. Billboard Hot 100 chart in March 1985 and at No. 9 on the R&B chart. The label also released the moderate R&B hit "Out on a Limb", which peaked at No. 56 on the R&B chart but didn't break the Hot 100. "14k" was featured on the soundtrack of the film The Goonies (1985) but was not a hit (only making the U.S. R&B charts at #87). In 1986, Teena Marie released a rock music-influenced concept album titled Emerald City. It was controversial with her established fan base and not as successful as its predecessors. She also recorded the rock-influenced track, "Lead Me On", co-produced by Giorgio Moroder, for the soundtrack of the box office hit film Top Gun (1986). In 1988, she returned to R&B and funk, releasing the critically acclaimed album Naked to the World. That album contained the hit "Ooo La La La", which reached the top of Billboard's Hot R&B/Hip-Hop Singles & Tracks chart and was her only No. 1 single on that chart. During her 1988 Naked to the World concert tour, she suffered a fall and was hospitalized for six months. Teena Marie released Ivory in the fall of 1990; it scored no pop hits, but it did experience two R&B hits: "Here's Looking at You" (#11 R&B) and "If I Were a Bell" (#8 R&B). CANNOTANSWER
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Mary Christine Brockert (March 5, 1956 – December 26, 2010), known professionally as Teena Marie, was an American R&B and soul singer, songwriter, musician, composer, and producer. She was known by her childhood nickname Tina before taking the stage name Teena Marie and later acquired the nickname Lady T, given to her by her collaborator and friend, Rick James. She was known for her distinctive soprano vocals, which caused many listeners to believe she was black. Her success in R&B and soul music, and loyalty to these genres would earn her the title Ivory Queen of Soul. She played rhythm guitar, keyboards, and congas. Teena Marie was a four-time Grammy Award nominee, winning one posthumously in 2023, as a credited songwriter (as Mary Christine Brockert) on Beyoncé's hit song "Cuff It". Life and career 1956–1978: Early life and career beginnings Mary Christine Brockert was born on March 5, 1956, in Santa Monica, California, the daughter of construction worker Thomas Leslie Brockert and home renovator Mary Anne. She spent her early childhood in Mission Hills, California. She said that her ethnic heritage was Belgian, Portuguese, Italian, Irish, and Native American. In 2005, while visiting Louisiana, she discovered that her paternal ancestors once lived in New Orleans. She took to singing naturally, performing Harry Belafonte's "Banana Boat Song" by age two. When she was eight years old, her parents began sending Teena on auditions which, among other things, netted her an acting role on The Beverly Hillbillies, credited as Tina Marie Brockert. She later taught herself the guitar, bass, and congas. She would go on to form a semi-professional R&B band with her younger brother Anthony and their cousin. In the early 1970s, after the family moved to Venice, Los Angeles, Brockert spent her adolescent years in the historically black Venice enclave of Oakwood, nicknamed "Venice Harlem". There, she would acquire a strong spiritual influence from neighborhood matriarch Berthalynn Jackson, a black woman who would become her godmother. While attending Venice High School, Brockert joined the Summer Dance Production and was the female lead in the school's production of The Music Man. She also fronted a local Venice rock band "Truvair" in 1974–1975; the band's members were her high school classmates. Following graduation, Brockert juggled auditioning for various record companies with studying English literature at Santa Monica College. 1979–1982: Gordy era In 1976, Brockert (as the lead singer of a band she had assembled, which included long-time friend Mickey Boyce) gained an introduction to Motown Records staff producer Hal Davis (best known for his work with Brenda Holloway and the Jackson 5). It led to an audition for a film about orphans that was being developed by Motown. The project was shelved, but label boss Berry Gordy, impressed with her singing but having no need for a musical group, decided to sign her as a solo act. Tina recorded unreleased material with a number of different producers over the next few years, before being spotted by labelmate Rick James, who was immediately impressed with her sound. Some of Tina's earlier, unreleased material has since been made available on the compilation album First Class Love: Rare Tee. At the time, James, already established as a successful recording artist, was on tap to produce for Diana Ross but changed his mind and decided to work with Brockert, instead. The result was her debut album release, Wild and Peaceful. The album was, at one point, due to be credited to "Teena Tryson", but ultimately was put out under "Teena Marie", the name by which she would be known throughout her remaining career. It scored Teena Marie her first top-ten R&B hit, "I'm a Sucker for Your Love" (#8 R&B Singles Chart), a duet with James. Neither the album nor its packaging had her picture on it, and many radio programmers assumed she was black during the earliest months of her career. This myth was disproved when she performed her debut hit with James on Soul Train in 1979, becoming the show's first white female guest. (She would appear on the show eight more times, more than any other white act.) Her second album, Lady T (1980), featured her portrait on the cover, and is also noted for having production from Richard Rudolph (the widower of R&B singer Minnie Riperton). Teena Marie had asked Berry Gordy to contact Rudolph and secure his input, as Rick James was unavailable, and she felt unprepared to be sole producer of her own material. Rudolph had intended for a song he penned, "Now That I Have You", for his wife Minnie Riperton, but offered it to Teena Marie for Lady T. Rudolph also co-composed the single "Behind The Groove", which reached number 21 on the R&B singles chart and No. 6 on the U.K. singles chart in 1980. The song would also be included on the soundtrack of Grand Theft Auto: Vice City on the Fever 105 radio station. Also in 1980, Teena Marie released her third LP, Irons in the Fire, for which she handled most of the writing and production herself, an achievement considered rare at the time for a female artist. The single "I Need Your Lovin'" (#37 Pop, No. 9 R&B Singles) brought Teena Marie her first top 40 hit; it also peaked at No. 28 in the UK chart. That same year, Teena Marie appeared on James' album, Street Songs, with the duet "Fire and Desire". In an interview, Teena Marie said she had a fever at the time yet managed to record her vocals in one take. After the session, she was driven to a hospital. The two would perform the single at the 2004 BET Awards, which would be their last TV appearance with one another, as James died later that year. Teena Marie continued her success with Motown in 1981, with the release of It Must Be Magic (#2 R&B Albums Chart), her first gold record, which included her then biggest hit on R&B, "Square Biz" (#3 R&B Singles). Other notable tracks include "Portuguese Love" (featuring a brief, uncredited cameo by James, No. 54 R&B Singles), the title track "It Must be Magic" (#30 R&B Singles). In 1982, Teena Marie got into a heated legal battle with Motown Records over her contract and disagreements about releasing her new material. The lawsuit resulted in "The Brockert Initiative", which made it illegal for a record company to keep an artist under contract without releasing new material for that artist. In such instances, artists are able to sign and release with another label instead of being held back by an unsupportive one. Teena Marie commented on the law in an LA Times article, saying, "It wasn't something I set out to do. I just wanted to get away from Motown and have a good life. But it helped a lot of people, like Luther Vandross and the Mary Jane Girls, and a lot of different artists, to be able to get out of their contracts." She left Motown as the label's most successful white solo act. 1983–1990: Epic era Contacted by Epic Records in the fall of 1982, after expressing dismay over her Motown contract, Teena Marie signed a worldwide deal with the Columbia Records subsidiary that also allowed her to establish her own publishing company, Midnight Magnet. Epic released the concept album Robbery, which featured the hit "Fix It" (#21 R&B), as well as "Shadow Boxing" and "Casanova Brown". The latter was one of many tracks Teena Marie would write over the years about her real-life romance with one-time mentor Rick James. In 1984, Teena Marie released her biggest-selling album, Starchild. It yielded her biggest hit, "Lovergirl", which peaked at No. 4 on the U.S. Billboard Hot 100 chart in March 1985 and at No. 9 on the R&B chart. "Lovergirl" was included in the 2002 Jennifer Lopez movie Maid in Manhattan. The label also released the moderate R&B hit "Out on a Limb", which peaked at No. 56 on the R&B chart but didn't break the Hot 100. "14k" was featured on the soundtrack of the film The Goonies (1985) but this song was not a hit. In 1986, Teena Marie released a rock music-influenced concept album titled Emerald City. She also recorded the rock-influenced track, "Lead Me On", co-produced by Giorgio Moroder, for the soundtrack of the box office hit film Top Gun (1986). In 1988, she returned to R&B and funk, releasing the critically acclaimed album Naked to the World. That album contained the hit "Ooo La La La", which reached # 1 on the Billboards Hot R&B/Hip-Hop Singles & Tracks chart. Teena Marie released Ivory in the fall of 1990; it scored no pop hits, but it did experience two R&B hits: "Here's Looking at You" (#11 R&B) and "If I Were a Bell" (#8 R&B). 1991–2003: Hiatus and Passion Play and Black Rain During the 1990s, Teena Marie's classic R&B, soul, and funk records were either sampled by hip-hop artists or covered by R&B divas. Teena Marie herself is regarded as something of a pioneer in helping to bring hip-hop to the mainstream by becoming one of the first artists of her time to rap one of her singles—the aforementioned "Square Biz". In the hip-hop portion of that song, she mentions some of her inspirations: Sarah Vaughan, Johann Sebastian Bach, Shakespeare, Maya Angelou, and Nikki Giovanni. In 1996, the Fugees paid tribute to her by interpolating the chorus of her hit, "Ooo, La, La, La" (1988), into its own "Fu-Gee-La". In the fall of 1994, Teena Marie released Passion Play on her independent label, Sarai Records. On March 30, 1995, Teena Marie appeared and performed in an episode of New York Undercover as an old friend of one of the characters. Subsequently, Teena Marie devoted most of her time to raising her daughter Alia Rose (who has since adopted the stage name "Rose Le Beau" and is pursuing her own singing career). During the late 1990s, she began working on a new album, titled Black Rain. She was unable to secure a major label deal for the album and did not want to put it out on her own Sarai label, in light of the modest sales of Passion Play. However, a version pressed for promotional purposes was widely bootlegged among fans. This contained the tracks, "The Mackin' Game", "I'll Take the Pressure", "Baby, I'm Your Fiend", "My Body's Hungry", "Ecstasy", "I'm on Fire", "Watcha Got 4 Me", "Black Rain", "1999", "Butterflies", "Spanish Harlem", "Blackberry Playa", "The Perfect Feeling", and "Rainbow Outro". 2004–2010: La Doña to Congo Square After a ten-year hiatus from the music industry, Teena Marie returned to her musical career by signing with the Classics sub-label of the successful hip-hop label, Cash Money Records. She released her eleventh album, La Doña, in 2004, and follow up Sapphire, in 2006. La Doña became a gold-certified success (and the highest-charting album of her career, peaking at No. 6 on the Billboard 200 chart) on the basis of the Al Green-sampled "I'm Still in Love" (#23 R&B, No. 70 Pop) and a duet with Gerald Levert, "A Rose by Any Other Name". The Sapphire album peaked at No. 24 on the Billboard 200 chart, yielding yet another "R&B" Top-40 hit, "Ooh Wee" (#32). Sapphire also reunited Teena (on "God Has Created" and "Cruise Control") with Smokey Robinson, one of her musical idols. Teena Marie parted ways with Ca$h Money records after the release of Sapphire. On September 19, 2008, Teena Marie performed in concert at B.B. King's Blues Club in New York City. She took this time to play a couple of finished tracks from her upcoming album, Congo Square, and received a positive response from the audience. Congo Square was released on June 9, 2009, on Stax/Concord Records. Teena Marie has described the album as "personal and spiritual", and indicated that it was more jazz-influenced than most of her previous work. "Can't Last a Day", a duet with Faith Evans, leaked to the Internet in March 2009. Teena Marie says of Evans, "It was after I had recorded the song ("Can't Last a Day") I got the idea to put Faith on it. I've always loved Faith and her vocal style. She reminds me of me. Her correlation with Biggie – having a career with him and without him – reminds me of me and Rick. I feel like she's a younger me. Of the younger ladies, she's the one I love most." Regarding the early-life inspirations for Congo Square, Teena Marie told Blues & Soul magazine editor Lee Tyler in January 2010: "I wanted to do songs that reflected the things that I loved when I was growing up. Every single song on the record is dedicated to someone, or some musical giant that I loved. 'The Pressure' is dedicated to Rick James; 'Can't Last a Day' is dedicated to the Gamble & Huff sound – the Philly International sound'. Then 'Baby I Love You' and 'Ear Candy' are dedicated to Marvin Gaye and Curtis Mayfield – with memories of riding down Crenshaw in LA in jeeps and bumping to music on the 808 i.e. Roland TR-808 drum machine. While 'Miss Coretta' is, of course, dedicated to Mrs. Coretta Scott King, the late wife of Martin Luther King." Sales-wise, the album proved another success, reaching the Top 20 on Billboard'''s Top 200, and giving Teena Marie yet another Top 10 R&B chart entry. In 2010, Teena Marie continued to be a headliner on the Las Vegas Strip, appearing regularly at the Las Vegas Hilton and other venues until just before her death. At the time of her death, Teena Marie had been in the process of completing her 14th album, Beautiful. It was finished posthumously by her daughter, Alia Rose, and released on January 15, 2013. A limited edition album was released on July 11, 2011, comprising previously unreleased material unearthed from her Motown days entitled First class love: Rare Tee. Personal life Teena Marie gave birth to a daughter named Alia Rose in 1991. As of 2009, Alia Rose sings under the name Rose LeBeau. Teena Marie lived in various neighborhoods throughout greater Los Angeles, including Santa Monica, Inglewood, Pasadena, and Marina Del Rey. Teena Marie was godmother to American actress and comedienne Maya Rudolph, daughter of singer-songwriter Minnie Riperton, as well as Marvin Gaye's daughter Nona Gaye. She also cared for Rick James's son, Rick, Jr., and family friend Jeremiah O'Neal. Lenny Kravitz posted a video in which he said that Teena Marie had taken him into her home and helped him when he was struggling early in his career. Death In 2004, while Teena Marie was sleeping in a hotel room, a large picture frame fell and struck her on the head. The blow caused a serious concussion that resulted in momentary seizures for the rest of her life. On the afternoon of December 26, 2010, Teena Marie was found dead by her daughter, Alia Rose, in her Pasadena home. On December 30, 2010, an autopsy was performed by the Los Angeles County coroner, who found no signs of apparent trauma or a discernible cause of death, and concluded she had died from natural causes. She had suffered a generalized tonic–clonic seizure a month before. A memorial service was held at Forest Lawn Cemetery on January 10, 2011. Among those in attendance were Stevie Wonder, Deniece Williams, Smokey Robinson, Queen Latifah, LisaRaye, Sinbad, Tichina Arnold, Shanice Wilson, and Berry Gordy, Jr. Discography Studio albums Wild and Peaceful (1979) Lady T (1980) Irons in the Fire (1980) It Must Be Magic (1981) Robbery (1983) Starchild (1984) Emerald City (1986) Naked to the World (1988) Ivory (1990) Passion Play (1994) La Doña (2004) Sapphire (2006) Congo Square (2009) Beautiful'' (2013) References External links Teena Marie at BBC Music Teena Marie discography at Discogs [ Teena Marie] at Billboard Teena Marie October 2010 interview with DJ Soulswede at Soulinterviews.com "They Don't Sing R&B Like I Do" Teena Marie Interview 2011 with Dan Dodds Category:1956 births Category:2010 deaths Category:American dance musicians Category:Record producers from California Category:American women pop singers Category:American rhythm and blues singers Category:Cash Money Records artists Category:Singer-songwriters from California Category:Motown artists Category:Epic Records artists Category:People from Mission Hills, Los Angeles Category:American people of Irish descent Category:American people of Italian descent Category:American people of Portuguese descent Category:American funk singers Category:American soul singers Category:21st-century American women singers Category:20th-century American women singers Category:American disco singers Category:American soul guitarists Category:American soul keyboardists Category:American funk guitarists Category:American rhythm and blues guitarists Category:American funk keyboardists Category:American women guitarists Category:American rhythm and blues keyboardists Category:American sopranos Category:Rhythm guitarists Category:Conga players Category:Guitarists from California Category:American women record producers Category:Venice High School (Los Angeles) alumni Category:20th-century American singers Category:21st-century American singers Category:Grammy Award winners
[]
[ "Yes, Teena Marie had several significant album releases during this period including Robbery in 1983, Starchild in 1984, Emerald City in 1986, Naked to the World in 1988, and Ivory in 1990.", "Yes, several of Teena Marie's albums and singles from those albums placed high on the charts. For example, her song \"Lovergirl,\" from her 1984 album Starchild, peaked at No. 4 on the U.S. Billboard Hot 100 chart and at No. 9 on the R&B chart. Her song \"Ooo La La La\" from her 1988 album Naked to the World reached the top of Billboard's Hot R&B/Hip-Hop Singles & Tracks chart.", "From the 1984 album Starchild, another song \"Out on a Limb\" was a moderate R&B hit, peaking at No. 56 on the R&B chart. From the 1990 album Ivory, \"Here's Looking at You\" and \"If I Were a Bell\" were R&B hits, peaking at #11 and #8 on the R&B chart respectively.", "Yes, in the Epic era, Teena Marie's earlier release was the concept album Robbery in 1983 which featured the hit \"Fix It\" that reached #21 on the R&B chart, as well as \"Shadow Boxing\" and \"Casanova Brown\".", "Yes, during the Epic era, Teena Marie also released the album Emerald City in 1986, which was a rock-music influenced concept album that was controversial with her established fan base and not as successful as its predecessors.", "The context does not provide specific information on the songs that were released on the Emerald City album by Teena Marie.", "Yes, during the Epic era, Teena Marie went on the Naked to the World concert tour in 1988. During this tour, she suffered a fall and was hospitalized for six months." ]
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C_633b3b3a8bf44ac4a89212c5d58ee2c3_1
Teena Marie
Mary Christine Brockert (March 5, 1956 - December 26, 2010), better known by her stage name Teena Marie, was an American singer-songwriter, and producer. She was known by her childhood nickname Tina before taking the stage name Teena Marie and later acquired the nickname Lady Tee (sometimes spelled Lady T), given to her by her collaborator and friend, Rick James. She was known for her distinctive soulful vocals, which caused many listeners to believe she was African-American. Her success in R&B and soul music, and loyalty to these genres would earn her the title Ivory Queen of Soul.
Early life (1956-1978)
Mary Christine, or Tina as she was called, was the daughter of construction worker Thomas Leslie Brockert and his wife, home renovator Mary Anne. She spent her early childhood in Mission Hills, Calif. Her ethnic heritage was Portuguese, Italian, Irish, and American Indian. In 2005, while visiting Louisiana, she had discovered that her paternal ancestors once lived in New Orleans. She took to singing naturally, performing Harry Belafonte's Banana Boat Song by age two. She also developed a fondness for singing Motown songs, and her self-professed "gift from God" would become fine-tuned as the years progressed. When she was eight years old, her parents began sending Tina on auditions which, among other things, netted her an acting role on The Beverly Hillbillies, credited as Tina Marie Brockert. She also sang at the wedding of Jerry Lewis' son when she was 10 years old. Reared in a Roman Catholic household, she learned to play the piano under the tutelage of two nuns, and later taught herself the guitar, bass, and congas. She would go on to form a semi-professional R&B band with her younger brother Anthony and their cousin. In the early 1970s, after the family moved to Venice, Los Angeles, Brockert spent her adolescent years in the historically black Venice enclave of Oakwood, nicknamed "Venice Harlem". There, she would acquire a strong spiritual influence from neighborhood matriarch Berthalynn Jackson, a black woman who would become her godmother. While attending Venice High School, Brockert joined the Summer Dance Production and was the female lead in the school's production of The Music Man. She also fronted a local Venice rock band "Truvair" in 1974-1975; the band's members were her high school classmates. Following graduation, Brockert juggled auditioning for various record companies with studying English Literature at Santa Monica College. She credited her love of reading with helping her to write lyrics. CANNOTANSWER
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Mary Christine Brockert (March 5, 1956 – December 26, 2010), known professionally as Teena Marie, was an American R&B and soul singer, songwriter, musician, composer, and producer. She was known by her childhood nickname Tina before taking the stage name Teena Marie and later acquired the nickname Lady T, given to her by her collaborator and friend, Rick James. She was known for her distinctive soprano vocals, which caused many listeners to believe she was black. Her success in R&B and soul music, and loyalty to these genres would earn her the title Ivory Queen of Soul. She played rhythm guitar, keyboards, and congas. Teena Marie was a four-time Grammy Award nominee, winning one posthumously in 2023, as a credited songwriter (as Mary Christine Brockert) on Beyoncé's hit song "Cuff It". Life and career 1956–1978: Early life and career beginnings Mary Christine Brockert was born on March 5, 1956, in Santa Monica, California, the daughter of construction worker Thomas Leslie Brockert and home renovator Mary Anne. She spent her early childhood in Mission Hills, California. She said that her ethnic heritage was Belgian, Portuguese, Italian, Irish, and Native American. In 2005, while visiting Louisiana, she discovered that her paternal ancestors once lived in New Orleans. She took to singing naturally, performing Harry Belafonte's "Banana Boat Song" by age two. When she was eight years old, her parents began sending Teena on auditions which, among other things, netted her an acting role on The Beverly Hillbillies, credited as Tina Marie Brockert. She later taught herself the guitar, bass, and congas. She would go on to form a semi-professional R&B band with her younger brother Anthony and their cousin. In the early 1970s, after the family moved to Venice, Los Angeles, Brockert spent her adolescent years in the historically black Venice enclave of Oakwood, nicknamed "Venice Harlem". There, she would acquire a strong spiritual influence from neighborhood matriarch Berthalynn Jackson, a black woman who would become her godmother. While attending Venice High School, Brockert joined the Summer Dance Production and was the female lead in the school's production of The Music Man. She also fronted a local Venice rock band "Truvair" in 1974–1975; the band's members were her high school classmates. Following graduation, Brockert juggled auditioning for various record companies with studying English literature at Santa Monica College. 1979–1982: Gordy era In 1976, Brockert (as the lead singer of a band she had assembled, which included long-time friend Mickey Boyce) gained an introduction to Motown Records staff producer Hal Davis (best known for his work with Brenda Holloway and the Jackson 5). It led to an audition for a film about orphans that was being developed by Motown. The project was shelved, but label boss Berry Gordy, impressed with her singing but having no need for a musical group, decided to sign her as a solo act. Tina recorded unreleased material with a number of different producers over the next few years, before being spotted by labelmate Rick James, who was immediately impressed with her sound. Some of Tina's earlier, unreleased material has since been made available on the compilation album First Class Love: Rare Tee. At the time, James, already established as a successful recording artist, was on tap to produce for Diana Ross but changed his mind and decided to work with Brockert, instead. The result was her debut album release, Wild and Peaceful. The album was, at one point, due to be credited to "Teena Tryson", but ultimately was put out under "Teena Marie", the name by which she would be known throughout her remaining career. It scored Teena Marie her first top-ten R&B hit, "I'm a Sucker for Your Love" (#8 R&B Singles Chart), a duet with James. Neither the album nor its packaging had her picture on it, and many radio programmers assumed she was black during the earliest months of her career. This myth was disproved when she performed her debut hit with James on Soul Train in 1979, becoming the show's first white female guest. (She would appear on the show eight more times, more than any other white act.) Her second album, Lady T (1980), featured her portrait on the cover, and is also noted for having production from Richard Rudolph (the widower of R&B singer Minnie Riperton). Teena Marie had asked Berry Gordy to contact Rudolph and secure his input, as Rick James was unavailable, and she felt unprepared to be sole producer of her own material. Rudolph had intended for a song he penned, "Now That I Have You", for his wife Minnie Riperton, but offered it to Teena Marie for Lady T. Rudolph also co-composed the single "Behind The Groove", which reached number 21 on the R&B singles chart and No. 6 on the U.K. singles chart in 1980. The song would also be included on the soundtrack of Grand Theft Auto: Vice City on the Fever 105 radio station. Also in 1980, Teena Marie released her third LP, Irons in the Fire, for which she handled most of the writing and production herself, an achievement considered rare at the time for a female artist. The single "I Need Your Lovin'" (#37 Pop, No. 9 R&B Singles) brought Teena Marie her first top 40 hit; it also peaked at No. 28 in the UK chart. That same year, Teena Marie appeared on James' album, Street Songs, with the duet "Fire and Desire". In an interview, Teena Marie said she had a fever at the time yet managed to record her vocals in one take. After the session, she was driven to a hospital. The two would perform the single at the 2004 BET Awards, which would be their last TV appearance with one another, as James died later that year. Teena Marie continued her success with Motown in 1981, with the release of It Must Be Magic (#2 R&B Albums Chart), her first gold record, which included her then biggest hit on R&B, "Square Biz" (#3 R&B Singles). Other notable tracks include "Portuguese Love" (featuring a brief, uncredited cameo by James, No. 54 R&B Singles), the title track "It Must be Magic" (#30 R&B Singles). In 1982, Teena Marie got into a heated legal battle with Motown Records over her contract and disagreements about releasing her new material. The lawsuit resulted in "The Brockert Initiative", which made it illegal for a record company to keep an artist under contract without releasing new material for that artist. In such instances, artists are able to sign and release with another label instead of being held back by an unsupportive one. Teena Marie commented on the law in an LA Times article, saying, "It wasn't something I set out to do. I just wanted to get away from Motown and have a good life. But it helped a lot of people, like Luther Vandross and the Mary Jane Girls, and a lot of different artists, to be able to get out of their contracts." She left Motown as the label's most successful white solo act. 1983–1990: Epic era Contacted by Epic Records in the fall of 1982, after expressing dismay over her Motown contract, Teena Marie signed a worldwide deal with the Columbia Records subsidiary that also allowed her to establish her own publishing company, Midnight Magnet. Epic released the concept album Robbery, which featured the hit "Fix It" (#21 R&B), as well as "Shadow Boxing" and "Casanova Brown". The latter was one of many tracks Teena Marie would write over the years about her real-life romance with one-time mentor Rick James. In 1984, Teena Marie released her biggest-selling album, Starchild. It yielded her biggest hit, "Lovergirl", which peaked at No. 4 on the U.S. Billboard Hot 100 chart in March 1985 and at No. 9 on the R&B chart. "Lovergirl" was included in the 2002 Jennifer Lopez movie Maid in Manhattan. The label also released the moderate R&B hit "Out on a Limb", which peaked at No. 56 on the R&B chart but didn't break the Hot 100. "14k" was featured on the soundtrack of the film The Goonies (1985) but this song was not a hit. In 1986, Teena Marie released a rock music-influenced concept album titled Emerald City. She also recorded the rock-influenced track, "Lead Me On", co-produced by Giorgio Moroder, for the soundtrack of the box office hit film Top Gun (1986). In 1988, she returned to R&B and funk, releasing the critically acclaimed album Naked to the World. That album contained the hit "Ooo La La La", which reached # 1 on the Billboards Hot R&B/Hip-Hop Singles & Tracks chart. Teena Marie released Ivory in the fall of 1990; it scored no pop hits, but it did experience two R&B hits: "Here's Looking at You" (#11 R&B) and "If I Were a Bell" (#8 R&B). 1991–2003: Hiatus and Passion Play and Black Rain During the 1990s, Teena Marie's classic R&B, soul, and funk records were either sampled by hip-hop artists or covered by R&B divas. Teena Marie herself is regarded as something of a pioneer in helping to bring hip-hop to the mainstream by becoming one of the first artists of her time to rap one of her singles—the aforementioned "Square Biz". In the hip-hop portion of that song, she mentions some of her inspirations: Sarah Vaughan, Johann Sebastian Bach, Shakespeare, Maya Angelou, and Nikki Giovanni. In 1996, the Fugees paid tribute to her by interpolating the chorus of her hit, "Ooo, La, La, La" (1988), into its own "Fu-Gee-La". In the fall of 1994, Teena Marie released Passion Play on her independent label, Sarai Records. On March 30, 1995, Teena Marie appeared and performed in an episode of New York Undercover as an old friend of one of the characters. Subsequently, Teena Marie devoted most of her time to raising her daughter Alia Rose (who has since adopted the stage name "Rose Le Beau" and is pursuing her own singing career). During the late 1990s, she began working on a new album, titled Black Rain. She was unable to secure a major label deal for the album and did not want to put it out on her own Sarai label, in light of the modest sales of Passion Play. However, a version pressed for promotional purposes was widely bootlegged among fans. This contained the tracks, "The Mackin' Game", "I'll Take the Pressure", "Baby, I'm Your Fiend", "My Body's Hungry", "Ecstasy", "I'm on Fire", "Watcha Got 4 Me", "Black Rain", "1999", "Butterflies", "Spanish Harlem", "Blackberry Playa", "The Perfect Feeling", and "Rainbow Outro". 2004–2010: La Doña to Congo Square After a ten-year hiatus from the music industry, Teena Marie returned to her musical career by signing with the Classics sub-label of the successful hip-hop label, Cash Money Records. She released her eleventh album, La Doña, in 2004, and follow up Sapphire, in 2006. La Doña became a gold-certified success (and the highest-charting album of her career, peaking at No. 6 on the Billboard 200 chart) on the basis of the Al Green-sampled "I'm Still in Love" (#23 R&B, No. 70 Pop) and a duet with Gerald Levert, "A Rose by Any Other Name". The Sapphire album peaked at No. 24 on the Billboard 200 chart, yielding yet another "R&B" Top-40 hit, "Ooh Wee" (#32). Sapphire also reunited Teena (on "God Has Created" and "Cruise Control") with Smokey Robinson, one of her musical idols. Teena Marie parted ways with Ca$h Money records after the release of Sapphire. On September 19, 2008, Teena Marie performed in concert at B.B. King's Blues Club in New York City. She took this time to play a couple of finished tracks from her upcoming album, Congo Square, and received a positive response from the audience. Congo Square was released on June 9, 2009, on Stax/Concord Records. Teena Marie has described the album as "personal and spiritual", and indicated that it was more jazz-influenced than most of her previous work. "Can't Last a Day", a duet with Faith Evans, leaked to the Internet in March 2009. Teena Marie says of Evans, "It was after I had recorded the song ("Can't Last a Day") I got the idea to put Faith on it. I've always loved Faith and her vocal style. She reminds me of me. Her correlation with Biggie – having a career with him and without him – reminds me of me and Rick. I feel like she's a younger me. Of the younger ladies, she's the one I love most." Regarding the early-life inspirations for Congo Square, Teena Marie told Blues & Soul magazine editor Lee Tyler in January 2010: "I wanted to do songs that reflected the things that I loved when I was growing up. Every single song on the record is dedicated to someone, or some musical giant that I loved. 'The Pressure' is dedicated to Rick James; 'Can't Last a Day' is dedicated to the Gamble & Huff sound – the Philly International sound'. Then 'Baby I Love You' and 'Ear Candy' are dedicated to Marvin Gaye and Curtis Mayfield – with memories of riding down Crenshaw in LA in jeeps and bumping to music on the 808 i.e. Roland TR-808 drum machine. While 'Miss Coretta' is, of course, dedicated to Mrs. Coretta Scott King, the late wife of Martin Luther King." Sales-wise, the album proved another success, reaching the Top 20 on Billboard'''s Top 200, and giving Teena Marie yet another Top 10 R&B chart entry. In 2010, Teena Marie continued to be a headliner on the Las Vegas Strip, appearing regularly at the Las Vegas Hilton and other venues until just before her death. At the time of her death, Teena Marie had been in the process of completing her 14th album, Beautiful. It was finished posthumously by her daughter, Alia Rose, and released on January 15, 2013. A limited edition album was released on July 11, 2011, comprising previously unreleased material unearthed from her Motown days entitled First class love: Rare Tee. Personal life Teena Marie gave birth to a daughter named Alia Rose in 1991. As of 2009, Alia Rose sings under the name Rose LeBeau. Teena Marie lived in various neighborhoods throughout greater Los Angeles, including Santa Monica, Inglewood, Pasadena, and Marina Del Rey. Teena Marie was godmother to American actress and comedienne Maya Rudolph, daughter of singer-songwriter Minnie Riperton, as well as Marvin Gaye's daughter Nona Gaye. She also cared for Rick James's son, Rick, Jr., and family friend Jeremiah O'Neal. Lenny Kravitz posted a video in which he said that Teena Marie had taken him into her home and helped him when he was struggling early in his career. Death In 2004, while Teena Marie was sleeping in a hotel room, a large picture frame fell and struck her on the head. The blow caused a serious concussion that resulted in momentary seizures for the rest of her life. On the afternoon of December 26, 2010, Teena Marie was found dead by her daughter, Alia Rose, in her Pasadena home. On December 30, 2010, an autopsy was performed by the Los Angeles County coroner, who found no signs of apparent trauma or a discernible cause of death, and concluded she had died from natural causes. She had suffered a generalized tonic–clonic seizure a month before. A memorial service was held at Forest Lawn Cemetery on January 10, 2011. Among those in attendance were Stevie Wonder, Deniece Williams, Smokey Robinson, Queen Latifah, LisaRaye, Sinbad, Tichina Arnold, Shanice Wilson, and Berry Gordy, Jr. Discography Studio albums Wild and Peaceful (1979) Lady T (1980) Irons in the Fire (1980) It Must Be Magic (1981) Robbery (1983) Starchild (1984) Emerald City (1986) Naked to the World (1988) Ivory (1990) Passion Play (1994) La Doña (2004) Sapphire (2006) Congo Square (2009) Beautiful'' (2013) References External links Teena Marie at BBC Music Teena Marie discography at Discogs [ Teena Marie] at Billboard Teena Marie October 2010 interview with DJ Soulswede at Soulinterviews.com "They Don't Sing R&B Like I Do" Teena Marie Interview 2011 with Dan Dodds Category:1956 births Category:2010 deaths Category:American dance musicians Category:Record producers from California Category:American women pop singers Category:American rhythm and blues singers Category:Cash Money Records artists Category:Singer-songwriters from California Category:Motown artists Category:Epic Records artists Category:People from Mission Hills, Los Angeles Category:American people of Irish descent Category:American people of Italian descent Category:American people of Portuguese descent Category:American funk singers Category:American soul singers Category:21st-century American women singers Category:20th-century American women singers Category:American disco singers Category:American soul guitarists Category:American soul keyboardists Category:American funk guitarists Category:American rhythm and blues guitarists Category:American funk keyboardists Category:American women guitarists Category:American rhythm and blues keyboardists Category:American sopranos Category:Rhythm guitarists Category:Conga players Category:Guitarists from California Category:American women record producers Category:Venice High School (Los Angeles) alumni Category:20th-century American singers Category:21st-century American singers Category:Grammy Award winners
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C_2368e2acd1f94b25b765f57341b01b60_1
Meredith Willson
Willson was born in Mason City, Iowa, to John David Willson and Rosalie Reiniger Willson, and he had a brother two years his senior, John Cedrick, and a sister 12 years his senior, the children's author Dixie Willson. He attended Frank Damrosch's Institute of Musical Art (which later became the Juilliard School) in New York City. He married his high school sweetheart, Elizabeth "Peggy" Wilson, on August 29, 1920. A flute and piccolo player, Willson was a member of John Philip Sousa's band (1921-1923), and the New York Philharmonic Orchestra under Arturo Toscanini (1924-1929).
Hollywood
His work in films included composing the score for Charlie Chaplin's The Great Dictator (1940) (Academy Award nomination for Best Original Score), and arranging music for the score of William Wyler's The Little Foxes (1941) (Academy Award nomination for Best Music Score of a Dramatic Picture). During World War II, he worked for the United States' Armed Forces Radio Service. His work with the AFRS teamed him with George Burns, Gracie Allen and Bill Goodwin. He would work with all three as the bandleader, and a regular character, on the Burns and Allen radio program. He played a shy man, always trying to get advice on women. His character was ditsy as well, basically a male version of Gracie Allen's character. In 1942, Willson had his own program on NBC. Meredith Willson's Music was a summer replacement for Fibber McGee and Molly. Sparkle Time, which ran on CBS in 1946-47, was Willson's first full-season radio program. Returning to network radio after WWII, he created the Talking People, a choral group that spoke in unison while delivering radio commercials. He also became the musical director for The Big Show, a prestigious comedy-variety program hosted by actress Tallulah Bankhead and featuring some of the world's most respected entertainers. Willson himself became part of one of the show's very few running gags, beginning replies to Bankhead's comments or questions with "well, sir, Miss Bankhead . . ." Willson wrote the song "May the Good Lord Bless and Keep You" for the show. Bankhead spoke the lyrics over the music at the end of each show. He also worked on Jack Benny's radio program, and hosted his own program in 1949. For a few years in the early 1950s, Willson was a regular panelist on the Goodson-Todman game show The Name's the Same. In 1950 Willson served as Musical Director for The California Story, the Golden State's centennial production at the Hollywood Bowl. Through working on this production, Willson met writer Franklin Lacey who proved instrumental in developing the story line for a musical Willson had been working on, soon to be known as The Music Man. The California Story spectacular was followed by two more state centennial collaborations with stage director Vladimir Rosing: The Oregon Story in 1959 and The Kansas Story in 1961. CANNOTANSWER
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[ "Did Wilson write music for any movies?", "What other movies did he compose for?", "Did he win any awards?", "What other movies or songs did he win awards for?", "Did he have a work or personal relationship with anyone in Hollywood?", "What was his favorite film to work on?", "What is the most fascinating part of the article?" ]
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Robert Reiniger Meredith Willson (May 18, 1902 – June 15, 1984) was an American flutist, composer, conductor, musical arranger, bandleader, playwright, and writer. He is perhaps best known for writing the book, music, and lyrics for the 1957 hit Broadway musical The Music Man and "It's Beginning to Look a Lot Like Christmas" (1951). Willson wrote three other Broadway musicals and composed symphonies and popular songs. He was twice nominated for Academy Awards for film scores. Early life Willson was born in Mason City, Iowa, to Rosalie Reiniger Willson and John David Willson. He had a brother two years his senior, John Cedrick, and a sister 12 years his senior, children's writer Dixie Willson. Willson attended Frank Damrosch's Institute of Musical Art (which later became the Juilliard School) in New York City. He married his high-school sweetheart, Elizabeth "Peggy" Wilson, on August 29, 1920; they were married for 26 years. As a child, Willson played the bass drum for a Salvation Army band. He became a flute and piccolo virtuoso accomplished enough to become a member of John Philip Sousa's band (1921–1924) and later the New York Philharmonic Orchestra under Arturo Toscanini (1924–1929). He then moved to San Francisco, California, as the concert director for radio station KFRC, and then as a musical director for the NBC radio network in Hollywood. His on-air radio debut came on KFRC in 1928 on Blue Monday Jamboree. Hollywood Willson's work in films included the score for Charlie Chaplin's The Great Dictator (1940) (Academy Award nomination for Best Original Score), and arranging music for the score of William Wyler's The Little Foxes (1941) (Academy Award nomination for Best Music Score of a Dramatic Picture). During World War II, Willson worked for the United States' Armed Forces Radio Service. His work with the AFRS teamed him with George Burns, Gracie Allen, and Bill Goodwin. He worked with all three as the bandleader, and a regular character, on the Burns and Allen radio program. He played a shy man always trying to get advice on women. His character was ditzy as well, basically a male version of Allen's. In 1942, Willson had his own program on NBC. Meredith Willson's Music was a summer replacement for Fibber McGee and Molly. Sparkle Time, which ran on CBS in 1946–47, was Willson's first full-season radio program. Returning to network radio after WWII, Willson created the Talking People, a choral group that spoke in unison while delivering radio commercials. In 1950 he became the musical director for The Big Show, a 90-minute comedy-variety program hosted by actress Tallulah Bankhead and featuring some of the world's best-known entertainers. Willson became part of one of the show's very few running gags, beginning replies to Bankhead's comments or questions with "well, sir, Miss Bankhead". He wrote the song "May the Good Lord Bless and Keep You" for the show. Bankhead spoke the lyrics over the music at the end of each show. He also worked on Jack Benny's radio program, and hosted his own program in 1949. For a few years in the early 1950s, Willson was a regular panelist on the Goodson-Todman game show The Name's the Same; he recalled later that he did the show for the steady Goodson-Todman salary, which he was saving toward his Broadway musical project. In 1950, Willson served as musical director for The California Story, California's centennial production at the Hollywood Bowl. Working on this production, Willson met writer Franklin Lacey, who proved instrumental in developing the storyline for a musical Willson had been working on, soon to become The Music Man. The California Story was followed by two more state centennial collaborations with stage director Vladimir Rosing: The Oregon Story in 1959 and The Kansas Story in 1961. Broadway Willson's most famous work, The Music Man, premiered on Broadway in 1957, and was adapted twice for film (in 1962 and 2003). He called it "an Iowan's attempt to pay tribute to his home state". It took Willson eight years and 30 revisions to complete the musical, for which he wrote more than 40 songs. The show, starring Robert Preston and Barbara Cook, was a resounding success, running on Broadway for 1,375 performances over three and a half years. The cast recording won the first Grammy Award for Best Original Cast Album (Broadway or TV). The show subsequently had a national tour and international productions. It was produced at New York City Center in 1980 with Dick Van Dyke in the titular role and Meg Bussert as Marian. The first Broadway revival opened in 2000 at the Neil Simon Theatre with Craig Bierko as Harold Hill and Rebecca Luker as Marian. The production ran for 699 performances. A second Broadway revival premiered on February 10, 2022, at the Winter Garden Theatre, starring Hugh Jackman as Harold and Sutton Foster as Marian. In 1959, Willson and his second wife Ralina "Rini" Zarova recorded an album, ... and Then I Wrote The Music Man, in which they review the history of, and sing songs from, the show. In 2010, Brian d'Arcy James and Kelli O'Hara played Willson and Rini in an off-Broadway entertainment based on that album. Willson's second musical, The Unsinkable Molly Brown, ran on Broadway for 532 performances from 1960 to 1962 and was made into a 1964 motion picture starring Debbie Reynolds. His third Broadway musical was an adaptation of the film Miracle on 34th Street, called Here's Love. Some theater buffs recall it as a quick failure, but it actually enjoyed an eight-month run on Broadway in 1963-64 (334 performances). His fourth, last, and least successful musical was 1491, which told the story of Columbus's attempts to finance his famous voyage. It was produced by the Los Angeles Civic Light Opera in 1969, but not on Broadway. Other works Classical music Willson's Symphony No. 1 in F minor: A Symphony of San Francisco and his Symphony No. 2 in E minor: Missions of California were recorded in 1999 by William T. Stromberg conducting the Moscow State Symphony Orchestra. Other symphonic works include the O.O. McIntyre Suite, Symphonic Variations on an American Theme and Anthem, the symphonic poem Jervis Bay, and Ask Not, which incorporates quotations from John F. Kennedy's inaugural address. In tribute to the Idyllwild School of Music and the Arts (ISOMATA), Willson composed In Idyllwild for orchestra, choir, vocal solo and Alphorn. Willson's chamber music includes A Suite for Flute. Television specials In 1958, Willson appeared on the televised panel game show I've Got a Secret. His secret was that he "wrote the new Salvation Army theme song." Willson wrote the song, "With Banners and Bonnets They Come", especially for The Salvation Army. The song was a direct reference to The Salvation Army's use of uniforms, flags, and symbols to "love the unloved". In the television special, Willson conducted the New York Staff Band while a Salvation Army officer, Olaf Lundgren, sang the song. In 1964, Willson produced three original summer variety specials for CBS under the title Texaco Star Parade. The first premiered on June 5, 1964, and starred Willson and his wife Rini. It featured guest stars Caterina Valente and Sergio Franchi, and a production number with Willson leading four military bands composed of 500 California high school band members. The second special starred Debbie Reynolds singing songs she sang in the 1964 movie version of Willson's Broadway musical The Unsinkable Molly Brown. On July 28, Willson and Rini hosted the third special, which featured a Willson production number with 1,000 Marine Corps volunteers from Camp Pendelton. Guest stars were Vikki Carr, Jack Jones, Frederick Hemke, and Joe and Eddie. Popular songs Willson wrote a number of well-known songs, such as "You and I", a No. 1 hit for Glenn Miller in 1941 on the Billboard charts. It was also recorded by Bing Crosby, and by Tommy Dorsey with Frank Sinatra on vocals. Three songs from The Music Man have become American standards: "Seventy-Six Trombones", "Gary, Indiana", and "Till There Was You", originally titled "Till I Met You" (1950). Other popular songs by Willson include "It's Beginning to Look a Lot Like Christmas" (published as "It's Beginning to Look Like Christmas"), "May the Good Lord Bless and Keep You", and "I See the Moon". He wrote the University of Iowa's fight song, "Iowa Fight Song", as well as Iowa State University's "For I for S Forever". He also wrote the fight song for his hometown high school "Mason City, Go!" An oddity in Willson's body of work is "Chicken Fat", written in 1962. In school gymnasiums across the nation, this was the theme song for President John F. Kennedy's youth fitness program. It was time to get the country's youth into shape, and Willson's song had youngsters moving through basic exercises at a frenetic pace: push-ups, sit-ups, jumping jacks, torso twists, running in place, pogo springs, and plenty of marching. With an energetic lead vocal by Robert Preston, orchestral marching band, and full chorus, it was recorded during sessions for the Music Man film. Two versions of the song exist: a three-minute, radio-friendly length, and a longer, six-minute version for use in the gymnasium. In 2014, a re-recording of "Chicken Fat" was used in a television commercial for the iPhone 5S. In 1974, Willson offered another marching song, "Whip Inflation Now", to the Ford Administration. Autobiography Willson wrote three memoirs: And There I Stood With My Piccolo (1948), Eggs I Have Laid (1955), and But He Doesn't Know the Territory (1959). Personal life Willson was married three times. He was divorced by his first wife, Elizabeth, as reported in a news dispatch of March 5, 1947. They apparently had no contact after the divorce, and in his three memoirs Elizabeth is never mentioned, although he surprised her by sending her roses on August 20, 1970, which would have been their 50th wedding anniversary. Wilson married Ralina "Rini" Zarova, a Russian opera singer, on March 13, 1948. She died on December 6, 1966. Willson married Rosemary Sullivan in February 1968. For years he lived in the Mandeville Canyon section of Brentwood, California; he was fondly remembered by friends and neighbors as a warm and gregarious host who loved nothing more than to play the piano and sing at parties. He often gave guests autographed copies of his album Meredith Willson Sings Songs from The Music Man. In 1982, he and Rosemary appeared in the audience of The Lawrence Welk Show. Willson returned several times to his hometown for the North Iowa Band Festival, an annual event celebrating music with a special emphasis on marching bands. Mason City was the site of the 1962 premiere of the motion picture The Music Man, hosted by Iowa Governor Norman Erbe, which was timed to coincide with the festival. Like his character Harold Hill, Willson led the "Big Parade" through the town, and the event included special appearances by the film's stars Shirley Jones and Robert Preston. The Master of Ceremonies, Mason City Globe-Gazette editor W. Earl Hall, was a statewide radio personality and friend of many decades. Willson was a member of the National Honorary Band Fraternity, Kappa Kappa Psi. Willson died of heart failure in 1984 at the age of 82. His funeral in Mason City included mourners dressed in Music Man costumes and a barbershop quartet that sang "Lida Rose". Willson is buried at the Elmwood-St. Joseph Municipal Cemetery in Mason City. Legacy On June 23, 1987, Willson posthumously received the Presidential Medal of Freedom from President Ronald Reagan. In 1999, the United States Postal Service issued a postage stamp featuring Willson. Willson's boyhood home in Mason City, Iowa, is part of "The Music Man Square", which opened in 2002. His widow, Rosemary, was a donor to the square. His alma mater, the Juilliard School, dedicated its first and only residence hall to Willson in 2005. "Till There Was You" from The Music Man was a favorite of the Beatles, and their recording of it was issued on their second UK and US albums With the Beatles and Meet the Beatles!. They performed the song during their first appearance on The Ed Sullivan Show in 1964. Willson's papers can be found at the Great American Songbook Foundation. Bibliography Willson, Meredith. And There I Stood with My Piccolo. Minneapolis. University of Minnesota Press, 1948, 2009. Willson, Meredith. Eggs I Have Laid, Holt, 1955. Willson, Meredith. But He Doesn't Know the Territory. Minneapolis. University of Minnesota Press 1959, 2009. Chronicles the making of The Music Man. Notes References Skipper, John C. (2000), Meredith Willson: The Unsinkable Music Man Savas Pub. Co, Oates, Bill (2005), Meredith Willson-America's Music Man, Author House, External links Official Website NAXOS listing MTI Shows biography Song Writers Hall of Fame listing Des Moines Register bio Remarks at the Presentation Ceremony for the Presidential Medal of Freedom – June 23, 1987 Univ. of Iowa Special Collections, Papers of W. Earl Hall (dating from 1917–1969) Appearance of Willson as guest on Make the Connection show, Sept. 1, 1955? Category:1902 births Category:1984 deaths Category:20th-century American composers Category:20th-century American male musicians Category:20th-century classical composers Category:American classical composers Category:American classical flautists Category:American film score composers Category:American male classical composers Category:American memoirists Category:American musical theatre composers Category:American musical theatre lyricists Category:Broadway composers and lyricists Category:Capitol Records artists Category:Distinguished Service to Music Medal recipients Category:Grammy Award winners Category:Juilliard School alumni Category:American male film score composers Category:Musicians from Iowa Category:People from Mandeville Canyon, Los Angeles Category:People from Mason City, Iowa Category:Presidential Medal of Freedom recipients Category:RCA Victor artists Category:Songwriters from Iowa Category:Tony Award winners Category:American male songwriters Category:20th-century flautists
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C_2368e2acd1f94b25b765f57341b01b60_0
Meredith Willson
Willson was born in Mason City, Iowa, to John David Willson and Rosalie Reiniger Willson, and he had a brother two years his senior, John Cedrick, and a sister 12 years his senior, the children's author Dixie Willson. He attended Frank Damrosch's Institute of Musical Art (which later became the Juilliard School) in New York City. He married his high school sweetheart, Elizabeth "Peggy" Wilson, on August 29, 1920. A flute and piccolo player, Willson was a member of John Philip Sousa's band (1921-1923), and the New York Philharmonic Orchestra under Arturo Toscanini (1924-1929).
Popular songs
Willson penned a number of very well known songs, such as "You and I," which was a No. 1 for Glenn Miller in 1941 on the Billboard charts. It was also recorded by Bing Crosby, and by Tommy Dorsey with Frank Sinatra on vocals. Three songs from The Music Man have become American standards: "Seventy-Six Trombones," "Gary, Indiana," and "Till There Was You." The last was recorded by The Beatles for their 1963 UK album With The Beatles. (The album's American equivalent, Meet The Beatles!, was issued in 1964.) Other popular songs composed by Willson include "It's Beginning to Look a Lot Like Christmas" (published as "It's Beginning to Look Like Christmas"), "May the Good Lord Bless and Keep You," and "I See the Moon." He wrote the University of Iowa's fight song Iowa Fight Song, and Iowa State University's "For I for S Forever." He also wrote the fight song for his hometown high school "Mason City, Go!" He honored The Salvation Army with a musical tribute, "Banners and Bonnets." An oddity in Willson's body of work is "Chicken Fat," written in 1962. In school gymnasiums across the nation, this was the theme song for President John F. Kennedy's youth fitness program. It was time to get the country's youth into shape, and Willson's song had youngsters moving through basic exercises at a frenetic pace: push-ups, sit-ups, jumping jacks, torso twists, running in place, pogo springs, and plenty of marching. With an energetic lead vocal by Robert Preston, orchestral marching band, and full chorus, it was likely recorded during sessions for the Music Man film. Two versions of the song exist: a three-minute, radio-friendly length, and a longer, six-minute version for use in the gymnasium. In 2014 "Chicken Fat" was used in a television commercial for the iPhone 5S. In 1974 he offered a marching song, "Whip Inflation Now," to the Ford Administration, but it was not used. CANNOTANSWER
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Robert Reiniger Meredith Willson (May 18, 1902 – June 15, 1984) was an American flutist, composer, conductor, musical arranger, bandleader, playwright, and writer. He is perhaps best known for writing the book, music, and lyrics for the 1957 hit Broadway musical The Music Man and "It's Beginning to Look a Lot Like Christmas" (1951). Willson wrote three other Broadway musicals and composed symphonies and popular songs. He was twice nominated for Academy Awards for film scores. Early life Willson was born in Mason City, Iowa, to Rosalie Reiniger Willson and John David Willson. He had a brother two years his senior, John Cedrick, and a sister 12 years his senior, children's writer Dixie Willson. Willson attended Frank Damrosch's Institute of Musical Art (which later became the Juilliard School) in New York City. He married his high-school sweetheart, Elizabeth "Peggy" Wilson, on August 29, 1920; they were married for 26 years. As a child, Willson played the bass drum for a Salvation Army band. He became a flute and piccolo virtuoso accomplished enough to become a member of John Philip Sousa's band (1921–1924) and later the New York Philharmonic Orchestra under Arturo Toscanini (1924–1929). He then moved to San Francisco, California, as the concert director for radio station KFRC, and then as a musical director for the NBC radio network in Hollywood. His on-air radio debut came on KFRC in 1928 on Blue Monday Jamboree. Hollywood Willson's work in films included the score for Charlie Chaplin's The Great Dictator (1940) (Academy Award nomination for Best Original Score), and arranging music for the score of William Wyler's The Little Foxes (1941) (Academy Award nomination for Best Music Score of a Dramatic Picture). During World War II, Willson worked for the United States' Armed Forces Radio Service. His work with the AFRS teamed him with George Burns, Gracie Allen, and Bill Goodwin. He worked with all three as the bandleader, and a regular character, on the Burns and Allen radio program. He played a shy man always trying to get advice on women. His character was ditzy as well, basically a male version of Allen's. In 1942, Willson had his own program on NBC. Meredith Willson's Music was a summer replacement for Fibber McGee and Molly. Sparkle Time, which ran on CBS in 1946–47, was Willson's first full-season radio program. Returning to network radio after WWII, Willson created the Talking People, a choral group that spoke in unison while delivering radio commercials. In 1950 he became the musical director for The Big Show, a 90-minute comedy-variety program hosted by actress Tallulah Bankhead and featuring some of the world's best-known entertainers. Willson became part of one of the show's very few running gags, beginning replies to Bankhead's comments or questions with "well, sir, Miss Bankhead". He wrote the song "May the Good Lord Bless and Keep You" for the show. Bankhead spoke the lyrics over the music at the end of each show. He also worked on Jack Benny's radio program, and hosted his own program in 1949. For a few years in the early 1950s, Willson was a regular panelist on the Goodson-Todman game show The Name's the Same; he recalled later that he did the show for the steady Goodson-Todman salary, which he was saving toward his Broadway musical project. In 1950, Willson served as musical director for The California Story, California's centennial production at the Hollywood Bowl. Working on this production, Willson met writer Franklin Lacey, who proved instrumental in developing the storyline for a musical Willson had been working on, soon to become The Music Man. The California Story was followed by two more state centennial collaborations with stage director Vladimir Rosing: The Oregon Story in 1959 and The Kansas Story in 1961. Broadway Willson's most famous work, The Music Man, premiered on Broadway in 1957, and was adapted twice for film (in 1962 and 2003). He called it "an Iowan's attempt to pay tribute to his home state". It took Willson eight years and 30 revisions to complete the musical, for which he wrote more than 40 songs. The show, starring Robert Preston and Barbara Cook, was a resounding success, running on Broadway for 1,375 performances over three and a half years. The cast recording won the first Grammy Award for Best Original Cast Album (Broadway or TV). The show subsequently had a national tour and international productions. It was produced at New York City Center in 1980 with Dick Van Dyke in the titular role and Meg Bussert as Marian. The first Broadway revival opened in 2000 at the Neil Simon Theatre with Craig Bierko as Harold Hill and Rebecca Luker as Marian. The production ran for 699 performances. A second Broadway revival premiered on February 10, 2022, at the Winter Garden Theatre, starring Hugh Jackman as Harold and Sutton Foster as Marian. In 1959, Willson and his second wife Ralina "Rini" Zarova recorded an album, ... and Then I Wrote The Music Man, in which they review the history of, and sing songs from, the show. In 2010, Brian d'Arcy James and Kelli O'Hara played Willson and Rini in an off-Broadway entertainment based on that album. Willson's second musical, The Unsinkable Molly Brown, ran on Broadway for 532 performances from 1960 to 1962 and was made into a 1964 motion picture starring Debbie Reynolds. His third Broadway musical was an adaptation of the film Miracle on 34th Street, called Here's Love. Some theater buffs recall it as a quick failure, but it actually enjoyed an eight-month run on Broadway in 1963-64 (334 performances). His fourth, last, and least successful musical was 1491, which told the story of Columbus's attempts to finance his famous voyage. It was produced by the Los Angeles Civic Light Opera in 1969, but not on Broadway. Other works Classical music Willson's Symphony No. 1 in F minor: A Symphony of San Francisco and his Symphony No. 2 in E minor: Missions of California were recorded in 1999 by William T. Stromberg conducting the Moscow State Symphony Orchestra. Other symphonic works include the O.O. McIntyre Suite, Symphonic Variations on an American Theme and Anthem, the symphonic poem Jervis Bay, and Ask Not, which incorporates quotations from John F. Kennedy's inaugural address. In tribute to the Idyllwild School of Music and the Arts (ISOMATA), Willson composed In Idyllwild for orchestra, choir, vocal solo and Alphorn. Willson's chamber music includes A Suite for Flute. Television specials In 1958, Willson appeared on the televised panel game show I've Got a Secret. His secret was that he "wrote the new Salvation Army theme song." Willson wrote the song, "With Banners and Bonnets They Come", especially for The Salvation Army. The song was a direct reference to The Salvation Army's use of uniforms, flags, and symbols to "love the unloved". In the television special, Willson conducted the New York Staff Band while a Salvation Army officer, Olaf Lundgren, sang the song. In 1964, Willson produced three original summer variety specials for CBS under the title Texaco Star Parade. The first premiered on June 5, 1964, and starred Willson and his wife Rini. It featured guest stars Caterina Valente and Sergio Franchi, and a production number with Willson leading four military bands composed of 500 California high school band members. The second special starred Debbie Reynolds singing songs she sang in the 1964 movie version of Willson's Broadway musical The Unsinkable Molly Brown. On July 28, Willson and Rini hosted the third special, which featured a Willson production number with 1,000 Marine Corps volunteers from Camp Pendelton. Guest stars were Vikki Carr, Jack Jones, Frederick Hemke, and Joe and Eddie. Popular songs Willson wrote a number of well-known songs, such as "You and I", a No. 1 hit for Glenn Miller in 1941 on the Billboard charts. It was also recorded by Bing Crosby, and by Tommy Dorsey with Frank Sinatra on vocals. Three songs from The Music Man have become American standards: "Seventy-Six Trombones", "Gary, Indiana", and "Till There Was You", originally titled "Till I Met You" (1950). Other popular songs by Willson include "It's Beginning to Look a Lot Like Christmas" (published as "It's Beginning to Look Like Christmas"), "May the Good Lord Bless and Keep You", and "I See the Moon". He wrote the University of Iowa's fight song, "Iowa Fight Song", as well as Iowa State University's "For I for S Forever". He also wrote the fight song for his hometown high school "Mason City, Go!" An oddity in Willson's body of work is "Chicken Fat", written in 1962. In school gymnasiums across the nation, this was the theme song for President John F. Kennedy's youth fitness program. It was time to get the country's youth into shape, and Willson's song had youngsters moving through basic exercises at a frenetic pace: push-ups, sit-ups, jumping jacks, torso twists, running in place, pogo springs, and plenty of marching. With an energetic lead vocal by Robert Preston, orchestral marching band, and full chorus, it was recorded during sessions for the Music Man film. Two versions of the song exist: a three-minute, radio-friendly length, and a longer, six-minute version for use in the gymnasium. In 2014, a re-recording of "Chicken Fat" was used in a television commercial for the iPhone 5S. In 1974, Willson offered another marching song, "Whip Inflation Now", to the Ford Administration. Autobiography Willson wrote three memoirs: And There I Stood With My Piccolo (1948), Eggs I Have Laid (1955), and But He Doesn't Know the Territory (1959). Personal life Willson was married three times. He was divorced by his first wife, Elizabeth, as reported in a news dispatch of March 5, 1947. They apparently had no contact after the divorce, and in his three memoirs Elizabeth is never mentioned, although he surprised her by sending her roses on August 20, 1970, which would have been their 50th wedding anniversary. Wilson married Ralina "Rini" Zarova, a Russian opera singer, on March 13, 1948. She died on December 6, 1966. Willson married Rosemary Sullivan in February 1968. For years he lived in the Mandeville Canyon section of Brentwood, California; he was fondly remembered by friends and neighbors as a warm and gregarious host who loved nothing more than to play the piano and sing at parties. He often gave guests autographed copies of his album Meredith Willson Sings Songs from The Music Man. In 1982, he and Rosemary appeared in the audience of The Lawrence Welk Show. Willson returned several times to his hometown for the North Iowa Band Festival, an annual event celebrating music with a special emphasis on marching bands. Mason City was the site of the 1962 premiere of the motion picture The Music Man, hosted by Iowa Governor Norman Erbe, which was timed to coincide with the festival. Like his character Harold Hill, Willson led the "Big Parade" through the town, and the event included special appearances by the film's stars Shirley Jones and Robert Preston. The Master of Ceremonies, Mason City Globe-Gazette editor W. Earl Hall, was a statewide radio personality and friend of many decades. Willson was a member of the National Honorary Band Fraternity, Kappa Kappa Psi. Willson died of heart failure in 1984 at the age of 82. His funeral in Mason City included mourners dressed in Music Man costumes and a barbershop quartet that sang "Lida Rose". Willson is buried at the Elmwood-St. Joseph Municipal Cemetery in Mason City. Legacy On June 23, 1987, Willson posthumously received the Presidential Medal of Freedom from President Ronald Reagan. In 1999, the United States Postal Service issued a postage stamp featuring Willson. Willson's boyhood home in Mason City, Iowa, is part of "The Music Man Square", which opened in 2002. His widow, Rosemary, was a donor to the square. His alma mater, the Juilliard School, dedicated its first and only residence hall to Willson in 2005. "Till There Was You" from The Music Man was a favorite of the Beatles, and their recording of it was issued on their second UK and US albums With the Beatles and Meet the Beatles!. They performed the song during their first appearance on The Ed Sullivan Show in 1964. Willson's papers can be found at the Great American Songbook Foundation. Bibliography Willson, Meredith. And There I Stood with My Piccolo. Minneapolis. University of Minnesota Press, 1948, 2009. Willson, Meredith. Eggs I Have Laid, Holt, 1955. Willson, Meredith. But He Doesn't Know the Territory. Minneapolis. University of Minnesota Press 1959, 2009. Chronicles the making of The Music Man. Notes References Skipper, John C. (2000), Meredith Willson: The Unsinkable Music Man Savas Pub. Co, Oates, Bill (2005), Meredith Willson-America's Music Man, Author House, External links Official Website NAXOS listing MTI Shows biography Song Writers Hall of Fame listing Des Moines Register bio Remarks at the Presentation Ceremony for the Presidential Medal of Freedom – June 23, 1987 Univ. of Iowa Special Collections, Papers of W. Earl Hall (dating from 1917–1969) Appearance of Willson as guest on Make the Connection show, Sept. 1, 1955? Category:1902 births Category:1984 deaths Category:20th-century American composers Category:20th-century American male musicians Category:20th-century classical composers Category:American classical composers Category:American classical flautists Category:American film score composers Category:American male classical composers Category:American memoirists Category:American musical theatre composers Category:American musical theatre lyricists Category:Broadway composers and lyricists Category:Capitol Records artists Category:Distinguished Service to Music Medal recipients Category:Grammy Award winners Category:Juilliard School alumni Category:American male film score composers Category:Musicians from Iowa Category:People from Mandeville Canyon, Los Angeles Category:People from Mason City, Iowa Category:Presidential Medal of Freedom recipients Category:RCA Victor artists Category:Songwriters from Iowa Category:Tony Award winners Category:American male songwriters Category:20th-century flautists
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[ "Willson's most popular songs include \"You and I,\" \"Seventy-Six Trombones,\" \"Gary, Indiana,\" \"Till There Was You,\" \"It's Beginning to Look a Lot Like Christmas,\" \"May the Good Lord Bless and Keep You,\" and \"I See the Moon.\" He also wrote \"Chicken Fat\" for President John F. Kennedy's youth fitness program, and the University of Iowa's fight song Iowa Fight Song.", "The text does not provide information on whether the song \"You and I\" won any awards.", "In addition to \"You and I,\" some of Willson's other popular songs include \"Seventy-Six Trombones,\" \"Gary, Indiana,\" \"Till There Was You,\" \"It's Beginning to Look a Lot Like Christmas,\" \"May the Good Lord Bless and Keep You,\" \"I See the Moon,\" and \"Chicken Fat.\"", "The text does not provide information on whether Willson had a favorite among his songs.", "Yes, the article mentions some interesting aspects of Willson's career. For example, an oddity in Willson's work is a song called \"Chicken Fat,\" which became the theme song for President John F. Kennedy's youth fitness program in 1962. In school gyms across the nation, youngsters exercised to the song's basic exercises like push-ups, sit-ups and jumping jacks. The song was even used in a 2014 television commercial for the iPhone 5S. Additionally, in 1974, Willson offered a marching song, \"Whip Inflation Now,\" to the Ford Administration, but it was not used.", "\"Chicken Fat\" is considered an oddity in Willson's body of work because, instead of being a traditional popular song or show tune, it was specifically written to be used as a theme song for President John F. Kennedy's youth fitness program. This makes it unique in comparison to his other works. It features various exercise instructions and was used widely in school gymnasiums.", "The text does not provide information on Willson's opinion about his song \"Chicken Fat\" becoming the theme song for President John F. Kennedy's youth fitness program." ]
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C_6371cc0e3d304183bc0e3089dd91a7f4_1
Lea Salonga
Maria Lea Carmen Imutan Salonga, KLD (born February 22, 1971), known as Lea Salonga (), is a Filipina singer and actress best known for her roles in musical theatre, for supplying the singing voices of two Disney Princesses, and as a recording artist and television performer. At age 18, she originated the lead role of Kim in the musical Miss Saigon, first in the West End and then on Broadway, winning the Olivier and Theatre World Awards, and becoming the first Asian woman to win a Tony Award. Salonga is the first Filipino artist to sign with an international record label (Atlantic Records in 1993). She is also the first Philippine-based artist to have received a major album release and distribution deal in the United States, and one of the best-selling Filipino artists of all time, having sold over 19 million copies of her albums worldwide.
2008-2012: Philippine Daily Inquirer columnist and Cinderella tour
On 3 July 2008, Salonga became a columnist in the Philippine Daily Inquirer with her column "Backstory" (Entertainment section), "Introducing: Lea Salonga, writer". Since then she has written numerous columns for the Inquirer. She performed in "Global Pop" at the Music Center on July 11, 2008. It was presented by The Blue Ribbon a group founded by Dorothy Chandler in 1968. Salonga gave a concert on July 11 at Los Angeles' Walt Disney Concert Hall. That same year she received a special citation from Awit Awards, the Philippines' version of Grammys. From late July 2008 to mid-2009, Salonga played the title role in the 30-week Asian tour of Rodgers and Hammerstein's Cinderella, which premiered in Manila. Salonga performed a series of concerts in North America in 2009 and was also asked to dance the Filipino novelty dances "Ocho-ocho" and "Spaghetti". The same year, Salonga advertised the Avon Products line of anti-aging skin care products Anew Rejuvenate in the Philippines. In June 2009, she sang at the 95th Anniversary Special of the Iglesia Ni Cristo. Salonga sang Patriotic song "Bayan Ko" at the Requiem Mass for former President Corazon Aquino at Manila Cathedral. Salonga celebrated 20 years of Miss Saigon by performing in concerts called "Lea Salonga...Your Songs", at the Philippine International Convention Center Plenary Hall on December 11 and 12, 2009. Her brother, Gerard, was musical director. From July to August 2010, Salonga played the role of Grizabella in the Manila run of the Asia-Pacific tour of Andrew Lloyd Webber's Cats at the Cultural Center of the Philippines. In October, she played Fantine during the 25th Anniversary Concert of Les Miserables, fifteen years after appearing in the 10th Anniversary as Eponine. The same year, she served as a celebrity judge for Avon Voices, Avon's first ever global, online singing talent search for women and songwriting competition for men and women. Salonga was honored as a Disney Legend on August 19, 2011. She was one of the judges in the 60th Miss Universe 2011 Beauty Pageant in Sao Paulo, Brazil on 12 September 2011. Salonga, along with Darren Criss, sang "A Whole New World" to its composer, Alan Menken, as Menken was named the winner of the 2011 Maestro Award at the Billboard/Hollywood Reporter Film & TV Music Conference on October 24, 2011. Salonga performed in a six-concert series titled "The Magic of Broadway and Disney Favorites" in 2012 with the Palm Beach Pops. She starred in the first production of Allegiance, at the Old Globe Theatre in San Diego from September to October 2012. Salonga starred in the Philippine production of the comedy God of Carnage from July 2012 at the Carlos P. Romulo Auditorium, RCBC Plaza, Manila. She took on the same role at the DBS Arts Centre in Singapore, in November 2012. Salonga joined the Candlelight Processional at Epcot in Walt Disney World as narrator on December 14 to 16, retelling the Christmas story accompanied by a 50-piece orchestra and a mass choir. CANNOTANSWER
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Maria Lea Carmen Imutan Salonga (; born February 22, 1971), known professionally as Lea Salonga, is a Filipina singer, actress, producer, and columnist. Dubbed the "Pride of the Philippines," she is best known for her roles in musical theatre, for supplying the singing voices of two Disney Princesses (Jasmine and Mulan), and as a recording artist and television performer. Throughout her career, she has achieved numerous accolades and honors, becoming an internationally-recognized figure in music and entertainment. At age eighteen, Salonga rose to international recognition when she originated the lead role of Kim in the musical Miss Saigon in the West End and won the Laurence Olivier Award for Best Actress in a Musical. She then reprised the role on Broadway, winning the Drama Desk Award, Outer Critics Circle Award, and Theatre World Awards before making history as the first Asian actress to win a Tony Award and the second-youngest actress to win for Best Performance by a Leading Actress in a Musical. Salonga was the first actress of Asian descent to play the roles of Éponine and Fantine in the musical Les Misérables on Broadway. She also portrayed Éponine and Fantine in the musical's 10th and 25th anniversary concerts, respectively, in London. She provided the singing voices of two official Disney Princesses: Princess Jasmine in Aladdin (1992) and Fa Mulan in Mulan (1998) and Mulan II (2004). She was named a Disney Legend in 2011 for her work with The Walt Disney Company. Salonga starred as Wu Mei-Li in the 2002 Broadway revival of Flower Drum Song. From 2015 to 2016, she returned to Broadway to portray Kei Kimura in Allegiance, and from 2017 to 2019, she appeared as Erzulie in the Broadway revival of Once on This Island. Salonga was the first Filipino artist to sign with an international record label (Atlantic Records in 1993). In her career, she has performed for six Philippine presidents (Ferdinand Marcos, Corazon Aquino, Fidel V. Ramos, Joseph Estrada, Gloria Macapagal Arroyo, and Benigno S. Aquino III), four American presidents (George H. W. Bush, Bill Clinton, George W. Bush, and Joe Biden), South Korean president Yoon Suk Yeol, and for Diana, Princess of Wales and Her Majesty Queen Elizabeth II. She has toured widely as a concert artist and has played numerous theatre, film, and television roles in North America, Europe, and Asia. Aside from her career in performing arts, Salonga is a columnist for the Philippine Daily Inquirer. Salonga is an active supporter of non-traditional casting, women's rights, reproductive rights, sex education, and LGBT rights. Early life and education Maria Lea Carmen Imutan Salonga was born on February 22, 1971, in the Ermita district of Manila, Philippines to Feliciano Genuino Salonga, a naval rear admiral and shipping company owner, and María Ligaya Alcántara Imutan of Pulupandan, Negros Occidental. She spent the first six years of her childhood in Angeles City before returning to Manila. As a child, Salonga sang at family parties before being encouraged by her cousin to audition for an upcoming production of The King and I, where she made her professional debut. Growing up in Angeles City, Pampanga, Salonga studied at the local O.B. Montessori Center campus. She later transferred to the campus in Greenhills, San Juan, Metro Manila to complete her secondary education, graduating as the class valedictorian in 1988. She later attended the University of the Philippines College of Music's extension program aimed at training musically talented children in music and stage movement. A college freshman studying biology at the Ateneo de Manila University when she auditioned for Miss Saigon, she intended to have a medical career. In the early 2000s, in between jobs in New York, she took two courses, Philosophy and European History, at Fordham University's Lincoln Center campus. Career 1971–1989: Career beginnings and Small Voice As a child, Salonga began singing at family parties. Her cousin, who was active with Repertory Philippines, encouraged her to audition for a production of The King and I, where she made her professional debut in 1978 at the age of seven. While performing with the company, she was trained by founders Baby Barredo and Zenaida “Bibot” Amador. She played the title role in Annie in 1980, later reprising the role in 1984, and appeared in other productions such as Cat on a Hot Tin Roof (1978), Fiddler on the Roof (1978), The Sound of Music (1980), The Rose Tattoo (1980), The Goodbye Girl (1982), Paper Moon (1983), and The Fantasticks (1988). In 1981, Salonga released her first album, Small Voice, which was certified gold in the Philippines, and made her film debut in the comedy film Tropang Bulilit. As a young performer, Salonga received a Filipino Academy of Movie Arts and Sciences (FAMAS) award nomination for Best Child Actress and three Aliw Awards for best child performer in 1980, 1981, and 1982. From 1983 to 1985, she hosted her musical television show, Love, Lea, and was a member of the cast of German Moreno's teen variety show, That's Entertainment. In 1985, Salonga and her brother, Gerard, took part in the 8th Metro Manila Popular Music Festival as the interpreters for the song entry titled "Musika, Lata, Sipol at La La La," composed by Tess Concepcion, which won second prize in the Amateur Division. That same year, she opened for Puerto Rican boy band Menudo in their concerts in Manila. She again performed with the group in 1986 and 1987, also appearing on their English-Tagalog album, In Action. As a teenager, Salonga continued to act in films, appearing in Like Father, Like Son (1985), Ninja Kids (1986), Captain Barbell (1986), and Pik Pak Boom (1988). In 1988, she released her second studio album, Lea, and opened for Stevie Wonder in Manila. 1989–1992: Miss Saigon and Aladdin In 1989, Salonga originated the leading role of Kim in the debut production of the musical Miss Saigon in London. For her initial Manila audition in 1988, the then 17-year-old Salonga chose to sing Alain Boublil and Claude-Michel Schönberg's "On My Own" from Les Misérables. Salonga has sometimes credited the song as the starting point of her international career. After hearing her rendition, she was asked if she had prepared another song to perform. Although she had not prepared another song for the audition, she chose to sing "The Greatest Love of All." At her first callback audition, Salonga was asked to sing "Sun and Moon" and "The Movie in My Mind," impressing the audition panel. In December 1988, Salonga appeared before the panel at the Theatre Royal, Drury Lane in London to perform "I'd Give My Life For You" and "Too Much For One Heart." After three days of intensive work sessions in London, Salonga was offered the lead role. During an episode of "Stars in the House" streamed on March 28, 2020, Salonga told Seth Rudetsky and his husband, producer James Wesley, that she found out that she was officially cast when she read the Sunday supplement of the Daily Mail. For her performance as Kim, Salonga won the 1990 Laurence Olivier Award for Best Actress in a Musical, becoming one of the youngest winners of the award. On December 21, 1990, Salonga performed with the Philippine Philharmonic Orchestra, Ateneo College Glee Club, and guest singer Robert Seña in a homecoming concert in Manila entitled A Miss Called Lea, which was later broadcast on television. She also received a Presidential Award of Merit from President Corazon Aquino for her services to the arts. When Miss Saigon opened on Broadway in 1991, she again played the role of Kim, winning the Drama Desk, Outer Critics Circle, and Theatre World awards and becoming the second-youngest actress and first actress of Asian descent to win a Tony Award. During the production transfer from West End to Broadway, a controversy erupted over Salonga's citizenship. The Actors' Equity Association (AEA) initially prevented her from reprising the role, wishing to give priority to Asian-American performers. However, Cameron Mackintosh claimed he could not find a satisfactory replacement for Salonga, and an arbitrator later reversed the AEA ruling. In 1993 and 1996, she returned to play Kim on Broadway. In 1999, she was invited back to London to close the West End production, and in 2001, at the age of 29 and after finishing the Manila run of the musical, Salonga returned to Broadway to close that production. In 1991, she was named one of People magazine's 50 Most Beautiful People. In 1992, she performed the singing voice of Princess Jasmine in Disney's animated film Aladdin. Later that year, Salonga's agent submitted her to an audition for the leading role of Eliza Doolittle in the upcoming Broadway revival of My Fair Lady. However, the casting director for the production refused to see her because of her race. Shortly after, Salonga was contacted by Cameron Mackintosh to join the Broadway production of Les Misérables. 1993–1996: Les Misérables, films, and other musicals In 1993, Salonga played the role of Éponine in the Broadway production of Les Misérables, becoming the first Asian actress to perform the role on Broadway. She performed the song "A Whole New World" from Aladdin with Brad Kane at the 65th Annual Academy Awards in Los Angeles, where the song won an Oscar, having already won a Golden Globe Award. That same year, she released her self-titled international debut album with Atlantic Records. In 1994, Salonga played in various musical theatre productions in the Philippines and Singapore, such as Sandy in Grease, Eliza Doolittle in My Fair Lady, and the Witch in Into the Woods. In the U.S. in 1995, Salonga played the role of Geri Riordan, an 18-year-old adopted Vietnamese American child in the Hallmark Hall of Fame TV movie Redwood Curtain, which starred John Lithgow and Jeff Daniels. She then flew back to the Philippines to star with Filipino matinée idol Aga Muhlach in the critically acclaimed film Sana Maulit Muli, which gave her a second Filipino Academy of Movie Arts and Sciences (FAMAS) award nomination, this time for Best Actress. She reprised the role of Éponine in the 10th-anniversary concert of Les Misérables at the Royal Albert Hall in London, which was recorded and later released as a film titled Les Misérables: The Dream Cast in Concert. In 1996, Salonga was again in Les Misérables as Éponine in the West End production of the musical. In September of that same year, she continued to perform the role at the Neal S. Blaisdell Concert Hall in Honolulu, Hawaii, during the musical's U.S. national tour. In December 1996, Salonga represented the Philippines while performing at ONE: The WTO Show, the closing ceremony for the inaugural World Trade Organization (WTO) ministerial conference held at the Suntec Singapore Convention and Exhibition Centre. 1997–2004: Recordings, concerts, television, and Flower Drum Song From 1997 to 2000, Salonga did recordings and concerts in the Philippines, another engagement in London, and a few returns to Miss Saigon in London and on Broadway. In 1997, she released I'd Like to Teach The World to Sing to gold sales in the Philippines. That recording was followed by Lea... In Love in 1998 and By Heart in 2000, both albums reaching multiple platinum status in the Philippines. In 1998, she again provided the singing voice for the title character in Mulan before later reprising the role in the 2004 sequel, Mulan II. At age 28, Salonga moved to New York City, purchasing her own apartment (which she still owns up to at least 2013). She participated in the 1998 tribute concert to Cameron Mackintosh in London entitled Hey, Mr. Producer!, where she performed numbers from several of his musicals. In December 1998, Salonga appeared in an international panel of performers, along with Iain Glen, Nicole Kidman, and Anna Manahan, for episode 277 of the American Theatre Wing’s documentary series, Working in the Theatre. In the Philippines in 1999 and again in 2000, she played Sonia Walsk in They're Playing Our Song. She also performed in four concerts: The Homecoming Concert, The Millennium Concert, The Best of Manila, and Songs from the Screen–the last two being benefit shows. Salonga returned to Manila in Miss Saigon, staged at the Cultural Center of the Philippines at the end of 2000. After her final stint in Miss Saigon for its closing on Broadway in 2001, Salonga recreated the role of Lien Hughes, originally played by Ming-Na Wen, in the soap opera As the World Turns. After completing her contract that year, she was asked to return to the role in 2003. She guested on Russell Watson's The Voice concert, narrated for the television special My America: A Poetry Atlas of the United States, and appeared on the Season 8 Christmas episode of the television medical drama ER, playing a patient with lymphoma. In 2002, Salonga returned to Broadway to play the leading role of Wu Mei-Li, a Chinese immigrant in a reinterpretation of Rodgers and Hammerstein's Flower Drum Song opposite Jose Llana. This was after the reinvented musical had a run at the Mark Taper Forum in Los Angeles in 2001 with Salonga playing the role and in 2002 winning Lead Actress in a Musical from the Los Angeles theatre Ovation Awards. The Salonga-led Broadway revival cast album was nominated for a 2004 Grammy Award for Best Musical Show Album. Salonga's performance was received positively by theatre critics in New York, and she received a nomination for Distinguished Performance from the Drama League, among other honors. In September 2002, she appeared on Working in the Theatre for a second time, along with John Cullum, Edie Falco, Stanley Tucci, Marissa Jaret Winokur, and Charlayne Woodard. Between the 2001 Los Angeles and 2002 Broadway productions of Flower Drum Song, she performed in a non-musical theatrical production for the first time, playing the role of Catherine in the stage play Proof in Manila. This was followed by a major concert, The Broadway Concert, at the Philippine International Convention Center. She also sang at the 56th Tony Awards with Harry Connick Jr., Peter Gallagher, and Michele Lee in a number paying tribute to Richard Rodgers. From 2003 to 2004, Salonga did her first "all-Filipino" concerts in Manila called Songs from Home, which later won her an Aliw Award as Entertainer of the Year. In 2003, she performed in several concerts at the Mohegan Sun hotel in Connecticut. This was followed by a Christmas concert in the Philippines called Home for Christmas and performances at the Lenape Regional Performing Arts Center in Marlton, New Jersey, in 2004. Later in 2004, she played Lizzie in the Manila production of the musical Baby, which earned her another nomination from the Aliw Awards. 2005–2007: International ventures In 2005, Salonga gave her first U.S. concert tour. Later that year, on November 7, she performed to a sold-out crowd at Carnegie Hall for the benefit of Diverse City Theater Company. The same year, she received the Golden Artist Award at the 53rd FAMAS Awards in honor of her international achievements, performed during the grand opening of Hong Kong's Disneyland, and recorded two songs on Daniel Rodriguez's album In the Presence. She also did voice work for Disney's English dub of Hayao Miyazaki's My Neighbor Totoro as Yasuko Kusakabe. Salonga wrote the foreword to Linda Marquart's The Right Way to Sing (2005). In 2006, at the 15th Asian Games in Doha, Qatar, Salonga concluded the closing ceremony with the song "Triumph of the One" before an audience of 50,000 people at Khalifa International Stadium. In 2007, Salonga released her first studio album in seven years called Inspired, which was certified platinum in the Philippines. On August 14, 2007, she received the Order of Lakandula, with the rank of Commander (Komandante), from Philippine President Gloria Arroyo in recognition of using her talents to benefit Philippine society and foster cultural exchange. She has also received the Congressional Medal of Achievement from the House of Representatives of the Philippines for showing "the extent and depth of the Filipino musical talent" and "opening the way for other Filipino artists to break into the finest theaters in the world." In March 2007, Salonga returned to Broadway for another stint in the musical Les Misérables, this time as Fantine. Her rejoining the show boosted the musical's ticket sales. President Arroyo watched Salonga in this role, with Filipino Americans Adam Jacobs as Marius and Ali Ewoldt as Cosette. Salonga received rave reviews and made it again to the short list of Broadway.com's Audience Award favorites as Best Replacement. During her tenure on Broadway that season, she appeared in Broadway on Broadway 2007 and Stars in the Alley 2007, spoke at the Broadway Artists Alliance Summer Intensives, guested on the Broadway musical 25th Annual Putnam County Spelling Bee, and participated in Broadway Cares/Equity Fights AIDS' 12th Annual Nothing Like a Dame event to benefit the women's health initiative of The Actors Fund. Right after doing Les Misérables, she performed in two events: at the U.S. Military Academy Band's concert in West Point, where she sang four songs and an encore, and in her concert at the Tarrytown Music Hall in New York. She was then busy with other concerts and musical events, including a Christmas presentation in Manila. 2008–2012: Philippine Daily Inquirer columnist and touring In 2008, Salonga gave concerts in the Philippines, California, Hawaii, Hong Kong, and Guam, On July 3, 2008, Salonga became a columnist in the Philippine Daily Inquirer with her column "Backstory" (Entertainment section), "Introducing: Lea Salonga, writer." Since then, she has written numerous columns for the Inquirer. She performed in "Global Pop" at the Music Center on July 11, 2008. It was presented by The Blue Ribbon, a group founded by Dorothy Chandler in 1968. Salonga gave a concert on July 11 at Los Angeles' Walt Disney Concert Hall. That same year, she received a special citation from the Awit Awards.From late July 2008 to mid-2009, Salonga played the title role in the 30-week Asian tour of Rodgers and Hammerstein's Cinderella, which premiered in Manila. Salonga performed a series of concerts in North America in 2009 and was asked to dance the Filipino novelty dances "Ocho-Ocho" and "Spaghetti." The same year, Salonga advertised the Avon Products line of anti-aging skin care products Anew Rejuvenate in the Philippines. In June 2009, she sang at the 95th Anniversary Special of the Iglesia ni Cristo. Salonga sang Patriotic song "Bayan Ko" at the Requiem Mass for former President Corazon Aquino at Manila Cathedral. Salonga celebrated 20 years of Miss Saigon by performing in concerts called Lea Salonga... Your Songs at the Philippine International Convention Center Plenary Hall on December 11 and 12, 2009. In the same venue, Salonga received Gusi Peace Prize in November 2009. From July to August 2010, Salonga played the role of Grizabella in the Manila run of the Asia-Pacific tour of Andrew Lloyd Webber's Cats at the Cultural Center of the Philippines. In October, she played Fantine during the 25th Anniversary Concert of Les Misérables, fifteen years after appearing in the 10th Anniversary as Eponine. The same year, she served as a celebrity judge for Avon Voices. Salonga was honored as a Disney Legend on August 19, 2011. She was one of the judges in the Miss Universe 2011 pageant in São Paulo, Brazil on September 12, 2011. Salonga, along with Darren Criss, sang "A Whole New World" to its composer, Alan Menken, as Menken was named the winner of the 2011 Maestro Award at the Billboard/Hollywood Reporter Film & TV Music Conference on October 24, 2011. Salonga performed in a six-concert series titled The Magic of Broadway and Disney Favorites in 2012 with the Palm Beach Pops. She starred in the first production of Allegiance at the Old Globe Theatre in San Diego from September to October 2012. Salonga starred in the Philippine production of the comedy God of Carnage in July 2012 at the Carlos P. Romulo Auditorium, RCBC Plaza, Manila. She took on the same role at the DBS Arts Centre in Singapore in November 2012. Salonga joined the Candlelight Processional at Epcot in Walt Disney World as narrator on December 14 to 16, retelling the Christmas story accompanied by a 50-piece orchestra and a mass choir. 2013–2018: The Voice of the Philippines and return to Broadway In January 2013, Salonga participated in Lincoln Center's American Songbook concert series at the Allen Room. In February in the Philippines, Salonga provided the theme song for TV5's reality singing competition Kanta Pilipinas and, together with Tyne Daly and Norm Lewis, she starred as Mother in a concert performance of Ragtime at Lincoln Center's Avery Fisher Hall. Salonga headlined a concert series, "4 Stars One World of Broadway Musicals," in Tokyo Osaka in June, performing with Ramin Karimloo, Sierra Boggess, and Yu Shirota. She was one of the four coaches, together with apl.de.ap, Sarah Geronimo, and Bamboo Mañalac, for the ABS-CBN program, The Voice of the Philippines, which premiered in June 2013. In December 2013, Salonga began her Lea Salonga: Playlist concert tour in the Philippines, which celebrated her 35 years in show business. The concert series was extended to January 2014. Salonga wrote a book, Playlist: A Celebration of 35 Years, which she used as a souvenir program for the concerts. In 2014, she returned for the second season of The Voice of the Philippines and joined the new Philippine version of The Voice Kids, on which she has appeared for three seasons. Salonga recorded a song titled "Wished That I Could Call You" that was included in the charity compilation album Children In Need, released in March 2014. Also, in 2014 and 2015, she toured Asia and North America with Il Divo. In mid-2015, she performed a concert series in Australasia. Salonga reprised her role as Kei Kimura in the 2015–16 Broadway production of Allegiance. In The New York Times, Charles Isherwood wrote of her performance: "Her voice retains its plush beauty, and her culminating first act solo, 'Higher' ... is perhaps the show's musical highlight." Salonga guest-starred on the April 2016 season finale of the American television series Crazy Ex-Girlfriend, playing Filipino-heritage character Josh's visiting aunt, a former Star Search contestant, in town for a wedding, at which she sings the episode's climactic Disney princess parody song, "One Indescribable Instant." In Manila in November 2016, she appeared as Helen Bechdel in the international premiere of Fun Home. A review in ABS-CBN News said that she "delivers a finely tuned performance, utilizing her prodigious stage presence to provide the cold and dark shadings to erstwhile peppy scenes with her subtle stares and held back emotions. ... [In] "Days by Days" ... she finally lets go of all the resentment and repressed anger of a woman stuck in a marriage built on a lie. Yet there is dignity in her breakdown ... Salonga pulls it off with such clarity, both musically and emotionally, that it's difficult not to be moved." In 2016, Salonga won two more Aliw Awards, one for Best Major Concert in a Foreign Venue and her second Entertainer of the Year award. The following year, Salonga was one of the coaches on The Voice Teens. Also in 2017, she released an album, Bahaghari: Lea Salonga Sings Traditional Songs of the Philippines, with songs sung in several languages spoken in the Philippines. Salonga portrayed Erzulie in the 2017 Broadway revival of Once on This Island at Circle in the Square Theatre, where she received critical praise for her vocal performance. She returned to the show for its final performances in December 2018 and January 2019. Once on this Island was nominated for a Grammy Award for Best Musical Theater Album. 2019–present: Yellow Rose, Dream Again tour, and Pretty Little Liars: Original Sin Salonga appeared alongside Eva Noblezada, Dale Watson, and Princess Punzalan as a Philippine immigrant, Aunt Gail, in the musical film Yellow Rose, which premiered at the 2019 Los Angeles Asian Pacific Film Festival. She also toured North America and the United Kingdom that year. Later in 2019, she played Mrs. Lovett in a revival of Sweeney Todd: The Demon Barber of Fleet Street in Manila and then Singapore. Critics praised her "crystalline tones that turned her numbers, especially 'By the Sea,' into unexpected show-stoppers" and called the performance a "career-high" for the actress. Between these two short runs, she gave concerts in Sydney, Melbourne, and Brisbane in November 2019. In March 2020, shortly after performing in Dubai, Salonga announced that her 2020 North American tour would be rescheduled due to the onset of the COVID-19 pandemic. In May 2020, she announced that the tour would again be rescheduled to Fall 2021, but these dates were later rescheduled once more. During the pandemic, Salonga performed for several virtual global fundraising events and concerts. In August 2020, she released her single "Dream Again," a song of hope and persistence. On November 27, the PBS series Great Performances broadcast her 2019 concert at the Sydney Opera House, performed with the Sydney Symphony Orchestra. In 2021, Salonga voiced the Mysterious Woman in the Netflix series Centaurworld. In September of the same year, she announced her Dream Again Tour, named after her 2020 single. One month later, she announced she would also be touring the United States and Canada. On December 25, 2021, Salonga returned to Dubai to perform a Christmas concert for Expo 2020 at the Dubai Exhibition Centre. On April 6, 2022, Salonga began her Dream Again Tour in the United States and Canada. Following the completion of this tour, she performed the song "The Prayer" at the 2022 National Memorial Day Concert on the West Lawn of the United States Capitol in Washington, D.C., which was broadcast on PBS. On June 18, she continued her tour in the United Kingdom. On July 28, the critically acclaimed series Pretty Little Liars: Original Sin premiered on HBO Max, where Salonga portrays Elodie Honrada. In September 2022, Salonga began portraying Mama Soubirous in the Indie Theatrical workshop of the new musical adaptation of The Song of Bernadette in Manhattan. In the same month, she was recognized by TIME magazine at the TIME100 Impact Awards for being a "life-long role model for children of color." On October 27, 2022, Salonga was featured on Pentatonix's cover of Jose Mari Chan's "Christmas In Our Hearts" in their Christmas album, Holidays Around The World. On December 15, 16, and 17, 2022, Salonga performed with The Tabernacle Choir as the featured guest artist in a series of Christmas concerts at the Conference Center in Salt Lake City, Utah. The event is set to be televised on PBS in December 2023. On March 13, 2023, Salonga performed at the annual Broadway Backwards event at the New Amsterdam Theatre. On May 6, 2023, she was recognized by Gold House at the 2nd Annual Gold House Gala, receiving the Gold Legend Honor for a "a lifetime of indelible contributions to the success and representation of the Asian Pacific community." She is scheduled to join the Broadway cast and producing team of Here Lies Love for a five-week run in the summer of 2023 in the role of Aurora Aquino, mother of Ninoy Aquino. The production will notably mark the first time Salonga has played a Filipino role on the Broadway stage and will mark her return to the Broadway Theatre, where Miss Saigon played. She is also scheduled to return to London's West End and star alongside Bernadette Peters in the Stephen Sondheim tribute revue Stephen Sondheim's Old Friends, which is set to run at the Gielgud Theatre from September 16, 2023 to January 6, 2024. Artistry Musical style and themes In her popular music releases, Salonga has sung "simple love songs," which are common in Original Pilipino Music. Influences Salonga's style and music has been inspired by musical artists such as ABBA, the Carpenters (particularly Karen Carpenter), Olivia Newton-John, the Osmonds, Elaine Paige, and Barbra Streisand. She has noted that these performers provided "clear voices that really helped the listener focus on the lyrics besides the tone and music." Salonga has repeatedly praised Streisand as one of her favorites for her "mammoth" career in singing, acting, producing, and arranging. During her January 15, 2000 concert at the Philippine International Convention Center, Salonga called Streisand one of her idols. Voice Salonga has been praised for her absolute pitch and control over her powerful vocals, which can evoke a wide array of emotion and soundscapes. Her voice has been described as "golden" by Marilyn Stasio for Variety magazine and "clear and as sparkling as Baccarat crystal" by Rex Reed for Observer. Due to her vocal versatility, it is often debated on what her vocal range and type classifications are. When Salonga performed as Kim in Miss Saigon, she was expected to utilize most of her range, hitting notes as low as E3 and as high as D5. In both Disney Princess singing roles, Jasmine and Mulan, Salonga uses head tones that reach up to F5. Salonga has been recorded singing notes ranging from D3 to C6. Other ventures Philanthropy and activism On October 15, 2010, Salonga was appointed Goodwill Ambassador for the Food and Agriculture Organization (FAO) of the United Nations. Salonga has been openly supportive of LGBT equality for many years. On October 12, 2009, during a benefit concert held at The Philippine Center's Kalayaan Hall for the victims of Typhoon Ondoy, Salonga referenced the National Equality March in Washington, D.C. and stated, "I believe that every single human being has the fundamental right to marry whoever they want." In 2011, The Advocate called her a "major gay icon." In February 2016, Salonga criticized Filipino politician and former professional boxer Manny Pacquiao via Twitter for his views on homosexuality and same-sex marriage. On March 29, 2021, Salonga condemned the rise of violent attacks on Asian Americans during the COVID-19 pandemic. On April 21, 2021, she appeared with actress Lucy Liu, politician and First Lady Hillary Clinton, and others in the #AAPI Women Strong: Organizing Beyond A Hashtag forum to share their experiences and spread awareness on anti-Asian hate. Personal life Salonga lives in the Philippines and the United States. Early relationships After performing in the 2000 Manila production of They're Playing Our Song, Salonga began a relationship with Korean-American co-star Michael K. Lee. The relationship ended in mid-2001. Marriage and children In November 2001, while performing in the Los Angeles production of Flower Drum Song at the Mark Taper Forum, Salonga met Robert "Rob" Charles Chien, an American entrepreneur of Chinese and Japanese heritage. On January 10, 2004, Salonga and Chien married at the Our Lady of the Angels Cathedral. During the wedding ceremony, Salonga performed the song "Two Words," composed by Louie Ocampo and Freddie Santos, given to her as an early wedding present. The wedding was aired as a two-hour television special, which was directed by Bobby Garcia and hosted by Boy Abunda, on ABS-CBN in late January 2004. They have one daughter together. Notable relatives Salonga has notable relatives around the world, including Filipino musical conductor and arranger Gerard Salonga (brother), ballerina Maniya Barredo (first cousin), and Canadian actress and model Shay Mitchell (cousin). Discography Solo recordings Small Voice (1981) Lea (1988) Bakit Labis Kitang Mahal (1992) Lea Salonga (1993) I'd Like to Teach The World to Sing (1997) Lea... In Love (1998) By Heart (1999) Lea Salonga: The Christmas Album (2000) Songs from the Screen (2001) Inspired (2007) Lea Salonga: Your Songs (2010) Bahaghari [Rainbow]: Lea Salonga Sings Traditional Songs of the Philippines (2017) Cast recordings Miss Saigon (Original London Cast Recording) (1989) Little Tramp (Studio Recording) (1992) The King and I (Hollywood Studio Cast Recording) (1992) Aladdin (Soundtrack Recording) (1992) Mulan (Soundtrack Recording) (1998) Making Tracks (Original Cast Recording) (2001) Flower Drum Song (Revival Cast Recording) (2002) Mulan II (Soundtrack Recording) (2005) Dayo: Sa Mundo ng Elementalia (Soundtrack Recording) (2008) Cinderella (Original International Tour Cast Recording) (2010) Allegiance (Original Broadway Cast Recording) (2016) Once on This Island (First Broadway Revival Cast Recording) (2018) Video/Live recordings Hey Mr. Producer: The Musical World of Cameron Mackintosh (1997) Les Misérables: The Dream Cast in Concert (1995) Lea Salonga Live Vol. 1 (2000) Lea Salonga Live Vol. 2 (2000) The Broadway Concert (2002) Songs from Home: Live Concert Recording (2004) Les Misérables in Concert: The 25th Anniversary (2010) The Journey So Far – Recorded Live at Cafe Carlyle (2011) Live: Jazz at Lincoln Center (2016) Blurred Lines (2017) The Story of My Life: Lea Salonga Live from Manila (2019) with the BYU Chamber Orchestra Lea Salonga in Concert with the Sydney Symphony Orchestra (2020) Compilation albums 100% Lea Gives Her Best (2003) The Ultimate OPM Collection (2007) Featured recordings Disney Princess: The Ultimate Song Collection (2004), for the song "If You Can Dream" (sung with Susan Logan, Grey Griffin, Jodi Benson, Paige O'Hara and Judy Kuhn) Disney Princess Enchanted Tales: Follow Your Dreams (2007), for the songs "Peacock Princess" (sung with Gilbert Gottfried) and "I've Got My Eyes on You" Shelldon (2008), for the song "It's a Brand New Day" Sofia the First (2014), for the songs "The Ride of Our Lives" (episode 12: "Two to Tangu") and "Stronger that You Know" (episode 36: "Princesses To The Rescue") Acting credits One of the most prolific actresses since her career's inception in 1978, Salonga has appeared in numerous international theatre productions, television shows, films, and video games. In Manila, Salonga has appeared in theatre productions such as The King and I (1978), Cat on a Hot Tin Roof (1978), Fiddler on the Roof (1978), Annie (1980), The Sound of Music (1980), The Rose Tattoo (1980), The Bad Seed (1981), The Goodbye Girl (1982), The Paper Moon (1983), Annie (1984), The Fantasticks (1988), My Fair Lady (1994), Grease (1995), They're Playing Our Song (2000), Miss Saigon (2000), Proof (2002), Baby (2004), Cats (2010), God of Carnage (2012), Fun Home (2016), and Sweeney Todd: The Demon Barber of Fleet Street (2019). In London's West End, she has appeared in Miss Saigon (1989–1990, 1999) and Les Misérables (1996). She will return to the West End in September 2023 to appear in Stephen Sondheim's Old Friends. On Broadway, she has appeared in Miss Saigon (1991–1992, 1993, 1999, 2001), Les Misérables (1993), Flower Drum Song (2002–2003), Something Good: A Broadway Salute to Richard Rogers on His 100th Birthday (2002), Les Misérables (2007), Allegiance (2015–2016), and Once on This Island (2017–2018, 2018–2019). She will return to Broadway in the summer of 2023 to appear in Here Lies Love. Salonga has also appeared in Into the Woods (1994), They're Playing Our Song (1999), God of Carnage (2012), and Sweeney Todd: The Demon Barber of Fleet Street (2019) in Singapore, Les Misérables (1996) in Honolulu during the third U.S. national tour, Rodgers and Hammerstein's Cinderella (2008), Allegiance (2012) in San Diego, Annie (2018) at the Hollywood Bowl in Los Angeles, and the 10th and 25th anniversary concerts of Les Misérables at the Royal Albert Hall and The O2 Arena, respectively. Salonga made her film debut in 1981 in the Filipino comedy Tropang Bulilit. She went on to appear in the films Like Father, Like Son (1985), Ninja Kids (1986), Captain Barbell (1986), Pik Pak Boom (1988), Dear Diary (1989), The Heat Is On (1989), Aladdin (1992), Bakit Labis Kitang Mahal (1992), Sana Maulit Muli (1995), Mulan (1998), Les Misérables: The Dream Cast in Concert (1998), My Neighbor Totoro (2004), Mulan II (2004), Disney Princess Enchanted Tales: Follow Your Dreams (2007), Les Misérables in Concert: The 25th Anniversary (2010), Miss Saigon: 25th Anniversary (2016), Allegiance (2016), Expedition Reef (2018), and Yellow Rose (2019). In 1983, Salonga began hosting her own variety show entitled Love, Lea, which ended its run in 1985. She went on to appear in That's Entertainment (1986), Olsen Twins Mother's Day Special (1993), Sesame Street (1993), Reading Rainbow (1993, 2001), Redwood Curtain (1995), Aladdin on Ice (1995), ASAP (1997–present), ER (2001), As the World Turns (2001, 2003), Johnny Bravo (2004), Miss Universe 2011 (2011), Sofia the First (2012, 2014), The Voice of the Philippines (2013, 2014–15), The Voice Kids (2014–2019), Crazy Ex-Girlfriend (2016), Nature Is Speaking (2016), 91st Macy's Thanksgiving Day Parade (2017), The Voice Teens (2017, 2020), Centaurworld (2021), American Experience (2022), Pretty Little Liars: Original Sin (2022), and Little Demon (2022). Achievements and legacy Salonga gained national recognition in the Philippines at a young age, winning Best Child Performer at the Aliw Awards in 1980, 1981, and 1982. For her success as a child singer and actress, she was known as the "Shirley Temple of the Philippines." For her performance as the leading role of Kim in Miss Saigon, Salonga won Outstanding Performance of the Year by an Actress in a Musical at the 1990 Laurence Olivier Awards. After her return to the Philippines, she won Outstanding Performer at the Aliw Awards. In the same year, she received a Presidential Medal of Merit from President Corazon Aquino for her services to the arts. For reprising her role as Kim in the Broadway production of Miss Saigon, Salonga was awarded Outstanding Actress in a Musical at the 1991 Drama Desk Awards, Outstanding Actress in a Musical at the 1991 Outer Critics Circle Awards, Best Actress in a Musical at the 1991 Theatre World Awards, and Best Performance by an Actress in a Musical at the 45th Annual Tony Awards. She made history as the first Asian actress to win a Tony Award and the second-youngest actress to win for Best Performance by a Leading Actress in a Musical. She later became the first Asian actress to portray the role of Éponine when she joined the Broadway production in early 1993. In 1993, she also became the first Filipino artist to sign with an international record label when she signed with Atlantic Records. In 2004, Salonga won Entertainer of the Year at the Aliw Awards. She later won the Aliw Award for Best Major Concert (Female) in 2008. In 2007, President Gloria Arroyo honored Salonga with the rank of Commander of the Order of Lakandula in recognition of using her talents to benefit Philippine society and foster cultural exchange. The House of Representatives of the Philippines also awarded her with the Congressional Medal of Achievement for showing "the extent and depth of the Filipino musical talent" and "opening the way for other Filipino artists to break into the finest theaters in the world." In 2011, Salonga was declared a "Disney Legend" for her work with the Walt Disney Company, providing the singing voices for Princess Jasmine in Aladdin and Fa Mulan in Mulan and Mulan II. In September 2022, Salonga was recognized by TIME magazine at the TIME100 Impact Awards for being a "life-long role model for children of color." Salonga has been cited as an influence for several singers and actors, especially those of Asian descent, including Ali Ewoldt, Kimiko Glenn, Rachelle Ann Go, Vanessa Hudgens, Bella Poarch, Nicole Scherzinger, and Phillipa Soo. Published works Books Marquart, Linda; Salonga, Lea (2005). The Right Way to Sing. New York City, New York: Allworth Press. ISBN 1581154070. Michael, Ted; Salonga, Lea (2012). So You Wanna Be a Superstar?: The Ultimate Audition Guide. Philadelphia, Pennsylvania: Running Press Kids. ISBN 978-0762446100. Columns "Backstory." Inquirer Entertainment. Makati, Metro Manila: Philippine Daily Inquirer; Inquirer Holdings, Inc. . 2008–present. Audiobooks Ko, Lisa (Author); Lea Salonga (Narrator). The Contractors (2020). Amazon Original Stories. . See also Filipinos in the New York metropolitan area Honorific nicknames in popular music List of people with absolute pitch Recipients of Presidential Medal of Merit in the Philippines Tony Award for Best Actress in a Musical Notes References Further reading Fernandez, Yvette (2013). Princess Lea: The Life Story of Lea Salonga. Mandaluyong: Summit Publishing Company, Inc. ISBN 9789719902393. External links Category:1971 births Category:20th-century Filipino actresses Category:20th-century Filipino women singers Category:21st-century Filipino actresses Category:21st-century Filipino women singers Category:ABS-CBN personalities Category:Actresses from Pampanga Category:Arista Records artists Category:Ateneo de Manila University alumni Category:Atlantic Records artists Category:Audiobook narrators Category:Capitol Records artists Category:Disney Legends Category:Disney people Category:Drama Desk Award winners Category:FAO Goodwill ambassadors Category:Filipino child actresses Category:Filipino child singers Category:Filipino expatriates in the United States Category:Filipino musical theatre actresses Category:Filipino voice actresses Category:Filipino women musicians Category:Fordham University alumni Category:GMA Network personalities Category:Kapampangan people Category:Laurence Olivier Award winners Category:Living people Category:People from Angeles City Category:People from Manila Category:Recipients of the Order of Lakandula Category:Recipients of the Presidential Medal of Merit (Philippines) Category:Singers from Pampanga Category:Sony Music Philippines artists Category:That's Entertainment (Philippine TV series) Category:That's Entertainment Thursday Group Members Category:Theatre World Award winners Category:Tony Award winners Category:Walt Disney Records artists
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Lea Salonga
Maria Lea Carmen Imutan Salonga, KLD (born February 22, 1971), known as Lea Salonga (), is a Filipina singer and actress best known for her roles in musical theatre, for supplying the singing voices of two Disney Princesses, and as a recording artist and television performer. At age 18, she originated the lead role of Kim in the musical Miss Saigon, first in the West End and then on Broadway, winning the Olivier and Theatre World Awards, and becoming the first Asian woman to win a Tony Award. Salonga is the first Filipino artist to sign with an international record label (Atlantic Records in 1993). She is also the first Philippine-based artist to have received a major album release and distribution deal in the United States, and one of the best-selling Filipino artists of all time, having sold over 19 million copies of her albums worldwide.
2013-present: The Voice of the Philippines and return to Broadway
On January 30, 2013, Salonga took part on the 2013 season of Lincoln Center's American Songbook concert series at the Allen Room. In the Philippines, Salonga provided the theme song for TV5's reality singing competition Kanta Pilipinas which premiered on February 8. On February 18, Salonga, Tyne Daly and Norm Lewis starred in a concert performance of Ragtime at Lincoln Center's Avery Fisher Hall. Salonga played Mother. Salonga headlined a concert series, "4 Stars One World of Broadway Musicals," in Tokyo from June 15-23, and in Osaka from June 27-30. She performed with, Ramin Karimloo, Sierra Boggess, and Yu Shirota. She was one of the four coaches, together with apl.de.ap, Sarah Geronimo and Bamboo Manalac for the ABS-CBN program, The Voice of the Philippines, which premiered on June 15, 2013. In December 2013, Salonga began a concert tour in the Philippines titled "Lea Salonga: Playlist" that celebrated her 35 years in show business. The concert series was extended to January 2014. Salonga wrote a book, Playlist: A Celebration of 35 Years, which she used as a souvenir program for the concerts and sells on her website. In 2014, she returned for the second season of The Voice of the Philippines and also joined the new Philippine version of The Voice Kids, on which she has appeared for three seasons, as of 2016. Salonga recorded a song called "Wished That I Could Call You" that was included in the charity compilation album Children In Need, released in March 2014. Also in 2014-15, she toured in Asia and North America with Il Divo. In mid-2015, she headlined her own concert series in Australasia. Salonga reprised her role as Kei Kimura in the 2015-16 Broadway production of Allegiance. Charles Isherwood wrote in The New York Times of her performance: "Her voice retains its plush beauty, and her culminating first act solo, "Higher" ... is perhaps the show's musical highlight." Salonga guest-starred on the April 18, 2016 season finale of the American television series Crazy Ex-Girlfriend. She played Helen Bechdel in the international premiere of Fun Home in November 2016 in Manila. A review in ABS-CBN News said that she "delivers a finely tuned performance, utilizing her prodigious stage presence to provide the cold and dark shadings to erstwhile peppy scenes with her subtle stares and held back emotions. ... [In] "Days by Days" ... she finally lets go of all the resentment and repressed anger of a woman stuck in a marriage built on a lie. Yet there is dignity in her breakdown ... Salonga pulls it off with such clarity, both musically and emotionally, that it's difficult not to be moved. In 2016 she won two more Aliw Awards, one for Best Major Concert in a Foreign Venue and her second Entertainer of the Year award. The following year, Salonga was one of the coaches on The Voice Teens. Salonga is currently portraying Erzulie in the 2017 Broadway revival of Once on This Island at Circle in the Square Theatre, where she is receiving critical praise for her vocal performance. CANNOTANSWER
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Maria Lea Carmen Imutan Salonga (; born February 22, 1971), known professionally as Lea Salonga, is a Filipina singer, actress, producer, and columnist. Dubbed the "Pride of the Philippines," she is best known for her roles in musical theatre, for supplying the singing voices of two Disney Princesses (Jasmine and Mulan), and as a recording artist and television performer. Throughout her career, she has achieved numerous accolades and honors, becoming an internationally-recognized figure in music and entertainment. At age eighteen, Salonga rose to international recognition when she originated the lead role of Kim in the musical Miss Saigon in the West End and won the Laurence Olivier Award for Best Actress in a Musical. She then reprised the role on Broadway, winning the Drama Desk Award, Outer Critics Circle Award, and Theatre World Awards before making history as the first Asian actress to win a Tony Award and the second-youngest actress to win for Best Performance by a Leading Actress in a Musical. Salonga was the first actress of Asian descent to play the roles of Éponine and Fantine in the musical Les Misérables on Broadway. She also portrayed Éponine and Fantine in the musical's 10th and 25th anniversary concerts, respectively, in London. She provided the singing voices of two official Disney Princesses: Princess Jasmine in Aladdin (1992) and Fa Mulan in Mulan (1998) and Mulan II (2004). She was named a Disney Legend in 2011 for her work with The Walt Disney Company. Salonga starred as Wu Mei-Li in the 2002 Broadway revival of Flower Drum Song. From 2015 to 2016, she returned to Broadway to portray Kei Kimura in Allegiance, and from 2017 to 2019, she appeared as Erzulie in the Broadway revival of Once on This Island. Salonga was the first Filipino artist to sign with an international record label (Atlantic Records in 1993). In her career, she has performed for six Philippine presidents (Ferdinand Marcos, Corazon Aquino, Fidel V. Ramos, Joseph Estrada, Gloria Macapagal Arroyo, and Benigno S. Aquino III), four American presidents (George H. W. Bush, Bill Clinton, George W. Bush, and Joe Biden), South Korean president Yoon Suk Yeol, and for Diana, Princess of Wales and Her Majesty Queen Elizabeth II. She has toured widely as a concert artist and has played numerous theatre, film, and television roles in North America, Europe, and Asia. Aside from her career in performing arts, Salonga is a columnist for the Philippine Daily Inquirer. Salonga is an active supporter of non-traditional casting, women's rights, reproductive rights, sex education, and LGBT rights. Early life and education Maria Lea Carmen Imutan Salonga was born on February 22, 1971, in the Ermita district of Manila, Philippines to Feliciano Genuino Salonga, a naval rear admiral and shipping company owner, and María Ligaya Alcántara Imutan of Pulupandan, Negros Occidental. She spent the first six years of her childhood in Angeles City before returning to Manila. As a child, Salonga sang at family parties before being encouraged by her cousin to audition for an upcoming production of The King and I, where she made her professional debut. Growing up in Angeles City, Pampanga, Salonga studied at the local O.B. Montessori Center campus. She later transferred to the campus in Greenhills, San Juan, Metro Manila to complete her secondary education, graduating as the class valedictorian in 1988. She later attended the University of the Philippines College of Music's extension program aimed at training musically talented children in music and stage movement. A college freshman studying biology at the Ateneo de Manila University when she auditioned for Miss Saigon, she intended to have a medical career. In the early 2000s, in between jobs in New York, she took two courses, Philosophy and European History, at Fordham University's Lincoln Center campus. Career 1971–1989: Career beginnings and Small Voice As a child, Salonga began singing at family parties. Her cousin, who was active with Repertory Philippines, encouraged her to audition for a production of The King and I, where she made her professional debut in 1978 at the age of seven. While performing with the company, she was trained by founders Baby Barredo and Zenaida “Bibot” Amador. She played the title role in Annie in 1980, later reprising the role in 1984, and appeared in other productions such as Cat on a Hot Tin Roof (1978), Fiddler on the Roof (1978), The Sound of Music (1980), The Rose Tattoo (1980), The Goodbye Girl (1982), Paper Moon (1983), and The Fantasticks (1988). In 1981, Salonga released her first album, Small Voice, which was certified gold in the Philippines, and made her film debut in the comedy film Tropang Bulilit. As a young performer, Salonga received a Filipino Academy of Movie Arts and Sciences (FAMAS) award nomination for Best Child Actress and three Aliw Awards for best child performer in 1980, 1981, and 1982. From 1983 to 1985, she hosted her musical television show, Love, Lea, and was a member of the cast of German Moreno's teen variety show, That's Entertainment. In 1985, Salonga and her brother, Gerard, took part in the 8th Metro Manila Popular Music Festival as the interpreters for the song entry titled "Musika, Lata, Sipol at La La La," composed by Tess Concepcion, which won second prize in the Amateur Division. That same year, she opened for Puerto Rican boy band Menudo in their concerts in Manila. She again performed with the group in 1986 and 1987, also appearing on their English-Tagalog album, In Action. As a teenager, Salonga continued to act in films, appearing in Like Father, Like Son (1985), Ninja Kids (1986), Captain Barbell (1986), and Pik Pak Boom (1988). In 1988, she released her second studio album, Lea, and opened for Stevie Wonder in Manila. 1989–1992: Miss Saigon and Aladdin In 1989, Salonga originated the leading role of Kim in the debut production of the musical Miss Saigon in London. For her initial Manila audition in 1988, the then 17-year-old Salonga chose to sing Alain Boublil and Claude-Michel Schönberg's "On My Own" from Les Misérables. Salonga has sometimes credited the song as the starting point of her international career. After hearing her rendition, she was asked if she had prepared another song to perform. Although she had not prepared another song for the audition, she chose to sing "The Greatest Love of All." At her first callback audition, Salonga was asked to sing "Sun and Moon" and "The Movie in My Mind," impressing the audition panel. In December 1988, Salonga appeared before the panel at the Theatre Royal, Drury Lane in London to perform "I'd Give My Life For You" and "Too Much For One Heart." After three days of intensive work sessions in London, Salonga was offered the lead role. During an episode of "Stars in the House" streamed on March 28, 2020, Salonga told Seth Rudetsky and his husband, producer James Wesley, that she found out that she was officially cast when she read the Sunday supplement of the Daily Mail. For her performance as Kim, Salonga won the 1990 Laurence Olivier Award for Best Actress in a Musical, becoming one of the youngest winners of the award. On December 21, 1990, Salonga performed with the Philippine Philharmonic Orchestra, Ateneo College Glee Club, and guest singer Robert Seña in a homecoming concert in Manila entitled A Miss Called Lea, which was later broadcast on television. She also received a Presidential Award of Merit from President Corazon Aquino for her services to the arts. When Miss Saigon opened on Broadway in 1991, she again played the role of Kim, winning the Drama Desk, Outer Critics Circle, and Theatre World awards and becoming the second-youngest actress and first actress of Asian descent to win a Tony Award. During the production transfer from West End to Broadway, a controversy erupted over Salonga's citizenship. The Actors' Equity Association (AEA) initially prevented her from reprising the role, wishing to give priority to Asian-American performers. However, Cameron Mackintosh claimed he could not find a satisfactory replacement for Salonga, and an arbitrator later reversed the AEA ruling. In 1993 and 1996, she returned to play Kim on Broadway. In 1999, she was invited back to London to close the West End production, and in 2001, at the age of 29 and after finishing the Manila run of the musical, Salonga returned to Broadway to close that production. In 1991, she was named one of People magazine's 50 Most Beautiful People. In 1992, she performed the singing voice of Princess Jasmine in Disney's animated film Aladdin. Later that year, Salonga's agent submitted her to an audition for the leading role of Eliza Doolittle in the upcoming Broadway revival of My Fair Lady. However, the casting director for the production refused to see her because of her race. Shortly after, Salonga was contacted by Cameron Mackintosh to join the Broadway production of Les Misérables. 1993–1996: Les Misérables, films, and other musicals In 1993, Salonga played the role of Éponine in the Broadway production of Les Misérables, becoming the first Asian actress to perform the role on Broadway. She performed the song "A Whole New World" from Aladdin with Brad Kane at the 65th Annual Academy Awards in Los Angeles, where the song won an Oscar, having already won a Golden Globe Award. That same year, she released her self-titled international debut album with Atlantic Records. In 1994, Salonga played in various musical theatre productions in the Philippines and Singapore, such as Sandy in Grease, Eliza Doolittle in My Fair Lady, and the Witch in Into the Woods. In the U.S. in 1995, Salonga played the role of Geri Riordan, an 18-year-old adopted Vietnamese American child in the Hallmark Hall of Fame TV movie Redwood Curtain, which starred John Lithgow and Jeff Daniels. She then flew back to the Philippines to star with Filipino matinée idol Aga Muhlach in the critically acclaimed film Sana Maulit Muli, which gave her a second Filipino Academy of Movie Arts and Sciences (FAMAS) award nomination, this time for Best Actress. She reprised the role of Éponine in the 10th-anniversary concert of Les Misérables at the Royal Albert Hall in London, which was recorded and later released as a film titled Les Misérables: The Dream Cast in Concert. In 1996, Salonga was again in Les Misérables as Éponine in the West End production of the musical. In September of that same year, she continued to perform the role at the Neal S. Blaisdell Concert Hall in Honolulu, Hawaii, during the musical's U.S. national tour. In December 1996, Salonga represented the Philippines while performing at ONE: The WTO Show, the closing ceremony for the inaugural World Trade Organization (WTO) ministerial conference held at the Suntec Singapore Convention and Exhibition Centre. 1997–2004: Recordings, concerts, television, and Flower Drum Song From 1997 to 2000, Salonga did recordings and concerts in the Philippines, another engagement in London, and a few returns to Miss Saigon in London and on Broadway. In 1997, she released I'd Like to Teach The World to Sing to gold sales in the Philippines. That recording was followed by Lea... In Love in 1998 and By Heart in 2000, both albums reaching multiple platinum status in the Philippines. In 1998, she again provided the singing voice for the title character in Mulan before later reprising the role in the 2004 sequel, Mulan II. At age 28, Salonga moved to New York City, purchasing her own apartment (which she still owns up to at least 2013). She participated in the 1998 tribute concert to Cameron Mackintosh in London entitled Hey, Mr. Producer!, where she performed numbers from several of his musicals. In December 1998, Salonga appeared in an international panel of performers, along with Iain Glen, Nicole Kidman, and Anna Manahan, for episode 277 of the American Theatre Wing’s documentary series, Working in the Theatre. In the Philippines in 1999 and again in 2000, she played Sonia Walsk in They're Playing Our Song. She also performed in four concerts: The Homecoming Concert, The Millennium Concert, The Best of Manila, and Songs from the Screen–the last two being benefit shows. Salonga returned to Manila in Miss Saigon, staged at the Cultural Center of the Philippines at the end of 2000. After her final stint in Miss Saigon for its closing on Broadway in 2001, Salonga recreated the role of Lien Hughes, originally played by Ming-Na Wen, in the soap opera As the World Turns. After completing her contract that year, she was asked to return to the role in 2003. She guested on Russell Watson's The Voice concert, narrated for the television special My America: A Poetry Atlas of the United States, and appeared on the Season 8 Christmas episode of the television medical drama ER, playing a patient with lymphoma. In 2002, Salonga returned to Broadway to play the leading role of Wu Mei-Li, a Chinese immigrant in a reinterpretation of Rodgers and Hammerstein's Flower Drum Song opposite Jose Llana. This was after the reinvented musical had a run at the Mark Taper Forum in Los Angeles in 2001 with Salonga playing the role and in 2002 winning Lead Actress in a Musical from the Los Angeles theatre Ovation Awards. The Salonga-led Broadway revival cast album was nominated for a 2004 Grammy Award for Best Musical Show Album. Salonga's performance was received positively by theatre critics in New York, and she received a nomination for Distinguished Performance from the Drama League, among other honors. In September 2002, she appeared on Working in the Theatre for a second time, along with John Cullum, Edie Falco, Stanley Tucci, Marissa Jaret Winokur, and Charlayne Woodard. Between the 2001 Los Angeles and 2002 Broadway productions of Flower Drum Song, she performed in a non-musical theatrical production for the first time, playing the role of Catherine in the stage play Proof in Manila. This was followed by a major concert, The Broadway Concert, at the Philippine International Convention Center. She also sang at the 56th Tony Awards with Harry Connick Jr., Peter Gallagher, and Michele Lee in a number paying tribute to Richard Rodgers. From 2003 to 2004, Salonga did her first "all-Filipino" concerts in Manila called Songs from Home, which later won her an Aliw Award as Entertainer of the Year. In 2003, she performed in several concerts at the Mohegan Sun hotel in Connecticut. This was followed by a Christmas concert in the Philippines called Home for Christmas and performances at the Lenape Regional Performing Arts Center in Marlton, New Jersey, in 2004. Later in 2004, she played Lizzie in the Manila production of the musical Baby, which earned her another nomination from the Aliw Awards. 2005–2007: International ventures In 2005, Salonga gave her first U.S. concert tour. Later that year, on November 7, she performed to a sold-out crowd at Carnegie Hall for the benefit of Diverse City Theater Company. The same year, she received the Golden Artist Award at the 53rd FAMAS Awards in honor of her international achievements, performed during the grand opening of Hong Kong's Disneyland, and recorded two songs on Daniel Rodriguez's album In the Presence. She also did voice work for Disney's English dub of Hayao Miyazaki's My Neighbor Totoro as Yasuko Kusakabe. Salonga wrote the foreword to Linda Marquart's The Right Way to Sing (2005). In 2006, at the 15th Asian Games in Doha, Qatar, Salonga concluded the closing ceremony with the song "Triumph of the One" before an audience of 50,000 people at Khalifa International Stadium. In 2007, Salonga released her first studio album in seven years called Inspired, which was certified platinum in the Philippines. On August 14, 2007, she received the Order of Lakandula, with the rank of Commander (Komandante), from Philippine President Gloria Arroyo in recognition of using her talents to benefit Philippine society and foster cultural exchange. She has also received the Congressional Medal of Achievement from the House of Representatives of the Philippines for showing "the extent and depth of the Filipino musical talent" and "opening the way for other Filipino artists to break into the finest theaters in the world." In March 2007, Salonga returned to Broadway for another stint in the musical Les Misérables, this time as Fantine. Her rejoining the show boosted the musical's ticket sales. President Arroyo watched Salonga in this role, with Filipino Americans Adam Jacobs as Marius and Ali Ewoldt as Cosette. Salonga received rave reviews and made it again to the short list of Broadway.com's Audience Award favorites as Best Replacement. During her tenure on Broadway that season, she appeared in Broadway on Broadway 2007 and Stars in the Alley 2007, spoke at the Broadway Artists Alliance Summer Intensives, guested on the Broadway musical 25th Annual Putnam County Spelling Bee, and participated in Broadway Cares/Equity Fights AIDS' 12th Annual Nothing Like a Dame event to benefit the women's health initiative of The Actors Fund. Right after doing Les Misérables, she performed in two events: at the U.S. Military Academy Band's concert in West Point, where she sang four songs and an encore, and in her concert at the Tarrytown Music Hall in New York. She was then busy with other concerts and musical events, including a Christmas presentation in Manila. 2008–2012: Philippine Daily Inquirer columnist and touring In 2008, Salonga gave concerts in the Philippines, California, Hawaii, Hong Kong, and Guam, On July 3, 2008, Salonga became a columnist in the Philippine Daily Inquirer with her column "Backstory" (Entertainment section), "Introducing: Lea Salonga, writer." Since then, she has written numerous columns for the Inquirer. She performed in "Global Pop" at the Music Center on July 11, 2008. It was presented by The Blue Ribbon, a group founded by Dorothy Chandler in 1968. Salonga gave a concert on July 11 at Los Angeles' Walt Disney Concert Hall. That same year, she received a special citation from the Awit Awards.From late July 2008 to mid-2009, Salonga played the title role in the 30-week Asian tour of Rodgers and Hammerstein's Cinderella, which premiered in Manila. Salonga performed a series of concerts in North America in 2009 and was asked to dance the Filipino novelty dances "Ocho-Ocho" and "Spaghetti." The same year, Salonga advertised the Avon Products line of anti-aging skin care products Anew Rejuvenate in the Philippines. In June 2009, she sang at the 95th Anniversary Special of the Iglesia ni Cristo. Salonga sang Patriotic song "Bayan Ko" at the Requiem Mass for former President Corazon Aquino at Manila Cathedral. Salonga celebrated 20 years of Miss Saigon by performing in concerts called Lea Salonga... Your Songs at the Philippine International Convention Center Plenary Hall on December 11 and 12, 2009. In the same venue, Salonga received Gusi Peace Prize in November 2009. From July to August 2010, Salonga played the role of Grizabella in the Manila run of the Asia-Pacific tour of Andrew Lloyd Webber's Cats at the Cultural Center of the Philippines. In October, she played Fantine during the 25th Anniversary Concert of Les Misérables, fifteen years after appearing in the 10th Anniversary as Eponine. The same year, she served as a celebrity judge for Avon Voices. Salonga was honored as a Disney Legend on August 19, 2011. She was one of the judges in the Miss Universe 2011 pageant in São Paulo, Brazil on September 12, 2011. Salonga, along with Darren Criss, sang "A Whole New World" to its composer, Alan Menken, as Menken was named the winner of the 2011 Maestro Award at the Billboard/Hollywood Reporter Film & TV Music Conference on October 24, 2011. Salonga performed in a six-concert series titled The Magic of Broadway and Disney Favorites in 2012 with the Palm Beach Pops. She starred in the first production of Allegiance at the Old Globe Theatre in San Diego from September to October 2012. Salonga starred in the Philippine production of the comedy God of Carnage in July 2012 at the Carlos P. Romulo Auditorium, RCBC Plaza, Manila. She took on the same role at the DBS Arts Centre in Singapore in November 2012. Salonga joined the Candlelight Processional at Epcot in Walt Disney World as narrator on December 14 to 16, retelling the Christmas story accompanied by a 50-piece orchestra and a mass choir. 2013–2018: The Voice of the Philippines and return to Broadway In January 2013, Salonga participated in Lincoln Center's American Songbook concert series at the Allen Room. In February in the Philippines, Salonga provided the theme song for TV5's reality singing competition Kanta Pilipinas and, together with Tyne Daly and Norm Lewis, she starred as Mother in a concert performance of Ragtime at Lincoln Center's Avery Fisher Hall. Salonga headlined a concert series, "4 Stars One World of Broadway Musicals," in Tokyo Osaka in June, performing with Ramin Karimloo, Sierra Boggess, and Yu Shirota. She was one of the four coaches, together with apl.de.ap, Sarah Geronimo, and Bamboo Mañalac, for the ABS-CBN program, The Voice of the Philippines, which premiered in June 2013. In December 2013, Salonga began her Lea Salonga: Playlist concert tour in the Philippines, which celebrated her 35 years in show business. The concert series was extended to January 2014. Salonga wrote a book, Playlist: A Celebration of 35 Years, which she used as a souvenir program for the concerts. In 2014, she returned for the second season of The Voice of the Philippines and joined the new Philippine version of The Voice Kids, on which she has appeared for three seasons. Salonga recorded a song titled "Wished That I Could Call You" that was included in the charity compilation album Children In Need, released in March 2014. Also, in 2014 and 2015, she toured Asia and North America with Il Divo. In mid-2015, she performed a concert series in Australasia. Salonga reprised her role as Kei Kimura in the 2015–16 Broadway production of Allegiance. In The New York Times, Charles Isherwood wrote of her performance: "Her voice retains its plush beauty, and her culminating first act solo, 'Higher' ... is perhaps the show's musical highlight." Salonga guest-starred on the April 2016 season finale of the American television series Crazy Ex-Girlfriend, playing Filipino-heritage character Josh's visiting aunt, a former Star Search contestant, in town for a wedding, at which she sings the episode's climactic Disney princess parody song, "One Indescribable Instant." In Manila in November 2016, she appeared as Helen Bechdel in the international premiere of Fun Home. A review in ABS-CBN News said that she "delivers a finely tuned performance, utilizing her prodigious stage presence to provide the cold and dark shadings to erstwhile peppy scenes with her subtle stares and held back emotions. ... [In] "Days by Days" ... she finally lets go of all the resentment and repressed anger of a woman stuck in a marriage built on a lie. Yet there is dignity in her breakdown ... Salonga pulls it off with such clarity, both musically and emotionally, that it's difficult not to be moved." In 2016, Salonga won two more Aliw Awards, one for Best Major Concert in a Foreign Venue and her second Entertainer of the Year award. The following year, Salonga was one of the coaches on The Voice Teens. Also in 2017, she released an album, Bahaghari: Lea Salonga Sings Traditional Songs of the Philippines, with songs sung in several languages spoken in the Philippines. Salonga portrayed Erzulie in the 2017 Broadway revival of Once on This Island at Circle in the Square Theatre, where she received critical praise for her vocal performance. She returned to the show for its final performances in December 2018 and January 2019. Once on this Island was nominated for a Grammy Award for Best Musical Theater Album. 2019–present: Yellow Rose, Dream Again tour, and Pretty Little Liars: Original Sin Salonga appeared alongside Eva Noblezada, Dale Watson, and Princess Punzalan as a Philippine immigrant, Aunt Gail, in the musical film Yellow Rose, which premiered at the 2019 Los Angeles Asian Pacific Film Festival. She also toured North America and the United Kingdom that year. Later in 2019, she played Mrs. Lovett in a revival of Sweeney Todd: The Demon Barber of Fleet Street in Manila and then Singapore. Critics praised her "crystalline tones that turned her numbers, especially 'By the Sea,' into unexpected show-stoppers" and called the performance a "career-high" for the actress. Between these two short runs, she gave concerts in Sydney, Melbourne, and Brisbane in November 2019. In March 2020, shortly after performing in Dubai, Salonga announced that her 2020 North American tour would be rescheduled due to the onset of the COVID-19 pandemic. In May 2020, she announced that the tour would again be rescheduled to Fall 2021, but these dates were later rescheduled once more. During the pandemic, Salonga performed for several virtual global fundraising events and concerts. In August 2020, she released her single "Dream Again," a song of hope and persistence. On November 27, the PBS series Great Performances broadcast her 2019 concert at the Sydney Opera House, performed with the Sydney Symphony Orchestra. In 2021, Salonga voiced the Mysterious Woman in the Netflix series Centaurworld. In September of the same year, she announced her Dream Again Tour, named after her 2020 single. One month later, she announced she would also be touring the United States and Canada. On December 25, 2021, Salonga returned to Dubai to perform a Christmas concert for Expo 2020 at the Dubai Exhibition Centre. On April 6, 2022, Salonga began her Dream Again Tour in the United States and Canada. Following the completion of this tour, she performed the song "The Prayer" at the 2022 National Memorial Day Concert on the West Lawn of the United States Capitol in Washington, D.C., which was broadcast on PBS. On June 18, she continued her tour in the United Kingdom. On July 28, the critically acclaimed series Pretty Little Liars: Original Sin premiered on HBO Max, where Salonga portrays Elodie Honrada. In September 2022, Salonga began portraying Mama Soubirous in the Indie Theatrical workshop of the new musical adaptation of The Song of Bernadette in Manhattan. In the same month, she was recognized by TIME magazine at the TIME100 Impact Awards for being a "life-long role model for children of color." On October 27, 2022, Salonga was featured on Pentatonix's cover of Jose Mari Chan's "Christmas In Our Hearts" in their Christmas album, Holidays Around The World. On December 15, 16, and 17, 2022, Salonga performed with The Tabernacle Choir as the featured guest artist in a series of Christmas concerts at the Conference Center in Salt Lake City, Utah. The event is set to be televised on PBS in December 2023. On March 13, 2023, Salonga performed at the annual Broadway Backwards event at the New Amsterdam Theatre. On May 6, 2023, she was recognized by Gold House at the 2nd Annual Gold House Gala, receiving the Gold Legend Honor for a "a lifetime of indelible contributions to the success and representation of the Asian Pacific community." She is scheduled to join the Broadway cast and producing team of Here Lies Love for a five-week run in the summer of 2023 in the role of Aurora Aquino, mother of Ninoy Aquino. The production will notably mark the first time Salonga has played a Filipino role on the Broadway stage and will mark her return to the Broadway Theatre, where Miss Saigon played. She is also scheduled to return to London's West End and star alongside Bernadette Peters in the Stephen Sondheim tribute revue Stephen Sondheim's Old Friends, which is set to run at the Gielgud Theatre from September 16, 2023 to January 6, 2024. Artistry Musical style and themes In her popular music releases, Salonga has sung "simple love songs," which are common in Original Pilipino Music. Influences Salonga's style and music has been inspired by musical artists such as ABBA, the Carpenters (particularly Karen Carpenter), Olivia Newton-John, the Osmonds, Elaine Paige, and Barbra Streisand. She has noted that these performers provided "clear voices that really helped the listener focus on the lyrics besides the tone and music." Salonga has repeatedly praised Streisand as one of her favorites for her "mammoth" career in singing, acting, producing, and arranging. During her January 15, 2000 concert at the Philippine International Convention Center, Salonga called Streisand one of her idols. Voice Salonga has been praised for her absolute pitch and control over her powerful vocals, which can evoke a wide array of emotion and soundscapes. Her voice has been described as "golden" by Marilyn Stasio for Variety magazine and "clear and as sparkling as Baccarat crystal" by Rex Reed for Observer. Due to her vocal versatility, it is often debated on what her vocal range and type classifications are. When Salonga performed as Kim in Miss Saigon, she was expected to utilize most of her range, hitting notes as low as E3 and as high as D5. In both Disney Princess singing roles, Jasmine and Mulan, Salonga uses head tones that reach up to F5. Salonga has been recorded singing notes ranging from D3 to C6. Other ventures Philanthropy and activism On October 15, 2010, Salonga was appointed Goodwill Ambassador for the Food and Agriculture Organization (FAO) of the United Nations. Salonga has been openly supportive of LGBT equality for many years. On October 12, 2009, during a benefit concert held at The Philippine Center's Kalayaan Hall for the victims of Typhoon Ondoy, Salonga referenced the National Equality March in Washington, D.C. and stated, "I believe that every single human being has the fundamental right to marry whoever they want." In 2011, The Advocate called her a "major gay icon." In February 2016, Salonga criticized Filipino politician and former professional boxer Manny Pacquiao via Twitter for his views on homosexuality and same-sex marriage. On March 29, 2021, Salonga condemned the rise of violent attacks on Asian Americans during the COVID-19 pandemic. On April 21, 2021, she appeared with actress Lucy Liu, politician and First Lady Hillary Clinton, and others in the #AAPI Women Strong: Organizing Beyond A Hashtag forum to share their experiences and spread awareness on anti-Asian hate. Personal life Salonga lives in the Philippines and the United States. Early relationships After performing in the 2000 Manila production of They're Playing Our Song, Salonga began a relationship with Korean-American co-star Michael K. Lee. The relationship ended in mid-2001. Marriage and children In November 2001, while performing in the Los Angeles production of Flower Drum Song at the Mark Taper Forum, Salonga met Robert "Rob" Charles Chien, an American entrepreneur of Chinese and Japanese heritage. On January 10, 2004, Salonga and Chien married at the Our Lady of the Angels Cathedral. During the wedding ceremony, Salonga performed the song "Two Words," composed by Louie Ocampo and Freddie Santos, given to her as an early wedding present. The wedding was aired as a two-hour television special, which was directed by Bobby Garcia and hosted by Boy Abunda, on ABS-CBN in late January 2004. They have one daughter together. Notable relatives Salonga has notable relatives around the world, including Filipino musical conductor and arranger Gerard Salonga (brother), ballerina Maniya Barredo (first cousin), and Canadian actress and model Shay Mitchell (cousin). Discography Solo recordings Small Voice (1981) Lea (1988) Bakit Labis Kitang Mahal (1992) Lea Salonga (1993) I'd Like to Teach The World to Sing (1997) Lea... In Love (1998) By Heart (1999) Lea Salonga: The Christmas Album (2000) Songs from the Screen (2001) Inspired (2007) Lea Salonga: Your Songs (2010) Bahaghari [Rainbow]: Lea Salonga Sings Traditional Songs of the Philippines (2017) Cast recordings Miss Saigon (Original London Cast Recording) (1989) Little Tramp (Studio Recording) (1992) The King and I (Hollywood Studio Cast Recording) (1992) Aladdin (Soundtrack Recording) (1992) Mulan (Soundtrack Recording) (1998) Making Tracks (Original Cast Recording) (2001) Flower Drum Song (Revival Cast Recording) (2002) Mulan II (Soundtrack Recording) (2005) Dayo: Sa Mundo ng Elementalia (Soundtrack Recording) (2008) Cinderella (Original International Tour Cast Recording) (2010) Allegiance (Original Broadway Cast Recording) (2016) Once on This Island (First Broadway Revival Cast Recording) (2018) Video/Live recordings Hey Mr. Producer: The Musical World of Cameron Mackintosh (1997) Les Misérables: The Dream Cast in Concert (1995) Lea Salonga Live Vol. 1 (2000) Lea Salonga Live Vol. 2 (2000) The Broadway Concert (2002) Songs from Home: Live Concert Recording (2004) Les Misérables in Concert: The 25th Anniversary (2010) The Journey So Far – Recorded Live at Cafe Carlyle (2011) Live: Jazz at Lincoln Center (2016) Blurred Lines (2017) The Story of My Life: Lea Salonga Live from Manila (2019) with the BYU Chamber Orchestra Lea Salonga in Concert with the Sydney Symphony Orchestra (2020) Compilation albums 100% Lea Gives Her Best (2003) The Ultimate OPM Collection (2007) Featured recordings Disney Princess: The Ultimate Song Collection (2004), for the song "If You Can Dream" (sung with Susan Logan, Grey Griffin, Jodi Benson, Paige O'Hara and Judy Kuhn) Disney Princess Enchanted Tales: Follow Your Dreams (2007), for the songs "Peacock Princess" (sung with Gilbert Gottfried) and "I've Got My Eyes on You" Shelldon (2008), for the song "It's a Brand New Day" Sofia the First (2014), for the songs "The Ride of Our Lives" (episode 12: "Two to Tangu") and "Stronger that You Know" (episode 36: "Princesses To The Rescue") Acting credits One of the most prolific actresses since her career's inception in 1978, Salonga has appeared in numerous international theatre productions, television shows, films, and video games. In Manila, Salonga has appeared in theatre productions such as The King and I (1978), Cat on a Hot Tin Roof (1978), Fiddler on the Roof (1978), Annie (1980), The Sound of Music (1980), The Rose Tattoo (1980), The Bad Seed (1981), The Goodbye Girl (1982), The Paper Moon (1983), Annie (1984), The Fantasticks (1988), My Fair Lady (1994), Grease (1995), They're Playing Our Song (2000), Miss Saigon (2000), Proof (2002), Baby (2004), Cats (2010), God of Carnage (2012), Fun Home (2016), and Sweeney Todd: The Demon Barber of Fleet Street (2019). In London's West End, she has appeared in Miss Saigon (1989–1990, 1999) and Les Misérables (1996). She will return to the West End in September 2023 to appear in Stephen Sondheim's Old Friends. On Broadway, she has appeared in Miss Saigon (1991–1992, 1993, 1999, 2001), Les Misérables (1993), Flower Drum Song (2002–2003), Something Good: A Broadway Salute to Richard Rogers on His 100th Birthday (2002), Les Misérables (2007), Allegiance (2015–2016), and Once on This Island (2017–2018, 2018–2019). She will return to Broadway in the summer of 2023 to appear in Here Lies Love. Salonga has also appeared in Into the Woods (1994), They're Playing Our Song (1999), God of Carnage (2012), and Sweeney Todd: The Demon Barber of Fleet Street (2019) in Singapore, Les Misérables (1996) in Honolulu during the third U.S. national tour, Rodgers and Hammerstein's Cinderella (2008), Allegiance (2012) in San Diego, Annie (2018) at the Hollywood Bowl in Los Angeles, and the 10th and 25th anniversary concerts of Les Misérables at the Royal Albert Hall and The O2 Arena, respectively. Salonga made her film debut in 1981 in the Filipino comedy Tropang Bulilit. She went on to appear in the films Like Father, Like Son (1985), Ninja Kids (1986), Captain Barbell (1986), Pik Pak Boom (1988), Dear Diary (1989), The Heat Is On (1989), Aladdin (1992), Bakit Labis Kitang Mahal (1992), Sana Maulit Muli (1995), Mulan (1998), Les Misérables: The Dream Cast in Concert (1998), My Neighbor Totoro (2004), Mulan II (2004), Disney Princess Enchanted Tales: Follow Your Dreams (2007), Les Misérables in Concert: The 25th Anniversary (2010), Miss Saigon: 25th Anniversary (2016), Allegiance (2016), Expedition Reef (2018), and Yellow Rose (2019). In 1983, Salonga began hosting her own variety show entitled Love, Lea, which ended its run in 1985. She went on to appear in That's Entertainment (1986), Olsen Twins Mother's Day Special (1993), Sesame Street (1993), Reading Rainbow (1993, 2001), Redwood Curtain (1995), Aladdin on Ice (1995), ASAP (1997–present), ER (2001), As the World Turns (2001, 2003), Johnny Bravo (2004), Miss Universe 2011 (2011), Sofia the First (2012, 2014), The Voice of the Philippines (2013, 2014–15), The Voice Kids (2014–2019), Crazy Ex-Girlfriend (2016), Nature Is Speaking (2016), 91st Macy's Thanksgiving Day Parade (2017), The Voice Teens (2017, 2020), Centaurworld (2021), American Experience (2022), Pretty Little Liars: Original Sin (2022), and Little Demon (2022). Achievements and legacy Salonga gained national recognition in the Philippines at a young age, winning Best Child Performer at the Aliw Awards in 1980, 1981, and 1982. For her success as a child singer and actress, she was known as the "Shirley Temple of the Philippines." For her performance as the leading role of Kim in Miss Saigon, Salonga won Outstanding Performance of the Year by an Actress in a Musical at the 1990 Laurence Olivier Awards. After her return to the Philippines, she won Outstanding Performer at the Aliw Awards. In the same year, she received a Presidential Medal of Merit from President Corazon Aquino for her services to the arts. For reprising her role as Kim in the Broadway production of Miss Saigon, Salonga was awarded Outstanding Actress in a Musical at the 1991 Drama Desk Awards, Outstanding Actress in a Musical at the 1991 Outer Critics Circle Awards, Best Actress in a Musical at the 1991 Theatre World Awards, and Best Performance by an Actress in a Musical at the 45th Annual Tony Awards. She made history as the first Asian actress to win a Tony Award and the second-youngest actress to win for Best Performance by a Leading Actress in a Musical. She later became the first Asian actress to portray the role of Éponine when she joined the Broadway production in early 1993. In 1993, she also became the first Filipino artist to sign with an international record label when she signed with Atlantic Records. In 2004, Salonga won Entertainer of the Year at the Aliw Awards. She later won the Aliw Award for Best Major Concert (Female) in 2008. In 2007, President Gloria Arroyo honored Salonga with the rank of Commander of the Order of Lakandula in recognition of using her talents to benefit Philippine society and foster cultural exchange. The House of Representatives of the Philippines also awarded her with the Congressional Medal of Achievement for showing "the extent and depth of the Filipino musical talent" and "opening the way for other Filipino artists to break into the finest theaters in the world." In 2011, Salonga was declared a "Disney Legend" for her work with the Walt Disney Company, providing the singing voices for Princess Jasmine in Aladdin and Fa Mulan in Mulan and Mulan II. In September 2022, Salonga was recognized by TIME magazine at the TIME100 Impact Awards for being a "life-long role model for children of color." Salonga has been cited as an influence for several singers and actors, especially those of Asian descent, including Ali Ewoldt, Kimiko Glenn, Rachelle Ann Go, Vanessa Hudgens, Bella Poarch, Nicole Scherzinger, and Phillipa Soo. Published works Books Marquart, Linda; Salonga, Lea (2005). The Right Way to Sing. New York City, New York: Allworth Press. ISBN 1581154070. Michael, Ted; Salonga, Lea (2012). So You Wanna Be a Superstar?: The Ultimate Audition Guide. Philadelphia, Pennsylvania: Running Press Kids. ISBN 978-0762446100. Columns "Backstory." Inquirer Entertainment. Makati, Metro Manila: Philippine Daily Inquirer; Inquirer Holdings, Inc. . 2008–present. Audiobooks Ko, Lisa (Author); Lea Salonga (Narrator). The Contractors (2020). Amazon Original Stories. . See also Filipinos in the New York metropolitan area Honorific nicknames in popular music List of people with absolute pitch Recipients of Presidential Medal of Merit in the Philippines Tony Award for Best Actress in a Musical Notes References Further reading Fernandez, Yvette (2013). Princess Lea: The Life Story of Lea Salonga. Mandaluyong: Summit Publishing Company, Inc. ISBN 9789719902393. External links Category:1971 births Category:20th-century Filipino actresses Category:20th-century Filipino women singers Category:21st-century Filipino actresses Category:21st-century Filipino women singers Category:ABS-CBN personalities Category:Actresses from Pampanga Category:Arista Records artists Category:Ateneo de Manila University alumni Category:Atlantic Records artists Category:Audiobook narrators Category:Capitol Records artists Category:Disney Legends Category:Disney people Category:Drama Desk Award winners Category:FAO Goodwill ambassadors Category:Filipino child actresses Category:Filipino child singers Category:Filipino expatriates in the United States Category:Filipino musical theatre actresses Category:Filipino voice actresses Category:Filipino women musicians Category:Fordham University alumni Category:GMA Network personalities Category:Kapampangan people Category:Laurence Olivier Award winners Category:Living people Category:People from Angeles City Category:People from Manila Category:Recipients of the Order of Lakandula Category:Recipients of the Presidential Medal of Merit (Philippines) Category:Singers from Pampanga Category:Sony Music Philippines artists Category:That's Entertainment (Philippine TV series) Category:That's Entertainment Thursday Group Members Category:Theatre World Award winners Category:Tony Award winners Category:Walt Disney Records artists
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[ "The Voice of the Philippines was a program on ABS-CBN where Lea Salonga served as one of the four coaches, alongside apl.de.ap, Sarah Geronimo and Bamboo Manalac. The show premiered on June 15, 2013.", "The text does not provide specific information on how Lea Salonga performed or what transpired during her stint as a coach on The Voice of the Philippines.", "Lea Salonga's role on The Voice of the Philippines was one of the four coaches.", "The text does not provide specific information on what Lea Salonga did as a coach on The Voice of the Philippines.", "Yes, in 2013, Lea Salonga did several important things for her career. She participated in Lincoln Center's American Songbook concert series and starred in a concert performance of Ragtime at Lincoln Center's Avery Fisher Hall. She also headlined a concert series in Tokyo and Osaka, and became a coach for the ABS-CBN program, The Voice of the Philippines. Toward the end of the year, she started a concert tour in the Philippines titled \"Lea Salonga: Playlist\" to celebrate her 35 years in show business.", "Lea Salonga returned to Broadway for the 2015-16 production of Allegiance, in which she reprised her role as Kei Kimura.", "The text does not provide specific information on how the Broadway production of Allegiance, in which Lea Salonga starred, performed commercially or critically.", "The context provided does not include additional information about the Broadway production Allegiance, in which Lea Salonga played the role of Kei Kimura, beyond the fact that she participated and that her performance was praised in The New York Times.", "Several interesting aspects from the article include her extensive involvement in various musical and theatrical productions, not only within her home country but in international venues as well. Salonga also utilized her career successes to celebrate her 35 years in show business through a concert series and a book titled \"Playlist: A Celebration of 35 Years.\" Moreover, she continued to be active in television, including her ongoing participation in The Voice franchise in the Philippines. In 2016, she also won two more Aliw Awards, one for Best Major Concert in a Foreign Venue and her second Entertainer of the Year award." ]
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Late Night with Conan O'Brien
Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien that aired 2,725 episodes on NBC between 1993 and 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States.
The Max Weinberg 7
The show's house band was The Max Weinberg 7, led by drummer Max Weinberg, who also served as a sounding board for O'Brien on the show (more so after Andy Richter's departure). The other six members were Mark Pender on trumpet, Richie "LaBamba" Rosenberg on trombone, Mike Merritt on bass, Jerry Vivino on saxophone and brother Jimmy Vivino on guitar, and Scott Healy on keyboards. James Wormworth served as backup drummer when Weinberg went on tour with Bruce Springsteen. With the departure of Andy Richter, Max Weinberg assumed a bigger role as an interlocutor for O'Brien's jokes. One common running gag was Max's awkwardness on camera and his apparent lack of chemistry with Conan. Weinberg was often used in sketches as well, which usually revolved around his purported sexual deviance (mostly a penchant for bedding barely legal groupies), although long-running sketches also spoofed Max's lack of knowledge of current affairs. "LaBamba" was also used as the butt of many of Conan's jokes. These humorous sketches usually revolved around LaBamba's sizeable mustache, his poor acting skills, and his alleged inability to read written music. Mark Pender would often sing songs on the topic of a current event which ended with him screeching uncontrollably and climbing the risers into the audience. All members of the 7 had successful side careers as studio musicians. As is common in the talk show format, the Max Weinberg 7 performed the show's opening and closing themes, played bumpers into and out of commercial breaks (they actually played through the entire break for the studio audience), and a short piece during O'Brien's crossover to his desk after his monologue (except for several months beginning in April 2008, where a commercial break was inserted at that point). The show's opening theme was written by Howard Shore and John Lurie (a finalist for the job as band leader). The show's closing theme was called "Cornell Knowledge", and was lifted from Jerry and Jimmy Vivino's first album together. However, on Late Night, it was played at a much quicker tempo than the album version. The band played a wide variety of songs as bumpers--usually popular music from a variety of eras. Weinberg sometimes took extended leaves of absence to tour with Bruce Springsteen as the drummer for his E Street Band. During his absence, temporary replacement drummers were hired (most commonly James Wormworth), and the band was led by Jimmy Vivino ("Jimmy Vivino and the Max Weinberg 7"). CANNOTANSWER
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Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien. NBC aired 2,725 episodes from September 13, 1993, to February 20, 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States. From 1993 until 2000, Andy Richter served as O'Brien's sidekick; following his departure, O'Brien was the show's sole featured performer. The show's house musical act was The Max Weinberg 7 and led by E Street Band drummer Max Weinberg. The second incarnation of NBC's Late Night franchise, O'Brien's program debuted in 1993 after David Letterman (who hosted the first incarnation of Late Night) moved to CBS to host Late Show opposite The Tonight Show. In 2004, as part of a deal to secure a new contract, NBC announced that O'Brien would leave Late Night in 2009 to succeed Jay Leno as the host of The Tonight Show. Jimmy Fallon began hosting his version of Late Night on March 2, 2009. History Replacing David Letterman Upon Johnny Carson's retirement from The Tonight Show in 1992, executives at NBC announced that Carson's frequent guest-host Jay Leno would be Carson's replacement, and not David Letterman. NBC later said that Letterman's high ratings for Late Night were the reason they kept him where he was. Letterman was bitterly disappointed and angry at not having been given The Tonight Show job; and, at Carson's advice, he left NBC after eleven years on Late Night. CBS signed Letterman to host his own show opposite The Tonight Show. Letterman moved his show to CBS virtually unchanged, taking most of the staff, skits, and comedy formats with him. However, NBC owned the rights to the Late Night name, forcing Letterman to rename his show Late Show with David Letterman. NBC was not prepared to replace both Letterman and Late Night. Aside from the name, it needed to build a new show. Both Dana Carvey and Garry Shandling declined to host it. Saturday Night Live producer Lorne Michaels was brought in to develop the new show, and comedians Jon Stewart, Drew Carey, and Paul Provenza auditioned to host. Michaels suggested to Conan O'Brien, an unknown writer for The Simpsons and former writer for Saturday Night Live, that he should audition for the job. Despite having "about 40 seconds" of television-performance experience as an occasional extra on Saturday Night Live sketches, O'Brien auditioned for the show on April 13, 1993. His guests were Jason Alexander and Mimi Rogers, and the audition took place on the set of The Tonight Show with Jay Leno. NBC offered the show to O'Brien on April 26, and O'Brien made his first meaningful television appearance later that day when Leno introduced him on Tonight. On the final episode of his 16-year run, O'Brien stated that he "owed his career to Lorne Michaels." Debut O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman, who received a "First Guest" medal for his appearance, Drew Barrymore, and Tony Randall with cameos from George Wendt and Bob Costas. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman; meanwhile, Tom Brokaw makes a cameo. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans. The show's first musical guest was English rock band Radiohead, who performed during the second episode. American singer-songwriter Jonathan Richman was the show's second musical guest. O'Brien's inexperience was apparent, and the show was generally considered mediocre by critics in terms of hosting. The Chicago Sun-Times Lon Grankhe called O'Brien "nervous, unprepared and generally geeky", and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve." One NBC affiliate, KPRC-TV in Houston, dropped Late Night with Conan O'Brien in September 1994 due to low ratings and was replaced with first-run episodes of The Jenny Jones Show. KPRC reinstated O'Brien's Late Night in the fall of 1996, but scheduled it to air as late as 2:40 a.m. while the station, in addition to The Jenny Jones Show, had aired Extra, Access Hollywood, Ricki Lake, Montel Williams, Inside Edition and a rebroadcast of its 10:00 p.m. newscast between Leno and O'Brien. Houston became the subject of a skit (via classic remote piece) in which O'Brien made impromptu stops at Houston's central bus terminal and the Astrodome to watch an episode of his own show with Houstonians in 1997. KPRC began airing Late Night with Conan O'Brien directly following The Tonight Show with Jay Leno in 2004. According to O'Brien, NBC network executive Warren Littlefield told him, with regard to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity. (Kinnear would instead become host of Late Nights then-lead-out program, Later, in February 1994, remaining there for two years before deciding to pursue an acting career.) Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience, and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy nomination for writing, which he received every year until 2011. 1996–2000 In 2000, Richter left Late Night on good terms, to pursue his acting career, a move that emotionally affected O'Brien, as evidenced by Richter's last show. The show's comedy bits and banter had usually depended on O'Brien's interaction with Richter. O'Brien's wacky non-sequitur comedy became more pronounced as he played all of his comedy and commentary directly to the audience and Max Weinberg instead of towards Richter. 2001–2009 In 2002, when time came to renew his contract, O'Brien had notable offers from other networks to defect; Fox was reported to have made particularly strong overtures, pitching him an 11:00 p.m. show. O'Brien decided to re-sign with NBC, however, joking that he initially wanted to make a 13-week deal (a nod to his first contract). He ultimately signed through 2005, indicating that it was symbolic of surpassing Letterman's run with 12 years of hosting. In 2003, O'Brien's own production company, Conaco, was added as a producer of Late Night. The show celebrated its 10th anniversary, another milestone that O'Brien said he wanted to achieve with his 2002 contract. During the anniversary show, Mr. T handed O'Brien a chain with a large gold "7" on it. O'Brien's last season on Late Night attracted an average of 1.98 million viewers, compared to 1.92 million viewers for The Late Late Show with Craig Ferguson. US television ratings (late night talk shows) Format Humor The show was known for its wacky and absurd sophomoric comedic sensibility that is edgier than most other talk shows. Like his Late Night predecessor, David Letterman, the show's humor also had a streak of biting sarcasm and irony. According to Robert Smigel, who served as head writer in 1993, the show's comedic approach was to focus on being different from David Letterman: Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. The show had an unusual quantity of comedy and original content rather than other talk shows such as Late Show with David Letterman or The Tonight Show with Jay Leno that relied heavily on recurring segments and 'found' humor. The show was particularly unique in the lack of 'found' humor to derive content from i.e. most content being scripted as opposed to Letterman's Small Town News or Jay Leno's headlines that used this "found humor". O'Brien would often playfully chide his audience for an underwhelming or overly enthusiastic response to his jokes. Particularly in the early years, comedic sketches overtook all segments on the show, occasionally even interrupting guest interviews and O'Brien's monologue. Frequently sketches would randomly begin without introduction, such as during banter between Richter and O'Brien. A lot of the humor had a fantasy-like quality to it, where inanimate objects would talk or silly characters would disrupt the show. Sometimes a short story would emerge in these sketches with a resolution culminating in a song. One recurring technique is to superimpose lips onto an existing image, as in the Syncro-Vox limited animation technique, resulting in the speaker saying things often quite out of character. Although Late Night used political humor, it did so far less frequently than competing shows did. During the 1996 and 2000 presidential election seasons, Late Night was found to be the least politically-oriented late night program. It averaged 310 political jokes per election season, in contrast to the Leno-led Tonight Show with 1,275. (See List of Late Night with Conan O'Brien sketches for an extensive list) The Max Weinberg 7 The show's house band was The Max Weinberg 7, led by drummer Max Weinberg. The other six members were Mark Pender on trumpet, Richie "LaBamba" Rosenberg on trombone, Mike Merritt on bass, Jerry Vivino on saxophone and brother Jimmy Vivino on guitar, and Scott Healy on keyboards. Weinberg sometimes took extended leaves of absence to tour with Bruce Springsteen as the drummer for the E Street Band. During his absence, James Wormworth would typically fill in on drums, and the band was led by Vivino under the name Jimmy Vivino and the Max Weinberg 7. With the departure of Andy Richter from Late Night in May 2000, Max Weinberg assumed a bigger role as an interlocutor for O'Brien's jokes. One common running gag was Max's awkwardness on camera and his apparent lack of chemistry with Conan. Weinberg was often used in sketches as well, which usually revolved around his purported sexual deviance (mostly a penchant for bedding barely legal groupies), although long-running sketches also spoofed Max's lack of knowledge of current affairs. "LaBamba" was also used as the butt of many of Conan's jokes. These humorous sketches usually revolved around LaBamba's sizeable mustache, his poor acting skills, and his alleged inability to read written music. Mark Pender would often sing songs on the topic of a current event which ended with him screeching uncontrollably and climbing the risers into the audience. All members of the 7 have had successful side careers as studio musicians. Theme song and other music The show's opening theme was co-written by composer Howard Shore and John Lurie (of the band The Lounge Lizards). Lurie would later say that he was contracted by Shore to write the theme, and after he turned in the piece, Shore made minimal changes and claimed an unwarranted co-writing credit. Lurie also claimed to have been a finalist for Late Night'''s band leader position, but said producers told him, "Conan thinks you’re funnier than him and that scares him." As is common in the talk show format, the Max Weinberg 7 performed the show's opening and closing themes, played bumpers into and out of commercial breaks (they actually played through the entire break for the studio audience), and a short piece during O'Brien's crossover to his desk after his monologue. The show's closing theme was called "Cornell Knowledge", and was lifted from Jerry and Jimmy Vivino's first album together. However, on Late Night, it was played at a much quicker tempo than the album version. The band also played a wide variety of songs as bumpers coming to and from commercial breaks and introducing guests—usually popular music from a variety of eras. Joel Godard Joel Godard, a long-time announcer for NBC shows, was the program's announcer and a frequent comedy contributor. On the show's final episode, Conan noted that Godard was originally hired to simply announce the show's intro and claimed "nobody thought you'd ever see him", however he was gradually worked into the show's comedy pieces. These bits usually revolved around Godard's supposed homosexual fetishes, deviant sexual habits, substance abuse, and suicidal tendencies. The humor came in part from Godard's delivery. No matter how depressing or deviant the topic being discussed was, he always did so in an exaggeratedly cheerful voice and with a huge smile plastered on his face. Several sketches ended with Godard apparently committing suicide in his announcer's booth. When Andy Richter left the show in 2000, Joel Godard became more common among sketches. Writing staff In the first few seasons of the show, the writing staff consisted of several now-prolific comics including Robert Smigel as the head writer, Bob Odenkirk, Louis C.K., Tommy Blacha and Dino Stamatopoulos. Smigel left his position as head writer of the show in 1995 to pen several movies but continued to appear on the show to do bits as Triumph the Insult Comic Dog and the 'Satellite Interviews'. Jonathan Groff took over his position until replaced by Mike Sweeney in 2001. Members of the show's writing staff frequently appeared in sketches on the show. Among the most prolific were: Brian McCann (Preparation H Raymond, FedEx Pope, The Loser, Airsick Moth, Jerry Butters, Awesome Dave, Funhole Guy, Bulletproof Legs Guy, Adrian "Raisin" Foster, S&M Lincoln, etc.), Brian Stack (Hannigan the Traveling Salesman, Artie Kendall the Ghost Crooner, The Interrupter, Kilty McBagpipes, Fan-tastic Guy, Clive Clemmons, Frankenstein, Ira, Slipnut Brian, etc.), Jon Glaser (Segue Sam, Pubes, Awareness Del, Wrist Hulk, Ahole Ronald, Gorton's Fisherman, Jeremy, Slipnut Jon, etc.), Kevin Dorff (Coked-up Werewolf, Jesus Christ, Mansy the half-man/half-pansy, Joe's Bartender, Todd the Tiny Guy, etc.), and Andy Blitz (Awful Ballgame Chanter, Vin Diesel's brother Leonard Diesel, Slipnut Andy, Chuck Aloo aka the star of the 24 spin-off series 60). Blitz went so far as to travel to India for one bit in which he carried his computer through the streets of India to get technical support firsthand from the telephone representative at NBC's technical help center. Several writing staff interns have gone on to become noted actors or writers including Vanessa Bayer, John Krasinski, Mindy Kaling, Ellie Kemper and Jack McBrayer. Sketch actors and cameo appearancesLate Night employed a number of sketch actors, many of whom were frequently reused in different roles in different episodes. Several years before joining the cast of Saturday Night Live, and before playing the role of Leslie Knope on another NBC TV show, Parks and Recreation, Amy Poehler often appeared as a regular in many sketches, though she was best remembered for playing the recurring role of Andy Richter's Conan-obsessed teenage sister, Stacy. Other notable comedians such as Jack McBrayer, Rob Riggle, Rob Corddry, H. Jon Benjamin, Ellie Kemper, Bobby Moynihan, Matt Besser, Ian Roberts, Matt Walsh and Andrew Daly also frequently appeared as sketch actors on the show for several years. Triumph the Insult Comic Dog (created and voiced by original head writer Robert Smigel) began as part of a sketch on Late Night. Celebrities such as Dr. Joyce Brothers, Nipsey Russell, Abe Vigoda, James Lipton, Bob Saget and William Preston as the character Carl 'Oldy' Olsen also made frequent cameo appearances in comedy sketches on the show at different periods. One of the show's graphic designers, Pierre Bernard, was featured in several sketches, such as "Pierre Bernard's Recliner of Rage" and "Nerding It Up For Pierre". Celebrity guests of the night would also occasionally appear in sketches either during their interviews or during the earlier comedy segments, e.g. in "In the year 2000" (which always included the participation of a celebrity guest after Andy Richter left the show) or a sketch where Conan would pretend to write in his diary while an attractive female guest was there. Quite rare for a talk show, sometimes interviews began normally but turned into sketches with both the guest and Conan participating, usually when the guest was a "friend of the show." Costumed characters Unusual for a late night talk show, Late Night made frequent use of various costumed characters such as The Masturbating Bear, Robot on a Toilet, and Pimpbot 5000. The humor in these sketches often derived from the crude construction of the characters' costumes as well as the absurdist nature of their conceptions. For example, Pimpbot 5000 was a 1950s-style robot who dressed and acted in the manner of an exaggerated blaxploitation pimp, while The Masturbating Bear was a man in a bear costume wearing an oversized diaper who would invariably begin to fondle himself to the tune of Aram Khachaturian's "Sabre Dance" when brought on stage. Many of these characters did little more in their appearances than walk across the stage or be wheeled out from behind the curtain, but some had extensive sketches on the show. Appearances in other shows The show made a cameo appearance in the Sesame Street special Elmopalooza, where Conan was interviewing two aliens while Big Bird was passing by them carrying a video tape. The show also made an appearance on The Simpsons in the episode "Bart Gets Famous", where Conan interviews a now famous Bart. ProductionLate Night was a production of Lorne Michaels's Broadway Video (and, since 2003, O'Brien's Conaco). It was taped in Studio 6A in the GE Building at 30 Rockefeller Plaza in New York City. Next to the door were framed pictures of Letterman, Carson, Jack Paar and Steve Allen, each of whose groundbreaking late-night shows originated from studio 6A or 6B (where The Tonight Show Starring Jimmy Fallon is currently taped). The studio holds just over 200 audience members. It was taped at about 5:30 pm as an uninterrupted hour-long program, with the band playing music through the portions that would be filled by commercials. Generally, shows were taped at 5:30 pm Monday through Friday, although for much of the show's run, reruns would be aired on Mondays and the show would not tape that day. The show's format consisted of an opening monologue from O'Brien, followed by various "desk bits". These generally included several brief sketches, recurring segments, or some other form of comedy. Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. In the show's second and fourth segments, O'Brien interviewed two celebrity guests, between which, in the third segment, O'Brien listed the next night's/week's guests. There was often a comedy bit as well during this segment. The show's fifth segment was usually reserved for a musical or stand-up comedy performance, or occasionally another guest interview. The show's final segment was usually a quick "goodnight" and the closing credits, which sometimes featured part of a bit from earlier in the show. Quite rare for a talkshow, frequently comedy segments would also spill into the interviews, typically when a guest was a 'friend' of the show. During the live tapings, and prior to the show, there was an audience warm-up, during which the audience watched a montage of highlights from the show, and staff writer Brian McCann greeted the audience (this task was formerly undertaken by head writer Mike Sweeney). McCann delivered a few jokes, told the audience what to expect, and finally introduced the band and then O'Brien. O'Brien then thanked the audience for coming, meeting as many audience members as he could. He would often then do a musical number with the band to pump up the audience (Burning Love was one standard). After the show was finished taping, O'Brien sang the "End of the Show Song", which never aired on Late Night, although in February 2009, a short video of it was posted on Late Night Underground. The End of the Show Song finally did reach air on January 21, 2010, his penultimate show as Tonight Show host. It also was aired on the March 29, 2012 episode of Conan. The tradition of singing The End of the Show Song has continued, un-aired as usual, on Conan. BroadcastLate Night began broadcasting in 1080i ATSC on April 26, 2005, with a downscaled letterboxed NTSC simulcast (unlike The Tonight Show, whose NTSC simulcast is fullscreen). O'Brien celebrated the conversion to the widescreen HDTV format with jokes throughout the week. On December 6, 2005 Late Night with Conan O'Brien segments began selling on the iTunes Store. Most segments were priced at $1.99, as were most episodes of other shows, with "special" best-ofs and other longer segments priced at $9.99. In December, 2007 NBC stopped selling all its television shows on iTunes, but the network returned it to iTunes in September 2008 after NBC and Apple worked out a new agreement. The show was offered free at Hulu.com and the NBC website but has been unavailable on the Internet since the 2010 Tonight Show conflict. However, in May 2018, O'Brien and TBS, announced they would partner with NBC to make his entire Late Night archives available online, marking the 25th anniversary of O'Brien's late night debut. Special episodes Remote pieces and episodes shot on location Remote pieces shot on location were a recurring staple on Late Night, but occasionally, entire episodes were shot on location, usually during sweeps months. The first vacation for the show was a week-long stint of shows in Los Angeles the week of November 9–12, 1999. This was the only location week for the show while Andy Richter was with the show, and the only time the show's theme was altered for the week, with a more surf-style version of the show's normal theme (though the Toronto shows ended the normal theme with a piece of "O Canada"). The show was broadcast from NBC's L.A. studios (NBC Studios Burbank) and an L.A.-themed set was built, very similar in layout to the New York set. From February 10–13, 2004, Late Night broadcast from the Elgin Theatre in Toronto, Canada. The guests for these episodes were all Canadians (with the exception of Adam Sandler), and included such stars as Jim Carrey and Mike Myers. As the show was taped at a theater, unlike the trip to L.A., the set built was not like the show's standard set. From May 9–12, 2006, the show made a similar venture to the Chicago Theatre in Chicago, Illinois, taking cues from their previous trip to Toronto. Between April 30 – May 4, 2007, the show originated from the Orpheum Theatre in San Francisco. In a sketch called "Conan O'Brien Hates My Homeland", Conan mocked every nation in the world to see which ones he gets letters from. An announcer on the Finnish entertainment channel SubTV, which airs the show a couple of days after it is aired in the US, asked people to defend Finland before Conan got to insult it, and the viewers in Finland began sending mail before the bit had even gotten to the letter F. Conan responded by assuming the Finnish "just couldn't wait" to be insulted and officially insulted Finland in the segment. An overwhelming number of postcards were supposedly received, which apparently "forced" Conan to give Finland a formal apology. Conan then went as far as to have the flag of Finland shown in the background during a speech and slandered the Finns' "hated" neighbor Sweden with a sign saying "Sweden Sucks!" printed over the flag of Sweden. It would seem that this chain of events led to elevated ratings in Finland and subsequently also sparked a special relationship with the viewers in Finland. Later when Conan was talking to audience members before the show, a group of fans visiting from Finland commented that he resembled their female president Tarja Halonen. Conan mentioned the resemblance on his show, even showing pictures of Halonen next to himself. When he discovered that Halonen was up for reelection he began making satirical commercials in support of Halonen and vowed to travel to Finland to meet her if she won re-election. When she did indeed win re-election in January 2006, Conan traveled to Finland and met with her. One episode, broadcast on March 10, 2006, was compiled mainly of footage from O'Brien's trip to Finland. In the episode, Conan greeted fans at the airport, participated in a Sami cultural ceremony, appeared on a Finnish talk show, and attempted to visit a fan who had written to him. The episode was not strictly taped as a live episode there, however, but was prefaced by an introduction by O'Brien taped in New York. The Finland episode came as the culmination of a long-running joke on the show. Aside from location shows, the show also did special one-shots in its early years. In 1995, one episode of the show was taped aboard a New York City ferry in New York Harbor. Dubbed "The Show on a Boat" by the showtunes-style song-and-dance number performed by a trio of "sailors" at the start of the show, O'Brien, Richter, the band and guests were all crammed onto the deck of the ferry. The show was taped at its normal afternoon time, while it was still light out. Technical and production difficulties A more unexpected shoot occurred on October 10, 1996, when a five-alarm fire in Rockefeller Plaza rendered the 6A studios out of commission for the remainder of that week. The fire occurred on early Thursday morning, which left O'Brien's staff precious little time to assemble a show elsewhere. Pressed for time as 12:35 approached, O'Brien taped the show outside, after dark, despite the cold weather, on a makeshift set with the Prometheus statue and 30 Rock serving as a backdrop.The East L.A. rock band Los Lobos performed in the blustery wind a song from their newest album, "Colossal Head" . Furthering the unfortunate nature of the evening's circumstances was the final guest, Julie Scardina, who brought along wild animals, including birds that Conan explained had to be kept tied up, as they could not be freed outside. Earlier in the show, O'Brien and Richter walked into Brookstone (located in the lobby of Rockefeller Center), camera crew in tow, and bought a massaging leather recliner for the first guest, Samuel L. Jackson. The second of the two "fire shows", on Friday night, was taped in the Today Show studio, which was not affected by the fire. During the Northeast Blackout of 2003, O'Brien and the staff taped a short 10-minute introduction explaining that the episode they had planned would not be taking place due to the blackout. Studio 6A was powered by a generator and lit by battery-powered floodlights. A standby show was aired in-progress after the intro. One of the scheduled guests that night, The Dandy Warhols, commandeered the studio's green room, where they stayed until they performed on the show the next night. Gimmick episodes Other shows that were taped in the regular 6A studio were augmented by special gimmicks: A lot of high-concept gimmick episodes were done in the early years of the show, such as a 1994 episode literally done in a giant hole, a 1995 show done entirely on a boat of the circle line or "Time Travel Week", four episodes from early 1996, where Conan and Andy (and the rest of the crew) "time-traveled" to a different point in time each night. Times and locations included The Civil War, Ancient Greece, The future, and The early '80s (featuring a cameo by David Letterman in the cold open, who occupied Conan's studio in 1983, cruelly brushing off Conan and Andy's attempt at explaining their presence in Letterman's dressing room by saying, "Why don't you two fellas go find a nice, warm place to screw yourselves? Security!"). In 1997, a special episode was taped in which the studio audience was composed solely of grade-school age children, primarily 5–10 years of age. Conan interacted with the children, encouraging them to laugh and cheer to keep away the boredom monster. The February 19, 1998 episode was aired against coverage of the 1998 Winter Olympics on CBS, and therefore, Conan assumed no one was watching, and they could do anything. He and Andy took to performing increasingly outrageous acts, such as Conan revealing a Hanson T-shirt under his shirt and tie, and confessing his hatred for the NBC screen bug, going as far as to kill it with a can of Raid. He and Andy also smoked on the air (with a cutaway showing a mother finding her two kids imitating Conan), Max Weinberg confessed to killing Bruce Springsteen's previous drummer, as well as a number of other people he didn't like (even showing a map of where he buried them), Al Roker walked into the studio and confessed he never liked the weather, and Conan asked a female audience member to have consensual sex with him, which the woman vehemently refused. The event became known as "Nobody's Watching". The October 18, 2002 episode was re-shot entirely in clay animation nearly seven months after its first airing, including the opening credits and commercial bumpers. The episode's originally broadcast soundtrack was retained while the visuals were reproduced to mirror the original footage in a small-scale reproduction of the studio 6A. On October 31, 2006, a similarly conceptualized Halloween episode was created from an episode which originally aired in May and featured Larry King, among other guests. Using a process the show called "Skelevision", all the visuals were re-shot with a Halloween motif, with human skeletons adorned with the clothing and accessories of the humans. This re-shoot was shot using the actual studio, and the puppeteers moved the skeletons with wires and cables while being visually obscured by green screen technology. Once again, the opening and bumpers were altered, this time including a model of a hearse winding through a foggy landscape and cemetery, and the voice of Bill Hader as Vincent Price in place of Joel Godard. U2 exclusive The October 5, 2005 episode of Late Night was devoted entirely to the band U2, marking the first time in the show's then 13-year run that it had devoted an entire show to a single guest. Jim Pitt, the talent executive in charge of booking acts for the show, remarked that in his 12 years of working for Late Night, U2 and Johnny Cash were the "dream artists" he'd tried, but never succeeded in getting. The band performed three songs, two more than the customary one song, then had a lengthy interview with Conan. Episodes during the 2007–2008 writer's strike After two months of being off-air, the first show to air during the 2007–2008 Writers Guild of America strike on January 2, 2008 featured a small musical segment at the beginning of the show detailing O'Brien's newly grown beard in a show of support for the striking writers. At the beginning of the January 28 episode, it was revealed that Conan had shaved his beard, which was followed with a similar musical segment. Several times during the episodes produced during the writer's strike, O'Brien would kill time by spinning his wedding ring on his desk, which he previously only did during rehearsals. His personal best was 41 seconds, achieved during an un-aired rehearsal. After several unsuccessful on-air attempts to break his record, during the show originally broadcast on February 9, 2008, O'Brien broke his record for endurance ring spinning, setting a time of 51 seconds by coating his wedding ring with Vaseline and spinning it on a Teflon surface. The feat was accomplished with the help of MIT physics professor Peter Fisher. These episodes are considered by most fans to be the magnum opus of O'Brien's television career, considering the spontaneity of each episode. The strike also gave rise to associate producer Jordan Schlansky's repeated appearances on the show as an embellished version of himself. "Feud" with Jon Stewart and Stephen Colbert Early on in the later half of the 2007–2008 Writer's Guild strike, Conan O'Brien accused his show of being the sole cause of presidential candidate Mike Huckabee's status in the polls, due to his use of the Walker, Texas Ranger Lever while Chuck Norris was coincidentally sponsoring Huckabee. Stephen Colbert made the claim that because of "the Colbert bump," he was responsible for Huckabee's current success in the 2008 presidential race. O'Brien claimed that he was responsible for Colbert's success because he had made mention of him on his show. In response, Jon Stewart, host of The Daily Show, claimed that he was responsible for the success of O'Brien, and in turn the success of Huckabee and Colbert. This resulted in a three-part comedic battle among the three hosts, with all three appearing on each other's shows. The feud ended on Late Night with an all-out mock brawl between the three talk-show hosts. Anniversary episodes In 1996, a third anniversary episode was taped, though it aired in the regular 12:35/11:35 late night time slot. The show was composed of clips of the best of the first three years, and featured cameos from many former guests, including Janeane Garofalo, Scott Thompson, Tony Randall and George Wendt. Typical of O'Brien's style of comedy, he introduced his first guest (Wendt) by listing his notable achievements in television (particularly Cheers) then introduced each subsequent guest by repeatedly listing Wendt's achievements (insinuating that all of his guests for that night's show played the role of Norm on Cheers). In 1998, Late Night aired a fifth anniversary special in prime time, mostly consisting of clips from the first five years. It was taped in the Saturday Night Live studio, also in the GE Building. The special was later sold on VHS tape. In 2003, a similar tenth anniversary special was taped in New York City's famed Beacon Theatre and later made available on DVD. The final episodeLate Night with Conan O'Briens last episode was recorded February 20, 2009, and aired shortly after midnight that next morning. The episode featured clips from past shows and a reflection on the show's sixteen-year-long run. John Mayer sent a farewell video message, singing a song about how Los Angeles is "going to eat [Conan] alive" (an ironic foretelling of things to come). In a short remote piece, Conan released regular contributor Abe Vigoda "into the wild," as he could not bring him to Los Angeles for the move to The Tonight Show. Will Ferrell made a surprise visit as George W. Bush, which quickly devolved into Ferrell tearing off his business suit to reveal an ill-fitting green leprechaun outfit that had been worn in a number of previous appearances on the show. Former sidekick Andy Richter, who re-joined O'Brien when he took over The Tonight Show in June, joined O'Brien onstage for two segments, watching clips and reminiscing about the show. Among the clips shown, O'Brien noted that his all-time favorite Late Night piece was when he attended a re-enactment of an American Civil War-era baseball game, played at a Long Island, New York museum, Old Bethpage Village Restoration. During the course of the final week, O'Brien began violently dismantling and handing out pieces of the production set to the audience. In the final show, a large piece of the stage's frame was pulled down and chopped into pieces. O'Brien then promised to give each audience member in attendance a piece of the set. One of Conan's favorite bands, The White Stripes, performed a new, slower arrangement of their song "We're Going to Be Friends" based on Conan's lullaby rendition of the song, with drummer Meg White playing second guitar and singing along with vocalist/guitarist Jack White. The performance proved to be the band's last before their breakup in February 2011. The song would be used many years later as the theme for O'Brien’s podcast Conan O'Brien Needs a Friend. The program concluded with a visibly emotional O'Brien giving a farewell speech from behind his desk, thanking his fans, writers, producers, backstage crew, his family, the Max Weinberg 7, David Letterman, Joel Godard, Jay Leno, and Lorne Michaels, as well as a final assurance that he would not "grow up" as he moved to The Tonight Show. About 3.4 million viewers watched O'Brien's final episode of Late Night, the largest audience since the January 24, 2005 episode that followed Jay Leno's tribute to Johnny Carson. After the end of the series, Studio 6A at Rockefeller Center was remodeled for The Dr. Oz Show. In the summer of 2013, NBC moved Late Night with Jimmy Fallon to Studio 6A while 6B, which housed Late Night since Fallon succeeded O'Brien in 2009, was being renovated when Fallon took over The Tonight Show on February 17, 2014 while The Dr. Oz Show moved to ABC's Upper West Side studios. Awards and nominations Set design O'Brien's Late Night had three long-term permanent sets, but retained the basic structure used when Letterman occupied Studio 6A: the performance space at the viewer's left, and the desk area, to the viewer's right, where interviews were done. O'Brien did his monologue in the performance area, emerging at the start of each episode from the area where musical guests perform. The Max Weinberg 7 were in the corner made by the stage-right wall and the wall in front of the audience. The desk area had a desk for O'Brien, a chair and couch(es) to the viewer's left for guests (and originally Andy Richter), and a coffee table. Primarily, set changes involved the background behind the desk and chair and couch. The original set, used from the show's debut in 1993 until the fall of 1996, was primarily yellow, and the desk background resembled the living room of a New York City apartment, with windows that looked out at a Manhattan backdrop; it was modeled after Lorne Michaels' office. For years afterwards, O'Brien mocked this original set, particularly its "mustard color". The two subsequent set designs featured darker blues and violets to emulate the feel of nighttime, with the final set featuring a balcony railing in front of a backdrop with the view from the top of Rockefeller Center. This set debuted on September 4, 2001, and necessitated changes almost instantly as its backdrop view of New York City contained the World Trade Center, which was destroyed a week later. A special curtain was used to obstruct the towers temporarily, until eventually the curtain became a permanent part of the set design even after the backdrop was altered. During his final week of episodes, Conan took an axe to parts of the set, giving it out to audience members as souvenirs, not wanting to allow it to simply be thrown away. International broadcasts CNBC Europe used to air Late Night with Conan O'Brien on weeknights from 11:45 pm–12:30 am CET, with weekend editions on Saturdays and Sundays at 9:45 pm–10:30 pm CET. However, in March 2007, CNBC Europe decided to show only the weekend editions, and drop the weeknight editions, to make way for more business news programmes in their weeknight schedules. On the week of August 4, 2008, however, CNBC Europe has discontinued showing the NBC Nightly News, which for many years was shown live from America in a 12:30 am–1:00 am CET slot. Late Night with Conan O'Brien has now replaced NBC Nightly News in the 12:30 am–1:00 am slot. The weeknight editions are a 30-minute condensed version of the show. The show follows the weeknight condensed version of The Tonight Show with Jay Leno which airs at 12:00 am CET. In September 2008, CNBC Europe changed the weeknight schedules to include full uncut editions of Late Night with Conan O'Brien broadcast in the 11:45 am CET/10:45 pm GMT 45-minute time slot. This schedule usually runs from Tuesdays to Fridays. CNBC Europe decided to stop broadcasting Late Night as of January 1, 2009, a mere two months before Conan's last show as host. Instead of following The Tonight Show reruns on weekends, CNBC now broadcasts two Tonight Show episodes in a row. See also List of Late Night with Conan O'Brien sketches List of Late Night with Conan O'Brien characters List of Late Night with Conan O'Brien episodes Pale Force The Tonight Show with Conan O'Brien'' List of late night network TV programs References Further reading External links Joseph Konopka scenic art journals for Late Night with Conan O'Brien, 1993-2009, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts Category:1993 American television series debuts Category:2009 American television series endings Category:1990s American late-night television series Category:2000s American late-night television series Category:1990s American political comedy television series Category:2000s American political comedy television series Category:1990s American satirical television series Category:2000s American satirical television series Category:1990s American sketch comedy television series Category:2000s American sketch comedy television series Category:1990s American television talk shows Category:2000s American television talk shows Category:1990s American variety television series Category:2000s American variety television series Category:American television shows featuring puppetry Category:CNBC Europe original programming Category:English-language television shows O'Brien, Conan Category:NBC original programming Category:Political satirical television series Category:Primetime Emmy Award-winning television series Category:Television series by Universal Television Category:Television shows set in New York City Category:Conan O'Brien Category:Television series by Broadway Video Category:Television series by Conaco Category:Television shows filmed in New York City
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Late Night with Conan O'Brien
Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien that aired 2,725 episodes on NBC between 1993 and 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States.
Debut
O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman (who received a "First Guest" medal for his appearance), Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman, parodying a popular sentiment expressed in the media at the time. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans. O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability. The Chicago Sun-Times' Lon Grankhe called O'Brien "nervous, unprepared and generally geeky" and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve." According to O'Brien a network executive told him, in regards to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity and decided to pursue a career in acting. Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy writing nomination, which he has gone on to receive every year since. CANNOTANSWER
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Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien. NBC aired 2,725 episodes from September 13, 1993, to February 20, 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States. From 1993 until 2000, Andy Richter served as O'Brien's sidekick; following his departure, O'Brien was the show's sole featured performer. The show's house musical act was The Max Weinberg 7 and led by E Street Band drummer Max Weinberg. The second incarnation of NBC's Late Night franchise, O'Brien's program debuted in 1993 after David Letterman (who hosted the first incarnation of Late Night) moved to CBS to host Late Show opposite The Tonight Show. In 2004, as part of a deal to secure a new contract, NBC announced that O'Brien would leave Late Night in 2009 to succeed Jay Leno as the host of The Tonight Show. Jimmy Fallon began hosting his version of Late Night on March 2, 2009. History Replacing David Letterman Upon Johnny Carson's retirement from The Tonight Show in 1992, executives at NBC announced that Carson's frequent guest-host Jay Leno would be Carson's replacement, and not David Letterman. NBC later said that Letterman's high ratings for Late Night were the reason they kept him where he was. Letterman was bitterly disappointed and angry at not having been given The Tonight Show job; and, at Carson's advice, he left NBC after eleven years on Late Night. CBS signed Letterman to host his own show opposite The Tonight Show. Letterman moved his show to CBS virtually unchanged, taking most of the staff, skits, and comedy formats with him. However, NBC owned the rights to the Late Night name, forcing Letterman to rename his show Late Show with David Letterman. NBC was not prepared to replace both Letterman and Late Night. Aside from the name, it needed to build a new show. Both Dana Carvey and Garry Shandling declined to host it. Saturday Night Live producer Lorne Michaels was brought in to develop the new show, and comedians Jon Stewart, Drew Carey, and Paul Provenza auditioned to host. Michaels suggested to Conan O'Brien, an unknown writer for The Simpsons and former writer for Saturday Night Live, that he should audition for the job. Despite having "about 40 seconds" of television-performance experience as an occasional extra on Saturday Night Live sketches, O'Brien auditioned for the show on April 13, 1993. His guests were Jason Alexander and Mimi Rogers, and the audition took place on the set of The Tonight Show with Jay Leno. NBC offered the show to O'Brien on April 26, and O'Brien made his first meaningful television appearance later that day when Leno introduced him on Tonight. On the final episode of his 16-year run, O'Brien stated that he "owed his career to Lorne Michaels." Debut O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman, who received a "First Guest" medal for his appearance, Drew Barrymore, and Tony Randall with cameos from George Wendt and Bob Costas. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman; meanwhile, Tom Brokaw makes a cameo. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans. The show's first musical guest was English rock band Radiohead, who performed during the second episode. American singer-songwriter Jonathan Richman was the show's second musical guest. O'Brien's inexperience was apparent, and the show was generally considered mediocre by critics in terms of hosting. The Chicago Sun-Times Lon Grankhe called O'Brien "nervous, unprepared and generally geeky", and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve." One NBC affiliate, KPRC-TV in Houston, dropped Late Night with Conan O'Brien in September 1994 due to low ratings and was replaced with first-run episodes of The Jenny Jones Show. KPRC reinstated O'Brien's Late Night in the fall of 1996, but scheduled it to air as late as 2:40 a.m. while the station, in addition to The Jenny Jones Show, had aired Extra, Access Hollywood, Ricki Lake, Montel Williams, Inside Edition and a rebroadcast of its 10:00 p.m. newscast between Leno and O'Brien. Houston became the subject of a skit (via classic remote piece) in which O'Brien made impromptu stops at Houston's central bus terminal and the Astrodome to watch an episode of his own show with Houstonians in 1997. KPRC began airing Late Night with Conan O'Brien directly following The Tonight Show with Jay Leno in 2004. According to O'Brien, NBC network executive Warren Littlefield told him, with regard to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity. (Kinnear would instead become host of Late Nights then-lead-out program, Later, in February 1994, remaining there for two years before deciding to pursue an acting career.) Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience, and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy nomination for writing, which he received every year until 2011. 1996–2000 In 2000, Richter left Late Night on good terms, to pursue his acting career, a move that emotionally affected O'Brien, as evidenced by Richter's last show. The show's comedy bits and banter had usually depended on O'Brien's interaction with Richter. O'Brien's wacky non-sequitur comedy became more pronounced as he played all of his comedy and commentary directly to the audience and Max Weinberg instead of towards Richter. 2001–2009 In 2002, when time came to renew his contract, O'Brien had notable offers from other networks to defect; Fox was reported to have made particularly strong overtures, pitching him an 11:00 p.m. show. O'Brien decided to re-sign with NBC, however, joking that he initially wanted to make a 13-week deal (a nod to his first contract). He ultimately signed through 2005, indicating that it was symbolic of surpassing Letterman's run with 12 years of hosting. In 2003, O'Brien's own production company, Conaco, was added as a producer of Late Night. The show celebrated its 10th anniversary, another milestone that O'Brien said he wanted to achieve with his 2002 contract. During the anniversary show, Mr. T handed O'Brien a chain with a large gold "7" on it. O'Brien's last season on Late Night attracted an average of 1.98 million viewers, compared to 1.92 million viewers for The Late Late Show with Craig Ferguson. US television ratings (late night talk shows) Format Humor The show was known for its wacky and absurd sophomoric comedic sensibility that is edgier than most other talk shows. Like his Late Night predecessor, David Letterman, the show's humor also had a streak of biting sarcasm and irony. According to Robert Smigel, who served as head writer in 1993, the show's comedic approach was to focus on being different from David Letterman: Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. The show had an unusual quantity of comedy and original content rather than other talk shows such as Late Show with David Letterman or The Tonight Show with Jay Leno that relied heavily on recurring segments and 'found' humor. The show was particularly unique in the lack of 'found' humor to derive content from i.e. most content being scripted as opposed to Letterman's Small Town News or Jay Leno's headlines that used this "found humor". O'Brien would often playfully chide his audience for an underwhelming or overly enthusiastic response to his jokes. Particularly in the early years, comedic sketches overtook all segments on the show, occasionally even interrupting guest interviews and O'Brien's monologue. Frequently sketches would randomly begin without introduction, such as during banter between Richter and O'Brien. A lot of the humor had a fantasy-like quality to it, where inanimate objects would talk or silly characters would disrupt the show. Sometimes a short story would emerge in these sketches with a resolution culminating in a song. One recurring technique is to superimpose lips onto an existing image, as in the Syncro-Vox limited animation technique, resulting in the speaker saying things often quite out of character. Although Late Night used political humor, it did so far less frequently than competing shows did. During the 1996 and 2000 presidential election seasons, Late Night was found to be the least politically-oriented late night program. It averaged 310 political jokes per election season, in contrast to the Leno-led Tonight Show with 1,275. (See List of Late Night with Conan O'Brien sketches for an extensive list) The Max Weinberg 7 The show's house band was The Max Weinberg 7, led by drummer Max Weinberg. The other six members were Mark Pender on trumpet, Richie "LaBamba" Rosenberg on trombone, Mike Merritt on bass, Jerry Vivino on saxophone and brother Jimmy Vivino on guitar, and Scott Healy on keyboards. Weinberg sometimes took extended leaves of absence to tour with Bruce Springsteen as the drummer for the E Street Band. During his absence, James Wormworth would typically fill in on drums, and the band was led by Vivino under the name Jimmy Vivino and the Max Weinberg 7. With the departure of Andy Richter from Late Night in May 2000, Max Weinberg assumed a bigger role as an interlocutor for O'Brien's jokes. One common running gag was Max's awkwardness on camera and his apparent lack of chemistry with Conan. Weinberg was often used in sketches as well, which usually revolved around his purported sexual deviance (mostly a penchant for bedding barely legal groupies), although long-running sketches also spoofed Max's lack of knowledge of current affairs. "LaBamba" was also used as the butt of many of Conan's jokes. These humorous sketches usually revolved around LaBamba's sizeable mustache, his poor acting skills, and his alleged inability to read written music. Mark Pender would often sing songs on the topic of a current event which ended with him screeching uncontrollably and climbing the risers into the audience. All members of the 7 have had successful side careers as studio musicians. Theme song and other music The show's opening theme was co-written by composer Howard Shore and John Lurie (of the band The Lounge Lizards). Lurie would later say that he was contracted by Shore to write the theme, and after he turned in the piece, Shore made minimal changes and claimed an unwarranted co-writing credit. Lurie also claimed to have been a finalist for Late Night'''s band leader position, but said producers told him, "Conan thinks you’re funnier than him and that scares him." As is common in the talk show format, the Max Weinberg 7 performed the show's opening and closing themes, played bumpers into and out of commercial breaks (they actually played through the entire break for the studio audience), and a short piece during O'Brien's crossover to his desk after his monologue. The show's closing theme was called "Cornell Knowledge", and was lifted from Jerry and Jimmy Vivino's first album together. However, on Late Night, it was played at a much quicker tempo than the album version. The band also played a wide variety of songs as bumpers coming to and from commercial breaks and introducing guests—usually popular music from a variety of eras. Joel Godard Joel Godard, a long-time announcer for NBC shows, was the program's announcer and a frequent comedy contributor. On the show's final episode, Conan noted that Godard was originally hired to simply announce the show's intro and claimed "nobody thought you'd ever see him", however he was gradually worked into the show's comedy pieces. These bits usually revolved around Godard's supposed homosexual fetishes, deviant sexual habits, substance abuse, and suicidal tendencies. The humor came in part from Godard's delivery. No matter how depressing or deviant the topic being discussed was, he always did so in an exaggeratedly cheerful voice and with a huge smile plastered on his face. Several sketches ended with Godard apparently committing suicide in his announcer's booth. When Andy Richter left the show in 2000, Joel Godard became more common among sketches. Writing staff In the first few seasons of the show, the writing staff consisted of several now-prolific comics including Robert Smigel as the head writer, Bob Odenkirk, Louis C.K., Tommy Blacha and Dino Stamatopoulos. Smigel left his position as head writer of the show in 1995 to pen several movies but continued to appear on the show to do bits as Triumph the Insult Comic Dog and the 'Satellite Interviews'. Jonathan Groff took over his position until replaced by Mike Sweeney in 2001. Members of the show's writing staff frequently appeared in sketches on the show. Among the most prolific were: Brian McCann (Preparation H Raymond, FedEx Pope, The Loser, Airsick Moth, Jerry Butters, Awesome Dave, Funhole Guy, Bulletproof Legs Guy, Adrian "Raisin" Foster, S&M Lincoln, etc.), Brian Stack (Hannigan the Traveling Salesman, Artie Kendall the Ghost Crooner, The Interrupter, Kilty McBagpipes, Fan-tastic Guy, Clive Clemmons, Frankenstein, Ira, Slipnut Brian, etc.), Jon Glaser (Segue Sam, Pubes, Awareness Del, Wrist Hulk, Ahole Ronald, Gorton's Fisherman, Jeremy, Slipnut Jon, etc.), Kevin Dorff (Coked-up Werewolf, Jesus Christ, Mansy the half-man/half-pansy, Joe's Bartender, Todd the Tiny Guy, etc.), and Andy Blitz (Awful Ballgame Chanter, Vin Diesel's brother Leonard Diesel, Slipnut Andy, Chuck Aloo aka the star of the 24 spin-off series 60). Blitz went so far as to travel to India for one bit in which he carried his computer through the streets of India to get technical support firsthand from the telephone representative at NBC's technical help center. Several writing staff interns have gone on to become noted actors or writers including Vanessa Bayer, John Krasinski, Mindy Kaling, Ellie Kemper and Jack McBrayer. Sketch actors and cameo appearancesLate Night employed a number of sketch actors, many of whom were frequently reused in different roles in different episodes. Several years before joining the cast of Saturday Night Live, and before playing the role of Leslie Knope on another NBC TV show, Parks and Recreation, Amy Poehler often appeared as a regular in many sketches, though she was best remembered for playing the recurring role of Andy Richter's Conan-obsessed teenage sister, Stacy. Other notable comedians such as Jack McBrayer, Rob Riggle, Rob Corddry, H. Jon Benjamin, Ellie Kemper, Bobby Moynihan, Matt Besser, Ian Roberts, Matt Walsh and Andrew Daly also frequently appeared as sketch actors on the show for several years. Triumph the Insult Comic Dog (created and voiced by original head writer Robert Smigel) began as part of a sketch on Late Night. Celebrities such as Dr. Joyce Brothers, Nipsey Russell, Abe Vigoda, James Lipton, Bob Saget and William Preston as the character Carl 'Oldy' Olsen also made frequent cameo appearances in comedy sketches on the show at different periods. One of the show's graphic designers, Pierre Bernard, was featured in several sketches, such as "Pierre Bernard's Recliner of Rage" and "Nerding It Up For Pierre". Celebrity guests of the night would also occasionally appear in sketches either during their interviews or during the earlier comedy segments, e.g. in "In the year 2000" (which always included the participation of a celebrity guest after Andy Richter left the show) or a sketch where Conan would pretend to write in his diary while an attractive female guest was there. Quite rare for a talk show, sometimes interviews began normally but turned into sketches with both the guest and Conan participating, usually when the guest was a "friend of the show." Costumed characters Unusual for a late night talk show, Late Night made frequent use of various costumed characters such as The Masturbating Bear, Robot on a Toilet, and Pimpbot 5000. The humor in these sketches often derived from the crude construction of the characters' costumes as well as the absurdist nature of their conceptions. For example, Pimpbot 5000 was a 1950s-style robot who dressed and acted in the manner of an exaggerated blaxploitation pimp, while The Masturbating Bear was a man in a bear costume wearing an oversized diaper who would invariably begin to fondle himself to the tune of Aram Khachaturian's "Sabre Dance" when brought on stage. Many of these characters did little more in their appearances than walk across the stage or be wheeled out from behind the curtain, but some had extensive sketches on the show. Appearances in other shows The show made a cameo appearance in the Sesame Street special Elmopalooza, where Conan was interviewing two aliens while Big Bird was passing by them carrying a video tape. The show also made an appearance on The Simpsons in the episode "Bart Gets Famous", where Conan interviews a now famous Bart. ProductionLate Night was a production of Lorne Michaels's Broadway Video (and, since 2003, O'Brien's Conaco). It was taped in Studio 6A in the GE Building at 30 Rockefeller Plaza in New York City. Next to the door were framed pictures of Letterman, Carson, Jack Paar and Steve Allen, each of whose groundbreaking late-night shows originated from studio 6A or 6B (where The Tonight Show Starring Jimmy Fallon is currently taped). The studio holds just over 200 audience members. It was taped at about 5:30 pm as an uninterrupted hour-long program, with the band playing music through the portions that would be filled by commercials. Generally, shows were taped at 5:30 pm Monday through Friday, although for much of the show's run, reruns would be aired on Mondays and the show would not tape that day. The show's format consisted of an opening monologue from O'Brien, followed by various "desk bits". These generally included several brief sketches, recurring segments, or some other form of comedy. Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. In the show's second and fourth segments, O'Brien interviewed two celebrity guests, between which, in the third segment, O'Brien listed the next night's/week's guests. There was often a comedy bit as well during this segment. The show's fifth segment was usually reserved for a musical or stand-up comedy performance, or occasionally another guest interview. The show's final segment was usually a quick "goodnight" and the closing credits, which sometimes featured part of a bit from earlier in the show. Quite rare for a talkshow, frequently comedy segments would also spill into the interviews, typically when a guest was a 'friend' of the show. During the live tapings, and prior to the show, there was an audience warm-up, during which the audience watched a montage of highlights from the show, and staff writer Brian McCann greeted the audience (this task was formerly undertaken by head writer Mike Sweeney). McCann delivered a few jokes, told the audience what to expect, and finally introduced the band and then O'Brien. O'Brien then thanked the audience for coming, meeting as many audience members as he could. He would often then do a musical number with the band to pump up the audience (Burning Love was one standard). After the show was finished taping, O'Brien sang the "End of the Show Song", which never aired on Late Night, although in February 2009, a short video of it was posted on Late Night Underground. The End of the Show Song finally did reach air on January 21, 2010, his penultimate show as Tonight Show host. It also was aired on the March 29, 2012 episode of Conan. The tradition of singing The End of the Show Song has continued, un-aired as usual, on Conan. BroadcastLate Night began broadcasting in 1080i ATSC on April 26, 2005, with a downscaled letterboxed NTSC simulcast (unlike The Tonight Show, whose NTSC simulcast is fullscreen). O'Brien celebrated the conversion to the widescreen HDTV format with jokes throughout the week. On December 6, 2005 Late Night with Conan O'Brien segments began selling on the iTunes Store. Most segments were priced at $1.99, as were most episodes of other shows, with "special" best-ofs and other longer segments priced at $9.99. In December, 2007 NBC stopped selling all its television shows on iTunes, but the network returned it to iTunes in September 2008 after NBC and Apple worked out a new agreement. The show was offered free at Hulu.com and the NBC website but has been unavailable on the Internet since the 2010 Tonight Show conflict. However, in May 2018, O'Brien and TBS, announced they would partner with NBC to make his entire Late Night archives available online, marking the 25th anniversary of O'Brien's late night debut. Special episodes Remote pieces and episodes shot on location Remote pieces shot on location were a recurring staple on Late Night, but occasionally, entire episodes were shot on location, usually during sweeps months. The first vacation for the show was a week-long stint of shows in Los Angeles the week of November 9–12, 1999. This was the only location week for the show while Andy Richter was with the show, and the only time the show's theme was altered for the week, with a more surf-style version of the show's normal theme (though the Toronto shows ended the normal theme with a piece of "O Canada"). The show was broadcast from NBC's L.A. studios (NBC Studios Burbank) and an L.A.-themed set was built, very similar in layout to the New York set. From February 10–13, 2004, Late Night broadcast from the Elgin Theatre in Toronto, Canada. The guests for these episodes were all Canadians (with the exception of Adam Sandler), and included such stars as Jim Carrey and Mike Myers. As the show was taped at a theater, unlike the trip to L.A., the set built was not like the show's standard set. From May 9–12, 2006, the show made a similar venture to the Chicago Theatre in Chicago, Illinois, taking cues from their previous trip to Toronto. Between April 30 – May 4, 2007, the show originated from the Orpheum Theatre in San Francisco. In a sketch called "Conan O'Brien Hates My Homeland", Conan mocked every nation in the world to see which ones he gets letters from. An announcer on the Finnish entertainment channel SubTV, which airs the show a couple of days after it is aired in the US, asked people to defend Finland before Conan got to insult it, and the viewers in Finland began sending mail before the bit had even gotten to the letter F. Conan responded by assuming the Finnish "just couldn't wait" to be insulted and officially insulted Finland in the segment. An overwhelming number of postcards were supposedly received, which apparently "forced" Conan to give Finland a formal apology. Conan then went as far as to have the flag of Finland shown in the background during a speech and slandered the Finns' "hated" neighbor Sweden with a sign saying "Sweden Sucks!" printed over the flag of Sweden. It would seem that this chain of events led to elevated ratings in Finland and subsequently also sparked a special relationship with the viewers in Finland. Later when Conan was talking to audience members before the show, a group of fans visiting from Finland commented that he resembled their female president Tarja Halonen. Conan mentioned the resemblance on his show, even showing pictures of Halonen next to himself. When he discovered that Halonen was up for reelection he began making satirical commercials in support of Halonen and vowed to travel to Finland to meet her if she won re-election. When she did indeed win re-election in January 2006, Conan traveled to Finland and met with her. One episode, broadcast on March 10, 2006, was compiled mainly of footage from O'Brien's trip to Finland. In the episode, Conan greeted fans at the airport, participated in a Sami cultural ceremony, appeared on a Finnish talk show, and attempted to visit a fan who had written to him. The episode was not strictly taped as a live episode there, however, but was prefaced by an introduction by O'Brien taped in New York. The Finland episode came as the culmination of a long-running joke on the show. Aside from location shows, the show also did special one-shots in its early years. In 1995, one episode of the show was taped aboard a New York City ferry in New York Harbor. Dubbed "The Show on a Boat" by the showtunes-style song-and-dance number performed by a trio of "sailors" at the start of the show, O'Brien, Richter, the band and guests were all crammed onto the deck of the ferry. The show was taped at its normal afternoon time, while it was still light out. Technical and production difficulties A more unexpected shoot occurred on October 10, 1996, when a five-alarm fire in Rockefeller Plaza rendered the 6A studios out of commission for the remainder of that week. The fire occurred on early Thursday morning, which left O'Brien's staff precious little time to assemble a show elsewhere. Pressed for time as 12:35 approached, O'Brien taped the show outside, after dark, despite the cold weather, on a makeshift set with the Prometheus statue and 30 Rock serving as a backdrop.The East L.A. rock band Los Lobos performed in the blustery wind a song from their newest album, "Colossal Head" . Furthering the unfortunate nature of the evening's circumstances was the final guest, Julie Scardina, who brought along wild animals, including birds that Conan explained had to be kept tied up, as they could not be freed outside. Earlier in the show, O'Brien and Richter walked into Brookstone (located in the lobby of Rockefeller Center), camera crew in tow, and bought a massaging leather recliner for the first guest, Samuel L. Jackson. The second of the two "fire shows", on Friday night, was taped in the Today Show studio, which was not affected by the fire. During the Northeast Blackout of 2003, O'Brien and the staff taped a short 10-minute introduction explaining that the episode they had planned would not be taking place due to the blackout. Studio 6A was powered by a generator and lit by battery-powered floodlights. A standby show was aired in-progress after the intro. One of the scheduled guests that night, The Dandy Warhols, commandeered the studio's green room, where they stayed until they performed on the show the next night. Gimmick episodes Other shows that were taped in the regular 6A studio were augmented by special gimmicks: A lot of high-concept gimmick episodes were done in the early years of the show, such as a 1994 episode literally done in a giant hole, a 1995 show done entirely on a boat of the circle line or "Time Travel Week", four episodes from early 1996, where Conan and Andy (and the rest of the crew) "time-traveled" to a different point in time each night. Times and locations included The Civil War, Ancient Greece, The future, and The early '80s (featuring a cameo by David Letterman in the cold open, who occupied Conan's studio in 1983, cruelly brushing off Conan and Andy's attempt at explaining their presence in Letterman's dressing room by saying, "Why don't you two fellas go find a nice, warm place to screw yourselves? Security!"). In 1997, a special episode was taped in which the studio audience was composed solely of grade-school age children, primarily 5–10 years of age. Conan interacted with the children, encouraging them to laugh and cheer to keep away the boredom monster. The February 19, 1998 episode was aired against coverage of the 1998 Winter Olympics on CBS, and therefore, Conan assumed no one was watching, and they could do anything. He and Andy took to performing increasingly outrageous acts, such as Conan revealing a Hanson T-shirt under his shirt and tie, and confessing his hatred for the NBC screen bug, going as far as to kill it with a can of Raid. He and Andy also smoked on the air (with a cutaway showing a mother finding her two kids imitating Conan), Max Weinberg confessed to killing Bruce Springsteen's previous drummer, as well as a number of other people he didn't like (even showing a map of where he buried them), Al Roker walked into the studio and confessed he never liked the weather, and Conan asked a female audience member to have consensual sex with him, which the woman vehemently refused. The event became known as "Nobody's Watching". The October 18, 2002 episode was re-shot entirely in clay animation nearly seven months after its first airing, including the opening credits and commercial bumpers. The episode's originally broadcast soundtrack was retained while the visuals were reproduced to mirror the original footage in a small-scale reproduction of the studio 6A. On October 31, 2006, a similarly conceptualized Halloween episode was created from an episode which originally aired in May and featured Larry King, among other guests. Using a process the show called "Skelevision", all the visuals were re-shot with a Halloween motif, with human skeletons adorned with the clothing and accessories of the humans. This re-shoot was shot using the actual studio, and the puppeteers moved the skeletons with wires and cables while being visually obscured by green screen technology. Once again, the opening and bumpers were altered, this time including a model of a hearse winding through a foggy landscape and cemetery, and the voice of Bill Hader as Vincent Price in place of Joel Godard. U2 exclusive The October 5, 2005 episode of Late Night was devoted entirely to the band U2, marking the first time in the show's then 13-year run that it had devoted an entire show to a single guest. Jim Pitt, the talent executive in charge of booking acts for the show, remarked that in his 12 years of working for Late Night, U2 and Johnny Cash were the "dream artists" he'd tried, but never succeeded in getting. The band performed three songs, two more than the customary one song, then had a lengthy interview with Conan. Episodes during the 2007–2008 writer's strike After two months of being off-air, the first show to air during the 2007–2008 Writers Guild of America strike on January 2, 2008 featured a small musical segment at the beginning of the show detailing O'Brien's newly grown beard in a show of support for the striking writers. At the beginning of the January 28 episode, it was revealed that Conan had shaved his beard, which was followed with a similar musical segment. Several times during the episodes produced during the writer's strike, O'Brien would kill time by spinning his wedding ring on his desk, which he previously only did during rehearsals. His personal best was 41 seconds, achieved during an un-aired rehearsal. After several unsuccessful on-air attempts to break his record, during the show originally broadcast on February 9, 2008, O'Brien broke his record for endurance ring spinning, setting a time of 51 seconds by coating his wedding ring with Vaseline and spinning it on a Teflon surface. The feat was accomplished with the help of MIT physics professor Peter Fisher. These episodes are considered by most fans to be the magnum opus of O'Brien's television career, considering the spontaneity of each episode. The strike also gave rise to associate producer Jordan Schlansky's repeated appearances on the show as an embellished version of himself. "Feud" with Jon Stewart and Stephen Colbert Early on in the later half of the 2007–2008 Writer's Guild strike, Conan O'Brien accused his show of being the sole cause of presidential candidate Mike Huckabee's status in the polls, due to his use of the Walker, Texas Ranger Lever while Chuck Norris was coincidentally sponsoring Huckabee. Stephen Colbert made the claim that because of "the Colbert bump," he was responsible for Huckabee's current success in the 2008 presidential race. O'Brien claimed that he was responsible for Colbert's success because he had made mention of him on his show. In response, Jon Stewart, host of The Daily Show, claimed that he was responsible for the success of O'Brien, and in turn the success of Huckabee and Colbert. This resulted in a three-part comedic battle among the three hosts, with all three appearing on each other's shows. The feud ended on Late Night with an all-out mock brawl between the three talk-show hosts. Anniversary episodes In 1996, a third anniversary episode was taped, though it aired in the regular 12:35/11:35 late night time slot. The show was composed of clips of the best of the first three years, and featured cameos from many former guests, including Janeane Garofalo, Scott Thompson, Tony Randall and George Wendt. Typical of O'Brien's style of comedy, he introduced his first guest (Wendt) by listing his notable achievements in television (particularly Cheers) then introduced each subsequent guest by repeatedly listing Wendt's achievements (insinuating that all of his guests for that night's show played the role of Norm on Cheers). In 1998, Late Night aired a fifth anniversary special in prime time, mostly consisting of clips from the first five years. It was taped in the Saturday Night Live studio, also in the GE Building. The special was later sold on VHS tape. In 2003, a similar tenth anniversary special was taped in New York City's famed Beacon Theatre and later made available on DVD. The final episodeLate Night with Conan O'Briens last episode was recorded February 20, 2009, and aired shortly after midnight that next morning. The episode featured clips from past shows and a reflection on the show's sixteen-year-long run. John Mayer sent a farewell video message, singing a song about how Los Angeles is "going to eat [Conan] alive" (an ironic foretelling of things to come). In a short remote piece, Conan released regular contributor Abe Vigoda "into the wild," as he could not bring him to Los Angeles for the move to The Tonight Show. Will Ferrell made a surprise visit as George W. Bush, which quickly devolved into Ferrell tearing off his business suit to reveal an ill-fitting green leprechaun outfit that had been worn in a number of previous appearances on the show. Former sidekick Andy Richter, who re-joined O'Brien when he took over The Tonight Show in June, joined O'Brien onstage for two segments, watching clips and reminiscing about the show. Among the clips shown, O'Brien noted that his all-time favorite Late Night piece was when he attended a re-enactment of an American Civil War-era baseball game, played at a Long Island, New York museum, Old Bethpage Village Restoration. During the course of the final week, O'Brien began violently dismantling and handing out pieces of the production set to the audience. In the final show, a large piece of the stage's frame was pulled down and chopped into pieces. O'Brien then promised to give each audience member in attendance a piece of the set. One of Conan's favorite bands, The White Stripes, performed a new, slower arrangement of their song "We're Going to Be Friends" based on Conan's lullaby rendition of the song, with drummer Meg White playing second guitar and singing along with vocalist/guitarist Jack White. The performance proved to be the band's last before their breakup in February 2011. The song would be used many years later as the theme for O'Brien’s podcast Conan O'Brien Needs a Friend. The program concluded with a visibly emotional O'Brien giving a farewell speech from behind his desk, thanking his fans, writers, producers, backstage crew, his family, the Max Weinberg 7, David Letterman, Joel Godard, Jay Leno, and Lorne Michaels, as well as a final assurance that he would not "grow up" as he moved to The Tonight Show. About 3.4 million viewers watched O'Brien's final episode of Late Night, the largest audience since the January 24, 2005 episode that followed Jay Leno's tribute to Johnny Carson. After the end of the series, Studio 6A at Rockefeller Center was remodeled for The Dr. Oz Show. In the summer of 2013, NBC moved Late Night with Jimmy Fallon to Studio 6A while 6B, which housed Late Night since Fallon succeeded O'Brien in 2009, was being renovated when Fallon took over The Tonight Show on February 17, 2014 while The Dr. Oz Show moved to ABC's Upper West Side studios. Awards and nominations Set design O'Brien's Late Night had three long-term permanent sets, but retained the basic structure used when Letterman occupied Studio 6A: the performance space at the viewer's left, and the desk area, to the viewer's right, where interviews were done. O'Brien did his monologue in the performance area, emerging at the start of each episode from the area where musical guests perform. The Max Weinberg 7 were in the corner made by the stage-right wall and the wall in front of the audience. The desk area had a desk for O'Brien, a chair and couch(es) to the viewer's left for guests (and originally Andy Richter), and a coffee table. Primarily, set changes involved the background behind the desk and chair and couch. The original set, used from the show's debut in 1993 until the fall of 1996, was primarily yellow, and the desk background resembled the living room of a New York City apartment, with windows that looked out at a Manhattan backdrop; it was modeled after Lorne Michaels' office. For years afterwards, O'Brien mocked this original set, particularly its "mustard color". The two subsequent set designs featured darker blues and violets to emulate the feel of nighttime, with the final set featuring a balcony railing in front of a backdrop with the view from the top of Rockefeller Center. This set debuted on September 4, 2001, and necessitated changes almost instantly as its backdrop view of New York City contained the World Trade Center, which was destroyed a week later. A special curtain was used to obstruct the towers temporarily, until eventually the curtain became a permanent part of the set design even after the backdrop was altered. During his final week of episodes, Conan took an axe to parts of the set, giving it out to audience members as souvenirs, not wanting to allow it to simply be thrown away. International broadcasts CNBC Europe used to air Late Night with Conan O'Brien on weeknights from 11:45 pm–12:30 am CET, with weekend editions on Saturdays and Sundays at 9:45 pm–10:30 pm CET. However, in March 2007, CNBC Europe decided to show only the weekend editions, and drop the weeknight editions, to make way for more business news programmes in their weeknight schedules. On the week of August 4, 2008, however, CNBC Europe has discontinued showing the NBC Nightly News, which for many years was shown live from America in a 12:30 am–1:00 am CET slot. Late Night with Conan O'Brien has now replaced NBC Nightly News in the 12:30 am–1:00 am slot. The weeknight editions are a 30-minute condensed version of the show. The show follows the weeknight condensed version of The Tonight Show with Jay Leno which airs at 12:00 am CET. In September 2008, CNBC Europe changed the weeknight schedules to include full uncut editions of Late Night with Conan O'Brien broadcast in the 11:45 am CET/10:45 pm GMT 45-minute time slot. This schedule usually runs from Tuesdays to Fridays. CNBC Europe decided to stop broadcasting Late Night as of January 1, 2009, a mere two months before Conan's last show as host. Instead of following The Tonight Show reruns on weekends, CNBC now broadcasts two Tonight Show episodes in a row. See also List of Late Night with Conan O'Brien sketches List of Late Night with Conan O'Brien characters List of Late Night with Conan O'Brien episodes Pale Force The Tonight Show with Conan O'Brien'' List of late night network TV programs References Further reading External links Joseph Konopka scenic art journals for Late Night with Conan O'Brien, 1993-2009, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts Category:1993 American television series debuts Category:2009 American television series endings Category:1990s American late-night television series Category:2000s American late-night television series Category:1990s American political comedy television series Category:2000s American political comedy television series Category:1990s American satirical television series Category:2000s American satirical television series Category:1990s American sketch comedy television series Category:2000s American sketch comedy television series Category:1990s American television talk shows Category:2000s American television talk shows Category:1990s American variety television series Category:2000s American variety television series Category:American television shows featuring puppetry Category:CNBC Europe original programming Category:English-language television shows O'Brien, Conan Category:NBC original programming Category:Political satirical television series Category:Primetime Emmy Award-winning television series Category:Television series by Universal Television Category:Television shows set in New York City Category:Conan O'Brien Category:Television series by Broadway Video Category:Television series by Conaco Category:Television shows filmed in New York City
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C_02f45e7d801642eeabf570afdfaec244_0
Echo & the Bunnymen
Echo & the Bunnymen are an English rock band formed in Liverpool in 1978. The original line-up consisted of vocalist Ian McCulloch, guitarist Will Sergeant and bassist Les Pattinson, supplemented by a drum machine. By 1980, Pete de Freitas joined as the band's drummer. Their 1980 debut album, Crocodiles, went into the top 20 of the UK Albums Chart.
Mainstream success
In June 1982, the Bunnymen achieved their first significant UK hit single with "The Back of Love" (No. 19). In July 1982, they performed at the first WOMAD festival. This was followed in early 1983 with their first Top 10, the more radio-friendly "The Cutter", which climbed to No. 8. The parent album, Porcupine, hit No. 2 in the album chart. Now firmly established as a chart act, further hits followed with a one-off single, "Never Stop" (No. 15), and "The Killing Moon", a preview from the new album featuring a dramatic McCulloch vocal, which became the band's second UK Top 10 single at No. 9. Following a PR campaign which proclaimed it "the greatest album ever made" according to McCulloch, 1984's Ocean Rain reached No. 4, and today is widely regarded as the band's landmark album. Single extracts "Silver" (UK No. 30) and "Seven Seas" (UK No. 16) consolidated the album's continued commercial success. In the same year, McCulloch had a minor solo hit with his cover version of "September Song". Echo & the Bunnymen toured Scandinavia in April 1985, performing cover versions of songs from Television, the Rolling Stones, Talking Heads and The Doors. Recordings from the tour emerged as the semi-bootleg On Strike. Unfortunately for the band, Ocean Rain proved to be a difficult album to follow up, and they could only re-emerge in 1985 with a single, "Bring on the Dancing Horses" (UK No. 21), and a compilation album, Songs to Learn & Sing, which made No. 6 in the UK album chart. However, all was not well in the Bunnymen camp, and Pete de Freitas left the band. Their next album, the self-titled Echo & the Bunnymen (1987), was initially recorded with ex-ABC drummer David Palmer, but when de Freitas returned in 1986, it was largely re-recorded. Eventually released in mid-1987, the record sold well (UK No. 4), and was a small American hit, their only LP to have significant sales there. In the United States, the band's best-known songs were "The Killing Moon" and "Lips Like Sugar". "Bring on the Dancing Horses" is well known as one of the songs on the soundtrack to the John Hughes film Pretty in Pink. "The Killing Moon" was featured in the films Grosse Pointe Blank and Donnie Darko, and in Series 2, Episode 5 of the E4 series Misfits. Ocean Rain's "Nocturnal Me" was used to close out Stranger Things Season 1, Episode 5. The band also contributed a cover version of The Doors song "People Are Strange" to The Lost Boys soundtrack. CANNOTANSWER
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Echo & the Bunnymen is an English rock band formed in Liverpool in 1978. The original line-up consisted of vocalist Ian McCulloch, guitarist Will Sergeant and bassist Les Pattinson. By 1980, Pete de Freitas joined as the band's drummer. Their 1980 debut album Crocodiles went into the top 20 of the UK Albums Chart. After releasing their second album Heaven Up Here in 1981, the band's cult status was followed by mainstream success in the UK in 1983 when they scored a UK Top 10 hit with "The Cutter", and the album which the song came from, Porcupine, hit number 2 in the UK. Ocean Rain (1984), continued the band's UK chart success with its lead single "The Killing Moon" entering into the top 10. After they released a self-titled album in 1987, McCulloch left the band and was replaced by singer Noel Burke. In 1989, de Freitas was killed in a motorcycle accident. After working together as Electrafixion, McCulloch and Sergeant regrouped with Pattinson in 1997 and returned as Echo & the Bunnymen, before Pattinson's departure in 1998. The band has done some touring and released several albums since the late 1990s to varying degrees of success. History Early years Ian McCulloch began his career in 1977, as one third of the Crucial Three, a bedroom band which also featured Julian Cope and Pete Wylie. When Wylie left, McCulloch and Cope formed the short-lived A Shallow Madness with drummer Dave Pickett and organist Paul Simpson, during which time such songs as "Read It in Books", "Robert Mitchum", "You Think It's Love" and "Spacehopper" were written by the pair. When McCulloch left the band, A Shallow Madness changed their name to The Teardrop Explodes, and McCulloch joined with guitarist Will Sergeant and bass player Les Pattinson to form Echo & the Bunnymen. This early incarnation of the band featured a drum machine, assumed by many to be "Echo", though this has been denied by the band. In the 1982 book Liverpool Explodes!, Will Sergeant explained the origin of the band's name: In November 1978, Echo & the Bunnymen made their debut at Liverpool's Eric's Club, appearing as the opening act for The Teardrop Explodes. The band played one song, a 20-minute version of "Monkeys" which was entitled "I Bagsy Yours" at the time. Echo & the Bunnymen's debut single "The Pictures on My Wall" was released on Bill Drummond & David Balfe's Zoo Records in May 1979, the B-side being "Read It in Books" (also recorded by The Teardrop Explodes approximately six months later as the B-side of their final Zoo Records single "Treason"). Though credited as a McCulloch/Cope collaboration, McCulloch has denied on more than one occasion that Cope had any involvement with its writing. With the group now gaining wider attention, they were invited to record a four-song set for the BBC'S John Peel Show on August 22, at which time they were still using a drum machine. This was the first of six live sets they would cut for the Peel show between 1979 and 1983. By the time of their debut album, 1980's Crocodiles (July 1980), the drum machine had been replaced by Trinidad-born Pete de Freitas. Unlike the other band members, who were from working class Liverpool families, de Freitas was considered "posh" - he came from an affluent background, grew up in the south of England, and attended an elite private school, but his affable and outgoing manner was a welcome addition for his famously fractious bandmates. De Freitas met the trio at their September 15, 1979 gig at Eric's in Liverpool and immediately joined the band, but his October 12 live debut with them at London's Electric Ballroom was less than auspicious. Supporting hugely popular ska bands Madness and Bad Manners, the Bunnymen proved an uncomfortable fit, and they were booed off after just two songs. "Rescue" (produced by Ian Broudie), the lead single from Crocodiles, reached No. 62 on the UK singles chart but the album (co-produced by manager Bill Drummond and his business partner David Balfe of The Teardrop Explodes) broke into the Top 20, reaching No. 17, and garnered wide critical acclaim. Eschewing the traditional "pin-up" cover shot, Crocodiles featured an atmospheric cover image, which showed the band posed in a mysterious woodland setting, lit by hidden coloured lights. Designed by Martyn Atkins and photographed by Brian Griffin, it became the first in a coordinated series of elemental-themed album covers by Atkins and Griffin, which spanned their first four LPs, each depicting the band posed at some distance from the camera, in a visually striking natural setting -- a forest (Crocodiles), a beach at sunset (Heaven Up Here), a frozen waterfall in Iceland (Porcupine) and a subterranean river (Ocean Rain). It would not be until their fifth, self-titled album that the band employed a traditional group portrait. Shine So Hard The band embarked on their first major concert tour between September and December 1980 to promote Crocodiles, supported by London band The Sound, during which they performed their first European concerts in France, The Netherlands and Germany. The end of the Camo tour was followed by a four-month break, mainly dedicated to the preparation and recording of their second LP. However, manager Bill Drummond (later of KLF) and lighting director Bill Butt launched plans for a one-off promotional concert event as the final date of the Camo tour, which would be professionally filmed and recorded. It was primarily intended to provide material for the group's first music video, but Drummond and Butt's vision went well beyond the conventional three-minute pop-rock promotional clip, and it reflected their desire to capture Echo & The Bunnymen's live performance during this crucial breakthrough phase of their career. Butt was slated to direct, but British film union regulations at the time meant that the film would not be distributed commercially unless it was directed by a union member. Butt took over as producer, and on the recommendation of their mutual friend, Patrick Duval, Butt engaged novice filmmaker John Smith, who had earned a union ticket for a film he had directed while at university. After extensive consultation with their clients, Smith and Duval were "embedded" in Buxton with the band in the week leading up to the concert, and they were given a completely free hand to structure, shoot and edit the project. Smith and Duval shaped the first part of the film around the differing characters of the four band members, filming both the town and the musicians, but using unusual shooting angles and perspectives. This material was then assembled into an impressionistic sequence of seemingly disconnected images, which are gradually revealed to be a montage of the activities of the band members as they prepare for and head to the show. The concert was staged on January 17, 1981, in the striking Victorian-era glass concert hall in the Buxton Pavilion Gardens in Derbyshire before a specially invited audience. Before the show, advertisements had been placed in the music press, and 500 lucky fans who responded were given free passes and a map directing them to the secret location (called "Gomorrah" in the advertisement), which also advised "BE PREPARED: THIS IS AN ATLAS ADVENTURE". For an additional fee of £5, coach transport was provided for fans from London, Liverpool and other cities. Although inclement winter weather complicated the rehearsals, causing transport headaches for the band, as well as for their fans, the concert went ahead as planned, with the band taking the stage 30 minutes after the scheduled start time. The performance was filmed by Smith, Duval and cameraman Mike Tomlinson, with multitrack audio recorded on the Manor Mobile studio by Peter Woods. The footage captures the band at the height of their early success, and documents both their musical prowess as a live act and the impressive staging and lighting designed by Bill Butt. The set list was drawn mainly from Crocodiles, plus previews of several tracks from the upcoming second album. The finished 33-minute short film combined Smith and Duval's opening montage with dynamic footage of four songs from the show. Titled Shine So Hard: An Atlas Adventure, it was given a limited UK cinema release, but Warner executives were reportedly dismayed by its avant-garde structure and the fact that the band don't even appear clearly until partway through the film. The audio recordings of the four songs featured in the film were also released on the "Shine So Hard" EP, which reached #37 on the UK singles chart, thus becoming the group's first British hit single. In 1982, the film was released as a limited edition of 500 VHS cassettes, redeemable only with a voucher given out to those who had attended the concert, and copies found their way onto the second-hand market. Heaven Up Here Beginning in April 1981, the band commenced another round of touring to promote the forthcoming album. This included their first American dates in New York, Toronto, Pittsburgh, Detroit, Chicago, Boston, San Francisco, and Los Angeles. After another round of shows in the UK and Europe mid-year, they returned to America for more shows during October, and in November they made their only visit to Australia, including a show on November 11 at the Manly Vale Hotel on Sydney's northern beaches. This was recorded, and four tracks from that concert were subsequently included as bonus tracks on the 2003 CD reissue of the second album. Heaven Up Here was recorded at Rockfield Studios in Wales during March, and was released in May 1981. Produced by the band and Hugh Jones, it proved a very positive and enjoyable recording experience for the band, and became an even bigger critical and commercial success, reaching the UK Top Ten (No. 10), although "A Promise", the sole single lifted from the album, only reached UK No. 49. The cover image continued the elemental theme of Crocodiles, and depicted the group standing on a beach, with their backs to the camera, looking out to sea, silhouetted against a bank of storm clouds at sunset, with a flock of seagulls flying across sky in front of them. The photograph was taken on the beach at Porthcawl in South Wales on a day off from recording. According to photographer Brian Griffin, they had to use buckets of fish offal to entice the seagulls to fly through the shot. Manager Bill Drummond and Korova label head, Rob Dickins, reportedly hated the image and Atkins, Griffin and the band had to fight to have it accepted as the cover shot. Porcupine and mainstream success After another break over the winter, the band played three UK dates in April 1982. In June, they scored their first top 20 UK hit single with "The Back of Love" (No. 19). In July, they began a short round of festival appearances and headlining concerts in Britain and Europe, including an appearance at the first WOMAD festival, where they were joined onstage for the song "All My Colours (Zimbo)" by The Drummers of Burundi. Their only American date that year was a one-off show at New York's Peppermint Lounge on August 24, and their 1982 touring schedule concluded with four UK dates in December. Much of 1982 was taken with the difficult and protracted process of recording of their highly anticipated third album Porcupine, which reunited them with Crocodiles producer Ian Broudie (who was also Sergeant's housemate at the time). Several members also undertook outside projects during the year. Pete de Freitas produced and played drums on Liverpool band The Wild Swans' debut single "Revolutionary Spirit", and lead guitarist Will Sergeant recorded a solo album of instrumental music titled Themes for 'Grind' (1982). The original version of Porcupine was rejected by Warner Bros as "too uncommercial", so (over Sergeant's objections) the band agreed to re-record the entire LP, and Drummond brought in noted Indian violinist and composer Shankar to add strings. During this period, tensions within the band had increased dramatically. Bassist Les Pattinson was openly expressing his weariness with the industry, and personal relations among the four deteriorated to the point that they either refused to speak to each other or argued when they did. McCulloch later described the band's mood at this time as "horrible", and de Freitas stated that, in stark contrast to the quick and confident making of Heaven Up Here, he felt that "we had to drag it out of ourselves" with Porcupine. Despite these impediments, the re-recording went relatively smoothly, and the sessions ultimately produced their UK chart breakthrough. Released in early 1983, the more radio-friendly "The Cutter", became their first top 10 single, climbing to No. 8, while the parent album Porcupine (Feb. 1983), hit No. 2 in the album chart. Now firmly established as a chart act, further hits followed with a one-off single, the dance-oriented "Never Stop" (No. 15), and the epic "The Killing Moon", a preview from the new album featuring a dramatic McCulloch vocal, which became the band's second UK top 10 single at No. 9. Ocean Rain The band kicked off a hectic year of touring in 1984 with their first dates in Japan, in January, followed by a month-long round of dates in the United States beginning in March. April-May saw them playing concerts in Europe and the UK, followed by the second and more extensive leg of their U.S. tour during August-September, concluding with a show at the famed Greek Theater in Los Angeles on September 9. The band then immediately undertook an intensive two-month UK tour, beginning in Dublin on September 15 and concluding at London's Brixton Academy on October 24 (their last concert of 1984). Following a PR campaign that proclaimed it "the greatest album ever made" according to McCulloch, 1984's Ocean Rain reached No. 4, and today is widely regarded as the band's landmark album. Single extracts "Silver" (UK No. 30) and "Seven Seas" (UK No. 16) consolidated the album's continued commercial success. In the same year, McCulloch had a minor solo hit with his cover version of the Kurt Weill standard "September Song". After the release of Ocean Rain, manager Bill Drummond announced that the band was taking a year off to write material for the next album, but at the end of 1984 they replaced him, reportedly because they were unhappy that the band wasn't making enough money. Drummond was succeeded by Duran Duran tour manager Mick Hancock. Echo & the Bunnymen resumed work with a tour of Scandinavia in April 1985, performing cover versions of songs from Television, the Rolling Stones, Talking Heads and The Doors. Recordings from the tour emerged as the semi-bootleg On Strike. On 21 June they performed a headlining set at that year's Glastonbury Festival, where they premiered two new songs from their next album. Fifth album and departure of de Freitas Ocean Rain proved difficult to follow up, and their only releases in 1985 were the single, "Bring on the Dancing Horses" (UK No. 21), and a compilation album, Songs to Learn & Sing, which made No. 6 in the UK album chart. 1985/86 proved to be the turning point in the group's career. During their regular winter break, drummer Pete de Freitas had moved to America with a loose group of musical colleagues, friends and hangers-on dubbed The Sex Gods, but the other Bunnymen and his family later revealed that de Freitas was suffering from escalating mental health and drug problems, and following a New Year's Eve drug binge in New Orleans, de Freitas announced that he had quit the band. With tour commitments looming, the remaining members hastily recruited former Haircut One Hundred drummer Blair Cunningham as their new drummer, but he did not fit in, and left after their Spring 1986 American tour. Cunningham was replaced by former ABC drummer David Palmer. The group began recording material for the new album with Broudie and producer Clive Langer but they were unhappy with the results and the recordings were shelved. They then recorded with Laurie Latham, who was chosen by McCulloch because he had been impressed by Latham's work on The Stranglers' single "Skin Deep”. Three tracks from these sessions made their way onto the next album, including the song "Jimmy Brown", which was re-titled "Bring on the Dancing Horses" and released as their only single of 1986. Echo & The Bunnymen returned to the studio to record more material with a new producer, Gil Norton, but in July David Palmer left the group, and de Freitas expressed his wish to rejoin. The other members were concerned about both his commitment to the band and his drug and mental health problems, so he returned to group as a hired musician rather than a full member of the band. The revised lineup performed live on BBC TV in September, presenting two new songs, "The Game" and "Lips Like Sugar", but by this stage, they were under intense pressure from their label to create what Warners considered to be more commercial material. Will Sergeant later recalled the band's outrage when Warner executive Rob Dickens played them Peter Gabriel's album So, declaring "I want you to sound like this!" Their fifth studio album, the self-titled Echo & the Bunnymen (1987), was recorded with Palmer, but when de Freitas returned in late 1986, it was largely re-recorded. Released in mid-1987, the record sold well (UK No. 4), and was a small American hit, their only LP to have significant sales there. It is also significant as the final album to be recorded with the original lineup. Like Porcupine, the making of the album proved to be a difficult and protracted process. Early sessions with Gil Norton took place at the famous Cologne studio of German producer Conny Plank, but both band and label were unhappy with the results and these recordings were shelved. They began re-recording material from the Cologne sessions with Laurie Latham in Brussels, but the sessions were grueling, with Latham spending up to a month on a single song, and tensions within the band were being inflamed by McCulloch's increasing alcohol use, and the star treatment he was being accorded. In the United States, the band's best-known songs were "The Killing Moon" and "Lips Like Sugar". "Bring on the Dancing Horses" is well known as one of the songs on the soundtrack to the John Hughes film Pretty in Pink. The band also contributed a cover version of The Doors song "People Are Strange" to The Lost Boys soundtrack, which featured a guest appearance by original Doors keyboard player Ray Manzarek, who also contributed keyboards to a re-recorded version of "Bedbugs and Ballyhoo". "Never Stop" was used in the Alan Bennett film History Boys. Although the album was a significant commercial success, it received mixed reviews from critics, and was disliked by the band, who were sharply critical of the mixing and production. Departure of McCulloch, death of de Freitas, sixth album, and disbandment The group jointly headlined an American tour with New Order in August-September 1987, followed by a UK tour in the northern autumn. After a winter break they undertook another round of touring in the U.S. and the UK, to general acclaim, but the March 1988 single release of their cover of The Doors' "People Are Strange" drew withering reviews from the music press, with Melody Maker denouncing it as "a rancid effort". The end of the original Echo & The Bunnymen came in March 1988. Following a Japanese tour, McCulloch announced that the band was breaking up. He hastily departed for the UK to see his father, who had just suffered two heart attacks, but he died before McCulloch arrived. Months of speculation finally ended in September 1988 when McCulloch officially informed the other members that he was leaving the band, but Sergeant told McCulloch that he, Pattinson and de Freitas would continue working together. McCulloch departed, and later began work on his first solo album Candleland. Following an abortive attempt to record with singers Kate Pierson and Cindy Wilson of The B-52s, the group advertised for a new lead singer. Former Colenso Parade singer Oscar turned down an offer to take over from McCulloch, Keyboardist Jake Brockman (a touring member of the band for several years previously, and a contributor to the 1987 album) was promoted to full member, and after hearing an album by the defunct UK group St Vitus Dance, the Bunnymen offered the lead singer spot to vocalist Noel Burke, who accepted after the band assured him that they did not want "a McCulloch clone". However, their plans were thrown into disarray when Pete de Freitas was killed in a motorcycle accident on 14 June 1989. De Freitas was on his way to Liverpool from London to take part in the group's first rehearsal with Burke, when his Ducati motorbike collided with another vehicle on the A51 At Longdon Green in Staffordshire, killing him instantly. He was 27 years old and was survived by his widow and their infant daughter, who was born in 1988. After recruiting new drummer Damon Reece to replace de Freitas, the new five-piece Bunnymen recorded the psychedelic-tinged Reverberation in 1990 with renowned former Beatles engineer and producer Geoff Emerick. The album did not generate much interest among fans or critics, it sold poorly, and the band was dropped by Warner Bros. In a 2003 interview, McCulloch said of his replacement with Burke: I think it's pretty obvious what I think. Noel Burke... the name says it all really doesn't it? No, that's not fair. It wasn't his fault, it was Will and Pete who were the berks really. But no, I thought it was disgraceful and after that I suppose it was quite surprising that I continued working with Will after that. I'm glad I did though. Johnny Marr called them Echo and the Bogusmen when that happened. Meanwhile, McCulloch released his well-received debut solo album Candleland in September 1989, shortly after de Freitas' death. His follow-up solo album was Mysterio in 1992. After two more unsuccessful singles, which were released independently, the Bunnymen disbanded in 1993. Reformation In 1994, McCulloch and Sergeant began working together again under the name Electrafixion; in 1997 Pattinson rejoined the duo, meaning the three surviving members of the original Bunnymen line-up were now working together again. Rather than continue as Electrafixion, the trio resurrected the Echo & the Bunnymen name and released the album Evergreen (1997), which reached the UK Top 10. Immediately before the release of the band's next album What Are You Going to Do with Your Life? (1999), Les Pattinson quit to take care of his mother. McCulloch and Sergeant have continued to tour and record as Echo & the Bunnymen, touring repeatedly and releasing the albums Flowers (2001), Siberia (2005), The Fountain (2009) and Meteorites (2014). The Siberia band line up was Ian McCulloch, Will Sergeant, Paul Fleming (keyboards), Simon Finley (drums) and Pete Wilkinson (bass), Hugh Jones produced Siberia after previously engineering early Bunnymen albums. Since August 2009 the group's touring incarnation has comprised McCulloch and Sergeant along with Stephen Brannan (bass), Gordy Goudie (guitar), Nicholas Kilroe (drums) and Jez Wing (keyboards). In 2002, the group received the Q Inspiration award. The award is for inspiring "new generations of musicians, songs and music lovers in general." The band were said to be worthy winners as they have done much to promote the Mersey music scene. In a later interview for Magnet magazine, McCulloch said "It validates everything that we've tried to achieve—cool, great timeless music. It's not like an inspiration award affecting the past, it's affecting the current music." On 11 September 2006, Echo & the Bunnymen released an updated version of their 1985 Songs to Learn and Sing compilation. Now re-titled More Songs to Learn and Sing, this compilation was issued in two versions, a 17-track single CD and a 20-track version with a DVD featuring eight videos from their career. In March 2007, the Bunnymen announced that they had re-signed to Warner and were working on a new album. The band were said to be planning a live DVD, titled Dancing Horses, which contained interviews with the band. This was released in May 2007 on Snapper/SPV. The live line up was Ian McCulloch, Will Sergeant, Simon Finley (drums), Paul Fleming (keyboards), Gordy Goudie (guitar) and Steve Brannan (bass). On 11 January 2008, McCulloch was interviewed on BBC Breakfast at the start of Liverpool 08. He was asked about new Bunnymen material and he revealed that a new album would coincide with their gig at the Royal Albert Hall in September. He went on to say that the album was "The best one we've made, apart from Ocean Rain." In a 20 April 2008 interview with the Sunday Mail, Ian McCulloch announced The Fountain as the title of the new Echo & the Bunnymen album with producers John McLaughlin and Simon Perry, which was originally due to be released in 2008 but was finally released on 12 October 2009. "Think I Need It Too", the first single from the album, was released on 28 September 2009. On 1 September 2009, former keyboard player Jake Brockman died on the Isle of Man when his motorbike collided with a converted ambulance. Brockman had played keyboards for the band during the 1980s. In December 2010, Echo & the Bunnymen went on tour playing their first two albums Crocodiles and Heaven Up Here in their entirety. Echo & the Bunnymen's most recent album of new material, titled Meteorites, was released on 26 May 2014 in the UK, and on 3 June 2014 in the US via 429 Records. The album was released on the pledgemusic.com website. It was produced and mixed by Youth, who also co-wrote three of the tracks and played some bass. It was the band's first UK Top 40 album entry since 1999. In 2018, Echo & the Bunnymen announced and released an album of reworked orchestral versions of older material and two new songs, titled The Stars, the Oceans & the Moon, to mixed reception. In September 2023, a 4 date tour will see the group perform Ocean Rain in full in the UK. Members Current Ian McCulloch – vocals, guitar, keyboards (1978–1988, 1996–present) Will Sergeant – guitars, programming (1978–1993, 1996–present) Former Les Pattinson – bass (1978–1993, 1996–1998) Pete de Freitas – drums (1979–1989; died 1989) Noel Burke – vocals, guitar (1988–1993) Damon Reece – drums (1989–1993) Jake Brockman – keyboards (1989–1993; died 2009) Touring Pete Reilly – guitar (2016–present) Stephen Brannan – bass (2005–present) Mike Smith - keyboards (2022–present) Simon Finley - drums (2005–present) Former touring Jeremy Stacey – drums (1999–2001) Vinny Jamieson – drums (2001-2003) Guy Pratt – bass (1998–2000) Alex Germains – bass (2000–2003) Michael Lee – drums (1996–2001; died 2008) Vinny Jameson – drums (2001–2003) Pete Wilkinson – bass (2003–2005) Simon Finley – drums (2003–2005) Paul Fleming – keyboards (2003–2009) Ged Malley – guitar (2003) Gordy Goudie – guitar (2004–2017) Nicholas Kilroe – drums (2007–2017) Kelley Stoltz – guitar (2016-2017) Gillian Grant – violin (2018) Kirsty Main – violin (2018) Annemarie McGahon – viola (2018) Heather Lynn – cello (2018) Pete Reilly – guitar (2018) Alan Watts – guitar (2019–2020) Timeline Discography Crocodiles (1980) Heaven Up Here (1981) Porcupine (1983) Ocean Rain (1984) Echo & the Bunnymen (1987) Reverberation (1990) Evergreen (1997) What Are You Going to Do with Your Life? (1999) Flowers (2001) Siberia (2005) The Fountain (2009) Meteorites (2014) The Stars, the Oceans & the Moon (2018) Citations General and cited references Adams, Chris. Turquoise Days: The Weird World of Echo & the Bunnymen. New York: Soft Skull Press, 2002. Fletcher, Tony. Never Stop: The Echo & the Bunnymen Story. London: Omnibus Press, 1987. Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978–1984. London: Penguin, 2005. External links Villiers Terrace.com The Ultimate Echo and the Bunnymen Resource Category:1978 establishments in England Category:1993 disestablishments in England Category:1996 establishments in England Category:English post-punk music groups Category:English new wave musical groups Category:Musical groups from Liverpool Category:Musical groups established in 1978 Category:Musical groups disestablished in 1993 Category:Musical groups reestablished in 1996 Category:Neo-psychedelia groups Category:Scouse culture of the early 1980s Category:Sire Records artists Category:Warner Records artists Category:Zoo Records artists Category:Let Them Eat Vinyl artists
[]
[ "The band achieved their mainstream success in June 1982 when they had a significant UK hit single with \"The Back of Love\". Their success was further consolidated with their first Top 10 in early 1983, \"The Cutter\", and their album Porcupine hitting No. 2 in the album chart.", "Echo & the Bunnymen achieved their mainstream success through a series of successful singles and albums. In June 1982, they had a hit single \"The Back of Love\" which reached No. 19 in the UK charts. This was followed by their first Top 10 in early 1983 with \"The Cutter\" which rose to No. 8. Their album, Porcupine, also did well and hit No. 2 in the album chart. They maintained this success with other hits like \"Never Stop\" and \"The Killing Moon\". Their 1984 album, Ocean Rain, reached No. 4 and is regarded as the band's landmark album.", "In addition to their success with singles and albums, Echo & the Bunnymen also performed at the first WOMAD festival in July 1982. They had a PR campaign for their 1984 album Ocean Rain, proclaiming it \"the greatest album ever made\", according to lead vocalist, McCulloch. McCulloch also had a minor solo hit with his cover version of \"September Song\". They also toured Scandinavia in April 1985, where they performed cover versions of songs from other artists. Recordings from this tour were released as the semi-bootleg On Strike. Their song \"Bring on the Dancing Horses\" was featured on the soundtrack to the John Hughes film Pretty in Pink. Another of their songs, \"The Killing Moon\", was used in the films Grosse Pointe Blank and Donnie Darko, and in the TV series, Misfits. Their song \"Nocturnal Me\" was featured in an episode of the TV series Stranger Things. The band also contributed a cover version of The Doors' song \"People Are Strange\" to The Lost Boys soundtrack. However, they also experienced tension within the band, which led to Pete de Freitas leaving. However, he later returned, and their self-titled album from 1987 was largely re-recorded with him.", "The result of their various endeavors led to Echo & the Bunnymen achieving solid commercial success, both in the UK and the United States. Their self-titled album from 1987, which was largely re-recorded with Pete de Freitas who had earlier left the band, sold well and reached No. 4 on the UK charts. It was also a small hit in the U.S., marking their only LP to have significant sales there. Their songs were also featured in various films and TV series, expanding their popularity and fan base. They were, however, unable to equal the success of their album \"Ocean Rain\" with subsequent releases." ]
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C_d77f5974dde04e86a0120d18fa30d191_0
Tool (band)
Tool is an American rock band from Los Angeles, California. Formed in 1990, the group's line-up includes drummer Danny Carey, guitarist Adam Jones, and vocalist Maynard James Keenan. Justin Chancellor has been the band's bassist since 1995, replacing their original bassist Paul D'Amour. Tool has won three Grammy Awards, performed worldwide tours, and produced albums topping the charts in several countries.
Undertow (1993-1995)
The following year, at a time when alternative rock and grunge was at its height, Tool released their first full-length album, Undertow (1993). It expressed more diverse dynamics than Opiate and included songs the band had chosen not to publish on their previous release, when they had opted for a heavier sound. The band began touring again as planned, with an exception in May 1993. Tool was scheduled to play at the Garden Pavilion in Hollywood but learned at the last minute that the venue belonged to L. Ron Hubbard's Church of Scientology, which was perceived as a clash with "the band's ethics about how a person should not follow a belief system that constricts their development as a human being." Keenan "spent most of the show baa-ing like a sheep at the audience." Tool later played several concerts during the Lollapalooza festival tour, and were moved from the second stage to the main stage by their manager and the festival co-founder Ted Gardner. At the last concert of Lollapalooza in Tool's hometown Los Angeles, comedian Bill Hicks introduced the band. Hicks had become a friend of the band members and an influence on them after being mentioned in Undertow's liner notes. He jokingly asked the audience of 10,000 people to stand still and help him look for a lost contact lens. The boost in popularity gained from these concerts helped Undertow to be certified gold by the RIAA in September 1993 and to achieve platinum status in 1995, despite being sold with a censored album cover by distributors such as Wal-Mart. The single "Sober" became a hit single by March 1994 and won the band Billboard's "Best Video by a New Artist" award for the accompanying stop motion music video. With the release of Tool's follow-up single "Prison Sex", the band again became the target of censorship. The song's lyrics and video dealt with child abuse, which sparked controversial reactions; Keenan's lyrics begin with: "It took so long to remember just what happened. I was so young and vestal then, you know it hurt me, but I'm breathing so I guess I'm still alive ... I've got my hands bound and my head down and my eyes closed and my throat wide open." The video was created primarily by guitarist Adam Jones, who saw it as his "surrealistic interpretation" of the subject matter. And while some contemporary journalists praised the video and described the lyrics as "metaphoric", the American branch of MuchMusic asked Keenan to represent the band in a hearing. It deemed the music video too graphic and obscene, and MTV stopped airing it after a few showings. In September 1995, the band started writing and recording their second studio album. At that time Tool experienced its only lineup change to date, with bassist D'Amour leaving the band amicably to pursue other projects. Justin Chancellor, a member of former tourmates Peach, eventually replaced D'Amour, having been chosen over competitors such as Kyuss's Scott Reeder, Filter's Frank Cavanaugh, Pigmy Love Circus's E. Shepherd Stevenson, Jane's Addiction's Eric Avery and ZAUM's Marco Fox. CANNOTANSWER
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Tool is an American rock band from Los Angeles. Formed in 1990, the group's line-up includes vocalist Maynard James Keenan, guitarist Adam Jones and drummer Danny Carey. Justin Chancellor has been the band's bassist since 1995, replacing its original bassist Paul D'Amour. Tool has won four Grammy Awards, performed worldwide tours, and produced albums topping the charts in several countries. To date, the band has released five studio albums, one EP and one box set. It emerged with a heavy metal sound on their first studio album, Undertow (1993), and became a dominant act in the alternative metal movement with the release of their follow-up album Ænima in 1996. The group's efforts to combine musical experimentation, visual arts, and a message of personal evolution continued with Lateralus (2001) and 10,000 Days (2006), gaining critical acclaim and international commercial success. Its fifth studio album Fear Inoculum was released on August 30, 2019, to widespread critical acclaim. Prior to its release, the band had sold more than 13 million albums in the US alone. Due to Tool's incorporation of visual arts and very long and complex releases, the band is generally described as a style-transcending act and part of progressive rock, psychedelic rock, and art rock. The relationship between the band and today's music industry is ambivalent, at times marked by censorship, and the band's insistence on privacy. History Formation and Opiate (1989–1992) During the 1980s, each of the future members of Tool moved to Los Angeles. Both Paul D'Amour and Adam Jones wanted to enter the film industry, while Maynard James Keenan, who had studied visual arts in Michigan, worked as a pet store remodeler. Danny Carey and Keenan performed for Green Jellÿ, and Carey played with Carole King and Pigmy Love Circus. Keenan and Jones met through a mutual friend in 1989. After Keenan played for Jones a tape recording of his previous band project, Jones was so impressed by his voice that he eventually talked his friend into forming a new band. They started jamming together while searching for a drummer and a bass player. Carey happened to live above Keenan and was introduced to Jones by Tom Morello, an old high school friend of Jones and former member of Electric Sheep. Carey began playing in their sessions because he "felt kinda sorry for them", as other invited musicians were not showing up. Tool's lineup was completed when a friend of Jones introduced the members to bassist D'Amour. Early on, the band fabricated the story that it formed because of the pseudophilosophy "lachrymology". Although "lachrymology" was also cited as an inspiration for the band's name, Keenan later explained the members' intentions differently: "Tool is exactly what it sounds like: It's a big dick. It's a wrench. ... we are ... your tool; use us as a catalyst in your process of finding out whatever it is you need to find out, or whatever it is you're trying to achieve." After almost two years of practicing and performing locally in the Los Angeles area, the band was approached by record companies, and eventually signed a record deal with Zoo Entertainment. In March 1992, Zoo released the band's first effort, Opiate. Described by the band as "slam and bang" heavy music and the "hardest sounding" six songs they had written to that point, the EP included the singles "Hush" and "Opiate". The band's first music video, "Hush", promoted their dissenting views about the then-prominent Parents Music Resource Center and its advocacy of the censorship of music. The video featured the band members naked with their genitalia covered by Parental Advisory stickers and their mouths covered by duct tape. The band began touring with Rollins Band, Fishbone, Rage Against the Machine, White Zombie, and Corrosion of Conformity, to positive responses, which Janiss Garza of RIP Magazine summarized in September 1992 as a "buzz" and "a strong start". Undertow (1993–1994) The following year, at a time when alternative rock and grunge were at their height, Tool released their first full-length album, Undertow (1993). It expressed more diverse dynamics than Opiate and included songs the band had chosen not to publish on their previous release, when they had opted for a heavier sound. The band began touring again as planned, with an exception in May 1993. Tool was scheduled to play at the Garden Pavilion in Hollywood but learned at the last minute that the venue belonged to the Church of Scientology, which was perceived as a clash with "the band's ethics about how a person should not follow a belief system that constricts their development as a human being." Keenan "spent most of the show baa-ing like a sheep at the audience." Tool later played several concerts during the Lollapalooza festival tour, and was moved from the second stage to the main stage by the group's manager and the festival co-founder Ted Gardner. At the last concert of Lollapalooza in Tool's hometown Los Angeles, comedian Bill Hicks introduced the band. Hicks had become a friend of the band members and an influence on them after being mentioned in Undertow'''s liner notes. He jokingly asked the audience of 10,000 people to stand still and help him look for a lost contact lens. The boost in popularity gained from these concerts helped Undertow to be certified gold by the RIAA in September 1993 and to achieve platinum status in 1995, despite being sold with censored album artwork by distributors such as Wal-Mart. The single "Sober" became a hit single by March 1994 and won the band Billboards "Best Video by a New Artist" award for the accompanying stop motion music video. With the release of Tool's follow-up single "Prison Sex", the band again became the target of censorship. The song's lyrics and video dealt with child abuse, which sparked controversial reactions; Keenan's lyrics begin with: "It took so long to remember just what happened. I was so young and vestal then, you know it hurt me, but I'm breathing so I guess I'm still alive ... I've got my hands bound and my head down and my eyes closed and my throat wide open." The video was created primarily by guitarist Adam Jones, who saw it as his "surrealistic interpretation" of the subject matter. While some contemporary journalists praised the video and described the lyrics as "metaphoric", the American branch of MuchMusic (which asked Keenan to represent the band in a hearing) deemed the music video too graphic and obscene, and MTV stopped airing it after a few showings. Ænima and Salival (1995–2000) In September 1995, the band began writing and recording its second studio album. At that time Tool experienced its only lineup change to date, with bassist D'Amour leaving the band amicably to pursue other projects. According to Carey, D'Amour left the band because he wanted to play guitar rather than bass. Justin Chancellor, a member of former tourmate band Peach, eventually replaced D'Amour during the recording of the album, having been chosen over competitors such as Kyuss's Scott Reeder, Filter's Frank Cavanaugh, Pigmy Love Circus's E. Shepherd Stevenson, Jane's Addiction's Eric Avery, and ZAUM's Marco Fox. On September 17, 1996, Tool released its second full-length album, Ænima ("ON-ima"). The band enlisted the help of producer David Bottrill, who had produced some of King Crimson's albums, while Jones collaborated with Cam de Leon to create Ænimas Grammy-nominated artwork. The album was dedicated to stand-up comedian Bill Hicks, who died two-and-a-half years earlier. The band intended to raise awareness about Hicks's material and ideas, because they felt that Tool and Hicks "were resonating similar concepts". In particular, Ænimas final track "Third Eye" is preceded by a clip of Hicks' performances, and the lenticular casing of the Ænima album packaging as well as the chorus of the title track "Ænema" make reference to a sketch from Hicks's Arizona Bay, in which he contemplates the idea of Los Angeles falling into the Pacific Ocean. The first single, "Stinkfist", garnered limited airplay. It was shortened by radio programmers, MTV (U.S.) renamed the music video of "Stinkfist" to "Track No. 1" due to offensive connotations, and the lyrics of the song were altered. Responding to fan complaints about censorship, Matt Pinfield of MTV's 120 Minutes expressed regret on air by waving his fist in front of his face while introducing the video and explaining the name change. A tour began in October 1996, two weeks after Ænimas release. Following numerous appearances in the United States and Europe, Tool headed for Australia and New Zealand in late March 1997. Eventually returning to the United States, Tool appeared at Lollapalooza '97 in July, this time as a headliner, where they gained critical praise from The New York Times. Ænima eventually matched Tool's successful debut album in sales, and the progressive-influenced album landed the band at the head of the alternative metal genre. It featured the Grammy Award-winning "Ænema" and appeared on several "Best Albums of 1996" lists, with notable examples being those of Kerrang! and Terrorizer. It was eventually certified triple platinum by the RIAA on March 4, 2003. In 1998, Tool joined the Ozzfest tour in the United States as the co-headliner act before Ozzy Osbourne. The band accepted on the condition that Melvins had to join it as well because, as stated by its frontman Buzz Osborne, they "wanted at least one band on the tour that they liked", despite the dissuasions from the tour organizers. Two legal battles then began that interfered with the band's working on another release. Volcano Entertainment—the successor of Tool's by-then defunct label Zoo Entertainment—alleged contract violations by Tool and filed a lawsuit. According to Volcano, Tool had violated their contract when the band looked at offers from other record labels. After Tool filed a counter-suit stating that Volcano had failed to use a renewal option in their contract, the parties settled out of court. In December 1998 Tool agreed to a new contract, a three-record joint venture deal. Then in 2000, the band dismissed their long-time manager Ted Gardner, who then sued the band over his commission. During this time, Keenan joined the band A Perfect Circle, which was founded by long-time Tool guitar tech Billy Howerdel, while Jones joined The Melvins' Buzz Osborne and Carey drummed with Dead Kennedys' Jello Biafra on side projects. Although there were rumors that Tool was breaking up, Chancellor, Jones, and Carey were working on new material while waiting for Keenan to return. In 2000, the Salival box set (CD/VHS or CD/DVD) was released, effectively putting an end to the rumors. The CD contained one new original track, a cover of Led Zeppelin's "No Quarter", a live version of Peach's "You Lied", and revised versions of old songs. The VHS and the DVD each contained four music videos, plus a bonus music video for "Hush" on the DVD. Although Salival did not yield any singles, the hidden track "Maynard's Dick" (which dates back to the Opiate era) briefly found its way to FM radio when several DJs chose to play it on air under the title "Maynard's Dead". Lateralus (2001–2005) In January 2001, Tool announced a new album, Systema Encéphale, along with a 12-song track list containing titles such as "Riverchrist", "Numbereft", "Encephatalis", "Musick", and "Coeliacus". File-sharing networks such as Napster were flooded with bogus files bearing the titles' names. A month later, the band revealed that the new album was actually titled Lateralus; the name Systema Encéphale and the track list had been a ruse. Lateralus and the corresponding tours would take Tool a step further toward art rock and progressive rock territory. Rolling Stone wrote in an attempt to summarize the album that "Drums, bass and guitars move in jarring cycles of hyperhowl and near-silent death march ... The prolonged running times of most of Lateralus thirteen tracks are misleading; the entire album rolls and stomps with suitelike purpose." Joshua Klein of The A.V. Club expressed his opinion that Lateralus, with its 79 minutes and relatively complex and long songs—topped by the ten-and-a-half-minute music video for "Parabola"—posed a challenge to fans and music programming alike. The album became a worldwide success, reaching No.1 on the U.S. Billboard 200 albums chart in its debut week. Tool received their second Grammy Award for the best metal performance of 2001 for the song "Schism". During the band's acceptance speech, Carey stated that he would like to thank his parents (for putting up with him) and Satan, and bassist Chancellor concluded: "I want to thank my dad for doing my mom." Extensive touring throughout 2001 and 2002 supported Lateralus and included a personal highlight for the band: a 10-show joint mini-tour with King Crimson in August 2001. Comparisons between the two were made, MTV describing the bands as "the once and future kings of progressive rock". Keenan stated of the minitour: "For me, being on stage with King Crimson is like Lenny Kravitz playing with Led Zeppelin, or Britney Spears onstage with Debbie Gibson." Although the end of the tour in November 2002 seemed to signal the start of another hiatus for the band, they did not become completely inactive. While Keenan recorded and toured with A Perfect Circle, the other band members released an interview and a recording of new material, both exclusive to the fan club. The "double vinyl four-picture disc" edition of Lateralus was first released as a limited autographed edition exclusively available to fan club members and publicly released on August 23, 2005. On December 20 the two DVDs were released, one containing the single "Schism" and the other "Parabola", a remix by Lustmord, and a music video with commentary by David Yow and Jello Biafra. 10,000 Days (2006–2009) Fifteen years into the band's career, Tool had acquired what Dan Epstein of Revolver described as a devoted "cult" following, and as details about the band's next album emerged, such as the influence of Lateralus tourmates Fantômas and Meshuggah, controversy surrounding the new Tool album surfaced with speculation over song titles and pre-release rumors of leaked songs. Speculation over possible album titles was dismissed with a news item on the official Tool website, announcing that the new album's name was 10,000 Days. Nevertheless, speculation continued, with allegations that 10,000 Days was merely a "decoy" album to fool audiences. The rumor was proven false when a leaked copy of the album was distributed via filesharing networks a week prior to its official release. The album opener, "Vicarious", premiered on U.S. radio stations on April 17, 2006. The album premiered on May 2 in the U.S. and debuted at the top spots of various international charts. 10,000 Days sold 564,000 copies in its opening week in the U.S. and was number one on the Billboard 200 charts, doubling the sales of Pearl Jam's self-titled album, its closest competitor. However, 10,000 Days was received less favorably by critics than its predecessor Lateralus had been. Prior to the release of 10,000 Days, a tour kicked off at Coachella on April 30. The touring schedule was similar to the Lateralus tour of 2001; supporting acts were Isis and Mastodon. During a short break early the next year, after touring Australia and New Zealand, drummer Carey suffered a biceps tear during a skirmish with his girlfriend's dog, casting uncertainty on the band's upcoming concerts in North America. Carey underwent surgery on February 21 and several performances had to be postponed. Back on tour by April, Tool appeared on June 15 as a headliner at the Bonnaroo Music Festival with a guest appearance from Rage Against the Machine's Tom Morello on "Lateralus". Meanwhile, "Vicarious" was a nominee for Best Hard Rock Performance and 10,000 Days won Best Recording Package at the 49th Grammy Awards. The music video for "Vicarious" was released on DVD on December 18. The band's 2009 summer tour began on July 18 in Commerce City, Colorado, at the Mile High Music Festival. They headlined Lollapalooza 2009 and a show on August 22 for the Epicenter Festival in Pomona, California. Fear Inoculum (2012–present) Their Tool Winter Tour played dates across the U.S. and Canada in January and February 2012. The band played at Ozzfest Japan on May 12, 2013. On July 15, 2014, Carey and Jones informed Rolling Stone that family commitments and an ongoing lawsuit are the key reasons for the delayed fifth album. Carey said to the music publication that one untitled track is "pretty much done". In March 2015, Jones revealed that the lawsuit had been settled in the band's favor, and as such, the band was turning their focus towards recording the album. He said that he hoped the album would be finished before the end of 2015 but emphasized that the band would not rush their work to meet an arbitrary deadline. In January 2016, Tool undertook a tour of the United States. While it was reported in February 2017 that Keenan had entered the studio to work on vocals for the fifth Tool album, it was later reported that the album was not scheduled for release in 2017. Still, the band announced a North American tour starting in May. A month later, Chancellor revealed that the new Tool album was "about 90-percent there", while Carey claimed in separate interviews that it would "definitely" be released in 2018. In February 2018, Jones revealed that Keenan was working on lyrics for the album, and that the band would begin recording in March. In June 2018, during his acceptance speech for the Icon Award at the Metal Hammer Golden Gods Awards, Keenan stated "I'll go on record now saying you're gonna see some new music next year." On September 11, 2018, Keenan announced via Twitter that production on the record was progressing and that vocals had been written, before suggesting a 2019 release. In January 2019, Keenan announced that he had completed recording his vocals for the album "months ago." While Carey mentioned aiming for a mid-April release date, Keenan later explained that between May and July was a more realistic time frame to wrap up production and release the album. On May 5, 2019, the band debuted two new songs live at the Welcome to Rockville Festival in Jacksonville, Florida called "Descending" and "Invincible". Three days later, it was confirmed that the band's new album is scheduled to be released on August 30, 2019. On July 29, 2019, Keenan confirmed the album would be titled Fear Inoculum. The album's title track was released as a single on August 7, the band's first release in 13 years. On August 2, the entirety of Tool's discography (with the exception of Salival) became available on digital streaming platforms. Tool was one of the last major holdouts to release their music digitally, as their record deal was signed before the rise in streaming and not revisited until before Fear Inoculum. The release of the discography online resulted in every release re-charting on several international charts and the band breaking several Billboard chart records. Fear Inoculum was officially launched on August 30 and became their third U.S. number one. On January 26, 2020 the band won the Best Metal Performance for their song "7empest" at the 62nd Grammy Awards Their other nomination, the song "Fear Inoculum" lost the Best Rock Song category to Gary Clark Jr. In June 2020, the band announced that it will cancel its upcoming 2020 North American tour entirely, after initially postponing a handful of dates due to the COVID-19 pandemic. The following August, Carey noted that the band had entered a hiatus, but that he still hoped they would reconvene in the future to record an EP, which the band would have more freedom in releasing due to no longer being signed to a record label. On October 27, 2020, an instrumental song titled "The Witness" was released featuring Jones, Chancellor, and Carey, and featuring production from Barresi, though the song was credited to Jones, not the band itself. "Opiate" was re-recorded and released as "Opiate²" or "Opiate Squared" on March 1, 2022. It is almost twice as long as the original and includes the same lyrics as the live version, plus the extended instrumental midsection. A music video directed by Dominic Hailstone was released on March 18, 2022, to commemorate the EP's 30th anniversary. Carey mentioned in the same month that the band has been working on new material for their sixth studio album: "I'm sure it won't take us this long for the next one. We even had some stuff left over from the last one that we'll develop. We have head starts on three or four new songs." Musical style and influences Musical style Tool's musical style has been described as alternative metal, art rock, post-metal, progressive rock, progressive metal, and heavy metal. Tool was described by Patrick Donovan of The Age as "the thinking person's metal band. Cerebral and visceral, soft and heavy, melodic and abrasive, tender and brutal, familiar and strange, western and eastern, beautiful and ugly, taut yet sprawling and epic, they are a tangle of contradictions." Tool has gained critical praise from the International Herald Tribunes C.B. Liddell for their complex and ever-evolving sound. Describing their general sound, AllMusic refers to them as "grinding, post-Jane's Addiction heavy metal", and The New York Times sees similarities to "Led Zeppelin's heaving, battering guitar riffs and Middle Eastern modes". Their 2001 work Lateralus was compared by Allmusic to Pink Floyd's Meddle (1971), but thirty years later and altered by "Tool's impulse to cram every inch of infinity with hard guitar meat and absolute dread". Tool had been labelled as post-metal in 1993 and 1996, as well as in 2006, after the term came into popularity. A component of Tool's song repertoire relies on the use of unusual time signatures. For instance, Chancellor describes the time signature employed on the first single from Lateralus, "Schism", as "six" and "six-and-a-half" and that it later "goes into all kinds of other times". Further examples include the album's title track, which also displays shifting rhythms, as do 10,000 Days: "Wings for Marie (Pt 1)" and "10,000 Days (Wings Pt 2)". Beyond this aspect of the band's sound, each band member experiments within his wide musical scope. Bass Player magazine described Chancellor's bass playing as having a "thick midrange tone, guitar-style techniques, and elastic versatility". As an example of this, the magazine mentioned the use of a wah effect by hammering "the notes with the left hand and using the bass's tone controls to get a tone sweep", such as on the song "The Patient", from Lateralus. Completing the band's rhythm section, drummer Carey uses polyrhythms, tabla-style techniques, and the incorporation of custom electronic drum pads to trigger samples, such as prerecorded tabla and octoban sounds. Keenan's ability as a vocalist has been characterized more subjectively by the Seattle Post-Intelligencer: After his performance during an Alice in Chains reunion concert in 2005, freelancer Travis Hay saw him as "a natural fit at replacing Layne Staley". Regarding his role in A Perfect Circle and Tool, The New York Times wrote that "both groups rely on Mr. Keenan's ability to dignify emotions like lust, anger and disgust, the honey in his voice adding a touch of profundity". According to Guitar Player magazine, Jones does not rely on any one particular guitar-playing technique but rather combines many techniques. For example, Allmusic wrote that he "alternately utiliz[es] power chords, scratchy noise, chiming arpeggios, and a quiet minimalism" in "Sober". Additionally, the band uses forms of instrumental experimentation, like the use of a "pipe bomb microphone" (a guitar pickup mounted inside a brass cylinder) and a talk box guitar solo on "Jambi". The band puts an emphasis on the sound of their songs and attempts to reduce the effect lyrics can have on the perception of songs by not releasing song lyrics with their albums, although they eventually released the lyrics for Fear Inoculum for that album's CD. Lyrical arrangements are often given special attention, such as in "Lateralus". The number of syllables per line in the lyrics to "Lateralus" correspond to an arrangement of the Fibonacci numbers and the song "Jambi" uses and makes a reference to the common metrical foot iamb. The lyrics on Ænima and Lateralus focus on philosophy and spirituality—specific subjects range from organized religion in "Opiate", to evolution and Jungian psychology in "Forty-Six & 2" and transcendence in "Lateralus". On 10,000 Days, Keenan wanted to explore issues more personal to him: the album name and title track refer to the twenty-seven years during which his mother suffered from complications of a stroke until her death in 2003. Influences In 1997, Tool named King Crimson, Melvins, and Peter Gabriel's Passion as common influences on its development. In describing their wide range of styles, critics have noted that they are "influenced as much by Pink Floyd as by the Sex Pistols." In a 1993 interview, Adam Jones mentioned Joni Mitchell, King Crimson, Depeche Mode, and country music as being among their inspirations. In 1997, Maynard James Keenan named Hejira by Joni Mitchell, Holy Money/Greed by Swans, Physical Graffiti by Led Zeppelin, Red by King Crimson, and Passion by Peter Gabriel as his five favorite records. Danny Carey cited Bill Bruford and Alan White of Yes as his two biggest rock influences, in addition to Bruford's adventurousness in electronic drums. In the same way, Jones stated that Robert Fripp's performances with King Crimson caused him to "wake up" to music as a teen. Furthermore, he acknowledged the other King Crimson guitarists, Adrian Belew and Trey Gunn, along with Buzz Osborne from the Melvins, as his biggest influences. Tool have constantly expressed the massive impact that progressive rock pioneers King Crimson have had on their music; on a 2001 tour with them, Keenan joked: "Now you know who we ripped off. Just don't tell anyone, especially the members of King Crimson." Carey said that listening to the Discipline album upon its 1981 release "revolutionized" his musical perspective in terms of polyrhythms and the balance between the instruments. In 1997, Keenan explained how the composition process of Tool reflected that of King Crimson: "They're very much into listening to each other; even though they might have a basic structure that they're following, it's about fitting themselves in with each other." Contrary to these statements, longtime King Crimson member Robert Fripp has downplayed any influence his band had on Tool. In an interview, Fripp touched on how the two bands relate to each other, stating "Do you hear the influence? There's just one figure where I hear an influence, just one. It was a piece we were developing that we dropped. And it's almost exactly the same figure: three note arpeggio with a particular accent from the guitar. So I do not think you could have heard it. That's the only thing." He also said, The band's long build-ups of intensity were largely inspired by the Melvins. The latter's influence on Tool is most explicit in Undertow, and some authors have described Tool's music as a progressive take on Melvins. On the other hand, Keenan's exotic modulations were influenced by world music; in his twenties, the singer was immersed in that type of music, thus when Peter Gabriel reunited several musicians whom Keenan already knew of for The Last Temptation of Christ soundtrack, which mixed their traditional styles with modern ambient music, it became a major revelation for him. Other reported influences of Tool include Fantômas, Devo, Bill Hicks, Rush, Helmet, Faith No More, Bauhaus, Meshuggah, David Bowie, Mike Patton, Dave Lombardo, and Jane's Addiction. Influence on other artists Writers HP Newquist and Rich Maloof attribute to Tool an influence on modern metal in their book The New Metal Masters. Sean Richardson of The Boston Phoenix sees System of a Down, Deftones, and Korn as examples of Tool's "towering influence" on the genre. Keenan's unique style of singing has been seen as heavily influencing artists such as Pete Loeffler of Chevelle, Benjamin Burnley of Breaking Benjamin, Will Martin of Earshot, and Fred Durst of Limp Bizkit. Visual arts Part of Tool's work as a band is to incorporate influences of other works of art in their music videos, live shows, and album packaging. Adam Jones doubles as the band's art director and director of their music videos. Another expression of this is an official website "dedicated to the arts and influences" on the band. Music videos The band has released eight music videos but made personal appearances in only the first two, which the band states is to prevent people from "latching onto the personalities involved rather than listening to the music." With the exception of "Hush" and "Vicarious" all of Tool's music videos feature stop motion animation to some extent. The videos are created primarily by Adam Jones, often in collaboration with artists such as Chet Zar, Alex Grey, and Osseus Labyrint. The "Sober" music video in particular attracted much attention. Jones explained that it does not contain a storyline, but that his intentions were to summon personal emotions with its imagery. Rolling Stone described this imagery as "evil little men dwell in a dark dungeon with meat coursing through pipes in the wall" and called it a "groundbreaking", "epic" clip. Billboard voted it "Best Video by a New Artist". The video for "Vicarious" was released on DVD on December 18, 2007. The video is the first by Tool to be produced entirely through the use of CGI. Album artwork Jones is responsible for most of the band's artwork concepts. The album Undertow features a ribcage sculpture by Jones on its cover and photos contributed by the band members. Later albums included artwork by collaborating artists: Ænima and Salival featured works by Cam de Leon; Lateralus and 10,000 Days were created with the help of Alex Grey. The releases garnered positive critical reception, with a music journalist of the Associated Press attributing to the band a reputation for innovative album packaging. Both Ænima and 10,000 Days were nominated for the Grammy Award for Best Recording Package, but while the former failed to win in 1997, the latter did win in 2007. Jones created packaging for 10,000 Days that features a pair of stereoscopic lenses for viewing 3-D artwork and photos. Jones, a lifelong fan of stereoscopic photography, wanted the packaging to be unique and to reflect the 1970s artwork he appreciates. The CD packaging for Fear Inoculum included a rechargeable 4 inch HD video screen and a speaker which played a hidden track along with a video when opened and also included a 36-page booklet. Live shows Following its first tours in the early 1990s, Tool has performed as a headline act in world tours and major festivals such as Lollapalooza (1997 and 2009), Coachella (1999 and 2006), Voodoo Fest (2001 and 2016), Download Festival (2006 and 2019), Roskilde (2001 and 2006), Big Day Out (2007 and 2011), Bonnaroo (2007 and 2022), All Points West Music & Arts Festival (2009), and Epicenter (2009). They have been joined on stage by numerous artists such as Buzz Osborne and Scott Reeder on several occasions; Tom Morello and Zack de la Rocha during their 1991 tour; Layne Staley in Hawaii, 1993; Tricky, Robert Fripp, Mike Patton, Dave Lombardo, Brann Dailor of Mastodon, and experimental arts duo Osseus Labyrint during their 2001–02 Lateralus tour; and Kirk Hammett, Phil Campbell, Serj Tankian, and Tom Morello during their 2006–07 tour. They have covered songs by Led Zeppelin, Ted Nugent, Peach, Kyuss, the Dead Kennedys, and the Ramones. Live shows on Tool's headline tour incorporate an unorthodox stage setting and video display. Keenan and Carey line up in the back on elevated platforms, while Jones and Chancellor stand in the front, toward the sides of the stage. Keenan often faces the backdrop or the sides of the stage rather than the audience. No followspots or live cameras are used; instead, the band employs extensive backlighting to direct the focus away from the band members and toward large screens in the back and the crowd. Breckinridge Haggerty, the band's live video designer, says that the resulting dark spaces on stage "are mostly for Maynard". He explains, "[a] lot of the songs are a personal journey for him and he has a hard time with the glare of the lights when he's trying to reproduce these emotions for the audience. He needs a bit of personal space, and he feels more comfortable in the shadows." The big screens are used to play back "looped clips that aren't tracked to a song like a music video. The band has never used any sort of timecode. They’ve always made sure the video can change on-the-fly, in a way that can be improvised. ... The show is never the same twice." During the 10,000 Days tour, the video material consisted of over six hours of material, created by Jones, his wife Camella Grace, Chet Zar, Meats Meier, and Haggerty. Some of the material created by Zar has been released on his DVD Disturb the Normal. Band members Maynard James Keenan – vocals (1990–present) Adam Jones – guitars (1990–present) Danny Carey – drums, percussion (1990–present), samples (1995–present) Justin Chancellor – bass (1995–present) Former members Paul D'Amour – bass (1990–1995) Awards and nominations {| class="wikitable sortable plainrowheaders" |- ! scope="col" | Award ! scope="col" | Year ! scope="col" | Nominee(s) ! scope="col" | Category ! scope="col" | Result ! scope="col" class="unsortable"| |- ! scope="row"|AMFT Awards | 2019 | "7empest" | Best Metal Performance | | |- ! scope="row" rowspan=2|Billboard Music Awards | rowspan=2| 2020 | Fear Inoculum | Top Rock Album | | |- | Tool | Top Rock Artist | | |- ! scope="row" rowspan=9|Grammy Awards | 1997 | Ænima | Best Recording Package | | |- | rowspan="2"| 1998 | "Ænema" | Best Metal Performance | | |- | "Stinkfist" | Best Music Video | | |- | 2002 | "Schism" | Best Metal Performance | | |- | rowspan="2"| 2007 | 10,000 Days | Best Recording Package | | |- | "Vicarious" | rowspan="2" | Best Hard Rock Performance | | |- | 2008 | "The Pot" | | |- | rowspan="2" | 2020 | "7empest" | Best Metal Performance | | |- |"Fear Inoculum" |Best Rock Song|Best Rock Song | | |- !scope="row"|Hungarian Music Awards | 2007 | 10,000 Days | Best Foreign Rock Album | | |- ! scope="row"|iHeartRadio Music Awards | 2020 | Fear Inoculum | Top Rock Album | | |- !scope="row"|Pollstar Concert Industry Awards | 2002 | Tour | Most Creative Stage Production | | Discography Undertow (1993) Ænima (1996) Lateralus (2001) 10,000 Days (2006) Fear Inoculum (2019) Notes References Citations Sources External links Art website Category:American alternative metal musical groups Category:American progressive metal musical groups Category:American art rock groups Category:Grammy Award winners Category:Heavy metal musical groups from California Category:Musical groups established in 1990 Category:Musical groups from Los Angeles Category:Musical quartets Category:Progressive rock musical groups from California Category:Volcano Entertainment artists Category:Zoo Entertainment (record label) artists Category:American post-metal musical groups Category:1990 establishments in California
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[ "Undertow is the first full-length album by the band Tool, released in 1993.", "Yes, Undertow was successful. It was certified gold by the RIAA in September 1993 and achieved platinum status in 1995. The single \"Sober\" from the album became a hit and won the band Billboard's \"Best Video by a New Artist\" award for the accompanying stop motion music video.\n", "Yes, the singles \"Sober\" and \"Prison Sex\" were released from the album Undertow.", "Yes, \"Sober\" was successful. It became a hit single by March 1994 and won the band Billboard's \"Best Video by a New Artist\" award for the accompanying stop motion music video.", "The text does not provide information on how high \"Sober\" by Tool went on the charts.", "Yes, in addition to \"Sober\", the single \"Prison Sex\" was also released from the album Undertow.", "The text does not provide specific information on the commercial success of the single \"Prison Sex\" by Tool. However, it does mention that the song and its music video sparked controversial reactions due to its subject matter of child abuse. This controversy led to censorship issues, with MTV stopping its airing of the music video after a few showings.", "Tool became the target of censorship due to the song \"Prison Sex\" from their album Undertow. The song's lyrics and video dealt with child abuse, which sparked controversial reactions. The music video was deemed too graphic and obscene by the American branch of MuchMusic, and MTV stopped airing it after a few showings.", "The text does not provide information on whether Tool changed their music as a result of the controversy and censorship surrounding the song \"Prison Sex\".", "After the release of their album Undertow and the controversy surrounding their single \"Prison Sex\", the band began working on their second studio album in September 1995. At this time, they experienced their only lineup change to date, with bassist D'Amour leaving the band to pursue other projects. He was replaced by Justin Chancellor, a member of former tourmates Peach.", "The text does not provide the name of the second studio album that Tool began working on in September 1995." ]
[ "Yes", "Yes", "Yes", "Yes", "no", "Yes", "No", "Yes", "No", "No", "Yes" ]
C_d77f5974dde04e86a0120d18fa30d191_1
Tool (band)
Tool is an American rock band from Los Angeles, California. Formed in 1990, the group's line-up includes drummer Danny Carey, guitarist Adam Jones, and vocalist Maynard James Keenan. Justin Chancellor has been the band's bassist since 1995, replacing their original bassist Paul D'Amour. Tool has won three Grammy Awards, performed worldwide tours, and produced albums topping the charts in several countries.
Early years (1988-1992)
During the 1980s, each of the future members of Tool moved to Los Angeles. Both Paul D'Amour and Adam Jones wanted to enter the film industry, while Maynard James Keenan found employment remodeling pet stores after having studied visual arts in Michigan. Danny Carey and Keenan performed for Green Jelly, and Carey played with Carole King and Pigmy Love Circus. Keenan and Jones met through a mutual friend in 1989. After Keenan played a tape recording for Jones of his previous band project, Jones was so impressed by his voice that he eventually talked his friend into forming their own band. They started jamming together and were on the lookout for a drummer and a bass player. Carey happened to live above Keenan and was introduced to Jones by Tom Morello, an old high school friend of Jones and former member of Electric Sheep. Carey began playing in their sessions because he "felt kinda sorry for them," as other invited musicians were not showing up. Tool's lineup was completed when a friend of Jones introduced them to bassist D'Amour. Early on, the band fabricated the story that they formed because of the pseudophilosophy "lachrymology". Although "lachrymology" was also cited as an inspiration for the band's name, Keenan later explained their intentions differently: "Tool is exactly what it sounds like: It's a big dick. It's a wrench. ... we are ... your tool; use us as a catalyst in your process of finding out whatever it is you need to find out, or whatever it is you're trying to achieve." After almost two years of practicing and performing locally in the Los Angeles area, the band was approached by record companies, and eventually signed a record deal with Zoo Entertainment. In March 1992, Zoo published the band's first effort, Opiate. Described by the band as "slam and bang" heavy music and the "hardest sounding" six songs they had written to that point, the EP included the singles "Hush" and "Opiate". The band's first music video, "Hush", promoted their dissenting views about the then-prominent Parents Music Resource Center and its advocacy of the censorship of music. The video featured the band members naked with their genitalia covered by parental advisory stickers and their mouths covered by duct tape. The band began touring with Rollins Band, Fishbone, Rage Against the Machine, White Zombie, and Corrosion of Conformity, to positive responses, which Janiss Garza of RIP Magazine summarized in September 1992 as a "buzz" and "a strong start". CANNOTANSWER
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Tool is an American rock band from Los Angeles. Formed in 1990, the group's line-up includes vocalist Maynard James Keenan, guitarist Adam Jones and drummer Danny Carey. Justin Chancellor has been the band's bassist since 1995, replacing its original bassist Paul D'Amour. Tool has won four Grammy Awards, performed worldwide tours, and produced albums topping the charts in several countries. To date, the band has released five studio albums, one EP and one box set. It emerged with a heavy metal sound on their first studio album, Undertow (1993), and became a dominant act in the alternative metal movement with the release of their follow-up album Ænima in 1996. The group's efforts to combine musical experimentation, visual arts, and a message of personal evolution continued with Lateralus (2001) and 10,000 Days (2006), gaining critical acclaim and international commercial success. Its fifth studio album Fear Inoculum was released on August 30, 2019, to widespread critical acclaim. Prior to its release, the band had sold more than 13 million albums in the US alone. Due to Tool's incorporation of visual arts and very long and complex releases, the band is generally described as a style-transcending act and part of progressive rock, psychedelic rock, and art rock. The relationship between the band and today's music industry is ambivalent, at times marked by censorship, and the band's insistence on privacy. History Formation and Opiate (1989–1992) During the 1980s, each of the future members of Tool moved to Los Angeles. Both Paul D'Amour and Adam Jones wanted to enter the film industry, while Maynard James Keenan, who had studied visual arts in Michigan, worked as a pet store remodeler. Danny Carey and Keenan performed for Green Jellÿ, and Carey played with Carole King and Pigmy Love Circus. Keenan and Jones met through a mutual friend in 1989. After Keenan played for Jones a tape recording of his previous band project, Jones was so impressed by his voice that he eventually talked his friend into forming a new band. They started jamming together while searching for a drummer and a bass player. Carey happened to live above Keenan and was introduced to Jones by Tom Morello, an old high school friend of Jones and former member of Electric Sheep. Carey began playing in their sessions because he "felt kinda sorry for them", as other invited musicians were not showing up. Tool's lineup was completed when a friend of Jones introduced the members to bassist D'Amour. Early on, the band fabricated the story that it formed because of the pseudophilosophy "lachrymology". Although "lachrymology" was also cited as an inspiration for the band's name, Keenan later explained the members' intentions differently: "Tool is exactly what it sounds like: It's a big dick. It's a wrench. ... we are ... your tool; use us as a catalyst in your process of finding out whatever it is you need to find out, or whatever it is you're trying to achieve." After almost two years of practicing and performing locally in the Los Angeles area, the band was approached by record companies, and eventually signed a record deal with Zoo Entertainment. In March 1992, Zoo released the band's first effort, Opiate. Described by the band as "slam and bang" heavy music and the "hardest sounding" six songs they had written to that point, the EP included the singles "Hush" and "Opiate". The band's first music video, "Hush", promoted their dissenting views about the then-prominent Parents Music Resource Center and its advocacy of the censorship of music. The video featured the band members naked with their genitalia covered by Parental Advisory stickers and their mouths covered by duct tape. The band began touring with Rollins Band, Fishbone, Rage Against the Machine, White Zombie, and Corrosion of Conformity, to positive responses, which Janiss Garza of RIP Magazine summarized in September 1992 as a "buzz" and "a strong start". Undertow (1993–1994) The following year, at a time when alternative rock and grunge were at their height, Tool released their first full-length album, Undertow (1993). It expressed more diverse dynamics than Opiate and included songs the band had chosen not to publish on their previous release, when they had opted for a heavier sound. The band began touring again as planned, with an exception in May 1993. Tool was scheduled to play at the Garden Pavilion in Hollywood but learned at the last minute that the venue belonged to the Church of Scientology, which was perceived as a clash with "the band's ethics about how a person should not follow a belief system that constricts their development as a human being." Keenan "spent most of the show baa-ing like a sheep at the audience." Tool later played several concerts during the Lollapalooza festival tour, and was moved from the second stage to the main stage by the group's manager and the festival co-founder Ted Gardner. At the last concert of Lollapalooza in Tool's hometown Los Angeles, comedian Bill Hicks introduced the band. Hicks had become a friend of the band members and an influence on them after being mentioned in Undertow'''s liner notes. He jokingly asked the audience of 10,000 people to stand still and help him look for a lost contact lens. The boost in popularity gained from these concerts helped Undertow to be certified gold by the RIAA in September 1993 and to achieve platinum status in 1995, despite being sold with censored album artwork by distributors such as Wal-Mart. The single "Sober" became a hit single by March 1994 and won the band Billboards "Best Video by a New Artist" award for the accompanying stop motion music video. With the release of Tool's follow-up single "Prison Sex", the band again became the target of censorship. The song's lyrics and video dealt with child abuse, which sparked controversial reactions; Keenan's lyrics begin with: "It took so long to remember just what happened. I was so young and vestal then, you know it hurt me, but I'm breathing so I guess I'm still alive ... I've got my hands bound and my head down and my eyes closed and my throat wide open." The video was created primarily by guitarist Adam Jones, who saw it as his "surrealistic interpretation" of the subject matter. While some contemporary journalists praised the video and described the lyrics as "metaphoric", the American branch of MuchMusic (which asked Keenan to represent the band in a hearing) deemed the music video too graphic and obscene, and MTV stopped airing it after a few showings. Ænima and Salival (1995–2000) In September 1995, the band began writing and recording its second studio album. At that time Tool experienced its only lineup change to date, with bassist D'Amour leaving the band amicably to pursue other projects. According to Carey, D'Amour left the band because he wanted to play guitar rather than bass. Justin Chancellor, a member of former tourmate band Peach, eventually replaced D'Amour during the recording of the album, having been chosen over competitors such as Kyuss's Scott Reeder, Filter's Frank Cavanaugh, Pigmy Love Circus's E. Shepherd Stevenson, Jane's Addiction's Eric Avery, and ZAUM's Marco Fox. On September 17, 1996, Tool released its second full-length album, Ænima ("ON-ima"). The band enlisted the help of producer David Bottrill, who had produced some of King Crimson's albums, while Jones collaborated with Cam de Leon to create Ænimas Grammy-nominated artwork. The album was dedicated to stand-up comedian Bill Hicks, who died two-and-a-half years earlier. The band intended to raise awareness about Hicks's material and ideas, because they felt that Tool and Hicks "were resonating similar concepts". In particular, Ænimas final track "Third Eye" is preceded by a clip of Hicks' performances, and the lenticular casing of the Ænima album packaging as well as the chorus of the title track "Ænema" make reference to a sketch from Hicks's Arizona Bay, in which he contemplates the idea of Los Angeles falling into the Pacific Ocean. The first single, "Stinkfist", garnered limited airplay. It was shortened by radio programmers, MTV (U.S.) renamed the music video of "Stinkfist" to "Track No. 1" due to offensive connotations, and the lyrics of the song were altered. Responding to fan complaints about censorship, Matt Pinfield of MTV's 120 Minutes expressed regret on air by waving his fist in front of his face while introducing the video and explaining the name change. A tour began in October 1996, two weeks after Ænimas release. Following numerous appearances in the United States and Europe, Tool headed for Australia and New Zealand in late March 1997. Eventually returning to the United States, Tool appeared at Lollapalooza '97 in July, this time as a headliner, where they gained critical praise from The New York Times. Ænima eventually matched Tool's successful debut album in sales, and the progressive-influenced album landed the band at the head of the alternative metal genre. It featured the Grammy Award-winning "Ænema" and appeared on several "Best Albums of 1996" lists, with notable examples being those of Kerrang! and Terrorizer. It was eventually certified triple platinum by the RIAA on March 4, 2003. In 1998, Tool joined the Ozzfest tour in the United States as the co-headliner act before Ozzy Osbourne. The band accepted on the condition that Melvins had to join it as well because, as stated by its frontman Buzz Osborne, they "wanted at least one band on the tour that they liked", despite the dissuasions from the tour organizers. Two legal battles then began that interfered with the band's working on another release. Volcano Entertainment—the successor of Tool's by-then defunct label Zoo Entertainment—alleged contract violations by Tool and filed a lawsuit. According to Volcano, Tool had violated their contract when the band looked at offers from other record labels. After Tool filed a counter-suit stating that Volcano had failed to use a renewal option in their contract, the parties settled out of court. In December 1998 Tool agreed to a new contract, a three-record joint venture deal. Then in 2000, the band dismissed their long-time manager Ted Gardner, who then sued the band over his commission. During this time, Keenan joined the band A Perfect Circle, which was founded by long-time Tool guitar tech Billy Howerdel, while Jones joined The Melvins' Buzz Osborne and Carey drummed with Dead Kennedys' Jello Biafra on side projects. Although there were rumors that Tool was breaking up, Chancellor, Jones, and Carey were working on new material while waiting for Keenan to return. In 2000, the Salival box set (CD/VHS or CD/DVD) was released, effectively putting an end to the rumors. The CD contained one new original track, a cover of Led Zeppelin's "No Quarter", a live version of Peach's "You Lied", and revised versions of old songs. The VHS and the DVD each contained four music videos, plus a bonus music video for "Hush" on the DVD. Although Salival did not yield any singles, the hidden track "Maynard's Dick" (which dates back to the Opiate era) briefly found its way to FM radio when several DJs chose to play it on air under the title "Maynard's Dead". Lateralus (2001–2005) In January 2001, Tool announced a new album, Systema Encéphale, along with a 12-song track list containing titles such as "Riverchrist", "Numbereft", "Encephatalis", "Musick", and "Coeliacus". File-sharing networks such as Napster were flooded with bogus files bearing the titles' names. A month later, the band revealed that the new album was actually titled Lateralus; the name Systema Encéphale and the track list had been a ruse. Lateralus and the corresponding tours would take Tool a step further toward art rock and progressive rock territory. Rolling Stone wrote in an attempt to summarize the album that "Drums, bass and guitars move in jarring cycles of hyperhowl and near-silent death march ... The prolonged running times of most of Lateralus thirteen tracks are misleading; the entire album rolls and stomps with suitelike purpose." Joshua Klein of The A.V. Club expressed his opinion that Lateralus, with its 79 minutes and relatively complex and long songs—topped by the ten-and-a-half-minute music video for "Parabola"—posed a challenge to fans and music programming alike. The album became a worldwide success, reaching No.1 on the U.S. Billboard 200 albums chart in its debut week. Tool received their second Grammy Award for the best metal performance of 2001 for the song "Schism". During the band's acceptance speech, Carey stated that he would like to thank his parents (for putting up with him) and Satan, and bassist Chancellor concluded: "I want to thank my dad for doing my mom." Extensive touring throughout 2001 and 2002 supported Lateralus and included a personal highlight for the band: a 10-show joint mini-tour with King Crimson in August 2001. Comparisons between the two were made, MTV describing the bands as "the once and future kings of progressive rock". Keenan stated of the minitour: "For me, being on stage with King Crimson is like Lenny Kravitz playing with Led Zeppelin, or Britney Spears onstage with Debbie Gibson." Although the end of the tour in November 2002 seemed to signal the start of another hiatus for the band, they did not become completely inactive. While Keenan recorded and toured with A Perfect Circle, the other band members released an interview and a recording of new material, both exclusive to the fan club. The "double vinyl four-picture disc" edition of Lateralus was first released as a limited autographed edition exclusively available to fan club members and publicly released on August 23, 2005. On December 20 the two DVDs were released, one containing the single "Schism" and the other "Parabola", a remix by Lustmord, and a music video with commentary by David Yow and Jello Biafra. 10,000 Days (2006–2009) Fifteen years into the band's career, Tool had acquired what Dan Epstein of Revolver described as a devoted "cult" following, and as details about the band's next album emerged, such as the influence of Lateralus tourmates Fantômas and Meshuggah, controversy surrounding the new Tool album surfaced with speculation over song titles and pre-release rumors of leaked songs. Speculation over possible album titles was dismissed with a news item on the official Tool website, announcing that the new album's name was 10,000 Days. Nevertheless, speculation continued, with allegations that 10,000 Days was merely a "decoy" album to fool audiences. The rumor was proven false when a leaked copy of the album was distributed via filesharing networks a week prior to its official release. The album opener, "Vicarious", premiered on U.S. radio stations on April 17, 2006. The album premiered on May 2 in the U.S. and debuted at the top spots of various international charts. 10,000 Days sold 564,000 copies in its opening week in the U.S. and was number one on the Billboard 200 charts, doubling the sales of Pearl Jam's self-titled album, its closest competitor. However, 10,000 Days was received less favorably by critics than its predecessor Lateralus had been. Prior to the release of 10,000 Days, a tour kicked off at Coachella on April 30. The touring schedule was similar to the Lateralus tour of 2001; supporting acts were Isis and Mastodon. During a short break early the next year, after touring Australia and New Zealand, drummer Carey suffered a biceps tear during a skirmish with his girlfriend's dog, casting uncertainty on the band's upcoming concerts in North America. Carey underwent surgery on February 21 and several performances had to be postponed. Back on tour by April, Tool appeared on June 15 as a headliner at the Bonnaroo Music Festival with a guest appearance from Rage Against the Machine's Tom Morello on "Lateralus". Meanwhile, "Vicarious" was a nominee for Best Hard Rock Performance and 10,000 Days won Best Recording Package at the 49th Grammy Awards. The music video for "Vicarious" was released on DVD on December 18. The band's 2009 summer tour began on July 18 in Commerce City, Colorado, at the Mile High Music Festival. They headlined Lollapalooza 2009 and a show on August 22 for the Epicenter Festival in Pomona, California. Fear Inoculum (2012–present) Their Tool Winter Tour played dates across the U.S. and Canada in January and February 2012. The band played at Ozzfest Japan on May 12, 2013. On July 15, 2014, Carey and Jones informed Rolling Stone that family commitments and an ongoing lawsuit are the key reasons for the delayed fifth album. Carey said to the music publication that one untitled track is "pretty much done". In March 2015, Jones revealed that the lawsuit had been settled in the band's favor, and as such, the band was turning their focus towards recording the album. He said that he hoped the album would be finished before the end of 2015 but emphasized that the band would not rush their work to meet an arbitrary deadline. In January 2016, Tool undertook a tour of the United States. While it was reported in February 2017 that Keenan had entered the studio to work on vocals for the fifth Tool album, it was later reported that the album was not scheduled for release in 2017. Still, the band announced a North American tour starting in May. A month later, Chancellor revealed that the new Tool album was "about 90-percent there", while Carey claimed in separate interviews that it would "definitely" be released in 2018. In February 2018, Jones revealed that Keenan was working on lyrics for the album, and that the band would begin recording in March. In June 2018, during his acceptance speech for the Icon Award at the Metal Hammer Golden Gods Awards, Keenan stated "I'll go on record now saying you're gonna see some new music next year." On September 11, 2018, Keenan announced via Twitter that production on the record was progressing and that vocals had been written, before suggesting a 2019 release. In January 2019, Keenan announced that he had completed recording his vocals for the album "months ago." While Carey mentioned aiming for a mid-April release date, Keenan later explained that between May and July was a more realistic time frame to wrap up production and release the album. On May 5, 2019, the band debuted two new songs live at the Welcome to Rockville Festival in Jacksonville, Florida called "Descending" and "Invincible". Three days later, it was confirmed that the band's new album is scheduled to be released on August 30, 2019. On July 29, 2019, Keenan confirmed the album would be titled Fear Inoculum. The album's title track was released as a single on August 7, the band's first release in 13 years. On August 2, the entirety of Tool's discography (with the exception of Salival) became available on digital streaming platforms. Tool was one of the last major holdouts to release their music digitally, as their record deal was signed before the rise in streaming and not revisited until before Fear Inoculum. The release of the discography online resulted in every release re-charting on several international charts and the band breaking several Billboard chart records. Fear Inoculum was officially launched on August 30 and became their third U.S. number one. On January 26, 2020 the band won the Best Metal Performance for their song "7empest" at the 62nd Grammy Awards Their other nomination, the song "Fear Inoculum" lost the Best Rock Song category to Gary Clark Jr. In June 2020, the band announced that it will cancel its upcoming 2020 North American tour entirely, after initially postponing a handful of dates due to the COVID-19 pandemic. The following August, Carey noted that the band had entered a hiatus, but that he still hoped they would reconvene in the future to record an EP, which the band would have more freedom in releasing due to no longer being signed to a record label. On October 27, 2020, an instrumental song titled "The Witness" was released featuring Jones, Chancellor, and Carey, and featuring production from Barresi, though the song was credited to Jones, not the band itself. "Opiate" was re-recorded and released as "Opiate²" or "Opiate Squared" on March 1, 2022. It is almost twice as long as the original and includes the same lyrics as the live version, plus the extended instrumental midsection. A music video directed by Dominic Hailstone was released on March 18, 2022, to commemorate the EP's 30th anniversary. Carey mentioned in the same month that the band has been working on new material for their sixth studio album: "I'm sure it won't take us this long for the next one. We even had some stuff left over from the last one that we'll develop. We have head starts on three or four new songs." Musical style and influences Musical style Tool's musical style has been described as alternative metal, art rock, post-metal, progressive rock, progressive metal, and heavy metal. Tool was described by Patrick Donovan of The Age as "the thinking person's metal band. Cerebral and visceral, soft and heavy, melodic and abrasive, tender and brutal, familiar and strange, western and eastern, beautiful and ugly, taut yet sprawling and epic, they are a tangle of contradictions." Tool has gained critical praise from the International Herald Tribunes C.B. Liddell for their complex and ever-evolving sound. Describing their general sound, AllMusic refers to them as "grinding, post-Jane's Addiction heavy metal", and The New York Times sees similarities to "Led Zeppelin's heaving, battering guitar riffs and Middle Eastern modes". Their 2001 work Lateralus was compared by Allmusic to Pink Floyd's Meddle (1971), but thirty years later and altered by "Tool's impulse to cram every inch of infinity with hard guitar meat and absolute dread". Tool had been labelled as post-metal in 1993 and 1996, as well as in 2006, after the term came into popularity. A component of Tool's song repertoire relies on the use of unusual time signatures. For instance, Chancellor describes the time signature employed on the first single from Lateralus, "Schism", as "six" and "six-and-a-half" and that it later "goes into all kinds of other times". Further examples include the album's title track, which also displays shifting rhythms, as do 10,000 Days: "Wings for Marie (Pt 1)" and "10,000 Days (Wings Pt 2)". Beyond this aspect of the band's sound, each band member experiments within his wide musical scope. Bass Player magazine described Chancellor's bass playing as having a "thick midrange tone, guitar-style techniques, and elastic versatility". As an example of this, the magazine mentioned the use of a wah effect by hammering "the notes with the left hand and using the bass's tone controls to get a tone sweep", such as on the song "The Patient", from Lateralus. Completing the band's rhythm section, drummer Carey uses polyrhythms, tabla-style techniques, and the incorporation of custom electronic drum pads to trigger samples, such as prerecorded tabla and octoban sounds. Keenan's ability as a vocalist has been characterized more subjectively by the Seattle Post-Intelligencer: After his performance during an Alice in Chains reunion concert in 2005, freelancer Travis Hay saw him as "a natural fit at replacing Layne Staley". Regarding his role in A Perfect Circle and Tool, The New York Times wrote that "both groups rely on Mr. Keenan's ability to dignify emotions like lust, anger and disgust, the honey in his voice adding a touch of profundity". According to Guitar Player magazine, Jones does not rely on any one particular guitar-playing technique but rather combines many techniques. For example, Allmusic wrote that he "alternately utiliz[es] power chords, scratchy noise, chiming arpeggios, and a quiet minimalism" in "Sober". Additionally, the band uses forms of instrumental experimentation, like the use of a "pipe bomb microphone" (a guitar pickup mounted inside a brass cylinder) and a talk box guitar solo on "Jambi". The band puts an emphasis on the sound of their songs and attempts to reduce the effect lyrics can have on the perception of songs by not releasing song lyrics with their albums, although they eventually released the lyrics for Fear Inoculum for that album's CD. Lyrical arrangements are often given special attention, such as in "Lateralus". The number of syllables per line in the lyrics to "Lateralus" correspond to an arrangement of the Fibonacci numbers and the song "Jambi" uses and makes a reference to the common metrical foot iamb. The lyrics on Ænima and Lateralus focus on philosophy and spirituality—specific subjects range from organized religion in "Opiate", to evolution and Jungian psychology in "Forty-Six & 2" and transcendence in "Lateralus". On 10,000 Days, Keenan wanted to explore issues more personal to him: the album name and title track refer to the twenty-seven years during which his mother suffered from complications of a stroke until her death in 2003. Influences In 1997, Tool named King Crimson, Melvins, and Peter Gabriel's Passion as common influences on its development. In describing their wide range of styles, critics have noted that they are "influenced as much by Pink Floyd as by the Sex Pistols." In a 1993 interview, Adam Jones mentioned Joni Mitchell, King Crimson, Depeche Mode, and country music as being among their inspirations. In 1997, Maynard James Keenan named Hejira by Joni Mitchell, Holy Money/Greed by Swans, Physical Graffiti by Led Zeppelin, Red by King Crimson, and Passion by Peter Gabriel as his five favorite records. Danny Carey cited Bill Bruford and Alan White of Yes as his two biggest rock influences, in addition to Bruford's adventurousness in electronic drums. In the same way, Jones stated that Robert Fripp's performances with King Crimson caused him to "wake up" to music as a teen. Furthermore, he acknowledged the other King Crimson guitarists, Adrian Belew and Trey Gunn, along with Buzz Osborne from the Melvins, as his biggest influences. Tool have constantly expressed the massive impact that progressive rock pioneers King Crimson have had on their music; on a 2001 tour with them, Keenan joked: "Now you know who we ripped off. Just don't tell anyone, especially the members of King Crimson." Carey said that listening to the Discipline album upon its 1981 release "revolutionized" his musical perspective in terms of polyrhythms and the balance between the instruments. In 1997, Keenan explained how the composition process of Tool reflected that of King Crimson: "They're very much into listening to each other; even though they might have a basic structure that they're following, it's about fitting themselves in with each other." Contrary to these statements, longtime King Crimson member Robert Fripp has downplayed any influence his band had on Tool. In an interview, Fripp touched on how the two bands relate to each other, stating "Do you hear the influence? There's just one figure where I hear an influence, just one. It was a piece we were developing that we dropped. And it's almost exactly the same figure: three note arpeggio with a particular accent from the guitar. So I do not think you could have heard it. That's the only thing." He also said, The band's long build-ups of intensity were largely inspired by the Melvins. The latter's influence on Tool is most explicit in Undertow, and some authors have described Tool's music as a progressive take on Melvins. On the other hand, Keenan's exotic modulations were influenced by world music; in his twenties, the singer was immersed in that type of music, thus when Peter Gabriel reunited several musicians whom Keenan already knew of for The Last Temptation of Christ soundtrack, which mixed their traditional styles with modern ambient music, it became a major revelation for him. Other reported influences of Tool include Fantômas, Devo, Bill Hicks, Rush, Helmet, Faith No More, Bauhaus, Meshuggah, David Bowie, Mike Patton, Dave Lombardo, and Jane's Addiction. Influence on other artists Writers HP Newquist and Rich Maloof attribute to Tool an influence on modern metal in their book The New Metal Masters. Sean Richardson of The Boston Phoenix sees System of a Down, Deftones, and Korn as examples of Tool's "towering influence" on the genre. Keenan's unique style of singing has been seen as heavily influencing artists such as Pete Loeffler of Chevelle, Benjamin Burnley of Breaking Benjamin, Will Martin of Earshot, and Fred Durst of Limp Bizkit. Visual arts Part of Tool's work as a band is to incorporate influences of other works of art in their music videos, live shows, and album packaging. Adam Jones doubles as the band's art director and director of their music videos. Another expression of this is an official website "dedicated to the arts and influences" on the band. Music videos The band has released eight music videos but made personal appearances in only the first two, which the band states is to prevent people from "latching onto the personalities involved rather than listening to the music." With the exception of "Hush" and "Vicarious" all of Tool's music videos feature stop motion animation to some extent. The videos are created primarily by Adam Jones, often in collaboration with artists such as Chet Zar, Alex Grey, and Osseus Labyrint. The "Sober" music video in particular attracted much attention. Jones explained that it does not contain a storyline, but that his intentions were to summon personal emotions with its imagery. Rolling Stone described this imagery as "evil little men dwell in a dark dungeon with meat coursing through pipes in the wall" and called it a "groundbreaking", "epic" clip. Billboard voted it "Best Video by a New Artist". The video for "Vicarious" was released on DVD on December 18, 2007. The video is the first by Tool to be produced entirely through the use of CGI. Album artwork Jones is responsible for most of the band's artwork concepts. The album Undertow features a ribcage sculpture by Jones on its cover and photos contributed by the band members. Later albums included artwork by collaborating artists: Ænima and Salival featured works by Cam de Leon; Lateralus and 10,000 Days were created with the help of Alex Grey. The releases garnered positive critical reception, with a music journalist of the Associated Press attributing to the band a reputation for innovative album packaging. Both Ænima and 10,000 Days were nominated for the Grammy Award for Best Recording Package, but while the former failed to win in 1997, the latter did win in 2007. Jones created packaging for 10,000 Days that features a pair of stereoscopic lenses for viewing 3-D artwork and photos. Jones, a lifelong fan of stereoscopic photography, wanted the packaging to be unique and to reflect the 1970s artwork he appreciates. The CD packaging for Fear Inoculum included a rechargeable 4 inch HD video screen and a speaker which played a hidden track along with a video when opened and also included a 36-page booklet. Live shows Following its first tours in the early 1990s, Tool has performed as a headline act in world tours and major festivals such as Lollapalooza (1997 and 2009), Coachella (1999 and 2006), Voodoo Fest (2001 and 2016), Download Festival (2006 and 2019), Roskilde (2001 and 2006), Big Day Out (2007 and 2011), Bonnaroo (2007 and 2022), All Points West Music & Arts Festival (2009), and Epicenter (2009). They have been joined on stage by numerous artists such as Buzz Osborne and Scott Reeder on several occasions; Tom Morello and Zack de la Rocha during their 1991 tour; Layne Staley in Hawaii, 1993; Tricky, Robert Fripp, Mike Patton, Dave Lombardo, Brann Dailor of Mastodon, and experimental arts duo Osseus Labyrint during their 2001–02 Lateralus tour; and Kirk Hammett, Phil Campbell, Serj Tankian, and Tom Morello during their 2006–07 tour. They have covered songs by Led Zeppelin, Ted Nugent, Peach, Kyuss, the Dead Kennedys, and the Ramones. Live shows on Tool's headline tour incorporate an unorthodox stage setting and video display. Keenan and Carey line up in the back on elevated platforms, while Jones and Chancellor stand in the front, toward the sides of the stage. Keenan often faces the backdrop or the sides of the stage rather than the audience. No followspots or live cameras are used; instead, the band employs extensive backlighting to direct the focus away from the band members and toward large screens in the back and the crowd. Breckinridge Haggerty, the band's live video designer, says that the resulting dark spaces on stage "are mostly for Maynard". He explains, "[a] lot of the songs are a personal journey for him and he has a hard time with the glare of the lights when he's trying to reproduce these emotions for the audience. He needs a bit of personal space, and he feels more comfortable in the shadows." The big screens are used to play back "looped clips that aren't tracked to a song like a music video. The band has never used any sort of timecode. They’ve always made sure the video can change on-the-fly, in a way that can be improvised. ... The show is never the same twice." During the 10,000 Days tour, the video material consisted of over six hours of material, created by Jones, his wife Camella Grace, Chet Zar, Meats Meier, and Haggerty. Some of the material created by Zar has been released on his DVD Disturb the Normal. Band members Maynard James Keenan – vocals (1990–present) Adam Jones – guitars (1990–present) Danny Carey – drums, percussion (1990–present), samples (1995–present) Justin Chancellor – bass (1995–present) Former members Paul D'Amour – bass (1990–1995) Awards and nominations {| class="wikitable sortable plainrowheaders" |- ! scope="col" | Award ! scope="col" | Year ! scope="col" | Nominee(s) ! scope="col" | Category ! scope="col" | Result ! scope="col" class="unsortable"| |- ! scope="row"|AMFT Awards | 2019 | "7empest" | Best Metal Performance | | |- ! scope="row" rowspan=2|Billboard Music Awards | rowspan=2| 2020 | Fear Inoculum | Top Rock Album | | |- | Tool | Top Rock Artist | | |- ! scope="row" rowspan=9|Grammy Awards | 1997 | Ænima | Best Recording Package | | |- | rowspan="2"| 1998 | "Ænema" | Best Metal Performance | | |- | "Stinkfist" | Best Music Video | | |- | 2002 | "Schism" | Best Metal Performance | | |- | rowspan="2"| 2007 | 10,000 Days | Best Recording Package | | |- | "Vicarious" | rowspan="2" | Best Hard Rock Performance | | |- | 2008 | "The Pot" | | |- | rowspan="2" | 2020 | "7empest" | Best Metal Performance | | |- |"Fear Inoculum" |Best Rock Song|Best Rock Song | | |- !scope="row"|Hungarian Music Awards | 2007 | 10,000 Days | Best Foreign Rock Album | | |- ! scope="row"|iHeartRadio Music Awards | 2020 | Fear Inoculum | Top Rock Album | | |- !scope="row"|Pollstar Concert Industry Awards | 2002 | Tour | Most Creative Stage Production | | Discography Undertow (1993) Ænima (1996) Lateralus (2001) 10,000 Days (2006) Fear Inoculum (2019) Notes References Citations Sources External links Art website Category:American alternative metal musical groups Category:American progressive metal musical groups Category:American art rock groups Category:Grammy Award winners Category:Heavy metal musical groups from California Category:Musical groups established in 1990 Category:Musical groups from Los Angeles Category:Musical quartets Category:Progressive rock musical groups from California Category:Volcano Entertainment artists Category:Zoo Entertainment (record label) artists Category:American post-metal musical groups Category:1990 establishments in California
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C_02f45e7d801642eeabf570afdfaec244_1
Echo & the Bunnymen
Echo & the Bunnymen are an English rock band formed in Liverpool in 1978. The original line-up consisted of vocalist Ian McCulloch, guitarist Will Sergeant and bassist Les Pattinson, supplemented by a drum machine. By 1980, Pete de Freitas joined as the band's drummer. Their 1980 debut album, Crocodiles, went into the top 20 of the UK Albums Chart.
Early years
Ian McCulloch began his career in 1977, as one third of the Crucial Three, a bedroom band which also featured Julian Cope and Pete Wylie. When Wylie left, McCulloch and Cope formed the short-lived A Shallow Madness with drummer Dave Pickett and organist Paul Simpson, during which time such songs as "Read It in Books", "Robert Mitchum", "You Think It's Love" and "Spacehopper" were written by the pair. When Cope sacked McCulloch from the band, A Shallow Madness changed their name to The Teardrop Explodes, and McCulloch joined forces with guitarist Will Sergeant and bass player Les Pattinson to form Echo & the Bunnymen. This early incarnation of the band featured a drum machine, assumed by many to be "Echo", though this has been denied by the band. In the 1982 book Liverpool Explodes!, Will Sergeant explained the origin of the band's name: We had this mate who kept suggesting all these names like The Daz Men or Glisserol and the Fan Extractors. Echo and the Bunnymen was one of them. I thought it was just as stupid as the rest. In November 1978, Echo & the Bunnymen made their debut at Liverpool's Eric's Club, appearing as the opening act for The Teardrop Explodes. The band played one song, a 20-minute version of "Monkeys" which was entitled "I Bagsy Yours" at the time. Echo & the Bunnymen's debut single "The Pictures on My Wall" was released on Bill Drummond & David Balfe's Zoo Records in May 1979, the B-side being the McCulloch/Cope collaboration "Read It in Books" (also recorded by The Teardrop Explodes approximately six months later as the B-side of their final Zoo Records single "Treason"). McCulloch has subsequently denied that Cope had any involvement with the writing of this song on more than one occasion. By the time of their debut album, 1980's Crocodiles, the drum machine had been replaced by Trinidad-born Pete de Freitas. The lead single, "Rescue", climbed to UK No.62 and the album broke into the Top 20 at No. 17, following critical acclaim. Their next album, Heaven Up Here (1981), was an even bigger critical and commercial success, reaching the UK Top Ten (No. 10), although a single lifted from the album, "A Promise", could only reach UK No. 49. CANNOTANSWER
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Echo & the Bunnymen is an English rock band formed in Liverpool in 1978. The original line-up consisted of vocalist Ian McCulloch, guitarist Will Sergeant and bassist Les Pattinson. By 1980, Pete de Freitas joined as the band's drummer. Their 1980 debut album Crocodiles went into the top 20 of the UK Albums Chart. After releasing their second album Heaven Up Here in 1981, the band's cult status was followed by mainstream success in the UK in 1983 when they scored a UK Top 10 hit with "The Cutter", and the album which the song came from, Porcupine, hit number 2 in the UK. Ocean Rain (1984), continued the band's UK chart success with its lead single "The Killing Moon" entering into the top 10. After they released a self-titled album in 1987, McCulloch left the band and was replaced by singer Noel Burke. In 1989, de Freitas was killed in a motorcycle accident. After working together as Electrafixion, McCulloch and Sergeant regrouped with Pattinson in 1997 and returned as Echo & the Bunnymen, before Pattinson's departure in 1998. The band has done some touring and released several albums since the late 1990s to varying degrees of success. History Early years Ian McCulloch began his career in 1977, as one third of the Crucial Three, a bedroom band which also featured Julian Cope and Pete Wylie. When Wylie left, McCulloch and Cope formed the short-lived A Shallow Madness with drummer Dave Pickett and organist Paul Simpson, during which time such songs as "Read It in Books", "Robert Mitchum", "You Think It's Love" and "Spacehopper" were written by the pair. When McCulloch left the band, A Shallow Madness changed their name to The Teardrop Explodes, and McCulloch joined with guitarist Will Sergeant and bass player Les Pattinson to form Echo & the Bunnymen. This early incarnation of the band featured a drum machine, assumed by many to be "Echo", though this has been denied by the band. In the 1982 book Liverpool Explodes!, Will Sergeant explained the origin of the band's name: In November 1978, Echo & the Bunnymen made their debut at Liverpool's Eric's Club, appearing as the opening act for The Teardrop Explodes. The band played one song, a 20-minute version of "Monkeys" which was entitled "I Bagsy Yours" at the time. Echo & the Bunnymen's debut single "The Pictures on My Wall" was released on Bill Drummond & David Balfe's Zoo Records in May 1979, the B-side being "Read It in Books" (also recorded by The Teardrop Explodes approximately six months later as the B-side of their final Zoo Records single "Treason"). Though credited as a McCulloch/Cope collaboration, McCulloch has denied on more than one occasion that Cope had any involvement with its writing. With the group now gaining wider attention, they were invited to record a four-song set for the BBC'S John Peel Show on August 22, at which time they were still using a drum machine. This was the first of six live sets they would cut for the Peel show between 1979 and 1983. By the time of their debut album, 1980's Crocodiles (July 1980), the drum machine had been replaced by Trinidad-born Pete de Freitas. Unlike the other band members, who were from working class Liverpool families, de Freitas was considered "posh" - he came from an affluent background, grew up in the south of England, and attended an elite private school, but his affable and outgoing manner was a welcome addition for his famously fractious bandmates. De Freitas met the trio at their September 15, 1979 gig at Eric's in Liverpool and immediately joined the band, but his October 12 live debut with them at London's Electric Ballroom was less than auspicious. Supporting hugely popular ska bands Madness and Bad Manners, the Bunnymen proved an uncomfortable fit, and they were booed off after just two songs. "Rescue" (produced by Ian Broudie), the lead single from Crocodiles, reached No. 62 on the UK singles chart but the album (co-produced by manager Bill Drummond and his business partner David Balfe of The Teardrop Explodes) broke into the Top 20, reaching No. 17, and garnered wide critical acclaim. Eschewing the traditional "pin-up" cover shot, Crocodiles featured an atmospheric cover image, which showed the band posed in a mysterious woodland setting, lit by hidden coloured lights. Designed by Martyn Atkins and photographed by Brian Griffin, it became the first in a coordinated series of elemental-themed album covers by Atkins and Griffin, which spanned their first four LPs, each depicting the band posed at some distance from the camera, in a visually striking natural setting -- a forest (Crocodiles), a beach at sunset (Heaven Up Here), a frozen waterfall in Iceland (Porcupine) and a subterranean river (Ocean Rain). It would not be until their fifth, self-titled album that the band employed a traditional group portrait. Shine So Hard The band embarked on their first major concert tour between September and December 1980 to promote Crocodiles, supported by London band The Sound, during which they performed their first European concerts in France, The Netherlands and Germany. The end of the Camo tour was followed by a four-month break, mainly dedicated to the preparation and recording of their second LP. However, manager Bill Drummond (later of KLF) and lighting director Bill Butt launched plans for a one-off promotional concert event as the final date of the Camo tour, which would be professionally filmed and recorded. It was primarily intended to provide material for the group's first music video, but Drummond and Butt's vision went well beyond the conventional three-minute pop-rock promotional clip, and it reflected their desire to capture Echo & The Bunnymen's live performance during this crucial breakthrough phase of their career. Butt was slated to direct, but British film union regulations at the time meant that the film would not be distributed commercially unless it was directed by a union member. Butt took over as producer, and on the recommendation of their mutual friend, Patrick Duval, Butt engaged novice filmmaker John Smith, who had earned a union ticket for a film he had directed while at university. After extensive consultation with their clients, Smith and Duval were "embedded" in Buxton with the band in the week leading up to the concert, and they were given a completely free hand to structure, shoot and edit the project. Smith and Duval shaped the first part of the film around the differing characters of the four band members, filming both the town and the musicians, but using unusual shooting angles and perspectives. This material was then assembled into an impressionistic sequence of seemingly disconnected images, which are gradually revealed to be a montage of the activities of the band members as they prepare for and head to the show. The concert was staged on January 17, 1981, in the striking Victorian-era glass concert hall in the Buxton Pavilion Gardens in Derbyshire before a specially invited audience. Before the show, advertisements had been placed in the music press, and 500 lucky fans who responded were given free passes and a map directing them to the secret location (called "Gomorrah" in the advertisement), which also advised "BE PREPARED: THIS IS AN ATLAS ADVENTURE". For an additional fee of £5, coach transport was provided for fans from London, Liverpool and other cities. Although inclement winter weather complicated the rehearsals, causing transport headaches for the band, as well as for their fans, the concert went ahead as planned, with the band taking the stage 30 minutes after the scheduled start time. The performance was filmed by Smith, Duval and cameraman Mike Tomlinson, with multitrack audio recorded on the Manor Mobile studio by Peter Woods. The footage captures the band at the height of their early success, and documents both their musical prowess as a live act and the impressive staging and lighting designed by Bill Butt. The set list was drawn mainly from Crocodiles, plus previews of several tracks from the upcoming second album. The finished 33-minute short film combined Smith and Duval's opening montage with dynamic footage of four songs from the show. Titled Shine So Hard: An Atlas Adventure, it was given a limited UK cinema release, but Warner executives were reportedly dismayed by its avant-garde structure and the fact that the band don't even appear clearly until partway through the film. The audio recordings of the four songs featured in the film were also released on the "Shine So Hard" EP, which reached #37 on the UK singles chart, thus becoming the group's first British hit single. In 1982, the film was released as a limited edition of 500 VHS cassettes, redeemable only with a voucher given out to those who had attended the concert, and copies found their way onto the second-hand market. Heaven Up Here Beginning in April 1981, the band commenced another round of touring to promote the forthcoming album. This included their first American dates in New York, Toronto, Pittsburgh, Detroit, Chicago, Boston, San Francisco, and Los Angeles. After another round of shows in the UK and Europe mid-year, they returned to America for more shows during October, and in November they made their only visit to Australia, including a show on November 11 at the Manly Vale Hotel on Sydney's northern beaches. This was recorded, and four tracks from that concert were subsequently included as bonus tracks on the 2003 CD reissue of the second album. Heaven Up Here was recorded at Rockfield Studios in Wales during March, and was released in May 1981. Produced by the band and Hugh Jones, it proved a very positive and enjoyable recording experience for the band, and became an even bigger critical and commercial success, reaching the UK Top Ten (No. 10), although "A Promise", the sole single lifted from the album, only reached UK No. 49. The cover image continued the elemental theme of Crocodiles, and depicted the group standing on a beach, with their backs to the camera, looking out to sea, silhouetted against a bank of storm clouds at sunset, with a flock of seagulls flying across sky in front of them. The photograph was taken on the beach at Porthcawl in South Wales on a day off from recording. According to photographer Brian Griffin, they had to use buckets of fish offal to entice the seagulls to fly through the shot. Manager Bill Drummond and Korova label head, Rob Dickins, reportedly hated the image and Atkins, Griffin and the band had to fight to have it accepted as the cover shot. Porcupine and mainstream success After another break over the winter, the band played three UK dates in April 1982. In June, they scored their first top 20 UK hit single with "The Back of Love" (No. 19). In July, they began a short round of festival appearances and headlining concerts in Britain and Europe, including an appearance at the first WOMAD festival, where they were joined onstage for the song "All My Colours (Zimbo)" by The Drummers of Burundi. Their only American date that year was a one-off show at New York's Peppermint Lounge on August 24, and their 1982 touring schedule concluded with four UK dates in December. Much of 1982 was taken with the difficult and protracted process of recording of their highly anticipated third album Porcupine, which reunited them with Crocodiles producer Ian Broudie (who was also Sergeant's housemate at the time). Several members also undertook outside projects during the year. Pete de Freitas produced and played drums on Liverpool band The Wild Swans' debut single "Revolutionary Spirit", and lead guitarist Will Sergeant recorded a solo album of instrumental music titled Themes for 'Grind' (1982). The original version of Porcupine was rejected by Warner Bros as "too uncommercial", so (over Sergeant's objections) the band agreed to re-record the entire LP, and Drummond brought in noted Indian violinist and composer Shankar to add strings. During this period, tensions within the band had increased dramatically. Bassist Les Pattinson was openly expressing his weariness with the industry, and personal relations among the four deteriorated to the point that they either refused to speak to each other or argued when they did. McCulloch later described the band's mood at this time as "horrible", and de Freitas stated that, in stark contrast to the quick and confident making of Heaven Up Here, he felt that "we had to drag it out of ourselves" with Porcupine. Despite these impediments, the re-recording went relatively smoothly, and the sessions ultimately produced their UK chart breakthrough. Released in early 1983, the more radio-friendly "The Cutter", became their first top 10 single, climbing to No. 8, while the parent album Porcupine (Feb. 1983), hit No. 2 in the album chart. Now firmly established as a chart act, further hits followed with a one-off single, the dance-oriented "Never Stop" (No. 15), and the epic "The Killing Moon", a preview from the new album featuring a dramatic McCulloch vocal, which became the band's second UK top 10 single at No. 9. Ocean Rain The band kicked off a hectic year of touring in 1984 with their first dates in Japan, in January, followed by a month-long round of dates in the United States beginning in March. April-May saw them playing concerts in Europe and the UK, followed by the second and more extensive leg of their U.S. tour during August-September, concluding with a show at the famed Greek Theater in Los Angeles on September 9. The band then immediately undertook an intensive two-month UK tour, beginning in Dublin on September 15 and concluding at London's Brixton Academy on October 24 (their last concert of 1984). Following a PR campaign that proclaimed it "the greatest album ever made" according to McCulloch, 1984's Ocean Rain reached No. 4, and today is widely regarded as the band's landmark album. Single extracts "Silver" (UK No. 30) and "Seven Seas" (UK No. 16) consolidated the album's continued commercial success. In the same year, McCulloch had a minor solo hit with his cover version of the Kurt Weill standard "September Song". After the release of Ocean Rain, manager Bill Drummond announced that the band was taking a year off to write material for the next album, but at the end of 1984 they replaced him, reportedly because they were unhappy that the band wasn't making enough money. Drummond was succeeded by Duran Duran tour manager Mick Hancock. Echo & the Bunnymen resumed work with a tour of Scandinavia in April 1985, performing cover versions of songs from Television, the Rolling Stones, Talking Heads and The Doors. Recordings from the tour emerged as the semi-bootleg On Strike. On 21 June they performed a headlining set at that year's Glastonbury Festival, where they premiered two new songs from their next album. Fifth album and departure of de Freitas Ocean Rain proved difficult to follow up, and their only releases in 1985 were the single, "Bring on the Dancing Horses" (UK No. 21), and a compilation album, Songs to Learn & Sing, which made No. 6 in the UK album chart. 1985/86 proved to be the turning point in the group's career. During their regular winter break, drummer Pete de Freitas had moved to America with a loose group of musical colleagues, friends and hangers-on dubbed The Sex Gods, but the other Bunnymen and his family later revealed that de Freitas was suffering from escalating mental health and drug problems, and following a New Year's Eve drug binge in New Orleans, de Freitas announced that he had quit the band. With tour commitments looming, the remaining members hastily recruited former Haircut One Hundred drummer Blair Cunningham as their new drummer, but he did not fit in, and left after their Spring 1986 American tour. Cunningham was replaced by former ABC drummer David Palmer. The group began recording material for the new album with Broudie and producer Clive Langer but they were unhappy with the results and the recordings were shelved. They then recorded with Laurie Latham, who was chosen by McCulloch because he had been impressed by Latham's work on The Stranglers' single "Skin Deep”. Three tracks from these sessions made their way onto the next album, including the song "Jimmy Brown", which was re-titled "Bring on the Dancing Horses" and released as their only single of 1986. Echo & The Bunnymen returned to the studio to record more material with a new producer, Gil Norton, but in July David Palmer left the group, and de Freitas expressed his wish to rejoin. The other members were concerned about both his commitment to the band and his drug and mental health problems, so he returned to group as a hired musician rather than a full member of the band. The revised lineup performed live on BBC TV in September, presenting two new songs, "The Game" and "Lips Like Sugar", but by this stage, they were under intense pressure from their label to create what Warners considered to be more commercial material. Will Sergeant later recalled the band's outrage when Warner executive Rob Dickens played them Peter Gabriel's album So, declaring "I want you to sound like this!" Their fifth studio album, the self-titled Echo & the Bunnymen (1987), was recorded with Palmer, but when de Freitas returned in late 1986, it was largely re-recorded. Released in mid-1987, the record sold well (UK No. 4), and was a small American hit, their only LP to have significant sales there. It is also significant as the final album to be recorded with the original lineup. Like Porcupine, the making of the album proved to be a difficult and protracted process. Early sessions with Gil Norton took place at the famous Cologne studio of German producer Conny Plank, but both band and label were unhappy with the results and these recordings were shelved. They began re-recording material from the Cologne sessions with Laurie Latham in Brussels, but the sessions were grueling, with Latham spending up to a month on a single song, and tensions within the band were being inflamed by McCulloch's increasing alcohol use, and the star treatment he was being accorded. In the United States, the band's best-known songs were "The Killing Moon" and "Lips Like Sugar". "Bring on the Dancing Horses" is well known as one of the songs on the soundtrack to the John Hughes film Pretty in Pink. The band also contributed a cover version of The Doors song "People Are Strange" to The Lost Boys soundtrack, which featured a guest appearance by original Doors keyboard player Ray Manzarek, who also contributed keyboards to a re-recorded version of "Bedbugs and Ballyhoo". "Never Stop" was used in the Alan Bennett film History Boys. Although the album was a significant commercial success, it received mixed reviews from critics, and was disliked by the band, who were sharply critical of the mixing and production. Departure of McCulloch, death of de Freitas, sixth album, and disbandment The group jointly headlined an American tour with New Order in August-September 1987, followed by a UK tour in the northern autumn. After a winter break they undertook another round of touring in the U.S. and the UK, to general acclaim, but the March 1988 single release of their cover of The Doors' "People Are Strange" drew withering reviews from the music press, with Melody Maker denouncing it as "a rancid effort". The end of the original Echo & The Bunnymen came in March 1988. Following a Japanese tour, McCulloch announced that the band was breaking up. He hastily departed for the UK to see his father, who had just suffered two heart attacks, but he died before McCulloch arrived. Months of speculation finally ended in September 1988 when McCulloch officially informed the other members that he was leaving the band, but Sergeant told McCulloch that he, Pattinson and de Freitas would continue working together. McCulloch departed, and later began work on his first solo album Candleland. Following an abortive attempt to record with singers Kate Pierson and Cindy Wilson of The B-52s, the group advertised for a new lead singer. Former Colenso Parade singer Oscar turned down an offer to take over from McCulloch, Keyboardist Jake Brockman (a touring member of the band for several years previously, and a contributor to the 1987 album) was promoted to full member, and after hearing an album by the defunct UK group St Vitus Dance, the Bunnymen offered the lead singer spot to vocalist Noel Burke, who accepted after the band assured him that they did not want "a McCulloch clone". However, their plans were thrown into disarray when Pete de Freitas was killed in a motorcycle accident on 14 June 1989. De Freitas was on his way to Liverpool from London to take part in the group's first rehearsal with Burke, when his Ducati motorbike collided with another vehicle on the A51 At Longdon Green in Staffordshire, killing him instantly. He was 27 years old and was survived by his widow and their infant daughter, who was born in 1988. After recruiting new drummer Damon Reece to replace de Freitas, the new five-piece Bunnymen recorded the psychedelic-tinged Reverberation in 1990 with renowned former Beatles engineer and producer Geoff Emerick. The album did not generate much interest among fans or critics, it sold poorly, and the band was dropped by Warner Bros. In a 2003 interview, McCulloch said of his replacement with Burke: I think it's pretty obvious what I think. Noel Burke... the name says it all really doesn't it? No, that's not fair. It wasn't his fault, it was Will and Pete who were the berks really. But no, I thought it was disgraceful and after that I suppose it was quite surprising that I continued working with Will after that. I'm glad I did though. Johnny Marr called them Echo and the Bogusmen when that happened. Meanwhile, McCulloch released his well-received debut solo album Candleland in September 1989, shortly after de Freitas' death. His follow-up solo album was Mysterio in 1992. After two more unsuccessful singles, which were released independently, the Bunnymen disbanded in 1993. Reformation In 1994, McCulloch and Sergeant began working together again under the name Electrafixion; in 1997 Pattinson rejoined the duo, meaning the three surviving members of the original Bunnymen line-up were now working together again. Rather than continue as Electrafixion, the trio resurrected the Echo & the Bunnymen name and released the album Evergreen (1997), which reached the UK Top 10. Immediately before the release of the band's next album What Are You Going to Do with Your Life? (1999), Les Pattinson quit to take care of his mother. McCulloch and Sergeant have continued to tour and record as Echo & the Bunnymen, touring repeatedly and releasing the albums Flowers (2001), Siberia (2005), The Fountain (2009) and Meteorites (2014). The Siberia band line up was Ian McCulloch, Will Sergeant, Paul Fleming (keyboards), Simon Finley (drums) and Pete Wilkinson (bass), Hugh Jones produced Siberia after previously engineering early Bunnymen albums. Since August 2009 the group's touring incarnation has comprised McCulloch and Sergeant along with Stephen Brannan (bass), Gordy Goudie (guitar), Nicholas Kilroe (drums) and Jez Wing (keyboards). In 2002, the group received the Q Inspiration award. The award is for inspiring "new generations of musicians, songs and music lovers in general." The band were said to be worthy winners as they have done much to promote the Mersey music scene. In a later interview for Magnet magazine, McCulloch said "It validates everything that we've tried to achieve—cool, great timeless music. It's not like an inspiration award affecting the past, it's affecting the current music." On 11 September 2006, Echo & the Bunnymen released an updated version of their 1985 Songs to Learn and Sing compilation. Now re-titled More Songs to Learn and Sing, this compilation was issued in two versions, a 17-track single CD and a 20-track version with a DVD featuring eight videos from their career. In March 2007, the Bunnymen announced that they had re-signed to Warner and were working on a new album. The band were said to be planning a live DVD, titled Dancing Horses, which contained interviews with the band. This was released in May 2007 on Snapper/SPV. The live line up was Ian McCulloch, Will Sergeant, Simon Finley (drums), Paul Fleming (keyboards), Gordy Goudie (guitar) and Steve Brannan (bass). On 11 January 2008, McCulloch was interviewed on BBC Breakfast at the start of Liverpool 08. He was asked about new Bunnymen material and he revealed that a new album would coincide with their gig at the Royal Albert Hall in September. He went on to say that the album was "The best one we've made, apart from Ocean Rain." In a 20 April 2008 interview with the Sunday Mail, Ian McCulloch announced The Fountain as the title of the new Echo & the Bunnymen album with producers John McLaughlin and Simon Perry, which was originally due to be released in 2008 but was finally released on 12 October 2009. "Think I Need It Too", the first single from the album, was released on 28 September 2009. On 1 September 2009, former keyboard player Jake Brockman died on the Isle of Man when his motorbike collided with a converted ambulance. Brockman had played keyboards for the band during the 1980s. In December 2010, Echo & the Bunnymen went on tour playing their first two albums Crocodiles and Heaven Up Here in their entirety. Echo & the Bunnymen's most recent album of new material, titled Meteorites, was released on 26 May 2014 in the UK, and on 3 June 2014 in the US via 429 Records. The album was released on the pledgemusic.com website. It was produced and mixed by Youth, who also co-wrote three of the tracks and played some bass. It was the band's first UK Top 40 album entry since 1999. In 2018, Echo & the Bunnymen announced and released an album of reworked orchestral versions of older material and two new songs, titled The Stars, the Oceans & the Moon, to mixed reception. In September 2023, a 4 date tour will see the group perform Ocean Rain in full in the UK. Members Current Ian McCulloch – vocals, guitar, keyboards (1978–1988, 1996–present) Will Sergeant – guitars, programming (1978–1993, 1996–present) Former Les Pattinson – bass (1978–1993, 1996–1998) Pete de Freitas – drums (1979–1989; died 1989) Noel Burke – vocals, guitar (1988–1993) Damon Reece – drums (1989–1993) Jake Brockman – keyboards (1989–1993; died 2009) Touring Pete Reilly – guitar (2016–present) Stephen Brannan – bass (2005–present) Mike Smith - keyboards (2022–present) Simon Finley - drums (2005–present) Former touring Jeremy Stacey – drums (1999–2001) Vinny Jamieson – drums (2001-2003) Guy Pratt – bass (1998–2000) Alex Germains – bass (2000–2003) Michael Lee – drums (1996–2001; died 2008) Vinny Jameson – drums (2001–2003) Pete Wilkinson – bass (2003–2005) Simon Finley – drums (2003–2005) Paul Fleming – keyboards (2003–2009) Ged Malley – guitar (2003) Gordy Goudie – guitar (2004–2017) Nicholas Kilroe – drums (2007–2017) Kelley Stoltz – guitar (2016-2017) Gillian Grant – violin (2018) Kirsty Main – violin (2018) Annemarie McGahon – viola (2018) Heather Lynn – cello (2018) Pete Reilly – guitar (2018) Alan Watts – guitar (2019–2020) Timeline Discography Crocodiles (1980) Heaven Up Here (1981) Porcupine (1983) Ocean Rain (1984) Echo & the Bunnymen (1987) Reverberation (1990) Evergreen (1997) What Are You Going to Do with Your Life? (1999) Flowers (2001) Siberia (2005) The Fountain (2009) Meteorites (2014) The Stars, the Oceans & the Moon (2018) Citations General and cited references Adams, Chris. Turquoise Days: The Weird World of Echo & the Bunnymen. New York: Soft Skull Press, 2002. Fletcher, Tony. Never Stop: The Echo & the Bunnymen Story. London: Omnibus Press, 1987. Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978–1984. London: Penguin, 2005. External links Villiers Terrace.com The Ultimate Echo and the Bunnymen Resource Category:1978 establishments in England Category:1993 disestablishments in England Category:1996 establishments in England Category:English post-punk music groups Category:English new wave musical groups Category:Musical groups from Liverpool Category:Musical groups established in 1978 Category:Musical groups disestablished in 1993 Category:Musical groups reestablished in 1996 Category:Neo-psychedelia groups Category:Scouse culture of the early 1980s Category:Sire Records artists Category:Warner Records artists Category:Zoo Records artists Category:Let Them Eat Vinyl artists
[]
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C_fd96a17bb9e74371afa728bd135272c3_0
Yagan
Yagan (; c. 1795 - 11 July 1833) was an Indigenous Australian warrior from the Noongar people. He played a key part in early resistance to British colonial settlement and rule in the area surrounding what is now Perth, Western Australia. Yagan was pursued by the local authorities after he killed a servant of Archibald Butler in an act of retaliation after Smedley, another servant of Butler, shot at a group of Noongar people taking potatoes and fowls, killing one of them. The government offered a bounty for Yagan's capture, dead or alive, and a young settler, William Keats, subsequently shot and killed him.
Exhibition and burial
Yagan's head was initially taken to Henry Bull's house. Moore saw it there and sketched the head a number of times in his unpublished, handwritten diary, commenting that "possibly it may yet figure in some museum at home." The head was preserved by smoking. In September 1833, Governor Irwin sailed for London, partly to give his own account of the events leading up to the killing. This was an unusual measure, especially given his regiment was about to leave for a tour of duty in India. The Colonial Office indicated satisfaction with Irwin's administration of the colony. Travelling with Irwin was Ensign Robert Dale, who had somehow acquired Yagan's head. According to the historian Paul Turnbull, Dale appears to have persuaded Irwin to let him have the head as an "anthropological curiosity". After arriving in London, Dale tried to sell the head to scientists, approaching a number of anatomists and phrenologists. His price of L20 failed to find a buyer, so he made an agreement with Thomas Pettigrew for the exclusive use of the head for 18 months. Pettigrew, a surgeon and antiquarian, was well known in the London social scene for holding private parties at which he unrolled and autopsied Egyptian mummies. He displayed the head on a table in front of a panoramic view of King George Sound reproduced from Dale's sketches. For effect, the head was adorned with a fresh corded headband and feathers of the red-tailed black cockatoo. Pettigrew had the head examined by a phrenologist. Examination was considered difficult because of the large fracture across the back of the head caused by the gunshot. His conclusions were consistent with contemporary European opinion of Indigenous Australians. Dale published these in a pamphlet entitled Descriptive Account of the Panoramic View &c. of King George's Sound and the Adjacent Country, which Pettigrew encouraged his guests to buy as a souvenir of their evening. The frontispiece of the pamphlet was a hand-coloured aquatint print of Yagan's head by the artist George Cruikshank. Early in October 1835, Yagan's head and the panoramic view were returned to Dale, then living in Liverpool. On 12 October he presented them to the Liverpool Royal Institution, where the head may have been displayed in a case along with some other preserved heads and wax models illustrating cranial anatomy. In 1894 the Institution's collections were dispersed, and Yagan's head was lent to the Liverpool Museum; it is thought not to have been put on display there. By the 1960s Yagan's head was badly deteriorated. In April 1964 the museum decided to dispose of it. It arranged burial of the head on 10 April 1964, together with a Peruvian mummy and a Maori head. They were buried in Everton Cemetery's General Section 16, grave number 296. In later years a number of burials were made around the grave. For example, in 1968 a local hospital buried directly over the box, 20 stillborn babies and two infants who died soon after birth. CANNOTANSWER
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Yagan (;  – 11 July 1833) was an Aboriginal Australian warrior from the Noongar people. Yagan was pursued by the local authorities after he killed Erin Entwhistle, a servant of farmer Archibald Butler. It was an act of retaliation after Thomas Smedley, another of Butler's servants, shot at a group of Noongar people stealing potatoes and fowls, killing one of them. The government offered a bounty for Yagan's capture, dead or alive, and a young settler, William Keats, shot and killed him. He is considered a legendary figure by the Noongar. After his shooting, settlers removed Yagan's head to claim the bounty. Later, an official sent it to London, where it was exhibited as an "anthropological curiosity" and eventually given to a museum in Liverpool. It held the head in storage for more than a century before burying it with other remains in an unmarked grave in Liverpool in 1964. Over the years, the Noongar asked for repatriation of the head, both for religious reasons and because of Yagan's traditional stature. The burial site was identified in 1993; officials exhumed the head four years later and repatriated it to Australia. After years of debate within the Noongar community on the appropriate final resting place, Yagan's head was buried in a traditional ceremony in the Swan Valley in July 2010, 177 years after his death. Biography Early life A member of the Whadjuk Noongar people, Yagan belonged to a tribe of around 60 people whose name, according to Robert Lyon, was Beeliar. Scholars now believe that the Beeliar people may have been a family subgroup (or clan) of a larger tribe whom Daisy Bates called Beelgar. According to Lyon, the Beeliar people occupied the land south of the Swan and Canning rivers, as far south as Mangles Bay. The group had customary land usage rights over a much larger area than this, extending north as far as Lake Monger and northeast to the Helena River. The group also had an unusual degree of freedom to move over their neighbours' land, possibly due to kinship and marriage ties with neighbouring groups. Yagan is thought to have been born around 1795. His father was Midgegooroo, an elder of the Beeliar people; his mother was one of Midgegooroo's three wives. Yagan was probably a Ballaroke in the Noongar classification. Marriage and family According to the historian Neville Green, Yagan had a wife and two children. A report in the Perth Gazette in 1833 gives the names of his children as "Naral", age 9, and "Willim", age 11, but most other sources state that the warrior was unmarried and childless. When his entry in the Australian Dictionary of Biography was rewritten in 2019, Reece suggested those said to have been his sons may have been his younger brothers. Described as taller than average with an impressive burly physique, Yagan had a distinctive tribal tattoo on his right shoulder, which identified him as "a man of high degree in tribal law". He was generally acknowledged to be the most physically powerful of his tribe, and was said to have been able to spear another stick from a distance of or penetrate a tree from a distance of . Relations with settlers Yagan would have been about 35 years old in 1829 when British settlers landed in the area and established the Swan River Colony. For the first two years of the colony, relations between settlers and Noongar were generally amicable, as there was little competition for resources. The Noongar welcomed the white settlers as , the returned spirits of their dead. Historical reports noted the two groups shared fish. As time passed, conflicts between the two cultures gradually became more frequent. The settlers incorrectly thought that the Noongar were nomads who had no claim to the land over which they roamed. Colonists fenced off land for grazing and farming according to their traditional practices of land use. As the colonists fenced off more land, the Noongar were increasingly denied access to their traditional hunting grounds and sacred sites. In search of food, the Noongar raided the settlers' crops and killed their cattle. They also developed a taste for the settlers' supplies, and began to take flour and other food, which became a serious problem for the colony. In addition, the Noongar practice of firestick farming, or lighting the bush to flush out game and encourage germination of undergrowth for sustainability, threatened the settlers' crops and houses. In December 1831 Yagan and his father led the first significant Aboriginal resistance to white settlement in Western Australia. Thomas Smedley, a servant of farmer Archibald Butler, ambushed some natives who were raiding a potato patch, and killed one of Yagan's family group. A few days later, Yagan, Midgegooroo and others stormed the farmhouse and, finding the door locked, began to break through the mud-brick walls. Inside were Butler's servant Erin Entwhistle and his two sons Enion and Ralph. After hiding his sons under the bed, Entwhistle opened the door to parley and was killed by Yagan and Midgegooroo. Noongar tribal law required that murders be avenged by the killing of a member of the murderer's tribal group, not necessarily the murderer. The Noongar considered servants and employees to be part of the settlers' groups. Historians believe the Noongar attack on Entwhistle was retribution under their tribal law. Not understanding tribal law (and unlikely to agree with its concepts), the white settlers took the killing to be an unprovoked murder and dispatched a force to arrest Yagan's group, without success. In June 1832 Yagan led a party of Noongar in attacking two labourers sowing a field of wheat alongside the Canning River near Kelmscott. One of the men, John Thomas, escaped, but the other, William Gaze, was wounded and later died as a result. The settlement declared Yagan an outlaw and offered a reward of £20 for his capture. He avoided capture until early October 1832. A group of fishermen enticed Yagan and two companions into their boat, then pushed off into deep water. The fishermen took the three Noongar men to the Perth guardhouse, from which they were transferred to the Round House at Fremantle. Yagan was sentenced to death, but he was saved by the intercession of settler Robert Lyon. Arguing that Yagan was defending his land against invasion, Lyon said Yagan should not be considered a criminal but a prisoner of war and suggested he should be treated as such. At the recommendation of John Septimus Roe, the Surveyor-General of Western Australia, Yagan and his men were exiled on Carnac Island under the supervision of Lyon and two soldiers. Lyon thought he could teach Yagan British ways and convert him to Christianity. He hoped to gain his cooperation and use his tribal stature to persuade the Noongar to accept colonial authority. Lyon spent many hours with Yagan learning his language and customs. After a month, Yagan and his companions escaped by stealing an unattended dinghy and rowing to Woodman Point on the mainland. The Government did not pursue them; apparently its officials considered they had been sufficiently punished. In January 1833 two Noongar, Gyallipert and Manyat, visited Perth from King George Sound, where relations between settlers and natives were amicable. Two settlers, Richard Dale and George Smythe, arranged for the men to meet a party of local Noongar to encourage friendly relations in the Swan River Colony. On 26 January Yagan led a group of ten formally armed Noongars in greeting the two men near Lake Monger. The men exchanged weapons and held a corroboree, though the groups did not appear to share a language. Yagan and Gyallipert competed at spear throwing. As an example of his prowess, Yagan struck a walking stick from a distance of . Gyallipert and Manyat remained in Perth for some time. On 3 March, Yagan obtained permission to hold another corroboree, this time in the Post Office garden in Perth. The Perth and King George Sound men met at dusk, chalked their bodies, and performed a number of dances including a kangaroo hunt dance. The Perth Gazette wrote that Yagan "was master of ceremonies and acquitted himself with infinite grace and dignity". During February and March, Yagan was involved in a series of minor conflicts with settlers. In February William Watson complained that Yagan had pushed open his door, demanded a gun, and taken handkerchiefs. Watson had to give him and his companions flour and bread. The following month, Yagan was among a group who received biscuits from a military contingent under Lieutenant Norcott; when Norcott tried to restrict his supply, Yagan threatened him with his spear. Later that month, Yagan was with a group of Noongar who entered Watson's house while he was away. The group left after Watson's wife called on neighbours for help. The next day Captain Ellis lectured the Noongar about their behaviour. The frequent incidents prompted The Perth Gazette to remark on "the reckless daring of this desperado who sets his life at a pin's fee ... For the most trivial offence  ... he would take the life of any man who provoked him. He is at the head and front of any mischief." Wanted dead or alive On the night of 29 April, a party of Noongar broke into a Fremantle store to steal flour and they were shot at by the caretaker Peter Chidlow. Domjum, a brother of Yagan, was badly injured and died in jail a few days later. The rest of the party moved from Fremantle to Preston Point, where Yagan reportedly vowed vengeance for the death. Between 50 and 60 Noongar gathered at Bull Creek, where they met a party of settlers who were loading carts with provisions. Later that day, the group ambushed the lead cart, killing two settlers, Tom and John Velvick. Tribal law required only a single death for vengeance. Some historians have speculated that the Velvicks were targeted because they had previously been convicted for assaulting Aboriginal people and coloured seamen. Alexandra Hasluck has also argued that stealing provisions was an important motive in the attack, but this has been refuted elsewhere. For the killing of the Velvicks, the Lieutenant-Governor Frederick Irwin declared Yagan, Midgegooroo and Munday to be outlaws, offering rewards of £20 each for the capture of Midgegooroo and Munday, and a reward of £30 for Yagan's capture, dead or alive. Munday successfully appealed against his proscription. Midgegooroo, Yagan and their group immediately moved from their territory north towards the Helena Valley. On 17 May, Midgegooroo was captured on the Helena River. After a brief, informal trial, he was executed by firing squad. Yagan remained at large for over two months. Late in May, George Fletcher Moore reported seeing Yagan on his property and talking with him in pidgin English. Moore wrote in the Perth Gazette: Yagan asked Moore whether Midgegooroo was dead or alive. Moore gave no reply, but a servant answered that Midgegooroo was a prisoner on Carnac Island. Yagan warned, "White man shoot Midgegooroo, Yagan kill three." Moore reported the encounter but made no attempt to restrain Yagan. He later wrote, "The truth is, every one wishes him taken, but no one likes to be the captor ... there is something in his daring which one is forced to admire." Death On 11 July 1833, two teenage brothers named William and James Keates were herding cattle along the Swan River north of Guildford when a group of Noongar approached while en route to collect flour rations from Henry Bull's house. The Keates brothers suggested Yagan remain with them to avoid arrest. While he was staying with them during the morning, the brothers decided to kill the warrior and claim the reward. When the natives were ready to depart, the Keateses took their last opportunity. William Keates shot Yagan, and James shot Heegan, another native, in the act of throwing his spear. The brothers ran away, but other Noongar overtook William and speared him to death. James escaped by swimming the river. Shortly afterward he returned with a party of armed settlers from Bull's estate. When the party of settlers arrived, they found Yagan dead and Heegan dying. Heegan "was groaning and his brains were partly out when the party came, and whether humanity or brutality, a man put a gun to his head and blew it to pieces." The settlers cut Yagan's head from his body, and skinned his back to obtain his tribal markings as a trophy. They buried the bodies a short distance away. James Keates claimed the reward, but his conduct was widely criticised. The Perth Gazette referred to Yagan's killing as "a wild and treacherous act ... it is revolting to hear this lauded as a meritorious deed." However, Daisy Bates understood that "he was killed in self-defence by the young lad." Keates left the colony the following month; it is possible that he left from fear of being murdered in tribal retaliation. Yagan's head Exhibition and burial Yagan's head was initially taken to Henry Bull's house. Moore saw it there and sketched the head a number of times in his unpublished, handwritten diary, commenting that "possibly it may yet figure in some museum at home." The head was preserved by smoking. In September 1833, Governor Irwin sailed for London, partly to give his own account of the events leading up to the killing. This was an unusual measure, especially given his regiment was about to leave for a tour of duty in India. The Colonial Office indicated satisfaction with Irwin's administration of the colony. Travelling with Irwin was Ensign Robert Dale, who had somehow acquired Yagan's head. According to the historian Paul Turnbull, Dale appears to have persuaded Irwin to let him have the head as an "anthropological curiosity". After arriving in London, Dale tried to sell the head to scientists, approaching a number of anatomists and phrenologists. His price of £20 failed to find a buyer, so he made an agreement with Thomas Pettigrew for the exclusive use of the head for 18 months. Pettigrew, a surgeon and antiquarian, was well known in the London social scene for holding private parties at which he unrolled and autopsied ancient Egyptian mummies. He displayed the head on a table in front of a panoramic view of King George Sound reproduced from Dale's sketches. For effect, the head was adorned with a fresh corded headband and feathers of the red-tailed black cockatoo. Pettigrew had the head examined by a phrenologist. Examination was considered difficult because of the large fracture across the back of the head caused by the gunshot. His conclusions were consistent with contemporary European opinion of Indigenous Australians. Dale published these in a pamphlet entitled Descriptive Account of the Panoramic View &c. of King George's Sound and the Adjacent Country, which Pettigrew encouraged his guests to buy as a souvenir of their evening. The frontispiece of the pamphlet was a hand-coloured aquatint print of Yagan's head by the artist George Cruikshank. Early in October 1835, Yagan's head and the panoramic view were returned to Dale, then living in Liverpool. On 12 October he presented them to the Liverpool Royal Institution, where the head may have been displayed in a case along with some other preserved heads and wax models illustrating cranial anatomy. In 1894 the Institution's collections were dispersed, and Yagan's head was lent to the Liverpool Museum; it is thought not to have been put on display there. By the 1960s Yagan's head was badly deteriorated. In April 1964 the museum decided to dispose of it. It arranged burial of the head on 10 April 1964, together with a Peruvian mummy and a Māori head. They were buried in Everton Cemetery's General Section 16, grave number 296. In later years a number of burials were made around the grave. For example, in 1968 a local hospital buried directly over the box, 20 stillborn babies and two infants who died soon after birth. Lobbying for repatriation For many years beginning in the early 1980s, a number of Noongar groups sought the return of Yagan's head to Australia. At the time, there was no historical trail for the head after Pettigrew passed it on. Tribal elders entrusted the Aboriginal leader Ken Colbung with the search. In the early 1990s, Colbung enlisted the aid of University of London archaeologist Peter Ucko. One of Ucko's researchers, Cressida Fforde, conducted a literature search for information on the head. Fforde successfully traced the head in December 1993. The following April, Colbung applied to exhume the remains under Section 25 of the Burial Act 1857. Home Office regulations required next of kin consent before disturbing the remains of the 22 infants. Colbung's solicitors requested waiver of this condition on grounds that the exhumation would be of great personal significance to Yagan's living relatives, and great national importance to Australia. Meanwhile, divisions in the Noongar community in Perth began to develop. Some elders questioned Colbung's role and one Noongar registered a complaint with the Liverpool City Council over his involvement. Media reports indicated acrimonious debate within the Noongar community about who had the best cultural qualifications to take possession of the head. The academic Hannah McGlade claims that these divisions were largely manufactured by the media, particularly The West Australian, which "aimed to and successfully represented the Nyungar community in terms of disharmony and dissent". She alleges that one West reporter contacted Noongar who were known to be in disagreement, and quoted one to the other, so as to elicit provocative responses. The disputes were "trumpeted" by The West, allowing it to "preach" against the infighting. On 25 July a public meeting was held in Perth. All parties agreed to put aside their differences and co-operate to ensure that the repatriation was a "national success". A Yagan Steering Committee was established to co-ordinate the repatriation, and Colbung's application was allowed to proceed. In January 1995 the Home Office advised Colbung that it was unable to waive the requirement to obtain next of kin consent for the exhumation. It contacted the five relatives whose addresses were known, and received unconditional consent from only one. Accordingly, on 30 June 1995, Colbung and the other interested parties were advised that the application for exhumation had been rejected. Meeting on 21 September, the Yagan Steering Committee decided to lobby Australian and British politicians for support. In 1997 Colbung was invited to visit the United Kingdom at the British government's expense and he arrived on 20 May. His visit attracted substantial media coverage, and increased the political pressure on the British Government. He secured the support of the Prime Minister of Australia, John Howard, after gate crashing the Prime Minister's June visit to the United Kingdom. Exhumation While Colbung was in the United Kingdom, Martin and Richard Bates were engaged to undertake a geophysical survey of the grave site. Using electromagnetic and ground penetrating radar techniques, they identified an approximate position of the box that suggested it could be accessed from the side via the adjacent plot. A report of the survey was passed to the Home Office, prompting further discussions between the British and Australian Governments. Of concern to the Home Office were an undisclosed number of letters that it had received objecting to Colbung's involvement in the repatriation process; it therefore sought assurances from the Australian Government that Colbung was a correct applicant. In response Colbung asked his elders to ask the Aboriginal and Torres Strait Islander Commission (ATSIC) to tell the British Home Office that he was the correct applicant. ATSIC then convened a meeting in Perth at which it was again resolved that Colbung's application could proceed. Colbung continued to press for the exhumation, asking that it be performed before the 164th anniversary of Yagan's death on 11 July, so that the anniversary could be the occasion of a celebration. His request was not met, and on the anniversary of Yagan's death, Colbung conducted a short memorial service at the burial plot in Everton. He returned to Australia empty-handed on 15 July. The exhumation of Yagan's head eventually proceeded, without Colbung's knowledge, by excavating down the side of the grave, then tunnelling horizontally to the location of the box. Thus the exhumation was performed without disturbing any other remains. The following day, a forensic palaeontologist from the University of Bradford positively identified the skull as Yagan's by correlating the fractures with those described in Pettigrew's report. The skull was then kept at the museum until 29 August, when it was handed over to the Liverpool City Council. Repatriation On 27 August 1997, a delegation of Noongars consisting of Ken Colbung, Robert Bropho, Richard Wilkes and Mingli Wanjurri-Nungala arrived in the UK to collect Yagan's head. The delegation was to have been larger, but Commonwealth funding was withdrawn at the last minute. The handover of Yagan's skull was further delayed when a Noongar named Corrie Bodney applied to the Supreme Court of Western Australia for an injunction against the handover. Claiming that his family group has sole responsibility for Yagan's remains, Bodney declared the exhumation illegal and denied the existence of any tradition or belief necessitating the head's exhumation and removal to Australia. On 29 August, Justice Henry Wallwork rejected the injunction application, on the grounds that Bodney had previously agreed to the current arrangements, and on the evidence of another Noongar elder (Albert Corunna, who claimed to be a closer relation of Yagan) and anthropologist Pat Baines, both of whom refuted Bodney's claim to sole responsibility. Yagan's skull was handed over to the Noongar delegation at a ceremony at Liverpool Town Hall on 31 August 1997. In accepting the skull, Colbung made comments that were interpreted as linking Yagan's death with the death of Diana, Princess of Wales, earlier that day: That is how nature goes ... Nature is a carrier of all good things and all bad things. And because the Poms did the wrong thing, they now have to suffer. Colbung's comments prompted a media furore throughout Australia, with newspapers receiving many letters from the public expressing shock and anger at the comments. Colbung later claimed that his comments had been misinterpreted. Throughout the repatriation process, many sections of the international media treated the story as a joke. For example, U.S. News & World Report ran a story under the headline Raiders of the Lost Conk, in which Yagan's head was referred to as a "pickled curio", and Colbung's actions were treated as a publicity stunt. Preparations for reburial On its return to Perth, Yagan's head continued to be a source of controversy and conflict. Responsibility for reburial of the head was given to a "Committee for the Reburial of Yagan's Kaat", headed by Richard Wilkes. The reburial was delayed by disputes between elders over the burial location, mainly due to uncertainty of the whereabouts of the rest of his body, and disagreement about the importance of burying the head with the body. A number of attempts were made to locate the remains of Yagan's body, which were believed to be on Lot 39 West Swan Road in the outer Perth suburb of Belhus. A remote sensing survey of the site was carried out in 1998, but no remains were found. An archaeological survey of the area was undertaken two years later, but this also was unsuccessful. Disputes then arose over whether the head could be buried separately from the body. Wilkes has claimed that it can, so long as it is placed where Yagan was killed, so that Dreamtime spirits can reunite the remains. In 1998 the Western Australian Planning Commission and the Department of Aboriginal Affairs jointly published a document entitled Yagan's Gravesite Master Plan, which discussed "matters of ownership, management, development and future use" of the property on which Yagan's remains are believed to be buried. Under consideration was the possibility of turning the site into an Indigenous burial site, to be managed by the Metropolitan Cemeteries Board. Yagan's head spent some time in storage in a bank vault before being handed over to forensics experts who reconstructed a model from it. After that it was held in storage at Western Australia's state mortuary. Plans to re-bury the head were repeatedly deferred, causing ongoing conflict between Noongar groups. In September 2008 it was reported that Yagan's head would be reburied in November, and a Yagan Memorial Park created as a projected cost of A$996,000; but in November it was announced that the reburial had been rescheduled for July 2009 because of logistical problems. In March 2009, it was announced that the Department of Indigenous Affairs had given the City of Swan more than A$500,000 to develop the park. Reburial The head was finally buried in a private ceremony attended only by invited Noongar elders, on 10 July 2010, the anniversary of the last full day he lived and one day before the end of NAIDOC Week 2010. The site in Belhus was chosen as it is believed to be near to where the rest of Yagan's body was buried. The burial coincided with a ceremony to mark the opening of the Yagan Memorial Park, which was attended by around 300 people, including Noongar elders and state government representatives. Premier Colin Barnett described the occasion as "a wonderful day for all West Australians". The art works for the Yagan Memorial Park were designed by Peter Farmer, Sandra Hill, Jenny Dawson and Kylie Ricks. Dawson and Hill created an entry wall of Yagan's story; Farmer designed the park entry statements and Ricks the female coolamon. Legacy In the Australian Dictionary of Biography, Reece wrote that Yagan "was not the brutal, indiscriminate killer most settlers thought him to be", but sought to enforce the Noongar system of retributive justice "as the only basis for a resolution of conflict between Noongars and colonists". Yagan was a lone actor in this regard:Yagan cannot properly be described as a ‘resistance leader’ when the Noongars offered no organised and sustained opposition to the settlers. He was more of a maverick, a bold and courageous warrior whose actions on behalf of his people and their rights made him notorious.The repatriation of Yagan's head increased the Aboriginal leader's notability. He is considered a famous historical figure throughout Australia, with material about him appearing in such publications as the Australian Dictionary of Biography, and Western Australia's school curriculum. He is of greatest significance to the Noongar people, for whom he is "a revered, cherished and heroic individual ... patriot and visionary hero of WA's South-West". The return of his head was likened by some Indigenous Australians to the November 1993 ceremonial repatriation from Gallipoli of Australia's unknown soldier. The former Upper Swan Bridge, which carries the Great Northern Highway over the Swan River at Belhus, was renamed the Yagan Bridge in 2010. An open plaza in the Perth central business district, constructed as part of the Perth City Link urban renewal project, was named Yagan Square. Featuring the statue "Wirin", the plaza, located adjacent to the Horseshoe Bridge, was opened on 3 March 2018. Cultural references Alas Poor Yagan On 6 September 1997 The West Australian published a Dean Alston cartoon entitled Alas Poor Yagan, which was critical of the fact that the return of Yagan's head had become a source of conflict between Noongars instead of fostering unity. The cartoon was interpreted by some as insulting aspects of Noongar culture, and casting aspersions on the motives and legitimacy of Indigenous Australians with mixed racial heritage. The content of the cartoon offended many Indigenous Australians, and a group of Noongar elders complained about the cartoon to the Human Rights and Equal Opportunity Commission. The commission ruled that the cartoon made inappropriate references to Noongar beliefs but was not in breach of the Racial Discrimination Act 1975 because it was "an artistic work" that was published "reasonably and in good faith", and was therefore exempt. This ruling was upheld on appeal by the Federal Court of Australia. Some academic commentators have since expressed concern that the protections offered under the act have been undermined by the ruling's broad interpretation of the exemptions. Statue From the mid-1970s, members of the Noongar community lobbied for the erection of a statue of Yagan as part of the WAY 1979 sesquicentennial celebrations. Their requests were refused, however, after the Premier, Charles Court, was advised by one prominent historian that Yagan was not important enough to warrant a statue. Colbung claims "Court was more interested in spending tax payers' money on refurbishing the badly neglected burial place of Captain James Stirling, WA's first governor." Despite this setback, the Noongar community persisted, establishing a Yagan Committee and running a number of fund-raising drives. Eventually, sufficient funds were collected to allow the commissioning of Australian sculptor Robert Hitchcock to create a statue. The result was a life-size statue in bronze, depicting Yagan standing naked with a spear held across his shoulders. Hitchcock's statue of Yagan was officially opened by Yagan Committee chairperson Elizabeth Hanson on 11 September 1984. It stands on Heirisson Island in the Swan River near Perth. In 1997, within a week of the return of Yagan's head to Perth, vandals beheaded the statue using an angle grinder. Soon after a replacement head was installed and it too was detached and stolen. Credit for the act was anonymously claimed by a "British loyalist" as an act of retaliation for Colbung's comments about Diana, Princess of Wales. The Western Australia Police did not succeed in identifying the vandals, nor in recovering the heads, and deemed it infeasible to have the statue fenced off or placed under guard. Commentary on the beheadings varied widely. One column in The West Australian found humour in them, referring to the head as a "bonce" and a "noggin", and finished with a pun on "skullduggery". Stephen Muecke calls this the "satirical trivialising of Aboriginal concerns", and Adam Shoemaker writes "This is the stuff of light humour and comic relief. There is no sense of the decapitation as being an act of vandalism, even less that it could have been motivated by malevolence ... [T]he piece has a definite authorising function." On the other hand, academic analysis has treated the act with much more gravity. In 2007, for example, David Martin described the decapitation as "an act which speaks not only to the continuance of white settler racism, but also to the power of mimesis to invigorate our modern memorials and monuments with a life of their own". In 2002, Janet Woollard, the member for Alfred Cove, called for the statue's genitalia to be covered up. In November 2005, Richard Wilkes also called for the statue's groin to be covered on the grounds that such a depiction would be more historically accurate, as Yagan would have worn a covering for most of the year. Also under consideration is the creation of a new statue with a head shape that accords better with the forensic reconstruction of Yagan's head. Literature and film Mary Durack published a fictionalised account of Yagan's life in her 1964 children's novel The Courteous Savage: Yagan of the Swan River, which was renamed Yagan of the Bibbulmun on reissue in 1976. The repeated beheading of Yagan's statue in 1997 prompted Aboriginal writer Archie Weller to write a short story entitled Confessions of a Headhunter. Weller later worked with film director Sally Riley to adapt the story into a script, and in 2000 a 35-minute movie, also named Confessions of a Headhunter, was released. Directed by Sally Riley, the movie won Best Short Fiction Film at the 2000 AFI Awards. The following year the script won the Script Award in the 2001 Western Australian Premier's Book Awards. In 2002, the South African-born Australian poet John Mateer published his fourth collection of poems, entitled Loanwords. The collection is divided into four sections, of which the third, In the Presence of a Severed Head, has Yagan as its subject. Other cultural references A section of Kullark, a play by Jack Davis, explores the deteriorating relationship between Yagan and a settler couple. In September 1989 an early maturing cultivar of barley, bred by the Western Australian Department of Agriculture for performance on sandy soils, was released under the name "Hordeum vulgare (Barley) c.v. Yagan". Commonly referred to simply as "Yagan", the cultivar is named for Yagan, continuing a tradition of labelling Western Australian grain cultivars after historic people of Western Australia. See also Jandamarra, and the Bunuba War. Musquito a warrior of the Gai-Mariagal clan Pemulwuy a warrior and resistance leader of the Bidjigal clan of the Eora people, in the area around Sydney Tunnerminnerwait, an Australian Aboriginal resistance fighter and Parperloihener clansman from Tasmania Windradyne, a warrior and resistance leader of the Wiradjuri nation, in what is now central-western New South Wales Australian frontier wars References General references Category:1790s births Category:1833 deaths Category:Art and cultural repatriation Category:Australian murderers Category:Australian outlaws Category:Deaths by firearm in Western Australia Category:Escapees from Western Australian detention Category:History of Western Australia Category:Noongar people Category:People from Perth, Western Australia Category:Resistance to colonialism in Australia Category:Trophy heads
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Yagan
Yagan (; c. 1795 - 11 July 1833) was an Indigenous Australian warrior from the Noongar people. He played a key part in early resistance to British colonial settlement and rule in the area surrounding what is now Perth, Western Australia. Yagan was pursued by the local authorities after he killed a servant of Archibald Butler in an act of retaliation after Smedley, another servant of Butler, shot at a group of Noongar people taking potatoes and fowls, killing one of them. The government offered a bounty for Yagan's capture, dead or alive, and a young settler, William Keats, subsequently shot and killed him.
Death
On 11 July 1833, two teenage brothers named William and James Keates were herding cattle along the Swan River north of Guildford when a group of Noongar approached while en route to collect flour rations from Henry Bull's house. The Keates brothers suggested Yagan remain with them to avoid arrest. While he was staying with them during the morning, the brothers decided to kill the warrior and claim the reward. When the natives were ready to depart, the Keateses took their last opportunity. William Keates shot Yagan, and James shot Heegan, another native, in the act of throwing his spear. The brothers ran away, but other Noongar overtook William and speared him to death. James escaped by swimming the river. Shortly afterward he returned with a party of armed settlers from Bull's estate. When the party of settlers arrived, they found Yagan dead and Heegan dying. Heegan "was groaning and his brains were partly out when the party came, and whether humanity or brutality, a man put a gun to his head and blew it to pieces." The settlers cut Yagan's head from his body, and skinned his back to obtain his tribal markings as a trophy. They buried the bodies a short distance away. James Keates claimed the reward, but his conduct was widely criticised. The Perth Gazette referred to Yagan's killing as "a wild and treacherous act ... it is revolting to hear this lauded as a meritorious deed." However, Daisy Bates understood that "he was killed in self-defence by the young lad." Keates left the colony the following month; it is possible that he left from fear of being murdered in tribal retaliation. CANNOTANSWER
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Yagan (;  – 11 July 1833) was an Aboriginal Australian warrior from the Noongar people. Yagan was pursued by the local authorities after he killed Erin Entwhistle, a servant of farmer Archibald Butler. It was an act of retaliation after Thomas Smedley, another of Butler's servants, shot at a group of Noongar people stealing potatoes and fowls, killing one of them. The government offered a bounty for Yagan's capture, dead or alive, and a young settler, William Keats, shot and killed him. He is considered a legendary figure by the Noongar. After his shooting, settlers removed Yagan's head to claim the bounty. Later, an official sent it to London, where it was exhibited as an "anthropological curiosity" and eventually given to a museum in Liverpool. It held the head in storage for more than a century before burying it with other remains in an unmarked grave in Liverpool in 1964. Over the years, the Noongar asked for repatriation of the head, both for religious reasons and because of Yagan's traditional stature. The burial site was identified in 1993; officials exhumed the head four years later and repatriated it to Australia. After years of debate within the Noongar community on the appropriate final resting place, Yagan's head was buried in a traditional ceremony in the Swan Valley in July 2010, 177 years after his death. Biography Early life A member of the Whadjuk Noongar people, Yagan belonged to a tribe of around 60 people whose name, according to Robert Lyon, was Beeliar. Scholars now believe that the Beeliar people may have been a family subgroup (or clan) of a larger tribe whom Daisy Bates called Beelgar. According to Lyon, the Beeliar people occupied the land south of the Swan and Canning rivers, as far south as Mangles Bay. The group had customary land usage rights over a much larger area than this, extending north as far as Lake Monger and northeast to the Helena River. The group also had an unusual degree of freedom to move over their neighbours' land, possibly due to kinship and marriage ties with neighbouring groups. Yagan is thought to have been born around 1795. His father was Midgegooroo, an elder of the Beeliar people; his mother was one of Midgegooroo's three wives. Yagan was probably a Ballaroke in the Noongar classification. Marriage and family According to the historian Neville Green, Yagan had a wife and two children. A report in the Perth Gazette in 1833 gives the names of his children as "Naral", age 9, and "Willim", age 11, but most other sources state that the warrior was unmarried and childless. When his entry in the Australian Dictionary of Biography was rewritten in 2019, Reece suggested those said to have been his sons may have been his younger brothers. Described as taller than average with an impressive burly physique, Yagan had a distinctive tribal tattoo on his right shoulder, which identified him as "a man of high degree in tribal law". He was generally acknowledged to be the most physically powerful of his tribe, and was said to have been able to spear another stick from a distance of or penetrate a tree from a distance of . Relations with settlers Yagan would have been about 35 years old in 1829 when British settlers landed in the area and established the Swan River Colony. For the first two years of the colony, relations between settlers and Noongar were generally amicable, as there was little competition for resources. The Noongar welcomed the white settlers as , the returned spirits of their dead. Historical reports noted the two groups shared fish. As time passed, conflicts between the two cultures gradually became more frequent. The settlers incorrectly thought that the Noongar were nomads who had no claim to the land over which they roamed. Colonists fenced off land for grazing and farming according to their traditional practices of land use. As the colonists fenced off more land, the Noongar were increasingly denied access to their traditional hunting grounds and sacred sites. In search of food, the Noongar raided the settlers' crops and killed their cattle. They also developed a taste for the settlers' supplies, and began to take flour and other food, which became a serious problem for the colony. In addition, the Noongar practice of firestick farming, or lighting the bush to flush out game and encourage germination of undergrowth for sustainability, threatened the settlers' crops and houses. In December 1831 Yagan and his father led the first significant Aboriginal resistance to white settlement in Western Australia. Thomas Smedley, a servant of farmer Archibald Butler, ambushed some natives who were raiding a potato patch, and killed one of Yagan's family group. A few days later, Yagan, Midgegooroo and others stormed the farmhouse and, finding the door locked, began to break through the mud-brick walls. Inside were Butler's servant Erin Entwhistle and his two sons Enion and Ralph. After hiding his sons under the bed, Entwhistle opened the door to parley and was killed by Yagan and Midgegooroo. Noongar tribal law required that murders be avenged by the killing of a member of the murderer's tribal group, not necessarily the murderer. The Noongar considered servants and employees to be part of the settlers' groups. Historians believe the Noongar attack on Entwhistle was retribution under their tribal law. Not understanding tribal law (and unlikely to agree with its concepts), the white settlers took the killing to be an unprovoked murder and dispatched a force to arrest Yagan's group, without success. In June 1832 Yagan led a party of Noongar in attacking two labourers sowing a field of wheat alongside the Canning River near Kelmscott. One of the men, John Thomas, escaped, but the other, William Gaze, was wounded and later died as a result. The settlement declared Yagan an outlaw and offered a reward of £20 for his capture. He avoided capture until early October 1832. A group of fishermen enticed Yagan and two companions into their boat, then pushed off into deep water. The fishermen took the three Noongar men to the Perth guardhouse, from which they were transferred to the Round House at Fremantle. Yagan was sentenced to death, but he was saved by the intercession of settler Robert Lyon. Arguing that Yagan was defending his land against invasion, Lyon said Yagan should not be considered a criminal but a prisoner of war and suggested he should be treated as such. At the recommendation of John Septimus Roe, the Surveyor-General of Western Australia, Yagan and his men were exiled on Carnac Island under the supervision of Lyon and two soldiers. Lyon thought he could teach Yagan British ways and convert him to Christianity. He hoped to gain his cooperation and use his tribal stature to persuade the Noongar to accept colonial authority. Lyon spent many hours with Yagan learning his language and customs. After a month, Yagan and his companions escaped by stealing an unattended dinghy and rowing to Woodman Point on the mainland. The Government did not pursue them; apparently its officials considered they had been sufficiently punished. In January 1833 two Noongar, Gyallipert and Manyat, visited Perth from King George Sound, where relations between settlers and natives were amicable. Two settlers, Richard Dale and George Smythe, arranged for the men to meet a party of local Noongar to encourage friendly relations in the Swan River Colony. On 26 January Yagan led a group of ten formally armed Noongars in greeting the two men near Lake Monger. The men exchanged weapons and held a corroboree, though the groups did not appear to share a language. Yagan and Gyallipert competed at spear throwing. As an example of his prowess, Yagan struck a walking stick from a distance of . Gyallipert and Manyat remained in Perth for some time. On 3 March, Yagan obtained permission to hold another corroboree, this time in the Post Office garden in Perth. The Perth and King George Sound men met at dusk, chalked their bodies, and performed a number of dances including a kangaroo hunt dance. The Perth Gazette wrote that Yagan "was master of ceremonies and acquitted himself with infinite grace and dignity". During February and March, Yagan was involved in a series of minor conflicts with settlers. In February William Watson complained that Yagan had pushed open his door, demanded a gun, and taken handkerchiefs. Watson had to give him and his companions flour and bread. The following month, Yagan was among a group who received biscuits from a military contingent under Lieutenant Norcott; when Norcott tried to restrict his supply, Yagan threatened him with his spear. Later that month, Yagan was with a group of Noongar who entered Watson's house while he was away. The group left after Watson's wife called on neighbours for help. The next day Captain Ellis lectured the Noongar about their behaviour. The frequent incidents prompted The Perth Gazette to remark on "the reckless daring of this desperado who sets his life at a pin's fee ... For the most trivial offence  ... he would take the life of any man who provoked him. He is at the head and front of any mischief." Wanted dead or alive On the night of 29 April, a party of Noongar broke into a Fremantle store to steal flour and they were shot at by the caretaker Peter Chidlow. Domjum, a brother of Yagan, was badly injured and died in jail a few days later. The rest of the party moved from Fremantle to Preston Point, where Yagan reportedly vowed vengeance for the death. Between 50 and 60 Noongar gathered at Bull Creek, where they met a party of settlers who were loading carts with provisions. Later that day, the group ambushed the lead cart, killing two settlers, Tom and John Velvick. Tribal law required only a single death for vengeance. Some historians have speculated that the Velvicks were targeted because they had previously been convicted for assaulting Aboriginal people and coloured seamen. Alexandra Hasluck has also argued that stealing provisions was an important motive in the attack, but this has been refuted elsewhere. For the killing of the Velvicks, the Lieutenant-Governor Frederick Irwin declared Yagan, Midgegooroo and Munday to be outlaws, offering rewards of £20 each for the capture of Midgegooroo and Munday, and a reward of £30 for Yagan's capture, dead or alive. Munday successfully appealed against his proscription. Midgegooroo, Yagan and their group immediately moved from their territory north towards the Helena Valley. On 17 May, Midgegooroo was captured on the Helena River. After a brief, informal trial, he was executed by firing squad. Yagan remained at large for over two months. Late in May, George Fletcher Moore reported seeing Yagan on his property and talking with him in pidgin English. Moore wrote in the Perth Gazette: Yagan asked Moore whether Midgegooroo was dead or alive. Moore gave no reply, but a servant answered that Midgegooroo was a prisoner on Carnac Island. Yagan warned, "White man shoot Midgegooroo, Yagan kill three." Moore reported the encounter but made no attempt to restrain Yagan. He later wrote, "The truth is, every one wishes him taken, but no one likes to be the captor ... there is something in his daring which one is forced to admire." Death On 11 July 1833, two teenage brothers named William and James Keates were herding cattle along the Swan River north of Guildford when a group of Noongar approached while en route to collect flour rations from Henry Bull's house. The Keates brothers suggested Yagan remain with them to avoid arrest. While he was staying with them during the morning, the brothers decided to kill the warrior and claim the reward. When the natives were ready to depart, the Keateses took their last opportunity. William Keates shot Yagan, and James shot Heegan, another native, in the act of throwing his spear. The brothers ran away, but other Noongar overtook William and speared him to death. James escaped by swimming the river. Shortly afterward he returned with a party of armed settlers from Bull's estate. When the party of settlers arrived, they found Yagan dead and Heegan dying. Heegan "was groaning and his brains were partly out when the party came, and whether humanity or brutality, a man put a gun to his head and blew it to pieces." The settlers cut Yagan's head from his body, and skinned his back to obtain his tribal markings as a trophy. They buried the bodies a short distance away. James Keates claimed the reward, but his conduct was widely criticised. The Perth Gazette referred to Yagan's killing as "a wild and treacherous act ... it is revolting to hear this lauded as a meritorious deed." However, Daisy Bates understood that "he was killed in self-defence by the young lad." Keates left the colony the following month; it is possible that he left from fear of being murdered in tribal retaliation. Yagan's head Exhibition and burial Yagan's head was initially taken to Henry Bull's house. Moore saw it there and sketched the head a number of times in his unpublished, handwritten diary, commenting that "possibly it may yet figure in some museum at home." The head was preserved by smoking. In September 1833, Governor Irwin sailed for London, partly to give his own account of the events leading up to the killing. This was an unusual measure, especially given his regiment was about to leave for a tour of duty in India. The Colonial Office indicated satisfaction with Irwin's administration of the colony. Travelling with Irwin was Ensign Robert Dale, who had somehow acquired Yagan's head. According to the historian Paul Turnbull, Dale appears to have persuaded Irwin to let him have the head as an "anthropological curiosity". After arriving in London, Dale tried to sell the head to scientists, approaching a number of anatomists and phrenologists. His price of £20 failed to find a buyer, so he made an agreement with Thomas Pettigrew for the exclusive use of the head for 18 months. Pettigrew, a surgeon and antiquarian, was well known in the London social scene for holding private parties at which he unrolled and autopsied ancient Egyptian mummies. He displayed the head on a table in front of a panoramic view of King George Sound reproduced from Dale's sketches. For effect, the head was adorned with a fresh corded headband and feathers of the red-tailed black cockatoo. Pettigrew had the head examined by a phrenologist. Examination was considered difficult because of the large fracture across the back of the head caused by the gunshot. His conclusions were consistent with contemporary European opinion of Indigenous Australians. Dale published these in a pamphlet entitled Descriptive Account of the Panoramic View &c. of King George's Sound and the Adjacent Country, which Pettigrew encouraged his guests to buy as a souvenir of their evening. The frontispiece of the pamphlet was a hand-coloured aquatint print of Yagan's head by the artist George Cruikshank. Early in October 1835, Yagan's head and the panoramic view were returned to Dale, then living in Liverpool. On 12 October he presented them to the Liverpool Royal Institution, where the head may have been displayed in a case along with some other preserved heads and wax models illustrating cranial anatomy. In 1894 the Institution's collections were dispersed, and Yagan's head was lent to the Liverpool Museum; it is thought not to have been put on display there. By the 1960s Yagan's head was badly deteriorated. In April 1964 the museum decided to dispose of it. It arranged burial of the head on 10 April 1964, together with a Peruvian mummy and a Māori head. They were buried in Everton Cemetery's General Section 16, grave number 296. In later years a number of burials were made around the grave. For example, in 1968 a local hospital buried directly over the box, 20 stillborn babies and two infants who died soon after birth. Lobbying for repatriation For many years beginning in the early 1980s, a number of Noongar groups sought the return of Yagan's head to Australia. At the time, there was no historical trail for the head after Pettigrew passed it on. Tribal elders entrusted the Aboriginal leader Ken Colbung with the search. In the early 1990s, Colbung enlisted the aid of University of London archaeologist Peter Ucko. One of Ucko's researchers, Cressida Fforde, conducted a literature search for information on the head. Fforde successfully traced the head in December 1993. The following April, Colbung applied to exhume the remains under Section 25 of the Burial Act 1857. Home Office regulations required next of kin consent before disturbing the remains of the 22 infants. Colbung's solicitors requested waiver of this condition on grounds that the exhumation would be of great personal significance to Yagan's living relatives, and great national importance to Australia. Meanwhile, divisions in the Noongar community in Perth began to develop. Some elders questioned Colbung's role and one Noongar registered a complaint with the Liverpool City Council over his involvement. Media reports indicated acrimonious debate within the Noongar community about who had the best cultural qualifications to take possession of the head. The academic Hannah McGlade claims that these divisions were largely manufactured by the media, particularly The West Australian, which "aimed to and successfully represented the Nyungar community in terms of disharmony and dissent". She alleges that one West reporter contacted Noongar who were known to be in disagreement, and quoted one to the other, so as to elicit provocative responses. The disputes were "trumpeted" by The West, allowing it to "preach" against the infighting. On 25 July a public meeting was held in Perth. All parties agreed to put aside their differences and co-operate to ensure that the repatriation was a "national success". A Yagan Steering Committee was established to co-ordinate the repatriation, and Colbung's application was allowed to proceed. In January 1995 the Home Office advised Colbung that it was unable to waive the requirement to obtain next of kin consent for the exhumation. It contacted the five relatives whose addresses were known, and received unconditional consent from only one. Accordingly, on 30 June 1995, Colbung and the other interested parties were advised that the application for exhumation had been rejected. Meeting on 21 September, the Yagan Steering Committee decided to lobby Australian and British politicians for support. In 1997 Colbung was invited to visit the United Kingdom at the British government's expense and he arrived on 20 May. His visit attracted substantial media coverage, and increased the political pressure on the British Government. He secured the support of the Prime Minister of Australia, John Howard, after gate crashing the Prime Minister's June visit to the United Kingdom. Exhumation While Colbung was in the United Kingdom, Martin and Richard Bates were engaged to undertake a geophysical survey of the grave site. Using electromagnetic and ground penetrating radar techniques, they identified an approximate position of the box that suggested it could be accessed from the side via the adjacent plot. A report of the survey was passed to the Home Office, prompting further discussions between the British and Australian Governments. Of concern to the Home Office were an undisclosed number of letters that it had received objecting to Colbung's involvement in the repatriation process; it therefore sought assurances from the Australian Government that Colbung was a correct applicant. In response Colbung asked his elders to ask the Aboriginal and Torres Strait Islander Commission (ATSIC) to tell the British Home Office that he was the correct applicant. ATSIC then convened a meeting in Perth at which it was again resolved that Colbung's application could proceed. Colbung continued to press for the exhumation, asking that it be performed before the 164th anniversary of Yagan's death on 11 July, so that the anniversary could be the occasion of a celebration. His request was not met, and on the anniversary of Yagan's death, Colbung conducted a short memorial service at the burial plot in Everton. He returned to Australia empty-handed on 15 July. The exhumation of Yagan's head eventually proceeded, without Colbung's knowledge, by excavating down the side of the grave, then tunnelling horizontally to the location of the box. Thus the exhumation was performed without disturbing any other remains. The following day, a forensic palaeontologist from the University of Bradford positively identified the skull as Yagan's by correlating the fractures with those described in Pettigrew's report. The skull was then kept at the museum until 29 August, when it was handed over to the Liverpool City Council. Repatriation On 27 August 1997, a delegation of Noongars consisting of Ken Colbung, Robert Bropho, Richard Wilkes and Mingli Wanjurri-Nungala arrived in the UK to collect Yagan's head. The delegation was to have been larger, but Commonwealth funding was withdrawn at the last minute. The handover of Yagan's skull was further delayed when a Noongar named Corrie Bodney applied to the Supreme Court of Western Australia for an injunction against the handover. Claiming that his family group has sole responsibility for Yagan's remains, Bodney declared the exhumation illegal and denied the existence of any tradition or belief necessitating the head's exhumation and removal to Australia. On 29 August, Justice Henry Wallwork rejected the injunction application, on the grounds that Bodney had previously agreed to the current arrangements, and on the evidence of another Noongar elder (Albert Corunna, who claimed to be a closer relation of Yagan) and anthropologist Pat Baines, both of whom refuted Bodney's claim to sole responsibility. Yagan's skull was handed over to the Noongar delegation at a ceremony at Liverpool Town Hall on 31 August 1997. In accepting the skull, Colbung made comments that were interpreted as linking Yagan's death with the death of Diana, Princess of Wales, earlier that day: That is how nature goes ... Nature is a carrier of all good things and all bad things. And because the Poms did the wrong thing, they now have to suffer. Colbung's comments prompted a media furore throughout Australia, with newspapers receiving many letters from the public expressing shock and anger at the comments. Colbung later claimed that his comments had been misinterpreted. Throughout the repatriation process, many sections of the international media treated the story as a joke. For example, U.S. News & World Report ran a story under the headline Raiders of the Lost Conk, in which Yagan's head was referred to as a "pickled curio", and Colbung's actions were treated as a publicity stunt. Preparations for reburial On its return to Perth, Yagan's head continued to be a source of controversy and conflict. Responsibility for reburial of the head was given to a "Committee for the Reburial of Yagan's Kaat", headed by Richard Wilkes. The reburial was delayed by disputes between elders over the burial location, mainly due to uncertainty of the whereabouts of the rest of his body, and disagreement about the importance of burying the head with the body. A number of attempts were made to locate the remains of Yagan's body, which were believed to be on Lot 39 West Swan Road in the outer Perth suburb of Belhus. A remote sensing survey of the site was carried out in 1998, but no remains were found. An archaeological survey of the area was undertaken two years later, but this also was unsuccessful. Disputes then arose over whether the head could be buried separately from the body. Wilkes has claimed that it can, so long as it is placed where Yagan was killed, so that Dreamtime spirits can reunite the remains. In 1998 the Western Australian Planning Commission and the Department of Aboriginal Affairs jointly published a document entitled Yagan's Gravesite Master Plan, which discussed "matters of ownership, management, development and future use" of the property on which Yagan's remains are believed to be buried. Under consideration was the possibility of turning the site into an Indigenous burial site, to be managed by the Metropolitan Cemeteries Board. Yagan's head spent some time in storage in a bank vault before being handed over to forensics experts who reconstructed a model from it. After that it was held in storage at Western Australia's state mortuary. Plans to re-bury the head were repeatedly deferred, causing ongoing conflict between Noongar groups. In September 2008 it was reported that Yagan's head would be reburied in November, and a Yagan Memorial Park created as a projected cost of A$996,000; but in November it was announced that the reburial had been rescheduled for July 2009 because of logistical problems. In March 2009, it was announced that the Department of Indigenous Affairs had given the City of Swan more than A$500,000 to develop the park. Reburial The head was finally buried in a private ceremony attended only by invited Noongar elders, on 10 July 2010, the anniversary of the last full day he lived and one day before the end of NAIDOC Week 2010. The site in Belhus was chosen as it is believed to be near to where the rest of Yagan's body was buried. The burial coincided with a ceremony to mark the opening of the Yagan Memorial Park, which was attended by around 300 people, including Noongar elders and state government representatives. Premier Colin Barnett described the occasion as "a wonderful day for all West Australians". The art works for the Yagan Memorial Park were designed by Peter Farmer, Sandra Hill, Jenny Dawson and Kylie Ricks. Dawson and Hill created an entry wall of Yagan's story; Farmer designed the park entry statements and Ricks the female coolamon. Legacy In the Australian Dictionary of Biography, Reece wrote that Yagan "was not the brutal, indiscriminate killer most settlers thought him to be", but sought to enforce the Noongar system of retributive justice "as the only basis for a resolution of conflict between Noongars and colonists". Yagan was a lone actor in this regard:Yagan cannot properly be described as a ‘resistance leader’ when the Noongars offered no organised and sustained opposition to the settlers. He was more of a maverick, a bold and courageous warrior whose actions on behalf of his people and their rights made him notorious.The repatriation of Yagan's head increased the Aboriginal leader's notability. He is considered a famous historical figure throughout Australia, with material about him appearing in such publications as the Australian Dictionary of Biography, and Western Australia's school curriculum. He is of greatest significance to the Noongar people, for whom he is "a revered, cherished and heroic individual ... patriot and visionary hero of WA's South-West". The return of his head was likened by some Indigenous Australians to the November 1993 ceremonial repatriation from Gallipoli of Australia's unknown soldier. The former Upper Swan Bridge, which carries the Great Northern Highway over the Swan River at Belhus, was renamed the Yagan Bridge in 2010. An open plaza in the Perth central business district, constructed as part of the Perth City Link urban renewal project, was named Yagan Square. Featuring the statue "Wirin", the plaza, located adjacent to the Horseshoe Bridge, was opened on 3 March 2018. Cultural references Alas Poor Yagan On 6 September 1997 The West Australian published a Dean Alston cartoon entitled Alas Poor Yagan, which was critical of the fact that the return of Yagan's head had become a source of conflict between Noongars instead of fostering unity. The cartoon was interpreted by some as insulting aspects of Noongar culture, and casting aspersions on the motives and legitimacy of Indigenous Australians with mixed racial heritage. The content of the cartoon offended many Indigenous Australians, and a group of Noongar elders complained about the cartoon to the Human Rights and Equal Opportunity Commission. The commission ruled that the cartoon made inappropriate references to Noongar beliefs but was not in breach of the Racial Discrimination Act 1975 because it was "an artistic work" that was published "reasonably and in good faith", and was therefore exempt. This ruling was upheld on appeal by the Federal Court of Australia. Some academic commentators have since expressed concern that the protections offered under the act have been undermined by the ruling's broad interpretation of the exemptions. Statue From the mid-1970s, members of the Noongar community lobbied for the erection of a statue of Yagan as part of the WAY 1979 sesquicentennial celebrations. Their requests were refused, however, after the Premier, Charles Court, was advised by one prominent historian that Yagan was not important enough to warrant a statue. Colbung claims "Court was more interested in spending tax payers' money on refurbishing the badly neglected burial place of Captain James Stirling, WA's first governor." Despite this setback, the Noongar community persisted, establishing a Yagan Committee and running a number of fund-raising drives. Eventually, sufficient funds were collected to allow the commissioning of Australian sculptor Robert Hitchcock to create a statue. The result was a life-size statue in bronze, depicting Yagan standing naked with a spear held across his shoulders. Hitchcock's statue of Yagan was officially opened by Yagan Committee chairperson Elizabeth Hanson on 11 September 1984. It stands on Heirisson Island in the Swan River near Perth. In 1997, within a week of the return of Yagan's head to Perth, vandals beheaded the statue using an angle grinder. Soon after a replacement head was installed and it too was detached and stolen. Credit for the act was anonymously claimed by a "British loyalist" as an act of retaliation for Colbung's comments about Diana, Princess of Wales. The Western Australia Police did not succeed in identifying the vandals, nor in recovering the heads, and deemed it infeasible to have the statue fenced off or placed under guard. Commentary on the beheadings varied widely. One column in The West Australian found humour in them, referring to the head as a "bonce" and a "noggin", and finished with a pun on "skullduggery". Stephen Muecke calls this the "satirical trivialising of Aboriginal concerns", and Adam Shoemaker writes "This is the stuff of light humour and comic relief. There is no sense of the decapitation as being an act of vandalism, even less that it could have been motivated by malevolence ... [T]he piece has a definite authorising function." On the other hand, academic analysis has treated the act with much more gravity. In 2007, for example, David Martin described the decapitation as "an act which speaks not only to the continuance of white settler racism, but also to the power of mimesis to invigorate our modern memorials and monuments with a life of their own". In 2002, Janet Woollard, the member for Alfred Cove, called for the statue's genitalia to be covered up. In November 2005, Richard Wilkes also called for the statue's groin to be covered on the grounds that such a depiction would be more historically accurate, as Yagan would have worn a covering for most of the year. Also under consideration is the creation of a new statue with a head shape that accords better with the forensic reconstruction of Yagan's head. Literature and film Mary Durack published a fictionalised account of Yagan's life in her 1964 children's novel The Courteous Savage: Yagan of the Swan River, which was renamed Yagan of the Bibbulmun on reissue in 1976. The repeated beheading of Yagan's statue in 1997 prompted Aboriginal writer Archie Weller to write a short story entitled Confessions of a Headhunter. Weller later worked with film director Sally Riley to adapt the story into a script, and in 2000 a 35-minute movie, also named Confessions of a Headhunter, was released. Directed by Sally Riley, the movie won Best Short Fiction Film at the 2000 AFI Awards. The following year the script won the Script Award in the 2001 Western Australian Premier's Book Awards. In 2002, the South African-born Australian poet John Mateer published his fourth collection of poems, entitled Loanwords. The collection is divided into four sections, of which the third, In the Presence of a Severed Head, has Yagan as its subject. Other cultural references A section of Kullark, a play by Jack Davis, explores the deteriorating relationship between Yagan and a settler couple. In September 1989 an early maturing cultivar of barley, bred by the Western Australian Department of Agriculture for performance on sandy soils, was released under the name "Hordeum vulgare (Barley) c.v. Yagan". Commonly referred to simply as "Yagan", the cultivar is named for Yagan, continuing a tradition of labelling Western Australian grain cultivars after historic people of Western Australia. See also Jandamarra, and the Bunuba War. Musquito a warrior of the Gai-Mariagal clan Pemulwuy a warrior and resistance leader of the Bidjigal clan of the Eora people, in the area around Sydney Tunnerminnerwait, an Australian Aboriginal resistance fighter and Parperloihener clansman from Tasmania Windradyne, a warrior and resistance leader of the Wiradjuri nation, in what is now central-western New South Wales Australian frontier wars References General references Category:1790s births Category:1833 deaths Category:Art and cultural repatriation Category:Australian murderers Category:Australian outlaws Category:Deaths by firearm in Western Australia Category:Escapees from Western Australian detention Category:History of Western Australia Category:Noongar people Category:People from Perth, Western Australia Category:Resistance to colonialism in Australia Category:Trophy heads
[]
[ "Yagan died on 11 July 1833.", "This event occurred in the year 1833.", "Yagan was shot by William Keates.", "Yagan was killed because the Keates brothers wanted to claim the reward for his death.", "The context does not provide specific information on what the reward for Yagan's death was.", "William Keates was the one who shot Yagan. He was aided by his brother, James Keates, who also shot another native named Heegan. James later returned with an armed party of settlers from Henry Bull's estate.", "Yes, Heegan was found dying when the party of settlers arrived.", "The context mentions a range of interesting aspects, such as the motivations behind Yagan's death, the aftermath of the event, and the controversy surrounding James Keates' reward and his subsequent departure from the colony. The killing was widely criticized and referred to as \"a wild and treacherous act.\" Additionally, Yagan's body was desecrated after his death with his head removed, and his back skinned to display his tribal markings as a trophy. The narrative provides a glimpse into the conflicts between native populations and settlers during this historical period." ]
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Criss Angel
Criss Angel was born on December 19, 1967, at Hempstead General Hospital in Hempstead, on Long Island, New York. He is of Greek descent. Angel was raised in Elmont until fourth grade, when his family moved to East Meadow, New York. His father, John Sarantakos, owned a restaurant and doughnut shop.
Early career
Angel has said that, "I stayed away from magicians when I was younger because I didn't want to think like them and wanted to create my own style." His first television appearance was in 1994, where he performed as a part of a one-hour ABC primetime special entitled Secrets. One of the early supporters of Angel was horror director Clive Barker. In 1995, Barker asked Angel to work with him on his film Lord of Illusions. He also later recorded the intro to Angel's album World of Illusion: System One. Barker said of Angel in the mid-1990s that, "Criss Angel is extraordinary, a spectacular mix of visionary magic. This is the future, and it can't come quickly enough." During that year, he collaborated with musician Klayton to form Angeldust, a show that combined magic with music. They released their first album Musical Conjurings from the World of Conjuring in 1998. Also that year, Angel performed a ten-minute show over the course of the "World of Illusion" conference in Madison Square Garden, performing sixty shows per day. However, by 2000, Klayton's name was removed from Angel's website. Angel also starred in the 1997 television movie The Science of Magic and its 2003 sequel The Science of Magic II. Criss Angel Mindfreak, which would later become Angel's first television series, was originally an off-Broadway show by Angel, which in 2001 was picked up by the World Underground Theatre. When not performing the show, Angel worked the streets promoting the show to pedestrians. Criss Angel Mindfreak ran for more than 600 performances between 2001 and 2003 at the World Underground Theater in Times Square. His twenty-four hours in a tank of water set a world record for the longest amount of time for a human to be completely submerged under water. This performance would also become a part of his first television special. Angel has also been known to actively discourage a belief in mediumship, stating that there is no way for mediums to speak with people beyond the dead. He has said, "If somebody's doing that for entertainment purposes, that's one thing. But if they claim to be communicating with the dead, I don't care if they're from my hometown, I don't care if they're my family members: I'll expose them and tell them what they really are." CANNOTANSWER
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Christopher Nicholas Sarantakos (; born December 19, 1967), known professionally as Criss Angel, is an American magician, illusionist and musician. Angel began his career in New York City, before moving his base of operations to the Las Vegas Valley. He is known for starring in the television and stage show Criss Angel Mindfreak and his previous live performance illusion show Criss Angel Believe in collaboration with Cirque du Soleil at the Luxor casino in Las Vegas. The show generated $150 million in tourist revenue to Las Vegas in 2010, but has since been replaced by Mindfreak LIVE! in 2016 (the show is partly produced by Cirque du Soleil; however, the directive rights are entirely with Criss Angel). He also starred in the television series Criss Angel BeLIEve on Spike TV, the reality-competition television show Phenomenon on NBC, and the 2014 stage show Criss Angel Magicjam. He also holds multiple world records made during his magic performances, and was named Magician of the Decade in 2009 and Magician of the Century in 2010 by the International Magicians Society. In addition to his career as an illusionist, Angel was the lead singer for his industrial band Angeldust, which released five albums. He also authored the book Mindfreak: Secret Revelations. Early life Criss Angel was born on December 19, 1967, at Hempstead General Hospital in Hempstead, on Long Island, New York. He is of Greek descent. Angel was raised in Elmont until fourth grade, when his family moved to East Meadow, New York. His father, John Sarantakos, owned a restaurant and doughnut shop. He developed an interest in magic at age seven and performed his first show at age 12, for which he was paid $10. His main early influence was Harry Houdini. By age 14, Angel was performing throughout high school at restaurants in East Meadow, including the Wine Gallery. Angel's first major illusion was making his mother float in their family den. Early in his career he was helped by animal breeder and reality-television host Marc Morrone, who helped Angel find and train a set of doves for his act. By the time he graduated from East Meadow High School, he had decided to pursue a career as a professional magician instead of attending college as his parents wanted. According to the Biography Channel, "Angel hit the road and began touring with other traveling performance acts. Between traveling and performing, he attempted to further his education in his own by studying the history of magic in public libraries. He also studied the art of mysticism, music, martial arts and even dance." Early career Angel has said that, "I stayed away from magicians when I was younger because I didn't want to think like them and wanted to create my own style." His first television appearance was in 1994, where he performed as a part of Secrets, a one-hour ABC primetime special. One of the early supporters of Angel was horror director Clive Barker. In 1995, Barker asked Angel to work with him on his film Lord of Illusions. He also later recorded the intro to Angel's album World of Illusion: System One. Barker started in the mid-1990s, "Criss Angel is extraordinary, a spectacular mix of visionary magic. This is the future, and it can't come quickly enough." During that year, he collaborated with musician Klayton to form Angeldust, a show that combined magic with music. They released their first album, Musical Conjurings from the World of Illusions, in 1998. Also that year, Angel performed a 10-minute show over the course of the "World of Illusion" conference in Madison Square Garden, performing 60 shows per day. However, by 2000, Klayton's name was removed from Angel's website. Angel also starred in the 1997 television movie The Science of Magic and its 2003 sequel The Science of Magic II. Criss Angel Mindfreak, which would later become Angel's first television series, was originally an off-Broadway show by Angel, which in 2001 was picked up by the World Underground Theatre. When not performing the show, Angel worked the streets promoting the show to pedestrians. Criss Angel Mindfreak ran for more than 600 performances between 2001 and 2003 at the World Underground Theater in Times Square. His 24 hours in a tank of water set a world record for the longest amount of time for a human to be completely submerged under water. This performance would also become a part of his first television special. Angel has also been known to actively discourage a belief in mediumship, stating that there is no way for mediums to speak with people beyond the dead. He has said, "If somebody's doing that for entertainment purposes, that's one thing. But if they claim to be communicating with the dead, I don't care if they're from my hometown, I don't care if they're my family members: I'll expose them and tell them what they really are." Water torture cell in Times Square, 2002 In August 2002, Angel spent 24 hours shackled underwater in a phone booth-sized water torture cell near the WWE entertainment store in New York's Times Square, WWE corporation being the owners of the World Underground Theatre where Angel had been performing his stage show. To prepare for the trick, he practiced in a neighbor's backyard swimming pool next to his mother's house in East Meadow, New York. Prior to the performance he had only managed to spend 12 consecutive hours in the water. He fasted for 24 hours before the performance to make it through the period without need to exit and use the bathroom. During the trick, he went through 16 oxygen tanks. After the trick, he was required to remove his own shackles and chains before exiting the water. Within an hour, his skin began to react substantially to the water. At the end of the performance, according to Ted Shaffrey, "Before he emerged from the phone-booth sized contraption of clear plastic and steel, Angel yanked out the air hose that allowed him to breathe. Then assistants pulled a black curtain over the 220-gallon (832-liter) chamber to block the view of television cameras and about 100 people gathered outside the window in which he was displayed. Under cover, Angel apparently escaped from the shackles that bound his arms, legs and neck, before pulling himself from the watery chamber with a celebratory scream." Upon successfully completing the trick, he was described as having "skin crinkled and his eyes bloodshot", and upon emerging from the tank he was taken to St. Clare's Hospital and treated for severe dehydration. He reported afterwards that he had suffered from overheating, jaw fatigue, and semi-consciousness while in the tank. Television specials and promotional appearances (2002–2005) On October 20, 2002, Angel performed in the ABC Family television special named Criss Angel Mindfreak: Postmodern illusionist, an hour-long performance and tribute to Harry Houdini. The special aired again on December 24, 2002, on Channel 4 in the U.K. The Birmingham Evening Mail reviewed the show, writing, "Criss Angel is currently making a name for himself as a more provocative, darker alternative to [other illusionists]. He walks the streets of New York, hypnotising passers-by, turning cups of take-away coffee into cockroaches and suspending himself from the ceiling by inserting hooks into his back. The piece de resistance of all these mind games is an update of the Houdini underwater trick - an attempt to stay in a (cell) tank of water for 24 hours, padlocked and restrained. All seems to be going well, until the filter system breaks down and the water begins to heat up." On October 31, 2003, the SciFi Channel aired the one-hour special Supernatural starring Angel. Kate O'Hare said of the special that, "Filmed in part at Universal Theme Park in Orlando, Fla., "Supernatural" finds Angel crawling up buildings, passing a quarter through his skin, spontaneously combusting and having otherworldly creatures burst from his chest." When asked about his process in creating television specials, Angel said that, "I like to have my hand in everything on my TV specials. I'm the executive producer; I direct it; I create it. I write all the music for my TV specials and my live performances. It's on my label. I write it; I produce it." During the special Angel performed stunts, including lighting himself on fire and making a tarantula emerge from a pedestrian's soda can. In 2003, Angel was also featured in the two-hour TBS special Made in Japan. In early 2003, Angel performed at the release of the new branding for Miller Lite beer in Milwaukee, Wisconsin on the 80th anniversary of Houdini's last performance in that city. For the performance, he was suspended ten stories in the air and bound in a straitjacket, from which he escaped. He also performed an illusion at Ozzfest in 2005. During this period Angel also earned money selling signed merchandise, making up to $50,000 a day. Criss Angel Mindfreak television series In 2005, Angel became the creator, director, and executive producer of the A&E Network show Criss Angel Mindfreak, and had entered production in January. Seasons 1 and 2 were filmed at The Aladdin in Las Vegas, with Season 3 at the Luxor Las Vegas. Premiering on July 20, 2005, the show's illusions included walking on water, levitating, walking up the side of Luxor Hotel (in the light of 39 focused lamps that can be seen from space), floating between two buildings, causing a Lamborghini to disappear, surviving in an exploding C4 Crate, cutting himself in half in full view of an audience and getting run over by a steamroller while lying on a bed of broken glass. The first season of the show was released on DVD after it completed its on-screen run. The show also released its Halloween special, along with two special episodes, on an additional one-disc DVD offering. The show returned for a second season in May 2006, and was named one of the best shows of the summer by the Tulsa World newspaper. The show was renewed for a third season in July 2006; as of that third season the show was A&E's number one rated show, with more than 1.5 million viewers. That year he promoted the show with a performance where he was suspended within a cube encased in concrete above Times Square, escaping from the block before it was set to crash to the ground. Magic effects creator Sean Field stated of Angel this year that, "Criss Angel is the biggest name in magic since Houdini ... No other magician has invaded pop culture to the degree that Criss Angel has. He has changed the image of magic and made it cool." The show became one of the most popular foreign television shows in parts of Asia, including China. The television show was noted as a part of the mid-2000s films, television, and books that drove a resurgence of the public popularity of magic. Criss Angel Mindfreak was the first weekly magic television show to air in 40 years. Daily Variety reviewed the premiere writing, "The stunts alone are impressive. But what makes the show fascinating are the down-home touches in which we see the kid from New York, who first honed his magic skills at the age of 6. Keenly aware of the camera at all times, Angel manages to offer some personality, especially where family is involved. Viewers follow the illusionist as he contemplates new and more dangerous stunts, while his crew, including his often-fretful brothers, offer insight as to what, other than ego, drives someone in this profession." The show ran from 2005 until 2010, at which point he had been featured for more hours on prime time television than any other magician in history. Other tricks performed in the show included the performance of séances, as well as other tricks in order to teach his audience about con men and how to avoid scams intended to manipulate money out of people. In July 2008, Angel escaped from a beachside hotel before its demolition in front of a crowd of about 50,000 people, an illusion that also aired on the television program. After the illusion, Angel showed the audience step by step how he achieved the escape. He first picked open a set of handcuffs that had him shackled to a balcony railing. He then smashed the window of the room in order to enter the hotel, and picked padlocks on both the room's internal door and the door to the stairwell. The escape was initially supposed to occur via a ladder that dangled above the hotel's roof 30 seconds before collapse, after picking through five locks on the roof's door. Instead, Angel emerged from the rubble after the collapse, claiming that the initial plan was always to escape via the helicopter. The total time allotted for the entire illusion was four minutes, with dynamite located on the first, second, and fourth floors of the building. Criss Angel Believe Stage show In 2006, Angel partnered with Cirque du Soleil to produce the stage show Criss Angel Believe (stylized as "Criss Angel BeLIEve"), premiering the show at the Luxor Las Vegas on September 26, 2008. It became the bestselling live magic show in the world. The name of the show was taken from Harry Houdini, for the mythology of Houdini choosing the word "believe" as the codeword for communicating with Houdini after his death. Luxor's parent company, MGM Mirage, financed the show with $100 million. After several delays, the show was set for a gala opening on October 31, 2008, with preview shows in late September on the 82nd anniversary of Harry Houdini's death. The initial preview received mixed reactions and reviews. Reporters for the Las Vegas Sun, Los Angeles Times, and Las Vegas Review-Journal cited a lack of the magic Angel is known for, as well as a confusing and uninteresting theme. They also opined that neither Angel nor Cirque du Soleil were able to perform to their capabilities during these initial performances. On the positive side, the Las Vegas Sun later quoted Star Pulse, stating, "He has created a live show that is everything a perfect magic performance should be — and then some. It's not just remarkable magic — it's transcendent art that won't just blow your mind; it will quite possibly change your life." In April 2009, Angel ended a performance of Believe by "hurling obscene insults" at blogger Perez Hilton, an audience member. Hilton reportedly had texted to his fans during the performance that the show was "unbelievably BAD" and that he'd "rather be getting a root canal", and word had gotten back to Angel by the end of the performance. Cirque du Soleil later apologized to Hilton for Angel's remarks. In 2010, the Las Vegas Sun critic John Katsilometes, after being unimpressed by the initial show, said Believe had improved by reducing the narrative elements and focusing on the magic. In 2011, the Toronto Star wrote: "The show is easily the most exciting thing now on stage in Vegas!" That year the show attracted an estimated $150 million in ticket sales. The show ran through 2019, and was the best selling magic show in Las Vegas as of 2013. In 2019, he began his new show "Mindfreak Live" at Planet Hollywood, where he currently performs 5 nights a week. Television series The stage show celebrated its fifth anniversary of appearing on stage in October 2013. That month a cable television series based upon the show entitled Criss Angel BeLIEve was broadcast on Spike TV. The first season included 11 one-hour episodes, including 118 different illusions. Guests on the show include Ludacris, Ice-T, Randy Couture and Shaquille O'Neal. When asked about the three years between the last episode of Mindfreak and his return to television, Angel stated that, "I didn't take long at all to go back to television. It was my choice to work on the live Cirque show and to get that where I wanted it to be. "Now that that show is just humming and doing amazing business — it's the #1 bestselling magic show in the world as far as ticket sales and the perception that people are experiencing and coming back to see it multiple times — I felt it was in a great place and I could think about television again. Obviously, "Believe" will continue to evolve until its last performance because I always want to add new magic, I'm always tweaking and transforming it. I missed being on television, I had something new creatively to say, and Spike became the perfect home to do it." Endemol purchased the foreign distribution rights for the show, and was the "most-watched new original series [on Spike TV] in more than 18 months" according to The Hollywood Reporter. In the episode "Lord of Illusions — Death Premonition", Angel paid homage to Clive Barker, the director of the horror movie of the same name. In the episode, Angel performed the closing stunt from the film, in which he laid beneath a circle of suspended swords, and predicted the correct order of six falling swords to avoid becoming stabbed through his body after their release. The swords were selected by the audience with the help of a randomly bouncing ball. According to the Las Vegas Sun, "Criss is the only, and first, magician in the world granted permission from the inventor and filmmaker to re-create the film's death-defying stunt." For another episode for the series filmed in New York City he was asked by the NYPD not to pre-announce the performance, as crowd control for some Angel performances had become a concern for the police. This trick saw Angel hanging his feet, while bound with two straitjackets and a noose around his neck which were attached to metal weights. While he was successful in the trick, Angel tore his shoulder muscles and this required surgery in January 2014. This resulted in the temporary closing of the Believe stage show between January and April 2014, while he was recovering from the surgery and returning to performance shape. He did however host a new stage show featuring other magicians between February and March 2014 in lieu of performing in his own show. Clips from the show also became the most watched YouTube magic clips in the history of the site, with more than 15 million views. In the show, Angel revealed the secrets behind some of his illusions to the audience. This included the "Lord of Illusions" trick, where he revealed that he had the swords in a preset order so that he could avoid them. The episode featuring this illusion also includes a meeting between Angel and his team discussing a problem with the trick and how to ensure it does not happen again. Phenomenon Starting in October 2007, he appeared as a judge on Phenomenon with Uri Geller. In a CNN interview about the show, he told Larry King "no one has the ability, that I'm aware of, to do anything supernatural, psychic, talk to the dead. And that was what I said I was going to do with Phenomenon. If somebody goes on that show and claims to have supernatural psychic ability, I'm going to bust [him] live and on television." On the October 31, 2007 episode of the reality show Phenomenon, paranormalist Jim Callahan performed a summoning, purportedly of deceased author Raymond Hill, to help discover the contents of a locked box. Although fellow judge Uri Geller praised the performance, Angel called it "comical" and subsequently challenged both Callahan and Geller to guess the contents of two envelopes he pulled out of his pocket, offering a million dollars of his own money to whoever could do so. This led to an argument between Callahan and Angel, during which Callahan walked toward Angel and called him an "ideological bigot", with the two pulled apart as the show promptly went to a commercial break. Angel has since revealed the contents of one envelope and at the unveiling he challenged Geller one more time. Geller responded, "Although we were born one day apart - I was born on the 20th of December and you on the 19th - a lot of years between us - 40 years, you were one year old when I came out with my spoon bending..." Criss Angel cut him off at this point, saying, "I guess this is a 'no,'" and proceeded to open the envelope. The envelope contained an index card with the numbers "911" printed on it for September 11, 2001. Angel's explanation was this: "If on 9-10 somebody could have predicted that 9-11 was going to happen, they could have saved thousands of lives". The other envelope's contents were scheduled to be revealed on the first episode of Season 4 of Criss Angel: Mindfreak. Stage shows Criss Angel Magicjam The temporary replacement show for Believe was entitled Criss Angel Magicjam, which was performed in the same Luxor theatre. According to the Las Vegas Sun, the show included, "Longtime Las Vegas comedy-illusionist Nathan Burton; Banachek, the world's premiere mentalist; and new female magician Krystyn Lambert, who has been prominently featured in the Spike series ... joined by grandmaster manipulators Jason Byrne and Tony Clarke, supreme close-up artist Armando Vera and the magic comedy of Russ Merlin." The production was written and directed by Criss Angel. In January 2014, Angel announced that he planned on taking Criss Angel Magicjam on a North American tour during the summer of 2014. The show also featured Angel's own illusions, which he performed for about 40 minutes of the show. Robin Leach said of the show that, "Magicjam is great fun and a high-energy show packed with mind-blowing magic." Mindfreak LIVE! In 2014, Angel premiered the stage show Mindfreak LIVE! The touring show features illusions from Angel himself, which received positive reviews. The demonstrations used in the show were developed in Angel's illusion laboratory in Las Vegas, located in a 60,000 square foot warehouse. His international touring with the show marked the first time that Angel had traveled with his show in about six years. The premiere show of the performance occurred at Foxwoods Resort Casino in Connecticut during November 2014. The Supernaturalists The Supernaturalists premiered in June 2015 at the Foxwoods Resort Casino's The Fox Theater, with Angel serving as creator, director and executive producer. Performers for the show include illusionist Landon Swank, magician Krystyn Lambert, escape artist Spencer Horsman, mentalist Banachek, dog conjuror Johnny Dominguez, magician Stefan, and close up magician Adrian Vega. Robin Leach reviewed the show as having "overwhelming positive reactions" and wrote that it contained "the most mind-blowing magic spectacle that's playing anywhere". Angel has stated that the show is a culmination of ten years of development, which he began in 2005, and is intended as a global touring show and as a premiering venue for several new illusions from each magician. Variety show appearances and guest spots Angel has made numerous special television guest appearances on WWE Raw, including acting as guest star on March 8, 2010. He also appeared on The Oprah Winfrey Show, including the premiere episode of its 24th season. During a 2007 episode of the show, he successfully guessed the number between 1 and 100 he asked Winfrey to think of without telling him. Angel has appeared on other talk shows including The Late Late Show with Craig Ferguson, Jimmy Kimmel Live!, The Megan Mullally Show, The Ellen DeGeneres Show, AVN Awards Show 2007 and Larry King Live on CNN. He was also a guest on The Tonight Show, Late Show with David Letterman, America's Got Talent, and The Rosie O'Donnell Show. He also made a guest acting appearance on the hit television shows CSI: NY, Las Vegas and Rules of Engagement. In 2011, Angel also appeared in an Orville Redenbacher Pop-Up Bowl popcorn commercial. In May 2005, Angel introduced honoree Ozzy Osbourne at the VH1 Rock Honors awards, biting the head off a bat as a part of the introduction in homage to Osbourne's early career onstage antics. At the 2007 MTV Video Music Awards, Angel performed an illusion as a part of the musical performance by Britney Spears and helped to plan her stage show, which opened the television broadcast. He was also hired as the illusionist for the planned 2009 Michael Jackson O2 arena concerts before Jackson's death. In 2013, Angel had a cameo in the feature film The Incredible Burt Wonderstone, and Jim Carrey's character in the movie "Steve Gray" has been said to be modeled after Angel. There is a wax statue of Angel in the Madame Tussauds wax museum in Las Vegas. Other projects Music Angel has a passion for music and claims to have been a musician longer than a magician. In 1989 he fronted the short-lived heavy metal band Angel and produced a promotional music video for the song "Don't You Want My Love", incorporating several magic tricks. Angel later went on to collaborate with industrial rock musician Klay Scott for a new band titled Angeldust in 1995. Angeldust released its debut album Musical Conjurings from the World of Illusion in 1998. He later released the albums System 1, System 2, and System 3. In 2003, he released the album Supernatural. His musical style continues to be in the heavy metal style, though when describing his musical style he has said, "There are elements where it's more electronic, and there are orchestrated sections. I decided to take it in different places because I'm inspired by emotion and by giving people a connection, a sense of a feeling — whether it's excitement or crying or being happy." He also produced soundtracks for his television series Mindfreak, including collaborations with members of Korn and Godsmack. Books Angel is the author of the book Mindfreak: Secret Revelations, published by HarperEntertainment in 2007. Mindfreak: Secret Revelations appeared on the Los Angeles Times bestseller list that year. According to the Las Vegas Sun, "The 295-page book details the early beginnings of his career, memorable demonstrations from his TV show and personal reflections. "Secret Revelations" also contains several pictures and provides step-by-step instructions for 40 of his basic Mindfreaks. Laura Morton helped the magician write the book." California Bookwatch wrote that it "tells of Criss Angel's evolution as a performance artist, magician and musician, charting his rise to fame beginning at age 6 and adding details of his life and his artistic philosophy and influences ... His survey covers the 'Mindfreaks' which allow him to push for excellence in very different worlds". Internet Criss Angel is the most watched magician in Internet history since the late 2000s. His clip "Walk on Water" had received more than 39 million views by 2010, and more than 46 million by 2013. By early 2013, his videos had achieved more than 200 million views. Another highly watched clip is "Rip Bodies Apart", taken from the premiere episode of BeLIEve, which had more than twelve million views within a month. Merchandise In 2010, Angel partnered with IdeaVillage to release the Criss Angel Magic Collection, which contained six Mindfreak Magic Tricks instructions, 250 tricks, and a magic kit for children. The product was backed by $50 million in marketing. Recognition Awards Angel won the International Magician Society's Magician of the Year award in 2001, 2004, 2005, 2007 and 2008, in addition to its "Magician of the Decade" title in 2009 and "Magician of the Century" title in 2010. He was the 22nd recipient of the Louie Award for outstanding achievement in the art of magic. He has also appeared on the covers of Magic and Genii magazines. In 2008, Angel was one of the inaugural nominees for the Harry Houdini Award, awarded by the Harry Houdini Museum. Angel is the youngest magician to ever be inducted into the International Magician Society's Magic Hall of Fame. He is also the only man to have won the Merlin Magician of the Year award on two occasions, in 2001 and 2004. In 2011, he was awarded the World Magic Legacy Awards' Living Legend award. On July 20, 2017, Angel received a star on the Hollywood Walk of Fame, which is located next to The Hollywood Roosevelt Hotel. World records Angel is the holder of several world records, the longest body suspension at five hours 42 minutes, and the fastest time to perform the "Metamorphosis" illusion at less than one second. He is also the holder of the Guinness world record for "The most people to disappear in an illusion", for making 100 people disappear on May 26, 2010, during a performance of Believe at the Luxor. Personal life In 2002, Angel married his longtime girlfriend JoAnn Winkhart. The couple filed for divorce four years later. Although Angel was seen with his wife in the buried alive illusion (season 1, episode 6, 2005) and the body suspension illusion (season 1, episode 5, 2005), she was not credited as his wife; rather, she was listed as "Criss's Girl". In November 2008, Angel began dating Holly Madison, former girlfriend of Hugh Hefner. The relationship ended in February 2009. He proposed to Sandra Gonzalez on September 7, 2011, in Cabo San Lucas during a sunset dinner. They broke up shortly after. Since 2012, Angel has been dating Australian singer Shaunyl Benson. The couple have two sons together, born in 2014 and 2019, and a daughter born in 2021. As of 2010, Big Bear Choppers had produced seven custom-made motorcycles for Angel, who featured the motorcycle designers on his show Criss Angel Mindfreak. He also had a Harley Davidson motorcycle built by Orange County Choppers, which he rode in the intro filmed for Criss Angel Mindfreak. As a philanthropist, Angel created the Believe Foundation 'Believe Anything is Possible', and was awarded the Make-A-Wish Foundation award for most supportive celebrity on May 19, 2010. He was also awarded the foundation's Chris Greicius Celebrity Award in 2007. As of 2016, Angel's business interests made about $70 million in revenues annually. References External links Category:1967 births Category:Living people Category:American magicians Category:American people of Greek descent Category:MNRK Music Group artists Category:Mentalists Category:Prizes for proof of paranormal phenomena Category:People from Hempstead (village), New York Category:Male actors from New York (state) Category:Participants in American reality television series Category:People from East Meadow, New York Category:East Meadow High School alumni Category:Academy of Magical Arts Magician of the Year winners Category:YouTubers from New York (state)
[]
[ "Angel began by staying away from magicians when he was younger as he wanted to create his own style. His first television appearance was in 1994, as part of a one-hour ABC primetime special called Secrets. An early supporter of Angel was horror director Clive Barker, who invited him to work on his film, Lord of Illusions, in 1995. During that year, he also collaborated with musician Klayton to form Angeldust, a show that combined magic with music. Angel also starred in a television movie called The Science of Magic in 1997 and its sequel in 2003. His first television series, Criss Angel Mindfreak, was originally an off-Broadway show which was picked up by the World Underground Theatre in 2001. When he was not performing the show, he promoted it to pedestrians on the streets.", "There isn't specific information on the content of his performances in the provided context. However, it is mentioned that Angel combined magic with music in a show he formed with musician Klayton called Angeldust. Also, he once spent twenty-four hours in a tank of water, setting a world record for the longest amount of time for a human to be completely submerged under water.", "The text does not provide information on how old Criss Angel was when he first started his career.", "After his first television appearance in 1994, Criss Angel worked with horror director Clive Barker on his film Lord of Illusions in 1995.", "Yes, Criss Angel collaborated with horror director Clive Barker in 1995 on the film Lord of Illusions. He also partnered with musician Klayton to form Angeldust, a show that combined magic with music.", "While the text provided does not disclose specific details about Criss Angel's early stunts, it does mention that one of his performances included spending twenty-four hours in a tank of water, setting a world record for the longest amount of time a human has been completely submerged under water.", "The text does not provide information on how old Criss Angel was when he started out." ]
[ "Yes", "Yes", "Yes", "No", "Yes", "Yes", "Yes" ]
C_0db16dc336b04e2ab7dbb1b6833006a9_0
Maldivians
Maldivians ( dhivehin, divehin), also called Maldive Islanders, are a nation and ethnic group native to the historic region of the Maldive Islands comprising what is now the Republic of Maldives and the island of Minicoy in Union Territory of Lakshadweep, India. All Maldivians share the same culture and speak the Maldivian language which is a member of the southern group of Indo-Aryan languages. For ethnographic and linguistic purposes as well as geo-political reasons, anthropologists divide the Maldivian people into 3 subgroups: The main group of Maldivians, numbering more than 250,000. This is the group inhabiting the numerous atolls stretching from Ihavandhippolhu (Haa Alif) to Haddhunmathi (Laamu) in Maldives.
Southern group of Maldivians
As a result of some political activities which occurred in the South during the early 1960s, the term Suvadivian has been adopted by some authors to refer to the southern group of Maldivians. From 1959 to 1963 there was a short-lived breakaway government named United Suvadive Republic which was formed by the Southerners, from which the name originated though there are no such native names. The names Suvadive and Suvadivian suggest that the origin of the names lye in the ancient name for the three southernmost atolls of Huvadhu, Fuvahmulah and Addu which was Suvadiva. The Suvadivians, living in the three southernmost atolls of the equatorial zone (Huvadhu, Fuvahmulah and Addu atolls) number approximately 60,000 and constitute about 20% of the total population of Maldivians. According to researchers, this group of Maldivians have the closest proximity to the original Maldivian people in terms of linguistics as well as on ethnic grounds. The reason behind this suggested by researchers and proven from historical records is that there were less interference from the outside world to this group. Unlike the other group of Maldivians, this group was not affected by the Portuguese rule in the Maldives as it does not exceed the Suvadiva channel. Also there were no interference from traders and travellers as much as in the case of the other. Each of the 3 atolls of the Suvadiva region speak their own distinctive forms of the Maldivian language (Huvadhu bas, Mulaku bas and Addu bas), which are much different from the rest and as suggested by researchers, having a closer affinity to what may have been the original. Thus, the native features of the original Maldivian people are preserved in this group greater than any other group of Maldivians. CANNOTANSWER
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[ "What is the relation between Maldivians and Southern group of Maldivians?", "Do they have other part of Maldivians that they talk about?", "Are there any other interesting aspects about this article?", "Which people are inhabited in each atoll?", "What relation do they have together?" ]
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{ "answer_starts": [ 785, 1763, 1355, 525, 693 ], "texts": [ "According to researchers, this group of Maldivians have the closest proximity to the original Maldivian people in terms of linguistics as well as on ethnic grounds.", "CANNOTANSWER", "Each of the 3 atolls of the Suvadiva region speak their own distinctive forms of the Maldivian language", "Huvadhu, Fuvahmulah and Addu", "number approximately 60,000 and constitute about 20% of the total population of Maldivians." ] }
Maldivians (; ދިވެހިން, dhivehin) are an Indo-Aryan ethnic group and nation native to the historic region of the Maldive Islands comprising what is now the Republic of Maldives and the island of Minicoy in Union Territory of Lakshadweep, India. All Maldivians share the same culture and speak the Maldivian language, which is a member of the southern group of Indo-Aryan languages. For ethnographic and linguistic purposes as well as geopolitical reasons, anthropologists divide the Maldivian people into three subgroups. Subgroups The main group of Maldivians, numbering more than 250,000. This group inhabits the numerous atolls stretching from Ihavandhippolhu (Haa Alif) to Haddhunmathi (Laamu) in Maldives. They constitute over 70% of the total population of all Maldivians. On a larger scale, the third group also comes under this group. From this group comes the standard dialect of the Maldivian language which is spoken in the Maldive's capital, Male', along with the central atolls. Slightly differing variants which are very closely related to the former are spoken in the rest of the islands, from the far north of Maldives down to Laamu Atoll. The southern group of Maldivians, living in the three southernmost atolls of the equatorial zone (Huvadhu, Fuvahmulah and Addu atolls) in Maldives. This group numbers approximately 60,000 and constitutes about 20% of the total population of all Maldivians. The earliest known settlements have been found in this region. According to researchers, this group of Maldivians has the closest proximity to the original Maldivian people in terms of linguistics as well as ethnicity. Each of the 3 atolls of this region speak their own distinctive forms of the Maldivian language (Huvadhu bas, Mulaku bas, Addu bas), which are significantly different from the rest and as researchers suggest having a closer affinity to what may have been the original. The people of Minicoy (Malikun) – Mahls, numbering about 10,000. The island of Minicoy lies at the northern end of the atoll chain inhabited by Maldivians and is the northernmost group of the Maldivian people. They are only about 3% of the total amount of Maldivians. Although the people of Minicoy are identical to the main group of Maldivians from the first group in terms of ethnicity and linguistics and on a larger scale comes under that group, the day-to-day politics of Minicoy and after the secession of the island from Maldivian rule and affiliating with the Indian government, thus acquiring non-Maldivian citizenship has made this group be labeled as one among the subgroups of Maldivians. Due to reasons such as politics, and having to live in great isolation from the remaining Maldivian people, the Minicoians are steadily undergoing a process of acculturation. This group has its own dialect (called Maliku bas or Mahl) which retains some features of an older Maldivian, and shows Malayalam influences as well. Still, the dialect is mutually intelligible with the standard Maldivian dialect and is more related to the slighter variants of northern Maldives from the first group. Myths and legends There is no historical evidence about the origin of Maldivians; there is also no indication that there was any negrito or other aboriginal population, such as the Andamanese. No archaeology has been conducted to investigate the prehistory of the islands. There is, however, a Tamil–Malayalam substratum, in addition to other later cultural influences in the islands. Bengali, Odia, and Sinhalese people have had trading connections with Dhivehi people in the past. Conjectures have been made by scholars who argue that the ancestors of Maldivian people arrived in the Maldives from North West and West India, from Kalibangan between 2500 and 1700 BC and that they formed a distinct ethnic group around the 6th century BC. Myths of origin According to Maldivian folklore the main myths of origin are reflecting the dependence of the Maldivians on the coconut tree and the tuna fish. A legend says that the first inhabitants of the Maldives died in great numbers, but a great sorcerer or fandita man-made coconut trees grow out of the skulls of the buried corpses of the first settlers. Therefore, the coconut tree is said to have an anthropomorphic origin according to Maldive lore for this reason. The word naashi (coconut shell) is also the word used for the skull in the Dhivehi language. The coconut tree occupies a central place in the present-day Maldive national emblem. The tuna fish is said to have been brought to the Maldivian waters by a mythical seafarer (maalimi) called Bodu Niyami Kalēfanu who went close to the Dagas (the mythical tree at the end of the world) to bring this valuable fish. Legend of the first settlers One of the earliest people who settled in the Maldives were from the Malabar Coast of India and northwestern shores of Sri Lanka, and are of Tamils and Malayalis ancestry, which is clear through strong Tamil–Malayalam substratum in language and culture. The Giraavaru people are considered as one of the earliest settlers. They were technologically advanced people, building sailing boats called dhonis. These people used words such as varam for the islands in which they lived. Examples given in the old manuscript are: Noḷivaram, Kuruhinnavaram, and Girāvaram. Many of the old terms used by Maldivian fishermen come from the Dravidian languages, leading one to the assumption that these terms were brought by people from southern coastal India in ancient times. Historical records show that in the southern and central atolls of the Maldives, occupations such as farming and weaving were important in the early days. A short time after the arrival of the Indo-Aryans and the introduction of the Hindu religion, a prince of India is said to have arrived in the Maldives. This is the period calculated earlier from oral tradition, and the story also corresponds to that from the Mahavamsa chronicle of Sri Lanka, about the king's son who was exiled from his country and arrived in Lanka, one of his ships losing its way and arriving in the Maldives. In the Maldivian legend, the prince who arrived in the Maldives, was the son of Brahmaditiya, king of Kalinga (Brahmadatta, King of Kalinga at the time of Buddha's death c. 500 – 350 BC), a kingdom on the south-east of India (modern Orissa). King Brahmaditiya was displeased with his son and sent him to Dheeva Maari (Maldives). The name of this prince was Sri Soorudasaruna. Sri Soorudasaruna established a kingdom of the Adeetha Vansha Dynasty (Solar Dynasty) in Dhiva Maari, a short period before the reign of Emperor Ashoka in India. This would place the establishment of the first kingdom in the Maldives circa the 4th century BC. The tradition then states that Emperor Ashoka established his kingdom in Pataliputra in India and that his people went preaching the religion and teachings of Buddha to a place called Bairat, to the west of Pataliputra. A group of people came to the Maldives from Bairat in order to teach the religion of Buddha. These people are said to have arrived on these islands during Ashoka's reign, probably when he sent Buddhist missionaries to all the neighbouring countries, in the 3rd century BC. At the time the Buddhist missionaries arrived in the Maldives, the country was called Dheeva Mahl. Around the 2nd century AD, there was an influx of Arab traders who travelled and stopped by the Maldives en route to the Far East – their first record of the Maldives islands, which they called Mahal Dibiyat, is from the Arab travellers. The Maldives provided enormous quantities of cowry shells, an international currency of the early ages. The cowry is now the symbol of the Maldives Monetary Authority. Mahal Dibiyat is the name given to the islands by medieval Arab travellers. Abu al-Barakat Yusuf al-Barbari, a North African Arab, is credited with converting the Maldivians to Islam in 1153. Legend of the first ruling dynasty The myth of the origin of the ruling dynasty is the story of a prince named Koimala. In the Muslim traditions recorded in the Lōamāafāanu and Rādavaḷi chronicles all the pre-Muslim royalty are represented by a king, whose successor was converted to Islam. The name Koimala Kalo is also suggestive: koi or koyi in Maldivian language means son, lad or prince (derived from Malayalam koya, son, prince, master, cf. the Dravidian root kō, king). The component malā may or may not be derived from māla as in Māla-dīv, but, if so, the name would mean 'prince of the Maldives'. The term kalō is a common word of man, used as a term of endearment. The title of former Maldivian kings was kattiri bovana mahaa radun, 'Kattiri' (ކައްތިރި) meaning Kshatriya in Maldivian language. One oral tradition says that the Giraavaru people are the indigenous people of the Maldives who were in the islands before Koimala arrived. They are of Tamil origin, and the earliest island community of the Maldives; their presence predates Buddhism and the arrival of Indo-Aryans in the archipelago. This may be the reason that the Dhivehi kinship system is part of the Dravidian origin, and bears evidence of some matriliny, like the Nayar and other matrilineal groups of Kerala. Some of the kinship terms are clearly derived from Malayalam. Five versions of the myth are given here and their significance in terms of cultural history is explained. 1. The following version was recorded by Bell in 1922: Once upon a time, when the Maldives were still sparsely inhabited, a prince of royal birth named Koimala, who had married the daughter of the king of Ceylon, made a voyage with her in two vessels from Srendib [Sri Lanka] Island. Reaching the Maldives they were becalmed and rested a while at Rasgetheemu island in North Maalhosmadulu Atoll. The Maldive Islanders, learning that the two chief visitors were of Ceylon Royal descent invited them to remain; and ultimately proclaimed Koimala their king at Rasgetheemu, the original 'King's Island'. Subsequently, Koimala and his spouse migrated thence to Male' and settled there with the consent of the aborigines of Giraavaru Island, then the most important community of Male' Atoll. The two ships were dispatched to Lanka, and brought over other people of 'the Lion Race' (Sinhalese). To Koimala and his queen was born a male child who was called Kalaminja. He reigned as a Buddhist for twelve years and was then converted to Islam, ruling for thirteen years more before finally departing for Mecca. This ruler's daughter married the chief minister and reigned as a nominal Sultana. She gave birth to a son also called Kalaminja, who, in turn, married a lady of the country. From them, the subsequent rulers of the Maldives were descended. 2. According to this version, which Maloney heard in Male', Koimala's parents came from India, not Sri Lanka: The Indian king was angry with his son, and sent him off with his wife in two boats; they had 700 soldiers. They came to Rasgetheemu in Raa Atoll, and when he became king there, people called that island Rasgetheemu "King's Landing". Then the king and queen came to Male', and Koimala was born to that Indian couple. 3. The following variant Maloney heard in Noon Atoll: "... When Koimala and his wife came, there were already people here. Because she was a princess of royal lineage, people asked her husband to rule. Koimala sent ships to Sri Lanka and brought back more people. It is said that a beautiful woman named Malakamana from the Maldives was one of the early people who settled Sri Lanka." 4. A myth Maloney heard in Manadhoo, Noon Atoll, is, in condensed form, as follows: One day, while a hunter king of Sri Lanka was hunting, he caught a man beast in his net. The man-beast couldn't walk, so the king taught him to do it. The man-beast then married the king's daughter, but he made political trouble in Sri Lanka, so was forced to leave. He and the princess arrived in Rasgetheemu and they lived there for some time, where the locals there asked them to rule them. 5. Another version Maloney heard in Hulhumeedhoo, Addu Atoll, in the far south of the country, is as follows: There was a king of India who was a hunter. Once, while out hunting with a net, he saw a creature which is like a human but walked on all fours, and which disturbed the people. This creature would also take hunters' nets and steal their prey, so the king couldn't get any catch. The king considered how he might capture this creature. He made big weights for his net, which no ordinary human could lift, and which would prevent the creature from taking the hunting net. One day, the king, with the help of many men, put the net over the creature, which could not get out because of the large stone weights. The king took the creature to the palace and looked after him well, and because he knew no language, the king taught him language, which took a long time. The creature started helping the king by showing him treasures in the forest, and the king came to respect him. The king had a daughter who fell in love with this creature (in an alternate version, the king forced his daughter to marry the creature). The king, being angry, put the couple on a ship and sent them off into exile. Their ship came to Laam (Hadummati) Atoll (towards the south), where the exiled pair saw a crow that cried. They thought the crow was not a good omen, and it was, therefore, undesirable to land there, so they went on to Male'. They settled in what is now Sultan Park (the site of the former palace) and started a kingdom. After fifteen years, a jinni began to come from the ocean every once a month and disturbed the people... (from here follows the story of the saint who came and dispelled the jinni and caused all the people to become converted to Islam from Buddhism and Hinduism). Gujaratis Maloney says Gujarat, with its indented coastline and its proximity to the old navigation routes of the Mesopotamian and Indus civilisations, has apparently maintained a tradition of navigation over the past 4000 years. Certainly, the earliest Buddhist literature indicates active seafaring from its ports. It was from Gujarat that North Indian civilisation impinged upon the Maldives and Sri Lanka. From Gujarat, North Indian civilisation also expanded to Java and other parts of Southeast Asia. The export of this civilisation to all coasts of South Asia and Southeast Asia began about 500 B.C., but during the Mauryan period and the diffusion of Buddhism, sea traffic in the Bay of Bengal supplemented and, to some extent, surpassed that originating along the coasts of Western India. Three Jataka tales cited above seem to refer to the Maldives, particularly the comment that exiles from Bharukaccha went to a thousand islands [Laccadive and Maldive islands] where they found the standing room, and that these were near an island named for coconuts [Kerala]. This suggests that not only did seafarers emanating from Bharukaccha and Suppara visit the Maldives, but Gujaratis actually settled there in pre-Buddhist times. The other Jataka tales suggest that ships from Gujarat going to Southeast Asia stopped in the Maldives and that merchants in search of treasures sailed in several seas called – maala (or maara). The Maldives might well have been settled parallel with the arrival of Indo-Aryan speakers in Sri Lanka, as suggested in the above interpretations of the Sri Lanka myths and the Koimala story. Mariners from the north-western coasts of the peninsula, from the time they commenced sailing to southern India, must have on occasion been blown over to the Maldives—unmanned canoes and rafts from Kerala even now get wafted there from time to time – and the dangers of shipwreck vividly described in several of the Jātakas might have arisen from contact with some of the thousands of reefs in the Maldives, which sailors have long dreaded. It may be, therefore, that shipwrecked Gujaratis, as well as exiles, were early settlers on the islands of the Laccadive-Maldives archipelago. Geographic distribution Maldives All Maldivians are native to the historic region of the Maldive Islands comprising what is now the Republic of Maldives and the island of Minicoy in Union territory of Lakshadweep, India. The secession of Minicoy from Maldivian rule and affiliating with the Indian government gradually led to the emergence of a Maldivian population of Indian citizens who came to be known as Mahls. Being the heartland of Maldivian people, more than 97% of all Maldivians are from the Maldives. For all the Maldivian communities across the world (including the people of Minicoy) their origin lies in the Maldives. The Maldivian community of the Maldives consists of two major groups from the three subgroups of Maldivians: The main group of Maldivians, the southern group of Maldivians (also known as Suvadivians), and the Mahls (ethnic Maldivians from the Indian island of Minicoy). Southern group of Maldivians As a result of some political activities which occurred in the South during the early 1960s, the term Suvadivian has been adopted by some authors to refer to the southern group of Maldivians. From 1959 to 1963 there was a short-lived breakaway government named United Suvadive Republic which was formed by the Southerners, from which the name originated though there are no such native names. The names Suvadive and Suvadivian suggest that the origin of the names lye in the ancient name for the three southernmost atolls of Huvadhu, Fuvahmulah and Addu which was Suvadiva. The Suvadivians, living in the three southernmost atolls of the equatorial zone (Huvadhu, Fuvahmulah and Addu atolls) number approximately 60,000 and constitute about 20% of the total population of Maldivians. According to researchers, this group of Maldivians has the closest proximity to the original Maldivian people in terms of linguistics as well as on ethnic grounds. The reason behind this suggested by researchers and proven from historical records is that there was less interference from the outside world to this group. Unlike the other group of Maldivians, this group was not affected by the Portuguese rule in the Maldives as it does not exceed the Suvadiva channel. Also, there was no interference from traders and travellers as much as in the case of the other. Each of the 3 atolls of the Suvadiva region speaks its own distinctive forms of the Maldivian language (Huvadhu bas, Mulaku bas and Addu bas), which are much different from the rest and as suggested by researchers, having a closer affinity to what may have been the original. Thus, the native features of the original Maldivian people are preserved in this group greater than any other group of Maldivians. Main group of Maldivians Unlike the southern minority, this group of Maldivians were subject to foreign intercourse. There were numerous occasions of reported interference from outsiders such as traders, travellers, etc... Also, the Portuguese rule and many other factors pushed this group into a state where imported materials got mixed into their linguistics as well as their ethnic background to a large extent. India The secession of Minicoy from Maldivian rule and affiliating with the Indian government gradually led to the emergence of a Maldivian population holding Indian citizenship. This group of Maldivians consists of the people of Minicoy and migrant communities from Minicoy across India and elsewhere. Except for the people from Minicoy, there is no community of ethnic Maldivians with Indian citizenship. This group of Maldivians are officially referred as Mahls. The people locally identify themselves as Malikun. The Mahls make up the third subgroup of Maldivians. People of Minicoy (Malikun) – Mahls Mahls are the third subgroup of Maldivians centred on the island of Minicoy making up the only community of ethnic Maldivians in India. This group has its own dialect (called Maliku bas or Mahl) which retains some features of archaic Maldivian language, and shows Malayalam influences as well. Still, the dialect is mutually intelligible with the standard dialect of Maldivian and is more related to the slighter variants of northern Maldives. In the case of linguistics and ethnic grounds, this group of Maldivians is identical to the main group of Maldivians in the Maldives. However, the secession of Minicoy from Maldivian rule and gradually becoming part of India, thus becoming the only group of ethnic Maldivians with non-Maldivian citizenship made anthropologists label the Mahls among the subgroups. The isolation of this group from the rest of the Maldivians and the acculturation process which the Mahls are undergoing as a result of this as well as the change in nationality is one of the reasons for the separation of this group from the main group of Maldivians. The origin of this group like any other group of Maldivians lies in the Maldives. The story of the Tivarun, the linguistics of the people in Minicoy, and many other factors prove this side of the story. Mahls are the only community of ethnic Maldivians (excluding migrant communities) outside the Republic of Maldives. They make up about 3% of the total population of all Maldivians. Most Mahls live in their native land of Maliku (Minicoy). Mahls are 15.67% of the total population of Lakshadweep emerging as a separate ethnic group from the rest of the population. All Mahl communities in India emerged from Minicoy. There are Mahl communities (migrant communities from Minicoy) in other parts of India too. A number of Mahls have settled in the districts of Kozhikode, Malappuram, Ernakulam and Thiruvananthapuram (Trivandrum) in the southern state of Kerala. The ancestors of present Mahl communities in Kerala migrated from Minicoy and settled there in the 17th century when the islands of Lakshadweep came under the rule of Ali Rajahs/Arakkal Bheevi of Kannur. Since 1957, this group of Maldivians in Minicoy are totally off-limits for their Maldivian counterparts in the Maldives. Direct transport between Minicoy and the Maldives was forbidden by the Indian government. Thus, this Indian group of Maldivians is steadily undergoing a process of acculturation owing to a lack of contact with the remaining Maldivian people and pressure to use other languages such as Malayalam, English, and Hindi. This proves to have a big influence on the culture, linguistics, and other day-to-day affairs of this group of Maldivians. Emigrant communities A significant number of Maldivian emigrant communities can be found in several countries. The emigrant communities could only be located from the Maldivian side as it is only the Maldivians who are all of the same ethnicity, unlike India where the presence of thousands of cultures and ethnicities make the records more stringent on this matter. Since ethnic Maldivians of Minicoy are only no more than 0.0015% of the total population of India compared to 100% of their counterparts in the Maldives, it is only from the Maldivian embassies across the world that this information could be gathered. Sri Lanka There are approximately 20,000 people of Maldivian ethnicity living in Sri Lanka, as of 2013. Genetics and Research Studies In 1899, Professor John Stanley Gardiner visited the Maldives, during which time; he collected anthropometrical data of a number of Maldivians from many islands. Analysis of this data by Dr. Wynfrid Duckworth, suggested that there were three major sources of immigration into the country. These are: The peninsula of Hindustan with Ceylon, The coast of Arabia and possibly of Africa, The western shores of the Malay Peninsula, and the islands of the Malaya Archipelago. (Duckworth 1912: 8–30). In 1997, a Maldivian NGO, the Society for Health Education, conducted a study on the mutations of thalassaemia found in the Maldives. This study showed one mutation that probably originated in the Middle East, another mutation which could have been derived from Portuguese or Algerians, and another which probably originated from South Asia and Malays. The observations are consistent with the historical records of Maldives, showing that early travellers from India, Indonesia, North Africa, the Red Sea and the Persian Gulf areas, settled in the Maldives. (Firdous et al. 1998:148,149). Thalassaemia is the commonest genetically transmitted blood disease found in the Maldives, and the results of this study suggest that many of the people now living in the Maldives had ancestors who came from the above-mentioned countries. Anthropological studies, as well as ethnographic and linguistic researches, suggest that in terms of ancestry Maldivians share similar genes principally with the Sinhalese of Sri Lanka as well as western Indian populations, such as Marathis, Konkanis and Gujaratis with traces of Arab, Malay, southern Indian and North African genes in the population. In 2013, a genetic study of the Maldivian population by the department of Human Genetics, Liden University, which was published online in the American Journal of Physical Anthropology revealed very interesting facts about the genetic origin of Maldivian people. The research studied autosomal DNA-, mitochondrial DNA-, and Y-chromosomal DNA markers in a representative sample of 141 unrelated Maldivians, with 119 from six major settlements. The researchers found a total of 63 different mtDNA haplotypes that could be allocated to 29 mtDNAs, mostly within the M, R and U clades. They also found 66 different Y-STR haplotypes in 10 Y chromosome haplogroups, predominantly R1a1, R2, H, L and J2. The study concluded that their new genetic data agree with the commonly reported Maldivian ancestry in South Asia, but furthermore suggest multiple, independent immigration events and asymmetrical migration of females and males across the archipelago. The genetic study confirmed that the most likely origin of the Maldivian population is in South Asia with possible gene flow from the Middle East. Also, it has been pointed out that the Dhivehi language of the Maldives is the southernmost Indo-Aryan language and sharing of specific haplogroups with Indo-Aryan populations mostly from India and from Sri Lanka, could point to a common origin of these populations. Culture Language and literature Maldivians have strong feelings towards the Maldivian language. It has historically been, and to large extent still is, central to the Maldivian identity. Unlike the other languages of South India, it is an Indo-European language, while other South Indian languages are Dravidian languages. However the language shows some influences of neighbouring Dravidian languages on it, and has a number of loanwords from Dravidian vocabulary. Religion The Maldivians are entirely Muslims, adhering to the Sunni school of thought. In the Maldives which is the heartland of Maldivians and home for more than 97% of the Maldivian people, the national religion is Islam. Islam is the country's state religion as well as the backbone of the society with daily life in the country being regulated according to the tenets of Islam and government regulations too being based on the regulations of Islamic law (Shari'a). The law of the country prohibits the practice of any other religion by the country's citizens. In general all Maldivians from the island of Minicoy too are Sunni Muslims. Visual art and architecture Most traditional Maldivian art is influenced by Perso-Arabic tradition in some form and usually centres on Islam since all the Maldivians are Muslims. The skill of visual art and architecture among the Maldivians is centered in the Maldives since the people of Minicoy are mainly sailors. Various fine art practices exist in the Maldives at present. Primary among them is drawing and painting. Sculpture and crafts that overlap with art-making also exist in the country. However, due to various limitations, they have not flourished as art forms. Painting and drawing also exist in similar circumstances. Lack of avenues in which to exhibit, and lack of arts education and training, combined with a growing understanding that these arts are best served in the tourist souvenir trade, has hampered the healthy development of these arts. However, with the establishment of private galleries and with various exhibitions organized by the government and the artists themselves, in the last 15 years, the awareness that painting can be an expressive art form apart from also being a lucrative commercial activity has provided encouragement for several young Maldivians to pursue painting, and to an extent sculpture and other public and commercial art forms. Renewed interest in these arts has also led various individuals to pursue on their own whatever education they can obtain, whether through distance learning courses from foreign universities or via books and magazines. In addition, privately funded students have also been obtaining arts education and training at undergraduate and graduate levels in international universities. More indirectly, artists also get the opportunity to meet foreign artists through the tourism trade when foreign artists visit the country as tourists. This provides the much-needed contact with artists that is so necessary to the development of any art form. Until recently, fine arts in the Maldives have been usually defined as the various crafts and skills of craft making. These include the use of locally found materials to produce decorative and functional objects such as mats, handheld or displayed objects, etc. The present situation of the arts has come about because of a lack of critical and theoretical interpretation and a lack of dialogue and discourse in an organized, sustained, or documented form. Performing arts The traditional Maldivian performing arts have Indian and even African roots. Martial arts Martial arts among Maldivians are known as hevikamuge kulhivaruthak, while gulhamathi hifun is traditional wrestling among Maldivians. Festivals Most of the Maldivian festivals are related to Islam, however, there are some festivals that belong to old Maldivian traditions, like the kite flying festival. Naming a newborn child, Mauloodhu (a prayer accompanied by a festive meal), the Eid festival, and circumcision of the male child are a few events that take place where the taste of a rich cultural 'cocktails' can be experienced. A traditional meal called Keyn is prepared for the above Mauloodhus consisting of a number of courses. A single Keyn would serve 10 – 12 people and includes rice, curries, salads, grilled fish, coconut cream, coconut syrup, bananas, puddings, and other delights. Keyn is set out in a very large wooden dish called a Malaafaiy. The outside of this dish is placed within the dish and small individual plates are filled with curries, salads, and other items and set around the rice. This would be covered with the lid and wrapped in a white cloth and tied at the top. At meal times this would be carried into the Mauloodh Haruge (dining hall specially made for this event) and placed on straw mats for service. Individual plates and other food items in individual dishes are placed as well. Beverages are individually set in glasses. Water is served in a ceramic jug. Food is consumed using the fingers of the right hand. At the end of the meal, the hand is washed using a copper jug into a copper basin. 10 December is marked as Kandu Rōdi duvas and 14 April as Gamu Rōdi duvas on which date Maldivian language day is marked from 2011 onwards. Dress Traditionally Maldivian men wear a Mundu with a shirt, it is very similar to that of Malayali people. Maldivian women wear a red top called a Libaas and a long black skirt. Cuisine Rice, the major staple food in most Maldivian households, is usually cooked and served with Garudiya (Tuna Fish soup). Here are some of the specialty cuisines. Bocholhi Made of rice flour, coconut – semi-firm (grated), and coconut palm syrup by mixing all the ingredients until freed from the lump and cooked over moderate heat until the mixture is thickened. Godhan Furhu Boa Folhi Made of flour, coconut – semi-hard (blended to a smooth paste), eggs, coconut cream, jasmine water, coconut palm syrup, cinnamon powder, cardamom powder, and oil by mixing all the ingredients apart from the oil together. Cooked over moderate heat and once the top of the pancake dries up, turned over and cooked. Han’dulu Aurus Made of rice (soaked overnight), washed and blended to a smooth paste), coconut palm syrup, Jasmine water, and jasmine flowers by placing all the ingredients apart from the flowers in a thick-bottomed pan and cook over moderate heat by stirring constantly to avoid the mixture getting stuck to the bottom. Wrapped entirely with banana leaf and placed jasmine flowers over the sweets. This sweet will keep for two to three months without spoiling. ' Han’dulu Furhu Kubus Made of Patna Rice (soaked overnight, washed, and blended to a smooth paste), coconut – semi-firm (grated), coconut palm syrup, caster sugar, banana leaf cooking over moderate heat the grated coconut, palm sugar, and caster sugar until the mixture has thickened. Removed from heat and allowed cooling and added in the blended rice and kneaded thoroughly and combined all the ingredients well. Divided the mixture into eight portions and placed each portion on a banana leaf and wrapped it entirely to seal and wrapped a second banana leaf around it and secured well. Dug a suitable hole in the ground in which all the wrapped dough pieces could be placed neatly. Placed coconut fibres and coconut shells and burned them in the dug hole and removed the charcoals. Placed banana leaves within the hole and placed the wrapped dough in the heated hole and placed neatly one against another. Covered the dough parcels placed in the hole with another large piece of banana leaf and covered the leaf with two-inch white sand. Placed the charcoals and coconut fibres and coconut shells over it and burned the coconut fibres and shells for half an hour. Left the cooked kubus parcels overnight in the hole. In the morning scraped off the burnt ashes and charcoals aside and the sand covering the banana leaf and slowly lifted the wrapped kubus parcels. Hukkaru Made of coconut palm syrup by boiling the syrup over moderate heat and cook by stirring continuously until it starts to thicken. Removed from heat and whisked until frothy and cooled. Huni Folhi Made of Patna Rice flour, coconut – semi-hard (grated), and coconut palm syrup by cooking all the ingredients over moderate heat in a thick-bottomed pan stirring continuously. When the mixture starts to come loose from the side of the pan removed it from the heat and take a tablespoonful of the cooked mixture, spread it on a corkwood leaf. Smoked and dried the leaves spread with the sweet over the fireplace. Karukuri Banbukeyo Made of a fried breadfruit (crushed coarsely), coconut palm syrup, and jasmine water by bringing the syrup and the jasmine water to boil and cooked it over moderate heat until it comes to the ribbon stage. Added the crushed breadfruit into the sugar and coated well. Removed from heat, allowed cooling, and kept in an airtight container. Karukuri Ala Made of fried taro (crushed coarsely), coconut palm syrup, and jasmine water by boiling the syrup and the jasmine water and cooking it over moderate heat until it comes to the ribbon stage. Added the crushed taro into the sugar and coated well. Removed from heat, allowed cooling, and kept in an airtight container. Kulhi Bis Fathafolhi Made of Patna Rice flour, coconut (grated), Rihaakuru, Rihaakuru Bondi (blended), eggs, onion (sliced thinly), curry leaves (chopped), cherry pepper, juice of two limes, ginger, salt to season, and oil by crushing the onion, curry leaves, cherry pepper, ginger with salt. Added and mixed the rice flour and coconut to make the sandy texture. Formed a bay in the center of the rice mixture and add in the eggs and Rihaakuru and Rihaakuru Bondi. Mixed/kneaded the dough and divided the dough into 15  gram balls. Spread each ball to about ¼ inch thickness. Cut using a round cutter of 3 – inch diameter and pre-heated oil. Meeraa Made of coconut sap (collected at noon) by boiling the sap over moderate heat and cook by stirring continuously until it comes to the ribbon stage. Removed from heat, greased a large tray and took a spoonful of the cooked thickened syrup, and placed it over the greased sheet in strings. Thela Kubus Made of Patna Rice flour, coconut palm syrup, eggs, and coconut oil by whisking the egg and the syrup and added in the rice flour, and beat further. Poured a tablespoonful of the mixture into the oil and deep-fried until golden. Thelli Keyo Made of plantain (peeled and cut length-wise) and oil by frying the bananas until crisped. Drained on absorbent kitchen paper and kept airtight container. Veli Hakuru Made of coconut palm syrup by boiling the syrup over moderate heat and cook by stirring continuously until it starts to crystallise. Removed from heat, allowed cooling, and put into jars and seal well. Other Cuisines Regularly Cooked Falhoa Aurus Naaroh Faludha Fuppi Baiy Gerhi Banbukeyo Gerhi Kattala Kaliyaa Kuri Kattala Varukuri Baiy Communities Maldivian names A generation ago, most Maldivian people were not commonly known by their birth names. Instead, they were called alternative names such as Dohuttu, Lahuttu, Tutteedi, Kudamaniku, or Don Goma. The rationale behind this practice was that if the evil spirits did not know one's real name, one would be free from their spells. However ancient Maldivian naming system is similar to that of Gujaratis and Marathas. Even now some people follow that system. For example, the first name of historian Mohamed Ibrahim Lutfy is "Mohamed;" "Ibrahim" is his father's name, and "Lutfy" is the family name. Frequent Maldivian family names include Bee, Beefan, Boo, Didi, Fan, Fulhu, Kader, Kalaminja, Kalinga, Kalo, Kavah, Kavya, Koi, Koya, Manik, Manika, Manike, Manikfan, Naha, Raha, Rana, Tarkan, Thakhan, Thakur, Thakurfan, Veer. See also Maldivian folklore Minicoy Giraavaru people Notes References Further reading . . . . . . . External links Maldives Ethnography, by Xavier Romero-Frias A Guide to Mahl Language, Minicoy Clarence Maloney, his vision, his work and the ancient underlying cultural influences in the Maldives * 01 Category:Ethnic groups in the Indian Ocean Category:Indo-Aryan peoples Category:Ethnic groups in India Category:Ethnic groups in Sri Lanka
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[ "The Southern group of Maldivians, also referred to as Suvadivians, are a subset of the Maldivian population. They live in the southernmost atolls of the equatorial zone and make up about 20% of the total Maldivian population. They are considered to have the closest proximity to the original Maldivian people in terms of linguistics and ethnicity.", "The text only specifically talks about the Suvadivians, or Southern group of Maldivians, and it refers to another group of Maldivians without specifying their location or distinct identity. This other group is referred to only in comparison to the Suvadivians, specifically noting that they experienced more interference from the outside world, including under Portuguese rule, and from traders and travelers. No specific features or characteristics of this other group are described in the text.", "This article reveals that the Suvadivians, who live in the three southernmost atolls of the Maldives, have preserved the original Maldivian features in terms of language and ethnicity more than any other group. The cause for this preservation is due to less interference from the outside world, including during Portuguese rule, and less contact with traders and travelers. Moreover, the article reveals that each of the three atolls of the Suvadiva region speaks its own distinctive form of the Maldivian language, suggesting a rich linguistic diversity within even this subset of the Maldivian population.", "The Suvadivians, a southern group of Maldivians, inhabit the three southernmost atolls of Huvadhu, Fuvahmulah, and Addu. The text does not specify which specific groups within the Suvadivians inhabit each atoll.", "The Suvadivians living in the three southernmost atolls of Huvadhu, Fuvahmulah, and Addu are closely related in terms of linguistics and ethnicity, they are all part of the Maldivian population, specifically the South. While each of the three atolls has its own distinctive form of the Maldivian language, all are considered to have close proximity to what researchers believe may have been the original Maldivian language, suggesting a significant shared history and cultural connection among them." ]
[ "Yes", "No", "Yes", "No", "No" ]
C_0dbc7e6a91394d278a7e6b64d29eb7ad_0
Criss Angel
Criss Angel was born on December 19, 1967, at Hempstead General Hospital in Hempstead, on Long Island, New York. He is of Greek descent. Angel was raised in Elmont until fourth grade, when his family moved to East Meadow, New York. His father, John Sarantakos, owned a restaurant and doughnut shop.
Television specials and promotional appearances (2002-2005)
On October 20, 2002, Angel performed in the ABC Family television special named Criss Angel Mindfreak: Postmodern illusionist, an hour-long performance and tribute to Harry Houdini. The special aired again on December 24, 2002 on Channel 4 in the UK. The Birmingham Evening Mail reviewed the show, writing, "Criss Angel is currently making a name for himself as a more provocative, darker alternative to [other illusionists]. He walks the streets of New York, hypnotising passers-by, turning cups of take-away coffee into cockroaches and suspending himself from the ceiling by inserting hooks into his back. The piece de resistance of all these mind games is an update of the Houdini underwater trick - an attempt to stay in a (cell) tank of water for 24 hours, padlocked and restrained. All seems to be going well, until the filter system breaks down and the water begins to heat up." On October 31, 2003 SciFi Channel aired the one-hour special Supernatural starring Angel. Kate O'Hare said of the special that, "Filmed in part at Universal Theme Park in Orlando, Fla., "Supernatural" finds Angel crawling up buildings, passing a quarter through his skin, spontaneously combusting and having otherworldly creatures burst from his chest." When asked about his process in creating television specials, Angel said that, "I like to have my hand in everything on my TV specials. I'm the executive producer; I direct it; I create it. I write all the music for my TV specials and my live performances. It's on my label. I write it; I produce it." During the special Angel performed stunts including lighting himself on fire and making a tarantula emerge from a pedestrian's soda can. In 2003, Angel was also featured in the two-hour TBS special Made in Japan. In early 2003, Angel performed at the release of the new branding for Miller Lite beer in Milwaukee, Wisconsin on the 80th anniversary of Houdini's last performance in that city. For the performance, he was suspended ten stories in the air and bound in a straitjacket, from which he escaped. He also performed an illusion at Ozzfest in 2005. During this period Angel also earned money selling signed merchandise, making up to $50,000 a day. CANNOTANSWER
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Christopher Nicholas Sarantakos (; born December 19, 1967), known professionally as Criss Angel, is an American magician, illusionist and musician. Angel began his career in New York City, before moving his base of operations to the Las Vegas Valley. He is known for starring in the television and stage show Criss Angel Mindfreak and his previous live performance illusion show Criss Angel Believe in collaboration with Cirque du Soleil at the Luxor casino in Las Vegas. The show generated $150 million in tourist revenue to Las Vegas in 2010, but has since been replaced by Mindfreak LIVE! in 2016 (the show is partly produced by Cirque du Soleil; however, the directive rights are entirely with Criss Angel). He also starred in the television series Criss Angel BeLIEve on Spike TV, the reality-competition television show Phenomenon on NBC, and the 2014 stage show Criss Angel Magicjam. He also holds multiple world records made during his magic performances, and was named Magician of the Decade in 2009 and Magician of the Century in 2010 by the International Magicians Society. In addition to his career as an illusionist, Angel was the lead singer for his industrial band Angeldust, which released five albums. He also authored the book Mindfreak: Secret Revelations. Early life Criss Angel was born on December 19, 1967, at Hempstead General Hospital in Hempstead, on Long Island, New York. He is of Greek descent. Angel was raised in Elmont until fourth grade, when his family moved to East Meadow, New York. His father, John Sarantakos, owned a restaurant and doughnut shop. He developed an interest in magic at age seven and performed his first show at age 12, for which he was paid $10. His main early influence was Harry Houdini. By age 14, Angel was performing throughout high school at restaurants in East Meadow, including the Wine Gallery. Angel's first major illusion was making his mother float in their family den. Early in his career he was helped by animal breeder and reality-television host Marc Morrone, who helped Angel find and train a set of doves for his act. By the time he graduated from East Meadow High School, he had decided to pursue a career as a professional magician instead of attending college as his parents wanted. According to the Biography Channel, "Angel hit the road and began touring with other traveling performance acts. Between traveling and performing, he attempted to further his education in his own by studying the history of magic in public libraries. He also studied the art of mysticism, music, martial arts and even dance." Early career Angel has said that, "I stayed away from magicians when I was younger because I didn't want to think like them and wanted to create my own style." His first television appearance was in 1994, where he performed as a part of Secrets, a one-hour ABC primetime special. One of the early supporters of Angel was horror director Clive Barker. In 1995, Barker asked Angel to work with him on his film Lord of Illusions. He also later recorded the intro to Angel's album World of Illusion: System One. Barker started in the mid-1990s, "Criss Angel is extraordinary, a spectacular mix of visionary magic. This is the future, and it can't come quickly enough." During that year, he collaborated with musician Klayton to form Angeldust, a show that combined magic with music. They released their first album, Musical Conjurings from the World of Illusions, in 1998. Also that year, Angel performed a 10-minute show over the course of the "World of Illusion" conference in Madison Square Garden, performing 60 shows per day. However, by 2000, Klayton's name was removed from Angel's website. Angel also starred in the 1997 television movie The Science of Magic and its 2003 sequel The Science of Magic II. Criss Angel Mindfreak, which would later become Angel's first television series, was originally an off-Broadway show by Angel, which in 2001 was picked up by the World Underground Theatre. When not performing the show, Angel worked the streets promoting the show to pedestrians. Criss Angel Mindfreak ran for more than 600 performances between 2001 and 2003 at the World Underground Theater in Times Square. His 24 hours in a tank of water set a world record for the longest amount of time for a human to be completely submerged under water. This performance would also become a part of his first television special. Angel has also been known to actively discourage a belief in mediumship, stating that there is no way for mediums to speak with people beyond the dead. He has said, "If somebody's doing that for entertainment purposes, that's one thing. But if they claim to be communicating with the dead, I don't care if they're from my hometown, I don't care if they're my family members: I'll expose them and tell them what they really are." Water torture cell in Times Square, 2002 In August 2002, Angel spent 24 hours shackled underwater in a phone booth-sized water torture cell near the WWE entertainment store in New York's Times Square, WWE corporation being the owners of the World Underground Theatre where Angel had been performing his stage show. To prepare for the trick, he practiced in a neighbor's backyard swimming pool next to his mother's house in East Meadow, New York. Prior to the performance he had only managed to spend 12 consecutive hours in the water. He fasted for 24 hours before the performance to make it through the period without need to exit and use the bathroom. During the trick, he went through 16 oxygen tanks. After the trick, he was required to remove his own shackles and chains before exiting the water. Within an hour, his skin began to react substantially to the water. At the end of the performance, according to Ted Shaffrey, "Before he emerged from the phone-booth sized contraption of clear plastic and steel, Angel yanked out the air hose that allowed him to breathe. Then assistants pulled a black curtain over the 220-gallon (832-liter) chamber to block the view of television cameras and about 100 people gathered outside the window in which he was displayed. Under cover, Angel apparently escaped from the shackles that bound his arms, legs and neck, before pulling himself from the watery chamber with a celebratory scream." Upon successfully completing the trick, he was described as having "skin crinkled and his eyes bloodshot", and upon emerging from the tank he was taken to St. Clare's Hospital and treated for severe dehydration. He reported afterwards that he had suffered from overheating, jaw fatigue, and semi-consciousness while in the tank. Television specials and promotional appearances (2002–2005) On October 20, 2002, Angel performed in the ABC Family television special named Criss Angel Mindfreak: Postmodern illusionist, an hour-long performance and tribute to Harry Houdini. The special aired again on December 24, 2002, on Channel 4 in the U.K. The Birmingham Evening Mail reviewed the show, writing, "Criss Angel is currently making a name for himself as a more provocative, darker alternative to [other illusionists]. He walks the streets of New York, hypnotising passers-by, turning cups of take-away coffee into cockroaches and suspending himself from the ceiling by inserting hooks into his back. The piece de resistance of all these mind games is an update of the Houdini underwater trick - an attempt to stay in a (cell) tank of water for 24 hours, padlocked and restrained. All seems to be going well, until the filter system breaks down and the water begins to heat up." On October 31, 2003, the SciFi Channel aired the one-hour special Supernatural starring Angel. Kate O'Hare said of the special that, "Filmed in part at Universal Theme Park in Orlando, Fla., "Supernatural" finds Angel crawling up buildings, passing a quarter through his skin, spontaneously combusting and having otherworldly creatures burst from his chest." When asked about his process in creating television specials, Angel said that, "I like to have my hand in everything on my TV specials. I'm the executive producer; I direct it; I create it. I write all the music for my TV specials and my live performances. It's on my label. I write it; I produce it." During the special Angel performed stunts, including lighting himself on fire and making a tarantula emerge from a pedestrian's soda can. In 2003, Angel was also featured in the two-hour TBS special Made in Japan. In early 2003, Angel performed at the release of the new branding for Miller Lite beer in Milwaukee, Wisconsin on the 80th anniversary of Houdini's last performance in that city. For the performance, he was suspended ten stories in the air and bound in a straitjacket, from which he escaped. He also performed an illusion at Ozzfest in 2005. During this period Angel also earned money selling signed merchandise, making up to $50,000 a day. Criss Angel Mindfreak television series In 2005, Angel became the creator, director, and executive producer of the A&E Network show Criss Angel Mindfreak, and had entered production in January. Seasons 1 and 2 were filmed at The Aladdin in Las Vegas, with Season 3 at the Luxor Las Vegas. Premiering on July 20, 2005, the show's illusions included walking on water, levitating, walking up the side of Luxor Hotel (in the light of 39 focused lamps that can be seen from space), floating between two buildings, causing a Lamborghini to disappear, surviving in an exploding C4 Crate, cutting himself in half in full view of an audience and getting run over by a steamroller while lying on a bed of broken glass. The first season of the show was released on DVD after it completed its on-screen run. The show also released its Halloween special, along with two special episodes, on an additional one-disc DVD offering. The show returned for a second season in May 2006, and was named one of the best shows of the summer by the Tulsa World newspaper. The show was renewed for a third season in July 2006; as of that third season the show was A&E's number one rated show, with more than 1.5 million viewers. That year he promoted the show with a performance where he was suspended within a cube encased in concrete above Times Square, escaping from the block before it was set to crash to the ground. Magic effects creator Sean Field stated of Angel this year that, "Criss Angel is the biggest name in magic since Houdini ... No other magician has invaded pop culture to the degree that Criss Angel has. He has changed the image of magic and made it cool." The show became one of the most popular foreign television shows in parts of Asia, including China. The television show was noted as a part of the mid-2000s films, television, and books that drove a resurgence of the public popularity of magic. Criss Angel Mindfreak was the first weekly magic television show to air in 40 years. Daily Variety reviewed the premiere writing, "The stunts alone are impressive. But what makes the show fascinating are the down-home touches in which we see the kid from New York, who first honed his magic skills at the age of 6. Keenly aware of the camera at all times, Angel manages to offer some personality, especially where family is involved. Viewers follow the illusionist as he contemplates new and more dangerous stunts, while his crew, including his often-fretful brothers, offer insight as to what, other than ego, drives someone in this profession." The show ran from 2005 until 2010, at which point he had been featured for more hours on prime time television than any other magician in history. Other tricks performed in the show included the performance of séances, as well as other tricks in order to teach his audience about con men and how to avoid scams intended to manipulate money out of people. In July 2008, Angel escaped from a beachside hotel before its demolition in front of a crowd of about 50,000 people, an illusion that also aired on the television program. After the illusion, Angel showed the audience step by step how he achieved the escape. He first picked open a set of handcuffs that had him shackled to a balcony railing. He then smashed the window of the room in order to enter the hotel, and picked padlocks on both the room's internal door and the door to the stairwell. The escape was initially supposed to occur via a ladder that dangled above the hotel's roof 30 seconds before collapse, after picking through five locks on the roof's door. Instead, Angel emerged from the rubble after the collapse, claiming that the initial plan was always to escape via the helicopter. The total time allotted for the entire illusion was four minutes, with dynamite located on the first, second, and fourth floors of the building. Criss Angel Believe Stage show In 2006, Angel partnered with Cirque du Soleil to produce the stage show Criss Angel Believe (stylized as "Criss Angel BeLIEve"), premiering the show at the Luxor Las Vegas on September 26, 2008. It became the bestselling live magic show in the world. The name of the show was taken from Harry Houdini, for the mythology of Houdini choosing the word "believe" as the codeword for communicating with Houdini after his death. Luxor's parent company, MGM Mirage, financed the show with $100 million. After several delays, the show was set for a gala opening on October 31, 2008, with preview shows in late September on the 82nd anniversary of Harry Houdini's death. The initial preview received mixed reactions and reviews. Reporters for the Las Vegas Sun, Los Angeles Times, and Las Vegas Review-Journal cited a lack of the magic Angel is known for, as well as a confusing and uninteresting theme. They also opined that neither Angel nor Cirque du Soleil were able to perform to their capabilities during these initial performances. On the positive side, the Las Vegas Sun later quoted Star Pulse, stating, "He has created a live show that is everything a perfect magic performance should be — and then some. It's not just remarkable magic — it's transcendent art that won't just blow your mind; it will quite possibly change your life." In April 2009, Angel ended a performance of Believe by "hurling obscene insults" at blogger Perez Hilton, an audience member. Hilton reportedly had texted to his fans during the performance that the show was "unbelievably BAD" and that he'd "rather be getting a root canal", and word had gotten back to Angel by the end of the performance. Cirque du Soleil later apologized to Hilton for Angel's remarks. In 2010, the Las Vegas Sun critic John Katsilometes, after being unimpressed by the initial show, said Believe had improved by reducing the narrative elements and focusing on the magic. In 2011, the Toronto Star wrote: "The show is easily the most exciting thing now on stage in Vegas!" That year the show attracted an estimated $150 million in ticket sales. The show ran through 2019, and was the best selling magic show in Las Vegas as of 2013. In 2019, he began his new show "Mindfreak Live" at Planet Hollywood, where he currently performs 5 nights a week. Television series The stage show celebrated its fifth anniversary of appearing on stage in October 2013. That month a cable television series based upon the show entitled Criss Angel BeLIEve was broadcast on Spike TV. The first season included 11 one-hour episodes, including 118 different illusions. Guests on the show include Ludacris, Ice-T, Randy Couture and Shaquille O'Neal. When asked about the three years between the last episode of Mindfreak and his return to television, Angel stated that, "I didn't take long at all to go back to television. It was my choice to work on the live Cirque show and to get that where I wanted it to be. "Now that that show is just humming and doing amazing business — it's the #1 bestselling magic show in the world as far as ticket sales and the perception that people are experiencing and coming back to see it multiple times — I felt it was in a great place and I could think about television again. Obviously, "Believe" will continue to evolve until its last performance because I always want to add new magic, I'm always tweaking and transforming it. I missed being on television, I had something new creatively to say, and Spike became the perfect home to do it." Endemol purchased the foreign distribution rights for the show, and was the "most-watched new original series [on Spike TV] in more than 18 months" according to The Hollywood Reporter. In the episode "Lord of Illusions — Death Premonition", Angel paid homage to Clive Barker, the director of the horror movie of the same name. In the episode, Angel performed the closing stunt from the film, in which he laid beneath a circle of suspended swords, and predicted the correct order of six falling swords to avoid becoming stabbed through his body after their release. The swords were selected by the audience with the help of a randomly bouncing ball. According to the Las Vegas Sun, "Criss is the only, and first, magician in the world granted permission from the inventor and filmmaker to re-create the film's death-defying stunt." For another episode for the series filmed in New York City he was asked by the NYPD not to pre-announce the performance, as crowd control for some Angel performances had become a concern for the police. This trick saw Angel hanging his feet, while bound with two straitjackets and a noose around his neck which were attached to metal weights. While he was successful in the trick, Angel tore his shoulder muscles and this required surgery in January 2014. This resulted in the temporary closing of the Believe stage show between January and April 2014, while he was recovering from the surgery and returning to performance shape. He did however host a new stage show featuring other magicians between February and March 2014 in lieu of performing in his own show. Clips from the show also became the most watched YouTube magic clips in the history of the site, with more than 15 million views. In the show, Angel revealed the secrets behind some of his illusions to the audience. This included the "Lord of Illusions" trick, where he revealed that he had the swords in a preset order so that he could avoid them. The episode featuring this illusion also includes a meeting between Angel and his team discussing a problem with the trick and how to ensure it does not happen again. Phenomenon Starting in October 2007, he appeared as a judge on Phenomenon with Uri Geller. In a CNN interview about the show, he told Larry King "no one has the ability, that I'm aware of, to do anything supernatural, psychic, talk to the dead. And that was what I said I was going to do with Phenomenon. If somebody goes on that show and claims to have supernatural psychic ability, I'm going to bust [him] live and on television." On the October 31, 2007 episode of the reality show Phenomenon, paranormalist Jim Callahan performed a summoning, purportedly of deceased author Raymond Hill, to help discover the contents of a locked box. Although fellow judge Uri Geller praised the performance, Angel called it "comical" and subsequently challenged both Callahan and Geller to guess the contents of two envelopes he pulled out of his pocket, offering a million dollars of his own money to whoever could do so. This led to an argument between Callahan and Angel, during which Callahan walked toward Angel and called him an "ideological bigot", with the two pulled apart as the show promptly went to a commercial break. Angel has since revealed the contents of one envelope and at the unveiling he challenged Geller one more time. Geller responded, "Although we were born one day apart - I was born on the 20th of December and you on the 19th - a lot of years between us - 40 years, you were one year old when I came out with my spoon bending..." Criss Angel cut him off at this point, saying, "I guess this is a 'no,'" and proceeded to open the envelope. The envelope contained an index card with the numbers "911" printed on it for September 11, 2001. Angel's explanation was this: "If on 9-10 somebody could have predicted that 9-11 was going to happen, they could have saved thousands of lives". The other envelope's contents were scheduled to be revealed on the first episode of Season 4 of Criss Angel: Mindfreak. Stage shows Criss Angel Magicjam The temporary replacement show for Believe was entitled Criss Angel Magicjam, which was performed in the same Luxor theatre. According to the Las Vegas Sun, the show included, "Longtime Las Vegas comedy-illusionist Nathan Burton; Banachek, the world's premiere mentalist; and new female magician Krystyn Lambert, who has been prominently featured in the Spike series ... joined by grandmaster manipulators Jason Byrne and Tony Clarke, supreme close-up artist Armando Vera and the magic comedy of Russ Merlin." The production was written and directed by Criss Angel. In January 2014, Angel announced that he planned on taking Criss Angel Magicjam on a North American tour during the summer of 2014. The show also featured Angel's own illusions, which he performed for about 40 minutes of the show. Robin Leach said of the show that, "Magicjam is great fun and a high-energy show packed with mind-blowing magic." Mindfreak LIVE! In 2014, Angel premiered the stage show Mindfreak LIVE! The touring show features illusions from Angel himself, which received positive reviews. The demonstrations used in the show were developed in Angel's illusion laboratory in Las Vegas, located in a 60,000 square foot warehouse. His international touring with the show marked the first time that Angel had traveled with his show in about six years. The premiere show of the performance occurred at Foxwoods Resort Casino in Connecticut during November 2014. The Supernaturalists The Supernaturalists premiered in June 2015 at the Foxwoods Resort Casino's The Fox Theater, with Angel serving as creator, director and executive producer. Performers for the show include illusionist Landon Swank, magician Krystyn Lambert, escape artist Spencer Horsman, mentalist Banachek, dog conjuror Johnny Dominguez, magician Stefan, and close up magician Adrian Vega. Robin Leach reviewed the show as having "overwhelming positive reactions" and wrote that it contained "the most mind-blowing magic spectacle that's playing anywhere". Angel has stated that the show is a culmination of ten years of development, which he began in 2005, and is intended as a global touring show and as a premiering venue for several new illusions from each magician. Variety show appearances and guest spots Angel has made numerous special television guest appearances on WWE Raw, including acting as guest star on March 8, 2010. He also appeared on The Oprah Winfrey Show, including the premiere episode of its 24th season. During a 2007 episode of the show, he successfully guessed the number between 1 and 100 he asked Winfrey to think of without telling him. Angel has appeared on other talk shows including The Late Late Show with Craig Ferguson, Jimmy Kimmel Live!, The Megan Mullally Show, The Ellen DeGeneres Show, AVN Awards Show 2007 and Larry King Live on CNN. He was also a guest on The Tonight Show, Late Show with David Letterman, America's Got Talent, and The Rosie O'Donnell Show. He also made a guest acting appearance on the hit television shows CSI: NY, Las Vegas and Rules of Engagement. In 2011, Angel also appeared in an Orville Redenbacher Pop-Up Bowl popcorn commercial. In May 2005, Angel introduced honoree Ozzy Osbourne at the VH1 Rock Honors awards, biting the head off a bat as a part of the introduction in homage to Osbourne's early career onstage antics. At the 2007 MTV Video Music Awards, Angel performed an illusion as a part of the musical performance by Britney Spears and helped to plan her stage show, which opened the television broadcast. He was also hired as the illusionist for the planned 2009 Michael Jackson O2 arena concerts before Jackson's death. In 2013, Angel had a cameo in the feature film The Incredible Burt Wonderstone, and Jim Carrey's character in the movie "Steve Gray" has been said to be modeled after Angel. There is a wax statue of Angel in the Madame Tussauds wax museum in Las Vegas. Other projects Music Angel has a passion for music and claims to have been a musician longer than a magician. In 1989 he fronted the short-lived heavy metal band Angel and produced a promotional music video for the song "Don't You Want My Love", incorporating several magic tricks. Angel later went on to collaborate with industrial rock musician Klay Scott for a new band titled Angeldust in 1995. Angeldust released its debut album Musical Conjurings from the World of Illusion in 1998. He later released the albums System 1, System 2, and System 3. In 2003, he released the album Supernatural. His musical style continues to be in the heavy metal style, though when describing his musical style he has said, "There are elements where it's more electronic, and there are orchestrated sections. I decided to take it in different places because I'm inspired by emotion and by giving people a connection, a sense of a feeling — whether it's excitement or crying or being happy." He also produced soundtracks for his television series Mindfreak, including collaborations with members of Korn and Godsmack. Books Angel is the author of the book Mindfreak: Secret Revelations, published by HarperEntertainment in 2007. Mindfreak: Secret Revelations appeared on the Los Angeles Times bestseller list that year. According to the Las Vegas Sun, "The 295-page book details the early beginnings of his career, memorable demonstrations from his TV show and personal reflections. "Secret Revelations" also contains several pictures and provides step-by-step instructions for 40 of his basic Mindfreaks. Laura Morton helped the magician write the book." California Bookwatch wrote that it "tells of Criss Angel's evolution as a performance artist, magician and musician, charting his rise to fame beginning at age 6 and adding details of his life and his artistic philosophy and influences ... His survey covers the 'Mindfreaks' which allow him to push for excellence in very different worlds". Internet Criss Angel is the most watched magician in Internet history since the late 2000s. His clip "Walk on Water" had received more than 39 million views by 2010, and more than 46 million by 2013. By early 2013, his videos had achieved more than 200 million views. Another highly watched clip is "Rip Bodies Apart", taken from the premiere episode of BeLIEve, which had more than twelve million views within a month. Merchandise In 2010, Angel partnered with IdeaVillage to release the Criss Angel Magic Collection, which contained six Mindfreak Magic Tricks instructions, 250 tricks, and a magic kit for children. The product was backed by $50 million in marketing. Recognition Awards Angel won the International Magician Society's Magician of the Year award in 2001, 2004, 2005, 2007 and 2008, in addition to its "Magician of the Decade" title in 2009 and "Magician of the Century" title in 2010. He was the 22nd recipient of the Louie Award for outstanding achievement in the art of magic. He has also appeared on the covers of Magic and Genii magazines. In 2008, Angel was one of the inaugural nominees for the Harry Houdini Award, awarded by the Harry Houdini Museum. Angel is the youngest magician to ever be inducted into the International Magician Society's Magic Hall of Fame. He is also the only man to have won the Merlin Magician of the Year award on two occasions, in 2001 and 2004. In 2011, he was awarded the World Magic Legacy Awards' Living Legend award. On July 20, 2017, Angel received a star on the Hollywood Walk of Fame, which is located next to The Hollywood Roosevelt Hotel. World records Angel is the holder of several world records, the longest body suspension at five hours 42 minutes, and the fastest time to perform the "Metamorphosis" illusion at less than one second. He is also the holder of the Guinness world record for "The most people to disappear in an illusion", for making 100 people disappear on May 26, 2010, during a performance of Believe at the Luxor. Personal life In 2002, Angel married his longtime girlfriend JoAnn Winkhart. The couple filed for divorce four years later. Although Angel was seen with his wife in the buried alive illusion (season 1, episode 6, 2005) and the body suspension illusion (season 1, episode 5, 2005), she was not credited as his wife; rather, she was listed as "Criss's Girl". In November 2008, Angel began dating Holly Madison, former girlfriend of Hugh Hefner. The relationship ended in February 2009. He proposed to Sandra Gonzalez on September 7, 2011, in Cabo San Lucas during a sunset dinner. They broke up shortly after. Since 2012, Angel has been dating Australian singer Shaunyl Benson. The couple have two sons together, born in 2014 and 2019, and a daughter born in 2021. As of 2010, Big Bear Choppers had produced seven custom-made motorcycles for Angel, who featured the motorcycle designers on his show Criss Angel Mindfreak. He also had a Harley Davidson motorcycle built by Orange County Choppers, which he rode in the intro filmed for Criss Angel Mindfreak. As a philanthropist, Angel created the Believe Foundation 'Believe Anything is Possible', and was awarded the Make-A-Wish Foundation award for most supportive celebrity on May 19, 2010. He was also awarded the foundation's Chris Greicius Celebrity Award in 2007. As of 2016, Angel's business interests made about $70 million in revenues annually. References External links Category:1967 births Category:Living people Category:American magicians Category:American people of Greek descent Category:MNRK Music Group artists Category:Mentalists Category:Prizes for proof of paranormal phenomena Category:People from Hempstead (village), New York Category:Male actors from New York (state) Category:Participants in American reality television series Category:People from East Meadow, New York Category:East Meadow High School alumni Category:Academy of Magical Arts Magician of the Year winners Category:YouTubers from New York (state)
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[ "Criss Angel's first TV special was \"Criss Angel Mindfreak: Postmodern illusionist\" which aired on October 20, 2002.", "The text does not provide specific information on how Criss Angel was received by the public.", "Some of Criss Angel's promo appearances included performing at the release of the new branding for Miller Lite beer in Milwaukee, Wisconsin on the 80th anniversary of Houdini's last performance in that city, and performing an illusion at Ozzfest in 2005.", "Criss Angel was an illusionist who performed various tricks and stunts for his television specials. In addition to performing, he stated that he also liked to be the executive producer, director, creator, and music writer for his TV specials and live performances. Angel also had his own label for the music he wrote and produced.", "The text does not provide specific information on whether Criss Angel's performances and roles were well-liked.", "Some intriguing sections of the article include the description of Criss Angel's various illusions, such as hypnotising passers-by, spontaneously combusting, and making a tarantula emerge from a pedestrian's soda can. Another interesting part is his attempt to update a Houdini underwater trick by attempting to stay in a tank of water for 24 hours, padlocked and restrained. It also mentions his merchandise sales, where he could make up to $50,000 a day." ]
[ "Yes", "No", "No", "No", "Yes", "Yes" ]
C_16dab7caf44f4fb980071052066a2132_1
Elliott Smith
Steven Paul Smith was born at the Clarkson Hospital in Omaha, Nebraska, the only child of Gary Smith, a student at the University of Nebraska Medical Center, and Bunny Kay Berryman, an elementary school music teacher. His parents divorced when he was six months old, and Smith moved with his mother to Duncanville, Texas. Smith later had a tattoo of a map of Texas drawn on his upper arm and said: "I didn't get it because I like Texas, kind of the opposite. But I won't forget about it, although I'm tempted to because I don't like it there."
1991-96: Heatmiser
Smith graduated from Hampshire College in Amherst, Massachusetts in 1991 with a degree in philosophy and political science. "Went straight through in four years", he explained to Under the Radar in 2003. "I guess it proved to myself that I could do something I really didn't want to for four years. Except I did like what I was studying. At the time it seemed like, 'This is your one and only chance to go to college and you had just better do it because some day you might wish that you did.' Plus, the whole reason I applied in the first place was because of my girlfriend, and I had gotten accepted already even though we had broken up before the first day." After he graduated, he "worked in a bakery back in Portland with a bachelor's degree in philosophy and legal theory". While at Hampshire, Smith formed the band Heatmiser with classmate Neil Gust. After Smith graduated from Hampshire, the band added drummer Tony Lash and bassist Brandt Peterson and began performing around Portland in 1992. The group released the albums Dead Air (1993) and Cop and Speeder (1994) as well as the Yellow No. 5 EP (1994) on Frontier Records. They were then signed to Virgin Records to release what became their final album, Mic City Sons (1996). Around this time, Smith and Gust worked a number of odd jobs around Portland, including installing drywall, spreading gravel, transplanting bamboo trees, and painting the roof of a warehouse with heat reflective paint. The pair were also on unemployment benefits for some time, which they considered an "artist grant". Smith had begun his solo career while still in Heatmiser, and the success of his first two releases created distance and tension with his band. Heatmiser disbanded prior to the release of Mic City Sons, prompting Virgin to put the album out inauspiciously through its independent arm, Caroline Records. A clause in Heatmiser's record contract with Virgin meant that Smith was still bound to it as an individual. The contract was later bought out by DreamWorks prior to the recording of his fourth album, XO. CANNOTANSWER
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Steven Paul Smith (August 6, 1969 – October 21, 2003), known professionally as Elliott Smith, was an American musician and singer-songwriter. He was born in Omaha, Nebraska, raised primarily in Texas, and lived much of his life in Portland, Oregon, where he gained popularity. Smith's primary instrument was the guitar, though he also played piano, clarinet, bass guitar, drums, and harmonica. He had a distinctive vocal style, characterized by his "whispery, spiderweb-thin delivery", and often used multi-tracking to create vocal layers, textures, and harmonies. After playing in the rock band Heatmiser for several years, Smith began his solo career in 1994, with releases on the independent record labels Cavity Search and Kill Rock Stars (KRS). In 1997, he signed a contract with DreamWorks Records, for which he recorded his final two albums. Smith rose to mainstream prominence when his song "Miss Misery"—included in the soundtrack for the film Good Will Hunting (1997)—was nominated for the 1998 Academy Award for Best Original Song. Smith was a heavy drinker and drug user, and was diagnosed with attention deficit hyperactivity disorder (ADHD) and depression. His struggles with drugs and mental illness affected his life and work, and often appeared in his lyrics. In 2003, aged 34, he died in Los Angeles, California, from two stab wounds to the chest. The autopsy evidence did not determine whether the wounds were self-inflicted. At the time of his death, Smith was working on his sixth studio album, From a Basement on the Hill, which was posthumously produced and released in 2004. Early life Steven Paul Smith was born on August 6, 1969, at the Methodist Hospital in Omaha, Nebraska, the only child of Gary Smith, a student at the University of Nebraska Medical Center, and Bunny Kay Berryman, an elementary school music teacher. His parents divorced when he was six months old, and Smith moved with his mother to Duncanville, Texas. Smith later had a tattoo of a map of Texas drawn on his upper arm and said: "I didn't get it because I like Texas, kind of the opposite. But I won't forget about it, although I'm tempted to because I don't like it there." Smith endured a difficult childhood and a troubled relationship with his stepfather Charlie Welch. Smith stated he may have been sexually abused by Welch at a young age, an allegation that Welch has denied. He wrote about this part of his life in "Some Song". The name "Charlie" also appears in songs "Flowers for Charlie" and "No Confidence Man." In a 2004 interview, Jennifer Chiba, Smith's partner at the time of his death, said that Smith's difficult childhood was partly why he needed to sedate himself with drugs as an adult: "He was remembering traumatic things from his childhood – parts of things. It's not my place to say what." For much of his childhood, Smith's family was a part of the Community of Christ but began attending services at a local Methodist church. Smith felt that going to church did little for him, except make him "really scared of Hell". In 2001, he said: "I don't necessarily buy into any officially structured version of spirituality. But I have my own version of it." Smith began playing piano at age nine, and at ten began learning guitar on a small acoustic guitar bought for him by his father. At this age he composed an original piano piece, "Fantasy", which won him a prize at an arts festival. Many of the people on his mother's side of the family were non-professional musicians; his grandfather was a Dixieland drummer, and his grandmother sang in a glee club. At fourteen, Smith left his mother's home in Texas and moved to Portland, Oregon, to live with his father, who was then working as a psychiatrist. It was around this time that Smith began using drugs, including alcohol, with friends. He also began experimenting with recording for the first time after borrowing a four-track recorder. At high school, Smith played clarinet in the school band and played guitar and piano; he also sang in the bands Stranger Than Fiction and A Murder of Crows, billed as either Steven Smith or "Johnny Panic". His bandmates included Jason Hornick. He graduated from Lincoln High School as a National Merit Scholar. After graduation, Smith began calling himself "Elliott", saying that he thought "Steve" sounded too much like a "jock" name, and that "Steven" sounded "too bookish". According to friends, he had also used the pseudonym "Elliott Stillwater-Rotter" during his time in the band A Murder of Crows. Biographer S. R. Shutt speculates that the name was either inspired by Elliott Avenue, a street that Smith had lived on in Portland, or that it was suggested by his then-girlfriend. A junior high acquaintance of Smith speculates Smith changed his name so as not to be confused with Steve Smith, the drummer of Journey. Career 1991–1996: Heatmiser In 1991 Smith graduated from Hampshire College in Amherst, Massachusetts with a degree in philosophy and political science. "Went straight through in four years", he explained to Under the Radar in 2003. "I guess it proved to myself that I could do something I really didn't want to for four years. Except I did like what I was studying. At the time it seemed like, 'This is your one and only chance to go to college and you had just better do it because some day you might wish that you did.' Plus, the whole reason I applied in the first place was because of my girlfriend, and I had gotten accepted already even though we had broken up before the first day." After he graduated, he "worked in a bakery back in Portland with a bachelor's degree in philosophy and legal theory". While at Hampshire, Smith formed the band Heatmiser with classmate Neil Gust. After Smith graduated from Hampshire, the band added drummer Tony Lash and bassist Brandt Peterson and began performing around Portland in 1992. The group released the albums Dead Air (1993) and Cop and Speeder (1994) as well as the Yellow No. 5 EP (1994) on Frontier Records. They were then signed to Virgin Records to release what became their final album, Mic City Sons (1996). Around this time, Smith and Gust worked a number of odd jobs around Portland, including installing drywall, spreading gravel, transplanting bamboo trees, and painting the roof of a warehouse with heat reflective paint. The pair were also on unemployment benefits for some time, which they considered an "artist grant". Smith had begun his solo career while still in Heatmiser, and the success of his first two releases created distance and tension with his band. Heatmiser disbanded prior to the release of Mic City Sons, prompting Virgin to put the album out inauspiciously through its independent arm, Caroline Records. A clause in Heatmiser's record contract with Virgin meant that Smith was still bound to it as an individual. The contract was later bought out by DreamWorks prior to the recording of his fourth album, XO. 1994: Roman Candle In the early 1990s, Smith's girlfriend at the time convinced him to send a tape of songs he had recently recorded on a borrowed four-track to Cavity Search Records. Cavity owner Christopher Cooper asked to release the entire album of songs, which surprised Smith, as he was expecting only a deal for a seven-inch record. The album became Smith's release, Roman Candle (1994). Smith said: "I thought my head would be chopped off immediately when it came out because at the time it was so opposite to the grunge thing that was popular ... The thing is that album was really well received, which was a total shock, and it immediately eclipsed [Heatmiser], unfortunately." Smith felt his solo songs were not representative of the music Heatmiser was making: "The idea of playing [my music] for people didn't occur to me... because at the time it was the Northwest—Mudhoney and Nirvana—and going out to play an acoustic show was like crawling out on a limb and begging for it to be sawed off." One of Smith's first solo performances was in Portland at the now-defunct Umbra Penumbra on September 17, 1994. Only three songs from Roman Candle were performed, with the majority of the ten-song set being B-sides, Heatmiser tunes and unreleased tracks. The same year, Smith released a split 7-inch record with Pete Krebs via Slo-Mo Records, contributing the track "No Confidence Man". 1995–1997: Elliott Smith and Either/Or In 1995, Smith's self-titled album was released on Kill Rock Stars; the record featured a style of recording similar to Roman Candle, but with hints of growth and experimentation. Though the majority of the album was recorded by Smith alone, friend and The Spinanes vocalist Rebecca Gates sang harmony vocals on "St. Ides Heaven", and Heatmiser guitarist Neil Gust played guitar on "Single File". Several songs made reference to drugs, but Smith explained that he used the theme of drugs as a vehicle for conveying dependence rather than the songs being about drugs specifically. Looking back, Smith felt that the album's pervasive mood gave him "a reputation for being a really dark, depressed person" and said that he later made a conscious move toward more diverse moods in his music. In 1996, filmmaker Jem Cohen recorded Smith playing acoustic songs for the short film Lucky Three: An Elliott Smith Portrait. Two of these songs would appear on his next album, Either/Or, which was another Kill Rock Stars release. Either/Or came out in 1997 to favorable reviews. The album found Smith venturing further into full instrumentation, with several songs containing bass guitar, drums, keyboards, and electric guitars, all played by Smith. The album title was derived from the two-volume book of the same name by Danish philosopher Søren Kierkegaard, whose works generally deal with themes such as existential despair, angst, death, and God. By this time, Smith's already-heavy drinking was being compounded with use of antidepressants. At the end of the Either/Or tour, some of his close friends staged an intervention in Chicago, but it proved ineffective. Shortly after, Smith relocated from Portland to Jersey City, New Jersey, and later Brooklyn, New York. 1997–98: "Miss Misery" and Academy Award nomination In 1997, Smith was selected by director and fellow Portland resident Gus Van Sant to be a part of the soundtrack to his film, Good Will Hunting. Smith recorded an orchestral version of "Between the Bars" with composer Danny Elfman for the movie. Smith also contributed a new song, "Miss Misery", and three previously released tracks ("No Name #3", from Roman Candle, and "Angeles" and "Say Yes", from Either/Or). The film was a commercial and critical success, and Smith was nominated for an Academy Award for "Miss Misery". Not eager to step into the limelight, he agreed to perform the song at the ceremony only after the producers informed him that if he was unwilling to perform, they would choose someone else to play it. On March 5, 1998, Smith made his network television debut on Late Night with Conan O'Brien performing "Miss Misery" solo on acoustic guitar. A few days later, wearing a white suit, he played an abridged version of the song at the Academy Awards ceremony, accompanied by the house orchestra. James Horner and Will Jennings won for best song with "My Heart Will Go On" (sung by Celine Dion) from the film Titanic. Smith did not voice disappointment about not winning. He described the experience as surreal, and said: "The Oscars was a very strange show, where the set was only one song cut down to less than two minutes, and the audience was a lot of people who didn't come to hear me play. I wouldn't want to live in that world, but it was fun to walk around on the moon for a day." 1998–2000: XO and Figure 8 In 1998, after the success of Either/Or and "Miss Misery", Smith signed to a bigger record label, DreamWorks Records. Around the same time, Smith fell into depression, speaking openly of considering suicide, and on at least one occasion made a serious attempt at ending his own life. While in North Carolina, he became severely intoxicated and ran off a cliff. He landed on a tree, which badly impaled him but broke his fall. When questioned about his suicide attempt, he told an interviewer, "Yeah, I jumped off a cliff, but let's talk about something else." Christopher Cooper, head of Cavity Search Records (which released Roman Candle), said about this time in Smith's life, "I talked him out of thinking that he wanted to kill himself numerous times when he was in Portland. I kept telling him that he was a brilliant man, and that life was worth living, and that people loved him." Pete Krebs also agreed: "In Portland we got the brunt of Elliott's initial depression... Lots of people have stories of their own experiences of staying up with Elliott 'til five in the morning, holding his hand, telling him not to kill himself." Smith's first release for DreamWorks was later that year. Titled XO, it was conceived and developed while Smith wrote it out over the winter of 1997/1998, night after night seated at the bar in Luna Lounge. It was produced by the team of Rob Schnapf and Tom Rothrock. XO also contained some instrumentation from Los Angeles musicians Joey Waronker and Jon Brion. It contained a more full-sounding, baroque pop sound than any of his previous efforts, with songs featuring a horn section, Chamberlins, elaborate string arrangements, and even a drum loop on the song "Independence Day". His familiar double-tracked vocal and acoustic guitar style were still apparent while his somewhat personal lyrical style survived. The album went on to peak at number 104 on the Billboard 200 and number 123 on the UK Album Charts, while selling 400,000 copies (more than double that of each of his two Kill Rock Stars releases), becoming the best-selling release of his career. Smith's backing band during most of this period was the Portland-based group Quasi, consisting of former bandmate Sam Coomes on bass guitar and Coomes's ex-wife Janet Weiss on drums. Quasi also performed as the opening act at many shows on the tour, with Smith sometimes contributing bass guitar, guitar, or backing vocals. On October 17, 1998, Smith appeared on Saturday Night Live and performed "Waltz No. 2 (XO)". His backing band for this appearance was John Moen, Jon Brion, Rob Schnapf, and Sam Coomes. In response to whether the change to a bigger record label would influence his creative control, Smith said, "I think despite the fact that sometimes people look at major labels as simply money-making machines, they're actually composed of individuals who are real people, and there's a part of them that needs to feel that part of their job is to put out good music." Smith also claimed in another interview that he never read his reviews for fear that they would interfere with his songwriting. It was during this period that Smith appeared on Dutch television in 1998 and provided a candid interview in which he spoke of his assessment of his music career until that point: Yeah, I don't know. I mean, I mostly only know things are different because people ask me different questions, but I don't feel like things are very changed. I mean, I still, I do the same things that I did before … I think about the same things, so … I'm the wrong kind of person to be really big and famous. As part of the Dutch television special, Smith played live versions of "Waltz No. 2 (XO)", "Miss Misery", and "I Didn't Understand"—the latter two songs were performed solely on piano, while the first song was cut short by Smith, as he explained: "I had to stop it because it's… you know, what's the point of playing a song badly? It'd be better to play it and mean it, than to just walk through it." Smith relocated from Brooklyn to Los Angeles in 1999, taking up residence at a cabin in the Silver Lake section of town, where he would regularly play intimate, acoustic shows at local venues like Silverlake Lounge. He also performed in Toronto in April that year. In the fall, his cover of the Beatles' "Because" was featured in the end credits of DreamWorks' Oscar-winning drama American Beauty, and appeared on the film's soundtrack album. The final album Smith completed, Figure 8, was released on April 18, 2000. It featured the return of Rothrock, Schnapf, Brion, and Waronker and was partially recorded at Abbey Road Studios in England, with an obvious Beatles influence in the songwriting and production. The album garnered favorable reviews, and peaked at number 99 on the Billboard 200 and 37 on the UK Album Charts. The album received praise for its power pop style and complex arrangements, described as creating a "sweeping kaleidoscope of layered instruments and sonic textures". However, some reviewers felt that Smith's trademark dark and melancholy songwriting had lost some of its subtlety, with one reviewer likening some of the lyrics to "the self-pitying complaints of an adolescent venting in his diary". Album art and promotional pictures from the period showed Smith looking cleaned-up and put-together. An extensive tour in promotion of the record ensued, book-ended by television appearances on Late Night with Conan O'Brien and the Late Show with David Letterman. However, Smith's condition began to deteriorate as he had become addicted to heroin either towards the end of or just after the Figure 8 tour. 2001–2002: Addiction and scrapped recordings Around the time he began recording his final album, Smith began to display signs of paranoia, often believing that a white van followed him wherever he went. He would have friends drop him off for recording sessions almost a mile away from the studio, and to reach the location, he would trudge through hundreds of yards of brush and cliffs. He started telling people that DreamWorks was out to get him: "Not long ago my house was broken into, and songs were stolen off my computer which have wound up in the hands of certain people who work at a certain label. I've also been followed around for months at a time. I wouldn't even want to necessarily say it's the people from that label who are following me around, but it was probably them who broke into my house." During this period, Smith hardly ate, subsisting primarily on ice cream. He would go without sleeping for several days and then sleep for an entire day. A follow-up to Smith's 2000 album was originally planned to happen with Rob Schnapf, but their sessions were abandoned. Smith also began distancing himself from manager Margaret Mittleman, who had handled him since the Roman Candle days. He finally began recording a new album with only himself and Jon Brion as producers sometime during 2001. The pair had recorded a substantial amount of music for the album when Brion stopped the sessions because of Smith's struggle with substance use disorder. Their friendship promptly ended, and Smith scrapped all of their work until that point. He later said "There was even a little more than half of a record done before this new one that I just scrapped because of a blown friendship with someone that made me so depressed I didn't want to hear any of those songs. He was just helping me record the songs and stuff, and then the friendship kind of fell apart all of a sudden one day. It just made it kind of awkward being alone in the car listening to the songs." When Brion sent a bill for the abandoned sessions to DreamWorks, executives Lenny Waronker and Luke Wood scheduled a meeting with Smith to determine what went wrong with the sessions. Smith complained of intrusion upon his personal life from the label, as well as poor promotion for the Figure 8 album. The talks proved fruitless, and soon after, Smith sent a message to the executives, stating that if they did not release him from his contract, he would take his own life. In May 2001, Smith set out to re-record the album, mostly on his own, but with some help from David McConnell of Goldenboy. McConnell told Spin that, during this time, Smith would smoke over $1,500 worth of heroin and crack per day, would often talk about suicide, and on numerous occasions tried to give himself an overdose. Steven Drozd of The Flaming Lips and Scott McPherson of Sense Field played a few drum tracks, Sam Coomes contributed some bass guitar and backing vocals, but almost every other instrument was recorded by Smith. Smith's song "Needle in the Hay" was included in Wes Anderson's 2001 dark comedy film The Royal Tenenbaums during a suicide attempt scene. Smith was originally supposed to contribute a cover of The Beatles' "Hey Jude" for the film, but when he failed to do so in time, Anderson had to use The Mutato Muzika Orchestra's version of the track instead. Anderson would later say that Smith "was in a bad state" at the time. Smith's live performances during 2001 and 2002 were infrequent, typically in the Pacific Northwest or Los Angeles. A review of his December 20, 2001, show at Portland's Crystal Ballroom expressed concern over his appearance and performance: his hair was uncharacteristically greasy and long, his face was bearded and gaunt, and during his songs he exhibited alarming signs of "memory-loss and butterfingers". At another performance in San Francisco that month, the audience began shouting out lyrics when Smith could not remember them. In the first of only three concerts performed in 2002, Smith co-headlined Northwestern University's A&O Ball with Wilco on May 2 in Chicago. He was onstage for nearly an hour but failed to complete half of the songs. He claimed that his poor performance was due to his left hand having fallen asleep and told the audience it felt "like having stuff on your hand and you can't get it off". Smith's performance was reviewed as "undoubtedly one of the worst performances ever by a musician" and an "excruciating […] nightmare". A reporter for the online magazine Glorious Noise wrote, "It would not surprise me at all if Elliott Smith ends up dead within a year." On November 25, 2002, Smith was involved in a brawl with the Los Angeles Police Department at a concert where The Flaming Lips and Beck were performing. Smith later said he was defending a man he thought the police were harassing. The officers allegedly beat and arrested him and girlfriend Jennifer Chiba. The two spent the night in jail. Smith's back was injured in the incident, causing him to cancel a number of shows. Wayne Coyne, lead singer of The Flaming Lips and a friend of Smith's, stated concern over Smith's appearance and actions, saying that he "saw a guy who had lost control of himself. He was needy, he was grumpy, he was everything you wouldn't want in a person. It's not like when you think of Keith Richards being pleasantly blissed out in the corner." 2003: Reemergence and From a Basement on the Hill Smith had attempted to go to rehab several times, but found that he was unable to relate to the popular treatments for people with substance use disorder that used a twelve-step program basis for treatment. "I couldn't do the first step […] I couldn't say what you were supposed to say and mean it." In 2002, Smith went to the Neurotransmitter Restoration Center in Beverly Hills to start a course of treatment for substance use disorder. In one of his final interviews, he spoke about the center, "What they do is an IV treatment where they put a needle in your arm, and you're on a drip bag, but the only thing that's in the drip bag is amino acids and saline solution. I was coming off of a lot of psych meds and other things. I was even on an antipsychotic, although I'm not psychotic." Two sold-out solo acoustic concerts at Hollywood's Henry Fonda Theater, on January 31 and February 1, 2003, saw Smith attempting to reestablish his credibility as a live performer. Before the show, Smith scrawled "Kali – The Destroyer" (the Hindu goddess associated with time and change) in large block letters with permanent ink on his left arm, which was visible to the crowd during the performance. On several songs, he was backed by a stripped-down drum kit played by Robin Peringer (of the band 764-HERO), and members of opening band Rilo Kiley contributed backing vocals to one song. Near the end of the first show, the musician responded for several minutes after a heckler yelled "Get a backbone." Smith played two more Los Angeles concerts during 2003, including The Derby in May and the L.A. Weekly Music Awards in June. After his 34th birthday on August 6, 2003, he gave up alcohol. Director Mike Mills had been working with Smith during his final years and described Smith's troubles and apparent recovery: "I gave the script to him, then he dropped off the face of the earth […] he went through his whole crazy time, but by the time I was done with the film, he was making From a Basement on the Hill and I was shocked that he was actually making music." With things improving for Smith after several troubled years, he began experimenting with noise music and worked on his girlfriend Jennifer Chiba's iMac with the intent of learning how to record with computers, noting that it was the only method with which he was still unfamiliar. Smith jokingly labeled his experimental way of recording "The California Frown" (a play on the Beach Boys' "California Sound"). He said of the songs, "They're kind of more noisy with the pitch all distorted. Some are more acoustic, but there aren't too many like that. Lately I've just been making up a lot of noise." He was also in the process of recording songs for the Thumbsucker soundtrack, including Big Star's "Thirteen" and Cat Stevens's "Trouble". In August 2003, Suicide Squeeze Records put out a limited-edition vinyl single for "Pretty (Ugly Before)", a song that Smith had been playing since the Figure 8 tour. Smith's final show was at Redfest at the University of Utah in Salt Lake City on September 19, 2003. The final song he played live was "Long, Long, Long" by the Beatles. 2004–present: Posthumous releases From a Basement on the Hill, almost four years in production, was released on October 19, 2004, by ANTI- Records (a part of Epitaph Records). With Smith's family in control of his estate, they chose to bring in Rob Schnapf and Smith's ex-girlfriend Joanna Bolme to sort through the recordings and mix the album. Although Smith had voiced his desire for it to be a double album or a regular album with a bonus disc, it was not clear whether it would have been possible for him to release it that way had he completed it. As completed by Schnapf and Bolme, it was released as a 15-track single album. Many songs from the sessions (later leaked onto the Internet) were not included, such as "True Love", "Everything's OK", "Stickman", and "Suicide Machine" (a reworking of the Figure 8-era unreleased instrumental "Tiny Time Machine"). There has been unconfirmed speculation that Smith's family made the decision not to include some songs on the record due to their lyrical content, although songs such as "King's Crossing" that deal with darker subjects did make the album. Elliott Smith and the Big Nothing, a biography by Benjamin Nugent, was rushed to publication shortly after From a Basement on the Hill, shortly after the first anniversary of his death. Smith's family, as well as Joanna Bolme, Jennifer Chiba, Neil Gust, Sam Coomes, and Janet Weiss, all declined to be interviewed. It contained interviews with Rob Schnapf, David McConnell, and Pete Krebs. The book received mixed reviews, with Publishers Weekly remarking that while "Nugent manages to patch together the major beats of Smith's life, he can offer little meaningful insight". In 2005, a tribute album, A Tribute to Elliott Smith, was released. It featured various bands performing tributes to Smith. On May 8, 2007, a posthumous compilation album, New Moon, was released by Kill Rock Stars. It contained 24 songs recorded by Smith between 1994 and 1997 during his tenure with the label, songs that were not included on albums, as well as a few early versions and previously released B-sides. In the United States, the album debuted at number 24 on the Billboard 200, selling about 24,000 copies in its first week. The record received favorable reviews and was Metacritic's 15th best-reviewed album of 2007. A portion of the proceeds from album sales were to go to Outside In, a social service agency for low-income adults and homeless youth in Portland, Oregon. On October 25, 2007, a book titled Elliott Smith was released by Autumn de Wilde, which consists of photographs, handwritten lyrics, and "revealing talks with Smith's inner circle". De Wilde was responsible for the Figure 8 sleeve art, making a landmark and de facto Smith memorial of the Solutions Audio mural. A five-song CD featuring previously unreleased live recordings of Smith performing acoustically at Largo in Los Angeles was included in the release. Following Smith's death, his estate licensed his songs for use in film and television projects such as One Tree Hill, The Girl Next Door, Georgia Rule, and Paranoid Park. In a March 2009 interview, Larry Crane said that Smith's estate was defunct and all rights previously held by Smith are now in the control of his parents. Crane went on to say that his parents own the rights to Smith's high school recordings, some of the Heatmiser material, all solo songs recorded until his 1998 record deal with DreamWorks Records, and From a Basement on the Hill. DreamWorks Records was acquired by Universal Music Group in 2003, and Interscope Records currently "owns all studio and live recording from Jan 1998 to his passing, except for the songs on From a Basement on the Hill." In December 2009, Kill Rock Stars announced that it had obtained the rights to re-release Roman Candle and From a Basement on the Hill, originally released by Cavity Search and ANTI-, respectively. Roman Candle would be remastered by Larry Crane. Along with the press release, Kill Rock Stars posted a previously unreleased track of Smith's, titled "Cecilia/Amanda", as a free download. Roman Candle and From a Basement on the Hill were re-released on April 6, 2010, in the US. A greatest hits compilation titled An Introduction to... Elliott Smith was released in November 2010 by Domino Records (UK) and Kill Rock Stars (US). In August 2013, there was a memorial concert in Portland, Oregon and three other cities. Attending the Portland show were several musicians Smith had performed with, friends, and an appearance by film director Gus Van Sant. In 2014, the director Paul Thomas Anderson posted a video of the pilot episode for a show called The Jon Brion Show, featuring an acoustic set by Smith including accompaniment by Brion and pianist Brad Mehldau. On July 17, 2015, a documentary about Smith's life titled Heaven Adores You saw a limited theatrical release. The documentary enlisted a number of close friends and family members, as well as hours of audio interviews throughout Smith's short career. The film was directed by Nickolas Rossi and released through Eagle Rock Entertainment. Heaven Adores You received positive reviews from Consequence of Sound, The Guardian, and The Hollywood Reporter. On August 6, 2019 (what would have been Smith's 50th birthday), UMe released digital deluxe editions of the two albums XO and Figure 8. The new edition of XO has nine added tracks, including Smith's Oscar-nominated Good Will Hunting song "Miss Misery." Seven tracks have been added to Figure 8. The digital deluxe edition includes "Figure 8"—Smith's cover of the "Schoolhouse Rock!" song—which was originally released only on the Japanese edition of the album. The final track on the new Figure 8 edition is Smith's cover of the Beatles’ "Because", originally featured on the 1999 American Beauty soundtrack. In May 2021, Smith's life and work were the subject of BBC Radio 4's Great Lives. Death Smith died on October 21, 2003, at the age of 34 from two stab wounds to the chest. At the time of the stabbing, he was at his Lemoyne Street home in Echo Park, California, where he lived with his girlfriend, Jennifer Chiba. According to Chiba, the two were arguing, and she locked herself in the bathroom to take a shower. Chiba heard him scream and upon opening the door saw Smith standing with a knife in his chest. She pulled the knife out, after which he collapsed and she called 9-1-1 at 12:18 pm. Smith died in the hospital, with the time of death listed as 1:36 p.m. A possible suicide note, written on a sticky note, read: "I'm so sorry—love, Elliott. God forgive me." The coroner misspelled Smith's first name in the autopsy report, omitting the second 't'. While Smith's death was reported as a suicide, the official autopsy report released in December 2003 left open the question of homicide. Smith's remains were cremated, and his ashes were divided between his mother, father, and half-sister Ashley. A small memorial service for family and friends was held at his father's home in Portland, although Smith's "ashes weren't on hand because the coroner wouldn't release them." The status or location of Smith's ashes has not been made public. According to Pitchfork, record producer Larry Crane reported on his Tape Op message board that he had planned to help Smith mix his album in mid-November. Crane wrote, "I hadn't talked to Elliott in over a year. His girlfriend, Jennifer, called me [last week] and asked if I'd like to come to L.A. and help mix and finish [Smith's album]. I said 'yes, of course', and chatted with Elliott for the first time in ages. It seems surreal that he would call me to finish an album and then a week later kill himself. I talked to Jennifer this morning, who was obviously shattered and in tears, and she said, 'I don't understand, he was so healthy. The coroner reported that no traces of illegal substances or alcohol were found in Smith's system at the time of his death but did find prescribed levels of antidepressant, anxiolytic, and ADHD medications, including clonazepam, mirtazapine, atomoxetine, and amphetamine. There were no hesitation wounds, which are typically found on a victim of suicide by self-infliction. Due to the inconclusive autopsy ruling, the Los Angeles Police Department's investigation remains open. Reaction Shortly after Smith's death, a fan memorial was initiated outside Solutions Audio (4334 Sunset Boulevard, Los Angeles, California), the site at which the cover of the Figure 8 album was shot. Farewell messages to Smith were written on the wall, and flowers, photos, candles, and empty bottles of alcohol mentioned in Smith's songs were left. Since then, the wall has been a regular target for graffiti but is regularly restored by fans. Memorial concerts were held in several cities in the United States and the United Kingdom. A petition was soon put forth with intent to make part of the Silver Lake area a memorial park in Smith's honor. It received over 10,000 signatures, but no plans to establish the park have been announced. A memorial plaque located inside Smith's former high school, Lincoln High, was hung in July 2006. The plaque reads: "I'm never going to know you now, but I'm going to love you anyhow" referencing Smith's song "Waltz No. 2 (XO)". Since Smith's death, many musical acts have paid him tribute. Songs in tribute to, or about, Smith have been released by Pearl Jam ("Can't Keep" on the Live at Benaroya Hall concert album); Sparta ("Bombs and Us"); Third Eye Blind ("There's No Hurry to Eternity", originally titled "Elliott Smith", on the Live from Nowhere Near You, Volume Two: Pacific Northwest compilation); 9 Horses (“listening to the Elliott Smith discography in reverse order”, on the album Perfectest Herald); Ben Folds ("Late" on Songs for Silverman); Brad Mehldau ("Sky Turning Grey (for Elliott Smith)" on Highway Rider); Rilo Kiley ("It Just Is", and "Ripchord" from the album More Adventurous); Lil B's 'The Worlds Ending'; Rhett Miller ("The Believer" on The Believer); Earlimart ("Heaven Adores You" on Treble and Tremble); Joan As Police Woman ("We Don't Own It" on Real Life); Phoebe Bridgers ("Punisher" on Punisher); and Pete Yorn ("Bandstand in the Sky" on Nightcrawler, a song jointly dedicated to Jeff Buckley). Several tribute albums have also been released since his death, including Christopher O'Riley's 2006 Home to Oblivion: An Elliott Smith Tribute, with 18 instrumental covers, The Portland Cello Project's 2014 to e.s., covering six of his songs, Seth Avett and Jessica Lea Mayfield's 2015 Seth Avett and Jessica Lea Mayfield Sing Elliott Smith, with 12 covers incorporating Smith's musical style and their own, and To Elliott, from Portland containing covers by a number of Portland bands. On July 30, 2004, Chiba filed a lawsuit against the Smith family for 15% of his earnings (over $1 million), claiming that she and Smith lived as "husband and wife", that Smith had pledged to take care of her financially for the rest of her life, and that she worked as his manager and agent from around 2000 until his death. A state labor commissioner ruled her claim as manager to be invalid, as she had worked as an "unlicensed talent agent" under California's Talent Agencies Act. The case made it to the California appellate court in October 2007, but the decision was affirmed 2–1. In an October 2013 Spin magazine article—a reflection at the ten-year anniversary of Smith's death—drummer McPherson stated that Smith was "a sick man without his medicine" during the last 31 days of his life, when he was not only sober, but had also given up red meat and sugar. In the same article, Chiba recalls thinking, "Okay, you're asking a lot of yourself. You're giving up a lot at once." Chiba further explained that "anyone who understands drug abuse knows that you use drugs to hide from your past or sedate yourself from strong, overwhelming feelings. So when you're newly clean and coming off the medications that have been masking all those feelings, that's when you're the most vulnerable." Writing for Spin, Liam Gowing also encountered a local musician who claimed Smith had said to him: "The people who try to intervene, they're good people who genuinely care about you. But they don't know what you're going through. Do what you need to do." According to the musician, Smith had adamantly dissuaded him from suicide. Musical style and influences Smith respected and was inspired by many artists and styles, including the Beatles, Big Star, the Clash, the Who, Led Zeppelin, the Kinks, Pink Floyd, Rush, Bauhaus, Elvis Costello, Oasis, Television, Motown and flamenco records, AC/DC, Hank Williams, and Scorpions, Smith claimed to listen exclusively to selected albums (such as The Marble Index by Nico) for months. Sean Croghan, a former roommate of Smith's, said that Smith "listened almost exclusively to slow jams" in his senior year at college. Smith also took inspiration from novels, religion, and philosophy. He liked classic literature, especially Samuel Beckett, T. S. Eliot, and Russian novelists such as Fyodor Dostoyevsky. Smith mentioned his admiration for Bob Dylan in several interviews, citing him as an early influence. He once commented: "My father taught me how to play 'Don't Think Twice, It's All Right'. I love Dylan's words, but even more than that, I love the fact that he loves words." Smith covered Dylan's "When I Paint My Masterpiece" several times in concert. Smith has also been compared to folk singer Nick Drake, due to his fingerpicking style and vocals. Darryl Cater of AllMusic called references to "the definitive folk loner" Drake "inevitable", and Smith's lyrics have been compared to those in Drake's minimalist and haunting final album. Smith was a dedicated fan of the Beatles (as well as their solo projects), once noting that he had been listening to them frequently since he was about "four years old" and also claimed that hearing The White Album was his original inspiration to become a musician. In 1998, Smith contributed a cover of the Beatles song "Because" to the closing credits and soundtrack of the film American Beauty. Although this was the only Beatles song that Smith ever officially released, he is known to have recorded many others, ("Revolution", "I'll Be Back" and "I'm So Tired") and played many songs by both the band and the members' solo projects at live concerts. Smith said that transitions were his favorite part of songs and that he preferred to write broader, more impressionistic music closer to pop rather than folk music. Smith compared his songs to stories or dreams, not purely confessional pieces that people could relate to. When asked about the dark nature of his songwriting and the cult following he was gaining, Smith said he felt it was merely a product of his writing songs that were strongly meaningful to him rather than anything contrived. Larry Crane, Smith's posthumous archivist, has said that he was surprised at the amount of "recycling of musical ideas" he encountered while cataloging Smith's private tapes: "I found songs recorded in high school reworked 15 years on. Lyrics became more important to him as he became older, and more time was spent working on them." Legacy Since his death, Smith has been regarded as one of the most influential artists in indie music. Many artists have mentioned Smith as their influence, such as Frank Ocean, Beck, Phoebe Bridgers, Julien Baker, Adrianne Lenker, and Haim's lead vocalist Danielle Haim. Discography Studio albums Roman Candle (1994) Elliott Smith (1995) Either/Or (1997) XO (1998) Figure 8 (2000) Posthumous studio albums From a Basement on the Hill (2004) Compilation albums New Moon (2007) See also List of unsolved deaths References Bibliography External links Official Cavity Search Records website Official Kill Rock Stars website Elliott Smith collection at the Internet Archive's live music archive Keep the Things You Forgot: An Elliott Smith Oral History Category:1969 births Category:2003 deaths Category:20th-century American guitarists Category:20th-century American singers Category:20th-century American writers Category:21st-century American singers Category:21st-century American writers Category:Alternative rock guitarists Category:Alternative rock singers Category:American feminists Category:American indie rock musicians Category:American male guitarists Category:American male singer-songwriters Category:American rock guitarists Category:American tenors Category:Anti- (record label) artists Category:Caroline Records artists Category:Cavity Search Records artists Category:Deaths by stabbing in California Category:Domino Recording Company artists Category:DreamWorks Records artists Category:Feminist musicians Category:Fingerstyle guitarists Category:Guitarists from Los Angeles Category:Guitarists from Nebraska Category:Guitarists from New York City Category:Guitarists from Oklahoma Category:Guitarists from Oregon Category:Guitarists from Texas Category:Hampshire College alumni Category:Indie folk musicians Category:Kill Rock Stars artists Category:Lincoln High School (Portland, Oregon) alumni Category:Male feminists Category:Musicians from Brooklyn Category:Musicians from Omaha, Nebraska Category:Musicians from Portland, Oregon Category:People from Duncanville, Texas Category:People from Echo Park, Los Angeles Category:People with mood disorders Category:Singers from Los Angeles Category:Singers from New York City Category:Singer-songwriters from Texas Category:Suicide Squeeze Records artists Category:20th-century American male singers Category:Singer-songwriters from California Category:Singer-songwriters from New York (state) Category:Singer-songwriters from Oklahoma Category:Singer-songwriters from Nebraska Category:Unsolved deaths in the United States Category:Virgin Records artists
[ { "text": "This list of unsolved deaths includes well-known cases where:\n The cause of death could not be officially determined.\n The person's identity could not be established after they were found dead.\n The cause is known, but the manner of death (homicide, suicide, accident, overdosing) could not be determined.\n Different official investigations have come to different conclusions.\n\nCases where there are unofficial alternative theories about deaths – the most common theory being that the death was a homicide – can be found under: Death conspiracy theories.\n\nUnsolved murders\n\nUnsolved deaths\n\nAncient\n Cleopatra (39), the last ruler of Ptolemaic Egypt, is believed to have died in August 30 BCE in Alexandria. According to popular belief, Cleopatra died by suicide by allowing an asp (Egyptian cobra) to bite her. According to Greek and Roman historians, Cleopatra poisoned herself using either a toxic ointment or sharp implement such as a hairpin. Primary source accounts are derived mainly from the works of the ancient Roman historians Strabo, Plutarch, and Cassius Dio. Modern scholars debate the validity of ancient reports involving snakebites as the cause of death and whether she was murdered. Some academics hypothesize that her Roman political rival Octavian forced her to commit suicide in the manner of her choosing. The location of Cleopatra's tomb is unknown.\n Amcotts Moor Woman is the name of a bog body of a female who lived during 200–400 CE that was discovered in a bog close to Amcotts, Lincolnshire, England, in 1747. Almost no details are known about her and the cause of her death remains a mystery.\n The Younger Lady (25–35), is the informal name given to the mummy of a woman who lived during the Eighteenth Dynasty of Egypt, and was discovered in the Egyptian Valley of the Kings in tomb KV35 by archaeologist Victor Loret in 1898. The cause of her death is unknown. Through recent DNA tests, this mummy has been identified as the mother of the pharaoh Tutankhamun and a daughter of pharaoh Amenhotep III and Queen Tiye. Early speculation that these were the remains of Queen Nefertiti has been disproven.\n Windeby I (16), is the name given to the bog body in 1952 that was preserved in a peat bog close to Windeby located in Northern Germany containing the remains of a teenage male who lived between 41 BCE and 118 CE. His death cause is disputed and unknown.\n Zoroaster (76), was an ancient male Iranian prophet who lived during 1000 BCE and who was said to perform miracles; he founded the religion now known as Zoroastrianism. Zoroaster's cause of death is unknown; it is said that Zoroaster was killed by invading Turanians around the time that he was last seen, but this was never confirmed.\n The Hasanlu Lovers are the remains of two humans found in Teppe Hasanlu, Iran, in 1972 who are thought to have died . While it has been suggested that they died from asphyxiation, no definitive cause of death has been established.\n Damendorf Man is a German bog body discovered in 1900 in the See Moor at the village of Damendorf in Schleswig-Holstein, Germany, who was said to have died in 300 BCE. Only his hair, skin, and nails and his few clothes were preserved, along with traces of some bones. He was found with a leather belt, shoes, and a pair of breeches. The man's identity and cause of death are unknown.\n The Girl of the Uchter Moor (17–19), who is also known as \"Moora\", is the name given to the remains of a female bog body discovered in the marshland near Uchte, Germany, in 2000. She lived during the Iron Age and died between 764 and 515 BCE; the cause of her death is unknown.\n The Borremose bodies are three bog bodies that were found in 1946 and 1948 in Himmerland, Denmark, in the Borremose peat bog. They have been dated to have lived in the Nordic Bronze Age during 770 BCE. The causes of their deaths are unknown.\n The Saltmen are the remains of six men who lived during the remainder of the Achaemenid Dynasty (550–330 BCE) that were found in 2010 in the salt mines in Chehrabad on the southern part of the Hamzehlu village in the Zanjan Province in Iran. Though it is known that most of them were accidentally killed by the collapse of galleries where they worked, the causes of the deaths of the other saltmen remain unknown.\n Alexander the Great (32), died in 323 BCE after a short illness. Exactly what the illness was is a subject of debate; however, it is known that he was a heavy drinker throughout his life.\n The Weerdinge Men were two bog bodies found naked in the southern part of Bourtanger Moor in Drenthe in the Netherlands in 1904. Though one of the men is known to have been murdered, the cause of the other man's death is unknown. They died between 160 BCE and 220 CE.\n In October 2018 human remains were found in Rome that were thought to possibly be the remains of Emanuela Orlandi and Mirella Gregori, who disappeared from Rome between 7 May 1983 and 22 June 1983. Early reports said the remains could have belonged to a female, but tests results that were released on 1 February 2019 showed they were of an ancient Roman man who died between 190 and 230 CE whose identity and cause of death are unknown.\n Orgetorix, 58 BCE, was a wealthy aristocrat among the Helvetii, a Celtic-speaking people residing in what is now Switzerland during the consulship of Julius Caesar of the Roman Republic. He was trying to seize Gaul and for this was put on trial. After this his death cause is disputed.\n Apollonius of Tyana (100), 100 CE, was a Greek Neopythagorean philosopher from the town of Tyana in the Roman province of Cappadocia in Anatolia. It was said that he was able to disappear and immediately reappear in another place. The circumstances of his death remain a mystery.\n\nMedieval\n The Lovers of Modena are two male skeletons found in Rome, Italy in 2009, who are thought to have lived between the 4th and 6th-century CE. Their cause of death is unknown.\n Princess Yongtai (15–16), 701. In both the Old Book of Tang and New Book of Tang, it is recorded that she was executed by Empress Wu Zetian with her brother and husband because of talking about the gossips about the two officials Zhang Yizhi and Zhang Changzong, who were also the lovers of Empress Wu Zetian. However, from her epitaph, it was said she was pregnant while she died. From a piece of her pelvic bone, it has been presumed that she died from childbirth, because her pelvis seems to be smaller than other women at the same age. It is also suspected that she went into shock on hearing the news that her brother and husband had been executed, and it caused a fatal miscarriage.\n Emperor Taizu of Song (49), the first emperor of Song Dynasty, died in 976. There are no records about how he died. However, his younger brother was granted the throne due to the fact that he had two grown sons. There is a folk story \"shadows by the candle and sounds from an axe\" possibly indicating that he was murdered by his brother, but it may also have been a suicide.\n Roopkund is a high altitude glacial lake in the Uttarakhand state of India. It lies in the lap of Trishul massif, located in the Himalayas. It is widely known for the hundreds of ancient human skeletons found at the edge of the lake. The human skeletal remains are visible at its bottom when the snow melts. Research generally points to a semi-legendary event where a group of people were killed in a sudden, violent hailstorm in the 9th century. Studies placed the time of mass death around the 9th century CE (1,200 years old) and second group of skeletons were dated to 19th century CE. The skeletons identities are unknown, but radiocarbon dating suggests that the older remains were deposited over an extended period or time, while the remains of the younger group were deposited during a single event.\n King William II of England (43–44), 1100, was killed by an arrow while hunting; it may or may not have been an accident.\nPieces of a human skull that were found on 12 August 2006 by a farmer in a field south of Ritzville were thought to be that of Sofia Juarez (4), who disappeared on 4 February 2003 After being examined they were concluded to around 600 years old dating back to roughly 1403 and were determined not to be those of Juarez. Whom they belonged to and cause of death remains unknown.\n Margaret Hanmer (49–50), 1420, was the wife of Owain Glyndŵr; her death was never recorded and her body was never found.\n Agnès Sorel (28), 1450, was Charles VII of France's chief royal mistress, having four daughters with him. Sorel fell ill while pregnant with their 4th daughter, and after giving birth, died on 9 February 1450 from causes that are disputed.\n\nEarly modern\n The Lovers of Cluj-Napoca (30s), a nickname given to two skeletons found in a former Dominican convent in Cluj-Napoca, Romania in 2013, are thought to have lived between 1450 and 1550. Their exact causes of death are unclear.\n Kwäday Dän Ts'ìnchi (17–20), 1450–1700, also known as \"The Canadian Iceman\" is a naturally mummified body found by a group of hunters in 1999 in the Tatshenshini-Alsek Park in British Columbia, Canada. His death cause is unknown.\nHenry Holland, 3rd Duke of Exeter (45), a Lancastrian while sailing through the English channel in September 1475 died after mysteriously falling overboard and drowning. Though there are different theories to what happened, none were ever proved to be true.\n Regiomontanus (40), whose real name was \"Johannes Müller von Königsberg\" was a astrologer, mathematician, and astronomer of the German Renaissance that was active in countries in Europe. He was thought to have died from the plague on 6 July 1476, but this is unknown for sure.\n Princes in the Tower, used to refer to Edward V, King of England and Richard of Shrewsbury, Duke of York who disappeared in the summer of 1483. In 1674, workmen at the Tower dug up a wooden box containing two small human skeletons. The bones were found in a box under the staircase in the Tower of London. The bones were widely accepted at the time as those of the princes, but this has not been proven and is far from certain. King Charles II had the bones buried in Westminster Abbey, where they remain.\n Amy Robsart (28), 1560, was the first wife of Lord Robert Dudley, favourite of Queen Elizabeth I of England. She is primarily known for her death by falling down a flight of stairs, the circumstances of which have often been regarded as suspicious.\n The Gunnister Man are the bog body remains of man found in a peat bog close to the junction of the A970 road located in Gunnister, Shetland, Scotland by two Shetlanders. The man had lived in the 17th and early 18th century and how he died is unknown.\n Cornelia Zangheri Bandi (66), was an Italian noblewoman whose death on 15 March 1731 may have been a possible case of spontaneous human combustion. But the case has never been proven, with the true cause of death remaining unknown.\n Wolfgang Amadeus Mozart (35), composer, died on 5 December 1791. The circumstances of his death have attracted much research and speculation, as it remains unclear whether he died from disease or poisoning. There have also been conspiracy theories.\n\n19th century\n\n Meriwether Lewis (35), an American explorer who helped explore territory bought during the Louisiana Purchase, was found dead with multiple gunshot wounds in an inn along the Natchez Trace in 1809, a nature trail in Tennessee. Though it was originally declared a suicide, historians debate whether it was murder or suicide due to the nature of his injuries and the lack of a thorough autopsy.\n The Female Stranger (23), refers to an unnamed American woman who died in 1816 and was elevated to national intrigue by the mysterious headstone and romanticized tale. Accounts of the stranger increase in oddity over time and help to incite further speculation as to the identity of the person buried in the grave. The reported location of the woman's death, Room 8 at Gadsby's Tavern, is also a tourist destination, and supposedly her ghostly visage can be seen standing at the window.\n A boat with three skeletons of sailors was discovered that washed up on Ducie Island during the 1820s–1830s, who are thought to be Obed Hendricks, William Bond and Joseph West from the whaler Essex. Although it was suspected to be the missing boat piloted by Hendricks, and the corpses those of Hendricks, Bond, and West, the remains have never been positively identified.\nFor several weeks after 22 April 1822, unidentifiable dead bodies washed up off the coast of Ireland. They were believed to include that of Charles Lefebvre-Desnouettes (58), who had recently traveled, and perhaps died, there. This was never confirmed and their cause of death remains unknown.\n Paul Johann Anselm Ritter von Feuerbach (57), German legal scholar, died on 29 May 1833. The circumstances remain unclear – his family as well as he himself shortly before his death believed that he had been poisoned due to his protection of and research work on Kaspar Hauser, who himself died the same year under suspicious circumstances (see below).\n The events that led to the death of German youth Kaspar Hauser (21), remain a mystery, just like many other points regarding his life and identity. On 14 December 1833, he came home with a deep stab wound in his chest of which he died three days later. While he had claimed to have been attacked, the court of enquiry doubted this due to inconsistencies in his claims and speculated that he wounded himself in order to seek attention and revive the fading public interest in him, a theory that is also supported by some historians today.\n Thomas Simpson (31), was a Scottish Arctic explorer, Hudson's Bay Company agent and cousin of Company Governor Sir George Simpson. His violent death in what is now the state of Minnesota allegedly by suicide after gunning down two traveling companions in the wilderness on 6 June 1840 has long been a subject of controversy and has never been solved.\n John Gregory (42), was an English engineer who served aboard HMS Erebus during the 1845 Franklin Expedition, which sought to explore uncharted parts of the Northwest Passage. He is believed to have died sometime around May 1848. Gregory's remains were identified via DNA analysis in 2021, although his exact cause of death is undetermined.\n\n Edgar Allan Poe (40), American writer, editor, and literary critic, died on 7 October 1849 under circumstances that remain mysterious. The circumstances leading up to it are uncertain and the cause of death is disputed. On 3 October 1849 he was found delirious in Baltimore, \"in great distress, and... in need of immediate assistance\", according to the man who found him, Joseph W. Walker. He was taken to the Washington College Hospital, where he died days later.\nIn the years in between 1849 and 1859, a skeleton was found on King William Island that was thought to be that of Harry Goodsir (28–29), who had disappeared in 1848. After conducting tests on the bones it is believed that cause of its death was a tooth that was infected, but this is not known for sure. Also a skeleton was found that was thought to be that of Henry Thomas Dundas Le Vesconte (25–26), who disappeared along with Goodsir, aboard Franklin's lost expedition, but this was proven to be untrue. Who it belonged to and death cause are unknown. Dundas Le Vesconte's body was found, but his death case is unknown.\n An explorer named Francis Leopold McClintock found a skeleton on King William Island on 25 May 1859. It was believed to be the remains of Harry Peglar (36), but this proved to be untrue and its identity and death cause are not known.\n Richard H. Barter (26), member of a stagecoach robbery gang active in California, was found dead outside Auburn on 12 July 1859. He had been ambushed and injured by law enforcement the day before, but it was unclear who had actually landed the fatal shot.\n Edward James Roye (57), was the first of Liberia's True Whig Party, who had served as the fifth President of Liberia from 1870 until he was overthrown a year later and whose death had followed on 11 February 1872. The cause of his death remains unknown.\n Zeng Guofan (60), a Chinese statesman, military general, and Confucian scholar of the late Qing dynasty. He is best known for raising and organizing the Xiang Army to aid the Qing military in suppressing the Taiping Rebellion and restoring the stability of the Qing Empire. Along with other prominent figures such as Zuo Zongtang and Li Hongzhang of his time, Zeng set the scene for the Tongzhi Restoration, an attempt to arrest the decline of the Qing dynasty. He died on 12 March 1872 of mysterious reasons.\n L'Inconnue de la Seine was the name given to an unidentified young woman who, according to an oft-repeated story, was pulled out of the River Seine at the Quai du Louvre in Paris around the late 1880s. Since the body showed no signs of violence, suicide was suspected.\n Colorado rancher Gottlieb Fluhmann (55), was last seen alive in 1892. His disappearance was not resolved until his bones were found in a secluded Park County cave in 1944; the cause of his death could not be determined.\n Pyotr Ilyich Tchaikovsky (53), who was the composer of a Sixth Symphony, called the \"Pathétique\", died in Saint Petersburg in November 1893 just nine days after it had debuted. His death cause is debated and remains unsolved.\n Barney Barnato (46), an English Randlord and entrepreneur who was a prominent rival to Cecil Rhodes, was found dead at sea near Madeira, Portugal on 14 June 1897. While suicide was the prevailing theory, his family rejected it, saying that it was unlike him to do such a thing.\n\n1900–1924\n Sursinhji Takhtasinhji Gohil (26), popularly known by his pen name, Kalapi, was a Gujarati poet and the Thakor (prince) of Lathi state in Gujarat who died on 9 June 1900. He is mostly known for his poems depicting his own pathos. It is believed that Kalapi's love for a woman named Shobhana became a source of conflict with their acquaintance Rajba-Ramaba and gave her a motive to poison him.\n Gaetano Bresci (31), was an Italian anarchist who assassinated King Umberto I of Italy in Monza on 29 July 1900. Due to capital punishment being abolished 11 years earlier, he was sentenced to penal servitude at Santo Stefano Island, where he was found dead in his cell on 22 May 1901. While his death was reported as being suicide by hanging, it is believed that he had been murdered.\n David Park Barnitz (23), was a Harvard graduate and an American poet who died on 10 October 1901 from unclear circumstances, as there are conflicting ideas about how he died.\n Paul Rée (51), was a German philosopher, author, and physician who died on 28 October 1901 after he fell into the Charnadüra Gorge in the Swiss Alps near Celerina when he was hiking. It is unknown whether it was a suicide or an accident.\n Émile Zola (62), French author who died on 29 September 1902 from carbon monoxide poisoning that was caused by a sealed chimney. His enemies were blamed for his death, but were not proven to have been actually responsible. It is also possible that Zola committed suicide.\n In 1903 a skeleton was discovered in the Wichita Mountains in a gravesite that was thought to have been that of Sequoyah (72–73), who had disappeared in August 1843. This could not be proven to be true and the skeleton's identity and cause of death remain unknown.\n On 14 March 1911 in Ostend harbour a deceased body was found that resembled Cecil Grace (30), who was a pioneer aviator who disappeared on 22 December 1910 over the English Channel. The body could not be identified since it was too badly disfigured, and its identity and cause of death remain unknown.\n German inventor Rudolf Diesel (55), disappeared in the English Channel in 1913 and was found dead at sea 10 days later. His cause of death is debated.\n Tom Thomson (39), a Canadian artist who was active in the early 20th century. Though his career was short, he managed to produce around 400 oil sketches on small wood panels, as well as around 50 larger works on canvas. Thomson disappeared on 8 July 1917 and was found dead a few days later. It is unknown whether his death was murder or suicide.\n Samuel Liddell MacGregor Mathers (64), English magician and occultist who died of an unknown cause between 5–20 November 1918 in Paris. The manner of death is unknown as his death certificate lists no cause for his death. Even though Violet Firth claimed Mathers' death was the result of the Spanish influenza that occurred throughout 1918 and early 1919, the dearth of facts about Mathers' private life make it very difficult to determine what truly caused his death.\nIn 1919 smoked human bones were found in a fireplace near Cape Primetny, and were thought be those of Peter Tessem and Paul Knutsen, who disappeared in 1918 while aboard the ship Maud during an Arctic expedition. Who they belonged to and cause of death are unknown.\n\n Silent film actress Virginia Rappe (30), was found to have died of peritonitis due to a ruptured bladder on 9 September 1921. While this could have been the result of some of her ongoing health problems, such as cystitis, or complications from a recent abortion (illegal at the time), Maude Delmont, an acquaintance, told the San Francisco Police Department that silent film comedian Fatty Arbuckle had sexually assaulted Rappe during a Labor Day party in his suite at the St. Francis Hotel, another possible cause of the ruptured bladder. Arbuckle was charged with rape and involuntary manslaughter but was acquitted.\nIn July 1922 an expedition was conducted during which a skeleton was discovered on the mainland shore which is across from Dikson Island. It is thought to be either Peter Tessem or Paul Knutsen. Its death cause is not known for certain.\nIn 1923 an unidentified body on the grounds of an abandoned Jesuit church in Corrientes whose death might have been caused by stabbing was found. It was thought to have been that of Alejandro Carrascosas (22), who had disappeared a year earlier. The body was never identified and the cause of the deceased's death is not known.\n George Mallory (37), was an English mountaineer who, after taking part in the first three British expeditions to Mount Everest, disappeared on either 8 or 9 June 1924. On 1 May 1999, Mallory's mummified body was found. He suffered serious lower limb injuries and rope burns resulting from a fall and then likely died of exposure, but the exact cause, timing and circumstances of his death, and that of his traveling companion Andrew Irvine (who was never found), are unknown.\n\n1925–1949\n Rudolf Steiner (64), Austrian esotericist who developed anthroposophy and Waldorf education, died from illness on 30 March 1925, but the nature of the illness was never confirmed and remains controversial, with theories suggesting cancer or poisoning as the most probable causes.\n Ottavio Bottecchia (32), 1927, Italian cyclist, was found by the side of a road, covered with bruises and with a serious skull fracture. His undamaged bicycle was discovered propped against a nearby tree. Bottecchia was taken to a hospital, but died soon afterwards. An official inquiry concluded accidental death, but it was suggested he had run afoul of the powerful and growing National Fascist Party in Italy at the time.\n José Rosario Oviedo (42), a Cuban rumba dancer known as \"Malanga\", died in 1927. The exact circumstances under which he died have never been known for certain. One common account has it that he was murdered after a dance contest through broken glass hidden in his food, but no death certificate was ever filed and the location of his grave is unknown.\n Pyotr Wrangel (49), was a Russian officer who died on 25 April 1928 from reasons that have been debated as his family stated that they think that he was poisoned by the butler of his brother. This was never proven for certain though.\n Cecil Kern (41–45), female American theater director and stage and film actress who was reported to have died of a pulmonary hemorrhage on 1 June 1928 in a Manhattan hotel. The cause of her death is not known for certain.\n Alfred Loewenstein (51), was a Belgian financier who's believed to have fallen out of a plane's rear door while going to use the lavatory. He disappeared while crossing the North Sea on 4 July 1928, and his body was found in France 15 days later. His death cause is unknown.\n Starr Faithfull (25), a Greenwich Village flapper, was found drowned on the beach at Long Beach, Nassau County, New York on 8 June 1931. Although Faithfull had left a suicide note, her family contended that she was murdered by wealthy politician Andrew James Peters, former Mayor of Boston, who had allegedly sexually abused Faithfull for years beginning when she was 11 years old and paid the Faithfulls to keep silent about it. Despite a lengthy investigation, it was never determined whether Faithfull's death was homicide, suicide, or accident.\n Ivar Kreuger (52), a Swedish civil engineer, financier, entrepreneur and industrialist who died in a Paris hotel room on 12 March 1932. Though it was thought it have been a suicide it may have also have been a murder.\n Jay Ferdinand Towner III (23), a Princeton University undergraduate, was found dead on campus shortly after an 11 November 1933, football game. He had suffered broken wrists and severe internal injuries. His death was variously attributed to a fall suffered in the stands during the game or a car accident amid conflicting accounts of his whereabouts prior to his death; its exact cause has never been determined.\n\nZachary Smith Reynolds (20) was the son of American millionaire and businessman R. J. Reynolds. He died from a gunshot wound to the head on 6 July 1932, at his home in Winston-Salem, North Carolina. It is unclear if his death was a suicide or a murder.\nPaul Bern (42), was an American film director, screenwriter from Wandsbek, Hamburg, Germany. He became the assistant to Irving Thalberg after he became the producer for Metro-Goldwyn-Mayer. He was found dead in Beverly Hills, California on 5 September 1932 after being shot. Even though he left a note saying that he committed suicide it is also believed that his former ex-common-law wife had killed him as she very shortly later herself committed suicide.\nIvo Pilar (59), was a Croatian lawyer, politician, publicist, and historian who was found dead on 3 September 1933 at his home in Zagreb, Kingdom of Yugoslavia and it is unknown whether he was killed or if it was a suicide.\nFranziska Kessel (28), was a German politician who after being sent to jail in Mainz was found dead in her cell on 23 April 1934. It is unknown whether Kessel committed suicide or was murdered.\n Thelma Todd (29), was an actress notable for appearing in multiple comedy films where she starred alongside Buster Keaton, Charley Chase, Laurel and Hardy and the Marx Brothers. On the morning of Monday, 16 December 1935, she was found dead in her car inside the garage of Jewel Carmen, a former actress and former wife of Todd's lover and business partner, Roland West. Her death was determined to have been caused by carbon monoxide poisoning. The exact circumstances of the case could not be determined and sparked wide speculations and theories. The case was officially closed as \"accidental with possible suicide tendencies.\" It could never be determined and still sparks debate whether her death was accidental, suicide or murder.\nIn 1936 in Northampton, Massachusetts, human bones found in a shallow grave were believed to be those of Alice Corbett, who disappeared in 1925, but were identified as being those of historic Native American remains, but they remain unidentified and the cause of death is unknown.\n In the Requejada countryside dam which is located very close to Aguilar de Campoo, two bags were found that contained human bones that were thought to be missing girls from Spain who disappeared on 23 April 1992 in Reinosa, who were named Virginia Guerrero and Manuela Torres on 9 October 1994. This was later proven to be untrue and that they were from in between 1936 and 1939 and were unknown victims of the Spanish Civil War, and their identities and cause of death remain unknown.\n Robert Johnson (27), an early blues singer and guitarist, died on 16 August 1938, near Greenwood, Mississippi. The cause was not officially recorded. He was reportedly in extreme pain and suffering from convulsions; this has led to theories he had been poisoned with strychnine by a jealous husband; however, the alleged poisoning is said to have taken place several days earlier and most strychnine deaths take place within hours of ingestion. Another report claims he died of syphilis or pneumonia. The uncertain location of his gravesite has made it impossible to exhume his body for further investigation.\nEugeniusz Kazimirowski (63), was a Polish male member of the realism movement and a very accomplished painter died from unknown causes in the city of Białystok on 23 September 1939.\nKyrylo Studynsky (30–31), was a western Ukrainian cultural and political figure who was forced to leave Lviv in July 1941 and died shortly after from unknown reasons.\n Jeanette Loff (35), was an American actress, musician, and singer who came to prominence for her appearances in several Pathé Exchange and Universal Pictures films in the 1920s who died on 4 August 1942 from ammonia poisoning in Los Angeles. Though law enforcement was unable to determine whether her death was an accident or a suicide, Loff's family maintained that she had been murdered. The real cause behind her death remains unknown.\n Sidney Fox (34), was an American actress who acted both on stage and in movies. On 15 November 1942 Fox died in Hollywood from after taking too many sleeping pills, which was the result of either a suicide or an accidental overdose.\n Władysław Sikorski (62), prime minister of the Polish Government in exile, was among 16 people killed on 4 July 1943 when their plane crashed into the sea shortly after taking off from the Royal Air Force base at Gibraltar Airport. The plane had not managed to gain sufficient altitude due to its elevators being prevented from working properly; British investigators found the cause was most likely an accident while their Polish counterparts called it undetermined. The bodies of Sikorski's daughter, chief of staff and other key aides purportedly on the plane were never found, and the plane's only survivor, the pilot, had uncharacteristically worn his life preserver in the cockpit. Sabotage and a possible assassination have been suspected, with Nazi Germany, the Soviet Union, the United Kingdom, or even rival factions in the Polish government in exile theorized to have been involved. Poland reopened the case in 2008; an exhumation of Sikorski's body found his injuries consistent with death from an air crash, ruling out some theories that he had been killed before being put on the plane, but the investigators still could not rule out the possibility of sabotage. British files on the case will remain sealed until 2050.\n Emil Hácha (72), a Czech lawyer, the third President of Czechoslovakia from 1938 to 1939, who died in Pankrác Prison on 27 June 1945 under mysterious circumstances, and his death cause remains unknown. Hácha had collaborated with the Nazis during the German occupation, and had been arrested by the Red Army after the liberation of Prague.\n Lipót Klug (91), a Jewish-Hungarian mathematician, professor who died towards the end of the Second World War on 24 March 1945 in what were said to have been strange circumstances, his true cause of death having never been revealed.\n Viktors Eglītis (68), a Latvian art theorist and writer who died on 20 April 1945 in prison in Riga from unknown reasons.\n King Ananda Mahidol of Thailand (20), died of gunshot wounds, either the product of suicide, accident or assassination, on 9 June 1946. Mahidol's successor King Bhumibol Adulyadej, Prime Minister Pridi Banomyong, and the former Japanese intelligence officer Masanobu Tsuji have alternatively been accused of complicity.\n The Body in the cylinder refers to a male decedent discovered within a partially sealed steel cylinder on a derelict WWII bomb site in Liverpool, England. The discovery was made on 13 July 1945 and it is believed that the body had lain undiscovered for 60 years. Inquiries named a strong (but unconfirmed) candidate for the identity of the decedent; however, the cause of death and the reason for their presence in the cylinder remain a mystery.\n Alexander Alekhine (53), the fourth World Chess Champion, was found dead in a hotel room in Estoril, Portugal on 24 March 1946. Several causes of death have been proposed, but the two most likely are a heart attack or choking on a piece of meat which was found lodged in his throat in an autopsy. \n Vera West. West was an American fashion designer and film costume designer, who worked for Universal Pictures. She was found dead in her swimming pool on 29 June 1947, having possibly committed suicide by drowning, although police were never able to ascertain the precise circumstances surrounding her death.\n The Trow Ghyll skeleton, discovered in a cave in rural north Yorkshire, England in 1947, remains unidentified. The death probably occurred in 1941; the fact that the body was discovered with a glass bottle of cyanide has led to speculation that it was someone connected with espionage.\n\n Jan Masaryk (61), 1948, son of Tomáš Garrigue Masaryk, Czech diplomat, politician and Foreign Minister of Czechoslovakia, was found dead in the courtyard of the Foreign Ministry below his bathroom window. The initial investigation concluded that he committed suicide by jumping out of the window, although many are convinced that he was pushed. A new investigation by the Czechoslovak government after the Velvet Revolution ruled his death a murder.\n Sadanori Shimoyama (47), 1948, first director of Japanese National Railways, was last seen leaving his official car to go into a department store on his way to work the morning of 5 July of that year. Others reported seeing him at various train stations, and walking along one line, that afternoon. His dismembered body was found at noon the next day on the Jōban Line. It had indisputably gotten that way as a result of being struck by a train, but the autopsy suggested he had died before being struck. That conclusion has been disputed, and whether his death was a suicide or murder remains undetermined.\n United States Consul General to Mandatory Palestine Thomas C. Wasson was shot on May 22, 1948, in Jerusalem. He died the next day.\n Irwin Foster Hilliard (48), was Canadian political figure and lawyer in Ontario who was last seen on 23 November 1948 before going on a shopping trip. He was found dead on 22 December 1948 close to Lambton. His death cause is unknown\n Nora Gregor (47), whose full name was \"Eleonora Hermina Gregor\" was an Austrian actress who acted in both on stage and in movies who died on 20 January 1949 in Viña del Mar from a debated cause.\n\n1950–1974\n In 1951 human bones were found and were thought to be the remains of Percy Fawcett (57), who had disappeared on 29 May 1925 in Mato Grosso, Brazil, This was proven to be untrue; they remain unidentified and the cause of death is unknown.\n Syama Prasad Mukherjee (52), an Indian politician, died in a prison hospital 23 June 1953, one and a half months after his arrest for attempting to enter Jammu and Kashmir without a permit. The exact cause of death has never been disclosed; Prime Minister Jawaharlal Nehru, whose government Mukherjee had resigned from in protest over Nehru's decision to normalise relations with Pakistan despite that country's treatment of its Hindu population, said at the time he made inquiries and was satisfied that his former minister's death was due to natural causes; speculation has continued that Mukherjee was actually murdered due to some unusual circumstances of his arrest and treatment.\n Raimondo Lanza di Trabia (39), was an Italian man who was successful in many fields. On 30 November 1954 in Rome, Lanza di Trabia died from circumstances that are suspicious after he fell out of a hotel room window.\nHerman Schultheis (33), was a technician and photographer who worked for Walt Disney Studios who disappeared on 20 May 1955 near Tikal, Guatemala. His remains were found on 23 November 1956, along with some of his belongings. His death cause is unknown.\n The Dyatlov Pass incident was the deaths of nine hikers on the Kholat Syakhl mountain in the northern Ural Mountains range on 2 February 1959; the bodies were not recovered until that May. While most of the victims were found to have died of hypothermia after apparently abandoning their tent high on an exposed mountainside, two had fractured skulls, two had broken ribs, and one was missing her tongue. There were no witnesses or survivors to provide any testimony, and the cause of death was listed as a \"compelling natural force\", most likely an avalanche, by Soviet investigators.\n\n Barthélemy Boganda (48), who was Prime Minister of the Central African Republic died on 29 March 1959 in Boukpayanga during a mysterious plane crash.\n Diana Barrymore (38), was an American actress who acted both on the stage and in movies and is a relative of American actress Drew Barrymore. On 25 January 1960, Diana Barrymore died in her hometown of New York City. At first her death was said to be the result of a drug overdose. After an autopsy was conducted, this was proven to be untrue. Speculation included a theory that she might have committed suicide, but this was never proven. She had admitted publicly she was a recovering alcoholic. In July 1957, she gave an American television interview to Mike Wallace in which she said, \"At the moment, I don't drink. I hope to be able, one day, in perhaps the near future [or] the very distant future, to be able to drink like a normal human being. That may never be possible.\"\n Dag Hammarskjöld (56), a Swedish economist and diplomat who served as the second Secretary-General of the United Nations died on 18 September 1961 in Ndola, Northern Rhodesia in a mysterious plane crash.\n Lucas Samalenge (33), a Katangese and Congolese politician who died under suspicious circumstances on 19 November 1961 in Lubumbashi.\n Dr Gilbert Stanley Bogle (39), and Margaret Olive Chandler (29), were found dead, both partially undressed, near the banks of the Lane Cove River in Sydney, Australia, on 1 January 1963. Their bluish pallor and the presence of vomit and excrement led to a finding that they had been poisoned, but the coroner was unable to determine what the toxin was. It was suspected they had been murdered (possibly by Chandler's husband) although no suspect has ever been identified. A 2006 TV documentary suggested their deaths were not due to foul play but the result of hydrogen sulfide gas leaking from the river bed and reaching dangerously high concentrations in the low-lying depressions where their bodies were found.\n The death certificate of Dorothy Kilgallen (52), states that she died on 8 November 1965 from \"acute ethanol and barbiturate intoxication / circumstances undetermined.\" She was famous throughout the United States as a syndicated newspaper columnist and radio / television personality, most notably as a regular panelist on the longest running game show in history at the time, CBS's What's My Line. The New York City medical examiner James Luke categorized the cause of death as \"circumstances undetermined.\"\n Lal Bahadur Shastri (61), an Indian politician who was the second Prime Minister of India mysteriously died on 11 January 1966, just hours after signing the Tashkent Declaration. His death cause is disputed.\n The Lead Masks Case involves the death of two Brazilian electronic technicians, Manoel Pereira da Cruz and Miguel José Viana, whose bodies were discovered on 20 August 1966, in Niterói, Rio de Janeiro, Brazil. After an autopsy was performed the cause of death could not be proven since the organs were too badly decomposed.\n Alvar Larsson (13), was a Swedish boy who disappeared on 16 April 1967 while going for a walk. In November 1982, a human skull was found on a small island 6 km away that was identified as belonging to Larsson. The disappearance attracted a lot of media coverage at the time and many theories as to what happened have been put forward. Thomas Quick has confessed to the crime, but has since recanted all his confessions.\n John Frey, an Oakland, California, police officer, was fatally shot on the morning of 28 October 1967, during a traffic stop where he had pulled over Black Panther leader Huey P. Newton, who was wounded in the shootout and convicted of voluntary manslaughter the following year. The gun Newton purportedly used was never found, and following two hung juries after the conviction was overturned on appeal in 1970 the district attorney's office announced it would not try him a fourth time. Newton suggested that Frey may have been shot by his partner; there has been no new investigation to determine whether this was the case and whether this was an accident.\n Joan Robinson Hill (38), was a Texas socialite who died in 1969. At first ruled to have died of influenza following a brief hospitalization on 19 March, suspicions were aroused when her body was released to the funeral home and embalmed before a legally required autopsy could be carried out. Despite the compromised evidence, three autopsies, all with their own irregularities, were performed and her husband John eventually became the only person indicted by a Texas grand jury for murder by omission, or failing to take proper action in the face of a life-threatening situation. The first attempt to prosecute him ended in a mistrial in 1972; he was murdered before he could be retried and the gunman who was suspected of his murder died in a police shootout. Two other alleged accomplices were later convicted.\n Edward Mutesa (45), who was Kabaka of the Kingdom of Buganda in Uganda died on 21 November 1969 from alcohol poisoning, in his London flat. He may have committed suicide or been poisoned by someone.\n Katherine Walsh (23), American actress who died in London, England on 7 October 1970 while she was at a party at her home. While it is known that she died from barbiturate poisoning and alcohol, it is unknown whether is was a suicide or accident.\n Mustafa Zaidi (40), Pakistani Urdu poet from India who died in Karachi from unknown reasons on 12 October 1970. The case has never been solved.\n Ronald Hughes (35), an American attorney who disappeared while on a camping trip in November 1970. He had been representing Leslie Van Houten in the Tate–LaBianca murder trial. His body was found in March 1971, but his cause of death could not be determined.\n The Isdal Woman was a partially charred unidentified corpse found on 29 November 1970, hidden off a hiking trail near Bergen, Norway. The official conclusion that her death was a suicide has not been widely accepted, since some believed she was murdered. Her identity remains unknown and is considered one of Norway's most profound mysteries. The case has been the subject of intense speculation for many years. Multiple investigations point to the possibility that she was a spy.\nMichael O'Sullivan (37), an American man who had a brief but successful acting career, was found dead at his apartment in San Francisco, California, on 24 July 1971 with a bottle of sleeping pills next to him from what may have been a death by suicide.\n Giangiacomo Feltrinelli (45), who had during the 1950s published the smuggled manuscript of Boris Pasternak's novel Doctor Zhivago, but later became a left-wing militant during Italy's Years of Lead, was found dead at the base of a power-line transmission tower outside Segrate, near his native Milan, on 15 March 1972. It was believed that he had died when a bomb he was attempting to plant on the tower went off, and later testimony by other members of the Red Brigades supported this. However, the death was always viewed suspiciously, and in the 2010s forensic reports surfaced that suggested he had been tied to the tower before the bomb went off, with various intelligence agencies inside and outside of Italy suspected of responsibility.\n Gia Scala (38), was American model and actress from Liverpool, Lancashire, England who on 30 April 1972 was found dead in her house that was in Hollywood Hills. Her cause of death remains undetermined.\n Nigel Green (47), was a character actor who was born in South Africa, and was raised in London, England, who died in Brighton, Sussex on \t15 May 1972 after taking too many sleeping pills. It is unknown if this was a suicide or not.\n Jeannette DePalma (16), was found dead and was believed to have been killed on or around 7 August 1972 in Springfield Township, New Jersey, but now her death is thought perhaps to have been caused by a drug overdose instead.\n Amaryllis Garnett was an English actress and diarist who appeared in various productions in the 1960s, with her most notable appearance being Judith of Balbec from the original 1966 version of A Choice of Kings. With the onset of the 1970s, however, she fell into a deep depression, and on 6 May 1973 she was found drowned in the Chelsea river. Whether her drowning was accidental or a suicide remains unclear.\n Kafundanga Chingunji, served as the first Chief of Staff in the government of UNITA, pro-Western rebels, during the Angolan Civil War. Officially, Chingunji died from cerebral malaria in January 1974 on Angola's border with Zambia. His wife and others who saw his body say someone poisoned Chingunji. Rumors later alleged Jonas Savimbi, the head of UNITA, ordered his assassination. It is unknown for sure what the exact circumstances of the death are.\n Karen Silkwood (28), a nuclear power whistleblower, died in a car accident on 13 November 1974, while driving to a meeting with a New York Times reporter in Oklahoma City. Whether that accident involved another vehicle, whose driver may have deliberately run her off the road, or resulted from her own fatigue, remains a matter of debate.\n Aman Andom (50), was an Ethiopian military figure and was the acting head of state of Ethiopia who died on 23 November 1974. Sources say that he committed suicide, while others say that he was killed by political rivals among the coup leadership, possibly including Mengistu Haile Mariam.\n\n1975–1999\nMarlies Hemmers (18) was a female German high school student who disappeared in Nordhorn on 6 August 1973 and whose remains were found on 22 December 1973 across from a horse breeding ground in a small wood. Since her body had decayed, it could not be determined what her cause of death was. It is believed she may have been murdered by the \"Münsterland Killer\".\nCarol Platt Valenzuela (20), American woman who disappeared after leaving Camas, Washington on 4 August 1974 and was found dead 12 October 1974 in the Dole Valley, Her cause of death is unknown, though some people believe that she was murdered.\n Alexandra \"Sasha\" Bell (29), a daughter of David K. E. Bruce, died under mysterious circumstances at her family home in Virginia in 1975. The cause of death may have been either murder or suicide.\nManon Dubé (10) was a Canadian girl from Quebec who vanished while sledding with friends in Massawippi on 27 January 1978. Her body was found on 24 March 1978, but the exact cause of death was never determined.\nMarin Preda (57), was a Romanian director of Cartea Românească publishing house who wrote novels about wars that had ended. Preda was found dead on 16 May 1980 at Mogoșoaia Palace from asphixiation.\n Marcia Moore (50), a writer on yoga and astrology, disappeared near her home in the Seattle, Washington, area during the winter of 1979. Her skeletal remains were found in nearby woods in 1981. It has been presumed in the absence of any evidence that would more conclusively establish a cause of death that she died of hypothermia while wandering the woods under the influence of ketamine, a drug whose use she had promoted. However, true-crime writer Ann Rule, a friend, says what appeared to be a bullet hole was found in her jawbone, although authorities said it could just as easily have been a result of the bone decaying during the cold winters. Officially the cause of Moore's death remains undetermined.\n Douglas Crofut (38), American radiographer who died of both radiation poisoning and radiation burns on 27 July 1981 in Tulsa, Oklahoma. The event is thought to have been either a suicide or murder, but this remains uncertain.\n\n On 29 November 1981, actress Natalie Wood (43), who was a passenger on the yacht owned by her and her husband Robert Wagner, was found drowned near Santa Catalina Island, California. Two other people were on board the Wagners' yacht at the time: actor Christopher Walken and Dennis Davern, a longtime employee of the Wagners who served as skipper of the yacht. While drowning has always been accepted as the direct cause of her death, the circumstances under which she went into the water have never been clear, and after reopening the investigation in 2012 the coroner changed the cause of death from \"accident\" to \"undetermined\" based on cuts and bruises on her body that may or may not have been suffered before her death. In 2018, Wagner was identified as a person of interest.\n Don Kemp (34–35), was a New York advertising executive who disappeared under mysterious circumstances in Wyoming in 1982, where he had planned to begin a new life. His remains were discovered in 1986, but the circumstances surrounding his death, and whether it is homicidal in nature or not, remain unclear.\nMilwaukee Jane Doe was an unknown female found dead on 16 March 1982. Her cause of death was a possible drowning and Her identity remains unknown.\n Eduardo Frei Montalva (71), who was president of Chile from 1964 to 1970, died on 22 January 1982. As of 2005, his death is being investigated because of allegations that he was poisoned.\n The cause of death of the baby born to Joanne Hayes in Ireland's 1984 Kerry Babies case was never established.\n Radomir Radović (32–33), a Yugoslav civil engineering technician and trade unionist who advocated for an independent trade union in the country, was found dead at his villa in Orašac on 30 April 1984. While the ruling party claimed that he had died by suicide, this claim was disputed by fellow intellectuals, and his true cause of death remains unclear.\n Kenji Iwamura, a 25-year old Japanese office worker purportedly died during the 1984–1990 SOS incident.\n The YOGTZE case refers to the death of unemployed German food engineer Günther Stoll (34), which occurred on 26 October 1984, under strange and largely unknown circumstances, after leaving behind the cryptic message \"YOGTZE.\"\n Samora Machel (53), a Mozambican politician, military commander, and revolutionary was killed on 19 October 1986 during a mysterious plane crash that was close to the Mozambican-South African border.\n Cam Lyman (54–55), was a multimillionaire dog breeder from Westwood, Massachusetts who disappeared in the summer of 1987 and his body was found in a septic tank on his estate in Hopkinton, Rhode Island by the new owners of the house in December 1997. Lyman's death remains a mystery.\n Fidel Figueroa, a well-known drug dealer and father of Lazaro Figueroa, was found deceased on 20 September 1987. His exact cause of death has never been determined, and the death is considered suspicious.\n On 11 October 1987, West German Christian Democratic Union politician Uwe Barschel (43) was found dead in a bathtub filled with water in his room at the Hotel Beau-Rivage in Geneva, Switzerland. He was fully clothed. Among others, the drug Lorazepam was found in his system. The circumstances of his death remain unclear and controversial, with suicide or murder both considered possible explanations and the case still being investigated in both directions.\n Whether the 17 August 1988 plane crash that killed Pakistani president Muhammad Zia-ul-Haq (64), the country's longest-serving leader, and 30 others including the country's top military leaders and the U.S. ambassador, was an accident or foul play, the result of sabotage or a shootdown, is a matter of debate. American investigators came to the former conclusion, while their Pakistani counterparts produced a report reaching the latter. Theories as to responsibility if it were an act of malice have put the blame on a number of domestic and foreign actors.\nOn 8 June 1989, Canadian nurse Cindy James (44) was found dead of a multiple-drug overdose in the yard of an abandoned house in the Vancouver suburb of Richmond, hogtied and with a nylon stocking around her neck. During the seven years leading up to her death, she had made approximately 100 reports to police of incidents of stalking, harassment, vandalism, and physical attacks. Despite significant investigation, authorities could find no evidence pointing to an assailant, and it was suspected that James had fabricated the incidents herself, culminating in an elaborate staged suicide. The cause of death was found to be a drug overdose due to the extraordinarily high levels of morphine, diazepam and other drugs found in her system, but exactly how that came about could not be determined.\n Said S. Bedair (40), was an Egyptian scientist in electrical, electronic and microwave engineering and a colonel in the Egyptian army. He died on 14 July 1989 in Alexandria of unclear circumstances, though his wife thinks it might have been a suicide.\n Berlin police were called to a Lichtenberg apartment on the night of 3 December 1991 after neighbors complained of loud arguments, barking dogs and a parade of men coming and going. Inside they found the body of Beate Ulbricht (47), adopted daughter of Walter Ulbricht, the first Communist leader of East Germany, by then defunct. Visible facial injuries suggested a death by blunt force trauma, but whether that had resulted from an accident or foul play has never been determined. She had recently given a series of interviews about her family life in which she recalled her mother, Lotte, as harsh and unloving, in contrast to her late father; Lotte was unsurprised when a reporter informed her of Beate's death. The unsolved stabbing death two years later of a man thought to be Beate's lover in her last years may be connected. \n A skull fragment found in a wooded area of Baldwin, Pennsylvania in 1992 turned out to be that of Michael Rosenblum (25), of nearby Pittsburgh, who had not been seen since 14 February 1980, near where the bone was found. While the cause of death could not be determined, circumstantial evidence accumulated over the years suggested that Baldwin's police department had covered up its own officers' involvement in Rosenblum's disappearance; the chief was fired over the allegations and reinstated a short time later.\n The remains of Timothy Wiltsey (5), of South Amboy, New Jersey, were found in a muddy brook behind an office park in nearby Edison on 23 April 1992, almost a year after his mother, Michelle Lodzinski, had reported him missing from a carnival. Decomposition was too advanced to determine how Wiltsey had died. Suspicion accumulated around Lodzinski in later years owing to reports that she had changed her account of his disappearance several times shortly after reporting it, and her conviction for an attempt to stage her own kidnapping in 1994 followed by another conviction for theft several years later. In 2014 she was arrested for her son's murder and convicted after trial two years later, but the state Supreme Court vacated that conviction in 2021 for insufficient evidence. \n Arnold Archambeau (20), and Ruby Bruguier (18), left a passenger behind in their overturned car following an accident before dawn on 12 December 1992 outside Lake Andes, South Dakota. They were never seen alive again; almost three months later their bodies were found near the accident site. Police do not believe they had been there during the intervening winter months as they were not found during several searches of the area. Autopsies attributed the deaths to hypothermia; however Bruguier's body was in a far more advanced stage of decomposition and other evidence at the scene has reinforced investigators' belief that the two died somewhere else and their bodies were moved there. The FBI investigated as well, due to the victims being Native Americans and the incident taking place on a reservation, but closed their file in 1999 having found insufficient evidence to believe a crime occurred.\nThe body of David Glenn Lewis (52), was found dead, the victim of a hit and run, on 1 February 1993, shortly after he was seen wandering on Washington State Route 24 in Moxee, Washington, just outside Yakima. Moxee is from his home in Amarillo, Texas; evidence conflicts as to whether he was there for the preceding two days or traveled from the city. At the time of his death he was wearing clothing his family said was not his. His body remained unidentified until 2004. The driver of the vehicle that struck him also remains unidentified, and since his presence in the Yakima area has not been explained, whether his death was an accident, suicide or foul play cannot be determined.\n Mansour Rashid El-Kikhia was a Libyan politician and human rights activist known for his opposition to Muammar Gaddafi's regime. On 10 December 1993, he was kidnapped while on a diplomatic visit to Cairo, Egypt, allegedly by Mukhabarat operatives. His fate remained unclear until October 2012, when his body was found in a refrigerator in Tripoli, indicating that he had likely died while in custody.\n Zviad Gamsakhurdia (54), former president of Georgia, died on 31 December 1993 from circumstances that remain very unclear. It is known that he died in the village of Khibula in the Samegrelo region of western Georgia.\nOn 27 April 1994, Lynne Frederick (39), was found dead by her mother in her West Los Angeles home. Foul play and suicide were ruled out and an autopsy failed to determine the cause of death. Some in the media speculated she died from the effects of alcoholism. Her remains were cremated at Golders Green Crematorium in London, and her ashes were interred with those of her first husband, Peter Sellers.\n Oscar Gomez, American student and activist during the 1990s, who died under mysterious circumstances on 16 November 1994 in Santa Barbara, California. while he was protesting with his fellow students.\nSonja Engelbrecht (19), was a young teenage woman who went missing on the night of 1995 April 10–11 in Munich, whose remains were first discovered on 23 November 2021. Her cause of death remains unknown.\n Caroline Byrne (24), an Australian model, was found at the bottom of a cliff at The Gap in Sydney on 8 June 1995. Her boyfriend at the time of her death was charged with killing her and was convicted, but was acquitted of the conviction in February 2012 as the decision was overturned. It is unclear to whether her death is a murder or suicide.\n Carl Isaacs Jr. (21), formerly known Rock County John Doe, and also commonly referred as John Clinton Doe, was the name given to a now identified set of skeletal remains known to be a young adult white male, which were found alongside Turtle Creek near Clinton, Rock County, Wisconsin on 26 November 1995. His death cause is also unknown.\n Green Boots is the name given to the unidentified corpse of a climber that became a landmark on the main Northeast ridge route of Mount Everest. Though his identity has not been officially confirmed, he is believed to be Tsewang Paljor, an Indian climber who died on Mount Everest in 1996.\n English actor Barry Evans (53), died on 9 February 1997. The police went to his house to inform him that they had recovered his stolen car, which was reported the day before, but he was found dead in his home. The coroner found a blow to Evans's head and also found high levels of alcohol in his system. A short will was found on a table next to his body and a spilt packet of aspirin tablets, bearing a pre-decimalisation price tag, indicating that the pack was at least 26 years old, was found on the floor, although the coroner concluded that he had not taken any of them. The cause of his death was never confirmed.\n Screenwriter Gary DeVore (55), left Santa Fe, New Mexico, on 28 June 1997, for Hollywood to drop off his final draft of the script for a remake of The Big Steal, a 1950 film about, in part, a man who stages his own disappearance. He never arrived, and was considered missing for a year until his body was found in his car in the California Aqueduct. His hands were missing, and it did not appear from the position in which it was found that the car had gone into the waterway after an accident. No cause of death has been conclusively established.\n Ricky Reel (21), a computer science student at Brunel University. Reel was last seen alive in the early morning of 15 October; his body was recovered from the River Thames six days later. Although the Metropolitan Police initially declared his death accidental, an open verdict was later returned. Speculation remains as to a racial motive behind his death.\n Theodore Sindikubwabo, interim president during the Rwanda genocide, died in 1998. Cause of death is unknown, but it has been speculated that he died of HIV or was killed by Interahamwe hardliners.\n Patricia Lee Partin, who was among four women who left Los Angeles, California, and disappeared alongside Florinda Donner in 1998; her remains were found in the desert sands of Death Valley in 2003. Partin's cause of death remains unknown.\nSkeletal remains of both a female and male were discovered in 1998 on the mountain known as Webb Hill located in St. George, Utah, in Washington County. Their identies and cause of deaths are unknown.\n Pol Pot, Cambodian war criminal who died in April 1998, shortly before his extradition on charges against humanity, died in custody; the official cause was a heart attack, but other reports hold that he committed suicide with drugs or was assassinated by General Ta Mok.\n Greek philosopher Dimitris Liantinis (55) disappeared on 1 June 1998. In July 2005 human bones were found in the area of the mountain Taygetos; forensic examinations verified that it was the body of Liantinis. No lethal substances were found to identify the cause of death.\n Sani Abacha (54), military dictator of Nigeria, who died on 8 June 1998. There is a popular theory in Nigeria that he died after consuming a poisoned apple, but one of his confidants reported that after Arafat's visit and shaking hands with the and his men began to feel bad and died shortly after.\n Kevin Hjalmarsson (4), Swedish boy who after going missing was found dead in Arvika on 16 August 1998. Though he was originally thought to have been murdered, it is now claimed by the police that he is thought to have died of an unknown accident.\nBardhyl Çaushi (62–63), an Kosovo Albanian activist and a human rights lawyer who was kidnapped in 1999 by Yugoslav forces and found dead in 2005 from reasons that could not be determened.\n Yves Godard (43), was a French doctor who disappeared from a sailing boat with his two children in September 1999. In 2000, a skull fragment belonging to his daughter Camille was found while some bone fragments of Dr Godard were discovered six years later in the English Channel. No trace of his son or his wife (the latter did not go on the sailing trip and stayed at home) has ever been found, nor has any trace of the boat. However, investigators found traces of blood in the family home and in Godard's caravan, raising suspicion that Godard's wife was murdered. In 2012, the case was closed without charges. Prosecutors ruled out accidental death and believe that Dr Godard probably murdered his family before committing suicide at sea, but they also acknowledge that they are not certain of this.\n Hangthong Thammawattana (49), a Thai businessman and politician who was found dead in the early hours of 6 September 1999 in his family's mansion. from a gunshot wound. It is unknown if it was a suicide or murder.\n Jaryd Atadero (3), was an American boy who went missing on 2 October 1999 in Colorado in the Arapaho & Roosevelt National Forest. On 6 May 2003 some of his remains were discovered by two businessmen while they were hiking. Though there are different theories to how he died, the true cause is not known.\n Jorge Matute (23), was a Chilean forestry student who mysteriously disappeared in a discotheque that was located close to Concepción on 20 November 1999. In February 2004 in a road in Santa Juana, Matute's remains were found and identified. Matute's cause of death is unknown.\n\n2000–2010\n Lolo Ferrari (37), was a French dancer, singer and film actress who also performed in pornography and was known for her large surgically enhanced breasts. Ferrari was found deceased on the morning of 5 March 2000 of causes which have never been determined.\nErin Foster (18), and Jeremy Bechtel (17), were a teenage couple from Sparta, Tennessee who disappeared on 3 April 2000, after leaving a party. In 2021, they were both found dead in a car underwater. What led up to the event is unknown.\n Rodney Marks (32), an Australian astrophysicist, died of a sudden illness on 12 May 2000 at Amundsen–Scott South Pole Station in Antarctica. It was not possible for his body to be flown to New Zealand and autopsied until after the Antarctic winter ended six months later; the cause of death was found to have been methanol poisoning. Suicide was ruled out, as he did not seem to have a motive and had readily sought treatment for his apparent illness, nor did an accidental overdose seem likely, either, as there was plenty of alcoholic drink available for consumption at the base should he have wanted it. The New Zealand police believed instead that the methanol had been \"unknowingly\" introduced into Marks' system but could not conclusively call the case a homicide. Further investigation has been frustrated by the refusal of American agencies to share their findings, the global dispersal of researchers and personnel at the base that winter, the 2006 disappearance of the doctor who treated Marks, and the loss of any possible crime-scene evidence during the winter after Marks' death.\nA human skeleton was found on 21 May 2000 near the river Otra, near Eg Hospital, while there was a search conducted to find Lena Sløgedal Paulsen (10), and Stine Sofie Austegard Sørstrønen (8), who had disappeared on 19 May 2000. At first it was thought to be that of a missing German tourist, not being involved with the girl's disappearance. Though it was later discovered that the body was in fact that of a German psychiatric patient who had escaped from the psychiatric hospital that was located nearby years before. The cause of the patient's death is unknown.\n Soad Hosny (58), was an actress from Cairo, Egypt, who died in London after she mysteriously fell from the balcony of her friend's apartment on 21 June 2001.\n On 11 August 2001, Irish musician Paul Cunniffe (40), formerly of the bands Blaze X and the Saw Doctors, died in a fall in the London neighborhood of Whitechapel. The circumstances that led to the fall, however, or even exactly where it occurred, remain unknown. His is one of several deaths among friends and acquaintances of Pete Doherty.\n\n Tempe Girl is the name given to an unidentified decedent whose body was discovered on 27 April 2002 in Tempe, Arizona. She had died of cocaine intoxication – ruled to be neither an accident nor a homicide – one day before the discovery of her body. She is believed to have been of either Hispanic or Native American ethnicity and was allegedly picked up while hitchhiking, claiming she had been effectively disowned by her own mother for her frequent recreational drug use.\n Abu Nidal (65), Palestinian terrorist leader behind the 1985 Rome and Vienna airport attacks, already suffering from leukemia, was reported to have died from a gunshot wound in Baghdad on 16 August 2002. Iraq's government at the time claimed his death was a suicide; the Fatah Revolutionary Council Nidal founded claimed he was assassinated on Saddam Hussein's orders to prevent his possible capture during the American invasion of Iraq that began six months later.\n Jeremiah Duggan (22), a British student studying in Paris, was found dead on a highway in Wiesbaden, Germany, early on 27 March 2003. The initial investigation concluded he had committed suicide by running into traffic. However, his mother, noting that he had called her in great distress over his involvement with the LaRouche movement, who may have discovered that he was British and Jewish, within an hour of his death, never accepted that theory, and a later investigation found evidence that the accident may have been staged to cover an earlier beating. The case was reopened in 2012 after extensive litigation in England, resulting in a change of the cause of death to \"unexplained\", with the note that Duggan may have been involved in some sort of \"altercation\" beforehand.\n\nA human skull that was found off Vanikoro in April 2003 was thought to have been that of Gaspard Duché de Vancy (35–36), who disappeared in 1788. Who it belonged to and death cause, are unknown.\n Jürgen Möllemann (57), German Free Democratic Party politician, died on 5 June 2003 in a parachuting incident at Marl-Lohmühle. His death was investigated by the Essen district attorney's office, which published a final report on 9 July 2003. While outside interference was ruled out, no definite verdict was reached on whether Möllemann committed suicide or had died via misadventure. Shortly before his death, Möllemann, a passionate and experienced skydiver, had been confronted with allegations he had been involved in illegal arms deals and evaded taxes on millions of euros he allegedly earned from these activities. To enable a full investigation on these charges, the Bundestag lifted his parliamentary immunity on 5 June 2003 at 12:28, 22 minutes before his death. The tax evasion charges were dropped after his death.\n Singer-songwriter Elliott Smith (34), died of stab wounds inflicted in his Los Angeles home on 21 October 2003. His girlfriend claims she got out of the shower after an argument, having heard him scream, to find him with the knife sticking out of his chest, and found a short suicide note on a Post-It shortly thereafter. While he did indeed have a history of depression and drug addiction, friends say he was actively working to finish an album at the time and seemed optimistic. The coroner found the stab wounds were inconsistent with a suicide attempt but could not say it was a homicide either; the cause of the stabbing remains undetermined and has not been further investigated.\n Jonathan Luna (38), an Assistant U.S. Attorney from Baltimore, was found dead of multiple stab wounds inflicted with his own penknife in Denver, Pennsylvania, on the morning of 4 December 2003 in a stream underneath his car, which had been driven there overnight from Baltimore. The FBI, which has jurisdiction over the possible murder of any U.S. federal employee, found that Luna had mounting financial problems and was facing an investigation over missing money at his office; they considered it a suicide or botched attempt at staging a kidnapping. However, the Lancaster County coroner's office, pointing to evidence suggesting he had been abducted and someone else was driving for at least the final stage of his drive, ruled it a homicide and considers the case open.\n Lamduan Armitage was a formerly unidentified woman whose body was discovered in 2004 on the mountain Pen-y-ghent in Yorkshire, England, leading her to become known as the Lady of the Hills. The woman was found to have originally come from somewhere in South-East Asia, but despite an international police investigation, the identity of the woman, and how she arrived at the location remained a mystery until 2019. The woman was identified in March 2019 through DNA testing. Her cause of death remains unknown.\n Alonzo Brooks (23), American man who went missing from La Cygne, Kansas, on 3 April 2004 and was found dead on 1 May 2004. After the pathologists did an autopsy they have not yet been able to tell the cause of his death.\n The coroner investigating the death of Richard Lancelyn Green (51), a British Arthur Conan Doyle scholar who was found garrotted with a shoelace on his bed in his home on 27 March 2004, returned an open verdict. Many of his friends and family suspected homicide as he had complained of someone following him in his efforts to stop the auction of a cache of Doyle's personal papers that he believed to have been wrongfully acquired. However, despite suicide by garrotte being unusual and difficult, some investigators believed that he had followed the example of one of Doyle's Sherlock Holmes stories in which a woman stages her suicide to look like a murder.\n John Garang (60), Sudanese politician and former rebel revolutionary leader, died on 30 July 2005 in New Cush, Sudan in a suspicious helicopter crash.\n Barbara Precht's (69) body was found on 29 November 2006 in Cincinnati, Ohio. She remained unidentified until November 2014. Her husband was later located and is considered a person of interest in her death, which has unknown circumstances.\n Joyce Carol Vincent (38), was found dead in her London flat in January 2006, two years after she had died, by which time the body had decomposed so much as to make identifying a cause of death impossible; her story was profiled in the 2011 documentary Dreams of a Life.\n Rey Rivera (32), American writer who was working for Stansberry and Associates who went missing from his house on 16 May 2006 and was found dead on Belvedere Hotel on 24 May 2006, in Mount Vernon, Baltimore Even though the Baltimore Police Department has claimed that his death was most likely to be a suicide, this has not been proven to be the case.\n Bob Woolmer (58), Pakistan's national cricket coach, was found dead in his hotel room on 18 March 2007, after losing in the Cricket World Cup 2007 in the West Indies. Investigators at first ruled the death a suicide, but the jury that heard the inquest returned an open verdict.\n Three years after the body of Corryn Rayney (44), was found in the Perth suburb of Kings Park, Western Australia a week after her 7 August 2007 disappearance, her husband Lloyd was charged in her murder even though a cause of death had not been determined. A judge acquitted him at his 2012 trial, finding the largely circumstantial case was further compromised by police misconduct. The verdict was upheld on appeal the following year; Rayney and his lawyers have called for two known sex criminals to be investigated as well.\n The Salish Sea human foot discoveries are the severed feet found from 20 August 2007 to 1 January 2019 that are known to belong to people who are thought to be dead. The circumstances behind these events remain unclear.\n Tony Harris (36), American basketball player who had played in multiple countries disappeared from Brasília, Brazil on 4 November 2007 and was found dead on 18 November 2007. There are different ideas about why he died, yet the true cause of his death is unknown.\n Two-year-old Caylee Anthony, of Orlando, Florida, was reported missing by her grandmother in the summer of 2008, when she learned that her daughter Casey had not seen her in over a month. Casey claimed the girl had been kidnapped by a nanny and circumstantial evidence led to her arrest on murder charges that fall. A tip that could have led to the body's discovery in August was not fully acted upon until December; by then the body was so decomposed that it was impossible to establish how Caylee had died, although the coroner ruled it homicide. Casey Anthony, despite public sentiment strongly against her, was acquitted of the murder and child-abuse charges (but convicted of the lesser charges of lying to the police) after a heavily covered trial in 2011, where her lawyer claimed that Caylee had accidentally drowned in the family pool and Casey's domineering father had led a cover-up. Later, her father came forward with his own explanation: Casey had allegedly been known to drug Caylee to entice her to sleep so Casey could leave Caylee home alone and go out with friends for the evening. He alleges Casey or a friend accidentally overdosed Caylee, killing her, and in a panic, made up the kidnapping story as a cover.\n Missing list of suspects in the 2008 Noida double murder case.\n American professional wrestler Steven James Bisson (32), who went by the ring name of \"Steve Bradley\", was found dead on 4 December 2008 in Manchester, New Hampshire, in a parking lot across the street from a pro wrestling school where he once operated. Bradley's cause of death is undetermined, as the autopsy could not reveal what he died from, so his death remains a mystery.\n The Peter Bergmann case is an unsolved mystery pertaining to the death of an unidentified man in County Sligo, Ireland, whose naked body was found on a beach; the autopsy found no signs of drowning or foul play and thus the cause of death remains undetermined. From 12 to 16 June 2009, a man using the alias \"Peter Bergmann\" visited the coastal seaport town of Sligo in northwest Ireland. He used this alias to check into the Sligo City Hotel, where he stayed during the majority of his visit. He was described by hotel staff and tenants as having a heavy German accent. Despite conducting a five-month investigation into the death of \"Peter Bergmann\", the Garda Síochána have never been able to identify the man or develop any leads in the case.\n Skeletal remains found in a dry creek bed in California's Malibu Canyon on 9 August 2010, turned out to be those of Mitrice Richardson (25). She had last been seen on the night of 16 September 2009 in the backyard of a former local television news anchor after being arrested for marijuana possession and failure to pay the bill at a local restaurant where she had been acting strangely, behavior that investigating officers did not believe was caused by alcohol or drugs. The coroner has said her death did not appear to be a homicide, but the body was too decayed to determine the exact cause of death.\nThe Jamison family disappeared mysteriously on 8 October 2009 from Red Oak, Oklahoma and were all later found dead after four years in November 2013. Their death causes could not be determined.\n\n2010–2019\n On 23 August 2010, the partially decomposed body of Gareth Williams (32), a Welsh mathematician who worked for British intelligence GCHQ, but who was seconded to MI6 at the time of his death, was found in a padlocked bag in the bathroom of a safe house in the London neighbourhood of Pimlico. It was determined he had been dead for about a week. Due to the nature of his work, the investigation had to withhold details of it and some other aspects from any material made public; his family and friends allege that the Metropolitan Police compromised and mishandled key forensic evidence in the early stages of their response. An initial investigation by the coroner's office concluded that the death was a homicide; a later re-investigation by the police claimed that it was instead an accident.\n Rajiv Dixit (43), an Indian public speaker and social activist who died on 30 November 2010 in Bhilai, Chhattisgarh, after his meal was poisoned. It is claimed that Dixit refused to undergo emergency medical treatment, and died shortly thereafter. No autopsy was ever conducted so it remains unknown whether Dixit was deliberately poisoned or committed suicide..\nAnneka Di Lorenzo (58), was a film star and a nude model who worked in California who was found dead in January 2011 after having drowned in the sea off Camp Pendleton. It is unknown whether or not her death was either a murder or suicide.\n British citizen Lee Bradley Brown (39), was arrested by Dubai police while on holiday there 6 April 2011 and charged with assault after an incident between him and a hotel maid; accounts of the circumstances differ. Held without bail, he died in custody six days later after, police claimed, being beaten by cellmates; later they said he had \"thrown himself on the ground repeatedly.\" An autopsy, however, found instead that Brown had, under the influence of hashish, choked on his own vomit. British officials who were allowed to examine the body disputed that conclusion, saying they saw no evidence of choking or blunt force trauma; Dubai authorities have declined repeated requests to share evidence such as CCTV footage from the original incident and the police station that might clarify matters. A coroner's inquest in the UK that considered only the autopsy report and the diplomats' reports returned an open verdict.\n Maddy Scott (20), Canadian woman who disappeared on 28 May 2011 from Vanderhoof, British Columbia and was found dead on 27 May 2023. Her cause of death is unknown.\n Tom J. Anderson (35), formerly known by his birth name \"Ahmad Rezaee\", was a businessman and the eldest son of Iranian Major General Mohsen Rezaee. On 12 November 2011, he was found dead in the Gloria Hotel, located in Dubai Media City, where he was staying. There are different theories about how he died, yet the cause of his death remains unknown.\n Stephen Corrigan (48), an Irish man who disappeared on 22 November 2011, and on 9 April 2020 some remains of his skeleton were found in Rathmines, Dublin. Corrigan's death cause is unknown.\n Candice Cohen-Ahnine (35), a French Jewish woman who successfully fought a legal battle against Saudi prince Sattam bin Khalid Al Saud over their illegitimate daughter, fell to her death in Paris on August 16, 2012. Her death is considered suspicious in nature due to the circumstances.\n Exiled Russian oligarch Boris Berezovsky (67), was found dead in his home near Ascot, Berkshire on 23 March 2013. At first glance he had hanged himself; he had recently lost what remained of his fortune, and some other close friends had unexpectedly died, which had left him despondent. The police soon ruled the case a suicide, but at the inquest, Berezovsky's daughter, who believes her father was murdered at the behest of the Russian government, introduced a report by a German pathologist that cast enough doubt for the coroner to return an open verdict.\n Zsolt Erőss (45), a Hungarian high-altitude mountaineer, disappeared on 21 May 2013 while he was climbing Kangchenjunga. Erőss' body was found in 2014, and his death cause is unknown.\n A worker at a Fenton, Missouri, senior living facility found the body of Shirley Rae Neumann (78), on the grounds outside the facility on the afternoon of October 31, 2013. At first it appeared that Neumann, who suffered from advanced arthritis and dementia, had fallen from the balcony of her apartment, since its railing had been broken, and the county coroner ruled the death accidental. But tests also found a level of the sedative Zolpidem in her blood that was eight times higher than a normal dose would have left. The last person to see Neumann alive was her daughter, Pam Hupp. Hupp stood to benefit financially from her mother's death, and she told staff that her mother would not be leaving her apartment the next day. Hupp had also pleaded guilty to another murder that prosecutors alleged she had committed to point suspicion at the husband of a murdered friend of Hupp's who had been acquitted at a retrial after spending several years in prison, a murder in which Hupp herself has been implicated as the real killer. After these events, a new coroner changed the finding to undetermined.\n On 15–16 November 2013, the skeletal remains of two adults and one child were found in a field outside Red Oak, Oklahoma. A year later they were identified as the Jamison family, who had gone missing in 2009 while looking into some land they wanted to purchase. Their abandoned pickup truck was three miles (4.8 km) from where their bodies were found. No cause of death has been determined.\n The decomposing remains of Canadian journalist Dave Walker (57), were found in Cambodia's Angkor temple complex on 1 May 2014, ending a search that began shortly after he failed to return to his hotel's guest house on the night of 14 February. While the medical examiner concluded that he had died weeks earlier, the cause of Walker's death could not be determined.\n Bone fragments found along the Rio Culebra near Boquete, Panama, in late June 2014 were matched to Lisanne Froon, 22, and Kris Kremers, 21, of Amersfoort, the Netherlands. The two had last been seen alive on 1 April when they went for a hike on the popular El Pianista trail. After unsuccessful initial searches a backpack belonging to the women was turned in by a local. It contained their phones, a Canon camera and personal effects. After two months small fraction of their remains was found as well. The women's cell phones showed that they had repeatedly attempted to contact emergency numbers shortly after taking pictures of themselves at the Continental Divide. Those calls had continued over several days, and Froon's camera contained 90 photographs taken in the night of 8 April, seven days after their disappearance. Most of the photos showed the jungle in the dark, but some of them contained rock formations, and small pieces of paper and other items in close-up and one contained the back of Kremers's head. It was impossible to determine from the remains that were found exactly how they had died. Local officials believe the women suffered an accidental injury shortly after getting lost in a network of trails in the region's cloud forests and got lost in the wilderness around Volcán Barú; however, Panamanian lawyers for their families have pointed to failings of the investigation and suggested both women could have met with foul play.\n On 27 June 2014, the body of Andrew Sadek (20), was recovered from the Red River near Breckenridge, Minnesota, with a small-caliber gunshot wound and a backpack full of rocks. He had last been seen by a security camera leaving his dorm at North Dakota State College of Science in Wahpeton around 2 a.m. on 1 May. At the time of his disappearance he had been working as a confidential informant for local police as a result of his own arrest for selling marijuana on campus, which could otherwise have resulted in a long prison sentence. It has not been determined yet whether his death was suicide or murder. Like Rachel Hoffman's death, the case has been used as an example of the mishandling of youthful CIs by police.\n Gennadiy Tsypkalov (43), was a political and military figure of the unrecognized Luhansk People's Republic (LPR). According to officials of the Luhansk People's Republic, Tsypkalov had committed suicide on 17 May 2014, yet according to some of Tsypkalov's colleagues whom Igor Plotnitsky dismissed, the leadership of LPR murdered Tsypkalov. His true death cause is unknown.\n Lennon Lacy was a student who went to West Bladen High School located in Bladenboro, North Carolina who was found dead in the center of a mobile home community hanging from the frame of a swing set on 29 August 2014. It is unclear whether he committed suicide or was murdered.\n John Sheridan (72), formerly New Jersey's Transportation Commissioner, was found dead in his Skillman home along with his wife Joyce on the morning of 28 September 2014. The bodies were in an upstairs bedroom where a fire had been set; they were found with multiple stab wounds. An original ruling of murder-suicide was changed to undetermined in 2017 after a court challenge by the couple's sons, motivated by complaints of mishandled evidence and some evidence suggesting the couple had been attacked by an intruder. The sons called for the investigation to be reopened, which the state attorney general did in 2022.\n The Unnao dead bodies row are the discovery on 14 January 2015 of over one hundred dead bodies who were found floating in the River Ganges in Unnao district located in the Indian state of Uttar Pradesh who are unidentified. The cause behind their deaths are unknown.\n Alberto Nisman (51), an Argentine federal prosecutor, was found dead in his apartment of a single gunshot wound to the head on 18 January 2015. He had been investigating the 1994 AMIA bombing, Argentina's deadliest terror attack, and had publicly accused President Cristina Kirchner and other high officials close to her of covering up for suspects in the case for foreign-policy reasons; he was scheduled to present these allegations to Congress the next day. While some of the circumstances of his death are consistent with an early statement that he committed suicide, friends and relatives say that he was eagerly looking ahead to his appearance before Congress and did not seem depressed or despondent at all. Kirchner has suggested the country's intelligence services were behind the killing, since he was about to expose their attempts to bring her down, and called for them to be dismantled. The case remains under investigation.\n Canserbero (26), a Venezuelan hip hop artist and songwriter, was found dead from an apparent fall in front of his apartment complex in Maracay on January 20, 2015. Several hypotheses have been proposed as to what led to his death.\n Kayla Mueller (26), an American human rights activist and humanitarian aid worker who had been taken captive by the Islamic State in August 2013 in Aleppo, Syria, where she was helping Doctors Without Borders, was reported to have died in a Jordanian air strike during the Syrian Civil War in Raqqa on 6 February 2015. Her death was confirmed by the Pentagon, but the circumstances could not be established by the US. The Pentagon agreed the building she supposedly died in according to ISIS was hit in the bombings, but disputed that Mueller or any other civilian had been inside at the time. The site had been bombed by the coalition twice before, and was targeted again because ISIS soldiers sometimes return to bombed sites, thinking the coalition would not bomb those sites again, according to Pentagon spokesman John Kirby. After Abu Bakr al-Baghdadi's death in October 2019, new speculations arose that Al-Baghdadi may have had her executed.\n On 22 April 2015, the body of Ambrose Ball (30), of London, was recovered from the River Lea in Tottenham. He had last been seen leaving his vehicle following a single-car accident early on the morning of 24 January after visiting a local pub with friends. The body was too decomposed to determine a cause of death; police requested an adjournment of the inquest in order to further investigate, implying a murder charge was in the works. No charges were ever filed, and threats were later made against Ball's friends and family after they set up a Facebook page appealing for help from the public and questioning the conduct of the investigation.\n On 8 February 2016, an unidentified bus driver was purportedly killed by a falling meteorite in Tamil Nadu, India. If the object truly was a meteorite, then it would be first human fatality from such a type of death in recorded history.\n On 10 December 2016, human remains were discovered in Charlestown, Rhode Island that were thought to be those of mobster Danny Walsh (43). The remains were found where he once had lived. This was later proved false, and the person to whom they belonged to and identity and death cause are unknown.\n Vladimir Cvijan, Serbian lawyer and politician, former MP (2012–2014) and legal advisor and General Secretary of President of Serbia (2004–2010). High-ranked member of ruling SNS of Aleksandar Vučić, from 2010 to 2014, and later dissident. He disappeared in 2017, allegedly fleeing to the United States, however, in March 2021 Serbian media published a document in which the Public Prosecutor of the Higher Public Prosecutors Office in Belgrade states that the Prosecutor's Office issued an order ordering the payment of costs to the Institute for Forensic Medicine of the Faculty of Medicine, University of Belgrade for the autopsy of Vladimir Cvijan's body on 20 November 2018 in Belgrade, Serbia. The cause, circumstances and exact date of his death are still unknown.\n\n Valery Bolotov (46), was a Ukrainian militant leader known for his involvement in the Donbass War in eastern Ukraine, and as the leader of the unrecognized Luhansk People's Republic. Bolotov was found dead on 27 January 2017 in his own home in Moscow, Russia. The preliminary results of clinical tests showed an acute heart failure as reason for death. Poisoning later was suspected. The causes of his death are currently being investigated and are not currently known.\n Otto Warmbier (22), was an American college student who was arrested and detained in North Korea since January 2016, on charges that he had attempted to steal a propaganda poster. During his imprisonment, he suffered an unspecified injury which caused him to go into a coma, from which he died on 19 June 2017.\n Rogelio Martinez (36), an agent of the United States Border Patrol died on 19 November 2017 in Culberson County, Texas while on duty. His cause of death is thought to be murder, but this remains uncertain owing to a lack of evidence. A four-month investigation was conducted by the FBI into his death cause, but the results were inconclusive.\n Computer hacker Adrian Lamo (37), was found dead 14 March 2018 on a pile of sheets in the guest bedroom of the Wichita, Kansas, home of a couple he had been living with. After three months of investigating, the county coroner was unable to identify a cause of death. While there are some alternative theories suggesting his death had something to do with his controversial involvement in the criminal cases against Chelsea Manning and Julian Assange, the most likely theory is the possible adverse interactions of some of the medicines found near him with kratom, which he often used.\n Hong Kong teenager Chan Yin-lam, who participated in the 2019 Hong Kong protests, was found dead and naked in the harbour off Tseung Kwan O on 22 September 2019. This sparked conspiracy theories in pro-protest circles, notably the online platform LIHKG that Chan had been killed by the police. On 11 September 2020, a coroner's inquest jury ruled that the cause of death could not be determined.\nYolanda Klug (26), German woman who disappeared in Leipzig on 25 September 2019 and whose disappearance has been linked to Scientology. A walker discovered her bones on 25 February 2023 in the \"Rödel\" forest area near Freyburg. The cause of death is unclear.\n Marc Bennett (52), a British citizen working for Qatar Airways, was found hanged in his Doha hotel room on 24 December 2019. Authorities there ruled it suicide, a finding Bennett's friend and family disputed as he had been actively making plans for his future at a new job with a Saudi company. The airline might have been upset by this since Qatar and Saudi Arabia do not have good relations; a couple of months earlier, after he had let them know that he was leaving, dissatisfied, he was arrested and charged with possessing stealing documents from the company. During the month he was held he said he was tortured. The West Sussex Coroner's Office reinvestigated the death and found that foul play \"could not be ruled out\".\n\n2020s\n Ana Lucrecia Taglioretti (24), was a blind female Paraguayan violinist and prodigy who had performed at events for charitable causes. She was found dead on 9 January 2020 in her apartment in Asunción, Paraguay, by her mother during a welfare check. Her cause of death is unknown.\n Facundo Astudillo Castro (22–23), was an Argentine man who disappeared on 30 April 2020 during the COVID-19 pandemic after he was stopped by the police in Mayor Buratovich, Buenos Aires. Castro was found dead on 15 August 2020. Though Castro's death was revealed to be caused by drowning, it could not be determined if it was a result of homicide, suicide, or an accident.\n Esther Dingley (37), was an English hiker and blogger while going on a solo trip through the Pyrenees. Partial remains were found in July 2021, and later confirmed to be Dingley's following a DNA examination. Her cause of death is currently unknown.\n John Snorri Sigurjónsson (48), Juan Pablo Mohr Prieto (37), and Ali Sadpara (45), three high-altitude mountaineers, went missing while climbing the Bottleneck area of Pakistan's K2 mountain on 5 February 2021. The three men's bodies were found on 26 July of that year, but cause of death could not be determined.\n Melissa Caddick (49), was an Australian financial advisor who vanished on 12 November 2020, amid allegations that she was running a Ponzi scheme. Her partial remains were found floating in the ocean in February 2021, but cause of death is yet to be established.\n James Dean (35), English footballer and champion kickboxer who disappeared in the area of Oswaldtwistle on 5 May 2021. His body was found four days later. While authorities have said that the case is not treated as a homicide, no cause of death has been determined. The police announced his death was not being treated as suspicious.\n Kristina Đukić (21), was a Serbian livestreamer and YouTuber who was found dead in Belgrade, Serbia on 8 December 2021 from causes that have yet to be determined.\n Leah Croucher (19), British teenager was reported missing on 15 February 2019 in Milton Keynes, Buckinghamshire, England. She was confirmed deceased on 21 October 2022 following the official identification of her remains. The prime suspect in her death is convicted sex offender Neil Maxwell, who was found dead two months after Croucher's disappearance.\nNicola Bulley (45), disappeared from St Michael's on Wyre, Lancashire, England, while she was walking her dog. Bulley was found dead on 19 February 2023. Her death cause is unknown.\n\nDate of death disputed\n Raoul Wallenberg (34), a Swedish humanitarian who worked in Budapest, Hungary, was most likely executed in the Soviet Union in or around 1947 after being captured by the Red Army in 1945. His death is dated by Soviet authorities as 16 July 1947, but this is disputed, and the case remains unsolved.\n In 1948, a German court ruled that the case of Hans Kammler (43), an engineer and SS commander who oversaw many Nazi construction projects, including concentration camps and, later, the V-2 missile program, died on 9 May 1945 of what was later claimed to be suicide by cyanide poisoning. Some other accounts, however, have him being killed by his own side to prevent his capture during an attack by Czech resistance fighters; others suggest those accounts of his death were put out to cover his surrender to the U.S. Army, in whose custody he supposedly hanged himself two years later.\n\nSee also\n\n Cold case (criminology)\n Forensic science\n List of kidnappings\n List of unsolved murders in the United Kingdom\n Lists of unsolved murders\n Lists of people by cause of death\n Lists of people who disappeared\n Unidentified decedent\n\nReferences\n\nExternal links\n\nUnsolved", "title": "List of unsolved deaths" }, { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
[ "The context does not provide information on who Elliott Smith is.", "The context does not provide information on what the number one song from any album was.", "In 1991, Smith graduated from Hampshire College in Amherst, Massachusetts with a degree in philosophy and political science.", "After the band Heatmiser, which Smith was part of, disbanded prior to the release of the album Mic City Sons, Virgin Records decided to release the album through its independent arm, Caroline Records. The contract Smith had with Virgin was later bought out by DreamWorks prior to the recording of his fourth album, XO.", "The context does not provide information on whether they hit the charts.", "In 1996, the band Heatmiser, which Smith was a part of, was signed to Virgin Records to release what became their final album, Mic City Sons.", "The context does not provide information on whether they won any awards." ]
[ "No", "Yes", "Yes", "No", "Yes", "Yes", "Yes" ]
C_16dab7caf44f4fb980071052066a2132_0
Elliott Smith
Steven Paul Smith was born at the Clarkson Hospital in Omaha, Nebraska, the only child of Gary Smith, a student at the University of Nebraska Medical Center, and Bunny Kay Berryman, an elementary school music teacher. His parents divorced when he was six months old, and Smith moved with his mother to Duncanville, Texas. Smith later had a tattoo of a map of Texas drawn on his upper arm and said: "I didn't get it because I like Texas, kind of the opposite. But I won't forget about it, although I'm tempted to because I don't like it there."
1994: Roman Candle
His first release, Roman Candle (1994), came about when Smith's girlfriend at the time convinced him to send a tape of "the most recent eight songs that [he'd] recorded on borrowed four-tracks and borrowed guitar" to Cavity Search Records. Owner Christopher Cooper immediately requested to release the entire album of songs, which surprised Smith, as he was expecting only a deal for a seven-inch record. Regarding the record, Smith said: "I thought my head would be chopped off immediately when it came out because at the time it was so opposite to the grunge thing that was popular ... The thing is that album was really well received, which was a total shock, and it immediately eclipsed [Heatmiser], unfortunately." Smith felt his solo songs were not representative of the music Heatmiser was making: "The idea of playing [my music] for people didn't occur to me... because at the time it was the Northwest--Mudhoney and Nirvana--and going out to play an acoustic show was like crawling out on a limb and begging for it to be sawed off." The instrumentation of the recordings was primarily acoustic guitar, occasionally accompanied by brief electric guitar riffs or a small drum set played with brushes. Only the final track, an instrumental titled "Kiwi Maddog 20/20" (a reference to the low-end fortified wine), had full band instrumentation. One of Smith's first solo performances was at the now-defunct Umbra Penumbra on September 17, 1994. Only three songs from Roman Candle were performed, with the majority of the ten-song set being B-sides, Heatmiser tunes and unreleased tracks. Soon after this performance, Smith was asked to open for Mary Lou Lord on a week-long U.S. tour. She later recorded one of his songs, "I Figured You Out", which he had discarded for sounding "too much like the Eagles". The same year, Smith released a split 7" single with Pete Krebs, contributing the track "No Confidence Man" as the single's B-side. CANNOTANSWER
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[ "Is Roman Candle the name of an album?", "How well did it do?", "What other albums did he do?", "Did those do well also?", "What else did he do in 1994?", "How was the performance recieved?", "Did he get back with his bandmates?" ]
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Steven Paul Smith (August 6, 1969 – October 21, 2003), known professionally as Elliott Smith, was an American musician and singer-songwriter. He was born in Omaha, Nebraska, raised primarily in Texas, and lived much of his life in Portland, Oregon, where he gained popularity. Smith's primary instrument was the guitar, though he also played piano, clarinet, bass guitar, drums, and harmonica. He had a distinctive vocal style, characterized by his "whispery, spiderweb-thin delivery", and often used multi-tracking to create vocal layers, textures, and harmonies. After playing in the rock band Heatmiser for several years, Smith began his solo career in 1994, with releases on the independent record labels Cavity Search and Kill Rock Stars (KRS). In 1997, he signed a contract with DreamWorks Records, for which he recorded his final two albums. Smith rose to mainstream prominence when his song "Miss Misery"—included in the soundtrack for the film Good Will Hunting (1997)—was nominated for the 1998 Academy Award for Best Original Song. Smith was a heavy drinker and drug user, and was diagnosed with attention deficit hyperactivity disorder (ADHD) and depression. His struggles with drugs and mental illness affected his life and work, and often appeared in his lyrics. In 2003, aged 34, he died in Los Angeles, California, from two stab wounds to the chest. The autopsy evidence did not determine whether the wounds were self-inflicted. At the time of his death, Smith was working on his sixth studio album, From a Basement on the Hill, which was posthumously produced and released in 2004. Early life Steven Paul Smith was born on August 6, 1969, at the Methodist Hospital in Omaha, Nebraska, the only child of Gary Smith, a student at the University of Nebraska Medical Center, and Bunny Kay Berryman, an elementary school music teacher. His parents divorced when he was six months old, and Smith moved with his mother to Duncanville, Texas. Smith later had a tattoo of a map of Texas drawn on his upper arm and said: "I didn't get it because I like Texas, kind of the opposite. But I won't forget about it, although I'm tempted to because I don't like it there." Smith endured a difficult childhood and a troubled relationship with his stepfather Charlie Welch. Smith stated he may have been sexually abused by Welch at a young age, an allegation that Welch has denied. He wrote about this part of his life in "Some Song". The name "Charlie" also appears in songs "Flowers for Charlie" and "No Confidence Man." In a 2004 interview, Jennifer Chiba, Smith's partner at the time of his death, said that Smith's difficult childhood was partly why he needed to sedate himself with drugs as an adult: "He was remembering traumatic things from his childhood – parts of things. It's not my place to say what." For much of his childhood, Smith's family was a part of the Community of Christ but began attending services at a local Methodist church. Smith felt that going to church did little for him, except make him "really scared of Hell". In 2001, he said: "I don't necessarily buy into any officially structured version of spirituality. But I have my own version of it." Smith began playing piano at age nine, and at ten began learning guitar on a small acoustic guitar bought for him by his father. At this age he composed an original piano piece, "Fantasy", which won him a prize at an arts festival. Many of the people on his mother's side of the family were non-professional musicians; his grandfather was a Dixieland drummer, and his grandmother sang in a glee club. At fourteen, Smith left his mother's home in Texas and moved to Portland, Oregon, to live with his father, who was then working as a psychiatrist. It was around this time that Smith began using drugs, including alcohol, with friends. He also began experimenting with recording for the first time after borrowing a four-track recorder. At high school, Smith played clarinet in the school band and played guitar and piano; he also sang in the bands Stranger Than Fiction and A Murder of Crows, billed as either Steven Smith or "Johnny Panic". His bandmates included Jason Hornick. He graduated from Lincoln High School as a National Merit Scholar. After graduation, Smith began calling himself "Elliott", saying that he thought "Steve" sounded too much like a "jock" name, and that "Steven" sounded "too bookish". According to friends, he had also used the pseudonym "Elliott Stillwater-Rotter" during his time in the band A Murder of Crows. Biographer S. R. Shutt speculates that the name was either inspired by Elliott Avenue, a street that Smith had lived on in Portland, or that it was suggested by his then-girlfriend. A junior high acquaintance of Smith speculates Smith changed his name so as not to be confused with Steve Smith, the drummer of Journey. Career 1991–1996: Heatmiser In 1991 Smith graduated from Hampshire College in Amherst, Massachusetts with a degree in philosophy and political science. "Went straight through in four years", he explained to Under the Radar in 2003. "I guess it proved to myself that I could do something I really didn't want to for four years. Except I did like what I was studying. At the time it seemed like, 'This is your one and only chance to go to college and you had just better do it because some day you might wish that you did.' Plus, the whole reason I applied in the first place was because of my girlfriend, and I had gotten accepted already even though we had broken up before the first day." After he graduated, he "worked in a bakery back in Portland with a bachelor's degree in philosophy and legal theory". While at Hampshire, Smith formed the band Heatmiser with classmate Neil Gust. After Smith graduated from Hampshire, the band added drummer Tony Lash and bassist Brandt Peterson and began performing around Portland in 1992. The group released the albums Dead Air (1993) and Cop and Speeder (1994) as well as the Yellow No. 5 EP (1994) on Frontier Records. They were then signed to Virgin Records to release what became their final album, Mic City Sons (1996). Around this time, Smith and Gust worked a number of odd jobs around Portland, including installing drywall, spreading gravel, transplanting bamboo trees, and painting the roof of a warehouse with heat reflective paint. The pair were also on unemployment benefits for some time, which they considered an "artist grant". Smith had begun his solo career while still in Heatmiser, and the success of his first two releases created distance and tension with his band. Heatmiser disbanded prior to the release of Mic City Sons, prompting Virgin to put the album out inauspiciously through its independent arm, Caroline Records. A clause in Heatmiser's record contract with Virgin meant that Smith was still bound to it as an individual. The contract was later bought out by DreamWorks prior to the recording of his fourth album, XO. 1994: Roman Candle In the early 1990s, Smith's girlfriend at the time convinced him to send a tape of songs he had recently recorded on a borrowed four-track to Cavity Search Records. Cavity owner Christopher Cooper asked to release the entire album of songs, which surprised Smith, as he was expecting only a deal for a seven-inch record. The album became Smith's release, Roman Candle (1994). Smith said: "I thought my head would be chopped off immediately when it came out because at the time it was so opposite to the grunge thing that was popular ... The thing is that album was really well received, which was a total shock, and it immediately eclipsed [Heatmiser], unfortunately." Smith felt his solo songs were not representative of the music Heatmiser was making: "The idea of playing [my music] for people didn't occur to me... because at the time it was the Northwest—Mudhoney and Nirvana—and going out to play an acoustic show was like crawling out on a limb and begging for it to be sawed off." One of Smith's first solo performances was in Portland at the now-defunct Umbra Penumbra on September 17, 1994. Only three songs from Roman Candle were performed, with the majority of the ten-song set being B-sides, Heatmiser tunes and unreleased tracks. The same year, Smith released a split 7-inch record with Pete Krebs via Slo-Mo Records, contributing the track "No Confidence Man". 1995–1997: Elliott Smith and Either/Or In 1995, Smith's self-titled album was released on Kill Rock Stars; the record featured a style of recording similar to Roman Candle, but with hints of growth and experimentation. Though the majority of the album was recorded by Smith alone, friend and The Spinanes vocalist Rebecca Gates sang harmony vocals on "St. Ides Heaven", and Heatmiser guitarist Neil Gust played guitar on "Single File". Several songs made reference to drugs, but Smith explained that he used the theme of drugs as a vehicle for conveying dependence rather than the songs being about drugs specifically. Looking back, Smith felt that the album's pervasive mood gave him "a reputation for being a really dark, depressed person" and said that he later made a conscious move toward more diverse moods in his music. In 1996, filmmaker Jem Cohen recorded Smith playing acoustic songs for the short film Lucky Three: An Elliott Smith Portrait. Two of these songs would appear on his next album, Either/Or, which was another Kill Rock Stars release. Either/Or came out in 1997 to favorable reviews. The album found Smith venturing further into full instrumentation, with several songs containing bass guitar, drums, keyboards, and electric guitars, all played by Smith. The album title was derived from the two-volume book of the same name by Danish philosopher Søren Kierkegaard, whose works generally deal with themes such as existential despair, angst, death, and God. By this time, Smith's already-heavy drinking was being compounded with use of antidepressants. At the end of the Either/Or tour, some of his close friends staged an intervention in Chicago, but it proved ineffective. Shortly after, Smith relocated from Portland to Jersey City, New Jersey, and later Brooklyn, New York. 1997–98: "Miss Misery" and Academy Award nomination In 1997, Smith was selected by director and fellow Portland resident Gus Van Sant to be a part of the soundtrack to his film, Good Will Hunting. Smith recorded an orchestral version of "Between the Bars" with composer Danny Elfman for the movie. Smith also contributed a new song, "Miss Misery", and three previously released tracks ("No Name #3", from Roman Candle, and "Angeles" and "Say Yes", from Either/Or). The film was a commercial and critical success, and Smith was nominated for an Academy Award for "Miss Misery". Not eager to step into the limelight, he agreed to perform the song at the ceremony only after the producers informed him that if he was unwilling to perform, they would choose someone else to play it. On March 5, 1998, Smith made his network television debut on Late Night with Conan O'Brien performing "Miss Misery" solo on acoustic guitar. A few days later, wearing a white suit, he played an abridged version of the song at the Academy Awards ceremony, accompanied by the house orchestra. James Horner and Will Jennings won for best song with "My Heart Will Go On" (sung by Celine Dion) from the film Titanic. Smith did not voice disappointment about not winning. He described the experience as surreal, and said: "The Oscars was a very strange show, where the set was only one song cut down to less than two minutes, and the audience was a lot of people who didn't come to hear me play. I wouldn't want to live in that world, but it was fun to walk around on the moon for a day." 1998–2000: XO and Figure 8 In 1998, after the success of Either/Or and "Miss Misery", Smith signed to a bigger record label, DreamWorks Records. Around the same time, Smith fell into depression, speaking openly of considering suicide, and on at least one occasion made a serious attempt at ending his own life. While in North Carolina, he became severely intoxicated and ran off a cliff. He landed on a tree, which badly impaled him but broke his fall. When questioned about his suicide attempt, he told an interviewer, "Yeah, I jumped off a cliff, but let's talk about something else." Christopher Cooper, head of Cavity Search Records (which released Roman Candle), said about this time in Smith's life, "I talked him out of thinking that he wanted to kill himself numerous times when he was in Portland. I kept telling him that he was a brilliant man, and that life was worth living, and that people loved him." Pete Krebs also agreed: "In Portland we got the brunt of Elliott's initial depression... Lots of people have stories of their own experiences of staying up with Elliott 'til five in the morning, holding his hand, telling him not to kill himself." Smith's first release for DreamWorks was later that year. Titled XO, it was conceived and developed while Smith wrote it out over the winter of 1997/1998, night after night seated at the bar in Luna Lounge. It was produced by the team of Rob Schnapf and Tom Rothrock. XO also contained some instrumentation from Los Angeles musicians Joey Waronker and Jon Brion. It contained a more full-sounding, baroque pop sound than any of his previous efforts, with songs featuring a horn section, Chamberlins, elaborate string arrangements, and even a drum loop on the song "Independence Day". His familiar double-tracked vocal and acoustic guitar style were still apparent while his somewhat personal lyrical style survived. The album went on to peak at number 104 on the Billboard 200 and number 123 on the UK Album Charts, while selling 400,000 copies (more than double that of each of his two Kill Rock Stars releases), becoming the best-selling release of his career. Smith's backing band during most of this period was the Portland-based group Quasi, consisting of former bandmate Sam Coomes on bass guitar and Coomes's ex-wife Janet Weiss on drums. Quasi also performed as the opening act at many shows on the tour, with Smith sometimes contributing bass guitar, guitar, or backing vocals. On October 17, 1998, Smith appeared on Saturday Night Live and performed "Waltz No. 2 (XO)". His backing band for this appearance was John Moen, Jon Brion, Rob Schnapf, and Sam Coomes. In response to whether the change to a bigger record label would influence his creative control, Smith said, "I think despite the fact that sometimes people look at major labels as simply money-making machines, they're actually composed of individuals who are real people, and there's a part of them that needs to feel that part of their job is to put out good music." Smith also claimed in another interview that he never read his reviews for fear that they would interfere with his songwriting. It was during this period that Smith appeared on Dutch television in 1998 and provided a candid interview in which he spoke of his assessment of his music career until that point: Yeah, I don't know. I mean, I mostly only know things are different because people ask me different questions, but I don't feel like things are very changed. I mean, I still, I do the same things that I did before … I think about the same things, so … I'm the wrong kind of person to be really big and famous. As part of the Dutch television special, Smith played live versions of "Waltz No. 2 (XO)", "Miss Misery", and "I Didn't Understand"—the latter two songs were performed solely on piano, while the first song was cut short by Smith, as he explained: "I had to stop it because it's… you know, what's the point of playing a song badly? It'd be better to play it and mean it, than to just walk through it." Smith relocated from Brooklyn to Los Angeles in 1999, taking up residence at a cabin in the Silver Lake section of town, where he would regularly play intimate, acoustic shows at local venues like Silverlake Lounge. He also performed in Toronto in April that year. In the fall, his cover of the Beatles' "Because" was featured in the end credits of DreamWorks' Oscar-winning drama American Beauty, and appeared on the film's soundtrack album. The final album Smith completed, Figure 8, was released on April 18, 2000. It featured the return of Rothrock, Schnapf, Brion, and Waronker and was partially recorded at Abbey Road Studios in England, with an obvious Beatles influence in the songwriting and production. The album garnered favorable reviews, and peaked at number 99 on the Billboard 200 and 37 on the UK Album Charts. The album received praise for its power pop style and complex arrangements, described as creating a "sweeping kaleidoscope of layered instruments and sonic textures". However, some reviewers felt that Smith's trademark dark and melancholy songwriting had lost some of its subtlety, with one reviewer likening some of the lyrics to "the self-pitying complaints of an adolescent venting in his diary". Album art and promotional pictures from the period showed Smith looking cleaned-up and put-together. An extensive tour in promotion of the record ensued, book-ended by television appearances on Late Night with Conan O'Brien and the Late Show with David Letterman. However, Smith's condition began to deteriorate as he had become addicted to heroin either towards the end of or just after the Figure 8 tour. 2001–2002: Addiction and scrapped recordings Around the time he began recording his final album, Smith began to display signs of paranoia, often believing that a white van followed him wherever he went. He would have friends drop him off for recording sessions almost a mile away from the studio, and to reach the location, he would trudge through hundreds of yards of brush and cliffs. He started telling people that DreamWorks was out to get him: "Not long ago my house was broken into, and songs were stolen off my computer which have wound up in the hands of certain people who work at a certain label. I've also been followed around for months at a time. I wouldn't even want to necessarily say it's the people from that label who are following me around, but it was probably them who broke into my house." During this period, Smith hardly ate, subsisting primarily on ice cream. He would go without sleeping for several days and then sleep for an entire day. A follow-up to Smith's 2000 album was originally planned to happen with Rob Schnapf, but their sessions were abandoned. Smith also began distancing himself from manager Margaret Mittleman, who had handled him since the Roman Candle days. He finally began recording a new album with only himself and Jon Brion as producers sometime during 2001. The pair had recorded a substantial amount of music for the album when Brion stopped the sessions because of Smith's struggle with substance use disorder. Their friendship promptly ended, and Smith scrapped all of their work until that point. He later said "There was even a little more than half of a record done before this new one that I just scrapped because of a blown friendship with someone that made me so depressed I didn't want to hear any of those songs. He was just helping me record the songs and stuff, and then the friendship kind of fell apart all of a sudden one day. It just made it kind of awkward being alone in the car listening to the songs." When Brion sent a bill for the abandoned sessions to DreamWorks, executives Lenny Waronker and Luke Wood scheduled a meeting with Smith to determine what went wrong with the sessions. Smith complained of intrusion upon his personal life from the label, as well as poor promotion for the Figure 8 album. The talks proved fruitless, and soon after, Smith sent a message to the executives, stating that if they did not release him from his contract, he would take his own life. In May 2001, Smith set out to re-record the album, mostly on his own, but with some help from David McConnell of Goldenboy. McConnell told Spin that, during this time, Smith would smoke over $1,500 worth of heroin and crack per day, would often talk about suicide, and on numerous occasions tried to give himself an overdose. Steven Drozd of The Flaming Lips and Scott McPherson of Sense Field played a few drum tracks, Sam Coomes contributed some bass guitar and backing vocals, but almost every other instrument was recorded by Smith. Smith's song "Needle in the Hay" was included in Wes Anderson's 2001 dark comedy film The Royal Tenenbaums during a suicide attempt scene. Smith was originally supposed to contribute a cover of The Beatles' "Hey Jude" for the film, but when he failed to do so in time, Anderson had to use The Mutato Muzika Orchestra's version of the track instead. Anderson would later say that Smith "was in a bad state" at the time. Smith's live performances during 2001 and 2002 were infrequent, typically in the Pacific Northwest or Los Angeles. A review of his December 20, 2001, show at Portland's Crystal Ballroom expressed concern over his appearance and performance: his hair was uncharacteristically greasy and long, his face was bearded and gaunt, and during his songs he exhibited alarming signs of "memory-loss and butterfingers". At another performance in San Francisco that month, the audience began shouting out lyrics when Smith could not remember them. In the first of only three concerts performed in 2002, Smith co-headlined Northwestern University's A&O Ball with Wilco on May 2 in Chicago. He was onstage for nearly an hour but failed to complete half of the songs. He claimed that his poor performance was due to his left hand having fallen asleep and told the audience it felt "like having stuff on your hand and you can't get it off". Smith's performance was reviewed as "undoubtedly one of the worst performances ever by a musician" and an "excruciating […] nightmare". A reporter for the online magazine Glorious Noise wrote, "It would not surprise me at all if Elliott Smith ends up dead within a year." On November 25, 2002, Smith was involved in a brawl with the Los Angeles Police Department at a concert where The Flaming Lips and Beck were performing. Smith later said he was defending a man he thought the police were harassing. The officers allegedly beat and arrested him and girlfriend Jennifer Chiba. The two spent the night in jail. Smith's back was injured in the incident, causing him to cancel a number of shows. Wayne Coyne, lead singer of The Flaming Lips and a friend of Smith's, stated concern over Smith's appearance and actions, saying that he "saw a guy who had lost control of himself. He was needy, he was grumpy, he was everything you wouldn't want in a person. It's not like when you think of Keith Richards being pleasantly blissed out in the corner." 2003: Reemergence and From a Basement on the Hill Smith had attempted to go to rehab several times, but found that he was unable to relate to the popular treatments for people with substance use disorder that used a twelve-step program basis for treatment. "I couldn't do the first step […] I couldn't say what you were supposed to say and mean it." In 2002, Smith went to the Neurotransmitter Restoration Center in Beverly Hills to start a course of treatment for substance use disorder. In one of his final interviews, he spoke about the center, "What they do is an IV treatment where they put a needle in your arm, and you're on a drip bag, but the only thing that's in the drip bag is amino acids and saline solution. I was coming off of a lot of psych meds and other things. I was even on an antipsychotic, although I'm not psychotic." Two sold-out solo acoustic concerts at Hollywood's Henry Fonda Theater, on January 31 and February 1, 2003, saw Smith attempting to reestablish his credibility as a live performer. Before the show, Smith scrawled "Kali – The Destroyer" (the Hindu goddess associated with time and change) in large block letters with permanent ink on his left arm, which was visible to the crowd during the performance. On several songs, he was backed by a stripped-down drum kit played by Robin Peringer (of the band 764-HERO), and members of opening band Rilo Kiley contributed backing vocals to one song. Near the end of the first show, the musician responded for several minutes after a heckler yelled "Get a backbone." Smith played two more Los Angeles concerts during 2003, including The Derby in May and the L.A. Weekly Music Awards in June. After his 34th birthday on August 6, 2003, he gave up alcohol. Director Mike Mills had been working with Smith during his final years and described Smith's troubles and apparent recovery: "I gave the script to him, then he dropped off the face of the earth […] he went through his whole crazy time, but by the time I was done with the film, he was making From a Basement on the Hill and I was shocked that he was actually making music." With things improving for Smith after several troubled years, he began experimenting with noise music and worked on his girlfriend Jennifer Chiba's iMac with the intent of learning how to record with computers, noting that it was the only method with which he was still unfamiliar. Smith jokingly labeled his experimental way of recording "The California Frown" (a play on the Beach Boys' "California Sound"). He said of the songs, "They're kind of more noisy with the pitch all distorted. Some are more acoustic, but there aren't too many like that. Lately I've just been making up a lot of noise." He was also in the process of recording songs for the Thumbsucker soundtrack, including Big Star's "Thirteen" and Cat Stevens's "Trouble". In August 2003, Suicide Squeeze Records put out a limited-edition vinyl single for "Pretty (Ugly Before)", a song that Smith had been playing since the Figure 8 tour. Smith's final show was at Redfest at the University of Utah in Salt Lake City on September 19, 2003. The final song he played live was "Long, Long, Long" by the Beatles. 2004–present: Posthumous releases From a Basement on the Hill, almost four years in production, was released on October 19, 2004, by ANTI- Records (a part of Epitaph Records). With Smith's family in control of his estate, they chose to bring in Rob Schnapf and Smith's ex-girlfriend Joanna Bolme to sort through the recordings and mix the album. Although Smith had voiced his desire for it to be a double album or a regular album with a bonus disc, it was not clear whether it would have been possible for him to release it that way had he completed it. As completed by Schnapf and Bolme, it was released as a 15-track single album. Many songs from the sessions (later leaked onto the Internet) were not included, such as "True Love", "Everything's OK", "Stickman", and "Suicide Machine" (a reworking of the Figure 8-era unreleased instrumental "Tiny Time Machine"). There has been unconfirmed speculation that Smith's family made the decision not to include some songs on the record due to their lyrical content, although songs such as "King's Crossing" that deal with darker subjects did make the album. Elliott Smith and the Big Nothing, a biography by Benjamin Nugent, was rushed to publication shortly after From a Basement on the Hill, shortly after the first anniversary of his death. Smith's family, as well as Joanna Bolme, Jennifer Chiba, Neil Gust, Sam Coomes, and Janet Weiss, all declined to be interviewed. It contained interviews with Rob Schnapf, David McConnell, and Pete Krebs. The book received mixed reviews, with Publishers Weekly remarking that while "Nugent manages to patch together the major beats of Smith's life, he can offer little meaningful insight". In 2005, a tribute album, A Tribute to Elliott Smith, was released. It featured various bands performing tributes to Smith. On May 8, 2007, a posthumous compilation album, New Moon, was released by Kill Rock Stars. It contained 24 songs recorded by Smith between 1994 and 1997 during his tenure with the label, songs that were not included on albums, as well as a few early versions and previously released B-sides. In the United States, the album debuted at number 24 on the Billboard 200, selling about 24,000 copies in its first week. The record received favorable reviews and was Metacritic's 15th best-reviewed album of 2007. A portion of the proceeds from album sales were to go to Outside In, a social service agency for low-income adults and homeless youth in Portland, Oregon. On October 25, 2007, a book titled Elliott Smith was released by Autumn de Wilde, which consists of photographs, handwritten lyrics, and "revealing talks with Smith's inner circle". De Wilde was responsible for the Figure 8 sleeve art, making a landmark and de facto Smith memorial of the Solutions Audio mural. A five-song CD featuring previously unreleased live recordings of Smith performing acoustically at Largo in Los Angeles was included in the release. Following Smith's death, his estate licensed his songs for use in film and television projects such as One Tree Hill, The Girl Next Door, Georgia Rule, and Paranoid Park. In a March 2009 interview, Larry Crane said that Smith's estate was defunct and all rights previously held by Smith are now in the control of his parents. Crane went on to say that his parents own the rights to Smith's high school recordings, some of the Heatmiser material, all solo songs recorded until his 1998 record deal with DreamWorks Records, and From a Basement on the Hill. DreamWorks Records was acquired by Universal Music Group in 2003, and Interscope Records currently "owns all studio and live recording from Jan 1998 to his passing, except for the songs on From a Basement on the Hill." In December 2009, Kill Rock Stars announced that it had obtained the rights to re-release Roman Candle and From a Basement on the Hill, originally released by Cavity Search and ANTI-, respectively. Roman Candle would be remastered by Larry Crane. Along with the press release, Kill Rock Stars posted a previously unreleased track of Smith's, titled "Cecilia/Amanda", as a free download. Roman Candle and From a Basement on the Hill were re-released on April 6, 2010, in the US. A greatest hits compilation titled An Introduction to... Elliott Smith was released in November 2010 by Domino Records (UK) and Kill Rock Stars (US). In August 2013, there was a memorial concert in Portland, Oregon and three other cities. Attending the Portland show were several musicians Smith had performed with, friends, and an appearance by film director Gus Van Sant. In 2014, the director Paul Thomas Anderson posted a video of the pilot episode for a show called The Jon Brion Show, featuring an acoustic set by Smith including accompaniment by Brion and pianist Brad Mehldau. On July 17, 2015, a documentary about Smith's life titled Heaven Adores You saw a limited theatrical release. The documentary enlisted a number of close friends and family members, as well as hours of audio interviews throughout Smith's short career. The film was directed by Nickolas Rossi and released through Eagle Rock Entertainment. Heaven Adores You received positive reviews from Consequence of Sound, The Guardian, and The Hollywood Reporter. On August 6, 2019 (what would have been Smith's 50th birthday), UMe released digital deluxe editions of the two albums XO and Figure 8. The new edition of XO has nine added tracks, including Smith's Oscar-nominated Good Will Hunting song "Miss Misery." Seven tracks have been added to Figure 8. The digital deluxe edition includes "Figure 8"—Smith's cover of the "Schoolhouse Rock!" song—which was originally released only on the Japanese edition of the album. The final track on the new Figure 8 edition is Smith's cover of the Beatles’ "Because", originally featured on the 1999 American Beauty soundtrack. In May 2021, Smith's life and work were the subject of BBC Radio 4's Great Lives. Death Smith died on October 21, 2003, at the age of 34 from two stab wounds to the chest. At the time of the stabbing, he was at his Lemoyne Street home in Echo Park, California, where he lived with his girlfriend, Jennifer Chiba. According to Chiba, the two were arguing, and she locked herself in the bathroom to take a shower. Chiba heard him scream and upon opening the door saw Smith standing with a knife in his chest. She pulled the knife out, after which he collapsed and she called 9-1-1 at 12:18 pm. Smith died in the hospital, with the time of death listed as 1:36 p.m. A possible suicide note, written on a sticky note, read: "I'm so sorry—love, Elliott. God forgive me." The coroner misspelled Smith's first name in the autopsy report, omitting the second 't'. While Smith's death was reported as a suicide, the official autopsy report released in December 2003 left open the question of homicide. Smith's remains were cremated, and his ashes were divided between his mother, father, and half-sister Ashley. A small memorial service for family and friends was held at his father's home in Portland, although Smith's "ashes weren't on hand because the coroner wouldn't release them." The status or location of Smith's ashes has not been made public. According to Pitchfork, record producer Larry Crane reported on his Tape Op message board that he had planned to help Smith mix his album in mid-November. Crane wrote, "I hadn't talked to Elliott in over a year. His girlfriend, Jennifer, called me [last week] and asked if I'd like to come to L.A. and help mix and finish [Smith's album]. I said 'yes, of course', and chatted with Elliott for the first time in ages. It seems surreal that he would call me to finish an album and then a week later kill himself. I talked to Jennifer this morning, who was obviously shattered and in tears, and she said, 'I don't understand, he was so healthy. The coroner reported that no traces of illegal substances or alcohol were found in Smith's system at the time of his death but did find prescribed levels of antidepressant, anxiolytic, and ADHD medications, including clonazepam, mirtazapine, atomoxetine, and amphetamine. There were no hesitation wounds, which are typically found on a victim of suicide by self-infliction. Due to the inconclusive autopsy ruling, the Los Angeles Police Department's investigation remains open. Reaction Shortly after Smith's death, a fan memorial was initiated outside Solutions Audio (4334 Sunset Boulevard, Los Angeles, California), the site at which the cover of the Figure 8 album was shot. Farewell messages to Smith were written on the wall, and flowers, photos, candles, and empty bottles of alcohol mentioned in Smith's songs were left. Since then, the wall has been a regular target for graffiti but is regularly restored by fans. Memorial concerts were held in several cities in the United States and the United Kingdom. A petition was soon put forth with intent to make part of the Silver Lake area a memorial park in Smith's honor. It received over 10,000 signatures, but no plans to establish the park have been announced. A memorial plaque located inside Smith's former high school, Lincoln High, was hung in July 2006. The plaque reads: "I'm never going to know you now, but I'm going to love you anyhow" referencing Smith's song "Waltz No. 2 (XO)". Since Smith's death, many musical acts have paid him tribute. Songs in tribute to, or about, Smith have been released by Pearl Jam ("Can't Keep" on the Live at Benaroya Hall concert album); Sparta ("Bombs and Us"); Third Eye Blind ("There's No Hurry to Eternity", originally titled "Elliott Smith", on the Live from Nowhere Near You, Volume Two: Pacific Northwest compilation); 9 Horses (“listening to the Elliott Smith discography in reverse order”, on the album Perfectest Herald); Ben Folds ("Late" on Songs for Silverman); Brad Mehldau ("Sky Turning Grey (for Elliott Smith)" on Highway Rider); Rilo Kiley ("It Just Is", and "Ripchord" from the album More Adventurous); Lil B's 'The Worlds Ending'; Rhett Miller ("The Believer" on The Believer); Earlimart ("Heaven Adores You" on Treble and Tremble); Joan As Police Woman ("We Don't Own It" on Real Life); Phoebe Bridgers ("Punisher" on Punisher); and Pete Yorn ("Bandstand in the Sky" on Nightcrawler, a song jointly dedicated to Jeff Buckley). Several tribute albums have also been released since his death, including Christopher O'Riley's 2006 Home to Oblivion: An Elliott Smith Tribute, with 18 instrumental covers, The Portland Cello Project's 2014 to e.s., covering six of his songs, Seth Avett and Jessica Lea Mayfield's 2015 Seth Avett and Jessica Lea Mayfield Sing Elliott Smith, with 12 covers incorporating Smith's musical style and their own, and To Elliott, from Portland containing covers by a number of Portland bands. On July 30, 2004, Chiba filed a lawsuit against the Smith family for 15% of his earnings (over $1 million), claiming that she and Smith lived as "husband and wife", that Smith had pledged to take care of her financially for the rest of her life, and that she worked as his manager and agent from around 2000 until his death. A state labor commissioner ruled her claim as manager to be invalid, as she had worked as an "unlicensed talent agent" under California's Talent Agencies Act. The case made it to the California appellate court in October 2007, but the decision was affirmed 2–1. In an October 2013 Spin magazine article—a reflection at the ten-year anniversary of Smith's death—drummer McPherson stated that Smith was "a sick man without his medicine" during the last 31 days of his life, when he was not only sober, but had also given up red meat and sugar. In the same article, Chiba recalls thinking, "Okay, you're asking a lot of yourself. You're giving up a lot at once." Chiba further explained that "anyone who understands drug abuse knows that you use drugs to hide from your past or sedate yourself from strong, overwhelming feelings. So when you're newly clean and coming off the medications that have been masking all those feelings, that's when you're the most vulnerable." Writing for Spin, Liam Gowing also encountered a local musician who claimed Smith had said to him: "The people who try to intervene, they're good people who genuinely care about you. But they don't know what you're going through. Do what you need to do." According to the musician, Smith had adamantly dissuaded him from suicide. Musical style and influences Smith respected and was inspired by many artists and styles, including the Beatles, Big Star, the Clash, the Who, Led Zeppelin, the Kinks, Pink Floyd, Rush, Bauhaus, Elvis Costello, Oasis, Television, Motown and flamenco records, AC/DC, Hank Williams, and Scorpions, Smith claimed to listen exclusively to selected albums (such as The Marble Index by Nico) for months. Sean Croghan, a former roommate of Smith's, said that Smith "listened almost exclusively to slow jams" in his senior year at college. Smith also took inspiration from novels, religion, and philosophy. He liked classic literature, especially Samuel Beckett, T. S. Eliot, and Russian novelists such as Fyodor Dostoyevsky. Smith mentioned his admiration for Bob Dylan in several interviews, citing him as an early influence. He once commented: "My father taught me how to play 'Don't Think Twice, It's All Right'. I love Dylan's words, but even more than that, I love the fact that he loves words." Smith covered Dylan's "When I Paint My Masterpiece" several times in concert. Smith has also been compared to folk singer Nick Drake, due to his fingerpicking style and vocals. Darryl Cater of AllMusic called references to "the definitive folk loner" Drake "inevitable", and Smith's lyrics have been compared to those in Drake's minimalist and haunting final album. Smith was a dedicated fan of the Beatles (as well as their solo projects), once noting that he had been listening to them frequently since he was about "four years old" and also claimed that hearing The White Album was his original inspiration to become a musician. In 1998, Smith contributed a cover of the Beatles song "Because" to the closing credits and soundtrack of the film American Beauty. Although this was the only Beatles song that Smith ever officially released, he is known to have recorded many others, ("Revolution", "I'll Be Back" and "I'm So Tired") and played many songs by both the band and the members' solo projects at live concerts. Smith said that transitions were his favorite part of songs and that he preferred to write broader, more impressionistic music closer to pop rather than folk music. Smith compared his songs to stories or dreams, not purely confessional pieces that people could relate to. When asked about the dark nature of his songwriting and the cult following he was gaining, Smith said he felt it was merely a product of his writing songs that were strongly meaningful to him rather than anything contrived. Larry Crane, Smith's posthumous archivist, has said that he was surprised at the amount of "recycling of musical ideas" he encountered while cataloging Smith's private tapes: "I found songs recorded in high school reworked 15 years on. Lyrics became more important to him as he became older, and more time was spent working on them." Legacy Since his death, Smith has been regarded as one of the most influential artists in indie music. Many artists have mentioned Smith as their influence, such as Frank Ocean, Beck, Phoebe Bridgers, Julien Baker, Adrianne Lenker, and Haim's lead vocalist Danielle Haim. Discography Studio albums Roman Candle (1994) Elliott Smith (1995) Either/Or (1997) XO (1998) Figure 8 (2000) Posthumous studio albums From a Basement on the Hill (2004) Compilation albums New Moon (2007) See also List of unsolved deaths References Bibliography External links Official Cavity Search Records website Official Kill Rock Stars website Elliott Smith collection at the Internet Archive's live music archive Keep the Things You Forgot: An Elliott Smith Oral History Category:1969 births Category:2003 deaths Category:20th-century American guitarists Category:20th-century American singers Category:20th-century American writers Category:21st-century American singers Category:21st-century American writers Category:Alternative rock guitarists Category:Alternative rock singers Category:American feminists Category:American indie rock musicians Category:American male guitarists Category:American male singer-songwriters Category:American rock guitarists Category:American tenors Category:Anti- (record label) artists Category:Caroline Records artists Category:Cavity Search Records artists Category:Deaths by stabbing in California Category:Domino Recording Company artists Category:DreamWorks Records artists Category:Feminist musicians Category:Fingerstyle guitarists Category:Guitarists from Los Angeles Category:Guitarists from Nebraska Category:Guitarists from New York City Category:Guitarists from Oklahoma Category:Guitarists from Oregon Category:Guitarists from Texas Category:Hampshire College alumni Category:Indie folk musicians Category:Kill Rock Stars artists Category:Lincoln High School (Portland, Oregon) alumni Category:Male feminists Category:Musicians from Brooklyn Category:Musicians from Omaha, Nebraska Category:Musicians from Portland, Oregon Category:People from Duncanville, Texas Category:People from Echo Park, Los Angeles Category:People with mood disorders Category:Singers from Los Angeles Category:Singers from New York City Category:Singer-songwriters from Texas Category:Suicide Squeeze Records artists Category:20th-century American male singers Category:Singer-songwriters from California Category:Singer-songwriters from New York (state) Category:Singer-songwriters from Oklahoma Category:Singer-songwriters from Nebraska Category:Unsolved deaths in the United States Category:Virgin Records artists
[ { "text": "This list of unsolved deaths includes well-known cases where:\n The cause of death could not be officially determined.\n The person's identity could not be established after they were found dead.\n The cause is known, but the manner of death (homicide, suicide, accident, overdosing) could not be determined.\n Different official investigations have come to different conclusions.\n\nCases where there are unofficial alternative theories about deaths – the most common theory being that the death was a homicide – can be found under: Death conspiracy theories.\n\nUnsolved murders\n\nUnsolved deaths\n\nAncient\n Cleopatra (39), the last ruler of Ptolemaic Egypt, is believed to have died in August 30 BCE in Alexandria. According to popular belief, Cleopatra died by suicide by allowing an asp (Egyptian cobra) to bite her. According to Greek and Roman historians, Cleopatra poisoned herself using either a toxic ointment or sharp implement such as a hairpin. Primary source accounts are derived mainly from the works of the ancient Roman historians Strabo, Plutarch, and Cassius Dio. Modern scholars debate the validity of ancient reports involving snakebites as the cause of death and whether she was murdered. Some academics hypothesize that her Roman political rival Octavian forced her to commit suicide in the manner of her choosing. The location of Cleopatra's tomb is unknown.\n Amcotts Moor Woman is the name of a bog body of a female who lived during 200–400 CE that was discovered in a bog close to Amcotts, Lincolnshire, England, in 1747. Almost no details are known about her and the cause of her death remains a mystery.\n The Younger Lady (25–35), is the informal name given to the mummy of a woman who lived during the Eighteenth Dynasty of Egypt, and was discovered in the Egyptian Valley of the Kings in tomb KV35 by archaeologist Victor Loret in 1898. The cause of her death is unknown. Through recent DNA tests, this mummy has been identified as the mother of the pharaoh Tutankhamun and a daughter of pharaoh Amenhotep III and Queen Tiye. Early speculation that these were the remains of Queen Nefertiti has been disproven.\n Windeby I (16), is the name given to the bog body in 1952 that was preserved in a peat bog close to Windeby located in Northern Germany containing the remains of a teenage male who lived between 41 BCE and 118 CE. His death cause is disputed and unknown.\n Zoroaster (76), was an ancient male Iranian prophet who lived during 1000 BCE and who was said to perform miracles; he founded the religion now known as Zoroastrianism. Zoroaster's cause of death is unknown; it is said that Zoroaster was killed by invading Turanians around the time that he was last seen, but this was never confirmed.\n The Hasanlu Lovers are the remains of two humans found in Teppe Hasanlu, Iran, in 1972 who are thought to have died . While it has been suggested that they died from asphyxiation, no definitive cause of death has been established.\n Damendorf Man is a German bog body discovered in 1900 in the See Moor at the village of Damendorf in Schleswig-Holstein, Germany, who was said to have died in 300 BCE. Only his hair, skin, and nails and his few clothes were preserved, along with traces of some bones. He was found with a leather belt, shoes, and a pair of breeches. The man's identity and cause of death are unknown.\n The Girl of the Uchter Moor (17–19), who is also known as \"Moora\", is the name given to the remains of a female bog body discovered in the marshland near Uchte, Germany, in 2000. She lived during the Iron Age and died between 764 and 515 BCE; the cause of her death is unknown.\n The Borremose bodies are three bog bodies that were found in 1946 and 1948 in Himmerland, Denmark, in the Borremose peat bog. They have been dated to have lived in the Nordic Bronze Age during 770 BCE. The causes of their deaths are unknown.\n The Saltmen are the remains of six men who lived during the remainder of the Achaemenid Dynasty (550–330 BCE) that were found in 2010 in the salt mines in Chehrabad on the southern part of the Hamzehlu village in the Zanjan Province in Iran. Though it is known that most of them were accidentally killed by the collapse of galleries where they worked, the causes of the deaths of the other saltmen remain unknown.\n Alexander the Great (32), died in 323 BCE after a short illness. Exactly what the illness was is a subject of debate; however, it is known that he was a heavy drinker throughout his life.\n The Weerdinge Men were two bog bodies found naked in the southern part of Bourtanger Moor in Drenthe in the Netherlands in 1904. Though one of the men is known to have been murdered, the cause of the other man's death is unknown. They died between 160 BCE and 220 CE.\n In October 2018 human remains were found in Rome that were thought to possibly be the remains of Emanuela Orlandi and Mirella Gregori, who disappeared from Rome between 7 May 1983 and 22 June 1983. Early reports said the remains could have belonged to a female, but tests results that were released on 1 February 2019 showed they were of an ancient Roman man who died between 190 and 230 CE whose identity and cause of death are unknown.\n Orgetorix, 58 BCE, was a wealthy aristocrat among the Helvetii, a Celtic-speaking people residing in what is now Switzerland during the consulship of Julius Caesar of the Roman Republic. He was trying to seize Gaul and for this was put on trial. After this his death cause is disputed.\n Apollonius of Tyana (100), 100 CE, was a Greek Neopythagorean philosopher from the town of Tyana in the Roman province of Cappadocia in Anatolia. It was said that he was able to disappear and immediately reappear in another place. The circumstances of his death remain a mystery.\n\nMedieval\n The Lovers of Modena are two male skeletons found in Rome, Italy in 2009, who are thought to have lived between the 4th and 6th-century CE. Their cause of death is unknown.\n Princess Yongtai (15–16), 701. In both the Old Book of Tang and New Book of Tang, it is recorded that she was executed by Empress Wu Zetian with her brother and husband because of talking about the gossips about the two officials Zhang Yizhi and Zhang Changzong, who were also the lovers of Empress Wu Zetian. However, from her epitaph, it was said she was pregnant while she died. From a piece of her pelvic bone, it has been presumed that she died from childbirth, because her pelvis seems to be smaller than other women at the same age. It is also suspected that she went into shock on hearing the news that her brother and husband had been executed, and it caused a fatal miscarriage.\n Emperor Taizu of Song (49), the first emperor of Song Dynasty, died in 976. There are no records about how he died. However, his younger brother was granted the throne due to the fact that he had two grown sons. There is a folk story \"shadows by the candle and sounds from an axe\" possibly indicating that he was murdered by his brother, but it may also have been a suicide.\n Roopkund is a high altitude glacial lake in the Uttarakhand state of India. It lies in the lap of Trishul massif, located in the Himalayas. It is widely known for the hundreds of ancient human skeletons found at the edge of the lake. The human skeletal remains are visible at its bottom when the snow melts. Research generally points to a semi-legendary event where a group of people were killed in a sudden, violent hailstorm in the 9th century. Studies placed the time of mass death around the 9th century CE (1,200 years old) and second group of skeletons were dated to 19th century CE. The skeletons identities are unknown, but radiocarbon dating suggests that the older remains were deposited over an extended period or time, while the remains of the younger group were deposited during a single event.\n King William II of England (43–44), 1100, was killed by an arrow while hunting; it may or may not have been an accident.\nPieces of a human skull that were found on 12 August 2006 by a farmer in a field south of Ritzville were thought to be that of Sofia Juarez (4), who disappeared on 4 February 2003 After being examined they were concluded to around 600 years old dating back to roughly 1403 and were determined not to be those of Juarez. Whom they belonged to and cause of death remains unknown.\n Margaret Hanmer (49–50), 1420, was the wife of Owain Glyndŵr; her death was never recorded and her body was never found.\n Agnès Sorel (28), 1450, was Charles VII of France's chief royal mistress, having four daughters with him. Sorel fell ill while pregnant with their 4th daughter, and after giving birth, died on 9 February 1450 from causes that are disputed.\n\nEarly modern\n The Lovers of Cluj-Napoca (30s), a nickname given to two skeletons found in a former Dominican convent in Cluj-Napoca, Romania in 2013, are thought to have lived between 1450 and 1550. Their exact causes of death are unclear.\n Kwäday Dän Ts'ìnchi (17–20), 1450–1700, also known as \"The Canadian Iceman\" is a naturally mummified body found by a group of hunters in 1999 in the Tatshenshini-Alsek Park in British Columbia, Canada. His death cause is unknown.\nHenry Holland, 3rd Duke of Exeter (45), a Lancastrian while sailing through the English channel in September 1475 died after mysteriously falling overboard and drowning. Though there are different theories to what happened, none were ever proved to be true.\n Regiomontanus (40), whose real name was \"Johannes Müller von Königsberg\" was a astrologer, mathematician, and astronomer of the German Renaissance that was active in countries in Europe. He was thought to have died from the plague on 6 July 1476, but this is unknown for sure.\n Princes in the Tower, used to refer to Edward V, King of England and Richard of Shrewsbury, Duke of York who disappeared in the summer of 1483. In 1674, workmen at the Tower dug up a wooden box containing two small human skeletons. The bones were found in a box under the staircase in the Tower of London. The bones were widely accepted at the time as those of the princes, but this has not been proven and is far from certain. King Charles II had the bones buried in Westminster Abbey, where they remain.\n Amy Robsart (28), 1560, was the first wife of Lord Robert Dudley, favourite of Queen Elizabeth I of England. She is primarily known for her death by falling down a flight of stairs, the circumstances of which have often been regarded as suspicious.\n The Gunnister Man are the bog body remains of man found in a peat bog close to the junction of the A970 road located in Gunnister, Shetland, Scotland by two Shetlanders. The man had lived in the 17th and early 18th century and how he died is unknown.\n Cornelia Zangheri Bandi (66), was an Italian noblewoman whose death on 15 March 1731 may have been a possible case of spontaneous human combustion. But the case has never been proven, with the true cause of death remaining unknown.\n Wolfgang Amadeus Mozart (35), composer, died on 5 December 1791. The circumstances of his death have attracted much research and speculation, as it remains unclear whether he died from disease or poisoning. There have also been conspiracy theories.\n\n19th century\n\n Meriwether Lewis (35), an American explorer who helped explore territory bought during the Louisiana Purchase, was found dead with multiple gunshot wounds in an inn along the Natchez Trace in 1809, a nature trail in Tennessee. Though it was originally declared a suicide, historians debate whether it was murder or suicide due to the nature of his injuries and the lack of a thorough autopsy.\n The Female Stranger (23), refers to an unnamed American woman who died in 1816 and was elevated to national intrigue by the mysterious headstone and romanticized tale. Accounts of the stranger increase in oddity over time and help to incite further speculation as to the identity of the person buried in the grave. The reported location of the woman's death, Room 8 at Gadsby's Tavern, is also a tourist destination, and supposedly her ghostly visage can be seen standing at the window.\n A boat with three skeletons of sailors was discovered that washed up on Ducie Island during the 1820s–1830s, who are thought to be Obed Hendricks, William Bond and Joseph West from the whaler Essex. Although it was suspected to be the missing boat piloted by Hendricks, and the corpses those of Hendricks, Bond, and West, the remains have never been positively identified.\nFor several weeks after 22 April 1822, unidentifiable dead bodies washed up off the coast of Ireland. They were believed to include that of Charles Lefebvre-Desnouettes (58), who had recently traveled, and perhaps died, there. This was never confirmed and their cause of death remains unknown.\n Paul Johann Anselm Ritter von Feuerbach (57), German legal scholar, died on 29 May 1833. The circumstances remain unclear – his family as well as he himself shortly before his death believed that he had been poisoned due to his protection of and research work on Kaspar Hauser, who himself died the same year under suspicious circumstances (see below).\n The events that led to the death of German youth Kaspar Hauser (21), remain a mystery, just like many other points regarding his life and identity. On 14 December 1833, he came home with a deep stab wound in his chest of which he died three days later. While he had claimed to have been attacked, the court of enquiry doubted this due to inconsistencies in his claims and speculated that he wounded himself in order to seek attention and revive the fading public interest in him, a theory that is also supported by some historians today.\n Thomas Simpson (31), was a Scottish Arctic explorer, Hudson's Bay Company agent and cousin of Company Governor Sir George Simpson. His violent death in what is now the state of Minnesota allegedly by suicide after gunning down two traveling companions in the wilderness on 6 June 1840 has long been a subject of controversy and has never been solved.\n John Gregory (42), was an English engineer who served aboard HMS Erebus during the 1845 Franklin Expedition, which sought to explore uncharted parts of the Northwest Passage. He is believed to have died sometime around May 1848. Gregory's remains were identified via DNA analysis in 2021, although his exact cause of death is undetermined.\n\n Edgar Allan Poe (40), American writer, editor, and literary critic, died on 7 October 1849 under circumstances that remain mysterious. The circumstances leading up to it are uncertain and the cause of death is disputed. On 3 October 1849 he was found delirious in Baltimore, \"in great distress, and... in need of immediate assistance\", according to the man who found him, Joseph W. Walker. He was taken to the Washington College Hospital, where he died days later.\nIn the years in between 1849 and 1859, a skeleton was found on King William Island that was thought to be that of Harry Goodsir (28–29), who had disappeared in 1848. After conducting tests on the bones it is believed that cause of its death was a tooth that was infected, but this is not known for sure. Also a skeleton was found that was thought to be that of Henry Thomas Dundas Le Vesconte (25–26), who disappeared along with Goodsir, aboard Franklin's lost expedition, but this was proven to be untrue. Who it belonged to and death cause are unknown. Dundas Le Vesconte's body was found, but his death case is unknown.\n An explorer named Francis Leopold McClintock found a skeleton on King William Island on 25 May 1859. It was believed to be the remains of Harry Peglar (36), but this proved to be untrue and its identity and death cause are not known.\n Richard H. Barter (26), member of a stagecoach robbery gang active in California, was found dead outside Auburn on 12 July 1859. He had been ambushed and injured by law enforcement the day before, but it was unclear who had actually landed the fatal shot.\n Edward James Roye (57), was the first of Liberia's True Whig Party, who had served as the fifth President of Liberia from 1870 until he was overthrown a year later and whose death had followed on 11 February 1872. The cause of his death remains unknown.\n Zeng Guofan (60), a Chinese statesman, military general, and Confucian scholar of the late Qing dynasty. He is best known for raising and organizing the Xiang Army to aid the Qing military in suppressing the Taiping Rebellion and restoring the stability of the Qing Empire. Along with other prominent figures such as Zuo Zongtang and Li Hongzhang of his time, Zeng set the scene for the Tongzhi Restoration, an attempt to arrest the decline of the Qing dynasty. He died on 12 March 1872 of mysterious reasons.\n L'Inconnue de la Seine was the name given to an unidentified young woman who, according to an oft-repeated story, was pulled out of the River Seine at the Quai du Louvre in Paris around the late 1880s. Since the body showed no signs of violence, suicide was suspected.\n Colorado rancher Gottlieb Fluhmann (55), was last seen alive in 1892. His disappearance was not resolved until his bones were found in a secluded Park County cave in 1944; the cause of his death could not be determined.\n Pyotr Ilyich Tchaikovsky (53), who was the composer of a Sixth Symphony, called the \"Pathétique\", died in Saint Petersburg in November 1893 just nine days after it had debuted. His death cause is debated and remains unsolved.\n Barney Barnato (46), an English Randlord and entrepreneur who was a prominent rival to Cecil Rhodes, was found dead at sea near Madeira, Portugal on 14 June 1897. While suicide was the prevailing theory, his family rejected it, saying that it was unlike him to do such a thing.\n\n1900–1924\n Sursinhji Takhtasinhji Gohil (26), popularly known by his pen name, Kalapi, was a Gujarati poet and the Thakor (prince) of Lathi state in Gujarat who died on 9 June 1900. He is mostly known for his poems depicting his own pathos. It is believed that Kalapi's love for a woman named Shobhana became a source of conflict with their acquaintance Rajba-Ramaba and gave her a motive to poison him.\n Gaetano Bresci (31), was an Italian anarchist who assassinated King Umberto I of Italy in Monza on 29 July 1900. Due to capital punishment being abolished 11 years earlier, he was sentenced to penal servitude at Santo Stefano Island, where he was found dead in his cell on 22 May 1901. While his death was reported as being suicide by hanging, it is believed that he had been murdered.\n David Park Barnitz (23), was a Harvard graduate and an American poet who died on 10 October 1901 from unclear circumstances, as there are conflicting ideas about how he died.\n Paul Rée (51), was a German philosopher, author, and physician who died on 28 October 1901 after he fell into the Charnadüra Gorge in the Swiss Alps near Celerina when he was hiking. It is unknown whether it was a suicide or an accident.\n Émile Zola (62), French author who died on 29 September 1902 from carbon monoxide poisoning that was caused by a sealed chimney. His enemies were blamed for his death, but were not proven to have been actually responsible. It is also possible that Zola committed suicide.\n In 1903 a skeleton was discovered in the Wichita Mountains in a gravesite that was thought to have been that of Sequoyah (72–73), who had disappeared in August 1843. This could not be proven to be true and the skeleton's identity and cause of death remain unknown.\n On 14 March 1911 in Ostend harbour a deceased body was found that resembled Cecil Grace (30), who was a pioneer aviator who disappeared on 22 December 1910 over the English Channel. The body could not be identified since it was too badly disfigured, and its identity and cause of death remain unknown.\n German inventor Rudolf Diesel (55), disappeared in the English Channel in 1913 and was found dead at sea 10 days later. His cause of death is debated.\n Tom Thomson (39), a Canadian artist who was active in the early 20th century. Though his career was short, he managed to produce around 400 oil sketches on small wood panels, as well as around 50 larger works on canvas. Thomson disappeared on 8 July 1917 and was found dead a few days later. It is unknown whether his death was murder or suicide.\n Samuel Liddell MacGregor Mathers (64), English magician and occultist who died of an unknown cause between 5–20 November 1918 in Paris. The manner of death is unknown as his death certificate lists no cause for his death. Even though Violet Firth claimed Mathers' death was the result of the Spanish influenza that occurred throughout 1918 and early 1919, the dearth of facts about Mathers' private life make it very difficult to determine what truly caused his death.\nIn 1919 smoked human bones were found in a fireplace near Cape Primetny, and were thought be those of Peter Tessem and Paul Knutsen, who disappeared in 1918 while aboard the ship Maud during an Arctic expedition. Who they belonged to and cause of death are unknown.\n\n Silent film actress Virginia Rappe (30), was found to have died of peritonitis due to a ruptured bladder on 9 September 1921. While this could have been the result of some of her ongoing health problems, such as cystitis, or complications from a recent abortion (illegal at the time), Maude Delmont, an acquaintance, told the San Francisco Police Department that silent film comedian Fatty Arbuckle had sexually assaulted Rappe during a Labor Day party in his suite at the St. Francis Hotel, another possible cause of the ruptured bladder. Arbuckle was charged with rape and involuntary manslaughter but was acquitted.\nIn July 1922 an expedition was conducted during which a skeleton was discovered on the mainland shore which is across from Dikson Island. It is thought to be either Peter Tessem or Paul Knutsen. Its death cause is not known for certain.\nIn 1923 an unidentified body on the grounds of an abandoned Jesuit church in Corrientes whose death might have been caused by stabbing was found. It was thought to have been that of Alejandro Carrascosas (22), who had disappeared a year earlier. The body was never identified and the cause of the deceased's death is not known.\n George Mallory (37), was an English mountaineer who, after taking part in the first three British expeditions to Mount Everest, disappeared on either 8 or 9 June 1924. On 1 May 1999, Mallory's mummified body was found. He suffered serious lower limb injuries and rope burns resulting from a fall and then likely died of exposure, but the exact cause, timing and circumstances of his death, and that of his traveling companion Andrew Irvine (who was never found), are unknown.\n\n1925–1949\n Rudolf Steiner (64), Austrian esotericist who developed anthroposophy and Waldorf education, died from illness on 30 March 1925, but the nature of the illness was never confirmed and remains controversial, with theories suggesting cancer or poisoning as the most probable causes.\n Ottavio Bottecchia (32), 1927, Italian cyclist, was found by the side of a road, covered with bruises and with a serious skull fracture. His undamaged bicycle was discovered propped against a nearby tree. Bottecchia was taken to a hospital, but died soon afterwards. An official inquiry concluded accidental death, but it was suggested he had run afoul of the powerful and growing National Fascist Party in Italy at the time.\n José Rosario Oviedo (42), a Cuban rumba dancer known as \"Malanga\", died in 1927. The exact circumstances under which he died have never been known for certain. One common account has it that he was murdered after a dance contest through broken glass hidden in his food, but no death certificate was ever filed and the location of his grave is unknown.\n Pyotr Wrangel (49), was a Russian officer who died on 25 April 1928 from reasons that have been debated as his family stated that they think that he was poisoned by the butler of his brother. This was never proven for certain though.\n Cecil Kern (41–45), female American theater director and stage and film actress who was reported to have died of a pulmonary hemorrhage on 1 June 1928 in a Manhattan hotel. The cause of her death is not known for certain.\n Alfred Loewenstein (51), was a Belgian financier who's believed to have fallen out of a plane's rear door while going to use the lavatory. He disappeared while crossing the North Sea on 4 July 1928, and his body was found in France 15 days later. His death cause is unknown.\n Starr Faithfull (25), a Greenwich Village flapper, was found drowned on the beach at Long Beach, Nassau County, New York on 8 June 1931. Although Faithfull had left a suicide note, her family contended that she was murdered by wealthy politician Andrew James Peters, former Mayor of Boston, who had allegedly sexually abused Faithfull for years beginning when she was 11 years old and paid the Faithfulls to keep silent about it. Despite a lengthy investigation, it was never determined whether Faithfull's death was homicide, suicide, or accident.\n Ivar Kreuger (52), a Swedish civil engineer, financier, entrepreneur and industrialist who died in a Paris hotel room on 12 March 1932. Though it was thought it have been a suicide it may have also have been a murder.\n Jay Ferdinand Towner III (23), a Princeton University undergraduate, was found dead on campus shortly after an 11 November 1933, football game. He had suffered broken wrists and severe internal injuries. His death was variously attributed to a fall suffered in the stands during the game or a car accident amid conflicting accounts of his whereabouts prior to his death; its exact cause has never been determined.\n\nZachary Smith Reynolds (20) was the son of American millionaire and businessman R. J. Reynolds. He died from a gunshot wound to the head on 6 July 1932, at his home in Winston-Salem, North Carolina. It is unclear if his death was a suicide or a murder.\nPaul Bern (42), was an American film director, screenwriter from Wandsbek, Hamburg, Germany. He became the assistant to Irving Thalberg after he became the producer for Metro-Goldwyn-Mayer. He was found dead in Beverly Hills, California on 5 September 1932 after being shot. Even though he left a note saying that he committed suicide it is also believed that his former ex-common-law wife had killed him as she very shortly later herself committed suicide.\nIvo Pilar (59), was a Croatian lawyer, politician, publicist, and historian who was found dead on 3 September 1933 at his home in Zagreb, Kingdom of Yugoslavia and it is unknown whether he was killed or if it was a suicide.\nFranziska Kessel (28), was a German politician who after being sent to jail in Mainz was found dead in her cell on 23 April 1934. It is unknown whether Kessel committed suicide or was murdered.\n Thelma Todd (29), was an actress notable for appearing in multiple comedy films where she starred alongside Buster Keaton, Charley Chase, Laurel and Hardy and the Marx Brothers. On the morning of Monday, 16 December 1935, she was found dead in her car inside the garage of Jewel Carmen, a former actress and former wife of Todd's lover and business partner, Roland West. Her death was determined to have been caused by carbon monoxide poisoning. The exact circumstances of the case could not be determined and sparked wide speculations and theories. The case was officially closed as \"accidental with possible suicide tendencies.\" It could never be determined and still sparks debate whether her death was accidental, suicide or murder.\nIn 1936 in Northampton, Massachusetts, human bones found in a shallow grave were believed to be those of Alice Corbett, who disappeared in 1925, but were identified as being those of historic Native American remains, but they remain unidentified and the cause of death is unknown.\n In the Requejada countryside dam which is located very close to Aguilar de Campoo, two bags were found that contained human bones that were thought to be missing girls from Spain who disappeared on 23 April 1992 in Reinosa, who were named Virginia Guerrero and Manuela Torres on 9 October 1994. This was later proven to be untrue and that they were from in between 1936 and 1939 and were unknown victims of the Spanish Civil War, and their identities and cause of death remain unknown.\n Robert Johnson (27), an early blues singer and guitarist, died on 16 August 1938, near Greenwood, Mississippi. The cause was not officially recorded. He was reportedly in extreme pain and suffering from convulsions; this has led to theories he had been poisoned with strychnine by a jealous husband; however, the alleged poisoning is said to have taken place several days earlier and most strychnine deaths take place within hours of ingestion. Another report claims he died of syphilis or pneumonia. The uncertain location of his gravesite has made it impossible to exhume his body for further investigation.\nEugeniusz Kazimirowski (63), was a Polish male member of the realism movement and a very accomplished painter died from unknown causes in the city of Białystok on 23 September 1939.\nKyrylo Studynsky (30–31), was a western Ukrainian cultural and political figure who was forced to leave Lviv in July 1941 and died shortly after from unknown reasons.\n Jeanette Loff (35), was an American actress, musician, and singer who came to prominence for her appearances in several Pathé Exchange and Universal Pictures films in the 1920s who died on 4 August 1942 from ammonia poisoning in Los Angeles. Though law enforcement was unable to determine whether her death was an accident or a suicide, Loff's family maintained that she had been murdered. The real cause behind her death remains unknown.\n Sidney Fox (34), was an American actress who acted both on stage and in movies. On 15 November 1942 Fox died in Hollywood from after taking too many sleeping pills, which was the result of either a suicide or an accidental overdose.\n Władysław Sikorski (62), prime minister of the Polish Government in exile, was among 16 people killed on 4 July 1943 when their plane crashed into the sea shortly after taking off from the Royal Air Force base at Gibraltar Airport. The plane had not managed to gain sufficient altitude due to its elevators being prevented from working properly; British investigators found the cause was most likely an accident while their Polish counterparts called it undetermined. The bodies of Sikorski's daughter, chief of staff and other key aides purportedly on the plane were never found, and the plane's only survivor, the pilot, had uncharacteristically worn his life preserver in the cockpit. Sabotage and a possible assassination have been suspected, with Nazi Germany, the Soviet Union, the United Kingdom, or even rival factions in the Polish government in exile theorized to have been involved. Poland reopened the case in 2008; an exhumation of Sikorski's body found his injuries consistent with death from an air crash, ruling out some theories that he had been killed before being put on the plane, but the investigators still could not rule out the possibility of sabotage. British files on the case will remain sealed until 2050.\n Emil Hácha (72), a Czech lawyer, the third President of Czechoslovakia from 1938 to 1939, who died in Pankrác Prison on 27 June 1945 under mysterious circumstances, and his death cause remains unknown. Hácha had collaborated with the Nazis during the German occupation, and had been arrested by the Red Army after the liberation of Prague.\n Lipót Klug (91), a Jewish-Hungarian mathematician, professor who died towards the end of the Second World War on 24 March 1945 in what were said to have been strange circumstances, his true cause of death having never been revealed.\n Viktors Eglītis (68), a Latvian art theorist and writer who died on 20 April 1945 in prison in Riga from unknown reasons.\n King Ananda Mahidol of Thailand (20), died of gunshot wounds, either the product of suicide, accident or assassination, on 9 June 1946. Mahidol's successor King Bhumibol Adulyadej, Prime Minister Pridi Banomyong, and the former Japanese intelligence officer Masanobu Tsuji have alternatively been accused of complicity.\n The Body in the cylinder refers to a male decedent discovered within a partially sealed steel cylinder on a derelict WWII bomb site in Liverpool, England. The discovery was made on 13 July 1945 and it is believed that the body had lain undiscovered for 60 years. Inquiries named a strong (but unconfirmed) candidate for the identity of the decedent; however, the cause of death and the reason for their presence in the cylinder remain a mystery.\n Alexander Alekhine (53), the fourth World Chess Champion, was found dead in a hotel room in Estoril, Portugal on 24 March 1946. Several causes of death have been proposed, but the two most likely are a heart attack or choking on a piece of meat which was found lodged in his throat in an autopsy. \n Vera West. West was an American fashion designer and film costume designer, who worked for Universal Pictures. She was found dead in her swimming pool on 29 June 1947, having possibly committed suicide by drowning, although police were never able to ascertain the precise circumstances surrounding her death.\n The Trow Ghyll skeleton, discovered in a cave in rural north Yorkshire, England in 1947, remains unidentified. The death probably occurred in 1941; the fact that the body was discovered with a glass bottle of cyanide has led to speculation that it was someone connected with espionage.\n\n Jan Masaryk (61), 1948, son of Tomáš Garrigue Masaryk, Czech diplomat, politician and Foreign Minister of Czechoslovakia, was found dead in the courtyard of the Foreign Ministry below his bathroom window. The initial investigation concluded that he committed suicide by jumping out of the window, although many are convinced that he was pushed. A new investigation by the Czechoslovak government after the Velvet Revolution ruled his death a murder.\n Sadanori Shimoyama (47), 1948, first director of Japanese National Railways, was last seen leaving his official car to go into a department store on his way to work the morning of 5 July of that year. Others reported seeing him at various train stations, and walking along one line, that afternoon. His dismembered body was found at noon the next day on the Jōban Line. It had indisputably gotten that way as a result of being struck by a train, but the autopsy suggested he had died before being struck. That conclusion has been disputed, and whether his death was a suicide or murder remains undetermined.\n United States Consul General to Mandatory Palestine Thomas C. Wasson was shot on May 22, 1948, in Jerusalem. He died the next day.\n Irwin Foster Hilliard (48), was Canadian political figure and lawyer in Ontario who was last seen on 23 November 1948 before going on a shopping trip. He was found dead on 22 December 1948 close to Lambton. His death cause is unknown\n Nora Gregor (47), whose full name was \"Eleonora Hermina Gregor\" was an Austrian actress who acted in both on stage and in movies who died on 20 January 1949 in Viña del Mar from a debated cause.\n\n1950–1974\n In 1951 human bones were found and were thought to be the remains of Percy Fawcett (57), who had disappeared on 29 May 1925 in Mato Grosso, Brazil, This was proven to be untrue; they remain unidentified and the cause of death is unknown.\n Syama Prasad Mukherjee (52), an Indian politician, died in a prison hospital 23 June 1953, one and a half months after his arrest for attempting to enter Jammu and Kashmir without a permit. The exact cause of death has never been disclosed; Prime Minister Jawaharlal Nehru, whose government Mukherjee had resigned from in protest over Nehru's decision to normalise relations with Pakistan despite that country's treatment of its Hindu population, said at the time he made inquiries and was satisfied that his former minister's death was due to natural causes; speculation has continued that Mukherjee was actually murdered due to some unusual circumstances of his arrest and treatment.\n Raimondo Lanza di Trabia (39), was an Italian man who was successful in many fields. On 30 November 1954 in Rome, Lanza di Trabia died from circumstances that are suspicious after he fell out of a hotel room window.\nHerman Schultheis (33), was a technician and photographer who worked for Walt Disney Studios who disappeared on 20 May 1955 near Tikal, Guatemala. His remains were found on 23 November 1956, along with some of his belongings. His death cause is unknown.\n The Dyatlov Pass incident was the deaths of nine hikers on the Kholat Syakhl mountain in the northern Ural Mountains range on 2 February 1959; the bodies were not recovered until that May. While most of the victims were found to have died of hypothermia after apparently abandoning their tent high on an exposed mountainside, two had fractured skulls, two had broken ribs, and one was missing her tongue. There were no witnesses or survivors to provide any testimony, and the cause of death was listed as a \"compelling natural force\", most likely an avalanche, by Soviet investigators.\n\n Barthélemy Boganda (48), who was Prime Minister of the Central African Republic died on 29 March 1959 in Boukpayanga during a mysterious plane crash.\n Diana Barrymore (38), was an American actress who acted both on the stage and in movies and is a relative of American actress Drew Barrymore. On 25 January 1960, Diana Barrymore died in her hometown of New York City. At first her death was said to be the result of a drug overdose. After an autopsy was conducted, this was proven to be untrue. Speculation included a theory that she might have committed suicide, but this was never proven. She had admitted publicly she was a recovering alcoholic. In July 1957, she gave an American television interview to Mike Wallace in which she said, \"At the moment, I don't drink. I hope to be able, one day, in perhaps the near future [or] the very distant future, to be able to drink like a normal human being. That may never be possible.\"\n Dag Hammarskjöld (56), a Swedish economist and diplomat who served as the second Secretary-General of the United Nations died on 18 September 1961 in Ndola, Northern Rhodesia in a mysterious plane crash.\n Lucas Samalenge (33), a Katangese and Congolese politician who died under suspicious circumstances on 19 November 1961 in Lubumbashi.\n Dr Gilbert Stanley Bogle (39), and Margaret Olive Chandler (29), were found dead, both partially undressed, near the banks of the Lane Cove River in Sydney, Australia, on 1 January 1963. Their bluish pallor and the presence of vomit and excrement led to a finding that they had been poisoned, but the coroner was unable to determine what the toxin was. It was suspected they had been murdered (possibly by Chandler's husband) although no suspect has ever been identified. A 2006 TV documentary suggested their deaths were not due to foul play but the result of hydrogen sulfide gas leaking from the river bed and reaching dangerously high concentrations in the low-lying depressions where their bodies were found.\n The death certificate of Dorothy Kilgallen (52), states that she died on 8 November 1965 from \"acute ethanol and barbiturate intoxication / circumstances undetermined.\" She was famous throughout the United States as a syndicated newspaper columnist and radio / television personality, most notably as a regular panelist on the longest running game show in history at the time, CBS's What's My Line. The New York City medical examiner James Luke categorized the cause of death as \"circumstances undetermined.\"\n Lal Bahadur Shastri (61), an Indian politician who was the second Prime Minister of India mysteriously died on 11 January 1966, just hours after signing the Tashkent Declaration. His death cause is disputed.\n The Lead Masks Case involves the death of two Brazilian electronic technicians, Manoel Pereira da Cruz and Miguel José Viana, whose bodies were discovered on 20 August 1966, in Niterói, Rio de Janeiro, Brazil. After an autopsy was performed the cause of death could not be proven since the organs were too badly decomposed.\n Alvar Larsson (13), was a Swedish boy who disappeared on 16 April 1967 while going for a walk. In November 1982, a human skull was found on a small island 6 km away that was identified as belonging to Larsson. The disappearance attracted a lot of media coverage at the time and many theories as to what happened have been put forward. Thomas Quick has confessed to the crime, but has since recanted all his confessions.\n John Frey, an Oakland, California, police officer, was fatally shot on the morning of 28 October 1967, during a traffic stop where he had pulled over Black Panther leader Huey P. Newton, who was wounded in the shootout and convicted of voluntary manslaughter the following year. The gun Newton purportedly used was never found, and following two hung juries after the conviction was overturned on appeal in 1970 the district attorney's office announced it would not try him a fourth time. Newton suggested that Frey may have been shot by his partner; there has been no new investigation to determine whether this was the case and whether this was an accident.\n Joan Robinson Hill (38), was a Texas socialite who died in 1969. At first ruled to have died of influenza following a brief hospitalization on 19 March, suspicions were aroused when her body was released to the funeral home and embalmed before a legally required autopsy could be carried out. Despite the compromised evidence, three autopsies, all with their own irregularities, were performed and her husband John eventually became the only person indicted by a Texas grand jury for murder by omission, or failing to take proper action in the face of a life-threatening situation. The first attempt to prosecute him ended in a mistrial in 1972; he was murdered before he could be retried and the gunman who was suspected of his murder died in a police shootout. Two other alleged accomplices were later convicted.\n Edward Mutesa (45), who was Kabaka of the Kingdom of Buganda in Uganda died on 21 November 1969 from alcohol poisoning, in his London flat. He may have committed suicide or been poisoned by someone.\n Katherine Walsh (23), American actress who died in London, England on 7 October 1970 while she was at a party at her home. While it is known that she died from barbiturate poisoning and alcohol, it is unknown whether is was a suicide or accident.\n Mustafa Zaidi (40), Pakistani Urdu poet from India who died in Karachi from unknown reasons on 12 October 1970. The case has never been solved.\n Ronald Hughes (35), an American attorney who disappeared while on a camping trip in November 1970. He had been representing Leslie Van Houten in the Tate–LaBianca murder trial. His body was found in March 1971, but his cause of death could not be determined.\n The Isdal Woman was a partially charred unidentified corpse found on 29 November 1970, hidden off a hiking trail near Bergen, Norway. The official conclusion that her death was a suicide has not been widely accepted, since some believed she was murdered. Her identity remains unknown and is considered one of Norway's most profound mysteries. The case has been the subject of intense speculation for many years. Multiple investigations point to the possibility that she was a spy.\nMichael O'Sullivan (37), an American man who had a brief but successful acting career, was found dead at his apartment in San Francisco, California, on 24 July 1971 with a bottle of sleeping pills next to him from what may have been a death by suicide.\n Giangiacomo Feltrinelli (45), who had during the 1950s published the smuggled manuscript of Boris Pasternak's novel Doctor Zhivago, but later became a left-wing militant during Italy's Years of Lead, was found dead at the base of a power-line transmission tower outside Segrate, near his native Milan, on 15 March 1972. It was believed that he had died when a bomb he was attempting to plant on the tower went off, and later testimony by other members of the Red Brigades supported this. However, the death was always viewed suspiciously, and in the 2010s forensic reports surfaced that suggested he had been tied to the tower before the bomb went off, with various intelligence agencies inside and outside of Italy suspected of responsibility.\n Gia Scala (38), was American model and actress from Liverpool, Lancashire, England who on 30 April 1972 was found dead in her house that was in Hollywood Hills. Her cause of death remains undetermined.\n Nigel Green (47), was a character actor who was born in South Africa, and was raised in London, England, who died in Brighton, Sussex on \t15 May 1972 after taking too many sleeping pills. It is unknown if this was a suicide or not.\n Jeannette DePalma (16), was found dead and was believed to have been killed on or around 7 August 1972 in Springfield Township, New Jersey, but now her death is thought perhaps to have been caused by a drug overdose instead.\n Amaryllis Garnett was an English actress and diarist who appeared in various productions in the 1960s, with her most notable appearance being Judith of Balbec from the original 1966 version of A Choice of Kings. With the onset of the 1970s, however, she fell into a deep depression, and on 6 May 1973 she was found drowned in the Chelsea river. Whether her drowning was accidental or a suicide remains unclear.\n Kafundanga Chingunji, served as the first Chief of Staff in the government of UNITA, pro-Western rebels, during the Angolan Civil War. Officially, Chingunji died from cerebral malaria in January 1974 on Angola's border with Zambia. His wife and others who saw his body say someone poisoned Chingunji. Rumors later alleged Jonas Savimbi, the head of UNITA, ordered his assassination. It is unknown for sure what the exact circumstances of the death are.\n Karen Silkwood (28), a nuclear power whistleblower, died in a car accident on 13 November 1974, while driving to a meeting with a New York Times reporter in Oklahoma City. Whether that accident involved another vehicle, whose driver may have deliberately run her off the road, or resulted from her own fatigue, remains a matter of debate.\n Aman Andom (50), was an Ethiopian military figure and was the acting head of state of Ethiopia who died on 23 November 1974. Sources say that he committed suicide, while others say that he was killed by political rivals among the coup leadership, possibly including Mengistu Haile Mariam.\n\n1975–1999\nMarlies Hemmers (18) was a female German high school student who disappeared in Nordhorn on 6 August 1973 and whose remains were found on 22 December 1973 across from a horse breeding ground in a small wood. Since her body had decayed, it could not be determined what her cause of death was. It is believed she may have been murdered by the \"Münsterland Killer\".\nCarol Platt Valenzuela (20), American woman who disappeared after leaving Camas, Washington on 4 August 1974 and was found dead 12 October 1974 in the Dole Valley, Her cause of death is unknown, though some people believe that she was murdered.\n Alexandra \"Sasha\" Bell (29), a daughter of David K. E. Bruce, died under mysterious circumstances at her family home in Virginia in 1975. The cause of death may have been either murder or suicide.\nManon Dubé (10) was a Canadian girl from Quebec who vanished while sledding with friends in Massawippi on 27 January 1978. Her body was found on 24 March 1978, but the exact cause of death was never determined.\nMarin Preda (57), was a Romanian director of Cartea Românească publishing house who wrote novels about wars that had ended. Preda was found dead on 16 May 1980 at Mogoșoaia Palace from asphixiation.\n Marcia Moore (50), a writer on yoga and astrology, disappeared near her home in the Seattle, Washington, area during the winter of 1979. Her skeletal remains were found in nearby woods in 1981. It has been presumed in the absence of any evidence that would more conclusively establish a cause of death that she died of hypothermia while wandering the woods under the influence of ketamine, a drug whose use she had promoted. However, true-crime writer Ann Rule, a friend, says what appeared to be a bullet hole was found in her jawbone, although authorities said it could just as easily have been a result of the bone decaying during the cold winters. Officially the cause of Moore's death remains undetermined.\n Douglas Crofut (38), American radiographer who died of both radiation poisoning and radiation burns on 27 July 1981 in Tulsa, Oklahoma. The event is thought to have been either a suicide or murder, but this remains uncertain.\n\n On 29 November 1981, actress Natalie Wood (43), who was a passenger on the yacht owned by her and her husband Robert Wagner, was found drowned near Santa Catalina Island, California. Two other people were on board the Wagners' yacht at the time: actor Christopher Walken and Dennis Davern, a longtime employee of the Wagners who served as skipper of the yacht. While drowning has always been accepted as the direct cause of her death, the circumstances under which she went into the water have never been clear, and after reopening the investigation in 2012 the coroner changed the cause of death from \"accident\" to \"undetermined\" based on cuts and bruises on her body that may or may not have been suffered before her death. In 2018, Wagner was identified as a person of interest.\n Don Kemp (34–35), was a New York advertising executive who disappeared under mysterious circumstances in Wyoming in 1982, where he had planned to begin a new life. His remains were discovered in 1986, but the circumstances surrounding his death, and whether it is homicidal in nature or not, remain unclear.\nMilwaukee Jane Doe was an unknown female found dead on 16 March 1982. Her cause of death was a possible drowning and Her identity remains unknown.\n Eduardo Frei Montalva (71), who was president of Chile from 1964 to 1970, died on 22 January 1982. As of 2005, his death is being investigated because of allegations that he was poisoned.\n The cause of death of the baby born to Joanne Hayes in Ireland's 1984 Kerry Babies case was never established.\n Radomir Radović (32–33), a Yugoslav civil engineering technician and trade unionist who advocated for an independent trade union in the country, was found dead at his villa in Orašac on 30 April 1984. While the ruling party claimed that he had died by suicide, this claim was disputed by fellow intellectuals, and his true cause of death remains unclear.\n Kenji Iwamura, a 25-year old Japanese office worker purportedly died during the 1984–1990 SOS incident.\n The YOGTZE case refers to the death of unemployed German food engineer Günther Stoll (34), which occurred on 26 October 1984, under strange and largely unknown circumstances, after leaving behind the cryptic message \"YOGTZE.\"\n Samora Machel (53), a Mozambican politician, military commander, and revolutionary was killed on 19 October 1986 during a mysterious plane crash that was close to the Mozambican-South African border.\n Cam Lyman (54–55), was a multimillionaire dog breeder from Westwood, Massachusetts who disappeared in the summer of 1987 and his body was found in a septic tank on his estate in Hopkinton, Rhode Island by the new owners of the house in December 1997. Lyman's death remains a mystery.\n Fidel Figueroa, a well-known drug dealer and father of Lazaro Figueroa, was found deceased on 20 September 1987. His exact cause of death has never been determined, and the death is considered suspicious.\n On 11 October 1987, West German Christian Democratic Union politician Uwe Barschel (43) was found dead in a bathtub filled with water in his room at the Hotel Beau-Rivage in Geneva, Switzerland. He was fully clothed. Among others, the drug Lorazepam was found in his system. The circumstances of his death remain unclear and controversial, with suicide or murder both considered possible explanations and the case still being investigated in both directions.\n Whether the 17 August 1988 plane crash that killed Pakistani president Muhammad Zia-ul-Haq (64), the country's longest-serving leader, and 30 others including the country's top military leaders and the U.S. ambassador, was an accident or foul play, the result of sabotage or a shootdown, is a matter of debate. American investigators came to the former conclusion, while their Pakistani counterparts produced a report reaching the latter. Theories as to responsibility if it were an act of malice have put the blame on a number of domestic and foreign actors.\nOn 8 June 1989, Canadian nurse Cindy James (44) was found dead of a multiple-drug overdose in the yard of an abandoned house in the Vancouver suburb of Richmond, hogtied and with a nylon stocking around her neck. During the seven years leading up to her death, she had made approximately 100 reports to police of incidents of stalking, harassment, vandalism, and physical attacks. Despite significant investigation, authorities could find no evidence pointing to an assailant, and it was suspected that James had fabricated the incidents herself, culminating in an elaborate staged suicide. The cause of death was found to be a drug overdose due to the extraordinarily high levels of morphine, diazepam and other drugs found in her system, but exactly how that came about could not be determined.\n Said S. Bedair (40), was an Egyptian scientist in electrical, electronic and microwave engineering and a colonel in the Egyptian army. He died on 14 July 1989 in Alexandria of unclear circumstances, though his wife thinks it might have been a suicide.\n Berlin police were called to a Lichtenberg apartment on the night of 3 December 1991 after neighbors complained of loud arguments, barking dogs and a parade of men coming and going. Inside they found the body of Beate Ulbricht (47), adopted daughter of Walter Ulbricht, the first Communist leader of East Germany, by then defunct. Visible facial injuries suggested a death by blunt force trauma, but whether that had resulted from an accident or foul play has never been determined. She had recently given a series of interviews about her family life in which she recalled her mother, Lotte, as harsh and unloving, in contrast to her late father; Lotte was unsurprised when a reporter informed her of Beate's death. The unsolved stabbing death two years later of a man thought to be Beate's lover in her last years may be connected. \n A skull fragment found in a wooded area of Baldwin, Pennsylvania in 1992 turned out to be that of Michael Rosenblum (25), of nearby Pittsburgh, who had not been seen since 14 February 1980, near where the bone was found. While the cause of death could not be determined, circumstantial evidence accumulated over the years suggested that Baldwin's police department had covered up its own officers' involvement in Rosenblum's disappearance; the chief was fired over the allegations and reinstated a short time later.\n The remains of Timothy Wiltsey (5), of South Amboy, New Jersey, were found in a muddy brook behind an office park in nearby Edison on 23 April 1992, almost a year after his mother, Michelle Lodzinski, had reported him missing from a carnival. Decomposition was too advanced to determine how Wiltsey had died. Suspicion accumulated around Lodzinski in later years owing to reports that she had changed her account of his disappearance several times shortly after reporting it, and her conviction for an attempt to stage her own kidnapping in 1994 followed by another conviction for theft several years later. In 2014 she was arrested for her son's murder and convicted after trial two years later, but the state Supreme Court vacated that conviction in 2021 for insufficient evidence. \n Arnold Archambeau (20), and Ruby Bruguier (18), left a passenger behind in their overturned car following an accident before dawn on 12 December 1992 outside Lake Andes, South Dakota. They were never seen alive again; almost three months later their bodies were found near the accident site. Police do not believe they had been there during the intervening winter months as they were not found during several searches of the area. Autopsies attributed the deaths to hypothermia; however Bruguier's body was in a far more advanced stage of decomposition and other evidence at the scene has reinforced investigators' belief that the two died somewhere else and their bodies were moved there. The FBI investigated as well, due to the victims being Native Americans and the incident taking place on a reservation, but closed their file in 1999 having found insufficient evidence to believe a crime occurred.\nThe body of David Glenn Lewis (52), was found dead, the victim of a hit and run, on 1 February 1993, shortly after he was seen wandering on Washington State Route 24 in Moxee, Washington, just outside Yakima. Moxee is from his home in Amarillo, Texas; evidence conflicts as to whether he was there for the preceding two days or traveled from the city. At the time of his death he was wearing clothing his family said was not his. His body remained unidentified until 2004. The driver of the vehicle that struck him also remains unidentified, and since his presence in the Yakima area has not been explained, whether his death was an accident, suicide or foul play cannot be determined.\n Mansour Rashid El-Kikhia was a Libyan politician and human rights activist known for his opposition to Muammar Gaddafi's regime. On 10 December 1993, he was kidnapped while on a diplomatic visit to Cairo, Egypt, allegedly by Mukhabarat operatives. His fate remained unclear until October 2012, when his body was found in a refrigerator in Tripoli, indicating that he had likely died while in custody.\n Zviad Gamsakhurdia (54), former president of Georgia, died on 31 December 1993 from circumstances that remain very unclear. It is known that he died in the village of Khibula in the Samegrelo region of western Georgia.\nOn 27 April 1994, Lynne Frederick (39), was found dead by her mother in her West Los Angeles home. Foul play and suicide were ruled out and an autopsy failed to determine the cause of death. Some in the media speculated she died from the effects of alcoholism. Her remains were cremated at Golders Green Crematorium in London, and her ashes were interred with those of her first husband, Peter Sellers.\n Oscar Gomez, American student and activist during the 1990s, who died under mysterious circumstances on 16 November 1994 in Santa Barbara, California. while he was protesting with his fellow students.\nSonja Engelbrecht (19), was a young teenage woman who went missing on the night of 1995 April 10–11 in Munich, whose remains were first discovered on 23 November 2021. Her cause of death remains unknown.\n Caroline Byrne (24), an Australian model, was found at the bottom of a cliff at The Gap in Sydney on 8 June 1995. Her boyfriend at the time of her death was charged with killing her and was convicted, but was acquitted of the conviction in February 2012 as the decision was overturned. It is unclear to whether her death is a murder or suicide.\n Carl Isaacs Jr. (21), formerly known Rock County John Doe, and also commonly referred as John Clinton Doe, was the name given to a now identified set of skeletal remains known to be a young adult white male, which were found alongside Turtle Creek near Clinton, Rock County, Wisconsin on 26 November 1995. His death cause is also unknown.\n Green Boots is the name given to the unidentified corpse of a climber that became a landmark on the main Northeast ridge route of Mount Everest. Though his identity has not been officially confirmed, he is believed to be Tsewang Paljor, an Indian climber who died on Mount Everest in 1996.\n English actor Barry Evans (53), died on 9 February 1997. The police went to his house to inform him that they had recovered his stolen car, which was reported the day before, but he was found dead in his home. The coroner found a blow to Evans's head and also found high levels of alcohol in his system. A short will was found on a table next to his body and a spilt packet of aspirin tablets, bearing a pre-decimalisation price tag, indicating that the pack was at least 26 years old, was found on the floor, although the coroner concluded that he had not taken any of them. The cause of his death was never confirmed.\n Screenwriter Gary DeVore (55), left Santa Fe, New Mexico, on 28 June 1997, for Hollywood to drop off his final draft of the script for a remake of The Big Steal, a 1950 film about, in part, a man who stages his own disappearance. He never arrived, and was considered missing for a year until his body was found in his car in the California Aqueduct. His hands were missing, and it did not appear from the position in which it was found that the car had gone into the waterway after an accident. No cause of death has been conclusively established.\n Ricky Reel (21), a computer science student at Brunel University. Reel was last seen alive in the early morning of 15 October; his body was recovered from the River Thames six days later. Although the Metropolitan Police initially declared his death accidental, an open verdict was later returned. Speculation remains as to a racial motive behind his death.\n Theodore Sindikubwabo, interim president during the Rwanda genocide, died in 1998. Cause of death is unknown, but it has been speculated that he died of HIV or was killed by Interahamwe hardliners.\n Patricia Lee Partin, who was among four women who left Los Angeles, California, and disappeared alongside Florinda Donner in 1998; her remains were found in the desert sands of Death Valley in 2003. Partin's cause of death remains unknown.\nSkeletal remains of both a female and male were discovered in 1998 on the mountain known as Webb Hill located in St. George, Utah, in Washington County. Their identies and cause of deaths are unknown.\n Pol Pot, Cambodian war criminal who died in April 1998, shortly before his extradition on charges against humanity, died in custody; the official cause was a heart attack, but other reports hold that he committed suicide with drugs or was assassinated by General Ta Mok.\n Greek philosopher Dimitris Liantinis (55) disappeared on 1 June 1998. In July 2005 human bones were found in the area of the mountain Taygetos; forensic examinations verified that it was the body of Liantinis. No lethal substances were found to identify the cause of death.\n Sani Abacha (54), military dictator of Nigeria, who died on 8 June 1998. There is a popular theory in Nigeria that he died after consuming a poisoned apple, but one of his confidants reported that after Arafat's visit and shaking hands with the and his men began to feel bad and died shortly after.\n Kevin Hjalmarsson (4), Swedish boy who after going missing was found dead in Arvika on 16 August 1998. Though he was originally thought to have been murdered, it is now claimed by the police that he is thought to have died of an unknown accident.\nBardhyl Çaushi (62–63), an Kosovo Albanian activist and a human rights lawyer who was kidnapped in 1999 by Yugoslav forces and found dead in 2005 from reasons that could not be determened.\n Yves Godard (43), was a French doctor who disappeared from a sailing boat with his two children in September 1999. In 2000, a skull fragment belonging to his daughter Camille was found while some bone fragments of Dr Godard were discovered six years later in the English Channel. No trace of his son or his wife (the latter did not go on the sailing trip and stayed at home) has ever been found, nor has any trace of the boat. However, investigators found traces of blood in the family home and in Godard's caravan, raising suspicion that Godard's wife was murdered. In 2012, the case was closed without charges. Prosecutors ruled out accidental death and believe that Dr Godard probably murdered his family before committing suicide at sea, but they also acknowledge that they are not certain of this.\n Hangthong Thammawattana (49), a Thai businessman and politician who was found dead in the early hours of 6 September 1999 in his family's mansion. from a gunshot wound. It is unknown if it was a suicide or murder.\n Jaryd Atadero (3), was an American boy who went missing on 2 October 1999 in Colorado in the Arapaho & Roosevelt National Forest. On 6 May 2003 some of his remains were discovered by two businessmen while they were hiking. Though there are different theories to how he died, the true cause is not known.\n Jorge Matute (23), was a Chilean forestry student who mysteriously disappeared in a discotheque that was located close to Concepción on 20 November 1999. In February 2004 in a road in Santa Juana, Matute's remains were found and identified. Matute's cause of death is unknown.\n\n2000–2010\n Lolo Ferrari (37), was a French dancer, singer and film actress who also performed in pornography and was known for her large surgically enhanced breasts. Ferrari was found deceased on the morning of 5 March 2000 of causes which have never been determined.\nErin Foster (18), and Jeremy Bechtel (17), were a teenage couple from Sparta, Tennessee who disappeared on 3 April 2000, after leaving a party. In 2021, they were both found dead in a car underwater. What led up to the event is unknown.\n Rodney Marks (32), an Australian astrophysicist, died of a sudden illness on 12 May 2000 at Amundsen–Scott South Pole Station in Antarctica. It was not possible for his body to be flown to New Zealand and autopsied until after the Antarctic winter ended six months later; the cause of death was found to have been methanol poisoning. Suicide was ruled out, as he did not seem to have a motive and had readily sought treatment for his apparent illness, nor did an accidental overdose seem likely, either, as there was plenty of alcoholic drink available for consumption at the base should he have wanted it. The New Zealand police believed instead that the methanol had been \"unknowingly\" introduced into Marks' system but could not conclusively call the case a homicide. Further investigation has been frustrated by the refusal of American agencies to share their findings, the global dispersal of researchers and personnel at the base that winter, the 2006 disappearance of the doctor who treated Marks, and the loss of any possible crime-scene evidence during the winter after Marks' death.\nA human skeleton was found on 21 May 2000 near the river Otra, near Eg Hospital, while there was a search conducted to find Lena Sløgedal Paulsen (10), and Stine Sofie Austegard Sørstrønen (8), who had disappeared on 19 May 2000. At first it was thought to be that of a missing German tourist, not being involved with the girl's disappearance. Though it was later discovered that the body was in fact that of a German psychiatric patient who had escaped from the psychiatric hospital that was located nearby years before. The cause of the patient's death is unknown.\n Soad Hosny (58), was an actress from Cairo, Egypt, who died in London after she mysteriously fell from the balcony of her friend's apartment on 21 June 2001.\n On 11 August 2001, Irish musician Paul Cunniffe (40), formerly of the bands Blaze X and the Saw Doctors, died in a fall in the London neighborhood of Whitechapel. The circumstances that led to the fall, however, or even exactly where it occurred, remain unknown. His is one of several deaths among friends and acquaintances of Pete Doherty.\n\n Tempe Girl is the name given to an unidentified decedent whose body was discovered on 27 April 2002 in Tempe, Arizona. She had died of cocaine intoxication – ruled to be neither an accident nor a homicide – one day before the discovery of her body. She is believed to have been of either Hispanic or Native American ethnicity and was allegedly picked up while hitchhiking, claiming she had been effectively disowned by her own mother for her frequent recreational drug use.\n Abu Nidal (65), Palestinian terrorist leader behind the 1985 Rome and Vienna airport attacks, already suffering from leukemia, was reported to have died from a gunshot wound in Baghdad on 16 August 2002. Iraq's government at the time claimed his death was a suicide; the Fatah Revolutionary Council Nidal founded claimed he was assassinated on Saddam Hussein's orders to prevent his possible capture during the American invasion of Iraq that began six months later.\n Jeremiah Duggan (22), a British student studying in Paris, was found dead on a highway in Wiesbaden, Germany, early on 27 March 2003. The initial investigation concluded he had committed suicide by running into traffic. However, his mother, noting that he had called her in great distress over his involvement with the LaRouche movement, who may have discovered that he was British and Jewish, within an hour of his death, never accepted that theory, and a later investigation found evidence that the accident may have been staged to cover an earlier beating. The case was reopened in 2012 after extensive litigation in England, resulting in a change of the cause of death to \"unexplained\", with the note that Duggan may have been involved in some sort of \"altercation\" beforehand.\n\nA human skull that was found off Vanikoro in April 2003 was thought to have been that of Gaspard Duché de Vancy (35–36), who disappeared in 1788. Who it belonged to and death cause, are unknown.\n Jürgen Möllemann (57), German Free Democratic Party politician, died on 5 June 2003 in a parachuting incident at Marl-Lohmühle. His death was investigated by the Essen district attorney's office, which published a final report on 9 July 2003. While outside interference was ruled out, no definite verdict was reached on whether Möllemann committed suicide or had died via misadventure. Shortly before his death, Möllemann, a passionate and experienced skydiver, had been confronted with allegations he had been involved in illegal arms deals and evaded taxes on millions of euros he allegedly earned from these activities. To enable a full investigation on these charges, the Bundestag lifted his parliamentary immunity on 5 June 2003 at 12:28, 22 minutes before his death. The tax evasion charges were dropped after his death.\n Singer-songwriter Elliott Smith (34), died of stab wounds inflicted in his Los Angeles home on 21 October 2003. His girlfriend claims she got out of the shower after an argument, having heard him scream, to find him with the knife sticking out of his chest, and found a short suicide note on a Post-It shortly thereafter. While he did indeed have a history of depression and drug addiction, friends say he was actively working to finish an album at the time and seemed optimistic. The coroner found the stab wounds were inconsistent with a suicide attempt but could not say it was a homicide either; the cause of the stabbing remains undetermined and has not been further investigated.\n Jonathan Luna (38), an Assistant U.S. Attorney from Baltimore, was found dead of multiple stab wounds inflicted with his own penknife in Denver, Pennsylvania, on the morning of 4 December 2003 in a stream underneath his car, which had been driven there overnight from Baltimore. The FBI, which has jurisdiction over the possible murder of any U.S. federal employee, found that Luna had mounting financial problems and was facing an investigation over missing money at his office; they considered it a suicide or botched attempt at staging a kidnapping. However, the Lancaster County coroner's office, pointing to evidence suggesting he had been abducted and someone else was driving for at least the final stage of his drive, ruled it a homicide and considers the case open.\n Lamduan Armitage was a formerly unidentified woman whose body was discovered in 2004 on the mountain Pen-y-ghent in Yorkshire, England, leading her to become known as the Lady of the Hills. The woman was found to have originally come from somewhere in South-East Asia, but despite an international police investigation, the identity of the woman, and how she arrived at the location remained a mystery until 2019. The woman was identified in March 2019 through DNA testing. Her cause of death remains unknown.\n Alonzo Brooks (23), American man who went missing from La Cygne, Kansas, on 3 April 2004 and was found dead on 1 May 2004. After the pathologists did an autopsy they have not yet been able to tell the cause of his death.\n The coroner investigating the death of Richard Lancelyn Green (51), a British Arthur Conan Doyle scholar who was found garrotted with a shoelace on his bed in his home on 27 March 2004, returned an open verdict. Many of his friends and family suspected homicide as he had complained of someone following him in his efforts to stop the auction of a cache of Doyle's personal papers that he believed to have been wrongfully acquired. However, despite suicide by garrotte being unusual and difficult, some investigators believed that he had followed the example of one of Doyle's Sherlock Holmes stories in which a woman stages her suicide to look like a murder.\n John Garang (60), Sudanese politician and former rebel revolutionary leader, died on 30 July 2005 in New Cush, Sudan in a suspicious helicopter crash.\n Barbara Precht's (69) body was found on 29 November 2006 in Cincinnati, Ohio. She remained unidentified until November 2014. Her husband was later located and is considered a person of interest in her death, which has unknown circumstances.\n Joyce Carol Vincent (38), was found dead in her London flat in January 2006, two years after she had died, by which time the body had decomposed so much as to make identifying a cause of death impossible; her story was profiled in the 2011 documentary Dreams of a Life.\n Rey Rivera (32), American writer who was working for Stansberry and Associates who went missing from his house on 16 May 2006 and was found dead on Belvedere Hotel on 24 May 2006, in Mount Vernon, Baltimore Even though the Baltimore Police Department has claimed that his death was most likely to be a suicide, this has not been proven to be the case.\n Bob Woolmer (58), Pakistan's national cricket coach, was found dead in his hotel room on 18 March 2007, after losing in the Cricket World Cup 2007 in the West Indies. Investigators at first ruled the death a suicide, but the jury that heard the inquest returned an open verdict.\n Three years after the body of Corryn Rayney (44), was found in the Perth suburb of Kings Park, Western Australia a week after her 7 August 2007 disappearance, her husband Lloyd was charged in her murder even though a cause of death had not been determined. A judge acquitted him at his 2012 trial, finding the largely circumstantial case was further compromised by police misconduct. The verdict was upheld on appeal the following year; Rayney and his lawyers have called for two known sex criminals to be investigated as well.\n The Salish Sea human foot discoveries are the severed feet found from 20 August 2007 to 1 January 2019 that are known to belong to people who are thought to be dead. The circumstances behind these events remain unclear.\n Tony Harris (36), American basketball player who had played in multiple countries disappeared from Brasília, Brazil on 4 November 2007 and was found dead on 18 November 2007. There are different ideas about why he died, yet the true cause of his death is unknown.\n Two-year-old Caylee Anthony, of Orlando, Florida, was reported missing by her grandmother in the summer of 2008, when she learned that her daughter Casey had not seen her in over a month. Casey claimed the girl had been kidnapped by a nanny and circumstantial evidence led to her arrest on murder charges that fall. A tip that could have led to the body's discovery in August was not fully acted upon until December; by then the body was so decomposed that it was impossible to establish how Caylee had died, although the coroner ruled it homicide. Casey Anthony, despite public sentiment strongly against her, was acquitted of the murder and child-abuse charges (but convicted of the lesser charges of lying to the police) after a heavily covered trial in 2011, where her lawyer claimed that Caylee had accidentally drowned in the family pool and Casey's domineering father had led a cover-up. Later, her father came forward with his own explanation: Casey had allegedly been known to drug Caylee to entice her to sleep so Casey could leave Caylee home alone and go out with friends for the evening. He alleges Casey or a friend accidentally overdosed Caylee, killing her, and in a panic, made up the kidnapping story as a cover.\n Missing list of suspects in the 2008 Noida double murder case.\n American professional wrestler Steven James Bisson (32), who went by the ring name of \"Steve Bradley\", was found dead on 4 December 2008 in Manchester, New Hampshire, in a parking lot across the street from a pro wrestling school where he once operated. Bradley's cause of death is undetermined, as the autopsy could not reveal what he died from, so his death remains a mystery.\n The Peter Bergmann case is an unsolved mystery pertaining to the death of an unidentified man in County Sligo, Ireland, whose naked body was found on a beach; the autopsy found no signs of drowning or foul play and thus the cause of death remains undetermined. From 12 to 16 June 2009, a man using the alias \"Peter Bergmann\" visited the coastal seaport town of Sligo in northwest Ireland. He used this alias to check into the Sligo City Hotel, where he stayed during the majority of his visit. He was described by hotel staff and tenants as having a heavy German accent. Despite conducting a five-month investigation into the death of \"Peter Bergmann\", the Garda Síochána have never been able to identify the man or develop any leads in the case.\n Skeletal remains found in a dry creek bed in California's Malibu Canyon on 9 August 2010, turned out to be those of Mitrice Richardson (25). She had last been seen on the night of 16 September 2009 in the backyard of a former local television news anchor after being arrested for marijuana possession and failure to pay the bill at a local restaurant where she had been acting strangely, behavior that investigating officers did not believe was caused by alcohol or drugs. The coroner has said her death did not appear to be a homicide, but the body was too decayed to determine the exact cause of death.\nThe Jamison family disappeared mysteriously on 8 October 2009 from Red Oak, Oklahoma and were all later found dead after four years in November 2013. Their death causes could not be determined.\n\n2010–2019\n On 23 August 2010, the partially decomposed body of Gareth Williams (32), a Welsh mathematician who worked for British intelligence GCHQ, but who was seconded to MI6 at the time of his death, was found in a padlocked bag in the bathroom of a safe house in the London neighbourhood of Pimlico. It was determined he had been dead for about a week. Due to the nature of his work, the investigation had to withhold details of it and some other aspects from any material made public; his family and friends allege that the Metropolitan Police compromised and mishandled key forensic evidence in the early stages of their response. An initial investigation by the coroner's office concluded that the death was a homicide; a later re-investigation by the police claimed that it was instead an accident.\n Rajiv Dixit (43), an Indian public speaker and social activist who died on 30 November 2010 in Bhilai, Chhattisgarh, after his meal was poisoned. It is claimed that Dixit refused to undergo emergency medical treatment, and died shortly thereafter. No autopsy was ever conducted so it remains unknown whether Dixit was deliberately poisoned or committed suicide..\nAnneka Di Lorenzo (58), was a film star and a nude model who worked in California who was found dead in January 2011 after having drowned in the sea off Camp Pendleton. It is unknown whether or not her death was either a murder or suicide.\n British citizen Lee Bradley Brown (39), was arrested by Dubai police while on holiday there 6 April 2011 and charged with assault after an incident between him and a hotel maid; accounts of the circumstances differ. Held without bail, he died in custody six days later after, police claimed, being beaten by cellmates; later they said he had \"thrown himself on the ground repeatedly.\" An autopsy, however, found instead that Brown had, under the influence of hashish, choked on his own vomit. British officials who were allowed to examine the body disputed that conclusion, saying they saw no evidence of choking or blunt force trauma; Dubai authorities have declined repeated requests to share evidence such as CCTV footage from the original incident and the police station that might clarify matters. A coroner's inquest in the UK that considered only the autopsy report and the diplomats' reports returned an open verdict.\n Maddy Scott (20), Canadian woman who disappeared on 28 May 2011 from Vanderhoof, British Columbia and was found dead on 27 May 2023. Her cause of death is unknown.\n Tom J. Anderson (35), formerly known by his birth name \"Ahmad Rezaee\", was a businessman and the eldest son of Iranian Major General Mohsen Rezaee. On 12 November 2011, he was found dead in the Gloria Hotel, located in Dubai Media City, where he was staying. There are different theories about how he died, yet the cause of his death remains unknown.\n Stephen Corrigan (48), an Irish man who disappeared on 22 November 2011, and on 9 April 2020 some remains of his skeleton were found in Rathmines, Dublin. Corrigan's death cause is unknown.\n Candice Cohen-Ahnine (35), a French Jewish woman who successfully fought a legal battle against Saudi prince Sattam bin Khalid Al Saud over their illegitimate daughter, fell to her death in Paris on August 16, 2012. Her death is considered suspicious in nature due to the circumstances.\n Exiled Russian oligarch Boris Berezovsky (67), was found dead in his home near Ascot, Berkshire on 23 March 2013. At first glance he had hanged himself; he had recently lost what remained of his fortune, and some other close friends had unexpectedly died, which had left him despondent. The police soon ruled the case a suicide, but at the inquest, Berezovsky's daughter, who believes her father was murdered at the behest of the Russian government, introduced a report by a German pathologist that cast enough doubt for the coroner to return an open verdict.\n Zsolt Erőss (45), a Hungarian high-altitude mountaineer, disappeared on 21 May 2013 while he was climbing Kangchenjunga. Erőss' body was found in 2014, and his death cause is unknown.\n A worker at a Fenton, Missouri, senior living facility found the body of Shirley Rae Neumann (78), on the grounds outside the facility on the afternoon of October 31, 2013. At first it appeared that Neumann, who suffered from advanced arthritis and dementia, had fallen from the balcony of her apartment, since its railing had been broken, and the county coroner ruled the death accidental. But tests also found a level of the sedative Zolpidem in her blood that was eight times higher than a normal dose would have left. The last person to see Neumann alive was her daughter, Pam Hupp. Hupp stood to benefit financially from her mother's death, and she told staff that her mother would not be leaving her apartment the next day. Hupp had also pleaded guilty to another murder that prosecutors alleged she had committed to point suspicion at the husband of a murdered friend of Hupp's who had been acquitted at a retrial after spending several years in prison, a murder in which Hupp herself has been implicated as the real killer. After these events, a new coroner changed the finding to undetermined.\n On 15–16 November 2013, the skeletal remains of two adults and one child were found in a field outside Red Oak, Oklahoma. A year later they were identified as the Jamison family, who had gone missing in 2009 while looking into some land they wanted to purchase. Their abandoned pickup truck was three miles (4.8 km) from where their bodies were found. No cause of death has been determined.\n The decomposing remains of Canadian journalist Dave Walker (57), were found in Cambodia's Angkor temple complex on 1 May 2014, ending a search that began shortly after he failed to return to his hotel's guest house on the night of 14 February. While the medical examiner concluded that he had died weeks earlier, the cause of Walker's death could not be determined.\n Bone fragments found along the Rio Culebra near Boquete, Panama, in late June 2014 were matched to Lisanne Froon, 22, and Kris Kremers, 21, of Amersfoort, the Netherlands. The two had last been seen alive on 1 April when they went for a hike on the popular El Pianista trail. After unsuccessful initial searches a backpack belonging to the women was turned in by a local. It contained their phones, a Canon camera and personal effects. After two months small fraction of their remains was found as well. The women's cell phones showed that they had repeatedly attempted to contact emergency numbers shortly after taking pictures of themselves at the Continental Divide. Those calls had continued over several days, and Froon's camera contained 90 photographs taken in the night of 8 April, seven days after their disappearance. Most of the photos showed the jungle in the dark, but some of them contained rock formations, and small pieces of paper and other items in close-up and one contained the back of Kremers's head. It was impossible to determine from the remains that were found exactly how they had died. Local officials believe the women suffered an accidental injury shortly after getting lost in a network of trails in the region's cloud forests and got lost in the wilderness around Volcán Barú; however, Panamanian lawyers for their families have pointed to failings of the investigation and suggested both women could have met with foul play.\n On 27 June 2014, the body of Andrew Sadek (20), was recovered from the Red River near Breckenridge, Minnesota, with a small-caliber gunshot wound and a backpack full of rocks. He had last been seen by a security camera leaving his dorm at North Dakota State College of Science in Wahpeton around 2 a.m. on 1 May. At the time of his disappearance he had been working as a confidential informant for local police as a result of his own arrest for selling marijuana on campus, which could otherwise have resulted in a long prison sentence. It has not been determined yet whether his death was suicide or murder. Like Rachel Hoffman's death, the case has been used as an example of the mishandling of youthful CIs by police.\n Gennadiy Tsypkalov (43), was a political and military figure of the unrecognized Luhansk People's Republic (LPR). According to officials of the Luhansk People's Republic, Tsypkalov had committed suicide on 17 May 2014, yet according to some of Tsypkalov's colleagues whom Igor Plotnitsky dismissed, the leadership of LPR murdered Tsypkalov. His true death cause is unknown.\n Lennon Lacy was a student who went to West Bladen High School located in Bladenboro, North Carolina who was found dead in the center of a mobile home community hanging from the frame of a swing set on 29 August 2014. It is unclear whether he committed suicide or was murdered.\n John Sheridan (72), formerly New Jersey's Transportation Commissioner, was found dead in his Skillman home along with his wife Joyce on the morning of 28 September 2014. The bodies were in an upstairs bedroom where a fire had been set; they were found with multiple stab wounds. An original ruling of murder-suicide was changed to undetermined in 2017 after a court challenge by the couple's sons, motivated by complaints of mishandled evidence and some evidence suggesting the couple had been attacked by an intruder. The sons called for the investigation to be reopened, which the state attorney general did in 2022.\n The Unnao dead bodies row are the discovery on 14 January 2015 of over one hundred dead bodies who were found floating in the River Ganges in Unnao district located in the Indian state of Uttar Pradesh who are unidentified. The cause behind their deaths are unknown.\n Alberto Nisman (51), an Argentine federal prosecutor, was found dead in his apartment of a single gunshot wound to the head on 18 January 2015. He had been investigating the 1994 AMIA bombing, Argentina's deadliest terror attack, and had publicly accused President Cristina Kirchner and other high officials close to her of covering up for suspects in the case for foreign-policy reasons; he was scheduled to present these allegations to Congress the next day. While some of the circumstances of his death are consistent with an early statement that he committed suicide, friends and relatives say that he was eagerly looking ahead to his appearance before Congress and did not seem depressed or despondent at all. Kirchner has suggested the country's intelligence services were behind the killing, since he was about to expose their attempts to bring her down, and called for them to be dismantled. The case remains under investigation.\n Canserbero (26), a Venezuelan hip hop artist and songwriter, was found dead from an apparent fall in front of his apartment complex in Maracay on January 20, 2015. Several hypotheses have been proposed as to what led to his death.\n Kayla Mueller (26), an American human rights activist and humanitarian aid worker who had been taken captive by the Islamic State in August 2013 in Aleppo, Syria, where she was helping Doctors Without Borders, was reported to have died in a Jordanian air strike during the Syrian Civil War in Raqqa on 6 February 2015. Her death was confirmed by the Pentagon, but the circumstances could not be established by the US. The Pentagon agreed the building she supposedly died in according to ISIS was hit in the bombings, but disputed that Mueller or any other civilian had been inside at the time. The site had been bombed by the coalition twice before, and was targeted again because ISIS soldiers sometimes return to bombed sites, thinking the coalition would not bomb those sites again, according to Pentagon spokesman John Kirby. After Abu Bakr al-Baghdadi's death in October 2019, new speculations arose that Al-Baghdadi may have had her executed.\n On 22 April 2015, the body of Ambrose Ball (30), of London, was recovered from the River Lea in Tottenham. He had last been seen leaving his vehicle following a single-car accident early on the morning of 24 January after visiting a local pub with friends. The body was too decomposed to determine a cause of death; police requested an adjournment of the inquest in order to further investigate, implying a murder charge was in the works. No charges were ever filed, and threats were later made against Ball's friends and family after they set up a Facebook page appealing for help from the public and questioning the conduct of the investigation.\n On 8 February 2016, an unidentified bus driver was purportedly killed by a falling meteorite in Tamil Nadu, India. If the object truly was a meteorite, then it would be first human fatality from such a type of death in recorded history.\n On 10 December 2016, human remains were discovered in Charlestown, Rhode Island that were thought to be those of mobster Danny Walsh (43). The remains were found where he once had lived. This was later proved false, and the person to whom they belonged to and identity and death cause are unknown.\n Vladimir Cvijan, Serbian lawyer and politician, former MP (2012–2014) and legal advisor and General Secretary of President of Serbia (2004–2010). High-ranked member of ruling SNS of Aleksandar Vučić, from 2010 to 2014, and later dissident. He disappeared in 2017, allegedly fleeing to the United States, however, in March 2021 Serbian media published a document in which the Public Prosecutor of the Higher Public Prosecutors Office in Belgrade states that the Prosecutor's Office issued an order ordering the payment of costs to the Institute for Forensic Medicine of the Faculty of Medicine, University of Belgrade for the autopsy of Vladimir Cvijan's body on 20 November 2018 in Belgrade, Serbia. The cause, circumstances and exact date of his death are still unknown.\n\n Valery Bolotov (46), was a Ukrainian militant leader known for his involvement in the Donbass War in eastern Ukraine, and as the leader of the unrecognized Luhansk People's Republic. Bolotov was found dead on 27 January 2017 in his own home in Moscow, Russia. The preliminary results of clinical tests showed an acute heart failure as reason for death. Poisoning later was suspected. The causes of his death are currently being investigated and are not currently known.\n Otto Warmbier (22), was an American college student who was arrested and detained in North Korea since January 2016, on charges that he had attempted to steal a propaganda poster. During his imprisonment, he suffered an unspecified injury which caused him to go into a coma, from which he died on 19 June 2017.\n Rogelio Martinez (36), an agent of the United States Border Patrol died on 19 November 2017 in Culberson County, Texas while on duty. His cause of death is thought to be murder, but this remains uncertain owing to a lack of evidence. A four-month investigation was conducted by the FBI into his death cause, but the results were inconclusive.\n Computer hacker Adrian Lamo (37), was found dead 14 March 2018 on a pile of sheets in the guest bedroom of the Wichita, Kansas, home of a couple he had been living with. After three months of investigating, the county coroner was unable to identify a cause of death. While there are some alternative theories suggesting his death had something to do with his controversial involvement in the criminal cases against Chelsea Manning and Julian Assange, the most likely theory is the possible adverse interactions of some of the medicines found near him with kratom, which he often used.\n Hong Kong teenager Chan Yin-lam, who participated in the 2019 Hong Kong protests, was found dead and naked in the harbour off Tseung Kwan O on 22 September 2019. This sparked conspiracy theories in pro-protest circles, notably the online platform LIHKG that Chan had been killed by the police. On 11 September 2020, a coroner's inquest jury ruled that the cause of death could not be determined.\nYolanda Klug (26), German woman who disappeared in Leipzig on 25 September 2019 and whose disappearance has been linked to Scientology. A walker discovered her bones on 25 February 2023 in the \"Rödel\" forest area near Freyburg. The cause of death is unclear.\n Marc Bennett (52), a British citizen working for Qatar Airways, was found hanged in his Doha hotel room on 24 December 2019. Authorities there ruled it suicide, a finding Bennett's friend and family disputed as he had been actively making plans for his future at a new job with a Saudi company. The airline might have been upset by this since Qatar and Saudi Arabia do not have good relations; a couple of months earlier, after he had let them know that he was leaving, dissatisfied, he was arrested and charged with possessing stealing documents from the company. During the month he was held he said he was tortured. The West Sussex Coroner's Office reinvestigated the death and found that foul play \"could not be ruled out\".\n\n2020s\n Ana Lucrecia Taglioretti (24), was a blind female Paraguayan violinist and prodigy who had performed at events for charitable causes. She was found dead on 9 January 2020 in her apartment in Asunción, Paraguay, by her mother during a welfare check. Her cause of death is unknown.\n Facundo Astudillo Castro (22–23), was an Argentine man who disappeared on 30 April 2020 during the COVID-19 pandemic after he was stopped by the police in Mayor Buratovich, Buenos Aires. Castro was found dead on 15 August 2020. Though Castro's death was revealed to be caused by drowning, it could not be determined if it was a result of homicide, suicide, or an accident.\n Esther Dingley (37), was an English hiker and blogger while going on a solo trip through the Pyrenees. Partial remains were found in July 2021, and later confirmed to be Dingley's following a DNA examination. Her cause of death is currently unknown.\n John Snorri Sigurjónsson (48), Juan Pablo Mohr Prieto (37), and Ali Sadpara (45), three high-altitude mountaineers, went missing while climbing the Bottleneck area of Pakistan's K2 mountain on 5 February 2021. The three men's bodies were found on 26 July of that year, but cause of death could not be determined.\n Melissa Caddick (49), was an Australian financial advisor who vanished on 12 November 2020, amid allegations that she was running a Ponzi scheme. Her partial remains were found floating in the ocean in February 2021, but cause of death is yet to be established.\n James Dean (35), English footballer and champion kickboxer who disappeared in the area of Oswaldtwistle on 5 May 2021. His body was found four days later. While authorities have said that the case is not treated as a homicide, no cause of death has been determined. The police announced his death was not being treated as suspicious.\n Kristina Đukić (21), was a Serbian livestreamer and YouTuber who was found dead in Belgrade, Serbia on 8 December 2021 from causes that have yet to be determined.\n Leah Croucher (19), British teenager was reported missing on 15 February 2019 in Milton Keynes, Buckinghamshire, England. She was confirmed deceased on 21 October 2022 following the official identification of her remains. The prime suspect in her death is convicted sex offender Neil Maxwell, who was found dead two months after Croucher's disappearance.\nNicola Bulley (45), disappeared from St Michael's on Wyre, Lancashire, England, while she was walking her dog. Bulley was found dead on 19 February 2023. Her death cause is unknown.\n\nDate of death disputed\n Raoul Wallenberg (34), a Swedish humanitarian who worked in Budapest, Hungary, was most likely executed in the Soviet Union in or around 1947 after being captured by the Red Army in 1945. His death is dated by Soviet authorities as 16 July 1947, but this is disputed, and the case remains unsolved.\n In 1948, a German court ruled that the case of Hans Kammler (43), an engineer and SS commander who oversaw many Nazi construction projects, including concentration camps and, later, the V-2 missile program, died on 9 May 1945 of what was later claimed to be suicide by cyanide poisoning. Some other accounts, however, have him being killed by his own side to prevent his capture during an attack by Czech resistance fighters; others suggest those accounts of his death were put out to cover his surrender to the U.S. Army, in whose custody he supposedly hanged himself two years later.\n\nSee also\n\n Cold case (criminology)\n Forensic science\n List of kidnappings\n List of unsolved murders in the United Kingdom\n Lists of unsolved murders\n Lists of people by cause of death\n Lists of people who disappeared\n Unidentified decedent\n\nReferences\n\nExternal links\n\nUnsolved", "title": "List of unsolved deaths" }, { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
[ "Yes, Roman Candle is the name of an album.", "The album was really well received, which was a shock to Smith.", "The text does not provide information on any other albums by Smith.", "The text does not provide information on the reception of any other albums by Smith.", "In 1994, apart from releasing the album \"Roman Candle\", Smith also gave one of his first solo performances at the now-defunct Umbra Penumbra. He later opened for Mary Lou Lord on a week-long U.S. tour and released a split 7\" single with Pete Krebs.", "The text does not provide information on how Smith's performance at the Umbra Penumbra was received.", "The text does not provide information on whether Smith reunited with his bandmates." ]
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C_85ed6d777e6649398bff13a75f6907e7_1
Blake Lewis
Blake Colin Lewis (born July 21, 1981) is an American singer, songwriter, and beatboxer who was the runner-up on the sixth season of American Idol. His major label debut album A.D.D. (Audio Day Dream) was released on December 4, 2007 through 19 Recordings and Arista Records. On October 30, 2007, his first single "Break Anotha" was released. The album landed on number ten on the U.S. Billboard 200 as its highest peak position with 97,500 copies sold in its debut, and has sold over 350,000 copies.
Early years
Lewis was born in Redmond, Washington to Dallas and Dinah Lewis. Dinah is a former rocker who still sings and plays guitar. He is an only child and is of Welsh, Swiss, German and Irish descent. He attended Kenmore Junior High and later Inglemoor High School in Kenmore, Washington. In high school, Lewis participated in many high school state competitions . He also took part in numerous musicals, as well as comedy and rap videos with his friends. In many of these videos, he portrayed his alter ego, Jimmie Walker Blue, the character he introduced during the semi-final round of American Idol. Lewis started beatboxing at seventeen. He picked up this talent purely by ear, listening to CDs of beatboxing, after he was inspired by Matthew Selby, a former member of the Los Angeles-based a cappella group M-Pact, of which fellow American Idol semi-finalist Rudy Cardenas was a member. Aside from singing and beatboxing, Lewis plays the guitar, keyboard, drums and has written many songs such as "She Loves the Way", "Emotional Waterfalls", "Dumpty Humpty" and "Jealousy". He describes himself as an improv musician and often uses devices such as loop pedals and the Kaoss Pad to layer beatboxing, instruments, vocals and effects to create a song live on stage. Being a member of the a cappella group Kickshaw for four years after graduating from high school in 1999, Lewis worked with the group on a 10-track album titled Put It In the Microphone, but he quit the group in 2002 to become a solo musician going by the stage name Bshorty, which was basically inspired by the nicknames of the members of 311 and "aggressive inline-skate videos during the 1990s", "doing drum and bass shows, and conscious hip hop shows, singer-songwriter stuff, and electronica and hip hop". He made connections with various musicians by performing regularly in many venues in Seattle such as Nectar Lounge in Fremont, SeaMonster Lounge, Lo-Fi Performance Gallery, Jet Deck in Everett (now in Mill Creek) and hosted shows like The Digital Lounge shows at ToST. Before Idol, he was working on a solo album with a number of tracks finished. CANNOTANSWER
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Blake Colin Lewis (born July 21, 1981) is an American musician, singer and actor who was the runner-up on the sixth season of American Idol. His major label debut album A.D.D. (Audio Day Dream) was released on December 4, 2007, through 19 Recordings and Arista Records. On October 30, 2007, his first single "Break Anotha" was released. The album landed on number ten on the U.S. Billboard 200 as its highest peak position with 97,500 copies sold in its debut, and has sold over 350,000 copies. After the release of his second single "How Many Words", which peaked at number eight on the U.S. Billboard Dance/Club Play Songs, Lewis was dropped by Arista Records. Lewis eventually signed with Tommy Boy Records. His second album, Heartbreak on Vinyl, was released on October 6, 2009. The first single "Sad Song" was released on July 21, 2009. The album charted at number 135 on the U.S. Billboard Billboard 200, number twenty on the Billboard Independent Albums, and number seven on the Billboard Dance/Electronic Albums with over 4,000 copies sold in the first week. His third album, Portrait of a Chameleon, was released on May 20, 2014. This was his first independent record and includes the single "Your Touch". His fourth album, Wanderlust Unknown, was released in February 2020. Biography Early years Lewis was born in Redmond, Washington to Dallas and Dinah Lewis. Dinah is a former rocker who still sings and plays guitar. He is an only child and is of Welsh, Swiss, German and Irish descent. He attended Kenmore Junior High and later Inglemoor High School in Kenmore, Washington. In high school, Lewis participated in many high school state competitions . He also took part in numerous musicals, as well as comedy and rap videos with his friends. In many of these videos, he portrayed his alter ego, Jimmie Walker Blue, the character he introduced during the semi-final round of American Idol. Lewis started beatboxing at seventeen. He picked up this talent purely by ear, listening to CDs of beatboxing, after he was inspired by Matthew Selby, a former member of the Los Angeles-based a cappella group M-Pact, of which fellow American Idol semi-finalist Rudy Cárdenas was a member. Aside from singing and beatboxing, Lewis plays the guitar, keyboard, drums and has written many songs such as "She Loves the Way", "Emotional Waterfalls", "Dumpty Humpty" and "Jealousy". He describes himself as an improv musician and often uses devices such as loop pedals and the Kaoss Pad to layer beatboxing, instruments, vocals and effects to create a song live on stage. Being a member of the a cappella group Kickshaw for four years after graduating from high school in 1999, Lewis worked with the group on a 10-track album titled Put It in the Microphone, but he quit the group in 2002 to become a solo musician going by the stage name Bshorty, which was basically inspired by the nicknames of the members of 311 and "aggressive inline-skate videos during the 1990s", "doing drum and bass shows, and conscious hip hop shows, singer-songwriter stuff, and electronica and hip hop". He made connections with various musicians by performing regularly in many venues in Seattle such as Nectar Lounge in Fremont, SeaMonster Lounge, Lo-Fi Performance Gallery, Jet Deck in Everett (now in Mill Creek) and hosted shows like The Digital Lounge shows at ToST. Before Idol, he was working on a solo album with a number of tracks finished. American Idol Overview Though he initially found American Idol unappealing, Lewis auditioned for it in Seattle with "Crazy" by Seal and an off-screen rendition of "Sunday Morning" by Maroon 5. Introducing himself as the local beatboxing champion in the audition, Lewis beatboxed along with his teammates, including Chris Sligh, Rudy Cárdenas and Tom Lowe, to "How Deep Is Your Love" by Bee Gees in the Hollywood's Week. The memorable performance received a standing ovation from the audience and Paula Abdul, who commented "that brought down the house". In an early episode of the United Kingdom edition of American Idol, Lewis recalled his first solo performance in the Hollywood's Week was "Papa Was a Rollin' Stone" by The Temptations. When later he sang it in front of the other finalists, Phil Stacey felt that it was the best performance he has seen from Lewis. Lewis ended up the last male contestant standing, despite Simon's first impression that the singer was a bit "over the top" adding "I don't know if you're as good as you think you are". But soon afterward, the judges began predicting Lewis' "front runner" status. In an exclusive interview with X17Online on March 4, 2007, Simon Cowell foresaw Lewis' chance to take the crown. After Lewis' performance of "Lovesong" by The Cure/311 on March 27, Paula Abdul said that she would love to see him in the finale. Cowell further confirmed that Lewis was the front runner of male contestants on American Idol. Lewis, upon entering the top 2 on May 16, 2007, he thus became the first ever contestant from the Northwestern United States (specifically, Washington) to compete in the finale. Lewis' beatboxing and scat singing skills had been featured occasionally throughout the competition, notably in the performances such as "Virtual Insanity", "All Mixed Up", "Time of the Season", "You Give Love a Bad Name", "You Should Be Dancing", "This Is Where I Came In" and "This Love". He had also rearranged songs including "You Keep Me Hangin' On" and "You Give Love a Bad Name". Although Lewis' first performance in the semi-final weeks, "Somewhere Only We Know", was pure singing and inspired judges to make comments about his contemporary vibe, his signature performance on the show was probably "You Give Love a Bad Name" by Bon Jovi. Lewis incorporated a substantial beatboxing component, making the song sound significantly different from its original version. Jon Bon Jovi, the lead singer of the band who also coached the contestants that week, noted that Lewis' rendition was "rolling the dice". All three judges acknowledged the huge risk of Lewis' arrangement, but also praised him for his originality including beatboxing. Randy Jackson believed that it was the most original performance ever on the show. Cowell even predicted that 50% of the audience "would absolutely hate it" but another half would love it. The groundbreaking performance was later ranked number six in top 20 all-time greatest American Idol performances on AOL.com. Several original versions of songs Lewis performed re-entered Billboard Hot Digital Songs chart shortly after the show. Lewis' first performance on-stage, "Somewhere Only We Know" by Keane, re-entered the chart at number 26 (number 19 on Hot Digital Tracks chart); "Time of the Season", a The Zombies' hit in 1968, reached number 67; Ryan Adams's "When the Stars Go Blue" hit number 39 (number 37 on Hot Digital Tracks chart); Bon Jovi's "You Give Love a Bad Name" shot up to number 29; "This Love" and "She Will Be Loved" by Maroon 5 jumped to number 41 and number 45 respectively. Maroon 5's album Songs About Jane had re-entered the Top Pop Catalog Albums chart at number five on June 2, 2007, as well. On May 11, 2007, Lewis visited his hometown, Seattle, Washington for the traditional Idol Top 3 hometown visits. He made numerous appearances at radio stations and then played a concert in Seattle at Westlake Center, including a performance of "Baby Got Back" with Sir Mix-a-Lot. He also visited the top of the Space Needle. Fans followed him to Bothell for a parade and concert at the Sammamish River Park. Afterwards, he proceeded to Safeco Field to sing the national anthem, "The Star-Spangled Banner", for the Seattle Mariners's Game. Lewis claimed 311 as his all-time favorite band after his performance of "All Mixed Up". Responding to a viewer question on March 13, 2007, he had also confessed his love of "underground hip hop, electronic music" such as Common Market and Panda Conspiracy, with an addition of The Mob Law, which in Lewis' opinion, "should be signed to a major label". While being the last two contestants waiting for the results on May 2, Lewis and Chris Richardson answered Ryan Seacrest's question about their close relationship, saying that they are best friends. Lewis has "Chris Sligh, Rudy Cárdenas", contestants from the sixth season of American Idol, listed as his own "American idols" on his profile on American Idol official website, while Sligh and Cárdenas also have Lewis on their lists. Furthermore, Lewis claimed in an interview with The Blaker Girls that besides Richardson, Cárdenas and Sligh, his best friends on the show were Brandon Rogers, Jordin Sparks and Gina Glocksen. In the episode of The View on June 14, 2007, Lewis said that there were "a lot of writers on the show", including Richardson, Sligh and himself. Jimmie Walker Blue, his alter ego was introduced in the middle of the Idol. Performances and results Lewis was saved first from elimination. Due to the Idol Gives Back performance, the Top 6 remained intact for another week. Post-Idol Lewis's songs from American Idol have been on sale at the iTunes Store and the American Idol official website as Blake Lewis - EP (called a "bundle" on Idol official website) shortly after the finale of Idol, along with other songs that did not make the EP's cut that are being sold as individual singles. Figures from SoundScan which were posted on USA Today indicated that Lewis' "You Give Love a Bad Name" was "the biggest-selling download of the season", with 192,000 copies sold. After the finale of Idol, Blake Lewis has made several appearances on television shows. He performed Maroon 5's "She Will Be Loved" on The Morning Show with Mike and Juliet (combined with a snippet of U2's "With or Without You"), The Today Show, Live with Regis and Kelly and The Early Show. In the episode of The View on June 14, 2007, he sang "Somewhere Only We Know" by Keane. Lewis had also appeared on Total Request Live, The Morning Show with Mike and Juliet with the winner of Idol, Jordin Sparks and Larry King Live with contestants who made into the top ten of American Idol. On July 4, 2007, Lewis performed "God Bless America" and "America the Beautiful" on Macy's Fourth of July Fireworks Spectacular with Sparks and Melinda Doolittle. Lewis took part in the "American Idols LIVE! Tour 2007" from July 6 – September 23, 2007, along with other contestants in the top ten. He revealed on The View on June 14, 2007, that all the male contestants on the show would be playing musical instruments on the tour (for the first time ever), "doing like a folk band," and that he would bring along his loop pedals for his beatboxing. Before several shows, Lewis improvised, got dressed up as a janitor character named Bob Bobberson and sometimes as a Pop-Tart. He performed "She Loves the Way" on the last show, becoming the first Idol who sang their pre-Idol original materials on the tour. He and Chris Richardson have "started working on a little documentary" on the tour and it will be published at their MySpace profiles. Lewis was named number five in the list of the ten sexiest Idol contestants ever on the website during the running of the sixth season of American Idol and was ranked number 21 in the list of music's 21 sexiest single men on June 11, 2007, on AOL.com. Later in the issue of People magazine on June 15, 2007, the brand-new runner-up of Idol appeared on its list of "Hottest Bachelors of 2007". He has also made a cut on the list of 50 hottest guys on Elle Girl. Career 2007–2008: A.D.D. (Audio Day Dream) On March 6, 2008, he performed "How Many Words", from his album A.D.D. (Audio Day Dream), on the American Idol result show. On the release of his second single, Blake Lewis spent much of his time promoting the single "How Many Words" at various radio stations. While Blake Lewis parted with his label, Arista Records, in June 2008, he will begin his national tour starting on the East Coast at the end of September with the help of 19 Recordings and will be playing songs from A.D.D. as well as new songs. Details about the tour can be found at Blake Lewis's Myspace page or the website of his official street team, the Blake Lewis Army. Upon his record deal with Arista Records/19 Recordings which was announced officially on August 24, 2007, A.D.D. (Audio Day Dream), Lewis' "electro-funk-soul-pop" first studio album, was released on December 4, 2007. In fact, the singer has been recording his album in the studio "for all night long" since June 18. "Break Anotha", the first single from A.D.D., was released to radio on October 30, 2007, and on iTunes Store on November 13. Blake's second single, "How Many Words" was released on March 10, 2008. A.D.D. has been made available at iTunes and includes his music video for his first single "Break Anotha". On June 25, 2008 Entertainment Weekly officially announced that Lewis was dropped by his label, Arista, but will remain on Idol creator Simon Fuller's 19 Recordings roster. Lewis has said he's already written four songs for his second album, which he's working on with his band's drummer, KJ "Quantize" Sawka. The pair will be co-producing the effort, which Lewis describes as "Massive Attack meets Zero 7 – drum-and-bass with a little pop influence." Lewis said he may release the disc through his own label, which he's in the process of getting off the ground. "I'm super-passionate about this record," he said. "Who knows what's in store? Half the year's over, and it's only going to keep going." According to MTV News, the album is expected to have the electronica genre like the first album, and "he is experimenting with his own music" by implementing blue-eyed soul, pop music, rock, jazz, emo, indie and some metal genre. It was also reported on KIIS-FM that Lewis will collaborate with Chris Richardson, KJ Sawka and Ryan "Alias" Tedder. As of August 2008, the artist has added one song to his sophomore LP, which may be out on the last quarter of 2008 or first quarter of 2009. Lewis told the interviewers that he is very excited to premiere his new songs, and he has learned some lessons from his "A.D.D." era. On an interview, he said, "Where to start… Orchestral Drive-By: KJ and I are about 5 songs deep now. Can't wait for you all to hear this. I haven't been this excited in a while. I haven't been able to produce in a year and half, besides a couple songs on 'A.D.D.' and from what I have learned in the last year, it sure has paid off. STOKED!!!" It was reported that Lewis has collaborated with his friends on the band, Project Lionheart at a track called "My Eyes" and "Hell Yeah". Aside from that, he also collaborated with Common Market's "Trouble Is", where he contributed backing vocals. Blake says who is currently producing his record with his drummer, KJ Sawka. Blake also recorded a track at 311 frontman Nick Hexum's house for the next album. Blake finished a charity song called "Selfless" with Darude for Dance4Life. In September, Blake was featured on a song for BT's album, which he says is a "throwback to Flock of Seagulls.". Blake has also been in Darude's song "I Ran" which hit the charts and is on local radio stations constantly. 2009–2012: Heartbreak on Vinyl On April 30, 2009, Lewis performed at the 2009 Congressional Clubs' First Lady's Luncheon to Honor Michelle Obama. He performed three songs including a beatbox version of "America the Beautiful". His second album, Heartbreak on Vinyl, was distributed under Tommy Boy Records – a dance/hip hop/electronic label whose catalog includes albums by Africa Bambaataa, Biz Markie and De La Soul. He signed a deal on Tommy Boy Entertainment to record an electronica album. The first single from the album, "Sad Song", was released on July 21, 2009. The album was released on October 6, 2009. 2013–2015: Portrait of a Chameleon On February 25, 2013, it was announced that Lewis has signed with Republic Records. He was going to release his third studio album Portrait of a Chameleon in spring 2013 and the first single "Your Touch" premiered on February 26, 2013, on a commercial for Internet Explorer 10. The song was released to iTunes on March 4, 2013. On February 17, 2014, Blake Lewis officially announced that his new album would be released May 20, 2014, on his own record label, Audio Day Dream Records. 2016–present: Strings, Spit, & Serenades, Our Fragile Heart: Remixes & Rarities and Wanderlust Unknown In 2017, Lewis released Strings, Spit, & Serenades, a live album that included live versions of music from previous albums and a live version of "7 Nation Army Dreams" featuring Chris Poage. In 2018, Lewis released a remix album featuring unreleased tracks and new remixes of former releases. The album includes mixes from KJ Sawka and Alex Greggs. Lewis released his fourth studio album, Wanderlust Unknown, on January 24, 2020, featuring lead singles "Pot of Gold" and "Trouble". The album featured collaborations with fellow American Idol alum Elliott Yamin and new recording artist Olivia Kuper Harris. Blake also served as co-writer and producer for Olivia Kuper Harris' Juicy, and for Olivia Ryan's "New Warriors." Voice acting Lewis made his voice acting debut in the English dub of the anime series Durarara!!, in which he voiced Kasuka Heiwajima; however, he was replaced by Vic Mignogna in the show's second season. Lewis had also voiced a character named Thump on one episode of Generator Rex. Philanthropy Lewis has been supporting cancer research at Children's Hospital and Regional Medical Center in Seattle by donating 50% of the proceeds from the merchandise of The Blaker Girls. He chose to put his support behind this organization after a best friend of his as well as his friend's girlfriend were diagnosed with lymphoma. In 2010 Lewis competed on Don't Forget the Lyrics to raise money for the Seattle Children's Hospital, a charity that he has worked with for over ten years. Discography Albums Extended plays Notes: 1 Since Blake Lewis was available exclusively through the iTunes Store, it was not eligible to chart on the Billboard 200. Singles As featured artist Postmodern Jukebox Notes: 1 While Jordin Sparks, the winner of the sixth season of American Idol, had "This Is My Now" as her official single, Lewis did not announce his choice of single officially, despite the fact that "You Give Love a Bad Name" was the highest-charting track among his "bundle" of songs available for downloading. "You Give Love a Bad Name" entered a number of charts. ² Unlike the debut songs of previous winners and runners-up of American Idol, all five songs that appeared on Blake Lewis (EP) were released digitally only, not physically. ³ While not being announced as a single, "Time of the Season", the song Lewis performed in the British Invasion week on American Idol, has debuted on the Billboard Hot 100 chart at number 99, the Pop 100 chart at number 74 and the Hot Digital Songs chart at number 70 in the issue of the charts on June 9, 2007. Several tracks by Lewis have made appearances that week on the Billboard Bubbling Under Hot 100 Singles chart and the Pop 100 chart as well, including "This Love" (number 2; number 80), "When the Stars Go Blue" (number 10; number 92) and "I Need to Know" (number nineteen on the Bubbling Under Hot 100 Singles chart). Unreleased original works "Closer to Reason" "Emotional Waterfalls" "Give It to Me" (duet with Laura Blue) "My MySpace" (featuring The Sampler) "She Loves the Way" (produced by BT) – he performed the song on American Idols LIVE! Tour 2007 "Drivin' Me Crazy" Guest vocals 2003: Unexpected Arrival, "Julie" (featuring Blake Lewis); "Take Control" (featuring Blake Lewis) Both chorus's written by Blake 2007: Caleb Cunningham and K-Tone, "My Eyes" (featuring Blake Lewis) 2007: KJ Sawka, "Brotherhood of the Drum" (featuring Blake Lewis); "Move On" (featuring Blake Lewis); "WTO" (featuring Blake Lewis) (from the album Cyclonic Steel) 2008: Darude, "Selfless" (featuring Blake Lewis); "I Ran (So Far Away) (featuring Blake Lewis) 2009: DJ Dan, "Operator" (featuring Blake Lewis) Cameos 2006: The Sampler, "The Chuck Norris Rap, The Harry Potter Rap, Snakes on a Plane Rap" (music video) 2007: Jordin Sparks, "Tattoo" (music video) 2018: Blair St. Clair, "Irresistible" (music video) References External links Blake Lewis on Sony BMG Musicbox Network Blake Lewis on AOL.com Category:1981 births Category:Living people Category:American beatboxers Category:American Idol participants Category:American male drummers Category:American male guitarists Category:American male singer-songwriters Category:American male pianists Category:American people of German descent Category:American people of Irish descent Category:American people of Welsh descent Category:American soul singers Category:American tenors Category:Guitarists from Washington (state) Category:People from Bothell, Washington Category:People from Redmond, Washington Category:Singer-songwriters from Washington (state) Category:19 Recordings artists Category:21st-century American drummers Category:21st-century American guitarists Category:21st-century American pianists Category:21st-century American singers Category:21st-century American male singers
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C_85ed6d777e6649398bff13a75f6907e7_0
Blake Lewis
Blake Colin Lewis (born July 21, 1981) is an American singer, songwriter, and beatboxer who was the runner-up on the sixth season of American Idol. His major label debut album A.D.D. (Audio Day Dream) was released on December 4, 2007 through 19 Recordings and Arista Records. On October 30, 2007, his first single "Break Anotha" was released. The album landed on number ten on the U.S. Billboard 200 as its highest peak position with 97,500 copies sold in its debut, and has sold over 350,000 copies.
Post-Idol
Lewis's songs from American Idol have been on sale at the iTunes Store and the American Idol official website as Blake Lewis - EP (called a "bundle" on Idol official website) shortly after the finale of Idol, along with other songs that did not make the EP's cut that are being sold as individual singles. Figures from SoundScan which were posted on USA Today indicated that Lewis' "You Give Love a Bad Name" was "the biggest-selling download of the season", with 192,000 copies sold. After the finale of Idol, Blake Lewis has made several appearances on television shows. He performed Maroon 5's "She Will Be Loved" on The Morning Show with Mike and Juliet (combined with a snippet of U2's "With or Without You"), The Today Show, Live with Regis and Kelly and The Early Show. In the episode of The View on June 14, 2007, he sang "Somewhere Only We Know" by Keane. Lewis had also appeared on Total Request Live, The Morning Show with Mike and Juliet with the winner of Idol, Jordin Sparks and Larry King Live with contestants who made into the top ten of American Idol. On July 4, 2007, Lewis performed "God Bless America" and "America the Beautiful" on Macy's Fourth of July Fireworks Spectacular with Sparks and Melinda Doolittle. Lewis took part in the "American Idols Live! Tour 2007" from July 6 - September 23, 2007, along with other contestants in the top ten. He revealed on The View on June 14, 2007 that all the male contestants on the show would be playing musical instruments on the tour (for the first time ever), "doing like a folk band," and that he would bring along his loop pedals for his beatboxing. Before several shows, Lewis improvised, got dressed up as a janitor character named Bob Bobberson and sometimes as a Pop-Tart. He performed "She Loves the Way" on the last show, becoming the first Idol who sang their pre-Idol original materials on the tour. He and Chris Richardson have "started working on a little documentary" on the tour and it will be published at their MySpace profiles. Lewis was named number five in the list of the ten sexiest Idol contestants ever on the website during the running of the sixth season of American Idol and was ranked number 21 in the list of music's 21 sexiest single men on June 11, 2007 on AOL.com. Later in the issue of People magazine on June 15, 2007, the brand-new runner-up of Idol appeared on its list of "Hottest Bachelors of 2007". He has also made a cut on the list of 50 hottest guys on Elle Girl. CANNOTANSWER
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Blake Colin Lewis (born July 21, 1981) is an American musician, singer and actor who was the runner-up on the sixth season of American Idol. His major label debut album A.D.D. (Audio Day Dream) was released on December 4, 2007, through 19 Recordings and Arista Records. On October 30, 2007, his first single "Break Anotha" was released. The album landed on number ten on the U.S. Billboard 200 as its highest peak position with 97,500 copies sold in its debut, and has sold over 350,000 copies. After the release of his second single "How Many Words", which peaked at number eight on the U.S. Billboard Dance/Club Play Songs, Lewis was dropped by Arista Records. Lewis eventually signed with Tommy Boy Records. His second album, Heartbreak on Vinyl, was released on October 6, 2009. The first single "Sad Song" was released on July 21, 2009. The album charted at number 135 on the U.S. Billboard Billboard 200, number twenty on the Billboard Independent Albums, and number seven on the Billboard Dance/Electronic Albums with over 4,000 copies sold in the first week. His third album, Portrait of a Chameleon, was released on May 20, 2014. This was his first independent record and includes the single "Your Touch". His fourth album, Wanderlust Unknown, was released in February 2020. Biography Early years Lewis was born in Redmond, Washington to Dallas and Dinah Lewis. Dinah is a former rocker who still sings and plays guitar. He is an only child and is of Welsh, Swiss, German and Irish descent. He attended Kenmore Junior High and later Inglemoor High School in Kenmore, Washington. In high school, Lewis participated in many high school state competitions . He also took part in numerous musicals, as well as comedy and rap videos with his friends. In many of these videos, he portrayed his alter ego, Jimmie Walker Blue, the character he introduced during the semi-final round of American Idol. Lewis started beatboxing at seventeen. He picked up this talent purely by ear, listening to CDs of beatboxing, after he was inspired by Matthew Selby, a former member of the Los Angeles-based a cappella group M-Pact, of which fellow American Idol semi-finalist Rudy Cárdenas was a member. Aside from singing and beatboxing, Lewis plays the guitar, keyboard, drums and has written many songs such as "She Loves the Way", "Emotional Waterfalls", "Dumpty Humpty" and "Jealousy". He describes himself as an improv musician and often uses devices such as loop pedals and the Kaoss Pad to layer beatboxing, instruments, vocals and effects to create a song live on stage. Being a member of the a cappella group Kickshaw for four years after graduating from high school in 1999, Lewis worked with the group on a 10-track album titled Put It in the Microphone, but he quit the group in 2002 to become a solo musician going by the stage name Bshorty, which was basically inspired by the nicknames of the members of 311 and "aggressive inline-skate videos during the 1990s", "doing drum and bass shows, and conscious hip hop shows, singer-songwriter stuff, and electronica and hip hop". He made connections with various musicians by performing regularly in many venues in Seattle such as Nectar Lounge in Fremont, SeaMonster Lounge, Lo-Fi Performance Gallery, Jet Deck in Everett (now in Mill Creek) and hosted shows like The Digital Lounge shows at ToST. Before Idol, he was working on a solo album with a number of tracks finished. American Idol Overview Though he initially found American Idol unappealing, Lewis auditioned for it in Seattle with "Crazy" by Seal and an off-screen rendition of "Sunday Morning" by Maroon 5. Introducing himself as the local beatboxing champion in the audition, Lewis beatboxed along with his teammates, including Chris Sligh, Rudy Cárdenas and Tom Lowe, to "How Deep Is Your Love" by Bee Gees in the Hollywood's Week. The memorable performance received a standing ovation from the audience and Paula Abdul, who commented "that brought down the house". In an early episode of the United Kingdom edition of American Idol, Lewis recalled his first solo performance in the Hollywood's Week was "Papa Was a Rollin' Stone" by The Temptations. When later he sang it in front of the other finalists, Phil Stacey felt that it was the best performance he has seen from Lewis. Lewis ended up the last male contestant standing, despite Simon's first impression that the singer was a bit "over the top" adding "I don't know if you're as good as you think you are". But soon afterward, the judges began predicting Lewis' "front runner" status. In an exclusive interview with X17Online on March 4, 2007, Simon Cowell foresaw Lewis' chance to take the crown. After Lewis' performance of "Lovesong" by The Cure/311 on March 27, Paula Abdul said that she would love to see him in the finale. Cowell further confirmed that Lewis was the front runner of male contestants on American Idol. Lewis, upon entering the top 2 on May 16, 2007, he thus became the first ever contestant from the Northwestern United States (specifically, Washington) to compete in the finale. Lewis' beatboxing and scat singing skills had been featured occasionally throughout the competition, notably in the performances such as "Virtual Insanity", "All Mixed Up", "Time of the Season", "You Give Love a Bad Name", "You Should Be Dancing", "This Is Where I Came In" and "This Love". He had also rearranged songs including "You Keep Me Hangin' On" and "You Give Love a Bad Name". Although Lewis' first performance in the semi-final weeks, "Somewhere Only We Know", was pure singing and inspired judges to make comments about his contemporary vibe, his signature performance on the show was probably "You Give Love a Bad Name" by Bon Jovi. Lewis incorporated a substantial beatboxing component, making the song sound significantly different from its original version. Jon Bon Jovi, the lead singer of the band who also coached the contestants that week, noted that Lewis' rendition was "rolling the dice". All three judges acknowledged the huge risk of Lewis' arrangement, but also praised him for his originality including beatboxing. Randy Jackson believed that it was the most original performance ever on the show. Cowell even predicted that 50% of the audience "would absolutely hate it" but another half would love it. The groundbreaking performance was later ranked number six in top 20 all-time greatest American Idol performances on AOL.com. Several original versions of songs Lewis performed re-entered Billboard Hot Digital Songs chart shortly after the show. Lewis' first performance on-stage, "Somewhere Only We Know" by Keane, re-entered the chart at number 26 (number 19 on Hot Digital Tracks chart); "Time of the Season", a The Zombies' hit in 1968, reached number 67; Ryan Adams's "When the Stars Go Blue" hit number 39 (number 37 on Hot Digital Tracks chart); Bon Jovi's "You Give Love a Bad Name" shot up to number 29; "This Love" and "She Will Be Loved" by Maroon 5 jumped to number 41 and number 45 respectively. Maroon 5's album Songs About Jane had re-entered the Top Pop Catalog Albums chart at number five on June 2, 2007, as well. On May 11, 2007, Lewis visited his hometown, Seattle, Washington for the traditional Idol Top 3 hometown visits. He made numerous appearances at radio stations and then played a concert in Seattle at Westlake Center, including a performance of "Baby Got Back" with Sir Mix-a-Lot. He also visited the top of the Space Needle. Fans followed him to Bothell for a parade and concert at the Sammamish River Park. Afterwards, he proceeded to Safeco Field to sing the national anthem, "The Star-Spangled Banner", for the Seattle Mariners's Game. Lewis claimed 311 as his all-time favorite band after his performance of "All Mixed Up". Responding to a viewer question on March 13, 2007, he had also confessed his love of "underground hip hop, electronic music" such as Common Market and Panda Conspiracy, with an addition of The Mob Law, which in Lewis' opinion, "should be signed to a major label". While being the last two contestants waiting for the results on May 2, Lewis and Chris Richardson answered Ryan Seacrest's question about their close relationship, saying that they are best friends. Lewis has "Chris Sligh, Rudy Cárdenas", contestants from the sixth season of American Idol, listed as his own "American idols" on his profile on American Idol official website, while Sligh and Cárdenas also have Lewis on their lists. Furthermore, Lewis claimed in an interview with The Blaker Girls that besides Richardson, Cárdenas and Sligh, his best friends on the show were Brandon Rogers, Jordin Sparks and Gina Glocksen. In the episode of The View on June 14, 2007, Lewis said that there were "a lot of writers on the show", including Richardson, Sligh and himself. Jimmie Walker Blue, his alter ego was introduced in the middle of the Idol. Performances and results Lewis was saved first from elimination. Due to the Idol Gives Back performance, the Top 6 remained intact for another week. Post-Idol Lewis's songs from American Idol have been on sale at the iTunes Store and the American Idol official website as Blake Lewis - EP (called a "bundle" on Idol official website) shortly after the finale of Idol, along with other songs that did not make the EP's cut that are being sold as individual singles. Figures from SoundScan which were posted on USA Today indicated that Lewis' "You Give Love a Bad Name" was "the biggest-selling download of the season", with 192,000 copies sold. After the finale of Idol, Blake Lewis has made several appearances on television shows. He performed Maroon 5's "She Will Be Loved" on The Morning Show with Mike and Juliet (combined with a snippet of U2's "With or Without You"), The Today Show, Live with Regis and Kelly and The Early Show. In the episode of The View on June 14, 2007, he sang "Somewhere Only We Know" by Keane. Lewis had also appeared on Total Request Live, The Morning Show with Mike and Juliet with the winner of Idol, Jordin Sparks and Larry King Live with contestants who made into the top ten of American Idol. On July 4, 2007, Lewis performed "God Bless America" and "America the Beautiful" on Macy's Fourth of July Fireworks Spectacular with Sparks and Melinda Doolittle. Lewis took part in the "American Idols LIVE! Tour 2007" from July 6 – September 23, 2007, along with other contestants in the top ten. He revealed on The View on June 14, 2007, that all the male contestants on the show would be playing musical instruments on the tour (for the first time ever), "doing like a folk band," and that he would bring along his loop pedals for his beatboxing. Before several shows, Lewis improvised, got dressed up as a janitor character named Bob Bobberson and sometimes as a Pop-Tart. He performed "She Loves the Way" on the last show, becoming the first Idol who sang their pre-Idol original materials on the tour. He and Chris Richardson have "started working on a little documentary" on the tour and it will be published at their MySpace profiles. Lewis was named number five in the list of the ten sexiest Idol contestants ever on the website during the running of the sixth season of American Idol and was ranked number 21 in the list of music's 21 sexiest single men on June 11, 2007, on AOL.com. Later in the issue of People magazine on June 15, 2007, the brand-new runner-up of Idol appeared on its list of "Hottest Bachelors of 2007". He has also made a cut on the list of 50 hottest guys on Elle Girl. Career 2007–2008: A.D.D. (Audio Day Dream) On March 6, 2008, he performed "How Many Words", from his album A.D.D. (Audio Day Dream), on the American Idol result show. On the release of his second single, Blake Lewis spent much of his time promoting the single "How Many Words" at various radio stations. While Blake Lewis parted with his label, Arista Records, in June 2008, he will begin his national tour starting on the East Coast at the end of September with the help of 19 Recordings and will be playing songs from A.D.D. as well as new songs. Details about the tour can be found at Blake Lewis's Myspace page or the website of his official street team, the Blake Lewis Army. Upon his record deal with Arista Records/19 Recordings which was announced officially on August 24, 2007, A.D.D. (Audio Day Dream), Lewis' "electro-funk-soul-pop" first studio album, was released on December 4, 2007. In fact, the singer has been recording his album in the studio "for all night long" since June 18. "Break Anotha", the first single from A.D.D., was released to radio on October 30, 2007, and on iTunes Store on November 13. Blake's second single, "How Many Words" was released on March 10, 2008. A.D.D. has been made available at iTunes and includes his music video for his first single "Break Anotha". On June 25, 2008 Entertainment Weekly officially announced that Lewis was dropped by his label, Arista, but will remain on Idol creator Simon Fuller's 19 Recordings roster. Lewis has said he's already written four songs for his second album, which he's working on with his band's drummer, KJ "Quantize" Sawka. The pair will be co-producing the effort, which Lewis describes as "Massive Attack meets Zero 7 – drum-and-bass with a little pop influence." Lewis said he may release the disc through his own label, which he's in the process of getting off the ground. "I'm super-passionate about this record," he said. "Who knows what's in store? Half the year's over, and it's only going to keep going." According to MTV News, the album is expected to have the electronica genre like the first album, and "he is experimenting with his own music" by implementing blue-eyed soul, pop music, rock, jazz, emo, indie and some metal genre. It was also reported on KIIS-FM that Lewis will collaborate with Chris Richardson, KJ Sawka and Ryan "Alias" Tedder. As of August 2008, the artist has added one song to his sophomore LP, which may be out on the last quarter of 2008 or first quarter of 2009. Lewis told the interviewers that he is very excited to premiere his new songs, and he has learned some lessons from his "A.D.D." era. On an interview, he said, "Where to start… Orchestral Drive-By: KJ and I are about 5 songs deep now. Can't wait for you all to hear this. I haven't been this excited in a while. I haven't been able to produce in a year and half, besides a couple songs on 'A.D.D.' and from what I have learned in the last year, it sure has paid off. STOKED!!!" It was reported that Lewis has collaborated with his friends on the band, Project Lionheart at a track called "My Eyes" and "Hell Yeah". Aside from that, he also collaborated with Common Market's "Trouble Is", where he contributed backing vocals. Blake says who is currently producing his record with his drummer, KJ Sawka. Blake also recorded a track at 311 frontman Nick Hexum's house for the next album. Blake finished a charity song called "Selfless" with Darude for Dance4Life. In September, Blake was featured on a song for BT's album, which he says is a "throwback to Flock of Seagulls.". Blake has also been in Darude's song "I Ran" which hit the charts and is on local radio stations constantly. 2009–2012: Heartbreak on Vinyl On April 30, 2009, Lewis performed at the 2009 Congressional Clubs' First Lady's Luncheon to Honor Michelle Obama. He performed three songs including a beatbox version of "America the Beautiful". His second album, Heartbreak on Vinyl, was distributed under Tommy Boy Records – a dance/hip hop/electronic label whose catalog includes albums by Africa Bambaataa, Biz Markie and De La Soul. He signed a deal on Tommy Boy Entertainment to record an electronica album. The first single from the album, "Sad Song", was released on July 21, 2009. The album was released on October 6, 2009. 2013–2015: Portrait of a Chameleon On February 25, 2013, it was announced that Lewis has signed with Republic Records. He was going to release his third studio album Portrait of a Chameleon in spring 2013 and the first single "Your Touch" premiered on February 26, 2013, on a commercial for Internet Explorer 10. The song was released to iTunes on March 4, 2013. On February 17, 2014, Blake Lewis officially announced that his new album would be released May 20, 2014, on his own record label, Audio Day Dream Records. 2016–present: Strings, Spit, & Serenades, Our Fragile Heart: Remixes & Rarities and Wanderlust Unknown In 2017, Lewis released Strings, Spit, & Serenades, a live album that included live versions of music from previous albums and a live version of "7 Nation Army Dreams" featuring Chris Poage. In 2018, Lewis released a remix album featuring unreleased tracks and new remixes of former releases. The album includes mixes from KJ Sawka and Alex Greggs. Lewis released his fourth studio album, Wanderlust Unknown, on January 24, 2020, featuring lead singles "Pot of Gold" and "Trouble". The album featured collaborations with fellow American Idol alum Elliott Yamin and new recording artist Olivia Kuper Harris. Blake also served as co-writer and producer for Olivia Kuper Harris' Juicy, and for Olivia Ryan's "New Warriors." Voice acting Lewis made his voice acting debut in the English dub of the anime series Durarara!!, in which he voiced Kasuka Heiwajima; however, he was replaced by Vic Mignogna in the show's second season. Lewis had also voiced a character named Thump on one episode of Generator Rex. Philanthropy Lewis has been supporting cancer research at Children's Hospital and Regional Medical Center in Seattle by donating 50% of the proceeds from the merchandise of The Blaker Girls. He chose to put his support behind this organization after a best friend of his as well as his friend's girlfriend were diagnosed with lymphoma. In 2010 Lewis competed on Don't Forget the Lyrics to raise money for the Seattle Children's Hospital, a charity that he has worked with for over ten years. Discography Albums Extended plays Notes: 1 Since Blake Lewis was available exclusively through the iTunes Store, it was not eligible to chart on the Billboard 200. Singles As featured artist Postmodern Jukebox Notes: 1 While Jordin Sparks, the winner of the sixth season of American Idol, had "This Is My Now" as her official single, Lewis did not announce his choice of single officially, despite the fact that "You Give Love a Bad Name" was the highest-charting track among his "bundle" of songs available for downloading. "You Give Love a Bad Name" entered a number of charts. ² Unlike the debut songs of previous winners and runners-up of American Idol, all five songs that appeared on Blake Lewis (EP) were released digitally only, not physically. ³ While not being announced as a single, "Time of the Season", the song Lewis performed in the British Invasion week on American Idol, has debuted on the Billboard Hot 100 chart at number 99, the Pop 100 chart at number 74 and the Hot Digital Songs chart at number 70 in the issue of the charts on June 9, 2007. Several tracks by Lewis have made appearances that week on the Billboard Bubbling Under Hot 100 Singles chart and the Pop 100 chart as well, including "This Love" (number 2; number 80), "When the Stars Go Blue" (number 10; number 92) and "I Need to Know" (number nineteen on the Bubbling Under Hot 100 Singles chart). Unreleased original works "Closer to Reason" "Emotional Waterfalls" "Give It to Me" (duet with Laura Blue) "My MySpace" (featuring The Sampler) "She Loves the Way" (produced by BT) – he performed the song on American Idols LIVE! Tour 2007 "Drivin' Me Crazy" Guest vocals 2003: Unexpected Arrival, "Julie" (featuring Blake Lewis); "Take Control" (featuring Blake Lewis) Both chorus's written by Blake 2007: Caleb Cunningham and K-Tone, "My Eyes" (featuring Blake Lewis) 2007: KJ Sawka, "Brotherhood of the Drum" (featuring Blake Lewis); "Move On" (featuring Blake Lewis); "WTO" (featuring Blake Lewis) (from the album Cyclonic Steel) 2008: Darude, "Selfless" (featuring Blake Lewis); "I Ran (So Far Away) (featuring Blake Lewis) 2009: DJ Dan, "Operator" (featuring Blake Lewis) Cameos 2006: The Sampler, "The Chuck Norris Rap, The Harry Potter Rap, Snakes on a Plane Rap" (music video) 2007: Jordin Sparks, "Tattoo" (music video) 2018: Blair St. Clair, "Irresistible" (music video) References External links Blake Lewis on Sony BMG Musicbox Network Blake Lewis on AOL.com Category:1981 births Category:Living people Category:American beatboxers Category:American Idol participants Category:American male drummers Category:American male guitarists Category:American male singer-songwriters Category:American male pianists Category:American people of German descent Category:American people of Irish descent Category:American people of Welsh descent Category:American soul singers Category:American tenors Category:Guitarists from Washington (state) Category:People from Bothell, Washington Category:People from Redmond, Washington Category:Singer-songwriters from Washington (state) Category:19 Recordings artists Category:21st-century American drummers Category:21st-century American guitarists Category:21st-century American pianists Category:21st-century American singers Category:21st-century American male singers
[]
[ "After leaving American Idol, Blake Lewis' songs were put on sale at the iTunes Store and the American Idol official website. Some of his popular downloads included his rendition of \"You Give Love a Bad Name\", which was named \"the biggest-selling download of the season\". He made several appearances on television shows, such as The Morning Show with Mike and Juliet, The Today Show, Live with Regis and Kelly and The Early Show. He also performed on Macy's Fourth of July Fireworks Spectacular. Additionally, he joined the \"American Idols Live! Tour 2007\". Lewis received recognition as one of the sexiest Idol contestants and was featured in lists by AOL.com, People magazine and Elle Girl.", "Blake Lewis appeared on several television shows after American Idol. These included The Morning Show with Mike and Juliet, The Today Show, Live with Regis and Kelly, The Early Show, The View, Total Request Live, and Larry King Live. He also performed on Macy's Fourth of July Fireworks Spectacular.", "The context does not provide information on any other shows that Blake Lewis appeared on.", "Yes, after American Idol, Blake Lewis's songs were put up for sale on the iTunes Store and the American Idol official website as a part of the EP. Some of his popular songs included his version of \"You Give Love a Bad Name\", which was the biggest-selling download of the season. He also performed Maroon 5's \"She Will Be Loved\" and \"Somewhere Only We Know\" by Keane on television shows. He performed \"God Bless America\" and \"America the Beautiful\" on Macy's Fourth of July Fireworks Spectacular. During the \"American Idols Live! Tour 2007\", he performed his pre-Idol original material \"She Loves the Way\".", "The context provided mentions that Lewis's songs were on sale at the iTunes Store and the American Idol official website, including songs that did not make the cut for his EP, which were being sold as individual singles. One of those singles, \"You Give Love a Bad Name,\" was cited as \"the biggest-selling download of the season,\" with 192,000 copies sold. However, it doesn't specify what other songs were released as singles.", "The text does not provide a specific release date for Blake Lewis's songs on the iTunes Store and the American Idol official website. It is only mentioned that they became available for purchase shortly after the finale of American Idol. However, the exact date is not provided.", "Yes, there are several interesting aspects. Blake Lewis was the first Idol to sing their pre-Idol original material on the American Idols Live! Tour where he performed \"She Loves the Way\". He also dressed up as a character named Bob Bobberson and sometimes as a Pop-Tart before several shows on the tour. Additionally, Lewis and Chris Richardson started working on a documentary about the tour to be published on their MySpace profiles. Lastly, he was recognized as one of the sexiest contestants on American Idol and was featured on several lists for being one of the sexiest single men.", "The context does not provide information on whether Blake Lewis toured at any other time apart from the \"American Idols Live! Tour 2007\".", "The context mentions that Blake Lewis performed several notable songs. These include his rendition of \"You Give Love a Bad Name\", which was the biggest-selling download of the season, as well as Maroon 5's \"She Will Be Loved\", Keane's \"Somewhere Only We Know\", \"God Bless America\", \"America the Beautiful\", and his pre-Idol original song \"She Loves the Way\".", "The song \"You Give Love a Bad Name\" by Blake Lewis was a hit in terms of sales as it was reported as the \"the biggest-selling download of the season\" with 192,000 copies sold. However, the text does not indicate whether his other songs achieved similar success." ]
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John Updike
John Hoyer Updike (March 18, 1932 - January 27, 2009) was an American novelist, poet, short story writer, art critic, and literary critic. One of only three writers to win the Pulitzer Prize for Fiction more than once (the others were Booth Tarkington and William Faulkner), Updike published more than twenty novels, more than a dozen short-story collections, as well as poetry, art and literary criticism and children's books during his career.
Themes
The principal themes in Updike's work are religion, sex, and America as well as death. Often he would combine them, frequently in his favored terrain of "the American small town, Protestant middle class", of which he once said, "I like middles. It is in middles that extremes clash, where ambiguity restlessly rules." For example, the decline of religion in America is chronicled in In the Beauty of the Lilies (1996) alongside the history of cinema, and Rabbit Angstrom contemplates the merits of sex with the wife of his friend Reverend Jack Eccles while the latter is giving his sermon in Rabbit, Run (1960). Critics have often noted that Updike imbued language itself with a kind of faith in its efficacy, and that his tendency to construct narratives spanning many years and books--the Rabbit series, the Henry Bech series, Eastwick, the Maples stories--demonstrates a similar faith in the transcendent power of fiction and language. Updike's novels often act as dialectical theological debates between the book itself and the reader, the novel endowed with theological beliefs meant to challenge the reader as the plot runs its course. Rabbit Angstrom himself acts as a Kierkegaardian Knight of Faith. Describing his purpose in writing prose, Updike himself, in the introduction to his Early Stories: 1953-1975 (2004), wrote that his aim was always "to give the mundane its beautiful due." Elsewhere he famously said, "When I write, I aim my mind not towards New York but towards a vague spot east of Kansas." Some have suggested that the "best statement of Updike's aesthetic comes in his early memoir 'The Dogwood Tree'" (1962): "Blankness is not emptiness; we may skate upon an intense radiance we do not see because we see nothing else. And in fact there is a color, a quiet but tireless goodness that things at rest, like a brick wall or a small stone, seem to affirm." CANNOTANSWER
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[ "What are the themes", "What kind of work does Updike do", "What can you tell me about his american themes", "Why did he like middles", "What can you tell me about his religious themes", "Is there a specific reason these were his themes", "Are there any other interesting aspects about this article?", "Were people drawn to his themes" ]
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John Hoyer Updike (March 18, 1932 – January 27, 2009) was an American novelist, poet, short-story writer, art critic, and literary critic. One of only four writers to win the Pulitzer Prize for Fiction more than once (the others being Booth Tarkington, William Faulkner, and Colson Whitehead), Updike published more than twenty novels, more than a dozen short-story collections, as well as poetry, art and literary criticism and children's books during his career. Hundreds of his stories, reviews, and poems appeared in The New Yorker starting in 1954. He also wrote regularly for The New York Review of Books. His most famous work is his "Rabbit" series (the novels Rabbit, Run; Rabbit Redux; Rabbit Is Rich; Rabbit at Rest; and the novella Rabbit Remembered), which chronicles the life of the middle-class everyman Harry "Rabbit" Angstrom over the course of several decades, from young adulthood to death. Both Rabbit Is Rich (1981) and Rabbit at Rest (1990) were awarded the Pulitzer Prize. Describing his subject as "the American small town, Protestant middle class", critics recognized his careful craftsmanship, his unique prose style, and his prolific outputa book a year on average. Updike populated his fiction with characters who "frequently experience personal turmoil and must respond to crises relating to religion, family obligations, and marital infidelity". His fiction is distinguished by its attention to the concerns, passions, and suffering of average Americans, its emphasis on Christian theology, and its preoccupation with sexuality and sensual detail. His work has attracted significant critical attention and praise, and he is widely considered one of the great American writers of his time. Updike's highly distinctive prose style features a rich, unusual, sometimes arcane vocabulary as conveyed through the eyes of "a wry, intelligent authorial voice that describes the physical world extravagantly while remaining squarely in the realist tradition". He described his style as an attempt "to give the mundane its beautiful due". Early life and education Updike was born in Reading, Pennsylvania, the only child of Linda Grace (née Hoyer) and Wesley Russell Updike, and was raised at his childhood home in the nearby small town of Shillington. The family later moved to the unincorporated village of Plowville. His mother's attempts to become a published writer impressed the young Updike. "One of my earliest memories", he later recalled, "is of seeing her at her desk ... I admired the writer's equipment, the typewriter eraser, the boxes of clean paper. And I remember the brown envelopes that stories would go off in—and come back in." These early years in Berks County, Pennsylvania, would influence the environment of the Rabbit Angstrom tetralogy, as well as many of his early novels and short stories. Updike graduated from Shillington High School as co-valedictorian and class president in 1950 and received a full scholarship to Harvard College, where he was the roommate of Christopher Lasch during their first year. Updike had already received recognition for his writing as a teenager by winning a Scholastic Art & Writing Award, and at Harvard he soon became well known among his classmates as a talented and prolific contributor to The Harvard Lampoon, of which he was president. He studied with dramatist Robert Chapman, the director of Harvard's Loeb Drama Center. He graduated summa cum laude in 1954 with a degree in English and was elected to Phi Beta Kappa. Upon graduation, Updike attended the Ruskin School of Art at the University of Oxford with the ambition of becoming a cartoonist. After returning to the United States, Updike and his family moved to New York, where he became a regular contributor to The New Yorker. This was the beginning of his professional writing career. Career as a writer 1950s Updike stayed at The New Yorker as a full staff writer for only two years, writing "Talk of the Town" columns and submitting poetry and short stories to the magazine. In New York, Updike wrote the poems and stories that came to fill his early books like The Carpentered Hen (1958) and The Same Door (1959). These works were influenced by Updike's early engagement with The New Yorker. This early work also featured the influence of J. D. Salinger ("A&P"); John Cheever ("Snowing in Greenwich Village"); and the Modernists Marcel Proust, Henry Green, James Joyce, and Vladimir Nabokov. During this time, Updike underwent a profound spiritual crisis. Suffering from a loss of religious faith, he began reading Søren Kierkegaard and the theologian Karl Barth. Both deeply influenced his own religious beliefs, which in turn figured prominently in his fiction. Updike remained a believing Christian for the rest of his life. 1960s–1970s Later, Updike and his family relocated to Ipswich, Massachusetts. Many commentators, including a columnist in the local Ipswich Chronicle, asserted that the fictional town of Tarbox in Couples was based on Ipswich. Updike denied the suggestion in a letter to the paper. Impressions of Updike's day-to-day life in Ipswich during the 1960s and 1970s are included in a letter to the same paper published soon after Updike's death and written by a friend and contemporary. In Ipswich, Updike wrote Rabbit, Run (1960), on a Guggenheim Fellowship, and The Centaur (1963), two of his most acclaimed and famous works; the latter won the National Book Award. Rabbit, Run featured Harry "Rabbit" Angstrom, a former high school basketball star and middle-class paragon who would become Updike's most enduring and critically acclaimed character. Updike wrote three additional novels about him. Rabbit, Run was featured in Times All-TIME 100 Greatest Novels. Short stories Updike's career and reputation were nurtured and expanded by his long association with The New Yorker, which published him frequently throughout his career, despite the fact that he had departed the magazine's employment after only two years. Updike's memoir indicates that he stayed in his "corner of New England to give its domestic news" with a focus on the American home from the point of view of a male writer. Updike's contract with the magazine gave it right of first offer for his short-story manuscripts, but William Shawn, The New Yorker's editor from 1952 to 1987, rejected several as too explicit. The Maple short stories, collected in Too Far To Go (1979), reflected the ebb and flow of Updike's first marriage; "Separating" (1974) and "Here Come the Maples" (1976) related to his divorce. These stories also reflect the role of alcohol in 1970s America. They were the basis for the television movie also called Too Far To Go, broadcast by NBC in 1979. Updike's short stories were collected in several volumes published by Alfred A. Knopf over five decades. In 2013, the Library of America issued a two-volume boxed edition of 186 stories under the title The Collected Stories. Novels In 1971, Updike published a sequel to Rabbit, Run called Rabbit Redux, his response to the 1960s; Rabbit reflected much of Updike's resentment and hostility towards the social and political changes that beset the United States during that time. Updike's early Olinger period was set in the Pennsylvania of his youth; it ended around 1965 with the lyrical Of the Farm. After his early novels, Updike became most famous for his chronicling infidelity, adultery, and marital unrest, especially in suburban America; and for his controversial depiction of the confusion and freedom inherent in this breakdown of social mores. He once wrote that it was "a subject which, if I have not exhausted, has exhausted me". The most prominent of Updike's novels of this vein is Couples (1968), a novel about adultery in a small fictional Massachusetts town called Tarbox. It garnered Updike an appearance on the cover of Time magazine with the headline "The Adulterous Society". Both the magazine article and, to an extent, the novel struck a chord of national concern over whether American society was abandoning all social standards of conduct in sexual matters. The Coup (1978), a lauded novel about an African dictatorship inspired by a visit he made to Africa, found Updike working in new territory. 1980s–2000s In 1980, he published another novel featuring Harry Angstrom, Rabbit Is Rich, which won the National Book Award, the National Book Critics Circle Award, and the Pulitzer Prize for Fiction—all three major American literary prizes. The novel found "Rabbit the fat and happy owner of a Toyota dealership". Updike found it difficult to end the book, because he was "having so much fun" in the imaginary county Rabbit and his family inhabited. After writing Rabbit Is Rich, Updike published The Witches of Eastwick (1984), a playful novel about witches living in Rhode Island. He described it as an attempt to "make things right with my, what shall we call them, feminist detractors". One of Updike's most popular novels, it was adapted as a film and included on Harold Bloom's list of canonical 20th-century literature (in The Western Canon). In 2008 Updike published The Widows of Eastwick, a return to the witches in their old age. It was his last published novel. In 1986, he published the unconventional novel Roger's Version, the second volume of the so-called Scarlet Letter trilogy, about an attempt to prove God's existence using a computer program. Author and critic Martin Amis called it a "near-masterpiece". The novel S. (1989), uncharacteristically featuring a female protagonist, concluded Updike's reworking of Hawthorne's Scarlet Letter. Updike enjoyed working in series; in addition to the Rabbit novels and the Maples stories, a recurrent Updike alter ego is the moderately well-known, unprolific Jewish novelist and eventual Nobel laureate Henry Bech, chronicled in three comic short-story cycles: Bech, a Book (1970), Bech Is Back (1981) and Bech at Bay: A Quasi-Novel (1998). These stories were compiled as The Complete Henry Bech (2001) by Everyman's Library. Bech is a comical and self-conscious antithesis of Updike's own literary persona: Jewish, a World War II veteran, reclusive, and unprolific to a fault. In 1990, he published the last Rabbit novel, Rabbit at Rest, which won the Pulitzer Prize and the National Book Critics Circle Award. Over 500 pages long, the novel is among Updike's most celebrated. In 2000, Updike included the novella Rabbit Remembered in his collection Licks of Love, drawing the Rabbit saga to a close. His Pulitzers for the last two Rabbit novels make Updike one of only four writers to have won two Pulitzer Prizes for Fiction, the others being William Faulkner, Booth Tarkington, and Colson Whitehead. In 1995, Everyman's Library collected and canonized the four novels as the omnibus Rabbit Angstrom; Updike wrote an introduction in which he described Rabbit as "a ticket to the America all around me. What I saw through Rabbit's eyes was more worth telling than what I saw through my own, though the difference was often slight." Updike later called Rabbit "a brother to me, and a good friend. He opened me up as a writer." After the publication of Rabbit at Rest, Updike spent the rest of the 1990s and early 2000s publishing novels in a wide range of genres; the work of this period was frequently experimental in nature. These styles included the historical fiction of Memories of the Ford Administration (1992), the magical realism of Brazil (1994), the science fiction of Toward the End of Time (1997), the postmodernism of Gertrude and Claudius (2000), and the experimental fiction of Seek My Face (2002). In the midst of these, he wrote what was for him a more conventional novel, In the Beauty of the Lilies (1996), a historical saga spanning several generations and exploring themes of religion and cinema in America. It is considered the most successful novel of Updike's late career. Some critics have predicted that posterity may consider the novel a "late masterpiece overlooked or praised by rote in its day, only to be rediscovered by another generation", while others, though appreciating the English mastery in the book, thought it overly dense with minute detail and swamped by its scenic depictions and spiritual malaise. In Villages (2004), Updike returned to the familiar territory of infidelities in New England. His 22nd novel, Terrorist (2006), the story of a fervent young extremist Muslim in New Jersey, garnered media attention but little critical praise. In 2003, Updike published The Early Stories, a large collection of his short fiction spanning the mid-1950s to the mid-1970s. More than 800 pages long, with over one hundred stories, it has been called "a richly episodic and lyrical Bildungsroman ... in which Updike traces the trajectory from adolescence, college, married life, fatherhood, separation and divorce". It won the PEN/Faulkner Award for Fiction in 2004. This lengthy volume nevertheless excluded several stories found in his short-story collections of the same period. Updike worked in a wide array of genres, including fiction, poetry (most of it compiled in Collected Poems: 1953–1993, 1993), essays (collected in nine separate volumes), a play (Buchanan Dying, 1974), and a memoir (Self-Consciousness, 1989). Updike's array of awards includes two Pulitzer Prizes for Fiction, two National Book Awards, three National Book Critics Circle awards, the 1989 National Medal of Arts, the 2003 National Humanities Medal, and the Rea Award for the Short Story for outstanding achievement. The National Endowment for the Humanities selected Updike to present the 2008 Jefferson Lecture, the U.S. government's highest humanities honor; Updike's lecture was titled "The Clarity of Things: What Is American about American Art". At the end of his life, Updike was working on a novel about St. Paul and early Christianity. Upon his death, The New Yorker published an appreciation by Adam Gopnik of Updike's lifetime association with the magazine, calling him "one of the greatest of all modern writers, the first American writer since Henry James to get himself fully expressed, the man who broke the curse of incompleteness that had haunted American writing". Personal life and death Updike married Mary Entwistle Pennington, an art student at Radcliffe College, in 1953, while he was still a student at Harvard. She accompanied him to Oxford, England, where she attended art school and where their first child, Elizabeth, was born in 1955. The couple had three more children together: writer David (born 1957), artist Michael (born 1959) and artist Miranda (born 1960). They divorced in 1974. Updike had seven grandsons. In 1977 Updike married Martha Ruggles Bernhard, with whom he lived for more than thirty years in Beverly Farms, Massachusetts. He died of lung cancer at a hospice in Danvers, Massachusetts, on January 27, 2009, at the age of 76. Poetry Updike published eight volumes of poetry over his career, including his first book The Carpentered Hen (1958), and one of his last, the posthumous Endpoint (2009). The New Yorker published excerpts of Endpoint in its March 16, 2009 issue. Much of Updike's poetical output was recollected in Knopf's Collected Poems (1993). He wrote that "I began as a writer of light verse, and have tried to carry over into my serious or lyric verse something of the strictness and liveliness of the lesser form." The poet Thomas M. Disch noted that because Updike was such a well-known novelist, his poetry "could be mistaken as a hobby or a foible"; Disch saw Updike's light verse instead as a poetry of "epigrammatical lucidity". His poetry has been praised for its engagement with "a variety of forms and topics", its "wit and precision", and for its depiction of topics familiar to American readers. British poet Gavin Ewart praised Updike for the metaphysical quality of his poetry and for his ability "to make the ordinary seem strange", and called him one of the few modern novelists capable of writing good poetry. Reading Endpoint aloud, the critic Charles McGrath claimed that he found "another, deeper music" in Updike's poetry, finding that Updike's wordplay "smooths and elides itself" and has many subtle "sound effects". John Keenan, who praised the collection Endpoint as "beautiful and poignant", noted that his poetry's engagement with "the everyday world in a technically accomplished manner seems to count against him". Literary criticism and art criticism Updike was also a critic of literature and art, one frequently cited as one of the best American critics of his generation. In the introduction to Picked-Up Pieces, his 1975 collection of prose, he listed his personal rules for literary criticism: 1. Try to understand what the author wished to do, and do not blame him for not achieving what he did not attempt. 2. Give enough direct quotation—at least one extended passage—of the book's prose so the review's reader can form his own impression, can get his own taste. 3. Confirm your description of the book with quotation from the book, if only phrase-long, rather than proceeding by fuzzy précis. 4. Go easy on plot summary, and do not give away the ending. 5. If the book is judged deficient, cite a successful example along the same lines, from the author's œuvre or elsewhere. Try to understand the failure. Sure it's his and not yours? To these concrete five might be added a vaguer sixth, having to do with maintaining a chemical purity in the reaction between product and appraiser. Do not accept for review a book you are predisposed to dislike, or committed by friendship to like. Do not imagine yourself a caretaker of any tradition, an enforcer of any party standards, a warrior in any ideological battle, a corrections officer of any kind. Never, never ... try to put the author "in his place," making of him a pawn in a contest with other reviewers. Review the book, not the reputation. Submit to whatever spell, weak or strong, is being cast. Better to praise and share than blame and ban. The communion between reviewer and his public is based upon the presumption of certain possible joys of reading, and all our discriminations should curve toward that end. He reviewed "nearly every major writer of the 20th century and some 19th-century authors", typically in The New Yorker, always trying to make his reviews "animated". He also championed young writers, comparing them to his own literary heroes including Vladimir Nabokov and Marcel Proust. Good reviews from Updike were often seen as a significant achievement in terms of literary reputation and even sales; some of his positive reviews helped jump-start the careers of such younger writers as Erica Jong, Thomas Mallon and Jonathan Safran Foer. Bad reviews by Updike sometimes caused controversy, as when in late 2008 he gave a "damning" review of Toni Morrison's novel A Mercy. Updike was praised for his literary criticism's conventional simplicity and profundity, for being an aestheticist critic who saw literature on its own terms, and for his longtime commitment to the practice of literary criticism. Much of Updike's art criticism appeared in The New York Review of Books, where he often wrote about American art. His art criticism involved an aestheticism like that of his literary criticism. Updike's 2008 Jefferson Lecture, "The Clarity of Things: What's American About American Art?", dealt with the uniqueness of American art from the 18th century to the 20th. In the lecture he argued that American art, until the expressionist movement of the 20th century in which America declared its artistic "independence", is characterized by an insecurity not found in the artistic tradition of Europe. In Updike's own words: Two centuries after Jonathan Edwards sought a link with the divine in the beautiful clarity of things, William Carlos Williams wrote in introducing his long poem Paterson that "for the poet there are no ideas but in things." No ideas but in things. The American artist, first born into a continent without museums and art schools, took Nature as his only instructor, and things as his principal study. A bias toward the empirical, toward the evidential object in the numinous fullness of its being, leads to a certain lininess, as the artist intently maps the visible in a New World that feels surrounded by chaos and emptiness. Critical reputation and style Updike is considered one of the greatest American fiction writers of his generation. He was widely praised as America's "last true man of letters", with an immense and far-reaching influence on many writers. The excellence of his prose style is acknowledged even by critics skeptical of other aspects of Updike's work. Several scholars have called attention to the importance of place, and especially of southeast Pennsylvania, in Updike's life and work. Bob Batchelor has described "Updike's Pennsylvania sensibility" as one with profound reaches that transcend time and place, such that in his writing, he used "Pennsylvania as a character" that went beyond geographic or political boundaries. SA Zylstra has compared Updike's Pennsylvania to Faulkner's Mississippi: "As with the Mississippi of Faulkner's novels, the world of Updike's novels is fictional (as are such towns as Olinger and Brewer), while at the same time it is recognizable as a particular American region." Sanford Pinsker observes that "Updike always felt a bit out of place" in places like "Ipswich, Massachusetts, where he lived for most of his life. In his heart—and, more important, in his imagination—Updike remained a staunchly Pennsylvania boy." Similarly, Sylvie Mathé maintains that "Updike's most memorable legacy appears to be his homage to Pennsylvania." Critics emphasize his "inimitable prose style" and "rich description and language", often favorably compared to Proust and Nabokov. Some critics consider the fluency of his prose to be a fault, questioning the intellectual depth and thematic seriousness of his work given the polish of his language and the perceived lightness of his themes, while others criticized Updike for misogynistic depictions of women and sexual relationships. Other critics argue that Updike's "dense vocabulary and syntax functions as a distancing technique to mediate the intellectual and emotional involvement of the reader". On the whole, however, Updike is extremely well regarded as a writer who mastered many genres, wrote with intellectual vigor and a powerful prose style, with "shrewd insight into the sorrows, frustrations, and banality of American life". Updike's character Harry "Rabbit" Angstrom, the protagonist of the series of novels widely considered his magnum opus, has been said to have "entered the pantheon of signal American literary figures", along with Huckleberry Finn, Jay Gatsby, Holden Caulfield and others. A 2002 list by Book magazine of the 100 Best Fictional Characters Since 1900 listed Rabbit in the top five. The Rabbit novels, the Henry Bech stories, and the Maples stories have been canonized by Everyman's Library. After Updike's death, Harvard's Houghton Library acquired his papers, manuscripts, and letters, naming the collection the John Updike Archive. 2009 also saw the founding of the John Updike Society, a group of scholars dedicated to "awakening and sustaining reader interest in the literature and life of John Updike, promoting literature written by Updike, and fostering and encouraging critical responses to Updike's literary works". The Society will begin publishing The John Updike Review, a journal of critical scholarship in the field of Updike studies. The John Updike Society First Biennial Conference took place in 2010 at Alvernia University. Eulogizing Updike in January 2009, the British novelist Ian McEwan wrote that Updike's "literary schemes and pretty conceits touched at points on the Shakespearean", and that Updike's death marked "the end of the golden age of the American novel in the 20th century's second half". McEwan said the Rabbit series is Updike's "masterpiece and will surely be his monument", and concluded: Jonathan Raban, highlighting many of the virtues that have been ascribed to Updike's prose, called Rabbit at Rest "one of the very few modern novels in English ... that one can set beside the work of Dickens, Thackeray, George Eliot, Joyce, and not feel the draft ... It is a book that works by a steady accumulation of a mass of brilliant details, of shades and nuances, of the byplay between one sentence and the next, and no short review can properly honor its intricacy and richness." The novelist Philip Roth, considered one of Updike's chief literary rivals, wrote, "John Updike is our time's greatest man of letters, as brilliant a literary critic and essayist as he was a novelist and short story writer. He is and always will be no less a national treasure than his 19th-century precursor, Nathaniel Hawthorne." The noted critic James Wood called Updike "a prose writer of great beauty, but that prose confronts one with the question of whether beauty is enough, and whether beauty always conveys all that a novelist must convey". In a review of Licks of Love (2001), Wood concluded that Updike's "prose trusses things in very pretty ribbons" but that there often exists in his work a "hard, coarse, primitive, misogynistic worldview". Wood both praised and criticized Updike's language for having "an essayistic saunter; the language lifts itself up on pretty hydraulics, and hovers slightly above its subjects, generally a little too accomplished and a little too abstract". According to Wood, Updike is capable of writing "the perfect sentence" and his style is characterized by a "delicate deferral" of the sentence. Of the beauty of Updike's language and his faith in the power of language that floats above reality, Wood wrote: For some time now Updike's language has seemed to encode an almost theological optimism about its capacity to refer. Updike is notably unmodern in his impermeability to silence and the interruptions of the abyss. For all his fabled Protestantism, both American Puritan and Lutheran-Barthian, with its cold glitter, its insistence on the aching gap between God and His creatures, Updike seems less like Hawthorne than Balzac, in his unstopping and limitless energy, and his cheerfully professional belief that stories can be continued; the very form of the Rabbit books—here extended a further instance—suggests continuance. Updike does not appear to believe that words ever fail us—'life's gallant, battered ongoingness ', indeed—and part of the difficulty he has run into, late in his career, is that he shows no willingness, verbally, to acknowledge silence, failure, interruption, loss of faith, despair and so on. Supremely, better than almost any other contemporary writer, he can always describe these feelings and states; but they are not inscribed in the language itself. Updike's language, for all that it gestures towards the usual range of human disappointment and collapse, testifies instead to its own uncanny success: to a belief that the world can always be brought out of its cloudiness and made clear in a fair season. In direct contrast to Wood's evaluation, the Oxford critic Thomas Karshan asserted that Updike is "intensely intellectual", with a style that constitutes his "manner of thought" not merely "a set of dainty curlicues". Karshan calls Updike an inheritor of the "traditional role of the epic writer". According to Karshan, "Updike's writing picks up one voice, joins its cadence, and moves on to another, like Rabbit himself, driving south through radio zones on his flight away from his wife and child." Disagreeing with Wood's critique of Updike's alleged over-stylization, Karshan evaluates Updike's language as convincingly naturalistic: Updike's sentences at their frequent best are not a complacent expression of faith. Rather, like Proust's sentences in Updike's description, they "seek an essence so fine the search itself is an act of faith." Updike aspires to "this sense of self-qualification, the kind of timid reverence towards what exists that Cézanne shows when he grapples for the shape and shade of a fruit through a mist of delicate stabs." Their hesitancy and self-qualification arise as they meet obstacles, readjust and pass on. If life is bountiful in New England, it is also evasive and easily missed. In the stories Updike tells, marriages and homes are made only to be broken. His descriptiveness embodies a promiscuous love for everything in the world. But love is precarious, Updike is always saying, since it thrives on obstructions and makes them if it cannot find them. Harold Bloom once called Updike "a minor novelist with a major style. A quite beautiful and very considerable stylist ... He specializes in the easier pleasures." Bloom also edited an important collection of critical essays on Updike in 1987, in which he concluded that Updike possessed a major style and was capable of writing beautiful sentences which are "beyond praise"; nevertheless, Bloom went on, "the American sublime will never touch his pages". On The Dick Cavett Show in 1981, the novelist and short-story writer John Cheever was asked why he did not write book reviews and what he would say if given the chance to review Rabbit Is Rich. He replied: The reason I didn't review the book is that it perhaps would have taken me three weeks. My appreciation of it is that diverse and that complicated ... John is perhaps the only contemporary writer who I know now who gives me the sense of the fact that life is—the life that we perform is in an environment that enjoys a grandeur that escapes us. Rabbit is very much possessed of a paradise lost, of a paradise known fleetingly perhaps through erotic love and a paradise that he pursues through his children. It's the vastness of John's scope that I would have described if I could through a review. The Fiction Circus, an online and multimedia literary magazine, called Updike one of the "four Great American Novelists" of his time along with Philip Roth, Cormac McCarthy, and Don DeLillo, each jokingly represented as a sign of the Zodiac. Furthermore, Updike was seen as the "best prose writer in the world", like Nabokov before him. But in contrast to many literati and establishment obituaries, the Circus asserted that nobody "thought of Updike as a vital writer". Adam Gopnik of The New Yorker evaluated Updike as "the first American writer since Henry James to get himself fully expressed, the man who broke the curse of incompleteness that had haunted American writing ... He sang like Henry James, but he saw like Sinclair Lewis. The two sides of American fiction—the precise, realist, encyclopedic appetite to get it all in, and the exquisite urge to make writing out of sensation rendered exactly—were both alive in him." The critic James Wolcott, in a review of Updike's last novel, The Widows of Eastwick (2008), noted that Updike's penchant for observing America's decline is coupled with an affirmation of America's ultimate merits: "Updike elegises entropy American-style with a resigned, paternal, disappointed affection that distinguishes his fiction from that of grimmer declinists: Don DeLillo, Gore Vidal, Philip Roth. America may have lost its looks and stature, but it was a beauty once, and worth every golden dab of sperm." Gore Vidal, in a controversial essay in the Times Literary Supplement, professed to have "never taken Updike seriously as a writer". He criticizes his political and aesthetic worldview for its "blandness and acceptance of authority in any form". He concludes that Updike "describes to no purpose". In reference to Updike's wide establishment acclaim, Vidal mockingly called him "our good child" and excoriated his alleged political conservatism. Vidal ultimately concluded, "Updike's work is more and more representative of that polarizing within a state where Authority grows ever more brutal and malign while its hired hands in the media grow ever more excited as the holy war of the few against the many heats up." Robert B. Silvers, editor of The New York Review of Books, called Updike "one of the most elegant and coolly observant writers of his generation". The short-story writer Lorrie Moore, who once described Updike as "American literature's greatest short story writer ... and arguably our greatest writer", reviewed Updike's body of short stories in The New York Review, praising their intricate detail and rich imagery: "his eye and his prose never falter, even when the world fails to send its more socially complicated revelations directly his story's way". In her work on Updike, Biljana Dojčinović has argued that his short story collection The Afterlife and Other Stories is a pivotal work that demonstrates a change in his writing on feminism. In November 2008, the editors of the UK's Literary Review magazine awarded Updike their Bad Sex in Fiction Lifetime Achievement Award, which celebrates "crude, tasteless or ridiculous sexual passages in modern literature". Themes The principal themes in Updike's work are religion, sex, and America as well as death. Often he would combine them, frequently in his favored terrain of "the American small town, Protestant middle class", of which he once said, "I like middles. It is in middles that extremes clash, where ambiguity restlessly rules." For example, the decline of religion in America is chronicled in In the Beauty of the Lilies (1996) alongside the history of cinema, and Rabbit Angstrom contemplates the merits of sex with the wife of his friend Reverend Jack Eccles while the latter is giving his sermon in Rabbit, Run (1960). Critics have often noted that Updike imbued language itself with a kind of faith in its efficacy, and that his tendency to construct narratives spanning many years and books—the Rabbit series, the Henry Bech series, Eastwick, the Maples stories—demonstrates a similar faith in the transcendent power of fiction and language. Updike's novels often act as dialectical theological debates between the book itself and the reader, the novel endowed with theological beliefs meant to challenge the reader as the plot runs its course. Rabbit Angstrom himself acts as a Kierkegaardian Knight of Faith. Describing his purpose in writing prose, Updike himself, in the introduction to his Early Stories: 1953–1975 (2004), wrote that his aim was always "to give the mundane its beautiful due". Elsewhere he famously said, "When I write, I aim my mind not towards New York City but towards a vague spot east of Kansas." Some have suggested that the "best statement of Updike's aesthetic comes in his early memoir 'The Dogwood Tree'" (1962): "Blankness is not emptiness; we may skate upon an intense radiance we do not see because we see nothing else. And in fact there is a color, a quiet but tireless goodness that things at rest, like a brick wall or a small stone, seem to affirm." Sex Sex in Updike's work is noted for its ubiquity and the reverence with which he described it: The critic Edward Champion notes that Updike's prose heavily favors "external sexual imagery" rife with "explicit anatomical detail" rather than descriptions of "internal emotion" in descriptions of sex. In Champion's interview with Updike on The Bat Segundo Show, Updike replied that he perhaps favored such imagery to concretize and make sex "real" in his prose. Another sexual theme commonly addressed in Updike is adultery, especially in a suburban, middle class setting, most famously in Couples (1968). The Updikean narrator is often "a man guilty of infidelity and abandonment of his family". United States Similarly, Updike wrote about America with a certain nostalgia, reverence, and recognition and celebration of America's broad diversity. ZZ Packer wrote that in Updike, "there seemed a strange ability to harken both America the Beautiful as well as America the Plain Jane, and the lovely Protestant backbone in his fiction and essays, when he decided to show it off, was as progressive and enlightened as it was unapologetic." The Rabbit novels in particular can be viewed, according to Julian Barnes, as "a distraction from, and a glittering confirmation of, the vast bustling ordinariness of American life". But as Updike celebrated ordinary America, he also alluded to its decline: at times, he was "so clearly disturbed by the downward spin of America". Adam Gopnik concludes that "Updike's great subject was the American attempt to fill the gap left by faith with the materials produced by mass culture. He documented how the death of a credible religious belief has been offset by sex and adultery and movies and sports and Toyotas and family love and family obligation. For Updike, this effort was blessed, and very nearly successful." Updike's novels about America almost always contain references to political events of the time. In this sense, they are artifacts of their historical eras, showing how national leaders shape and define their times. The lives of ordinary citizens take place against this wider background. Death Updike often wrote about death, his characters providing a "mosaic of reactions" to mortality, ranging from terror to attempts at insulation. In The Poorhouse Fair (1959), the elderly John Hook intones, "There is no goodness without belief ... And if you have not believed, at the end of your life you shall know you have buried your talent in the ground of this world and have nothing saved, to take into the next", demonstrating a religious, metaphysical faith present in much of Updike's work. For Rabbit Angstrom, with his constant musings on mortality, his near-witnessing of his daughter's death, and his often shaky faith, death is more frightening and less obvious in its ramifications. At the end of Rabbit at Rest (1990), though, Rabbit demonstrates a kind of certainty, telling his son Nelson on his deathbed, "... But enough. Maybe. Enough." In The Centaur (1963), George Caldwell has no religious faith and is afraid of his cancer. Death can also be a sort of unseen terror; it "occurs offstage but reverberates for survivors as an absent presence". Updike himself also experienced a "crisis over the afterlife", and indeed many of his heroes shared the same sort of existential fears the author acknowledged he had suffered as a young man: Henry Bech's concern that he was 'a fleck of dust condemned to know it is a fleck of dust,' or Colonel Ellelloû's lament that 'we will be forgotten, all of us forgotten.' Their fear of death threatens to make everything they do feel meaningless, and it also sends them running after God—looking for some reassurance that there is something beyond the familiar, everyday world with 'its signals and buildings and cars and bricks.' Updike demonstrated his own fear in some of his more personal writings, including the poem "Perfection Wasted" (1990): In popular culture Updike was featured on the cover of Time twice, on April 26, 1968, and again on October 18, 1982. Updike was the subject of a "closed book examination" by Nicholson Baker, titled U and I (1991). Baker discusses his wish to meet Updike and become his golf partner. In 2000, Updike appeared as himself in The Simpsons episode "Insane Clown Poppy" at the Festival of Books. The main character portrayed by Eminem in the film 8 Mile (2002) is nicknamed "Rabbit" and has some similarities to Rabbit Angstrom. The film's soundtrack has a song titled "Rabbit Run". Portraits of Updike drawn by the American caricaturist David Levine appeared several times in The New York Review of Books. In 2022, Updike was portrayed by Bryce Pinkham on the TV show Julia. Bibliography Rabbit novels Rabbit, Run (1960) Rabbit Redux (1971) Rabbit Is Rich (1981) Rabbit at Rest (1990) Rabbit Angstrom: The Four Novels (1995) Rabbit Remembered (a novella in the collection Licks of Love) (2001) Bech books Bech, a Book (1970) Bech Is Back (1982) Bech at Bay (1998) The Complete Henry Bech (2001) Buchanan books Buchanan Dying (a play) (1974) Memories of the Ford Administration (a novel) (1992) Eastwick books The Witches of Eastwick (1984) The Widows of Eastwick (2008) The Scarlet Letter trilogy A Month of Sundays (1975) Roger's Version (1986) S. (1988) Other novels The Poorhouse Fair (1959) The Centaur (1963) Of the Farm (1965) Couples (1968) Marry Me (1977) The Coup (1978) Brazil (1994) In the Beauty of the Lilies (1996) Toward the End of Time (1997) Gertrude and Claudius (2000) Seek My Face (2002) Villages (2004) Terrorist (2006) Books edited by Updike The Best American Short Stories (1984) The Binghamton Poems (2009) Short story collections The Same Door (1959) Pigeon Feathers (1962) Olinger Stories (a selection) (1964) Music School: Short Stories (1966) Museums and Women and Other Stories (1972) Problems and Other Stories (1979) Too Far to Go (the Maples stories) (1979) Your Lover Just Called (1980) Trust Me (1987) The Afterlife and Other Stories (1994) The Best American Short Stories of the Century (editor) (2000) Licks of Love: Short Stories and a Sequel (2001) The Early Stories: 1953–1975 (2003) Three Trips (2003) My Father's Tears and Other Stories (2009) The Maples Stories (2009) The Collected Stories, Volume 1: Collected Early Stories (2013) The Collected Stories, Volume 2: Collected Later Stories (2013) Poetry collections The Carpentered Hen (1958) Telephone Poles (1963) Midpoint (1969) Dance of the Solids (1969) Tossing and Turning (1977) Facing Nature (1985) Collected Poems 1953–1993 (1993) Americana and Other Poems (2001) Endpoint and Other Poems (2009) Non-fiction, essays and criticism Assorted Prose (1965) Picked-Up Pieces (1975) Hugging The Shore (1983) Self-Consciousness: Memoirs (1989) Just Looking: Essays on Art (1989) Odd Jobs (1991) Golf Dreams: Writings on Golf (1996) More Matter (1999) Still Looking: Essays on American Art (2005) In Love with a Wanton: Essays on Golf (2005) Due Considerations: Essays and Criticism (2007) Hub Fans Bid Kid Adieu: John Updike on Ted Williams (Library of America) (2010) Higher Gossip (2011) Always Looking: Essays on Art (2012) See also #External links for links to archives of his essays and reviews in The New Yorker and The New York Review of Books. Awards 1959 Guggenheim Fellow 1959 National Institute of Arts and Letters Rosenthal Award 1964 National Book Award for Fiction 1965 Prix du Meilleur Livre Étranger 1966 O. Henry Prize 1970 Honorary Doctor of Literature from Emerson College 1981 National Book Critics Circle Award for Fiction 1981 Edward MacDowell Medal 1982 Pulitzer Prize for Fiction 1982 National Book Award for Fiction (hardcover) 1982 Union League Club Abraham Lincoln Award 1983 National Book Critics Circle Award for Criticism 1984 National Arts Club Medal of Honor 1987 St. Louis Literary Award from the Saint Louis University Library Associates 1987 Ambassador Book Award 1987 Peggy V. Helmerich Distinguished Author Award 1988 PEN/Malamud Award 1989 National Medal of Arts 1990 National Book Critics Circle Award for Fiction 1991 Pulitzer Prize for Fiction 1991 O. Henry Prize 1992 Honorary Doctor of Letters from Harvard University 1995 William Dean Howells Medal 1995 Commandeur de l'Ordre des Arts et des Lettres 1997 Ambassador Book Award 1998 Harvard Arts Medal 1998 Medal for Distinguished Contribution to American Letters from the National Book Foundation 2002 Fitzgerald Award for Achievement in American Literature 2003 National Humanities Medal 2004 PEN/Faulkner Award for Fiction 2004 Golden Plate Award of the American Academy of Achievement 2005 Man Booker International Prize nominee 2006 Rea Award for the Short Story 2007 American Academy of Arts and Letters Gold Medal for Fiction 2008 Literary Review Bad Sex in Fiction Lifetime Achievement Award 2008 Jefferson Lecture Notes References Further reading and literary criticism Bailey, Peter J., Rabbit (Un)Redeemed: The Drama of Belief in John Updike's Fiction, Farleigh Dickinson University Press, Madison, New Jersey, 2006. Baker, Nicholson, U & I: A True Story, Random House, New York, 1991. Batchelor, Bob, John Updike: A Critical Biography, Praeger, California, 2013. . Begley, Adam, Updike, Harper-Collins Publishers, New York, NY, 2014. Ben Hassat, Hedda, Prophets Without Vision: Subjectivity and the Sacred in Contemporary American Writing, Bucknell University Press, Lewisburg, Pennsylvania, 2000. Bloom, Harold, ed., Modern Critical Views of John Updike, Chelsea House, New York, 1987. Boswell, Marshall, John Updike's Rabbit Tetralogy: Mastered Irony in Motion, University of Missouri Press, Columbia, Missouri, 2001. Broer, Lawrence, Rabbit Tales: Poetry and Politics in John Updike's Rabbit Novels, University of Alabama Press, Tuscaloosa, Alabama, 2000. Burchard, Rachel C., John Updike: Yea Sayings, Southern Illinois University Press, Carbondale, Illinois, 1971. Campbell, Jeff H., Updike's Novels: Thorns Spell A Word, Midwestern State University Press, Wichita Falls, Texas, 1988. Clarke Taylor, C., John Updike: A Bibliography, Kent State University, Kent, Ohio, 1968. De Bellis, Jack, John Updike: A Bibliography, 1968–1993, Greenwood Publishing Group, Westport, Connecticut, 1994. De Bellis, Jack, John Updike: The Critical Responses to the Rabbit Saga, Greenwood Publishing Group, Westport, Connecticut, 2005. De Bellis, Jack, ed., The John Updike Encyclopedia, Greenwood Press, Santa Barbara, California, 2001. Detwiler, Robert, John Updike, Twayne, Boston, 1984. Findlay, Bill, Interview with John Updike in Hearn, Sheila G. (ed.), Cencrastus No. 15, New Year 1984, pp. 30 – 36, Greiner, Donald, " Don DeLillo, John Updike, and the Sustaining Power of Myth", UnderWords: Perspectives on Don DeLillo's Underworld, University of Delaware Press, Newark, Delaware, 2002. Greiner, Donald, John Updike's Novels, Ohio University Press, Athens, Ohio, 1984. Greiner, Donald, The Other John Updike: Poems, Short Stories, Prose, Play, Ohio University Press, Athens, Ohio, 1981. Gullette, Margaret Morganroth, "John Updike: Rabbit Angstrom Grows Up", Safe at Last in the Middle Years : The Invention of the Midlife Progress Novel, Backinprint.com, New York, 2001. Hamilton, Alice and Kenneth, The Elements of John Updike, William B. Eerdmans Publishing Co., Grand Rapids, Michigan, 1970. Hunt, George W., John Updike and the Three Great Secret Things: Sex, Religion, and Art, William B. Eerdmans Pub. Co., Grand Rapids, Michigan, 1985. Karshan, Thomas, " Batsy", London Review of Books, March 31, 2005. Luscher, Robert M., John Updike: A Study of the Short Fiction, Twayne, New York, 1993. Mazzeno, Laurence W. and Sue Norton, eds.,European Perspectives on John Updike, Camden House, 2018. McNaughton, William R., ed., Critical Essays on John Updike, GK Hall, Boston, 1982. Markle, Joyce B., Fighters and Lovers: Themes in the Novels of John Updike, New York University Press, 1973. Mathé, Sylvie, John Updike : La nostalgie de l'Amérique, Berlin, 2002. Miller, D. Quentin, John Updike and the Cold War: Drawing the Iron Curtain, University of Missouri Press, Columbia, Missouri, 2001. Morley, Catherine, "The Bard of Everyday Domesticity: John Updike's Song for America", The Quest for Epic in Contemporary American Literature, Routledge, New York, 2008. Newman, Judie, John Updike, Macmillan, London, 1988. O'Connell, Mary, Updike and the Patriarchal Dilemma: Masculinity in the Rabbit Novels, Southern Illinois University Press, Carbondale, Illinois, 1996. Olster, Stanley, The Cambridge Companion to John Updike, Cambridge University Press, Cambridge, 2006. Plath, James, ed., Conversations with John Updike, University Press of Mississippi Press, Jackson, Mississippi, 1994. Porter, M. Gilbert, " John Updike's 'A&P': The Establishment and an Emersonian Cashier", English Journal 61 (8), pp. 1155–1158, November 1972. Pritchard, William, Updike: America's Man of Letters, University of Massachusetts Press, Amherst, Massachusetts, 2005. Ristoff, Dilvo I., John Updike's Rabbit at Rest: Appropriating History, Peter Lang, New York, 1998.' Roiphe, Anne, For Rabbit, with Love and Squalor, Free Press, Washington, D.C., 2000. Searles, George J., The Fiction of Philip Roth and John Updike, Southern Illinois University Press, Carbondale, Illinois, 1984. Schiff, James A., Updike's Version: Rewriting The Scarlet Letter, University of Missouri Press, Columbia, Missouri, 1992. Schiff, James A., United States Author Series: John Updike Revisited, Twayne Publishers, Woodbridge, Connecticut, 1998. Tallent, Elizabeth, Married Men and Magic Tricks: John Updike's Erotic Heroes, Creative Arts Book Company, Berkeley, California, 1982. Tanner, Tony, "A Compromised Environment", City of Words: American Fiction, 1950–1970, Jonathan Cape, London, 1971. Thorburn, David and Eiland, Howard, eds., John Updike: A Collection of Critical Essays, Prentice Hall, Englewood Cliffs, New Jersey, 1979. Trachtenberg, Stanley, ed., New Essays on Rabbit, Run, Cambridge University Press, Cambridge, 1993. Uphaus, Suzanne H., John Updike, Ungar, New York, 1980. Vidal, Gore, "Rabbit's own burrow", Times Literary Supplement, April 26, 1996. Wallace, David Foster, "John Updike, Champion Literary Phallocrat, Drops One", New York Observer, October 12, 1997. Wood, James, "Gossip in Gilt", London Review of Books, April 19, 2001. Wood, James, "John Updike's Complacent God", The Broken Estate: Essays on Literature and Belief, Modern Library, New York, 2000. Yerkes, James, John Updike and Religion: The Sense of the Sacred and the Motions of Grace, William B. Eerdmans Publishing Co, Grand Rapids, Missouri, 1999. External links The John Updike Society John Updike collection, Houghton Library, Harvard University The Other John Updike Archive, a collection taken from Updike's rubbish and discussed in this article from The Guardian, September 2014, and this article from The Atlantic Jack De Bellis collection of John Updike at the University of South Carolina Column archive at The New York Review of Books Column archive at The New Yorker In Depth interview with Updike, 4 December 2005 Reviews at the London Review of Books Stuart Wright Collection: John Updike Papers, 1946–2010 (#1169-023), East Carolina Manuscript Collection, J. Y. Joyner Library, East Carolina University Authors and Poets collection at University of Maryland Articles and interviews John Updike, The Art of Fiction No. 43, Charles Thomas Samuels, Paris Review, Winter 1968 "Picked-Up Pieces: A half century of John Updike". The New Yorker, 2009 The ancestry of John Hoyer Updike, Rootsweb John Updike Life & Times, New York Times Books The Salon Interview: John Updike, "As Close as You Can Get to the Stars", Dwight Garner, Salon.com Category:1932 births Category:2009 deaths Category:People from Shillington, Pennsylvania Category:Deaths from lung cancer in Massachusetts Category:American children's writers Category:American Christian writers Category:American literary critics Category:American humorous poets Category:American psychological fiction writers Category:20th-century American poets Category:Novelists from Massachusetts Category:Postmodern writers Category:American male novelists Category:Christian novelists Category:20th-century American novelists Category:21st-century American novelists Category:Alumni of the Ruskin School of Art Category:The Harvard Lampoon alumni Category:Harvard College alumni Category:Members of the American Academy of Arts and Letters Category:National Book Award winners Category:O. 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[ "The themes in Updike's work are religion, sex, America, and death. He often combines these themes within his favored terrain of \"the American small town, Protestant middle class.\"", "The context implies that Updike is a writer, particularly of novels and stories, though it doesn't explicitly state his occupation.", "Updike's American themes are often situated in \"the American small town, Protestant middle class\". It is in this setting that he explores the extreme clashes and ambiguities of American life. He also chronicles the decline of religion in America, such as in his book, In the Beauty of the Lilies (1996), which is set alongside the history of cinema. His Rabbit Angstrom character contemplates the merits of sex with the wife of a friend while said friend is delivering a sermon, depicting the often complex and perceived \"immorality\" within the fabric of middle-class American society. Updike's works often span many years and multiple books, showcasing the changes and constants in the American societal landscape.", "Updike once said that he liked middles because \"It is in middles that extremes clash, where ambiguity restlessly rules.\" This suggests that he saw the middle as a place for conflict, complexity, and uncertainty—qualities that can drive engaging narratives and deep explorations of the human experience.", "The context describes how Updike's religious themes often intermingle with other themes such as sex, America, and death. For instance, in his book Rabbit, Run, the character Rabbit contemplates having sex with the wife of his friend, a Reverend. His works serve as theological debates, engaging the reader through the narrative of the book. Rabbit Angstrom, one of Updike's characters, even acts as a Kierkegaardian Knight of Faith, a philosophical figure representing the religious concept of faith beyond reason. The decline of religion in America is another theme explored, such as in his book In the Beauty of the Lilies. Updike is also noted to imbue language itself with a kind of faith in its efficacy.", "The context does not provide a specific reason why these were Updike's themes. He seemed to appreciate the complexity and ambiguity that came with exploring these themes, particularly when set in the American small town, Protestant middle class. However, his quoted aim to \"give the mundane its beautiful due\" suggests that he may have found a certain beauty or profundity in exploring everyday themes like religion, sex, and death.", "The context mentions that Updike had a particular writing style where he imbued language itself with a kind of faith in its efficacy. He believed in the transcendent power of fiction and language, constructing narratives that spanned multiple years and books. Updike also said that his goal as a writer was to \"give the mundane its beautiful due.\" His works often challenged the reader, addressing theological beliefs through the course of the plot. This unique blending of narrative, language use, religion, and philosophical contemplation defines Updike's distinctive writing style.", "The context does not provide specific information about whether people were drawn to Updike's themes." ]
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C_c719bf6109bd4d8fbb6fc87dc96d7e9e_1
David Letterman
David Michael Letterman (born April 12, 1947) is an American television host, comedian, writer, and producer. He hosted a late night television talk show for 33 years, beginning with the February 1, 1982, debut of Late Night with David Letterman on NBC, and ending with the May 20, 2015, broadcast of Late Show with David Letterman on CBS. In total, Letterman hosted 6,028 episodes of Late Night and Late Show, surpassing friend and mentor Johnny Carson as the longest-serving late night talk show host in American television history. In 1996 Letterman was ranked 45th on TV Guide's 50 Greatest TV Stars of All Time.
Popularity
In 1975, encouraged by his then-wife Michelle and several of his Sigma Chi fraternity brothers, Letterman moved to Los Angeles, with hope of becoming a comedy writer. He and Michelle packed their belongings in his pickup truck and headed west. As of 2012, he still owned the truck. In Los Angeles, he began performing comedy at The Comedy Store. Jimmie Walker saw him on stage; with an endorsement from George Miller, Letterman joined a group of comedians whom Walker hired to write jokes for his stand-up act, a group that at various times would also include Jay Leno, Paul Mooney, Robert Schimmel, Richard Jeni, Louie Anderson, Elayne Boosler, Byron Allen, Jack Handey, and Steve Oedekerk. By the summer of 1977, Letterman was a writer and regular on the six-week summer series The Starland Vocal Band Show, broadcast on CBS. He hosted a 1977 pilot for a game show entitled The Riddlers (that was never picked up), and co-starred in the Barry Levinson-produced comedy special Peeping Times that aired in January 1978. Later that year, Letterman was a cast member on Mary Tyler Moore's variety show, Mary. Letterman made a guest appearance on Mork & Mindy (as a parody of EST leader Werner Erhard) and appearances on game shows such as The $20,000 Pyramid, The Gong Show, Hollywood Squares, Password Plus and Liar's Club, as well as the Canadian cooking show Celebrity Cooks (November 1977), talk shows such as 90 Minutes Live (February 24 and April 14, 1978), and The Mike Douglas Show (April 3, 1979 and February 7, 1980). He was also screen tested for the lead role in the 1980 film Airplane!, a role that eventually went to Robert Hays. His dry, sarcastic humor caught the attention of scouts for The Tonight Show Starring Johnny Carson, and Letterman was soon a regular guest on the show. Letterman became a favorite of Carson and was a regular guest host for the show beginning in 1978. Letterman credits Carson as the person who influenced his career the most. NBC kept Letterman under contract to try him in a different time slot. Late Night with David Letterman debuted February 1, 1982; the first guest on the first show was Bill Murray. Murray later went on to become one of Letterman's most recurrent guests, guesting on the show's 30th anniversary episode, which aired January 31, 2012 and on the very last show, which aired May 20, 2015. The show ran Monday through Thursday at 12:30 a.m. Eastern Time, immediately following The Tonight Show Starring Johnny Carson (a Friday night broadcast was added in June 1987). It was seen as being edgy and unpredictable, and soon developed a cult following (particularly among college students). Letterman's reputation as an acerbic interviewer was borne out in verbal sparring matches with Cher (who even called him an asshole on the show), Shirley MacLaine, Charles Grodin, and Madonna. The show also featured comedy segments and running characters, in a style heavily influenced by the 1950s and 1960s programs of Steve Allen. The show often featured quirky, genre-mocking regular features, including "Stupid Pet Tricks" (which had its origins on Letterman's morning show), Stupid Human Tricks, dropping various objects off the roof of a five-story building, demonstrations of unorthodox clothing (such as suits made of Alka-Seltzer, Velcro and suet), a recurring Top 10 list, the Monkey-Cam (and the Audience Cam), a facetious letter-answering segment, several "Film[s] by My Dog Bob" in which a camera was mounted on Letterman's own dog (often with comic results) and Small Town News, all of which would eventually move with Letterman to CBS. Other memorable moments included Letterman using a bullhorn to interrupt a live interview on The Today Show, announcing that he was the NBC News president and that he was not wearing any pants; walking across the hall to Studio 6B, at the time the news studio for WNBC-TV, and interrupting Al Roker's weather segments during Live at Five; and staging "elevator races", complete with commentary by NBC Sports' Bob Costas. In one infamous appearance, in 1982, Andy Kaufman (who was already wearing a neck brace) appeared with professional wrestler Jerry Lawler, who slapped and knocked the comedian to the ground (though Lawler and Kaufman's friend Bob Zmuda later revealed that the event was staged). The main competitor of the Late Show was NBC's The Tonight Show, which was hosted by Jay Leno for 22 years, but from June 1, 2009, to January 22, 2010, was hosted by Conan O'Brien. In 1993 and 1994, the Late Show consistently gained higher ratings than The Tonight Show. But in 1995, ratings dipped and Leno's show consistently beat Letterman's in the ratings from the time that Hugh Grant came on Leno's show after Grant's arrest for soliciting a prostitute; Leno typically attracted about five million nightly viewers between 1999 and 2009. The Late Show lost nearly half its audience during its competition with Leno, attracting 7.1 million viewers nightly in its 1993-94 season and about 3.8 million per night as of Leno's departure in 2009. In the final months of his first stint as host of The Tonight Show, Leno beat Letterman in the ratings by a 1.3 million viewer margin (5.2 million to 3.9 million), and Nightline and the Late Show were virtually tied. Once O'Brien took over Tonight, however, Letterman closed the gap in the ratings. O'Brien initially drove the median age of Tonight Show viewers from 55 to 45, with most older viewers opting to watch the Late Show instead. Following Leno's return to The Tonight Show, however, Leno regained his lead. Letterman's shows have garnered both critical and industry praise, receiving 67 Emmy Award nominations, winning 12 times in his first 20 years in late night television. From 1993 to 2009, Letterman ranked higher than Leno in the annual Harris Poll of Nation's Favorite TV Personality 12 times. For example, in 2003 and 2004 Letterman ranked second in that poll, behind only Oprah Winfrey, a year that Leno was ranked fifth. Leno was higher than Letterman on that poll three times during the same period, in 1998, 2007, and 2008. CANNOTANSWER
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[ "Was Letterman really popular", "How many viewers did he have", "How was his rating", "Are there any other interesting aspects about this article?" ]
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David Michael Letterman (born April 12, 1947) is an American television host, comedian, writer and producer. He hosted late night television talk shows for 33 years, beginning with the February 1, 1982, debut of Late Night with David Letterman on NBC and ending with the May 20, 2015, broadcast of Late Show with David Letterman on CBS. In total, Letterman hosted 6,080 episodes of Late Night and Late Show, surpassing his friend and mentor Johnny Carson as the longest-serving late-night talk show host in American television history. In 1996, Letterman was ranked 45th on TV Guides 50 Greatest TV Stars of All Time. In 2002, The Late Show with David Letterman was ranked seventh on TV Guide's 50 Greatest TV Shows of All Time. He is also a television and film producer. His company, Worldwide Pants, produced his shows as well as The Late Late Show and several primetime comedies, the most successful of which was Everybody Loves Raymond, now in syndication and streaming. Several late-night hosts have cited Letterman's influence, including Conan O'Brien (his successor on Late Night), Stephen Colbert (his successor on The Late Show), Jimmy Fallon, Jimmy Kimmel, Jon Stewart, and Seth Meyers. Letterman currently hosts the Netflix series My Next Guest Needs No Introduction with David Letterman. Early life and career Letterman was born in Indianapolis, Indiana, in 1947, and has two sisters, one older and one younger. His father, Harry Joseph Letterman (April 15, 1915 – February 13, 1973), was a florist. His mother, Dorothy Marie Letterman Mengering (née Hofert; July 18, 1921 – April 11, 2017), a church secretary for the Second Presbyterian Church of Indianapolis, was an occasional figure on Letterman's show, usually at holidays and birthdays. Letterman grew up on the north side of Indianapolis, in the Broad Ripple area, about 12 miles from the Indianapolis Motor Speedway. He enjoyed collecting model cars, including racers. In 2000, he told an interviewer for Esquire that, while growing up, he admired his father's ability to tell jokes and be the life of the party. Harry Joseph Letterman survived a heart attack at the age of 36 when David was a young boy. The fear of losing his father was constantly with Letterman as he grew up. The elder Letterman died of a second heart attack in 1973 at the age of 57. Letterman attended his hometown's Broad Ripple High School and worked as a stock boy at the local Atlas Supermarket. According to the Ball State Daily News, he originally wanted to attend Indiana University, but his grades were not good enough, so he instead attended Ball State University in Muncie, Indiana. He is a member of the Sigma Chi fraternity, and graduated in 1969 from what was then the Department of Radio and Television. A self-described average student, Letterman later endowed a scholarship for what he called "C students" at Ball State. Though he registered for the draft and passed his physical after graduating from college, he was not drafted for service in Vietnam because he received a draft lottery number of 346 (out of 366). Letterman began his broadcasting career as an announcer and newscaster at the college's student-run radio station—WBST—a 10-watt campus station that is now part of Indiana Public Radio. He was fired for treating classical music with irreverence. He then became involved with the founding of another campus station—WAGO-AM 570 (now WCRD, 91.3). He credits Paul Dixon, host of the Paul Dixon Show, a Cincinnati-based talk show also shown in Indianapolis while he was growing up, for inspiring his choice of career: I was just out of college [in 1969], and I really didn't know what I wanted to do. And then all of a sudden I saw him doing it [on TV]. And I thought: That's really what I want to do! Weatherman Soon after graduating from Ball State in 1969, Letterman began his career as a radio talk show host on WNTS (AM) and on Indianapolis television station WLWI (which changed its call sign to WTHR in 1976) as an anchor and weatherman. He received some attention for his unpredictable on-air behavior, which included congratulating a tropical storm for being upgraded to a hurricane and predicting hailstones "the size of canned hams." He also occasionally reported the weather and the day's very high and low temps for fictitious cities ("Eight inches of snow in Bingree and surrounding areas"), on another occasion saying that the state border between Indiana and Ohio had been erased when a satellite map accidentally omitted it, attributing it to dirty political dealings. ("The higher-ups have removed the border between Indiana and Ohio, making it one giant state. Personally, I'm against it. I don't know what to do about it.") He also starred in a local kiddie show, made wisecracks as host of a late-night TV show called "Freeze-Dried Movies" (he once acted out a scene from Godzilla using plastic dinosaurs), and hosted a talk show that aired early on Saturday mornings called Clover Power, in which he interviewed 4-H members about their projects. In 1971, Letterman appeared as a pit road reporter for ABC Sports' tape-delayed coverage of the Indianapolis 500, which was his first nationally telecast appearance (WLWI was the local ABC affiliate at the time). He was initially introduced as Chris Economaki, but this was corrected at the end of the interview (Jim McKay announced his name as Dave Letterman). Letterman interviewed Mario Andretti, who had just crashed out of the race. Move to Los Angeles In 1975, encouraged by his then-wife Michelle and several of his Sigma Chi fraternity brothers, Letterman moved to Los Angeles, California, with the hope of becoming a comedy writer. He and Michelle packed their belongings in his pickup truck and headed west. As of 2012, he still owned the truck. In Los Angeles, he began performing comedy at The Comedy Store. Jimmie Walker saw him on stage; with an endorsement from George Miller, Letterman joined a group of comedians whom Walker hired to write jokes for his stand-up act, a group that at various times also included Jay Leno, Paul Mooney, Robert Schimmel, Richard Jeni, Louie Anderson, Elayne Boosler, Byron Allen, Jack Handey, and Steve Oedekerk. By the summer of 1977, Letterman was a writer and regular on the six-week summer series The Starland Vocal Band Show, broadcast on CBS. He hosted a 1977 pilot for a game show called The Riddlers (which was never picked up), and co-starred in the Barry Levinson-produced comedy special Peeping Times, which aired in January 1978. Later that year, Letterman was a cast member on Mary Tyler Moore's variety show, Mary. He made a guest appearance on Mork & Mindy (as a parody of EST leader Werner Erhard) and appearances on game shows such as The $20,000 Pyramid, The Gong Show, Hollywood Squares, Password Plus, and Liar's Club, as well as the Canadian cooking show Celebrity Cooks (November 1977), talk shows such as 90 Minutes Live (February 24 and April 14, 1978), and The Mike Douglas Show (April 3, 1979 and February 7, 1980). He was also screen tested for the lead role in the 1980 film Airplane!, a role that eventually went to Robert Hays. Letterman's brand of dry, sarcastic humor caught the attention of scouts for The Tonight Show Starring Johnny Carson, and he was soon a regular guest on the show. He became a favorite of Carson and was a regular guest host for the show beginning in 1978. Letterman credits Carson as the person who influenced his career the most. NBC Morning show On June 23, 1980, Letterman was given his own morning comedy show on NBC, The David Letterman Show. It was originally 90 minutes long but was shortened to 60 minutes in August 1980. The show was a critical success, winning two Emmy Awards, but was a ratings disappointment and was canceled, the last show airing October 24, 1980. Late Night with David Letterman NBC kept Letterman on its payroll to try him in a different time slot. Late Night with David Letterman debuted February 1, 1982; the first guest was Bill Murray. Murray went on to become one of Letterman's most recurrent guests, guesting on his later CBS show's celebration of his 30th anniversary in late-night television, which aired January 31, 2012, and on the final CBS show, which aired May 20, 2015. The show ran Monday through Thursday nights at 12:30 a.m. Eastern Time, immediately following The Tonight Show Starring Johnny Carson (a Friday night broadcast was added in June 1987). It was seen as edgy and unpredictable, and soon developed a cult following (particularly among college students). Letterman's reputation as an acerbic interviewer was borne out in verbal sparring matches with Cher (who even called him an "asshole" on the show), Shirley MacLaine, Charles Grodin, and Madonna. The show also featured comedy segments and running characters, in a style heavily influenced by the 1950s and 1960s programs of Steve Allen. The show often featured quirky, genre-mocking regular features, including "Stupid Pet Tricks" (which had its origins on Letterman's morning show), Stupid Human Tricks, dropping various objects off the roof of a five-story building, demonstrations of unorthodox clothing (such as suits made of Alka-Seltzer, Velcro and suet), a recurring Top 10 list, the Monkey-Cam (and the Audience Cam), a facetious letter-answering segment, several "Film[s] by My Dog Bob" in which a camera was mounted on Letterman's own dog (often with comic results) and Small Town News, all of which moved with Letterman to CBS. Other episodes included Letterman using a bullhorn to interrupt a live interview on The Today Show on August 19, 1985, announcing that he was the NBC News president Lawrence K. Grossman and that he was not wearing any pants; walking across the hall to Studio 6B, at the time the news studio for WNBC-TV, and interrupting Al Roker's weather segments during Live at Five; and staging "elevator races", complete with commentary by NBC Sports' Bob Costas. In one appearance, in 1982, Andy Kaufman (who was wearing a neck brace) appeared with professional wrestler Jerry Lawler, who slapped and knocked the comedian to the ground (Lawler and Kaufman's friend Bob Zmuda later revealed that the incident was staged). CBS Late Show with David Letterman In 1992, Johnny Carson retired and many fans believed that Letterman would become host of The Tonight Show. When NBC instead gave the job to Jay Leno, Letterman departed NBC to host his own late-night show on CBS, opposite The Tonight Show at 11:30 p.m., called the Late Show with David Letterman. The new show debuted on August 30, 1993, and was taped at the historic Ed Sullivan Theater, where Ed Sullivan broadcast his eponymous variety series from 1948 to 1971. For Letterman's arrival, CBS spent $8 million in renovations. CBS also signed Letterman to a three-year, $14 million/year contract, doubling his Late Night salary. But while the expectation was that Letterman would retain his unique style and sense of humor with the move, Late Show was not an exact replica of his old NBC program. The monologue was lengthened. Paul Shaffer and the World's Most Dangerous Band followed Letterman to CBS, but they added a brass section and were rebranded the CBS Orchestra (at Shaffer's request); a small band had been mandated by Carson while Letterman occupied the 12:30 slot. Additionally, because of intellectual property disagreements, Letterman was unable to import many of his Late Night segments verbatim, but he sidestepped this problem by simply renaming them (the "Top Ten List" became the "Late Show Top Ten", "Viewer Mail" became the "CBS Mailbag", etc.). Time magazine wrote, "Letterman's innovation ... gained power from its rigorous formalism"; as his biographer Jason Zinoman puts it, he was "a fascinatingly disgruntled eccentric trapped inside a more traditional talk show." Popularity The Late Show's main competitor was NBC's The Tonight Show, which Jay Leno hosted for 22 years from 1992 to 2014, except from June 1, 2009, to January 22, 2010, when Conan O'Brien hosted. In 1993 and 1994, the Late Show consistently gained higher ratings than The Tonight Show. But in 1995, ratings dipped and Leno's show consistently beat Letterman's in the ratings from the time that Hugh Grant came on Leno's show after Grant's arrest for soliciting a prostitute. Leno typically attracted about five million nightly viewers between 1999 and 2009. The Late Show lost nearly half its audience during its competition with Leno, attracting 7.1 million viewers nightly in its 1993–94 season and about 3.8 million per night as of Leno's departure in 2009. In the final months of his first stint as host of The Tonight Show, Leno beat Letterman in the ratings by a 1.3 million-viewer margin (5.2 million to 3.9 million), and Nightline and the Late Show were virtually tied. Once O'Brien took over Tonight, Letterman closed the gap in the ratings. O'Brien initially drove the median age of Tonight Show viewers from 55 to 45, with most older viewers opting to watch the Late Show instead. After Leno returned to The Tonight Show, Leno regained his lead. Letterman's shows have garnered both critical and industry praise, receiving 67 Emmy Award nominations, winning 12 times in his first 20 years in late night television. From 1993 to 2009, Letterman ranked higher than Leno in the annual Harris Poll of Nation's Favorite TV Personality 12 times. For example, in 2003 and 2004 Letterman ranked second in that poll, behind only Oprah Winfrey, a year that Leno was ranked fifth. Leno was higher than Letterman on that poll three times during the same period, in 1998, 2007, and 2008. Hosting the Academy Awards On March 27, 1995, Letterman hosted the 67th Academy Awards ceremony. Critics blasted what they deemed his poor performance, noting that his irreverent style undermined the traditional importance and glamor of the event. In a joke about their unusual names (inspired by a celebrated comic essay in The New Yorker, "Yma Dream" by Thomas Meehan), he started off by introducing Uma Thurman to Oprah Winfrey, and then both of them to Keanu Reeves: "Oprah...Uma. Uma...Oprah," "Have you kids met Keanu?" This and many of his other jokes fell flat. Although Letterman attracted the highest ratings to the annual telecast since 1983, many felt that the bad publicity he generated caused a decline in the Late Shows ratings. Letterman recycled the apparent debacle into a long-running gag. On his first show after the Oscars, he joked, "Looking back, I had no idea that thing was being televised." He lampooned his stint two years later, during Billy Crystal's opening Oscar skit, which also parodied the plane-crashing scenes from that year's chief nominated film, The English Patient. For years afterward, Letterman recounted his hosting the Oscars, although the Academy of Motion Picture Arts and Sciences continued to hold Letterman in high regard and invited him to host the Oscars again. On September 7, 2010, he made an appearance on the premiere of the 14th season of The View, and confirmed that he had been considered for hosting again. Heart surgery hiatus On January 14, 2000, a routine check-up revealed that an artery in Letterman's heart was severely obstructed. He was rushed to emergency surgery for a quintuple bypass at New York Presbyterian Hospital. During the initial weeks of his recovery, reruns of the Late Show were shown and introduced by friends of Letterman including Norm Macdonald, Drew Barrymore, Ray Romano, Robin Williams, Bonnie Hunt, Megan Mullally, Bill Murray, Regis Philbin, Charles Grodin, Nathan Lane, Julia Roberts, Bruce Willis, Jerry Seinfeld, Martin Short, Steven Seagal, Hillary Clinton, Danny DeVito, Steve Martin, and Sarah Jessica Parker. Subsequently, while still recovering from surgery, Letterman revived the late-night talk show tradition of "guest hosts" that had virtually disappeared on network television during the 1990s, allowing Bill Cosby, Kathie Lee Gifford, Dana Carvey, Janeane Garofalo, and others to host new episodes of the Late Show. Upon his return to the show on February 21, 2000, Letterman brought all but one of the doctors and nurses on stage who had participated in his surgery and recovery (with extra teasing of a nurse who had given him bed baths—"This woman gave me a bath!"), including Dr. O. Wayne Isom and physician Louis Aronne, who frequently appeared on the show. In a show of emotion, Letterman was nearly in tears as he thanked the health care team with the words "These are the people who saved my life!" The episode earned an Emmy nomination. For a number of episodes, Letterman continued to crack jokes about his bypass, including saying, "Bypass surgery: it's when doctors surgically create new blood flow to your heart. A bypass is what happened to me when I didn't get The Tonight Show! It's a whole different thing." In a later running gag, he lobbied Indiana to rename the freeway circling Indianapolis (I-465) "The David Letterman Bypass". He also featured a montage of faux news coverage of his bypass surgery, which included a clip of Letterman's heart for sale on the Home Shopping Network. Letterman became friends with his doctors and nurses. In 2008, a Rolling Stone interview stated he hosted a doctor and nurse who'd helped perform the emergency quintuple-bypass heart surgery that saved his life in 2000. 'These are people who were complete strangers when they opened my chest,' he says. 'And now, eight years later, they're among my best friends.' Additionally, Letterman invited the band Foo Fighters to play "Everlong", introducing them as "my favorite band, playing my favorite song." During Letterman's last show, on which Foo Fighters appeared, Letterman said that Foo Fighters had been in the middle of a South American tour which they canceled to come play on his comeback episode. Letterman again handed over the reins of the show to several guest hosts (including Bill Cosby, Brad Garrett, Whoopi Goldberg, Elvis Costello, John McEnroe, Vince Vaughn, Will Ferrell, Bonnie Hunt, Luke Wilson, and bandleader Paul Shaffer) in February 2003, when he was diagnosed with a severe case of shingles. Later that year, Letterman made regular use of guest hosts—including Tom Arnold and Kelsey Grammer—for new shows broadcast on Fridays. In March 2007, Adam Sandler, who had been scheduled to be the lead guest, served as a guest host while Letterman was ill with a stomach virus. Re-signing with CBS In March 2002, as Letterman's contract with CBS neared expiration, ABC offered him the time slot for long-running news program Nightline with Ted Koppel. Letterman was interested, as he believed he could never match Leno's ratings at CBS due to Letterman's complaint of weaker lead-ins from the network's late local news programs, but was reluctant to replace Koppel. He addressed his decision to re-sign on the air, stating that he was content at CBS and that he had great respect for Koppel. On December 4, 2006, CBS revealed that Letterman signed a new contract to host Late Show with David Letterman through the fall of 2010. "I'm thrilled to be continuing on at CBS," said Letterman. "At my age you really don't want to have to learn a new commute." Letterman further joked about the subject by pulling up his right pants leg, revealing a tattoo, presumably temporary, of the ABC logo. "Thirteen years ago, David Letterman put CBS late night on the map and in the process became one of the defining icons of our network," said Leslie Moonves, president and CEO of CBS Corporation. "His presence on our air is an ongoing source of pride, and the creativity and imagination that the Late Show puts forth every night is an ongoing display of the highest quality entertainment. We are truly honored that one of the most revered and talented entertainers of our time will continue to call CBS 'home.'" According to a 2007 article in Forbes magazine, Letterman earned $40 million a year. A 2009 article in The New York Times, however, said his salary was estimated at $32 million. In June 2009, Letterman's Worldwide Pants and CBS reached an agreement to continue the Late Show until at least August 2012. The previous contract had been set to expire in 2010, and the two-year extension was shorter than the typical three-year contract period negotiated in the past. Worldwide Pants agreed to lower its fee for the show, though it had remained a "solid moneymaker for CBS" under the previous contract. On the February 3, 2011 edition of the Late Show, during an interview with Howard Stern, Letterman said he would continue to do his talk show for "maybe two years, I think." In April 2012, CBS announced it had extended its contract with Letterman through 2014. His contract was subsequently extended to 2015. Retirement from Late Show During the taping of his show on April 3, 2014, Letterman announced that he had informed CBS president Leslie Moonves that he would retire from hosting Late Show by May 20, 2015. Later in his retirement Letterman occasionally stated, in jest, that he had been fired. It was announced soon after that comedian and political satirist Stephen Colbert would succeed Letterman. Letterman's last episode aired on May 20, 2015, and opened with a presidential sendoff featuring four of the five living American presidents, George H. W. Bush, Bill Clinton, George W. Bush, and Barack Obama, each mimicking the late president Gerald Ford's statement "Our long national nightmare is over." It also featured cameos from The Simpsons and Wheel of Fortune (the latter with a puzzle saying "Good riddance to David Letterman"), a Top Ten List of "things I wish I could have said to David Letterman" performed by regular guests including Alec Baldwin, Barbara Walters, Steve Martin, Jerry Seinfeld, Jim Carrey, Chris Rock, Julia Louis-Dreyfus, Peyton Manning, Tina Fey, and Bill Murray, and closed with a montage of scenes from both his CBS and NBC series set to a live performance of "Everlong" by Foo Fighters. The final episode of Late Show with David Letterman was watched by 13.76 million viewers in the United States with an audience share of 9.3/24, earning the show its highest ratings since following the 1994 Winter Olympics on February 25, 1994, and the show's highest demo numbers (4.1 in adults 25–54 and 3.1 in adults 18–49) since Oprah Winfrey's first Late Show appearance following the ending of her feud with Letterman on December 1, 2005. Bill Murray, who had been his first guest on Late Night, was his final guest on Late Show. In a rarity for a late-night show, it was also the highest-rated program on network television that night, beating out all prime-time shows. In total, Letterman hosted 6,080 episodes of Late Night and Late Show, surpassing friend and mentor Johnny Carson as the longest-serving late-night talk show host in U.S. television history. Post-Late Show In the months following the end of Late Show, Letterman was seen occasionally at sports events such as the Indianapolis 500, during which he submitted to an interview with a local publication. He made a surprise appearance on stage in San Antonio, Texas when he was invited up for an extended segment during Steve Martin's and Martin Short's A Very Stupid Conversation show, saying "I retired, and...I have no regrets," Letterman told the crowd after walking on stage. "I was happy. I'll make actual friends. I was complacent. I was satisfied. I was content, and then a couple of days ago Donald Trump said he was running for president. I have made the biggest mistake of my life, ladies and gentlemen" and then delivering a Top Ten List roasting Trump's presidential campaign followed by an onstage conversation with Martin and Short. Cellphone recordings of the appearance were posted on YouTube by audience members and widely reported in the media. In 2016, Letterman joined the climate change documentary show Years of Living Dangerously as one of its celebrity correspondents. In season two's premiere episode, Letterman traveled to India to investigate the country's efforts to expand its inadequate energy grid, power its booming economy, and bring electricity to 300 million citizens for the first time. He also interviewed Indian Prime Minister Narendra Modi and traveled to rural villages where power is a scarce luxury and explored the United States' role in India's energy future. On April 7, 2017, Letterman gave the induction speech for the band Pearl Jam into the Rock & Roll Hall Of Fame at a ceremony held at the Barclays Center in Brooklyn, New York City. Also in 2017, Letterman and Alec Baldwin co-hosted The Essentials on Turner Classic Movies. Letterman and Baldwin introduced seven films for the series. Netflix In 2018, Letterman began hosting a six-episode monthly series of hour-long programs on Netflix consisting of long-form interviews and field segments. The show, My Next Guest Needs No Introduction with David Letterman, premiered January 12, 2018 with Barack Obama as its first guest. The second season premiered on May 31, 2019. Season 3 premiered on October 21, 2020, and includes Kim Kardashian West, Robert Downey Jr., Dave Chappelle and Lizzo as guests. Season 4 premiered on May 20, 2022, with Billie Eilish as the first guest. In October 2022, Letterman traveled to Kyiv, Ukraine, to film a special standalone episode of My Next Guest Needs No Introduction with David Letterman, interviewing Ukrainian president Volodymyr Zelenskyy. Notable exchanges and incidents NBC and Johnny Carson In spite of Johnny Carson's clear intention to pass his title to Letterman, NBC selected Jay Leno to host The Tonight Show after Carson's departure. Letterman maintained a close relationship with Carson through his break with NBC. Three years after he left for CBS, HBO produced a made-for-television movie called The Late Shift, based on a book by The New York Times reporter Bill Carter, chronicling the battle between Letterman and Leno for the Tonight Show hosting spot. Carson later made a few cameo appearances as a guest on Letterman's show. Carson's final television appearance was on May 13, 1994, on a Late Show episode taped in Los Angeles, when he made a surprise appearance during a Top 10 list segment. In early 2005, it was revealed that Carson occasionally sent jokes to Letterman, who used them in his monologue; according to CBS senior vice president Peter Lassally (a onetime producer for both men), Carson got "a big kick out of it." Letterman would do a characteristic Carson golf swing after delivering one of his jokes. In a tribute to Carson, all the opening monologue jokes during the first show after Carson's death were by Carson. Lassally also claimed that Carson had always believed Letterman, not Leno, to be his "rightful successor". During the early years of the Late Shows run, Letterman occasionally used some of Carson's trademark bits, including "Carnac the Magnificent" (with Paul Shaffer as Carnac), "Stump the Band", and the "Week in Review". Oprah Winfrey Oprah Winfrey appeared on Letterman's show when he was hosting NBC's Late Night on May 2, 1989. After that appearance, the two had a 16-year feud that arose, as Winfrey explained to Letterman after it had been resolved, as a result of the acerbic tone of their 1989 interview, of which she said that it "felt so uncomfortable to me that I didn't want to have that experience again". The feud apparently ended on December 2, 2005, when Winfrey appeared on CBS's Late Show with David Letterman in an event Letterman jokingly called "the Super Bowl of Love". Winfrey and Letterman also appeared together in a Late Show promo aired during CBS's coverage of Super Bowl XLI in February 2007, with the two sitting next to each other on a couch watching the game. Since the game was played between the Indianapolis Colts and Chicago Bears, the Indianapolis-born Letterman wore a Peyton Manning jersey, while Winfrey, whose show was taped in Chicago, wore a Brian Urlacher jersey. On September 10, 2007, Letterman made his first appearance on The Oprah Winfrey Show at Madison Square Garden in New York City. Three years later, during CBS's coverage of Super Bowl XLIV between the Colts and the New Orleans Saints, the two appeared again in a Late Show promo, this time with Winfrey sitting on a couch between Letterman and Leno. Letterman wore the retired 70 jersey of Art Donovan, a member of the Colts' Hall of Fame and a regular Letterman guest. The appearance was Letterman's idea: Leno flew to New York City on an NBC corporate jet, sneaking into the Ed Sullivan Theater during the Late Shows February 4 taping wearing a disguise and meeting Winfrey and Letterman at a living room set created in the theater's balcony, where they taped their promo. Winfrey interviewed Letterman in January 2013 on Oprah's Next Chapter. They discussed their feud and Winfrey revealed that she had had a "terrible experience" while appearing on Letterman's show years earlier. Letterman could not recall the incident but apologized. 2007–2008 writers' strike Late Show went off air for eight weeks in 2007 during November and December because of the Writers Guild of America strike. Letterman's production company, Worldwide Pants, was the first company to make an individual agreement with the WGA, allowing his show to come back on the air on January 2, 2008. In his first episode back, he surprised the audience with a newly grown beard, which signified solidarity with the strike. His beard was shaved off during the show on January 7, 2008. Palin joke On June 8 and 9, 2009, Letterman told two sexually themed jokes about a daughter (never named) of Sarah Palin on his TV show. These included a statutory rape joke about Palin's then 14-year-old daughter, Willow, and MLB player Alex Rodriguez. Palin was in New York City at the time with Willow, and none of her other children were at the game. Some contemporaries questioned the racial connotations of joking about a Latino player of Dominican descent committing statutory rape. In a statement posted on the Internet, Palin said, "I doubt [Letterman would] ever dare make such comments about anyone else's daughter" and that "laughter incited by sexually perverted comments made by a 62-year-old male celebrity aimed at a 14-year-old girl is disgusting." On his June 10 show, Letterman responded to the controversy, saying the jokes were meant to be about Palin's 18-year-old daughter, Bristol, whose pregnancy as an unmarried teenager had caused some controversy during the United States presidential election of 2008. "These are not jokes made about [Palin's] 14-year-old daughter ... I would never, never make jokes about raping or having sex of any description with a 14-year-old girl." His remarks did not end public criticism. The National Organization for Women (NOW) released a statement supporting Palin, noting that Letterman had made "[only] something of an apology." When the controversy failed to subside, Letterman addressed the issue again on his June 15 show, faulting himself for the error and apologizing "especially to the two daughters involved, Bristol and Willow, and also to the governor and her family and everybody else who was outraged by the joke." Rodriguez demanded an apology for implying that he was a child molester. Letterman never specifically apologized to Rodriguez. Al-Qaeda death threat On August 17, 2011, it was reported that an Islamist militant had posted a death threat against Letterman on a website frequented by Al-Qaeda supporters, calling on American Muslims to kill him for making a joke about the death of Ilyas Kashmiri, an Al-Qaeda leader who was killed in a June 2011 drone strike in Pakistan. In his August 22 show, Letterman joked about the threat, saying "State Department authorities are looking into this. They're not taking this lightly. They're looking into it. They're questioning, they're interrogating, there's an electronic trail—but everybody knows it's Leno." Appearances in other media Letterman appeared in the pilot episode of the short-lived 1986 series Coach Toast, and appears with a bag over his head as a guest on Bonnie Hunt's 1990s sitcom The Building. He appeared in The Simpsons as himself in a couch gag when the Simpsons find themselves (and the couch) in Late Night with David Letterman. He had a cameo in the feature film Cabin Boy, with Chris Elliott, who worked as a writer for Letterman. In this and other appearances, Letterman is listed in the credits as "Earl Hofert", the name of Letterman's maternal grandfather. He also appeared as himself in the Howard Stern biographical film Private Parts and the 1999 Andy Kaufman biopic Man on the Moon, in a few episodes of Garry Shandling's 1990s TV series The Larry Sanders Show, and in "The Abstinence", a 1996 episode of the sitcom Seinfeld. Letterman provided vocals for the Warren Zevon song "Hit Somebody" from My Ride's Here, and provided the voice for Butt-head's father in the 1996 animated film Beavis and Butt-Head Do America, again credited as Earl Hofert. Letterman was the focus of The Avengers on "Late Night with David Letterman", issue 239 (January 1984) of the Marvel comic book series The Avengers, in which the title characters (specifically Hawkeye, Wonder Man, Black Widow, Beast, and Black Panther) are guests on Late Night. A parody of Letterman named David Endochrine is gassed to death along with his bandleader, Paul, and their audience in Frank Miller's The Dark Knight Returns. In SWAT Kats: The Radical Squadron, Letterman was parodied as "David Litterbin". Letterman appears in issues 13–14 and 18 of Harvey Pekar's autobiographical comic book American Splendor. Those issues show Pekar's accounts of appearances on Late Night. In 2010, a documentary directed by Joke Fincioen and Biagio Messina, Dying to do Letterman, was released, featuring Steve Mazan, a standup comic, who has cancer and wants to appear on Letterman's show. The film won best documentary and jury awards at the Cinequest Film Festival. Mazan published a book of the same name (full title Dying to Do Letterman: Turning Someday into Today) about his own saga. Letterman appeared as a guest on CNN's Piers Morgan Tonight on May 29, 2012, when he was interviewed by Regis Philbin, the guest host and Letterman's longtime friend. Philbin again interviewed Letterman (and Shaffer) while guest-hosting CBS's The Late Late Show (between the tenures of Craig Ferguson and James Corden) on January 27, 2015. In June 2013, Letterman appeared in the second episode of season two of Comedians in Cars Getting Coffee. On November 5, 2013, he and Bruce McCall published a fiction satire book, This Land Was Made for You and Me (But Mostly Me), . In Week 13 of the 2021 NFL season, Letterman joined Peyton and Eli Manning on their Manningcast feed of the Monday Night Football game between the New England Patriots and Buffalo Bills. Letterman mocked Bill Belichick after he was caught on camera wiping his nose with his shirt and was in the middle of recalling being with Roger Goodell when Goodell was booed at the unveiling of Peyton Manning's statue in Indianapolis when ESPN suddenly cut to commercials. On February 1, 2022, Letterman was the guest on Late Night with Seth Meyers, marking the 40th anniversary of the franchise's debut. Business ventures Letterman started his production company, Worldwide Pants Incorporated, which produced his show and several others, in 1991. The company also produces feature films and documentaries and founded its own record label, Clear Entertainment. Worldwide Pants received significant attention in December 2007 after it was announced that it had independently negotiated its own contract with the Writers Guild of America, East, thus allowing Letterman, Craig Ferguson, and their writers to return to work, while the union continued its strike against production companies, networks, and studios with whom it had not yet reached agreements. Letterman, Bobby Rahal, and Mike Lanigan co-own Rahal Letterman Lanigan Racing, an auto racing team competing in the WeatherTech SportsCar Championship and NTT IndyCar series. The team has twice won the Indianapolis 500: in 2004 with driver Buddy Rice, and in 2020 with Takuma Sato. The Letterman Foundation for Courtesy and Grooming is a private foundation through which Letterman has donated millions of dollars to charities and other nonprofit organizations in Indiana and Montana, celebrity-affiliated organizations such as Paul Newman's Hole in the Wall Gang Camp, Ball State University, the American Cancer Society, the Salvation Army, and Médecins Sans Frontières. Influences Letterman's biggest influence and mentor was Johnny Carson. Other comedians who influenced Letterman were Paul Dixon, Steve Allen, Jonathan Winters, Garry Moore, Jack Paar, Don Rickles, and David Brenner. Although Ernie Kovacs has also been mentioned as an influence, Letterman has denied this. Comedians influenced by Letterman include Conan O'Brien, Jon Stewart, Stephen Colbert, Ray Romano, Jimmy Kimmel, Jay Leno, Arsenio Hall, Larry Wilmore, Seth Meyers, Norm Macdonald, Jimmy Fallon, John Oliver, and James Corden. Personal life Letterman has tinnitus, a symptom of hearing loss. On the Late Show in 1996, he talked about his experience with tinnitus during an interview with William Shatner, who has severe tinnitus caused by an on-set explosion. Letterman has said that he was initially unable to pinpoint the noise inside his head and that he hears a constant ringing in his ears. Letterman no longer drinks alcohol. On more than one occasion, he said that he had once been a "horrible alcoholic" and had begun drinking around the age of 13 and continued until 1981 when he was 34. He has said that in 1981, "I was drunk 80% of the time ... I loved it. I was one of those guys, I looked around, and everyone else had stopped drinking and I couldn't understand why." When he was shown drinking what appears to be alcohol on Late Night or the Late Show, it was actually apple juice. In 2015, Letterman said of his anxiety: "For years and years and years—30, 40 years—I was anxious and hypochondriacal and an alcoholic, and many, many other things that made me different from other people." He became calmer through a combination of Transcendental Meditation and low doses of medication. Letterman is a Presbyterian, a religious tradition he was originally brought up in by his mother, though he once said he was motivated by "Lutheran, Midwestern guilt". In August 2021, Letterman was hospitalized in Providence, Rhode Island, after hitting his head on the sidewalk and falling unconscious. He favorably recalled the care he received at Rhode Island Hospital in a video released by the hospital's owner. Marriages, relationships, and family On July 2, 1968, Letterman married his college sweetheart, Michelle Cook, in Muncie, Indiana; they divorced by October 1977. He also had a long-term cohabiting relationship with the former head writer and producer on Late Night, Merrill Markoe, from 1978 to 1988. Markoe created several Late Night staples, such as "Stupid Pet/Human Tricks". Time magazine wrote that theirs was the defining relationship of Letterman's career, with Markoe also acting as his writing partner. She "put the surrealism in Letterman's comedy." Letterman and Regina Lasko started dating in February 1986, while he was still living with Markoe. Lasko gave birth to their son, Harry Joseph Letterman, on November 3, 2003. Harry is named after Letterman's father. In 2005, police discovered a plot to kidnap Letterman's son and demand a $5 million ransom. Kelly Frank, a house painter who had worked for Letterman, was charged in the conspiracy. Letterman and Lasko wed on March 19, 2009, in a quiet courthouse civil ceremony in Choteau, Montana, where he had purchased a ranch in 1999. Letterman announced the marriage during the taping of his show of March 23, shortly after congratulating Bruce Willis on his marriage the week before. Letterman told the audience he nearly missed the ceremony because his truck became stuck in mud two miles from their house. The family resides in North Salem, New York, on a estate. Extortion attempt and revelation of affairs On October 1, 2009, Letterman announced on his show that he had been the victim of a blackmail attempt by a person threatening to reveal his sexual relationships with several of his female employees—a fact Letterman immediately thereafter confirmed. He said that someone had left a package in his car with material he said he would write into a screenplay and a book if Letterman did not pay him $2 million. Letterman said that he contacted the Manhattan District Attorney's office and partook in a sting operation that involved the handover of a fake check to the extortionist. Joe Halderman, a producer of the CBS news magazine television series 48 Hours, was arrested around noon (EST) on October 1, 2009, after trying to deposit the check. He was indicted by a Manhattan grand jury following testimony from Letterman and pleaded not guilty to a charge of attempted grand larceny on October 2, 2009. Halderman pleaded guilty in March 2010 and was sentenced to six months in prison, followed by probation and community service. A central figure in the case and one of the women with whom Letterman had had a sexual relationship was his longtime personal assistant Stephanie Birkitt, who often appeared on the show. She had also worked for 48 Hours. Until a month before the revelations, she had shared a residence with Halderman, who allegedly had copied her personal diary and used it, along with private emails, in the blackmail package. In the days following the initial announcement of the affairs and the arrest, several prominent women, including Kathie Lee Gifford, co-host of NBC's Today Show, and NBC news anchor Ann Curry, questioned whether Letterman's affairs with subordinates created an unfair working environment. A spokesman for Worldwide Pants said that the company's sexual harassment policy did not prohibit sexual relationships between managers and employees. According to business news reporter Eve Tahmincioglu, "CBS suppliers are supposed to follow the company's business conduct policies" and the CBS 2008 Business Conduct Statement states that "If a consenting romantic or sexual relationship between a supervisor and a direct or indirect subordinate should develop, CBS requires the supervisor to disclose this information to his or her Company's Human Resources Department". On October 3, 2009, a former CBS employee, Holly Hester, announced that she and Letterman had engaged in a yearlong secret affair in the early 1990s while she was his intern and a student at New York University. On October 5, 2009, Letterman devoted a segment of his show to a public apology to his wife and staff. Three days later, Worldwide Pants announced that Birkitt had been placed on a "paid leave of absence" from the Late Show. On October 15, CBS News announced that the company's chief investigative correspondent, Armen Keteyian, had been assigned to conduct an "in-depth investigation" into Letterman. Stalkers Beginning in May 1988, Letterman was stalked by Margaret Mary Ray, a woman with schizophrenia. She stole his Porsche, camped out on his tennis court, and repeatedly broke into his house. Her exploits drew national attention, with Letterman occasionally joking about her on his show, though he never named her. After she died by suicide at age 46 in October 1998, Letterman told The New York Times that he had great compassion for her. A spokesperson for Letterman said: "This is a sad ending to a confused life." In 2005, another person was able to obtain a restraining order from a New Mexico judge, prohibiting Letterman from contacting her. She claimed he had sent her coded messages via his television program, causing her bankruptcy and emotional distress.Judge Daniel Sanchez's restraining order, from the Volokh Conspiracy accessed 15 June 2019 Law professor Eugene Volokh called the case "patently frivolous". Interests Letterman is a car enthusiast and owns an extensive collection. In 2012, it was reported that the collection consisted of ten Ferraris, eight Porsches, four Austin-Healeys, two Honda motorcycles, a Chevy pickup, and one car each from automakers Mercedes-Benz, Jaguar, MG, Volvo, and Pontiac. In his 2013 appearance on Comedians in Cars Getting Coffee, part of Jerry Seinfeld's conversation with Letterman was filmed in Letterman's 1995 Volvo 960 station wagon, which is powered by a 380-horsepower racing engine. Paul Newman had the car built for Letterman. Letterman shares a close relationship with the rock and roll band Foo Fighters since its appearance on his first show upon his return from heart surgery. The band appeared many times on the Late Show, including a week-long stint in October 2014. While introducing the band's performance of "Miracle" on the show of October 17, 2014, Letterman told the story of how a souvenir video of himself and his four-year-old son learning to ski used the song as background music, unbeknownst to Letterman until he saw it. He stated: "This is the second song of theirs that will always have great, great meaning for me for the rest of my life". This was the first time the band had heard this story. Worldwide Pants co-produced Dave Grohl's Sonic Highways TV series. "Letterman was the first person to get behind this project," Grohl said. Filmography Film Documentary feature films Television Awards, honors and legacyDavid Letterman Communication and Media BuildingOn September 7, 2007, Letterman visited his alma mater, Ball State University in Muncie, Indiana, for the dedication of a communications facility named in his honor for his dedication to the university. The $21 million, David Letterman Communication and Media Building opened for the 2007 fall semester. Thousands of Ball State students, faculty, and local residents welcomed Letterman back to Indiana. Letterman's emotional speech touched on his struggles as a college student and his late father, and also included the "top ten good things about having your name on a building", finishing with "if reasonable people can put my name on a $21 million building, anything is possible." Over many years Letterman "has provided substantial assistance to [Ball State's] Department of Telecommunications, including an annual scholarship that bears his name." At the same time, Indiana Governor Mitch Daniels gave Letterman a Sagamore of the Wabash award, which recognizes distinguished service to the state of Indiana.Awards and nominations''' In his capacities as a performer, producer, or as part of a writing team, Letterman is among the most nominated people in the history of the Emmy Awards, with 52 nominations, winning two Daytime Emmys and ten Primetime Emmys since 1981. He won four American Comedy Awards and in 2011 became the first recipient of the Johnny Carson Award for Comedic Excellence at The Comedy Awards. Letterman was a recipient of the 2012 Kennedy Center Honors, where he was called "one of the most influential personalities in the history of television, entertaining an entire generation of late-night viewers with his unconventional wit and charm." On May 16, 2017, Letterman was named the next recipient of the Mark Twain Prize for American Humor, the award granted annually by the John F. Kennedy Center for the Performing Arts. He received the prize in a ceremony on October 22, 2017. References Further reading , "Book Review: The Legacy of David Letterman, Icon of the Grizzled Generation" by Tom Carson, The New York Times'', April 10, 2017 External links Category:1947 births Category:Living people Category:20th-century American comedians Category:20th-century American male actors Category:21st-century American comedians Category:21st-century American male actors Category:American company founders Category:American male comedians Category:American male film actors Category:American male television actors Category:American male voice actors Category:American people of English descent Category:American people of German descent Category:American people of Scotch-Irish descent Category:American Presbyterians Category:American stand-up comedians Category:American television talk show hosts Category:Ball State University alumni Category:Comedians from Indiana Category:Daytime Emmy Award winners Category:Former Lutherans Category:IndyCar Series team owners Category:Kennedy Center honorees Category:Late night television talk show hosts Category:Male actors from Indianapolis Category:Mark Twain Prize recipients Category:Primetime Emmy Award winners Category:Rahal Letterman Lanigan Racing Category:Television anchors from Indianapolis Category:Television producers from Indiana Category:Weather presenters
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C_c719bf6109bd4d8fbb6fc87dc96d7e9e_0
David Letterman
David Michael Letterman (born April 12, 1947) is an American television host, comedian, writer, and producer. He hosted a late night television talk show for 33 years, beginning with the February 1, 1982, debut of Late Night with David Letterman on NBC, and ending with the May 20, 2015, broadcast of Late Show with David Letterman on CBS. In total, Letterman hosted 6,028 episodes of Late Night and Late Show, surpassing friend and mentor Johnny Carson as the longest-serving late night talk show host in American television history. In 1996 Letterman was ranked 45th on TV Guide's 50 Greatest TV Stars of All Time.
Post-Late Show
In the months following the end of Late Show Letterman has been seen occasionally at sports events such as the Indianapolis 500, during which he submitted to an interview with a local publication. He made a surprise appearance on stage in San Antonio, Texas when he was invited up for an extended segment during Steve Martin and Martin Short's A Very Stupid Conversation show saying "I retired, and...I have no regrets," Letterman told the crowd after walking on stage. "I was happy. I'll make actual friends. I was complacent. I was satisfied. I was content, and then a couple of days ago Donald Trump said he was running for president. I have made the biggest mistake of my life, ladies and gentlemen" and then delivering a Top Ten List roasting Donald Trump's presidential campaign followed by an on-stage conversation with Martin and Short. Cell phone recordings of the appearance were posted on YouTube by audience members and were widely reported in the media. In 2016, Letterman joined the climate change documentary show Years of Living Dangerously as one of the show's celebrity correspondents. In season two's premiere episode, Letterman traveled to India to investigate the country's efforts to expand its inadequate energy grid, power its booming economy and bring electricity for the first time to 300 million citizens. He also interviewed Indian Prime Minister Narendra Modi, and traveled to rural villages where power is a scarce luxury and explored the United States role in India's energy future. In 2017, Letterman and Alec Baldwin co-hosted The Essentials on Turner Classic Movies. Letterman and Baldwin introduced seven films for the series. Letterman has announced that in 2018 he will be hosting a six-episode series of hour-long programs on Netflix consisting of long-form interviews and field segments. The show will be entitled My Next Guest Needs No Introduction with David Letterman, with the first episode released on January 12, 2018, featuring Barack Obama. CANNOTANSWER
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David Michael Letterman (born April 12, 1947) is an American television host, comedian, writer and producer. He hosted late night television talk shows for 33 years, beginning with the February 1, 1982, debut of Late Night with David Letterman on NBC and ending with the May 20, 2015, broadcast of Late Show with David Letterman on CBS. In total, Letterman hosted 6,080 episodes of Late Night and Late Show, surpassing his friend and mentor Johnny Carson as the longest-serving late-night talk show host in American television history. In 1996, Letterman was ranked 45th on TV Guides 50 Greatest TV Stars of All Time. In 2002, The Late Show with David Letterman was ranked seventh on TV Guide's 50 Greatest TV Shows of All Time. He is also a television and film producer. His company, Worldwide Pants, produced his shows as well as The Late Late Show and several primetime comedies, the most successful of which was Everybody Loves Raymond, now in syndication and streaming. Several late-night hosts have cited Letterman's influence, including Conan O'Brien (his successor on Late Night), Stephen Colbert (his successor on The Late Show), Jimmy Fallon, Jimmy Kimmel, Jon Stewart, and Seth Meyers. Letterman currently hosts the Netflix series My Next Guest Needs No Introduction with David Letterman. Early life and career Letterman was born in Indianapolis, Indiana, in 1947, and has two sisters, one older and one younger. His father, Harry Joseph Letterman (April 15, 1915 – February 13, 1973), was a florist. His mother, Dorothy Marie Letterman Mengering (née Hofert; July 18, 1921 – April 11, 2017), a church secretary for the Second Presbyterian Church of Indianapolis, was an occasional figure on Letterman's show, usually at holidays and birthdays. Letterman grew up on the north side of Indianapolis, in the Broad Ripple area, about 12 miles from the Indianapolis Motor Speedway. He enjoyed collecting model cars, including racers. In 2000, he told an interviewer for Esquire that, while growing up, he admired his father's ability to tell jokes and be the life of the party. Harry Joseph Letterman survived a heart attack at the age of 36 when David was a young boy. The fear of losing his father was constantly with Letterman as he grew up. The elder Letterman died of a second heart attack in 1973 at the age of 57. Letterman attended his hometown's Broad Ripple High School and worked as a stock boy at the local Atlas Supermarket. According to the Ball State Daily News, he originally wanted to attend Indiana University, but his grades were not good enough, so he instead attended Ball State University in Muncie, Indiana. He is a member of the Sigma Chi fraternity, and graduated in 1969 from what was then the Department of Radio and Television. A self-described average student, Letterman later endowed a scholarship for what he called "C students" at Ball State. Though he registered for the draft and passed his physical after graduating from college, he was not drafted for service in Vietnam because he received a draft lottery number of 346 (out of 366). Letterman began his broadcasting career as an announcer and newscaster at the college's student-run radio station—WBST—a 10-watt campus station that is now part of Indiana Public Radio. He was fired for treating classical music with irreverence. He then became involved with the founding of another campus station—WAGO-AM 570 (now WCRD, 91.3). He credits Paul Dixon, host of the Paul Dixon Show, a Cincinnati-based talk show also shown in Indianapolis while he was growing up, for inspiring his choice of career: I was just out of college [in 1969], and I really didn't know what I wanted to do. And then all of a sudden I saw him doing it [on TV]. And I thought: That's really what I want to do! Weatherman Soon after graduating from Ball State in 1969, Letterman began his career as a radio talk show host on WNTS (AM) and on Indianapolis television station WLWI (which changed its call sign to WTHR in 1976) as an anchor and weatherman. He received some attention for his unpredictable on-air behavior, which included congratulating a tropical storm for being upgraded to a hurricane and predicting hailstones "the size of canned hams." He also occasionally reported the weather and the day's very high and low temps for fictitious cities ("Eight inches of snow in Bingree and surrounding areas"), on another occasion saying that the state border between Indiana and Ohio had been erased when a satellite map accidentally omitted it, attributing it to dirty political dealings. ("The higher-ups have removed the border between Indiana and Ohio, making it one giant state. Personally, I'm against it. I don't know what to do about it.") He also starred in a local kiddie show, made wisecracks as host of a late-night TV show called "Freeze-Dried Movies" (he once acted out a scene from Godzilla using plastic dinosaurs), and hosted a talk show that aired early on Saturday mornings called Clover Power, in which he interviewed 4-H members about their projects. In 1971, Letterman appeared as a pit road reporter for ABC Sports' tape-delayed coverage of the Indianapolis 500, which was his first nationally telecast appearance (WLWI was the local ABC affiliate at the time). He was initially introduced as Chris Economaki, but this was corrected at the end of the interview (Jim McKay announced his name as Dave Letterman). Letterman interviewed Mario Andretti, who had just crashed out of the race. Move to Los Angeles In 1975, encouraged by his then-wife Michelle and several of his Sigma Chi fraternity brothers, Letterman moved to Los Angeles, California, with the hope of becoming a comedy writer. He and Michelle packed their belongings in his pickup truck and headed west. As of 2012, he still owned the truck. In Los Angeles, he began performing comedy at The Comedy Store. Jimmie Walker saw him on stage; with an endorsement from George Miller, Letterman joined a group of comedians whom Walker hired to write jokes for his stand-up act, a group that at various times also included Jay Leno, Paul Mooney, Robert Schimmel, Richard Jeni, Louie Anderson, Elayne Boosler, Byron Allen, Jack Handey, and Steve Oedekerk. By the summer of 1977, Letterman was a writer and regular on the six-week summer series The Starland Vocal Band Show, broadcast on CBS. He hosted a 1977 pilot for a game show called The Riddlers (which was never picked up), and co-starred in the Barry Levinson-produced comedy special Peeping Times, which aired in January 1978. Later that year, Letterman was a cast member on Mary Tyler Moore's variety show, Mary. He made a guest appearance on Mork & Mindy (as a parody of EST leader Werner Erhard) and appearances on game shows such as The $20,000 Pyramid, The Gong Show, Hollywood Squares, Password Plus, and Liar's Club, as well as the Canadian cooking show Celebrity Cooks (November 1977), talk shows such as 90 Minutes Live (February 24 and April 14, 1978), and The Mike Douglas Show (April 3, 1979 and February 7, 1980). He was also screen tested for the lead role in the 1980 film Airplane!, a role that eventually went to Robert Hays. Letterman's brand of dry, sarcastic humor caught the attention of scouts for The Tonight Show Starring Johnny Carson, and he was soon a regular guest on the show. He became a favorite of Carson and was a regular guest host for the show beginning in 1978. Letterman credits Carson as the person who influenced his career the most. NBC Morning show On June 23, 1980, Letterman was given his own morning comedy show on NBC, The David Letterman Show. It was originally 90 minutes long but was shortened to 60 minutes in August 1980. The show was a critical success, winning two Emmy Awards, but was a ratings disappointment and was canceled, the last show airing October 24, 1980. Late Night with David Letterman NBC kept Letterman on its payroll to try him in a different time slot. Late Night with David Letterman debuted February 1, 1982; the first guest was Bill Murray. Murray went on to become one of Letterman's most recurrent guests, guesting on his later CBS show's celebration of his 30th anniversary in late-night television, which aired January 31, 2012, and on the final CBS show, which aired May 20, 2015. The show ran Monday through Thursday nights at 12:30 a.m. Eastern Time, immediately following The Tonight Show Starring Johnny Carson (a Friday night broadcast was added in June 1987). It was seen as edgy and unpredictable, and soon developed a cult following (particularly among college students). Letterman's reputation as an acerbic interviewer was borne out in verbal sparring matches with Cher (who even called him an "asshole" on the show), Shirley MacLaine, Charles Grodin, and Madonna. The show also featured comedy segments and running characters, in a style heavily influenced by the 1950s and 1960s programs of Steve Allen. The show often featured quirky, genre-mocking regular features, including "Stupid Pet Tricks" (which had its origins on Letterman's morning show), Stupid Human Tricks, dropping various objects off the roof of a five-story building, demonstrations of unorthodox clothing (such as suits made of Alka-Seltzer, Velcro and suet), a recurring Top 10 list, the Monkey-Cam (and the Audience Cam), a facetious letter-answering segment, several "Film[s] by My Dog Bob" in which a camera was mounted on Letterman's own dog (often with comic results) and Small Town News, all of which moved with Letterman to CBS. Other episodes included Letterman using a bullhorn to interrupt a live interview on The Today Show on August 19, 1985, announcing that he was the NBC News president Lawrence K. Grossman and that he was not wearing any pants; walking across the hall to Studio 6B, at the time the news studio for WNBC-TV, and interrupting Al Roker's weather segments during Live at Five; and staging "elevator races", complete with commentary by NBC Sports' Bob Costas. In one appearance, in 1982, Andy Kaufman (who was wearing a neck brace) appeared with professional wrestler Jerry Lawler, who slapped and knocked the comedian to the ground (Lawler and Kaufman's friend Bob Zmuda later revealed that the incident was staged). CBS Late Show with David Letterman In 1992, Johnny Carson retired and many fans believed that Letterman would become host of The Tonight Show. When NBC instead gave the job to Jay Leno, Letterman departed NBC to host his own late-night show on CBS, opposite The Tonight Show at 11:30 p.m., called the Late Show with David Letterman. The new show debuted on August 30, 1993, and was taped at the historic Ed Sullivan Theater, where Ed Sullivan broadcast his eponymous variety series from 1948 to 1971. For Letterman's arrival, CBS spent $8 million in renovations. CBS also signed Letterman to a three-year, $14 million/year contract, doubling his Late Night salary. But while the expectation was that Letterman would retain his unique style and sense of humor with the move, Late Show was not an exact replica of his old NBC program. The monologue was lengthened. Paul Shaffer and the World's Most Dangerous Band followed Letterman to CBS, but they added a brass section and were rebranded the CBS Orchestra (at Shaffer's request); a small band had been mandated by Carson while Letterman occupied the 12:30 slot. Additionally, because of intellectual property disagreements, Letterman was unable to import many of his Late Night segments verbatim, but he sidestepped this problem by simply renaming them (the "Top Ten List" became the "Late Show Top Ten", "Viewer Mail" became the "CBS Mailbag", etc.). Time magazine wrote, "Letterman's innovation ... gained power from its rigorous formalism"; as his biographer Jason Zinoman puts it, he was "a fascinatingly disgruntled eccentric trapped inside a more traditional talk show." Popularity The Late Show's main competitor was NBC's The Tonight Show, which Jay Leno hosted for 22 years from 1992 to 2014, except from June 1, 2009, to January 22, 2010, when Conan O'Brien hosted. In 1993 and 1994, the Late Show consistently gained higher ratings than The Tonight Show. But in 1995, ratings dipped and Leno's show consistently beat Letterman's in the ratings from the time that Hugh Grant came on Leno's show after Grant's arrest for soliciting a prostitute. Leno typically attracted about five million nightly viewers between 1999 and 2009. The Late Show lost nearly half its audience during its competition with Leno, attracting 7.1 million viewers nightly in its 1993–94 season and about 3.8 million per night as of Leno's departure in 2009. In the final months of his first stint as host of The Tonight Show, Leno beat Letterman in the ratings by a 1.3 million-viewer margin (5.2 million to 3.9 million), and Nightline and the Late Show were virtually tied. Once O'Brien took over Tonight, Letterman closed the gap in the ratings. O'Brien initially drove the median age of Tonight Show viewers from 55 to 45, with most older viewers opting to watch the Late Show instead. After Leno returned to The Tonight Show, Leno regained his lead. Letterman's shows have garnered both critical and industry praise, receiving 67 Emmy Award nominations, winning 12 times in his first 20 years in late night television. From 1993 to 2009, Letterman ranked higher than Leno in the annual Harris Poll of Nation's Favorite TV Personality 12 times. For example, in 2003 and 2004 Letterman ranked second in that poll, behind only Oprah Winfrey, a year that Leno was ranked fifth. Leno was higher than Letterman on that poll three times during the same period, in 1998, 2007, and 2008. Hosting the Academy Awards On March 27, 1995, Letterman hosted the 67th Academy Awards ceremony. Critics blasted what they deemed his poor performance, noting that his irreverent style undermined the traditional importance and glamor of the event. In a joke about their unusual names (inspired by a celebrated comic essay in The New Yorker, "Yma Dream" by Thomas Meehan), he started off by introducing Uma Thurman to Oprah Winfrey, and then both of them to Keanu Reeves: "Oprah...Uma. Uma...Oprah," "Have you kids met Keanu?" This and many of his other jokes fell flat. Although Letterman attracted the highest ratings to the annual telecast since 1983, many felt that the bad publicity he generated caused a decline in the Late Shows ratings. Letterman recycled the apparent debacle into a long-running gag. On his first show after the Oscars, he joked, "Looking back, I had no idea that thing was being televised." He lampooned his stint two years later, during Billy Crystal's opening Oscar skit, which also parodied the plane-crashing scenes from that year's chief nominated film, The English Patient. For years afterward, Letterman recounted his hosting the Oscars, although the Academy of Motion Picture Arts and Sciences continued to hold Letterman in high regard and invited him to host the Oscars again. On September 7, 2010, he made an appearance on the premiere of the 14th season of The View, and confirmed that he had been considered for hosting again. Heart surgery hiatus On January 14, 2000, a routine check-up revealed that an artery in Letterman's heart was severely obstructed. He was rushed to emergency surgery for a quintuple bypass at New York Presbyterian Hospital. During the initial weeks of his recovery, reruns of the Late Show were shown and introduced by friends of Letterman including Norm Macdonald, Drew Barrymore, Ray Romano, Robin Williams, Bonnie Hunt, Megan Mullally, Bill Murray, Regis Philbin, Charles Grodin, Nathan Lane, Julia Roberts, Bruce Willis, Jerry Seinfeld, Martin Short, Steven Seagal, Hillary Clinton, Danny DeVito, Steve Martin, and Sarah Jessica Parker. Subsequently, while still recovering from surgery, Letterman revived the late-night talk show tradition of "guest hosts" that had virtually disappeared on network television during the 1990s, allowing Bill Cosby, Kathie Lee Gifford, Dana Carvey, Janeane Garofalo, and others to host new episodes of the Late Show. Upon his return to the show on February 21, 2000, Letterman brought all but one of the doctors and nurses on stage who had participated in his surgery and recovery (with extra teasing of a nurse who had given him bed baths—"This woman gave me a bath!"), including Dr. O. Wayne Isom and physician Louis Aronne, who frequently appeared on the show. In a show of emotion, Letterman was nearly in tears as he thanked the health care team with the words "These are the people who saved my life!" The episode earned an Emmy nomination. For a number of episodes, Letterman continued to crack jokes about his bypass, including saying, "Bypass surgery: it's when doctors surgically create new blood flow to your heart. A bypass is what happened to me when I didn't get The Tonight Show! It's a whole different thing." In a later running gag, he lobbied Indiana to rename the freeway circling Indianapolis (I-465) "The David Letterman Bypass". He also featured a montage of faux news coverage of his bypass surgery, which included a clip of Letterman's heart for sale on the Home Shopping Network. Letterman became friends with his doctors and nurses. In 2008, a Rolling Stone interview stated he hosted a doctor and nurse who'd helped perform the emergency quintuple-bypass heart surgery that saved his life in 2000. 'These are people who were complete strangers when they opened my chest,' he says. 'And now, eight years later, they're among my best friends.' Additionally, Letterman invited the band Foo Fighters to play "Everlong", introducing them as "my favorite band, playing my favorite song." During Letterman's last show, on which Foo Fighters appeared, Letterman said that Foo Fighters had been in the middle of a South American tour which they canceled to come play on his comeback episode. Letterman again handed over the reins of the show to several guest hosts (including Bill Cosby, Brad Garrett, Whoopi Goldberg, Elvis Costello, John McEnroe, Vince Vaughn, Will Ferrell, Bonnie Hunt, Luke Wilson, and bandleader Paul Shaffer) in February 2003, when he was diagnosed with a severe case of shingles. Later that year, Letterman made regular use of guest hosts—including Tom Arnold and Kelsey Grammer—for new shows broadcast on Fridays. In March 2007, Adam Sandler, who had been scheduled to be the lead guest, served as a guest host while Letterman was ill with a stomach virus. Re-signing with CBS In March 2002, as Letterman's contract with CBS neared expiration, ABC offered him the time slot for long-running news program Nightline with Ted Koppel. Letterman was interested, as he believed he could never match Leno's ratings at CBS due to Letterman's complaint of weaker lead-ins from the network's late local news programs, but was reluctant to replace Koppel. He addressed his decision to re-sign on the air, stating that he was content at CBS and that he had great respect for Koppel. On December 4, 2006, CBS revealed that Letterman signed a new contract to host Late Show with David Letterman through the fall of 2010. "I'm thrilled to be continuing on at CBS," said Letterman. "At my age you really don't want to have to learn a new commute." Letterman further joked about the subject by pulling up his right pants leg, revealing a tattoo, presumably temporary, of the ABC logo. "Thirteen years ago, David Letterman put CBS late night on the map and in the process became one of the defining icons of our network," said Leslie Moonves, president and CEO of CBS Corporation. "His presence on our air is an ongoing source of pride, and the creativity and imagination that the Late Show puts forth every night is an ongoing display of the highest quality entertainment. We are truly honored that one of the most revered and talented entertainers of our time will continue to call CBS 'home.'" According to a 2007 article in Forbes magazine, Letterman earned $40 million a year. A 2009 article in The New York Times, however, said his salary was estimated at $32 million. In June 2009, Letterman's Worldwide Pants and CBS reached an agreement to continue the Late Show until at least August 2012. The previous contract had been set to expire in 2010, and the two-year extension was shorter than the typical three-year contract period negotiated in the past. Worldwide Pants agreed to lower its fee for the show, though it had remained a "solid moneymaker for CBS" under the previous contract. On the February 3, 2011 edition of the Late Show, during an interview with Howard Stern, Letterman said he would continue to do his talk show for "maybe two years, I think." In April 2012, CBS announced it had extended its contract with Letterman through 2014. His contract was subsequently extended to 2015. Retirement from Late Show During the taping of his show on April 3, 2014, Letterman announced that he had informed CBS president Leslie Moonves that he would retire from hosting Late Show by May 20, 2015. Later in his retirement Letterman occasionally stated, in jest, that he had been fired. It was announced soon after that comedian and political satirist Stephen Colbert would succeed Letterman. Letterman's last episode aired on May 20, 2015, and opened with a presidential sendoff featuring four of the five living American presidents, George H. W. Bush, Bill Clinton, George W. Bush, and Barack Obama, each mimicking the late president Gerald Ford's statement "Our long national nightmare is over." It also featured cameos from The Simpsons and Wheel of Fortune (the latter with a puzzle saying "Good riddance to David Letterman"), a Top Ten List of "things I wish I could have said to David Letterman" performed by regular guests including Alec Baldwin, Barbara Walters, Steve Martin, Jerry Seinfeld, Jim Carrey, Chris Rock, Julia Louis-Dreyfus, Peyton Manning, Tina Fey, and Bill Murray, and closed with a montage of scenes from both his CBS and NBC series set to a live performance of "Everlong" by Foo Fighters. The final episode of Late Show with David Letterman was watched by 13.76 million viewers in the United States with an audience share of 9.3/24, earning the show its highest ratings since following the 1994 Winter Olympics on February 25, 1994, and the show's highest demo numbers (4.1 in adults 25–54 and 3.1 in adults 18–49) since Oprah Winfrey's first Late Show appearance following the ending of her feud with Letterman on December 1, 2005. Bill Murray, who had been his first guest on Late Night, was his final guest on Late Show. In a rarity for a late-night show, it was also the highest-rated program on network television that night, beating out all prime-time shows. In total, Letterman hosted 6,080 episodes of Late Night and Late Show, surpassing friend and mentor Johnny Carson as the longest-serving late-night talk show host in U.S. television history. Post-Late Show In the months following the end of Late Show, Letterman was seen occasionally at sports events such as the Indianapolis 500, during which he submitted to an interview with a local publication. He made a surprise appearance on stage in San Antonio, Texas when he was invited up for an extended segment during Steve Martin's and Martin Short's A Very Stupid Conversation show, saying "I retired, and...I have no regrets," Letterman told the crowd after walking on stage. "I was happy. I'll make actual friends. I was complacent. I was satisfied. I was content, and then a couple of days ago Donald Trump said he was running for president. I have made the biggest mistake of my life, ladies and gentlemen" and then delivering a Top Ten List roasting Trump's presidential campaign followed by an onstage conversation with Martin and Short. Cellphone recordings of the appearance were posted on YouTube by audience members and widely reported in the media. In 2016, Letterman joined the climate change documentary show Years of Living Dangerously as one of its celebrity correspondents. In season two's premiere episode, Letterman traveled to India to investigate the country's efforts to expand its inadequate energy grid, power its booming economy, and bring electricity to 300 million citizens for the first time. He also interviewed Indian Prime Minister Narendra Modi and traveled to rural villages where power is a scarce luxury and explored the United States' role in India's energy future. On April 7, 2017, Letterman gave the induction speech for the band Pearl Jam into the Rock & Roll Hall Of Fame at a ceremony held at the Barclays Center in Brooklyn, New York City. Also in 2017, Letterman and Alec Baldwin co-hosted The Essentials on Turner Classic Movies. Letterman and Baldwin introduced seven films for the series. Netflix In 2018, Letterman began hosting a six-episode monthly series of hour-long programs on Netflix consisting of long-form interviews and field segments. The show, My Next Guest Needs No Introduction with David Letterman, premiered January 12, 2018 with Barack Obama as its first guest. The second season premiered on May 31, 2019. Season 3 premiered on October 21, 2020, and includes Kim Kardashian West, Robert Downey Jr., Dave Chappelle and Lizzo as guests. Season 4 premiered on May 20, 2022, with Billie Eilish as the first guest. In October 2022, Letterman traveled to Kyiv, Ukraine, to film a special standalone episode of My Next Guest Needs No Introduction with David Letterman, interviewing Ukrainian president Volodymyr Zelenskyy. Notable exchanges and incidents NBC and Johnny Carson In spite of Johnny Carson's clear intention to pass his title to Letterman, NBC selected Jay Leno to host The Tonight Show after Carson's departure. Letterman maintained a close relationship with Carson through his break with NBC. Three years after he left for CBS, HBO produced a made-for-television movie called The Late Shift, based on a book by The New York Times reporter Bill Carter, chronicling the battle between Letterman and Leno for the Tonight Show hosting spot. Carson later made a few cameo appearances as a guest on Letterman's show. Carson's final television appearance was on May 13, 1994, on a Late Show episode taped in Los Angeles, when he made a surprise appearance during a Top 10 list segment. In early 2005, it was revealed that Carson occasionally sent jokes to Letterman, who used them in his monologue; according to CBS senior vice president Peter Lassally (a onetime producer for both men), Carson got "a big kick out of it." Letterman would do a characteristic Carson golf swing after delivering one of his jokes. In a tribute to Carson, all the opening monologue jokes during the first show after Carson's death were by Carson. Lassally also claimed that Carson had always believed Letterman, not Leno, to be his "rightful successor". During the early years of the Late Shows run, Letterman occasionally used some of Carson's trademark bits, including "Carnac the Magnificent" (with Paul Shaffer as Carnac), "Stump the Band", and the "Week in Review". Oprah Winfrey Oprah Winfrey appeared on Letterman's show when he was hosting NBC's Late Night on May 2, 1989. After that appearance, the two had a 16-year feud that arose, as Winfrey explained to Letterman after it had been resolved, as a result of the acerbic tone of their 1989 interview, of which she said that it "felt so uncomfortable to me that I didn't want to have that experience again". The feud apparently ended on December 2, 2005, when Winfrey appeared on CBS's Late Show with David Letterman in an event Letterman jokingly called "the Super Bowl of Love". Winfrey and Letterman also appeared together in a Late Show promo aired during CBS's coverage of Super Bowl XLI in February 2007, with the two sitting next to each other on a couch watching the game. Since the game was played between the Indianapolis Colts and Chicago Bears, the Indianapolis-born Letterman wore a Peyton Manning jersey, while Winfrey, whose show was taped in Chicago, wore a Brian Urlacher jersey. On September 10, 2007, Letterman made his first appearance on The Oprah Winfrey Show at Madison Square Garden in New York City. Three years later, during CBS's coverage of Super Bowl XLIV between the Colts and the New Orleans Saints, the two appeared again in a Late Show promo, this time with Winfrey sitting on a couch between Letterman and Leno. Letterman wore the retired 70 jersey of Art Donovan, a member of the Colts' Hall of Fame and a regular Letterman guest. The appearance was Letterman's idea: Leno flew to New York City on an NBC corporate jet, sneaking into the Ed Sullivan Theater during the Late Shows February 4 taping wearing a disguise and meeting Winfrey and Letterman at a living room set created in the theater's balcony, where they taped their promo. Winfrey interviewed Letterman in January 2013 on Oprah's Next Chapter. They discussed their feud and Winfrey revealed that she had had a "terrible experience" while appearing on Letterman's show years earlier. Letterman could not recall the incident but apologized. 2007–2008 writers' strike Late Show went off air for eight weeks in 2007 during November and December because of the Writers Guild of America strike. Letterman's production company, Worldwide Pants, was the first company to make an individual agreement with the WGA, allowing his show to come back on the air on January 2, 2008. In his first episode back, he surprised the audience with a newly grown beard, which signified solidarity with the strike. His beard was shaved off during the show on January 7, 2008. Palin joke On June 8 and 9, 2009, Letterman told two sexually themed jokes about a daughter (never named) of Sarah Palin on his TV show. These included a statutory rape joke about Palin's then 14-year-old daughter, Willow, and MLB player Alex Rodriguez. Palin was in New York City at the time with Willow, and none of her other children were at the game. Some contemporaries questioned the racial connotations of joking about a Latino player of Dominican descent committing statutory rape. In a statement posted on the Internet, Palin said, "I doubt [Letterman would] ever dare make such comments about anyone else's daughter" and that "laughter incited by sexually perverted comments made by a 62-year-old male celebrity aimed at a 14-year-old girl is disgusting." On his June 10 show, Letterman responded to the controversy, saying the jokes were meant to be about Palin's 18-year-old daughter, Bristol, whose pregnancy as an unmarried teenager had caused some controversy during the United States presidential election of 2008. "These are not jokes made about [Palin's] 14-year-old daughter ... I would never, never make jokes about raping or having sex of any description with a 14-year-old girl." His remarks did not end public criticism. The National Organization for Women (NOW) released a statement supporting Palin, noting that Letterman had made "[only] something of an apology." When the controversy failed to subside, Letterman addressed the issue again on his June 15 show, faulting himself for the error and apologizing "especially to the two daughters involved, Bristol and Willow, and also to the governor and her family and everybody else who was outraged by the joke." Rodriguez demanded an apology for implying that he was a child molester. Letterman never specifically apologized to Rodriguez. Al-Qaeda death threat On August 17, 2011, it was reported that an Islamist militant had posted a death threat against Letterman on a website frequented by Al-Qaeda supporters, calling on American Muslims to kill him for making a joke about the death of Ilyas Kashmiri, an Al-Qaeda leader who was killed in a June 2011 drone strike in Pakistan. In his August 22 show, Letterman joked about the threat, saying "State Department authorities are looking into this. They're not taking this lightly. They're looking into it. They're questioning, they're interrogating, there's an electronic trail—but everybody knows it's Leno." Appearances in other media Letterman appeared in the pilot episode of the short-lived 1986 series Coach Toast, and appears with a bag over his head as a guest on Bonnie Hunt's 1990s sitcom The Building. He appeared in The Simpsons as himself in a couch gag when the Simpsons find themselves (and the couch) in Late Night with David Letterman. He had a cameo in the feature film Cabin Boy, with Chris Elliott, who worked as a writer for Letterman. In this and other appearances, Letterman is listed in the credits as "Earl Hofert", the name of Letterman's maternal grandfather. He also appeared as himself in the Howard Stern biographical film Private Parts and the 1999 Andy Kaufman biopic Man on the Moon, in a few episodes of Garry Shandling's 1990s TV series The Larry Sanders Show, and in "The Abstinence", a 1996 episode of the sitcom Seinfeld. Letterman provided vocals for the Warren Zevon song "Hit Somebody" from My Ride's Here, and provided the voice for Butt-head's father in the 1996 animated film Beavis and Butt-Head Do America, again credited as Earl Hofert. Letterman was the focus of The Avengers on "Late Night with David Letterman", issue 239 (January 1984) of the Marvel comic book series The Avengers, in which the title characters (specifically Hawkeye, Wonder Man, Black Widow, Beast, and Black Panther) are guests on Late Night. A parody of Letterman named David Endochrine is gassed to death along with his bandleader, Paul, and their audience in Frank Miller's The Dark Knight Returns. In SWAT Kats: The Radical Squadron, Letterman was parodied as "David Litterbin". Letterman appears in issues 13–14 and 18 of Harvey Pekar's autobiographical comic book American Splendor. Those issues show Pekar's accounts of appearances on Late Night. In 2010, a documentary directed by Joke Fincioen and Biagio Messina, Dying to do Letterman, was released, featuring Steve Mazan, a standup comic, who has cancer and wants to appear on Letterman's show. The film won best documentary and jury awards at the Cinequest Film Festival. Mazan published a book of the same name (full title Dying to Do Letterman: Turning Someday into Today) about his own saga. Letterman appeared as a guest on CNN's Piers Morgan Tonight on May 29, 2012, when he was interviewed by Regis Philbin, the guest host and Letterman's longtime friend. Philbin again interviewed Letterman (and Shaffer) while guest-hosting CBS's The Late Late Show (between the tenures of Craig Ferguson and James Corden) on January 27, 2015. In June 2013, Letterman appeared in the second episode of season two of Comedians in Cars Getting Coffee. On November 5, 2013, he and Bruce McCall published a fiction satire book, This Land Was Made for You and Me (But Mostly Me), . In Week 13 of the 2021 NFL season, Letterman joined Peyton and Eli Manning on their Manningcast feed of the Monday Night Football game between the New England Patriots and Buffalo Bills. Letterman mocked Bill Belichick after he was caught on camera wiping his nose with his shirt and was in the middle of recalling being with Roger Goodell when Goodell was booed at the unveiling of Peyton Manning's statue in Indianapolis when ESPN suddenly cut to commercials. On February 1, 2022, Letterman was the guest on Late Night with Seth Meyers, marking the 40th anniversary of the franchise's debut. Business ventures Letterman started his production company, Worldwide Pants Incorporated, which produced his show and several others, in 1991. The company also produces feature films and documentaries and founded its own record label, Clear Entertainment. Worldwide Pants received significant attention in December 2007 after it was announced that it had independently negotiated its own contract with the Writers Guild of America, East, thus allowing Letterman, Craig Ferguson, and their writers to return to work, while the union continued its strike against production companies, networks, and studios with whom it had not yet reached agreements. Letterman, Bobby Rahal, and Mike Lanigan co-own Rahal Letterman Lanigan Racing, an auto racing team competing in the WeatherTech SportsCar Championship and NTT IndyCar series. The team has twice won the Indianapolis 500: in 2004 with driver Buddy Rice, and in 2020 with Takuma Sato. The Letterman Foundation for Courtesy and Grooming is a private foundation through which Letterman has donated millions of dollars to charities and other nonprofit organizations in Indiana and Montana, celebrity-affiliated organizations such as Paul Newman's Hole in the Wall Gang Camp, Ball State University, the American Cancer Society, the Salvation Army, and Médecins Sans Frontières. Influences Letterman's biggest influence and mentor was Johnny Carson. Other comedians who influenced Letterman were Paul Dixon, Steve Allen, Jonathan Winters, Garry Moore, Jack Paar, Don Rickles, and David Brenner. Although Ernie Kovacs has also been mentioned as an influence, Letterman has denied this. Comedians influenced by Letterman include Conan O'Brien, Jon Stewart, Stephen Colbert, Ray Romano, Jimmy Kimmel, Jay Leno, Arsenio Hall, Larry Wilmore, Seth Meyers, Norm Macdonald, Jimmy Fallon, John Oliver, and James Corden. Personal life Letterman has tinnitus, a symptom of hearing loss. On the Late Show in 1996, he talked about his experience with tinnitus during an interview with William Shatner, who has severe tinnitus caused by an on-set explosion. Letterman has said that he was initially unable to pinpoint the noise inside his head and that he hears a constant ringing in his ears. Letterman no longer drinks alcohol. On more than one occasion, he said that he had once been a "horrible alcoholic" and had begun drinking around the age of 13 and continued until 1981 when he was 34. He has said that in 1981, "I was drunk 80% of the time ... I loved it. I was one of those guys, I looked around, and everyone else had stopped drinking and I couldn't understand why." When he was shown drinking what appears to be alcohol on Late Night or the Late Show, it was actually apple juice. In 2015, Letterman said of his anxiety: "For years and years and years—30, 40 years—I was anxious and hypochondriacal and an alcoholic, and many, many other things that made me different from other people." He became calmer through a combination of Transcendental Meditation and low doses of medication. Letterman is a Presbyterian, a religious tradition he was originally brought up in by his mother, though he once said he was motivated by "Lutheran, Midwestern guilt". In August 2021, Letterman was hospitalized in Providence, Rhode Island, after hitting his head on the sidewalk and falling unconscious. He favorably recalled the care he received at Rhode Island Hospital in a video released by the hospital's owner. Marriages, relationships, and family On July 2, 1968, Letterman married his college sweetheart, Michelle Cook, in Muncie, Indiana; they divorced by October 1977. He also had a long-term cohabiting relationship with the former head writer and producer on Late Night, Merrill Markoe, from 1978 to 1988. Markoe created several Late Night staples, such as "Stupid Pet/Human Tricks". Time magazine wrote that theirs was the defining relationship of Letterman's career, with Markoe also acting as his writing partner. She "put the surrealism in Letterman's comedy." Letterman and Regina Lasko started dating in February 1986, while he was still living with Markoe. Lasko gave birth to their son, Harry Joseph Letterman, on November 3, 2003. Harry is named after Letterman's father. In 2005, police discovered a plot to kidnap Letterman's son and demand a $5 million ransom. Kelly Frank, a house painter who had worked for Letterman, was charged in the conspiracy. Letterman and Lasko wed on March 19, 2009, in a quiet courthouse civil ceremony in Choteau, Montana, where he had purchased a ranch in 1999. Letterman announced the marriage during the taping of his show of March 23, shortly after congratulating Bruce Willis on his marriage the week before. Letterman told the audience he nearly missed the ceremony because his truck became stuck in mud two miles from their house. The family resides in North Salem, New York, on a estate. Extortion attempt and revelation of affairs On October 1, 2009, Letterman announced on his show that he had been the victim of a blackmail attempt by a person threatening to reveal his sexual relationships with several of his female employees—a fact Letterman immediately thereafter confirmed. He said that someone had left a package in his car with material he said he would write into a screenplay and a book if Letterman did not pay him $2 million. Letterman said that he contacted the Manhattan District Attorney's office and partook in a sting operation that involved the handover of a fake check to the extortionist. Joe Halderman, a producer of the CBS news magazine television series 48 Hours, was arrested around noon (EST) on October 1, 2009, after trying to deposit the check. He was indicted by a Manhattan grand jury following testimony from Letterman and pleaded not guilty to a charge of attempted grand larceny on October 2, 2009. Halderman pleaded guilty in March 2010 and was sentenced to six months in prison, followed by probation and community service. A central figure in the case and one of the women with whom Letterman had had a sexual relationship was his longtime personal assistant Stephanie Birkitt, who often appeared on the show. She had also worked for 48 Hours. Until a month before the revelations, she had shared a residence with Halderman, who allegedly had copied her personal diary and used it, along with private emails, in the blackmail package. In the days following the initial announcement of the affairs and the arrest, several prominent women, including Kathie Lee Gifford, co-host of NBC's Today Show, and NBC news anchor Ann Curry, questioned whether Letterman's affairs with subordinates created an unfair working environment. A spokesman for Worldwide Pants said that the company's sexual harassment policy did not prohibit sexual relationships between managers and employees. According to business news reporter Eve Tahmincioglu, "CBS suppliers are supposed to follow the company's business conduct policies" and the CBS 2008 Business Conduct Statement states that "If a consenting romantic or sexual relationship between a supervisor and a direct or indirect subordinate should develop, CBS requires the supervisor to disclose this information to his or her Company's Human Resources Department". On October 3, 2009, a former CBS employee, Holly Hester, announced that she and Letterman had engaged in a yearlong secret affair in the early 1990s while she was his intern and a student at New York University. On October 5, 2009, Letterman devoted a segment of his show to a public apology to his wife and staff. Three days later, Worldwide Pants announced that Birkitt had been placed on a "paid leave of absence" from the Late Show. On October 15, CBS News announced that the company's chief investigative correspondent, Armen Keteyian, had been assigned to conduct an "in-depth investigation" into Letterman. Stalkers Beginning in May 1988, Letterman was stalked by Margaret Mary Ray, a woman with schizophrenia. She stole his Porsche, camped out on his tennis court, and repeatedly broke into his house. Her exploits drew national attention, with Letterman occasionally joking about her on his show, though he never named her. After she died by suicide at age 46 in October 1998, Letterman told The New York Times that he had great compassion for her. A spokesperson for Letterman said: "This is a sad ending to a confused life." In 2005, another person was able to obtain a restraining order from a New Mexico judge, prohibiting Letterman from contacting her. She claimed he had sent her coded messages via his television program, causing her bankruptcy and emotional distress.Judge Daniel Sanchez's restraining order, from the Volokh Conspiracy accessed 15 June 2019 Law professor Eugene Volokh called the case "patently frivolous". Interests Letterman is a car enthusiast and owns an extensive collection. In 2012, it was reported that the collection consisted of ten Ferraris, eight Porsches, four Austin-Healeys, two Honda motorcycles, a Chevy pickup, and one car each from automakers Mercedes-Benz, Jaguar, MG, Volvo, and Pontiac. In his 2013 appearance on Comedians in Cars Getting Coffee, part of Jerry Seinfeld's conversation with Letterman was filmed in Letterman's 1995 Volvo 960 station wagon, which is powered by a 380-horsepower racing engine. Paul Newman had the car built for Letterman. Letterman shares a close relationship with the rock and roll band Foo Fighters since its appearance on his first show upon his return from heart surgery. The band appeared many times on the Late Show, including a week-long stint in October 2014. While introducing the band's performance of "Miracle" on the show of October 17, 2014, Letterman told the story of how a souvenir video of himself and his four-year-old son learning to ski used the song as background music, unbeknownst to Letterman until he saw it. He stated: "This is the second song of theirs that will always have great, great meaning for me for the rest of my life". This was the first time the band had heard this story. Worldwide Pants co-produced Dave Grohl's Sonic Highways TV series. "Letterman was the first person to get behind this project," Grohl said. Filmography Film Documentary feature films Television Awards, honors and legacyDavid Letterman Communication and Media BuildingOn September 7, 2007, Letterman visited his alma mater, Ball State University in Muncie, Indiana, for the dedication of a communications facility named in his honor for his dedication to the university. The $21 million, David Letterman Communication and Media Building opened for the 2007 fall semester. Thousands of Ball State students, faculty, and local residents welcomed Letterman back to Indiana. Letterman's emotional speech touched on his struggles as a college student and his late father, and also included the "top ten good things about having your name on a building", finishing with "if reasonable people can put my name on a $21 million building, anything is possible." Over many years Letterman "has provided substantial assistance to [Ball State's] Department of Telecommunications, including an annual scholarship that bears his name." At the same time, Indiana Governor Mitch Daniels gave Letterman a Sagamore of the Wabash award, which recognizes distinguished service to the state of Indiana.Awards and nominations''' In his capacities as a performer, producer, or as part of a writing team, Letterman is among the most nominated people in the history of the Emmy Awards, with 52 nominations, winning two Daytime Emmys and ten Primetime Emmys since 1981. He won four American Comedy Awards and in 2011 became the first recipient of the Johnny Carson Award for Comedic Excellence at The Comedy Awards. Letterman was a recipient of the 2012 Kennedy Center Honors, where he was called "one of the most influential personalities in the history of television, entertaining an entire generation of late-night viewers with his unconventional wit and charm." On May 16, 2017, Letterman was named the next recipient of the Mark Twain Prize for American Humor, the award granted annually by the John F. Kennedy Center for the Performing Arts. He received the prize in a ceremony on October 22, 2017. References Further reading , "Book Review: The Legacy of David Letterman, Icon of the Grizzled Generation" by Tom Carson, The New York Times'', April 10, 2017 External links Category:1947 births Category:Living people Category:20th-century American comedians Category:20th-century American male actors Category:21st-century American comedians Category:21st-century American male actors Category:American company founders Category:American male comedians Category:American male film actors Category:American male television actors Category:American male voice actors Category:American people of English descent Category:American people of German descent Category:American people of Scotch-Irish descent Category:American Presbyterians Category:American stand-up comedians Category:American television talk show hosts Category:Ball State University alumni Category:Comedians from Indiana Category:Daytime Emmy Award winners Category:Former Lutherans Category:IndyCar Series team owners Category:Kennedy Center honorees Category:Late night television talk show hosts Category:Male actors from Indianapolis Category:Mark Twain Prize recipients Category:Primetime Emmy Award winners Category:Rahal Letterman Lanigan Racing Category:Television anchors from Indianapolis Category:Television producers from Indiana Category:Weather presenters
[]
[ "The text does not provide information on what year David Letterman left his late show.", "After leaving the Late Show, David Letterman has been seen at sports events like the Indianapolis 500 and made a surprise stage appearance in San Antonio, Texas during Steve Martin and Martin Short's show \"A Very Stupid Conversation\". He also joined the climate change documentary show Years of Living Dangerously as a celebrity correspondent. In 2017, he co-hosted The Essentials on Turner Classic Movies with Alec Baldwin. Letterman has also announced that he will be hosting a six-episode series of hour-long programs on Netflix called \"My Next Guest Needs No Introduction with David Letterman,\" with the first episode being released on January 12, 2018, featuring Barack Obama.", "During his surprise stage appearance, he joked about having made the biggest mistake of his life by retiring just before Donald Trump announced his presidential campaign, suggesting he missed the opportunity to comment on it in his show. In the climate change documentary show 'Years of Living Dangerously', he traveled to India to investigate the country's efforts to expand its energy grid and interviewed Indian Prime Minister Narendra Modi. Further details about the contents of the interviews are not provided in the text.", "Yes, apart from attending sports events, David Letterman made a surprise appearance on stage in San Antonio, Texas during Steve Martin and Martin Short's show. He joined the climate change documentary show 'Years of Living Dangerously' as a celebrity correspondent, where he traveled to India to investigate the country's efforts to expand its energy grid and interviewed Indian Prime Minister Narendra Modi. He co-hosted 'The Essentials' on Turner Classic Movies with Alec Baldwin in 2017. He also announced that he will host a six-episode series of hour-long programs on Netflix called 'My Next Guest Needs No Introduction with David Letterman'." ]
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C_ef04d80b9a0b49f0b90a76ed303c6acb_1
John Updike
John Hoyer Updike (March 18, 1932 - January 27, 2009) was an American novelist, poet, short story writer, art critic, and literary critic. One of only three writers to win the Pulitzer Prize for Fiction more than once (the others were Booth Tarkington and William Faulkner), Updike published more than twenty novels, more than a dozen short-story collections, as well as poetry, art and literary criticism and children's books during his career.
Early life and education
Updike was born in Reading, Pennsylvania, the only child of Linda Grace (nee Hoyer) and Wesley Russell Updike, and was raised in the nearby small town of Shillington. The family later moved to the unincorporated village of Plowville. His mother's attempts to become a published writer impressed the young Updike. "One of my earliest memories", he later recalled, "is of seeing her at her desk... I admired the writer's equipment, the typewriter eraser, the boxes of clean paper. And I remember the brown envelopes that stories would go off in--and come back in." These early years in Berks County, Pennsylvania, would influence the environment of the Rabbit Angstrom tetralogy, as well as many of his early novels and short stories. Updike graduated from Shillington High School as co-valedictorian and class president in 1950 and received a full scholarship to Harvard College, where he was the roommate of Christopher Lasch during their freshman year. Updike had already received recognition for his writing as a teenager by winning a Scholastic Art & Writing Award, and at Harvard he soon became well known among his classmates as a talented and prolific contributor to The Harvard Lampoon, of which he served as president. He graduated summa cum laude in 1954 with a degree in English and was elected to Phi Beta Kappa Society. Upon graduation, Updike attended the Ruskin School of Drawing and Fine Art at the University of Oxford with the ambition of becoming a cartoonist. After returning to the United States, Updike and his family moved to New York, where he became a regular contributor to The New Yorker. This was the beginning of his professional writing career. CANNOTANSWER
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John Hoyer Updike (March 18, 1932 – January 27, 2009) was an American novelist, poet, short-story writer, art critic, and literary critic. One of only four writers to win the Pulitzer Prize for Fiction more than once (the others being Booth Tarkington, William Faulkner, and Colson Whitehead), Updike published more than twenty novels, more than a dozen short-story collections, as well as poetry, art and literary criticism and children's books during his career. Hundreds of his stories, reviews, and poems appeared in The New Yorker starting in 1954. He also wrote regularly for The New York Review of Books. His most famous work is his "Rabbit" series (the novels Rabbit, Run; Rabbit Redux; Rabbit Is Rich; Rabbit at Rest; and the novella Rabbit Remembered), which chronicles the life of the middle-class everyman Harry "Rabbit" Angstrom over the course of several decades, from young adulthood to death. Both Rabbit Is Rich (1981) and Rabbit at Rest (1990) were awarded the Pulitzer Prize. Describing his subject as "the American small town, Protestant middle class", critics recognized his careful craftsmanship, his unique prose style, and his prolific outputa book a year on average. Updike populated his fiction with characters who "frequently experience personal turmoil and must respond to crises relating to religion, family obligations, and marital infidelity". His fiction is distinguished by its attention to the concerns, passions, and suffering of average Americans, its emphasis on Christian theology, and its preoccupation with sexuality and sensual detail. His work has attracted significant critical attention and praise, and he is widely considered one of the great American writers of his time. Updike's highly distinctive prose style features a rich, unusual, sometimes arcane vocabulary as conveyed through the eyes of "a wry, intelligent authorial voice that describes the physical world extravagantly while remaining squarely in the realist tradition". He described his style as an attempt "to give the mundane its beautiful due". Early life and education Updike was born in Reading, Pennsylvania, the only child of Linda Grace (née Hoyer) and Wesley Russell Updike, and was raised at his childhood home in the nearby small town of Shillington. The family later moved to the unincorporated village of Plowville. His mother's attempts to become a published writer impressed the young Updike. "One of my earliest memories", he later recalled, "is of seeing her at her desk ... I admired the writer's equipment, the typewriter eraser, the boxes of clean paper. And I remember the brown envelopes that stories would go off in—and come back in." These early years in Berks County, Pennsylvania, would influence the environment of the Rabbit Angstrom tetralogy, as well as many of his early novels and short stories. Updike graduated from Shillington High School as co-valedictorian and class president in 1950 and received a full scholarship to Harvard College, where he was the roommate of Christopher Lasch during their first year. Updike had already received recognition for his writing as a teenager by winning a Scholastic Art & Writing Award, and at Harvard he soon became well known among his classmates as a talented and prolific contributor to The Harvard Lampoon, of which he was president. He studied with dramatist Robert Chapman, the director of Harvard's Loeb Drama Center. He graduated summa cum laude in 1954 with a degree in English and was elected to Phi Beta Kappa. Upon graduation, Updike attended the Ruskin School of Art at the University of Oxford with the ambition of becoming a cartoonist. After returning to the United States, Updike and his family moved to New York, where he became a regular contributor to The New Yorker. This was the beginning of his professional writing career. Career as a writer 1950s Updike stayed at The New Yorker as a full staff writer for only two years, writing "Talk of the Town" columns and submitting poetry and short stories to the magazine. In New York, Updike wrote the poems and stories that came to fill his early books like The Carpentered Hen (1958) and The Same Door (1959). These works were influenced by Updike's early engagement with The New Yorker. This early work also featured the influence of J. D. Salinger ("A&P"); John Cheever ("Snowing in Greenwich Village"); and the Modernists Marcel Proust, Henry Green, James Joyce, and Vladimir Nabokov. During this time, Updike underwent a profound spiritual crisis. Suffering from a loss of religious faith, he began reading Søren Kierkegaard and the theologian Karl Barth. Both deeply influenced his own religious beliefs, which in turn figured prominently in his fiction. Updike remained a believing Christian for the rest of his life. 1960s–1970s Later, Updike and his family relocated to Ipswich, Massachusetts. Many commentators, including a columnist in the local Ipswich Chronicle, asserted that the fictional town of Tarbox in Couples was based on Ipswich. Updike denied the suggestion in a letter to the paper. Impressions of Updike's day-to-day life in Ipswich during the 1960s and 1970s are included in a letter to the same paper published soon after Updike's death and written by a friend and contemporary. In Ipswich, Updike wrote Rabbit, Run (1960), on a Guggenheim Fellowship, and The Centaur (1963), two of his most acclaimed and famous works; the latter won the National Book Award. Rabbit, Run featured Harry "Rabbit" Angstrom, a former high school basketball star and middle-class paragon who would become Updike's most enduring and critically acclaimed character. Updike wrote three additional novels about him. Rabbit, Run was featured in Times All-TIME 100 Greatest Novels. Short stories Updike's career and reputation were nurtured and expanded by his long association with The New Yorker, which published him frequently throughout his career, despite the fact that he had departed the magazine's employment after only two years. Updike's memoir indicates that he stayed in his "corner of New England to give its domestic news" with a focus on the American home from the point of view of a male writer. Updike's contract with the magazine gave it right of first offer for his short-story manuscripts, but William Shawn, The New Yorker's editor from 1952 to 1987, rejected several as too explicit. The Maple short stories, collected in Too Far To Go (1979), reflected the ebb and flow of Updike's first marriage; "Separating" (1974) and "Here Come the Maples" (1976) related to his divorce. These stories also reflect the role of alcohol in 1970s America. They were the basis for the television movie also called Too Far To Go, broadcast by NBC in 1979. Updike's short stories were collected in several volumes published by Alfred A. Knopf over five decades. In 2013, the Library of America issued a two-volume boxed edition of 186 stories under the title The Collected Stories. Novels In 1971, Updike published a sequel to Rabbit, Run called Rabbit Redux, his response to the 1960s; Rabbit reflected much of Updike's resentment and hostility towards the social and political changes that beset the United States during that time. Updike's early Olinger period was set in the Pennsylvania of his youth; it ended around 1965 with the lyrical Of the Farm. After his early novels, Updike became most famous for his chronicling infidelity, adultery, and marital unrest, especially in suburban America; and for his controversial depiction of the confusion and freedom inherent in this breakdown of social mores. He once wrote that it was "a subject which, if I have not exhausted, has exhausted me". The most prominent of Updike's novels of this vein is Couples (1968), a novel about adultery in a small fictional Massachusetts town called Tarbox. It garnered Updike an appearance on the cover of Time magazine with the headline "The Adulterous Society". Both the magazine article and, to an extent, the novel struck a chord of national concern over whether American society was abandoning all social standards of conduct in sexual matters. The Coup (1978), a lauded novel about an African dictatorship inspired by a visit he made to Africa, found Updike working in new territory. 1980s–2000s In 1980, he published another novel featuring Harry Angstrom, Rabbit Is Rich, which won the National Book Award, the National Book Critics Circle Award, and the Pulitzer Prize for Fiction—all three major American literary prizes. The novel found "Rabbit the fat and happy owner of a Toyota dealership". Updike found it difficult to end the book, because he was "having so much fun" in the imaginary county Rabbit and his family inhabited. After writing Rabbit Is Rich, Updike published The Witches of Eastwick (1984), a playful novel about witches living in Rhode Island. He described it as an attempt to "make things right with my, what shall we call them, feminist detractors". One of Updike's most popular novels, it was adapted as a film and included on Harold Bloom's list of canonical 20th-century literature (in The Western Canon). In 2008 Updike published The Widows of Eastwick, a return to the witches in their old age. It was his last published novel. In 1986, he published the unconventional novel Roger's Version, the second volume of the so-called Scarlet Letter trilogy, about an attempt to prove God's existence using a computer program. Author and critic Martin Amis called it a "near-masterpiece". The novel S. (1989), uncharacteristically featuring a female protagonist, concluded Updike's reworking of Hawthorne's Scarlet Letter. Updike enjoyed working in series; in addition to the Rabbit novels and the Maples stories, a recurrent Updike alter ego is the moderately well-known, unprolific Jewish novelist and eventual Nobel laureate Henry Bech, chronicled in three comic short-story cycles: Bech, a Book (1970), Bech Is Back (1981) and Bech at Bay: A Quasi-Novel (1998). These stories were compiled as The Complete Henry Bech (2001) by Everyman's Library. Bech is a comical and self-conscious antithesis of Updike's own literary persona: Jewish, a World War II veteran, reclusive, and unprolific to a fault. In 1990, he published the last Rabbit novel, Rabbit at Rest, which won the Pulitzer Prize and the National Book Critics Circle Award. Over 500 pages long, the novel is among Updike's most celebrated. In 2000, Updike included the novella Rabbit Remembered in his collection Licks of Love, drawing the Rabbit saga to a close. His Pulitzers for the last two Rabbit novels make Updike one of only four writers to have won two Pulitzer Prizes for Fiction, the others being William Faulkner, Booth Tarkington, and Colson Whitehead. In 1995, Everyman's Library collected and canonized the four novels as the omnibus Rabbit Angstrom; Updike wrote an introduction in which he described Rabbit as "a ticket to the America all around me. What I saw through Rabbit's eyes was more worth telling than what I saw through my own, though the difference was often slight." Updike later called Rabbit "a brother to me, and a good friend. He opened me up as a writer." After the publication of Rabbit at Rest, Updike spent the rest of the 1990s and early 2000s publishing novels in a wide range of genres; the work of this period was frequently experimental in nature. These styles included the historical fiction of Memories of the Ford Administration (1992), the magical realism of Brazil (1994), the science fiction of Toward the End of Time (1997), the postmodernism of Gertrude and Claudius (2000), and the experimental fiction of Seek My Face (2002). In the midst of these, he wrote what was for him a more conventional novel, In the Beauty of the Lilies (1996), a historical saga spanning several generations and exploring themes of religion and cinema in America. It is considered the most successful novel of Updike's late career. Some critics have predicted that posterity may consider the novel a "late masterpiece overlooked or praised by rote in its day, only to be rediscovered by another generation", while others, though appreciating the English mastery in the book, thought it overly dense with minute detail and swamped by its scenic depictions and spiritual malaise. In Villages (2004), Updike returned to the familiar territory of infidelities in New England. His 22nd novel, Terrorist (2006), the story of a fervent young extremist Muslim in New Jersey, garnered media attention but little critical praise. In 2003, Updike published The Early Stories, a large collection of his short fiction spanning the mid-1950s to the mid-1970s. More than 800 pages long, with over one hundred stories, it has been called "a richly episodic and lyrical Bildungsroman ... in which Updike traces the trajectory from adolescence, college, married life, fatherhood, separation and divorce". It won the PEN/Faulkner Award for Fiction in 2004. This lengthy volume nevertheless excluded several stories found in his short-story collections of the same period. Updike worked in a wide array of genres, including fiction, poetry (most of it compiled in Collected Poems: 1953–1993, 1993), essays (collected in nine separate volumes), a play (Buchanan Dying, 1974), and a memoir (Self-Consciousness, 1989). Updike's array of awards includes two Pulitzer Prizes for Fiction, two National Book Awards, three National Book Critics Circle awards, the 1989 National Medal of Arts, the 2003 National Humanities Medal, and the Rea Award for the Short Story for outstanding achievement. The National Endowment for the Humanities selected Updike to present the 2008 Jefferson Lecture, the U.S. government's highest humanities honor; Updike's lecture was titled "The Clarity of Things: What Is American about American Art". At the end of his life, Updike was working on a novel about St. Paul and early Christianity. Upon his death, The New Yorker published an appreciation by Adam Gopnik of Updike's lifetime association with the magazine, calling him "one of the greatest of all modern writers, the first American writer since Henry James to get himself fully expressed, the man who broke the curse of incompleteness that had haunted American writing". Personal life and death Updike married Mary Entwistle Pennington, an art student at Radcliffe College, in 1953, while he was still a student at Harvard. She accompanied him to Oxford, England, where she attended art school and where their first child, Elizabeth, was born in 1955. The couple had three more children together: writer David (born 1957), artist Michael (born 1959) and artist Miranda (born 1960). They divorced in 1974. Updike had seven grandsons. In 1977 Updike married Martha Ruggles Bernhard, with whom he lived for more than thirty years in Beverly Farms, Massachusetts. He died of lung cancer at a hospice in Danvers, Massachusetts, on January 27, 2009, at the age of 76. Poetry Updike published eight volumes of poetry over his career, including his first book The Carpentered Hen (1958), and one of his last, the posthumous Endpoint (2009). The New Yorker published excerpts of Endpoint in its March 16, 2009 issue. Much of Updike's poetical output was recollected in Knopf's Collected Poems (1993). He wrote that "I began as a writer of light verse, and have tried to carry over into my serious or lyric verse something of the strictness and liveliness of the lesser form." The poet Thomas M. Disch noted that because Updike was such a well-known novelist, his poetry "could be mistaken as a hobby or a foible"; Disch saw Updike's light verse instead as a poetry of "epigrammatical lucidity". His poetry has been praised for its engagement with "a variety of forms and topics", its "wit and precision", and for its depiction of topics familiar to American readers. British poet Gavin Ewart praised Updike for the metaphysical quality of his poetry and for his ability "to make the ordinary seem strange", and called him one of the few modern novelists capable of writing good poetry. Reading Endpoint aloud, the critic Charles McGrath claimed that he found "another, deeper music" in Updike's poetry, finding that Updike's wordplay "smooths and elides itself" and has many subtle "sound effects". John Keenan, who praised the collection Endpoint as "beautiful and poignant", noted that his poetry's engagement with "the everyday world in a technically accomplished manner seems to count against him". Literary criticism and art criticism Updike was also a critic of literature and art, one frequently cited as one of the best American critics of his generation. In the introduction to Picked-Up Pieces, his 1975 collection of prose, he listed his personal rules for literary criticism: 1. Try to understand what the author wished to do, and do not blame him for not achieving what he did not attempt. 2. Give enough direct quotation—at least one extended passage—of the book's prose so the review's reader can form his own impression, can get his own taste. 3. Confirm your description of the book with quotation from the book, if only phrase-long, rather than proceeding by fuzzy précis. 4. Go easy on plot summary, and do not give away the ending. 5. If the book is judged deficient, cite a successful example along the same lines, from the author's œuvre or elsewhere. Try to understand the failure. Sure it's his and not yours? To these concrete five might be added a vaguer sixth, having to do with maintaining a chemical purity in the reaction between product and appraiser. Do not accept for review a book you are predisposed to dislike, or committed by friendship to like. Do not imagine yourself a caretaker of any tradition, an enforcer of any party standards, a warrior in any ideological battle, a corrections officer of any kind. Never, never ... try to put the author "in his place," making of him a pawn in a contest with other reviewers. Review the book, not the reputation. Submit to whatever spell, weak or strong, is being cast. Better to praise and share than blame and ban. The communion between reviewer and his public is based upon the presumption of certain possible joys of reading, and all our discriminations should curve toward that end. He reviewed "nearly every major writer of the 20th century and some 19th-century authors", typically in The New Yorker, always trying to make his reviews "animated". He also championed young writers, comparing them to his own literary heroes including Vladimir Nabokov and Marcel Proust. Good reviews from Updike were often seen as a significant achievement in terms of literary reputation and even sales; some of his positive reviews helped jump-start the careers of such younger writers as Erica Jong, Thomas Mallon and Jonathan Safran Foer. Bad reviews by Updike sometimes caused controversy, as when in late 2008 he gave a "damning" review of Toni Morrison's novel A Mercy. Updike was praised for his literary criticism's conventional simplicity and profundity, for being an aestheticist critic who saw literature on its own terms, and for his longtime commitment to the practice of literary criticism. Much of Updike's art criticism appeared in The New York Review of Books, where he often wrote about American art. His art criticism involved an aestheticism like that of his literary criticism. Updike's 2008 Jefferson Lecture, "The Clarity of Things: What's American About American Art?", dealt with the uniqueness of American art from the 18th century to the 20th. In the lecture he argued that American art, until the expressionist movement of the 20th century in which America declared its artistic "independence", is characterized by an insecurity not found in the artistic tradition of Europe. In Updike's own words: Two centuries after Jonathan Edwards sought a link with the divine in the beautiful clarity of things, William Carlos Williams wrote in introducing his long poem Paterson that "for the poet there are no ideas but in things." No ideas but in things. The American artist, first born into a continent without museums and art schools, took Nature as his only instructor, and things as his principal study. A bias toward the empirical, toward the evidential object in the numinous fullness of its being, leads to a certain lininess, as the artist intently maps the visible in a New World that feels surrounded by chaos and emptiness. Critical reputation and style Updike is considered one of the greatest American fiction writers of his generation. He was widely praised as America's "last true man of letters", with an immense and far-reaching influence on many writers. The excellence of his prose style is acknowledged even by critics skeptical of other aspects of Updike's work. Several scholars have called attention to the importance of place, and especially of southeast Pennsylvania, in Updike's life and work. Bob Batchelor has described "Updike's Pennsylvania sensibility" as one with profound reaches that transcend time and place, such that in his writing, he used "Pennsylvania as a character" that went beyond geographic or political boundaries. SA Zylstra has compared Updike's Pennsylvania to Faulkner's Mississippi: "As with the Mississippi of Faulkner's novels, the world of Updike's novels is fictional (as are such towns as Olinger and Brewer), while at the same time it is recognizable as a particular American region." Sanford Pinsker observes that "Updike always felt a bit out of place" in places like "Ipswich, Massachusetts, where he lived for most of his life. In his heart—and, more important, in his imagination—Updike remained a staunchly Pennsylvania boy." Similarly, Sylvie Mathé maintains that "Updike's most memorable legacy appears to be his homage to Pennsylvania." Critics emphasize his "inimitable prose style" and "rich description and language", often favorably compared to Proust and Nabokov. Some critics consider the fluency of his prose to be a fault, questioning the intellectual depth and thematic seriousness of his work given the polish of his language and the perceived lightness of his themes, while others criticized Updike for misogynistic depictions of women and sexual relationships. Other critics argue that Updike's "dense vocabulary and syntax functions as a distancing technique to mediate the intellectual and emotional involvement of the reader". On the whole, however, Updike is extremely well regarded as a writer who mastered many genres, wrote with intellectual vigor and a powerful prose style, with "shrewd insight into the sorrows, frustrations, and banality of American life". Updike's character Harry "Rabbit" Angstrom, the protagonist of the series of novels widely considered his magnum opus, has been said to have "entered the pantheon of signal American literary figures", along with Huckleberry Finn, Jay Gatsby, Holden Caulfield and others. A 2002 list by Book magazine of the 100 Best Fictional Characters Since 1900 listed Rabbit in the top five. The Rabbit novels, the Henry Bech stories, and the Maples stories have been canonized by Everyman's Library. After Updike's death, Harvard's Houghton Library acquired his papers, manuscripts, and letters, naming the collection the John Updike Archive. 2009 also saw the founding of the John Updike Society, a group of scholars dedicated to "awakening and sustaining reader interest in the literature and life of John Updike, promoting literature written by Updike, and fostering and encouraging critical responses to Updike's literary works". The Society will begin publishing The John Updike Review, a journal of critical scholarship in the field of Updike studies. The John Updike Society First Biennial Conference took place in 2010 at Alvernia University. Eulogizing Updike in January 2009, the British novelist Ian McEwan wrote that Updike's "literary schemes and pretty conceits touched at points on the Shakespearean", and that Updike's death marked "the end of the golden age of the American novel in the 20th century's second half". McEwan said the Rabbit series is Updike's "masterpiece and will surely be his monument", and concluded: Jonathan Raban, highlighting many of the virtues that have been ascribed to Updike's prose, called Rabbit at Rest "one of the very few modern novels in English ... that one can set beside the work of Dickens, Thackeray, George Eliot, Joyce, and not feel the draft ... It is a book that works by a steady accumulation of a mass of brilliant details, of shades and nuances, of the byplay between one sentence and the next, and no short review can properly honor its intricacy and richness." The novelist Philip Roth, considered one of Updike's chief literary rivals, wrote, "John Updike is our time's greatest man of letters, as brilliant a literary critic and essayist as he was a novelist and short story writer. He is and always will be no less a national treasure than his 19th-century precursor, Nathaniel Hawthorne." The noted critic James Wood called Updike "a prose writer of great beauty, but that prose confronts one with the question of whether beauty is enough, and whether beauty always conveys all that a novelist must convey". In a review of Licks of Love (2001), Wood concluded that Updike's "prose trusses things in very pretty ribbons" but that there often exists in his work a "hard, coarse, primitive, misogynistic worldview". Wood both praised and criticized Updike's language for having "an essayistic saunter; the language lifts itself up on pretty hydraulics, and hovers slightly above its subjects, generally a little too accomplished and a little too abstract". According to Wood, Updike is capable of writing "the perfect sentence" and his style is characterized by a "delicate deferral" of the sentence. Of the beauty of Updike's language and his faith in the power of language that floats above reality, Wood wrote: For some time now Updike's language has seemed to encode an almost theological optimism about its capacity to refer. Updike is notably unmodern in his impermeability to silence and the interruptions of the abyss. For all his fabled Protestantism, both American Puritan and Lutheran-Barthian, with its cold glitter, its insistence on the aching gap between God and His creatures, Updike seems less like Hawthorne than Balzac, in his unstopping and limitless energy, and his cheerfully professional belief that stories can be continued; the very form of the Rabbit books—here extended a further instance—suggests continuance. Updike does not appear to believe that words ever fail us—'life's gallant, battered ongoingness ', indeed—and part of the difficulty he has run into, late in his career, is that he shows no willingness, verbally, to acknowledge silence, failure, interruption, loss of faith, despair and so on. Supremely, better than almost any other contemporary writer, he can always describe these feelings and states; but they are not inscribed in the language itself. Updike's language, for all that it gestures towards the usual range of human disappointment and collapse, testifies instead to its own uncanny success: to a belief that the world can always be brought out of its cloudiness and made clear in a fair season. In direct contrast to Wood's evaluation, the Oxford critic Thomas Karshan asserted that Updike is "intensely intellectual", with a style that constitutes his "manner of thought" not merely "a set of dainty curlicues". Karshan calls Updike an inheritor of the "traditional role of the epic writer". According to Karshan, "Updike's writing picks up one voice, joins its cadence, and moves on to another, like Rabbit himself, driving south through radio zones on his flight away from his wife and child." Disagreeing with Wood's critique of Updike's alleged over-stylization, Karshan evaluates Updike's language as convincingly naturalistic: Updike's sentences at their frequent best are not a complacent expression of faith. Rather, like Proust's sentences in Updike's description, they "seek an essence so fine the search itself is an act of faith." Updike aspires to "this sense of self-qualification, the kind of timid reverence towards what exists that Cézanne shows when he grapples for the shape and shade of a fruit through a mist of delicate stabs." Their hesitancy and self-qualification arise as they meet obstacles, readjust and pass on. If life is bountiful in New England, it is also evasive and easily missed. In the stories Updike tells, marriages and homes are made only to be broken. His descriptiveness embodies a promiscuous love for everything in the world. But love is precarious, Updike is always saying, since it thrives on obstructions and makes them if it cannot find them. Harold Bloom once called Updike "a minor novelist with a major style. A quite beautiful and very considerable stylist ... He specializes in the easier pleasures." Bloom also edited an important collection of critical essays on Updike in 1987, in which he concluded that Updike possessed a major style and was capable of writing beautiful sentences which are "beyond praise"; nevertheless, Bloom went on, "the American sublime will never touch his pages". On The Dick Cavett Show in 1981, the novelist and short-story writer John Cheever was asked why he did not write book reviews and what he would say if given the chance to review Rabbit Is Rich. He replied: The reason I didn't review the book is that it perhaps would have taken me three weeks. My appreciation of it is that diverse and that complicated ... John is perhaps the only contemporary writer who I know now who gives me the sense of the fact that life is—the life that we perform is in an environment that enjoys a grandeur that escapes us. Rabbit is very much possessed of a paradise lost, of a paradise known fleetingly perhaps through erotic love and a paradise that he pursues through his children. It's the vastness of John's scope that I would have described if I could through a review. The Fiction Circus, an online and multimedia literary magazine, called Updike one of the "four Great American Novelists" of his time along with Philip Roth, Cormac McCarthy, and Don DeLillo, each jokingly represented as a sign of the Zodiac. Furthermore, Updike was seen as the "best prose writer in the world", like Nabokov before him. But in contrast to many literati and establishment obituaries, the Circus asserted that nobody "thought of Updike as a vital writer". Adam Gopnik of The New Yorker evaluated Updike as "the first American writer since Henry James to get himself fully expressed, the man who broke the curse of incompleteness that had haunted American writing ... He sang like Henry James, but he saw like Sinclair Lewis. The two sides of American fiction—the precise, realist, encyclopedic appetite to get it all in, and the exquisite urge to make writing out of sensation rendered exactly—were both alive in him." The critic James Wolcott, in a review of Updike's last novel, The Widows of Eastwick (2008), noted that Updike's penchant for observing America's decline is coupled with an affirmation of America's ultimate merits: "Updike elegises entropy American-style with a resigned, paternal, disappointed affection that distinguishes his fiction from that of grimmer declinists: Don DeLillo, Gore Vidal, Philip Roth. America may have lost its looks and stature, but it was a beauty once, and worth every golden dab of sperm." Gore Vidal, in a controversial essay in the Times Literary Supplement, professed to have "never taken Updike seriously as a writer". He criticizes his political and aesthetic worldview for its "blandness and acceptance of authority in any form". He concludes that Updike "describes to no purpose". In reference to Updike's wide establishment acclaim, Vidal mockingly called him "our good child" and excoriated his alleged political conservatism. Vidal ultimately concluded, "Updike's work is more and more representative of that polarizing within a state where Authority grows ever more brutal and malign while its hired hands in the media grow ever more excited as the holy war of the few against the many heats up." Robert B. Silvers, editor of The New York Review of Books, called Updike "one of the most elegant and coolly observant writers of his generation". The short-story writer Lorrie Moore, who once described Updike as "American literature's greatest short story writer ... and arguably our greatest writer", reviewed Updike's body of short stories in The New York Review, praising their intricate detail and rich imagery: "his eye and his prose never falter, even when the world fails to send its more socially complicated revelations directly his story's way". In her work on Updike, Biljana Dojčinović has argued that his short story collection The Afterlife and Other Stories is a pivotal work that demonstrates a change in his writing on feminism. In November 2008, the editors of the UK's Literary Review magazine awarded Updike their Bad Sex in Fiction Lifetime Achievement Award, which celebrates "crude, tasteless or ridiculous sexual passages in modern literature". Themes The principal themes in Updike's work are religion, sex, and America as well as death. Often he would combine them, frequently in his favored terrain of "the American small town, Protestant middle class", of which he once said, "I like middles. It is in middles that extremes clash, where ambiguity restlessly rules." For example, the decline of religion in America is chronicled in In the Beauty of the Lilies (1996) alongside the history of cinema, and Rabbit Angstrom contemplates the merits of sex with the wife of his friend Reverend Jack Eccles while the latter is giving his sermon in Rabbit, Run (1960). Critics have often noted that Updike imbued language itself with a kind of faith in its efficacy, and that his tendency to construct narratives spanning many years and books—the Rabbit series, the Henry Bech series, Eastwick, the Maples stories—demonstrates a similar faith in the transcendent power of fiction and language. Updike's novels often act as dialectical theological debates between the book itself and the reader, the novel endowed with theological beliefs meant to challenge the reader as the plot runs its course. Rabbit Angstrom himself acts as a Kierkegaardian Knight of Faith. Describing his purpose in writing prose, Updike himself, in the introduction to his Early Stories: 1953–1975 (2004), wrote that his aim was always "to give the mundane its beautiful due". Elsewhere he famously said, "When I write, I aim my mind not towards New York City but towards a vague spot east of Kansas." Some have suggested that the "best statement of Updike's aesthetic comes in his early memoir 'The Dogwood Tree'" (1962): "Blankness is not emptiness; we may skate upon an intense radiance we do not see because we see nothing else. And in fact there is a color, a quiet but tireless goodness that things at rest, like a brick wall or a small stone, seem to affirm." Sex Sex in Updike's work is noted for its ubiquity and the reverence with which he described it: The critic Edward Champion notes that Updike's prose heavily favors "external sexual imagery" rife with "explicit anatomical detail" rather than descriptions of "internal emotion" in descriptions of sex. In Champion's interview with Updike on The Bat Segundo Show, Updike replied that he perhaps favored such imagery to concretize and make sex "real" in his prose. Another sexual theme commonly addressed in Updike is adultery, especially in a suburban, middle class setting, most famously in Couples (1968). The Updikean narrator is often "a man guilty of infidelity and abandonment of his family". United States Similarly, Updike wrote about America with a certain nostalgia, reverence, and recognition and celebration of America's broad diversity. ZZ Packer wrote that in Updike, "there seemed a strange ability to harken both America the Beautiful as well as America the Plain Jane, and the lovely Protestant backbone in his fiction and essays, when he decided to show it off, was as progressive and enlightened as it was unapologetic." The Rabbit novels in particular can be viewed, according to Julian Barnes, as "a distraction from, and a glittering confirmation of, the vast bustling ordinariness of American life". But as Updike celebrated ordinary America, he also alluded to its decline: at times, he was "so clearly disturbed by the downward spin of America". Adam Gopnik concludes that "Updike's great subject was the American attempt to fill the gap left by faith with the materials produced by mass culture. He documented how the death of a credible religious belief has been offset by sex and adultery and movies and sports and Toyotas and family love and family obligation. For Updike, this effort was blessed, and very nearly successful." Updike's novels about America almost always contain references to political events of the time. In this sense, they are artifacts of their historical eras, showing how national leaders shape and define their times. The lives of ordinary citizens take place against this wider background. Death Updike often wrote about death, his characters providing a "mosaic of reactions" to mortality, ranging from terror to attempts at insulation. In The Poorhouse Fair (1959), the elderly John Hook intones, "There is no goodness without belief ... And if you have not believed, at the end of your life you shall know you have buried your talent in the ground of this world and have nothing saved, to take into the next", demonstrating a religious, metaphysical faith present in much of Updike's work. For Rabbit Angstrom, with his constant musings on mortality, his near-witnessing of his daughter's death, and his often shaky faith, death is more frightening and less obvious in its ramifications. At the end of Rabbit at Rest (1990), though, Rabbit demonstrates a kind of certainty, telling his son Nelson on his deathbed, "... But enough. Maybe. Enough." In The Centaur (1963), George Caldwell has no religious faith and is afraid of his cancer. Death can also be a sort of unseen terror; it "occurs offstage but reverberates for survivors as an absent presence". Updike himself also experienced a "crisis over the afterlife", and indeed many of his heroes shared the same sort of existential fears the author acknowledged he had suffered as a young man: Henry Bech's concern that he was 'a fleck of dust condemned to know it is a fleck of dust,' or Colonel Ellelloû's lament that 'we will be forgotten, all of us forgotten.' Their fear of death threatens to make everything they do feel meaningless, and it also sends them running after God—looking for some reassurance that there is something beyond the familiar, everyday world with 'its signals and buildings and cars and bricks.' Updike demonstrated his own fear in some of his more personal writings, including the poem "Perfection Wasted" (1990): In popular culture Updike was featured on the cover of Time twice, on April 26, 1968, and again on October 18, 1982. Updike was the subject of a "closed book examination" by Nicholson Baker, titled U and I (1991). Baker discusses his wish to meet Updike and become his golf partner. In 2000, Updike appeared as himself in The Simpsons episode "Insane Clown Poppy" at the Festival of Books. The main character portrayed by Eminem in the film 8 Mile (2002) is nicknamed "Rabbit" and has some similarities to Rabbit Angstrom. The film's soundtrack has a song titled "Rabbit Run". Portraits of Updike drawn by the American caricaturist David Levine appeared several times in The New York Review of Books. In 2022, Updike was portrayed by Bryce Pinkham on the TV show Julia. Bibliography Rabbit novels Rabbit, Run (1960) Rabbit Redux (1971) Rabbit Is Rich (1981) Rabbit at Rest (1990) Rabbit Angstrom: The Four Novels (1995) Rabbit Remembered (a novella in the collection Licks of Love) (2001) Bech books Bech, a Book (1970) Bech Is Back (1982) Bech at Bay (1998) The Complete Henry Bech (2001) Buchanan books Buchanan Dying (a play) (1974) Memories of the Ford Administration (a novel) (1992) Eastwick books The Witches of Eastwick (1984) The Widows of Eastwick (2008) The Scarlet Letter trilogy A Month of Sundays (1975) Roger's Version (1986) S. (1988) Other novels The Poorhouse Fair (1959) The Centaur (1963) Of the Farm (1965) Couples (1968) Marry Me (1977) The Coup (1978) Brazil (1994) In the Beauty of the Lilies (1996) Toward the End of Time (1997) Gertrude and Claudius (2000) Seek My Face (2002) Villages (2004) Terrorist (2006) Books edited by Updike The Best American Short Stories (1984) The Binghamton Poems (2009) Short story collections The Same Door (1959) Pigeon Feathers (1962) Olinger Stories (a selection) (1964) Music School: Short Stories (1966) Museums and Women and Other Stories (1972) Problems and Other Stories (1979) Too Far to Go (the Maples stories) (1979) Your Lover Just Called (1980) Trust Me (1987) The Afterlife and Other Stories (1994) The Best American Short Stories of the Century (editor) (2000) Licks of Love: Short Stories and a Sequel (2001) The Early Stories: 1953–1975 (2003) Three Trips (2003) My Father's Tears and Other Stories (2009) The Maples Stories (2009) The Collected Stories, Volume 1: Collected Early Stories (2013) The Collected Stories, Volume 2: Collected Later Stories (2013) Poetry collections The Carpentered Hen (1958) Telephone Poles (1963) Midpoint (1969) Dance of the Solids (1969) Tossing and Turning (1977) Facing Nature (1985) Collected Poems 1953–1993 (1993) Americana and Other Poems (2001) Endpoint and Other Poems (2009) Non-fiction, essays and criticism Assorted Prose (1965) Picked-Up Pieces (1975) Hugging The Shore (1983) Self-Consciousness: Memoirs (1989) Just Looking: Essays on Art (1989) Odd Jobs (1991) Golf Dreams: Writings on Golf (1996) More Matter (1999) Still Looking: Essays on American Art (2005) In Love with a Wanton: Essays on Golf (2005) Due Considerations: Essays and Criticism (2007) Hub Fans Bid Kid Adieu: John Updike on Ted Williams (Library of America) (2010) Higher Gossip (2011) Always Looking: Essays on Art (2012) See also #External links for links to archives of his essays and reviews in The New Yorker and The New York Review of Books. Awards 1959 Guggenheim Fellow 1959 National Institute of Arts and Letters Rosenthal Award 1964 National Book Award for Fiction 1965 Prix du Meilleur Livre Étranger 1966 O. Henry Prize 1970 Honorary Doctor of Literature from Emerson College 1981 National Book Critics Circle Award for Fiction 1981 Edward MacDowell Medal 1982 Pulitzer Prize for Fiction 1982 National Book Award for Fiction (hardcover) 1982 Union League Club Abraham Lincoln Award 1983 National Book Critics Circle Award for Criticism 1984 National Arts Club Medal of Honor 1987 St. Louis Literary Award from the Saint Louis University Library Associates 1987 Ambassador Book Award 1987 Peggy V. Helmerich Distinguished Author Award 1988 PEN/Malamud Award 1989 National Medal of Arts 1990 National Book Critics Circle Award for Fiction 1991 Pulitzer Prize for Fiction 1991 O. Henry Prize 1992 Honorary Doctor of Letters from Harvard University 1995 William Dean Howells Medal 1995 Commandeur de l'Ordre des Arts et des Lettres 1997 Ambassador Book Award 1998 Harvard Arts Medal 1998 Medal for Distinguished Contribution to American Letters from the National Book Foundation 2002 Fitzgerald Award for Achievement in American Literature 2003 National Humanities Medal 2004 PEN/Faulkner Award for Fiction 2004 Golden Plate Award of the American Academy of Achievement 2005 Man Booker International Prize nominee 2006 Rea Award for the Short Story 2007 American Academy of Arts and Letters Gold Medal for Fiction 2008 Literary Review Bad Sex in Fiction Lifetime Achievement Award 2008 Jefferson Lecture Notes References Further reading and literary criticism Bailey, Peter J., Rabbit (Un)Redeemed: The Drama of Belief in John Updike's Fiction, Farleigh Dickinson University Press, Madison, New Jersey, 2006. Baker, Nicholson, U & I: A True Story, Random House, New York, 1991. Batchelor, Bob, John Updike: A Critical Biography, Praeger, California, 2013. . Begley, Adam, Updike, Harper-Collins Publishers, New York, NY, 2014. Ben Hassat, Hedda, Prophets Without Vision: Subjectivity and the Sacred in Contemporary American Writing, Bucknell University Press, Lewisburg, Pennsylvania, 2000. Bloom, Harold, ed., Modern Critical Views of John Updike, Chelsea House, New York, 1987. Boswell, Marshall, John Updike's Rabbit Tetralogy: Mastered Irony in Motion, University of Missouri Press, Columbia, Missouri, 2001. Broer, Lawrence, Rabbit Tales: Poetry and Politics in John Updike's Rabbit Novels, University of Alabama Press, Tuscaloosa, Alabama, 2000. Burchard, Rachel C., John Updike: Yea Sayings, Southern Illinois University Press, Carbondale, Illinois, 1971. Campbell, Jeff H., Updike's Novels: Thorns Spell A Word, Midwestern State University Press, Wichita Falls, Texas, 1988. Clarke Taylor, C., John Updike: A Bibliography, Kent State University, Kent, Ohio, 1968. De Bellis, Jack, John Updike: A Bibliography, 1968–1993, Greenwood Publishing Group, Westport, Connecticut, 1994. De Bellis, Jack, John Updike: The Critical Responses to the Rabbit Saga, Greenwood Publishing Group, Westport, Connecticut, 2005. De Bellis, Jack, ed., The John Updike Encyclopedia, Greenwood Press, Santa Barbara, California, 2001. Detwiler, Robert, John Updike, Twayne, Boston, 1984. Findlay, Bill, Interview with John Updike in Hearn, Sheila G. (ed.), Cencrastus No. 15, New Year 1984, pp. 30 – 36, Greiner, Donald, " Don DeLillo, John Updike, and the Sustaining Power of Myth", UnderWords: Perspectives on Don DeLillo's Underworld, University of Delaware Press, Newark, Delaware, 2002. Greiner, Donald, John Updike's Novels, Ohio University Press, Athens, Ohio, 1984. Greiner, Donald, The Other John Updike: Poems, Short Stories, Prose, Play, Ohio University Press, Athens, Ohio, 1981. Gullette, Margaret Morganroth, "John Updike: Rabbit Angstrom Grows Up", Safe at Last in the Middle Years : The Invention of the Midlife Progress Novel, Backinprint.com, New York, 2001. Hamilton, Alice and Kenneth, The Elements of John Updike, William B. Eerdmans Publishing Co., Grand Rapids, Michigan, 1970. Hunt, George W., John Updike and the Three Great Secret Things: Sex, Religion, and Art, William B. Eerdmans Pub. Co., Grand Rapids, Michigan, 1985. Karshan, Thomas, " Batsy", London Review of Books, March 31, 2005. Luscher, Robert M., John Updike: A Study of the Short Fiction, Twayne, New York, 1993. Mazzeno, Laurence W. and Sue Norton, eds.,European Perspectives on John Updike, Camden House, 2018. McNaughton, William R., ed., Critical Essays on John Updike, GK Hall, Boston, 1982. Markle, Joyce B., Fighters and Lovers: Themes in the Novels of John Updike, New York University Press, 1973. Mathé, Sylvie, John Updike : La nostalgie de l'Amérique, Berlin, 2002. Miller, D. Quentin, John Updike and the Cold War: Drawing the Iron Curtain, University of Missouri Press, Columbia, Missouri, 2001. Morley, Catherine, "The Bard of Everyday Domesticity: John Updike's Song for America", The Quest for Epic in Contemporary American Literature, Routledge, New York, 2008. Newman, Judie, John Updike, Macmillan, London, 1988. O'Connell, Mary, Updike and the Patriarchal Dilemma: Masculinity in the Rabbit Novels, Southern Illinois University Press, Carbondale, Illinois, 1996. Olster, Stanley, The Cambridge Companion to John Updike, Cambridge University Press, Cambridge, 2006. Plath, James, ed., Conversations with John Updike, University Press of Mississippi Press, Jackson, Mississippi, 1994. Porter, M. Gilbert, " John Updike's 'A&P': The Establishment and an Emersonian Cashier", English Journal 61 (8), pp. 1155–1158, November 1972. Pritchard, William, Updike: America's Man of Letters, University of Massachusetts Press, Amherst, Massachusetts, 2005. Ristoff, Dilvo I., John Updike's Rabbit at Rest: Appropriating History, Peter Lang, New York, 1998.' Roiphe, Anne, For Rabbit, with Love and Squalor, Free Press, Washington, D.C., 2000. Searles, George J., The Fiction of Philip Roth and John Updike, Southern Illinois University Press, Carbondale, Illinois, 1984. Schiff, James A., Updike's Version: Rewriting The Scarlet Letter, University of Missouri Press, Columbia, Missouri, 1992. Schiff, James A., United States Author Series: John Updike Revisited, Twayne Publishers, Woodbridge, Connecticut, 1998. Tallent, Elizabeth, Married Men and Magic Tricks: John Updike's Erotic Heroes, Creative Arts Book Company, Berkeley, California, 1982. Tanner, Tony, "A Compromised Environment", City of Words: American Fiction, 1950–1970, Jonathan Cape, London, 1971. Thorburn, David and Eiland, Howard, eds., John Updike: A Collection of Critical Essays, Prentice Hall, Englewood Cliffs, New Jersey, 1979. Trachtenberg, Stanley, ed., New Essays on Rabbit, Run, Cambridge University Press, Cambridge, 1993. Uphaus, Suzanne H., John Updike, Ungar, New York, 1980. Vidal, Gore, "Rabbit's own burrow", Times Literary Supplement, April 26, 1996. Wallace, David Foster, "John Updike, Champion Literary Phallocrat, Drops One", New York Observer, October 12, 1997. Wood, James, "Gossip in Gilt", London Review of Books, April 19, 2001. Wood, James, "John Updike's Complacent God", The Broken Estate: Essays on Literature and Belief, Modern Library, New York, 2000. Yerkes, James, John Updike and Religion: The Sense of the Sacred and the Motions of Grace, William B. Eerdmans Publishing Co, Grand Rapids, Missouri, 1999. External links The John Updike Society John Updike collection, Houghton Library, Harvard University The Other John Updike Archive, a collection taken from Updike's rubbish and discussed in this article from The Guardian, September 2014, and this article from The Atlantic Jack De Bellis collection of John Updike at the University of South Carolina Column archive at The New York Review of Books Column archive at The New Yorker In Depth interview with Updike, 4 December 2005 Reviews at the London Review of Books Stuart Wright Collection: John Updike Papers, 1946–2010 (#1169-023), East Carolina Manuscript Collection, J. Y. Joyner Library, East Carolina University Authors and Poets collection at University of Maryland Articles and interviews John Updike, The Art of Fiction No. 43, Charles Thomas Samuels, Paris Review, Winter 1968 "Picked-Up Pieces: A half century of John Updike". The New Yorker, 2009 The ancestry of John Hoyer Updike, Rootsweb John Updike Life & Times, New York Times Books The Salon Interview: John Updike, "As Close as You Can Get to the Stars", Dwight Garner, Salon.com Category:1932 births Category:2009 deaths Category:People from Shillington, Pennsylvania Category:Deaths from lung cancer in Massachusetts Category:American children's writers Category:American Christian writers Category:American literary critics Category:American humorous poets Category:American psychological fiction writers Category:20th-century American poets Category:Novelists from Massachusetts Category:Postmodern writers Category:American male novelists Category:Christian novelists Category:20th-century American novelists Category:21st-century American novelists Category:Alumni of the Ruskin School of Art Category:The Harvard Lampoon alumni Category:Harvard College alumni Category:Members of the American Academy of Arts and Letters Category:National Book Award winners Category:O. Henry Award winners Category:Pulitzer Prize for Fiction winners Category:PEN/Faulkner Award for Fiction winners Category:PEN/Malamud Award winners Category:United States National Medal of Arts recipients Category:National Humanities Medal recipients Category:People from Danvers, Massachusetts Category:People from Ipswich, Massachusetts Category:Writers from Reading, Pennsylvania Category:People from Beverly, Massachusetts Category:21st-century American poets Category:American male poets Category:The New Yorker people Category:American male essayists Category:American erotica writers Category:American male short story writers Category:20th-century American short story writers Category:21st-century American short story writers Category:20th-century American essayists Category:21st-century American essayists Category:Journalists from Pennsylvania Category:20th-century American male writers Category:21st-century American male writers Category:Novelists from Pennsylvania Category:Commandeurs of the Ordre des Arts et des Lettres Category:20th-century American journalists Category:American male journalists
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C_a739b0a66aad4710847dd43fffd0f3f1_0
James Traficant
James Anthony Traficant Jr. (May 8, 1941 - September 27, 2014) was a Democratic, and later independent, politician and member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of taking bribes, filing false tax returns, racketeering and forcing his aides to perform chores at his farm in Ohio and houseboat in Washington, D.C.
U.S. House of Representatives
In the House, Traficant was known for his flamboyant and eccentric style. He often dressed poorly, with narrow neckties (then out of style), wide-lapel sport-coats and an occasional denim suit. He also sported an unkempt pompadour, which he jokingly claimed he cut with a weed whacker (it was revealed, after his conviction, that he wore a toupee). His trademark closing lines while addressing the House were "Beam me up..." and "I yield back the fact..." His website featured a picture of him swinging a two-by-four with the words "Bangin' away in D.C." While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants (the allegations went unproven, and a new election was not held). Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers. After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century--outside the top leadership--to lack a single committee assignment. CANNOTANSWER
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James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic member of the United States House of Representatives from Ohio. A staunch economic populist known for his flamboyant personality, he represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House in 2002 after being convicted of ten felony counts, including taking bribes, filing false tax returns, racketeering, and forcing his congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence. Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio. Early life and education Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976. Early career At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. Traficant's career in Youngstown served as the focus of Crooked City: Youngstown, OH., a podcast produced by Marc Smerling. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. U.S. House of Representatives Traficant was infamous during his time in Congress for his short, rambling, and often crude rants on the House floor, often decrying his key issues such as his opposition to free trade and the IRS. He usually ended his speeches with the phrase "beam me up", a Star Trek reference. He also became known for his flamboyant fashion sense - including cowboy boots and polyester suits - and his toupee. While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, owing to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held. Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers. Traficant was also known for frequently pushing to include "Buy American" provisions in spending bills. After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment. Defense of John Demjanjuk Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction. Defense of Arthur Rudolph Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred. Trial and expulsion In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of ten felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, House Democrats directed him not to cast any votes pending an investigation by the United States House Committee on Ethics. Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him with 420 members voting yes, 1 member voting no, 9 members voting 'present', and 4 members not voting. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers in 1980 as a result of the Abscam scandal. After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan. Prison and later life Incarceration Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He claimed that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of supervised release. While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who wrote Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke. Release Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office. On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers. 2010 congressional campaign In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%. Post-prison life After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics. Traficant later went on to purchase a 5 bedroom farm in Greenford, Ohio. Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve. Accident and death Traficant was injured in an accident at his farm in Greenford, Ohio, on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well". By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident. A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him. Publications See also List of United States representatives from Ohio List of United States representatives expelled, censured, or reprimanded List of American federal politicians convicted of crimes List of federal political scandals in the United States References External links "Look at what Traficant swept under the rug" – CNN, August 1, 2002 Traficant quarterbacking Pitt over Navy Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA James Traficant - A Tribute (Video) by Mike Wayne Category:1941 births Category:2014 deaths Category:20th-century American politicians Category:21st-century American male writers Category:21st-century American non-fiction writers Category:21st-century American politicians Category:Accidental deaths in Ohio Category:Activists from Ohio Category:American football quarterbacks Category:American male non-fiction writers Category:American nationalists Category:American people convicted of tax crimes Category:American people of Hungarian descent Category:American political writers Category:American people of Italian descent Category:American Roman Catholics Category:American talk radio hosts Category:Candidates in the 1988 United States presidential election Category:Catholics from Ohio Category:Deaths from asphyxiation Category:Democratic Party members of the United States House of Representatives from Ohio Category:Expelled members of the United States House of Representatives Category:Farming accident deaths Category:Members of the United States Congress stripped of committee assignment Category:Monetary reformers Category:Ohio Independents Category:Ohio politicians convicted of crimes Category:Ohio sheriffs Category:Pittsburgh Panthers football players Category:Politicians convicted of bribery under 18 U.S.C. § 201 Category:Politicians convicted of conspiracy to defraud the United States Category:Politicians convicted of illegal gratuities under 18 U.S.C. § 201 Category:Politicians from Youngstown, Ohio Category:Prisoners and detainees of the United States federal government Category:Right-wing populism in the United States Category:University of Pittsburgh alumni Category:Writers from Youngstown, Ohio Category:Youngstown State University alumni Category:Candidates in the 2002 United States elections Category:Candidates in the 2010 United States elections
[]
[ "Traficant was a member of the House of Representatives. He was known for his flamboyant and eccentric style and his support of immigration reduction. Despite being a Democrat, after the Republicans took control of the House in 1995, he tended to vote more often with the Republicans than with his own party.", "The text does not provide specific dates or years for when Traficant served in the House of Representatives.", "While in the House of Representatives, Traficant was known for his unique style and his phrases like \"Beam me up...\" and \"I yield back the fact...\". He was a supporter of immigration reduction and a strong opponent of illegal immigration. During the controversy surrounding the defeat of Congressman Bob Dornan, Traficant advocated for a new election. He also made some legislative changes to constrain the enforcement actions of the Internal Revenue Service against delinquent taxpayers. Despite being a Democrat, he often voted with the Republicans, especially on the issue of abortion. However, he voted against all four articles of impeachment against Bill Clinton. After voting for Republican Dennis Hastert for Speaker of the House in 2001, he was stripped of his seniority and committee assignments by the Democrats. The Republicans didn't assign him any committees either, making him the first member of the House in over a century, outside the top leadership, to not have a single committee assignment.", "Traficant focused on issues such as immigration and taxation. He supported immigration reduction and strongly opposed illegal immigration. He also worked on constraining enforcement activities by the Internal Revenue Service against delinquent taxpayers. Additionally, he took a stance on the issue of abortion, voting with the position of the National Right to Life Committee a high percentage of the time.", "During his time in the House of Representatives, Traficant was also notable for his flamboyant and eccentric style. He often dressed in wide-lapel sport-coats, narrow neckties (which were out of style at the time), and even an occasional denim suit. His unkempt pompadour was also a part of his eccentric persona, which he joked about, claiming he cut with a weed whacker. It was later revealed that he wore a toupee. He was known for his unique phrases while addressing the House, such as \"Beam me up\" and \"I yield back the fact\". His website featured a picture of him with a two-by-four and the words \"Bangin' away in D.C.\" Another notable event was when he voted for Republican Dennis Hastert for Speaker of the House in 2001, for which the Democrats stripped him of his seniority and committee assignments. As a result, he became the first member in over a century--outside the top leadership--to not have a single committee assignment." ]
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C_3a9327e8adde45c9925a6bf9112814f1_0
Social Distortion
Social Distortion is an American punk rock band formed in 1978 in Fullerton, California. The band currently consists of Mike Ness (lead vocals, lead guitar), Jonny Wickersham (rhythm guitar, backing vocals), Brent Harding (bass, backing vocals), David Hidalgo Jr. (drums), and David Kalish (keyboards). Social Distortion went on a temporary hiatus in the mid-1980s, due to Ness' drug addiction and troubles with the law which resulted in extended stints in various rehabilitation centers that lasted for two years. Since its inception, the band lineup has been a virtual revolving-door of talent with many members coming and going - Ness has been the only constant member.
Major label years and mainstream success (1989-1996)
After the release of Prison Bound, Social Distortion left Restless Records and signed with Epic. The band then returned to the studio around the summer/fall of 1989, with producer Dave Jerden, to begin recording their self-titled third album, which was released in 1990. It was Social Distortion's first album that was not financed by the band. The album includes the singles "Ball and Chain" and Story of My Life as well as a cover of Johnny Cash's Ring of Fire. The self-titled album fared better than both Mommy's Little Monster and Prison Bound, and is often credited as Social Distortion's best known work, with sales continuing 28 years after its release. It is also sometimes cited as among the best rock albums of 1990--the album is said to "split the difference between rockabilly and Ramones-style punk." The fourth album, Somewhere Between Heaven and Hell, was released in 1992. The album included two hit singles--"Bad Luck", and "When She Begins". Somewhere Between Heaven and Hell surpassed all their previous albums in popularity. The album has a similar sound to the previous, eponymous, album, said to be a blend of "punk, blues, country and rockabilly". After the release of this album, drummer Christopher Reece left Social Distortion in 1994 and was replaced by Randy Carr. Carr toured with the band and played drums on live performances until he left in 1995. The band took another hiatus after the release of Somewhere Between Heaven and Hell, and did not return to the studio until 1995. During the break, Social Distortion released a compilation album, Mainliner: Wreckage From the Past (1995), featuring pre-Mommy's Little Monster cuts. It contains two versions of "1945" and "Playpen" from their two indie labels, 13th Floor, and Posh Boy, and also a cover of the Rolling Stones' "Under My Thumb". In June 1994, the band began demoing songs for the fifth album, then returned to the studio in 1995 to record White Light, White Heat, White Trash, which was released in 1996. The album is said to have taken on a harder sound than those preceding it, and to not focus as much on their previous blues and rockabilly sound. The single "I Was Wrong" received wide radio play and is said to resemble "the classic sound more than any other track on the album". The album also features the singles "When the Angels Sing," which is said to be a tribute to Ness's grandmother, who was an avid supporter of the band, and "Don't Drag Me Down". The album also included a re-recorded version of "Under My Thumb", a cover of the Rolling Stones, as a hidden track. Former Danzig drummer Chuck Biscuits joined the band between the recording and release of the album, and is credited in the liner notes although this album actually features one time Journey drummer Deen Castronovo. White Light, White Heat, White Trash was the final Social Distortion album recorded with Dennis Danell before his death. CANNOTANSWER
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[ "Who helped him", "What did the band do", "Who was this helping", "What was his social disortions", "WHo was this plan", "What else did he lead to", "What else was this about" ]
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Social Distortion is an American punk rock band formed in 1979 in Fullerton, California. The band currently consists of Mike Ness (lead vocals, lead guitar), Jonny Wickersham (rhythm guitar, backing vocals), Brent Harding (bass, backing vocals), David Hidalgo Jr. (drums), and David Kalish (keyboards). Emerging from the Orange County hardcore scene of the late 1970s alongside Agent Orange and Adolescents, Social Distortion went on a temporary hiatus in the mid-1980s, due to Ness's drug addiction and troubles with the law which resulted in extended stints in various rehabilitation centers that lasted for two years. Following their reformation, the band has shifted its style to a country, blues and early rock and roll-influenced style of punk. Since its inception, the band's lineup has seen significant turnover, with Ness as the only constant member. After years of performing, Social Distortion continues to tour and record music. To date, Social Distortion has released seven full-length studio albums, two compilations, one live album, and two DVDs. They released two albums — Mommy's Little Monster (1983) and Prison Bound (1988) — before signing a three-album contract with Epic Records in 1989. Social Distortion rose to fame with their 1990 self-titled third album, which produced their well-known hit singles "Ball and Chain", "Story of My Life", and the cover of Johnny Cash's "Ring of Fire", and was certified gold by RIAA. Many of their later albums, including their second gold record Somewhere Between Heaven and Hell (1992), were also well received. Dubbed by Steven Blush as "the Rolling Stones of hardcore," Social Distortion is considered one of the best-selling and most influential punk rock bands, with more than three million albums sold worldwide. The band's most recent studio album is Hard Times and Nursery Rhymes (2011), and they have spent more than a decade working on new material for their forthcoming eighth studio album. History Early years (1978–1982) Social Distortion was formed in 1978 by Mike Ness, inspired by the Sex Pistols and many other British punk bands as well as rock acts such as the Rolling Stones. Aside from Ness on guitar and Casey Royer on drums, early members included Mark Garrett on bass and former Cal State Fullerton basketball player Tom Corvin on vocals. Garrett was succeeded by Rikk Agnew in late 1978. On the origins of the band's name, Royer recalled "Mike was like 15, trying to play guitar but he couldn't. Social Distortion was named for my distortion pedal, which I gave to Mike to play 'cause back then he was no good." Their early music was composed by Ness with lyrics by Royer and sometimes Corvin, and many songs were retired after only a few performances. After Corvin left in the fall of 1979 to attend graduate school at Bob Jones University, Ness recruited his high school friend Dennis Danell to join the band on guitar even though Danell had never played an instrument before. When Danell was brought in, the other members left as they did not want to wait for him to learn. Before joining the Adolescents in 1980, Royer and Agnew played with Garrett in a separate band named Social Distortion consisting of Royer on vocals, Garrett on bass, Rikk Agnew on drums, and Frank Agnew and Tim Maag on guitars. The band's first real show was in early 1979 at the Cuckoo's Nest nightclub on Placentia Avenue in Costa Mesa, California. Mike and Dennis remained the only constant members for the next two decades with bass and drum members changing every few years. The Adolescents song "Kids of the Black Hole" and Social Distortion song "The Playpen" chronicled this period of the band's history. Its first single, Mainliner/Playpen featuring Ness on guitar and vocals, Dennis on bass, and Carrot on drums was released in 1981 on Posh Boy, the label responsible for releasing the first singles and albums of many of the local O.C. punk bands. Rodney Bingenheimer of KROQ-FM was responsible for much of the radio play in Orange County, California, that punk received in the early 80s, and took a liking to Social Distortion, releasing the single "1945" on his 1981 compilation album, Rodney on the ROQ, Blood on the ROQ in 1983, and The Best Of Rodney on the ROQ in 1989. In 1982, the band—now consisting of Ness, Danell (who now played rhythm guitar), Brent Liles on bass, and Derek O'Brien on drums—embarked on their first international tour (US and Canada) with fellow punk band Youth Brigade, a trip chronicled in the punk rockumentary Another State of Mind, which was not released until 1984. Mommy's Little Monster, temporary hiatus and Prison Bound (1983–1988) Upon its return from the Another State of Mind tour in 1982, they recorded their debut album, Mommy's Little Monster. The album was released in early 1983 on their own label, 13th Floor Records. Mommy's Little Monster includes the title track as well as the song for which the previous tour was named, "Another State of Mind". This was the album that "gained the band a national name in punk circles". Ness mentions in his DVD commentary that he really had nowhere to stay when he got back to California after the tour ended, so he crashed on the couches of whoever would have him. He details how he plunged headfirst into serious drug addiction and ended up being strung out on heroin for weeks at a time. In 1983, Liles and O'Brien left the band in the middle of a show on New Year's Eve, and were replaced soon thereafter by Ness' high school friend John Maurer and a man named Bob Stubbs. This line-up lasted only a short time until Christopher Reece joined on drums. Ness's drug habit continued throughout 1984 and 1985 as the band continued to gain success with Another State of Mind appearing as one of the punk rarities on MTV, and touring in California and Arizona. As a result of Ness's escalating drug habit and troubles with the law, Social Distortion briefly went on hiatus in 1985. During this time, Ness was in and out of various rehabilitation centers and jails. Social Distortion resurfaced in 1986, when Ness finished his drug rehabilitation program. The band released its second album, Prison Bound, two years later in 1988—over five years after their debut. The album included then-newcomers John Maurer on bass and Christopher Reece on drums. Although Prison Bound never charted on Billboard, the title track still receives extensive airplay on Los Angeles radio station, KROQ-FM. A notable style change takes place in Prison Bound, which takes on a definite country/western flavor and marks the start of the band's entrance into a style sometimes called "cowpunk." Country legend Johnny Cash and the Rolling Stones' honky tonk style became more prominent influences on Social Distortion's music at this time. There are references to Cash and the Stones in the songs "Prison Bound" and "On My Nerves." Five years had passed since releasing its debut. The success was just beginning and, in fact, taking time between albums became a pattern for Social Distortion. Ness acknowledges in a 2003 interview that it is a little backward, marketing-wise, to play songs for the fans for a few years before recording them—but it has always worked well for them. "We know which songs are going to be fan favorites on the record before we even record them." Major label years and mainstream success (1989–1996) After the release of Prison Bound, Social Distortion left Restless Records and signed with Epic. The band then returned to the studio around the summer/fall of 1989, with producer Dave Jerden, to begin recording their self-titled third album, which was released in 1990. It was Social Distortion's first album that was not financed by the band. The album includes the singles "Ball and Chain" and "Story of My Life" as well as a cover of Johnny Cash's "Ring of Fire". The self-titled album, which was the band's first to chart on the Billboard 200, fared better than both Mommy's Little Monster and Prison Bound, and is often credited as Social Distortion's best known work, with sales continuing years after its release. It is also sometimes cited as among the best rock albums of 1990—the album is said to "split the difference between rockabilly and Ramones-style punk." The band's fourth album, Somewhere Between Heaven and Hell, was released in 1992. The album included two hit singles: "Bad Luck", and "When She Begins". Somewhere Between Heaven and Hell surpassed all their previous albums in popularity. The album has a similar sound to the previous, eponymous, album, said to be a blend of "punk, blues, country and rockabilly". After the release of this album, drummer Christopher Reece left Social Distortion in 1994 and was replaced by Randy Carr. Carr toured with the band and played drums on live performances until he left in 1995. The band took another hiatus after the release of Somewhere Between Heaven and Hell, and did not return to the studio until 1995. During the break, Social Distortion released a compilation album, Mainliner: Wreckage From the Past (1995), featuring pre-Mommy's Little Monster cuts. It contains two versions of "1945" and "Playpen" from their two indie labels, 13th Floor and Posh Boy, and also a cover of the Rolling Stones' "Under My Thumb". In June 1994, the band began demoing songs for the fifth album, then returned to the studio in 1995 to record White Light, White Heat, White Trash, which was released in 1996. The album is said to have taken on a harder sound than those preceding it, and to not focus as much on their previous blues and rockabilly sound. The single "I Was Wrong" received wide radio play and is said to resemble "the classic sound more than any other track on the album". The album also features the singles "When the Angels Sing," which is said to be a tribute to Ness's grandmother, who was an avid supporter of the band, and "Don't Drag Me Down". The album also included a re-recorded version of "Under My Thumb", a cover of the Rolling Stones song, as a hidden track. Former Danzig drummer Chuck Biscuits joined the band between the recording and release of the album, and is credited in the liner notes although this album actually features one time Journey drummer Deen Castronovo. White Light, White Heat, White Trash was the final Social Distortion album recorded with Dennis Danell before his death in 2000. Second hiatus, Danell's death and Sex, Love and Rock 'n' Roll (1997–2004) In 1997, Social Distortion left Epic and returned to Time Bomb Recordings for the first time in eight years. It released its first (and only) live album, Live at the Roxy in 1998. Social Distortion went on hiatus again as Ness went solo, releasing two albums, Cheating at Solitaire and Under the Influences, featuring song covers, in 1999. Dennis Danell died on February 29, 2000, in his Newport Beach home after apparently suffering a brain aneurysm, leaving Ness as the only remaining original member of the band. There have been some rumors claiming that the band broke up again, following his death. He was replaced by former U.S. Bombs, Cadillac Tramps and L.A.'s Youth Brigade guitarist Jonny Wickersham, who had previously been Danell's guitar technician. Biscuits also left during that time, and was replaced by Charlie Quintana. After Danell's death, the band continued touring semi-frequently, playing sold-out shows in the Los Angeles area around the New Year for three straight years. Social Distortion started work on the follow-up to White Light, White Heat, White Trash in 2000, which was originally to be released in the fall of that year, but it was not completed. Since 2001, due to the band's ongoing tour schedule, the album's release was put on hold several times. In the fall of 2003, after completing demos, Social Distortion returned to the studio with producer Cameron Webb to complete the album. Sex, Love and Rock 'n' Roll was the band's first album with Wickersham and Quintana. A month before its September 28, 2004, release, longtime bassist John Maurer left the band to stay with his family, and was replaced by Rancid's Matt Freeman, who was replaced later that year by current bassist Brent Harding. Subsequent activities and departure of Quintana (2005–2009) Social Distortion continued touring on and off between 2005 and 2007. The band was scheduled to headline the Soundwave Festival in Australia in February–March 2008, along with Incubus and The Offspring, but they cancelled their appearance and released the following statement: Due to circumstances beyond our control, Social Distortion is regrettably unable to perform at Soundwave Festival 2008 in Australia and must officially withdraw from the bill. We apologise for any inconvenience to our Australian fans and hope to make it there as soon as possible. During this time, the band played with various other bands, including Versus the World, Tsar, Shooter Jennings, I Hate Kate, the Black Halos, Flogging Molly, Nine Black Alps, Supersuckers, Blackpool Lights, the Lost City Angels, the Street Dogs, the Backyard Babies, the Hangmen, the Eyeliners, Cooper, the Stun Gunz, Mest, Bullets and Octane, and the Dead 60s. In February 2006, Ness was injured and broke his wrist in a skateboarding accident. For several months, T.S.O.L. guitarist Ron Emory and the Hangmen's Bryan Small played guitar while Ness sang with his arm in a cast and sling. Original member Brent Liles, who played bass on Mommy's Little Monster, died on January 18, 2007, after being hit by a semi truck while riding a dirt bike in Placentia, California. Social Distortion released its first Greatest Hits compilation on June 26, 2007. It includes hit singles from Mommy's Little Monster to Sex, Love and Rock 'n' Roll, yet lacks any song from Mainliner. Along with a new studio recording of the song, "Far Behind", new studio recordings of 6 of their classic songs are included as well. Rerecording these songs allowed the band to own rights to them again, instead of Epic (their former label) owning them. Through iTunes in the U.S., as a download only, the Greatest Hits also includes a new Social Distortion cover version of the Chuck Berry classic "Maybellene". Ness stated in an interview that this Greatest Hits technically means "what was good with radio." Ness also stated in the same interview that "we may follow this up with something that is more essential Social D. – songs that are the band's favorites." In April 2009 the band announced that longtime drummer Charlie Quintana was leaving the band: After ten amazing years behind the drum kit for Social Distortion, Charlie "Chalo" Quintana has announced he's moving on to explore other musical opportunities. Charlie had this to say about his departure, "Playing with Social D for ten years was a good time in my life. I was lucky to play on two Social D records and the second solo album, and I am proud to have been part of the band. We hit some spectacular heights which I will never forget – adios amigos!" Quintana's replacement was announced as Angels & Airwaves drummer Adam "Atom" Willard, formerly of Rocket from the Crypt and The Offspring. A European tour together with the Gaslight Anthem followed in June 2009 as part of the band's 30th anniversary of underground Rock'n'Roll. Hard Times and Nursery Rhymes (2009–2011) In April 2008, Ness told Spinner that Social Distortion was planning an acoustic album to be released in 2009, stating "I think it could be really, really neat. It's almost like a Bob Dylan/Bruce Springsteen/Johnny Cash kind of feel with a punk edge ... but acoustic. Sometimes [the songs] are more powerful stripped down than with full volume." Ness also revealed plans for his next solo album, but he was not sure if it was going to be released before or after the follow-up to Sex, Love and Rock 'n' Roll or the acoustic album. In July 2009, Ness revealed to Russian's Tarakany! Bad TV that Social Distortion was planning to enter the studio in December 2009 or the beginning of 2010 to begin recording a follow-up to Sex, Love and Rock 'n' Roll. In September that year, he said the album would be recorded in January 2010 at Studio 606, a studio owned by the Foo Fighters. Asked when the album was expected to be released, Ness guessed spring or summer of 2010. On December 29, 2009, Social Distortion's official website announced the band's first South American tour in April. Ness commented, "The band and I are really looking forward to our tour of South America. From the overwhelming amount of emails we receive from our fans in South America, it's crazy to think that it's taken this long for us to come down and tour. We couldn't be more thrilled to announce that we're finally making it happen and we look forward to meeting our loyal fans in Brazil and Argentina for the first time. We hope to come home with a few new fans as well". On February 7, 2010, Social Distortion announced on its Twitter account that it would start recording a new album on February 8. In a February 2010 interview with Spinner, Ness revealed that the band had just tracked twelve songs, and was "going to probably track another five". He says the self-produced, still-untitled album, which he hopes to release before the end of the year, will feature the classic Social Distortion sound – a combination of punk, rockabilly and country, presumably. He explained, "It's funny – the record reminds me very much of Somewhere Between Heaven and Hell, but also I'm bringing elements of early New York '70s punk, influences that maybe haven't come out as prominently in my writing in the past. It's a little more Johnny Thunders. Some of the early first wave of punk was very blues-based rock 'n' roll, but it had this urban snottiness to it." Ness also explained what happened to the acoustic album, which was announced back in 2008, "The acoustic thing is just a future project, which I think will be significant and equally important. But as far as the priority goes, it's more important now to get a studio record out that is a regular record". While recording the album, Social Distortion announced in March 2010 that Adam Willard "...will no longer be able to continue on drums...", "...due to many foreseeable scheduling conflicts with his band Angels And Airwaves...". Fu Manchu drummer Scott Reeder filled in for Willard for the South American tour. On April 1, 2010, it was reported on the official Social Distortion website that the band was taking a break from the studio to rehearse for their South American tour. Social Distortion was one of the headliners at Lollapalooza 2010. Prior to this, they embarked on an East Coast tour that July and August. On May 11, 2010, Epitaph Records officially announced that they have signed Social Distortion. On May 20, 2010, Social Distortion updated their Twitter with this post saying, "the album is tracked... finishing up writing and getting ready to head back into the studio to record vocals." The album is said to be a return to their punk rock roots and will focus on the New York punk of the 70s and early 80s. Social Distortion announced a full US tour in the fall of 2010 in support of their new album, supported by Frank Turner and Lucero. As of July 2010, Scott Reeder was replaced by David Hidalgo Jr., formerly of Suicidal Tendencies. At a show in Poughkeepsie, New York, on July 27, 2010, frontman Mike Ness revealed that the new Social Distortion album would be called Hard Times and Nursery Rhymes. Despite being planned for a November 2010 release, the band announced that the album would be released on January 18, 2011. They also mentioned that "Machine Gun Blues" would be the album's first single and available for download via iTunes on November 16. On December 6, Social Distortion made their network television debut on Jimmy Kimmel Live! performing Machine Gun Blues and Story of My Life. Social Distortion joined the ritual at The Voodoo Experience 2011 in City Park in New Orleans, Louisiana on October 28–30, 2011. On August 6, 2011, Social Distortion performed a live set for "Guitar Center Sessions" on DirecTV. The episode included an interview with program host, Nic Harcourt. Purported future albums (2011–present) Asked in a January 2011 interview with Performer Magazine if Social Distortion intended to record more albums for Epitaph, Ness replied, "I would suspect so, yes." Also in a January 2011 interview with Exclaim, Mike Ness said that there would not be another seven- or eight-year wait between Social Distortion albums. Ness stated, "Although this record is out, I'm going to continue the process of writing so maybe there won't be such a large gap between records. Even when the record's done, it doesn't mean the creativity of writing is." In his interview with Frank Turner, Ness stated that his goal was to make a new Social Distortion album in two years and wanted it to be different from Hard Times and Nursery Rhymes. In an August 2011, interview at his home in Los Angeles, Ness said that he did not want "too many years to go by before the next Social D record. I'm really trying to be a little bit more disciplined. That's really what it comes down to. It's not like it takes me eight years to write a record. Once I get out of that mode, I'm out of that mode completely. Then of course, it's hard to get back and write a record. This time, when this record was finished, the creative process didn't end just because the record was done." In May 2012, Ness stated that Social Distortion was expected to begin writing their eighth studio album in January 2013. On July 22, 2015, in an interview with Rolling Stone, Ness said he wrote songs that he forgot a few days later. He stated that the band were banking on a 2016 release date and that some songs that he considered to be filler were getting praise from his bandmates. In 2015, the band toured to celebrate the 25th anniversary of their self-titled album. In a March 2017 interview with Las Vegas Review-Journal, Ness revealed that the band has about 20 new songs in various stages of completion, and said that they range from garage punk to the gospel-inspired. Later that month, he said that he has been "reading and writing, and kind of wrapping my mind around the self-imposed challenge that I've put on myself: that I've got to write the record of my career. So I've got to raise the bar. That's just something that I put on myself because I don't like to just go, 'Time to put out another record' and go through the motions." He also hinted at the band entering the studio in about six months. In an interview with Phoenix New Times, which also took place in March 2017, Ness stated that his goal was to be in the studio by fall, and added, "I have to write the record of my career right now. That's the pressure I put on myself." In an June 2018 interview with Edmonton Journal, Ness said, "I've put a few new songs in the set just to let people know that we're not sitting on our asses at home. It gets people talking, which is nice. But yeah, once we stop touring in November, we'll be ready. I'm thinking that by January we'll be pre-production, but I don't want to rush something out just to get it out." In an interview with The Orange County Register in November 2022, Ness mentioned that, with over 40-50 songs written, Social Distortion has been working on two new albums, with the first to be released in 2023 and the second to be recorded a year later, and added, "That would make people faint. I want to do that, though. I'm going to try to do that. I want to shock people." Social Distortion toured Europe from May to July 2022. On April 7, 2023, Ness and Social Distortion posted to their Instagram pages that pre production on the band's next album was completed and that they would begin recording on April 17. The album will be released in early 2024. Logo The band has consistently used as their logo a skeleton holding a cigarette and a martini glass. It was designed by Mackie Osborne, wife of Melvins frontman Buzz Osborne, as part of an invitation to a New Year's Eve party. It is frequently featured in live performances as well as album covers. Said Ness in an April 2011 interview with Rolling Stone: "At the time, I saw that, and it just felt like, 'That's it right there. It's life and death, it's celebration.' It just felt powerful." Musical style, influences, and impact Social Distortion has been described as primarily punk rock, cowpunk, hardcore punk, and melodic hardcore. Some critics have labeled the band as roots rock, pop-punk, and alternative rock. Social Distortion's musical style began as decidedly hardcore punk when the band formed in the late 1970s. They are thought to be one of the pioneering bands of the original Southern California punk rock movement out of Orange County, California, and their style closely associated with the Adolescents, Agent Orange, the Germs, and other bands from that place and time. In the mid-'80s there was a notable change in their style of music – taking more from country music and rock and roll. Mike Ness admits in the DVD commentary from Another State of Mind that he may have even tried too hard on the Prison Bound album. They did eventually find their niche, and the majority of their albums from the mid-80s on to the early '90s featured a melodic punk sound that is distinctly – and distinctively – their own. Social Distortion's music is influenced by bands and artists such as Johnny Cash, Hank Williams, Bob Dylan, Eddie Cochran, the Rolling Stones, the Sex Pistols, the Clash, New York Dolls, Dead Boys, and the Ramones. Social Distortion have influenced bands such as Pennywise, Face to Face, Avenged Sevenfold, Rise Against, Black Veil Brides, Pearl Jam, Rancid, the Offspring, Volbeat and Thrice. The band began playing with fellow Orange County, California, bands such as the Adolescents, China White, Shattered Faith and T.S.O.L. The music was fast, angry and energetic. All of Social Distortion's songs are written and sung by Mike Ness. There is a common theme in most of his lyrics about "impulsiveness, its consequences and the hard struggle to overcome". Members Current members Mike Ness – lead guitar, lead vocals Jonny "2 Bags" Wickersham – rhythm guitar, backing vocals Brent Harding – bass, backing vocals David Hidalgo Jr. – drums, percussion Touring members David Kalish – keyboards, Hammond organ Discography Mommy's Little Monster (1983) Prison Bound (1988) Social Distortion (1990) Somewhere Between Heaven and Hell (1992) White Light, White Heat, White Trash (1996) Sex, Love and Rock 'n' Roll (2004) Hard Times and Nursery Rhymes (2011) References External links Category:Musical groups established in 1978 Category:Musical groups disestablished in 1985 Category:Musical groups reestablished in 1986 Category:Musical groups from Orange County, California Category:Musical quartets Category:Cowpunk musical groups Category:Hardcore punk groups from California Category:Punk rock groups from California Category:550 Music artists Category:Restless Records artists Category:Epic Records artists Category:Melodic hardcore musical groups from California
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Stevie Ray Vaughan
Stephen Ray Vaughan (October 3, 1954 - August 27, 1990) was an American musician, singer, songwriter, and record producer. In spite of a short-lived mainstream career spanning seven years, he was one of the most influential guitarists in the revival of blues in the 1980s. AllMusic describes him as "a rocking powerhouse of a guitarist who gave blues a burst of momentum in the '80s, with influence still felt long after his tragic death." Born and raised in Dallas, Texas, Vaughan began playing guitar at the age of seven, inspired by his older brother Jimmie.
First recordings
In September 1970, Vaughan made his first studio recordings with the band Cast of Thousands, which included future actor Stephen Tobolowsky. They recorded two songs, "Red, White and Blue" and "I Heard a Voice Last Night", for a compilation album, A New Hi, that featured various teenage bands from Dallas. In late January 1971, feeling confined by playing pop hits with Liberation, Vaughan formed his own band, Blackbird. After growing tired of the Dallas music scene, he dropped out of school and moved with the band to Austin, Texas, which had more liberal and tolerant audiences. There, Vaughan initially took residence at the Rolling Hills Country Club, a venue that would later become the Soap Creek Saloon. Blackbird played at several clubs in Austin and opened shows for bands such as Sugarloaf, Wishbone Ash, and Zephyr, but could not maintain a consistent lineup. In early December 1972, Vaughan left Blackbird and joined a rock band named Krackerjack; he performed with them for less than three months. In March 1973, Vaughan joined Marc Benno's band, the Nightcrawlers, after meeting Benno at a jam session years before. The band featured vocalist Doyle Bramhall, who met Vaughan when he was twelve years old. The next month, the Nightcrawlers recorded an album at Sunset Sound Recorders in Hollywood for A&M Records. While the album was rejected by A&M, it included Vaughan's first songwriting efforts, "Dirty Pool" and "Crawlin'". Soon afterward, he and the Nightcrawlers traveled back to Austin without Benno. In mid-1973, they signed a contract with Bill Ham, manager for ZZ Top, and played various gigs across the South, though many of them were disastrous. Ham left the band stranded in Mississippi without any way to make it back home and demanded reimbursement from Vaughan for equipment expenses; Ham was never reimbursed. In 1975, Vaughan joined a six-piece band called Paul Ray and the Cobras that included guitarist Denny Freeman and saxophonist Joe Sublett. For the next two-and-a-half years, he earned a living performing weekly at a popular venue in town, the Soap Creek Saloon, and ultimately the newly opened Antone's, widely known as Austin's "home of the blues". In late 1976, Vaughan recorded a single with them, "Other Days" as the A-side and "Texas Clover" as the B-side. Playing guitar on both tracks, the single was released on February 7, 1977. In March, readers of the Austin Sun voted them as Band of the Year. In addition to playing with the Cobras, Vaughan jammed with many of his influences at Antone's, including Buddy Guy, Hubert Sumlin, Jimmy Rogers, Lightnin' Hopkins, and Albert King. Vaughan toured with the Cobras during much of 1977, but near the end of September, after they decided to strive for a mainstream musical direction, he left the band and formed Triple Threat Revue, which included singer Lou Ann Barton, bassist W. C. Clark, and drummer Fredde Pharaoh. In January 1978, they recorded four songs in Austin, including Vaughan's composition "I'm Cryin'". The thirty-minute audio recording marks the only known studio recording of the band. CANNOTANSWER
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Stephen Ray Vaughan (October 3, 1954 – August 27, 1990) was an American musician, best known as the guitarist and frontman of the blues rock trio Stevie Ray Vaughan and Double Trouble. Although his mainstream career spanned only seven years, he is regarded as one of the most influential musicians in the history of blues music, and one of the greatest guitarists of all time. He was the younger brother of guitarist Jimmie Vaughan. Born and raised in Dallas, Vaughan began playing guitar at age seven, initially inspired by his elder brother, Jimmie Vaughan. In 1972, he dropped out of high school and moved to Austin, where he began to gain a following after playing gigs on the local club circuit. Vaughan joined forces with Tommy Shannon on bass and Chris Layton on drums as Double Trouble in 1978 and established it as part of the Austin music scene; it soon became one of the most popular acts in Texas. He performed at the Montreux Jazz Festival in 1982, where David Bowie saw him play. Bowie contacted him for a studio gig that resulted in Vaughan playing blues guitar on the album Let's Dance (1983), before being discovered by John Hammond who interested major label Epic Records in signing Vaughan and his band to a record deal. Within months, they achieved mainstream success for the critically acclaimed debut album Texas Flood. With a series of successful network television appearances and extensive concert tours, Vaughan became the leading figure in the blues revival of the 1980s. Playing his guitar behind his back or plucking the strings with his teeth as Jimi Hendrix did, he earned fame in Europe, which later resulted in breakthroughs for guitar players like Robert Cray, Jeff Healey, Robben Ford, and Walter Trout, amongst others. During the majority of his life, Vaughan struggled with alcoholism and drug addiction. He also struggled with the personal and professional pressures of fame and his marriage to Lenora "Lenny" Bailey. He successfully completed rehabilitation and began touring again with Double Trouble in November 1986. His fourth and final studio album In Step reached number 33 in the United States in 1989; it was one of Vaughan's most critically and commercially successful releases and included his only number-one hit, "Crossfire". He became one of the world's most highly demanded blues performers, and he headlined Madison Square Garden in 1989 and the Beale Street Music Festival in 1990. On August 27, 1990, Vaughan and four others were killed in a helicopter crash in East Troy, Wisconsin, after performing with Double Trouble at Alpine Valley Music Theatre. An investigation concluded that the cause of the accident was pilot error and Vaughan's family later filed a wrongful death lawsuit against Omniflight Helicopters which was settled out of court. Vaughan's music continued to achieve commercial success with several posthumous releases and has sold over 15 million albums in the United States alone. In 2003, David Fricke of Rolling Stone ranked him the seventh greatest guitarist of all time. Vaughan was posthumously inducted into the Rock and Roll Hall of Fame in 2015, along with Double Trouble bandmates Chris Layton, Tommy Shannon, and Reese Wynans. Family and early life Vaughan's grandfather, Thomas Lee Vaughan, married Laura Belle LaRue and moved to Rockwall County, Texas where they lived by sharecropping. Stevie's father, Jimmie Lee Vaughan, was born on September 6, 1921. Jimmie Vaughan, also known as Jim or Big Jim, dropped out of school at age sixteen and enlisted in the U.S. Navy during World War II. After his discharge from the military, he married Martha Jean (née Cook; 1928–2009) on January 13, 1950. They had a son, Jimmie, in 1951. Stevie was born at Methodist Hospital on October 3, 1954, in Dallas. Big Jim secured a job as an asbestos worker. The family moved frequently and lived in other states such as Arkansas, Louisiana, Mississippi, and Oklahoma before ultimately moving to the Oak Cliff section of Dallas. A shy and insecure boy, Vaughan was deeply affected by his childhood experiences. His father struggled with alcohol abuse and often terrorized his family and friends with his bad temper. In later years, Vaughan recalled that he had been a victim of his father's violence. His father died on August 27, 1986, exactly four years before Vaughan himself. First instruments In the early 1960s, Vaughan's admiration for his brother Jimmie resulted in his trying different instruments such as the drums and saxophone. In 1961, for his seventh birthday, Vaughan received his first guitar, a toy guitar from Sears with a Western motif. Learning by ear he diligently committed himself, following along to songs by the Nightcaps, particularly "Wine, Wine, Wine" and "Thunderbird". He listened to blues artists such as Albert King, Otis Rush, and Muddy Waters, and rock guitarists including Jimi Hendrix and Lonnie Mack, as well as jazz guitarists including Kenny Burrell. In 1963, he acquired his first electric guitar, a Gibson ES-125T, as a hand-me-down from Jimmie. Soon after he acquired the electric guitar, Vaughan joined his first band, the Chantones, in 1965. Their first show was at a talent contest held in Dallas' Hill Theatre, but after realizing that they could not perform a Jimmy Reed song in its entirety, Vaughan left the band and joined the Brooklyn Underground, playing professionally at local bars and clubs. He received Jimmie's Fender Broadcaster, which he later traded for an Epiphone Riviera. When Jimmie left home at age sixteen, Vaughan's apparent obsession with the guitar caused a lack of support from his parents. Miserable at home, he took a job at a local hamburger stand, where he washed dishes and dumped trash for seventy cents an hour. After falling into a barrel of grease, he grew tired of the job and quit to devote his life to a music career. Music career Early years In May 1969, after leaving the Brooklyn Underground, Vaughan joined a band called the Southern Distributor. He had learned the Yardbirds' "Jeff's Boogie" and played the song at the band audition. Mike Steinbach, the group's drummer, commented: "The kid was fourteen. We auditioned him on 'Jeff's Boogie,' really fast instrumental guitar, and he played it note for note." Although they played pop rock covers, Vaughan conveyed his interest in the addition of blues songs to the group's repertoire; he was told that he wouldn't earn a living playing blues music and he and the band parted ways. Later that year, bassist Tommy Shannon walked into a Dallas club and heard Vaughan playing guitar. Fascinated by the skillful playing, which he described as "incredible even then", Shannon borrowed a bass guitar and the two jammed. Within a few years, they began performing together in a band called Krackerjack. In February 1970, Vaughan joined a band called Liberation, which was a nine-piece group with a horn section. Having spent the past month briefly playing bass with Jimmie in Texas Storm, he had originally auditioned as bassist. Impressed by Vaughan's guitar playing, Scott Phares, the group's original guitarist, modestly became the bassist. In mid-1970, they performed at the Adolphus Hotel in downtown Dallas, where ZZ Top asked them to perform. During Liberation's break, Vaughan jammed with ZZ Top on the Nightcaps song "Thunderbird". Phares later described the performance: "they tore the house down. It was awesome. It was one of those magical evenings. Stevie fit in like a glove on a hand." Attending Justin F. Kimball High School during the early 1970s, Vaughan's late-night shows contributed to his neglect of his studies, including music theory; he would often sleep during class. His pursuit of a musical career was disapproved of by many of the school's administrators but he was also encouraged by many people, including his art teacher, to strive for a career in art. In his sophomore year, he attended an evening class for experimental art at Southern Methodist University, but left when it conflicted with rehearsal. Vaughan later spoke of his dislike of the school and recalled having received daily notes from the principal about his grooming. First recordings In September 1970, Vaughan made his first studio recordings with the band Cast of Thousands, which included future actor Stephen Tobolowsky. They recorded two songs, "Red, White and Blue" and "I Heard a Voice Last Night", for a compilation album, A New Hi, that featured various teenage bands from Dallas. In late January 1971, feeling confined by playing pop hits with Liberation, Vaughan formed his own band, Blackbird. After growing tired of the Dallas music scene, he dropped out of school and moved with the band to Austin, Texas, which had more liberal and tolerant audiences. There, Vaughan initially took residence at the Rolling Hills Club, a local blues venue that would later become the Soap Creek Saloon. Blackbird played at several clubs in Austin and opened shows for bands such as Sugarloaf, Wishbone Ash, and Zephyr, but could not maintain a consistent lineup. In early December 1972, Vaughan left Blackbird and joined Krackerjack; he performed with them for less than three months. In March 1973, Vaughan joined Marc Benno's band, the Nightcrawlers, having met Benno at a jam session years before. The band featured vocalist Doyle Bramhall, who met Vaughan when he was twelve years old. The next month, the Nightcrawlers recorded an album at Sunset Sound Recorders in Hollywood for A&M Records. While the album was rejected by A&M, it included Vaughan's first songwriting efforts, "Dirty Pool" and "Crawlin'". Soon afterward, he and the Nightcrawlers traveled back to Austin without Benno. In mid-1973, they signed a contract with Bill Ham, manager for ZZ Top, and played various gigs across the Southern United States, although many of them were unsuccessful. Ham left the band stranded in Mississippi without any way to make it back home and demanded reimbursement from Vaughan for equipment expenses; Ham was never reimbursed. In 1975, Vaughan joined a six-piece band called Paul Ray and the Cobras which included guitarist Denny Freeman and saxophonist Joe Sublett. For the next two-and-a-half years, he earned a living performing weekly at a popular venue in town, the Soap Creek Saloon, and ultimately the newly opened Antone's, widely known as Austin's "home of the blues". In late 1976, Vaughan recorded a single with them, "Other Days" as the A-side and "Texas Clover" as the B-side. Playing guitar on both tracks, the single was released on February 7, 1977. In March, readers of the Austin Sun voted them as Band of the Year. In addition to playing with the Cobras, Vaughan jammed with many of his influences at Antone's, including Buddy Guy, Hubert Sumlin, Jimmy Rogers, Lightnin' Hopkins, and Albert King. Vaughan toured with the Cobras during much of 1977, but near the end of September, when they decided to strive for a mainstream musical direction, he left the band and formed Triple Threat Revue, which included singer Lou Ann Barton, bassist W. C. Clark, and drummer Fredde "Pharaoh" Walden. In January 1978, they recorded four songs in Austin, including Vaughan's composition "I'm Cryin'". The thirty-minute audio recording marks the only known studio recording of the band. Double Trouble In mid-May 1978, Clark left to form his own group and Vaughan renamed the band Double Trouble, taken from the title of an Otis Rush song. Following the recruitment of bassist Jackie Newhouse, Walden quit in July, and was briefly replaced by Jack Moore, who had moved to Texas from Boston; he performed with the band for about two months. Vaughan then began looking for a drummer and soon after, he met Chris Layton through Sublett, who was his roommate. Layton, who had recently parted ways with Greezy Wheels, was taught by Vaughan to play a shuffle rhythm. When Vaughan offered Layton the position, he agreed. In early July, Vaughan befriended Lenora Bailey, known as "Lenny", who became his girlfriend, and ultimately his wife. The marriage was to last for six and a half years. In early October 1978, Vaughan and Double Trouble earned a frequent residency performing at one of Austin's most popular nightspots, the Rome Inn. During a performance, Edi Johnson, an accountant at Manor Downs, noticed Vaughan. She remembered: "I'm not an authority on music—it's whatever turned me on—but this did." She recommended him to Manor Downs owner Frances Carr and general manager Chesley Millikin, who was interested in managing artists and saw Vaughan's musical potential. After Barton quit Double Trouble in mid-November 1979, Millikin signed Vaughan to a management contract. Vaughan also hired Robert "Cutter" Brandenburg as road manager, whom he had met in 1969. Addressing him as "Stevie Ray", Brandenburg convinced Vaughan to use his middle name on stage. In October 1980, bassist Tommy Shannon attended a Double Trouble performance at Rockefeller's in Houston. Shannon, who was playing with Alan Haynes at the time, participated in a jam session with Vaughan and Layton halfway through their set. Shannon later commented: "I went down there that night, and I'll never forget this: it was like, when I walked in the door and I heard them playing, it was like a revelation. 'That's where I want to be; that's where I belong, right there.' During the break, I went up to Stevie and told him that. I didn't try to sneak around and hide it from the bass player [Jackie Newhouse]—I didn't know if he was listening or not. I just really wanted to be in that band. I sat in that night and it sounded great." Almost three months later, when Vaughan offered Shannon the position, he readily accepted. Drug charge and trial On December 5, 1979, while Vaughan was in a dressing room before a performance in Houston, an off-duty police officer arrested him after witnessing him using cocaine near an open window. He was formally charged with cocaine possession and subsequently released on $1,000 bail. Double Trouble was the opening act for Muddy Waters, who said about Vaughan's substance abuse: "Stevie could perhaps be the greatest guitar player that ever lived, but he won't live to get 40 years old if he doesn't leave that white powder alone." The following year, he was required to return on January 16 and February 29 for court appearances. During the final court date on April 17, 1980, Vaughan was sentenced with two years' probation and was prohibited from leaving Texas. Along with a stipulation of entering treatment for drug abuse, he was required to "avoid persons or places of known disreputable or harmful character"; he refused to comply with both of these orders. After a lawyer was hired, his probation officer had the sentence revised to allow him to work outside of the state. The incident later caused him to refuse maid service while staying in hotels during concert tours. Montreux Jazz Festival Although popular in Texas at the time, Double Trouble failed to gain national attention. The group's visibility improved when record producer Jerry Wexler recommended them to Claude Nobs, organizer of the Montreux Jazz Festival. He insisted the festival's blues night would be great with Vaughan, whom he called "a jewel, one of those rarities who comes along once in a lifetime", and Nobs agreed to book Double Trouble on July 17, 1982. Vaughan opened with a medley arrangement of Freddie King's song "Hide Away" and his own fast instrumental composition, "Rude Mood". Double Trouble went on to perform renditions of Larry Davis' "Texas Flood", Hound Dog Taylor's "Give Me Back My Wig", and Albert Collins' "Collins Shuffle", as well as three original compositions: "Pride and Joy", "Love Struck Baby", and "Dirty Pool". The set ended with boos from the audience. People's James McBride wrote: According to road manager Don Opperman: "the way I remember it, the 'ooos' and the 'boos' were mixed together, but Stevie was pretty disappointed. Stevie [had] just handed me his guitar and walked off stage, and I'm like, 'are you coming back?' There was a doorway back there; the audience couldn't see the guys, but I could. He went back to the dressing room with his head in his hands. I went back there finally, and that was the end of the show." According to Vaughan: "it wasn't the whole crowd [that booed]. It was just a few people sitting right up front. The room there was built for acoustic jazz. When five or six people boo, wow, it sounds like the whole world hates you. They thought we were too loud, but shoot, I had four army blankets folded over my amp, and the volume level was on 2. I'm used to playin' on 10!" The performance was filmed and later released on DVD in September 2004. On the following night, Double Trouble was booked in the lounge of the Montreux Casino, with Jackson Browne in attendance. Browne jammed with Double Trouble until the early morning hours and offered them free use of his personal recording studio in downtown Los Angeles. In late November the band accepted his offer and recorded ten songs in two days. While they were in the studio, Vaughan received a telephone call from David Bowie, who had met him after the Montreux performance, and he invited him to participate in a recording session for his next studio album, Let's Dance. In January 1983, Vaughan recorded guitar on six of the album's eight songs, including the title track and "China Girl". The album was released on April 14, 1983, and sold over three times as many copies as Bowie's previous album. National success In mid-March 1983, Gregg Geller, vice president of A&R at Epic Records, signed Double Trouble to the label at the recommendation of record producer John Hammond. Soon afterward, Epic financed a music video for "Love Struck Baby", which was filmed at the Cherry Tavern in New York City. Vaughan recalled: "we changed the name of the place in the video. Four years ago I got married in a club where we used to play all the time called the Rome Inn. When they closed it down, the owner gave me the sign, so in the video we put that up behind me on the stage." With the success of Let's Dance, Bowie requested Vaughan as the featured instrumentalist for the upcoming Serious Moonlight Tour, realizing that he was an essential aspect of the album's groundbreaking success. In late April, Vaughan began rehearsals for the tour in Las Colinas, Texas. When contract renegotiations for his performance fee failed, Vaughan abandoned the tour days before its opening date, and he was replaced by Earl Slick. Vaughan commented: "I couldn't gear everything on something I didn't really care a whole lot about. It was kind of risky, but I really didn't need all the headaches." Although contributing factors were widely disputed, Vaughan soon gained major publicity for quitting the tour. On May 9, the band performed at The Bottom Line in New York City, where they opened for Bryan Adams, with Hammond, Mick Jagger, John McEnroe, Rick Nielsen, Billy Gibbons, and Johnny Winter in attendance. Brandenburg described the performance as "ungodly": "I think Stevie played every lick as loud and as hard and with as much intensity as I've ever heard him." The performance earned Vaughan a positive review published in the New York Post, asserting that Double Trouble outperformed Adams. "Fortunately, Bryan Adams, the Canadian rocker who is opening arena dates for Journey, doesn't headline too often", wrote Martin Porter, who claimed that after the band's performance, the stage had been "rendered to cinders by the most explosively original showmanship to grace the New York stage in some time." Texas Flood After acquiring the recordings from Browne's studio, Double Trouble began assembling the material for a full-length LP. The album, Texas Flood, opens with the track "Love Struck Baby", which was written for Lenny on their "love-struck day". He composed "Pride and Joy" and "I'm Cryin'" for one of his former girlfriends, Lindi Bethel. Although both are musically similar, their lyrics are two different perspectives of the relationship. Along with covers of Howlin' Wolf, the Isley Brothers, and Buddy Guy, the album included Vaughan's cover of Larry Davis' "Texas Flood", a song that he became strongly associated with. "Lenny" served as a tribute to his wife, which he composed at the end of their bed. Texas Flood featured cover art by illustrator Brad Holland, who is known for his artwork for Playboy and The New York Times. Originally envisioned with Vaughan sitting on a horse depicting a promotable resemblance, Holland painted an image of him leaning against a wall with a guitar, using a photograph as a reference. Released on June 13, 1983, Texas Flood peaked at number 38 and ultimately sold half a million copies. While Rolling Stone editor Kurt Loder asserted that Vaughan did not possess a distinctive voice, according to AllMusic senior editor Stephen Thomas Erlewine, the release was a "monumental impact". Billboard described it as "a guitar boogie lovers delight". Agent Alex Hodges commented: "No one knew how big that record would be, because guitar players weren't necessarily in vogue, except for some that were so established they were undeniable ... he was one of the few artists that was recouped on every record in a short period of time." On June 16, Vaughan gave a performance at Tango nightclub in Dallas, which celebrated the album's release. Assorted VIPs attended the performance, including Ted Nugent, Sammy Hagar, and members of The Kinks and Uriah Heep. Jack Chase, vice president of marketing for Epic, recalled: "the coming-out party at Tango was very important; it was absolutely huge. All the radio station personalities, DJs, program directors, all the retail record store owners and the important managers, press, all the executives from New York came down—about seven hundred people. We attacked in Dallas first with Q102-FM and [DJ] Redbeard. We had the Tango party—it was hot. It was the ticket." The Dallas Morning News reviewed the performance, starting with the rhetorical question; "what if Stevie Ray Vaughan had an album release party and everybody came? It happened Thursday night at Tango. ... The adrenaline must have been gushing through the musicians' veins as they performed with rare finesse and skill." Following a brief tour in Europe, Hodges arranged an engagement for Double Trouble as The Moody Blues' opening act during a two-month tour of North America. Hodges stated that many people disliked the idea of Double Trouble opening for The Moody Blues, but asserted that a common thread that both bands shared was "album-oriented rock". Tommy Shannon described the tour as "glorious": "Our record hadn't become that successful yet, but we were playing in front of coliseums full of people. We just went out and played, and it fit like a glove. The sound rang through those big coliseums like a monster. People were going crazy, and they had no idea who we were!" After appearing on the television series Austin City Limits, the band played a sold-out concert at New York City's Beacon Theatre. Variety wrote that their ninety-minute set at the Beacon "left no doubt that this young Texas musician is indeed the 'guitar hero of the present era.'" Couldn't Stand the Weather In January 1984, Double Trouble began recording their second studio album, Couldn't Stand the Weather, at the Power Station, with John Hammond as executive producer and engineer Richard Mullen. Layton later recalled working with Hammond: "he was kind of like a nice hand on your shoulder, as opposed to someone that jumped in and said, 'let's redo this, let's do that more.' He didn't get involved in that way at all. He was a feedback person." As the sessions began, Vaughan's cover of Bob Geddins' "Tin Pan Alley" was recorded while audio levels were being checked. Layton remembers the performance: "... we did probably the quietest version we ever did up 'til that point. We ended it and [Hammond] said; 'that's the best that song will ever sound,' and we went; 'we haven't even got sounds, have we?' He goes, 'that doesn't matter. That's the best you'll ever do that song.' We tried it again five, six, seven times - I can't even remember. But it never quite sounded like it did that first time." During recording sessions, Vaughan began experimenting with other combinations of musicians, including Fran Christina and Stan Harrison, who played drums and saxophone respectively on the jazz instrumental, "Stang's Swang". Jimmie Vaughan played rhythm guitar on his cover of Guitar Slim's "The Things That I Used to Do" and the title track, in the latter of which Vaughan carries a worldly message in his lyrics. According to musicologist Andy Aledort, Vaughan's guitar playing throughout the song is marked by steady rhythmic strumming patterns and improvised lead lines, with a distinctive R&B and soul single-note riff, doubled in octaves by guitar and bass. Couldn't Stand the Weather was released on May 15, 1984, and two weeks later it had rapidly outpaced the sales of Texas Flood. It peaked at number 31 and spent 38 weeks on the charts. The album includes Vaughan's cover of Jimi Hendrix's song, "Voodoo Child (Slight Return)", which provoked inevitable comparisons to Hendrix. According to AllMusic editor Stephen Thomas Erlewine, Couldn't Stand the Weather "confirmed that the acclaimed debut was no fluke, while matching, if not bettering, the sales of its predecessor, thereby cementing Vaughan's status as a giant of modern blues." According to authors Joe Nick Patoski and Bill Crawford, the album "was a major turning point in Stevie Ray Vaughan's development" and Vaughan's singing improved. Carnegie Hall On October 4, 1984, Vaughan headlined a performance at Carnegie Hall that included many guest musicians. For the second half of the concert, he added Jimmie as rhythm guitarist, drummer George Rains, keyboardist Dr. John, Roomful of Blues horn section, and featured vocalist Angela Strehli. The ensemble rehearsed for less than two weeks before the performance, and despite the solid dynamics of Double Trouble for the first half of the performance, according to Patoski and Crawford, the big band concept never entirely took form. Before arriving at the engagement, the venue sold out, which made Vaughan overexcited and nervous; he did not calm down until halfway through the third song. The benefit for the T.J. Martell Foundation's work in leukemia and cancer research was an important draw for the event. As his scheduled time slot drew closer, he indicated that he preferred traveling to the venue by limousine to avoid being swarmed by fans on the street; the band took the stage around 8:00 p.m. The audience of 2,200 people, which included Vaughan's wife, family and friends, transformed the venue into what Stephen Holden of The New York Times described as "a whistling, stomping roadhouse". Introduced by Hammond as "one of the greatest guitar players of all time", Vaughan opened with "Scuttle Buttin'", wearing a custom-made mariachi suit he described as a "Mexican tuxedo". Double Trouble went on to perform renditions of the Isley Brothers' "Testify", The Jimi Hendrix Experience's "Voodoo Child (Slight Return)", "Tin Pan Alley", Elmore James' "The Sky Is Crying", and W. C. Clark's "Cold Shot", along with four original compositions including "Love Struck Baby", "Honey Bee", "Couldn't Stand the Weather", and "Rude Mood". During the second half of the performance, Vaughan performed covers by Larry Davis, Buddy Guy, Guitar Slim, Albert King, Jackie Wilson, and Albert Collins. The set ended with Vaughan performing solo renditions of "Lenny" and "Rude Mood". The Dallas Times-Herald wrote of the performance at Carnegie Hall as; "was full of stomping feet and swaying bodies, kids in blue jeans hanging off the balconies, dancing bodies that clogged the aisles." The New York Times asserted that, despite the venue's "muddy" acoustics, their performance was "filled with verve", and Vaughan's playing was "handsomely displayed". Jimmie Vaughan later commented: "I was worried the crowd might be a little stiff. Turned out they're just like any other beer joint." Vaughan commented: "We won't be limited to just the trio, although that doesn't mean we'll stop doing the trio. I'm planning on doing that too. I ain't gonna stay in one place. If I do, I'm stupid." The performance was recorded and later released as an official live LP. The album was released posthumously on July 29, 1997, by Epic Records; it was ultimately certified gold. Immediately after the concert, Vaughan attended a private party at a downtown club in New York, which was sponsored by MTV, where he was greeted by an hour's worth of supporters. On the following day, Double Trouble made an appearance at a record store in Greenwich Village, where they signed autographs for fans. In late October 1984, the band toured Australia and New Zealand, which included one of their first appearances on Australian television—on Hey Hey It's Saturday—where they performed "Texas Flood", and an interview on Sounds. On November 5 and 9, they played sold-out concerts at the Sydney Opera House. Upon returning to the U.S., Double Trouble went on a brief tour in California. Soon afterward, Vaughan and Lenny went to the island of Saint Croix, on the U.S. Virgin Islands in the Caribbean Sea, where they had spent some time vacationing in December. The next month, Double Trouble flew to Japan, where they appeared for five performances, including at Kōsei Nenkin Kaikan in Osaka. Soul to Soul In March 1985, recording for Double Trouble's third studio album, Soul to Soul, began at the Dallas Sound Lab. As the sessions progressed, Vaughan became increasingly frustrated with his own lack of inspiration. He was also allowed a relaxed pace of recording the album, which contributed to a lack of focus due to excesses in alcohol and other drugs. Roadie Byron Barr later recalled: "the routine was to go to the studio, do dope, and play ping-pong." Vaughan, who found it increasingly difficult to be able to play rhythm guitar parts and sing at the same time, wanted to add another dimension to the band, so he hired keyboardist Reese Wynans to record on the album; he joined the band soon thereafter. During the album's production, Vaughan appeared at the Houston Astrodome on April 10, 1985, where he performed a slide guitar rendition of the U.S. national anthem, "The Star-Spangled Banner"; his performance was met with booing. Upon leaving the stage, Vaughan acquired an autograph from former player for the New York Yankees, Mickey Mantle. Astrodome publicist Molly Glentzer wrote in the Houston Press: "As Vaughan shuffled back behind home plate, he was only lucid enough to know that he wanted Mickey Mantle's autograph. Mantle obliged. 'I never signed a guitar before.' Nobody asked Vaughan for his autograph. I was sure he'd be dead before he hit 30." Critics associated his performance with Jimi Hendrix's rendition at Woodstock in 1969, yet Vaughan disliked this comparison: "I heard they even wrote about it in one of the music magazines and they tried to put the two versions side by side. I hate that stuff. His version was great." Released on September 30, 1985, Soul to Soul peaked at number 34 and remained on the Billboard 200 through mid-1986, eventually certified gold. Critic Jimmy Guterman of Rolling Stone wrote: "there's some life left in their blues rock pastiche; it's also possible that they've run out of gas." According to Patoski and Crawford, sales of the album "did not match Couldn't Stand the Weather, suggesting Stevie Ray and Double Trouble were plateauing". Vaughan commented: "as far as what's on there song-wise, I like the album a lot. It meant a lot to us what we went through to get this record. There were a lot of odds and we still stayed strong. We grew a lot with the people in the band and immediate friends around us; we learned a lot and grew a lot closer. That has a lot to do with why it's called [Soul to Soul]." Live Alive After touring for nine and a half months, Epic requested a fourth album from Double Trouble as part of their contractual obligation. In July 1986, Vaughan decided that they would record the LP, Live Alive, during three live appearances in Austin and Dallas. On July 17 and 18, the band performed sold-out concerts at the Austin Opera House, and July 19 at the Dallas Starfest. They used recordings of these concerts to assemble the LP, which was produced by Vaughan. Shannon was backstage before the Austin concert and predicted to new manager Alex Hodges that both Vaughan and he were "headed for a brick wall". Guitarist Denny Freeman attended the Austin performances; he called the shows a "musical mess, because they would go into these chaotic jams with no control. I didn't know what exactly was going on, but I was concerned." Both Layton and Shannon remarked that their work schedule and drugs were causing the band to lose focus. According to Wynans: "Things were getting illogical and crazy." The Live Alive album was released on November 17, 1986, and was the only official live Double Trouble LP made commercially available during Vaughan's lifetime, though it never appeared on the Billboard 200 chart. Though many critics claimed that most of the album was overdubbed, engineer Gary Olazabal, who mixed the album, asserted that most of the material was recorded poorly. Vaughan later admitted that it was not one of his better efforts; he recalled: "I wasn't in very good shape when we recorded Live Alive. At the time, I didn't realize how bad a shape I was in. There were more fix-it jobs done on the album than I would have liked. Some of the work sounds like [it was] the work of half-dead people. There were some great notes that came out, but I just wasn't in control; nobody was." Drugs and alcohol In 1960 when Vaughan was six years old, he began stealing his father's drinks. Drawn in by its effects, he started making his own drinks and this resulted in alcohol dependence. He explained: "that's when I first started stealing daddy's drinks. Or when my parents were gone, I'd find the bottle and make myself one. I thought it was cool ... thought the kids down the street would think it was cool. That's where it began, and I had been depending on it ever since." According to the authors Joe Nick Patoski and Bill Crawford: "In the ensuing twenty-five years, he had worked his way through the Physicians' Desk Reference before finding his poisons of preference—alcohol and cocaine." While Vaughan asserted that he first experienced the effects of cocaine when a doctor prescribed him a liquid solution containing it as a nasal spray, according to Patoski and Crawford, the earliest that Vaughan is known to have used it is in 1975, while performing with the Cobras. Before that, Vaughan had briefly used other drugs such as cannabis, methamphetamine, and Quaaludes, the brand name for methaqualone. After 1975, he regularly drank whiskey and used cocaine, particularly mixing the two substances together. According to Hopkins, by the time of Double Trouble's European tour in September 1986, "his lifestyle of substance abuse had reached a peak, probably better characterized as the bottom of a deep chasm." At the height of Vaughan's substance abuse, he drank of whiskey and used of cocaine each day. Personal assistant Tim Duckworth explained: "I would make sure he would eat breakfast instead of waking up drinking every morning, which was probably the worst thing he was doing." According to Vaughan: "it got to the point where if I'd try to say "hi" to somebody, I would just fall apart crying. It was like solid doom." In September 1986, Double Trouble traveled to Denmark for a one-month tour of Europe. During the late night hours of September 28, Vaughan became ill after a performance in Ludwigshafen, Germany, suffering from near-death dehydration, for which he received medical treatment. The incident resulted in his checking into The London Clinic under the care of Dr. Victor Bloom, who warned him that he was a month away from death. After staying in London for more than a week, he returned to the United States and entered Peachford Hospital in Atlanta, where he spent four weeks in rehabilitation, and then checked into rehab in Austin. Live Alive tour In November 1986, following his departure from rehab, Vaughan moved back into his mother's Glenfield Avenue house in Dallas, which is where he had spent much of his childhood. During this time, Double Trouble began rehearsals for the Live Alive tour. Although Vaughan was nervous about performing after achieving sobriety, he received positive reassurance. Wynans later recalled: "Stevie was real worried about playing after he'd gotten sober...he didn't know if he had anything left to offer. Once we got back out on the road, he was very inspired and motivated." The tour began on November 23 at Towson State University, which was Vaughan's first performance with Double Trouble after rehab. On December 31, 1986, they played a concert at Atlanta's Fox Theatre, which featured encore performances with Lonnie Mack. As the tour progressed, Vaughan was longing to work on material for his next LP, but in January 1987, he filed for a divorce from Lenny, which restricted him from any projects until the proceedings were finalized. This prevented him from writing and recording songs for almost two years, but Double Trouble wrote the song "Crossfire" with Bill Carter and Ruth Ellsworth. Layton recalled: "we wrote the music, and they had to write the lyrics. We had just gotten together; Stevie was unable to be there at that time. He was in Dallas doing some things, and we just got together and started writing some songs. That was the first one we wrote." On August 6, 1987, Double Trouble appeared at the Austin Aqua Festival, where they played to one of the largest audiences of their career. According to biographer Craig Hopkins, as many as 20,000 people attended the concert. Following a month-long tour as the opening act for Robert Plant in May 1988, which included a concert at Toronto's Maple Leaf Gardens, the band was booked for a European leg, which included 22 performances, and ended in Oulu, Finland on July 17. This would be Vaughan's last concert appearance in Europe. In Step After Vaughan's divorce from Lenora "Lenny" Darlene Bailey became final, recording for Double Trouble's fourth and final studio album, In Step, began at Kiva Studios in Memphis, Tennessee, working with producer Jim Gaines and co-songwriter Doyle Bramhall. Initially, he had doubts about his musical and creative abilities after achieving sobriety, but he gained confidence as the sessions progressed. Shannon later recalled: "In Step was, for him, a big growing experience. In my opinion, it's our best studio album, and I think he felt that way, too." Bramhall, who had also entered rehab, wrote songs with Vaughan about addiction and redemption. According to Vaughan, the album was titled In Step because "I'm finally in step with life, in step with myself, in step with my music." The album's liner notes include the quote; "'thank God the elevator's broken," a reference to the twelve-step program proposed by Alcoholics Anonymous (AA). After the In Step recording sessions moved to Los Angeles, Vaughan added horn players Joe Sublett and Darrell Leonard, who played saxophone and trumpet respectively on both "Crossfire" and "Love Me Darlin". Shortly before the album's production was complete, Vaughan and Double Trouble appeared at a presidential inaugural party in Washington, D.C. for George H. W. Bush. In Step was released on June 13, 1989, and eight months later, it was certified gold. The album was Vaughan's most commercially successful release and his first one to win a Grammy Award. It peaked at number 33 on the Billboard 200, spending 47 weeks on the chart. In Step included the song, "Crossfire", which was written by Double Trouble, Bill Carter, and Ruth Ellsworth; it became his only number one hit. The album also included one of his first recordings to feature the use of a Fuzz Face on Vaughan's cover of the Howlin' Wolf song, "Love Me Darlin. In July 1989, Neil Perry, a writer for Sounds magazine, wrote: "the album closes with the brow-soothing swoon of 'Riviera Paradise,' a slow, lengthy guitar and piano workout that proves just why Vaughan is to the guitar what Nureyev is to ballet." According to music journalist Robert Christgau, Vaughan was "writing blues for AA...he escapes the blues undamaged for the first time in his career." In October 1989, the Boca Raton News described Vaughan's guitar solos as "determined, clear-headed and downright stinging" and his lyrics as "tension-filled allegories". Death On Monday, August 27, 1990, at 12:50 a.m. (CDT), Vaughan and members of Eric Clapton's touring entourage played an all-star encore jam session at Alpine Valley Music Theatre in Alpine Valley Resort in East Troy, Wisconsin. They then left for Midway International Airport in Chicago in a Bell 206B helicopter, the most common way for acts to enter and exit the venue, as there is only one road in and out, heavily used by fans. The helicopter crashed into a nearby ski hill shortly after takeoff. Vaughan and the four others on board—pilot Jeff Brown, agent Bobby Brooks, bodyguard Nigel Browne, and tour manager Colin Smythe—died. The helicopter was owned by Chicago-based company Omniflight Helicopters. The Elkhorn coroner's inquest found that all five men died instantly. The investigation determined the aircraft departed in foggy conditions with visibility reportedly under , according to a local forecast. The National Transportation Safety Board report stated: "As the third helicopter was departing, it remained at a lower altitude than the others, and the pilot turned southeasterly toward rising terrain. Subsequently, the helicopter crashed on hilly terrain about three-fifths of a mile from the takeoff point." Federal Aviation Administration (FAA) records showed that Brown was qualified to fly by instruments in a fixed-wing aircraft, but not in a helicopter. Toxicology tests performed on the victims revealed no traces of drugs or alcohol in their systems. Vaughan's funeral service was held on August 31, 1990, at Laurel Land Cemetery in Dallas, Texas. His wooden casket quickly became adorned with bouquets of flowers. An estimated 3,000 mourners joined a procession led by a white hearse. Among those at the public ceremony were Jeff Healey, Charlie Sexton, ZZ Top, Colin James, Stevie Wonder, Bonnie Raitt and Buddy Guy. Vaughan's grave marker reads: "Thank you ... for all the love you passed our way." Musical style Vaughan's music was rooted in blues, rock, and jazz. He was influenced by Johnny Winter, Jimi Hendrix, Albert King, Lonnie Mack, B.B. King, Freddie King, Albert Collins, Johnny "Guitar" Watson, Buddy Guy, Howlin' Wolf, Otis Rush, Guitar Slim, Chuck Berry, and Muddy Waters. According to nightclub owner Clifford Antone, who opened Antone's in 1975, Vaughan jammed with Albert King at Antone's in July 1977 and it almost "scared him to death", saying "it was the best I've ever saw Albert or the best I ever saw Stevie". While Albert King had a substantial influence on Vaughan, Jimi Hendrix was Vaughan's greatest inspiration. Vaughan declared: "I love Hendrix for so many reasons. He was so much more than just a blues guitarist—he played damn well any kind of guitar he wanted. In fact I'm not sure if he even played the guitar—he played music." He was also influenced by such jazz guitarists as Django Reinhardt, Wes Montgomery, Kenny Burrell, and George Benson. In 1987, Vaughan listed Lonnie Mack first among the guitarists he had listened to, both as a youngster and as an adult. Vaughan observed that Mack was "ahead of his time" and said, "I got a lot of my fast stuff from Lonnie". On another occasion, Vaughan said that he had learned tremolo picking and vibrato from Mack and that Mack had taught him to "play guitar from the heart." Mack recalled his first meeting with Vaughan in 1978: Vaughan's relationship with another Texas blues legend, Johnny Winter, was a little more complex. Although they met several times, and often played sessions with the same musicians or even performed the same material, as in the case of Boot Hill, Vaughan always refrained from acknowledging Winter in any form. In his biography, "Raisin' Cain", Winter says that he was unnerved after reading Vaughan stating in an interview that he never met or knew Johnny Winter. "We even played together over at Tommy Shannon's house one time." Vaughan settled the issue in 1988 on the occasion of a blues festival in Europe where both he and Winter were on the bill, explaining that he has been misquoted and that "Every musician in Texas knows Johnny and has learned something from him". Asked to compare their playing styles in an interview in 2010, Winter admitted that "mine's a little bit rawer, I think." Equipment Guitars Vaughan owned and used a variety of guitars during his career. His guitar of choice, and the instrument that he became most associated with, was the Fender Stratocaster, his favorite being a 1963 body with a 1962 neck and pickups dated from 1959. This is why Vaughan usually referred to his Stratocaster as a "1959 Strat". He explained why he favored this guitar in a 1983 interview: "I like the strength of its sound. Any guitar I play has got to be pretty versatile. It's got a big, strong tone and it'll take anything I do to it." Vaughan also referred to this instrument as his "first wife", or "Number One". Another favorite guitar was a slightly later Strat he named 'Lenny' after his wife, Lenora. While at a local pawn shop in 1980, Vaughan had noticed this particular guitar, a 1965 Stratocaster that had been refinished in red, with the original sunburst finish peeking through. It also had a 1910 Mandolin inlay just below the bridge. The pawn shop was asking $300 for it, which was way more than Vaughan had at the time. Lenny saw how badly he wanted this guitar, so she got six of their friends to chip in $50 each, and bought it for him. The guitar was presented to him on his birthday in 1980, and that night, after bringing "Lenny" (the guitar, and wife) home with him, he wrote the song, "Lenny". He had started using a borrowed Stratocaster during high school and used Stratocasters predominantly in his live performances and recordings, although he did play other guitars, including custom guitars. One of the custom guitars—nicknamed "Main"—was built by James Hamilton of Hamiltone Guitars in Buffalo, New York. It was a gift from Billy Gibbons of ZZ Top. Gibbons had commissioned Hamilton to build the guitar in 1979. There were some delays, including having to re-do the mother of pearl inlay of Vaughan's name on the fretboard when he changed his stage name from Stevie Vaughan to Stevie Ray Vaughan. The guitar was presented to him by Jim Hamilton on April 29, 1984. Hamilton recalls that Stevie Ray Vaughan was so happy with the guitar that he played it that night at Springfest on the University of Buffalo campus. It remained one of the main guitars he used on stage and in studio. Vaughan made some alterations to the guitar, including replacing the bronze color Gibson knobs with white Fender knobs, as he preferred the ribbing on the Fender knobs. The pickups had to be changed after the guitar was used in the "Couldn't Stand the Weather" video, in which Stevie and "Main" were drenched with water, and the pickups were ruined. Vaughan's preferred guitar has been summarized as his, Number One Strat, which Stevie claimed to be a '59, since that was the date stamped on the back of the pickups… this was incorrect, however, as guitar tech Rene Martinez (who oversaw SRV's guitars since 1980) found the stamp of 1963 on the body and 1962 on the original neck (the neck was replaced in 1989 after it could no longer be refretted properly; Rene used the neck from another SRV favorite, "Red", as it was also a 1962 model). The pickups are also relatively low output, not the hot overwound myth that gained legs during the 80s… all 3 pickups are rumored to be under 6k ohms output impedance, which would be typical of a 1959 set (the neck pickups tended to be hottest, but not by much). Although the Fender SRV signature model uses Texas Special pickups, which Stevie was heavily involved in the making of, they do not accurately represent the sound of his original Number One. Vaughan bought many Stratocasters and gave some away as gifts. A sunburst Diplomat Strat-style guitar was purchased by Vaughan and given to his girlfriend Janna Lapidus to learn to play on. Vaughan used a custom set of uncommonly heavy strings, gauges .013, .015, .019, .028, .038, .058, and tuned a half-step below standard tuning. With these heavy string sizes, it was not uncommon for him to separate his fingernail because of his quick movement along the strings. The owner of an Austin club recalled Vaughan coming into the office between sets to borrow super glue, which he used to keep a fingernail split from widening while he continued to play. The super glue was suggested by Rene Martinez, who was Stevie's guitar technician. Martinez eventually convinced Stevie to change to slightly lighter strings. He preferred a guitar neck with an asymmetrical profile (thicker at the top), which was more comfortable for his thumb-over style of playing. Heavy use of the vibrato bar necessitated frequent replacements; Vaughan often had his roadie, Byron Barr, obtain custom stainless steel bars made by Barr's father. As for his usage of plectrums, Vaughan preferred Fender medium gauge guitar picks, using one of the rounder shoulders of the pick rather than the pointed tip to pluck and strum the strings. Vaughan was also photographed playing a Rickenbacker Capri, a National Duolian, Epiphone Riviera, Gibson Flying V, as well as several other models. Vaughan used a Gibson Johnny Smith to record "Stang's Swang", and a Guild 12-string acoustic for his performance on MTV Unplugged in January 1990. On June 24, 2004, one of Vaughan's Stratocasters, the aforementioned "Lenny" strat, was sold at an auction to benefit Eric Clapton's Crossroads Centre in Antigua; the instrument was bought by Guitar Center for $623,500. Amplifiers and effects Vaughan was a catalyst in the revival of vintage amplifiers and effects during the 1980s. His loud volume required powerful and robust amplifiers. Vaughan used two black-face Fender Super Reverbs, which were crucial in shaping his clear overdriven sound. He would often blend other amps with the Super Reverbs, including black-face Fender Vibroverbs, and brands including Dumble and Marshall, which he used for his clean sound. While an Ibanez Tube Screamer and a Vox wah-wah pedal were his mainstay effects, Vaughan experimented with a range of effects. He used a Fender Vibratone, designed as a Leslie speaker for electric guitars which provided a warbling chorus effect; it can be heard on the track "Cold Shot". He used a vintage Dallas Arbiter Fuzz Face that can be heard on In Step, as well as an Octavia. The Guitar Geek website provides a detailed illustration of Vaughan's 1985 equipment set up based on interviews with his guitar tech and effects builder, Cesar Diaz. Legacy Vaughan throughout his career revived blues rock and paved the way for many other artists. Vaughan's work continues to influence numerous blues, rock, and alternative artists, including John Mayer, Kenny Wayne Shepherd, Mike McCready, Albert Cummings, Los Lonely Boys and Chris Duarte among others. AllMusic's Stephen Thomas Erlewine described Vaughan as "the leading light in American blues" who developed "a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre". In 1983, Variety magazine called Vaughan the "guitar hero of the present era". In the months that followed his death, Vaughan sold over 5.5 million albums in the United States. On September 25, 1990, Epic released Family Style, an LP the Vaughan brothers cut at Ardent Studios in Memphis, Tennessee. The label released several promotional singles and videos for the collaborative effort. In November 1990, CMV Enterprises released Pride and Joy, a collection of eight Double Trouble music videos. Sony signed a deal with the Vaughan estate to obtain control of his back catalog, as well as permission to release albums with previously unreleased material and new collections of released work. On October 29, 1991, The Sky Is Crying was released as Vaughan's first posthumous album with Double Trouble, and featured studio recordings from 1984 to 1985. Other compilations, live albums, and films have also been released since his death. On October 3, 1991, Texas governor Ann Richards proclaimed "Stevie Ray Vaughan Commemoration Day", during which a memorial concert was held at the Texas Theatre. In 1993, a memorial statue of Vaughan was unveiled on Auditorium Shores and is the first public monument of a musician in Austin. In September 1994, a Stevie Ray Vaughan Memorial Run for Recovery was held in Dallas; the event was a benefit for the Ethel Daniels Foundation, established to help those in recovery from alcoholism and drug addiction who cannot afford treatment. In 1999, the Musicians' Assistance Program (later renamed MusiCares MAP Fund) created the "Stevie Ray Vaughan Award" to honor the memory of Vaughan and to recognize musicians for their devotion to helping other addicts struggling with the recovery process. The recipients include Eric Clapton, David Crosby, Steven Tyler, Alice Cooper, Ozzy Osbourne, Pete Townshend, Chris Cornell, Jerry Cantrell, and Mike McCready among others. In 1993, Martha Vaughan established the Stevie Ray Vaughan Memorial Scholarship Fund, awarded to students at W.E. Greiner Middle School in Oakcliff who intend to attend college and pursue the arts as a profession. Awards and honors Vaughan won five W. C. Handy Awards and was posthumously inducted into the Blues Hall of Fame in 2000. In 1985, he was named an honorary admiral in the Texas Navy. Vaughan had a single number-one hit on the Hot Mainstream Rock Tracks chart for the song "Crossfire". His album sales in the U.S. stand at over 15 million units. Family Style, released shortly after his death, won the 1991 Grammy Award for Best Contemporary Blues Album and became his best-selling, non-Double Trouble studio album with over a million shipments in the U.S. In 2003, Rolling Stone ranked him seventh among the "100 Greatest Guitar Players of All Time". He also became eligible for the Rock and Roll Hall of Fame in 2008, but did not appear on a nominations roster until 2014. He was inducted in the RRHOF alongside Double Trouble in 2015. Guitar World magazine ranked him as Number One in its list of the greatest blues guitarists. In 1994 the city of Austin, Texas, erected the Stevie Ray Vaughan Memorial on the hiking trail beside Lady Bird Lake. Discography Texas Flood (1983) Couldn't Stand the Weather (1984) Soul to Soul (1985) In Step (1989) Family Style (1990) The Sky Is Crying (1991) See also 1980s in music List of blues rock musicians List of electric blues musicians List of guitarists List of Texas blues musicians Music of Austin, Texas Music of Texas Notes Footnotes Citations Sources Further reading External links The Stevie Ray Vaughan Archive Category:1954 births Category:1990 deaths Category:20th-century American guitarists Category:20th-century American male singers Category:20th-century American singers Category:Accidental deaths in Wisconsin Category:American blues guitarists Category:American blues singers Category:American blues singer-songwriters Category:American male guitarists Category:American male singer-songwriters Category:American rock guitarists Category:Blues rock musicians Category:Double Trouble (band) members Category:Electric blues musicians Category:Epic Records artists Category:Grammy Award winners Category:Guitarists from Texas Category:Lead guitarists Category:Musicians from Dallas Category:Musicians killed in aviation accidents or incidents Category:People from Oak Cliff, Texas Category:Resonator guitarists Category:Singer-songwriters from Texas Category:Slide guitarists Category:Sony Music artists Category:Texas blues musicians Category:Victims of aviation accidents or incidents in 1990 Category:Victims of helicopter accidents or incidents in the United States
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C_48ee52f7a056456f8dd642b7051bc947_0
Bill Clinton
William Jefferson Clinton (ne Blythe III; born August 19, 1946) is an American politician who served as the 42nd President of the United States from 1993 to 2001. Prior to the presidency, he was the Governor of Arkansas from 1979 to 1981, and again from 1983 to 1992. A member of the Democratic Party, Clinton was ideologically a New Democrat and many of his policies reflected a centrist "Third Way" political philosophy. Clinton was born and raised in Arkansas and attended Georgetown University, the University of Oxford, and Yale Law School.
Oxford
Upon graduating from Georgetown in 1968, Clinton won a Rhodes Scholarship to University College in Oxford, England, where he initially read for a B.Phil. in Philosophy, Politics, and Economics but transferred to a B.Litt. in politics and, ultimately, a B.Phil. in politics. Clinton did not expect the second year because of the draft and he switched programs; this type of activity was common among other Rhodes Scholars from his cohort. He had received an offer to study at Yale Law School, Yale University, but he left early to return to the United States and did not receive a degree from Oxford. During his time at Oxford, Clinton befriended fellow American Rhodes Scholar Frank Aller. In 1969, Aller received a draft letter that mandated deployment to the Vietnam War. Aller's 1971 suicide had an influential impact on Clinton. British writer and feminist Sara Maitland said of Clinton, "I remember Bill and Frank Aller taking me to a pub in Walton Street in the summer term of 1969 and talking to me about the Vietnam War. I knew nothing about it, and when Frank began to describe the napalming of civilians I began to cry. Bill said that feeling bad wasn't good enough. That was the first time I encountered the idea that liberal sensitivities weren't enough and you had to do something about such things". He also developed an interest in rugby union, which he played at Oxford. While Clinton was president in 1994, he received an honorary degree and a fellowship from the University of Oxford, specifically for being "a doughty and tireless champion of the cause of world peace", having "a powerful collaborator in his wife," and for winning "general applause for his achievement of resolving the gridlock that prevented an agreed budget". CANNOTANSWER
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William Jefferson Clinton (né Blythe III; born August 19, 1946) is an American politician who served as the 42nd president of the United States from 1993 to 2001. He previously served as governor of Arkansas from 1979 to 1981 and again from 1983 to 1992, and as attorney general of Arkansas from 1977 to 1979. A member of the Democratic Party, Clinton became known as a New Democrat, as many of his policies reflected a centrist "Third Way" political philosophy. He is the husband of Hillary Clinton, who was a U.S. senator from New York from 2001 to 2009, secretary of state from 2009 to 2013 and the Democratic nominee for president in the 2016 presidential election. Clinton was born and raised in Arkansas and attended Georgetown University. He received a Rhodes Scholarship to study at University College, Oxford, and later graduated from Yale Law School. He met Hillary Rodham at Yale; they married in 1975. After graduating from law school, Clinton returned to Arkansas and won election as state attorney general, followed by two non-consecutive tenures as Arkansas governor. As governor, he overhauled the state's education system and served as chairman of the National Governors Association. Clinton was elected president in the 1992 presidential election, defeating incumbent Republican president George H. W. Bush and independent businessman Ross Perot. At 46 years old, he became the third-youngest president of the United States and the first president to be born in the Baby Boomer generation. Clinton presided over the longest period of peacetime economic expansion in American history. He signed into law the North American Free Trade Agreement (NAFTA) and the Violent Crime Control and Law Enforcement Act, but failed to pass his plan for national health care reform. The Republican Party won unified control of Congress for the first time in 40 years in the 1994 elections, but Clinton was still comfortably re-elected in 1996, becoming the first Democrat since Franklin D. Roosevelt to win a second full term. Starting in the mid-1990s, he began an ideological evolution as he became much more conservative in his domestic policy, advocating for and signing the Personal Responsibility and Work Opportunity Act, the State Children's Health Insurance Program and financial deregulation measures. He appointed Ruth Bader Ginsburg and Stephen Breyer to the U.S. Supreme Court. During the last three years of Clinton's presidency, the Congressional Budget Office reported a budget surplus—the first such surplus since 1969. In foreign policy, Clinton ordered U.S. military intervention in the Bosnian and Kosovo wars, eventually signing the Dayton Peace agreement. He also called for the expansion of NATO in Eastern Europe and many former Warsaw Pact members joined NATO during his presidency. Clinton's foreign policy in the Middle East saw him sign the Iraq Liberation Act which gave aid to groups against Saddam Hussein. He also participated in the Oslo I Accord and Camp David Summit to advance the Israeli–Palestinian peace process, and assisted the Northern Ireland peace process. Clinton's second term was dominated by the Monica Lewinsky scandal, which began in 1996, when he had a sexual relationship with 22-year-old Monica Lewinsky, an intern at the White House. In January 1998, news of the affair made tabloid headlines. This scandal escalated throughout the year, culminating on December 19 when Clinton was impeached by the House of Representatives, becoming the second U.S. president—the first since Andrew Johnson—to be impeached. The two impeachment articles that the House passed were centered around him using the powers of the presidency to obstruct the investigation and lying under oath. In 1999, Clinton's impeachment trial began in the Senate. He was acquitted on both charges as the Senate failed to cast 67 votes against him, which was necessary to meet the two-thirds conviction threshold prescribed by Article I, section 3, clause 6 of the U.S. Constitution. Clinton left office in 2001 with the joint-highest approval rating of any U.S. president in the modern era, alongside Franklin D. Roosevelt and Ronald Reagan. His presidency has been ranked among the upper tier in historical rankings of U.S. presidents. However, his personal conduct and allegations of sexual assault have made him the subject of substantial scrutiny. Since leaving office, Clinton has been involved in public speaking and humanitarian work. He created the Clinton Foundation to address international causes such as the prevention of HIV/AIDS and global warming. In 2009, he was named the United Nations Special Envoy to Haiti. After the 2010 Haiti earthquake, Clinton and George W. Bush formed the Clinton Bush Haiti Fund. He has remained active in Democratic Party politics, campaigning for his wife's 2008 and 2016 presidential campaigns. Early life and career Clinton was born William Jefferson Blythe III on August 19, 1946, at Julia Chester Hospital in Hope, Arkansas. He is the son of William Jefferson Blythe Jr., a traveling salesman who died in an automobile accident three months before his birth, and Virginia Dell Cassidy (later Virginia Kelley). His parents had married on September 4, 1943, but this union later proved to be bigamous, as Blythe was still married to his fourth wife. Virginia traveled to New Orleans to study nursing soon after Bill was born, leaving him in Hope with her parents Eldridge and Edith Cassidy, who owned and ran a small grocery store. At a time when the southern United States was racially segregated, Clinton's grandparents sold goods on credit to people of all races. In 1950, Bill's mother returned from nursing school and married Roger Clinton Sr., who co-owned an automobile dealership in Hot Springs, Arkansas, with his brother and Earl T. Ricks. The family moved to Hot Springs in 1950. Although he immediately assumed use of his stepfather's surname, it was not until Clinton turned 15 that he formally adopted the surname Clinton as a gesture toward him. Clinton has described his stepfather as a gambler and an alcoholic who regularly abused his mother and half-brother, Roger Clinton Jr. He threatened his stepfather with violence multiple times to protect them. In Hot Springs, Clinton attended St. John's Catholic Elementary School, Ramble Elementary School, and whites only Hot Springs High School, where he was an active student leader, avid reader, and musician. Clinton was in the chorus and played the tenor saxophone, winning first chair in the state band's saxophone section. In 1961, Clinton became a member of the Hot Springs Chapter of the Order of DeMolay, a youth group affiliated with Freemasonry, but he never became a Freemason. He briefly considered dedicating his life to music, but as he noted in his autobiography My Life: Clinton began an interest in law at Hot Springs High, when he took up the challenge to argue the defense of the ancient Roman senator Catiline in a mock trial in his Latin class. After a vigorous defense that made use of his "budding rhetorical and political skills", he told the Latin teacher Elizabeth Buck it "made him realize that someday he would study law". Clinton has identified two influential moments in his life, both occurring in 1963, that contributed to his decision to become a public figure. One was his visit as a Boys Nation senator to the White House to meet President John F. Kennedy. The other was watching Martin Luther King Jr.'s 1963 "I Have a Dream" speech on TV, which impressed him so much that he later memorized it. College and law school years Georgetown University With the aid of scholarships, Clinton attended the School of Foreign Service at Georgetown University in Washington, D.C., receiving a bachelor of science in foreign service degree in 1968. Georgetown was the only school where Clinton applied. In 1964 and 1965, Clinton won elections for class president. From 1964 to 1967, he was an intern and then a clerk in the office of Arkansas Senator J. William Fulbright. While in college, he became a brother of service fraternity Alpha Phi Omega and was elected to Phi Beta Kappa. He is a member of Kappa Kappa Psi honorary band fraternity. Oxford Upon graduating from Georgetown in 1968, Clinton won a Rhodes Scholarship to University College, Oxford, where he initially read for a B.Phil. in philosophy, politics, and economics but transferred to a B.Litt. in politics and, ultimately, a B.Phil. in politics. Clinton did not expect to return for the second year because of the draft and so he switched programs; this type of activity was common among other Rhodes Scholars from his cohort. He had received an offer to study at Yale Law School, and so he left early to return to the United States and did not receive a degree from Oxford. During his time at Oxford, Clinton befriended fellow American Rhodes Scholar Frank Aller. In 1969, Aller received a draft letter that mandated deployment to the Vietnam War. Aller's 1971 suicide had an influential impact on Clinton. British writer and feminist Sara Maitland said of Clinton, "I remember Bill and Frank Aller taking me to a pub in Walton Street in the summer term of 1969 and talking to me about the Vietnam War. I knew nothing about it, and when Frank began to describe the napalming of civilians I began to cry. Bill said that feeling bad wasn't good enough. That was the first time I encountered the idea that liberal sensitivities weren't enough and you had to do something about such things". Clinton was a member of the Oxford University Basketball Club and also played for Oxford University's rugby union team. While Clinton was president in 1994, he received an honorary degree and a fellowship from the University of Oxford, specifically for being "a doughty and tireless champion of the cause of world peace", having "a powerful collaborator in his wife," and for winning "general applause for his achievement of resolving the gridlock that prevented an agreed budget". Vietnam War opposition and draft controversy During the Vietnam War, Clinton received educational draft deferments while he was in England in 1968 and 1969. While at Oxford, he participated in Vietnam War protests and organized a Moratorium to End the War in Vietnam event in October 1969. He was planning to attend law school in the U.S. and knew he might lose his deferment. Clinton tried unsuccessfully to obtain positions in the National Guard and the Air Force officer candidate school, and he then made arrangements to join the Reserve Officers' Training Corps (ROTC) program at the University of Arkansas. He subsequently decided not to join the ROTC, saying in a letter to the officer in charge of the program that he opposed the war, but did not think it was honorable to use ROTC, National Guard, or Reserve service to avoid serving in Vietnam. He further stated that because he opposed the war, he would not volunteer to serve in uniform, but would subject himself to the draft, and would serve if selected only as a way "to maintain my political viability within the system". Clinton registered for the draft and received a high number (311), meaning that those whose birthdays had been drawn as numbers1 to 310 would be drafted before him, making it unlikely he would be called up. (In fact, the highest number drafted was 195.) Colonel Eugene Holmes, the Army officer who had been involved with Clinton's ROTC application, suspected that Clinton attempted to manipulate the situation to avoid the draft and avoid serving in uniform. He issued a notarized statement during the 1992 presidential campaign: During the 1992 campaign, it was revealed that Clinton's uncle had attempted to secure him a position in the Navy Reserve, which would have prevented him from being deployed to Vietnam. This effort was unsuccessful and Clinton said in 1992 that he had been unaware of it until then. Although legal, Clinton's actions with respect to the draft and deciding whether to serve in the military were criticized during his first presidential campaign by conservatives and some Vietnam veterans, some of whom charged that he had used Fulbright's influence to avoid military service. Clinton's 1992 campaign manager, James Carville, successfully argued that Clinton's letter in which he declined to join the ROTC should be made public, insisting that voters, many of whom had also opposed the Vietnam War, would understand and appreciate his position. Law school After Oxford, Clinton attended Yale Law School and earned a Juris Doctor (J.D.) degree in 1973. In 1971, he met his future wife, Hillary Rodham, in the Yale Law Library; she was a class year ahead of him. They began dating and were soon inseparable. After only about a month, Clinton postponed his summer plans to be a coordinator for the George McGovern campaign for the 1972 United States presidential election in order to move in with her in California. The couple continued living together in New Haven when they returned to law school. Clinton eventually moved to Texas with Rodham in 1972 to take a job leading McGovern's effort there. He spent considerable time in Dallas, at the campaign's local headquarters on Lemmon Avenue, where he had an office. Clinton worked with future two-term mayor of Dallas Ron Kirk, future governor of Texas Ann Richards, and then unknown television director and filmmaker Steven Spielberg. Failed congressional campaign and tenure as Attorney General of Arkansas After graduating from Yale Law School, Clinton returned to Arkansas and became a law professor at the University of Arkansas. In 1974, he ran for the House of Representatives. Running in the conservative 3rd district against incumbent Republican John Paul Hammerschmidt, Clinton's campaign was bolstered by the anti-Republican and anti-incumbent mood resulting from the Watergate scandal. Hammerschmidt, who had received 77 percent of the vote in 1972, defeated Clinton by only a 52 percent to 48 percent margin. In 1976, Clinton ran for Arkansas attorney general. Defeating the secretary of state and the deputy attorney general in the Democratic primary, Clinton was elected with no opposition at all in the general election, as no Republican had run for the office. Governor of Arkansas (1979–1981, 1983–1992) In 1978, Clinton entered the Arkansas gubernatorial primary. At just 31 years old, he was one of the youngest gubernatorial candidates in the state's history. Clinton was elected governor of Arkansas in 1978, having defeated the Republican candidate Lynn Lowe, a farmer from Texarkana. Clinton was only 32 years old when he took office, the youngest governor in the country at the time and the second youngest governor in the history of Arkansas. Due to his youthful appearance, Clinton was often called the "Boy Governor". He worked on educational reform and directed the maintenance of Arkansas's roads, with wife Hillary leading a successful committee on urban health care reform. However, his term included an unpopular motor vehicle tax and citizens' anger over the escape of Cuban refugees (from the Mariel boatlift) detained in Fort Chaffee in 1980. Monroe Schwarzlose, of Kingsland in Cleveland County, polled 31 percent of the vote against Clinton in the Democratic gubernatorial primary of 1980. Some suggested Schwarzlose's unexpected voter turnout foreshadowed Clinton's defeat by Republican challenger Frank D. White in the general election that year. As Clinton once joked, he was the youngest ex-governor in the nation's history. Clinton joined friend Bruce Lindsey's Little Rock law firm of Wright, Lindsey and Jennings. In 1982, he was elected governor a second time and kept the office for ten years. Effective with the 1986 election, Arkansas had changed its gubernatorial term of office from two to four years. During his term, he helped transform Arkansas's economy and improved the state's educational system. For senior citizens, he removed the sales tax from medications and increased the home property-tax exemption. He became a leading figure among the New Democrats, a group of Democrats who advocated welfare reform, smaller government, and other policies not supported by liberals. Formally organized as the Democratic Leadership Council (DLC), the New Democrats argued that in light of President Ronald Reagan's landslide victory in 1984, the Democratic Party needed to adopt a more centrist political stance in order to succeed at the national level. Clinton delivered the Democratic response to Reagan's 1985 State of the Union Address and served as chair of the National Governors Association from 1986 to 1987, bringing him to an audience beyond Arkansas. In the early 1980s, Clinton made reform of the Arkansas education system a top priority of his gubernatorial administration. The Arkansas Education Standards Committee was chaired by Clinton's wife Hillary, who was also an attorney as well as the chair of the Legal Services Corporation. The committee transformed Arkansas's education system. Proposed reforms included more spending for schools (supported by a sales-tax increase), better opportunities for gifted children, vocational education, higher teachers' salaries, more course variety, and compulsory teacher competency exams. The reforms passed in September 1983 after Clinton called a special legislative session—the longest in Arkansas history. Many have considered this the greatest achievement of the Clinton governorship. He defeated four Republican candidates for governor: Lowe (1978), White (1982 and 1986), Jonesboro businessmen Woody Freeman (1984), and Sheffield Nelson of Little Rock (1990). Also in the 1980s, the Clintons' personal and business affairs included transactions that became the basis of the Whitewater controversy investigation, which later dogged his presidential administration. After extensive investigation over several years, no indictments were made against the Clintons related to the years in Arkansas. According to some sources, Clinton was a death penalty opponent in his early years, but he eventually switched positions. However he might have felt previously, by 1992, Clinton was insisting that Democrats "should no longer feel guilty about protecting the innocent". During Clinton's final term as governor, Arkansas performed its first executions since 1964 (the death penalty had been reinstated in 1976). As Governor, he oversaw the first four executions carried out by the state of Arkansas since the death penalty was reinstated there in 1976: one by electric chair and three by lethal injection. To draw attention to his stance on capital punishment, Clinton flew home to Arkansas mid-campaign in 1992, in order to affirm in person that the controversial execution of Ricky Ray Rector, would go forward as scheduled. 1988 Democratic presidential primaries In 1987, the media speculated that Clinton would enter the presidential race after incumbent New York governor Mario Cuomo declined to run and Democratic front-runner Gary Hart withdrew owing to revelations of multiple marital infidelities. Clinton decided to remain as Arkansas governor (following consideration for the potential candidacy of Hillary for governor, initially favored—but ultimately vetoed—by the First Lady). For the nomination, Clinton endorsed Massachusetts governor Michael Dukakis. He gave the nationally televised opening night address at the 1988 Democratic National Convention, but his speech, which was 33 minutes long and twice the length it was expected to be, was criticized for being too long and poorly delivered. Clinton presented himself both as a moderate and as a member of the New Democrat wing of the Democratic Party, and he headed the moderate Democratic Leadership Council in 1990 and 1991. 1992 United States presidential election In the first primary contest, the Iowa Caucus, Clinton finished a distant third to Iowa senator Tom Harkin. During the campaign for the New Hampshire primary, reports surfaced that Clinton had engaged in an extramarital affair with Gennifer Flowers. Clinton fell far behind former Massachusetts senator Paul Tsongas in the New Hampshire polls. Following Super Bowl XXVI, Clinton and his wife Hillary went on 60 Minutes to rebuff the charges. Their television appearance was a calculated risk, but Clinton regained several delegates. He finished second to Tsongas in the New Hampshire primary, but after trailing badly in the polls and coming within single digits of winning, the media viewed it as a victory. News outlets labeled him "The Comeback Kid" for earning a firm second-place finish. Winning the big prizes of Florida and Texas and many of the Southern primaries on Super Tuesday gave Clinton a sizable delegate lead. However, former California governor Jerry Brown was scoring victories and Clinton had yet to win a significant contest outside his native South. With no major Southern state remaining, Clinton targeted New York, which had many delegates. He scored a resounding victory in New York City, shedding his image as a regional candidate. Having been transformed into the consensus candidate, he secured the Democratic Party nomination, finishing with a victory in Jerry Brown's home state of California. During the campaign, questions of conflict of interest regarding state business and the politically powerful Rose Law Firm, at which Hillary Rodham Clinton was a partner, arose. Clinton argued the questions were moot because all transactions with the state had been deducted before determining Hillary's firm pay. Further concern arose when Bill Clinton announced that, with Hillary, voters would be getting two presidents "for the price of one". Clinton was still the governor of Arkansas while campaigning for U.S. president, and he returned to his home state to see that Ricky Ray Rector would be executed. After killing a police officer and a civilian, Rector shot himself in the head, leading to what his lawyers said was a state where he could still talk but did not understand the idea of death. According to both Arkansas state law and federal law, a seriously mentally impaired inmate cannot be executed. The courts disagreed with the allegation of grave mental impairment and allowed the execution. Clinton's return to Arkansas for the execution was framed in an article for The New York Times as a possible political move to counter "soft on crime" accusations. Bush's approval ratings were around 80 percent during the Gulf War, and he was described as unbeatable. When Bush compromised with Democrats to try to lower federal deficits, he reneged on his promise not to raise taxes, which hurt his approval rating. Clinton repeatedly condemned Bush for making a promise he failed to keep. By election time, the economy was souring and Bush saw his approval rating plummet to just slightly over 40 percent. Finally, conservatives were previously united by anti-communism, but with the end of the Cold War, the party lacked a uniting issue. When Pat Buchanan and Pat Robertson addressed Christian themes at the Republican National Convention—with Bush criticizing Democrats for omitting God from their platform—many moderates were alienated. Clinton then pointed to his moderate, "New Democrat" record as governor of Arkansas, though some on the more liberal side of the party remained suspicious. Many Democrats who had supported Ronald Reagan and Bush in previous elections switched their support to Clinton. Clinton and his running mate, Al Gore, toured the country during the final weeks of the campaign, shoring up support and pledging a "new beginning". On March 26, 1992, during a Democratic fund raiser of the presidential campaign, Robert Rafsky confronted then Gov. Bill Clinton of Arkansas and asked what he was going to do about AIDS, to which Clinton replied, "I feel your pain". The televised exchange led to AIDS becoming an issue in the 1992 presidential election. On April 4, then candidate Clinton met with members of ACT UP and other leading AIDS advocates to discuss his AIDS agenda and agreed to make a major AIDS policy speech, to have people with HIV speak to the Democratic Convention, and to sign onto the AIDS United Action five point plan. Clinton won the 1992 presidential election (370 electoral votes) against Republican incumbent George H. W. Bush (168 electoral votes) and billionaire populist Ross Perot (zero electoral votes), who ran as an independent on a platform that focused on domestic issues. Bush's steep decline in public approval was a significant part of Clinton's success. Clinton's victory in the election ended twelve years of Republican rule of the White House and twenty of the previous twenty-four years. The election gave Democrats full control of the United States Congress, the first time one party controlled both the executive and legislative branches since Democrats held the 96th United States Congress during the presidency of Jimmy Carter. According to Seymour Martin Lipset, the 1992 election had several unique characteristics. Voters felt that economic conditions were worse than they actually were, which harmed Bush. A rare event was the presence of a strong third-party candidate. Liberals launched a backlash against 12 years of a conservative White House. The chief factor was Clinton's uniting his party, and winning over a number of heterogeneous groups. Presidency (1993–2001) Clinton's "third way" of moderate liberalism built up the nation's fiscal health and put the nation on a firm footing abroad amid globalization and the development of anti-American terrorist organizations. During his presidency, Clinton advocated for a wide variety of legislation and programs, most of which were enacted into law or implemented by the executive branch. His policies, particularly the North American Free Trade Agreement and welfare reform, have been attributed to a centrist Third Way philosophy of governance. His policy of fiscal conservatism helped to reduce deficits on budgetary matters. Clinton presided over the longest period of peacetime economic expansion in American history. The Congressional Budget Office reported budget surpluses of $69 billion in 1998, $126 billion in 1999, and $236 billion in 2000, during the last three years of Clinton's presidency. Over the years of the recorded surplus, the gross national debt rose each year. At the end of the fiscal year (September 30) for each of the years a surplus was recorded, The U.S. treasury reported a gross debt of $5.413 trillion in 1997, $5.526 trillion in 1998, $5.656 trillion in 1999, and $5.674 trillion in 2000. Over the same period, the Office of Management and Budget reported an end of year (December 31) gross debt of $5.369 trillion in 1997, $5.478 trillion in 1998, $5.606 in 1999, and $5.629 trillion in 2000. At the end of his presidency, the Clintons moved to 15 Old House Lane in Chappaqua, New York, in order to satisfy a residency requirement for his wife to win election as a U.S. Senator from New York. First term (1993–1997) After his presidential transition, Clinton was inaugurated as the 42nd president of the United States on January 20, 1993. Clinton was physically exhausted at the time, and had an inexperienced staff. His high levels of public support dropped in the first few weeks, as he made a series of mistakes. His first choice for attorney general had not paid her taxes on babysitters and was forced to withdraw. The second appointee also withdrew for the same reason. Clinton had repeatedly promised to encourage gays in the military service, despite what he knew to be the strong opposition of the military leadership. He tried anyway, and was publicly opposed by the top generals, and forced by Congress to a compromise position of "Don't ask, don't tell" whereby gays could serve if and only if they kept it secret. He devised a $16-billion stimulus package primarily to aid inner-city programs desired by liberals, but it was defeated by a Republican filibuster in the Senate. His popularity at the 100 day mark of his term was the lowest of any president at that point. Public opinion did support one liberal program, and Clinton signed the Family and Medical Leave Act of 1993, which required large employers to allow employees to take unpaid leave for pregnancy or a serious medical condition. This action had bipartisan support, and was popular with the public. Two days after taking office, on January 22, 1993—the 20th anniversary of the U.S. Supreme Court decision in Roe v. Wade—Clinton reversed restrictions on domestic and international family planning programs that had been imposed by Reagan and Bush. Clinton said abortion should be kept "safe, legal, and rare"—a slogan that had been suggested by political scientist Samuel L. Popkin and first used by Clinton in December 1991, while campaigning. During the eight years of the Clinton administration, the abortion rate declined by 18 percent. On February 15, 1993, Clinton made his first address to the nation, announcing his plan to raise taxes to close a budget deficit. Two days later, in a nationally televised address to a joint session of Congress, Clinton unveiled his economic plan. The plan focused on reducing the deficit rather than on cutting taxes for the middle class, which had been high on his campaign agenda. Clinton's advisers pressured him to raise taxes, based on the theory that a smaller federal budget deficit would reduce bond interest rates. President Clinton's attorney general Janet Reno authorized the FBI's use of armored vehicles to deploy tear gas into the buildings of the Branch Davidian community near Waco, Texas, in hopes of ending a 51 day siege. During the operation on April 19, 1993, the buildings caught fire and 75 of the residents died, including 24 children. The raid had originally been planned by the Bush administration; Clinton had played no role. In August, Clinton signed the Omnibus Budget Reconciliation Act of 1993, which passed Congress without a Republican vote. It cut taxes for 15million low-income families, made tax cuts available to 90 percent of small businesses, and raised taxes on the wealthiest 1.2 percent of taxpayers. Additionally, it mandated that the budget be balanced over many years through the implementation of spending restraints. On September 22, 1993, Clinton made a major speech to Congress regarding a health care reform plan; the program aimed at achieving universal coverage through a national health care plan. This was one of the most prominent items on Clinton's legislative agenda and resulted from a task force headed by Hillary Clinton. The plan was well received in political circles, but it was eventually doomed by well-organized lobby opposition from conservatives, the American Medical Association, and the health insurance industry. However, Clinton biographer John F. Harris said the program failed because of a lack of coordination within the White House. Despite the Democratic majority in Congress, the effort to create a national health care system ultimately died when compromise legislation by George J. Mitchell failed to gain a majority of support in August 1994. The failure of the bill was the first major legislative defeat of the Clinton administration. On November 30, 1993, Clinton signed into law the Brady Bill, which mandated federal background checks on people who purchase firearms in the United States. The law also imposed a five-day waiting period on purchases, until the NICS system was implemented in 1998. He also expanded the Earned Income Tax Credit, a subsidy for low-income workers. In December of the same year, allegations by Arkansas state troopers Larry Patterson and Roger Perry were first reported by David Brock in The American Spectator. In the affair later known as "Troopergate", the officers alleged that they had arranged sexual liaisons for Clinton back when he was governor of Arkansas. The story mentioned a woman named Paula, a reference to Paula Jones. Brock later apologized to Clinton, saying the article was politically motivated "bad journalism", and that "the troopers were greedy and had slimy motives". That month, Clinton implemented a Department of Defense directive known as "Don't Ask, Don't Tell", which allowed gay men and women to serve in the armed services provided they kept their sexual preferences a secret. The Act forbade the military from inquiring about an individual's sexual orientation. The policy was developed as a compromise after Clinton's proposal to allow gays to serve openly in the military met staunch opposition from prominent Congressional Republicans and Democrats, including senators John McCain (R-AZ) and Sam Nunn (D-GA). According to David Mixner, Clinton's support for the compromise led to a heated dispute with Vice President Al Gore, who felt that "the President should lift the ban ... even though [his executive order] was sure to be overridden by the Congress". Some gay-rights advocates criticized Clinton for not going far enough and accused him of making his campaign promise to get votes and contributions. Their position was that Clinton should have integrated the military by executive order, noting that President Harry S. Truman used executive order to racially desegregate the armed forces. Clinton's defenders argued that an executive order might have prompted the Senate to write the exclusion of gays into law, potentially making it harder to integrate the military in the future. Later in his presidency, in 1999, Clinton criticized the way the policy was implemented, saying he did not think any serious person could say it was not "out of whack". The policy remained controversial, and was finally repealed in 2011, removing open sexual orientation as a reason for dismissal from the armed forces. On January 1, 1994, Clinton signed the North American Free Trade Agreement into law. Throughout his first year in office, Clinton consistently supported ratification of the treaty by the U.S. Senate. Clinton and most of his allies in the Democratic Leadership Committee strongly supported free trade measures; there remained, however, strong disagreement within the party. Opposition came chiefly from anti-trade Republicans, protectionist Democrats and supporters of Ross Perot. The bill passed the house with 234 votes in favor and 200 votes opposed (132 Republicans and 102 Democrats in favor; 156 Democrats, 43 Republicans, and one independent opposed). The treaty was then ratified by the Senate and signed into law by the president. On July 29, 1994, the Clinton administration launched the first official White House website, whitehouse.gov. The site was followed with three more versions, with the final version being launched on July 21, 2000. The White House website was part of a wider movement of the Clinton administration toward web-based communication. According to Robert Longley, "Clinton and Gore were responsible for pressing almost all federal agencies, the U.S. court system and the U.S. military onto the Internet, thus opening up America's government to more of America's citizens than ever before. On July 17, 1996, Clinton issued Executive Order 13011—Federal Information Technology, ordering the heads of all federal agencies to utilize information technology fully to make the information of the agency easily accessible to the public." The Omnibus Crime Bill, which Clinton signed into law in September 1994, made many changes to U.S. crime and law enforcement legislation including the expansion of the death penalty to include crimes not resulting in death, such as running a large-scale drug enterprise. During Clinton's re-election campaign he said, "My 1994 crime bill expanded the death penalty for drug kingpins, murderers of federal law enforcement officers, and nearly 60 additional categories of violent felons." It also included a subsection of assault weapons ban for a ten-year period. After two years of Democratic Party control, the Democrats lost control of Congress to the Republicans in the mid-term elections in 1994, for the first time in forty years. A speech delivered by President Bill Clinton at the December 6, 1995 White House Conference on HIV/AIDS projected that a cure for AIDS and a vaccine to prevent further infection would be developed. The President focused on his administration's accomplishments and efforts related to the epidemic, including an accelerated drug-approval process. He also condemned homophobia and discrimination against people with HIV. Clinton announced three new initiatives: creating a special working group to coordinate AIDS research throughout the federal government; convening public health experts to develop an action plan that integrates HIV prevention with substance abuse prevention; and launching a new effort by the Department of Justice to ensure that health care facilities provide equal access to people with HIV and AIDS. On September 21, 1996, Clinton signed into law the Defense of Marriage Act (DOMA), which defined marriage for federal purposes as the legal union of one man and one woman; the legislation allowed individual states to refuse to recognize gay marriages that were performed in other states. Paul Yandura, speaking for the White House gay and lesbian liaison office, said Clinton's signing DOMA "was a political decision that they made at the time of a re-election". In defense of his actions, Clinton has said that DOMA was intended to "head off an attempt to send a constitutional amendment banning gay marriage to the states", a possibility he described as highly likely in the context of a "very reactionary Congress". Administration spokesman Richard Socarides said, "the alternatives we knew were going to be far worse, and it was time to move on and get the president re-elected." Clinton himself said DOMA was something "which the Republicans put on the ballot to try to get the base vote for Bush up, I think it's obvious that something had to be done to try to keep the Republican Congress from presenting that"; Others were more critical. The veteran gay rights and gay marriage activist Evan Wolfson has called these claims "historic revisionism". Despite this, it has been noted that other than a brief written response to a Reader's Digest that questioned whether he agreed with it, Clinton had made no documented reference to the issue of gay marriage until May 1996. In a July 2, 2011, editorial The New York Times opined, "The Defense of Marriage Act was enacted in 1996 as an election-year wedge issue, signed by President Bill Clinton in one of his worst policy moments." Ultimately, in United States v. Windsor, the U.S. Supreme Court struck down DOMA in June 2013. Despite DOMA, Clinton was the first president to select openly gay persons for administrative positions, and he is generally credited as being the first president to publicly champion gay rights. During his presidency, Clinton issued two substantially controversial executive orders on behalf of gay rights, the first lifting the ban on security clearances for LGBT federal employees and the second outlawing discrimination based on sexual orientation in the federal civilian workforce. Under Clinton's leadership, federal funding for HIV/AIDS research, prevention and treatment more than doubled. Clinton also pushed for passing hate crimes laws for gays and for the private sector Employment Non-Discrimination Act, which, buoyed by his lobbying, failed to pass the Senate by a single vote in 1996. Advocacy for these issues, paired with the politically unpopular nature of the gay rights movement at the time, led to enthusiastic support for Clinton's election and reelection by the Human Rights Campaign. Clinton came out for gay marriage in July 2009 and urged the Supreme Court to overturn DOMA in 2013. He was later honored by GLAAD for his prior pro-gay stances and his reversal on DOMA. The 1996 United States campaign finance controversy was an alleged effort by China to influence the domestic policies of the United States, before and during the Clinton administration, and involved the fundraising practices of the administration itself. Despite the evidence, the Chinese government denied all accusations. As part of a 1996 initiative to curb illegal immigration, Clinton signed the Illegal Immigration Reform and Immigrant Responsibility Act (IIRIRA) on September 30, 1996. Appointed by Clinton, the U.S. Commission on Immigration Reform recommended reducing legal immigration from about 800,000 people a year to about 550,000. In November 1996, Clinton narrowly escaped possible assassination in the Philippines, which was a bridge bomb planted by al-Qaeda and was masterminded by Osama bin Laden. During Clinton's presidency, the attempt remained top secret. 1996 presidential campaign In the 1996 presidential election, Clinton was re-elected, receiving 49.2 percent of the popular vote over Republican Bob Dole (40.7 percent of the popular vote) and Reform candidate Ross Perot (8.4 percent of the popular vote). Clinton received 379 of the Electoral College votes, with Dole receiving 159 electoral votes. With his victory, he became the first Democrat to win two consecutive presidential elections since Franklin D. Roosevelt. Second term (1997–2001) In the January 1997, State of the Union address, Clinton proposed a new initiative to provide health coverage to up to five million children. Senators Ted Kennedy—a Democrat—and Orrin Hatch—a Republican—teamed up with Hillary Rodham Clinton and her staff in 1997, and succeeded in passing legislation forming the State Children's Health Insurance Program (SCHIP), the largest (successful) health care reform in the years of the Clinton Presidency. That year, Hillary Clinton shepherded through Congress the Adoption and Safe Families Act and two years later she succeeded in helping pass the Foster Care Independence Act. Bill Clinton negotiated the passage of the Balanced Budget Act of 1997 by the Republican Congress. In October 1997, he announced he was getting hearing aids, due to hearing loss attributed to his age, and his time spent as a musician in his youth. In 1999, he signed into law the Financial Services Modernization Act also known as the Gramm–Leach–Bliley Act, which repealed the part of the Glass–Steagall Act that had prohibited a bank from offering a full range of investment, commercial banking, and insurance services since its enactment in 1933. Investigations In November 1993, David Hale—the source of criminal allegations against Bill Clinton in the Whitewater controversy—alleged that while governor of Arkansas, Clinton pressured Hale to provide an illegal $300,000 loan to Susan McDougal, the Clintons' partner in the Whitewater land deal. A U.S. Securities and Exchange Commission investigation resulted in convictions against the McDougals for their role in the Whitewater project, but the Clintons themselves were never charged, and Clinton maintains his and his wife's innocence in the affair. Investigations Robert B. Fiske and Ken Starr found insufficient to evidence to prosecute the Clintons. The White House FBI files controversy of June 1996 arose concerning improper access by the White House to FBI security-clearance documents. Craig Livingstone, head of the White House Office of Personnel Security, improperly requested, and received from the FBI, background report files without asking permission of the subject individuals; many of these were employees of former Republican administrations. In March 2000, Independent Counsel Robert Ray determined there was no credible evidence of any crime. Ray's report further stated, "there was no substantial and credible evidence that any senior White House official was involved" in seeking the files. On May 19, 1993, Clinton fired seven employees of the White House Travel Office. This caused the White House travel office controversy even though the travel office staff served at the pleasure of the president and could be dismissed without cause. The White House responded to the controversy by claiming that the firings were done in response to financial improprieties that had been revealed by a brief FBI investigation. Critics contended that the firings had been done to allow friends of the Clintons to take over the travel business and the involvement of the FBI was unwarranted. The House Government Reform and Oversight Committee issued a report which accused the Clinton administration of having obstructed their efforts to investigate the affair. Special counsel Robert Fiske said that Hillary Clinton was involved in the firing and gave "factually false" testimony to the GAO, congress, and the independent counsel. However Fiske said there was not enough evidence to prosecute. Impeachment and acquittal After a House inquiry, Clinton was impeached on December 19, 1998, by the House of Representatives. The House voted 228–206 to impeach him for perjury to a grand jury and voted 221–212 to impeach him for obstruction of justice. Clinton was only the second U.S. president (the first being Andrew Johnson) to be impeached. Impeachment proceedings were based on allegations that Clinton had illegally lied about and covered up his relationship with 22-year-old White House (and later Department of Defense) employee Monica Lewinsky. After the Starr Report was submitted to the House providing what it termed "substantial and credible information that President Clinton Committed Acts that May Constitute Grounds for an Impeachment", the House began impeachment hearings against Clinton before the mid-term elections. To hold impeachment proceedings, the Republican leadership called a lame-duck session in December 1998. While the House Judiciary Committee hearings ended in a straight party-line vote, there was lively debate on the House floor. The two charges passed in the House (largely with Republican support, but with a handful of Democratic votes as well) were for perjury and obstruction of justice. The perjury charge arose from Clinton's testimony before a grand jury that had been convened to investigate perjury he may have committed in his sworn deposition during Jones v. Clinton, Paula Jones's sexual harassment lawsuit. The obstruction charge was based on his actions to conceal his relationship with Lewinsky before and after that deposition. The Senate later acquitted Clinton of both charges. The Senate refused to meet to hold an impeachment trial before the end of the old term, so the trial was held over until the next Congress. Clinton was represented by Washington law firm Williams & Connolly. The Senate finished a twenty-one-day trial on February 12, 1999, with the vote of 55 not guilty/45 guilty on the perjury charge and 50 not guilty/50 guilty on the obstruction of justice charge. Both votes fell short of the constitutional two-thirds majority requirement to convict and remove an officeholder. The final vote was generally along party lines, with no Democrats voting guilty, and only a handful of Republicans voting not guilty. On January 19, 2001, Clinton's law license was suspended for five years after he acknowledged to an Arkansas circuit court that he had engaged in conduct prejudicial to the administration of justice in the Jones case. Pardons and commutations Clinton issued 141 pardons and 36 commutations on his last day in office on January 20, 2001. Controversy surrounded Marc Rich and allegations that Hillary Clinton's brother, Hugh Rodham, accepted payments in return for influencing the president's decision-making regarding the pardons. Federal prosecutor Mary Jo White was appointed to investigate the pardon of Rich. She was later replaced by then-Republican James Comey. The investigation found no wrongdoing on Clinton's part. Clinton also pardoned 4 defendants in the Whitewater Scandal, Chris Wade, Susan McDougal, Stephen Smith, and Robert W. Palmer, all of whom had ties to Clinton when he was governor of Arkansas. Former Clinton HUD Secretary Henry Cisneros, who pleaded guilty to lying to the FBI, was also among Clinton's pardons. Campaign finance controversies In February 1997 it was discovered upon documents being released by the Clinton Administration that 938 people had stayed at the White House and that 821 of them had made donations to the Democratic Party and got the opportunity to stay in the Lincoln bedroom as a result of the donations. Some donors included Steven Spielberg, Tom Hanks, Jane Fonda, and Judy Collins. Top donors also got golf games and morning jogs with Clinton as a result of the contributions. Janet Reno was called on to investigate the matter by Trent Lott, but she refused. In 1996, it was found that several Chinese foreigners made contributions to Clinton's reelection campaign and the Democratic National Committee with the backing of the People's Republic of China. Some of them also attempted to donate to Clinton's defense fund. This violated United States law forbidding non-American citizens from making campaign contributions. Clinton and Al Gore also allegedly met with the foreign donors. A Republican investigation led by Fred Thompson found that Clinton was targeted by the Chinese government. However, Democratic senators Joe Lieberman and John Glenn said that the evidence showed that China only targeted congressional elections and not presidential elections. Military and foreign affairs Somalia American troops had first entered Somalia during the Bush administration in response to a humanitarian crisis and civil war. Though initially involved to assist humanitarian efforts, the Clinton administration shifted the objectives set out in the mission and began pursuing a policy of attempting to neutralize Somali warlords. In 1993, during the Battle of Mogadishu, two U.S. helicopters were shot down by rocket-propelled grenade attacks to their tail rotors, trapping soldiers behind enemy lines. This resulted in an urban battle that killed 18 American soldiers, wounded 73 others, and resulted in one being taken prisoner. Television news programs depicted the supporters of warlord Mohammed Aidid desecrating the corpses of troops. The backlash resulting from the incident prompted in a drop in support for American intervention in the country and coincided with a more cautious use of troops throughout the rest of the Clinton administration. Following a subsequent national security policy review, U.S. forces were withdrawn from Somalia and later conflicts were approached with fewer soldiers on the ground. Rwanda In April 1994, genocide broke out in Rwanda. Intelligence reports indicate that Clinton was aware a "final solution to eliminate all Tutsis" was underway, long before the administration publicly used the word "genocide." Fearing a reprisal of the events in Somalia the previous year, Clinton chose not to intervene. Clinton has called his failure to intervene one of his main foreign policy failings, saying "I don't think we could have ended the violence, but I think we could have cut it down. And I regret it." Bosnia and Herzegovina In 1993 and 1994, Clinton pressured Western European leaders to adopt a strong military policy against Bosnian Serbs during the Bosnian War. This strategy faced staunch opposition from the United Nations, NATO allies, and Congressional Republicans, leading Clinton to adopt a more diplomatic approach. In 1995, U.S. and NATO aircraft bombed Bosnian Serb targets to halt attacks on UN safe zones and pressure them into a peace accord that would end the Bosnian war. Clinton deployed U.S. peacekeepers to Bosnia in late 1995, to uphold the subsequent Dayton Agreement. Irish peace talks In 1992, before his presidency, Clinton proposed sending a peace envoy to Northern Ireland, but this was dropped to avoid tensions with the British government. In November 1995, in a ceasefire during the Troubles, Clinton became the first president to visit Northern Ireland, examining both of the two divided communities of Belfast. Despite unionist criticism, Clinton used his visit as a way to negotiate an end to the violent conflict, playing a key role in the peace talks that produced the Good Friday Agreement in 1998. Iran Clinton sought to continue the Bush administration's policy of limiting Iranian influence in the Middle East, which he laid out in the dual containment strategy. In 1994, Clinton declared that Iran was a "state sponsor of terrorism" and a "rogue state," marking the first time that an American President used that term. Subsequent executive orders heavily sanctioned Iran's oil industry and banned almost all trade between U.S. companies and the Iranian government. In February 1996, the Clinton administration agreed to pay Iran US$131.8million (equivalent to $ million in ) in settlement to discontinue a case brought by Iran in 1989 against the U.S. in the International Court of Justice after the shooting down of Iran Air Flight 655 by the U.S. Navy guided missile cruiser. Following the 1997 election of reformist president Mohammad Khatami, the administration eased sanctions. Iraq In Clinton's 1998 State of the Union Address, he warned Congress that Iraqi dictator Saddam Hussein was building an arsenal of chemical, biological and nuclear weapons. Clinton signed the Iraq Liberation Act of 1998 on October 31, 1998, which instituted a policy of "regime change" against Iraq, though it explicitly stated it did not provide for direct intervention on the part of American military forces. The administration then launched a four-day bombing campaign named Operation Desert Fox, lasting from December 16 to 19, 1998. At the end of this operation Clinton announced that "So long as Saddam remains in power, he will remain a threat to his people, his region, and the world. With our allies, we must pursue a strategy to contain him and to constrain his weapons of mass destruction program, while working toward the day Iraq has a government willing to live at peace with its people and with its neighbors." American and British aircraft in the Iraq no-fly zones attacked hostile Iraqi air defenses 166 times in 1999 and 78 times in 2000. Osama bin Laden Capturing Osama bin Laden was an objective of the U.S. government during the Clinton presidency (and continued to be until bin Laden's death in 2011). Despite claims by Mansoor Ijaz and Sudanese officials that the Sudanese government had offered to arrest and extradite bin Laden, and that U.S. authorities rejected each offer, the 9/11 Commission Report stated that "we have not found any reliable evidence to support the Sudanese claim". In response to a 1996 State Department warning about bin Laden and the 1998 bombings of U.S. embassies in East Africa by al-Qaeda (which killed 224 people, including 12 Americans), Clinton ordered several military missions to capture or kill bin Laden, all of which were unsuccessful. In August 1998, Clinton ordered cruise missile strikes on terrorist targets in Afghanistan and Sudan, targeting the Al-Shifa pharmaceutical factory in Sudan, which was suspected of assisting bin Laden in making chemical weapons, and bin Laden's terrorist training camps in Afghanistan. The factory was destroyed by the attack, resulting in the death of one employee and the wounding of 11 other people. After the destruction of the factory, there was a medicine shortage in Sudan due to the plant providing 50 percent of Sudan's medicine, and the destruction of the plant led to a shortage of chloroquine, a drug which is used to treat malaria. US officials later acknowledged that there was no evidence the plant was acknowledging manufacturing or storing nerve gas. The attack provoked criticism of Clinton from journalists and academics including Christopher Hitchens, Seymour Hersh, Max Taylor, and others. Kosovo In the midst of a brutal crackdown on ethnic Albanian separatists in the province of Kosovo by the Federal Republic of Yugoslavia, Clinton authorized the use of U.S. Armed Forces in a NATO bombing campaign against Yugoslavia in 1999, named Operation Allied Force. The stated reasoning behind the intervention was to stop the ethnic cleansing (and what the Clinton administration labeled genocide) of Albanians by Yugoslav anti-guerilla military units. General Wesley Clark was Supreme Allied Commander of NATO and oversaw the mission. With United Nations Security Council Resolution 1244, the bombing campaign ended on June 10, 1999. The resolution placed Kosovo under UN administration and authorized a peacekeeping force to be deployed to the region. NATO announced its soldiers all survived combat, though two died in an Apache helicopter crash. Journalists in the popular press criticized genocide statements by the Clinton administration as false and greatly exaggerated. Prior to the bombing campaign on March 24, 1999, estimates showed that the number of civilians killed in the over year long conflict in Kosovo had been approximately 1,800, with critics asserting that little or no evidence existed of genocide. In a post-war inquiry, the Organization for Security and Co-operation in Europe noted "the patterns of the expulsions and the vast increase in lootings, killings, rape, kidnappings and pillage once the NATO air war began on March 24." In 2001, the UN-supervised Supreme Court of Kosovo ruled that genocide (the intent to destroy a people) did not take place, but recognized "a systematic campaign of terror, including murders, rapes, arsons and severe maltreatments" with the intention being the forceful departure of the Albanian population. The term "ethnic cleansing" was used as an alternative to "genocide" to denote not just ethnically motivated murder but also displacement, though critics charge there is little difference. Slobodan Milošević, the president of Yugoslavia at the time of the atrocities, was eventually brought to trial before the International Criminal Tribunal for the former Yugoslavia in the Hague on charges including crimes against humanity and war crimes for his role in the war. He died in 2006, before the completion of the trial. China Clinton aimed to increase trade with China, minimizing import tariffs and offering the country most favoured nation status in 1993, his administration minimized tariff levels in Chinese imports. Clinton initially conditioned extension of this status on human rights reforms, but ultimately decided to extend the status despite a lack of reform in the specified areas, including free emigration, treatment of prisoners in terms of international human rights, and observation of human rights specified by UN resolutions, among others. Relations were damaged briefly by the American bombing of the Chinese embassy in Belgrade in May 1999. Clinton apologized for the bombing, stating it was accidental. On October 10, 2000, Clinton signed into law the United States–China Relations Act of 2000, which granted permanent normal trade relations (PNTR) trade status to China. The president asserted that free trade would gradually open China to democratic reform. In encouraging Congress to approve the agreement and China's accession to the World Trade Organization (WTO), Clinton stated that more trade with China would advance America's economic interests, saying that "economically, this agreement is the equivalent of a one-way street. It requires China to open its markets—with a fifth of the world's population, potentially the biggest markets in the world—to both our products and services in unprecedented new ways." Israeli-Palestinian conflict Clinton attempted to end the Israeli–Palestinian conflict. Secret negotiations mediated by Clinton between Israeli Prime Minister Yitzhak Rabin and Palestine Liberation Organization (PLO) Chairman Yasser Arafat led to a historic declaration of peace in September 1993, called the Oslo Accords, which were signed at the White House on September 13. The agreement led to the Israel–Jordan peace treaty in 1994 and the Wye River Memorandum in October 1998, however, this did not end the conflict. He brought Israeli prime minister Ehud Barak and Palestinian Authority chairman Yasser Arafat together at Camp David for the 2000 Camp David Summit, which lasted 14 days in July. Following the failure of the peace talks, Clinton said Arafat had "missed the opportunity" to facilitate a "just and lasting peace". In his autobiography, Clinton blames Arafat for the collapse of the summit. Following another attempt in December 2000 at Bolling Air Force Base, in which the president offered the Clinton Parameters, the situation broke down completely after the end of the Taba Summit and with the start of the Second Intifada. Judicial appointments Clinton appointed two justices to the Supreme Court: Ruth Bader Ginsburg in 1993 and Stephen Breyer in 1994. Both justices went on to serve until the 2020s, leaving a lasting judicial legacy for President Clinton. Clinton was the first president in history to appoint more women and minority judges than white male judges to the federal courts. In his eight years in office, 11.6% of Clinton's court of appeals nominees and 17.4% of his district court nominees were black; 32.8% of his court of appeals nominees and 28.5% of his district court nominees were women. Public opinion Throughout Clinton's first term, his job approval rating fluctuated in the 40s and 50s. In his second term, his rating consistently ranged from the high-50s to the high-60s. After his impeachment proceedings in 1998 and 1999, Clinton's rating reached its highest point. According to a CBS News/New York Times poll, Clinton left office with an approval rating of 68 percent, which matched those of Ronald Reagan and Franklin D. Roosevelt as the highest ratings for departing presidents in the modern era. Clinton's average Gallup poll approval rating for his last quarter in office was 61%, the highest final quarter rating any president has received for fifty years. Forty-seven percent of the respondents identified themselves as being Clinton supporters. As he was leaving office, a CNN/USA Today/Gallup poll revealed that 45 percent of Americans said they would miss him; 55 percent thought he "would have something worthwhile to contribute and should remain active in public life"; 68 percent thought he would be remembered more for his "involvement in personal scandal" than for "his accomplishments"; and 58 percent answered "No" to the question "Do you generally think Bill Clinton is honest and trustworthy?" The same percentage said he would be remembered as either "outstanding" or "above average" as a president, while 22 percent said he would be remembered as "below average" or "poor". ABC News characterized public consensus on Clinton as, "You can't trust him, he's got weak morals and ethics—and he's done a heck of a good job." In May 2006, a CNN poll comparing Clinton's job performance with that of his successor, George W. Bush, found that a strong majority of respondents said Clinton outperformed Bush in six different areas questioned. Gallup polls in 2007 and 2011 showed that Clinton was regarded by 13 percent of Americans as the greatest president in U.S. history. In 2014, 18 percent of respondents in a Quinnipiac University Polling Institute poll of American voters regarded Clinton as the best president since World War II, making him the third most popular among postwar presidents, behind John F. Kennedy and Ronald Reagan. The same poll showed that just 3% of American voters regarded Clinton as the worst president since World War II. A 2015 poll by The Washington Post asked 162 scholars of the American Political Science Association to rank all the U.S. presidents in order of greatness. According to their findings, Clinton ranked eighth overall, with a rating of 70 percent. Public image Clinton was the first baby boomer president. Authors Martin Walker and Bob Woodward stated that Clinton's innovative use of sound bite-ready dialogue, personal charisma, and public perception-oriented campaigning were a major factor in his high public approval ratings. When Clinton played the saxophone on The Arsenio Hall Show, he was described by some religious conservatives as "the MTV president". Opponents sometimes referred to him as "Slick Willie", a nickname which was first applied to him in 1980 by Pine Bluff Commercial journalist Paul Greenberg; Greenberg believed that Clinton was abandoning the progressive policies of previous Arkansas Governors such as Winthrop Rockefeller, Dale Bumpers and David Pryor. The claim "Slick Willie" would last throughout his presidency. His folksy manner led him to be nicknamed Bubba, especially in the South. Since 2000, he has frequently been referred to as "The Big Dog" or "Big Dog". His prominent role in campaigning for President Obama during the 2012 presidential election and his widely publicized speech at the 2012 Democratic National Convention, where he officially nominated Obama and criticized Republican nominee Mitt Romney and Republican policies in detail, earned him the nickname "Explainer-in-Chief". Clinton drew strong support from the African American community and insisted that the improvement of race relations would be a major theme of his presidency. In 1998, Nobel laureate Toni Morrison called Clinton "the first Black president", saying, "Clinton displays almost every trope of blackness: single-parent household, born poor, working-class, saxophone-playing, McDonald's-and-junk-food-loving boy from Arkansas". Morrison noted that Clinton's sex life was scrutinized more than his career accomplishments, and she compared this to the stereotyping and double standards that, she said, blacks typically endure. Many viewed this comparison as unfair and disparaging both to Clinton and to the African-American community at large. Clinton, a Baptist, has been open about his faith. Sexual assault and misconduct allegations Several women have publicly accused Bill Clinton of sexual misconduct, including rape, harassment, and sexual assault. Additionally, some commentators have characterized Clinton's sexual relationship with former White House intern Monica Lewinsky as predatory or non-consensual, despite the fact that Lewinsky called the relationship consensual at the time. These allegations have been revisited and lent more credence in 2018, in light of the #MeToo movement, with many commentators and Democratic leaders now saying Clinton should have been compelled to resign after the Lewinsky affair. In 1994, Paula Jones initiated a sexual harassment lawsuit against Clinton, claiming he had made unwanted advances towards her in 1991; Clinton denied the allegations. In April 1998, the case was initially dismissed by Judge Susan Webber Wright on the grounds that it lacked legal merit. Jones appealed Webber Wright's ruling, and her suit gained traction following Clinton's admission to having an affair with Monica Lewinsky in August 1998. In 1998, lawyers for Paula Jones released court documents that alleged a pattern of sexual harassment by Clinton when he was Governor of Arkansas. Robert S. Bennett, Clinton's main lawyer for the case, called the filing "a pack of lies" and "an organized campaign to smear the President of the United States" funded by Clinton's political enemies. Clinton later agreed to an out-of-court settlement and paid Jones $850,000. Bennett said the president made the settlement only so he could end the lawsuit for good and move on with his life. During the deposition for the Jones lawsuit, which was held at the White House, Clinton denied having sexual relations with Monica Lewinsky—a denial that became the basis for an impeachment charge of perjury. In 1998, Kathleen Willey alleged that Clinton had groped her in a hallway in 1993. An independent counsel determined Willey gave "false information" to the FBI, inconsistent with sworn testimony related to the Jones allegation. On March 19, 1998, Julie Hiatt Steele, a friend of Willey, released an affidavit, accusing the former White House aide of asking her to lie to corroborate Ms. Willey's account of being sexually groped by Clinton in the Oval Office. An attempt by Kenneth Starr to prosecute Steele for making false statements and obstructing justice ended in a mistrial and Starr declined to seek a retrial after Steele sought an investigation against the former Independent Counsel for prosecutorial misconduct. Linda Tripp's grand jury testimony also differed from Willey's claims regarding inappropriate sexual advances. Also in 1998, Juanita Broaddrick alleged that Clinton had raped her in the spring of 1978, although she said she did not remember the exact date. To support her charge, Broaddrick notes that she told multiple witnesses in 1978 she had been raped by Clinton, something these witnesses also state in interviews to the press. Broaddrick had earlier filed an affidavit denying any "unwelcome sexual advances" and later repeated the denial in a sworn deposition. In a 1998 NBC interview wherein she detailed the alleged rape, Broaddrick said she had denied (under oath) being raped only to avoid testifying about the ordeal publicly. The Lewinsky scandal has had an enduring impact on Clinton's legacy, beyond his impeachment in 1998. In the wake of the #MeToo movement (which shed light on the widespread prevalence of sexual assault and harassment, especially in the workplace), various commentators and Democratic political leaders, as well as Lewinsky herself, have revisited their view that the Lewinsky affair was consensual, and instead characterized it as an abuse of power or harassment, in light of the power differential between a president and a 22-year old intern. In 2018, Clinton was asked in several interviews about whether he should have resigned, and he said he had made the right decision in not resigning. During the 2018 Congressional elections, The New York Times alleged that having no Democratic candidate for office asking Clinton to campaign with them was a change that attributed to the revised understanding of the Lewinsky scandal. However, former DNC interim chair Donna Brazile previously urged Clinton in November 2017 to campaign during the 2018 midterm elections, in spite of New York U.S. senator Kirsten Gillibrand's recent criticism of the Lewinsky scandal. Alleged affairs Clinton admitted to having extramarital affairs with singer Gennifer Flowers and Monica Lewinsky. Actress Elizabeth Gracen, Miss Arkansas winner Sally Perdue, and Dolly Kyle Browning all claimed that they had affairs with Clinton during his time as governor of Arkansas. Browning later sued Clinton, Bruce Lindsey, Robert S. Bennett, and Jane Mayer, alleging they engaged in a conspiracy to attempt to block her from publishing a book loosely based on her relationship with Clinton and tried to defame him. However, Browning's lawsuit was dismissed. Post-presidency (2001–present) Bill Clinton has continued to be active in public life since leaving office in 2001, giving speeches, fundraising, and founding charitable organizations, and has spoken in prime time at every Democratic National Convention. Activities until 2008 campaign In 2002, Clinton warned that pre-emptive military action against Iraq would have unwelcome consequences, and later claimed to have opposed the Iraq War from the start (though some dispute this). In 2005, Clinton criticized the Bush administration for its handling of emissions control, while speaking at the United Nations Climate Change conference in Montreal. The William J. Clinton Presidential Center and Park in Little Rock, Arkansas, was dedicated in 2004. Clinton released a best-selling autobiography, My Life, in 2004. In 2007, he released Giving: How Each of Us Can Change the World, which also became a New York Times Best Seller and garnered positive reviews. In the aftermath of the 2004 Asian tsunami, U.N. secretary-general Kofi Annan appointed Clinton to head a relief effort. After Hurricane Katrina, Clinton joined with fellow former president George H. W. Bush to establish the Bush-Clinton Tsunami Fund in January 2005, and the Bush-Clinton Katrina Fund in October of that year. As part of the tsunami effort, these two ex-presidents appeared in a Super Bowl XXXIX pre-game show, and traveled to the affected areas. They also spoke together at the funeral of Boris Yeltsin in April 2007. Based on his philanthropic worldview, Clinton created the William J. Clinton Foundation to address issues of global importance. This foundation includes the Clinton Foundation HIV and AIDS Initiative (CHAI), which strives to combat that disease, and has worked with the Australian government toward that end. The Clinton Global Initiative (CGI), begun by the Clinton Foundation in 2005, attempts to address world problems such as global public health, poverty alleviation and religious and ethnic conflict. In 2005, Clinton announced through his foundation an agreement with manufacturers to stop selling sugary drinks in schools. Clinton's foundation joined with the Large Cities Climate Leadership Group in 2006 to improve cooperation among those cities, and he met with foreign leaders to promote this initiative. The foundation has received donations from many governments all over the world, including Asia and the Middle East. In 2008, Foundation director Inder Singh announced deals to reduce the price of anti-malaria drugs by 30 percent in developing nations. Clinton also spoke in favor of California Proposition 87 on alternative energy, which was voted down. 2008 presidential election During the 2008 Democratic presidential primary campaign, Clinton vigorously advocated on behalf of his wife, Hillary. Through speaking engagements and fundraisers, he was able to raise $10 million toward her campaign. Some worried that as an ex-president, he was too active on the trail, too negative to Clinton rival Barack Obama, and alienating his supporters at home and abroad. Many were especially critical of him following his remarks in the South Carolina primary, which Obama won. Later in the 2008 primaries, there was some infighting between Bill and Hillary's staffs, especially in Pennsylvania. Considering Bill's remarks, many thought he could not rally Hillary supporters behind Obama after Obama won the primary. Such remarks led to apprehension that the party would be split to the detriment of Obama's election. Fears were allayed August 27, 2008, when Clinton enthusiastically endorsed Obama at the 2008 Democratic National Convention, saying all his experience as president assures him that Obama is "ready to lead". After Hillary Clinton's presidential campaign was over, Bill Clinton continued to raise funds to help pay off her campaign debt. After the 2008 election In 2009, Clinton travelled to North Korea on behalf of two American journalists imprisoned there. Euna Lee and Laura Ling had been imprisoned for illegally entering the country from China. Jimmy Carter had made a similar visit in 1994. After Clinton met with North Korean leader Kim Jong-il, Kim issued a pardon. Since then, Clinton has been assigned many other diplomatic missions. He was named United Nations Special Envoy to Haiti in 2009 following a series of hurricanes which caused $1 billion in damages. Clinton organized a conference with the Inter-American Development Bank, where a new industrial park was discussed in an effort to "build back better". In response to the 2010 Haiti earthquake, U.S. president Barack Obama announced that Clinton and George W. Bush would coordinate efforts to raise funds for Haiti's recovery. Funds began pouring into Haiti, which led to funding becoming available for Caracol Industrial Park in a part of the country unaffected by the earthquake. While Hillary Clinton was in South Korea, she and Cheryl Mills worked to convince SAE-A, a large apparel subcontractor, to invest in Haiti despite the company's deep concerns about plans to raise the minimum wage. In the summer of 2010, the South Korean company signed a contract at the U.S. State Department, ensuring that the new industrial park would have a key tenant. In 2010, Clinton announced support of, and delivered the keynote address for, the inauguration of NTR, Ireland's first environmental foundation. At the 2012 Democratic National Convention, Clinton gave a widely praised speech nominating Barack Obama. 2016 presidential election and after During the 2016 presidential election, Clinton again encouraged voters to support Hillary, and made appearances speaking on the campaign trail. In a series of tweets, then-President-elect Donald Trump criticized his ability to get people out to vote. Clinton served as a member of the electoral college for the state of New York. He voted for the Democratic ticket consisting of his wife Hillary and her running-mate Tim Kaine. On September 7, 2017, Clinton partnered with former presidents Jimmy Carter, George H. W. Bush, George W. Bush, and Barack Obama to work with One America Appeal to help the victims of Hurricane Harvey and Hurricane Irma in the Gulf Coast and Texas communities. In 2020, Clinton again served as a member of the United States Electoral College from New York, casting his vote for the successful Democratic ticket of Joe Biden and Kamala Harris. Post-presidential health concerns In September 2004, Clinton underwent quadruple bypass surgery. In March 2005, he again underwent surgery, this time for a partially collapsed lung. On February 11, 2010, he was rushed to New York-Presbyterian/Columbia Hospital in Manhattan after complaining of chest pains, and he had two coronary stents implanted in his heart. After this procedure, Clinton adopted a plant-based whole foods (vegan) diet, which had been recommended by doctors Dean Ornish and Caldwell Esselstyn. However, he has since incorporated fish and lean proteins at the suggestion of Mark Hyman, a proponent of the pseudoscientific ethos of functional medicine. As a result, he is no longer a strict vegan. In October 2021, Clinton was treated for sepsis at the University of California, Irvine Medical Center. In December 2022, Clinton tested positive for COVID-19. Wealth The Clintons incurred several million dollars in legal bills during his presidency, which were paid off four years after he left office. Bill and Hillary Clinton have each earned millions of dollars from book publishing. In 2016, Forbes reported Bill and Hillary Clinton made about $240million in the 15years from January 2001, to December 2015, (mostly from paid speeches, business consulting and book-writing). Also in 2016, CNN reported the Clintons combined to receive more than $153million in paid speeches from 2001 until spring 2015. In May 2015, The Hill reported that Bill and Hillary Clinton have made more than $25million in speaking fees since the start of 2014, and that Hillary Clinton also made $5million or more from her book, Hard Choices, during the same time period. In July 2014, The Wall Street Journal reported that at the end of 2012, the Clintons were worth between $5million and $25.5million, and that in 2012 (the last year they were required to disclose the information) the Clintons made between $16 and $17million, mostly from speaking fees earned by the former president. Clinton earned more than $104million from paid speeches between 2001 and 2012. In June 2014, ABC News and The Washington Post reported that Bill Clinton has made more than $100million giving paid speeches since leaving public office, and in 2008, The New York Times reported that the Clintons' income tax returns show they made $109million in the eight years from January 1, 2000, to December 31, 2007, including almost $92million from his speaking and book-writing. His books include two novels. Bill Clinton has given dozens of paid speeches each year since leaving office in 2001, mostly to corporations and philanthropic groups in North America and Europe; he often earned $100,000 to $300,000 per speech. Russian investment bank with ties to the Kremlin paid Clinton $500,000 for a speech in Moscow. Hillary Clinton said she and Bill came out of the White House financially "broke" and in debt, especially due to large legal fees incurred during their years in the White House. "We had no money when we got there, and we struggled to, you know, piece together the resources for mortgages, for houses, for Chelsea's education". She added, "Bill has worked really hard ... we had to pay off all our debts ... he had to make double the money because of, obviously, taxes; and then pay off the debts, and get us houses, and take care of family members". Relationship with Jeffrey Epstein In the early 2000s, Clinton took flights on Jeffrey Epstein's private jet in connection with Clinton Foundation work. In 2002, a spokesperson for Clinton praised Epstein as "a committed philanthropist" with "insights and generosity". While Clinton was president Epstein visited the White House at least 17 times. Years later, Epstein was convicted on sex trafficking charges. Clinton's office released a statement in 2019 saying, "President Clinton knows nothing about the terrible crimes Jeffrey Epstein pleaded guilty to in Florida some years ago, or those with which he has been recently charged in New York. In 2002 and 2003, President Clinton took four trips on Jeffrey Epstein's airplane: one to Europe, one to Asia, and two to Africa, which included stops in connection with the work of the Clinton Foundation. Staff, supporters of the Foundation, and his Secret Service detail traveled on every leg of every trip. [...] He's not spoken to Epstein in well over a decade." However, later reports showed that Clinton had flown on Epstein's plane 26 times. In another statement Clinton said "one meeting with Epstein in his Harlem office in 2002, and around the same time made one brief visit to Epstein’s New York apartment with a staff member and his security detail". In July 2019 it was reported that Clinton attended a dinner with Epstein in 1995, a meeting with Epstein that Clinton had not previously disclosed. Personal life At the age of 10, he was baptized at Park Place Baptist Church in Hot Springs, Arkansas and remained a member of a Baptist church. In 2007, he promoted the New Baptist Covenant organization for Social Justice, founded by Baptist Deacon Jimmy Carter. On October 11, 1975, in Fayetteville, Arkansas, he married Hillary Rodham, whom he met while studying at Yale University. They had Chelsea Clinton, their only child, on February 27, 1980. He is the maternal grandfather to Chelsea's three children. Honors and recognition Various colleges and universities have awarded Clinton honorary degrees, including Doctorate of Law degrees and Doctor of Humane Letters degrees. He received an honorary degree from Georgetown University, his alma mater, and was the commencement speaker in 1980. He is an honorary fellow of University College, Oxford, which he attended as a Rhodes Scholar, although he did not complete his studies there. Schools have been named for Clinton, and statues have been built to pay him homage. U.S. states where he has been honored include Missouri, Arkansas, Kentucky, and New York. He was presented with the Medal for Distinguished Public Service by Secretary of Defense William Cohen in 2001. The Clinton Presidential Center was opened in Little Rock, Arkansas, in his honor on December 5, 2001. He has been honored in various other ways, in countries that include the Czech Republic, Papua New Guinea, Germany, and Kosovo. The Republic of Kosovo, in gratitude for his help during the Kosovo War, renamed a major street in the capital city of Pristina as Bill Clinton Boulevard and added a monumental Clinton statue. Clinton was selected as Time "Man of the Year" in 1992, and again in 1998, along with Ken Starr. From a poll conducted of the American people in December 1999, Clinton was among eighteen included in Gallup's List of Widely Admired People of the 20th century. In 2001, Clinton received the NAACP's President's Award. He has also been honored with a Grammy Award for Best Spoken Word Album for Children, a J. William Fulbright Prize for International Understanding, a TED Prize (named for the confluence of technology, entertainment and design), and was named as an Honorary GLAAD Media Award recipient for his work as an advocate for the LGBT community. In 2011, President Michel Martelly of Haiti awarded Clinton with the National Order of Honour and Merit to the rank of Grand Cross "for his various initiatives in Haiti and especially his high contribution to the reconstruction of the country after the earthquake of January 12, 2010". Clinton declared at the ceremony that "in the United States of America, I really don't believe former American presidents need awards anymore, but I am very honored by this one, I love Haiti, and I believe in its promise". U.S. president Barack Obama awarded Clinton the Presidential Medal of Freedom on November 20, 2013. Authored books Recordings Bill Clinton is one of the narrators on Wolf Tracks and Peter and the Wolf, a 2003 recording of Sergei Prokofiev's Peter and the Wolf performed by the Russian National Orchestra, on Pentatone, together with Mikhail Gorbachev and Sophia Loren. This garnered Clinton the 2003 Grammy Award for Best Spoken Word Album for Children. The audiobook edition of his autobiography, My Life, read by Clinton himself, won the 2005 Grammy Award for Best Spoken Word Album as well as the Audie Award as the Audiobook of the Year. Clinton has two more Grammy nominations for his audiobooks: Giving: How Each of Us Can Change the World in 2007 and Back to Work in 2012. See also 1996 United States campaign finance controversy Clinton family Clinton School of Public Service Efforts to impeach Bill Clinton Electoral history of Bill Clinton Gun control policy of the Clinton Administration List of presidents of the United States References Citations Further reading Primary sources Clinton, Bill. (with Al Gore). Science in the National Interest. Washington, D.C.: The White House, August 1994. --- (with Al Gore). The Climate Change Action Plan. Washington, D.C.: The White House, October 1993. Taylor Branch The Clinton Tapes: Wrestling History with the President. (2009) Simon & Schuster. Official Congressional Record Impeachment Set: ... Containing the Procedures for Implementing the Articles of Impeachment and the Proceedings of the Impeachment Trial of President William Jefferson Clinton. Washington, D.C.: U.S. G.P.O., 1999. Public Papers of the Presidents of the United States, William J. Clinton. Washington, D.C.: Office of the Federal Register, National Archives and Records Administration: For sale by the Supt. of Docs., U.S. G.P.O., 1994–2002. S. Daniel Abraham Peace Is Possible, foreword by Bill Clinton Popular books Peter Baker The Breach: Inside the Impeachment and Trial of William Jefferson Clinton (2000) James Bovard Feeling Your Pain: The Explosion and Abuse of Government Power in the Clinton-Gore Years (2000) Joe Conason and Gene Lyons The Hunting of the President: The Ten-Year Campaign to Destroy Bill and Hillary Clinton (2003) Elizabeth Drew On the Edge: The Clinton Presidency (1994) David Gergen Eyewitness to Power: The Essence of Leadership. (2000) Nigel Hamilton Bill Clinton: An American Journey (2003) Christopher Hitchens No One Left to Lie to: The Triangulations of William Jefferson Clinton (1999) Michael Isikoff Uncovering Clinton: A Reporter's Story (1999) Mark Katz Clinton and Me: A Real-Life Political Comedy (2004) David Maraniss The Clinton Enigma: A Four and a Half Minute Speech Reveals This President's Entire Life (1998) Dick Morris with Eileen McGann Because He Could (2004) Richard A. Posner An Affair of State: The Investigation, Impeachment, and Trial of President Clinton (1999) Mark J. Rozell The Clinton Scandal and the Future of American Government (2000) Timperlake, Edward, and William C. Triplett II Year of the Rat: How Bill Clinton Compromised U.S. Security for Chinese Cash. Washington, D.C.: Regnery Publishing, 1998. Michael Waldman POTUS Speaks: Finding the Words That Defined the Clinton Presidency (2000) Ivory Tower Publishing Company. Achievements of the Clinton Administration: the Complete Legislative and Executive. (1995) Scholarly studies Campbell, Colin, and Bert A. Rockman, eds. The Clinton Legacy (Chatham House Pub, 2000) Halberstam, David. War in a time of peace: Bush, Clinton, and the generals (Simon and Schuster, 2001). online Harris, John F. The Survivor: Bill Clinton in the White House (2006). online Head, Simon. The Clinton System (January 30, 2016), The New York Review of Books Hyland, William G. Clinton's World: Remaking American Foreign Policy (1999) Laham, Nicholas, A Lost Cause: Bill Clinton's Campaign for National Health Insurance (1996) Levy, Peter B. Encyclopedia of the Clinton presidency (Greenwood, 2002) online Renshon; Stanley A. The Clinton Presidency: Campaigning, Governing, and the Psychology of Leadership Westview Press, 1995 Romano, Flavio. Clinton and Blair: the political economy of the third way (Routledge, 2007) Rushefsky, Mark E. and Kant Patel. Politics, Power & Policy Making: The Case of Health Care Reform in the 1990s (1998) Schantz, Harvey L. Politics in an Era of Divided Government: Elections and Governance in the Second Clinton Administration (2001) Troy, Gill. The Age of Clinton: America in the 1990s (2015) Warshaw, Shirley Anne. The Clinton Years (Infobase Publishing, 2009) White, Mark, ed. The Presidency of Bill Clinton: The Legacy of a New Domestic and Foreign Policy (I.B.Tauris, 2012) Arkansas years Allen, Charles and Jonathan Portis. The Life and Career of Bill Clinton: The Comeback Kid (1992). Blair, Diane D. "The Big Three of Late Twentieth-Century Arkansas Politics: Dale Bumpers, Bill Clinton, and David Pryor." Arkansas Historical Quarterly 54.1 (1995): 53-79. online Blair, Diane D. "William Jefferson Clinton" in The Governors of Arkansas: Essays in Political Biography ed. by Willard B. Gatewood Jr., et al. (1995) Brummett, John. Highwire: From the Backroads to the Beltway: The Education of Bill Clinton (Hyperion, 1994). Clinton, Bill. My Life: The Early Years (Random House, 2004) Dumas, Ernest, ed. The Clintons of Arkansas: An Introduction by Those Who Knew Them Best (University of Arkansas Press, 1993) online. Encyclopedia of Arkansas (2023) online Johnston, Phyllis F. Bill Clinton's Public Policy for Arkansas: 1979-80 (Little Rock: August House, 1982). Maraniss, David. First in His Class: A Biography of Bill Clinton (Simon & Schuster, 1995). Marcus, Alan. "Bill Clinton in Arkansas: generational politics, the technology of political communication and the permanent campaign." The Historian 72.2 (2010): 354-385. online Oakley, Meredith L. On the make: The rise of Bill Clinton (Regnery Publishing, 1994), attack from the right. Osborne, David. "Turning around Arkansas' Schools: Bill Clinton and Education Reform." American Educator: The Professional Journal of the American Federation of Teachers 16.3 (1992): 6-17. online Smith, Stephen A., ed. Preface to the Presidency: Selected Speeches of Bill Clinton, 1974–1992 (University of Arkansas Press, 1996). External links Official Presidential Library & Museum Clinton Foundation White House biography Archived White House website Interviews, speeches, and statements Full audio of a number of Clinton speeches Miller Center of Public Affairs Oral History Interview with Bill Clinton from Oral Histories of the American South, June 1974 "The Wanderer", a profile from The New Yorker, September 2006 Media coverage Other Extensive essays on Bill Clinton and shorter essays on each member of his cabinet and First Lady from the Miller Center of Public Affairs "Life Portrait of Bill Clinton", from C-SPAN's American Presidents: Life Portraits, December 20, 1999 Clinton  an American Experience documentary 1992 election episode in CNN's Race for the White House Category:1946 births Category:Living people Category:2016 United States presidential electors Category:2020 United States presidential electors Category:20th-century American lawyers Category:20th-century Baptists Category:20th-century presidents of the United States Category:21st-century American politicians Category:21st-century presidents of the United States Category:21st-century Baptists Category:Alumni of University College, Oxford Category:American humanitarians Category:American officials of the United Nations Category:Arkansas Attorneys General Category:Arkansas lawyers Category:Articles containing video clips Category:Baptists from Arkansas Category:Candidates in the 1980 United States elections Category:Candidates in the 1992 United States presidential election Category:Candidates in the 1996 United States presidential election Category:Centrism in the United States Category:Clinton Foundation people Category:Democratic Party (United States) presidential nominees Category:Democratic Party presidents of the United States Category:Democratic Party governors of Arkansas Category:Family of Bill and Hillary Clinton Category:Hot Springs High School (Arkansas) alumni Category:Impeached presidents of the United States Category:New York (state) Democrats Category:People from Hope, Arkansas Category:Politicians from Hot Springs, Arkansas Category:Politicians from Little Rock, Arkansas Category:Presidents of the United States Category:Rodham family Category:Walsh School of Foreign Service alumni Category:Spouses of New York (state) politicians Category:University of Arkansas faculty Category:Yale Law School alumni
[ { "text": "An official is someone who holds an office (function or mandate, regardless of whether it carries an actual working space with it) in an organization or government and participates in the exercise of authority (either their own or that of their superior or employer, public or legally private). An elected official is a person who is an official by virtue of an election. Officials may also be appointed ex officio (by virtue of another office, often in a specified capacity, such as presiding, advisory, secretary). Some official positions may be inherited. A person who currently holds an office is referred to as an incumbent. Something \"official\" refers to something endowed with governmental or other authoritative recognition or mandate, as in official language, official gazette, or official scorer.\n\nEtymology\nThe word official as a noun has been recorded since the Middle English period, first seen in 1314. It comes from the Old French (12th century), from the Latin (\"attendant to a magistrate, government official\"), the noun use of the original adjective (\"of or belonging to duty, service, or office\") from (\"office\"). The meaning \"person in charge of some public work or duty\" was first recorded in 1555. The adjective is first attested in English in 1533 via the Old French . The informal term officialese, the jargon of \"officialdom\", was first recorded in 1884.\n\nRoman antiquity\nAn (plural ) was the official term (somewhat comparable to a modern civil servant) for any member of the (staff) of a high dignitary such as a governor.\n\nEcclesiastical judiciary\n\nIn canon law, the word or its Latin original is used absolutely as the legal title of a diocesan bishop's judicial vicar who shares the bishop's ordinary judicial power over the diocese and presides over the diocesan ecclesiastical court.\n\nThe 1983 Code of Canon Law gives precedence to the title judicial vicar, rather than that of (canon 1420). The Code of Canons of the Eastern Churches uses only the title judicial vicar (canon 191).\n\nIn German, the related noun was also used for an official bureau in a diocese that did much of its administration, comprising the vicariate-general, an adjoined secretariat, a registry office and a chancery.\n\nIn Catholicism, the vicar-general was originally called the \"official\" ().\n\nThe title of official principal, together with that of vicar-general, has in Anglicanism been merged in that of diocesan chancellor of a diocese.\n\nSports\nIn sports, the term official is used to describe a person enforcing playing rules in the capacity of a assistant referee, referee and umpire; also specified by the discipline, e.g. American football official, ice hockey official. An official competition is created or recognized as valid by the competent body, is agreed to or arranged by people in positions of authority. It is synonymous, among others, with approved, certified, recognized, endorsed, and legitimate.\n\nOther\nThe term officer is close to being a synonym (but has more military connotations). A functionary is someone who carries out a particular role within an organization; this again is quite a close synonym for official, as a noun, but with connotations closer to bureaucrat. Any such person acts in their official capacity, in carrying out the duties of their office; they are also said to officiate, for example, in a ceremony. A public official is an official of central or local government.\n\nMax Weber on bureaucratic officials\n\nMax Weber gave as definition of a bureaucratic official:\nthey are personally free and appointed to their position on the basis of conduct\nhe exercises the authority delegated to them in accordance with impersonal rules, and their loyalty is enlisted on behalf of the faithful execution of their official duties\ntheir appointment and job placement are dependent upon their technical qualifications\ntheir administrative work is a full-time occupation\ntheir work is rewarded by a regular salary and prospects of advancement in a lifetime career.\n\nAn official must exercise their judgment and their skills, but their duty is to place these at the service of a higher authority; ultimately they are responsible only for the impartial execution of assigned tasks and must sacrifice their personal judgment if it runs counter to their official duties.\n\nAdjective\nAs an adjective, \"official\" often, but not always, means pertaining to the government, as state employee or having state recognition, or analogous to governance or to a formal (especially legally regulated) proceeding as opposed to informal business. In summary, that has authenticity emanates from an authority. Some examples:\n\nAn official holiday is a public holiday, having national (or regional) recognition. \nAn official language is a language recognised by a government, for its own use in administration, or for delivering services to its citizens (for example, on signposts). \nAn official spokesperson is an individual empowered to speak for the government, or some part of it such as a ministry, on a range of issues and on the record for the media. \nAn official statement is an issued by an organisation as an expression of its corporate position or opinion; an official apology is an apology similarly issued by an organisation (as opposed to an apology by an individual). \nOfficial policy is policy publicly acknowledged and defended by an organisation. In these cases unofficial is an antonym, and variously may mean informal, unrecognised, personal or unacknowledged. \nAn official strike is a strike organised and recognised by a labour union, as opposed to an unofficial strike at grassroots level.\nAn official school is a school administered by the government or by a local authority, as opposite to a private school or religious school.\nAn official history, for example of an institution or business, or particularly of a war or military unit, is a history written as a commission, with the assumption of co-operation with access to records and archives; but without necessarily full editorial independence.\nAn official biography is usually on the same lines, written with access to private papers and the support of the family of the subject.\n\nSee also\n Bureaucrat\n Canonical\n Civil service\n Politician\n Title\n\nReferences\n\nFurther reading \n\nCategory:Ecclesiastical titles\nCategory:Positions of authority", "title": "Official" }, { "text": "Other often refers to:\n Other (philosophy), a concept in psychology and philosophy\n\nOther or The Other may also refer to:\n\nFilm and television\n The Other (1913 film), a German silent film directed by Max Mack\n The Other (1930 film), a German film directed by Robert Wiene\n The Other (1972 film), an American film directed by Robert Mulligan\n The Other (1999 film), a French-Egyptian film directed by Youssef Chahine\n The Other (2007 film), an Argentine-French-German film by Ariel Rotter\n The Other (Doctor Who), a fictional character in Doctor Who\n The Other (Marvel Cinematic Universe), a fictional character in the Marvel Cinematic Universe\n\nLiterature\n Other: British and Irish Poetry since 1970, a 1999 poetry anthology\n The Other (Applegate novel), a 2000 Animorphs novel by K.A. Applegate\n The Other (Tryon novel), a 1971 horror novel by Tom Tryon\n \"The Other\" (short story), a 1972 short story by Jorge Luis Borges\n The Other, a 2008 novel by David Guterson\n Spider-Man: \"The Other\", a 2005–2006 Marvel Comics crossover story arc\n\nMusic\n The Other (band), a German horror punk band\n Other (Alison Moyet album) or the title song, 2017\n Other (Lustmord album), 2008\n The Other (album), by King Tuff, or the title song, 2018\n \"The Other\", a song by Lauv from I Met You When I Was 18 (The Playlist), 2018\n \"The Other\", a song by Tonight Alive from Underworld, 2018\n\nHuman name\n Othoere, or Other, a contemporary of Alfred the Great\nOther, father of Walter Fitz Other, castellan of Windsor in the time of William the Conqueror\n Other Windsor (disambiguation), several people \n Other Robert Ivor Windsor-Clive, 3rd Earl of Plymouth (1923–2018)\n Other C. Wamsley, a builder in Hamilton, Montana\n The Other (Doctor Who), a fictional character\n\nOther uses\n Other Music, a defunct music store in New York City\n OtherOS, a feature available in early versions of the PlayStation 3 console\n\nSee also\n Another (disambiguation)\n Others (disambiguation)\n Otherness (disambiguation)", "title": "Other" } ]
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C_48ee52f7a056456f8dd642b7051bc947_1
Bill Clinton
William Jefferson Clinton (ne Blythe III; born August 19, 1946) is an American politician who served as the 42nd President of the United States from 1993 to 2001. Prior to the presidency, he was the Governor of Arkansas from 1979 to 1981, and again from 1983 to 1992. A member of the Democratic Party, Clinton was ideologically a New Democrat and many of his policies reflected a centrist "Third Way" political philosophy. Clinton was born and raised in Arkansas and attended Georgetown University, the University of Oxford, and Yale Law School.
Early life and career
Clinton was born William Jefferson Blythe III on August 19, 1946, at Julia Chester Hospital in Hope, Arkansas. He was the son of William Jefferson Blythe Jr. (1918-1946), a traveling salesman who had died in an automobile accident three months before his birth, and Virginia Dell Cassidy (later Virginia Kelley: 1923-1994). His parents had married on September 4, 1943, but this union later proved to be bigamous, as Blythe was still married to his third wife. Soon after Bill was born, Virginia traveled to New Orleans to study nursing. She left her son in Hope with her parents Eldridge and Edith Cassidy, who owned and ran a small grocery store. At a time when the southern United States was racially segregated, Clinton's grandparents sold goods on credit to people of all races. In 1950, Bill's mother returned from nursing school and married Roger Clinton Sr., who owned an automobile dealership in Hot Springs, Arkansas, with his brother and Earl T. Ricks. The family moved to Hot Springs in 1950. Although he immediately assumed use of his stepfather's surname, it was not until Clinton turned 15 that he formally adopted the surname Clinton as a gesture toward his stepfather. Clinton said that he remembered his stepfather as a gambler and an alcoholic who regularly abused his mother and half-brother, Roger Clinton Jr., to the point where he intervened multiple times with the threat of violence to protect them. In Hot Springs, Clinton attended St. John's Catholic Elementary School, Ramble Elementary School, and Hot Springs High School, where he was an active student leader, avid reader, and musician. Clinton was in the chorus and played the tenor saxophone, winning first chair in the state band's saxophone section. He briefly considered dedicating his life to music, but as he noted in his autobiography My Life: Clinton began an interest in law at Hot Springs High, when he took up the challenge to argue the defense of the ancient Roman Senator Catiline in a mock trial in his Latin class. After a vigorous defense that made use of his "budding rhetorical and political skills", he told the Latin teacher Elizabeth Buck that it "made him realize that someday he would study law". Clinton has identified two influential moments in his life, both occurring in 1963, that contributed to his decision to become a public figure. One was his visit as a Boys Nation senator to the White House to meet President John F. Kennedy. The other was watching Martin Luther King Jr.'s 1963 I Have a Dream speech on TV, which impressed him enough that he later memorized it. CANNOTANSWER
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{ "answer_starts": [ [ 69 ], [ 111 ], [ 266 ], [ 538 ], [ 1427 ], [ 1554 ], [ 1620 ], [ 1737 ], [ 1836 ], [ 1890 ] ], "texts": [ [ "Julia Chester Hospital in Hope, Arkansas." ], [ "He was the son of William Jefferson Blythe Jr. (1918-1946), a traveling salesman who had died in an automobile accident three months before his birth," ], [ "Virginia Dell Cassidy" ], [ "She left her son" ], [ "In Hot Springs, Clinton attended St. John's Catholic Elementary School, Ramble Elementary School, and Hot Springs High School," ], [ "where he was an active student leader, avid reader, and musician." ], [ "Clinton was in the chorus and played the tenor saxophone, winning first chair in the state band's saxophone section." ], [ "He briefly considered dedicating his life to music, but as he noted in his autobiography My Life:" ], [ "Clinton began an interest in law at Hot Springs High, when he took up the challenge" ], [ "when he took up the challenge to argue the defense of the ancient Roman Senator Catiline in a mock trial in his Latin class." ] ] }
{ "answer_starts": [ 69, 111, 266, 538, 1427, 1554, 1620, 1737, 1836, 1890 ], "texts": [ "Julia Chester Hospital in Hope, Arkansas.", "He was the son of William Jefferson Blythe Jr. (1918-1946), a traveling salesman who had died in an automobile accident three months before his birth,", "Virginia Dell Cassidy", "She left her son", "In Hot Springs, Clinton attended St. John's Catholic Elementary School, Ramble Elementary School, and Hot Springs High School,", "where he was an active student leader, avid reader, and musician.", "Clinton was in the chorus and played the tenor saxophone, winning first chair in the state band's saxophone section.", "He briefly considered dedicating his life to music, but as he noted in his autobiography My Life:", "Clinton began an interest in law at Hot Springs High, when he took up the challenge", "when he took up the challenge to argue the defense of the ancient Roman Senator Catiline in a mock trial in his Latin class." ] }
William Jefferson Clinton (né Blythe III; born August 19, 1946) is an American politician who served as the 42nd president of the United States from 1993 to 2001. He previously served as governor of Arkansas from 1979 to 1981 and again from 1983 to 1992, and as attorney general of Arkansas from 1977 to 1979. A member of the Democratic Party, Clinton became known as a New Democrat, as many of his policies reflected a centrist "Third Way" political philosophy. He is the husband of Hillary Clinton, who was a U.S. senator from New York from 2001 to 2009, secretary of state from 2009 to 2013 and the Democratic nominee for president in the 2016 presidential election. Clinton was born and raised in Arkansas and attended Georgetown University. He received a Rhodes Scholarship to study at University College, Oxford, and later graduated from Yale Law School. He met Hillary Rodham at Yale; they married in 1975. After graduating from law school, Clinton returned to Arkansas and won election as state attorney general, followed by two non-consecutive tenures as Arkansas governor. As governor, he overhauled the state's education system and served as chairman of the National Governors Association. Clinton was elected president in the 1992 presidential election, defeating incumbent Republican president George H. W. Bush and independent businessman Ross Perot. At 46 years old, he became the third-youngest president of the United States and the first president to be born in the Baby Boomer generation. Clinton presided over the longest period of peacetime economic expansion in American history. He signed into law the North American Free Trade Agreement (NAFTA) and the Violent Crime Control and Law Enforcement Act, but failed to pass his plan for national health care reform. The Republican Party won unified control of Congress for the first time in 40 years in the 1994 elections, but Clinton was still comfortably re-elected in 1996, becoming the first Democrat since Franklin D. Roosevelt to win a second full term. Starting in the mid-1990s, he began an ideological evolution as he became much more conservative in his domestic policy, advocating for and signing the Personal Responsibility and Work Opportunity Act, the State Children's Health Insurance Program and financial deregulation measures. He appointed Ruth Bader Ginsburg and Stephen Breyer to the U.S. Supreme Court. During the last three years of Clinton's presidency, the Congressional Budget Office reported a budget surplus—the first such surplus since 1969. In foreign policy, Clinton ordered U.S. military intervention in the Bosnian and Kosovo wars, eventually signing the Dayton Peace agreement. He also called for the expansion of NATO in Eastern Europe and many former Warsaw Pact members joined NATO during his presidency. Clinton's foreign policy in the Middle East saw him sign the Iraq Liberation Act which gave aid to groups against Saddam Hussein. He also participated in the Oslo I Accord and Camp David Summit to advance the Israeli–Palestinian peace process, and assisted the Northern Ireland peace process. Clinton's second term was dominated by the Monica Lewinsky scandal, which began in 1996, when he had a sexual relationship with 22-year-old Monica Lewinsky, an intern at the White House. In January 1998, news of the affair made tabloid headlines. This scandal escalated throughout the year, culminating on December 19 when Clinton was impeached by the House of Representatives, becoming the second U.S. president—the first since Andrew Johnson—to be impeached. The two impeachment articles that the House passed were centered around him using the powers of the presidency to obstruct the investigation and lying under oath. In 1999, Clinton's impeachment trial began in the Senate. He was acquitted on both charges as the Senate failed to cast 67 votes against him, which was necessary to meet the two-thirds conviction threshold prescribed by Article I, section 3, clause 6 of the U.S. Constitution. Clinton left office in 2001 with the joint-highest approval rating of any U.S. president in the modern era, alongside Franklin D. Roosevelt and Ronald Reagan. His presidency has been ranked among the upper tier in historical rankings of U.S. presidents. However, his personal conduct and allegations of sexual assault have made him the subject of substantial scrutiny. Since leaving office, Clinton has been involved in public speaking and humanitarian work. He created the Clinton Foundation to address international causes such as the prevention of HIV/AIDS and global warming. In 2009, he was named the United Nations Special Envoy to Haiti. After the 2010 Haiti earthquake, Clinton and George W. Bush formed the Clinton Bush Haiti Fund. He has remained active in Democratic Party politics, campaigning for his wife's 2008 and 2016 presidential campaigns. Early life and career Clinton was born William Jefferson Blythe III on August 19, 1946, at Julia Chester Hospital in Hope, Arkansas. He is the son of William Jefferson Blythe Jr., a traveling salesman who died in an automobile accident three months before his birth, and Virginia Dell Cassidy (later Virginia Kelley). His parents had married on September 4, 1943, but this union later proved to be bigamous, as Blythe was still married to his fourth wife. Virginia traveled to New Orleans to study nursing soon after Bill was born, leaving him in Hope with her parents Eldridge and Edith Cassidy, who owned and ran a small grocery store. At a time when the southern United States was racially segregated, Clinton's grandparents sold goods on credit to people of all races. In 1950, Bill's mother returned from nursing school and married Roger Clinton Sr., who co-owned an automobile dealership in Hot Springs, Arkansas, with his brother and Earl T. Ricks. The family moved to Hot Springs in 1950. Although he immediately assumed use of his stepfather's surname, it was not until Clinton turned 15 that he formally adopted the surname Clinton as a gesture toward him. Clinton has described his stepfather as a gambler and an alcoholic who regularly abused his mother and half-brother, Roger Clinton Jr. He threatened his stepfather with violence multiple times to protect them. In Hot Springs, Clinton attended St. John's Catholic Elementary School, Ramble Elementary School, and whites only Hot Springs High School, where he was an active student leader, avid reader, and musician. Clinton was in the chorus and played the tenor saxophone, winning first chair in the state band's saxophone section. In 1961, Clinton became a member of the Hot Springs Chapter of the Order of DeMolay, a youth group affiliated with Freemasonry, but he never became a Freemason. He briefly considered dedicating his life to music, but as he noted in his autobiography My Life: Clinton began an interest in law at Hot Springs High, when he took up the challenge to argue the defense of the ancient Roman senator Catiline in a mock trial in his Latin class. After a vigorous defense that made use of his "budding rhetorical and political skills", he told the Latin teacher Elizabeth Buck it "made him realize that someday he would study law". Clinton has identified two influential moments in his life, both occurring in 1963, that contributed to his decision to become a public figure. One was his visit as a Boys Nation senator to the White House to meet President John F. Kennedy. The other was watching Martin Luther King Jr.'s 1963 "I Have a Dream" speech on TV, which impressed him so much that he later memorized it. College and law school years Georgetown University With the aid of scholarships, Clinton attended the School of Foreign Service at Georgetown University in Washington, D.C., receiving a bachelor of science in foreign service degree in 1968. Georgetown was the only school where Clinton applied. In 1964 and 1965, Clinton won elections for class president. From 1964 to 1967, he was an intern and then a clerk in the office of Arkansas Senator J. William Fulbright. While in college, he became a brother of service fraternity Alpha Phi Omega and was elected to Phi Beta Kappa. He is a member of Kappa Kappa Psi honorary band fraternity. Oxford Upon graduating from Georgetown in 1968, Clinton won a Rhodes Scholarship to University College, Oxford, where he initially read for a B.Phil. in philosophy, politics, and economics but transferred to a B.Litt. in politics and, ultimately, a B.Phil. in politics. Clinton did not expect to return for the second year because of the draft and so he switched programs; this type of activity was common among other Rhodes Scholars from his cohort. He had received an offer to study at Yale Law School, and so he left early to return to the United States and did not receive a degree from Oxford. During his time at Oxford, Clinton befriended fellow American Rhodes Scholar Frank Aller. In 1969, Aller received a draft letter that mandated deployment to the Vietnam War. Aller's 1971 suicide had an influential impact on Clinton. British writer and feminist Sara Maitland said of Clinton, "I remember Bill and Frank Aller taking me to a pub in Walton Street in the summer term of 1969 and talking to me about the Vietnam War. I knew nothing about it, and when Frank began to describe the napalming of civilians I began to cry. Bill said that feeling bad wasn't good enough. That was the first time I encountered the idea that liberal sensitivities weren't enough and you had to do something about such things". Clinton was a member of the Oxford University Basketball Club and also played for Oxford University's rugby union team. While Clinton was president in 1994, he received an honorary degree and a fellowship from the University of Oxford, specifically for being "a doughty and tireless champion of the cause of world peace", having "a powerful collaborator in his wife," and for winning "general applause for his achievement of resolving the gridlock that prevented an agreed budget". Vietnam War opposition and draft controversy During the Vietnam War, Clinton received educational draft deferments while he was in England in 1968 and 1969. While at Oxford, he participated in Vietnam War protests and organized a Moratorium to End the War in Vietnam event in October 1969. He was planning to attend law school in the U.S. and knew he might lose his deferment. Clinton tried unsuccessfully to obtain positions in the National Guard and the Air Force officer candidate school, and he then made arrangements to join the Reserve Officers' Training Corps (ROTC) program at the University of Arkansas. He subsequently decided not to join the ROTC, saying in a letter to the officer in charge of the program that he opposed the war, but did not think it was honorable to use ROTC, National Guard, or Reserve service to avoid serving in Vietnam. He further stated that because he opposed the war, he would not volunteer to serve in uniform, but would subject himself to the draft, and would serve if selected only as a way "to maintain my political viability within the system". Clinton registered for the draft and received a high number (311), meaning that those whose birthdays had been drawn as numbers1 to 310 would be drafted before him, making it unlikely he would be called up. (In fact, the highest number drafted was 195.) Colonel Eugene Holmes, the Army officer who had been involved with Clinton's ROTC application, suspected that Clinton attempted to manipulate the situation to avoid the draft and avoid serving in uniform. He issued a notarized statement during the 1992 presidential campaign: During the 1992 campaign, it was revealed that Clinton's uncle had attempted to secure him a position in the Navy Reserve, which would have prevented him from being deployed to Vietnam. This effort was unsuccessful and Clinton said in 1992 that he had been unaware of it until then. Although legal, Clinton's actions with respect to the draft and deciding whether to serve in the military were criticized during his first presidential campaign by conservatives and some Vietnam veterans, some of whom charged that he had used Fulbright's influence to avoid military service. Clinton's 1992 campaign manager, James Carville, successfully argued that Clinton's letter in which he declined to join the ROTC should be made public, insisting that voters, many of whom had also opposed the Vietnam War, would understand and appreciate his position. Law school After Oxford, Clinton attended Yale Law School and earned a Juris Doctor (J.D.) degree in 1973. In 1971, he met his future wife, Hillary Rodham, in the Yale Law Library; she was a class year ahead of him. They began dating and were soon inseparable. After only about a month, Clinton postponed his summer plans to be a coordinator for the George McGovern campaign for the 1972 United States presidential election in order to move in with her in California. The couple continued living together in New Haven when they returned to law school. Clinton eventually moved to Texas with Rodham in 1972 to take a job leading McGovern's effort there. He spent considerable time in Dallas, at the campaign's local headquarters on Lemmon Avenue, where he had an office. Clinton worked with future two-term mayor of Dallas Ron Kirk, future governor of Texas Ann Richards, and then unknown television director and filmmaker Steven Spielberg. Failed congressional campaign and tenure as Attorney General of Arkansas After graduating from Yale Law School, Clinton returned to Arkansas and became a law professor at the University of Arkansas. In 1974, he ran for the House of Representatives. Running in the conservative 3rd district against incumbent Republican John Paul Hammerschmidt, Clinton's campaign was bolstered by the anti-Republican and anti-incumbent mood resulting from the Watergate scandal. Hammerschmidt, who had received 77 percent of the vote in 1972, defeated Clinton by only a 52 percent to 48 percent margin. In 1976, Clinton ran for Arkansas attorney general. Defeating the secretary of state and the deputy attorney general in the Democratic primary, Clinton was elected with no opposition at all in the general election, as no Republican had run for the office. Governor of Arkansas (1979–1981, 1983–1992) In 1978, Clinton entered the Arkansas gubernatorial primary. At just 31 years old, he was one of the youngest gubernatorial candidates in the state's history. Clinton was elected governor of Arkansas in 1978, having defeated the Republican candidate Lynn Lowe, a farmer from Texarkana. Clinton was only 32 years old when he took office, the youngest governor in the country at the time and the second youngest governor in the history of Arkansas. Due to his youthful appearance, Clinton was often called the "Boy Governor". He worked on educational reform and directed the maintenance of Arkansas's roads, with wife Hillary leading a successful committee on urban health care reform. However, his term included an unpopular motor vehicle tax and citizens' anger over the escape of Cuban refugees (from the Mariel boatlift) detained in Fort Chaffee in 1980. Monroe Schwarzlose, of Kingsland in Cleveland County, polled 31 percent of the vote against Clinton in the Democratic gubernatorial primary of 1980. Some suggested Schwarzlose's unexpected voter turnout foreshadowed Clinton's defeat by Republican challenger Frank D. White in the general election that year. As Clinton once joked, he was the youngest ex-governor in the nation's history. Clinton joined friend Bruce Lindsey's Little Rock law firm of Wright, Lindsey and Jennings. In 1982, he was elected governor a second time and kept the office for ten years. Effective with the 1986 election, Arkansas had changed its gubernatorial term of office from two to four years. During his term, he helped transform Arkansas's economy and improved the state's educational system. For senior citizens, he removed the sales tax from medications and increased the home property-tax exemption. He became a leading figure among the New Democrats, a group of Democrats who advocated welfare reform, smaller government, and other policies not supported by liberals. Formally organized as the Democratic Leadership Council (DLC), the New Democrats argued that in light of President Ronald Reagan's landslide victory in 1984, the Democratic Party needed to adopt a more centrist political stance in order to succeed at the national level. Clinton delivered the Democratic response to Reagan's 1985 State of the Union Address and served as chair of the National Governors Association from 1986 to 1987, bringing him to an audience beyond Arkansas. In the early 1980s, Clinton made reform of the Arkansas education system a top priority of his gubernatorial administration. The Arkansas Education Standards Committee was chaired by Clinton's wife Hillary, who was also an attorney as well as the chair of the Legal Services Corporation. The committee transformed Arkansas's education system. Proposed reforms included more spending for schools (supported by a sales-tax increase), better opportunities for gifted children, vocational education, higher teachers' salaries, more course variety, and compulsory teacher competency exams. The reforms passed in September 1983 after Clinton called a special legislative session—the longest in Arkansas history. Many have considered this the greatest achievement of the Clinton governorship. He defeated four Republican candidates for governor: Lowe (1978), White (1982 and 1986), Jonesboro businessmen Woody Freeman (1984), and Sheffield Nelson of Little Rock (1990). Also in the 1980s, the Clintons' personal and business affairs included transactions that became the basis of the Whitewater controversy investigation, which later dogged his presidential administration. After extensive investigation over several years, no indictments were made against the Clintons related to the years in Arkansas. According to some sources, Clinton was a death penalty opponent in his early years, but he eventually switched positions. However he might have felt previously, by 1992, Clinton was insisting that Democrats "should no longer feel guilty about protecting the innocent". During Clinton's final term as governor, Arkansas performed its first executions since 1964 (the death penalty had been reinstated in 1976). As Governor, he oversaw the first four executions carried out by the state of Arkansas since the death penalty was reinstated there in 1976: one by electric chair and three by lethal injection. To draw attention to his stance on capital punishment, Clinton flew home to Arkansas mid-campaign in 1992, in order to affirm in person that the controversial execution of Ricky Ray Rector, would go forward as scheduled. 1988 Democratic presidential primaries In 1987, the media speculated that Clinton would enter the presidential race after incumbent New York governor Mario Cuomo declined to run and Democratic front-runner Gary Hart withdrew owing to revelations of multiple marital infidelities. Clinton decided to remain as Arkansas governor (following consideration for the potential candidacy of Hillary for governor, initially favored—but ultimately vetoed—by the First Lady). For the nomination, Clinton endorsed Massachusetts governor Michael Dukakis. He gave the nationally televised opening night address at the 1988 Democratic National Convention, but his speech, which was 33 minutes long and twice the length it was expected to be, was criticized for being too long and poorly delivered. Clinton presented himself both as a moderate and as a member of the New Democrat wing of the Democratic Party, and he headed the moderate Democratic Leadership Council in 1990 and 1991. 1992 United States presidential election In the first primary contest, the Iowa Caucus, Clinton finished a distant third to Iowa senator Tom Harkin. During the campaign for the New Hampshire primary, reports surfaced that Clinton had engaged in an extramarital affair with Gennifer Flowers. Clinton fell far behind former Massachusetts senator Paul Tsongas in the New Hampshire polls. Following Super Bowl XXVI, Clinton and his wife Hillary went on 60 Minutes to rebuff the charges. Their television appearance was a calculated risk, but Clinton regained several delegates. He finished second to Tsongas in the New Hampshire primary, but after trailing badly in the polls and coming within single digits of winning, the media viewed it as a victory. News outlets labeled him "The Comeback Kid" for earning a firm second-place finish. Winning the big prizes of Florida and Texas and many of the Southern primaries on Super Tuesday gave Clinton a sizable delegate lead. However, former California governor Jerry Brown was scoring victories and Clinton had yet to win a significant contest outside his native South. With no major Southern state remaining, Clinton targeted New York, which had many delegates. He scored a resounding victory in New York City, shedding his image as a regional candidate. Having been transformed into the consensus candidate, he secured the Democratic Party nomination, finishing with a victory in Jerry Brown's home state of California. During the campaign, questions of conflict of interest regarding state business and the politically powerful Rose Law Firm, at which Hillary Rodham Clinton was a partner, arose. Clinton argued the questions were moot because all transactions with the state had been deducted before determining Hillary's firm pay. Further concern arose when Bill Clinton announced that, with Hillary, voters would be getting two presidents "for the price of one". Clinton was still the governor of Arkansas while campaigning for U.S. president, and he returned to his home state to see that Ricky Ray Rector would be executed. After killing a police officer and a civilian, Rector shot himself in the head, leading to what his lawyers said was a state where he could still talk but did not understand the idea of death. According to both Arkansas state law and federal law, a seriously mentally impaired inmate cannot be executed. The courts disagreed with the allegation of grave mental impairment and allowed the execution. Clinton's return to Arkansas for the execution was framed in an article for The New York Times as a possible political move to counter "soft on crime" accusations. Bush's approval ratings were around 80 percent during the Gulf War, and he was described as unbeatable. When Bush compromised with Democrats to try to lower federal deficits, he reneged on his promise not to raise taxes, which hurt his approval rating. Clinton repeatedly condemned Bush for making a promise he failed to keep. By election time, the economy was souring and Bush saw his approval rating plummet to just slightly over 40 percent. Finally, conservatives were previously united by anti-communism, but with the end of the Cold War, the party lacked a uniting issue. When Pat Buchanan and Pat Robertson addressed Christian themes at the Republican National Convention—with Bush criticizing Democrats for omitting God from their platform—many moderates were alienated. Clinton then pointed to his moderate, "New Democrat" record as governor of Arkansas, though some on the more liberal side of the party remained suspicious. Many Democrats who had supported Ronald Reagan and Bush in previous elections switched their support to Clinton. Clinton and his running mate, Al Gore, toured the country during the final weeks of the campaign, shoring up support and pledging a "new beginning". On March 26, 1992, during a Democratic fund raiser of the presidential campaign, Robert Rafsky confronted then Gov. Bill Clinton of Arkansas and asked what he was going to do about AIDS, to which Clinton replied, "I feel your pain". The televised exchange led to AIDS becoming an issue in the 1992 presidential election. On April 4, then candidate Clinton met with members of ACT UP and other leading AIDS advocates to discuss his AIDS agenda and agreed to make a major AIDS policy speech, to have people with HIV speak to the Democratic Convention, and to sign onto the AIDS United Action five point plan. Clinton won the 1992 presidential election (370 electoral votes) against Republican incumbent George H. W. Bush (168 electoral votes) and billionaire populist Ross Perot (zero electoral votes), who ran as an independent on a platform that focused on domestic issues. Bush's steep decline in public approval was a significant part of Clinton's success. Clinton's victory in the election ended twelve years of Republican rule of the White House and twenty of the previous twenty-four years. The election gave Democrats full control of the United States Congress, the first time one party controlled both the executive and legislative branches since Democrats held the 96th United States Congress during the presidency of Jimmy Carter. According to Seymour Martin Lipset, the 1992 election had several unique characteristics. Voters felt that economic conditions were worse than they actually were, which harmed Bush. A rare event was the presence of a strong third-party candidate. Liberals launched a backlash against 12 years of a conservative White House. The chief factor was Clinton's uniting his party, and winning over a number of heterogeneous groups. Presidency (1993–2001) Clinton's "third way" of moderate liberalism built up the nation's fiscal health and put the nation on a firm footing abroad amid globalization and the development of anti-American terrorist organizations. During his presidency, Clinton advocated for a wide variety of legislation and programs, most of which were enacted into law or implemented by the executive branch. His policies, particularly the North American Free Trade Agreement and welfare reform, have been attributed to a centrist Third Way philosophy of governance. His policy of fiscal conservatism helped to reduce deficits on budgetary matters. Clinton presided over the longest period of peacetime economic expansion in American history. The Congressional Budget Office reported budget surpluses of $69 billion in 1998, $126 billion in 1999, and $236 billion in 2000, during the last three years of Clinton's presidency. Over the years of the recorded surplus, the gross national debt rose each year. At the end of the fiscal year (September 30) for each of the years a surplus was recorded, The U.S. treasury reported a gross debt of $5.413 trillion in 1997, $5.526 trillion in 1998, $5.656 trillion in 1999, and $5.674 trillion in 2000. Over the same period, the Office of Management and Budget reported an end of year (December 31) gross debt of $5.369 trillion in 1997, $5.478 trillion in 1998, $5.606 in 1999, and $5.629 trillion in 2000. At the end of his presidency, the Clintons moved to 15 Old House Lane in Chappaqua, New York, in order to satisfy a residency requirement for his wife to win election as a U.S. Senator from New York. First term (1993–1997) After his presidential transition, Clinton was inaugurated as the 42nd president of the United States on January 20, 1993. Clinton was physically exhausted at the time, and had an inexperienced staff. His high levels of public support dropped in the first few weeks, as he made a series of mistakes. His first choice for attorney general had not paid her taxes on babysitters and was forced to withdraw. The second appointee also withdrew for the same reason. Clinton had repeatedly promised to encourage gays in the military service, despite what he knew to be the strong opposition of the military leadership. He tried anyway, and was publicly opposed by the top generals, and forced by Congress to a compromise position of "Don't ask, don't tell" whereby gays could serve if and only if they kept it secret. He devised a $16-billion stimulus package primarily to aid inner-city programs desired by liberals, but it was defeated by a Republican filibuster in the Senate. His popularity at the 100 day mark of his term was the lowest of any president at that point. Public opinion did support one liberal program, and Clinton signed the Family and Medical Leave Act of 1993, which required large employers to allow employees to take unpaid leave for pregnancy or a serious medical condition. This action had bipartisan support, and was popular with the public. Two days after taking office, on January 22, 1993—the 20th anniversary of the U.S. Supreme Court decision in Roe v. Wade—Clinton reversed restrictions on domestic and international family planning programs that had been imposed by Reagan and Bush. Clinton said abortion should be kept "safe, legal, and rare"—a slogan that had been suggested by political scientist Samuel L. Popkin and first used by Clinton in December 1991, while campaigning. During the eight years of the Clinton administration, the abortion rate declined by 18 percent. On February 15, 1993, Clinton made his first address to the nation, announcing his plan to raise taxes to close a budget deficit. Two days later, in a nationally televised address to a joint session of Congress, Clinton unveiled his economic plan. The plan focused on reducing the deficit rather than on cutting taxes for the middle class, which had been high on his campaign agenda. Clinton's advisers pressured him to raise taxes, based on the theory that a smaller federal budget deficit would reduce bond interest rates. President Clinton's attorney general Janet Reno authorized the FBI's use of armored vehicles to deploy tear gas into the buildings of the Branch Davidian community near Waco, Texas, in hopes of ending a 51 day siege. During the operation on April 19, 1993, the buildings caught fire and 75 of the residents died, including 24 children. The raid had originally been planned by the Bush administration; Clinton had played no role. In August, Clinton signed the Omnibus Budget Reconciliation Act of 1993, which passed Congress without a Republican vote. It cut taxes for 15million low-income families, made tax cuts available to 90 percent of small businesses, and raised taxes on the wealthiest 1.2 percent of taxpayers. Additionally, it mandated that the budget be balanced over many years through the implementation of spending restraints. On September 22, 1993, Clinton made a major speech to Congress regarding a health care reform plan; the program aimed at achieving universal coverage through a national health care plan. This was one of the most prominent items on Clinton's legislative agenda and resulted from a task force headed by Hillary Clinton. The plan was well received in political circles, but it was eventually doomed by well-organized lobby opposition from conservatives, the American Medical Association, and the health insurance industry. However, Clinton biographer John F. Harris said the program failed because of a lack of coordination within the White House. Despite the Democratic majority in Congress, the effort to create a national health care system ultimately died when compromise legislation by George J. Mitchell failed to gain a majority of support in August 1994. The failure of the bill was the first major legislative defeat of the Clinton administration. On November 30, 1993, Clinton signed into law the Brady Bill, which mandated federal background checks on people who purchase firearms in the United States. The law also imposed a five-day waiting period on purchases, until the NICS system was implemented in 1998. He also expanded the Earned Income Tax Credit, a subsidy for low-income workers. In December of the same year, allegations by Arkansas state troopers Larry Patterson and Roger Perry were first reported by David Brock in The American Spectator. In the affair later known as "Troopergate", the officers alleged that they had arranged sexual liaisons for Clinton back when he was governor of Arkansas. The story mentioned a woman named Paula, a reference to Paula Jones. Brock later apologized to Clinton, saying the article was politically motivated "bad journalism", and that "the troopers were greedy and had slimy motives". That month, Clinton implemented a Department of Defense directive known as "Don't Ask, Don't Tell", which allowed gay men and women to serve in the armed services provided they kept their sexual preferences a secret. The Act forbade the military from inquiring about an individual's sexual orientation. The policy was developed as a compromise after Clinton's proposal to allow gays to serve openly in the military met staunch opposition from prominent Congressional Republicans and Democrats, including senators John McCain (R-AZ) and Sam Nunn (D-GA). According to David Mixner, Clinton's support for the compromise led to a heated dispute with Vice President Al Gore, who felt that "the President should lift the ban ... even though [his executive order] was sure to be overridden by the Congress". Some gay-rights advocates criticized Clinton for not going far enough and accused him of making his campaign promise to get votes and contributions. Their position was that Clinton should have integrated the military by executive order, noting that President Harry S. Truman used executive order to racially desegregate the armed forces. Clinton's defenders argued that an executive order might have prompted the Senate to write the exclusion of gays into law, potentially making it harder to integrate the military in the future. Later in his presidency, in 1999, Clinton criticized the way the policy was implemented, saying he did not think any serious person could say it was not "out of whack". The policy remained controversial, and was finally repealed in 2011, removing open sexual orientation as a reason for dismissal from the armed forces. On January 1, 1994, Clinton signed the North American Free Trade Agreement into law. Throughout his first year in office, Clinton consistently supported ratification of the treaty by the U.S. Senate. Clinton and most of his allies in the Democratic Leadership Committee strongly supported free trade measures; there remained, however, strong disagreement within the party. Opposition came chiefly from anti-trade Republicans, protectionist Democrats and supporters of Ross Perot. The bill passed the house with 234 votes in favor and 200 votes opposed (132 Republicans and 102 Democrats in favor; 156 Democrats, 43 Republicans, and one independent opposed). The treaty was then ratified by the Senate and signed into law by the president. On July 29, 1994, the Clinton administration launched the first official White House website, whitehouse.gov. The site was followed with three more versions, with the final version being launched on July 21, 2000. The White House website was part of a wider movement of the Clinton administration toward web-based communication. According to Robert Longley, "Clinton and Gore were responsible for pressing almost all federal agencies, the U.S. court system and the U.S. military onto the Internet, thus opening up America's government to more of America's citizens than ever before. On July 17, 1996, Clinton issued Executive Order 13011—Federal Information Technology, ordering the heads of all federal agencies to utilize information technology fully to make the information of the agency easily accessible to the public." The Omnibus Crime Bill, which Clinton signed into law in September 1994, made many changes to U.S. crime and law enforcement legislation including the expansion of the death penalty to include crimes not resulting in death, such as running a large-scale drug enterprise. During Clinton's re-election campaign he said, "My 1994 crime bill expanded the death penalty for drug kingpins, murderers of federal law enforcement officers, and nearly 60 additional categories of violent felons." It also included a subsection of assault weapons ban for a ten-year period. After two years of Democratic Party control, the Democrats lost control of Congress to the Republicans in the mid-term elections in 1994, for the first time in forty years. A speech delivered by President Bill Clinton at the December 6, 1995 White House Conference on HIV/AIDS projected that a cure for AIDS and a vaccine to prevent further infection would be developed. The President focused on his administration's accomplishments and efforts related to the epidemic, including an accelerated drug-approval process. He also condemned homophobia and discrimination against people with HIV. Clinton announced three new initiatives: creating a special working group to coordinate AIDS research throughout the federal government; convening public health experts to develop an action plan that integrates HIV prevention with substance abuse prevention; and launching a new effort by the Department of Justice to ensure that health care facilities provide equal access to people with HIV and AIDS. On September 21, 1996, Clinton signed into law the Defense of Marriage Act (DOMA), which defined marriage for federal purposes as the legal union of one man and one woman; the legislation allowed individual states to refuse to recognize gay marriages that were performed in other states. Paul Yandura, speaking for the White House gay and lesbian liaison office, said Clinton's signing DOMA "was a political decision that they made at the time of a re-election". In defense of his actions, Clinton has said that DOMA was intended to "head off an attempt to send a constitutional amendment banning gay marriage to the states", a possibility he described as highly likely in the context of a "very reactionary Congress". Administration spokesman Richard Socarides said, "the alternatives we knew were going to be far worse, and it was time to move on and get the president re-elected." Clinton himself said DOMA was something "which the Republicans put on the ballot to try to get the base vote for Bush up, I think it's obvious that something had to be done to try to keep the Republican Congress from presenting that"; Others were more critical. The veteran gay rights and gay marriage activist Evan Wolfson has called these claims "historic revisionism". Despite this, it has been noted that other than a brief written response to a Reader's Digest that questioned whether he agreed with it, Clinton had made no documented reference to the issue of gay marriage until May 1996. In a July 2, 2011, editorial The New York Times opined, "The Defense of Marriage Act was enacted in 1996 as an election-year wedge issue, signed by President Bill Clinton in one of his worst policy moments." Ultimately, in United States v. Windsor, the U.S. Supreme Court struck down DOMA in June 2013. Despite DOMA, Clinton was the first president to select openly gay persons for administrative positions, and he is generally credited as being the first president to publicly champion gay rights. During his presidency, Clinton issued two substantially controversial executive orders on behalf of gay rights, the first lifting the ban on security clearances for LGBT federal employees and the second outlawing discrimination based on sexual orientation in the federal civilian workforce. Under Clinton's leadership, federal funding for HIV/AIDS research, prevention and treatment more than doubled. Clinton also pushed for passing hate crimes laws for gays and for the private sector Employment Non-Discrimination Act, which, buoyed by his lobbying, failed to pass the Senate by a single vote in 1996. Advocacy for these issues, paired with the politically unpopular nature of the gay rights movement at the time, led to enthusiastic support for Clinton's election and reelection by the Human Rights Campaign. Clinton came out for gay marriage in July 2009 and urged the Supreme Court to overturn DOMA in 2013. He was later honored by GLAAD for his prior pro-gay stances and his reversal on DOMA. The 1996 United States campaign finance controversy was an alleged effort by China to influence the domestic policies of the United States, before and during the Clinton administration, and involved the fundraising practices of the administration itself. Despite the evidence, the Chinese government denied all accusations. As part of a 1996 initiative to curb illegal immigration, Clinton signed the Illegal Immigration Reform and Immigrant Responsibility Act (IIRIRA) on September 30, 1996. Appointed by Clinton, the U.S. Commission on Immigration Reform recommended reducing legal immigration from about 800,000 people a year to about 550,000. In November 1996, Clinton narrowly escaped possible assassination in the Philippines, which was a bridge bomb planted by al-Qaeda and was masterminded by Osama bin Laden. During Clinton's presidency, the attempt remained top secret. 1996 presidential campaign In the 1996 presidential election, Clinton was re-elected, receiving 49.2 percent of the popular vote over Republican Bob Dole (40.7 percent of the popular vote) and Reform candidate Ross Perot (8.4 percent of the popular vote). Clinton received 379 of the Electoral College votes, with Dole receiving 159 electoral votes. With his victory, he became the first Democrat to win two consecutive presidential elections since Franklin D. Roosevelt. Second term (1997–2001) In the January 1997, State of the Union address, Clinton proposed a new initiative to provide health coverage to up to five million children. Senators Ted Kennedy—a Democrat—and Orrin Hatch—a Republican—teamed up with Hillary Rodham Clinton and her staff in 1997, and succeeded in passing legislation forming the State Children's Health Insurance Program (SCHIP), the largest (successful) health care reform in the years of the Clinton Presidency. That year, Hillary Clinton shepherded through Congress the Adoption and Safe Families Act and two years later she succeeded in helping pass the Foster Care Independence Act. Bill Clinton negotiated the passage of the Balanced Budget Act of 1997 by the Republican Congress. In October 1997, he announced he was getting hearing aids, due to hearing loss attributed to his age, and his time spent as a musician in his youth. In 1999, he signed into law the Financial Services Modernization Act also known as the Gramm–Leach–Bliley Act, which repealed the part of the Glass–Steagall Act that had prohibited a bank from offering a full range of investment, commercial banking, and insurance services since its enactment in 1933. Investigations In November 1993, David Hale—the source of criminal allegations against Bill Clinton in the Whitewater controversy—alleged that while governor of Arkansas, Clinton pressured Hale to provide an illegal $300,000 loan to Susan McDougal, the Clintons' partner in the Whitewater land deal. A U.S. Securities and Exchange Commission investigation resulted in convictions against the McDougals for their role in the Whitewater project, but the Clintons themselves were never charged, and Clinton maintains his and his wife's innocence in the affair. Investigations Robert B. Fiske and Ken Starr found insufficient to evidence to prosecute the Clintons. The White House FBI files controversy of June 1996 arose concerning improper access by the White House to FBI security-clearance documents. Craig Livingstone, head of the White House Office of Personnel Security, improperly requested, and received from the FBI, background report files without asking permission of the subject individuals; many of these were employees of former Republican administrations. In March 2000, Independent Counsel Robert Ray determined there was no credible evidence of any crime. Ray's report further stated, "there was no substantial and credible evidence that any senior White House official was involved" in seeking the files. On May 19, 1993, Clinton fired seven employees of the White House Travel Office. This caused the White House travel office controversy even though the travel office staff served at the pleasure of the president and could be dismissed without cause. The White House responded to the controversy by claiming that the firings were done in response to financial improprieties that had been revealed by a brief FBI investigation. Critics contended that the firings had been done to allow friends of the Clintons to take over the travel business and the involvement of the FBI was unwarranted. The House Government Reform and Oversight Committee issued a report which accused the Clinton administration of having obstructed their efforts to investigate the affair. Special counsel Robert Fiske said that Hillary Clinton was involved in the firing and gave "factually false" testimony to the GAO, congress, and the independent counsel. However Fiske said there was not enough evidence to prosecute. Impeachment and acquittal After a House inquiry, Clinton was impeached on December 19, 1998, by the House of Representatives. The House voted 228–206 to impeach him for perjury to a grand jury and voted 221–212 to impeach him for obstruction of justice. Clinton was only the second U.S. president (the first being Andrew Johnson) to be impeached. Impeachment proceedings were based on allegations that Clinton had illegally lied about and covered up his relationship with 22-year-old White House (and later Department of Defense) employee Monica Lewinsky. After the Starr Report was submitted to the House providing what it termed "substantial and credible information that President Clinton Committed Acts that May Constitute Grounds for an Impeachment", the House began impeachment hearings against Clinton before the mid-term elections. To hold impeachment proceedings, the Republican leadership called a lame-duck session in December 1998. While the House Judiciary Committee hearings ended in a straight party-line vote, there was lively debate on the House floor. The two charges passed in the House (largely with Republican support, but with a handful of Democratic votes as well) were for perjury and obstruction of justice. The perjury charge arose from Clinton's testimony before a grand jury that had been convened to investigate perjury he may have committed in his sworn deposition during Jones v. Clinton, Paula Jones's sexual harassment lawsuit. The obstruction charge was based on his actions to conceal his relationship with Lewinsky before and after that deposition. The Senate later acquitted Clinton of both charges. The Senate refused to meet to hold an impeachment trial before the end of the old term, so the trial was held over until the next Congress. Clinton was represented by Washington law firm Williams & Connolly. The Senate finished a twenty-one-day trial on February 12, 1999, with the vote of 55 not guilty/45 guilty on the perjury charge and 50 not guilty/50 guilty on the obstruction of justice charge. Both votes fell short of the constitutional two-thirds majority requirement to convict and remove an officeholder. The final vote was generally along party lines, with no Democrats voting guilty, and only a handful of Republicans voting not guilty. On January 19, 2001, Clinton's law license was suspended for five years after he acknowledged to an Arkansas circuit court that he had engaged in conduct prejudicial to the administration of justice in the Jones case. Pardons and commutations Clinton issued 141 pardons and 36 commutations on his last day in office on January 20, 2001. Controversy surrounded Marc Rich and allegations that Hillary Clinton's brother, Hugh Rodham, accepted payments in return for influencing the president's decision-making regarding the pardons. Federal prosecutor Mary Jo White was appointed to investigate the pardon of Rich. She was later replaced by then-Republican James Comey. The investigation found no wrongdoing on Clinton's part. Clinton also pardoned 4 defendants in the Whitewater Scandal, Chris Wade, Susan McDougal, Stephen Smith, and Robert W. Palmer, all of whom had ties to Clinton when he was governor of Arkansas. Former Clinton HUD Secretary Henry Cisneros, who pleaded guilty to lying to the FBI, was also among Clinton's pardons. Campaign finance controversies In February 1997 it was discovered upon documents being released by the Clinton Administration that 938 people had stayed at the White House and that 821 of them had made donations to the Democratic Party and got the opportunity to stay in the Lincoln bedroom as a result of the donations. Some donors included Steven Spielberg, Tom Hanks, Jane Fonda, and Judy Collins. Top donors also got golf games and morning jogs with Clinton as a result of the contributions. Janet Reno was called on to investigate the matter by Trent Lott, but she refused. In 1996, it was found that several Chinese foreigners made contributions to Clinton's reelection campaign and the Democratic National Committee with the backing of the People's Republic of China. Some of them also attempted to donate to Clinton's defense fund. This violated United States law forbidding non-American citizens from making campaign contributions. Clinton and Al Gore also allegedly met with the foreign donors. A Republican investigation led by Fred Thompson found that Clinton was targeted by the Chinese government. However, Democratic senators Joe Lieberman and John Glenn said that the evidence showed that China only targeted congressional elections and not presidential elections. Military and foreign affairs Somalia American troops had first entered Somalia during the Bush administration in response to a humanitarian crisis and civil war. Though initially involved to assist humanitarian efforts, the Clinton administration shifted the objectives set out in the mission and began pursuing a policy of attempting to neutralize Somali warlords. In 1993, during the Battle of Mogadishu, two U.S. helicopters were shot down by rocket-propelled grenade attacks to their tail rotors, trapping soldiers behind enemy lines. This resulted in an urban battle that killed 18 American soldiers, wounded 73 others, and resulted in one being taken prisoner. Television news programs depicted the supporters of warlord Mohammed Aidid desecrating the corpses of troops. The backlash resulting from the incident prompted in a drop in support for American intervention in the country and coincided with a more cautious use of troops throughout the rest of the Clinton administration. Following a subsequent national security policy review, U.S. forces were withdrawn from Somalia and later conflicts were approached with fewer soldiers on the ground. Rwanda In April 1994, genocide broke out in Rwanda. Intelligence reports indicate that Clinton was aware a "final solution to eliminate all Tutsis" was underway, long before the administration publicly used the word "genocide." Fearing a reprisal of the events in Somalia the previous year, Clinton chose not to intervene. Clinton has called his failure to intervene one of his main foreign policy failings, saying "I don't think we could have ended the violence, but I think we could have cut it down. And I regret it." Bosnia and Herzegovina In 1993 and 1994, Clinton pressured Western European leaders to adopt a strong military policy against Bosnian Serbs during the Bosnian War. This strategy faced staunch opposition from the United Nations, NATO allies, and Congressional Republicans, leading Clinton to adopt a more diplomatic approach. In 1995, U.S. and NATO aircraft bombed Bosnian Serb targets to halt attacks on UN safe zones and pressure them into a peace accord that would end the Bosnian war. Clinton deployed U.S. peacekeepers to Bosnia in late 1995, to uphold the subsequent Dayton Agreement. Irish peace talks In 1992, before his presidency, Clinton proposed sending a peace envoy to Northern Ireland, but this was dropped to avoid tensions with the British government. In November 1995, in a ceasefire during the Troubles, Clinton became the first president to visit Northern Ireland, examining both of the two divided communities of Belfast. Despite unionist criticism, Clinton used his visit as a way to negotiate an end to the violent conflict, playing a key role in the peace talks that produced the Good Friday Agreement in 1998. Iran Clinton sought to continue the Bush administration's policy of limiting Iranian influence in the Middle East, which he laid out in the dual containment strategy. In 1994, Clinton declared that Iran was a "state sponsor of terrorism" and a "rogue state," marking the first time that an American President used that term. Subsequent executive orders heavily sanctioned Iran's oil industry and banned almost all trade between U.S. companies and the Iranian government. In February 1996, the Clinton administration agreed to pay Iran US$131.8million (equivalent to $ million in ) in settlement to discontinue a case brought by Iran in 1989 against the U.S. in the International Court of Justice after the shooting down of Iran Air Flight 655 by the U.S. Navy guided missile cruiser. Following the 1997 election of reformist president Mohammad Khatami, the administration eased sanctions. Iraq In Clinton's 1998 State of the Union Address, he warned Congress that Iraqi dictator Saddam Hussein was building an arsenal of chemical, biological and nuclear weapons. Clinton signed the Iraq Liberation Act of 1998 on October 31, 1998, which instituted a policy of "regime change" against Iraq, though it explicitly stated it did not provide for direct intervention on the part of American military forces. The administration then launched a four-day bombing campaign named Operation Desert Fox, lasting from December 16 to 19, 1998. At the end of this operation Clinton announced that "So long as Saddam remains in power, he will remain a threat to his people, his region, and the world. With our allies, we must pursue a strategy to contain him and to constrain his weapons of mass destruction program, while working toward the day Iraq has a government willing to live at peace with its people and with its neighbors." American and British aircraft in the Iraq no-fly zones attacked hostile Iraqi air defenses 166 times in 1999 and 78 times in 2000. Osama bin Laden Capturing Osama bin Laden was an objective of the U.S. government during the Clinton presidency (and continued to be until bin Laden's death in 2011). Despite claims by Mansoor Ijaz and Sudanese officials that the Sudanese government had offered to arrest and extradite bin Laden, and that U.S. authorities rejected each offer, the 9/11 Commission Report stated that "we have not found any reliable evidence to support the Sudanese claim". In response to a 1996 State Department warning about bin Laden and the 1998 bombings of U.S. embassies in East Africa by al-Qaeda (which killed 224 people, including 12 Americans), Clinton ordered several military missions to capture or kill bin Laden, all of which were unsuccessful. In August 1998, Clinton ordered cruise missile strikes on terrorist targets in Afghanistan and Sudan, targeting the Al-Shifa pharmaceutical factory in Sudan, which was suspected of assisting bin Laden in making chemical weapons, and bin Laden's terrorist training camps in Afghanistan. The factory was destroyed by the attack, resulting in the death of one employee and the wounding of 11 other people. After the destruction of the factory, there was a medicine shortage in Sudan due to the plant providing 50 percent of Sudan's medicine, and the destruction of the plant led to a shortage of chloroquine, a drug which is used to treat malaria. US officials later acknowledged that there was no evidence the plant was acknowledging manufacturing or storing nerve gas. The attack provoked criticism of Clinton from journalists and academics including Christopher Hitchens, Seymour Hersh, Max Taylor, and others. Kosovo In the midst of a brutal crackdown on ethnic Albanian separatists in the province of Kosovo by the Federal Republic of Yugoslavia, Clinton authorized the use of U.S. Armed Forces in a NATO bombing campaign against Yugoslavia in 1999, named Operation Allied Force. The stated reasoning behind the intervention was to stop the ethnic cleansing (and what the Clinton administration labeled genocide) of Albanians by Yugoslav anti-guerilla military units. General Wesley Clark was Supreme Allied Commander of NATO and oversaw the mission. With United Nations Security Council Resolution 1244, the bombing campaign ended on June 10, 1999. The resolution placed Kosovo under UN administration and authorized a peacekeeping force to be deployed to the region. NATO announced its soldiers all survived combat, though two died in an Apache helicopter crash. Journalists in the popular press criticized genocide statements by the Clinton administration as false and greatly exaggerated. Prior to the bombing campaign on March 24, 1999, estimates showed that the number of civilians killed in the over year long conflict in Kosovo had been approximately 1,800, with critics asserting that little or no evidence existed of genocide. In a post-war inquiry, the Organization for Security and Co-operation in Europe noted "the patterns of the expulsions and the vast increase in lootings, killings, rape, kidnappings and pillage once the NATO air war began on March 24." In 2001, the UN-supervised Supreme Court of Kosovo ruled that genocide (the intent to destroy a people) did not take place, but recognized "a systematic campaign of terror, including murders, rapes, arsons and severe maltreatments" with the intention being the forceful departure of the Albanian population. The term "ethnic cleansing" was used as an alternative to "genocide" to denote not just ethnically motivated murder but also displacement, though critics charge there is little difference. Slobodan Milošević, the president of Yugoslavia at the time of the atrocities, was eventually brought to trial before the International Criminal Tribunal for the former Yugoslavia in the Hague on charges including crimes against humanity and war crimes for his role in the war. He died in 2006, before the completion of the trial. China Clinton aimed to increase trade with China, minimizing import tariffs and offering the country most favoured nation status in 1993, his administration minimized tariff levels in Chinese imports. Clinton initially conditioned extension of this status on human rights reforms, but ultimately decided to extend the status despite a lack of reform in the specified areas, including free emigration, treatment of prisoners in terms of international human rights, and observation of human rights specified by UN resolutions, among others. Relations were damaged briefly by the American bombing of the Chinese embassy in Belgrade in May 1999. Clinton apologized for the bombing, stating it was accidental. On October 10, 2000, Clinton signed into law the United States–China Relations Act of 2000, which granted permanent normal trade relations (PNTR) trade status to China. The president asserted that free trade would gradually open China to democratic reform. In encouraging Congress to approve the agreement and China's accession to the World Trade Organization (WTO), Clinton stated that more trade with China would advance America's economic interests, saying that "economically, this agreement is the equivalent of a one-way street. It requires China to open its markets—with a fifth of the world's population, potentially the biggest markets in the world—to both our products and services in unprecedented new ways." Israeli-Palestinian conflict Clinton attempted to end the Israeli–Palestinian conflict. Secret negotiations mediated by Clinton between Israeli Prime Minister Yitzhak Rabin and Palestine Liberation Organization (PLO) Chairman Yasser Arafat led to a historic declaration of peace in September 1993, called the Oslo Accords, which were signed at the White House on September 13. The agreement led to the Israel–Jordan peace treaty in 1994 and the Wye River Memorandum in October 1998, however, this did not end the conflict. He brought Israeli prime minister Ehud Barak and Palestinian Authority chairman Yasser Arafat together at Camp David for the 2000 Camp David Summit, which lasted 14 days in July. Following the failure of the peace talks, Clinton said Arafat had "missed the opportunity" to facilitate a "just and lasting peace". In his autobiography, Clinton blames Arafat for the collapse of the summit. Following another attempt in December 2000 at Bolling Air Force Base, in which the president offered the Clinton Parameters, the situation broke down completely after the end of the Taba Summit and with the start of the Second Intifada. Judicial appointments Clinton appointed two justices to the Supreme Court: Ruth Bader Ginsburg in 1993 and Stephen Breyer in 1994. Both justices went on to serve until the 2020s, leaving a lasting judicial legacy for President Clinton. Clinton was the first president in history to appoint more women and minority judges than white male judges to the federal courts. In his eight years in office, 11.6% of Clinton's court of appeals nominees and 17.4% of his district court nominees were black; 32.8% of his court of appeals nominees and 28.5% of his district court nominees were women. Public opinion Throughout Clinton's first term, his job approval rating fluctuated in the 40s and 50s. In his second term, his rating consistently ranged from the high-50s to the high-60s. After his impeachment proceedings in 1998 and 1999, Clinton's rating reached its highest point. According to a CBS News/New York Times poll, Clinton left office with an approval rating of 68 percent, which matched those of Ronald Reagan and Franklin D. Roosevelt as the highest ratings for departing presidents in the modern era. Clinton's average Gallup poll approval rating for his last quarter in office was 61%, the highest final quarter rating any president has received for fifty years. Forty-seven percent of the respondents identified themselves as being Clinton supporters. As he was leaving office, a CNN/USA Today/Gallup poll revealed that 45 percent of Americans said they would miss him; 55 percent thought he "would have something worthwhile to contribute and should remain active in public life"; 68 percent thought he would be remembered more for his "involvement in personal scandal" than for "his accomplishments"; and 58 percent answered "No" to the question "Do you generally think Bill Clinton is honest and trustworthy?" The same percentage said he would be remembered as either "outstanding" or "above average" as a president, while 22 percent said he would be remembered as "below average" or "poor". ABC News characterized public consensus on Clinton as, "You can't trust him, he's got weak morals and ethics—and he's done a heck of a good job." In May 2006, a CNN poll comparing Clinton's job performance with that of his successor, George W. Bush, found that a strong majority of respondents said Clinton outperformed Bush in six different areas questioned. Gallup polls in 2007 and 2011 showed that Clinton was regarded by 13 percent of Americans as the greatest president in U.S. history. In 2014, 18 percent of respondents in a Quinnipiac University Polling Institute poll of American voters regarded Clinton as the best president since World War II, making him the third most popular among postwar presidents, behind John F. Kennedy and Ronald Reagan. The same poll showed that just 3% of American voters regarded Clinton as the worst president since World War II. A 2015 poll by The Washington Post asked 162 scholars of the American Political Science Association to rank all the U.S. presidents in order of greatness. According to their findings, Clinton ranked eighth overall, with a rating of 70 percent. Public image Clinton was the first baby boomer president. Authors Martin Walker and Bob Woodward stated that Clinton's innovative use of sound bite-ready dialogue, personal charisma, and public perception-oriented campaigning were a major factor in his high public approval ratings. When Clinton played the saxophone on The Arsenio Hall Show, he was described by some religious conservatives as "the MTV president". Opponents sometimes referred to him as "Slick Willie", a nickname which was first applied to him in 1980 by Pine Bluff Commercial journalist Paul Greenberg; Greenberg believed that Clinton was abandoning the progressive policies of previous Arkansas Governors such as Winthrop Rockefeller, Dale Bumpers and David Pryor. The claim "Slick Willie" would last throughout his presidency. His folksy manner led him to be nicknamed Bubba, especially in the South. Since 2000, he has frequently been referred to as "The Big Dog" or "Big Dog". His prominent role in campaigning for President Obama during the 2012 presidential election and his widely publicized speech at the 2012 Democratic National Convention, where he officially nominated Obama and criticized Republican nominee Mitt Romney and Republican policies in detail, earned him the nickname "Explainer-in-Chief". Clinton drew strong support from the African American community and insisted that the improvement of race relations would be a major theme of his presidency. In 1998, Nobel laureate Toni Morrison called Clinton "the first Black president", saying, "Clinton displays almost every trope of blackness: single-parent household, born poor, working-class, saxophone-playing, McDonald's-and-junk-food-loving boy from Arkansas". Morrison noted that Clinton's sex life was scrutinized more than his career accomplishments, and she compared this to the stereotyping and double standards that, she said, blacks typically endure. Many viewed this comparison as unfair and disparaging both to Clinton and to the African-American community at large. Clinton, a Baptist, has been open about his faith. Sexual assault and misconduct allegations Several women have publicly accused Bill Clinton of sexual misconduct, including rape, harassment, and sexual assault. Additionally, some commentators have characterized Clinton's sexual relationship with former White House intern Monica Lewinsky as predatory or non-consensual, despite the fact that Lewinsky called the relationship consensual at the time. These allegations have been revisited and lent more credence in 2018, in light of the #MeToo movement, with many commentators and Democratic leaders now saying Clinton should have been compelled to resign after the Lewinsky affair. In 1994, Paula Jones initiated a sexual harassment lawsuit against Clinton, claiming he had made unwanted advances towards her in 1991; Clinton denied the allegations. In April 1998, the case was initially dismissed by Judge Susan Webber Wright on the grounds that it lacked legal merit. Jones appealed Webber Wright's ruling, and her suit gained traction following Clinton's admission to having an affair with Monica Lewinsky in August 1998. In 1998, lawyers for Paula Jones released court documents that alleged a pattern of sexual harassment by Clinton when he was Governor of Arkansas. Robert S. Bennett, Clinton's main lawyer for the case, called the filing "a pack of lies" and "an organized campaign to smear the President of the United States" funded by Clinton's political enemies. Clinton later agreed to an out-of-court settlement and paid Jones $850,000. Bennett said the president made the settlement only so he could end the lawsuit for good and move on with his life. During the deposition for the Jones lawsuit, which was held at the White House, Clinton denied having sexual relations with Monica Lewinsky—a denial that became the basis for an impeachment charge of perjury. In 1998, Kathleen Willey alleged that Clinton had groped her in a hallway in 1993. An independent counsel determined Willey gave "false information" to the FBI, inconsistent with sworn testimony related to the Jones allegation. On March 19, 1998, Julie Hiatt Steele, a friend of Willey, released an affidavit, accusing the former White House aide of asking her to lie to corroborate Ms. Willey's account of being sexually groped by Clinton in the Oval Office. An attempt by Kenneth Starr to prosecute Steele for making false statements and obstructing justice ended in a mistrial and Starr declined to seek a retrial after Steele sought an investigation against the former Independent Counsel for prosecutorial misconduct. Linda Tripp's grand jury testimony also differed from Willey's claims regarding inappropriate sexual advances. Also in 1998, Juanita Broaddrick alleged that Clinton had raped her in the spring of 1978, although she said she did not remember the exact date. To support her charge, Broaddrick notes that she told multiple witnesses in 1978 she had been raped by Clinton, something these witnesses also state in interviews to the press. Broaddrick had earlier filed an affidavit denying any "unwelcome sexual advances" and later repeated the denial in a sworn deposition. In a 1998 NBC interview wherein she detailed the alleged rape, Broaddrick said she had denied (under oath) being raped only to avoid testifying about the ordeal publicly. The Lewinsky scandal has had an enduring impact on Clinton's legacy, beyond his impeachment in 1998. In the wake of the #MeToo movement (which shed light on the widespread prevalence of sexual assault and harassment, especially in the workplace), various commentators and Democratic political leaders, as well as Lewinsky herself, have revisited their view that the Lewinsky affair was consensual, and instead characterized it as an abuse of power or harassment, in light of the power differential between a president and a 22-year old intern. In 2018, Clinton was asked in several interviews about whether he should have resigned, and he said he had made the right decision in not resigning. During the 2018 Congressional elections, The New York Times alleged that having no Democratic candidate for office asking Clinton to campaign with them was a change that attributed to the revised understanding of the Lewinsky scandal. However, former DNC interim chair Donna Brazile previously urged Clinton in November 2017 to campaign during the 2018 midterm elections, in spite of New York U.S. senator Kirsten Gillibrand's recent criticism of the Lewinsky scandal. Alleged affairs Clinton admitted to having extramarital affairs with singer Gennifer Flowers and Monica Lewinsky. Actress Elizabeth Gracen, Miss Arkansas winner Sally Perdue, and Dolly Kyle Browning all claimed that they had affairs with Clinton during his time as governor of Arkansas. Browning later sued Clinton, Bruce Lindsey, Robert S. Bennett, and Jane Mayer, alleging they engaged in a conspiracy to attempt to block her from publishing a book loosely based on her relationship with Clinton and tried to defame him. However, Browning's lawsuit was dismissed. Post-presidency (2001–present) Bill Clinton has continued to be active in public life since leaving office in 2001, giving speeches, fundraising, and founding charitable organizations, and has spoken in prime time at every Democratic National Convention. Activities until 2008 campaign In 2002, Clinton warned that pre-emptive military action against Iraq would have unwelcome consequences, and later claimed to have opposed the Iraq War from the start (though some dispute this). In 2005, Clinton criticized the Bush administration for its handling of emissions control, while speaking at the United Nations Climate Change conference in Montreal. The William J. Clinton Presidential Center and Park in Little Rock, Arkansas, was dedicated in 2004. Clinton released a best-selling autobiography, My Life, in 2004. In 2007, he released Giving: How Each of Us Can Change the World, which also became a New York Times Best Seller and garnered positive reviews. In the aftermath of the 2004 Asian tsunami, U.N. secretary-general Kofi Annan appointed Clinton to head a relief effort. After Hurricane Katrina, Clinton joined with fellow former president George H. W. Bush to establish the Bush-Clinton Tsunami Fund in January 2005, and the Bush-Clinton Katrina Fund in October of that year. As part of the tsunami effort, these two ex-presidents appeared in a Super Bowl XXXIX pre-game show, and traveled to the affected areas. They also spoke together at the funeral of Boris Yeltsin in April 2007. Based on his philanthropic worldview, Clinton created the William J. Clinton Foundation to address issues of global importance. This foundation includes the Clinton Foundation HIV and AIDS Initiative (CHAI), which strives to combat that disease, and has worked with the Australian government toward that end. The Clinton Global Initiative (CGI), begun by the Clinton Foundation in 2005, attempts to address world problems such as global public health, poverty alleviation and religious and ethnic conflict. In 2005, Clinton announced through his foundation an agreement with manufacturers to stop selling sugary drinks in schools. Clinton's foundation joined with the Large Cities Climate Leadership Group in 2006 to improve cooperation among those cities, and he met with foreign leaders to promote this initiative. The foundation has received donations from many governments all over the world, including Asia and the Middle East. In 2008, Foundation director Inder Singh announced deals to reduce the price of anti-malaria drugs by 30 percent in developing nations. Clinton also spoke in favor of California Proposition 87 on alternative energy, which was voted down. 2008 presidential election During the 2008 Democratic presidential primary campaign, Clinton vigorously advocated on behalf of his wife, Hillary. Through speaking engagements and fundraisers, he was able to raise $10 million toward her campaign. Some worried that as an ex-president, he was too active on the trail, too negative to Clinton rival Barack Obama, and alienating his supporters at home and abroad. Many were especially critical of him following his remarks in the South Carolina primary, which Obama won. Later in the 2008 primaries, there was some infighting between Bill and Hillary's staffs, especially in Pennsylvania. Considering Bill's remarks, many thought he could not rally Hillary supporters behind Obama after Obama won the primary. Such remarks led to apprehension that the party would be split to the detriment of Obama's election. Fears were allayed August 27, 2008, when Clinton enthusiastically endorsed Obama at the 2008 Democratic National Convention, saying all his experience as president assures him that Obama is "ready to lead". After Hillary Clinton's presidential campaign was over, Bill Clinton continued to raise funds to help pay off her campaign debt. After the 2008 election In 2009, Clinton travelled to North Korea on behalf of two American journalists imprisoned there. Euna Lee and Laura Ling had been imprisoned for illegally entering the country from China. Jimmy Carter had made a similar visit in 1994. After Clinton met with North Korean leader Kim Jong-il, Kim issued a pardon. Since then, Clinton has been assigned many other diplomatic missions. He was named United Nations Special Envoy to Haiti in 2009 following a series of hurricanes which caused $1 billion in damages. Clinton organized a conference with the Inter-American Development Bank, where a new industrial park was discussed in an effort to "build back better". In response to the 2010 Haiti earthquake, U.S. president Barack Obama announced that Clinton and George W. Bush would coordinate efforts to raise funds for Haiti's recovery. Funds began pouring into Haiti, which led to funding becoming available for Caracol Industrial Park in a part of the country unaffected by the earthquake. While Hillary Clinton was in South Korea, she and Cheryl Mills worked to convince SAE-A, a large apparel subcontractor, to invest in Haiti despite the company's deep concerns about plans to raise the minimum wage. In the summer of 2010, the South Korean company signed a contract at the U.S. State Department, ensuring that the new industrial park would have a key tenant. In 2010, Clinton announced support of, and delivered the keynote address for, the inauguration of NTR, Ireland's first environmental foundation. At the 2012 Democratic National Convention, Clinton gave a widely praised speech nominating Barack Obama. 2016 presidential election and after During the 2016 presidential election, Clinton again encouraged voters to support Hillary, and made appearances speaking on the campaign trail. In a series of tweets, then-President-elect Donald Trump criticized his ability to get people out to vote. Clinton served as a member of the electoral college for the state of New York. He voted for the Democratic ticket consisting of his wife Hillary and her running-mate Tim Kaine. On September 7, 2017, Clinton partnered with former presidents Jimmy Carter, George H. W. Bush, George W. Bush, and Barack Obama to work with One America Appeal to help the victims of Hurricane Harvey and Hurricane Irma in the Gulf Coast and Texas communities. In 2020, Clinton again served as a member of the United States Electoral College from New York, casting his vote for the successful Democratic ticket of Joe Biden and Kamala Harris. Post-presidential health concerns In September 2004, Clinton underwent quadruple bypass surgery. In March 2005, he again underwent surgery, this time for a partially collapsed lung. On February 11, 2010, he was rushed to New York-Presbyterian/Columbia Hospital in Manhattan after complaining of chest pains, and he had two coronary stents implanted in his heart. After this procedure, Clinton adopted a plant-based whole foods (vegan) diet, which had been recommended by doctors Dean Ornish and Caldwell Esselstyn. However, he has since incorporated fish and lean proteins at the suggestion of Mark Hyman, a proponent of the pseudoscientific ethos of functional medicine. As a result, he is no longer a strict vegan. In October 2021, Clinton was treated for sepsis at the University of California, Irvine Medical Center. In December 2022, Clinton tested positive for COVID-19. Wealth The Clintons incurred several million dollars in legal bills during his presidency, which were paid off four years after he left office. Bill and Hillary Clinton have each earned millions of dollars from book publishing. In 2016, Forbes reported Bill and Hillary Clinton made about $240million in the 15years from January 2001, to December 2015, (mostly from paid speeches, business consulting and book-writing). Also in 2016, CNN reported the Clintons combined to receive more than $153million in paid speeches from 2001 until spring 2015. In May 2015, The Hill reported that Bill and Hillary Clinton have made more than $25million in speaking fees since the start of 2014, and that Hillary Clinton also made $5million or more from her book, Hard Choices, during the same time period. In July 2014, The Wall Street Journal reported that at the end of 2012, the Clintons were worth between $5million and $25.5million, and that in 2012 (the last year they were required to disclose the information) the Clintons made between $16 and $17million, mostly from speaking fees earned by the former president. Clinton earned more than $104million from paid speeches between 2001 and 2012. In June 2014, ABC News and The Washington Post reported that Bill Clinton has made more than $100million giving paid speeches since leaving public office, and in 2008, The New York Times reported that the Clintons' income tax returns show they made $109million in the eight years from January 1, 2000, to December 31, 2007, including almost $92million from his speaking and book-writing. His books include two novels. Bill Clinton has given dozens of paid speeches each year since leaving office in 2001, mostly to corporations and philanthropic groups in North America and Europe; he often earned $100,000 to $300,000 per speech. Russian investment bank with ties to the Kremlin paid Clinton $500,000 for a speech in Moscow. Hillary Clinton said she and Bill came out of the White House financially "broke" and in debt, especially due to large legal fees incurred during their years in the White House. "We had no money when we got there, and we struggled to, you know, piece together the resources for mortgages, for houses, for Chelsea's education". She added, "Bill has worked really hard ... we had to pay off all our debts ... he had to make double the money because of, obviously, taxes; and then pay off the debts, and get us houses, and take care of family members". Relationship with Jeffrey Epstein In the early 2000s, Clinton took flights on Jeffrey Epstein's private jet in connection with Clinton Foundation work. In 2002, a spokesperson for Clinton praised Epstein as "a committed philanthropist" with "insights and generosity". While Clinton was president Epstein visited the White House at least 17 times. Years later, Epstein was convicted on sex trafficking charges. Clinton's office released a statement in 2019 saying, "President Clinton knows nothing about the terrible crimes Jeffrey Epstein pleaded guilty to in Florida some years ago, or those with which he has been recently charged in New York. In 2002 and 2003, President Clinton took four trips on Jeffrey Epstein's airplane: one to Europe, one to Asia, and two to Africa, which included stops in connection with the work of the Clinton Foundation. Staff, supporters of the Foundation, and his Secret Service detail traveled on every leg of every trip. [...] He's not spoken to Epstein in well over a decade." However, later reports showed that Clinton had flown on Epstein's plane 26 times. In another statement Clinton said "one meeting with Epstein in his Harlem office in 2002, and around the same time made one brief visit to Epstein’s New York apartment with a staff member and his security detail". In July 2019 it was reported that Clinton attended a dinner with Epstein in 1995, a meeting with Epstein that Clinton had not previously disclosed. Personal life At the age of 10, he was baptized at Park Place Baptist Church in Hot Springs, Arkansas and remained a member of a Baptist church. In 2007, he promoted the New Baptist Covenant organization for Social Justice, founded by Baptist Deacon Jimmy Carter. On October 11, 1975, in Fayetteville, Arkansas, he married Hillary Rodham, whom he met while studying at Yale University. They had Chelsea Clinton, their only child, on February 27, 1980. He is the maternal grandfather to Chelsea's three children. Honors and recognition Various colleges and universities have awarded Clinton honorary degrees, including Doctorate of Law degrees and Doctor of Humane Letters degrees. He received an honorary degree from Georgetown University, his alma mater, and was the commencement speaker in 1980. He is an honorary fellow of University College, Oxford, which he attended as a Rhodes Scholar, although he did not complete his studies there. Schools have been named for Clinton, and statues have been built to pay him homage. U.S. states where he has been honored include Missouri, Arkansas, Kentucky, and New York. He was presented with the Medal for Distinguished Public Service by Secretary of Defense William Cohen in 2001. The Clinton Presidential Center was opened in Little Rock, Arkansas, in his honor on December 5, 2001. He has been honored in various other ways, in countries that include the Czech Republic, Papua New Guinea, Germany, and Kosovo. The Republic of Kosovo, in gratitude for his help during the Kosovo War, renamed a major street in the capital city of Pristina as Bill Clinton Boulevard and added a monumental Clinton statue. Clinton was selected as Time "Man of the Year" in 1992, and again in 1998, along with Ken Starr. From a poll conducted of the American people in December 1999, Clinton was among eighteen included in Gallup's List of Widely Admired People of the 20th century. In 2001, Clinton received the NAACP's President's Award. He has also been honored with a Grammy Award for Best Spoken Word Album for Children, a J. William Fulbright Prize for International Understanding, a TED Prize (named for the confluence of technology, entertainment and design), and was named as an Honorary GLAAD Media Award recipient for his work as an advocate for the LGBT community. In 2011, President Michel Martelly of Haiti awarded Clinton with the National Order of Honour and Merit to the rank of Grand Cross "for his various initiatives in Haiti and especially his high contribution to the reconstruction of the country after the earthquake of January 12, 2010". Clinton declared at the ceremony that "in the United States of America, I really don't believe former American presidents need awards anymore, but I am very honored by this one, I love Haiti, and I believe in its promise". U.S. president Barack Obama awarded Clinton the Presidential Medal of Freedom on November 20, 2013. Authored books Recordings Bill Clinton is one of the narrators on Wolf Tracks and Peter and the Wolf, a 2003 recording of Sergei Prokofiev's Peter and the Wolf performed by the Russian National Orchestra, on Pentatone, together with Mikhail Gorbachev and Sophia Loren. This garnered Clinton the 2003 Grammy Award for Best Spoken Word Album for Children. The audiobook edition of his autobiography, My Life, read by Clinton himself, won the 2005 Grammy Award for Best Spoken Word Album as well as the Audie Award as the Audiobook of the Year. Clinton has two more Grammy nominations for his audiobooks: Giving: How Each of Us Can Change the World in 2007 and Back to Work in 2012. See also 1996 United States campaign finance controversy Clinton family Clinton School of Public Service Efforts to impeach Bill Clinton Electoral history of Bill Clinton Gun control policy of the Clinton Administration List of presidents of the United States References Citations Further reading Primary sources Clinton, Bill. (with Al Gore). Science in the National Interest. Washington, D.C.: The White House, August 1994. --- (with Al Gore). The Climate Change Action Plan. Washington, D.C.: The White House, October 1993. Taylor Branch The Clinton Tapes: Wrestling History with the President. (2009) Simon & Schuster. Official Congressional Record Impeachment Set: ... Containing the Procedures for Implementing the Articles of Impeachment and the Proceedings of the Impeachment Trial of President William Jefferson Clinton. Washington, D.C.: U.S. G.P.O., 1999. Public Papers of the Presidents of the United States, William J. Clinton. Washington, D.C.: Office of the Federal Register, National Archives and Records Administration: For sale by the Supt. of Docs., U.S. G.P.O., 1994–2002. S. Daniel Abraham Peace Is Possible, foreword by Bill Clinton Popular books Peter Baker The Breach: Inside the Impeachment and Trial of William Jefferson Clinton (2000) James Bovard Feeling Your Pain: The Explosion and Abuse of Government Power in the Clinton-Gore Years (2000) Joe Conason and Gene Lyons The Hunting of the President: The Ten-Year Campaign to Destroy Bill and Hillary Clinton (2003) Elizabeth Drew On the Edge: The Clinton Presidency (1994) David Gergen Eyewitness to Power: The Essence of Leadership. (2000) Nigel Hamilton Bill Clinton: An American Journey (2003) Christopher Hitchens No One Left to Lie to: The Triangulations of William Jefferson Clinton (1999) Michael Isikoff Uncovering Clinton: A Reporter's Story (1999) Mark Katz Clinton and Me: A Real-Life Political Comedy (2004) David Maraniss The Clinton Enigma: A Four and a Half Minute Speech Reveals This President's Entire Life (1998) Dick Morris with Eileen McGann Because He Could (2004) Richard A. Posner An Affair of State: The Investigation, Impeachment, and Trial of President Clinton (1999) Mark J. Rozell The Clinton Scandal and the Future of American Government (2000) Timperlake, Edward, and William C. Triplett II Year of the Rat: How Bill Clinton Compromised U.S. Security for Chinese Cash. Washington, D.C.: Regnery Publishing, 1998. Michael Waldman POTUS Speaks: Finding the Words That Defined the Clinton Presidency (2000) Ivory Tower Publishing Company. Achievements of the Clinton Administration: the Complete Legislative and Executive. (1995) Scholarly studies Campbell, Colin, and Bert A. Rockman, eds. The Clinton Legacy (Chatham House Pub, 2000) Halberstam, David. War in a time of peace: Bush, Clinton, and the generals (Simon and Schuster, 2001). online Harris, John F. The Survivor: Bill Clinton in the White House (2006). online Head, Simon. The Clinton System (January 30, 2016), The New York Review of Books Hyland, William G. Clinton's World: Remaking American Foreign Policy (1999) Laham, Nicholas, A Lost Cause: Bill Clinton's Campaign for National Health Insurance (1996) Levy, Peter B. Encyclopedia of the Clinton presidency (Greenwood, 2002) online Renshon; Stanley A. The Clinton Presidency: Campaigning, Governing, and the Psychology of Leadership Westview Press, 1995 Romano, Flavio. Clinton and Blair: the political economy of the third way (Routledge, 2007) Rushefsky, Mark E. and Kant Patel. Politics, Power & Policy Making: The Case of Health Care Reform in the 1990s (1998) Schantz, Harvey L. Politics in an Era of Divided Government: Elections and Governance in the Second Clinton Administration (2001) Troy, Gill. The Age of Clinton: America in the 1990s (2015) Warshaw, Shirley Anne. The Clinton Years (Infobase Publishing, 2009) White, Mark, ed. The Presidency of Bill Clinton: The Legacy of a New Domestic and Foreign Policy (I.B.Tauris, 2012) Arkansas years Allen, Charles and Jonathan Portis. The Life and Career of Bill Clinton: The Comeback Kid (1992). Blair, Diane D. "The Big Three of Late Twentieth-Century Arkansas Politics: Dale Bumpers, Bill Clinton, and David Pryor." Arkansas Historical Quarterly 54.1 (1995): 53-79. online Blair, Diane D. "William Jefferson Clinton" in The Governors of Arkansas: Essays in Political Biography ed. by Willard B. Gatewood Jr., et al. (1995) Brummett, John. Highwire: From the Backroads to the Beltway: The Education of Bill Clinton (Hyperion, 1994). Clinton, Bill. My Life: The Early Years (Random House, 2004) Dumas, Ernest, ed. The Clintons of Arkansas: An Introduction by Those Who Knew Them Best (University of Arkansas Press, 1993) online. Encyclopedia of Arkansas (2023) online Johnston, Phyllis F. Bill Clinton's Public Policy for Arkansas: 1979-80 (Little Rock: August House, 1982). Maraniss, David. First in His Class: A Biography of Bill Clinton (Simon & Schuster, 1995). Marcus, Alan. "Bill Clinton in Arkansas: generational politics, the technology of political communication and the permanent campaign." The Historian 72.2 (2010): 354-385. online Oakley, Meredith L. On the make: The rise of Bill Clinton (Regnery Publishing, 1994), attack from the right. Osborne, David. "Turning around Arkansas' Schools: Bill Clinton and Education Reform." American Educator: The Professional Journal of the American Federation of Teachers 16.3 (1992): 6-17. online Smith, Stephen A., ed. Preface to the Presidency: Selected Speeches of Bill Clinton, 1974–1992 (University of Arkansas Press, 1996). External links Official Presidential Library & Museum Clinton Foundation White House biography Archived White House website Interviews, speeches, and statements Full audio of a number of Clinton speeches Miller Center of Public Affairs Oral History Interview with Bill Clinton from Oral Histories of the American South, June 1974 "The Wanderer", a profile from The New Yorker, September 2006 Media coverage Other Extensive essays on Bill Clinton and shorter essays on each member of his cabinet and First Lady from the Miller Center of Public Affairs "Life Portrait of Bill Clinton", from C-SPAN's American Presidents: Life Portraits, December 20, 1999 Clinton  an American Experience documentary 1992 election episode in CNN's Race for the White House Category:1946 births Category:Living people Category:2016 United States presidential electors Category:2020 United States presidential electors Category:20th-century American lawyers Category:20th-century Baptists Category:20th-century presidents of the United States Category:21st-century American politicians Category:21st-century presidents of the United States Category:21st-century Baptists Category:Alumni of University College, Oxford Category:American humanitarians Category:American officials of the United Nations Category:Arkansas Attorneys General Category:Arkansas lawyers Category:Articles containing video clips Category:Baptists from Arkansas Category:Candidates in the 1980 United States elections Category:Candidates in the 1992 United States presidential election Category:Candidates in the 1996 United States presidential election Category:Centrism in the United States Category:Clinton Foundation people Category:Democratic Party (United States) presidential nominees Category:Democratic Party presidents of the United States Category:Democratic Party governors of Arkansas Category:Family of Bill and Hillary Clinton Category:Hot Springs High School (Arkansas) alumni Category:Impeached presidents of the United States Category:New York (state) Democrats Category:People from Hope, Arkansas Category:Politicians from Hot Springs, Arkansas Category:Politicians from Little Rock, Arkansas Category:Presidents of the United States Category:Rodham family Category:Walsh School of Foreign Service alumni Category:Spouses of New York (state) politicians Category:University of Arkansas faculty Category:Yale Law School alumni
[ { "text": "An official is someone who holds an office (function or mandate, regardless of whether it carries an actual working space with it) in an organization or government and participates in the exercise of authority (either their own or that of their superior or employer, public or legally private). An elected official is a person who is an official by virtue of an election. Officials may also be appointed ex officio (by virtue of another office, often in a specified capacity, such as presiding, advisory, secretary). Some official positions may be inherited. A person who currently holds an office is referred to as an incumbent. Something \"official\" refers to something endowed with governmental or other authoritative recognition or mandate, as in official language, official gazette, or official scorer.\n\nEtymology\nThe word official as a noun has been recorded since the Middle English period, first seen in 1314. It comes from the Old French (12th century), from the Latin (\"attendant to a magistrate, government official\"), the noun use of the original adjective (\"of or belonging to duty, service, or office\") from (\"office\"). The meaning \"person in charge of some public work or duty\" was first recorded in 1555. The adjective is first attested in English in 1533 via the Old French . The informal term officialese, the jargon of \"officialdom\", was first recorded in 1884.\n\nRoman antiquity\nAn (plural ) was the official term (somewhat comparable to a modern civil servant) for any member of the (staff) of a high dignitary such as a governor.\n\nEcclesiastical judiciary\n\nIn canon law, the word or its Latin original is used absolutely as the legal title of a diocesan bishop's judicial vicar who shares the bishop's ordinary judicial power over the diocese and presides over the diocesan ecclesiastical court.\n\nThe 1983 Code of Canon Law gives precedence to the title judicial vicar, rather than that of (canon 1420). The Code of Canons of the Eastern Churches uses only the title judicial vicar (canon 191).\n\nIn German, the related noun was also used for an official bureau in a diocese that did much of its administration, comprising the vicariate-general, an adjoined secretariat, a registry office and a chancery.\n\nIn Catholicism, the vicar-general was originally called the \"official\" ().\n\nThe title of official principal, together with that of vicar-general, has in Anglicanism been merged in that of diocesan chancellor of a diocese.\n\nSports\nIn sports, the term official is used to describe a person enforcing playing rules in the capacity of a assistant referee, referee and umpire; also specified by the discipline, e.g. American football official, ice hockey official. An official competition is created or recognized as valid by the competent body, is agreed to or arranged by people in positions of authority. It is synonymous, among others, with approved, certified, recognized, endorsed, and legitimate.\n\nOther\nThe term officer is close to being a synonym (but has more military connotations). A functionary is someone who carries out a particular role within an organization; this again is quite a close synonym for official, as a noun, but with connotations closer to bureaucrat. Any such person acts in their official capacity, in carrying out the duties of their office; they are also said to officiate, for example, in a ceremony. A public official is an official of central or local government.\n\nMax Weber on bureaucratic officials\n\nMax Weber gave as definition of a bureaucratic official:\nthey are personally free and appointed to their position on the basis of conduct\nhe exercises the authority delegated to them in accordance with impersonal rules, and their loyalty is enlisted on behalf of the faithful execution of their official duties\ntheir appointment and job placement are dependent upon their technical qualifications\ntheir administrative work is a full-time occupation\ntheir work is rewarded by a regular salary and prospects of advancement in a lifetime career.\n\nAn official must exercise their judgment and their skills, but their duty is to place these at the service of a higher authority; ultimately they are responsible only for the impartial execution of assigned tasks and must sacrifice their personal judgment if it runs counter to their official duties.\n\nAdjective\nAs an adjective, \"official\" often, but not always, means pertaining to the government, as state employee or having state recognition, or analogous to governance or to a formal (especially legally regulated) proceeding as opposed to informal business. In summary, that has authenticity emanates from an authority. Some examples:\n\nAn official holiday is a public holiday, having national (or regional) recognition. \nAn official language is a language recognised by a government, for its own use in administration, or for delivering services to its citizens (for example, on signposts). \nAn official spokesperson is an individual empowered to speak for the government, or some part of it such as a ministry, on a range of issues and on the record for the media. \nAn official statement is an issued by an organisation as an expression of its corporate position or opinion; an official apology is an apology similarly issued by an organisation (as opposed to an apology by an individual). \nOfficial policy is policy publicly acknowledged and defended by an organisation. In these cases unofficial is an antonym, and variously may mean informal, unrecognised, personal or unacknowledged. \nAn official strike is a strike organised and recognised by a labour union, as opposed to an unofficial strike at grassroots level.\nAn official school is a school administered by the government or by a local authority, as opposite to a private school or religious school.\nAn official history, for example of an institution or business, or particularly of a war or military unit, is a history written as a commission, with the assumption of co-operation with access to records and archives; but without necessarily full editorial independence.\nAn official biography is usually on the same lines, written with access to private papers and the support of the family of the subject.\n\nSee also\n Bureaucrat\n Canonical\n Civil service\n Politician\n Title\n\nReferences\n\nFurther reading \n\nCategory:Ecclesiastical titles\nCategory:Positions of authority", "title": "Official" }, { "text": "Other often refers to:\n Other (philosophy), a concept in psychology and philosophy\n\nOther or The Other may also refer to:\n\nFilm and television\n The Other (1913 film), a German silent film directed by Max Mack\n The Other (1930 film), a German film directed by Robert Wiene\n The Other (1972 film), an American film directed by Robert Mulligan\n The Other (1999 film), a French-Egyptian film directed by Youssef Chahine\n The Other (2007 film), an Argentine-French-German film by Ariel Rotter\n The Other (Doctor Who), a fictional character in Doctor Who\n The Other (Marvel Cinematic Universe), a fictional character in the Marvel Cinematic Universe\n\nLiterature\n Other: British and Irish Poetry since 1970, a 1999 poetry anthology\n The Other (Applegate novel), a 2000 Animorphs novel by K.A. Applegate\n The Other (Tryon novel), a 1971 horror novel by Tom Tryon\n \"The Other\" (short story), a 1972 short story by Jorge Luis Borges\n The Other, a 2008 novel by David Guterson\n Spider-Man: \"The Other\", a 2005–2006 Marvel Comics crossover story arc\n\nMusic\n The Other (band), a German horror punk band\n Other (Alison Moyet album) or the title song, 2017\n Other (Lustmord album), 2008\n The Other (album), by King Tuff, or the title song, 2018\n \"The Other\", a song by Lauv from I Met You When I Was 18 (The Playlist), 2018\n \"The Other\", a song by Tonight Alive from Underworld, 2018\n\nHuman name\n Othoere, or Other, a contemporary of Alfred the Great\nOther, father of Walter Fitz Other, castellan of Windsor in the time of William the Conqueror\n Other Windsor (disambiguation), several people \n Other Robert Ivor Windsor-Clive, 3rd Earl of Plymouth (1923–2018)\n Other C. Wamsley, a builder in Hamilton, Montana\n The Other (Doctor Who), a fictional character\n\nOther uses\n Other Music, a defunct music store in New York City\n OtherOS, a feature available in early versions of the PlayStation 3 console\n\nSee also\n Another (disambiguation)\n Others (disambiguation)\n Otherness (disambiguation)", "title": "Other" } ]
[ "Clinton was born at Julia Chester Hospital in Hope, Arkansas.", "Clinton was born to travelling salesman William Jefferson Blythe Jr. and Virginia Dell Cassidy, but his father died in an automobile accident three months before his birth. His mother later married Roger Clinton Sr., and Clinton took on his stepfather's surname. Clinton's early family life was difficult as his stepfather, who he remembered as a gambler and alcoholic, regularly abused his mother and half-brother, prompting Clinton to intervene on multiple occasions. Clinton lived with his grandparents for a time when his mother went to study nursing, his grandparents owned and ran a small grocery store. The family moved to Hot Springs in 1950 when his mother married Roger Clinton Sr.", "In addition to his parents, Clinton's family also included his half-brother, Roger Clinton Jr., and his grandparents from his mother's side, Eldridge and Edith Cassidy. His stepfather's family, which included Roger Clinton Sr.'s brother and Earl T. Ricks, also became part of Clinton's family when his mother remarried.", "Yes, he had a half-brother named Roger Clinton Jr.", "Clinton attended several schools in Hot Springs, Arkansas. These included St. John's Catholic Elementary School, Ramble Elementary School, and Hot Springs High School.", "Yes, while attending school in Hot Springs, Clinton was an active student leader, avid reader, and musician. He was part of the chorus and played the tenor saxophone, earning first chair in the state band's saxophone section. Furthermore, he began developing an interest in law and demonstrated his rhetorical and political skills by arguing the defense of the ancient Roman Senator Catiline in a mock trial in his Latin class. He also cited two influential moments in 1963 that contributed to his decision to become a public figure: visiting the White House to meet President John F. Kennedy as a Boys Nation senator and watching Martin Luther King Jr.'s I Have a Dream speech on TV, which he later memorized.", "Clinton was part of the school chorus and played the tenor saxophone, even winning first chair in the state band's saxophone section. He viewed music as a potentially serious pursuit, briefly considering dedicating his life to it.", "The text does not provide information on how Clinton's career got started.", "Clinton decided to go into law. He began his interest in law when he took up the challenge to argue the defense of the ancient Roman Senator Catiline in a mock trial in his Latin class. He told his Latin teacher that the experience made him realize that he would someday study law.", "While studying at Hot Springs High, Clinton took up a challenge to argue the defense of ancient Roman Senator Catiline in a mock trial for his Latin class. This trial and his vigorous defense helped him realize that he wanted to study law in the future." ]
[ "Yes", "Yes", "No", "No", "Yes", "Yes", "Yes", "no", "Yes", "Yes" ]
C_a739b0a66aad4710847dd43fffd0f3f1_1
James Traficant
James Anthony Traficant Jr. (May 8, 1941 - September 27, 2014) was a Democratic, and later independent, politician and member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of taking bribes, filing false tax returns, racketeering and forcing his aides to perform chores at his farm in Ohio and houseboat in Washington, D.C.
Early life, education, and career
Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER
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{ "answer_starts": [ 2329, 45, 81, 2329, 210 ], "texts": [ "CANNOTANSWER", "Youngstown, Ohio,", "son of Agnes (nee Farkas) and James Anthony Traficant Sr.", "CANNOTANSWER", "Cardinal Mooney High School" ] }
James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic member of the United States House of Representatives from Ohio. A staunch economic populist known for his flamboyant personality, he represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House in 2002 after being convicted of ten felony counts, including taking bribes, filing false tax returns, racketeering, and forcing his congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence. Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio. Early life and education Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976. Early career At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. Traficant's career in Youngstown served as the focus of Crooked City: Youngstown, OH., a podcast produced by Marc Smerling. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. U.S. House of Representatives Traficant was infamous during his time in Congress for his short, rambling, and often crude rants on the House floor, often decrying his key issues such as his opposition to free trade and the IRS. He usually ended his speeches with the phrase "beam me up", a Star Trek reference. He also became known for his flamboyant fashion sense - including cowboy boots and polyester suits - and his toupee. While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, owing to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held. Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers. Traficant was also known for frequently pushing to include "Buy American" provisions in spending bills. After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment. Defense of John Demjanjuk Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction. Defense of Arthur Rudolph Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred. Trial and expulsion In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of ten felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, House Democrats directed him not to cast any votes pending an investigation by the United States House Committee on Ethics. Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him with 420 members voting yes, 1 member voting no, 9 members voting 'present', and 4 members not voting. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers in 1980 as a result of the Abscam scandal. After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan. Prison and later life Incarceration Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He claimed that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of supervised release. While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who wrote Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke. Release Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office. On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers. 2010 congressional campaign In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%. Post-prison life After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics. Traficant later went on to purchase a 5 bedroom farm in Greenford, Ohio. Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve. Accident and death Traficant was injured in an accident at his farm in Greenford, Ohio, on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well". By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident. A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him. Publications See also List of United States representatives from Ohio List of United States representatives expelled, censured, or reprimanded List of American federal politicians convicted of crimes List of federal political scandals in the United States References External links "Look at what Traficant swept under the rug" – CNN, August 1, 2002 Traficant quarterbacking Pitt over Navy Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA James Traficant - A Tribute (Video) by Mike Wayne Category:1941 births Category:2014 deaths Category:20th-century American politicians Category:21st-century American male writers Category:21st-century American non-fiction writers Category:21st-century American politicians Category:Accidental deaths in Ohio Category:Activists from Ohio Category:American football quarterbacks Category:American male non-fiction writers Category:American nationalists Category:American people convicted of tax crimes Category:American people of Hungarian descent Category:American political writers Category:American people of Italian descent Category:American Roman Catholics Category:American talk radio hosts Category:Candidates in the 1988 United States presidential election Category:Catholics from Ohio Category:Deaths from asphyxiation Category:Democratic Party members of the United States House of Representatives from Ohio Category:Expelled members of the United States House of Representatives Category:Farming accident deaths Category:Members of the United States Congress stripped of committee assignment Category:Monetary reformers Category:Ohio Independents Category:Ohio politicians convicted of crimes Category:Ohio sheriffs Category:Pittsburgh Panthers football players Category:Politicians convicted of bribery under 18 U.S.C. § 201 Category:Politicians convicted of conspiracy to defraud the United States Category:Politicians convicted of illegal gratuities under 18 U.S.C. § 201 Category:Politicians from Youngstown, Ohio Category:Prisoners and detainees of the United States federal government Category:Right-wing populism in the United States Category:University of Pittsburgh alumni Category:Writers from Youngstown, Ohio Category:Youngstown State University alumni Category:Candidates in the 2002 United States elections Category:Candidates in the 2010 United States elections
[]
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C_a6274184d4ed4effa3225743032766df_1
Ashkenazi Jews
Ashkenazi Jews, also known as Ashkenazic Jews or simply Ashkenazim (Hebrew: ash@k@'nazi'ym, Ashkenazi Hebrew pronunciation: [,aSk@'nazim], singular: [,aSk@'nazi], Modern Hebrew: [aSkena'zim, aSkena'zi]; also y@hv'dey ash@k@'naz Y'hudey Ashkenaz), are a Jewish diaspora population who coalesced as a distinct community in the Holy Roman Empire around the end of the first millennium. The traditional diaspora language of Ashkenazi Jews is Yiddish (a Germanic language which incorporates several dialects), with Hebrew used only as a sacred language until relatively recently. Throughout their time in Europe, Ashkenazim have made many important contributions to philosophy, scholarship, literature, art, music and science. Ashkenazim originate from the Jews who settled along the Rhine River, in Western Germany and in Northern France.
Etymology
The name Ashkenazi derives from the biblical figure of Ashkenaz, the first son of Gomer, son of Japhet, son of Noah, and a Japhetic patriarch in the Table of Nations (Genesis 10). The name of Gomer has often been linked to the ethnonym Cimmerians. Biblical Ashkenaz is usually derived from Assyrian Askuza (cuneiform Askuzai/Iskuzai), a people who expelled the Cimmerians from the Armenian area of the Upper Euphrates, whose name is usually associated with the name of the Scythians. The intrusive n in the Biblical name is likely due to a scribal error confusing a waw v with a nun n. In Jeremiah 51:27, Ashkenaz figures as one of three kingdoms in the far north, the others being Minni and Ararat, perhaps corresponding to Urartu, called on by God to resist Babylon. In the Yoma tractate of the Babylonian Talmud the name Gomer is rendered as Germania, which elsewhere in rabbinical literature was identified with Germanikia in northwestern Syria, but later became associated with Germania. Ashkenaz is linked to Scandza/Scanzia, viewed as the cradle of Germanic tribes, as early as a 6th-century gloss to the Historia Ecclesiastica of Eusebius. In the 10th-century History of Armenia of Yovhannes Drasxanakertc'i (1.15) Ashkenaz was associated with Armenia, as it was occasionally in Jewish usage, where its denotation extended at times to Adiabene, Khazaria, Crimea and areas to the east. His contemporary Saadia Gaon identified Ashkenaz with the Saquliba or Slavic territories, and such usage covered also the lands of tribes neighboring the Slavs, and Eastern and Central Europe. In modern times, Samuel Krauss identified the Biblical "Ashkenaz" with Khazaria. Sometime in the early medieval period, the Jews of central and eastern Europe came to be called by this term. Conforming to the custom of designating areas of Jewish settlement with biblical names, Spain was denominated Sefarad (Obadiah 20), France was called Tsarefat (1 Kings 17:9), and Bohemia was called the Land of Canaan. By the high medieval period, Talmudic commentators like Rashi began to use Ashkenaz/Eretz Ashkenaz to designate Germany, earlier known as Loter, where, especially in the Rhineland communities of Speyer, Worms and Mainz, the most important Jewish communities arose. Rashi uses leshon Ashkenaz (Ashkenazi language) to describe German speech, and Byzantium and Syrian Jewish letters referred to the Crusaders as Ashkenazim. Given the close links between the Jewish communities of France and Germany following the Carolingian unification, the term Ashkenazi came to refer to both the Jews of medieval Germany and France. CANNOTANSWER
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Ashkenazi Jews ( ; , ; ), also known as Ashkenazic Jews or Ashkenazim, are a Jewish diaspora population who formed in the Holy Roman Empire around the end of the first millennium CE. Their traditional diaspora language is Yiddish (a West Germanic language with Jewish and Slavic linguistic elements, which uses the Hebrew alphabet), which developed during the Middle Ages after they had moved from Germany and France into Northern Europe and Eastern Europe. For centuries, Ashkenazim in Europe used Hebrew only as a literary and sacred language until the revival of Hebrew as a common language in 20th-century Israel. Throughout their numerous centuries living in Europe, Ashkenazim have made many important contributions to its philosophy, scholarship, literature, art, music, and science. The rabbinical term Ashkenazi refers to diaspora Jews who established communities along the Rhine in western Germany and northern France during the Middle Ages. Upon their arrival, they adapted traditions carried over from the Holy Land, Babylonia, and the western Mediterranean to their new European environment. The Ashkenazi religious rite developed in cities such as Mainz, Worms, and Troyes. The eminent rishon from medieval France, Rashi, has had a significant influence on the interpretations of Judaism by Ashkenazim. In the late Middle Ages, due to widespread persecution, the majority of the Ashkenazi population steadily shifted eastward, moving out of the Holy Roman Empire into the areas that later became part of the Polish–Lithuanian Commonwealth; these areas today comprise parts of present-day Belarus, Estonia, Latvia, Lithuania, Moldova, Poland, Russia, Slovakia, and Ukraine. Over the course of the late-18th and 19th centuries, those Jews who remained in or returned to historical German lands generated a cultural reorientation; under the influence of the Haskalah and the struggle for emancipation as well as the intellectual and cultural ferment in urban centres, they gradually abandoned the use of Yiddish and adopted German while developing new forms of Jewish religious life and cultural identity. It is estimated that in the 11th century, Ashkenazim comprised 3 percent of the global Jewish population, while an estimate made in 1930 (near the population's peak) listed them as comprising 92 percent of the world's Jewish population. However, the Ashkenazi population was decimated shortly after as a result of the Holocaust that was carried out by Nazi Germany during World War II, which affected almost every Jewish European family. Immediately prior to the Holocaust, the worldwide Jewish population stood at approximately 16.7 million people. Statistical figures vary for the contemporary demography of Ashkenazi Jews, ranging from 10 million to 11.2 million. Israeli demographer and statistician Sergio D. Pergola, in a rough calculation of Sephardi Jews and Mizrahi Jews, implies that Ashkenazi Jews made up 65–70 percent of Jews worldwide in 2000. Other estimates place the Ashkenazim as comprising upwards of 75 percent of the global Jewish population. Genetic studies on Ashkenazi Jews—researching both their paternal and maternal lineages as well as autosomal DNA—indicate that they are of mixed Levantine and European (mainly southern European) ancestry. These studies have arrived at diverging conclusions regarding both the degree and the sources of their European admixture, with some focusing on the extent of the European genetic origin observed in Ashkenazi maternal lineages, which is in contrast to the predominant Middle Eastern genetic origin observed in Ashkenazi paternal lineages. Etymology The name Ashkenazi derives from the biblical figure of Ashkenaz, the first son of Gomer, son of Japhet, son of Noah, and a Japhetic patriarch in the Table of Nations (Genesis 10). The name of Gomer has often been linked to the Cimmerians. The Biblical Ashkenaz is usually derived from Assyrian Aškūza (cuneiform Aškuzai/Iškuzai), a people who expelled the Cimmerians from the Armenian area of the Upper Euphrates; the name Aškūza is identified with the Scythians. The intrusive n in the Biblical name is likely due to a scribal error confusing a vav with a nun . In Jeremiah 51:27, Ashkenaz figures as one of three kingdoms in the far north, the others being Minni and Ararat (corresponding to Urartu), called on by God to resist Babylon. In the Yoma tractate of the Babylonian Talmud the name Gomer is rendered as Germania, which elsewhere in rabbinical literature was identified with Germanikia in northwestern Syria, but later became associated with Germania. Ashkenaz is linked to Scandza/Scanzia, viewed as the cradle of Germanic tribes, as early as a 6th-century gloss to the Historia Ecclesiastica of Eusebius. In the 10th-century History of Armenia of Yovhannes Drasxanakertc'i (1.15), Ashkenaz was associated with Armenia, as it was occasionally in Jewish usage, where its denotation extended at times to Adiabene, Khazaria, Crimea and areas to the east. His contemporary Saadia Gaon identified Ashkenaz with the Saquliba or Slavic territories, and such usage covered also the lands of tribes neighboring the Slavs, and Eastern and Central Europe. In modern times, Samuel Krauss identified the Biblical "Ashkenaz" with Khazaria. Sometime in the Early Medieval period, the Jews of central and eastern Europe came to be called by this term. Conforming to the custom of designating areas of Jewish settlement with biblical names, Spain was denominated Sefarad (Obadiah 20), France was called Tsarefat (1 Kings 17:9), and Bohemia was called the Land of Canaan. By the high medieval period, Talmudic commentators like Rashi began to use Ashkenaz/Eretz Ashkenaz to designate Germany, earlier known as Loter, where, especially in the Rhineland communities of Speyer, Worms and Mainz, the most important Jewish communities arose. Rashi uses leshon Ashkenaz (Ashkenazi language) to describe Yiddish, and Byzantium and Syrian Jewish letters referred to the Crusaders as Ashkenazim. Given the close links between the Jewish communities of France and Germany following the Carolingian unification, the term Ashkenazi came to refer to the Jews of both medieval Germany and France. History Like other Jewish ethnic groups, the Ashkenazi Jews originate from the Israelites and Hebrews of historical Israel and Judah. Ashkenazi Jews share a significant amount of ancestry with other Jewish populations and derive their ancestry mostly from populations in the Middle East and Southern Europe. Other than their origins in ancient Israel, the question of how Ashkenazi Jews came to exist as a distinct community is unknown, and has given rise to several theories. Early Jewish communities in Europe Beginning in the fourth century BCE, Jewish colonies sprang up in southern Europe, including the Aegean Islands, Greece, and Italy. Jews left ancient Israel for a number of causes, including a number of push and pull factors. More Jews moved into these communities as a result of wars, persecution, unrest, and for opportunities in trade and commerce. Jews migrated to southern Europe from the Middle East voluntarily for opportunities in trade and commerce. Following Alexander the Great's conquests, Jews migrated to Greek settlements in the Eastern Mediterranean, spurred on by economic opportunities. Jewish economic migration to southern Europe is also believed to have occurred during the Roman period. In 63 BCE, the Siege of Jerusalem saw the Roman Republic conquer Judea, and thousands of Jewish prisoners of war were brought to Rome as slaves. After gaining their freedom, they settled permanently in Rome as traders. It is likely that there was an additional influx of Jewish slaves taken to southern Europe by Roman forces after the capture of Jerusalem by the forces of Herod the Great with assistance from Roman forces in 37 BCE. It is known that Jewish war captives were sold into slavery after the suppression of a minor Jewish revolt in 53 BCE, and some were probably taken to southern Europe. Regarding Jewish settlements founded in southern Europe during the Roman era, E. Mary Smallwood wrote that "no date or origin can be assigned to the numerous settlements eventually known in the west, and some may have been founded as a result of the dispersal of Palestinian Jews after the revolts of AD 66–70 and 132–135, but it is reasonable to conjecture that many, such as the settlement in Puteoli attested in 4 BC, went back to the late republic or early empire and originated in voluntary emigration and the lure of trade and commerce." Jewish-Roman Wars The first and second centuries CE saw a series of unsuccessful large-scale Jewish revolts against Rome. The Roman suppression of these revolts led to wide-scale destruction, a very high toll of life and enslavement. The First Jewish-Roman War (66–73 CE) resulted in the destruction of Jerusalem and the Second Temple. Two generations later, the Bar Kokhba Revolt (132–136 CE) erupted. Judea's countryside was devastated, and many were killed, displaced or sold into slavery. Jerusalem was rebuilt as a Roman colony under the name of Aelia Capitolina, and the province of Judea was renamed Syria Palaestina. Jews were prohibited from entering the city on pain of death. Jewish presence in the region significantly dwindled after the failure of the Bar Kokhba revolt. With their national aspirations crushed and widespread devastation in Judea, despondent Jews migrated out of Judea in the aftermath of both revolts, and many settled in southern Europe. In contrast to the earlier Assyrian and Babylonian captivities, the movement was by no means a singular, centralized event, and a Jewish diaspora had already been established before. During both of these rebellions, many Jews were captured and sold into slavery by the Romans. According to the Jewish historian Josephus, 97,000 Jews were sold as slaves in the aftermath of the first revolt. In one occasion, Vespasian reportedly ordered 6,000 Jewish prisoners of war from Galilee to work on the Isthmus of Corinth in Greece. Jewish slaves and their children eventually gained their freedom and joined local free Jewish communities. Late Antiquity Many Jews were denied full Roman citizenship until Emperor Caracalla granted all free peoples this privilege in 212 CE. Jews were required to pay a poll tax until the reign of Emperor Julian in 363 CE. In the late Roman Empire, Jews were free to form networks of cultural and religious ties and enter into various local occupations. But, after Christianity became the official religion of Rome and Constantinople in 380 CE, Jews were increasingly marginalized. The Synagogue in the Agora of Athens is dated to the period between 267 and 396 CE. The Stobi Synagogue in Macedonia was built on the ruins of a more ancient synagogue in the 4th century, while later in the 5th century, the synagogue was transformed into a Christian basilica. Hellenistic Judaism thrived in Antioch and Alexandria, and many of these Greek-speaking Jews would convert to Christianity. Sporadic epigraphic evidence in gravesite excavations, particularly in Brigetio (Szőny), Aquincum (Óbuda), Intercisa (Dunaújváros), Triccinae (Sárvár), Savaria (Szombathely), Sopianae (Pécs) in Hungary, and Mursa (Osijek) in Croatia, attest to the presence of Jews after the 2nd and 3rd centuries where Roman garrisons were established. There was a sufficient number of Jews in Pannonia to form communities and build a synagogue. Jewish troops were among the Syrian soldiers transferred there, and replenished from the Middle East. After 175 CE Jews and especially Syrians came from Antioch, Tarsus, and Cappadocia. Others came from Italy and the Hellenized parts of the Roman Empire. The excavations suggest they first lived in isolated enclaves attached to Roman legion camps and intermarried with other similar oriental families within the military orders of the region. Raphael Patai states that later Roman writers remarked that they differed little in either customs, manner of writing, or names from the people among whom they dwelt; and it was especially difficult to differentiate Jews from the Syrians. After Pannonia was ceded to the Huns in 433, the garrison populations were withdrawn to Italy, and only a few, enigmatic traces remain of a possible Jewish presence in the area some centuries later. No evidence has yet been found of a Jewish presence in antiquity in Germany beyond its Roman border, nor in Eastern Europe. In Gaul and Germany itself, with the possible exception of Trier and Cologne, the archeological evidence suggests at most a fleeting presence of very few Jews, primarily itinerant traders or artisans. Estimating the number of Jews in antiquity is a task fraught with peril due to the nature of and lack of accurate documentation. The number of Jews in the Roman Empire for a long time was based on the accounts of Syrian Orthodox bishop Bar Hebraeus who lived between 1226 and 1286 CE, who stated by the time of the destruction of the Second Temple in 70 CE, as many as six million Jews were already living in the Roman Empire, a conclusion which has been contested as highly exaggerated. The 13th-century author Bar Hebraeus gave a figure of 6,944,000 Jews in the Roman world. Salo Wittmayer Baron considered the figure convincing. The figure of seven million within and one million outside the Roman world in the mid-first century became widely accepted, including by Louis Feldman. However, contemporary scholars now accept that Bar Hebraeus based his figure on a census of total Roman citizens and thus included non-Jews, the figure of 6,944,000 being recorded in Eusebius' Chronicon. Louis Feldman, previously an active supporter of the figure, now states that he and Baron were mistaken. Philo gives a figure of one million Jews living in Egypt. Brian McGing rejects Baron's figures entirely, arguing that we have no clue as to the size of the Jewish demographic in the ancient world. Sometimes the scholars who accepted the high number of Jews in Rome had explained it by Jews having been active in proselytising. The idea of ancient Jews trying to convert Gentiles to Judaism is nowadays rejected by several scholars. The Romans did not distinguish between Jews inside and outside of the land of Israel/Judaea. They collected an annual temple tax from Jews both in and outside of Israel. The revolts in and suppression of diaspora communities in Egypt, Libya and Crete during the Kitos War of 115–117 CE had a severe impact on the Jewish diaspora. A substantial Jewish population emerged in northern Gaul by the Middle Ages, but Jewish communities existed in 465 CE in Brittany, in 524 CE in Valence, and in 533 CE in Orléans. Throughout this period and into the early Middle Ages, some Jews assimilated into the dominant Greek and Latin cultures, mostly through conversion to Christianity. King Dagobert I of the Franks expelled the Jews from his Merovingian kingdom in 629. Jews in former Roman territories faced new challenges as harsher anti-Jewish Church rulings were enforced. Early Middle Ages Charlemagne's expansion of the Frankish empire around 800, including northern Italy and Rome, brought on a brief period of stability and unity in Francia. This created opportunities for Jewish merchants to settle again north of the Alps. Charlemagne granted the Jews freedoms similar to those once enjoyed under the Roman Empire. In addition, Jews from southern Italy, fleeing religious persecution, began to move into Central Europe. Returning to Frankish lands, many Jewish merchants took up occupations in finance and commerce, including money lending, or usury. (Church legislation banned Christians from lending money in exchange for interest.) From Charlemagne's time to the present, Jewish life in northern Europe is well documented. By the 11th century, when Rashi of Troyes wrote his commentaries, Jews in what came to be known as "Ashkenaz" were known for their halakhic learning, and Talmudic studies. They were criticized by Sephardim and other Jewish scholars in Islamic lands for their lack of expertise in Jewish jurisprudence and general ignorance of Hebrew linguistics and literature. Yiddish emerged as a result of Judeo-Latin language contact with various High German vernaculars in the medieval period. It is a Germanic language written in Hebrew letters, and heavily influenced by Hebrew and Aramaic, with some elements of Romance and later Slavic languages. High and Late Middle Ages migrations Historical records show evidence of Jewish communities north of the Alps and Pyrenees as early as the 8th and 9th centuries. By the 11th century, Jewish settlers moving from southern European and Middle Eastern centers (such as Babylonian Jews and Persian Jews) and Maghrebi Jewish traders from North Africa who had contacts with their Ashkenazi brethren and had visited each other from time to time in each's domain appear to have begun to settle in the north, especially along the Rhine, often in response to new economic opportunities and at the invitation of local Christian rulers. Thus Baldwin V, Count of Flanders, invited Jacob ben Yekutiel and his fellow Jews to settle in his lands; and soon after the Norman conquest of England, William the Conqueror likewise extended a welcome to continental Jews to take up residence there. Bishop Rüdiger Huzmann called on the Jews of Mainz to relocate to Speyer. In all of these decisions, the idea that Jews had the know-how and capacity to jump-start the economy, improve revenues, and enlarge trade seems to have played a prominent role. Typically, Jews relocated close to the markets and churches in town centres, where, though they came under the authority of both royal and ecclesiastical powers, they were accorded administrative autonomy. In the 11th century, both Rabbinic Judaism and the culture of the Babylonian Talmud that underlies it became established in southern Italy and then spread north to Ashkenaz. Numerous massacres of Jews occurred throughout Europe during the Christian Crusades. Inspired by the preaching of a First Crusade, crusader mobs in France and Germany perpetrated the Rhineland massacres of 1096, devastating Jewish communities along the Rhine River, including the SHuM cities of Speyer, Worms, and Mainz. The cluster of cities contain the earliest Jewish settlements north of the Alps, and played a major role in the formation of Ashkenazi Jewish religious tradition, along with Troyes and Sens in France. Nonetheless, Jewish life in Germany persisted, while some Ashkenazi Jews joined Sephardic Jewry in Spain. Expulsions from England (1290), France (1394), and parts of Germany (15th century), gradually pushed Ashkenazi Jewry eastward, to Poland (10th century), Lithuania (10th century), and Russia (12th century). Over this period of several hundred years, some have suggested, Jewish economic activity was focused on trade, business management, and financial services, due to several presumed factors: Christian European prohibitions restricting certain activities by Jews, preventing certain financial activities (such as "usurious" loans) between Christians, high rates of literacy, near-universal male education, and ability of merchants to rely upon and trust family members living in different regions and countries. By the 15th century, the Ashkenazi Jewish communities in Poland were the largest Jewish communities of the Diaspora. This area, which eventually fell under the domination of Russia, Austria, and Prussia (Germany), would remain the main center of Ashkenazi Jewry until the Holocaust. The answer to why there was so little assimilation of Jews in central and eastern Europe for so long would seem to lie in part in the probability that the alien surroundings in central and eastern Europe were not conducive, though there was some assimilation. Furthermore, Jews lived almost exclusively in shtetls, maintained a strong system of education for males, heeded rabbinic leadership, and had a very different lifestyle to that of their neighbours; all of these tendencies increased with every outbreak of antisemitism. In parts of Eastern Europe, before the arrival of the Ashkenazi Jews from Central Europe, some non-Ashkenazi Jews were present who spoke Leshon Knaan and held various other Non-Ashkenazi traditions and customs. In 1966, the historian Cecil Roth questioned the inclusion of all Yiddish speaking Jews as Ashkenazim in descent, suggesting that upon the arrival of Ashkenazi Jews from central Europe to Eastern Europe, from the Middle Ages to the 16th century, there were a substantial number of non-Ashkenazim Jews already there who later abandoned their original Eastern European Jewish culture in favor of the Ashkenazi one. However, according to more recent research, mass migrations of Yiddish-speaking Ashkenazi Jews occurred to Eastern Europe, from Central Europe in the west, who due to high birth rates absorbed and largely replaced the preceding non-Ashkenazi Jewish groups of Eastern Europe (whose numbers the demographer Sergio Della Pergola considers to have been small). Genetic evidence also indicates that Yiddish-speaking Eastern European Jews largely descend from Ashkenazi Jews who migrated from central to eastern Europe and subsequently experienced high birthrates and genetic isolation. Some Jewish immigration from southern Europe to Eastern Europe continued into the early modern period. During the 16th century, as conditions for Italian Jews worsened, many Jews from Venice and the surrounding area migrated to Poland and Lithuania. During the 16th and 17th centuries, some Sephardi Jews and Romaniote Jews from throughout the Ottoman Empire migrated to Eastern Europe, as did Arabic-speaking Mizrahi Jews and Persian Jews. Medieval references In the first half of the 11th century, Hai Gaon refers to questions that had been addressed to him from Ashkenaz, by which he undoubtedly means Germany. Rashi in the latter half of the 11th century refers to both the language of Ashkenaz and the country of Ashkenaz. During the 12th century, the word appears quite frequently. In the Mahzor Vitry, the kingdom of Ashkenaz is referred to chiefly in regard to the ritual of the synagogue there, but occasionally also with regard to certain other observances. In the literature of the 13th century, references to the land and the language of Ashkenaz often occur. Examples include Solomon ben Aderet's Responsa (vol. i., No. 395); the Responsa of Asher ben Jehiel (pp. 4, 6); his Halakot (Berakot i. 12, ed. Wilna, p. 10); the work of his son Jacob ben Asher, Tur Orach Chayim (chapter 59); the Responsa of Isaac ben Sheshet (numbers 193, 268, 270). In the Midrash compilation, Genesis Rabbah, Rabbi Berechiah mentions Ashkenaz, Riphath, and Togarmah as German tribes or as German lands. It may correspond to a Greek word that may have existed in the Greek dialect of the Jews in Syria Palaestina, or the text is corrupted from "Germanica". This view of Berechiah is based on the Talmud (Yoma 10a; Jerusalem Talmud Megillah 71b), where Gomer, the father of Ashkenaz, is translated by Germamia, which evidently stands for Germany, and which was suggested by the similarity of the sound. In later times, the word Ashkenaz is used to designate southern and western Germany, the ritual of which sections differs somewhat from that of eastern Germany and Poland. Thus the prayer-book of Isaiah Horowitz, and many others, give the piyyutim according to the Minhag of Ashkenaz and Poland. According to 16th-century mystic Rabbi Elijah of Chelm, Ashkenazi Jews lived in Jerusalem during the 11th century. The story is told that a German-speaking Jew saved the life of a young German man surnamed Dolberger. So when the knights of the First Crusade came to siege Jerusalem, one of Dolberger's family members who was among them rescued Jews in Palestine and carried them back to Worms to repay the favor. Further evidence of German communities in the holy city comes in the form of halakhic questions sent from Germany to Jerusalem during the second half of the 11th century. Modern history Material relating to the history of German Jews has been preserved in the communal accounts of certain communities on the Rhine, a Memorbuch, and a Liebesbrief, documents that are now part of the Sassoon Collection. Heinrich Graetz also added to the history of German Jewry in modern times in the abstract of his seminal work, History of the Jews, which he entitled "Volksthümliche Geschichte der Juden." In an essay on Sephardi Jewry, Daniel Elazar at the Jerusalem Center for Public Affairs summarized the demographic history of Ashkenazi Jews in the last thousand years. He noted that at the end of the 11th century, 97% of world Jewry was Sephardic and 3% Ashkenazi; in the mid-17th century, "Sephardim still outnumbered Ashkenazim three to two"; by the end of the 18th century, "Ashkenazim outnumbered Sephardim three to two, the result of improved living conditions in Christian Europe versus the Ottoman Muslim world." By 1930, Arthur Ruppin estimated that Ashkenazi Jews accounted for nearly 92% of world Jewry. These factors are sheer demography showing the migration patterns of Jews from Southern and Western Europe to Central and Eastern Europe. In 1740, a family from Lithuania became the first Ashkenazi Jews to settle in the Jewish Quarter of Jerusalem. In the generations after emigration from the west, Jewish communities in places like Poland, Russia, and Belarus enjoyed a comparatively stable socio-political environment. A thriving publishing industry and the printing of hundreds of biblical commentaries precipitated the development of the Hasidic movement as well as major Jewish academic centers. After two centuries of comparative tolerance in the new nations, massive westward emigration occurred in the 19th and 20th centuries in response to pogroms in the east and the economic opportunities offered in other parts of the world. Ashkenazi Jews have made up the majority of the American Jewish community since 1750. In the context of the European Enlightenment, Jewish emancipation began in 18th century France and spread throughout Western and Central Europe. Disabilities that had limited the rights of Jews since the Middle Ages were abolished, including the requirements to wear distinctive clothing, pay special taxes, and live in ghettos isolated from non-Jewish communities and the prohibitions on certain professions. Laws were passed to integrate Jews into their host countries, forcing Ashkenazi Jews to adopt family names (they had formerly used patronymics). Newfound inclusion into public life led to cultural growth in the Haskalah, or Jewish Enlightenment, with its goal of integrating modern European values into Jewish life. As a reaction to increasing antisemitism and assimilation following the emancipation, Zionism developed in central Europe. Other Jews, particularly those in the Pale of Settlement, turned to socialism. These tendencies would be united in Labor Zionism, the founding ideology of the State of Israel. The Holocaust Of the estimated 8.8 million Jews living in Europe at the beginning of World War II, the majority of whom were Ashkenazi, about 6 million – more than two-thirds – were systematically murdered in the Holocaust. These included 3 million of 3.3 million Polish Jews (91%); 900,000 of 1.5 million in Ukraine (60%); and 50–90% of the Jews of other Slavic nations, Germany, Hungary, and the Baltic states, and over 25% of the Jews in France. Sephardi communities suffered similar devastation in a few countries, including Greece, the Netherlands and the former Yugoslavia. As the large majority of the victims were Ashkenazi Jews, their percentage dropped from an estimate of 92% of world Jewry in 1930 to nearly 80% of world Jewry today. The Holocaust also effectively put an end to the dynamic development of the Yiddish language in the previous decades, as the vast majority of the Jewish victims of the Holocaust, around 5 million, were Yiddish speakers. Many of the surviving Ashkenazi Jews emigrated to countries such as Israel, Canada, Argentina, Australia, and the United States after the war. Following the Holocaust, some sources place Ashkenazim today as making up approximately 83–85 percent of Jews worldwide, while Sergio DellaPergola in a rough calculation of Sephardic and Mizrahi Jews, implies that Ashkenazi make up a notably lower figure, less than 74%. Other estimates place Ashkenazi Jews as making up about 75% of Jews worldwide. Israel In Israel, the term Ashkenazi is now used in a manner unrelated to its original meaning, often applied to all Jews who settled in Europe and sometimes including those whose ethnic background is actually Sephardic. Jews of any non-Ashkenazi background, including Mizrahi, Yemenite, Kurdish and others who have no connection with the Iberian Peninsula, have similarly come to be lumped together as Sephardic. Jews of mixed background are increasingly common, partly because of intermarriage between Ashkenazi and non-Ashkenazi, and partly because many do not see such historic markers as relevant to their life experiences as Jews. Religious Ashkenazi Jews living in Israel are obliged to follow the authority of the chief Ashkenazi rabbi in halakhic matters. In this respect, a religiously Ashkenazi Jew is an Israeli who is more likely to support certain religious interests in Israel, including certain political parties. These political parties result from the fact that a portion of the Israeli electorate votes for Jewish religious parties; although the electoral map changes from one election to another, there are generally several small parties associated with the interests of religious Ashkenazi Jews. The role of religious parties, including small religious parties that play important roles as coalition members, results in turn from Israel's composition as a complex society in which competing social, economic, and religious interests stand for election to the Knesset, a unicameral legislature with 120 seats. Ashkenazi Jews have played a prominent role in the economy, media, and politics of Israel since its founding. During the first decades of Israel as a state, strong cultural conflict occurred between Sephardic and Ashkenazi Jews (mainly east European Ashkenazim). The roots of this conflict, which still exists to a much smaller extent in present-day Israeli society, are chiefly attributed to the concept of the "melting pot". That is to say, all Jewish immigrants who arrived in Israel were strongly encouraged to "meltdown" their own particular exilic identities within the general social "pot" in order to become Israeli. Definition By religion Religious Jews have minhagim, customs, in addition to halakha, or religious law, and different interpretations of the law. Different groups of religious Jews in different geographic areas historically adopted different customs and interpretations. On certain issues, Orthodox Jews are required to follow the customs of their ancestors and do not believe they have the option of picking and choosing. For this reason, observant Jews at times find it important for religious reasons to ascertain who their household's religious ancestors are in order to know what customs their household should follow. These times include, for example, when two Jews of different ethnic background marry, when a non-Jew converts to Judaism and determines what customs to follow for the first time, or when a lapsed or less observant Jew returns to traditional Judaism and must determine what was done in his or her family's past. In this sense, "Ashkenazic" refers both to a family ancestry and to a body of customs binding on Jews of that ancestry. Reform Judaism, which does not necessarily follow those minhagim, did nonetheless originate among Ashkenazi Jews. In a religious sense, an Ashkenazi Jew is any Jew whose family tradition and ritual follow Ashkenazi practice. Until the Ashkenazi community first began to develop in the Early Middle Ages, the centers of Jewish religious authority were in the Islamic world, at Baghdad and in Islamic Spain. Ashkenaz (Germany) was so distant geographically that it developed a minhag of its own. Ashkenazi Hebrew came to be pronounced in ways distinct from other forms of Hebrew. In this respect, the counterpart of Ashkenazi is Sephardic, since most non-Ashkenazi Orthodox Jews follow Sephardic rabbinical authorities, whether or not they are ethnically Sephardic. By tradition, a Sephardic or Mizrahi woman who marries into an Orthodox or Haredi Ashkenazi Jewish family raises her children to be Ashkenazi Jews; conversely an Ashkenazi woman who marries a Sephardi or Mizrahi man is expected to take on Sephardic practice and the children inherit a Sephardic identity, though in practice many families compromise. A convert generally follows the practice of the beth din that converted him or her. With the integration of Jews from around the world in Israel, North America, and other places, the religious definition of an Ashkenazi Jew is blurring, especially outside Orthodox Judaism. New developments in Judaism often transcend differences in religious practice between Ashkenazi and Sephardic Jews. In North American cities, social trends such as the chavurah movement, and the emergence of "post-denominational Judaism" often bring together younger Jews of diverse ethnic backgrounds. In recent years, there has been increased interest in Kabbalah, which many Ashkenazi Jews study outside of the Yeshiva framework. Another trend is the new popularity of ecstatic worship in the Jewish Renewal movement and the Carlebach style minyan, both of which are nominally of Ashkenazi origin. Outside of Haredi communities, the traditional Ashkenazi pronunciation of Hebrew has also drastically declined in favor of the Sephardi-based pronunciation of Modern Hebrew. By culture Culturally, an Ashkenazi Jew can be identified by the concept of Yiddishkeit, which means "Jewishness" in the Yiddish language. Yiddishkeit is specifically the Jewishness of Ashkenazi Jews. Before the Haskalah and the emancipation of Jews in Europe, this meant the study of Torah and Talmud for men, and a family and communal life governed by the observance of Jewish Law for men and women. From the Rhineland to Riga to Romania, most Jews prayed in liturgical Ashkenazi Hebrew, and spoke Yiddish in their secular lives. But with modernization, Yiddishkeit now encompasses not just Orthodoxy and Hasidism, but a broad range of movements, ideologies, practices, and traditions in which Ashkenazi Jews have participated and somehow retained a sense of Jewishness. Although a far smaller number of Jews still speak Yiddish, Yiddishkeit can be identified in manners of speech, in styles of humor, in patterns of association. Broadly speaking, a Jew is one who associates culturally with Jews, supports Jewish institutions, reads Jewish books and periodicals, attends Jewish movies and theater, travels to Israel, visits historical synagogues, and so forth. It is a definition that applies to Jewish culture in general, and to Ashkenazi Yiddishkeit in particular. As Ashkenazi Jews moved away from Europe, mostly in the form of aliyah to Israel, or immigration to North America, and other English-speaking areas such as South Africa; and Europe (particularly France) and Latin America, the geographic isolation that gave rise to Ashkenazim have given way to mixing with other cultures, and with non-Ashkenazi Jews who, similarly, are no longer isolated in distinct geographic locales. Hebrew has replaced Yiddish as the primary Jewish language for many Ashkenazi Jews, although many Hasidic and Hareidi groups continue to use Yiddish in daily life. (There are numerous Ashkenazi Jewish anglophones and Russian-speakers as well, although English and Russian are not originally Jewish languages.) France's blended Jewish community is typical of the cultural recombination that is going on among Jews throughout the world. Although France expelled its original Jewish population in the Middle Ages, by the time of the French Revolution, there were two distinct Jewish populations. One consisted of Sephardic Jews, originally refugees from the Inquisition and concentrated in the southwest, while the other community was Ashkenazi, concentrated in formerly German Alsace, and mainly speaking a German dialect similar to Yiddish. (The third community of Provençal Jews living in Comtat Venaissin were technically outside France, and were later absorbed into the Sephardim.) The two communities were so separate and different that the National Assembly emancipated them separately in 1790 and 1791. But after emancipation, a sense of a unified French Jewry emerged, especially when France was wracked by the Dreyfus affair in the 1890s. In the 1920s and 1930s, Ashkenazi Jews from Europe arrived in large numbers as refugees from antisemitism, the Russian revolution, and the economic turmoil of the Great Depression. By the 1930s, Paris had a vibrant Yiddish culture, and many Jews were involved in diverse political movements. After the Vichy years and the Holocaust, the French Jewish population was augmented once again, first by Ashkenazi refugees from Central Europe, and later by Sephardi immigrants and refugees from North Africa, many of them francophone. Ashkenazi Jews did not record their traditions or achievements by text, instead these traditions were passed down orally from one generation to the next. The desire to maintain pre-Holocaust traditions relating to Ashkenazi culture has often been met with criticism by Jews in Eastern Europe. Reasoning for this could be related to the development of a new style of Jewish arts and culture developed by the Jews of Palestine during the 1930s and 1940s, which in conjunction with the decimation of European Ashkenazi Jews and their culture by the Nazi regime made it easier to assimilate to the new style of ritual rather than try to repair the older traditions. This new style of tradition was referred to as the Mediterranean Style, and was noted for its simplicity and metaphorical rejuvenation of Jews abroad. This was intended to replace the Galut traditions, which were more sorrowful in practice. Then, in the 1990s, yet another Ashkenazi Jewish wave began to arrive from countries of the former Soviet Union and Central Europe. The result is a pluralistic Jewish community that still has some distinct elements of both Ashkenazi and Sephardic culture. But in France, it is becoming much more difficult to sort out the two, and a distinctly French Jewishness has emerged. By ethnicity In an ethnic sense, an Ashkenazi Jew is one whose ancestry can be traced to the Jews who settled in Central Europe. For roughly a thousand years, the Ashkenazim were a reproductively isolated population in Europe, despite living in many countries, with little inflow or outflow from migration, conversion, or intermarriage with other groups, including other Jews. Human geneticists have argued that genetic variations have been identified that show high frequencies among Ashkenazi Jews, but not in the general European population, be they for patrilineal markers (Y-chromosome haplotypes) and for matrilineal markers (mitotypes). Since the middle of the 20th century, many Ashkenazi Jews have intermarried, both with members of other Jewish communities and with people of region Customs, laws and traditions The Halakhic practices of (Orthodox) Ashkenazi Jews may differ from those of Sephardi Jews, particularly in matters of custom. Differences are noted in the Shulkhan Arukh itself, in the gloss of Moses Isserles. Well known differences in practice include: Observance of Pesach (Passover): Ashkenazi Jews traditionally refrain from eating legumes, grain, millet, and rice (quinoa, however, has become accepted as foodgrain in the North American communities), whereas Sephardi Jews typically do not prohibit these foods. Ashkenazi Jews freely mix and eat fish and milk products; some Sephardic Jews refrain from doing so. Ashkenazim are more permissive toward the usage of wigs as a hair covering for married and widowed women. In the case of kashrut for meat, conversely, Sephardi Jews have stricter requirements – this level is commonly referred to as Beth Yosef. Meat products that are acceptable to Ashkenazi Jews as kosher may therefore be rejected by Sephardi Jews. Notwithstanding stricter requirements for the actual slaughter, Sephardi Jews permit the rear portions of an animal after proper Halakhic removal of the sciatic nerve, while many Ashkenazi Jews do not. This is not because of different interpretations of the law; rather, slaughterhouses could not find adequate skills for correct removal of the sciatic nerve and found it more economical to separate the hindquarters and sell them as non-kosher meat. Ashkenazi Jews often name newborn children after deceased family members, but not after living relatives. Sephardi Jews, in contrast, often name their children after the children's grandparents, even if those grandparents are still living. A notable exception to this generally reliable rule is among Dutch Jews, where Ashkenazim for centuries used the naming conventions otherwise attributed exclusively to Sephardim such as Chuts. Ashkenazi tefillin bear some differences from Sephardic tefillin. In the traditional Ashkenazic rite, the tefillin are wound towards the body, not away from it. Ashkenazim traditionally don tefillin while standing, whereas other Jews generally do so while sitting down. Ashkenazic traditional pronunciations of Hebrew differ from those of other groups. The most prominent consonantal difference from Sephardic and Mizrahic Hebrew dialects is the pronunciation of the Hebrew letter tav in certain Hebrew words (historically, in postvocalic undoubled context) as an /s/ and not a /t/ or /θ/ sound. The prayer shawl, or tallit (or tallis in Ashkenazi Hebrew), is worn by the majority of Ashkenazi men after marriage, but western European Ashkenazi men wear it from Bar Mitzvah. In Sephardi or Mizrahi Judaism, the prayer shawl is commonly worn from early childhood. Ashkenazic liturgy The term Ashkenazi also refers to the nusach Ashkenaz (Hebrew, "liturgical tradition", or rite) used by Ashkenazi Jews in their Siddur (prayer book). A nusach is defined by a liturgical tradition's choice of prayers, the order of prayers, the text of prayers, and melodies used in the singing of prayers. Two other major forms of nusach among Ashkenazic Jews are Nusach Sefard (not to be confused with the Sephardic ritual), which is the general Polish Hasidic nusach, and Nusach Ari, as used by Lubavitch Hasidim. Relations with Sephardim Relations between Ashkenazim and Sephardim have at times been tense and clouded by arrogance, snobbery and claims of racial superiority with both sides claiming the inferiority of the other, based upon such features as physical traits and culture. North African Sephardim and Berber Jews were often looked down upon by Ashkenazim as second-class citizens during the first decade after the creation of Israel. This has led to protest movements such as the Israeli Black Panthers led by Saadia Marciano, a Moroccan Jew. Nowadays, relations are getting warmer. In some instances, Ashkenazi communities have accepted significant numbers of Sephardi newcomers, sometimes resulting in intermarriage and the possible merging between the two communities. Notable Ashkenazim Ashkenazi Jews have a notable history of achievement in Western societies in the fields of natural and social sciences, mathematics, literature, finance, politics, media, and others. In those societies where they have been free to enter any profession, they have a record of high occupational achievement, entering professions and fields of commerce where higher education is required. Ashkenazi Jews have won a large number of the Nobel awards. The achievements of so many Ashkenazi Jew, have led some to the view that Ashkenazi Jews have higher than average intelligence. However many of these studies which show superior intelligence have been discredited, and other studies note that one should not "confuse racial categories with scientific ones." Genetics Genetic origins Efforts to identify the origins of Ashkenazi Jews through DNA analysis began in the 1990s. Currently, there are three types of genetic origin testing, autosomal DNA (atDNA), mitochondrial DNA (mtDNA), and Y-chromosomal DNA (Y-DNA). Autosomal DNA is a mixture from an individual's entire ancestry, Y-DNA shows a male's lineage only along his strict paternal line, mtDNA shows any person's lineage only along the strict maternal line. Genome-wide association studies have also been employed to yield findings relevant to genetic origins. Like most DNA studies of human migration patterns, the earliest studies on Ashkenazi Jews focused on the Y-DNA and mtDNA segments of the human genome. Both segments are unaffected by recombination (except for the ends of the Y chromosome – the pseudoautosomal regions known as PAR1 and PAR2), thus allowing tracing of direct maternal and paternal lineages. These studies revealed that Ashkenazi Jews originate from an ancient (2000–700 BCE) population of the Middle East who had spread to Europe. Ashkenazic Jews display the homogeneity of a genetic bottleneck, meaning they descend from a larger population whose numbers were greatly reduced but recovered through a few founding individuals. Although the Jewish people, in general, were present across a wide geographical area as described, genetic research done by Gil Atzmon of the Longevity Genes Project at Albert Einstein College of Medicine suggests "that Ashkenazim branched off from other Jews around the time of the destruction of the First Temple, 2,500 years ago ... flourished during the Roman Empire but then went through a 'severe bottleneck' as they dispersed, reducing a population of several million to just 400 families who left Northern Italy around the year 1000 for Central and eventually Eastern Europe." Various studies have arrived at diverging conclusions regarding both the degree and the sources of the non-Levantine admixture in Ashkenazim, particularly with respect to the extent of the non-Levantine genetic origin observed in Ashkenazi maternal lineages, which is in contrast to the predominant Levantine genetic origin observed in Ashkenazi paternal lineages. All studies nevertheless agree that genetic overlap with the Fertile Crescent exists in both lineages, albeit at differing rates. Collectively, Ashkenazi Jews are less genetically diverse than other Jewish ethnic divisions, due to their genetic bottleneck. Male lineages: Y-chromosomal DNA The majority of genetic findings to date concerning Ashkenazi Jews conclude that the male lines were founded by ancestors from the Middle East. A study of haplotypes of the Y-chromosome, published in 2000, addressed the paternal origins of Ashkenazi Jews. Hammer et al. found that the Y-chromosome of Ashkenazi and Sephardic Jews contained mutations that are also common among other Middle Eastern peoples, but uncommon in the autochthonous European population. This suggested that the male ancestors of the Ashkenazi Jews could be traced mostly to the Middle East. The proportion of male genetic admixture in Ashkenazi Jews amounts to less than 0.5% per generation over an estimated 80 generations, with "relatively minor contribution of European Y chromosomes to the Ashkenazim," and a total admixture estimate "very similar to Motulsky's average estimate of 12.5%." This supported the finding that "Diaspora Jews from Europe, Northwest Africa, and the Near East resemble each other more closely than they resemble their non-Jewish neighbors." "Past research found that 50–80 percent of DNA from the Ashkenazi Y chromosome, which is used to trace the male lineage, originated in the Near East," Richards said. The population has subsequently spread out. A 2001 study by Nebel et al. showed that both Ashkenazi and Sephardic Jewish populations share the same overall paternal Near Eastern ancestries. In comparison with data available from other relevant populations in the region, Jews were found to be more closely related to groups in the north of the Fertile Crescent. The authors also report on Eu 19 (R1a) chromosomes, which are very frequent in Central and Eastern Europeans (54–60%) at elevated frequency (13%) in Ashkenazi Jews. They hypothesized that the differences among Ashkenazim Jews could reflect low-level gene flow from surrounding European populations or genetic drift during isolation. A later 2005 study by Nebel et al., found a similar level of 11.5% of male Ashkenazim belonging to R1a1a (M17+), the dominant Y-chromosome haplogroup in Central and Eastern Europeans. However, a 2017 study, concentrating on the Ashkenazi Levites where the proportion reaches 50%, while signalling that there's a "rich variation of haplogroup R1a outside of Europe which is phylogenetically separate from the typically European R1a branches", precises that the particular R1a-Y2619 sub-clade testifies for a local origin, and that the "Middle Eastern origin of the Ashkenazi Levite lineage based on what was previously a relatively limited number of reported samples, can now be considered firmly validated." Female lineages: Mitochondrial DNA Before 2006, geneticists had largely attributed the ethnogenesis of most of the world's Jewish populations, including Ashkenazi Jews, to Israelite Jewish male migrants from the Middle East and "the women from each local population whom they took as wives and converted to Judaism." Thus, in 2002, in line with this model of origin, David Goldstein, now of Duke University, reported that unlike male Ashkenazi lineages, the female lineages in Ashkenazi Jewish communities "did not seem to be Middle Eastern", and that each community had its own genetic pattern and even that "in some cases the mitochondrial DNA was closely related to that of the host community." In his view, this suggested, "that Jewish men had arrived from the Middle East, taken wives from the host population and converted them to Judaism, after which there was no further intermarriage with non-Jews." In 2006, a study by Behar et al., based on what was at that time high-resolution analysis of haplogroup K (mtDNA), suggested that about 40% of the current Ashkenazi population is descended matrilineally from just four women, or "founder lineages", that were "likely from a Hebrew/Levantine mtDNA pool" originating in the Middle East in the 1st and 2nd centuries CE. Additionally, Behar et al. suggested that the rest of Ashkenazi mtDNA is originated from ~150 women, and that most of those were also likely of Middle Eastern origin. In reference specifically to Haplogroup K, they suggested that although it is common throughout western Eurasia, "the observed global pattern of distribution renders very unlikely the possibility that the four aforementioned founder lineages entered the Ashkenazi mtDNA pool via gene flow from a European host population". In 2013, a study of Ashkenazi mitochondrial DNA by a team led by Martin B. Richards of the University of Huddersfield in England reached different conclusions, in line with the pre-2006 origin hypothesis. Testing was performed on the full 16,600 DNA units composing mitochondrial DNA (the 2006 Behar study had only tested 1,000 units) in all their subjects, and the study found that the four main female Ashkenazi founders had descent lines that were established in Europe 10,000 to 20,000 years in the past while most of the remaining minor founders also have a deep European ancestry. The study argued that the great majority of Ashkenazi maternal lineages were not brought from the Near East or the Caucasus, but instead assimilated within Europe, primarily of Italian and Old French origins. The Richards study estimated that more than 80 percent of Ashkenazi maternal ancestry comes from women indigenous to (mainly prehistoric Western) Europe, and only 8 percent from the Near East, while the origin of the remainder is undetermined. According to the study these findings "point to a significant role for the conversion of women in the formation of Ashkenazi communities." Karl Skorecki criticized the study for perceived flaws in phylogenetic analysis. "While Costa et al. have re-opened the question of the maternal origins of Ashkenazi Jewry, the phylogenetic analysis in the manuscript does not 'settle' the question." A 2014 study by Fernández et al. found that Ashkenazi Jews display a frequency of haplogroup K in their maternal DNA, suggesting an ancient Near Eastern matrilineal origin, similar to the results of the Behar study in 2006. Fernández noted that this observation clearly contradicts the results of the 2013 study led by Richards that suggested a European source for 3 exclusively Ashkenazi K lineages. Association and linkage studies (autosomal DNA) In genetic epidemiology, a genome-wide association study (GWA study, or GWAS) is an examination of all or most of the genes (the genome) of different individuals of a particular species to see how much the genes vary from individual to individual. These techniques were originally designed for epidemiological uses, to identify genetic associations with observable traits. A 2006 study by Seldin et al. used over five thousand autosomal SNPs to demonstrate European genetic substructure. The results showed "a consistent and reproducible distinction between 'northern' and 'southern' European population groups". Most northern, central, and eastern Europeans (Finns, Swedes, English, Irish, Germans, and Ukrainians) showed >90% in the "northern" population group, while most individual participants with southern European ancestry (Italians, Greeks, Portuguese, Spaniards) showed >85% in the "southern" group. Both Ashkenazi Jews as well as Sephardic Jews showed >85% membership in the "southern" group. Referring to the Jews clustering with southern Europeans, the authors state the results were "consistent with a later Mediterranean origin of these ethnic groups". A 2007 study by Bauchet et al. found that Ashkenazi Jews were most closely clustered with Arabic North African populations when compared to Global population, and in the European structure analysis, they share similarities only with Greeks and Southern Italians, reflecting their east Mediterranean origins. A 2010 study on Jewish ancestry by Atzmon-Ostrer et al. stated "Two major groups were identified by principal component, phylogenetic, and identity by descent (IBD) analysis: Middle Eastern Jews and European/Syrian Jews. The IBD segment sharing and the proximity of European Jews to each other and to southern European populations suggested similar origins for European Jewry and refuted large-scale genetic contributions of Central and Eastern European and Slavic populations to the formation of Ashkenazi Jewry", as both groups – the Middle Eastern Jews and European/Syrian Jews – shared common ancestors in the Middle East about 2500 years ago. The study examines genetic markers spread across the entire genome and shows that the Jewish groups (Ashkenazi and non-Ashkenazi) share large swaths of DNA, indicating close relationships and that each of the Jewish groups in the study (Iranian, Iraqi, Syrian, Italian, Turkish, Greek and Ashkenazi) has its own genetic signature but is more closely related to the other Jewish groups than to their fellow non-Jewish countrymen. Atzmon's team found that the SNP markers in genetic segments of 3 million DNA letters or longer were 10 times more likely to be identical among Jews than non-Jews. Results of the analysis also tally with biblical accounts of the fate of the Jews. The study also found that with respect to non-Jewish European groups, the population most closely related to Ashkenazi Jews are modern-day Italians. The study speculated that the genetic-similarity between Ashkenazi Jews and Italians may be due to inter-marriage and conversions in the time of the Roman Empire. It was also found that any two Ashkenazi Jewish participants in the study shared about as much DNA as fourth or fifth cousins. A 2010 study by Bray et al., using SNP microarray techniques and linkage analysis found that when assuming Druze and Palestinian Arab populations to represent the reference to world Jewry ancestor genome, between 35 and 55 percent of the modern Ashkenazi genome can possibly be of European origin, and that European "admixture is considerably higher than previous estimates by studies that used the Y chromosome" with this reference point. Assuming this reference point the linkage disequilibrium in the Ashkenazi Jewish population was interpreted as "matches signs of interbreeding or 'admixture' between Middle Eastern and European populations". On the Bray et al. tree, Ashkenazi Jews were found to be a genetically more divergent population than Russians, Orcadians, French, Basques, Sardinians, Italians and Tuscans. The study also observed that Ashkenazim are more diverse than their Middle Eastern relatives, which was counterintuitive because Ashkenazim are supposed to be a subset, not a superset, of their assumed geographical source population. Bray et al. therefore postulate that these results reflect not the population antiquity but a history of mixing between genetically distinct populations in Europe. However, it is possible that the relaxation of marriage prescription in the ancestors of Ashkenazim drove their heterozygosity up, while the maintenance of the FBD rule in native Middle Easterners has been keeping their heterozygosity values in check. Ashkenazim distinctiveness as found in the Bray et al. study, therefore, may come from their ethnic endogamy (ethnic inbreeding), which allowed them to "mine" their ancestral gene pool in the context of relative reproductive isolation from European neighbors, and not from clan endogamy (clan inbreeding). Consequently, their higher diversity compared to Middle Easterners stems from the latter's marriage practices, not necessarily from the former's admixture with Europeans. The genome-wide genetic study carried out in 2010 by Behar et al. examined the genetic relationships among all major Jewish groups, including Ashkenazim, as well as the genetic relationship between these Jewish groups and non-Jewish ethnic populations. The study found that contemporary Jews (excluding Indian and Ethiopian Jews) have a close genetic relationship with people from the Levant. The authors explained that "the most parsimonious explanation for these observations is a common genetic origin, which is consistent with an historical formulation of the Jewish people as descending from ancient Hebrew and Israelite residents of the Levant". A study by Behar et al. (2013) found evidence in Ashkenazim of mixed European and Levantine origins. The authors found the greatest affinity and shared ancestry of Ashkenazi Jews to be firstly with other Jewish groups from southern Europe, Syria, and North Africa, and secondly with both southern Europeans (such as Italians) and modern Levantines (such as the Druze, Cypriots, Lebanese and Samaritans). In addition to finding no affinity in Ashkenazim with northern Caucasus populations, the authors found no more affinity in Ashkenazi Jews to modern south Caucasus and eastern Anatolian populations (such as Armenians, Azerbaijanis, Georgians, and Turks) than found in non-Ashkenazi Jews or non-Jewish Middle Easterners (such as the Kurds, Iranians, Druze and Lebanese). A 2017 autosomal study by Xue, Shai Carmi et al. found an admixture of Middle-Eastern and European ancestry in Ashkenazi Jews: with the European component comprising ≈50%-70% (estimated at "possibly 60%") and largely being of a Southern European source with a minority being Eastern European, and the remainder (estimated at possibly ≈40%) being Middle Eastern ancestry showing the strongest affinity to Levantine populations such as the Druze and Lebanese. A 2018 study, referencing the popular theory of Ashkenazi Jewish (AJ) origins in "an initial settlement in Western Europe (Northern France and Germany), followed by migration to Poland and an expansion there and in the rest of Eastern Europe", tested "whether Ashkenazi Jews with recent origins in Eastern Europe are genetically distinct from Western European Ashkenazi". The study concluded that "Western AJ consist of two slightly distinct groups: one that descends from a subset of the original founders [who remained in Western Europe], and another that migrated there back from Eastern Europe, possibly after absorbing a limited degree of gene flow". In a study published in December 2022, new genome data obtained from the medieval Jewish cemetery of Erfurt was used to further trace the origins of the Ashkenazi Jewish community. These findings suggest that medieval Erfurt had at least two related but genetically distinct Jewish groups: one was closely related to Middle Eastern populations and was especially similar to modern Ashkenazi Jews from France and Germany and modern Sephardic Jews from Turkey; the other group had a substantial contribution from Eastern European populations. Modern Ashkenazi Jews from Eastern Europe no longer exhibit this genetic variability, and instead, their genomes resemble a nearly even mixture of the two Erfurt groups (with about 60% from the first group and 40% from the second). The Khazar hypothesis In the late 19th century, it was proposed that the core of today's Ashkenazi Jewry are genetically descended from a hypothetical Khazarian Jewish diaspora who had migrated westward from modern Russia and Ukraine into modern France and Germany (as opposed to the currently held theory that Jews migrated from France and Germany into Eastern Europe). The hypothesis is not corroborated by historical sources, and is unsubstantiated by genetics, but it is still occasionally supported by scholars who have had some success in keeping the theory in the academic consciousness. The theory has sometimes been used by Jewish authors such as Arthur Koestler as part of an argument against traditional forms of antisemitism (for example the claim that "the Jews killed Christ"), just as similar arguments have been advanced on behalf of the Crimean Karaites. Today, however, the theory is more often associated with antisemitism and anti-Zionism. A 2013 trans-genome study carried out by 30 geneticists, from 13 universities and academies, from nine countries, assembling the largest data set available to date, for assessment of Ashkenazi Jewish genetic origins found no evidence of Khazar origin among Ashkenazi Jews. The authors concluded: The authors found no affinity in Ashkenazim with north Caucasus populations, as well as no greater affinity in Ashkenazim to south Caucasus or Anatolian populations than that found in non-Ashkenazi Jews and non-Jewish Middle Easterners (such as the Kurds, Iranians, Druze and Lebanese). The greatest affinity and shared ancestry of Ashkenazi Jews were found to be (after those with other Jewish groups from southern Europe, Syria, and North Africa) with both southern Europeans and Levantines such as Druze, Cypriot, Lebanese and Samaritan groups. Medical genetics There are many references to Ashkenazi Jews in the literature of medical and population genetics. Indeed, much awareness of "Ashkenazi Jews" as an ethnic group or category stems from the large number of genetic studies of disease, including many that are well reported in the media, that have been conducted among Jews. Jewish populations have been studied more thoroughly than most other human populations, for a variety of reasons: Jewish populations, and particularly the large Ashkenazi Jewish population, are ideal for such research studies, because they exhibit a high degree of endogamy, yet they are sizable. Jewish communities are comparatively well informed about genetics research, and have been supportive of community efforts to study and prevent genetic diseases. The result is a form of ascertainment bias. This has sometimes created an impression that Jews are more susceptible to genetic disease than other populations. Healthcare professionals are often taught to consider those of Ashkenazi descent to be at increased risk for colon cancer. People of Ashkenazi descent are at much higher risk of being a carrier for Tay-Sachs disease, which is fatal in its homozygous form. Genetic counseling and genetic testing are often undertaken by couples where both partners are of Ashkenazi ancestry. Some organizations, most notably Dor Yeshorim, organize screening programs to prevent homozygosity for the genes that cause related diseases. See also Jewish ethnic divisions List of Israeli Ashkenazi Jews Explanatory notes References Citations Sources References for "Who is an Ashkenazi Jew?" Other references Beider, Alexander (2001): A Dictionary of Ashkenazic Given Names: Their Origins, Structure, Pronunciations, and Migrations. Avotaynu. . Biale, David (2002): Cultures of the Jews: A New History. Schoken Books. . Brook, Kevin Alan (2003): "The Origins of East European Jews" in Russian History/Histoire Russe vol. 30, nos. 1–2, pp. 1–22. Gross, N. (1975): Economic History of the Jews. Schocken Books, New York. Haumann, Heiko (2001): A History of East European Jews. Central European University Press. . Kriwaczek, Paul (2005): Yiddish Civilization: The Rise and Fall of a Forgotten Nation. Alfred A. Knopf, New York. . Lewis, Bernard (1984): The Jews of Islam. Princeton University Press. . Bukovec, Predrag: East and South-East European Jews in the 19th and 20th Centuries, European History Online, Mainz: Institute of European History, 2010, retrieved: 17 December 2012. Vital, David (1999): A People Apart: A History of the Jews in Europe. Oxford University Press. . External links The YIVO Encyclopedia of Jews in Eastern Europe "Ashkenazi Jewish mtDNA haplogroup distribution varies among distinct subpopulations: lessons of population substructure in a closed group"—European Journal of Human Genetics, 2007 "Analysis of genetic variation in Ashkenazi Jews by high density SNP genotyping" Nusach Ashkenaz, and Discussion Forum Ashkenaz Heritage Category:Ashkenazi Jews topics Category:Ethnic groups in Israel Category:Ethnic groups in Russia Category:Jewish ethnic groups Category:Middle Eastern people Category:Semitic-speaking peoples
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C_553a501a927443b98c782fbc156080f1_0
Gene Tierney
Tierney was born on November 19, 1920 in Brooklyn, New York, the daughter of Howard Sherwood Tierney and Belle Lavinia Taylor. She was named after a beloved uncle, who died young. She had an elder brother, Howard Sherwood "Butch" Tierney, Jr., and a younger sister, Patricia "Pat" Tierney. Their father was a successful insurance broker of Irish descent, their mother a former physical education instructor.
Health
Tierney had reportedly started smoking after a screening of her first movie to lower her voice, because she felt, "I sound like an angry Minnie Mouse." She subsequently became a heavy smoker. With difficult events in her personal life, Tierney struggled for years with episodes of manic depression. In 1943, she gave birth to a daughter, Daria, who was deaf and mentally disabled, the result of a fan breaking a rubella quarantine and infecting the pregnant Tierney while she volunteered at the Hollywood Canteen. In 1953, she suffered problems with concentration, which affected her film appearances. She dropped out of Mogambo and was replaced by Grace Kelly. While playing Anne Scott in The Left Hand of God (1955), opposite Humphrey Bogart, Tierney became ill. Bogart's sister Frances (known as Pat) had suffered from mental illness, so he showed Tierney great sympathy, feeding her lines during the production and encouraging her to seek help. Tierney consulted a psychiatrist and was admitted to Harkness Pavilion in New York. Later, she went to the Institute of Living in Hartford, Connecticut. After some 27 shock treatments, intended to alleviate severe depression, Tierney fled the facility, but was caught and returned. She later became an outspoken opponent of shock treatment therapy, claiming it had destroyed significant portions of her memory. In late December 1957, Tierney, from her mother's apartment in Manhattan, stepped onto a ledge 14 stories above ground and remained for about 20 minutes in what was considered a suicide attempt. Police were called, and afterwards Tierney's family arranged for her to be admitted to the Menninger Clinic in Topeka, Kansas. The following year, after treatment for depression, she was released. Afterwards, she worked as a sales girl in a local dress shop with hopes of integrating back into society, but she was recognized by a customer, resulting in sensational newspaper headlines. Later in 1958, 20th Century-Fox offered Tierney a lead role in Holiday for Lovers (1959), but the stress upon her proved too great, so only days into production, she dropped out of the film and returned to Menninger for a time. CANNOTANSWER
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Gene Eliza Tierney (November 19, 1920 – November 6, 1991) was an American film and stage actress. Acclaimed for her great beauty, she became established as a leading lady. Tierney was best known for her portrayal of the title character in the film Laura (1944), and was nominated for an Academy Award for Best Actress for her performance as Ellen Berent Harland in Leave Her to Heaven (1945). Tierney's other roles include Martha Strable Van Cleve in Heaven Can Wait (1943), Isabel Bradley Maturin in The Razor's Edge (1946), Lucy Muir in The Ghost and Mrs. Muir (1947), Ann Sutton in Whirlpool (1949), Mary Bristol in Night and the City (1950), Maggie Carleton McNulty in The Mating Season (1950), and Anne Scott in The Left Hand of God (1955). Early life Gene Eliza Tierney was born on November 19, 1920, in Brooklyn, New York, the daughter of Howard Sherwood Tierney and Belle Lavinia Taylor. She was named after a beloved uncle, who died young. She had an elder brother, Howard Sherwood "Butch" Tierney Jr., and a younger sister, Patricia "Pat" Tierney. Their father was a successful insurance broker of Irish descent on his paternal side; their mother was a former physical education instructor. Tierney was raised in Westport, Connecticut. She attended St. Margaret's School in Waterbury, Connecticut, and the Unquowa School in Fairfield. She published her first poem, "Night", in the school magazine and wrote poetry occasionally throughout her life. Tierney played Jo in a student production of Little Women, based on the novel by Louisa May Alcott. Tierney spent two years in Europe, attending Brillantmont International School in Lausanne, Switzerland, where she learned to speak fluent French. She returned to the US in 1936 and attended Miss Porter's School in Farmington, Connecticut. On a family trip to the West Coast, she visited Warner Bros. studios, where her mother's cousin – Gordon Hollingshead – worked as a producer of historical short films. Director Anatole Litvak, taken by the 17-year-old's beauty, told Tierney that she should become an actress. Warner Bros. wanted to sign her to a contract, but her parents advised against it because of the relatively low salary; they also wanted her to take her position in society. Tierney's society debut occurred on September 24, 1938, when she was 17 years old. Soon bored with society life, she decided to pursue an acting career. Her father said, "If Gene is to be an actress, it should be in the legitimate theatre." Tierney studied acting at a small Greenwich Village acting studio in New York with Yiddish and Broadway actor/director Benno Schneider. She became a protégée of Broadway producer-director George Abbott. Career Broadway In Tierney's first role on Broadway, she carried a bucket of water across the stage in What a Life! (1938). A Variety magazine critic declared, "Miss Tierney is certainly the most beautiful water carrier I've ever seen!" She also worked as an understudy in The Primrose Path (1938). The following year, she appeared in the role of Molly O'Day in the Broadway production Mrs. O'Brien Entertains (1939). New York Times critic Brooks Atkinson wrote, "As an Irish maiden fresh from the old country, Gene Tierney in her first stage performance is very pretty and refreshingly modest." That same year, Tierney appeared as Peggy Carr in Ring Two (1939) to favorable reviews. Theater critic Richard Watts Jr. of the New York Herald Tribune wrote, "I see no reason why Miss Tierney should not have an interesting theatrical career – that is, if cinema does not kidnap her away." Tierney's father set up a corporation, Belle-Tier, to fund and promote her acting career. Columbia Pictures signed her to a six-month contract in 1939. She met Howard Hughes, who tried unsuccessfully to seduce her. From a well-to-do family herself, she was not impressed by his wealth. Hughes eventually became a lifelong friend. After a cameraman advised Tierney to lose a little weight, she wrote to Harper's Bazaar magazine for a diet, which she followed for the next 25 years. Tierney was initially offered the lead role in National Velvet, but production was delayed. When Columbia Pictures failed to find Tierney a project, she returned to Broadway and starred as Patricia Stanley to critical and commercial success in The Male Animal (1940). In The New York Times, Brooks Atkinson wrote, "Tierney blazes with animation in the best performance she has yet given". She was the toast of Broadway before her 20th birthday. The Male Animal was a hit, and Tierney was featured in Life. She was also photographed by Harper's Bazaar, Vogue, and Collier's Weekly. Two weeks after The Male Animal opened, Darryl F. Zanuck, the head of 20th Century Fox, was rumored to have been in the audience. During the performance, he told an assistant to note Tierney's name. Later that night, Zanuck dropped by the Stork Club, where he saw a young lady on the dance floor. He told his assistant, "Forget the girl from the play. See if you can sign that one." She was Tierney. At first, Zanuck did not think she was the actress he had seen. Tierney was quoted (after the fact), saying: "I always had several different 'looks', a quality that proved useful in my career." Film career Tierney signed with 20th Century-Fox and her motion picture debut was in a supporting role as Eleanor Stone in Fritz Lang's Western The Return of Frank James (1940), opposite Henry Fonda. A small role as Barbara Hall followed in Hudson's Bay (1941) with Paul Muni and she co-starred as Ellie Mae Lester in John Ford's comedy Tobacco Road (also 1941), and played the title role in Belle Starr alongside co-star Randolph Scott, Zia in Sundown, and Victoria Charteris (Poppy Smith) in The Shanghai Gesture. She played Eve in Son of Fury: The Story of Benjamin Blake (1942), as well as the dual role of Susan Miller (Linda Worthington) in Rouben Mamoulian's screwball comedy Rings on Her Fingers, and roles as Kay Saunders in Thunder Birds, and Miss Young in China Girl (all 1942). Receiving top billing in Ernst Lubitsch's comedy Heaven Can Wait (1943), as Martha Strable Van Cleve, signaled an upward turn in Tierney's career. Tierney recalled during the production of Heaven Can Wait: Lubitsch was a tyrant on the set, the most demanding of directors. After one scene, which took from noon until five to get, I was almost in tears from listening to Lubitsch shout at me. The next day I sought him out, looked him in the eye, and said, 'Mr. Lubitsch, I'm willing to do my best but I just can't go on working on this picture if you're going to keep shouting at me.' 'I'm paid to shout at you', he bellowed. 'Yes', I said, 'and I'm paid to take it – but not enough.' After a tense pause, Lubitsch broke out laughing. From then on we got along famously. Tierney starred in what became her best-remembered role: the title role in Otto Preminger's film noir Laura (1944), opposite Dana Andrews (who she'd work with again in The Iron Curtain and Preminger's Where The Sidewalk Ends). After playing Tina Tomasino in A Bell for Adano (1945), she played the jealous, narcissistic femme fatale Ellen Berent Harland in Leave Her to Heaven (1945), adapted from a best-selling novel by Ben Ames Williams. Appearing with Cornel Wilde, Tierney won an Academy Award nomination for Best Actress. This was 20th Century-Fox's most successful film of the 1940s. It was cited by director Martin Scorsese as one of his favorite films of all time, and he assessed Tierney as one of the most underrated actresses of the Golden Era. Tierney then starred as Miranda Wells in Dragonwyck (1946), along with Walter Huston and Vincent Price. It was Joseph L. Mankiewicz' debut film as a director. In the same period, she starred as Isabel Bradley, opposite Tyrone Power, in The Razor's Edge (also 1946), an adaptation of W. Somerset Maugham's novel of the same name. Her performance was critically praised. Tierney played Lucy Muir in Mankiewicz's The Ghost and Mrs. Muir (1947), opposite Rex Harrison. The following year, she co-starred again with Power, this time as Sara Farley in the successful screwball comedy That Wonderful Urge (1948). As the decade came to a close, Tierney reunited with Laura director Preminger to star as Ann Sutton in the classic film noir Whirlpool (1950), co-starring Richard Conte and José Ferrer. She appeared in two other films noir: Jules Dassin's Night and the City, shot in London, and Otto Preminger's Where the Sidewalk Ends (both 1950), reunited with both Preminger and leading man Dana Andrews, with whom she appeared in five movies total including The Iron Curtain and, before Laura, Belle Starr and Tobacco Road. Tierney was lent to Paramount Pictures, giving a comic turn as Maggie Carleton in Mitchell Leisen's ensemble farce, The Mating Season (1951), with John Lund, Thelma Ritter, and Miriam Hopkins. She gave a tender performance as Midge Sheridan in the Warner Bros. film, Close to My Heart (1951), with Ray Milland. The film is about a couple trying to adopt a child. Later in her career, she was reunited with Milland in Daughter of the Mind (1969). After Tierney appeared opposite Rory Calhoun as Teresa in Way of a Gaucho (1952), her contract at 20th Century-Fox expired. That same year, she starred as Dorothy Bradford in Plymouth Adventure, opposite Spencer Tracy at MGM. Tracy and she had a brief affair during this time. Tierney played Marya Lamarkina opposite Clark Gable in Never Let Me Go (1953), filmed in England. In the course of the 1940s, she reached a pinnacle of fame as a beautiful leading lady, on a par with "fellow sirens Rita Hayworth, Lana Turner and Ava Gardner". She was called “the most beautiful woman in movie history" and many of her movies in the 1940s became classic films. Tierney remained in Europe to play Kay Barlow in United Artists' Personal Affair (1953). While in Europe, she began a romance with Prince Aly Khan, but their marriage plans met with fierce opposition from his father Aga Khan III. Early in 1953, Tierney returned to the U.S. to co-star in the film noir Black Widow (1954) as Iris Denver, with Ginger Rogers and Van Heflin. Health Tierney had reportedly started smoking after a screening of her first movie to lower her voice, because she felt that she sounded "like an angry Minnie Mouse." She subsequently became a heavy smoker. Tierney struggled for years with episodes of manic depression. In 1943, she gave birth to a daughter, Daria, who was deaf and mentally disabled (possibly the result of a rubella infection she may have contracted from a fan). In 1953, she suffered problems with concentration, which affected her film appearances. She dropped out of Mogambo and was replaced by Grace Kelly. While playing Anne Scott in The Left Hand of God (1955), opposite Humphrey Bogart, Tierney became ill. Bogart's sister Frances (known as Pat) had suffered from mental illness, so he showed Tierney great sympathy, feeding her lines during the production and encouraging her to seek help. Tierney consulted a psychiatrist and was admitted to Harkness Pavilion in New York. Later, she went to the Institute of Living in Hartford, Connecticut. After some 27 shock treatments, intended to alleviate severe depression, Tierney fled the facility, but was caught and returned. She later became an outspoken opponent of shock treatment therapy, claiming it had destroyed significant portions of her memory. In late December 1957, Tierney, from her mother's apartment in Manhattan, stepped onto a ledge 14 stories above ground and remained for about 20 minutes in what was considered a suicide attempt. Police were called, and afterwards, Tierney's family arranged for her to be admitted to the Menninger Clinic in Topeka, Kansas. The following year, after treatment for depression, she was discharged. Afterwards, she worked as a sales girl in a local dress shop with hopes of integrating back into society, but she was recognized by a customer, resulting in sensational newspaper headlines. Later in 1958, 20th Century Fox offered Tierney a lead role in Holiday for Lovers (1959), but the stress upon her proved too great, so only days into production, she dropped out of the film and returned to Menninger for a time. Comeback Tierney made a screen comeback in Advise and Consent (1962), co-starring with Franchot Tone and reuniting with director Otto Preminger. Soon afterwards, she played Albertine Prine in Toys in the Attic (1963), based on the play by Lillian Hellman. This was followed by the international production of Las cuatro noches de la luna llena, (Four Nights of the Full Moon – 1963), in which she starred with Dan Dailey. She received critical praise overall for her performances. Tierney's career as a solid character actress seemed to be back on track as she played Jane Barton in The Pleasure Seekers (1964), but then she suddenly retired. She returned to star in the television movie Daughter of the Mind (1969) with Don Murray and Ray Milland. Her final performance was in the TV miniseries Scruples (1980). Personal life Tierney was married twice. Her first husband was Oleg Cassini, a costume and fashion designer, on June 1, 1941, with whom she eloped. She was 20 years old. Her parents opposed the marriage because he was from a Russian-Italian family and born in France. She had two daughters, Antoinette Daria Cassini (October 15, 1943 – September 11, 2010) and Christina "Tina" Cassini (November 19, 1948 – March 31, 2015). In June 1943, while pregnant with Daria, Tierney contracted rubella (German measles), likely from a fan ill with the disease. Antoinette Daria Cassini was born prematurely in Washington, DC, weighing and requiring a total blood transfusion. The rubella caused congenital damage: Daria was deaf, partially blind with cataracts, and severely mentally disabled. She was institutionalized for much of her life. This entire incident was inspiration for a plot point in the 1962 Agatha Christie novel The Mirror Crack'd from Side to Side (Christie's official website says about that novel, "The plot was inspired by Agatha Christie's reflections on a mother's feelings for a child born with disabilities and there can be little doubt that Christie was influenced by the real-life tragedy of American actress Gene Tierney."). Tierney's friend Howard Hughes paid for Daria's medical expenses, ensuring the girl received the best care. Tierney never forgot his acts of kindness. Daria Cassini died in 2010, at the age of 66. Tierney and Cassini separated October 20, 1946, and entered into a property settlement agreement on November 10. Periodicals during this period record Tierney with Charles K. Feldman, including articles related to her "twosoming" with Feldman, her "current best beau". Her divorce from Cassini was to be finalized in March 1948, but they reconciled before then. They later divorced in 1952. During their separation, Tierney met John F. Kennedy, a young World War II veteran, who was visiting the set of Dragonwyck in 1946. They began a romance that she ended the following year after Kennedy told her he could never marry her because of his political ambitions. In 1960, Tierney sent Kennedy a note of congratulations on his victory in the presidential election. During this time, newspapers documented Tierney's other romantic relationships, including Kirk Douglas. While filming for Personal Affair in Europe, she began a romance with Prince Aly Khan. They became engaged in 1952, while Khan was going through a divorce from Rita Hayworth. Their marriage plans, however, met with fierce opposition from his father, Aga Khan III. Cassini later bequeathed $500,000 in trust to Daria and $1,000,000 to Christina. Christina was unable to collect her inheritance, as Cassini's widow Marianne Nestor challenged the sum in court in a lengthy case. The impoverished Christina Cassini died of cancer before she could collect and Nestor was eventually removed from her position as estate trustee. She was twice jailed for contempt, and in 2022 filed a $350 million lawsuit against the court over the estate battle. Cassini and Tierney remained friends until her death in November 1991. In 1958, Tierney met Texas oil baron W. Howard Lee, who had been married to actress Hedy Lamarr since 1953. Lee and Lamarr divorced in 1960 after a long battle over alimony. Lee and Tierney married in Aspen, Colorado, on July 11, 1960. They lived quietly in Houston, Texas, and Delray Beach, Florida until his death in 1981. Despite her self-imposed exile in Texas, Tierney received work offers from Hollywood, prompting her to a comeback. She appeared in a November 1960 broadcast of General Electric Theater, during which time she discovered that she was pregnant. Shortly after, 20th Century Fox announced Tierney would play the lead role in Return to Peyton Place, but she withdrew from the production after suffering a miscarriage. As a lifelong Republican, she supported Richard Nixon and Ronald Reagan in their elections. Later years Tierney's autobiography, Self-Portrait, in which she candidly discusses her life, career, and mental illness, was published in 1979. In 1986, Tierney was honored alongside actor Gregory Peck with the first Donostia Lifetime Achievement Award at the San Sebastian Film Festival in Spain. Tierney has a star on the Hollywood Walk of Fame at 6125 Hollywood Boulevard. Death Tierney died of emphysema on November 6, 1991, in Houston, 13 days before her 71st birthday. She is interred in Glenwood Cemetery in Houston. Certain documents of Tierney's film-related material, personal papers, letters, etc., are held in the Wesleyan University Cinema Archives, though her papers are closed to the public. Broadway credits Filmography Television credits Radio appearances Quotes By Tierney "I don't think Howard [Hughes] could love anything that did not have a motor in it." "Joe Schenck, a top 20th Century-Fox executive, once said to me that he really believed I had a future, and that was because I was the only girl who could survive so many bad pictures." —quoted in The RKO Girls Cultural references Tierney was ranked number 71 in Premiere Magazines list of "The 100 Sexiest Movie Stars of All Time". A comedy routine between Dean Martin and Jerry Lewis involved Lewis (in boxing shorts and gear) stating that he's fighting Gene Tierney. This plays on the similarly named Gene Tunney, who held the world heavyweight boxing title from 1926 to 1928. In a third-season episode of M*A*S*H* ("House Arrest"), the characters watch Tierney in Leave Her to Heaven. After Cornel Wilde kisses Tierney passionately, Hawkeye Pierce says, "If he straightens out that overbite, I'll kill him." Tierney was featured as the heroine of a novel, Gene Tierney and the Invisible Wedding Gift (1947), written by Kathryn Heisenfelt. Agatha Christie is widely assumed to have drawn the basic idea for her 1962 novel The Mirror Crack'd from Side to Side from the real-life German measles tragedy of Tierney and her baby. The Off-Broadway Musical Violet references Gene Tierney several times. The main character Violet states that she wants a pair of "Gene Tierney eyes" due to the fact that her face was disfigured after an accident involving her father. Tierney is routinely discussed in the 2005 Irish novel An Evening of Long Goodbyes by Paul Murray See also References Bibliography External links Gene Tierney at The Biography Channel Gene Tierney at aenigma Photos of Gene Tierney in 'The Shanghai Gesture' by Ned Scott Category:1920 births Category:1991 deaths Category:20th Century Studios contract players Category:20th-century American actresses Category:20th-century American memoirists Category:Actresses from New York City Category:American Academy of Dramatic Arts alumni Category:American film actresses Category:American people of Irish descent Category:American radio actresses Category:American stage actresses Category:American television actresses Category:American women memoirists Category:Burials at Glenwood Cemetery (Houston, Texas) Category:Deaths from emphysema Category:Miss Porter's School alumni Category:New York (state) Republicans Category:People from Brooklyn Category:People with bipolar disorder Category:Texas Republicans
[ { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
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C_553a501a927443b98c782fbc156080f1_1
Gene Tierney
Tierney was born on November 19, 1920 in Brooklyn, New York, the daughter of Howard Sherwood Tierney and Belle Lavinia Taylor. She was named after a beloved uncle, who died young. She had an elder brother, Howard Sherwood "Butch" Tierney, Jr., and a younger sister, Patricia "Pat" Tierney. Their father was a successful insurance broker of Irish descent, their mother a former physical education instructor.
Broadway
In Tierney's first role on Broadway, she carried a bucket of water across the stage in What a Life! (1938). A Variety magazine critic declared, "Miss Tierney is certainly the most beautiful water carrier I've ever seen!" She also worked as an understudy in The Primrose Path (1938). The following year, she appeared in the role of Molly O'Day in the Broadway production Mrs. O'Brien Entertains (1939). The New York Times critic Brooks Atkinson wrote, "As an Irish maiden fresh from the old country, Gene Tierney in her first stage performance is very pretty and refreshingly modest." That same year, Tierney appeared as Peggy Carr in Ring Two (1939) to favorable reviews. Theater critic Richard Watts, Jr. of the New York Herald Tribune wrote, "I see no reason why Miss Tierney should not have an interesting theatrical career - that is, if cinema does not kidnap her away." Tierney's father set up a corporation, Belle-Tier, to fund and promote her acting career. Columbia Pictures signed her to a six-month contract in 1939. She met Howard Hughes, who tried unsuccessfully to seduce her. From a well-to-do family herself, she was not impressed by his wealth. Hughes eventually became a lifelong friend. After a cameraman advised Tierney to lose a little weight, she wrote to Harper's Bazaar magazine for a diet, which she followed for the next 25 years. Tierney was initially offered the lead role in National Velvet, but production was delayed. When Columbia Pictures failed to find Tierney a project, she returned to Broadway and starred as Patricia Stanley to critical and commercial success in The Male Animal (1940). In The New York Times, Brooks Atkinson wrote, "Tierney blazes with animation in the best performance she has yet given". She was the toast of Broadway before her 20th birthday. The Male Animal was a hit, and Tierney was featured in Life magazine. She was also photographed by Harper's Bazaar, Vogue, and Collier's Weekly. Two weeks after The Male Animal opened, Darryl F. Zanuck, the head of 20th Century Fox, was rumored to have been in the audience. During the performance, he told an assistant to note Tierney's name. Later that night, Zanuck dropped by the Stork Club, where he saw a young lady on the dance floor. He told his assistant, "Forget the girl from the play. See if you can sign that one." It was Tierney. At first, Zanuck did not think she was the actress he had seen. Tierney was quoted (after the fact), saying: "I always had several different 'looks', a quality that proved useful in my career." CANNOTANSWER
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Gene Eliza Tierney (November 19, 1920 – November 6, 1991) was an American film and stage actress. Acclaimed for her great beauty, she became established as a leading lady. Tierney was best known for her portrayal of the title character in the film Laura (1944), and was nominated for an Academy Award for Best Actress for her performance as Ellen Berent Harland in Leave Her to Heaven (1945). Tierney's other roles include Martha Strable Van Cleve in Heaven Can Wait (1943), Isabel Bradley Maturin in The Razor's Edge (1946), Lucy Muir in The Ghost and Mrs. Muir (1947), Ann Sutton in Whirlpool (1949), Mary Bristol in Night and the City (1950), Maggie Carleton McNulty in The Mating Season (1950), and Anne Scott in The Left Hand of God (1955). Early life Gene Eliza Tierney was born on November 19, 1920, in Brooklyn, New York, the daughter of Howard Sherwood Tierney and Belle Lavinia Taylor. She was named after a beloved uncle, who died young. She had an elder brother, Howard Sherwood "Butch" Tierney Jr., and a younger sister, Patricia "Pat" Tierney. Their father was a successful insurance broker of Irish descent on his paternal side; their mother was a former physical education instructor. Tierney was raised in Westport, Connecticut. She attended St. Margaret's School in Waterbury, Connecticut, and the Unquowa School in Fairfield. She published her first poem, "Night", in the school magazine and wrote poetry occasionally throughout her life. Tierney played Jo in a student production of Little Women, based on the novel by Louisa May Alcott. Tierney spent two years in Europe, attending Brillantmont International School in Lausanne, Switzerland, where she learned to speak fluent French. She returned to the US in 1936 and attended Miss Porter's School in Farmington, Connecticut. On a family trip to the West Coast, she visited Warner Bros. studios, where her mother's cousin – Gordon Hollingshead – worked as a producer of historical short films. Director Anatole Litvak, taken by the 17-year-old's beauty, told Tierney that she should become an actress. Warner Bros. wanted to sign her to a contract, but her parents advised against it because of the relatively low salary; they also wanted her to take her position in society. Tierney's society debut occurred on September 24, 1938, when she was 17 years old. Soon bored with society life, she decided to pursue an acting career. Her father said, "If Gene is to be an actress, it should be in the legitimate theatre." Tierney studied acting at a small Greenwich Village acting studio in New York with Yiddish and Broadway actor/director Benno Schneider. She became a protégée of Broadway producer-director George Abbott. Career Broadway In Tierney's first role on Broadway, she carried a bucket of water across the stage in What a Life! (1938). A Variety magazine critic declared, "Miss Tierney is certainly the most beautiful water carrier I've ever seen!" She also worked as an understudy in The Primrose Path (1938). The following year, she appeared in the role of Molly O'Day in the Broadway production Mrs. O'Brien Entertains (1939). New York Times critic Brooks Atkinson wrote, "As an Irish maiden fresh from the old country, Gene Tierney in her first stage performance is very pretty and refreshingly modest." That same year, Tierney appeared as Peggy Carr in Ring Two (1939) to favorable reviews. Theater critic Richard Watts Jr. of the New York Herald Tribune wrote, "I see no reason why Miss Tierney should not have an interesting theatrical career – that is, if cinema does not kidnap her away." Tierney's father set up a corporation, Belle-Tier, to fund and promote her acting career. Columbia Pictures signed her to a six-month contract in 1939. She met Howard Hughes, who tried unsuccessfully to seduce her. From a well-to-do family herself, she was not impressed by his wealth. Hughes eventually became a lifelong friend. After a cameraman advised Tierney to lose a little weight, she wrote to Harper's Bazaar magazine for a diet, which she followed for the next 25 years. Tierney was initially offered the lead role in National Velvet, but production was delayed. When Columbia Pictures failed to find Tierney a project, she returned to Broadway and starred as Patricia Stanley to critical and commercial success in The Male Animal (1940). In The New York Times, Brooks Atkinson wrote, "Tierney blazes with animation in the best performance she has yet given". She was the toast of Broadway before her 20th birthday. The Male Animal was a hit, and Tierney was featured in Life. She was also photographed by Harper's Bazaar, Vogue, and Collier's Weekly. Two weeks after The Male Animal opened, Darryl F. Zanuck, the head of 20th Century Fox, was rumored to have been in the audience. During the performance, he told an assistant to note Tierney's name. Later that night, Zanuck dropped by the Stork Club, where he saw a young lady on the dance floor. He told his assistant, "Forget the girl from the play. See if you can sign that one." She was Tierney. At first, Zanuck did not think she was the actress he had seen. Tierney was quoted (after the fact), saying: "I always had several different 'looks', a quality that proved useful in my career." Film career Tierney signed with 20th Century-Fox and her motion picture debut was in a supporting role as Eleanor Stone in Fritz Lang's Western The Return of Frank James (1940), opposite Henry Fonda. A small role as Barbara Hall followed in Hudson's Bay (1941) with Paul Muni and she co-starred as Ellie Mae Lester in John Ford's comedy Tobacco Road (also 1941), and played the title role in Belle Starr alongside co-star Randolph Scott, Zia in Sundown, and Victoria Charteris (Poppy Smith) in The Shanghai Gesture. She played Eve in Son of Fury: The Story of Benjamin Blake (1942), as well as the dual role of Susan Miller (Linda Worthington) in Rouben Mamoulian's screwball comedy Rings on Her Fingers, and roles as Kay Saunders in Thunder Birds, and Miss Young in China Girl (all 1942). Receiving top billing in Ernst Lubitsch's comedy Heaven Can Wait (1943), as Martha Strable Van Cleve, signaled an upward turn in Tierney's career. Tierney recalled during the production of Heaven Can Wait: Lubitsch was a tyrant on the set, the most demanding of directors. After one scene, which took from noon until five to get, I was almost in tears from listening to Lubitsch shout at me. The next day I sought him out, looked him in the eye, and said, 'Mr. Lubitsch, I'm willing to do my best but I just can't go on working on this picture if you're going to keep shouting at me.' 'I'm paid to shout at you', he bellowed. 'Yes', I said, 'and I'm paid to take it – but not enough.' After a tense pause, Lubitsch broke out laughing. From then on we got along famously. Tierney starred in what became her best-remembered role: the title role in Otto Preminger's film noir Laura (1944), opposite Dana Andrews (who she'd work with again in The Iron Curtain and Preminger's Where The Sidewalk Ends). After playing Tina Tomasino in A Bell for Adano (1945), she played the jealous, narcissistic femme fatale Ellen Berent Harland in Leave Her to Heaven (1945), adapted from a best-selling novel by Ben Ames Williams. Appearing with Cornel Wilde, Tierney won an Academy Award nomination for Best Actress. This was 20th Century-Fox's most successful film of the 1940s. It was cited by director Martin Scorsese as one of his favorite films of all time, and he assessed Tierney as one of the most underrated actresses of the Golden Era. Tierney then starred as Miranda Wells in Dragonwyck (1946), along with Walter Huston and Vincent Price. It was Joseph L. Mankiewicz' debut film as a director. In the same period, she starred as Isabel Bradley, opposite Tyrone Power, in The Razor's Edge (also 1946), an adaptation of W. Somerset Maugham's novel of the same name. Her performance was critically praised. Tierney played Lucy Muir in Mankiewicz's The Ghost and Mrs. Muir (1947), opposite Rex Harrison. The following year, she co-starred again with Power, this time as Sara Farley in the successful screwball comedy That Wonderful Urge (1948). As the decade came to a close, Tierney reunited with Laura director Preminger to star as Ann Sutton in the classic film noir Whirlpool (1950), co-starring Richard Conte and José Ferrer. She appeared in two other films noir: Jules Dassin's Night and the City, shot in London, and Otto Preminger's Where the Sidewalk Ends (both 1950), reunited with both Preminger and leading man Dana Andrews, with whom she appeared in five movies total including The Iron Curtain and, before Laura, Belle Starr and Tobacco Road. Tierney was lent to Paramount Pictures, giving a comic turn as Maggie Carleton in Mitchell Leisen's ensemble farce, The Mating Season (1951), with John Lund, Thelma Ritter, and Miriam Hopkins. She gave a tender performance as Midge Sheridan in the Warner Bros. film, Close to My Heart (1951), with Ray Milland. The film is about a couple trying to adopt a child. Later in her career, she was reunited with Milland in Daughter of the Mind (1969). After Tierney appeared opposite Rory Calhoun as Teresa in Way of a Gaucho (1952), her contract at 20th Century-Fox expired. That same year, she starred as Dorothy Bradford in Plymouth Adventure, opposite Spencer Tracy at MGM. Tracy and she had a brief affair during this time. Tierney played Marya Lamarkina opposite Clark Gable in Never Let Me Go (1953), filmed in England. In the course of the 1940s, she reached a pinnacle of fame as a beautiful leading lady, on a par with "fellow sirens Rita Hayworth, Lana Turner and Ava Gardner". She was called “the most beautiful woman in movie history" and many of her movies in the 1940s became classic films. Tierney remained in Europe to play Kay Barlow in United Artists' Personal Affair (1953). While in Europe, she began a romance with Prince Aly Khan, but their marriage plans met with fierce opposition from his father Aga Khan III. Early in 1953, Tierney returned to the U.S. to co-star in the film noir Black Widow (1954) as Iris Denver, with Ginger Rogers and Van Heflin. Health Tierney had reportedly started smoking after a screening of her first movie to lower her voice, because she felt that she sounded "like an angry Minnie Mouse." She subsequently became a heavy smoker. Tierney struggled for years with episodes of manic depression. In 1943, she gave birth to a daughter, Daria, who was deaf and mentally disabled (possibly the result of a rubella infection she may have contracted from a fan). In 1953, she suffered problems with concentration, which affected her film appearances. She dropped out of Mogambo and was replaced by Grace Kelly. While playing Anne Scott in The Left Hand of God (1955), opposite Humphrey Bogart, Tierney became ill. Bogart's sister Frances (known as Pat) had suffered from mental illness, so he showed Tierney great sympathy, feeding her lines during the production and encouraging her to seek help. Tierney consulted a psychiatrist and was admitted to Harkness Pavilion in New York. Later, she went to the Institute of Living in Hartford, Connecticut. After some 27 shock treatments, intended to alleviate severe depression, Tierney fled the facility, but was caught and returned. She later became an outspoken opponent of shock treatment therapy, claiming it had destroyed significant portions of her memory. In late December 1957, Tierney, from her mother's apartment in Manhattan, stepped onto a ledge 14 stories above ground and remained for about 20 minutes in what was considered a suicide attempt. Police were called, and afterwards, Tierney's family arranged for her to be admitted to the Menninger Clinic in Topeka, Kansas. The following year, after treatment for depression, she was discharged. Afterwards, she worked as a sales girl in a local dress shop with hopes of integrating back into society, but she was recognized by a customer, resulting in sensational newspaper headlines. Later in 1958, 20th Century Fox offered Tierney a lead role in Holiday for Lovers (1959), but the stress upon her proved too great, so only days into production, she dropped out of the film and returned to Menninger for a time. Comeback Tierney made a screen comeback in Advise and Consent (1962), co-starring with Franchot Tone and reuniting with director Otto Preminger. Soon afterwards, she played Albertine Prine in Toys in the Attic (1963), based on the play by Lillian Hellman. This was followed by the international production of Las cuatro noches de la luna llena, (Four Nights of the Full Moon – 1963), in which she starred with Dan Dailey. She received critical praise overall for her performances. Tierney's career as a solid character actress seemed to be back on track as she played Jane Barton in The Pleasure Seekers (1964), but then she suddenly retired. She returned to star in the television movie Daughter of the Mind (1969) with Don Murray and Ray Milland. Her final performance was in the TV miniseries Scruples (1980). Personal life Tierney was married twice. Her first husband was Oleg Cassini, a costume and fashion designer, on June 1, 1941, with whom she eloped. She was 20 years old. Her parents opposed the marriage because he was from a Russian-Italian family and born in France. She had two daughters, Antoinette Daria Cassini (October 15, 1943 – September 11, 2010) and Christina "Tina" Cassini (November 19, 1948 – March 31, 2015). In June 1943, while pregnant with Daria, Tierney contracted rubella (German measles), likely from a fan ill with the disease. Antoinette Daria Cassini was born prematurely in Washington, DC, weighing and requiring a total blood transfusion. The rubella caused congenital damage: Daria was deaf, partially blind with cataracts, and severely mentally disabled. She was institutionalized for much of her life. This entire incident was inspiration for a plot point in the 1962 Agatha Christie novel The Mirror Crack'd from Side to Side (Christie's official website says about that novel, "The plot was inspired by Agatha Christie's reflections on a mother's feelings for a child born with disabilities and there can be little doubt that Christie was influenced by the real-life tragedy of American actress Gene Tierney."). Tierney's friend Howard Hughes paid for Daria's medical expenses, ensuring the girl received the best care. Tierney never forgot his acts of kindness. Daria Cassini died in 2010, at the age of 66. Tierney and Cassini separated October 20, 1946, and entered into a property settlement agreement on November 10. Periodicals during this period record Tierney with Charles K. Feldman, including articles related to her "twosoming" with Feldman, her "current best beau". Her divorce from Cassini was to be finalized in March 1948, but they reconciled before then. They later divorced in 1952. During their separation, Tierney met John F. Kennedy, a young World War II veteran, who was visiting the set of Dragonwyck in 1946. They began a romance that she ended the following year after Kennedy told her he could never marry her because of his political ambitions. In 1960, Tierney sent Kennedy a note of congratulations on his victory in the presidential election. During this time, newspapers documented Tierney's other romantic relationships, including Kirk Douglas. While filming for Personal Affair in Europe, she began a romance with Prince Aly Khan. They became engaged in 1952, while Khan was going through a divorce from Rita Hayworth. Their marriage plans, however, met with fierce opposition from his father, Aga Khan III. Cassini later bequeathed $500,000 in trust to Daria and $1,000,000 to Christina. Christina was unable to collect her inheritance, as Cassini's widow Marianne Nestor challenged the sum in court in a lengthy case. The impoverished Christina Cassini died of cancer before she could collect and Nestor was eventually removed from her position as estate trustee. She was twice jailed for contempt, and in 2022 filed a $350 million lawsuit against the court over the estate battle. Cassini and Tierney remained friends until her death in November 1991. In 1958, Tierney met Texas oil baron W. Howard Lee, who had been married to actress Hedy Lamarr since 1953. Lee and Lamarr divorced in 1960 after a long battle over alimony. Lee and Tierney married in Aspen, Colorado, on July 11, 1960. They lived quietly in Houston, Texas, and Delray Beach, Florida until his death in 1981. Despite her self-imposed exile in Texas, Tierney received work offers from Hollywood, prompting her to a comeback. She appeared in a November 1960 broadcast of General Electric Theater, during which time she discovered that she was pregnant. Shortly after, 20th Century Fox announced Tierney would play the lead role in Return to Peyton Place, but she withdrew from the production after suffering a miscarriage. As a lifelong Republican, she supported Richard Nixon and Ronald Reagan in their elections. Later years Tierney's autobiography, Self-Portrait, in which she candidly discusses her life, career, and mental illness, was published in 1979. In 1986, Tierney was honored alongside actor Gregory Peck with the first Donostia Lifetime Achievement Award at the San Sebastian Film Festival in Spain. Tierney has a star on the Hollywood Walk of Fame at 6125 Hollywood Boulevard. Death Tierney died of emphysema on November 6, 1991, in Houston, 13 days before her 71st birthday. She is interred in Glenwood Cemetery in Houston. Certain documents of Tierney's film-related material, personal papers, letters, etc., are held in the Wesleyan University Cinema Archives, though her papers are closed to the public. Broadway credits Filmography Television credits Radio appearances Quotes By Tierney "I don't think Howard [Hughes] could love anything that did not have a motor in it." "Joe Schenck, a top 20th Century-Fox executive, once said to me that he really believed I had a future, and that was because I was the only girl who could survive so many bad pictures." —quoted in The RKO Girls Cultural references Tierney was ranked number 71 in Premiere Magazines list of "The 100 Sexiest Movie Stars of All Time". A comedy routine between Dean Martin and Jerry Lewis involved Lewis (in boxing shorts and gear) stating that he's fighting Gene Tierney. This plays on the similarly named Gene Tunney, who held the world heavyweight boxing title from 1926 to 1928. In a third-season episode of M*A*S*H* ("House Arrest"), the characters watch Tierney in Leave Her to Heaven. After Cornel Wilde kisses Tierney passionately, Hawkeye Pierce says, "If he straightens out that overbite, I'll kill him." Tierney was featured as the heroine of a novel, Gene Tierney and the Invisible Wedding Gift (1947), written by Kathryn Heisenfelt. Agatha Christie is widely assumed to have drawn the basic idea for her 1962 novel The Mirror Crack'd from Side to Side from the real-life German measles tragedy of Tierney and her baby. The Off-Broadway Musical Violet references Gene Tierney several times. The main character Violet states that she wants a pair of "Gene Tierney eyes" due to the fact that her face was disfigured after an accident involving her father. Tierney is routinely discussed in the 2005 Irish novel An Evening of Long Goodbyes by Paul Murray See also References Bibliography External links Gene Tierney at The Biography Channel Gene Tierney at aenigma Photos of Gene Tierney in 'The Shanghai Gesture' by Ned Scott Category:1920 births Category:1991 deaths Category:20th Century Studios contract players Category:20th-century American actresses Category:20th-century American memoirists Category:Actresses from New York City Category:American Academy of Dramatic Arts alumni Category:American film actresses Category:American people of Irish descent Category:American radio actresses Category:American stage actresses Category:American television actresses Category:American women memoirists Category:Burials at Glenwood Cemetery (Houston, Texas) Category:Deaths from emphysema Category:Miss Porter's School alumni Category:New York (state) Republicans Category:People from Brooklyn Category:People with bipolar disorder Category:Texas Republicans
[ { "text": "Bibliography (from and ), as a discipline, is traditionally the academic study of books as physical, cultural objects; in this sense, it is also known as bibliology (from ). English author and bibliographer John Carter describes bibliography as a word having two senses: one, a list of books for further study or of works consulted by an author (or enumerative bibliography); the other one, applicable for collectors, is \"the study of books as physical objects\" and \"the systematic description of books as objects\" (or descriptive bibliography).\n\nEtymology \nThe word was used by Greek writers in the first three centuries CE to mean the copying of books by hand. In the 12th century, the word started being used for \"the intellectual activity of composing books.\" The 17th century then saw the emergence of the modern meaning, that of description of books. Currently, the field of bibliography has expanded to include studies that consider the book as a material object. Bibliography, in its systematic pursuit of understanding the past and the present through written and printed documents, describes a way and means of extracting information from this material. Bibliographers are interested in comparing versions of texts to each other rather than in interpreting their meaning or assessing their significance.\n\nField of study \nBibliography is a specialized aspect of library science (or library and information science, LIS) and documentation science. It was established by a Belgian, named Paul Otlet (1868–1944), who was the founder of the field of documentation, as a branch of the information sciences, who wrote about \"the science of bibliography.\" However, there have recently been voices claiming that \"the bibliographical paradigm\" is obsolete, and it is not today common in LIS. A defence of the bibliographical paradigm was provided by Hjørland (2007).\n\nThe quantitative study of bibliographies is known as bibliometrics, which is today an influential subfield in LIS and is used for major collection decisions such as the cancellation of big deals, through data analysis tools like Unpaywall Journals.\n\nBranches \nCarter and Barker describe bibliography as a twofold scholarly discipline—the organized listing of books (enumerative bibliography) and the systematic description of books as physical objects (descriptive bibliography). These two distinct concepts and practices have separate rationales and serve differing purposes. Innovators and originators in the field include W. W. Greg, Fredson Bowers, Philip Gaskell and G. Thomas Tanselle.\n\nBowers (1949) refers to enumerative bibliography as a procedure that identifies books in “specific collections or libraries,” in a specific discipline, by an author, printer, or period of production (3). He refers to descriptive bibliography as the systematic description of a book as a material or physical artefact. Analytical bibliography, the cornerstone of descriptive bibliography, investigates the printing and all physical features of a book that yield evidence establishing a book's history and transmission (Feather 10). It is the preliminary phase of bibliographic description and provides the vocabulary, principles and techniques of analysis that descriptive bibliographers apply and on which they base their descriptive practice.\n\nDescriptive bibliographers follow specific conventions and associated classification in their description. Titles and title pages are transcribed in a quasi-facsimile style and representation. Illustration, typeface, binding, paper, and all physical elements related to identifying a book follow formulaic conventions, as Bowers established in his foundational opus, The Principles of Bibliographic Description. The thought expressed in this book expands substantively on W. W. Greg's groundbreaking theory that argued for the adoption of formal bibliographic principles (Greg 29). Fundamentally, analytical bibliography is concerned with objective, physical analysis and history of a book while descriptive bibliography employs all data that analytical bibliography furnishes and then codifies it with a view to identifying the ideal copy or form of a book that most nearly represents the printer's initial conception and intention in printing.\n\nIn addition to viewing bibliographic study as being composed of four interdependent approaches (enumerative, descriptive, analytical, and textual), Bowers notes two further subcategories of research, namely historical bibliography and aesthetic bibliography. Both historical bibliography, which involves the investigation of printing practices, tools, and related documents, and aesthetic bibliography, which examines the art of designing type and books, are often employed by analytical bibliographers.\n\nD. F. McKenzie extended previous notions of bibliography as set forth by Greg, Bowers, Gaskell and Tanselle. He describes the nature of bibliography as \"the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception\" (1999 12). This concept broadens the scope of bibliography to include \"non-book texts\" and an accounting for their material form and structure, as well as textual variations, technical and production processes that bring sociocultural context and effects into play. McKenzie's perspective contextualizes textual objects or artefacts with sociological and technical factors that have an effect on production, transmission and, ultimately, ideal copy (2002 14). Bibliography, generally, concerns the material conditions of books [as well as other texts] how they are designed, edited, printed, circulated, reprinted, collected.\n\nBibliographic works differ in the amount of detail depending on the purpose and can generally be divided into two categories: enumerative bibliography (also called compilative, reference or systematic), which results in an overview of publications in a particular category and analytical or critical bibliography, which studies the production of books. In earlier times, bibliography mostly focused on books. Now, both categories of bibliography cover works in other media including audio recordings, motion pictures and videos, graphic objects, databases, CD-ROMs and websites.\n\nEnumerative bibliography \n\nAn enumerative bibliography is a systematic list of books and other works such as journal articles. Bibliographies range from \"works cited\" lists at the end of books and articles, to complete and independent publications. A notable example of a complete, independent publication is Gow's A. E. Housman: A Sketch, Together with a List of His Classical Papers (1936). As separate works, they may be in bound volumes such as those shown on the right, or computerized bibliographic databases. A library catalog, while not referred to as a \"bibliography,\" is bibliographic in nature. Bibliographical works are almost always considered to be tertiary sources.\n\nEnumerative bibliographies are based on a unifying principle such as creator, subject, date, topic or other characteristic. An entry in an enumerative bibliography provides the core elements of a text resource including a title, the creator(s), publication date and place of publication. Belanger (1977) distinguishes an enumerative bibliography from other bibliographic forms such as descriptive bibliography, analytical bibliography or textual bibliography in that its function is to record and list, rather than describe a source in detail or with any reference to the source's physical nature, materiality or textual transmission. The enumerative list may be comprehensive or selective. One noted example would be Tanselle's bibliography that exhaustively enumerates topics and sources related to all forms of bibliography. A more common and particular instance of an enumerative bibliography relates to specific sources used or considered in preparing a scholarly paper or academic term paper.\n\nCitation styles vary.\nAn entry for a book in a bibliography usually contains the following elements:\n creator(s)\n title\n place of publication\n publisher or printer\n date of publication\n\nAn entry for a journal or periodical article usually contains:\n creator(s)\n article title\n journal title\n volume\n pages\n date of publication\n\nA bibliography may be arranged by author, topic, or some other scheme. Annotated bibliographies give descriptions about how each source is useful to an author in constructing a paper or argument. These descriptions, usually a few sentences long, provide a summary of the source and describe its relevance. Reference management software may be used to keep track of references and generate bibliographies as required.\n\nBibliographies differ from library catalogs by including only relevant items rather than all items present in a particular library. However, the catalogs of some national libraries effectively serve as national bibliographies, as the national libraries own almost all their countries' publications.\n\nDescriptive bibliography \nFredson Bowers described and formulated a standardized practice of descriptive bibliography in his Principles of Bibliographical Description\n(1949). Scholars to this day treat Bowers' scholarly guide as authoritative. In this classic text, Bowers describes the basic function of bibliography as, \"[providing] sufficient data so that a reader may identify the book described, understand the printing, and recognize the precise contents\" (124).\n\nDescriptive bibliographies as scholarly product \nDescriptive bibliographies as a scholarly product usually include information on the following aspect of a given book as a material object:\nFormat and Collation/Pagination Statement—a conventional, symbolic formula that describes the book block in terms of sheets, folds, quires, signatures, and pages\n\nAccording to Bowers (193), the format of a book is usually abbreviated in the collation formula:\nBroadsheet: I° or b.s. or bs.\nFolio: 2° or fol.\nQuarto: 4° or 4to or Q° or Q\nOctavo: 8° or 8vo\nDuodecimo: 12° or 12mo\nSexto-decimo: 16° or 16mo\nTricesimo-secundo: 32° or 32mo\nSexagesimo-quarto: 64° or 64mo\nThe collation, which follows the format, is the statement of the order and size of the gatherings.\nFor example, a quarto that consists of the signed gatherings:\n2 leaves signed A, 4 leaves signed B, 4 leaves signed C, and 2 leaves signed D\nwould be represented in the collation formula:\n4°: A2B-C4D2\nBinding—a description of the binding techniques (generally for books printed after 1800)\nTitle Page Transcription—a transcription of the title page, including rule lines and ornaments\nContents—a listing of the contents (by section) in the book\nPaper—a description of the physical properties of the paper, including production process, an account of chain-line measurements, and a description of watermarks (if present)\nIllustrations—a description of the illustrations found in the book, including printing process (e.g. woodblock, intaglio, etc.), measurements, and locations in the text\nPresswork—miscellaneous details gleaned from the text about its production\nCopies Examined—an enumeration of the copies examined, including those copies' location (i.e. belonging to which library or collector)\n\nAnalytical bibliography \nThis branch of the bibliographic discipline examines the material features of a textual artefact—such as type, ink, paper, imposition, format, impressions and states of a book—to essentially recreate the conditions of its production. Analytical bibliography often uses collateral evidence—such as general printing practices, trends in format, responses and non-responses to design, etc.—to scrutinize the historical conventions and influences underlying the physical appearance of a text. The bibliographer utilizes knowledge gained from the investigation of physical evidence in the form of a descriptive bibliography or textual bibliography. Descriptive bibliography is the close examination and cataloging of a text as a physical object, recording its size, format, binding, and so on, while textual bibliography (or textual criticism) identifies variations—and the aetiology of variations—in a text with a view to determining \"the establishment of the most correct form of [a] text\" (Bowers 498[1]).\n\nBibliographers \n\nA bibliographer is a person who describes and lists books and other publications, with particular attention to such characteristics as authorship, publication date, edition, typography, etc. A person who limits such efforts to a specific field or discipline is a subject bibliographer.\"\n\nA bibliographer, in the technical meaning of the word, is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject. In the present, bibliography is no longer a career, generally speaking; bibliographies tend to be written on highly specific subjects and by specialists in the field.\n\nThe term bibliographer is sometimes—in particular subject bibliographer—today used about certain roles performed in libraries and bibliographic databases.\n\nOne of the first bibliographers was Conrad Gessner who sought to list all books printed in Latin, Greek and Hebrew in Bibliotheca Universalis (1545).\n\nNon-book material \nSystematic lists of media other than books can be referred to with terms formed analogously to bibliography:\n Discography—recorded music\n Filmography—films\n Webography (or webliography)—websites\n Arachniography, a term coined by NASA research historian Andrew J. Butrica, which means a reference list of URLs about a particular subject. It is equivalent to a bibliography in a book. The name derives from arachne in reference to a spider and its web.\n\nSee also \n\n \n \n \n \n \n \n \n \n (in Wikipedia)\n\nNotes\n\nReferences\n\nFurther reading \n Blum, Rudolf. (1980) Bibliographia. An Inquiry in Its Definition and Designations, Dawson, American Library Association.\n Bowers, Fredson. (1995) Principles of Bibliographical Description, Oak Knoll Press.\n Duncan, Paul Shaner. (1973) How to Catalog a Rare Book, 2nd ed., rev., American Library Association.\n \n Gaskell, Philip. (2000) A New Introduction to Bibliography, Oak Knoll Press.\n McKerrow, R. B. (1927) An Introduction to Bibliography for Literary Students, Oxford: Clarendon Press\n Schneider, Georg. (1934) Theory and History of Bibliography, New York: Scarecrow Press.\n National Library of Canada, Committee on Bibliography and Information Services for the Social Sciences and Humanities, Guidelines for the Compilation of a Bibliography (National Library of Canada, 1987). N.B.: This is a brief guide to accurately practical bibliography, not a study concerning more precise and systematic bibliography.\n \nRobinson, A. M. Lewin (1966) Systematic Bibliography; rev. ed. London: Clive Bingley\n\nExternal links \n\n Oxford Bibliographies Online, in-depth annotated bibliographies by scholars in selected fields\n Introduction to Bibliography, a comprehensive syllabus by G. Thomas Tanselle\n The Bibliographical Society of America, a resource for information about current work in the field of bibliography\n Studies in Bibliography, the journal of the Bibliographical Society of the University of Virginia\n A Bibliography of Literary Theory, Criticism, and Philology, (University of Zaragoza) includes thousands of listings on literary, philological and other subjects\n\n \nCategory:Book design\nCategory:Book terminology\nCategory:Textual scholarship", "title": "Bibliography" } ]
[ "Tierney started in Broadway in 1938.", "The text does not provide information on what prompted Tierney to go to Broadway.", "The text does not provide information on Gene Tierney starring in any musicals.", "According to the text, \"The Male Animal\" was a hit Broadway production that Tierney starred in. It brought her critical and commercial success, and she was named \"the toast of Broadway\" before her 20th birthday because of it.", "Gene Tierney received favorable reviews for her performances. A Variety magazine critic, commenting on her first role in What a Life! (1938), declared, \"Miss Tierney is certainly the most beautiful water carrier I've ever seen!\" The New York Times critic Brooks Atkinson noted her as \"very pretty and refreshingly modest\" in her role in Mrs. O'Brien Entertains (1939). Richard Watts, Jr., theater critic of the New York Herald Tribune, said he saw \"no reason why Miss Tierney should not have an interesting theatrical career.\" And in The Male Animal (1940), Brooks Atkinson wrote in The New York Times that \"Tierney blazes with animation in the best performance she has yet given.\"", "In addition to praising her performances, a cameraman advised Gene Tierney to lose a little weight. Afterward, she wrote to Harper's Bazaar magazine for a diet, which she then followed for the next 25 years. Howard Hughes, whom she met when Columbia Pictures signed her to a six-month contract, tried unsuccessfully to seduce her; however, she wasn't impressed by his wealth. Hughes eventually became a lifelong friend of Tierney's. When Darryl F. Zanuck, the head of 20th Century Fox, first saw her, he did not recognize her as the actress he had seen in a play, which led Tierney to comment: \"I always had several different 'looks', a quality that proved useful in my career.\"", "Aside from the praise for her performances, the context provided does not mention any other comments that critics specifically made about Gene Tierney.", "As a result of her success, Gene Tierney was the toast of Broadway before her 20th birthday, and played a starring role in the hit show, The Male Animal. Due to her success, she was featured in Life magazine and was photographed by Harper's Bazaar, Vogue, and Collier's Weekly. Darryl F. Zanuck, the head of 20th Century Fox, noticed her and showed interest in signing her." ]
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C_fe64276a62204a4780683986d45c0768_1
Namdev
Namdev, also transliterated as Namdeo and Namadeva, (traditionally, c. 1270 - c. 1350) was a poet-saint from Maharashtra, India who is significant to the Varkari sect of Hinduism. He is also venerated in Sikhism, as well as Hindu warrior-ascetic traditions such as the Dadupanthis and the Niranjani Sampraday that emerged in north India during the Islamic rule. The details of Namdev's life are unclear. He is the subject of many miracle-filled hagiographies composed centuries after he died.
Reliability of hagiographies
The literary works of Namdev were influenced by Vaishnava philosophy and a belief in Vithoba. Along with the Jnanesvari, a sacred work of Jnanesvar, and of Bhakti movement teacher-writers such as Tukaram, the writings of Namdev form the basis of the beliefs held by the Varkari sect of Hinduism. He was thus among those responsible for disseminating the monotheistic Varkari faith that had emerged first in Karnataka in the mid-to-late 12th century and then spread to Pandharpur in Maharashtra. Namdev and Jnanesvar used the Marathi language to convey their beliefs rather than using the traditional Sanskrit language that was essentially a buttress for the pre-eminence of the Brahmin priests. Namdev's style was to compose simply worded praise for Vithoba and to use a melodic device called samkirtana, both of which were accessible to common people. Shima Iwao says that "He taught that all can be saved equally, without regard to caste, through devotion (bhakti) to Vithoba" and that he greatly influenced groups of people who were forbidden by the Brahmin elite from studying the Vedas, such as women and members of the Shudra and untouchable communities. The earliest anthological record of Namdev's works occurs in the Guru Granth Sahib, the Sikh scriptures compiled in 1604, although Novetzke notes that while the manuscript records of Namdev mostly date from the 17th and 18th centuries, there exists a manuscript from 1581 that presents a rarely recounted variant version of Namdev's Tirthavli, a Marathi-language autobiographical piece. It is evident that the Guru Granth record is an accurate rendition of what Namdev wrote: the oral tradition probably accounts significantly for the changes and additions that appear to have been made by that time. The numerous subsequently produced manuscripts also show variant texts and additions that are attributed to him. Of around 2500 abhangs that were credited to him and written in the Marathi language, perhaps only 600 - 700 are authentic. The surviving manuscripts are geographically dispersed and of uncertain provenance. CANNOTANSWER
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[ "What are hagiographies?", "What kind of beliefs?", "Were his writings taken seriously?", "What did they do with those influences?" ]
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Namdev (Pronunciation: [naːmdeʋ]), also transliterated as Nam Dayv, Namdeo, Namadeva, (traditionally, ) was a Marathi Vaishnav saint from Narsi, Hingoli, Maharashtra, India within the Varkari tradition of Hinduism. He lived as a devotee of Lord Vitthal of Pandharpur. He is widely regarded as the founder of Varkari tradition. Namdev was influenced by Vaishnavism and became widely known in India for his devotional songs set to music (bhajan-kirtans). His philosophy contains both nirguna brahman and saguna brahman elements, with monistic themes. Namdev's legacy is remembered in modern times in the Varkari tradition, along with those of other gurus, with masses of people walking together in biannual pilgrimages to Pandharpur in Maharashtra. He is also recognised in the North Indian traditions of the Dadu Panthis, Kabir Panthis and Sikhs. Some hymns of Namdev are included in the Guru Granth Sahib. Life Details of the life of Namdev are vague. His family name was believed to be as Relekar which is common in Bhavsar and Namdev shimpi caste. He is traditionally believed to have lived between 1270 and 1350 but S. B. Kulkarni has suggested that 1207-1287 is more likely, based on textual analysis. Some scholars date him to around 1425 and another, R. Bharadvaj, proposes 1309-1372. He is, according to Christian Novetzke, "one of the most prominent voices in the historical study of Maharashtrian Sant figures". His well-known and first miracle is that, in childhood, he got an idol of Lord Vitthal drink milk. Namdev was married to Rajai and had a son, Vitha, both of whom wrote about him, as did his mother, Gonai. Contemporary references to him by a disciple, a potter, a guru and other close associates also exist. There are no references to him in the records and inscriptions of the then-ruling family and the first non-Varkari noting of him appears possibly to be in the Leela Charitra, a Mahanubhava-sect biography dating from 1278. Smrtisthala, a later Mahanubhava text from around 1310, may also possibly refer to him; after that, there are no references until a bakhar of around 1538. According to Mahipati, a hagiographer of the 18th century, Namdev's parents were Damashet and Gonai, a childless elderly couple whose prayers for parenthood were answered and involved him being found floating down a river. As with various other details of his life, elements such as this may have been invented to sidestep issues that might have caused controversy. In this instance, the potential controversy was that of caste or, more specifically, his position in the Hindu varna system of ritual ranking. He was born into what is generally recognised as a Vaishya caste, Merchants of Clothes variously recorded as shimpi (tailor) in the Marathi language and as Chhipa, Chhimpa, Chhimba, chimpi (calico-printer) in northern India. His followers in Maharashtra and northern India who are from those communities prefer to consider their place, and thus his, as Kshatriya. There are contrary traditions concerning his birthplace, with some people believing that he was born at Narsi Bahmani, on the Krishna River in Marathwada and others preferring somewhere near to Pandharpur on the Bhima river. that he was himself a calico-printer or tailor and that he spent much of his life in Punjab. The Lilacaritra suggests, however, that Namdev was a cattle-thief who was devoted to and assisted Vithoba. A friendship between Namdev and Jñāneśvar, a yogi-saint, has been posited at least as far back as circa 1600 CE when Nabhadas, a hagiographer, noted it in his Bhaktamal. Jñāneśvar, also known as Jñāndev, never referred to Namdev in his writings but perhaps had no cause to do so; Novetzke notes that "Jnandev's songs generally did not concern biography or autobiography; the historical truth of their friendship is beyond my ken to determine and has remained an unsettled subject in Marathi scholarship for over a century." Namdev is generally considered by Sikhs to be a holy man (bhagat), many of whom came from lower castes and so also attracted attention as social reformers. Such men, who comprised both Hindus and Muslims, traditionally wrote devotional poetry in a style that was acceptable to the Sikh belief system. A tradition in Maharashtra is that Namdev died at the age of eighty in 1350 CE. Sikh tradition maintains that his death place was the Punjabi village of Ghuman, although this is not universally accepted. Aside from a shrine there that marks his death, there are monuments at the other claimant places, being Pandharpur and the nearby Narsi Bahmani. Reliability of hagiographies Scholars note that many miracles and specifics about Namdev's life appear only in manuscripts written centuries after Namdev's death. The birth theory with Namdev floating down a river, is first found in Mahipati's Bhaktavijay composed around 1762, and is absent in all earlier biographies of Namdev. Mahipati's biography of Namdev adds numerous other miracles, such as buildings rotating and sun rising in the west to show respect to Namdev. The earliest surviving Hindi and Rajasthani biographies from about 1600 only mention a few miracles performed by Namdev. In Namdev biographies published after 1600 through the end of the 20th century, new life details and more miracles increasingly appear with the passage of time. The earliest biographies never mention the caste of Namdev, and his caste appears for the first time in manuscripts with statements from Ravidas and Dhana in early 17th century. Namdev's Immaculate Conception miracle mentioned in later era manuscripts, adds Novetzke, is a story found regularly for other sants in India. The Namdev biographies in medieval manuscripts are inconsistent and contradictory, feeding questions of their reliability. Work The literary works of Namdev were influenced by Vaishnava philosophy and a belief in Vithoba. Along with the Jñānēśvarī, a sacred work of Jñānēśvar, and of Bhakti movement teacher-writers such as Tukaram, the writings of Namdev form the basis of the beliefs held by the Varkari sect of Hinduism. He was thus among those responsible for disseminating the monotheistic Varkari faith that had emerged first in Karnataka in the mid-to-late 12th century and then spread to Pandharpur in Maharashtra. Namdev and Jñānēśvar used the Marathi language to convey their beliefs. Namdev's style was to compose simply worded praise for Vithoba and to use a melodic device called samkirtana, both of which were accessible to common people. Shima Iwao says that "He taught that all can be saved equally, without regard to caste, through devotion (bhakti) to Vithoba" and that he greatly influenced groups of people who were forbidden by the Brahmin elite from studying the Vedas, such as women and members of the Shudra and untouchable communities. The earliest anthological record of Namdev's works occurs in the Guru Granth Sahib, the Sikh scriptures compiled in 1604, although Novetzke notes that while the manuscript records of Namdev mostly date from the 17th and 18th centuries, there exists a manuscript from 1581 that presents a rarely recounted variant version of Namdev's Tirthavli, a Marathi-language autobiographical piece. It is evident that the Guru Granth Sahib ji record is an accurate rendition of what Namdev wrote: the oral tradition probably accounts significantly for the changes and additions that appear to have been made by that time. The numerous subsequently produced manuscripts also show variant texts and additions that are attributed to him. Of around 2500 abhangs that were credited to him and written in the Marathi language, perhaps only 600 - 700 are authentic. The surviving manuscripts are geographically dispersed and of uncertain provenance. Bhajans Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries. The musical genre of Namdev's literary works was a form of Prabandha – itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units). Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). Compilations Namdev's work is known for abhangs, a genre of hymn poetry in India. His poems were transmitted from one generation to the next within singing families, and memory was the only recording method in the centuries that followed Namdev's death. The repertoires grew, because the artists added new songs to their repertoire. The earliest surviving manuscripts of songs attributed to Namdev, from these singing families, are traceable to the 17th century. A diverse collection of these manuscripts exist, which have been neither compiled nor archived successfully in a single critical edition. The state Government of Maharashtra made an effort and compiled Namdev's work from various manuscripts into the Sri Namdev Gatha in 1970. The Adi Granth of Sikhism includes a compilation of 61 songs of Namdev. However, of these only 25 are found in surviving Namdev-related manuscripts of Rajasthan. Winand Callewaert suggests that Namdev's poems in the Adi Granth and the surviving Rajasthani manuscripts are considerably different musically and morphologically, but likely to have evolved from a very early common source. Anamnetic authorship Of thousands of Abhang poems credited to Namdev, 600 - 700 are probably authentic. The other poems are attributed to Namdev, in a phenomenon Novetzke calls, "anamnetic authorship". The later compositions and their authors hid the true authorship purposefully and collectively over the 14th to 18th centuries, a period described in Maharashtra culture as the dark age. This was a period of Muslim conquest and repression of Hindus under the Delhi Sultanate and the Mughal Empire. The literary works not composed by Namdev, but attributed to Namdev were partly a product of this historical suffering and political situation in Deccan region of India. Some of the poetries of another Poet named Vishnudas Namadev who lived in 15th century are also attributed to this Namadev, the Saint. This includes the popular Marathi Aartis of Vithoba "Yuge Atthavis" & "Yei O Vitthale" Philosophy Namdev was influenced by Vaishnavite philosophy. His poems sometimes invoked Vithoba, sometimes Vishnu-Krishna as Govind-Hari, but in the larger context of Rama, which states Ronald McGregor, was not referring to the hero described in the Hindu epic Ramayana, but to a pantheistic Ultimate Being. Namdev's view of Rama can be visualised, adds McGregor, "only as the one true, or real Teacher of man (satguru)".. However, this is an observation based on hymns for which Namdev is not definitively known to the author, and might well be interpolated. For example, the following hymn talks about worshipping One Omnipresent God rather than Hindu deities Rama or Shiva Indian traditions attribute varying theosophical views to Namdev. In north India, Namdev is considered as a nirguna bhakta, in Marathi culture he is considered a saguna bhakta. In Namdev literature, devotion as the path to liberation is considered superior to alternative paths. Novetzke states that the envisioned devotion is not one way from the devotee to Vishnu, but it is bidirectional, such that "Krishna (Vishnu) is Namdev's slave, and Namdev is Vishnu's slave". To Namdev, mechanical rituals are futile, pilgrimage to holy places is pointless, deep meditation and loving mutual devotion is what matters. Namdev and other sant poets of India "were influenced by the monist view of the ultimate being (Brahman)", which was expressed, in vernacular language, as the loving devotion not of a specific deity but to this ultimate, according to McGregor. Namdev's songs suggested the divine is within oneself, its non-duality, its presence and oneness in everyone and everything. In Namdev's literary works, summarises Klaus Witz, as with virtually every Bhakti movement poet, the "Upanishadic teachings form an all-pervasive substratum, if not a basis. We have here a state of affairs that has no parallel in the West. Supreme Wisdom, which can be taken as basically nontheistic and as an independent wisdom tradition (not dependent on the Vedas), appears fused with highest level of bhakti and with highest level of God realization." Legacy Along with the works of sants such as Jnanesvar and Tukaram, the writings of Namdev are at the foundation of beliefs held by the Varkari sect of Hinduism. He was among those responsible for disseminating the Vithoba faith that had emerged first in the 12th century Namdev used the Marathi language to compose his poetry, which made it accessible to the wider public. Namdev's simple words of devotion and his use melody appealed to common people. This helped spread his message and songs widely. Namdev thus played a role, states McGregor, in shaping the religious base for the "premodern and modern culture of north India". Namdev attracted individuals from diverse classes and castes during community-driven bhajan singing sessions. His companions during worship sessions included Kanhopatra (a dancing girl), Sena (a barber), Savata (a gardener), Chokhamela (an untouchable), Janabai (a maid), Gora (a potter), Narahari (a goldsmith) and Jñāneśvar (also known as Dnyandev, a Brahmin). The close friendship between Namdev and the influential Jnanesvar, a Brahmin yogi-saint, is mentioned in Bhaktamal. The songs of Namdev, also called kirtans, use the term loka, which Novetzke states is a reference to "we the people" and the "human world" as a social force. Namdev is considered one of the five revered gurus in the Dadupanth tradition within Hinduism, the other four being Dadu, Kabir, Ravidas and Hardas. Dadupanthi Hindus thrived in Rajasthan, creating and compiling Bhakti poems including one of the largest collection of Namdev's songs. They were also among the warrior-ascetics of Rajput heritage who became a widespread phenomena in the 17th- and 18th-century North India, and were sannyasis who participated in armed resistance to the Islamic Mughal empire, inspired by their Nath yogi heritage and five revered gurus. Like Dadupanth, another north Indian warrior ascetic group, the Niranjani Sampraday tradition within Hinduism reveres Namdev as a holy person. The Niranjani Vani, which is their scripture just like the scriptures of Dadu Panthi and Sikhs, includes poetry of Namdev, and is dated to be from the 17th and 18th centuries. Namdev is one of the revered holy men in Sikhism as well. He is mentioned in Guru Granth Sahib, where Novetzke notes, "Namdev is remembered as having been summoned to confront a Sultan." There is a controversy among scholars if the Namdev hymns recorded in the Guru Granth of Sikhs were composed by the Marathi Namdev, or a different sant whose name was also Namdev. Namdev's legacy continues through the biannual pilgrimage to Pandharpur, near Bhima river, in Maharashtra. His paduka (footprints) are among those of revered sants that Varkari communities from various parts of Maharashtra carry with a palkhi (palanquin) to the Vithoba temple in Pandharpur, every year in modern times. Namdev composed bhajan-kirtans are sung during the pilgrimage-related festivities. Notes References Sources Further reading Category:Warkari Category:Marathi people Category:Hindu philosophers and theologians Category:Medieval Hindu religious leaders Category:Bhakti movement Category:People from Hingoli district Category:Sant Mat Category:Kirtan performers Category:Vaishnava saints Category:Marathi Hindu saints
[]
[ "CANNOTANSWER", "Namdev's beliefs were influenced by Vaishnava philosophy and a belief in Vithoba. He was part of the monotheistic Varkari faith that emerged first in Karnataka in the mid-to-late 12th century. Namdev taught that all can be saved equally, without regard to caste, through devotion (bhakti) to Vithoba. He greatly influenced groups of people who were forbidden by the Brahmin elite from studying the Vedas, such as women and members of the Shudra and untouchable communities.", "Yes, Namdev's writings were taken seriously. They form the basis of the beliefs held by the Varkari sect of Hinduism, demonstrating their significant influence. Additionally, the earliest anthological record of Namdev's works occurs in the Guru Granth Sahib, the Sikh scriptures compiled in 1604, indicating that his works were of considerable importance and esteem. However, the text also mentions that he composed his writings in Marathi, a choice that was accessible to common people and not traditional Sanskrit, the language of the Brahmin priests, implying that his teachings were aimed at a broader audience rather than just the scholarly elite.", "The influences of Namdev's beliefs and writings prominently featured in the teachings and practices of the Varkari sect of Hinduism. His use of Marathi language, rather than traditional Sanskrit, made his teachings more accessible to the common people, including those from lower castes and women, who were traditionally forbidden from studying the Vedas by the Brahmin elite. His teachings, centered around devotion (bhakti) to Vithoba and equality of salvation irrespective of caste, were widely communicated and followed, thus greatly influencing the religious beliefs and practices of these groups." ]
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C_fe64276a62204a4780683986d45c0768_0
Namdev
Namdev, also transliterated as Namdeo and Namadeva, (traditionally, c. 1270 - c. 1350) was a poet-saint from Maharashtra, India who is significant to the Varkari sect of Hinduism. He is also venerated in Sikhism, as well as Hindu warrior-ascetic traditions such as the Dadupanthis and the Niranjani Sampraday that emerged in north India during the Islamic rule. The details of Namdev's life are unclear. He is the subject of many miracle-filled hagiographies composed centuries after he died.
Bhajans
Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries. The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units). Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). CANNOTANSWER
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Namdev (Pronunciation: [naːmdeʋ]), also transliterated as Nam Dayv, Namdeo, Namadeva, (traditionally, ) was a Marathi Vaishnav saint from Narsi, Hingoli, Maharashtra, India within the Varkari tradition of Hinduism. He lived as a devotee of Lord Vitthal of Pandharpur. He is widely regarded as the founder of Varkari tradition. Namdev was influenced by Vaishnavism and became widely known in India for his devotional songs set to music (bhajan-kirtans). His philosophy contains both nirguna brahman and saguna brahman elements, with monistic themes. Namdev's legacy is remembered in modern times in the Varkari tradition, along with those of other gurus, with masses of people walking together in biannual pilgrimages to Pandharpur in Maharashtra. He is also recognised in the North Indian traditions of the Dadu Panthis, Kabir Panthis and Sikhs. Some hymns of Namdev are included in the Guru Granth Sahib. Life Details of the life of Namdev are vague. His family name was believed to be as Relekar which is common in Bhavsar and Namdev shimpi caste. He is traditionally believed to have lived between 1270 and 1350 but S. B. Kulkarni has suggested that 1207-1287 is more likely, based on textual analysis. Some scholars date him to around 1425 and another, R. Bharadvaj, proposes 1309-1372. He is, according to Christian Novetzke, "one of the most prominent voices in the historical study of Maharashtrian Sant figures". His well-known and first miracle is that, in childhood, he got an idol of Lord Vitthal drink milk. Namdev was married to Rajai and had a son, Vitha, both of whom wrote about him, as did his mother, Gonai. Contemporary references to him by a disciple, a potter, a guru and other close associates also exist. There are no references to him in the records and inscriptions of the then-ruling family and the first non-Varkari noting of him appears possibly to be in the Leela Charitra, a Mahanubhava-sect biography dating from 1278. Smrtisthala, a later Mahanubhava text from around 1310, may also possibly refer to him; after that, there are no references until a bakhar of around 1538. According to Mahipati, a hagiographer of the 18th century, Namdev's parents were Damashet and Gonai, a childless elderly couple whose prayers for parenthood were answered and involved him being found floating down a river. As with various other details of his life, elements such as this may have been invented to sidestep issues that might have caused controversy. In this instance, the potential controversy was that of caste or, more specifically, his position in the Hindu varna system of ritual ranking. He was born into what is generally recognised as a Vaishya caste, Merchants of Clothes variously recorded as shimpi (tailor) in the Marathi language and as Chhipa, Chhimpa, Chhimba, chimpi (calico-printer) in northern India. His followers in Maharashtra and northern India who are from those communities prefer to consider their place, and thus his, as Kshatriya. There are contrary traditions concerning his birthplace, with some people believing that he was born at Narsi Bahmani, on the Krishna River in Marathwada and others preferring somewhere near to Pandharpur on the Bhima river. that he was himself a calico-printer or tailor and that he spent much of his life in Punjab. The Lilacaritra suggests, however, that Namdev was a cattle-thief who was devoted to and assisted Vithoba. A friendship between Namdev and Jñāneśvar, a yogi-saint, has been posited at least as far back as circa 1600 CE when Nabhadas, a hagiographer, noted it in his Bhaktamal. Jñāneśvar, also known as Jñāndev, never referred to Namdev in his writings but perhaps had no cause to do so; Novetzke notes that "Jnandev's songs generally did not concern biography or autobiography; the historical truth of their friendship is beyond my ken to determine and has remained an unsettled subject in Marathi scholarship for over a century." Namdev is generally considered by Sikhs to be a holy man (bhagat), many of whom came from lower castes and so also attracted attention as social reformers. Such men, who comprised both Hindus and Muslims, traditionally wrote devotional poetry in a style that was acceptable to the Sikh belief system. A tradition in Maharashtra is that Namdev died at the age of eighty in 1350 CE. Sikh tradition maintains that his death place was the Punjabi village of Ghuman, although this is not universally accepted. Aside from a shrine there that marks his death, there are monuments at the other claimant places, being Pandharpur and the nearby Narsi Bahmani. Reliability of hagiographies Scholars note that many miracles and specifics about Namdev's life appear only in manuscripts written centuries after Namdev's death. The birth theory with Namdev floating down a river, is first found in Mahipati's Bhaktavijay composed around 1762, and is absent in all earlier biographies of Namdev. Mahipati's biography of Namdev adds numerous other miracles, such as buildings rotating and sun rising in the west to show respect to Namdev. The earliest surviving Hindi and Rajasthani biographies from about 1600 only mention a few miracles performed by Namdev. In Namdev biographies published after 1600 through the end of the 20th century, new life details and more miracles increasingly appear with the passage of time. The earliest biographies never mention the caste of Namdev, and his caste appears for the first time in manuscripts with statements from Ravidas and Dhana in early 17th century. Namdev's Immaculate Conception miracle mentioned in later era manuscripts, adds Novetzke, is a story found regularly for other sants in India. The Namdev biographies in medieval manuscripts are inconsistent and contradictory, feeding questions of their reliability. Work The literary works of Namdev were influenced by Vaishnava philosophy and a belief in Vithoba. Along with the Jñānēśvarī, a sacred work of Jñānēśvar, and of Bhakti movement teacher-writers such as Tukaram, the writings of Namdev form the basis of the beliefs held by the Varkari sect of Hinduism. He was thus among those responsible for disseminating the monotheistic Varkari faith that had emerged first in Karnataka in the mid-to-late 12th century and then spread to Pandharpur in Maharashtra. Namdev and Jñānēśvar used the Marathi language to convey their beliefs. Namdev's style was to compose simply worded praise for Vithoba and to use a melodic device called samkirtana, both of which were accessible to common people. Shima Iwao says that "He taught that all can be saved equally, without regard to caste, through devotion (bhakti) to Vithoba" and that he greatly influenced groups of people who were forbidden by the Brahmin elite from studying the Vedas, such as women and members of the Shudra and untouchable communities. The earliest anthological record of Namdev's works occurs in the Guru Granth Sahib, the Sikh scriptures compiled in 1604, although Novetzke notes that while the manuscript records of Namdev mostly date from the 17th and 18th centuries, there exists a manuscript from 1581 that presents a rarely recounted variant version of Namdev's Tirthavli, a Marathi-language autobiographical piece. It is evident that the Guru Granth Sahib ji record is an accurate rendition of what Namdev wrote: the oral tradition probably accounts significantly for the changes and additions that appear to have been made by that time. The numerous subsequently produced manuscripts also show variant texts and additions that are attributed to him. Of around 2500 abhangs that were credited to him and written in the Marathi language, perhaps only 600 - 700 are authentic. The surviving manuscripts are geographically dispersed and of uncertain provenance. Bhajans Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries. The musical genre of Namdev's literary works was a form of Prabandha – itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units). Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). Compilations Namdev's work is known for abhangs, a genre of hymn poetry in India. His poems were transmitted from one generation to the next within singing families, and memory was the only recording method in the centuries that followed Namdev's death. The repertoires grew, because the artists added new songs to their repertoire. The earliest surviving manuscripts of songs attributed to Namdev, from these singing families, are traceable to the 17th century. A diverse collection of these manuscripts exist, which have been neither compiled nor archived successfully in a single critical edition. The state Government of Maharashtra made an effort and compiled Namdev's work from various manuscripts into the Sri Namdev Gatha in 1970. The Adi Granth of Sikhism includes a compilation of 61 songs of Namdev. However, of these only 25 are found in surviving Namdev-related manuscripts of Rajasthan. Winand Callewaert suggests that Namdev's poems in the Adi Granth and the surviving Rajasthani manuscripts are considerably different musically and morphologically, but likely to have evolved from a very early common source. Anamnetic authorship Of thousands of Abhang poems credited to Namdev, 600 - 700 are probably authentic. The other poems are attributed to Namdev, in a phenomenon Novetzke calls, "anamnetic authorship". The later compositions and their authors hid the true authorship purposefully and collectively over the 14th to 18th centuries, a period described in Maharashtra culture as the dark age. This was a period of Muslim conquest and repression of Hindus under the Delhi Sultanate and the Mughal Empire. The literary works not composed by Namdev, but attributed to Namdev were partly a product of this historical suffering and political situation in Deccan region of India. Some of the poetries of another Poet named Vishnudas Namadev who lived in 15th century are also attributed to this Namadev, the Saint. This includes the popular Marathi Aartis of Vithoba "Yuge Atthavis" & "Yei O Vitthale" Philosophy Namdev was influenced by Vaishnavite philosophy. His poems sometimes invoked Vithoba, sometimes Vishnu-Krishna as Govind-Hari, but in the larger context of Rama, which states Ronald McGregor, was not referring to the hero described in the Hindu epic Ramayana, but to a pantheistic Ultimate Being. Namdev's view of Rama can be visualised, adds McGregor, "only as the one true, or real Teacher of man (satguru)".. However, this is an observation based on hymns for which Namdev is not definitively known to the author, and might well be interpolated. For example, the following hymn talks about worshipping One Omnipresent God rather than Hindu deities Rama or Shiva Indian traditions attribute varying theosophical views to Namdev. In north India, Namdev is considered as a nirguna bhakta, in Marathi culture he is considered a saguna bhakta. In Namdev literature, devotion as the path to liberation is considered superior to alternative paths. Novetzke states that the envisioned devotion is not one way from the devotee to Vishnu, but it is bidirectional, such that "Krishna (Vishnu) is Namdev's slave, and Namdev is Vishnu's slave". To Namdev, mechanical rituals are futile, pilgrimage to holy places is pointless, deep meditation and loving mutual devotion is what matters. Namdev and other sant poets of India "were influenced by the monist view of the ultimate being (Brahman)", which was expressed, in vernacular language, as the loving devotion not of a specific deity but to this ultimate, according to McGregor. Namdev's songs suggested the divine is within oneself, its non-duality, its presence and oneness in everyone and everything. In Namdev's literary works, summarises Klaus Witz, as with virtually every Bhakti movement poet, the "Upanishadic teachings form an all-pervasive substratum, if not a basis. We have here a state of affairs that has no parallel in the West. Supreme Wisdom, which can be taken as basically nontheistic and as an independent wisdom tradition (not dependent on the Vedas), appears fused with highest level of bhakti and with highest level of God realization." Legacy Along with the works of sants such as Jnanesvar and Tukaram, the writings of Namdev are at the foundation of beliefs held by the Varkari sect of Hinduism. He was among those responsible for disseminating the Vithoba faith that had emerged first in the 12th century Namdev used the Marathi language to compose his poetry, which made it accessible to the wider public. Namdev's simple words of devotion and his use melody appealed to common people. This helped spread his message and songs widely. Namdev thus played a role, states McGregor, in shaping the religious base for the "premodern and modern culture of north India". Namdev attracted individuals from diverse classes and castes during community-driven bhajan singing sessions. His companions during worship sessions included Kanhopatra (a dancing girl), Sena (a barber), Savata (a gardener), Chokhamela (an untouchable), Janabai (a maid), Gora (a potter), Narahari (a goldsmith) and Jñāneśvar (also known as Dnyandev, a Brahmin). The close friendship between Namdev and the influential Jnanesvar, a Brahmin yogi-saint, is mentioned in Bhaktamal. The songs of Namdev, also called kirtans, use the term loka, which Novetzke states is a reference to "we the people" and the "human world" as a social force. Namdev is considered one of the five revered gurus in the Dadupanth tradition within Hinduism, the other four being Dadu, Kabir, Ravidas and Hardas. Dadupanthi Hindus thrived in Rajasthan, creating and compiling Bhakti poems including one of the largest collection of Namdev's songs. They were also among the warrior-ascetics of Rajput heritage who became a widespread phenomena in the 17th- and 18th-century North India, and were sannyasis who participated in armed resistance to the Islamic Mughal empire, inspired by their Nath yogi heritage and five revered gurus. Like Dadupanth, another north Indian warrior ascetic group, the Niranjani Sampraday tradition within Hinduism reveres Namdev as a holy person. The Niranjani Vani, which is their scripture just like the scriptures of Dadu Panthi and Sikhs, includes poetry of Namdev, and is dated to be from the 17th and 18th centuries. Namdev is one of the revered holy men in Sikhism as well. He is mentioned in Guru Granth Sahib, where Novetzke notes, "Namdev is remembered as having been summoned to confront a Sultan." There is a controversy among scholars if the Namdev hymns recorded in the Guru Granth of Sikhs were composed by the Marathi Namdev, or a different sant whose name was also Namdev. Namdev's legacy continues through the biannual pilgrimage to Pandharpur, near Bhima river, in Maharashtra. His paduka (footprints) are among those of revered sants that Varkari communities from various parts of Maharashtra carry with a palkhi (palanquin) to the Vithoba temple in Pandharpur, every year in modern times. Namdev composed bhajan-kirtans are sung during the pilgrimage-related festivities. Notes References Sources Further reading Category:Warkari Category:Marathi people Category:Hindu philosophers and theologians Category:Medieval Hindu religious leaders Category:Bhakti movement Category:People from Hingoli district Category:Sant Mat Category:Kirtan performers Category:Vaishnava saints Category:Marathi Hindu saints
[]
[ "Bhajans are songs meant to be sung to music, often with a spiritual message. The term Bhajan literally means \"a thing enjoyed or shared\". In the case of Namdev, a Bhakti movement sant, his bhajans were composed to be melodious, carry a spiritual message, and built on ancient Indian traditions for making music and singing.", "Namdev, a Bhakti movement sant, composed bhajans, which are songs meant to be sung to music conveying a spiritual message. His bhajans deployed particular species of Raag, used Bhanita (a stamp of the composer's name inside the poem), applied a Tek (a repeated refrain) and a meter that harmonises the wording with the musical instrument, according to Sangita manuals refined between the 8th to 13th centuries. His works were a form of Prabandha, a large and rich musical genre. In Namdev's bhajans, the spiritual message in the words plays a central role, and the structure resonates with the singing and music. The songs and music associated with his works were often passed down verbally from teacher to student within singing gharanas.", "The context does not provide information on the number of bhajans composed by Namdev.", "The context does not provide specific information on when Namdev composed his bhajans.", "The article discusses the analysis of Namdev's bhajans by Callewaert and Lath. They note that each of Namdev's songs is a musical and textual unit, and this unit is considered for textual considerations. The unit contained Antaras, which are the smallest independent units that can be moved around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, a dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat). The songs and music that went with Namdev's works were transmitted orally across generations in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units)." ]
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Carlos Santana
Carlos Santana audio (born July 20, 1947) is a Mexican and American musician who first became famous in the late 1960s and early 1970s with his band, Santana, which pioneered a fusion of rock and Latin American jazz. The band's sound featured his melodic, blues-based guitar lines set against Latin and African rhythms featuring percussion instruments such as timbales and congas not generally heard in rock music. Santana continued to work in these forms over the following decades. He experienced a resurgence of popularity and critical acclaim in the late 1990s.
Amplifiers
Carlos Santana's distinctive guitar tone is produced by PRS Santana signature guitars plugged into multiple amplifiers. The amps consist of a Mesa Boogie Mark I, Dumble Overdrive Reverb and more recently a Bludotone amplifier. Santana compares the tonal qualities of each amplifier to that of a singer producing head/nasal tones, chest tones, and belly tones. A three-way amp switcher is employed on Carlos's pedal board to enable him to switch between amps. Often the unique tones of each amplifier are blended together, complementing each other producing a richer tone. He also put the "Boogie" in Mesa Boogie. Santana is credited with coining the popular Mesa amplifier name when he tried one and exclaimed, "That little thing really Boogies!" Specifically, Santana combines a Mesa/Boogie Mark I head running through a Boogie cabinet with Altec 417-8H (or recently JBL E120s) speakers, and a Dumble Overdrive Reverb and/or a Dumble Overdrive Special running through a Brown or Marshall 4x12 cabinet with Celestion G12M "Greenback" speakers, depending on the desired sound. Shure KSM-32 microphones are used to pick up the sound, going to the PA. Additionally, a Fender Cyber-Twin Amp is mostly used at home. During his early career Santana used a GMT transistor amplifier stack and a silverface Fender Twin. The GMT 226A rig was used at the Woodstock concert as well as during recording Santana's debut album. During this era Santana had also begun to use the Fender Twin, which was also used on the debut and proceedingly at the recording sessions of Abraxas. CANNOTANSWER
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Carlos Humberto Santana Barragán (; born July 20, 1947) is an American guitarist who rose to fame in the late 1960s and early 1970s with his band Santana, which pioneered a fusion of rock and roll and Latin American jazz. Its sound featured his melodic, blues-based lines set against Latin American and African rhythms played on percussion instruments not generally heard in rock, such as timbales and congas. He experienced a resurgence of popularity and critical acclaim in the late 1990s. In 2015, Rolling Stone magazine listed him at No. 20 on their list of the 100 greatest guitarists. He has won 10 Grammy Awards and three Latin Grammy Awards, and was inducted along with his namesake band into the Rock and Roll Hall of Fame in 1998. Biography Early life Santana was born in Autlán de Navarro in Jalisco, Mexico on July 20, 1947. He learned to play the violin at age five and the guitar at age eight, under the tutelage of his father, who was a mariachi musician. His younger brother, Jorge, also became a professional guitarist. Santana was heavily influenced by Ritchie Valens at a time when there were very few Mexicans in American rock music. The family moved from Autlán to Tijuana, on the border with the U.S. They then moved to San Francisco, California, where his father had steady work. In October 1966, Santana started the Santana Blues Band. By 1968, the band had begun to incorporate different types of influences into their electric blues. Santana later said, "If I would go to some cat's room, he'd be listening to Sly [Stone] and Jimi Hendrix; another guy to the Stones and the Beatles. Another guy'd be listening to Tito Puente and Mongo Santamaría. Another guy'd be listening to Miles [Davis] and [John] Coltrane... to me, it was like being at a university." Around the age of eight, Santana "fell under the influence" of blues performers like B.B. King, Javier Bátiz, Mike Bloomfield, and John Lee Hooker. Gábor Szabó's mid-1960s jazz guitar work also strongly influenced Santana's playing. Indeed, Szabó's composition "Gypsy Queen" was used as the second part of Santana's 1970 treatment of Peter Green's composition "Black Magic Woman", almost down to identical guitar licks. Santana's 2012 instrumental album Shape Shifter includes a song called "Mr. Szabo", played in tribute in the style of Szabó. Santana also credits Hendrix, Bloomfield, Hank Marvin, and Peter Green as important influences; he considered Bloomfield a direct mentor, writing of a key meeting with Bloomfield in San Francisco in the foreword he wrote to a 2000 biography of Bloomfield, Michael Bloomfield: If You Love These Blues – An Oral History. Between the ages of 10 and 12, he was sexually abused by an American man who brought him across the border. Santana lived in the Mission District, graduated from James Lick Middle School, and left Mission High School in 1965. He was accepted at California State University, Northridge and Humboldt State University, but chose not to attend college. Early career Santana was influenced by popular artists of the 1950s such as B.B. King, T-Bone Walker, Javier Batiz, and John Lee Hooker. Soon after he began playing guitar, he joined local bands along the "Tijuana Strip" where he was able to begin developing his own sound. He was also introduced to a variety of new musical influences, including jazz and folk music, and witnessed the growing hippie movement centered in San Francisco in the 1960s. After several years spent working as a dishwasher at Tic Tock Drive-In No2 and busking to pay for a Gibson SG, replacing a destroyed Gibson Melody Maker, Santana decided to become a full-time musician. In 1966, he was chosen along with other musicians to form an ad hoc band to substitute for that of an intoxicated Paul Butterfield set to play a Sunday matinee at Bill Graham's Fillmore Auditorium. Graham selected the substitutes from musicians he knew primarily through his connections with the Butterfield Blues Band, Grateful Dead, and Jefferson Airplane. Santana's guitar playing caught the attention of both the audience and Graham. During the same year he and fellow street musicians David Brown (bass guitar), Marcus Malone (percussion) and Gregg Rolie (lead vocals, Hammond Organ B3), formed the Santana Blues Band. Playing a highly original blend of Latin-infused rock, jazz, blues, salsa, and African rhythms, the band gained an immediate following on the San Francisco club circuit. Record deal, Woodstock breakthrough, and height of success: 1969–1972 Santana's band was signed by Columbia Records, which shortened its name to simply "Santana". It went into the studio to record its first album in January 1969, finally laying down tracks in May that became its first album. Members were not satisfied with the release, dismissed drummer Bob Livingston, and added Mike Shrieve, who had a strong background in both jazz and rock. The band then lost percussionist Marcus Malone, who was charged with involuntary manslaughter. Michael Carabello was re-enlisted in his place, bringing with him experienced Nicaraguan percussionist José Chepito Areas. Major rock music promoter Bill Graham, a Latin Music aficionado who had been a fan of Santana from its inception, arranged for the band to appear at the Woodstock Music and Art Festival before its debut album was even released. Its set was one of the surprises of the festival, highlighted by an eleven-minute performance of a throbbing instrumental, "Soul Sacrifice". Its inclusion in the Woodstock film and soundtrack album vastly increased the band's popularity. Graham also suggested Santana record the Willie Bobo song "Evil Ways", as he felt it would get radio airplay. The band's first album, Santana, was released in August 1969 and became a hit, reaching No. 4 on the U.S. Billboard 200. The band's performance at Woodstock and the follow-up sound track and movie introduced them to an international audience and garnered critical acclaim. The sudden success which followed put pressure on the group, highlighting the different musical directions Rolie and Santana were starting to go. Rolie, along with some of the other band members, wanted to emphasize a basic hard rock sound which had been a key component in establishing the band from the start. Santana, however, was increasingly interested in moving beyond his love of blues and rock and wanted more jazzy, ethereal elements in the music. He became fascinated with Gábor Szabó, Miles Davis, Pharoah Sanders, and John Coltrane, as well as developing a growing interest in spirituality. At the same time, Chepito Areas was stricken with a near-fatal brain hemorrhage, and Santana hoped to continue by finding a temporary replacement (first Willie Bobo, then Coke Escovedo), while others in the band, especially Michael Carabello, felt it was wrong to perform publicly without Areas. Cliques formed, and the band started to disintegrate. Consolidating the interest generated by their first album, and their highly acclaimed live performance at the Woodstock Festival in August 1969, the band followed up with their second album, Abraxas, in September 1970. The album's mix of rock, blues, jazz, salsa and other influences was very well received, showing a musical maturation from their first album and refining the band's early sound. Abraxas included two of Santana's most enduring and well-known hits, "Oye Como Va", and "Black Magic Woman/Gypsy Queen". Abraxas spent six weeks at No. 1 on the Billboard chart at the end of 1970. The album remained on the charts for 88 weeks and was certified 4× platinum in 1986. In 2003, the album was ranked number 205 on Rolling Stone magazine's list of the 500 greatest albums of all time. Teenage San Francisco Bay Area guitar prodigy Neal Schon joined the Santana band in 1971, in time to complete the third album, Santana III. The band now boasted a powerful dual-lead-guitar act that gave the album a tougher sound. The sound of the band was also helped by the return of a recuperated Chepito Areas and the assistance of Coke Escovedo in the percussion section. Enhancing the band's sound further was the support of popular Bay Area group Tower of Power's horn section, Luis Gasca of Malo, and other session musicians which added to both percussion and vocals, injecting more energy to the proceedings. Santana III was another success, reaching No. 1 on the album charts, selling two million copies, and yielding the hit "No One to Depend On". Tension between members of the band continued, however. Along with musical differences, drug use became a problem, and Santana was deeply worried that it was affecting the band's performance. Coke Escovedo encouraged Santana to take more control of the band's musical direction, much to the dismay of some of the others who thought that the band and its sound was a collective effort. Also, financial irregularities were exposed while under the management of Stan Marcum, whom Bill Graham criticized as being incompetent. Growing resentments between Santana and Michael Carabello over lifestyle issues resulted in his departure on bad terms. James Mingo Lewis was hired at the last minute as a replacement at a concert in New York City. David Brown later left due to substance abuse problems. A South American tour was cut short in Lima, Peru due to unruly fans and student protests against U.S. governmental policies. In January 1972, Santana, Schon, Escovedo, and Lewis joined former Band of Gypsys drummer Buddy Miles for a concert at Hawaii's Diamond Head Crater, which was recorded for the album Carlos Santana & Buddy Miles! Live!, which became a gold record. Caravanserai In early 1972, Santana and the remaining members of the band started working on their fourth album, Caravanserai. During the studio sessions, Santana and Michael Shrieve brought in other musicians: percussionists James Mingo Lewis and Latin-Jazz veteran, Armando Peraza replacing Michael Carabello, and bassists Tom Rutley and Doug Rauch replacing David Brown. Also assisting on keyboards were Wendy Haas and Tom Coster. With the unsettling influx of new players in the studio, Gregg Rolie and Neal Schon decided that it was time to leave after the completion of the album, even though both contributed to the session. Rolie returned home to Seattle; later, he and Schon became founding members of Journey. When Caravanserai did emerge in 1972, it marked a strong change in musical direction towards jazz fusion. The album received critical praise, but CBS executive Clive Davis warned Santana and the band that it would sabotage the band's position as a "Top 40" act. Nevertheless, over the years, the album achieved platinum status. The difficulties Santana and the band went through during this period were chronicled in Ben Fong-Torres' Rolling Stone 1972 cover story "The Resurrection of Carlos Santana". Shifting styles and spirituality: 1972–1979 In 1972, Santana became interested in the pioneering fusion band the Mahavishnu Orchestra and its guitarist, John McLaughlin. Aware of Santana's interest in meditation, McLaughlin introduced Santana and his wife Deborah to his guru Sri Chinmoy. Chinmoy accepted them as disciples in 1973. Santana was given the name Devadip, meaning "The lamp, light and eye of God". Santana and McLaughlin recorded an album together, Love, Devotion, Surrender (1973) with members of Santana and the Mahavishnu Orchestra, along with percussionist Don Alias and organist Larry Young, both of whom had made appearances, along with McLaughlin, on Miles Davis' classic 1970 album Bitches Brew. In 1973, Santana, having obtained legal rights to the band's name, Santana, formed a new version of the band with Armando Peraza and Chepito Areas on percussion, Doug Rauch on bass, Michael Shrieve on drums, and Tom Coster and Richard Kermode on keyboards. Santana later was able to recruit jazz vocalist Leon Thomas for the tour supporting Caravanserai in Japan on July 3 and 4, 1973, which was recorded for the 1974 live, sprawling, high-energy triple vinyl LP fusion album Lotus. CBS records would not allow its release unless the material was condensed. Santana did not agree to those terms, and Lotus was available in the U.S. only as an expensive, imported, three-record set. The group later went into the studio and recorded Welcome (1973), which further reflected Santana's interests in jazz fusion and his increasing commitment to the spiritual life of Sri Chinmoy. A collaboration with John Coltrane's widow, Alice Coltrane, Illuminations (1974), followed. The album delved into avant-garde esoteric free jazz, Eastern Indian and classical influences with other ex-Miles Davis sidemen Jack DeJohnette and Dave Holland. Soon after, Santana replaced his band members again. This time Kermode, Thomas and Rauch departed from the group and were replaced by vocalist Leon Patillo (later a successful Contemporary Christian artist) and returning bassist David Brown. He also recruited soprano saxophonist Jules Broussard for the lineup. The band recorded one studio album Borboletta, which was released in 1974. Drummer Leon "Ndugu" Chancler later joined the band as a replacement for Michael Shrieve, who left to pursue a solo career. By this time, Bill Graham's management company had assumed responsibility for the affairs of the group. Graham was critical of Santana's move into jazz and felt he needed to concentrate on getting Santana back into the charts with the edgy, streetwise ethnic sound that had made them famous. Santana himself was seeing that the group's direction was alienating many fans. Although the albums and performances were given good reviews by critics in jazz and jazz fusion circles, sales had plummeted. Santana, along with Tom Coster, producer David Rubinson, and Chancler, formed yet another version of Santana, adding vocalist Greg Walker. The 1976 album Amigos, which featured the songs "Dance, Sister, Dance" and "Let It Shine", had a strong funk and Latin sound. The album received considerable airplay on FM album-oriented rock stations with the instrumental "Europa (Earth's Cry Heaven's Smile)" and re-introduced Santana to the charts. In 1976, Rolling Stone ran a second cover story on Santana entitled "Santana Comes Home". In February 1976, Santana was presented with fifteen gold disc in Australia, representing sales in excess of 244,000. The albums conceived through the late 1970s followed the same formula, although with several lineup changes. Among the new personnel who joined was current percussionist Raul Rekow, who joined in early 1977. Most notable of the band's commercial efforts of this era was a version of the 1960s Zombies hit, "She's Not There", on the 1977 double album Moonflower. Santana recorded two solo projects in this time: Oneness: Silver Dreams – Golden Reality, in 1979 and The Swing of Delight in 1980, which featured Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams. The pressures and temptations of being a high-profile rock musician and requirements of the spiritual lifestyle which guru Sri Chinmoy and his followers demanded were in conflict, and imposed considerable stress upon Santana's lifestyle and marriage. He was becoming increasingly disillusioned with what he thought were the unreasonable rules that Chinmoy imposed on his life, and in particular with his refusal to allow Santana and Deborah to start a family. He felt too that his fame was being used to increase the guru's visibility. Santana and Deborah eventually ended their relationship with Chinmoy in 1982. 1980s and early 1990s More radio-friendly singles followed from Santana and the band. "Winning" in 1981 (from Zebop!) and "Hold On" (a remake of the Canadian artist Ian Thomas' song) in 1982 both reached the top twenty. After his break with Sri Chinmoy, Santana went into the studio to record another solo album with Keith Olson and legendary R&B producer Jerry Wexler. The 1983 album Havana Moon revisited Santana's early musical experiences in Tijuana with Bo Diddley's "Who Do You Love" and the title cut, Chuck Berry's "Havana Moon". The album's guests included Booker T. Jones, the Fabulous Thunderbirds, Willie Nelson, and even Santana's father's mariachi orchestra. Santana again paid tribute to his early rock roots by doing the film score to La Bamba, which was based on the life of rock and roll legend Ritchie Valens and starred Lou Diamond Phillips. The band Santana returned in 1985 with a new album, Beyond Appearances, and two years later with Freedom. Freedom is the fifteenth studio album by Santana. By this recording, Santana had nine members, some of whom had returned after being with the band in previous versions, including lead singer on the album Buddy Miles. Freedom moved away from the more poppy sound of the previous album, Beyond Appearances and back to the band's original Latin rock. Growing weary of trying to appease record company executives with formulaic hit records, Santana took great pleasure in jamming and making guest appearances with notables such as the jazz fusion group Weather Report, jazz pianist McCoy Tyner, Blues legend John Lee Hooker, Frank Franklin, Living Colour guitarist Vernon Reid, and West African singer Salif Keita. He and Mickey Hart of the Grateful Dead later recorded and performed with Nigerian drummer Babatunde Olatunji, who conceived one of Santana's famous 1960s drum jams, "Jingo". In 1988, Santana organized a reunion with past members from the Santana band for a series of concert dates. CBS records released a 20-year retrospective of the band's accomplishments with Viva Santana! double CD compilation. That same year, Santana formed an all-instrumental group featuring jazz legend Wayne Shorter on tenor and soprano saxophone. The group also included Patrice Rushen on keyboards, Alphonso Johnson on bass, Armando Peraza and Chepito Areas on percussion, and Leon "Ndugu" Chancler on drums. They toured briefly and received much acclaim from the music press, who compared the effort with the era of Caravanserai (1972). Santana released another solo record, Blues for Salvador (1987), which won a Grammy Award for Best Rock Instrumental Performance. In 1990, Santana left Columbia Records after twenty-two years and signed with Polygram. The following year he made a guest appearance on Ottmar Liebert's album, Solo Para Ti (1991), on the songs "Reaching out 2 U" and on a cover of his own song, "Samba Pa Ti". In 1992, Santana hired the jam band Phish as his opening act. On his 1992 tour, Santana regularly invited some or all of the members of Phish to jam with his band during his headlining performances. Phish also toured with Santana in Europe in 1996. Return to commercial success Santana kicked off the 1990s with a new album Spirits Dancing in the Flesh in 1990. This was followed by Milagro in 1992, a live album Sacred Fire in 1993 and Brothers (a collaboration with his brother Jorge and nephew Carlos Hernandez) in 1994, but sales were relatively poor. Santana toured widely over the next few years but there were no further new album releases, and eventually, he was even without a recording contract. However, Arista Records' Clive Davis, who had worked with Santana at Columbia Records, signed him and encouraged him to record a star-studded album with mostly younger artists. The result was 1999's Supernatural, which included collaborations with Everlast, Rob Thomas of Matchbox Twenty, Eric Clapton, Lauryn Hill, Wyclef Jean, CeeLo Green, Maná, Dave Matthews, KC Porter, J. B. Eckl, and others. However, the lead single was what grabbed the attention of both fans and the music industry. "Smooth", a dynamic cha-cha stop-start number co-written and sung by Rob Thomas of Matchbox Twenty, was laced throughout with Santana's guitar fills and runs. The track's energy was immediately apparent on radio, and it was played on a wide variety of station formats. "Smooth" spent twelve weeks at number one on the Billboard Hot 100, becoming in the process the last No. 1 single of the 1990s. The music video, set on a hot barrio street, was also very popular. Supernatural reached number one on the US album charts and the follow-up single, "Maria Maria", featuring the R&B duo the Product G&B, also hit number one, spending ten weeks there in the spring of 2000. Supernatural eventually shipped over 15 million copies in the United States, and won 8 Grammy Awards including Album of the Year, making it Santana's most successful album. Carlos Santana, alongside the classic Santana lineup of their first two albums, was inducted as an individual, into the Rock and Roll Hall of Fame in 1998. He performed "Black Magic Woman" with the writer of the song, Fleetwood Mac's founder Peter Green. Green was inducted the same night. In 2000, Supernatural won nine Grammy Awards (eight for Santana personally), including Album of the Year, Record of the Year for "Smooth", and Song of the Year for Thomas and Itaal Shur. Santana's acceptance speeches described his feelings about music's place in one's spiritual existence. Later that year at the Latin Grammy Awards, he won three awards including Record of the Year. In 2001, Santana's guitar skills were featured in Michael Jackson's song "Whatever Happens" from the album Invincible. In 2002, Santana released Shaman, revisiting the Supernatural format of guest artists including Citizen Cope, P.O.D., and Seal. Although the album was not the runaway success its predecessor had been, it produced two radio-friendly hits. "The Game of Love" featuring Michelle Branch rose to number five on the Billboard Hot 100 and spent many weeks at the top of the Billboard Adult Contemporary chart, and "Why Don't You & I" written by and featuring Chad Kroeger from the group Nickelback (the original and a remix with Alex Band from the group the Calling were combined towards chart performance) which reached number eight on the Billboard Hot 100. "The Game of Love" went on to win the Grammy Award for Best Pop Collaboration with Vocals. In the same year, he was inducted into the International Latin Music Hall of Fame. In early August 2003, Santana was named fifteenth on Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time". In 2004, Santana was honored as the Person of the Year by the Latin Recording Academy. On April 21, 2005, Santana was honored as a BMI Icon at the 12th annual BMI Latin Awards. Santana was the first songwriter designated a BMI Icon at the company's Latin Awards. The honor is given to a creator who has been "a unique and indelible influence on generations of music makers." In 2005, Herbie Hancock approached Santana to collaborate on an album again using the Supernatural formula. Possibilities was released on August 30, 2005, featuring Carlos Santana and Angélique Kidjo on "Safiatou". Also, in 2005, fellow Latin star Shakira invited Santana to play the soft rock guitar ballad "Illegal" on her second English-language studio album Oral Fixation, Vol. 2. Santana's 2005 album All That I Am consists primarily of collaborations with other artists; the first single, the peppy "I'm Feeling You", was again with Michelle Branch and the Wreckers. Other musicians joining the mix this time included Steven Tyler of Aerosmith, Kirk Hammett from Metallica, hip-hop artist/songwriter/producer will.i.am, guitarist/songwriter/producer George Pajon, hip-hop/reggae star Sean Paul, and R&B singer Joss Stone. In April and May 2006, Santana toured Europe, where he promoted his son Salvador Santana's band as his opening act. In 2007, Santana appeared, along with Sheila E. and José Feliciano, on Gloria Estefan's album 90 Millas, on the single "No Llores". He also teamed again with Chad Kroeger for the hit single "Into the Night". He also played guitar in Eros Ramazzotti's hit "Fuoco nel fuoco" from the album e². In 2008, Santana was reported to be working with his longtime friend, Marcelo Vieira, on his solo album Acoustic Demos, which was released at the end of the year. It features tracks such as "For Flavia" and "Across the Grave", the latter said to feature heavy melodic riffs by Santana. Santana performed at the 2009 American Idol Finale with the top 13 finalists, which starred many acts such as KISS, Queen and Rod Stewart. On July 8, 2009, Santana appeared at the Athens Olympic Stadium in Athens with his 10-member all-star band as part of his "Supernatural Santana – A Trip through the Hits" European tour. On July 10, 2009, he also appeared at Philip II Stadium in Skopje. With a 2.5-hour long concert and 20 000 people, Santana appeared for the first time in that region. "Supernatural Santana – A Trip through the Hits" was played at the Hard Rock hotel in Las Vegas, where it was played through 2011. Santana is featured as a playable character in the music video game Guitar Hero 5. A live recording of his song "No One to Depend On" is included in game, which was released on September 1, 2009. More recently, in 2011, three Santana songs were offered as downloadable content (DLC) for guitar learning software Rocksmith: "Oye Como Va", "Smooth", and "Black Magic Woman/Gypsy Queen". In the same year, Santana received the Billboard Latin Music Lifetime Achievement Award. Santana, in 2007, opened a chain of upscale Mexican restaurants called "Maria Maria". It was a combined effort with Chef Roberto Santibañez. They were located in Tempe, Arizona, Mill Valley (now closed), Walnut Creek, Danville, San Diego, Austin, Texas, and Boca Raton, Florida. As of 2021, the only open location is in Walnut Creek. In 2012, Santana released an album Shape Shifter consisting of mostly instrumental tracks. On February 23, 2013, there was a public announcement on ultimateclassicrock.com about a reunion of the surviving members (minus Jose "Chepito" Areas) of the Santana band who recorded Santana III in 1971. The subsequent album was titled Santana IV. On May 6, 2014, his first ever Spanish language album Corazón was released. On September 12, 2015, Santana appeared as a member of Grateful Dead bassist Phil Lesh's band Phil Lesh and Friends at the third annual Lockn' Festival. He has continued to act as a mentor to a younger generation of jam acts, like Derek Trucks and Robert Randolph. In 2016, Carlos Santana reunited with past Santana band members Gregg Rolie, Michael Carabello, Michael Shrieve, and Neil Schon to release the album: Santana IV and the band embarked on a brief tour. A full set from this lineup was filmed at the House of Blues in Las Vegas and was released as a live album and a DVD titled Live at the House of Blues Las Vegas. In 2017, Santana collaborated with the Isley Brothers to release the album The Power of Peace on July 28, 2017. In December 2018, Santana published a guitar lesson on YouTube as part of the online education series MasterClass. In October 2019, Santana was featured on the American rapper Tyga's song "Mamacita" alongside American rapper YG. The song's music video premiered on YouTube on 25 October. In March 2020, Santana's "Miraculous World Tour" was cancelled due to the COVID-19 pandemic. In August 2021, Santana signed a new global record deal with BMG to release his new full-length studio album Blessings and Miracles. The same month, he performed in New York's Central Park along with Rob Thomas and Wyclef Jean. Equipment Guitars and effects Santana played a red Gibson SG Special with P-90 pickups at the Woodstock festival (1969). During 1970–1972, between the release of Abraxas (1970) and Santana III 1971, he used different Gibson Les Pauls and a black Gibson SG Special. In 1974, he played and endorsed the Gibson L6-S Custom. This can be heard on the album Borboletta (1974). From 1976 until 1982, his main guitar was a Yamaha SG 175B, and sometimes a white Gibson SG Custom with three open-coil pick-ups. In 1982, he started to use a custom made PRS Custom 24 guitar. In 1988 PRS Guitars began making Santana signature model guitars, which Santana has played through its various iterations ever since (see below). Santana currently uses a Santana II model guitar fitted with PRS Santana III nickel-covered pickups, a tremolo bar, and .009–.042 gauge D'Addario strings. He also plays a PRS Santana MD "The Multidimensional" guitar. The Santana guitars feature necks made of a single piece of mahogany topped with rosewood fretboards (some feature highly sought-after Brazilian rosewood). Santana Signature models: PRS Santana I "The Yellow" guitar (1988) PRS Santana II "Supernatural" guitar (1999) PRS Santana III guitar (2001) PRS Santana SE guitar (2001) PRS Santana SE II guitar (2003) PRS Santana Shaman SE-Limited Edition guitar (2003) PRS Santana MD "The Multidimensional" guitar (2008) PRS Santana 25th Anniversary guitar (2009) PRS Santana Abraxas SE-Limited Edition guitar (2009) PRS Santana SE "The Multidimensional" guitar (2011) PRS Santana Retro guitar (2017) PRS Santana Yellow SE guitar (2017) Santana also uses a classical guitar, the Alvarez Yairi CY127CE with Alvarez tension nylon strings, in the last years from 2009 he uses custom made, semi-hollow Toru Nittono's "Model-T" Jazz Electric Nylon. Santana does not use many effects pedals. His PRS guitar is connected to a Mu-Tron Wah-wah pedal (or, more recently, a Dunlop 535Q wah and a T-Rex Replica delay pedal, then through a customized Jim Dunlop amp switcher which in turn is connected to the different amps or cabinets. Previous setups include an Ibanez Tube Screamer right after the guitar. He is also known to have used an Electro-Harmonix Big Muff distortion for his famous sustain. In the song "Stand Up" from the album Marathon (1979), Santana uses a Heil talk box in the guitar solo. He has also used the Audiotech Guitar Products 1x6 Rack Mount Audio Switcher in rehearsals for the 2008 "Live Your Light" tour. Santana uses two different guitar picks: the large triangular Dunlop he has used for so many years, and the V-Pick Freakishly Large Round. Amplifiers Santana's distinctive guitar tone is produced by PRS Santana signature guitars plugged into multiple amplifiers. The amps consist of a Mesa Boogie Mark I, Dumble Overdrive Reverb and more recently a Bludotone amplifier. Santana compares the tonal qualities of each amplifier to that of a singer producing head/nasal tones, chest tones, and belly tones. A three-way amp switcher is employed on Carlos's pedal board to enable him to switch between amps. Often the unique tones of each amplifier are blended together, complementing each other producing a richer tone. He also put the "Boogie" in Mesa Boogie. Santana is credited with coining the popular Mesa amplifier name when he tried one and exclaimed, "That little thing really Boogies!" Specifically, Santana combines a Mesa/Boogie Mark I head running through a Boogie cabinet with Altec 417-8H (or recently JBL E120s) speakers, and a Dumble Overdrive Reverb and/or a Dumble Overdrive Special running through a Brown or Marshall 4x12 cabinet with Celestion G12M "Greenback" speakers, depending on the desired sound. Shure KSM-32 microphones are used to pick up the sound, going to the PA. Additionally, a Fender Cyber-Twin Amp is mostly used at home. During his early career, Santana used a GMT transistor amplifier stack and a silverface Fender Twin. The GMT 226A rig was used at the Woodstock concert as well as during recording Santana's debut album. During this era, Santana also began to use the Fender Twin, which was also used on the debut and proceedingly at the recording sessions of Abraxas. Personal life In 1965, Santana became a naturalized U.S. citizen. After discovering Chinmoy and Yogandanda in 1972, Santana quit marijuana until 1981. In 2020, Santana launched his own brand of cannabis named Mirayo that honours "the spiritual and ancient Latin heritage of the plant." From 1973 to 2007, he was married to Deborah King, daughter of blues musician Saunders King. They have three children, Salvador, Stella, and Angelica, and co-founded the Milagro (Miracle) Foundation, non-profit organization which provides financial aid for educational, medical, and other needs. In 2007, King filed for divorce after 34 years of marriage, citing irreconcilable differences. On July 9, 2010, Santana proposed to his touring drummer Cindy Blackman on stage during a concert at Tinley Park, Illinois. The two were married in December 2010, and currently live in Las Vegas. Santana underwent heart surgery in December 2021. He suffered an undisclosed medical emergency on stage at a concert at Pine Knob Music Theatre in Michigan on July 5, 2022, but was able to gain consciousness while being helped off the stage. A statement from his publicist later announced that he collapsed from heat and dehydration, but was being observed at the local hospital and will recover soon. His show scheduled for the day after was postponed. On July 8, 2022, Santana's management company announced that he would postpone his next six concerts out of an "abundance of caution for the artist's health". Discography Studio albums Love Devotion Surrender (1973) Illuminations (1974) Oneness – Silver Dreams Golden Reality (1979) The Swing of Delight (1980) Havana Moon (1983) Blues for Salvador (1987) Santana Brothers (1993) Live albums Carlos Santana & Buddy Miles! Live! (1972) Sacred Fire: Live in South America (1993) Carlos Santana and Wayne Shorter – Live at the Montreux Jazz Festival 1988 (2005)[2CD, DVD-Video] Carlos Santana Live (2006)[3DVD-Video] – rec. 2004 at Montreux Jazz Festival Compilation albums Magic of Carlos Santana (2001) Divine Light (2001) The Latin Sound of Carlos Santana (2003) Carlos Santana (2004) Very Best of Carlos Santana (2005) Carlos Santana (2006) Havana Moon/Blues for Salvador (2007) Multi-Dimensional Warrior (2008) Guest appearances 1969 : Mike Bloomfield/Al Kooper : The Live Adventures of Mike Bloomfield and Al Kooper - Carlos plays on Sonny Boy Williamson. 1978 : John McLaughlin : Electric Guitarist - On Friendship. 1979 : Narada Michael Walden Awakening, Awakening Suite Part 1 & Awakening 1980 : Herbie Hancock : Monster - On Saturday Night. Sheila E. also plays on this album. 1984 : Bob Dylan : Real Live - On Tombstone Blues. 1984 : Jim Capaldi : One Man Mission - On Lost Inside Your Love and Nobody Loves You. 1985 : Gregg Rolie : Gregg Rolie - On Marianne. 1986 : Weather Report : This Is This! - On This Is This and Man With the Copper Fingers. 1987 : Gregg Rolie : Gringo - On Too Late, Too Late and Fire at Night. 1989 : John Lee Hooker : Chill Out - On Chill Out (Things Gonna Change). 1991 : John Lee Hooker : Mr Lucky - Carlos coproduces with Ry Cooder, Roy Rogers and Mike Kappus. Plays on the album. Also on this album, Van Morrison, Johnny Winter, Keith Richards, etc. 1996 : Eric Clapton : Crossroads 2: Live in the Seventies - On 5 songs. 1998 : Lauryn Hill : The Miseducation of Lauryn Hill - On To Zion 2000 : Everlast : Eat at Whitey's - On Babylon Feeling 2001 : Michael Jackson : Invincible - On Whatever Happens. 2001 : Dave Matthews Band : Everyday - On Mother Father 2004 : Eric Clapton : Crossroads Guitar Festival - On Jingo. 2004 : Cheb Khaled : Love to the People - Single 2004 : Dora the Explorer : Oye Como Va - Single 2005 : Buddy Guy : Bring 'Em In - On I Put A Spell On You 2005 : Herbie Hancock : Possibilities - On Safiatou. 2005 : Shakira : Oral Fixation vol. - On Illegal. 2005 : Miles Davis : Cool & Collected - On It's About That Time-Remix 2007 : Angélique Kidjo : Djin Djin - On Pearls 2018 : Eddie Palmieri : Mi Luz Mayor - On Mi Congo. 2022 : FKJ : Greener - single Memoir On November 4, 2014, his memoir The Universal Tone: Bringing My Story to Light was published. Awards and nominations See also Explanatory notes Citations General sources Soul Sacrifice: The Carlos Santana Story, Simon Leng, 2000 Space Between the Stars, Deborah Santana, 2004 Rolling Stone, "The Resurrection of Carlos Santana", Ben Fong Torres, 1972 New Musical Express, "Spirit of Santana". Chris Charlesworth, November 1973 Guitar Player Magazine, 1978 Rolling Stone, "The Epic Life of Carlos Santana", 2000 Santana I – Sony Legacy Edition: liner notes Abraxas – Sony Legacy Edition: liner notes Santana III – Sony Legacy edition: liner notes Viva Santana – CBS CD release 1988; liner notes Power, Passion and Beauty – The Story of the Legendary Mahavishnu Orchestra Walter Kolosky 2006 Best of Carlos Santana – Wolf Marshall 1996; introduction and interview Further reading Molenda, Michael (ed.). Guitar Player Presents Carlos Santana, Backbeat Books, 2010, 124 pp., Remstein, Henna. Carlos Santana (Latinos in the Limelight), Chelsea House Publications, 2001, 64 pp., Santana, Deborah (King); Miller, Hal; Faulkner, John (ed.), with a foreword by Bill Graham. Santana: A Retrospective of the Santana Band's Twenty Years in Music, San Francisco Mission Cultural Center, 1987, 50 pp., no ISBN. Includes a 4-p genealogical tree w/the member's name for every Santana band from 1966. Copy at SFPL Sumsion, Michael. Maximum Santana: The Unauthorized Biography of Santana, Chrome Dreams, 2003, . A CD-audio biog External links Official website Milagro Foundation Music Carlos Santana Category:1947 births Category:Living people Category:20th-century American guitarists Category:20th-century American male musicians Category:21st-century American male musicians Category:American Book Award winners Category:American male guitarists Category:American male songwriters Category:American musicians of Mexican descent Category:American philanthropists Category:American rock guitarists Category:American rock songwriters Category:American world music musicians Category:Arista Records artists Category:Blues rock musicians Category:Chicano rock musicians Category:Columbia Records artists Category:Grammy Award winners Category:Guitarists from San Francisco Category:Kennedy Center honorees Category:Latin Grammy Award winners Category:Latin Recording Academy Person of the Year honorees Category:Lead guitarists Category:Mexican emigrants to the United States Category:Mexican expatriates in the United States Category:Musicians from Jalisco Category:People from Autlán, Jalisco Category:People from Tijuana Category:Naturalized citizens of the United States Category:Polydor Records artists Category:RCA Records artists Category:Santana (band) members Category:Songwriters from California Category:Latin music songwriters
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[ "The text does not provide a definition or explanation of what amplifiers are. CANNOTANSWER", "Amplifiers are used by Carlos Santana to produce his distinctive guitar tone. He plugs his PRS Santana signature guitars into multiple amplifiers, comparing the tonal qualities of each to those of a singer. He uses a three-way amp switcher to switch between amps, often blending the unique tones of each for a richer sound.", "The text does not specify any particular songs on which Carlos Santana uses his amplifiers. CANNOTANSWER", "The amplifiers are important to Carlos Santana because they help him produce his distinctive guitar tone. By using multiple amplifiers, each with its unique tonal qualities, Santana is able to blend these tones together, complementing each other to produce a richer sound. Without these amplifiers, Santana would not be able to produce his signature guitar tone.", "This article also notes that Carlos Santana played a role in naming the popular Mesa amplifier. When he tried one of these amplifiers, he exclaimed, \"That little thing really Boogies!\" which is how the name Mesa Boogie came to be coined. The text also provides details about the specific equipment Santana uses, such as the specific models of amplifiers, speaker cabinets, and microphones, as well as how he uses a three-way amp switcher to blend different tonal qualities together. In his early career, Santana used a GMT transistor amplifier stack and a silverface Fender Twin. This setup was used at the Woodstock concert and during the recording of Santana's debut album.\n", "The text does not provide a definition or explanation of what a three-way amp switcher is. CANNOTANSWER", "Yes, in addition to his amplifiers, Carlos Santana uses a variety of equipment. This includes speaker cabinets such as a Boogie cabinet with Altec 417-8H or JBL E120s speakers, a Brown or Marshall 4x12 cabinet with Celestion G12M \"Greenback\" speakers, and microphones (specifically Shure KSM-32) to pick up the sound, which is then sent to the PA. Additionally, he uses a three-way amp switcher to enable him to switch between amps. At home, a Fender Cyber-Twin Amp is mostly used.", "Besides amplifiers and amplifier-related equipment, Carlos Santana also uses PRS Santana signature guitars. He plugs these guitars into his multiple amplifiers to produce his distinctive guitar tone. Shure KSM-32 microphones are used to pick up the sound of his guitar, which is then sent to the PA.", "The text does not provide information on any other equipment that Carlos Santana uses beyond his PRS Santana signature guitars, various amplifiers, speaker cabinets, a three-way amp switcher, and Shure KSM-32 microphones. CANNOTANSWER" ]
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C_4c268e87df3940858a8b3921d8cc03c5_1
Carlos Santana
Carlos Santana audio (born July 20, 1947) is a Mexican and American musician who first became famous in the late 1960s and early 1970s with his band, Santana, which pioneered a fusion of rock and Latin American jazz. The band's sound featured his melodic, blues-based guitar lines set against Latin and African rhythms featuring percussion instruments such as timbales and congas not generally heard in rock music. Santana continued to work in these forms over the following decades. He experienced a resurgence of popularity and critical acclaim in the late 1990s.
The 1980s
More radio-friendly singles followed from Santana and the band. "Winning" in 1981 (from Zebop) and "Hold On" (a remake of Canadian artist Ian Thomas' song) in 1982 both reached the top twenty. After his break with Sri Chinmoy, Santana went into the studio to record another solo album with Keith Olson and legendary R&B producer Jerry Wexler. The 1983 album Havana Moon revisited Santana's early musical experiences in Tijuana with Bo Diddley's "Who Do You Love" and the title cut, Chuck Berry's "Havana Moon". The album's guests included Booker T. Jones, the Fabulous Thunderbirds, Willie Nelson and even Santana's father's mariachi orchestra. Santana again paid tribute to his early rock roots by doing the film score to La Bamba, which was based on the life of rock and roll legend Ritchie Valens and starred Lou Diamond Phillips. The band Santana returned in 1985 with a new album, Beyond Appearances, and two years later with Freedom. Growing weary of trying to appease record company executives with formulaic hit records, Santana took great pleasure in jamming and making guest appearances with notables such as the jazz fusion group Weather Report, jazz pianist McCoy Tyner, Blues legend John Lee Hooker, Frank Franklin, Living Colour guitarist Vernon Reid, and West African singer Salif Keita. He and Mickey Hart of the Grateful Dead later recorded and performed with Nigerian drummer Babatunde Olatunji, who conceived one of Santana's famous 1960s drum jams, "Jingo". In 1988 Santana organized a reunion with past members from the Santana band for a series of concert dates. CBS records released a 20-year retrospective of the band's accomplishments with Viva Santana! double CD compilation. That same year Santana formed an all-instrumental group featuring jazz legend Wayne Shorter on tenor and soprano saxophone. The group also included Patrice Rushen on keyboards, Alphonso Johnson on bass, Armando Peraza and Chepito Areas on percussion, and Leon "Ndugu" Chancler on drums. They toured briefly and received much acclaim from the music press, who compared the effort with the era of Caravanserai (1972). Santana released another solo record, Blues for Salvador (1987), which won a Grammy Award for Best Rock Instrumental Performance. In 1990, Santana left Columbia Records after twenty-two years and signed with Polygram. The following year he made a guest appearance on Ottmar Liebert's album, Solo Para Ti (1991), on the songs "Reaching out 2 U" and on a cover of his own song, "Samba Pa Ti". In 1992 Santana hired jam band Phish as his opening act. CANNOTANSWER
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Carlos Humberto Santana Barragán (; born July 20, 1947) is an American guitarist who rose to fame in the late 1960s and early 1970s with his band Santana, which pioneered a fusion of rock and roll and Latin American jazz. Its sound featured his melodic, blues-based lines set against Latin American and African rhythms played on percussion instruments not generally heard in rock, such as timbales and congas. He experienced a resurgence of popularity and critical acclaim in the late 1990s. In 2015, Rolling Stone magazine listed him at No. 20 on their list of the 100 greatest guitarists. He has won 10 Grammy Awards and three Latin Grammy Awards, and was inducted along with his namesake band into the Rock and Roll Hall of Fame in 1998. Biography Early life Santana was born in Autlán de Navarro in Jalisco, Mexico on July 20, 1947. He learned to play the violin at age five and the guitar at age eight, under the tutelage of his father, who was a mariachi musician. His younger brother, Jorge, also became a professional guitarist. Santana was heavily influenced by Ritchie Valens at a time when there were very few Mexicans in American rock music. The family moved from Autlán to Tijuana, on the border with the U.S. They then moved to San Francisco, California, where his father had steady work. In October 1966, Santana started the Santana Blues Band. By 1968, the band had begun to incorporate different types of influences into their electric blues. Santana later said, "If I would go to some cat's room, he'd be listening to Sly [Stone] and Jimi Hendrix; another guy to the Stones and the Beatles. Another guy'd be listening to Tito Puente and Mongo Santamaría. Another guy'd be listening to Miles [Davis] and [John] Coltrane... to me, it was like being at a university." Around the age of eight, Santana "fell under the influence" of blues performers like B.B. King, Javier Bátiz, Mike Bloomfield, and John Lee Hooker. Gábor Szabó's mid-1960s jazz guitar work also strongly influenced Santana's playing. Indeed, Szabó's composition "Gypsy Queen" was used as the second part of Santana's 1970 treatment of Peter Green's composition "Black Magic Woman", almost down to identical guitar licks. Santana's 2012 instrumental album Shape Shifter includes a song called "Mr. Szabo", played in tribute in the style of Szabó. Santana also credits Hendrix, Bloomfield, Hank Marvin, and Peter Green as important influences; he considered Bloomfield a direct mentor, writing of a key meeting with Bloomfield in San Francisco in the foreword he wrote to a 2000 biography of Bloomfield, Michael Bloomfield: If You Love These Blues – An Oral History. Between the ages of 10 and 12, he was sexually abused by an American man who brought him across the border. Santana lived in the Mission District, graduated from James Lick Middle School, and left Mission High School in 1965. He was accepted at California State University, Northridge and Humboldt State University, but chose not to attend college. Early career Santana was influenced by popular artists of the 1950s such as B.B. King, T-Bone Walker, Javier Batiz, and John Lee Hooker. Soon after he began playing guitar, he joined local bands along the "Tijuana Strip" where he was able to begin developing his own sound. He was also introduced to a variety of new musical influences, including jazz and folk music, and witnessed the growing hippie movement centered in San Francisco in the 1960s. After several years spent working as a dishwasher at Tic Tock Drive-In No2 and busking to pay for a Gibson SG, replacing a destroyed Gibson Melody Maker, Santana decided to become a full-time musician. In 1966, he was chosen along with other musicians to form an ad hoc band to substitute for that of an intoxicated Paul Butterfield set to play a Sunday matinee at Bill Graham's Fillmore Auditorium. Graham selected the substitutes from musicians he knew primarily through his connections with the Butterfield Blues Band, Grateful Dead, and Jefferson Airplane. Santana's guitar playing caught the attention of both the audience and Graham. During the same year he and fellow street musicians David Brown (bass guitar), Marcus Malone (percussion) and Gregg Rolie (lead vocals, Hammond Organ B3), formed the Santana Blues Band. Playing a highly original blend of Latin-infused rock, jazz, blues, salsa, and African rhythms, the band gained an immediate following on the San Francisco club circuit. Record deal, Woodstock breakthrough, and height of success: 1969–1972 Santana's band was signed by Columbia Records, which shortened its name to simply "Santana". It went into the studio to record its first album in January 1969, finally laying down tracks in May that became its first album. Members were not satisfied with the release, dismissed drummer Bob Livingston, and added Mike Shrieve, who had a strong background in both jazz and rock. The band then lost percussionist Marcus Malone, who was charged with involuntary manslaughter. Michael Carabello was re-enlisted in his place, bringing with him experienced Nicaraguan percussionist José Chepito Areas. Major rock music promoter Bill Graham, a Latin Music aficionado who had been a fan of Santana from its inception, arranged for the band to appear at the Woodstock Music and Art Festival before its debut album was even released. Its set was one of the surprises of the festival, highlighted by an eleven-minute performance of a throbbing instrumental, "Soul Sacrifice". Its inclusion in the Woodstock film and soundtrack album vastly increased the band's popularity. Graham also suggested Santana record the Willie Bobo song "Evil Ways", as he felt it would get radio airplay. The band's first album, Santana, was released in August 1969 and became a hit, reaching No. 4 on the U.S. Billboard 200. The band's performance at Woodstock and the follow-up sound track and movie introduced them to an international audience and garnered critical acclaim. The sudden success which followed put pressure on the group, highlighting the different musical directions Rolie and Santana were starting to go. Rolie, along with some of the other band members, wanted to emphasize a basic hard rock sound which had been a key component in establishing the band from the start. Santana, however, was increasingly interested in moving beyond his love of blues and rock and wanted more jazzy, ethereal elements in the music. He became fascinated with Gábor Szabó, Miles Davis, Pharoah Sanders, and John Coltrane, as well as developing a growing interest in spirituality. At the same time, Chepito Areas was stricken with a near-fatal brain hemorrhage, and Santana hoped to continue by finding a temporary replacement (first Willie Bobo, then Coke Escovedo), while others in the band, especially Michael Carabello, felt it was wrong to perform publicly without Areas. Cliques formed, and the band started to disintegrate. Consolidating the interest generated by their first album, and their highly acclaimed live performance at the Woodstock Festival in August 1969, the band followed up with their second album, Abraxas, in September 1970. The album's mix of rock, blues, jazz, salsa and other influences was very well received, showing a musical maturation from their first album and refining the band's early sound. Abraxas included two of Santana's most enduring and well-known hits, "Oye Como Va", and "Black Magic Woman/Gypsy Queen". Abraxas spent six weeks at No. 1 on the Billboard chart at the end of 1970. The album remained on the charts for 88 weeks and was certified 4× platinum in 1986. In 2003, the album was ranked number 205 on Rolling Stone magazine's list of the 500 greatest albums of all time. Teenage San Francisco Bay Area guitar prodigy Neal Schon joined the Santana band in 1971, in time to complete the third album, Santana III. The band now boasted a powerful dual-lead-guitar act that gave the album a tougher sound. The sound of the band was also helped by the return of a recuperated Chepito Areas and the assistance of Coke Escovedo in the percussion section. Enhancing the band's sound further was the support of popular Bay Area group Tower of Power's horn section, Luis Gasca of Malo, and other session musicians which added to both percussion and vocals, injecting more energy to the proceedings. Santana III was another success, reaching No. 1 on the album charts, selling two million copies, and yielding the hit "No One to Depend On". Tension between members of the band continued, however. Along with musical differences, drug use became a problem, and Santana was deeply worried that it was affecting the band's performance. Coke Escovedo encouraged Santana to take more control of the band's musical direction, much to the dismay of some of the others who thought that the band and its sound was a collective effort. Also, financial irregularities were exposed while under the management of Stan Marcum, whom Bill Graham criticized as being incompetent. Growing resentments between Santana and Michael Carabello over lifestyle issues resulted in his departure on bad terms. James Mingo Lewis was hired at the last minute as a replacement at a concert in New York City. David Brown later left due to substance abuse problems. A South American tour was cut short in Lima, Peru due to unruly fans and student protests against U.S. governmental policies. In January 1972, Santana, Schon, Escovedo, and Lewis joined former Band of Gypsys drummer Buddy Miles for a concert at Hawaii's Diamond Head Crater, which was recorded for the album Carlos Santana & Buddy Miles! Live!, which became a gold record. Caravanserai In early 1972, Santana and the remaining members of the band started working on their fourth album, Caravanserai. During the studio sessions, Santana and Michael Shrieve brought in other musicians: percussionists James Mingo Lewis and Latin-Jazz veteran, Armando Peraza replacing Michael Carabello, and bassists Tom Rutley and Doug Rauch replacing David Brown. Also assisting on keyboards were Wendy Haas and Tom Coster. With the unsettling influx of new players in the studio, Gregg Rolie and Neal Schon decided that it was time to leave after the completion of the album, even though both contributed to the session. Rolie returned home to Seattle; later, he and Schon became founding members of Journey. When Caravanserai did emerge in 1972, it marked a strong change in musical direction towards jazz fusion. The album received critical praise, but CBS executive Clive Davis warned Santana and the band that it would sabotage the band's position as a "Top 40" act. Nevertheless, over the years, the album achieved platinum status. The difficulties Santana and the band went through during this period were chronicled in Ben Fong-Torres' Rolling Stone 1972 cover story "The Resurrection of Carlos Santana". Shifting styles and spirituality: 1972–1979 In 1972, Santana became interested in the pioneering fusion band the Mahavishnu Orchestra and its guitarist, John McLaughlin. Aware of Santana's interest in meditation, McLaughlin introduced Santana and his wife Deborah to his guru Sri Chinmoy. Chinmoy accepted them as disciples in 1973. Santana was given the name Devadip, meaning "The lamp, light and eye of God". Santana and McLaughlin recorded an album together, Love, Devotion, Surrender (1973) with members of Santana and the Mahavishnu Orchestra, along with percussionist Don Alias and organist Larry Young, both of whom had made appearances, along with McLaughlin, on Miles Davis' classic 1970 album Bitches Brew. In 1973, Santana, having obtained legal rights to the band's name, Santana, formed a new version of the band with Armando Peraza and Chepito Areas on percussion, Doug Rauch on bass, Michael Shrieve on drums, and Tom Coster and Richard Kermode on keyboards. Santana later was able to recruit jazz vocalist Leon Thomas for the tour supporting Caravanserai in Japan on July 3 and 4, 1973, which was recorded for the 1974 live, sprawling, high-energy triple vinyl LP fusion album Lotus. CBS records would not allow its release unless the material was condensed. Santana did not agree to those terms, and Lotus was available in the U.S. only as an expensive, imported, three-record set. The group later went into the studio and recorded Welcome (1973), which further reflected Santana's interests in jazz fusion and his increasing commitment to the spiritual life of Sri Chinmoy. A collaboration with John Coltrane's widow, Alice Coltrane, Illuminations (1974), followed. The album delved into avant-garde esoteric free jazz, Eastern Indian and classical influences with other ex-Miles Davis sidemen Jack DeJohnette and Dave Holland. Soon after, Santana replaced his band members again. This time Kermode, Thomas and Rauch departed from the group and were replaced by vocalist Leon Patillo (later a successful Contemporary Christian artist) and returning bassist David Brown. He also recruited soprano saxophonist Jules Broussard for the lineup. The band recorded one studio album Borboletta, which was released in 1974. Drummer Leon "Ndugu" Chancler later joined the band as a replacement for Michael Shrieve, who left to pursue a solo career. By this time, Bill Graham's management company had assumed responsibility for the affairs of the group. Graham was critical of Santana's move into jazz and felt he needed to concentrate on getting Santana back into the charts with the edgy, streetwise ethnic sound that had made them famous. Santana himself was seeing that the group's direction was alienating many fans. Although the albums and performances were given good reviews by critics in jazz and jazz fusion circles, sales had plummeted. Santana, along with Tom Coster, producer David Rubinson, and Chancler, formed yet another version of Santana, adding vocalist Greg Walker. The 1976 album Amigos, which featured the songs "Dance, Sister, Dance" and "Let It Shine", had a strong funk and Latin sound. The album received considerable airplay on FM album-oriented rock stations with the instrumental "Europa (Earth's Cry Heaven's Smile)" and re-introduced Santana to the charts. In 1976, Rolling Stone ran a second cover story on Santana entitled "Santana Comes Home". In February 1976, Santana was presented with fifteen gold disc in Australia, representing sales in excess of 244,000. The albums conceived through the late 1970s followed the same formula, although with several lineup changes. Among the new personnel who joined was current percussionist Raul Rekow, who joined in early 1977. Most notable of the band's commercial efforts of this era was a version of the 1960s Zombies hit, "She's Not There", on the 1977 double album Moonflower. Santana recorded two solo projects in this time: Oneness: Silver Dreams – Golden Reality, in 1979 and The Swing of Delight in 1980, which featured Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams. The pressures and temptations of being a high-profile rock musician and requirements of the spiritual lifestyle which guru Sri Chinmoy and his followers demanded were in conflict, and imposed considerable stress upon Santana's lifestyle and marriage. He was becoming increasingly disillusioned with what he thought were the unreasonable rules that Chinmoy imposed on his life, and in particular with his refusal to allow Santana and Deborah to start a family. He felt too that his fame was being used to increase the guru's visibility. Santana and Deborah eventually ended their relationship with Chinmoy in 1982. 1980s and early 1990s More radio-friendly singles followed from Santana and the band. "Winning" in 1981 (from Zebop!) and "Hold On" (a remake of the Canadian artist Ian Thomas' song) in 1982 both reached the top twenty. After his break with Sri Chinmoy, Santana went into the studio to record another solo album with Keith Olson and legendary R&B producer Jerry Wexler. The 1983 album Havana Moon revisited Santana's early musical experiences in Tijuana with Bo Diddley's "Who Do You Love" and the title cut, Chuck Berry's "Havana Moon". The album's guests included Booker T. Jones, the Fabulous Thunderbirds, Willie Nelson, and even Santana's father's mariachi orchestra. Santana again paid tribute to his early rock roots by doing the film score to La Bamba, which was based on the life of rock and roll legend Ritchie Valens and starred Lou Diamond Phillips. The band Santana returned in 1985 with a new album, Beyond Appearances, and two years later with Freedom. Freedom is the fifteenth studio album by Santana. By this recording, Santana had nine members, some of whom had returned after being with the band in previous versions, including lead singer on the album Buddy Miles. Freedom moved away from the more poppy sound of the previous album, Beyond Appearances and back to the band's original Latin rock. Growing weary of trying to appease record company executives with formulaic hit records, Santana took great pleasure in jamming and making guest appearances with notables such as the jazz fusion group Weather Report, jazz pianist McCoy Tyner, Blues legend John Lee Hooker, Frank Franklin, Living Colour guitarist Vernon Reid, and West African singer Salif Keita. He and Mickey Hart of the Grateful Dead later recorded and performed with Nigerian drummer Babatunde Olatunji, who conceived one of Santana's famous 1960s drum jams, "Jingo". In 1988, Santana organized a reunion with past members from the Santana band for a series of concert dates. CBS records released a 20-year retrospective of the band's accomplishments with Viva Santana! double CD compilation. That same year, Santana formed an all-instrumental group featuring jazz legend Wayne Shorter on tenor and soprano saxophone. The group also included Patrice Rushen on keyboards, Alphonso Johnson on bass, Armando Peraza and Chepito Areas on percussion, and Leon "Ndugu" Chancler on drums. They toured briefly and received much acclaim from the music press, who compared the effort with the era of Caravanserai (1972). Santana released another solo record, Blues for Salvador (1987), which won a Grammy Award for Best Rock Instrumental Performance. In 1990, Santana left Columbia Records after twenty-two years and signed with Polygram. The following year he made a guest appearance on Ottmar Liebert's album, Solo Para Ti (1991), on the songs "Reaching out 2 U" and on a cover of his own song, "Samba Pa Ti". In 1992, Santana hired the jam band Phish as his opening act. On his 1992 tour, Santana regularly invited some or all of the members of Phish to jam with his band during his headlining performances. Phish also toured with Santana in Europe in 1996. Return to commercial success Santana kicked off the 1990s with a new album Spirits Dancing in the Flesh in 1990. This was followed by Milagro in 1992, a live album Sacred Fire in 1993 and Brothers (a collaboration with his brother Jorge and nephew Carlos Hernandez) in 1994, but sales were relatively poor. Santana toured widely over the next few years but there were no further new album releases, and eventually, he was even without a recording contract. However, Arista Records' Clive Davis, who had worked with Santana at Columbia Records, signed him and encouraged him to record a star-studded album with mostly younger artists. The result was 1999's Supernatural, which included collaborations with Everlast, Rob Thomas of Matchbox Twenty, Eric Clapton, Lauryn Hill, Wyclef Jean, CeeLo Green, Maná, Dave Matthews, KC Porter, J. B. Eckl, and others. However, the lead single was what grabbed the attention of both fans and the music industry. "Smooth", a dynamic cha-cha stop-start number co-written and sung by Rob Thomas of Matchbox Twenty, was laced throughout with Santana's guitar fills and runs. The track's energy was immediately apparent on radio, and it was played on a wide variety of station formats. "Smooth" spent twelve weeks at number one on the Billboard Hot 100, becoming in the process the last No. 1 single of the 1990s. The music video, set on a hot barrio street, was also very popular. Supernatural reached number one on the US album charts and the follow-up single, "Maria Maria", featuring the R&B duo the Product G&B, also hit number one, spending ten weeks there in the spring of 2000. Supernatural eventually shipped over 15 million copies in the United States, and won 8 Grammy Awards including Album of the Year, making it Santana's most successful album. Carlos Santana, alongside the classic Santana lineup of their first two albums, was inducted as an individual, into the Rock and Roll Hall of Fame in 1998. He performed "Black Magic Woman" with the writer of the song, Fleetwood Mac's founder Peter Green. Green was inducted the same night. In 2000, Supernatural won nine Grammy Awards (eight for Santana personally), including Album of the Year, Record of the Year for "Smooth", and Song of the Year for Thomas and Itaal Shur. Santana's acceptance speeches described his feelings about music's place in one's spiritual existence. Later that year at the Latin Grammy Awards, he won three awards including Record of the Year. In 2001, Santana's guitar skills were featured in Michael Jackson's song "Whatever Happens" from the album Invincible. In 2002, Santana released Shaman, revisiting the Supernatural format of guest artists including Citizen Cope, P.O.D., and Seal. Although the album was not the runaway success its predecessor had been, it produced two radio-friendly hits. "The Game of Love" featuring Michelle Branch rose to number five on the Billboard Hot 100 and spent many weeks at the top of the Billboard Adult Contemporary chart, and "Why Don't You & I" written by and featuring Chad Kroeger from the group Nickelback (the original and a remix with Alex Band from the group the Calling were combined towards chart performance) which reached number eight on the Billboard Hot 100. "The Game of Love" went on to win the Grammy Award for Best Pop Collaboration with Vocals. In the same year, he was inducted into the International Latin Music Hall of Fame. In early August 2003, Santana was named fifteenth on Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time". In 2004, Santana was honored as the Person of the Year by the Latin Recording Academy. On April 21, 2005, Santana was honored as a BMI Icon at the 12th annual BMI Latin Awards. Santana was the first songwriter designated a BMI Icon at the company's Latin Awards. The honor is given to a creator who has been "a unique and indelible influence on generations of music makers." In 2005, Herbie Hancock approached Santana to collaborate on an album again using the Supernatural formula. Possibilities was released on August 30, 2005, featuring Carlos Santana and Angélique Kidjo on "Safiatou". Also, in 2005, fellow Latin star Shakira invited Santana to play the soft rock guitar ballad "Illegal" on her second English-language studio album Oral Fixation, Vol. 2. Santana's 2005 album All That I Am consists primarily of collaborations with other artists; the first single, the peppy "I'm Feeling You", was again with Michelle Branch and the Wreckers. Other musicians joining the mix this time included Steven Tyler of Aerosmith, Kirk Hammett from Metallica, hip-hop artist/songwriter/producer will.i.am, guitarist/songwriter/producer George Pajon, hip-hop/reggae star Sean Paul, and R&B singer Joss Stone. In April and May 2006, Santana toured Europe, where he promoted his son Salvador Santana's band as his opening act. In 2007, Santana appeared, along with Sheila E. and José Feliciano, on Gloria Estefan's album 90 Millas, on the single "No Llores". He also teamed again with Chad Kroeger for the hit single "Into the Night". He also played guitar in Eros Ramazzotti's hit "Fuoco nel fuoco" from the album e². In 2008, Santana was reported to be working with his longtime friend, Marcelo Vieira, on his solo album Acoustic Demos, which was released at the end of the year. It features tracks such as "For Flavia" and "Across the Grave", the latter said to feature heavy melodic riffs by Santana. Santana performed at the 2009 American Idol Finale with the top 13 finalists, which starred many acts such as KISS, Queen and Rod Stewart. On July 8, 2009, Santana appeared at the Athens Olympic Stadium in Athens with his 10-member all-star band as part of his "Supernatural Santana – A Trip through the Hits" European tour. On July 10, 2009, he also appeared at Philip II Stadium in Skopje. With a 2.5-hour long concert and 20 000 people, Santana appeared for the first time in that region. "Supernatural Santana – A Trip through the Hits" was played at the Hard Rock hotel in Las Vegas, where it was played through 2011. Santana is featured as a playable character in the music video game Guitar Hero 5. A live recording of his song "No One to Depend On" is included in game, which was released on September 1, 2009. More recently, in 2011, three Santana songs were offered as downloadable content (DLC) for guitar learning software Rocksmith: "Oye Como Va", "Smooth", and "Black Magic Woman/Gypsy Queen". In the same year, Santana received the Billboard Latin Music Lifetime Achievement Award. Santana, in 2007, opened a chain of upscale Mexican restaurants called "Maria Maria". It was a combined effort with Chef Roberto Santibañez. They were located in Tempe, Arizona, Mill Valley (now closed), Walnut Creek, Danville, San Diego, Austin, Texas, and Boca Raton, Florida. As of 2021, the only open location is in Walnut Creek. In 2012, Santana released an album Shape Shifter consisting of mostly instrumental tracks. On February 23, 2013, there was a public announcement on ultimateclassicrock.com about a reunion of the surviving members (minus Jose "Chepito" Areas) of the Santana band who recorded Santana III in 1971. The subsequent album was titled Santana IV. On May 6, 2014, his first ever Spanish language album Corazón was released. On September 12, 2015, Santana appeared as a member of Grateful Dead bassist Phil Lesh's band Phil Lesh and Friends at the third annual Lockn' Festival. He has continued to act as a mentor to a younger generation of jam acts, like Derek Trucks and Robert Randolph. In 2016, Carlos Santana reunited with past Santana band members Gregg Rolie, Michael Carabello, Michael Shrieve, and Neil Schon to release the album: Santana IV and the band embarked on a brief tour. A full set from this lineup was filmed at the House of Blues in Las Vegas and was released as a live album and a DVD titled Live at the House of Blues Las Vegas. In 2017, Santana collaborated with the Isley Brothers to release the album The Power of Peace on July 28, 2017. In December 2018, Santana published a guitar lesson on YouTube as part of the online education series MasterClass. In October 2019, Santana was featured on the American rapper Tyga's song "Mamacita" alongside American rapper YG. The song's music video premiered on YouTube on 25 October. In March 2020, Santana's "Miraculous World Tour" was cancelled due to the COVID-19 pandemic. In August 2021, Santana signed a new global record deal with BMG to release his new full-length studio album Blessings and Miracles. The same month, he performed in New York's Central Park along with Rob Thomas and Wyclef Jean. Equipment Guitars and effects Santana played a red Gibson SG Special with P-90 pickups at the Woodstock festival (1969). During 1970–1972, between the release of Abraxas (1970) and Santana III 1971, he used different Gibson Les Pauls and a black Gibson SG Special. In 1974, he played and endorsed the Gibson L6-S Custom. This can be heard on the album Borboletta (1974). From 1976 until 1982, his main guitar was a Yamaha SG 175B, and sometimes a white Gibson SG Custom with three open-coil pick-ups. In 1982, he started to use a custom made PRS Custom 24 guitar. In 1988 PRS Guitars began making Santana signature model guitars, which Santana has played through its various iterations ever since (see below). Santana currently uses a Santana II model guitar fitted with PRS Santana III nickel-covered pickups, a tremolo bar, and .009–.042 gauge D'Addario strings. He also plays a PRS Santana MD "The Multidimensional" guitar. The Santana guitars feature necks made of a single piece of mahogany topped with rosewood fretboards (some feature highly sought-after Brazilian rosewood). Santana Signature models: PRS Santana I "The Yellow" guitar (1988) PRS Santana II "Supernatural" guitar (1999) PRS Santana III guitar (2001) PRS Santana SE guitar (2001) PRS Santana SE II guitar (2003) PRS Santana Shaman SE-Limited Edition guitar (2003) PRS Santana MD "The Multidimensional" guitar (2008) PRS Santana 25th Anniversary guitar (2009) PRS Santana Abraxas SE-Limited Edition guitar (2009) PRS Santana SE "The Multidimensional" guitar (2011) PRS Santana Retro guitar (2017) PRS Santana Yellow SE guitar (2017) Santana also uses a classical guitar, the Alvarez Yairi CY127CE with Alvarez tension nylon strings, in the last years from 2009 he uses custom made, semi-hollow Toru Nittono's "Model-T" Jazz Electric Nylon. Santana does not use many effects pedals. His PRS guitar is connected to a Mu-Tron Wah-wah pedal (or, more recently, a Dunlop 535Q wah and a T-Rex Replica delay pedal, then through a customized Jim Dunlop amp switcher which in turn is connected to the different amps or cabinets. Previous setups include an Ibanez Tube Screamer right after the guitar. He is also known to have used an Electro-Harmonix Big Muff distortion for his famous sustain. In the song "Stand Up" from the album Marathon (1979), Santana uses a Heil talk box in the guitar solo. He has also used the Audiotech Guitar Products 1x6 Rack Mount Audio Switcher in rehearsals for the 2008 "Live Your Light" tour. Santana uses two different guitar picks: the large triangular Dunlop he has used for so many years, and the V-Pick Freakishly Large Round. Amplifiers Santana's distinctive guitar tone is produced by PRS Santana signature guitars plugged into multiple amplifiers. The amps consist of a Mesa Boogie Mark I, Dumble Overdrive Reverb and more recently a Bludotone amplifier. Santana compares the tonal qualities of each amplifier to that of a singer producing head/nasal tones, chest tones, and belly tones. A three-way amp switcher is employed on Carlos's pedal board to enable him to switch between amps. Often the unique tones of each amplifier are blended together, complementing each other producing a richer tone. He also put the "Boogie" in Mesa Boogie. Santana is credited with coining the popular Mesa amplifier name when he tried one and exclaimed, "That little thing really Boogies!" Specifically, Santana combines a Mesa/Boogie Mark I head running through a Boogie cabinet with Altec 417-8H (or recently JBL E120s) speakers, and a Dumble Overdrive Reverb and/or a Dumble Overdrive Special running through a Brown or Marshall 4x12 cabinet with Celestion G12M "Greenback" speakers, depending on the desired sound. Shure KSM-32 microphones are used to pick up the sound, going to the PA. Additionally, a Fender Cyber-Twin Amp is mostly used at home. During his early career, Santana used a GMT transistor amplifier stack and a silverface Fender Twin. The GMT 226A rig was used at the Woodstock concert as well as during recording Santana's debut album. During this era, Santana also began to use the Fender Twin, which was also used on the debut and proceedingly at the recording sessions of Abraxas. Personal life In 1965, Santana became a naturalized U.S. citizen. After discovering Chinmoy and Yogandanda in 1972, Santana quit marijuana until 1981. In 2020, Santana launched his own brand of cannabis named Mirayo that honours "the spiritual and ancient Latin heritage of the plant." From 1973 to 2007, he was married to Deborah King, daughter of blues musician Saunders King. They have three children, Salvador, Stella, and Angelica, and co-founded the Milagro (Miracle) Foundation, non-profit organization which provides financial aid for educational, medical, and other needs. In 2007, King filed for divorce after 34 years of marriage, citing irreconcilable differences. On July 9, 2010, Santana proposed to his touring drummer Cindy Blackman on stage during a concert at Tinley Park, Illinois. The two were married in December 2010, and currently live in Las Vegas. Santana underwent heart surgery in December 2021. He suffered an undisclosed medical emergency on stage at a concert at Pine Knob Music Theatre in Michigan on July 5, 2022, but was able to gain consciousness while being helped off the stage. A statement from his publicist later announced that he collapsed from heat and dehydration, but was being observed at the local hospital and will recover soon. His show scheduled for the day after was postponed. On July 8, 2022, Santana's management company announced that he would postpone his next six concerts out of an "abundance of caution for the artist's health". Discography Studio albums Love Devotion Surrender (1973) Illuminations (1974) Oneness – Silver Dreams Golden Reality (1979) The Swing of Delight (1980) Havana Moon (1983) Blues for Salvador (1987) Santana Brothers (1993) Live albums Carlos Santana & Buddy Miles! Live! (1972) Sacred Fire: Live in South America (1993) Carlos Santana and Wayne Shorter – Live at the Montreux Jazz Festival 1988 (2005)[2CD, DVD-Video] Carlos Santana Live (2006)[3DVD-Video] – rec. 2004 at Montreux Jazz Festival Compilation albums Magic of Carlos Santana (2001) Divine Light (2001) The Latin Sound of Carlos Santana (2003) Carlos Santana (2004) Very Best of Carlos Santana (2005) Carlos Santana (2006) Havana Moon/Blues for Salvador (2007) Multi-Dimensional Warrior (2008) Guest appearances 1969 : Mike Bloomfield/Al Kooper : The Live Adventures of Mike Bloomfield and Al Kooper - Carlos plays on Sonny Boy Williamson. 1978 : John McLaughlin : Electric Guitarist - On Friendship. 1979 : Narada Michael Walden Awakening, Awakening Suite Part 1 & Awakening 1980 : Herbie Hancock : Monster - On Saturday Night. Sheila E. also plays on this album. 1984 : Bob Dylan : Real Live - On Tombstone Blues. 1984 : Jim Capaldi : One Man Mission - On Lost Inside Your Love and Nobody Loves You. 1985 : Gregg Rolie : Gregg Rolie - On Marianne. 1986 : Weather Report : This Is This! - On This Is This and Man With the Copper Fingers. 1987 : Gregg Rolie : Gringo - On Too Late, Too Late and Fire at Night. 1989 : John Lee Hooker : Chill Out - On Chill Out (Things Gonna Change). 1991 : John Lee Hooker : Mr Lucky - Carlos coproduces with Ry Cooder, Roy Rogers and Mike Kappus. Plays on the album. Also on this album, Van Morrison, Johnny Winter, Keith Richards, etc. 1996 : Eric Clapton : Crossroads 2: Live in the Seventies - On 5 songs. 1998 : Lauryn Hill : The Miseducation of Lauryn Hill - On To Zion 2000 : Everlast : Eat at Whitey's - On Babylon Feeling 2001 : Michael Jackson : Invincible - On Whatever Happens. 2001 : Dave Matthews Band : Everyday - On Mother Father 2004 : Eric Clapton : Crossroads Guitar Festival - On Jingo. 2004 : Cheb Khaled : Love to the People - Single 2004 : Dora the Explorer : Oye Como Va - Single 2005 : Buddy Guy : Bring 'Em In - On I Put A Spell On You 2005 : Herbie Hancock : Possibilities - On Safiatou. 2005 : Shakira : Oral Fixation vol. - On Illegal. 2005 : Miles Davis : Cool & Collected - On It's About That Time-Remix 2007 : Angélique Kidjo : Djin Djin - On Pearls 2018 : Eddie Palmieri : Mi Luz Mayor - On Mi Congo. 2022 : FKJ : Greener - single Memoir On November 4, 2014, his memoir The Universal Tone: Bringing My Story to Light was published. Awards and nominations See also Explanatory notes Citations General sources Soul Sacrifice: The Carlos Santana Story, Simon Leng, 2000 Space Between the Stars, Deborah Santana, 2004 Rolling Stone, "The Resurrection of Carlos Santana", Ben Fong Torres, 1972 New Musical Express, "Spirit of Santana". Chris Charlesworth, November 1973 Guitar Player Magazine, 1978 Rolling Stone, "The Epic Life of Carlos Santana", 2000 Santana I – Sony Legacy Edition: liner notes Abraxas – Sony Legacy Edition: liner notes Santana III – Sony Legacy edition: liner notes Viva Santana – CBS CD release 1988; liner notes Power, Passion and Beauty – The Story of the Legendary Mahavishnu Orchestra Walter Kolosky 2006 Best of Carlos Santana – Wolf Marshall 1996; introduction and interview Further reading Molenda, Michael (ed.). Guitar Player Presents Carlos Santana, Backbeat Books, 2010, 124 pp., Remstein, Henna. Carlos Santana (Latinos in the Limelight), Chelsea House Publications, 2001, 64 pp., Santana, Deborah (King); Miller, Hal; Faulkner, John (ed.), with a foreword by Bill Graham. Santana: A Retrospective of the Santana Band's Twenty Years in Music, San Francisco Mission Cultural Center, 1987, 50 pp., no ISBN. Includes a 4-p genealogical tree w/the member's name for every Santana band from 1966. Copy at SFPL Sumsion, Michael. Maximum Santana: The Unauthorized Biography of Santana, Chrome Dreams, 2003, . A CD-audio biog External links Official website Milagro Foundation Music Carlos Santana Category:1947 births Category:Living people Category:20th-century American guitarists Category:20th-century American male musicians Category:21st-century American male musicians Category:American Book Award winners Category:American male guitarists Category:American male songwriters Category:American musicians of Mexican descent Category:American philanthropists Category:American rock guitarists Category:American rock songwriters Category:American world music musicians Category:Arista Records artists Category:Blues rock musicians Category:Chicano rock musicians Category:Columbia Records artists Category:Grammy Award winners Category:Guitarists from San Francisco Category:Kennedy Center honorees Category:Latin Grammy Award winners Category:Latin Recording Academy Person of the Year honorees Category:Lead guitarists Category:Mexican emigrants to the United States Category:Mexican expatriates in the United States Category:Musicians from Jalisco Category:People from Autlán, Jalisco Category:People from Tijuana Category:Naturalized citizens of the United States Category:Polydor Records artists Category:RCA Records artists Category:Santana (band) members Category:Songwriters from California Category:Latin music songwriters
[]
[ "In the 80s, Santana released radio-friendly singles such as \"Winning\" and \"Hold On\". He broke with Sri Chinmoy and worked on a solo album with Keith Olson and Jerry Wexler which resulted in the 1983 album, Havana Moon. He also did the film score to La Bamba. The band Santana returned in 1985 with a new album, Beyond Appearances, and in 1987 with Freedom. Santana also enjoyed jamming and making guest appearances with other musicians such as the jazz fusion group Weather Report, jazz pianist McCoy Tyner, Blues legend John Lee Hooker, and others. He reunited with past members from the Santana band for a series of concert dates in 1988, and CBS released a 20-year retrospective of the band's accomplishments. That same year, Santana created an all-instrumental group featuring Wayne Shorter, Patrice Rushen, Alphonso Johnson, Armando Peraza, Chepito Areas, and Leon \"Ndugu\" Chancler. He released another solo record, Blues for Salvador, which won a Grammy Award for Best Rock Instrumental Performance.", "In addition to releasing hit singles and albums, Santana won a Grammy Award for Best Rock Instrumental Performance for his solo record, Blues for Salvador. He collaborated with many renowned musicians such as the jazz fusion group Weather Report, jazz pianist McCoy Tyner, Blues legend John Lee Hooker, and others. He was also part of an all-instrumental group which included jazz legend Wayne Shorter and received much acclaim from the music press. Santana's other successes included doing the film score to La Bamba and a 20-year retrospective of his band's accomplishments, released by CBS records.", "Yes, Santana won a Grammy Award for Best Rock Instrumental Performance for his solo record, Blues for Salvador.", "The text does not provide information on any other records by Santana winning awards.", "It's interesting to note that Santana had a great impact on various genres of music, working with jazz legends like McCoy Tyner and Wayne Shorter, Blues legend John Lee Hooker, and even his father's mariachi orchestra. Furthermore, he demonstrated his versatility by doing the film score for La Bamba, a biopic about rock and roll legend Ritchie Valens, and forming an all-instrumental group alongside well-known musicians. His collaboration with Nigerian drummer Babatunde Olatunji on his famous 1960s drum jam, \"Jingo\" points to his world music influences. Another interesting point is his departure from Columbia Records after 22 years and signing with Polygram.", "Santana made guest appearances with notables such as the jazz fusion group Weather Report, jazz pianist McCoy Tyner, Blues legend John Lee Hooker, Frank Franklin, Living Colour guitarist Vernon Reid, and West African singer Salif Keita. He also made a guest appearance on Ottmar Liebert's album, Solo Para Ti, on the songs \"Reaching out 2 U\" and on a cover of his own song, \"Samba Pa Ti\".", "The text does not specify whether Santana's guest appearances with other notable musicians were in concerts, on albums, or in some other context. However, it is mentioned that he made a guest appearance on Ottmar Liebert's album, Solo Para Ti.", "The text does not provide specific information on where Santana and the notable musicians he made guest appearances with performed.", "Also interesting is Santana's alignment with his early rock roots. He not only revisited his early musical experiences in Tijuana in his 1983 album 'Havana Moon,' but also paid tribute by creating the score for the film 'La Bamba,' which is based on the life of rock and roll legend Ritchie Valens. Moreover, he recorded and performed with Babatunde Olatunji, who conceived one of Santana's famous 1960s drum jams, \"Jingo\", thus reestablishing his connection with his past. Additionally, it's fascinating that he held a reunion in 1988 with past members from the Santana band." ]
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C_55df1702b0544c968197c9cc2605da13_1
Garry Kasparov
Garry Kimovich Kasparov (Russian: Garri Kimovich Kasparov, Russian pronunciation: ['garjI 'kjim@vjItc ka'spar@f]; born Garik Kimovich Weinstein, 13 April 1963) is a Russian, and formerly Soviet, chess grandmaster, former world chess champion, writer, and political activist, who many consider to be the greatest chess player of all time. From 1986 until his retirement in 2005, Kasparov was ranked world No. 1 for 225 out of 228 months. His peak rating of 2851, achieved in 1999, was the highest recorded until being surpassed by Magnus Carlsen in 2013. Kasparov also holds records for consecutive professional tournament victories (15) and Chess Oscars (11).
Towards the top
As a teenager, Kasparov tied for first place in the USSR Chess Championship in 1981-82. His first win in a superclass-level international tournament was scored at Bugojno, Bosnia and Herzegovina in 1982. He earned a place in the 1982 Moscow Interzonal tournament, which he won, to qualify for the Candidates Tournament. At age 19, he was the youngest Candidate since Bobby Fischer, who was 15 when he qualified in 1958. At this stage, he was already the No. 2-rated player in the world, trailing only World Chess Champion Anatoly Karpov on the January 1983 list. Kasparov's first (quarter-final) Candidates match was against Alexander Beliavsky, whom he defeated 6-3 (four wins, one loss). Politics threatened Kasparov's semi-final against Viktor Korchnoi, which was scheduled to be played in Pasadena, California. Korchnoi had defected from the Soviet Union in 1976, and was at that time the strongest active non-Soviet player. Various political maneuvers prevented Kasparov from playing Korchnoi, and Kasparov forfeited the match. This was resolved by Korchnoi allowing the match to be replayed in London, along with the previously scheduled match between Vasily Smyslov and Zoltan Ribli. The Kasparov-Korchnoi match was put together on short notice by Raymond Keene. Kasparov lost the first game but won the match 7-4 (four wins, one loss). In January 1984, Kasparov became the No. 1 ranked player in the world, with a FIDE rating of 2710. He became the youngest ever world No. 1, a record that lasted 12 years until being broken by Vladimir Kramnik in January 1996; the record is currently held by Magnus Carlsen. Later in 1984, he won the Candidates' final 8 1/2 -4 1/2 (four wins, no losses) against the resurgent former world champion Vasily Smyslov, at Vilnius, thus qualifying to play Anatoly Karpov for the World Championship. That year he joined the Communist Party of the Soviet Union (CPSU), as a member of which he was elected to the Central Committee of Komsomol in 1987. CANNOTANSWER
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[ "How did Garry rise toward the top?", "When did he start playing competitively?", "Did he play in other matches as a teen?", "Did he continue on to play in college?", "When did he become a professional?", "Are there any other interesting aspects about this article?" ]
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Garry Kimovich Kasparov (born 13 April 1963) is a Russian chess grandmaster, former World Chess Champion (1985–2000), political activist and writer. His peak FIDE chess rating of 2851, achieved in 1999, was the highest recorded until being surpassed by Magnus Carlsen in 2013. From 1984 until his retirement from regular competitive chess in 2005, Kasparov was ranked world no. 1 for a record 255 months overall. Kasparov also holds records for the most consecutive professional tournament victories (15) and Chess Oscars (11). Kasparov became the youngest-ever undisputed world champion in 1985 at age 22 by defeating then-champion Anatoly Karpov. He defended the title against Karpov three times, in 1986, 1987 and 1990. Kasparov held the official FIDE world title until 1993, when a dispute with FIDE led him to set up a rival organisation, the Professional Chess Association. In 1997, he became the first world champion to lose a match to a computer under standard time controls when he was defeated by the IBM supercomputer Deep Blue in a highly publicised match. He continued to hold the "Classical" world title until his defeat by Vladimir Kramnik in 2000. Despite losing the PCA title, he continued winning tournaments and was the world's highest-rated player at the time of his official retirement. Kasparov coached Carlsen in 2009–10, during which time Carlsen rose to world no. 1. Kasparov stood unsuccessfully for FIDE president in 2013–2014. Since retiring from chess, Kasparov has devoted his time to writing and politics. His book series My Great Predecessors, first published in 2003, details the history and games of the world champion chess players who preceded him. He formed the United Civil Front movement and was a member of The Other Russia, a coalition opposing the administration and policies of Vladimir Putin. In 2008, he announced an intention to run as a candidate in that year's Russian presidential race, but after encountering logistical problems in his campaign, for which he blamed "official obstruction", he withdrew. In the wake of the Russian mass protests that began in 2011, he announced in June 2013 that he had left Russia for the immediate future out of fear of persecution. Following his flight from Russia, he lived in New York City with his family. In 2014, he obtained Croatian citizenship and has maintained a residence in Podstrana near Split. Kasparov is chairman of the Human Rights Foundation and chairs its International Council. In 2017, he founded the Renew Democracy Initiative (RDI), an American political organisation promoting and defending liberal democracy in the U.S. and abroad. He serves as chairman of the group. Kasparov is also a security ambassador for the software company Avast. Early life Kasparov was born Garik Kimovich Weinstein (Russian: Гарик Кимович Вайнштейн, Garik Kimovich Vainshtein) in Baku, Azerbaijan SSR (now Azerbaijan), Soviet Union. His father, Kim Moiseyevich Weinstein, was Jewish and his mother, Klara Shagenovna Kasparova, was Armenian. Both of his mother's parents were Armenians from Nagorno-Karabakh. Kasparov has described himself as a "self-appointed Christian", although "very indifferent" and identifying as Russian: "[A]lthough I'm half-Armenian, half-Jewish, I consider myself Russian because Russian is my native tongue, and I grew up with Russian culture." Kasparov and his family had to "flee anti-Armenian pogroms in Baku in January 1990 that were coordinated by local leaders with Soviet acquiescence". According to Kasparov himself, he was named after United States President Harry Truman, "whom my father admired for taking a strong stand against communism. It was a rare name in Russia, until Harry Potter came along." Introduction to chess Kasparov began the serious study of chess after he came across a problem set up by his parents and proposed a solution. When he was seven years old, his father died of leukaemia. At the age of twelve, Kasparov, upon the request of his mother Klara and with the consent of the family, adopted Klara's surname Kasparov, which was done to avoid possible anti-Semitic tensions common in the USSR at the time. From age seven, Kasparov attended the Young Pioneer Palace in Baku and, at ten, began training at Mikhail Botvinnik's chess school under coach Vladimir Makogonov. Makogonov helped develop Kasparov's positional skills and taught him to play the Caro-Kann Defence and the Tartakower System of the Queen's Gambit Declined. Kasparov won the Soviet Junior Championship in Tbilisi in 1976, scoring 7/9 points, at age thirteen. He repeated the feat the following year, winning with a score of 8.5/9. He was being coached by Alexander Shakarov during this time. In 1978, Kasparov participated in the Sokolsky Memorial tournament in Minsk. He had received a special invitation to enter the tournament but took first place and became a chess master. Kasparov has stressed that this event was a turning point in his life and that it convinced him to choose chess as his career: "I will remember the Sokolsky Memorial as long as I live", he wrote. He has also said that after the victory, he thought he had a very good shot at the world championship. Chess career Rising up the ranks He first qualified for the USSR Chess Championship at age 15 in 1978, the youngest-ever player at that level. He won the 64-player Swiss system tournament at Daugavpils on a tie-break over Igor V. Ivanov to capture the sole qualifying place. Kasparov rose quickly through the FIDE world rankings. Due to an oversight by the Russian Chess Federation, which believed that a grandmaster tournament in Banja Luka, SR Bosnia and Herzegovina (part of Yugoslavia at the time), was for juniors, he participated in that event in 1979 while still unrated. He was a replacement for the Soviet defector Viktor Korchnoi, who was originally invited but withdrew due to the threat of a boycott from the Soviets. Kasparov won this high-class tournament, emerging with a provisional rating of 2595, enough to catapult him to the top group of chess players (at the time, number 15 in the world). The next year, 1980, he won the World Junior Chess Championship in Dortmund, West Germany. Later that year, he made his debut as the second reserve for the Soviet Union at the Chess Olympiad at Valletta, Malta, and became a Grandmaster. As a teenager, Kasparov shared the USSR Chess Championship in 1981 with Lev Psakhis (12.5/17), although Psakhis won their game. His first win in a superclass-level international tournament was scored at Bugojno, SR Bosnia and Herzegovina, Yugoslavia in 1982. He earned a place in the 1982 Moscow Interzonal tournament, which he won, to qualify for the Candidates Tournament. At age 19, he was the youngest Candidate since Bobby Fischer, who was 15 when he qualified in 1958. At this stage, he was already the No. 2-rated player in the world, trailing only world champion Karpov on the January 1983 list. Kasparov's first (quarter-final) Candidates match was against Alexander Beliavsky, whom he defeated 6–3 (four wins, one loss). Politics threatened Kasparov's semi-final against Korchnoi, which was scheduled to be played in Pasadena, California. Korchnoi had defected from the Soviet Union in 1976 and was at that time the strongest active non-Soviet player. The Soviet authorities would not allow Kasparov to travel to the United States, meaning that Korchnoi could have had a walkover. This decision was met with disapproval by the chess world, and Korchnoi agreed to the match to being played in London instead, along with the previously scheduled match between Vasily Smyslov and Zoltán Ribli. The Kasparov-Korchnoi match was put together on short notice by Raymond Keene. Kasparov lost the first game but won the match 7–4 (four wins, one loss). In January 1984, Kasparov became the No. 1 ranked player in the world, with a FIDE rating of 2710. He became the youngest-ever world No. 1, a record that lasted 12 years until being broken by Kramnik in January 1996. That same year, he won the Candidates' final 8½–4½ (four wins, no losses) against former world champion Smyslov at Vilnius, thus qualifying to play Karpov for the world championship. 1984 world championship The World Chess Championship 1984 match between Kasparov and Karpov had many ups and downs and a very controversial finish. Karpov started in very good form, and after nine games Kasparov was down 4–0 in a "first to six wins" match. Fellow players predicted he would be whitewashed 6–0 within 18 games. In an unexpected turn of events, there followed a series of 17 successive draws, some relatively short, others drawn in unsettled positions. Kasparov lost game 27 (5–0), then fought back with another series of draws until game 32, earning his first-ever win against the world champion and bringing the score to 5–1. Another 14 successive draws followed, through game 46; the previous record length for a world title match had been 34 games (José Raúl Capablanca vs. Alexander Alekhine in 1927). Kasparov won games 47 and 48 to bring the score to 5–3 in Karpov's favour. Then the match was ended without result by FIDE President Florencio Campomanes, and a new match was announced to start a few months later. The termination was controversial, as both players stated that they preferred the match to continue. Announcing his decision, Campomanes cited the health of the players, which had been strained by the length of the match. According to grandmasters Boris Gulko and Korchnoi, and historians Vladimir Popow and Yuri Felshtinsky in their The KGB Plays Chess book, Campomanes had been a KGB agent and was tasked with preventing Karpov's defeat at all costs. The match was terminated while Karpov was still ahead to avoid the impression that the decision had been made for his benefit. The match became the first, and so far only, world championship match to be abandoned without a result. Kasparov's relations with Campomanes and FIDE became strained, and matters came to a head in 1993 with Kasparov's complete break-away from FIDE. World champion The second Karpov–Kasparov match in 1985 was organised in Moscow as the best of 24 games, where the first player to win 12½ points would claim the title. The scores from the terminated match would not carry over; however, in the event of a 12–12 draw, the title would remain with Karpov. On 9 November 1985, Kasparov secured the world crown by a score of 13–11. Karpov, with White, needed to win the 24th game to retain the title but Kasparov won it with the Sicilian Defence. He was 22 years old at the time, making him the youngest-ever world champion, a record held by Mikhail Tal for over 20 years. Kasparov's win with Black in the 16th game has been recognised as one of the all-time chess masterpieces, including being voted the best game played during the first 64 issues of the magazine Chess Informant. As part of the arrangements following the aborted 1984 match, Karpov had been granted (in the event of his defeat) a right to rematch. Another match took place in 1986, hosted jointly in London and Leningrad, with each city hosting 12 games. At one point in the match, Kasparov opened a three-point lead and looked well on his way to a decisive victory. But Karpov fought back by winning three consecutive games to level the score late in the match. At this point, Kasparov dismissed one of his seconds, grandmaster Evgeny Vladimirov, accusing him of selling his opening preparation to the Karpov team (as described in Kasparov's autobiography Unlimited Challenge, chapter Stab in the Back). Kasparov scored one more win and kept his title by a score of 12½–11½. A fourth match for the world title took place in 1987 in Seville, as Karpov had qualified through the Candidates' Matches to become the official challenger once again. This match was also very close, with neither player holding more than a one-point lead at any time. With one game left, Kasparov was down a point and needed a win to draw the match and retain his title. A long, tense game ensued in which Karpov blundered away a pawn just before the first time control. Kasparov then won a long ending to retain the title on a 12–12 scoreline. Kasparov and Karpov met for a fifth time, on this occasion in New York City and Lyon in 1990, with each city hosting 12 games. Again the result was a close one, with Kasparov winning by a margin of 12½–11½. In their five world championship matches, Kasparov had 21 wins, 19 losses and 104 draws in 144 games. Break with and ejection from FIDE In November 1986, Kasparov had created the Grandmasters Association (GMA) to represent professional players and give them more say in FIDE's activities. Kasparov assumed a leadership role. GMA's major achievement was in organising a series of six World Cup tournaments for the world's top players. This caused an uneasy relationship to develop between Kasparov and FIDE. The previous month Kasparov had made his feelings clear to fellow grandmaster Keene: "Campomanes must go. It is war to the death with him as far as I am concerned. I will do everything I can to remove him”. This stand-off lasted until 1993, by which time a new challenger had qualified through the Candidates cycle: Nigel Short, a British grandmaster who had defeated Karpov in a qualifying match and then Jan Timman in the finals held in early 1993. After a confusing and compressed bidding process produced lower financial estimates than expected, the world champion and his challenger both rejected FIDE's bid for an August match in Manchester and decided to play outside FIDE's jurisdiction. Their match took place under the auspices of the Professional Chess Association (PCA), an organisation established by Kasparov and Short. At this point, a fracture occurred in the lineage of the FIDE World Championship. In an interview in 2007, Kasparov called the break with FIDE in 1993 the worst mistake of his career, as it hurt the game in the long run. Kasparov and Short were ejected from FIDE and played their well-sponsored match in London in September 1993. Kasparov won convincingly by a score of 12½–7½. The match considerably raised the profile of chess in the UK, with a substantial level of coverage on Channel 4. Meanwhile, FIDE organised its world championship match between Timman (the defeated Candidates finalist) and former world champion Karpov (a defeated Candidates semi-finalist), which Karpov won. FIDE removed Kasparov and Short from its rating list. Subsequently, the PCA created a rating list of its own, which featured all the world top players regardless of their relation to FIDE. There were now two world champions: PCA champion Kasparov and FIDE champion Karpov. The title remained split for 13 years. Kasparov defended his PCA title in a 1995 match against Viswanathan Anand at the World Trade Center in New York City. Kasparov won the match by four wins to one, with thirteen draws. Kasparov tried to organise another world championship match under a different organisation, the World Chess Association (WCA), with Linares organiser Luis Rentero. Alexei Shirov and Kramnik played a candidates match to decide the challenger, which Shirov won in an upset. But when Rentero admitted that the funds required and promised had never materialised, the WCA collapsed. Yet another body stepped in, BrainGames.com, headed by Raymond Keene. After a match with Shirov could not be agreed by BrainGames.com and talks with Anand collapsed, a match was instead arranged against Kramnik. During this period, Kasparov was approached by Oakham School in the United Kingdom, at the time the only school in the country with a full-time chess coach, and developed an interest in the use of chess in education. In 1997, Kasparov supported a scholarship programme at the school. Kasparov also won the Marca Leyenda trophy that year. In 1999, he played a well-known game against Topalov wherein he won after a rook sacrifice and king hunt. Losing the title and aftermath The Kasparov-Kramnik match took place in London during the latter half of 2000. Kramnik had been a student of Kasparov's at the famous Botvinnik/Kasparov chess school in Russia and had served on Kasparov's team for the 1995 match with Anand. The better-prepared Kramnik won game 2 against Kasparov's Grünfeld Defence and achieved winning positions in games 4 and 6, although Kasparov managed a draw in both games. Kasparov made a critical error in game 10 with the Nimzo-Indian Defence, which Kramnik exploited to win in 25 moves. As White, Kasparov could not crack the passive but solid Berlin Defence in the Ruy Lopez, and Kramnik managed to draw all his games as Black. Kramnik won the match 8½–6½. Kasparov won a series of major tournaments and remained the PCA top-rated player in the world, ahead of both Kramnik and the FIDE World Champion. In 2001 he refused an invitation to the 2002 Dortmund Candidates Tournament for the Classical title, claiming his results had earned him a rematch with Kramnik. Kasparov and Karpov played a four-game match with rapid time controls over two days in December 2002 in New York City. Kasparov suffered a surprise loss (1.5 – 2.5). Because of Kasparov's continuing strong results and status as FIDE world No. 1, he was included in the so-called "Prague Agreement", masterminded by Yasser Seirawan and intended to reunite the two world championships. Kasparov was to play a match against the FIDE World Champion Ponomariov in September 2003. But this match was called off after Ponomariov refused to sign his contract for it without reservation. In its place, there were plans for a match against Rustam Kasimdzhanov, winner of the FIDE World Chess Championship 2004, to be held in January 2005 in the United Arab Emirates. These also fell through owing to a lack of funding. Plans to hold the match in Turkey instead came too late. Kasparov announced in January 2005 that he was tired of waiting for FIDE to arrange a match and had decided to stop all efforts to become undisputed world champion once more. Retirement from regular competitive chess After winning the prestigious Linares tournament for the ninth time, Kasparov announced on 10 March 2005 that he would retire from regular competitive chess. He cited as the reason a lack of personal goals in the chess world. When winning the Russian championship in 2004, he commented that it had been the last major title he had never won outright. He also expressed frustration at the failure to reunify the world championship. Kasparov said he might play in some rapid chess events for fun, but he intended to spend more time on his books, including the My Great Predecessors series, and work on the links between decision-making in chess and other areas of life. He also stated that he would continue to involve himself in Russian politics, which he viewed as "headed down the wrong path." Post-retirement chess On 22 August 2006, in his first public chess games since his retirement, Kasparov played in the Lichthof Chess Champions Tournament, a blitz event played at the time control of five minutes per side and three-second increments per move. Kasparov tied for first with Karpov, scoring 4½/6. Kasparov and Karpov played a 12-game match from 21 to 24 September 2009, in Valencia, Spain. It consisted of four rapid (or semi rapid) games, in which Kasparov won 3–1, and eight blitz games, in which Kasparov won 6–2, winning the match with a final result of 9–3. The event took place exactly 25 years after the two players' unfinished encounter at World Chess Championship 1984. Kasparov coached Carlsen for approximately one year, beginning in February 2009. The collaboration remained secret until September 2009. Under Kasparov's tutelage, Carlsen in October 2009 became the youngest ever to achieve a FIDE rating higher than 2800, and he rose from world number four to world number one. While the pair initially planned to work together throughout 2010, in March of that year it was announced that Carlsen had split from Kasparov and would no longer be using him as a trainer. According to an interview with the German magazine Der Spiegel, Carlsen indicated that he would remain in contact and that he would continue to attend training sessions with Kasparov; however, no further training sessions were held, and the cooperation fizzled out over the course of the spring. In 2011, Carlsen said: "Thanks to [Kasparov] I began to understand a whole class of positions better. ... Kasparov gave me a great deal of practical help." In 2012, when asked what he learnt from working with Kasparov, Carlsen answered: "Complex positions. That was the most important thing." In May 2010, Kasparov played and won 30 games simultaneously against players at Tel Aviv University in Israel. In the same month, it was revealed that he had aided Anand in his preparation for the World Chess Championship 2010 against challenger Veselin Topalov. Anand won the match 6½–5½ to retain the title. Kasparov began training the U.S. grandmaster Hikaru Nakamura in January 2011. The first of several training sessions was held in New York just before Nakamura participated in the Tata Steel Chess tournament in Wijk aan Zee, the Netherlands. In December 2011, it was announced that their cooperation had come to an end. Kasparov played two blitz exhibition matches in the autumn of 2011. The first was in September against French grandmaster Maxime Vachier-Lagrave, in Clichy (France), which Kasparov won 1½–½. The second was a longer match consisting of eight blitz games played on 9 October, against English grandmaster Short. Kasparov won again by a score of 4½–3½. A little after that, in October 2011, Kasparov played and defeated fourteen opponents in a simultaneous exhibition that took place in Bratislava. On 25 and 26 April 2015, Kasparov played a mini-match against Short. The match consisted of two rapid games and eight blitz games and was contested over the course of two days. Commentators GM Maurice Ashley and Alejandro Ramírez remarked how Kasparov was an 'initiative hog' throughout the match, consistently not allowing Short to gain any foothold in the games. Kasparov won the match decisively (8½–1½), winning all five games on the second day. These victories were characterised by aggressive pawn moves breaking up Short's position, thereby allowing Kasparov's pieces to achieve positional superiority. Kasparov played and won all nineteen games of a simultaneous exhibition in Pula, Croatia on 19 August 2015. At the Chess Club and Scholastic Center of Saint Louis on 28 and 29 April 2016, Kasparov played a 6-round exhibition blitz round-robin tournament with Fabiano Caruana, Wesley So and Nakamura in an event called the Ultimate Blitz Challenge. He finished the tournament third with 9.5/18, behind Nakamura (11/18) and So (10/18). At the post-tournament interview, Kasparov announced that he would donate his winnings from playing the next top-level blitz exhibition match to assist funding of the American Olympic Team. On 2 June 2016, Kasparov played against fifteen chess players in a simultaneous exhibition in the Kaiser-Friedrich-Halle of Mönchengladbach. He won all games. Candidate for FIDE presidency On 7 October 2013, Kasparov announced his candidacy for World Chess Federation president during a reception in Tallinn, Estonia, where the 84th FIDE Congress took place. He was supported by reigning world champion and FIDE #1 ranked player Carlsen. At the FIDE General Assembly in August 2014, Kasparov lost the presidential election to the incumbent Kirsan Ilyumzhinov, with a vote of 110–61. A few days before the election took place, the New York Times Magazine had published a report on the viciously fought campaign. Included was information about a leaked contract between Kasparov and former FIDE Secretary General Ignatius Leong from Singapore, in which the Kasparov campaign reportedly "offered to pay Leong US$500,000 and to pay $250,000 a year for four years to the ASEAN Chess Academy, an organisation Leong helped create to teach the game, specifying that Leong would be responsible for delivering 11 votes from his region [...]". In September 2015, the FIDE Ethics Commission found Kasparov and Leong guilty of violating its Code of Ethics and later suspended them for two years from all FIDE functions and meetings. Return from chess retirement Kasparov came out of retirement to participate in the inaugural St. Louis Rapid and Blitz tournament from 14 to 19 August 2017, scoring 3.5/9 in the rapid and 9/18 in the blitz. He finished eighth in a strong field of ten, including Nakamura, Caruana, former world champion Anand and the eventual winner, Levon Aronian. Kasparov promised that any tournament money he earned would go towards charities to promote chess in Africa. In 2020, he participated in 9LX, a Chess 960 tournament, and finished eighth of a field of ten players. His game against Carlsen, who tied for first place, was drawn. He launched Kasparovchess, a subscription-based online chess community featuring documentaries, lessons, puzzles, podcasts, articles, interviews and playing zones, in 2021. Kasparov played in the blitz section of the Grand Chess Tour 2021 event in Zagreb, Croatia. He performed poorly, however, scoring 0.5/9 on the first day and 2/9 on the second day, getting his only win against Jorden Van Foreest. He also participated in 9LX 2, finishing fifth in a field of ten players, with a score of 5/9. Olympiads and major team events Kasparov played in a total of eight Chess Olympiads. He represented the Soviet Union four times and Russia four times, following the break-up of the Soviet Union in 1991. In his 1980 Olympiad debut, he became, at age 17, the youngest player to represent the Soviet Union or Russia at that level, a record which was broken by Kramnik in 1992. In 82 games, he scored (+50−3=29), for 78.7%, and won a total of nineteen medals, including team gold medals all eight times he competed. For the 1994 Moscow Olympiad, he had a significant organisational role in helping to put together the event on short notice, after Thessaloniki cancelled its offer to host only a few weeks before the scheduled dates. Kasparov's detailed Olympiad record follows: Valletta 1980, USSR 2nd reserve, 9½/12 (+8−1=3), team gold, board bronze; Lucerne 1982, USSR 2nd board, 8½/11 (+6−0=5), team gold, board bronze; Dubai 1986, USSR 1st board, 8½/11 (+7−1=3), team gold, board gold, performance gold; Thessaloniki 1988, USSR 1st board, 8½/10 (+7−0=3), team gold, board gold, performance gold; Manila 1992, Russia board 1, 8½/10 (+7−0=3), team gold, board gold, performance silver; Moscow 1994, Russia board 1, 6½/10 (+4−1=5), team gold; Yerevan 1996, Russia board 1, 7/9 (+5−0=4), team gold, board silver, performance gold; Bled 2002, Russia board 1, 7½/9 (+6−0=3), team gold, performance gold. Kasparov made his international debut for the USSR at age 16 in the 1980 European Team Championship and played for Russia in the 1992 edition of that championship. He won a total of five medals. His detailed record in this event follows: Skara 1980, USSR 2nd reserve, 5½/6 (+5−0=1), team gold, board gold; Debrecen 1992, Russia board 1, 6/8 (+4−0=4), team gold, board gold, performance silver. Kasparov also represented the USSR once at the Youth Olympiad in Austria (1981). He scored 9/10 (+8–0=2) on the top board and his team lifted the title. Assessment and legacy Kasparov received a Chess Oscar eleven times as the best chess player of the year, in 1982-1983, 1985-1988, 1995-1996, 1999, and 2001-2002. Between 1981 and 1991, he won or tied for first place in every tournament he entered. In 1999, Kasparov reached an Elo rating of 2851 points, a record that stood for over thirteen years: on 10 December 2012, Carlsen achieved an unofficial rating of 2861 points, with which he topped the next release of the rating in January 2013. With the exception of the PCA period and sharing first place with Kramnik in 1997, Kasparov led the rating list from 1985 to 2006. On 1 January 2006, Kasparov ranked first with a coefficient of 2812. However, he was excluded from the FIDE rating list of 1 April 2006 because he had not participated in tournaments for the previous twelve months. The rivalry between Kasparov and Karpov (often referred to as the "two Ks") is one of the greatest in the history of chess. In six years they played five matches comprising 144 games. For a long time there was personal enmity between Karpov and Kasparov. The conflict between the two men also had a political connotation. Karpov was considered a representative of the Soviet nomenklatura, while Kasparov was young and popular, positioned himself as a "child of change", willingly gave candid interviews and (especially in the West) had an aura of a rebel, although he never was a dissident. Kasparov's 1985 victory coincided with the start of perestroika in the Soviet Union. Carlsen said of Kasparov: "I've never seen someone with such a feel for dynamics in complex positions." Kramnik has opined that Kasparov's "capacity for study is second to none", adding "There is nothing in chess he has been unable to deal with." In 2007, the international consulting company Synectics published a rating of 100 living geniuses in science, politics, art and entrepreneurship, in which Kasparov ranked 25th. Playing style Kramnik called Kasparov a chess player with virtually no weaknesses. His games are characterised by a dynamic style of play with a focus on tactics, depth of strategy, subtle calculation and original opening ideas. Kasparov was known for his extensive opening preparation and aggressive play in it. Sergey Shipov considered Kasparov's moral and volitional qualities (impulsiveness and psychological instability) and excessive reliance on options, which can lead to overwork and mistakes, as amongst his few shortcomings. Kasparov's attacking style of play has been compared by many to Alekhine, his chess idol since childhood. Kasparov has described his style as being influenced chiefly by Alekhine, Tal and Fischer. Other influences on Kasparov were his early coaches. At a young age, he met with experienced teachers Alexander Nikitin and Alexander Shakarov. Shakarov collected and systematised materials, and then became the keeper of Kasparov's information bank. A revolutionary step at that time was the involvement of computer programs in analysing games, and it was Kasparov and his team who took the first steps in this direction. In 1973, Kasparov entered the Botvinnik school and immediately attracted attention. Botvinnik commented on the young schoolboy: "Garry's speed and memory capacity are amazing. He counts deep variations and finds unexpected moves. The power of combinational vision makes him similar to Alekhine himself". Contributions to opening theory Kasparov's contribution to opening theory is acknowledged. In the 1990s, he systematically developed new variants with computer programs. Kasparov's favourite opening systems were the Queen's Indian with White and variations of the Sicilian Defence with Black. He also "reanimated" the Scotch Game in top-level competitions. Kasparov successfully used this opening, which was considered outdated, in the 1990 match against Karpov and in matches with Short and Anand. One of the offshoots of the Sicilian in the Szén Variation is called the Kasparov Gambit. Kasparov used this variation in the 12th and 16th games of the match with Karpov in 1985; in the second of these games, he scored a victory. Another well-known case of winning an important game thanks to a novelty in the opening is Kasparov's 10th game of the 1995 match against Anand. On the 14th move, in a well-known position of the open variation of the Spanish Game (Rui Lopez), Kasparov discovered a new idea with a rook sacrifice, which brought a decisive attack. Kasparov has also co-authored several books on opening theory. Chess rating Kasparov holds the record for the longest time as the No. 1 rated player in the world—from 1984 to 2005 (Kramnik shared the No. 1 ranking with him once, in the January 1996 FIDE rating list). He headed the PCA rating list during the split from FIDE. At the time of his retirement, he was still ranked No. 1 in the world, with a rating of 2812. His rating has fallen inactive since the January 2006 rating list. In January 1990, Kasparov achieved the (then) highest FIDE rating ever, passing 2800 and breaking Fischer's old record of 2785. By the July 1999 and January 2000 FIDE rating lists, Kasparov had reached a 2851 Elo rating, at that time the highest rating ever achieved. He held that record until Carlsen attained a new record high rating of 2861 in January 2013. Other achievements Kasparov holds the record for most consecutive professional tournament victories, placing first or equal first in fifteen individual tournaments from 1981 to 1990. The streak was broken by Vasyl Ivanchuk at Linares 1991, where Kasparov placed second, half a point behind him after losing their individual game. The details of this record winning streak follow: Frunze 1981, USSR Championship, 12½/17, tie for 1st; Bugojno 1982, 9½/13, 1st; Moscow 1982, Interzonal, 10/13, 1st; Nikšić 1983, 11/14, 1st; Brussels OHRA 1986, 7½/10, 1st; Brussels SWIFT 1987, 8½/11, tie for 1st; Amsterdam Optiebeurs 1988, 9/12, 1st; Belfort (World Cup) 1988, 11½/15, 1st; Moscow 1988, USSR Championship, 11½/17, tie for 1st; Reykjavík (World Cup) 1988, 11/17, 1st; Barcelona (World Cup) 1989, 11/16, tie for 1st; Skellefteå (World Cup) 1989, 9½/15, tie for 1st; Tilburg 1989, 12/14, 1st; Belgrade (Investbank) 1989, 9½/11, 1st; Linares 1990, 8/11, 1st. Kasparov went nine years winning every super-tournament he played, in addition to contesting his series of five consecutive matches with Karpov. His only failure in this time period in either tournament or match play was the 1984 world title match against Karpov. In the late 1990s, Kasparov went on another long streak of ten consecutive super-tournament wins. Wijk aan Zee Hoogovens 1999, 10/13, 1st; Linares 1999, 10½/14, 1st; Sarajevo 1999, 7/9, 1st; Wijk aan Zee Corus 2000, 9½/13, 1st; Linares 2000, 6/10, tie for 1st; Sarajevo 2000, 8½/11, 1st; Wijk aan Zee Corus 2001, 9/13, 1st; Linares 2001, 7.5/10, 1st; Astana 2001, 7/10, 1st; Linares 2002, 8/12, 1st. In these tournament victories, Kasparov had a score of 53 wins, 61 draws and 1 loss in 115 games, his only defeat coming against Ivan Sokolov in Wijk aan Zee 1999. Chess and computers Acorn Computers acted as one of the sponsors for Kasparov's Candidates semi-final match against Korchnoi in 1983. This was Kasparov's first introduction to computers. Kasparov was awarded a BBC Micro, which he took back with him to Baku, making it perhaps one of the first Western-made microcomputers to reach the Soviet Union at that time. Computer chess magazine editor Frederic Friedel consulted with Kasparov in 1985 on how a chess database program would be useful preparation for competition. Friedel founded Chessbase two years later, and he gave a copy of the program to Kasparov, who started using it in his preparation. That same year, Kasparov played against thirty-two chess computers in Hamburg, winning all games. Several commercially available Kasparov computers were made in the 1980s, the Saitek Kasparov Turbo King models. On 22 October 1989, Kasparov defeated the chess computer Deep Thought in both games of a two-game match. In December 1992, Kasparov played thirty-seven blitz games against Fritz 2 in Cologne, winning 24, drawing 4 and losing 9. Kasparov cooperated in producing video material for the computer game Kasparov's Gambit released by Electronic Arts in November 1993. In April 1994, Intel acted as a sponsor for the first Professional Chess Association Grand Prix event in Moscow, played at a time control of twenty-five minutes per game. In May, Chessbase's Fritz 3 running on an Intel Pentium PC defeated Kasparov in their first game in the Intel Express blitz tournament in Munich, but Kasparov managed to tie it for first and won the play-off (+3=2). The next day, Kasparov lost to Fritz 3 again in a game on ZDF TV. In August, Kasparov was knocked out of the London Intel Grand Prix by Richard Lang's ChessGenius 2 program in the first round. In 1995, during Kasparov's world title match with Anand, he unveiled an opening novelty that had been checked with a chess engine, an approach that would become increasingly common in subsequent years. Kasparov played in a pair of six-game chess matches with IBM supercomputer Deep Blue. The first match took place in Philadelphia in February 1996 and was won by Kasparov (4-2). The second was played in New York City in May 1997 and won by Deep Blue (3½–2½). The 1997 match was the first defeat of a reigning world champion by a computer under tournament conditions. The match was even after five games but Kasparov lost quickly in Game 6. Kasparov said that he was "not well prepared" to face Deep Blue in 1997. He said that based on his "objective strengths" his play was stronger than that of Deep Blue. Kasparov claimed that several factors weighed against him in this match. In particular, he was denied access to Deep Blue's recent games, in contrast to the computer's team, which could study hundreds of Kasparov's. After the loss, Kasparov said that he sometimes saw deep intelligence and creativity in the machine's moves, suggesting that during the second game chess players had intervened in contravention of the rules. IBM denied that it had cheated, stating the only human intervention occurred between games. The rules provided for the developers to modify the program between games, an opportunity they said they used to shore up weaknesses in the computer's play revealed during the course of the match. Kasparov requested printouts of the machine's log files but IBM refused, although the company later published them on the Internet. Much later, it was suggested that the behaviour Kasparov noted had resulted from a glitch in the computer program. Plans for further engagement between Kasparov and IBM, including a rematch, did not come to fruition, due to the accusations of cheating. In January 2003, he engaged in a six-game classical time control match, with a $1 million prize fund, against Deep Junior. It was billed as the FIDE "Man vs. Machine" world championship. The engine evaluated three million positions per second. After one win each and three draws, it was all up to the final game. After reaching a decent position, Kasparov offered a draw, which was accepted by the Deep Junior team. Asked why he had offered the draw, Kasparov said he feared making a blunder. Deep Junior was the first machine to beat Kasparov with Black and at a standard time control. In June 2003, Mindscape released the computer game Kasparov Chessmate, with Kasparov himself listed as a co-designer. In November 2003, he engaged in a four-game match against the computer program X3D Fritz, using a virtual board, 3D glasses and a speech recognition system. After two draws and one win apiece, the X3D Man–Machine match ended in a draw. Kasparov received $175,000 and took home a golden trophy. He continued to regret the blunder in the second game that cost him a crucial point. He felt that he had outplayed the machine overall and performed well: "I only made one mistake but unfortunately that one mistake lost the game." In 2021, Kasparov promoted a series of 32 NFTs that detailed important moments in his career. The top four sold for more than $11,000. Politics and political views Russia Early political activities Kasparov's grandfather was a staunch communist, but the young Kasparov gradually began to have doubts about the Soviet Union's political system at age 13 when he travelled abroad for the first time in 1976 to Paris for a chess tournament. In 1981, at age 18, he read Aleksandr Solzhenitsyn's The Gulag Archipelago, a copy of which he bought while abroad. Nevertheless, Kasparov joined the Communist Party of the Soviet Union (CPSU) in 1984, and was elected to the Central Committee of Komsomol in 1987. In 1990, he left the party. In May 1990, Kasparov took part in the creation of the Democratic Party of Russia. He left the party on 28 April 1991, after its conference. Kasparov was also involved with the creation of the "Choice of Russia" bloc of parties in June 1993. He took part in the election campaign of Boris Yeltsin in 1996. In 2001 he voiced his support for the Russian television channel NTV. After his retirement from chess in 2005, Kasparov turned to politics and created the United Civil Front, a social movement whose main goal is to "work to preserve electoral democracy in Russia". He has vowed to "restore democracy" to Russia by restoring the rule of law. A year later the United Civil Front became part of The Other Russia. Kasparov was instrumental in setting up this coalition, which opposes Putin's government. The Other Russia was boycotted by the leaders of Russia's mainstream opposition parties, Yabloko and Union of Right Forces, due to its inclusion of both nationalist and radical groups. Kasparov has criticised these two parties as being secretly under the auspices of the Kremlin. In April 2005, Kasparov was in Moscow at a promotional event when he was struck over the head with a chessboard he had just signed. The assailant was reported to have said: "I admired you as a chess player, but you gave that up for politics" immediately before the attack. Kasparov has been the subject of a number of other episodes since, including police brutality and alleged harassment from the Russian secret service. Kasparov helped organise the Saint Petersburg Dissenters' March on 3 March 2007 and The March of the Dissenters on 24 March 2007, both involving several thousand people rallying against Putin and Saint Petersburg Governor Valentina Matviyenko. Kasparov led a pro-democracy demonstration in Moscow in April 2007. Soon after it started, however, over 9,000 police descended on the group and seized almost everyone. Kasparov, who was briefly arrested, was warned by the prosecution office on the eve of the march that anyone participating risked being detained. He was held for some ten hours and then fined and released. He was later summoned by the FSB for violations of Russian anti-extremism laws. Speaking about Kasparov in 2007, former KGB defector Oleg Kalugin remarked: "I do not talk in details – people who knew them are all dead now because they were vocal, they were open. I am quiet. There is only one man who is vocal and he may be in trouble: world chess champion Kasparov. He has been very outspoken in his attacks on Putin and I believe that he is probably next on the list." Presidential candidate (2008) On 30 September 2007, Kasparov entered the Russian presidential race, receiving 379 of 498 votes at a congress held in Moscow by The Other Russia. In October 2007, Kasparov announced his intention of standing for the Russian presidency as the candidate of the "Other Russia" coalition and vowed to fight for a "democratic and just Russia". Later that month he travelled to the United States, where he appeared on several popular television programmes. In November 2007, Kasparov and other protesters were detained by police at an Other Russia rally in Moscow, which drew 3,000 demonstrators to protest against election rigging. Following an attempt by about 100 protesters to march through police lines to the electoral commission, which had barred Other Russia candidates from parliamentary elections, arrests were made. The Russian authorities stated a rally had been approved but not any marches, resulting in several demonstrators being detained. Kasparov was subsequently charged with resisting arrest and organising an unauthorised protest, and was given a jail sentence of five days. Kasparov appealed the charges, citing that he had been following orders given by the police. He was released from jail on 29 November. Putin castigated Kasparov at the rally for his use of English when speaking rather than Russian. In December 2007, Kasparov announced that he had to withdraw his presidential candidacy due to inability to rent a meeting hall where at least 500 of his supporters could assemble. With the deadline expiring on that date, he explained it was impossible for him to run. Russian election laws required sufficient meeting hall space for assembling supporters. Kasparov's spokeswoman accused the government of using pressure to deter anyone from renting a hall for the gathering and said that the electoral commission had rejected a proposal that would have allowed for smaller gathering sizes rather than one large gathering at a meeting hall. Opposition to Putin administration (2010-2013) Kasparov was among the 34 first signatories and a key organiser of the online anti-Putin campaign "Putin must go", started on 10 March 2010. Within the text is a call to Russian law enforcement to ignore Putin's orders. By June 2011, there were 90,000 signatures. While the identity of the petition author remained anonymous, there was wide speculation that it was indeed Kasparov. On 31 January 2012, Kasparov hosted a meeting of opposition leaders planning a mass march on 4 February 2012, the third major opposition rally held since the disputed State Duma elections of December 2011. Among other opposition leaders attending were Alexey Navalny and Yevgeniya Chirikova. Kasparov was arrested and beaten outside a Moscow court on 17 August 2012 while attending sentencing in the case involving the all-female punk band Pussy Riot. On 24 August, he was cleared of charges that he had taken part in an unauthorised protest against the conviction of three members of the band. Judge Yekaterina Veklich said there were "no grounds to believe the testimony of the police". Kasparov later thanked all the bloggers and reporters who provided video evidence that contradicted the testimony of the police. Kasparov wrote in February 2013 that "fascism has come to Russia. ...Project Putin, just like the old Project Hitler, is but the fruit of a conspiracy by the ruling elite. Fascist rule was never the result of the free will of the people. It was always the fruit of a conspiracy by the ruling elites!" Kasparov denied rumours in April 2013 that he was planning to leave Russia for good. "I found these rumors to be deeply saddening and, moreover, surprising," he wrote. "I was unable to respond immediately because I was in such a state of shock that such an incredibly inaccurate statement, the likes of which is constantly distributed by the Kremlin's propagandists, came this time from Ilya Yashin, a fellow member of the Opposition Coordination Council (KSO) and my former colleague from the Solidarity movement." He also accused prominent Russian journalist Vladimir Posner of failing to stand up to Putin and to earlier Russian and Soviet leaders. However, Kasparov subsequently fled Russia less than three months later. On 6 June 2013, he announced that he had left his homeland on account of fear of persecution for his political views. Further, at the 2013 Women in the World conference, Kasparov told The Daily Beasts Michael Moynihan that democracy no longer existed in what he called Russia's "dictatorship". Opposition to Putin from exile (2013-) Kasparov said at a press conference in June 2013 that if he returned to Russia, he doubted he would be allowed to leave again, given Putin's ongoing crackdown on dissenters. "So for the time being," he said, "I refrain from returning to Russia." He explained shortly thereafter in an article for The Daily Beast that this had not been intended as "a declaration of leaving my home country, permanently or otherwise", but merely an expression of "the dark reality of the situation in Russia today, where nearly half the members of the opposition's Coordinating Council are under criminal investigation on concocted charges". He noted that the Moscow prosecutor's office was "opening an investigation that would limit my ability to travel", making it impossible for him to fulfil "professional speaking engagements" and hindering his "work for the non-profit Kasparov Chess Foundation, which has centres in New York City, Brussels and Johannesburg, to promote chess in education". Kasparov further wrote in his June 2013 Daily Beast article that the mass protests in Moscow 18 months earlier against fraudulent Russian elections had been "a proud moment for me". He recalled that after joining the opposition movement in March 2005, he had been criticised for seeking to unite "every anti-Putin element in the country to march together regardless of ideology". Therefore, the sight of "hundreds of flags representing every group from liberals to nationalists all marching together for 'Russia Without Putin' was the fulfillment of a dream." Yet most Russians, he lamented, had continued to "slumber" even as Putin had "taken off the flimsy mask of democracy to reveal himself in full as the would-be KGB dictator he has always been". Kasparov responded with several Twitter postings to a September 2013 The New York Times op-ed by Putin. "I hope Putin has taken adequate protections," he tweeted. "Now that he is a Russian journalist his life may be in grave danger!" Also: "Now we can expect NY Times op-eds by Mugabe on fair elections, Castro on free speech, & Kim Jong-un on prison reform. The Axis of Hypocrisy." Kasparov wrote in July 2013 about the trial in Kirov of fellow opposition leader Navalny, who had been convicted "on concocted embezzlement charges", only to see the prosecutor, surprisingly, ask for his release the next day pending appeal. "The judicial process and the democratic process in Russia," wrote Kasparov, "are both elaborate mockeries created to distract the citizenry at home and to help Western leaders avoid confronting the awkward fact that Russia has returned to a police state". Still, Kasparov felt that whatever had caused the Kirov prosecutor's about-face, "my optimism tells me it was a positive sign. After more than 13 years of predictable repression under Putin, anything different is good." Kasparov has been outspoken regarding Putin's antigay laws, describing them as "only the most recent encroachment on the freedom of speech and association of Russia's citizens", which the international community had largely ignored. Regarding Russia's hosting of the 2014 Winter Olympics, Kasparov explained in August 2013 that he had opposed Russia's bid from the outset, since it would "allow Vladimir Putin's cronies to embezzle hundreds of millions of dollars" and "lend prestige to Putin's authoritarian regime". Kasparov did not support the proposed Sochi Olympics boycott—writing that it would "unfairly punish athletes"—but called for athletes and others to "transform Putin's self-congratulatory pet project into a spotlight that exposes his authoritarian rule" to the world. In September, Kasparov called upon politicians to refuse to attend the games and the public to pressure sponsors and the media, such that Coca-Cola, for example, could put "a rainbow flag on each Coca-Cola can" and NBC could "do interviews with Russian gay activists or with Russian political activists". Kasparov also emphasised that although he was "still a Russian citizen", he had "good reason to be concerned about my ability to leave Russia if I returned to Moscow". Kasparov spoke out against the 2014 Russian annexation of Crimea and has stated that control of Crimea should be returned to Ukraine after the overthrow of Putin without additional conditions. Kasparov's website was blocked by the Russian government censorship agency, Roskomnadzor, at the behest of the public prosecutor, allegedly due to Kasparov's opinions on the Crimean crisis. Kasparov's block was made in unison with several other notable Russian sites that were accused of inciting public outrage. Reportedly, several of the blocked sites received an affidavit noting their violations. However, Kasparov stated that his site had received no such notice of violations after its block. In 2015, a whole note on Kasparov was removed from a Russian language encyclopaedia of greatest Soviet players after an intervention from "senior leadership". In October 2015, Kasparov published a book titled Winter Is Coming: Why Vladimir Putin and the Enemies of the Free World Must Be Stopped. In the book, Kasparov likens Putin to Adolf Hitler and explains the need for the West to oppose Putin sooner, rather than appeasing him and postponing the eventual confrontation. According to his publisher, "Kasparov wants this book out fast, in a way that has potential to influence the discussion during the primary season." In 2018, he said that "anything is better than Putin because that eliminates the probability of a nuclear war. Putin is insane." Following reports of Russian ransomware attacks against American agencies and companies in 2021, Kasparov stated that "the only language that Putin understands is power, and his power is his money," arguing that the United States should target the bank accounts of Russian oligarchs to force Russia to rein in its criminals' cyberattacks. Kasparov spoke out against the invasion of Ukraine by Russia on Twitter: "The only way this really ends is the fall of Putin's regime by collapse of Russian economy and defeat in Ukraine." He also believed that "pressure must be kept up" in terms of sanctions and condemnations against Russia's actions and joined with other prominent Russian figures-in-exile to form the Anti-War Committee of Russia. He said that Russia should be "thrown back into the Stone Age to make sure that the oil and gas industry and any other sensitive industries that are vital for survival of the regime cannot function without Western technological support." On 20 May 2022, Kasparov was designated as "foreign agent" by the Ministry of Justice of the Russian Federation. In May 2023 Kasparov participated in the drafting of Mikhail Khodorkovsky's "Declaration of Russia’s Democratic Forces", along with a large group of fellow exiles. United States Kasparov received the Keeper of the Flame award in 1991 from the Center for Security Policy, a Washington, D.C.-based far-right, anti-Muslim think tank. In his acceptance speech Kasparov lauded the defeat of communism while also urging the United States to give no financial assistance to central Soviet leaders. Kasparov gave speeches at other think tanks such as the Hoover Institution. In a 12 May 2013 op-ed for The Wall Street Journal, Kasparov questioned reports that the Russian security agency, the FSB, had fully cooperated with the FBI in the matter of the Boston bombers. He noted that the elder bomber, Tamerlan Tsarnaev, had reportedly met in Russia with two known jihadists who "were killed in Dagestan by the Russian military just days before Tamerlan left Russia for the U.S." Kasparov argued, "If no intelligence was sent from Moscow to Washington" about this meeting, "all this talk of FSB cooperation cannot be taken seriously." He further observed, "This would not be the first time Russian security forces seemed strangely impotent in the face of an impending terror attack," pointing out that in both the 2002 Moscow theater siege and the 2004 Beslan school attack, "there were FSB informants in both terror groups – yet the attacks went ahead unimpeded." Given this history, he wrote, "it is impossible to overlook that the Boston bombing took place just days after the U.S. Magnitsky List was published, creating the first serious external threat to the Putin power structure by penalising Russian officials complicit in human-rights crimes." In sum, Putin's "dubious record on counterterrorism and its continued support of terror sponsors Iran and Syria mean only one thing: common ground zero". In the 2016 United States presidential election, Kasparov described Republican Donald Trump as "a celebrity showman with racist leanings and authoritarian tendencies" and criticised him for calling for closer ties with Putin. After Trump's running mate, Mike Pence, called Putin a strong leader, Kasparov said that Putin is a strong leader "in the same way arsenic is a strong drink". He also disparaged the economic policies of Democratic primary candidate Bernie Sanders, but showed respect for Sanders as "a charismatic speaker and a passionate believer in his cause". Kasparov opined that Henry Kissinger "was selling the Trump Administration on the idea of a mirror of 1972 [Richard Nixon's visit to China], except, instead of a Sino-U.S. alliance against the U.S.S.R., this would be a Russian-American alliance against China." Armenia In an interview discussing the Nagorno-Karabakh conflict, Kasparov stated that the Republic of Artsakh has a right to independence and that Azerbaijan has no sovereign right over it. He considers this stance to be objective and without bias, as Soviet law allowed for autonomous republics (such as the Nagorno-Karabakh Autonomous Oblast) to vote for independence separately and were given an equal right for self-determination, a factor he felt often went ignored. Kasparov recalled that he was criticised by Armenians for not taking a strong stance when the Karabakh movement began in 1988, explaining that he was living in Baku with 200,000 other Armenians at the time and did not want to increase tensions. Kasparov and his family later fled Baku in January 1990 to escape pogroms against Armenians. He welcomed the Velvet Revolution in Armenia in 2018. Kasparov supports Armenian genocide recognition. Other international affairs During the Yugoslav Wars, Kasparov advocated for the Western world to destroy the Yugoslav People's Army and accused Slobodan Milošević of creating a "siege mentality" to maintain control over Serbia. In 1997, he was awarded honorary citizenship of Bosnia and Herzegovina for his support of Bosnian people during the Bosnian War. Kasparov was named Chairman of the Human Rights Foundation in 2011. In addition, Kasparov was presented with the Morris B. Abram Human Rights Award, UN Watch's annual human-rights prize, in 2013. The organisation praised him as "not only one of the world's smartest men" but "also among its bravest". In April 2013, Kasparov joined in an HRF condemnation of Kanye West for having performed for the leader of Kazakhstan in exchange for a payment of $3 million, saying that West "has entertained a brutal killer and his entourage" and that his fee "came from the loot stolen from the Kazakhstan treasury". Further, in September 2013, Kasparov wrote in Time magazine that in Syria, Putin and Bashar al-Assad "won by forfeit when President Obama, Prime Minister Cameron and the rest of the so-called leaders of the free world walked away from the table." Kasparov lamented the "new game at the negotiating table where Putin and Assad set the rules and will run the show under the protection of the U.N." Kasparov said in September 2013 that Russia was now a dictatorship. In the same month he told an interviewer that "Obama going to Russia now is dead wrong, morally and politically," because Putin's regime "is behind Assad". Kasparov was critical of the violence unleashed by the Spanish police against the 2017 independence referendum in Catalonia and accused the Spanish PM Mariano Rajoy of "betraying" the European promise of peace. After the Catalan regional election held later the same year, Kasparov wrote: "Despite unprecedented pressure from Madrid, Catalonian separatists won a majority. Europe must speak and help find a peaceful path toward resolution and avoid more violence". Kasparov recommended that Spain look to how Britain handled the 2014 Scottish independence referendum, adding: "look only at how Turkey and Iraq have treated the separatist Kurds. That cannot be the road for Spain and Catalonia." On the occasion of the 2015 centennial of the Armenian genocide, Kasparov reflected that in 2002 he called for Turkey to be admitted to the European Union if Turkey recognised the genocide. He condemned the assassination of Saudi journalist Jamal Khashoggi. In October 2018, Kasparov wrote that President Erdoğan's regime in Turkey "has jailed more journalists than any country in the world and scores of them remain in prison in Turkey. Since 2016, Turkey's intelligence agency has abducted at least 80 people in operations in 18 countries." Croatian citizenship Kasparov had maintained a summer home in the Croatian city of Makarska. In February 2014, he applied for citizenship by naturalisation in Croatia, according to media reports, claiming he was finding it increasingly difficult to live in Russia. According to an article in The Guardian, Kasparov was "widely perceived" as having been a vocal supporter of Croatian independence during the early 1990s. Later in February 2014, his application for naturalisation was approved and he had a meeting with Croatian prime minister Zoran Milanović on 27 February. Croatian press cited his "lobbying for Croatia in 1991" as grounds for the expedited naturalisation. In an interview for a Croatian daily published in February 2022, Kasparov said he was "very grateful" to Milanović for the help rendered by him (then as prime minister) in obtaining Croatian citizenship. Books and other writings Early writings Kasparov has written books on chess. He published a controversial autobiography when still in his early 20s. Originally entitled Child of Change, it was later published as Unlimited Challenge. This book was updated several times after he became world champion. Its content is mainly literary, with a small chess component of key unannotated games. He published an annotated games collection in 1983, Fighting Chess: My Games and Career, which has been updated in further editions. He also wrote a book annotating the games from his World Chess Championship 1985 victory, World Chess Championship Match: Moscow, 1985. He has annotated his own games extensively for the Yugoslav Chess Informant series. In 1982, he co-authored Batsford Chess Openings with British grandmaster Keene. That book sold well and was updated in a second edition in 1989. He also co-authored two opening books with his trainer Alexander Nikitin in the 1980s for British publisher Batsfordon the Classical Variation of the Caro-Kann Defence and on the Scheveningen Variation of the Sicilian Defence. Kasparov also contributed extensively to the five-volume openings series Encyclopedia of Chess Openings from Chess Informant, for which Kasparov also wrote personal columns called Garry's Choice. In 2000, Kasparov co-authored Kasparov Against the World: The Story of the Greatest Online Challenge with grandmaster Daniel King. The 202-page book analyses the 1999 Kasparov versus the World game, and holds the record for the longest analysis devoted to a single chess game. My Great Predecessors series In 2003, the first volume of his five-volume work Garry Kasparov on My Great Predecessors was published. This volume deals with world champions Wilhelm Steinitz, Emanuel Lasker, Capablanca and Alekhine, and some of their strong contemporaries. It won the British Chess Federation's Book of the Year award in 2003. Volume two, covering Max Euwe, Botvinnik, Smyslov and Tal, appeared later in 2003. Volume three, featuring Tigran Petrosian and Boris Spassky, was published in early 2004. In December 2004, Kasparov released volume four, which covers Samuel Reshevsky, Miguel Najdorf and Bent Larsen (none of whom was world champion), but focuses on Fischer. The fifth volume, devoted to the chess careers of world champion Karpov and challenger Korchnoi, was published in March 2006. Modern Chess series His Revolution in the 70s (published in March 2007) covers "the openings revolution of the 1970s–1980s" and was the first work in a new venture, "Modern Chess Series", which recounted his matches with Karpov and selected games. Revolution in the 70s is about the development of opening theory witnessed in that decade. Systems like the novel "Hedgehog" opening plan of passively developing the pieces no further than the first three ranks were examined in great detail. Kasparov also analysed some of the most notable games played in that period. In a section at the end of the book, top opening theoreticians provided their opinion on progress made in opening theory in the 1980s. Garry Kasparov on Garry Kasparov series From 2011–14, Kasparov published a three-volume series of his games, spanning his career in three eras until he stopped playing full time in 2005. Winter Is Coming In October 2015, Kasparov published a book titled Winter Is Coming: Why Vladimir Putin and the Enemies of the Free World Must Be Stopped. The title is a reference to the HBO television series Game of Thrones. In the book, Kasparov writes about the need for an organisation composed solely of democratic countries to replace the United Nations. In an interview, he called the United Nations a "catwalk for dictators". Historical revision Kasparov believes that the conventional history of civilisation is incorrect. Specifically, he contends that the history of ancient civilisations is based on misdating of events and achievements that occurred in the medieval period. He has cited several aspects of ancient history that, he argues, are likely to be anachronisms. Kasparov has written in support of the pseudohistorical New Chronology (Fomenko), although with some reservations. In 2001, he expressed a desire to devote his time to promoting the New Chronology after his chess career. "New Chronology is a great area for investing my intellect ... My analytical abilities are well placed to figure out what was right and what was wrong." "When I stop playing chess, it may well be that I concentrate on promoting these ideas... I believe they can improve our lives." Later, Kasparov renounced his support of Fomenko theories but reaffirmed his belief that mainstream historical knowledge is inconsistent. Other post-retirement writing Kasparov wrote How Life Imitates Chess, an examination of the parallels between decision-making in chess and in the business world, in 2007. In 2008, Kasparov published a sympathetic obituary for Fischer: "I am often asked if I ever met or played Bobby Fischer. The answer is no, I never had that opportunity. But even though he saw me as a member of the evil chess establishment that he felt had robbed and cheated him, I am sorry I never had a chance to thank him personally for what he did for our sport." Kasparov is the chief advisor for the book publisher Everyman Chess. He works closely with Mig Greengard and his comments can often be found on Greengard's blog. Kasparov collaborated with Max Levchin and Peter Thiel on The Blueprint, a book calling for a revival of world innovation, planned for release in March 2013 but cancelled after the authors disagreed on its contents. In an editorial comment on Google's AlphaZero chess-playing system, Kasparov argued that chess has become the model for reasoning in the same way that the fruit fly Drosophila melanogaster became a model organism for geneticists: "I was pleased to see that AlphaZero had a dynamic, open style like my own," he wrote in late 2018. Kasparov served as a consultant for the 2020 Netflix miniseries The Queen's Gambit and gave an interview to Slate on his contributions. That same year, Kasparov collaborated with Matt Calkins, founder and CEO of Appian, on HYPERAUTOMATION, a book about low-code development and the future of business automation. Kasparov wrote the foreword where he discusses his experiences with human–machine relationships. The New York Times published an essay by Kasparov titled "Garry Kasparov: What We Believe About Reality" in 2021. The essay is part of a series called The Big Ideas: What Do We Believe. This work was later published in a compendium titled Question Everything: A Stone Reader. Bibliography Kasparov Teaches Chess (1984–85, Sport in the USSR Magazine; 1986, First Collier Books) The Test of Time (Russian Chess) (1986, Pergamon Pr) World Chess Championship Match: Moscow, 1985 (1986, Everyman Chess) Child of Change: An Autobiography (1987, Hutchinson) London–Leningrad Championship Games (1987, Everyman Chess) Unlimited Challenge (1990, Grove Pr) The Sicilian Scheveningen (1991, B.T. Batsford Ltd) The Queen's Indian Defence: Kasparov System (1991, B.T. Batsford Ltd) Kasparov Versus Karpov, 1990 (1991, Everyman Chess) Kasparov on the King's Indian (1993, B.T. Batsford Ltd) Kasparov, Garry. Jon Speelman and Bob Wade. 1995. Garry Kasparov's Fighting Chess. Henry Holt. Garry Kasparov's Chess Challenge (1996, Everyman Chess) Lessons in Chess (1997, Everyman Chess) Kasparov Against the World: The Story of the Greatest Online Challenge (2000, Kasparov Chess Online) My Great Predecessors Part I (2003, Everyman Chess) My Great Predecessors Part II (2003, Everyman Chess) Checkmate!: My First Chess Book (2004, Everyman Mindsports) My Great Predecessors Part III (2004, Everyman Chess) My Great Predecessors Part IV (2004, Everyman Chess) My Great Predecessors Part V (2006, Everyman Chess) How Life Imitates Chess (2007, William Heinemann Ltd.) Garry Kasparov on Modern Chess, Part I: Revolution in the 70s (2007, Everyman Chess) Garry Kasparov on Modern Chess, Part II: Kasparov vs Karpov 1975–1985 (2008, Everyman Chess) Garry Kasparov on Modern Chess, Part III: Kasparov vs Karpov 1986–1987 (2009, Everyman Chess) Garry Kasparov on Modern Chess, Part IV: Kasparov vs Karpov 1988–2009 (2010, Everyman Chess) Garry Kasparov on Garry Kasparov, part I (2011, Everyman Chess) Garry Kasparov on Garry Kasparov, part II (2013, Everyman Chess) Garry Kasparov on Garry Kasparov, part III (2014, Everyman Chess) Winter Is Coming: Why Vladimir Putin and the Enemies of the Free World Must Be Stopped (2015, Public Affairs) Deep Thinking with Mig Greengard (2017, Public Affairs) Videos Kasparov, Garry, Nigel Short, Raymond Keene and Daniel King. 1993. Kasparov Short The Inside Story. Grandmaster Video. Kasparov, Garry, Jonathan Tisdall and Jim Plaskett. 2000. My Story. Grandmaster Video. Kasparov, Garry. 2004. How to Play the Queen's Gambit. Chessbase. Kasparov, Garry. 2005. How to Play the Najdorf. Chessbase. vol. 1 , vol. 2 Kasparov, Garry. 2012. How I Became World Champion 1973–1985. Chessbase. Kasparov, Garry. 2017. Garry Kasparov Teaches Chess. Masterclass.com. Kasparov, Garry. 2022. Stand with Ukraine in the fight against evil, Ted Talk. Personal life Kasparov has lived in New York City since 2013. He has been married three times: to Masha, with whom he had a daughter, Polina, before divorcing; to Yulia, with whom he had a son, Vadim, before their 2005 divorce; and to Daria (Dasha), with whom he has two children, daughter Aida born in 2006 and son Nickolas born in 2015. Kasparov's wife manages his business activities worldwide through Kasparov International Management Inc. References Notes Further reading See also Game Over: Kasparov and the Machine, documentary film. Kasparov Chess, Internet chess club. Kasparov versus the World List of chess games between Kasparov and Kramnik Committee 2008 Putinism Advanced chess External links Garry Kasparov, "Man of the Year?", OpinionJournal, 23 December 2007 Edward Winter, List of Books About Fischer and Kasparov Kasparov's "Deep Thinking" talk at Google Garry Kasparov's best games analyzed in video Category:1963 births Category:Living people Category:2011–2013 Russian protests Category:20th-century male writers Category:21st-century Russian politicians Category:Azerbaijan University of Languages alumni Category:Chess coaches Category:Chess grandmasters Category:Chess Olympiad competitors Category:Chess historians Category:Communist Party of the Soviet Union members Category:Croatian activists Category:Croatian chess writers Category:Croatian people of Armenian descent Category:Croatian people of Russian-Jewish descent Category:Naturalized citizens of Croatia Category:Chess players from Baku Category:Honoured Masters of Sport of the USSR Category:Recipients of the Order of Friendship of Peoples Category:Recipients of the Order of the Red Banner of Labour Category:Russian anti-communists Category:Russian chess players Category:Russian chess writers Category:Russian dissidents Category:Russian liberals Category:Russian people of Armenian descent Category:Russian people of Jewish descent Category:Russian political activists Category:Russian sportsperson-politicians Category:Russian democracy activists Category:Solidarnost politicians Category:Soviet chess players Category:Soviet chess writers Category:Soviet male writers Category:The Other Russia (coalition) Category:World chess champions Category:World Junior Chess Champions Category:Russian activists against the Russian invasion of Ukraine Category:People listed in Russia as foreign agents
[]
[ "Garry Kasparov rose toward the top by scoring his first win in a superclass-level international tournament at Bugojno, Bosnia and Herzegovina in 1982. He also earned a place in the 1982 Moscow Interzonal tournament, which he won, qualifying him for the Candidates Tournament. He was the youngest Candidate since Bobby Fischer. At this time, he was already the No. 2-rated player in the world. He defeated Alexander Beliavsky and Viktor Korchnoi in his first and semi-final Candidates matches respectively and became the No. 1 ranked player in the world in January 1984. He also won the Candidates' final against the resurgent former world champion Vasily Smyslov, thus qualifying to play Anatoly Karpov for the World Championship.", "The context does not provide information on when Garry Kasparov started playing chess competitively.", "As a teenager, Kasparov tied for first place in the USSR Chess Championship in 1981-82. His first win in a superclass-level international tournament was scored at Bugojno, Bosnia and Herzegovina in 1982. He also earned a place in the 1982 Moscow Interzonal tournament, which he won, qualifying him for the Candidates Tournament.", "The context does not provide information on whether Garry Kasparov continued to play chess in college.", "The context does not provide information on when Garry Kasparov became a professional chess player.", "The article mentions a mix of Kasparov's professional and personal life. For instance, Kasparov became a member of the Communist Party of the Soviet Union (CPSU) in 1984 and was elected to the Central Committee of Komsomol in 1987. Additionally, the article describes some political struggles with his chess career, such as the semi-final match against Viktor Korchnoi, a defector from the Soviet Union. The match had to be replayed in London due to political interference preventing Kasparov from playing Korchnoi in Pasadena, California." ]
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Garry Kasparov
Garry Kimovich Kasparov (Russian: Garri Kimovich Kasparov, Russian pronunciation: ['garjI 'kjim@vjItc ka'spar@f]; born Garik Kimovich Weinstein, 13 April 1963) is a Russian, and formerly Soviet, chess grandmaster, former world chess champion, writer, and political activist, who many consider to be the greatest chess player of all time. From 1986 until his retirement in 2005, Kasparov was ranked world No. 1 for 225 out of 228 months. His peak rating of 2851, achieved in 1999, was the highest recorded until being surpassed by Magnus Carlsen in 2013. Kasparov also holds records for consecutive professional tournament victories (15) and Chess Oscars (11).
1984 World Championship
The World Chess Championship 1984 match between Anatoly Karpov and Garry Kasparov had many ups and downs, and a very controversial finish. Karpov started in very good form, and after nine games Kasparov was down 4-0 in a "first to six wins" match. Fellow players predicted he would be whitewashed 6-0 within 18 games. In an unexpected turn of events, there followed a series of 17 successive draws, some relatively short, and others drawn in unsettled positions. Kasparov lost game 27 (5-0), then fought back with another series of draws until game 32 (5-1), earning his first-ever win against the World Champion. Another 14 successive draws followed, through game 46; the previous record length for a world title match had been 34 games, the match of Jose Raul Capablanca vs. Alexander Alekhine in 1927. Kasparov won games 47 and 48 to bring the scores to 5-3 in Karpov's favour. Then the match was ended without result by Florencio Campomanes, the President of Federation Internationale des Echecs (FIDE), and a new match was announced to start a few months later. The termination was controversial, as both players stated that they preferred the match to continue. Announcing his decision at a press conference, Campomanes cited the health of the players, which had been strained by the length of the match. The match became the first, and so far only, world championship match to be abandoned without result. Kasparov's relations with Campomanes and FIDE were greatly strained, and the feud between them finally came to a head in 1993 with Kasparov's complete break-away from FIDE. CANNOTANSWER
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[ "Where did the World Championship take place?", "Who were his opponents?", "Did Garry win?", "What was his playing style?", "What is an interesting fact about this World Championship?", "Why was it controversial?" ]
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Garry Kimovich Kasparov (born 13 April 1963) is a Russian chess grandmaster, former World Chess Champion (1985–2000), political activist and writer. His peak FIDE chess rating of 2851, achieved in 1999, was the highest recorded until being surpassed by Magnus Carlsen in 2013. From 1984 until his retirement from regular competitive chess in 2005, Kasparov was ranked world no. 1 for a record 255 months overall. Kasparov also holds records for the most consecutive professional tournament victories (15) and Chess Oscars (11). Kasparov became the youngest-ever undisputed world champion in 1985 at age 22 by defeating then-champion Anatoly Karpov. He defended the title against Karpov three times, in 1986, 1987 and 1990. Kasparov held the official FIDE world title until 1993, when a dispute with FIDE led him to set up a rival organisation, the Professional Chess Association. In 1997, he became the first world champion to lose a match to a computer under standard time controls when he was defeated by the IBM supercomputer Deep Blue in a highly publicised match. He continued to hold the "Classical" world title until his defeat by Vladimir Kramnik in 2000. Despite losing the PCA title, he continued winning tournaments and was the world's highest-rated player at the time of his official retirement. Kasparov coached Carlsen in 2009–10, during which time Carlsen rose to world no. 1. Kasparov stood unsuccessfully for FIDE president in 2013–2014. Since retiring from chess, Kasparov has devoted his time to writing and politics. His book series My Great Predecessors, first published in 2003, details the history and games of the world champion chess players who preceded him. He formed the United Civil Front movement and was a member of The Other Russia, a coalition opposing the administration and policies of Vladimir Putin. In 2008, he announced an intention to run as a candidate in that year's Russian presidential race, but after encountering logistical problems in his campaign, for which he blamed "official obstruction", he withdrew. In the wake of the Russian mass protests that began in 2011, he announced in June 2013 that he had left Russia for the immediate future out of fear of persecution. Following his flight from Russia, he lived in New York City with his family. In 2014, he obtained Croatian citizenship and has maintained a residence in Podstrana near Split. Kasparov is chairman of the Human Rights Foundation and chairs its International Council. In 2017, he founded the Renew Democracy Initiative (RDI), an American political organisation promoting and defending liberal democracy in the U.S. and abroad. He serves as chairman of the group. Kasparov is also a security ambassador for the software company Avast. Early life Kasparov was born Garik Kimovich Weinstein (Russian: Гарик Кимович Вайнштейн, Garik Kimovich Vainshtein) in Baku, Azerbaijan SSR (now Azerbaijan), Soviet Union. His father, Kim Moiseyevich Weinstein, was Jewish and his mother, Klara Shagenovna Kasparova, was Armenian. Both of his mother's parents were Armenians from Nagorno-Karabakh. Kasparov has described himself as a "self-appointed Christian", although "very indifferent" and identifying as Russian: "[A]lthough I'm half-Armenian, half-Jewish, I consider myself Russian because Russian is my native tongue, and I grew up with Russian culture." Kasparov and his family had to "flee anti-Armenian pogroms in Baku in January 1990 that were coordinated by local leaders with Soviet acquiescence". According to Kasparov himself, he was named after United States President Harry Truman, "whom my father admired for taking a strong stand against communism. It was a rare name in Russia, until Harry Potter came along." Introduction to chess Kasparov began the serious study of chess after he came across a problem set up by his parents and proposed a solution. When he was seven years old, his father died of leukaemia. At the age of twelve, Kasparov, upon the request of his mother Klara and with the consent of the family, adopted Klara's surname Kasparov, which was done to avoid possible anti-Semitic tensions common in the USSR at the time. From age seven, Kasparov attended the Young Pioneer Palace in Baku and, at ten, began training at Mikhail Botvinnik's chess school under coach Vladimir Makogonov. Makogonov helped develop Kasparov's positional skills and taught him to play the Caro-Kann Defence and the Tartakower System of the Queen's Gambit Declined. Kasparov won the Soviet Junior Championship in Tbilisi in 1976, scoring 7/9 points, at age thirteen. He repeated the feat the following year, winning with a score of 8.5/9. He was being coached by Alexander Shakarov during this time. In 1978, Kasparov participated in the Sokolsky Memorial tournament in Minsk. He had received a special invitation to enter the tournament but took first place and became a chess master. Kasparov has stressed that this event was a turning point in his life and that it convinced him to choose chess as his career: "I will remember the Sokolsky Memorial as long as I live", he wrote. He has also said that after the victory, he thought he had a very good shot at the world championship. Chess career Rising up the ranks He first qualified for the USSR Chess Championship at age 15 in 1978, the youngest-ever player at that level. He won the 64-player Swiss system tournament at Daugavpils on a tie-break over Igor V. Ivanov to capture the sole qualifying place. Kasparov rose quickly through the FIDE world rankings. Due to an oversight by the Russian Chess Federation, which believed that a grandmaster tournament in Banja Luka, SR Bosnia and Herzegovina (part of Yugoslavia at the time), was for juniors, he participated in that event in 1979 while still unrated. He was a replacement for the Soviet defector Viktor Korchnoi, who was originally invited but withdrew due to the threat of a boycott from the Soviets. Kasparov won this high-class tournament, emerging with a provisional rating of 2595, enough to catapult him to the top group of chess players (at the time, number 15 in the world). The next year, 1980, he won the World Junior Chess Championship in Dortmund, West Germany. Later that year, he made his debut as the second reserve for the Soviet Union at the Chess Olympiad at Valletta, Malta, and became a Grandmaster. As a teenager, Kasparov shared the USSR Chess Championship in 1981 with Lev Psakhis (12.5/17), although Psakhis won their game. His first win in a superclass-level international tournament was scored at Bugojno, SR Bosnia and Herzegovina, Yugoslavia in 1982. He earned a place in the 1982 Moscow Interzonal tournament, which he won, to qualify for the Candidates Tournament. At age 19, he was the youngest Candidate since Bobby Fischer, who was 15 when he qualified in 1958. At this stage, he was already the No. 2-rated player in the world, trailing only world champion Karpov on the January 1983 list. Kasparov's first (quarter-final) Candidates match was against Alexander Beliavsky, whom he defeated 6–3 (four wins, one loss). Politics threatened Kasparov's semi-final against Korchnoi, which was scheduled to be played in Pasadena, California. Korchnoi had defected from the Soviet Union in 1976 and was at that time the strongest active non-Soviet player. The Soviet authorities would not allow Kasparov to travel to the United States, meaning that Korchnoi could have had a walkover. This decision was met with disapproval by the chess world, and Korchnoi agreed to the match to being played in London instead, along with the previously scheduled match between Vasily Smyslov and Zoltán Ribli. The Kasparov-Korchnoi match was put together on short notice by Raymond Keene. Kasparov lost the first game but won the match 7–4 (four wins, one loss). In January 1984, Kasparov became the No. 1 ranked player in the world, with a FIDE rating of 2710. He became the youngest-ever world No. 1, a record that lasted 12 years until being broken by Kramnik in January 1996. That same year, he won the Candidates' final 8½–4½ (four wins, no losses) against former world champion Smyslov at Vilnius, thus qualifying to play Karpov for the world championship. 1984 world championship The World Chess Championship 1984 match between Kasparov and Karpov had many ups and downs and a very controversial finish. Karpov started in very good form, and after nine games Kasparov was down 4–0 in a "first to six wins" match. Fellow players predicted he would be whitewashed 6–0 within 18 games. In an unexpected turn of events, there followed a series of 17 successive draws, some relatively short, others drawn in unsettled positions. Kasparov lost game 27 (5–0), then fought back with another series of draws until game 32, earning his first-ever win against the world champion and bringing the score to 5–1. Another 14 successive draws followed, through game 46; the previous record length for a world title match had been 34 games (José Raúl Capablanca vs. Alexander Alekhine in 1927). Kasparov won games 47 and 48 to bring the score to 5–3 in Karpov's favour. Then the match was ended without result by FIDE President Florencio Campomanes, and a new match was announced to start a few months later. The termination was controversial, as both players stated that they preferred the match to continue. Announcing his decision, Campomanes cited the health of the players, which had been strained by the length of the match. According to grandmasters Boris Gulko and Korchnoi, and historians Vladimir Popow and Yuri Felshtinsky in their The KGB Plays Chess book, Campomanes had been a KGB agent and was tasked with preventing Karpov's defeat at all costs. The match was terminated while Karpov was still ahead to avoid the impression that the decision had been made for his benefit. The match became the first, and so far only, world championship match to be abandoned without a result. Kasparov's relations with Campomanes and FIDE became strained, and matters came to a head in 1993 with Kasparov's complete break-away from FIDE. World champion The second Karpov–Kasparov match in 1985 was organised in Moscow as the best of 24 games, where the first player to win 12½ points would claim the title. The scores from the terminated match would not carry over; however, in the event of a 12–12 draw, the title would remain with Karpov. On 9 November 1985, Kasparov secured the world crown by a score of 13–11. Karpov, with White, needed to win the 24th game to retain the title but Kasparov won it with the Sicilian Defence. He was 22 years old at the time, making him the youngest-ever world champion, a record held by Mikhail Tal for over 20 years. Kasparov's win with Black in the 16th game has been recognised as one of the all-time chess masterpieces, including being voted the best game played during the first 64 issues of the magazine Chess Informant. As part of the arrangements following the aborted 1984 match, Karpov had been granted (in the event of his defeat) a right to rematch. Another match took place in 1986, hosted jointly in London and Leningrad, with each city hosting 12 games. At one point in the match, Kasparov opened a three-point lead and looked well on his way to a decisive victory. But Karpov fought back by winning three consecutive games to level the score late in the match. At this point, Kasparov dismissed one of his seconds, grandmaster Evgeny Vladimirov, accusing him of selling his opening preparation to the Karpov team (as described in Kasparov's autobiography Unlimited Challenge, chapter Stab in the Back). Kasparov scored one more win and kept his title by a score of 12½–11½. A fourth match for the world title took place in 1987 in Seville, as Karpov had qualified through the Candidates' Matches to become the official challenger once again. This match was also very close, with neither player holding more than a one-point lead at any time. With one game left, Kasparov was down a point and needed a win to draw the match and retain his title. A long, tense game ensued in which Karpov blundered away a pawn just before the first time control. Kasparov then won a long ending to retain the title on a 12–12 scoreline. Kasparov and Karpov met for a fifth time, on this occasion in New York City and Lyon in 1990, with each city hosting 12 games. Again the result was a close one, with Kasparov winning by a margin of 12½–11½. In their five world championship matches, Kasparov had 21 wins, 19 losses and 104 draws in 144 games. Break with and ejection from FIDE In November 1986, Kasparov had created the Grandmasters Association (GMA) to represent professional players and give them more say in FIDE's activities. Kasparov assumed a leadership role. GMA's major achievement was in organising a series of six World Cup tournaments for the world's top players. This caused an uneasy relationship to develop between Kasparov and FIDE. The previous month Kasparov had made his feelings clear to fellow grandmaster Keene: "Campomanes must go. It is war to the death with him as far as I am concerned. I will do everything I can to remove him”. This stand-off lasted until 1993, by which time a new challenger had qualified through the Candidates cycle: Nigel Short, a British grandmaster who had defeated Karpov in a qualifying match and then Jan Timman in the finals held in early 1993. After a confusing and compressed bidding process produced lower financial estimates than expected, the world champion and his challenger both rejected FIDE's bid for an August match in Manchester and decided to play outside FIDE's jurisdiction. Their match took place under the auspices of the Professional Chess Association (PCA), an organisation established by Kasparov and Short. At this point, a fracture occurred in the lineage of the FIDE World Championship. In an interview in 2007, Kasparov called the break with FIDE in 1993 the worst mistake of his career, as it hurt the game in the long run. Kasparov and Short were ejected from FIDE and played their well-sponsored match in London in September 1993. Kasparov won convincingly by a score of 12½–7½. The match considerably raised the profile of chess in the UK, with a substantial level of coverage on Channel 4. Meanwhile, FIDE organised its world championship match between Timman (the defeated Candidates finalist) and former world champion Karpov (a defeated Candidates semi-finalist), which Karpov won. FIDE removed Kasparov and Short from its rating list. Subsequently, the PCA created a rating list of its own, which featured all the world top players regardless of their relation to FIDE. There were now two world champions: PCA champion Kasparov and FIDE champion Karpov. The title remained split for 13 years. Kasparov defended his PCA title in a 1995 match against Viswanathan Anand at the World Trade Center in New York City. Kasparov won the match by four wins to one, with thirteen draws. Kasparov tried to organise another world championship match under a different organisation, the World Chess Association (WCA), with Linares organiser Luis Rentero. Alexei Shirov and Kramnik played a candidates match to decide the challenger, which Shirov won in an upset. But when Rentero admitted that the funds required and promised had never materialised, the WCA collapsed. Yet another body stepped in, BrainGames.com, headed by Raymond Keene. After a match with Shirov could not be agreed by BrainGames.com and talks with Anand collapsed, a match was instead arranged against Kramnik. During this period, Kasparov was approached by Oakham School in the United Kingdom, at the time the only school in the country with a full-time chess coach, and developed an interest in the use of chess in education. In 1997, Kasparov supported a scholarship programme at the school. Kasparov also won the Marca Leyenda trophy that year. In 1999, he played a well-known game against Topalov wherein he won after a rook sacrifice and king hunt. Losing the title and aftermath The Kasparov-Kramnik match took place in London during the latter half of 2000. Kramnik had been a student of Kasparov's at the famous Botvinnik/Kasparov chess school in Russia and had served on Kasparov's team for the 1995 match with Anand. The better-prepared Kramnik won game 2 against Kasparov's Grünfeld Defence and achieved winning positions in games 4 and 6, although Kasparov managed a draw in both games. Kasparov made a critical error in game 10 with the Nimzo-Indian Defence, which Kramnik exploited to win in 25 moves. As White, Kasparov could not crack the passive but solid Berlin Defence in the Ruy Lopez, and Kramnik managed to draw all his games as Black. Kramnik won the match 8½–6½. Kasparov won a series of major tournaments and remained the PCA top-rated player in the world, ahead of both Kramnik and the FIDE World Champion. In 2001 he refused an invitation to the 2002 Dortmund Candidates Tournament for the Classical title, claiming his results had earned him a rematch with Kramnik. Kasparov and Karpov played a four-game match with rapid time controls over two days in December 2002 in New York City. Kasparov suffered a surprise loss (1.5 – 2.5). Because of Kasparov's continuing strong results and status as FIDE world No. 1, he was included in the so-called "Prague Agreement", masterminded by Yasser Seirawan and intended to reunite the two world championships. Kasparov was to play a match against the FIDE World Champion Ponomariov in September 2003. But this match was called off after Ponomariov refused to sign his contract for it without reservation. In its place, there were plans for a match against Rustam Kasimdzhanov, winner of the FIDE World Chess Championship 2004, to be held in January 2005 in the United Arab Emirates. These also fell through owing to a lack of funding. Plans to hold the match in Turkey instead came too late. Kasparov announced in January 2005 that he was tired of waiting for FIDE to arrange a match and had decided to stop all efforts to become undisputed world champion once more. Retirement from regular competitive chess After winning the prestigious Linares tournament for the ninth time, Kasparov announced on 10 March 2005 that he would retire from regular competitive chess. He cited as the reason a lack of personal goals in the chess world. When winning the Russian championship in 2004, he commented that it had been the last major title he had never won outright. He also expressed frustration at the failure to reunify the world championship. Kasparov said he might play in some rapid chess events for fun, but he intended to spend more time on his books, including the My Great Predecessors series, and work on the links between decision-making in chess and other areas of life. He also stated that he would continue to involve himself in Russian politics, which he viewed as "headed down the wrong path." Post-retirement chess On 22 August 2006, in his first public chess games since his retirement, Kasparov played in the Lichthof Chess Champions Tournament, a blitz event played at the time control of five minutes per side and three-second increments per move. Kasparov tied for first with Karpov, scoring 4½/6. Kasparov and Karpov played a 12-game match from 21 to 24 September 2009, in Valencia, Spain. It consisted of four rapid (or semi rapid) games, in which Kasparov won 3–1, and eight blitz games, in which Kasparov won 6–2, winning the match with a final result of 9–3. The event took place exactly 25 years after the two players' unfinished encounter at World Chess Championship 1984. Kasparov coached Carlsen for approximately one year, beginning in February 2009. The collaboration remained secret until September 2009. Under Kasparov's tutelage, Carlsen in October 2009 became the youngest ever to achieve a FIDE rating higher than 2800, and he rose from world number four to world number one. While the pair initially planned to work together throughout 2010, in March of that year it was announced that Carlsen had split from Kasparov and would no longer be using him as a trainer. According to an interview with the German magazine Der Spiegel, Carlsen indicated that he would remain in contact and that he would continue to attend training sessions with Kasparov; however, no further training sessions were held, and the cooperation fizzled out over the course of the spring. In 2011, Carlsen said: "Thanks to [Kasparov] I began to understand a whole class of positions better. ... Kasparov gave me a great deal of practical help." In 2012, when asked what he learnt from working with Kasparov, Carlsen answered: "Complex positions. That was the most important thing." In May 2010, Kasparov played and won 30 games simultaneously against players at Tel Aviv University in Israel. In the same month, it was revealed that he had aided Anand in his preparation for the World Chess Championship 2010 against challenger Veselin Topalov. Anand won the match 6½–5½ to retain the title. Kasparov began training the U.S. grandmaster Hikaru Nakamura in January 2011. The first of several training sessions was held in New York just before Nakamura participated in the Tata Steel Chess tournament in Wijk aan Zee, the Netherlands. In December 2011, it was announced that their cooperation had come to an end. Kasparov played two blitz exhibition matches in the autumn of 2011. The first was in September against French grandmaster Maxime Vachier-Lagrave, in Clichy (France), which Kasparov won 1½–½. The second was a longer match consisting of eight blitz games played on 9 October, against English grandmaster Short. Kasparov won again by a score of 4½–3½. A little after that, in October 2011, Kasparov played and defeated fourteen opponents in a simultaneous exhibition that took place in Bratislava. On 25 and 26 April 2015, Kasparov played a mini-match against Short. The match consisted of two rapid games and eight blitz games and was contested over the course of two days. Commentators GM Maurice Ashley and Alejandro Ramírez remarked how Kasparov was an 'initiative hog' throughout the match, consistently not allowing Short to gain any foothold in the games. Kasparov won the match decisively (8½–1½), winning all five games on the second day. These victories were characterised by aggressive pawn moves breaking up Short's position, thereby allowing Kasparov's pieces to achieve positional superiority. Kasparov played and won all nineteen games of a simultaneous exhibition in Pula, Croatia on 19 August 2015. At the Chess Club and Scholastic Center of Saint Louis on 28 and 29 April 2016, Kasparov played a 6-round exhibition blitz round-robin tournament with Fabiano Caruana, Wesley So and Nakamura in an event called the Ultimate Blitz Challenge. He finished the tournament third with 9.5/18, behind Nakamura (11/18) and So (10/18). At the post-tournament interview, Kasparov announced that he would donate his winnings from playing the next top-level blitz exhibition match to assist funding of the American Olympic Team. On 2 June 2016, Kasparov played against fifteen chess players in a simultaneous exhibition in the Kaiser-Friedrich-Halle of Mönchengladbach. He won all games. Candidate for FIDE presidency On 7 October 2013, Kasparov announced his candidacy for World Chess Federation president during a reception in Tallinn, Estonia, where the 84th FIDE Congress took place. He was supported by reigning world champion and FIDE #1 ranked player Carlsen. At the FIDE General Assembly in August 2014, Kasparov lost the presidential election to the incumbent Kirsan Ilyumzhinov, with a vote of 110–61. A few days before the election took place, the New York Times Magazine had published a report on the viciously fought campaign. Included was information about a leaked contract between Kasparov and former FIDE Secretary General Ignatius Leong from Singapore, in which the Kasparov campaign reportedly "offered to pay Leong US$500,000 and to pay $250,000 a year for four years to the ASEAN Chess Academy, an organisation Leong helped create to teach the game, specifying that Leong would be responsible for delivering 11 votes from his region [...]". In September 2015, the FIDE Ethics Commission found Kasparov and Leong guilty of violating its Code of Ethics and later suspended them for two years from all FIDE functions and meetings. Return from chess retirement Kasparov came out of retirement to participate in the inaugural St. Louis Rapid and Blitz tournament from 14 to 19 August 2017, scoring 3.5/9 in the rapid and 9/18 in the blitz. He finished eighth in a strong field of ten, including Nakamura, Caruana, former world champion Anand and the eventual winner, Levon Aronian. Kasparov promised that any tournament money he earned would go towards charities to promote chess in Africa. In 2020, he participated in 9LX, a Chess 960 tournament, and finished eighth of a field of ten players. His game against Carlsen, who tied for first place, was drawn. He launched Kasparovchess, a subscription-based online chess community featuring documentaries, lessons, puzzles, podcasts, articles, interviews and playing zones, in 2021. Kasparov played in the blitz section of the Grand Chess Tour 2021 event in Zagreb, Croatia. He performed poorly, however, scoring 0.5/9 on the first day and 2/9 on the second day, getting his only win against Jorden Van Foreest. He also participated in 9LX 2, finishing fifth in a field of ten players, with a score of 5/9. Olympiads and major team events Kasparov played in a total of eight Chess Olympiads. He represented the Soviet Union four times and Russia four times, following the break-up of the Soviet Union in 1991. In his 1980 Olympiad debut, he became, at age 17, the youngest player to represent the Soviet Union or Russia at that level, a record which was broken by Kramnik in 1992. In 82 games, he scored (+50−3=29), for 78.7%, and won a total of nineteen medals, including team gold medals all eight times he competed. For the 1994 Moscow Olympiad, he had a significant organisational role in helping to put together the event on short notice, after Thessaloniki cancelled its offer to host only a few weeks before the scheduled dates. Kasparov's detailed Olympiad record follows: Valletta 1980, USSR 2nd reserve, 9½/12 (+8−1=3), team gold, board bronze; Lucerne 1982, USSR 2nd board, 8½/11 (+6−0=5), team gold, board bronze; Dubai 1986, USSR 1st board, 8½/11 (+7−1=3), team gold, board gold, performance gold; Thessaloniki 1988, USSR 1st board, 8½/10 (+7−0=3), team gold, board gold, performance gold; Manila 1992, Russia board 1, 8½/10 (+7−0=3), team gold, board gold, performance silver; Moscow 1994, Russia board 1, 6½/10 (+4−1=5), team gold; Yerevan 1996, Russia board 1, 7/9 (+5−0=4), team gold, board silver, performance gold; Bled 2002, Russia board 1, 7½/9 (+6−0=3), team gold, performance gold. Kasparov made his international debut for the USSR at age 16 in the 1980 European Team Championship and played for Russia in the 1992 edition of that championship. He won a total of five medals. His detailed record in this event follows: Skara 1980, USSR 2nd reserve, 5½/6 (+5−0=1), team gold, board gold; Debrecen 1992, Russia board 1, 6/8 (+4−0=4), team gold, board gold, performance silver. Kasparov also represented the USSR once at the Youth Olympiad in Austria (1981). He scored 9/10 (+8–0=2) on the top board and his team lifted the title. Assessment and legacy Kasparov received a Chess Oscar eleven times as the best chess player of the year, in 1982-1983, 1985-1988, 1995-1996, 1999, and 2001-2002. Between 1981 and 1991, he won or tied for first place in every tournament he entered. In 1999, Kasparov reached an Elo rating of 2851 points, a record that stood for over thirteen years: on 10 December 2012, Carlsen achieved an unofficial rating of 2861 points, with which he topped the next release of the rating in January 2013. With the exception of the PCA period and sharing first place with Kramnik in 1997, Kasparov led the rating list from 1985 to 2006. On 1 January 2006, Kasparov ranked first with a coefficient of 2812. However, he was excluded from the FIDE rating list of 1 April 2006 because he had not participated in tournaments for the previous twelve months. The rivalry between Kasparov and Karpov (often referred to as the "two Ks") is one of the greatest in the history of chess. In six years they played five matches comprising 144 games. For a long time there was personal enmity between Karpov and Kasparov. The conflict between the two men also had a political connotation. Karpov was considered a representative of the Soviet nomenklatura, while Kasparov was young and popular, positioned himself as a "child of change", willingly gave candid interviews and (especially in the West) had an aura of a rebel, although he never was a dissident. Kasparov's 1985 victory coincided with the start of perestroika in the Soviet Union. Carlsen said of Kasparov: "I've never seen someone with such a feel for dynamics in complex positions." Kramnik has opined that Kasparov's "capacity for study is second to none", adding "There is nothing in chess he has been unable to deal with." In 2007, the international consulting company Synectics published a rating of 100 living geniuses in science, politics, art and entrepreneurship, in which Kasparov ranked 25th. Playing style Kramnik called Kasparov a chess player with virtually no weaknesses. His games are characterised by a dynamic style of play with a focus on tactics, depth of strategy, subtle calculation and original opening ideas. Kasparov was known for his extensive opening preparation and aggressive play in it. Sergey Shipov considered Kasparov's moral and volitional qualities (impulsiveness and psychological instability) and excessive reliance on options, which can lead to overwork and mistakes, as amongst his few shortcomings. Kasparov's attacking style of play has been compared by many to Alekhine, his chess idol since childhood. Kasparov has described his style as being influenced chiefly by Alekhine, Tal and Fischer. Other influences on Kasparov were his early coaches. At a young age, he met with experienced teachers Alexander Nikitin and Alexander Shakarov. Shakarov collected and systematised materials, and then became the keeper of Kasparov's information bank. A revolutionary step at that time was the involvement of computer programs in analysing games, and it was Kasparov and his team who took the first steps in this direction. In 1973, Kasparov entered the Botvinnik school and immediately attracted attention. Botvinnik commented on the young schoolboy: "Garry's speed and memory capacity are amazing. He counts deep variations and finds unexpected moves. The power of combinational vision makes him similar to Alekhine himself". Contributions to opening theory Kasparov's contribution to opening theory is acknowledged. In the 1990s, he systematically developed new variants with computer programs. Kasparov's favourite opening systems were the Queen's Indian with White and variations of the Sicilian Defence with Black. He also "reanimated" the Scotch Game in top-level competitions. Kasparov successfully used this opening, which was considered outdated, in the 1990 match against Karpov and in matches with Short and Anand. One of the offshoots of the Sicilian in the Szén Variation is called the Kasparov Gambit. Kasparov used this variation in the 12th and 16th games of the match with Karpov in 1985; in the second of these games, he scored a victory. Another well-known case of winning an important game thanks to a novelty in the opening is Kasparov's 10th game of the 1995 match against Anand. On the 14th move, in a well-known position of the open variation of the Spanish Game (Rui Lopez), Kasparov discovered a new idea with a rook sacrifice, which brought a decisive attack. Kasparov has also co-authored several books on opening theory. Chess rating Kasparov holds the record for the longest time as the No. 1 rated player in the world—from 1984 to 2005 (Kramnik shared the No. 1 ranking with him once, in the January 1996 FIDE rating list). He headed the PCA rating list during the split from FIDE. At the time of his retirement, he was still ranked No. 1 in the world, with a rating of 2812. His rating has fallen inactive since the January 2006 rating list. In January 1990, Kasparov achieved the (then) highest FIDE rating ever, passing 2800 and breaking Fischer's old record of 2785. By the July 1999 and January 2000 FIDE rating lists, Kasparov had reached a 2851 Elo rating, at that time the highest rating ever achieved. He held that record until Carlsen attained a new record high rating of 2861 in January 2013. Other achievements Kasparov holds the record for most consecutive professional tournament victories, placing first or equal first in fifteen individual tournaments from 1981 to 1990. The streak was broken by Vasyl Ivanchuk at Linares 1991, where Kasparov placed second, half a point behind him after losing their individual game. The details of this record winning streak follow: Frunze 1981, USSR Championship, 12½/17, tie for 1st; Bugojno 1982, 9½/13, 1st; Moscow 1982, Interzonal, 10/13, 1st; Nikšić 1983, 11/14, 1st; Brussels OHRA 1986, 7½/10, 1st; Brussels SWIFT 1987, 8½/11, tie for 1st; Amsterdam Optiebeurs 1988, 9/12, 1st; Belfort (World Cup) 1988, 11½/15, 1st; Moscow 1988, USSR Championship, 11½/17, tie for 1st; Reykjavík (World Cup) 1988, 11/17, 1st; Barcelona (World Cup) 1989, 11/16, tie for 1st; Skellefteå (World Cup) 1989, 9½/15, tie for 1st; Tilburg 1989, 12/14, 1st; Belgrade (Investbank) 1989, 9½/11, 1st; Linares 1990, 8/11, 1st. Kasparov went nine years winning every super-tournament he played, in addition to contesting his series of five consecutive matches with Karpov. His only failure in this time period in either tournament or match play was the 1984 world title match against Karpov. In the late 1990s, Kasparov went on another long streak of ten consecutive super-tournament wins. Wijk aan Zee Hoogovens 1999, 10/13, 1st; Linares 1999, 10½/14, 1st; Sarajevo 1999, 7/9, 1st; Wijk aan Zee Corus 2000, 9½/13, 1st; Linares 2000, 6/10, tie for 1st; Sarajevo 2000, 8½/11, 1st; Wijk aan Zee Corus 2001, 9/13, 1st; Linares 2001, 7.5/10, 1st; Astana 2001, 7/10, 1st; Linares 2002, 8/12, 1st. In these tournament victories, Kasparov had a score of 53 wins, 61 draws and 1 loss in 115 games, his only defeat coming against Ivan Sokolov in Wijk aan Zee 1999. Chess and computers Acorn Computers acted as one of the sponsors for Kasparov's Candidates semi-final match against Korchnoi in 1983. This was Kasparov's first introduction to computers. Kasparov was awarded a BBC Micro, which he took back with him to Baku, making it perhaps one of the first Western-made microcomputers to reach the Soviet Union at that time. Computer chess magazine editor Frederic Friedel consulted with Kasparov in 1985 on how a chess database program would be useful preparation for competition. Friedel founded Chessbase two years later, and he gave a copy of the program to Kasparov, who started using it in his preparation. That same year, Kasparov played against thirty-two chess computers in Hamburg, winning all games. Several commercially available Kasparov computers were made in the 1980s, the Saitek Kasparov Turbo King models. On 22 October 1989, Kasparov defeated the chess computer Deep Thought in both games of a two-game match. In December 1992, Kasparov played thirty-seven blitz games against Fritz 2 in Cologne, winning 24, drawing 4 and losing 9. Kasparov cooperated in producing video material for the computer game Kasparov's Gambit released by Electronic Arts in November 1993. In April 1994, Intel acted as a sponsor for the first Professional Chess Association Grand Prix event in Moscow, played at a time control of twenty-five minutes per game. In May, Chessbase's Fritz 3 running on an Intel Pentium PC defeated Kasparov in their first game in the Intel Express blitz tournament in Munich, but Kasparov managed to tie it for first and won the play-off (+3=2). The next day, Kasparov lost to Fritz 3 again in a game on ZDF TV. In August, Kasparov was knocked out of the London Intel Grand Prix by Richard Lang's ChessGenius 2 program in the first round. In 1995, during Kasparov's world title match with Anand, he unveiled an opening novelty that had been checked with a chess engine, an approach that would become increasingly common in subsequent years. Kasparov played in a pair of six-game chess matches with IBM supercomputer Deep Blue. The first match took place in Philadelphia in February 1996 and was won by Kasparov (4-2). The second was played in New York City in May 1997 and won by Deep Blue (3½–2½). The 1997 match was the first defeat of a reigning world champion by a computer under tournament conditions. The match was even after five games but Kasparov lost quickly in Game 6. Kasparov said that he was "not well prepared" to face Deep Blue in 1997. He said that based on his "objective strengths" his play was stronger than that of Deep Blue. Kasparov claimed that several factors weighed against him in this match. In particular, he was denied access to Deep Blue's recent games, in contrast to the computer's team, which could study hundreds of Kasparov's. After the loss, Kasparov said that he sometimes saw deep intelligence and creativity in the machine's moves, suggesting that during the second game chess players had intervened in contravention of the rules. IBM denied that it had cheated, stating the only human intervention occurred between games. The rules provided for the developers to modify the program between games, an opportunity they said they used to shore up weaknesses in the computer's play revealed during the course of the match. Kasparov requested printouts of the machine's log files but IBM refused, although the company later published them on the Internet. Much later, it was suggested that the behaviour Kasparov noted had resulted from a glitch in the computer program. Plans for further engagement between Kasparov and IBM, including a rematch, did not come to fruition, due to the accusations of cheating. In January 2003, he engaged in a six-game classical time control match, with a $1 million prize fund, against Deep Junior. It was billed as the FIDE "Man vs. Machine" world championship. The engine evaluated three million positions per second. After one win each and three draws, it was all up to the final game. After reaching a decent position, Kasparov offered a draw, which was accepted by the Deep Junior team. Asked why he had offered the draw, Kasparov said he feared making a blunder. Deep Junior was the first machine to beat Kasparov with Black and at a standard time control. In June 2003, Mindscape released the computer game Kasparov Chessmate, with Kasparov himself listed as a co-designer. In November 2003, he engaged in a four-game match against the computer program X3D Fritz, using a virtual board, 3D glasses and a speech recognition system. After two draws and one win apiece, the X3D Man–Machine match ended in a draw. Kasparov received $175,000 and took home a golden trophy. He continued to regret the blunder in the second game that cost him a crucial point. He felt that he had outplayed the machine overall and performed well: "I only made one mistake but unfortunately that one mistake lost the game." In 2021, Kasparov promoted a series of 32 NFTs that detailed important moments in his career. The top four sold for more than $11,000. Politics and political views Russia Early political activities Kasparov's grandfather was a staunch communist, but the young Kasparov gradually began to have doubts about the Soviet Union's political system at age 13 when he travelled abroad for the first time in 1976 to Paris for a chess tournament. In 1981, at age 18, he read Aleksandr Solzhenitsyn's The Gulag Archipelago, a copy of which he bought while abroad. Nevertheless, Kasparov joined the Communist Party of the Soviet Union (CPSU) in 1984, and was elected to the Central Committee of Komsomol in 1987. In 1990, he left the party. In May 1990, Kasparov took part in the creation of the Democratic Party of Russia. He left the party on 28 April 1991, after its conference. Kasparov was also involved with the creation of the "Choice of Russia" bloc of parties in June 1993. He took part in the election campaign of Boris Yeltsin in 1996. In 2001 he voiced his support for the Russian television channel NTV. After his retirement from chess in 2005, Kasparov turned to politics and created the United Civil Front, a social movement whose main goal is to "work to preserve electoral democracy in Russia". He has vowed to "restore democracy" to Russia by restoring the rule of law. A year later the United Civil Front became part of The Other Russia. Kasparov was instrumental in setting up this coalition, which opposes Putin's government. The Other Russia was boycotted by the leaders of Russia's mainstream opposition parties, Yabloko and Union of Right Forces, due to its inclusion of both nationalist and radical groups. Kasparov has criticised these two parties as being secretly under the auspices of the Kremlin. In April 2005, Kasparov was in Moscow at a promotional event when he was struck over the head with a chessboard he had just signed. The assailant was reported to have said: "I admired you as a chess player, but you gave that up for politics" immediately before the attack. Kasparov has been the subject of a number of other episodes since, including police brutality and alleged harassment from the Russian secret service. Kasparov helped organise the Saint Petersburg Dissenters' March on 3 March 2007 and The March of the Dissenters on 24 March 2007, both involving several thousand people rallying against Putin and Saint Petersburg Governor Valentina Matviyenko. Kasparov led a pro-democracy demonstration in Moscow in April 2007. Soon after it started, however, over 9,000 police descended on the group and seized almost everyone. Kasparov, who was briefly arrested, was warned by the prosecution office on the eve of the march that anyone participating risked being detained. He was held for some ten hours and then fined and released. He was later summoned by the FSB for violations of Russian anti-extremism laws. Speaking about Kasparov in 2007, former KGB defector Oleg Kalugin remarked: "I do not talk in details – people who knew them are all dead now because they were vocal, they were open. I am quiet. There is only one man who is vocal and he may be in trouble: world chess champion Kasparov. He has been very outspoken in his attacks on Putin and I believe that he is probably next on the list." Presidential candidate (2008) On 30 September 2007, Kasparov entered the Russian presidential race, receiving 379 of 498 votes at a congress held in Moscow by The Other Russia. In October 2007, Kasparov announced his intention of standing for the Russian presidency as the candidate of the "Other Russia" coalition and vowed to fight for a "democratic and just Russia". Later that month he travelled to the United States, where he appeared on several popular television programmes. In November 2007, Kasparov and other protesters were detained by police at an Other Russia rally in Moscow, which drew 3,000 demonstrators to protest against election rigging. Following an attempt by about 100 protesters to march through police lines to the electoral commission, which had barred Other Russia candidates from parliamentary elections, arrests were made. The Russian authorities stated a rally had been approved but not any marches, resulting in several demonstrators being detained. Kasparov was subsequently charged with resisting arrest and organising an unauthorised protest, and was given a jail sentence of five days. Kasparov appealed the charges, citing that he had been following orders given by the police. He was released from jail on 29 November. Putin castigated Kasparov at the rally for his use of English when speaking rather than Russian. In December 2007, Kasparov announced that he had to withdraw his presidential candidacy due to inability to rent a meeting hall where at least 500 of his supporters could assemble. With the deadline expiring on that date, he explained it was impossible for him to run. Russian election laws required sufficient meeting hall space for assembling supporters. Kasparov's spokeswoman accused the government of using pressure to deter anyone from renting a hall for the gathering and said that the electoral commission had rejected a proposal that would have allowed for smaller gathering sizes rather than one large gathering at a meeting hall. Opposition to Putin administration (2010-2013) Kasparov was among the 34 first signatories and a key organiser of the online anti-Putin campaign "Putin must go", started on 10 March 2010. Within the text is a call to Russian law enforcement to ignore Putin's orders. By June 2011, there were 90,000 signatures. While the identity of the petition author remained anonymous, there was wide speculation that it was indeed Kasparov. On 31 January 2012, Kasparov hosted a meeting of opposition leaders planning a mass march on 4 February 2012, the third major opposition rally held since the disputed State Duma elections of December 2011. Among other opposition leaders attending were Alexey Navalny and Yevgeniya Chirikova. Kasparov was arrested and beaten outside a Moscow court on 17 August 2012 while attending sentencing in the case involving the all-female punk band Pussy Riot. On 24 August, he was cleared of charges that he had taken part in an unauthorised protest against the conviction of three members of the band. Judge Yekaterina Veklich said there were "no grounds to believe the testimony of the police". Kasparov later thanked all the bloggers and reporters who provided video evidence that contradicted the testimony of the police. Kasparov wrote in February 2013 that "fascism has come to Russia. ...Project Putin, just like the old Project Hitler, is but the fruit of a conspiracy by the ruling elite. Fascist rule was never the result of the free will of the people. It was always the fruit of a conspiracy by the ruling elites!" Kasparov denied rumours in April 2013 that he was planning to leave Russia for good. "I found these rumors to be deeply saddening and, moreover, surprising," he wrote. "I was unable to respond immediately because I was in such a state of shock that such an incredibly inaccurate statement, the likes of which is constantly distributed by the Kremlin's propagandists, came this time from Ilya Yashin, a fellow member of the Opposition Coordination Council (KSO) and my former colleague from the Solidarity movement." He also accused prominent Russian journalist Vladimir Posner of failing to stand up to Putin and to earlier Russian and Soviet leaders. However, Kasparov subsequently fled Russia less than three months later. On 6 June 2013, he announced that he had left his homeland on account of fear of persecution for his political views. Further, at the 2013 Women in the World conference, Kasparov told The Daily Beasts Michael Moynihan that democracy no longer existed in what he called Russia's "dictatorship". Opposition to Putin from exile (2013-) Kasparov said at a press conference in June 2013 that if he returned to Russia, he doubted he would be allowed to leave again, given Putin's ongoing crackdown on dissenters. "So for the time being," he said, "I refrain from returning to Russia." He explained shortly thereafter in an article for The Daily Beast that this had not been intended as "a declaration of leaving my home country, permanently or otherwise", but merely an expression of "the dark reality of the situation in Russia today, where nearly half the members of the opposition's Coordinating Council are under criminal investigation on concocted charges". He noted that the Moscow prosecutor's office was "opening an investigation that would limit my ability to travel", making it impossible for him to fulfil "professional speaking engagements" and hindering his "work for the non-profit Kasparov Chess Foundation, which has centres in New York City, Brussels and Johannesburg, to promote chess in education". Kasparov further wrote in his June 2013 Daily Beast article that the mass protests in Moscow 18 months earlier against fraudulent Russian elections had been "a proud moment for me". He recalled that after joining the opposition movement in March 2005, he had been criticised for seeking to unite "every anti-Putin element in the country to march together regardless of ideology". Therefore, the sight of "hundreds of flags representing every group from liberals to nationalists all marching together for 'Russia Without Putin' was the fulfillment of a dream." Yet most Russians, he lamented, had continued to "slumber" even as Putin had "taken off the flimsy mask of democracy to reveal himself in full as the would-be KGB dictator he has always been". Kasparov responded with several Twitter postings to a September 2013 The New York Times op-ed by Putin. "I hope Putin has taken adequate protections," he tweeted. "Now that he is a Russian journalist his life may be in grave danger!" Also: "Now we can expect NY Times op-eds by Mugabe on fair elections, Castro on free speech, & Kim Jong-un on prison reform. The Axis of Hypocrisy." Kasparov wrote in July 2013 about the trial in Kirov of fellow opposition leader Navalny, who had been convicted "on concocted embezzlement charges", only to see the prosecutor, surprisingly, ask for his release the next day pending appeal. "The judicial process and the democratic process in Russia," wrote Kasparov, "are both elaborate mockeries created to distract the citizenry at home and to help Western leaders avoid confronting the awkward fact that Russia has returned to a police state". Still, Kasparov felt that whatever had caused the Kirov prosecutor's about-face, "my optimism tells me it was a positive sign. After more than 13 years of predictable repression under Putin, anything different is good." Kasparov has been outspoken regarding Putin's antigay laws, describing them as "only the most recent encroachment on the freedom of speech and association of Russia's citizens", which the international community had largely ignored. Regarding Russia's hosting of the 2014 Winter Olympics, Kasparov explained in August 2013 that he had opposed Russia's bid from the outset, since it would "allow Vladimir Putin's cronies to embezzle hundreds of millions of dollars" and "lend prestige to Putin's authoritarian regime". Kasparov did not support the proposed Sochi Olympics boycott—writing that it would "unfairly punish athletes"—but called for athletes and others to "transform Putin's self-congratulatory pet project into a spotlight that exposes his authoritarian rule" to the world. In September, Kasparov called upon politicians to refuse to attend the games and the public to pressure sponsors and the media, such that Coca-Cola, for example, could put "a rainbow flag on each Coca-Cola can" and NBC could "do interviews with Russian gay activists or with Russian political activists". Kasparov also emphasised that although he was "still a Russian citizen", he had "good reason to be concerned about my ability to leave Russia if I returned to Moscow". Kasparov spoke out against the 2014 Russian annexation of Crimea and has stated that control of Crimea should be returned to Ukraine after the overthrow of Putin without additional conditions. Kasparov's website was blocked by the Russian government censorship agency, Roskomnadzor, at the behest of the public prosecutor, allegedly due to Kasparov's opinions on the Crimean crisis. Kasparov's block was made in unison with several other notable Russian sites that were accused of inciting public outrage. Reportedly, several of the blocked sites received an affidavit noting their violations. However, Kasparov stated that his site had received no such notice of violations after its block. In 2015, a whole note on Kasparov was removed from a Russian language encyclopaedia of greatest Soviet players after an intervention from "senior leadership". In October 2015, Kasparov published a book titled Winter Is Coming: Why Vladimir Putin and the Enemies of the Free World Must Be Stopped. In the book, Kasparov likens Putin to Adolf Hitler and explains the need for the West to oppose Putin sooner, rather than appeasing him and postponing the eventual confrontation. According to his publisher, "Kasparov wants this book out fast, in a way that has potential to influence the discussion during the primary season." In 2018, he said that "anything is better than Putin because that eliminates the probability of a nuclear war. Putin is insane." Following reports of Russian ransomware attacks against American agencies and companies in 2021, Kasparov stated that "the only language that Putin understands is power, and his power is his money," arguing that the United States should target the bank accounts of Russian oligarchs to force Russia to rein in its criminals' cyberattacks. Kasparov spoke out against the invasion of Ukraine by Russia on Twitter: "The only way this really ends is the fall of Putin's regime by collapse of Russian economy and defeat in Ukraine." He also believed that "pressure must be kept up" in terms of sanctions and condemnations against Russia's actions and joined with other prominent Russian figures-in-exile to form the Anti-War Committee of Russia. He said that Russia should be "thrown back into the Stone Age to make sure that the oil and gas industry and any other sensitive industries that are vital for survival of the regime cannot function without Western technological support." On 20 May 2022, Kasparov was designated as "foreign agent" by the Ministry of Justice of the Russian Federation. In May 2023 Kasparov participated in the drafting of Mikhail Khodorkovsky's "Declaration of Russia’s Democratic Forces", along with a large group of fellow exiles. United States Kasparov received the Keeper of the Flame award in 1991 from the Center for Security Policy, a Washington, D.C.-based far-right, anti-Muslim think tank. In his acceptance speech Kasparov lauded the defeat of communism while also urging the United States to give no financial assistance to central Soviet leaders. Kasparov gave speeches at other think tanks such as the Hoover Institution. In a 12 May 2013 op-ed for The Wall Street Journal, Kasparov questioned reports that the Russian security agency, the FSB, had fully cooperated with the FBI in the matter of the Boston bombers. He noted that the elder bomber, Tamerlan Tsarnaev, had reportedly met in Russia with two known jihadists who "were killed in Dagestan by the Russian military just days before Tamerlan left Russia for the U.S." Kasparov argued, "If no intelligence was sent from Moscow to Washington" about this meeting, "all this talk of FSB cooperation cannot be taken seriously." He further observed, "This would not be the first time Russian security forces seemed strangely impotent in the face of an impending terror attack," pointing out that in both the 2002 Moscow theater siege and the 2004 Beslan school attack, "there were FSB informants in both terror groups – yet the attacks went ahead unimpeded." Given this history, he wrote, "it is impossible to overlook that the Boston bombing took place just days after the U.S. Magnitsky List was published, creating the first serious external threat to the Putin power structure by penalising Russian officials complicit in human-rights crimes." In sum, Putin's "dubious record on counterterrorism and its continued support of terror sponsors Iran and Syria mean only one thing: common ground zero". In the 2016 United States presidential election, Kasparov described Republican Donald Trump as "a celebrity showman with racist leanings and authoritarian tendencies" and criticised him for calling for closer ties with Putin. After Trump's running mate, Mike Pence, called Putin a strong leader, Kasparov said that Putin is a strong leader "in the same way arsenic is a strong drink". He also disparaged the economic policies of Democratic primary candidate Bernie Sanders, but showed respect for Sanders as "a charismatic speaker and a passionate believer in his cause". Kasparov opined that Henry Kissinger "was selling the Trump Administration on the idea of a mirror of 1972 [Richard Nixon's visit to China], except, instead of a Sino-U.S. alliance against the U.S.S.R., this would be a Russian-American alliance against China." Armenia In an interview discussing the Nagorno-Karabakh conflict, Kasparov stated that the Republic of Artsakh has a right to independence and that Azerbaijan has no sovereign right over it. He considers this stance to be objective and without bias, as Soviet law allowed for autonomous republics (such as the Nagorno-Karabakh Autonomous Oblast) to vote for independence separately and were given an equal right for self-determination, a factor he felt often went ignored. Kasparov recalled that he was criticised by Armenians for not taking a strong stance when the Karabakh movement began in 1988, explaining that he was living in Baku with 200,000 other Armenians at the time and did not want to increase tensions. Kasparov and his family later fled Baku in January 1990 to escape pogroms against Armenians. He welcomed the Velvet Revolution in Armenia in 2018. Kasparov supports Armenian genocide recognition. Other international affairs During the Yugoslav Wars, Kasparov advocated for the Western world to destroy the Yugoslav People's Army and accused Slobodan Milošević of creating a "siege mentality" to maintain control over Serbia. In 1997, he was awarded honorary citizenship of Bosnia and Herzegovina for his support of Bosnian people during the Bosnian War. Kasparov was named Chairman of the Human Rights Foundation in 2011. In addition, Kasparov was presented with the Morris B. Abram Human Rights Award, UN Watch's annual human-rights prize, in 2013. The organisation praised him as "not only one of the world's smartest men" but "also among its bravest". In April 2013, Kasparov joined in an HRF condemnation of Kanye West for having performed for the leader of Kazakhstan in exchange for a payment of $3 million, saying that West "has entertained a brutal killer and his entourage" and that his fee "came from the loot stolen from the Kazakhstan treasury". Further, in September 2013, Kasparov wrote in Time magazine that in Syria, Putin and Bashar al-Assad "won by forfeit when President Obama, Prime Minister Cameron and the rest of the so-called leaders of the free world walked away from the table." Kasparov lamented the "new game at the negotiating table where Putin and Assad set the rules and will run the show under the protection of the U.N." Kasparov said in September 2013 that Russia was now a dictatorship. In the same month he told an interviewer that "Obama going to Russia now is dead wrong, morally and politically," because Putin's regime "is behind Assad". Kasparov was critical of the violence unleashed by the Spanish police against the 2017 independence referendum in Catalonia and accused the Spanish PM Mariano Rajoy of "betraying" the European promise of peace. After the Catalan regional election held later the same year, Kasparov wrote: "Despite unprecedented pressure from Madrid, Catalonian separatists won a majority. Europe must speak and help find a peaceful path toward resolution and avoid more violence". Kasparov recommended that Spain look to how Britain handled the 2014 Scottish independence referendum, adding: "look only at how Turkey and Iraq have treated the separatist Kurds. That cannot be the road for Spain and Catalonia." On the occasion of the 2015 centennial of the Armenian genocide, Kasparov reflected that in 2002 he called for Turkey to be admitted to the European Union if Turkey recognised the genocide. He condemned the assassination of Saudi journalist Jamal Khashoggi. In October 2018, Kasparov wrote that President Erdoğan's regime in Turkey "has jailed more journalists than any country in the world and scores of them remain in prison in Turkey. Since 2016, Turkey's intelligence agency has abducted at least 80 people in operations in 18 countries." Croatian citizenship Kasparov had maintained a summer home in the Croatian city of Makarska. In February 2014, he applied for citizenship by naturalisation in Croatia, according to media reports, claiming he was finding it increasingly difficult to live in Russia. According to an article in The Guardian, Kasparov was "widely perceived" as having been a vocal supporter of Croatian independence during the early 1990s. Later in February 2014, his application for naturalisation was approved and he had a meeting with Croatian prime minister Zoran Milanović on 27 February. Croatian press cited his "lobbying for Croatia in 1991" as grounds for the expedited naturalisation. In an interview for a Croatian daily published in February 2022, Kasparov said he was "very grateful" to Milanović for the help rendered by him (then as prime minister) in obtaining Croatian citizenship. Books and other writings Early writings Kasparov has written books on chess. He published a controversial autobiography when still in his early 20s. Originally entitled Child of Change, it was later published as Unlimited Challenge. This book was updated several times after he became world champion. Its content is mainly literary, with a small chess component of key unannotated games. He published an annotated games collection in 1983, Fighting Chess: My Games and Career, which has been updated in further editions. He also wrote a book annotating the games from his World Chess Championship 1985 victory, World Chess Championship Match: Moscow, 1985. He has annotated his own games extensively for the Yugoslav Chess Informant series. In 1982, he co-authored Batsford Chess Openings with British grandmaster Keene. That book sold well and was updated in a second edition in 1989. He also co-authored two opening books with his trainer Alexander Nikitin in the 1980s for British publisher Batsfordon the Classical Variation of the Caro-Kann Defence and on the Scheveningen Variation of the Sicilian Defence. Kasparov also contributed extensively to the five-volume openings series Encyclopedia of Chess Openings from Chess Informant, for which Kasparov also wrote personal columns called Garry's Choice. In 2000, Kasparov co-authored Kasparov Against the World: The Story of the Greatest Online Challenge with grandmaster Daniel King. The 202-page book analyses the 1999 Kasparov versus the World game, and holds the record for the longest analysis devoted to a single chess game. My Great Predecessors series In 2003, the first volume of his five-volume work Garry Kasparov on My Great Predecessors was published. This volume deals with world champions Wilhelm Steinitz, Emanuel Lasker, Capablanca and Alekhine, and some of their strong contemporaries. It won the British Chess Federation's Book of the Year award in 2003. Volume two, covering Max Euwe, Botvinnik, Smyslov and Tal, appeared later in 2003. Volume three, featuring Tigran Petrosian and Boris Spassky, was published in early 2004. In December 2004, Kasparov released volume four, which covers Samuel Reshevsky, Miguel Najdorf and Bent Larsen (none of whom was world champion), but focuses on Fischer. The fifth volume, devoted to the chess careers of world champion Karpov and challenger Korchnoi, was published in March 2006. Modern Chess series His Revolution in the 70s (published in March 2007) covers "the openings revolution of the 1970s–1980s" and was the first work in a new venture, "Modern Chess Series", which recounted his matches with Karpov and selected games. Revolution in the 70s is about the development of opening theory witnessed in that decade. Systems like the novel "Hedgehog" opening plan of passively developing the pieces no further than the first three ranks were examined in great detail. Kasparov also analysed some of the most notable games played in that period. In a section at the end of the book, top opening theoreticians provided their opinion on progress made in opening theory in the 1980s. Garry Kasparov on Garry Kasparov series From 2011–14, Kasparov published a three-volume series of his games, spanning his career in three eras until he stopped playing full time in 2005. Winter Is Coming In October 2015, Kasparov published a book titled Winter Is Coming: Why Vladimir Putin and the Enemies of the Free World Must Be Stopped. The title is a reference to the HBO television series Game of Thrones. In the book, Kasparov writes about the need for an organisation composed solely of democratic countries to replace the United Nations. In an interview, he called the United Nations a "catwalk for dictators". Historical revision Kasparov believes that the conventional history of civilisation is incorrect. Specifically, he contends that the history of ancient civilisations is based on misdating of events and achievements that occurred in the medieval period. He has cited several aspects of ancient history that, he argues, are likely to be anachronisms. Kasparov has written in support of the pseudohistorical New Chronology (Fomenko), although with some reservations. In 2001, he expressed a desire to devote his time to promoting the New Chronology after his chess career. "New Chronology is a great area for investing my intellect ... My analytical abilities are well placed to figure out what was right and what was wrong." "When I stop playing chess, it may well be that I concentrate on promoting these ideas... I believe they can improve our lives." Later, Kasparov renounced his support of Fomenko theories but reaffirmed his belief that mainstream historical knowledge is inconsistent. Other post-retirement writing Kasparov wrote How Life Imitates Chess, an examination of the parallels between decision-making in chess and in the business world, in 2007. In 2008, Kasparov published a sympathetic obituary for Fischer: "I am often asked if I ever met or played Bobby Fischer. The answer is no, I never had that opportunity. But even though he saw me as a member of the evil chess establishment that he felt had robbed and cheated him, I am sorry I never had a chance to thank him personally for what he did for our sport." Kasparov is the chief advisor for the book publisher Everyman Chess. He works closely with Mig Greengard and his comments can often be found on Greengard's blog. Kasparov collaborated with Max Levchin and Peter Thiel on The Blueprint, a book calling for a revival of world innovation, planned for release in March 2013 but cancelled after the authors disagreed on its contents. In an editorial comment on Google's AlphaZero chess-playing system, Kasparov argued that chess has become the model for reasoning in the same way that the fruit fly Drosophila melanogaster became a model organism for geneticists: "I was pleased to see that AlphaZero had a dynamic, open style like my own," he wrote in late 2018. Kasparov served as a consultant for the 2020 Netflix miniseries The Queen's Gambit and gave an interview to Slate on his contributions. That same year, Kasparov collaborated with Matt Calkins, founder and CEO of Appian, on HYPERAUTOMATION, a book about low-code development and the future of business automation. Kasparov wrote the foreword where he discusses his experiences with human–machine relationships. The New York Times published an essay by Kasparov titled "Garry Kasparov: What We Believe About Reality" in 2021. The essay is part of a series called The Big Ideas: What Do We Believe. This work was later published in a compendium titled Question Everything: A Stone Reader. Bibliography Kasparov Teaches Chess (1984–85, Sport in the USSR Magazine; 1986, First Collier Books) The Test of Time (Russian Chess) (1986, Pergamon Pr) World Chess Championship Match: Moscow, 1985 (1986, Everyman Chess) Child of Change: An Autobiography (1987, Hutchinson) London–Leningrad Championship Games (1987, Everyman Chess) Unlimited Challenge (1990, Grove Pr) The Sicilian Scheveningen (1991, B.T. Batsford Ltd) The Queen's Indian Defence: Kasparov System (1991, B.T. Batsford Ltd) Kasparov Versus Karpov, 1990 (1991, Everyman Chess) Kasparov on the King's Indian (1993, B.T. Batsford Ltd) Kasparov, Garry. Jon Speelman and Bob Wade. 1995. Garry Kasparov's Fighting Chess. Henry Holt. Garry Kasparov's Chess Challenge (1996, Everyman Chess) Lessons in Chess (1997, Everyman Chess) Kasparov Against the World: The Story of the Greatest Online Challenge (2000, Kasparov Chess Online) My Great Predecessors Part I (2003, Everyman Chess) My Great Predecessors Part II (2003, Everyman Chess) Checkmate!: My First Chess Book (2004, Everyman Mindsports) My Great Predecessors Part III (2004, Everyman Chess) My Great Predecessors Part IV (2004, Everyman Chess) My Great Predecessors Part V (2006, Everyman Chess) How Life Imitates Chess (2007, William Heinemann Ltd.) Garry Kasparov on Modern Chess, Part I: Revolution in the 70s (2007, Everyman Chess) Garry Kasparov on Modern Chess, Part II: Kasparov vs Karpov 1975–1985 (2008, Everyman Chess) Garry Kasparov on Modern Chess, Part III: Kasparov vs Karpov 1986–1987 (2009, Everyman Chess) Garry Kasparov on Modern Chess, Part IV: Kasparov vs Karpov 1988–2009 (2010, Everyman Chess) Garry Kasparov on Garry Kasparov, part I (2011, Everyman Chess) Garry Kasparov on Garry Kasparov, part II (2013, Everyman Chess) Garry Kasparov on Garry Kasparov, part III (2014, Everyman Chess) Winter Is Coming: Why Vladimir Putin and the Enemies of the Free World Must Be Stopped (2015, Public Affairs) Deep Thinking with Mig Greengard (2017, Public Affairs) Videos Kasparov, Garry, Nigel Short, Raymond Keene and Daniel King. 1993. Kasparov Short The Inside Story. Grandmaster Video. Kasparov, Garry, Jonathan Tisdall and Jim Plaskett. 2000. My Story. Grandmaster Video. Kasparov, Garry. 2004. How to Play the Queen's Gambit. Chessbase. Kasparov, Garry. 2005. How to Play the Najdorf. Chessbase. vol. 1 , vol. 2 Kasparov, Garry. 2012. How I Became World Champion 1973–1985. Chessbase. Kasparov, Garry. 2017. Garry Kasparov Teaches Chess. Masterclass.com. Kasparov, Garry. 2022. Stand with Ukraine in the fight against evil, Ted Talk. Personal life Kasparov has lived in New York City since 2013. He has been married three times: to Masha, with whom he had a daughter, Polina, before divorcing; to Yulia, with whom he had a son, Vadim, before their 2005 divorce; and to Daria (Dasha), with whom he has two children, daughter Aida born in 2006 and son Nickolas born in 2015. Kasparov's wife manages his business activities worldwide through Kasparov International Management Inc. References Notes Further reading See also Game Over: Kasparov and the Machine, documentary film. Kasparov Chess, Internet chess club. Kasparov versus the World List of chess games between Kasparov and Kramnik Committee 2008 Putinism Advanced chess External links Garry Kasparov, "Man of the Year?", OpinionJournal, 23 December 2007 Edward Winter, List of Books About Fischer and Kasparov Kasparov's "Deep Thinking" talk at Google Garry Kasparov's best games analyzed in video Category:1963 births Category:Living people Category:2011–2013 Russian protests Category:20th-century male writers Category:21st-century Russian politicians Category:Azerbaijan University of Languages alumni Category:Chess coaches Category:Chess grandmasters Category:Chess Olympiad competitors Category:Chess historians Category:Communist Party of the Soviet Union members Category:Croatian activists Category:Croatian chess writers Category:Croatian people of Armenian descent Category:Croatian people of Russian-Jewish descent Category:Naturalized citizens of Croatia Category:Chess players from Baku Category:Honoured Masters of Sport of the USSR Category:Recipients of the Order of Friendship of Peoples Category:Recipients of the Order of the Red Banner of Labour Category:Russian anti-communists Category:Russian chess players Category:Russian chess writers Category:Russian dissidents Category:Russian liberals Category:Russian people of Armenian descent Category:Russian people of Jewish descent Category:Russian political activists Category:Russian sportsperson-politicians Category:Russian democracy activists Category:Solidarnost politicians Category:Soviet chess players Category:Soviet chess writers Category:Soviet male writers Category:The Other Russia (coalition) Category:World chess champions Category:World Junior Chess Champions Category:Russian activists against the Russian invasion of Ukraine Category:People listed in Russia as foreign agents
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[ "CANNOTANSWER", "Anatoly Karpov was Garry Kasparov's opponent in the World Chess Championship 1984.", "The text does not provide information on who won the restarted match after the controversial termination of the initial match. The initial match between Karpov and Kasparov was ended without a result.", "The text does not provide information on Garry Kasparov's playing style.", "An interesting fact about this World Championship is that it was the first and so far only world championship match to be abandoned without a result. Another notable fact is the controversial finish where, despite both players stating that they preferred for the match to continue, it was terminated by the President of the Federation Internationale des Echecs (FIDE), Florencio Campomanes, citing the health of the players due to the length of the match.", "The match between Anatoly Karpov and Garry Kasparov was controversial because it was ended without a result by Florencio Campomanes, the President of the Federation Internationale des Echecs (FIDE), despite both players stating that they preferred the match to continue. Campomanes cited the health of the players, which had been strained by the match's length, as the reason for the termination. This decision strained Kasparov's relationship with Campomanes and FIDE, contributing to Kasparov's eventual complete break-away from FIDE in 1993." ]
[ "Yes", "Yes", "Yes", "Yes", "Yes", "No" ]
C_8e1c215d7bb146799b8fea83a7300f1e_1
Francis Poulenc
Francis Jean Marcel Poulenc (French: [fRasis Za maRsel pulek]; 7 January 1899 - 30 January 1963) was a French composer and pianist. His compositions include melodies, solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perpetuels (1919), the ballet Les biches (1923), the Concert champetre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carmelites (1957), and the Gloria (1959) for soprano, choir and orchestra.
Music
See also: FP (Catalogue of compositions), List of compositions Poulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive." Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity." Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by Rene Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up - "la legende de facilite" - that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts." The pianist Pascal Roge commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust - music as frankly French as Stravinsky's is Slav". CANNOTANSWER
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Francis Jean Marcel Poulenc (; 7 January 189930 January 1963) was a French composer and pianist. His compositions include songs, solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perpétuels (1919), the ballet Les biches (1923), the Concert champêtre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carmélites (1957), and the Gloria (1959) for soprano, choir, and orchestra. As the only son of a prosperous manufacturer, Poulenc was expected to follow his father into the family firm, and he was not allowed to enrol at a music college. He studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc also made the acquaintance of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. In his early works Poulenc became known for his high spirits and irreverence. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works. In addition to his work as a composer, Poulenc was an accomplished pianist. He was particularly celebrated for his performing partnerships with the baritone Pierre Bernac (who also advised him in vocal writing) and the soprano Denise Duval. He toured in Europe and America with both of them, and made a number of recordings as a pianist. He was among the first composers to see the importance of the gramophone, and he recorded extensively from 1928 onwards. In his later years, and for decades after his death, Poulenc had a reputation, particularly in his native country, as a humorous, lightweight composer, and his religious music was often overlooked. In the 21st century, more attention has been given to his serious works, with many new productions of Dialogues des Carmélites and La voix humaine worldwide, and numerous live and recorded performances of his songs and choral music. Life Early years Poulenc was born in the 8th arrondissement of Paris, the younger child and only son of Émile Poulenc and his wife, Jenny, née Royer. Émile Poulenc was a joint owner of Poulenc Frères, a successful manufacturer of pharmaceuticals (later Rhône-Poulenc). He was a member of a pious Roman Catholic family from Espalion in the département of Aveyron. Jenny Poulenc was from a Parisian family with wide artistic interests. In Poulenc's view, the two sides of his nature grew out of this background: a deep religious faith from his father's family and a worldly and artistic side from his mother's. The critic Claude Rostand later described Poulenc as "half monk and half naughty boy". Poulenc grew up in a musical household; his mother was a capable pianist, with a wide repertoire ranging from classical to less elevated works that gave him a lifelong taste for what he called "adorable bad music". He took piano lessons from the age of five; when he was eight he first heard the music of Debussy and was fascinated by the originality of the sound. Other composers whose works influenced his development were Schubert and Stravinsky: the former's Winterreise and the latter's The Rite of Spring made a deep impression on him. At his father's insistence, Poulenc followed a conventional school career, studying at the Lycée Condorcet in Paris rather than at a music conservatory. In 1916 a childhood friend, Raymonde Linossier (1897–1930), introduced Poulenc to Adrienne Monnier's bookshop, the Maison des Amis des Livres. There he met the avant-garde poets Guillaume Apollinaire, Max Jacob, Paul Éluard and Louis Aragon. He later set many of their poems to music. In the same year he became the pupil of pianist Ricardo Viñes. The biographer Henri Hell comments that Viñes's influence on his pupil was profound, both as to pianistic technique and the style of Poulenc's keyboard works. Poulenc later said of Viñes: He was a most delightful man, a bizarre hidalgo with enormous moustachios, a flat-brimmed sombrero in the purest Spanish style, and button boots which he used to rap my shins when I didn't change the pedalling enough. ... I admired him madly, because, at this time, in 1914, he was the only virtuoso who played Debussy and Ravel. That meeting with Viñes was paramount in my life: I owe him everything ... In reality it is to Viñes that I owe my fledgling efforts in music and everything I know about the piano. When Poulenc was sixteen his mother died; his father died two years later. Viñes became more than a teacher: he was, in the words of Myriam Chimènes in the Grove Dictionary of Music and Musicians, the young man's "spiritual mentor". He encouraged his pupil to compose, and he later gave the premieres of three early Poulenc works. Through him Poulenc became friendly with two composers who helped shape his early development: Georges Auric and Erik Satie. Auric, who was the same age as Poulenc, was an early developer musically; by the time the two met, Auric's music had already been performed at important Parisian concert venues. The two young composers shared a similar musical outlook and enthusiasms, and for the rest of Poulenc's life Auric was his most trusted friend and guide. Poulenc called him "my true brother in spirit". Satie, an eccentric figure, isolated from the mainstream French musical establishment, was a mentor to several rising young composers, including Auric, Louis Durey and Arthur Honegger. After initially dismissing Poulenc as a bourgeois amateur, he relented and admitted him to the circle of protégés, whom he called "Les Nouveaux Jeunes". Poulenc described Satie's influence on him as "immediate and wide, on both the spiritual and musical planes". Pianist Alfred Cortot commented that Poulenc's Trois mouvements perpétuels were "reflections of the ironical outlook of Satie adapted to the sensitive standards of the current intellectual circles". First compositions and Les Six Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot. In 1917 Poulenc got to know Ravel well enough to have serious discussions with him about music. He was dismayed by Ravel's judgments, which exalted composers whom Poulenc thought little of above those he greatly admired. He told Satie of this unhappy encounter; Satie replied with a dismissive epithet for Ravel who, he said, talked "a load of rubbish". For many years Poulenc was equivocal about Ravel's music, though always respecting him as a man. Ravel's modesty about his own music particularly appealed to Poulenc, who sought throughout his life to follow Ravel's example. From January 1918 to January 1921 Poulenc was a conscript in the French army in the last months of the First World War and the immediate post-war period. Between July and October 1918 he served at the Franco-German front, after which he was given a series of auxiliary posts, ending as a typist at the Ministry of Aviation. His duties allowed him time for composition; the Trois mouvements perpétuels for piano and the Sonata for Piano Duet were written at the piano of the local elementary school at Saint-Martin-sur-le-Pré, and he completed his first song cycle, Le bestiaire, setting poems by Apollinaire. The sonata did not create a deep public impression, but the song cycle made the composer's name known in France, and the Trois mouvements perpétuels rapidly became an international success. The exigencies of music-making in wartime taught Poulenc much about writing for whatever instruments were available; then, and later, some of his works were for unusual combinations of players. At this stage in his career Poulenc was conscious of his lack of academic musical training; the critic and biographer Jeremy Sams writes that it was the composer's good luck that the public mood was turning against late-romantic lushness in favour of the "freshness and insouciant charm" of his works, technically unsophisticated though they were. Four of Poulenc's early works were premiered at the Salle Huyghens in the Montparnasse area, where between 1917 and 1920 the cellist Félix Delgrange presented concerts of music by young composers. Among them were Auric, Durey, Honegger, Darius Milhaud and Germaine Tailleferre who, with Poulenc, became known collectively as "Les Six". After one of their concerts, the critic Henri Collet published an article titled, "The Five Russians, the Six Frenchmen and Satie". According to Milhaud: In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being. Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group. In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925. 1920s: increasing fame From the early 1920s Poulenc was well received abroad, particularly in Britain, both as a performer and a composer. In 1921 Ernest Newman wrote in The Manchester Guardian, "I keep my eye on Francis Poulenc, a young man who has only just arrived at his twenties. He ought to develop into a farceur of the first order." Newman said that he had rarely heard anything so deliciously absurd as parts of Poulenc's song cycle Cocardes, with its accompaniment played by the unorthodox combination of cornet, trombone, violin and percussion. In 1922 Poulenc and Milhaud travelled to Vienna to meet Alban Berg, Anton Webern and Arnold Schönberg. Neither of the French composers was influenced by their Austrian colleagues' revolutionary twelve-tone system, but they admired the three as its leading proponents. The following year Poulenc received a commission from Sergei Diaghilev for a full-length ballet score. He decided that the theme would be a modern version of the classical French fête galante. This work, Les biches, was an immediate success, first in Monte Carlo in January 1924 and then in Paris in May, under the direction of André Messager; it has remained one of Poulenc's best-known scores. Poulenc's new celebrity after the success of the ballet was the unexpected cause of his estrangement from Satie: among the new friends Poulenc made was Louis Laloy, a writer whom Satie regarded with implacable enmity. Auric, who had just enjoyed a similar triumph with a Diaghilev ballet, Les Fâcheux, was also repudiated by Satie for becoming a friend of Laloy. As the decade progressed, Poulenc produced a range of compositions, from songs to chamber music and another ballet, Aubade. Hell suggests that Koechlin's influence occasionally inhibited Poulenc's natural simple style, and that Auric offered useful guidance to help him appear in his true colours. At a concert of music by the two friends in 1926, Poulenc's songs were sung for the first time by the baritone Pierre Bernac, from whom, in Hell's phrase, "the name of Poulenc was soon to be inseparable." Another performer with whom the composer came to be closely associated was the harpsichordist Wanda Landowska. He heard her as the soloist in Falla's El retablo de maese Pedro (1923), an early example of the use of a harpsichord in a modern work, and was immediately taken with the sound. At Landowska's request he wrote a concerto, the Concert champêtre, which she premiered in 1929 with the Orchestre Symphonique de Paris conducted by Pierre Monteux. The biographer Richard D. E. Burton comments that, in the late 1920s, Poulenc might have seemed to be in an enviable position: professionally successful and independently well-off, having inherited a substantial fortune from his father. He bought a large country house, , at Noizay, Indre-et-Loire, south-west of Paris, where he retreated to compose in peaceful surroundings. Yet he was troubled, struggling to come to terms with his sexuality, which was predominantly homosexual. His first serious affair was with the painter Richard Chanlaire, to whom he sent a copy of the Concert champêtre score inscribed: Nevertheless, while this affair was in progress Poulenc proposed marriage to his friend Raymonde Linossier. As she was not only well aware of his homosexuality but was also romantically attached elsewhere, she refused him, and their relationship became strained. He suffered the first of many periods of depression, which affected his ability to compose, and he was devastated in January 1930 when Linossier died suddenly at the age of 32. On her death he wrote, "All my youth departs with her, all that part of my life that belonged only to her. I sob ... I am now twenty years older". His affair with Chanlaire petered out in 1931, though they remained lifelong friends. 1930s: new seriousness At the start of the decade, Poulenc returned to writing songs, after a two-year break from doing so. His "Epitaphe", to a poem by Malherbe, was written in memory of Linossier, and is described by the pianist Graham Johnson as "a profound song in every sense". The following year Poulenc wrote three sets of songs, to words by Apollinaire and Max Jacob, some of which were serious in tone, and others reminiscent of his earlier light-hearted style, as were others of his works of the early 1930s. In 1932 his music was among the first to be broadcast on television, in a transmission by the BBC in which Reginald Kell and Gilbert Vinter played his Sonata for clarinet and bassoon. At about this time Poulenc began a relationship with Raymond Destouches, a chauffeur; as with Chanlaire earlier, what began as a passionate affair changed into a deep and lasting friendship. Destouches, who married in the 1950s, remained close to Poulenc until the end of the composer's life. Two unrelated events in 1936 combined to inspire a reawakening of religious faith and a new depth of seriousness in Poulenc's music. His fellow composer Pierre-Octave Ferroud was killed in a car crash so violent that he was decapitated, and almost immediately afterwards, while on holiday, Poulenc visited the sanctuary of Rocamadour. He later explained: A few days earlier I'd just heard of the tragic death of my colleague ... As I meditated on the fragility of our human frame, I was drawn once more to the life of the spirit. Rocamadour had the effect of restoring me to the faith of my childhood. This sanctuary, undoubtedly the oldest in France ... had everything to captivate me ... The same evening of this visit to Rocamadour, I began my Litanies à la Vierge noire for female voices and organ. In that work I tried to get across the atmosphere of "peasant devotion" that had struck me so forcibly in that lofty chapel. Other works that followed continued the composer's new-found seriousness, including many settings of Éluard's surrealist and humanist poems. In 1937 he composed his first major liturgical work, the Mass in G major for soprano and mixed choir a cappella, which has become the most frequently performed of all his sacred works. Poulenc's new compositions were not all in this serious vein; his incidental music to the play La Reine Margot, starring Yvonne Printemps, was pastiche 16th-century dance music, and became popular under the title Suite française. Music critics generally continued to define Poulenc by his light-hearted works, and it was not until the 1950s that his serious side was widely recognised. In 1936 Poulenc began giving frequent recitals with Bernac. At the École Normale in Paris they gave the premiere of Poulenc's Cinq poèmes de Paul Éluard. They continued to perform together for more than twenty years, in Paris and internationally, until Bernac's retirement in 1959. Poulenc, who composed 90 songs for his collaborator, considered him one of the "three great meetings" of his professional career, the other two being Éluard and Landowska. In Johnson's words, "for twenty-five years Bernac was Poulenc's counsellor and conscience", and the composer relied on him for advice not only on song-writing, but on his operas and choral music. Throughout the decade, Poulenc was popular with British audiences; he established a fruitful relationship with the BBC in London, which broadcast many of his works. With Bernac, he made his first tour of Britain in 1938. His music was also popular in America, seen by many as "the quintessence of French wit, elegance and high spirits". In the last years of the 1930s, Poulenc's compositions continued to vary between serious and light-hearted works. Quatre motets pour un temps de pénitence (Four Penitential Motets, 1938–39) and the song "Bleuet" (1939), an elegiac meditation on death, contrast with the song cycle Fiançailles pour rire (Light-Hearted Betrothal), which recaptures the spirit of Les biches, in the opinion of Hell. 1940s: war and post-war Poulenc was briefly a soldier again during the Second World War; he was called up on 2 June 1940 and served in an anti-aircraft unit at Bordeaux. After France surrendered to Germany, Poulenc was demobilised from the army on 18 July 1940. He spent the summer of that year with family and friends at Brive-la-Gaillarde in south-central France. In the early months of the war, he had composed little new music, instead re-orchestrating Les biches and reworking his 1932 Sextet for piano and winds. At Brive-la-Gaillarde he began three new works, and once back at his home in Noizay in October he started on a fourth. These were L'Histoire de Babar, le petit éléphant for piano and narrator, the Cello Sonata, the ballet Les Animaux modèles and the song cycle Banalités. For most of the war, Poulenc was in Paris, giving recitals with Bernac, concentrating on French songs. Under Nazi rule he was in a vulnerable position, as a known homosexual (Destouches narrowly avoided arrest and deportation), but in his music he made many gestures of defiance of the Germans. He set to music verses by poets prominent in the French Resistance, including Aragon and Éluard. In Les Animaux modèles, premiered at the Opéra in 1942, he included the tune, repeated several times, of the anti-German song "Vous n'aurez pas l'Alsace et la Lorraine". He was a founder-member of the Front National (pour musique) which the Nazi authorities viewed with suspicion for its association with banned musicians such as Milhaud and Paul Hindemith. In 1943 he wrote a cantata for unaccompanied double choir intended for Belgium, Figure humaine, setting eight of Éluard's poems. The work, ending with "Liberté", could not be given in France while the Germans were in control; its first performance was broadcast from a BBC studio in London in March 1945, and it was not sung in Paris until 1947. The music critic of The Times later wrote that the work "is among the very finest choral works of our time and in itself removes Poulenc from the category of petit maître to which ignorance has generally been content to relegate him." In January 1945, commissioned by the French government, Poulenc and Bernac flew from Paris to London, where they received an enthusiastic welcome. The London Philharmonic Orchestra gave a reception in the composer's honour; he and Benjamin Britten were the soloists in a performance of Poulenc's Double Piano Concerto at the Royal Albert Hall; with Bernac he gave recitals of French mélodies and piano works at the Wigmore Hall and the National Gallery, and recorded for the BBC. Bernac was overwhelmed by the public's response; when he and Poulenc stepped out on the Wigmore Hall stage, "the audience rose and my emotion was such that instead of beginning to sing, I began to weep." After their fortnight's stay, the two returned home on the first boat-train to leave London for Paris since May 1940. In Paris, Poulenc completed his scores for L'Histoire de Babar, le petit éléphant and his first opera, Les mamelles de Tirésias (The Breasts of Tiresias), a short opéra bouffe of about an hour's duration. The work is a setting of Apollinaire's play of the same name, staged in 1917. Sams describes the opera as "high-spirited topsy-turveydom" concealing "a deeper and sadder theme – the need to repopulate and rediscover a France ravaged by war". It was premiered in June 1947 at the Opéra-Comique, and was a critical success, but did not prove popular with the public. The leading female role was taken by Denise Duval, who became the composer's favourite soprano, frequent recital partner and dedicatee of some of his music. He called her the nightingale who made him cry ("Mon rossignol à larmes"). Shortly after the war, Poulenc had a brief affair with a woman, Fréderique ("Freddy") Lebedeff, with whom he had a daughter, Marie-Ange, in 1946. The child was brought up without knowing who her father was (Poulenc was supposedly her "godfather") but he made generous provision for her, and she was the principal beneficiary of his will. In the post-war period Poulenc crossed swords with composers of the younger generation who rejected Stravinsky's recent work and insisted that only the precepts of the Second Viennese School were valid. Poulenc defended Stravinsky and expressed incredulity that "in 1945 we are speaking as if the aesthetic of twelve tones is the only possible salvation for contemporary music". His view that Berg had taken serialism as far as it could go and that Schoenberg's music was now "desert, stone soup, ersatz music, or poetic vitamins" earned him the enmity of composers such as Pierre Boulez. Those disagreeing with Poulenc attempted to paint him as a relic of the pre-war era, frivolous and unprogressive. This led him to focus on his more serious works, and to try to persuade the French public to listen to them. In the US and Britain, with their strong choral traditions, his religious music was frequently performed, but performances in France were much rarer, so that the public and the critics were often unaware of his serious compositions. In 1948 Poulenc made his first visit to the US, in a two-month concert tour with Bernac. He returned there frequently until 1961, giving recitals with Bernac or Duval and as soloist in the world premiere of his Piano Concerto (1949), commissioned by the Boston Symphony Orchestra. 1950–63: The Carmelites and last years Poulenc began the 1950s with a new partner in his private life, Lucien Roubert, a travelling salesman. Professionally Poulenc was productive, writing a seven-song cycle setting poems by Éluard, La Fraîcheur et le feu (1950), and the Stabat Mater, in memory of the painter Christian Bérard, composed in 1950 and premiered the following year. In 1953, Poulenc was offered a commission by La Scala and the Milanese publisher Casa Ricordi for a ballet. He considered the story of St Margaret of Cortona but found a dance version of her life impracticable. He preferred to write an opera on a religious theme; Ricordi suggested Dialogues des Carmélites, an unfilmed screenplay by Georges Bernanos. The text, based on a short story by Gertrud von Le Fort, depicts the Martyrs of Compiègne, nuns guillotined during the French Revolution for their religious beliefs. Poulenc found it "such a moving and noble work", ideal for his libretto, and he began composition in August 1953. During the composition of the opera, Poulenc suffered two blows. He learned of a dispute between Bernanos's estate and the writer Emmet Lavery, who held the rights to theatrical adaptations of Le Fort's novel; this caused Poulenc to stop work on his opera. At about the same time Roubert became gravely ill. Intense worry pushed Poulenc into a nervous breakdown, and in November 1954 he was in a clinic at L'Haÿ-les-Roses, outside Paris, heavily sedated. When he recovered, and the literary rights and royalty payments disputes with Lavery were settled, he resumed work on Dialogues des Carmélites in between extensive touring with Bernac in England. As his personal wealth had declined since the 1920s he required the substantial income earned from his recitals. While working on the opera, Poulenc composed little else; exceptions were two mélodies, and a short orchestral movement, "Bucolique" in a collective work, Variations sur le nom de Marguerite Long (1954), to which his old friends from Les Six Auric and Milhaud also contributed. As Poulenc was writing the last pages of his opera in October 1955, Roubert died at the age of forty-seven. The composer wrote to a friend, "Lucien was delivered from his martyrdom ten days ago and the final copy of Les Carmélites was completed (take note) at the very moment my dear breathed his last." The opera was first given in January 1957 at La Scala in Italian translation. Between then and the French premiere Poulenc introduced one of his most popular late works, the Flute Sonata, which he and Jean-Pierre Rampal performed in June at the Strasbourg Music Festival. Three days later, on 21 June, came the Paris premiere of Dialogues des Carmélites at the Opéra. It was a tremendous success, to the composer's considerable relief. At around this time Poulenc began his last romantic relationship, with Louis Gautier, a former soldier; they remained partners to the end of Poulenc's life. In 1958 Poulenc embarked on a collaboration with his old friend Cocteau, in an operatic version of the latter's 1930 monodrama La Voix humaine. The work was produced in February 1959 at the Opéra-Comique, under Cocteau's direction, with Duval as the tragic deserted woman speaking to her former lover by telephone. In May Poulenc's 60th birthday was marked, a few months late, by his last concert with Bernac before the latter's retirement from public performance. Poulenc visited the US in 1960 and 1961. Among his works given during these trips were the American premiere of La Voix humaine at Carnegie Hall in New York, with Duval, and the world premiere of his Gloria, a large-scale work for soprano, four-part mixed chorus and orchestra, conducted in Boston by Charles Munch. In 1961 Poulenc published a book about Chabrier, a 187-page study of which a reviewer wrote in the 1980s, "he writes with love and insight of a composer whose views he shared on matters like the primacy of melody and the essential seriousness of humour." The works of Poulenc's last twelve months included Sept répons des ténèbres for voices and orchestra, the Clarinet Sonata and the Oboe Sonata. On 30 January 1963, at his flat opposite the Jardin du Luxembourg, Poulenc suffered a fatal heart attack. His funeral was at the nearby church of Saint-Sulpice. In compliance with his wishes, none of his music was performed; Marcel Dupré played works by Bach on the grand organ of the church. Poulenc was buried at Père Lachaise Cemetery, alongside his family. Music Poulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive." Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity." Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by René Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up – "la légende de facilité" – that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts." The pianist Pascal Rogé commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust – music as frankly French as Stravinsky's is Slav". Orchestral and concertante Poulenc's principal works for large orchestra comprise two ballets, a Sinfonietta and four keyboard concertos. The first of the ballets, Les biches, was first performed in 1924 and remains one of his best-known works. Nichols writes in Grove that the clear and tuneful score has no deep, or even shallow, symbolism, a fact "accentuated by a tiny passage of mock-Wagnerian brass, complete with emotive minor 9ths". The first two of the four concertos are in Poulenc's light-hearted vein. The Concert champêtre for harpsichord and orchestra (1927–28), evokes the countryside seen from a Parisian point of view: Nichols comments that the fanfares in the last movement bring to mind the bugles in the barracks of Vincennes in the Paris suburbs. The Concerto for two pianos and orchestra (1932) is similarly a work intended purely to entertain. It draws on a variety of stylistic sources: the first movement ends in a manner reminiscent of Balinese gamelan, and the slow movement begins in a Mozartian style, which Poulenc gradually fills out with his own characteristic personal touches. The Organ Concerto (1938) is in a much more serious vein. Poulenc said that it was "on the outskirts" of his religious music, and there are passages that draw on the church music of Bach, though there are also interludes in breezy popular style. The second ballet score, Les Animaux modèles (1941), has never equalled the popularity of Les biches, though both Auric and Honegger praised the composer's harmonic flair and resourceful orchestration. Honegger wrote, "The influences that have worked on him, Chabrier, Satie, Stravinsky, are now completely assimilated. Listening to his music you think – it's Poulenc." The Sinfonietta (1947) is a reversion to Poulenc's pre-war frivolity. He came to feel, "I dressed too young for my age ... [it] is a new version of Les biches but young girls [biches] that are forty-eight years old – that's horrible!" The Concerto for piano and orchestra (1949) initially caused some disappointment: many felt that it was not an advance on Poulenc's pre-war music, a view he came to share. The piece has been re-evaluated in more recent years, and in 1996 the writer Claire Delamarche rated it as the composer's finest concertante work. Piano Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career. In Henri Hell's view, Poulenc's piano writing can be divided into the percussive and the gentler style reminiscent of the harpsichord. Hell considers that the finest of Poulenc's music for piano is in the accompaniments to the songs, a view shared by Poulenc himself. The vast majority of the piano works are, in the view of the writer Keith W Daniel, "what might be called 'miniatures'". Looking back at his piano music in the 1950s, the composer viewed it critically: "I tolerate the Mouvements perpétuels, my old Suite en ut [in C], and the Trois pieces. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. I condemn Napoli and the Soirées de Nazelles without reprieve." Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959. All are brief: the longest lasts a little more than three minutes. They vary from swift and balletic to tender lyricism, old-fashioned march, perpetuum mobile, waltz and a poignant musical portrait of the singer Édith Piaf. Poulenc's favoured Intermezzo was the last of three. Numbers one and two were composed in August 1934; the A flat followed in March 1943. The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'. The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness." The eight nocturnes were composed across nearly a decade (1929–38). Whether or not Poulenc originally conceived them as an integral set, he gave the eighth the title "To serve as Coda for the Cycle" (Pour servir de Coda au Cycle). Although they share their generic title with the nocturnes of Field, Chopin and Fauré, Poulenc's do not resemble those of the earlier composers, being "night-scenes and sound-images of public and private events" rather than romantic tone poems. The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpétuels dates from 1919, the Suite in C from 1920 and the Trois pièces from 1928. All consist of short sections, the longest being the "Hymne", the second of the three 1928 pieces, which lasts about four minutes. Of the two works their composer singled out for censure, Napoli (1925) is a three-movement portrait of Italy, and Les Soirées de Nazelles is described by the composer Geoffrey Bush as "the French equivalent of Elgar's Enigma Variations" – miniature character sketches of his friends. Despite Poulenc's scorn for the work, Bush judges it ingenious and witty. Among the piano music not mentioned, favourably or harshly, by Poulenc, the best known pieces include the two Novelettes (1927–28), the set of six miniatures for children, Villageoises (1933), a piano version of the seven-movement Suite française (1935), and L'embarquement pour Cythère for two pianos (1953). Chamber In Grove, Nichols divides the chamber works into three clearly differentiated periods. The first four sonatas come from the early group, all written before Poulenc was twenty-two. They are for two clarinets (1918), piano duo (1918), clarinet and bassoon (1922) and horn, trumpet and trombone (1922). They are early examples of Poulenc's many and varied influences, with echoes of rococo divertissements alongside unconventional harmonies, some influenced by jazz. All four are characterised by their brevity – less than ten minutes each – their mischievousness and their wit, which Nichols describes as acid. Other chamber works from this period are the Rapsodie nègre, FP 3, from 1917 (mainly instrumental, with brief vocal episodes) and the Trio for oboe, bassoon and piano (1926). The chamber works of Poulenc's middle period were written in the 1930s and 1940s. The best known is the Sextet for Piano and Wind (1932), in Poulenc's light-hearted vein, consisting of two lively outer movements and a central divertimento; this was one of several chamber works that the composer became dissatisfied with and revised extensively some years after their first performance (in this case in 1939–40). The sonatas in this group are for violin and piano (1942–43) and for cello and piano (1948). Writing for strings did not come easily to Poulenc; these sonatas were completed after two unsuccessful earlier attempts, and in 1947 he destroyed the draft of a string quartet. Both sonatas are predominantly grave in character; that for violin is dedicated to the memory of Federico García Lorca. Commentators including Hell, Schmidt and Poulenc himself have regarded it, and to some extent the cello sonata, as less effective than those for wind. The Aubade, "Concerto choréographique" for piano and 18 instruments (1930) achieves an almost orchestral effect, despite its modest number of players. The other chamber works from this period are arrangements for small ensembles of two works in Poulenc's lightest vein, the Suite française (1935) and the Trois mouvements perpétuels (1946). The final three sonatas are for woodwind and piano: for flute (1956–57), clarinet (1962), and oboe (1962). They have, according to Grove, become fixtures in their repertoires because of "their technical expertise and of their profound beauty". The Élégie for horn and piano (1957) was composed in memory of the horn player Dennis Brain. It contains one of Poulenc's rare excursions into dodecaphony, with the brief employment of a twelve-note tone row. Songs Poulenc composed songs throughout his career, and his output in the genre is extensive. In Johnson's view, most of the finest were written in the 1930s and 1940s. Though widely varied in character, the songs are dominated by Poulenc's preference for certain poets. From the outset of his career he favoured verses by Guillaume Apollinaire, and from the mid-1930s the writer whose work he set most often was Paul Éluard. Other poets whose works he frequently set included Jean Cocteau, Max Jacob, and Louise de Vilmorin. In the view of the music critic Andrew Clements, the Éluard songs include many of Poulenc's greatest settings; Johnson calls the cycle Tel Jour, Telle Nuit (1937) the composer's "watershed work", and Nichols regards it as "a masterpiece worthy to stand beside Fauré's La Bonne Chanson". Clements finds in the Éluard settings a profundity "worlds away from the brittle, facetious surfaces of Poulenc's early orchestral and instrumental music". The first of the Deux poèmes de Louis Aragon (1943), titled simply "C", is described by Johnson as "a masterpiece known the world over; it is the most unusual, and perhaps the most moving, song about the ravages of war ever composed." In an overview of the songs in 1973, the musical scholar Yvonne Gouverné said, "With Poulenc, the melodic line matches the text so well that it seems in some way to complete it, thanks to the gift which the music has for penetrating the very essence of a given poem; nobody has better crafted a phrase than Poulenc, highlighting the colour of the words." Among the lighter pieces, one of the composer's most popular songs is a setting of Les Chemins de l'amour for Jean Anouilh's 1940 play as a Parisian waltz; by contrast his "monologue" "La Dame de Monte Carlo", (1961) a depiction of an elderly woman addicted to gambling, shows the composer's painful understanding of the horrors of depression. Choral Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation. Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically, comparable only with his magnum opus sacrum, the opera, Dialogues des Carmélites." Opera Poulenc turned to opera only in the latter half of his career. Having achieved fame by his early twenties, he was in his forties before attempting his first opera. He attributed this to the need for maturity before tackling the subjects he chose to set. In 1958 he told an interviewer, "When I was 24 I was able to write Les biches [but] it is obvious that unless a composer of 30 has the genius of a Mozart or the precociousness of Schubert he couldn't write The Carmelites – the problems are too profound." In Sams's view, all three of Poulenc's operas display a depth of feeling far distant from "the cynical stylist of the 1920s": Les Mamelles de Tirésias (1947), despite the riotous plot, is full of nostalgia and a sense of loss. In the two avowedly serious operas, Dialogues des Carmélites (1957) and La Voix humaine (1959), in which Poulenc depicts deep human suffering, Sams sees a reflection of the composer's own struggles with depression. In terms of musical technique the operas show how far Poulenc had come from his naïve and insecure beginnings. Nichols comments in Grove that Les mamelles de Tirésias, deploys "lyrical solos, patter duets, chorales, falsetto lines for tenor and bass babies and ... succeeds in being both funny and beautiful". In all three operas Poulenc drew on earlier composers, while blending their influence into music unmistakably his own. In the printed score of Dialogues des Carmélites he acknowledged his debt to Mussorgsky, Monteverdi, Debussy and Verdi. The critic Renaud Machart writes that Dialogues des Carmélites is, with Britten's Peter Grimes, one of the extremely rare operas written since the Second World War to appear on opera programmes all over the world. Even when he wrote for a large orchestra, Poulenc used the full forces sparingly in his operas, often scoring for woodwinds or brass or strings alone. With the invaluable input of Bernac he showed great skill in writing for the human voice, fitting the music to the tessitura of each character. By the time of the last of the operas, La Voix humaine, Poulenc felt able to give the soprano stretches of music with no orchestral accompaniment at all, though when the orchestra plays, Poulenc calls for the music to be "bathed in sensuality". Recordings Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre. A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein. Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos). Éric Le Sage (RCA) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), Éric Le Sage and various French soloists (RCA) and a variety of young French musicians (Naxos). The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English. Reputation The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music". In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation." Notes, references and sources Notes References Sources Further reading External links Francis Poulenc 1899–1963, the official website (French and English version) Poulenc material in the BBC Radio 3 archives Guide to the Lambiotte Family/Francis Poulenc archive, 1920–1994 (Woodson Research Center, Fondren Library, Rice University, Houston, TX, USA) Category:1899 births Category:1963 deaths Category:20th-century classical composers Category:20th-century French male classical pianists Category:Ballets Russes composers Category:Burials at Père Lachaise Cemetery Category:Catholic liturgical composers Category:Classical composers of church music Category:Classical piano duos Category:Composers for piano Category:French ballet composers Category:French classical composers Category:French composers of sacred music Category:French male classical composers Category:French military personnel of World War I Category:French military personnel of World War II Category:French opera composers Category:French Roman Catholics Category:Les Six Category:LGBT classical composers Category:LGBT classical musicians Category:French LGBT musicians Category:LGBT Roman Catholics Category:Male opera composers Category:Musicians from Paris Category:Neoclassical composers
[]
[ "Poulenc was involved in diatonic music, characterized by its strong melodic element. His music was known for its simple, pleasing and memorable melodies, and expressive emotions. He also utilized conventional harmony in a distinctive, individual way giving his music freshness and validity. His approach to composition was more practical and less theoretical, as he didn't ascribe to musical doctrines or rules.", "Yes, Poulenc wrote his own music, with the context mentioning his distinctive use of harmony and his strong melodic gift.", "The context does not provide the name of any specific work created by Poulenc.", "Yes, Poulenc was a composer, known for his distinctively melodic and harmonically conventional music.", "One notable aspect of Poulenc's career is his strong melodic gift. This was so distinctive that it led to his music being deemed as simple, pleasing, and easily remembered, and most often emotionally expressive. His use of conventional harmony was so individual that it made his music immediately recognizable as his own, lending it freshness and validity. Another notable fact is that his approach to composition was very practical; he disregarded musical theories and doctrines and favored a more natural approach. Despite these singular achievements, a prevailing myth suggested that his music came easily to him - a notion he refuted, emphasizing he worked painstakingly on his compositions." ]
[ "Yes", "Yes", "Yes", "No", "Yes" ]
C_8e1c215d7bb146799b8fea83a7300f1e_0
Francis Poulenc
Francis Jean Marcel Poulenc (French: [fRasis Za maRsel pulek]; 7 January 1899 - 30 January 1963) was a French composer and pianist. His compositions include melodies, solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perpetuels (1919), the ballet Les biches (1923), the Concert champetre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carmelites (1957), and the Gloria (1959) for soprano, choir and orchestra.
Piano
Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career. In Henri Hell's view, Poulenc's piano writing can be divided into the percussive and the gentler style reminiscent of the harpsichord. Hell considers that the finest of Poulenc's music for piano is in the accompaniments to the songs, a view shared by Poulenc himself. The vast majority of the piano works are, in the view of the writer Keith W Daniel, "what might be called 'miniatures'". Looking back at his piano music in the 1950s, the composer viewed it critically: "I tolerate the Mouvements perpetuels, my old Suite en ut [in C], and the Trois pieces. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. I condemn Napoli and the Soirees de Nazelles without reprieve." Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959. All are brief: the longest lasts a little more than three minutes. They vary from swift and balletic to tender lyricism, old-fashioned march, perpetuum mobile, waltz and a poignant musical portrait of the singer Edith Piaf. Poulenc's favoured Intermezzo was the last of three. Numbers one and two were composed in August 1934; the A flat followed in March 1943. The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'. The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness." The eight nocturnes were composed across nearly a decade (1929-38). Whether or not Poulenc originally conceived them as an integral set, he gave the eighth the title "To serve as Coda for the Cycle" (Pour servir de Coda au Cycle). Although they share their generic title with the nocturnes of Field, Chopin and Faure, Poulenc's do not resemble those of the earlier composers, being "night-scenes and sound-images of public and private events" rather than romantic tone poems. The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpetuels dates from 1919, the Suite in C from 1920 and the Trois pieces from 1928. All consist of short sections, the longest being the "Hymne", the second of the three 1928 pieces, which lasts about four minutes. Of the two works their composer singled out for censure, Napoli (1925) is a three-movement portrait of Italy, and Les Soirees de Nazelles is described by the composer Geoffrey Bush as "the French equivalent of Elgar's Enigma Variations" - miniature character sketches of his friends. Despite Poulenc's scorn for the work, Bush judges it ingenious and witty. Among the piano music not mentioned, favourably or harshly, by Poulenc, the best known pieces include the two Novelettes (1927-28), the set of six miniatures for children, Villageoises (1933), a piano version of the seven-movement Suite francaise (1935), and L'embarquement pour Cythere for two pianos (1953). CANNOTANSWER
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Francis Jean Marcel Poulenc (; 7 January 189930 January 1963) was a French composer and pianist. His compositions include songs, solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perpétuels (1919), the ballet Les biches (1923), the Concert champêtre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carmélites (1957), and the Gloria (1959) for soprano, choir, and orchestra. As the only son of a prosperous manufacturer, Poulenc was expected to follow his father into the family firm, and he was not allowed to enrol at a music college. He studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc also made the acquaintance of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. In his early works Poulenc became known for his high spirits and irreverence. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works. In addition to his work as a composer, Poulenc was an accomplished pianist. He was particularly celebrated for his performing partnerships with the baritone Pierre Bernac (who also advised him in vocal writing) and the soprano Denise Duval. He toured in Europe and America with both of them, and made a number of recordings as a pianist. He was among the first composers to see the importance of the gramophone, and he recorded extensively from 1928 onwards. In his later years, and for decades after his death, Poulenc had a reputation, particularly in his native country, as a humorous, lightweight composer, and his religious music was often overlooked. In the 21st century, more attention has been given to his serious works, with many new productions of Dialogues des Carmélites and La voix humaine worldwide, and numerous live and recorded performances of his songs and choral music. Life Early years Poulenc was born in the 8th arrondissement of Paris, the younger child and only son of Émile Poulenc and his wife, Jenny, née Royer. Émile Poulenc was a joint owner of Poulenc Frères, a successful manufacturer of pharmaceuticals (later Rhône-Poulenc). He was a member of a pious Roman Catholic family from Espalion in the département of Aveyron. Jenny Poulenc was from a Parisian family with wide artistic interests. In Poulenc's view, the two sides of his nature grew out of this background: a deep religious faith from his father's family and a worldly and artistic side from his mother's. The critic Claude Rostand later described Poulenc as "half monk and half naughty boy". Poulenc grew up in a musical household; his mother was a capable pianist, with a wide repertoire ranging from classical to less elevated works that gave him a lifelong taste for what he called "adorable bad music". He took piano lessons from the age of five; when he was eight he first heard the music of Debussy and was fascinated by the originality of the sound. Other composers whose works influenced his development were Schubert and Stravinsky: the former's Winterreise and the latter's The Rite of Spring made a deep impression on him. At his father's insistence, Poulenc followed a conventional school career, studying at the Lycée Condorcet in Paris rather than at a music conservatory. In 1916 a childhood friend, Raymonde Linossier (1897–1930), introduced Poulenc to Adrienne Monnier's bookshop, the Maison des Amis des Livres. There he met the avant-garde poets Guillaume Apollinaire, Max Jacob, Paul Éluard and Louis Aragon. He later set many of their poems to music. In the same year he became the pupil of pianist Ricardo Viñes. The biographer Henri Hell comments that Viñes's influence on his pupil was profound, both as to pianistic technique and the style of Poulenc's keyboard works. Poulenc later said of Viñes: He was a most delightful man, a bizarre hidalgo with enormous moustachios, a flat-brimmed sombrero in the purest Spanish style, and button boots which he used to rap my shins when I didn't change the pedalling enough. ... I admired him madly, because, at this time, in 1914, he was the only virtuoso who played Debussy and Ravel. That meeting with Viñes was paramount in my life: I owe him everything ... In reality it is to Viñes that I owe my fledgling efforts in music and everything I know about the piano. When Poulenc was sixteen his mother died; his father died two years later. Viñes became more than a teacher: he was, in the words of Myriam Chimènes in the Grove Dictionary of Music and Musicians, the young man's "spiritual mentor". He encouraged his pupil to compose, and he later gave the premieres of three early Poulenc works. Through him Poulenc became friendly with two composers who helped shape his early development: Georges Auric and Erik Satie. Auric, who was the same age as Poulenc, was an early developer musically; by the time the two met, Auric's music had already been performed at important Parisian concert venues. The two young composers shared a similar musical outlook and enthusiasms, and for the rest of Poulenc's life Auric was his most trusted friend and guide. Poulenc called him "my true brother in spirit". Satie, an eccentric figure, isolated from the mainstream French musical establishment, was a mentor to several rising young composers, including Auric, Louis Durey and Arthur Honegger. After initially dismissing Poulenc as a bourgeois amateur, he relented and admitted him to the circle of protégés, whom he called "Les Nouveaux Jeunes". Poulenc described Satie's influence on him as "immediate and wide, on both the spiritual and musical planes". Pianist Alfred Cortot commented that Poulenc's Trois mouvements perpétuels were "reflections of the ironical outlook of Satie adapted to the sensitive standards of the current intellectual circles". First compositions and Les Six Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot. In 1917 Poulenc got to know Ravel well enough to have serious discussions with him about music. He was dismayed by Ravel's judgments, which exalted composers whom Poulenc thought little of above those he greatly admired. He told Satie of this unhappy encounter; Satie replied with a dismissive epithet for Ravel who, he said, talked "a load of rubbish". For many years Poulenc was equivocal about Ravel's music, though always respecting him as a man. Ravel's modesty about his own music particularly appealed to Poulenc, who sought throughout his life to follow Ravel's example. From January 1918 to January 1921 Poulenc was a conscript in the French army in the last months of the First World War and the immediate post-war period. Between July and October 1918 he served at the Franco-German front, after which he was given a series of auxiliary posts, ending as a typist at the Ministry of Aviation. His duties allowed him time for composition; the Trois mouvements perpétuels for piano and the Sonata for Piano Duet were written at the piano of the local elementary school at Saint-Martin-sur-le-Pré, and he completed his first song cycle, Le bestiaire, setting poems by Apollinaire. The sonata did not create a deep public impression, but the song cycle made the composer's name known in France, and the Trois mouvements perpétuels rapidly became an international success. The exigencies of music-making in wartime taught Poulenc much about writing for whatever instruments were available; then, and later, some of his works were for unusual combinations of players. At this stage in his career Poulenc was conscious of his lack of academic musical training; the critic and biographer Jeremy Sams writes that it was the composer's good luck that the public mood was turning against late-romantic lushness in favour of the "freshness and insouciant charm" of his works, technically unsophisticated though they were. Four of Poulenc's early works were premiered at the Salle Huyghens in the Montparnasse area, where between 1917 and 1920 the cellist Félix Delgrange presented concerts of music by young composers. Among them were Auric, Durey, Honegger, Darius Milhaud and Germaine Tailleferre who, with Poulenc, became known collectively as "Les Six". After one of their concerts, the critic Henri Collet published an article titled, "The Five Russians, the Six Frenchmen and Satie". According to Milhaud: In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being. Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group. In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925. 1920s: increasing fame From the early 1920s Poulenc was well received abroad, particularly in Britain, both as a performer and a composer. In 1921 Ernest Newman wrote in The Manchester Guardian, "I keep my eye on Francis Poulenc, a young man who has only just arrived at his twenties. He ought to develop into a farceur of the first order." Newman said that he had rarely heard anything so deliciously absurd as parts of Poulenc's song cycle Cocardes, with its accompaniment played by the unorthodox combination of cornet, trombone, violin and percussion. In 1922 Poulenc and Milhaud travelled to Vienna to meet Alban Berg, Anton Webern and Arnold Schönberg. Neither of the French composers was influenced by their Austrian colleagues' revolutionary twelve-tone system, but they admired the three as its leading proponents. The following year Poulenc received a commission from Sergei Diaghilev for a full-length ballet score. He decided that the theme would be a modern version of the classical French fête galante. This work, Les biches, was an immediate success, first in Monte Carlo in January 1924 and then in Paris in May, under the direction of André Messager; it has remained one of Poulenc's best-known scores. Poulenc's new celebrity after the success of the ballet was the unexpected cause of his estrangement from Satie: among the new friends Poulenc made was Louis Laloy, a writer whom Satie regarded with implacable enmity. Auric, who had just enjoyed a similar triumph with a Diaghilev ballet, Les Fâcheux, was also repudiated by Satie for becoming a friend of Laloy. As the decade progressed, Poulenc produced a range of compositions, from songs to chamber music and another ballet, Aubade. Hell suggests that Koechlin's influence occasionally inhibited Poulenc's natural simple style, and that Auric offered useful guidance to help him appear in his true colours. At a concert of music by the two friends in 1926, Poulenc's songs were sung for the first time by the baritone Pierre Bernac, from whom, in Hell's phrase, "the name of Poulenc was soon to be inseparable." Another performer with whom the composer came to be closely associated was the harpsichordist Wanda Landowska. He heard her as the soloist in Falla's El retablo de maese Pedro (1923), an early example of the use of a harpsichord in a modern work, and was immediately taken with the sound. At Landowska's request he wrote a concerto, the Concert champêtre, which she premiered in 1929 with the Orchestre Symphonique de Paris conducted by Pierre Monteux. The biographer Richard D. E. Burton comments that, in the late 1920s, Poulenc might have seemed to be in an enviable position: professionally successful and independently well-off, having inherited a substantial fortune from his father. He bought a large country house, , at Noizay, Indre-et-Loire, south-west of Paris, where he retreated to compose in peaceful surroundings. Yet he was troubled, struggling to come to terms with his sexuality, which was predominantly homosexual. His first serious affair was with the painter Richard Chanlaire, to whom he sent a copy of the Concert champêtre score inscribed: Nevertheless, while this affair was in progress Poulenc proposed marriage to his friend Raymonde Linossier. As she was not only well aware of his homosexuality but was also romantically attached elsewhere, she refused him, and their relationship became strained. He suffered the first of many periods of depression, which affected his ability to compose, and he was devastated in January 1930 when Linossier died suddenly at the age of 32. On her death he wrote, "All my youth departs with her, all that part of my life that belonged only to her. I sob ... I am now twenty years older". His affair with Chanlaire petered out in 1931, though they remained lifelong friends. 1930s: new seriousness At the start of the decade, Poulenc returned to writing songs, after a two-year break from doing so. His "Epitaphe", to a poem by Malherbe, was written in memory of Linossier, and is described by the pianist Graham Johnson as "a profound song in every sense". The following year Poulenc wrote three sets of songs, to words by Apollinaire and Max Jacob, some of which were serious in tone, and others reminiscent of his earlier light-hearted style, as were others of his works of the early 1930s. In 1932 his music was among the first to be broadcast on television, in a transmission by the BBC in which Reginald Kell and Gilbert Vinter played his Sonata for clarinet and bassoon. At about this time Poulenc began a relationship with Raymond Destouches, a chauffeur; as with Chanlaire earlier, what began as a passionate affair changed into a deep and lasting friendship. Destouches, who married in the 1950s, remained close to Poulenc until the end of the composer's life. Two unrelated events in 1936 combined to inspire a reawakening of religious faith and a new depth of seriousness in Poulenc's music. His fellow composer Pierre-Octave Ferroud was killed in a car crash so violent that he was decapitated, and almost immediately afterwards, while on holiday, Poulenc visited the sanctuary of Rocamadour. He later explained: A few days earlier I'd just heard of the tragic death of my colleague ... As I meditated on the fragility of our human frame, I was drawn once more to the life of the spirit. Rocamadour had the effect of restoring me to the faith of my childhood. This sanctuary, undoubtedly the oldest in France ... had everything to captivate me ... The same evening of this visit to Rocamadour, I began my Litanies à la Vierge noire for female voices and organ. In that work I tried to get across the atmosphere of "peasant devotion" that had struck me so forcibly in that lofty chapel. Other works that followed continued the composer's new-found seriousness, including many settings of Éluard's surrealist and humanist poems. In 1937 he composed his first major liturgical work, the Mass in G major for soprano and mixed choir a cappella, which has become the most frequently performed of all his sacred works. Poulenc's new compositions were not all in this serious vein; his incidental music to the play La Reine Margot, starring Yvonne Printemps, was pastiche 16th-century dance music, and became popular under the title Suite française. Music critics generally continued to define Poulenc by his light-hearted works, and it was not until the 1950s that his serious side was widely recognised. In 1936 Poulenc began giving frequent recitals with Bernac. At the École Normale in Paris they gave the premiere of Poulenc's Cinq poèmes de Paul Éluard. They continued to perform together for more than twenty years, in Paris and internationally, until Bernac's retirement in 1959. Poulenc, who composed 90 songs for his collaborator, considered him one of the "three great meetings" of his professional career, the other two being Éluard and Landowska. In Johnson's words, "for twenty-five years Bernac was Poulenc's counsellor and conscience", and the composer relied on him for advice not only on song-writing, but on his operas and choral music. Throughout the decade, Poulenc was popular with British audiences; he established a fruitful relationship with the BBC in London, which broadcast many of his works. With Bernac, he made his first tour of Britain in 1938. His music was also popular in America, seen by many as "the quintessence of French wit, elegance and high spirits". In the last years of the 1930s, Poulenc's compositions continued to vary between serious and light-hearted works. Quatre motets pour un temps de pénitence (Four Penitential Motets, 1938–39) and the song "Bleuet" (1939), an elegiac meditation on death, contrast with the song cycle Fiançailles pour rire (Light-Hearted Betrothal), which recaptures the spirit of Les biches, in the opinion of Hell. 1940s: war and post-war Poulenc was briefly a soldier again during the Second World War; he was called up on 2 June 1940 and served in an anti-aircraft unit at Bordeaux. After France surrendered to Germany, Poulenc was demobilised from the army on 18 July 1940. He spent the summer of that year with family and friends at Brive-la-Gaillarde in south-central France. In the early months of the war, he had composed little new music, instead re-orchestrating Les biches and reworking his 1932 Sextet for piano and winds. At Brive-la-Gaillarde he began three new works, and once back at his home in Noizay in October he started on a fourth. These were L'Histoire de Babar, le petit éléphant for piano and narrator, the Cello Sonata, the ballet Les Animaux modèles and the song cycle Banalités. For most of the war, Poulenc was in Paris, giving recitals with Bernac, concentrating on French songs. Under Nazi rule he was in a vulnerable position, as a known homosexual (Destouches narrowly avoided arrest and deportation), but in his music he made many gestures of defiance of the Germans. He set to music verses by poets prominent in the French Resistance, including Aragon and Éluard. In Les Animaux modèles, premiered at the Opéra in 1942, he included the tune, repeated several times, of the anti-German song "Vous n'aurez pas l'Alsace et la Lorraine". He was a founder-member of the Front National (pour musique) which the Nazi authorities viewed with suspicion for its association with banned musicians such as Milhaud and Paul Hindemith. In 1943 he wrote a cantata for unaccompanied double choir intended for Belgium, Figure humaine, setting eight of Éluard's poems. The work, ending with "Liberté", could not be given in France while the Germans were in control; its first performance was broadcast from a BBC studio in London in March 1945, and it was not sung in Paris until 1947. The music critic of The Times later wrote that the work "is among the very finest choral works of our time and in itself removes Poulenc from the category of petit maître to which ignorance has generally been content to relegate him." In January 1945, commissioned by the French government, Poulenc and Bernac flew from Paris to London, where they received an enthusiastic welcome. The London Philharmonic Orchestra gave a reception in the composer's honour; he and Benjamin Britten were the soloists in a performance of Poulenc's Double Piano Concerto at the Royal Albert Hall; with Bernac he gave recitals of French mélodies and piano works at the Wigmore Hall and the National Gallery, and recorded for the BBC. Bernac was overwhelmed by the public's response; when he and Poulenc stepped out on the Wigmore Hall stage, "the audience rose and my emotion was such that instead of beginning to sing, I began to weep." After their fortnight's stay, the two returned home on the first boat-train to leave London for Paris since May 1940. In Paris, Poulenc completed his scores for L'Histoire de Babar, le petit éléphant and his first opera, Les mamelles de Tirésias (The Breasts of Tiresias), a short opéra bouffe of about an hour's duration. The work is a setting of Apollinaire's play of the same name, staged in 1917. Sams describes the opera as "high-spirited topsy-turveydom" concealing "a deeper and sadder theme – the need to repopulate and rediscover a France ravaged by war". It was premiered in June 1947 at the Opéra-Comique, and was a critical success, but did not prove popular with the public. The leading female role was taken by Denise Duval, who became the composer's favourite soprano, frequent recital partner and dedicatee of some of his music. He called her the nightingale who made him cry ("Mon rossignol à larmes"). Shortly after the war, Poulenc had a brief affair with a woman, Fréderique ("Freddy") Lebedeff, with whom he had a daughter, Marie-Ange, in 1946. The child was brought up without knowing who her father was (Poulenc was supposedly her "godfather") but he made generous provision for her, and she was the principal beneficiary of his will. In the post-war period Poulenc crossed swords with composers of the younger generation who rejected Stravinsky's recent work and insisted that only the precepts of the Second Viennese School were valid. Poulenc defended Stravinsky and expressed incredulity that "in 1945 we are speaking as if the aesthetic of twelve tones is the only possible salvation for contemporary music". His view that Berg had taken serialism as far as it could go and that Schoenberg's music was now "desert, stone soup, ersatz music, or poetic vitamins" earned him the enmity of composers such as Pierre Boulez. Those disagreeing with Poulenc attempted to paint him as a relic of the pre-war era, frivolous and unprogressive. This led him to focus on his more serious works, and to try to persuade the French public to listen to them. In the US and Britain, with their strong choral traditions, his religious music was frequently performed, but performances in France were much rarer, so that the public and the critics were often unaware of his serious compositions. In 1948 Poulenc made his first visit to the US, in a two-month concert tour with Bernac. He returned there frequently until 1961, giving recitals with Bernac or Duval and as soloist in the world premiere of his Piano Concerto (1949), commissioned by the Boston Symphony Orchestra. 1950–63: The Carmelites and last years Poulenc began the 1950s with a new partner in his private life, Lucien Roubert, a travelling salesman. Professionally Poulenc was productive, writing a seven-song cycle setting poems by Éluard, La Fraîcheur et le feu (1950), and the Stabat Mater, in memory of the painter Christian Bérard, composed in 1950 and premiered the following year. In 1953, Poulenc was offered a commission by La Scala and the Milanese publisher Casa Ricordi for a ballet. He considered the story of St Margaret of Cortona but found a dance version of her life impracticable. He preferred to write an opera on a religious theme; Ricordi suggested Dialogues des Carmélites, an unfilmed screenplay by Georges Bernanos. The text, based on a short story by Gertrud von Le Fort, depicts the Martyrs of Compiègne, nuns guillotined during the French Revolution for their religious beliefs. Poulenc found it "such a moving and noble work", ideal for his libretto, and he began composition in August 1953. During the composition of the opera, Poulenc suffered two blows. He learned of a dispute between Bernanos's estate and the writer Emmet Lavery, who held the rights to theatrical adaptations of Le Fort's novel; this caused Poulenc to stop work on his opera. At about the same time Roubert became gravely ill. Intense worry pushed Poulenc into a nervous breakdown, and in November 1954 he was in a clinic at L'Haÿ-les-Roses, outside Paris, heavily sedated. When he recovered, and the literary rights and royalty payments disputes with Lavery were settled, he resumed work on Dialogues des Carmélites in between extensive touring with Bernac in England. As his personal wealth had declined since the 1920s he required the substantial income earned from his recitals. While working on the opera, Poulenc composed little else; exceptions were two mélodies, and a short orchestral movement, "Bucolique" in a collective work, Variations sur le nom de Marguerite Long (1954), to which his old friends from Les Six Auric and Milhaud also contributed. As Poulenc was writing the last pages of his opera in October 1955, Roubert died at the age of forty-seven. The composer wrote to a friend, "Lucien was delivered from his martyrdom ten days ago and the final copy of Les Carmélites was completed (take note) at the very moment my dear breathed his last." The opera was first given in January 1957 at La Scala in Italian translation. Between then and the French premiere Poulenc introduced one of his most popular late works, the Flute Sonata, which he and Jean-Pierre Rampal performed in June at the Strasbourg Music Festival. Three days later, on 21 June, came the Paris premiere of Dialogues des Carmélites at the Opéra. It was a tremendous success, to the composer's considerable relief. At around this time Poulenc began his last romantic relationship, with Louis Gautier, a former soldier; they remained partners to the end of Poulenc's life. In 1958 Poulenc embarked on a collaboration with his old friend Cocteau, in an operatic version of the latter's 1930 monodrama La Voix humaine. The work was produced in February 1959 at the Opéra-Comique, under Cocteau's direction, with Duval as the tragic deserted woman speaking to her former lover by telephone. In May Poulenc's 60th birthday was marked, a few months late, by his last concert with Bernac before the latter's retirement from public performance. Poulenc visited the US in 1960 and 1961. Among his works given during these trips were the American premiere of La Voix humaine at Carnegie Hall in New York, with Duval, and the world premiere of his Gloria, a large-scale work for soprano, four-part mixed chorus and orchestra, conducted in Boston by Charles Munch. In 1961 Poulenc published a book about Chabrier, a 187-page study of which a reviewer wrote in the 1980s, "he writes with love and insight of a composer whose views he shared on matters like the primacy of melody and the essential seriousness of humour." The works of Poulenc's last twelve months included Sept répons des ténèbres for voices and orchestra, the Clarinet Sonata and the Oboe Sonata. On 30 January 1963, at his flat opposite the Jardin du Luxembourg, Poulenc suffered a fatal heart attack. His funeral was at the nearby church of Saint-Sulpice. In compliance with his wishes, none of his music was performed; Marcel Dupré played works by Bach on the grand organ of the church. Poulenc was buried at Père Lachaise Cemetery, alongside his family. Music Poulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive." Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity." Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by René Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up – "la légende de facilité" – that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts." The pianist Pascal Rogé commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is." Poulenc recognised the dichotomy, but in all his works he wanted music that was "healthy, clear and robust – music as frankly French as Stravinsky's is Slav". Orchestral and concertante Poulenc's principal works for large orchestra comprise two ballets, a Sinfonietta and four keyboard concertos. The first of the ballets, Les biches, was first performed in 1924 and remains one of his best-known works. Nichols writes in Grove that the clear and tuneful score has no deep, or even shallow, symbolism, a fact "accentuated by a tiny passage of mock-Wagnerian brass, complete with emotive minor 9ths". The first two of the four concertos are in Poulenc's light-hearted vein. The Concert champêtre for harpsichord and orchestra (1927–28), evokes the countryside seen from a Parisian point of view: Nichols comments that the fanfares in the last movement bring to mind the bugles in the barracks of Vincennes in the Paris suburbs. The Concerto for two pianos and orchestra (1932) is similarly a work intended purely to entertain. It draws on a variety of stylistic sources: the first movement ends in a manner reminiscent of Balinese gamelan, and the slow movement begins in a Mozartian style, which Poulenc gradually fills out with his own characteristic personal touches. The Organ Concerto (1938) is in a much more serious vein. Poulenc said that it was "on the outskirts" of his religious music, and there are passages that draw on the church music of Bach, though there are also interludes in breezy popular style. The second ballet score, Les Animaux modèles (1941), has never equalled the popularity of Les biches, though both Auric and Honegger praised the composer's harmonic flair and resourceful orchestration. Honegger wrote, "The influences that have worked on him, Chabrier, Satie, Stravinsky, are now completely assimilated. Listening to his music you think – it's Poulenc." The Sinfonietta (1947) is a reversion to Poulenc's pre-war frivolity. He came to feel, "I dressed too young for my age ... [it] is a new version of Les biches but young girls [biches] that are forty-eight years old – that's horrible!" The Concerto for piano and orchestra (1949) initially caused some disappointment: many felt that it was not an advance on Poulenc's pre-war music, a view he came to share. The piece has been re-evaluated in more recent years, and in 1996 the writer Claire Delamarche rated it as the composer's finest concertante work. Piano Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career. In Henri Hell's view, Poulenc's piano writing can be divided into the percussive and the gentler style reminiscent of the harpsichord. Hell considers that the finest of Poulenc's music for piano is in the accompaniments to the songs, a view shared by Poulenc himself. The vast majority of the piano works are, in the view of the writer Keith W Daniel, "what might be called 'miniatures'". Looking back at his piano music in the 1950s, the composer viewed it critically: "I tolerate the Mouvements perpétuels, my old Suite en ut [in C], and the Trois pieces. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. I condemn Napoli and the Soirées de Nazelles without reprieve." Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between 1932 and 1959. All are brief: the longest lasts a little more than three minutes. They vary from swift and balletic to tender lyricism, old-fashioned march, perpetuum mobile, waltz and a poignant musical portrait of the singer Édith Piaf. Poulenc's favoured Intermezzo was the last of three. Numbers one and two were composed in August 1934; the A flat followed in March 1943. The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'. The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness." The eight nocturnes were composed across nearly a decade (1929–38). Whether or not Poulenc originally conceived them as an integral set, he gave the eighth the title "To serve as Coda for the Cycle" (Pour servir de Coda au Cycle). Although they share their generic title with the nocturnes of Field, Chopin and Fauré, Poulenc's do not resemble those of the earlier composers, being "night-scenes and sound-images of public and private events" rather than romantic tone poems. The pieces Poulenc found merely tolerable were all early works: Trois mouvements perpétuels dates from 1919, the Suite in C from 1920 and the Trois pièces from 1928. All consist of short sections, the longest being the "Hymne", the second of the three 1928 pieces, which lasts about four minutes. Of the two works their composer singled out for censure, Napoli (1925) is a three-movement portrait of Italy, and Les Soirées de Nazelles is described by the composer Geoffrey Bush as "the French equivalent of Elgar's Enigma Variations" – miniature character sketches of his friends. Despite Poulenc's scorn for the work, Bush judges it ingenious and witty. Among the piano music not mentioned, favourably or harshly, by Poulenc, the best known pieces include the two Novelettes (1927–28), the set of six miniatures for children, Villageoises (1933), a piano version of the seven-movement Suite française (1935), and L'embarquement pour Cythère for two pianos (1953). Chamber In Grove, Nichols divides the chamber works into three clearly differentiated periods. The first four sonatas come from the early group, all written before Poulenc was twenty-two. They are for two clarinets (1918), piano duo (1918), clarinet and bassoon (1922) and horn, trumpet and trombone (1922). They are early examples of Poulenc's many and varied influences, with echoes of rococo divertissements alongside unconventional harmonies, some influenced by jazz. All four are characterised by their brevity – less than ten minutes each – their mischievousness and their wit, which Nichols describes as acid. Other chamber works from this period are the Rapsodie nègre, FP 3, from 1917 (mainly instrumental, with brief vocal episodes) and the Trio for oboe, bassoon and piano (1926). The chamber works of Poulenc's middle period were written in the 1930s and 1940s. The best known is the Sextet for Piano and Wind (1932), in Poulenc's light-hearted vein, consisting of two lively outer movements and a central divertimento; this was one of several chamber works that the composer became dissatisfied with and revised extensively some years after their first performance (in this case in 1939–40). The sonatas in this group are for violin and piano (1942–43) and for cello and piano (1948). Writing for strings did not come easily to Poulenc; these sonatas were completed after two unsuccessful earlier attempts, and in 1947 he destroyed the draft of a string quartet. Both sonatas are predominantly grave in character; that for violin is dedicated to the memory of Federico García Lorca. Commentators including Hell, Schmidt and Poulenc himself have regarded it, and to some extent the cello sonata, as less effective than those for wind. The Aubade, "Concerto choréographique" for piano and 18 instruments (1930) achieves an almost orchestral effect, despite its modest number of players. The other chamber works from this period are arrangements for small ensembles of two works in Poulenc's lightest vein, the Suite française (1935) and the Trois mouvements perpétuels (1946). The final three sonatas are for woodwind and piano: for flute (1956–57), clarinet (1962), and oboe (1962). They have, according to Grove, become fixtures in their repertoires because of "their technical expertise and of their profound beauty". The Élégie for horn and piano (1957) was composed in memory of the horn player Dennis Brain. It contains one of Poulenc's rare excursions into dodecaphony, with the brief employment of a twelve-note tone row. Songs Poulenc composed songs throughout his career, and his output in the genre is extensive. In Johnson's view, most of the finest were written in the 1930s and 1940s. Though widely varied in character, the songs are dominated by Poulenc's preference for certain poets. From the outset of his career he favoured verses by Guillaume Apollinaire, and from the mid-1930s the writer whose work he set most often was Paul Éluard. Other poets whose works he frequently set included Jean Cocteau, Max Jacob, and Louise de Vilmorin. In the view of the music critic Andrew Clements, the Éluard songs include many of Poulenc's greatest settings; Johnson calls the cycle Tel Jour, Telle Nuit (1937) the composer's "watershed work", and Nichols regards it as "a masterpiece worthy to stand beside Fauré's La Bonne Chanson". Clements finds in the Éluard settings a profundity "worlds away from the brittle, facetious surfaces of Poulenc's early orchestral and instrumental music". The first of the Deux poèmes de Louis Aragon (1943), titled simply "C", is described by Johnson as "a masterpiece known the world over; it is the most unusual, and perhaps the most moving, song about the ravages of war ever composed." In an overview of the songs in 1973, the musical scholar Yvonne Gouverné said, "With Poulenc, the melodic line matches the text so well that it seems in some way to complete it, thanks to the gift which the music has for penetrating the very essence of a given poem; nobody has better crafted a phrase than Poulenc, highlighting the colour of the words." Among the lighter pieces, one of the composer's most popular songs is a setting of Les Chemins de l'amour for Jean Anouilh's 1940 play as a Parisian waltz; by contrast his "monologue" "La Dame de Monte Carlo", (1961) a depiction of an elderly woman addicted to gambling, shows the composer's painful understanding of the horrors of depression. Choral Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation. Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically, comparable only with his magnum opus sacrum, the opera, Dialogues des Carmélites." Opera Poulenc turned to opera only in the latter half of his career. Having achieved fame by his early twenties, he was in his forties before attempting his first opera. He attributed this to the need for maturity before tackling the subjects he chose to set. In 1958 he told an interviewer, "When I was 24 I was able to write Les biches [but] it is obvious that unless a composer of 30 has the genius of a Mozart or the precociousness of Schubert he couldn't write The Carmelites – the problems are too profound." In Sams's view, all three of Poulenc's operas display a depth of feeling far distant from "the cynical stylist of the 1920s": Les Mamelles de Tirésias (1947), despite the riotous plot, is full of nostalgia and a sense of loss. In the two avowedly serious operas, Dialogues des Carmélites (1957) and La Voix humaine (1959), in which Poulenc depicts deep human suffering, Sams sees a reflection of the composer's own struggles with depression. In terms of musical technique the operas show how far Poulenc had come from his naïve and insecure beginnings. Nichols comments in Grove that Les mamelles de Tirésias, deploys "lyrical solos, patter duets, chorales, falsetto lines for tenor and bass babies and ... succeeds in being both funny and beautiful". In all three operas Poulenc drew on earlier composers, while blending their influence into music unmistakably his own. In the printed score of Dialogues des Carmélites he acknowledged his debt to Mussorgsky, Monteverdi, Debussy and Verdi. The critic Renaud Machart writes that Dialogues des Carmélites is, with Britten's Peter Grimes, one of the extremely rare operas written since the Second World War to appear on opera programmes all over the world. Even when he wrote for a large orchestra, Poulenc used the full forces sparingly in his operas, often scoring for woodwinds or brass or strings alone. With the invaluable input of Bernac he showed great skill in writing for the human voice, fitting the music to the tessitura of each character. By the time of the last of the operas, La Voix humaine, Poulenc felt able to give the soprano stretches of music with no orchestral accompaniment at all, though when the orchestra plays, Poulenc calls for the music to be "bathed in sensuality". Recordings Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre. A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein. Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos). Éric Le Sage (RCA) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), Éric Le Sage and various French soloists (RCA) and a variety of young French musicians (Naxos). The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English. Reputation The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music". In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation." Notes, references and sources Notes References Sources Further reading External links Francis Poulenc 1899–1963, the official website (French and English version) Poulenc material in the BBC Radio 3 archives Guide to the Lambiotte Family/Francis Poulenc archive, 1920–1994 (Woodson Research Center, Fondren Library, Rice University, Houston, TX, USA) Category:1899 births Category:1963 deaths Category:20th-century classical composers Category:20th-century French male classical pianists Category:Ballets Russes composers Category:Burials at Père Lachaise Cemetery Category:Catholic liturgical composers Category:Classical composers of church music Category:Classical piano duos Category:Composers for piano Category:French ballet composers Category:French classical composers Category:French composers of sacred music Category:French male classical composers Category:French military personnel of World War I Category:French military personnel of World War II Category:French opera composers Category:French Roman Catholics Category:Les Six Category:LGBT classical composers Category:LGBT classical musicians Category:French LGBT musicians Category:LGBT Roman Catholics Category:Male opera composers Category:Musicians from Paris Category:Neoclassical composers
[]
[ "Poulenc played the piano.", "The text does not provide information on when Poulenc started playing the piano.", "Yes, Poulenc was a highly accomplished pianist and composed many pieces for the instrument throughout his career, indicating that he was a famous composer.", "Poulenc composed a range of piano music. His works included pieces like miniatures, nocturnes, the Suite in C, Improvisations, and movements like Mouvements perpetuels. His musical genre ranged from swift and balletic to tender lyricism, old-fashioned march, perpetuum mobile, waltz and musical portraits. His nocturnes were \"night-scenes and sound-images of public and private events\" rather than romantic tone poems.", "Poulenc wrote a number of compositions throughout his career, including the Mouvements perpetuels, Suite en ut (Suite in C), Trois pieces, two collections of Improvisations, an Intermezzo in A flat, Nocturnes, Napoli, Soirees de Nazelles, Novelettes, Villageoises, a piano version of the seven-movement Suite francaise, L'embarquement pour Cythere for two pianos, among others. His fifteen Improvisations were composed at intervals between 1932 and 1959 and his eight nocturnes were composed across nearly a decade from 1929 to 1938." ]
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C_3ec948f8130247c1bf56a8c9372f27b7_0
Talking Heads
Talking Heads were an American rock band formed in 1975 in New York City and active until 1991. The band comprised David Byrne (lead vocals, guitar), Chris Frantz (drums), Tina Weymouth (bass), and Jerry Harrison (keyboards, guitar). Described by critic Stephen Thomas Erlewine as "one of the most critically acclaimed bands of the '80s", the group helped to pioneer new wave music by integrating elements of punk, art rock, funk, and world music with avant-garde sensibilities and an anxious, clean-cut image. Former art school students, who became involved in the 1970s New York punk scene, Talking Heads released their debut
1978-1980: Collaborations with Eno
1978's More Songs About Buildings and Food brought about the band's long-term collaboration with producer Brian Eno, who had previously worked with Roxy Music, David Bowie, John Cale and Robert Fripp; the title of Eno's 1977 song "King's Lead Hat" is an anagram of the band's name. Eno's unusual style meshed well with the group's artistic sensibilities, and they began to explore an increasingly diverse range of musical directions, from post-punk to psychedelic funk to African music. This recording also established the band's long-term recording studio relationship with the famous Compass Point Studios in Nassau, Bahamas. More Songs... cover of Al Green's "Take Me to the River" broke Talking Heads into general public consciousness and gave the band their first Billboard Top 30 hit. The Eno-Talking Heads experimentation continued with 1979's Fear of Music, which flirted with the darker stylings of post-punk rock, mixed with white funkadelia and subliminal references to the geopolitical instability of the late 1970s. Music journalist Simon Reynolds cited Fear of Music as representing the Eno-Talking Heads collaboration "at its most mutually fruitful and equitable". The single "Life During Wartime" produced the catchphrase "This ain't no party, this ain't no disco." The song refers to the Mudd Club and CBGB, two popular New York nightclubs of the time. 1980's Remain in Light was heavily influenced by the afrobeat of Nigerian bandleader Fela Kuti, whose music Eno had introduced to the band. It explored West African polyrhythms, weaving these together with Arabic music from North Africa, disco funk, and "found" voices. These combinations foreshadowed Byrne's later interest in world music. In order to perform these more complex arrangements, the band toured with an expanded group that included Adrian Belew and Bernie Worrell, among others, first at the Heatwave festival in August, and later in their concert film Stop Making Sense. During this period, Tina Weymouth and Chris Frantz also formed a commercially successful splinter group, Tom Tom Club, influenced by the foundational elements of hip hop, and Harrison released his first solo album, The Red and the Black. Likewise, Byrne--in collaboration with Eno--released My Life in the Bush of Ghosts, which incorporated world music and found sounds, as well as including a number of other prominent international and post-punk musicians. All were released by Sire. Remain in Light's lead single, "Once in a Lifetime", became a Top 20 hit in the UK, but initially failed to make an impression upon its release in the band's own country. But it grew into a popular standard over the next few years on the strength of its music video, which was named one of Time magazine's All-TIME Best Music Videos. CANNOTANSWER
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Talking Heads were an American rock band that formed in 1975 in New York City. The band was composed of David Byrne (lead vocals, guitar), Chris Frantz (drums), Tina Weymouth (bass) and Jerry Harrison (keyboards, guitar). Described as "one of the most critically acclaimed bands of the '80s", Talking Heads helped to pioneer new wave music by combining elements of punk, art rock, funk, and world music with an anxious, clean-cut image. Byrne, Frantz and Weymouth met as freshman students at the Rhode Island School of Design. They moved to New York City in 1975, joined the New York punk scene, recruited Harrison, and changed their name to Talking Heads. Their debut album, Talking Heads: 77, was released in 1977 to positive reviews. They collaborated with the British producer Brian Eno on the acclaimed albums More Songs About Buildings and Food (1978), Fear of Music (1979), and Remain in Light (1980), which blended their art school sensibilities with influence from artists such as Parliament-Funkadelic and Fela Kuti. From the early 1980s, they included additional musicians in their recording sessions and shows, including guitarist Adrian Belew, keyboardist Bernie Worrell, singer Nona Hendryx, and bassist Busta Jones. After a hiatus, Talking Heads reached their commercial peak in 1983 with the U.S. Top 10 hit "Burning Down the House" from the album Speaking in Tongues. In 1984, they released the concert film Stop Making Sense, directed by Jonathan Demme. For these performances, they were joined by Worrell, the guitarist Alex Weir, the percussionist Steve Scales and the singers Lynn Mabry and Ednah Holt. In 1985, Talking Heads released their best-selling album, Little Creatures. They produced a soundtrack album for Byrne's film True Stories (1986), and released their final album, worldbeat-influenced Naked (1988), before disbanding in 1991. Without Byrne, the other band members performed under the name Shrunken Heads, and released an album, No Talking, Just Head, as the Heads in 1996. In 2002, Talking Heads were inducted into the Rock and Roll Hall of Fame. Four of their albums appeared in Rolling Stones list of the 500 Greatest Albums of All Time in 2003, and three of their songs ("Psycho Killer", "Life During Wartime", and "Once in a Lifetime") were included among the Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll. Talking Heads were also number 64 on VH1's list of the "100 Greatest Artists of All Time". In the 2011 update of Rolling Stones "100 Greatest Artists of All Time", they were ranked number 100. History 1973-1977: Early years In 1973, Rhode Island School of Design students David Byrne (guitar and vocals) and Chris Frantz (drums) formed a band, the Artistics. Fellow student Tina Weymouth, Frantz's girlfriend, often provided transportation. The Artistics dissolved the following year, and the three moved to New York City, eventually sharing a communal loft. After they were unable to find a bassist, Weymouth took up the role. Frantz encouraged Weymouth to learn to play bass by listening to Suzi Quatro albums. Byrne asked Weymouth to audition three times before she joined the band. The band played their first gig as Talking Heads, opening for the Ramones at CBGB on June 5, 1975. According to Weymouth, the name Talking Heads came from an issue of TV Guide, which "explained the term used by TV studios to describe a head-and-shoulder shot of a person talking as 'all content, no action'. It fit." Later that year, the band recorded a series of demos for CBS, but did not receive a record contract. However, they drew a following and signed to Sire Records in November 1976. They released their first single in February the following year, "Love → Building on Fire". In March 1977, they added Jerry Harrison, formerly of Jonathan Richman's band the Modern Lovers, on keyboards, guitar, and backing vocals. The first Talking Heads album, Talking Heads: 77, received acclaim and produced their first charting single, "Psycho Killer". Many connected the song to the serial killer known as the Son of Sam, who had been terrorizing New York City months earlier; however, Byrne said he had written the song years prior. Weymouth and Frantz married in 1977. 1978–1980: Collaborations with Brian Eno More Songs About Buildings and Food (1978) was Talking Heads' first collaboration with the producer Brian Eno, who had previously worked with Roxy Music, David Bowie, John Cale and Robert Fripp; the title of Eno's 1977 song "King's Lead Hat" is an anagram of the band's name. Eno's unusual style meshed with the group's artistic sensibilities, and they began to explore an increasingly diverse range of musical directions, from post-punk to psychedelic funk to African music, influenced prominently by Fela Kuti and Parliament-Funkadelic. This recording also established the band's relationship with Compass Point Studios in Nassau, Bahamas. More Songs About Buildings and Food included a cover of Al Green's "Take Me to the River". This took Talking Heads into the public consciousness and gave them their first Billboard Top 30 hit. The collaboration continued with Fear of Music (1979), with the darker stylings of post-punk rock, mixed with white funkadelia and subliminal references to the geopolitical instability of the late 1970s. Music journalist Simon Reynolds cited Fear of Music as representing the Eno-Talking Heads collaboration "at its most mutually fruitful and equitable". The single "Life During Wartime" produced the catchphrase "This ain't no party, this ain't no disco". The song refers to the Mudd Club and CBGB, two popular New York nightclubs of the time. Remain in Light (1980) was heavily influenced by the afrobeat of the Nigerian bandleader Fela Kuti, whose music Eno had introduced to the band. It explored West African polyrhythms, weaving these together with Arabic music from North Africa, disco funk, and "found" voices. These combinations foreshadowed Byrne's later interest in world music. In order to perform these more complex arrangements, the band toured with an expanded group, including Adrian Belew and Bernie Worrell, among others, first at the Heatwave festival in August, and later in their concert film Stop Making Sense. During this period, Weymouth and Frantz formed a commercially successful splinter group, Tom Tom Club, influenced by the foundational elements of hip hop, and Harrison released his first solo album, The Red and the Black. Byrne and Eno released My Life in the Bush of Ghosts, which incorporated world music, found sounds and a number of other prominent international and post-punk musicians. Remain in Lights lead single, "Once in a Lifetime", became a Top 20 hit in the UK, but initially failed to make an impression in the USA. It grew into a popular standard over the next few years on the strength of its music video, which Time named one of the greatest of all time. 1981–1991: Commercial peak and breakup After releasing four albums in barely four years, the group went into hiatus, and nearly three years passed before their next release, although Frantz and Weymouth continued to record with the Tom Tom Club. In the meantime, Talking Heads released a live album The Name of This Band Is Talking Heads, toured the United States and Europe as an eight-piece group, and parted ways with Eno, who went on to produce albums with U2. 1983 saw the release of Speaking in Tongues, a commercial breakthrough that produced the band's only American Top 10 hit, "Burning Down the House". Once again, a striking video was inescapable owing to its heavy rotation on MTV. The following tour was documented in Jonathan Demme's Stop Making Sense, which generated another live album of the same name. The tour in support of Speaking in Tongues was their last. Three more albums followed: 1985's Little Creatures (which featured the hit singles "And She Was" and "Road to Nowhere"), 1986's True Stories (Talking Heads covering all the soundtrack songs of Byrne's musical comedy film, in which the band also appeared), and 1988's Naked. Little Creatures offered a much more American pop-rock sound as opposed to previous efforts. Similar in genre, True Stories hatched one of the group's most successful hits, "Wild Wild Life", and the accordion-driven track "Radio Head". Naked explored politics, sex, and death, and showed heavy African influence with polyrhythmic styles like those seen on Remain in Light. During that time, the group was falling increasingly under David Byrne's control and, after Naked, the band went on "hiatus". In 1987 Talking Heads released a book by David Byrne called What the Songs Look Like: Contemporary Artists Interpret Talking Heads Songs with HarperCollins that contained artwork by some of the top New York visual artists of the decade. In December 1991, Talking Heads announced that they had disbanded. Frantz said that he learned that Byrne had left from an article in the Los Angeles Times, and said: "As far as we're concerned, the band never really broke up. David just decided to leave." Their final release was "Sax and Violins", an original song that had appeared earlier that year on the soundtrack to Wim Wenders' Until the End of the World. Byrne continued his solo career, releasing Rei Momo in 1989 and The Forest in 1991. This period also saw a revived flourish from both Tom Tom Club (Boom Boom Chi Boom Boom and Dark Sneak Love Action) and Harrison (Casual Gods and Walk on Water), who toured together in 1990. 1992–2002: Post-breakup and final reunion Weymouth, Frantz, and Harrison toured without Byrne as Shrunken Heads in the early 90s. In 1996, they released an album, No Talking, Just Head, under the name the Heads. The album featured a number of vocalists, including Gavin Friday of The Virgin Prunes, Debbie Harry of Blondie, Johnette Napolitano of Concrete Blonde, Andy Partridge of XTC, Gordon Gano of Violent Femmes, Michael Hutchence of INXS, Ed Kowalczyk of Live, Shaun Ryder of Happy Mondays, Richard Hell, and Maria McKee. It was accompanied by a tour with Napolitano as the vocalist. Byrne took legal action to prevent the band using the name The Heads, which he saw as "a pretty obvious attempt to cash in on the Talking Heads name". The band briefly reunited in 1999 to promote the 15th anniversary re-release of Stop Making Sense, but did not perform together. Harrison produced records including the Violent Femmes' The Blind Leading the Naked, the Fine Young Cannibals' The Raw and the Cooked, General Public's Rub It Better, Crash Test Dummies' God Shuffled His Feet, Live's Mental Jewelry, Throwing Copper and The Distance to Here, No Doubt's song "New" from Return of Saturn. Frantz and Weymouth have produced several artists, including Happy Mondays and Ziggy Marley. The Tom Tom Club continue to record and tour intermittently. Talking Heads reunited to play "Life During Wartime", "Psycho Killer", and "Burning Down the House" on March 18, 2002, at the ceremony of their induction into the Rock and Roll Hall of Fame, joined on stage by former touring members Bernie Worrell and Steve Scales. Byrne said further work together was unlikely, due to "bad blood" and being musically "miles apart". Weymouth has been critical of Byrne, describing him as "a man incapable of returning friendship" and saying that he doesn't "love" her, Frantz, and Harrison. Influence AllMusic stated that Talking Heads, one of the most celebrated bands of the 1970s and 1980s, by the time of their breakup "had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop". Talking Heads' art pop innovations have had a long-lasting impact. Along with other groups such as Devo, Ramones, and Blondie, they helped define the new wave genre in the United States. Meanwhile, their more cosmopolitan hits like 1980's Remain in Light helped bring African rock to the western world. Their 1984 concert film Stop Making Sense, directed by Jonathan Demme, is considered one of the best concert films ever released. Talking Heads have been cited as an influence by many artists, including Eddie Vedder,LCD Soundsystem, Foals, the Weeknd, Vampire Weekend, Primus, Bell X1, the 1975, the Ting Tings, Nelly Furtado, Kesha, St. Vincent, Danny Brown, Trent Reznor and Franz Ferdinand. Radiohead took their name from the 1986 Talking Heads song "Radio Head", and cited Remain in Light as a critical influence on their 2000 album Kid A. The Italian filmmaker and director Paolo Sorrentino, receiving the Oscar for his film La Grande Bellezza in 2014, thanked Talking Heads, among others, as his sources of inspiration. Members David Byrne – lead vocals, guitar (1975–1991, 2002) Chris Frantz – drums, percussion, backing vocals (1975–1991, 2002) Tina Weymouth – bass, backing vocals (1975–1991, 2002) Jerry Harrison – keyboards, guitar, backing vocals (1977–1991, 2002) Additional musicians Adrian Belew – lead guitar, vocals (1980–1981) Alex Weir – guitar, vocals (1982–1984) Bernie Worrell – keyboards, backing vocals (1980–1984, 2002; died 2016) Raymond Jones – keyboards (1982) Busta Jones – bass (1980–1981; died 1995) Steve Scales – percussion, backing vocals (1980–1984, 2002) Dolette McDonald – vocals, cowbell (1980–1982) Nona Hendryx – vocals (1980, 1982) Ednah Holt – vocals (1983) Lynn Mabry – vocals (1983–1984) Stephanie Spruill - vocals (1984) Timeline Discography Talking Heads: 77 (1977) More Songs About Buildings and Food (1978) Fear of Music (1979) Remain in Light (1980) Speaking in Tongues (1983) Little Creatures (1985) True Stories (1986) Naked (1988) See also List of dance-rock artists List of funk rock bands List of new wave artists and bands List of post-punk bands References Further reading Krista Reese, The Name of This Book is Talking Heads (London: Proteus Books, 1982). . Sytze Steenstra, Song and Circumstance: The Work of David Byrne from Talking Heads to the Present (New York and London: Continuum Books, 2010). . Talking Heads and Frank Olinsky, What the Songs Look Like: Contemporary Artists Interpret Talking Heads Songs (New York: Harper & Row, 1987). . External links Entry at 45cat.com Category:American new wave musical groups Category:American post-punk music groups Category:Art pop groups Category:American art rock groups Category:Dance-rock musical groups Category:Funk rock musical groups Category:Musical groups disestablished in 1991 Category:Musical groups established in 1975 Category:Musical groups from New York City Category:Musical quartets Category:Punk rock groups from New York (state) Category:Sire Records artists Category:Philips Records artists Category:EMI Records artists Category:Grammy Lifetime Achievement Award winners Category:1975 establishments in New York City
[ { "text": "The following list includes notable dance-rock artists.\n\nArtists\n\n!!!\nABC\nAnd Then There Were None\nThe B-52's\nBelouis Some\nBig Audio Dynamite\nThe Big Pink\nBodyRockers\nA Certain Ratio\nThe Charlatans\nDepeche Mode\nDevo\nDuran Duran\nElectronic\nEMF\nEurythmics\nThe Farm\nFine Young Cannibals\nFrankie Goes to Hollywood\nFranz Ferdinand\nFriendly Fires\nGang of Four\nGarbage\nHall & Oates\nHappy Mondays\nHot Chelle Rae\nHot Chip\nBilly Idol\nINXS\nMick Jagger\nJesus Jones\nThe Killers\nLCD Soundsystem\nLiquid Liquid\nThe New Cities\nNew Order\nNo Doubt\nOingo Boingo\nRobert Palmer\nPet Shop Boys\nPrimal Scream\nThe Prodigy\nPseudo Echo\nPublic Image Ltd\nRogue Traders\nScissor Sisters\nThe Shamen\nSimple Minds\nThe Stone Roses\nTalking Heads\nTom Tom Club\nU2\nWalk the Moon\nWas (Not Was)\nThe White Tie Affair\nRobbie Williams\n\nReferences\n\n \nDance-rock\nDance-rock", "title": "List of dance-rock artists" }, { "text": "The following is a list of post-punk bands. Post-punk is a musical movement that began at the end of the 1970s, following on the heels of the initial punk rock movement. The essential period that is most commonly cited as post-punk falls between 1978 and 1984.\n\nNote: ≠ indicates a member of the Rock and Roll Hall of Fame\n\n0–9\n23 Skidoo\n\nA\n\nAdam and the Ants\nThe Alarm\n...And the Native Hipsters\nThe Art Attacks\nArtery\nAssociates\nAu Pairs\nAztec Camera\n\nB\n\nThe B-52's\nThe Batfish Boys\nBauhaus\nBhopal Stiffs\nBig Black\nThe Birthday Party\nThe Blackouts\nBlam Blam Blam\nBlue Orchids\nBlyth Power\nBuerak\nBush Tetras\n\nC\n\nCabaret Voltaire\nCapital Inicial\nCardiacs\nA Certain Ratio\nThe Chameleons\nJames Chance and the Contortions\nThe Chills\nCircus Mort\n≠The Clash \nThe Clean\nClock DVA\nCocteau Twins\nThe Comsat Angels\nThe Cult\n≠The Cure\n\nD\n\nDA!\nDalek I Love You\nDamien Done\nDead Can Dance\nThe Deep Freeze Mice\nThe Del-Byzanteens\nDelta 5\n≠Depeche Mode\nDesperate Bicycles\nDeutsch Amerikanische Freundschaft (D.A.F.)\nDevo\nDinosaur Jr.\nDo-Re-Mi\nThe Dream Syndicate\nThe Durutti Column\n\nE\n\nEcho & the Bunnymen\nESG\nEssential Logic\nEurogliders\nThe Ex\nEyeless in Gaza\n\nF\n\nFactrix\nFaith No More (as Faith No Man)\nThe Fall\nFamily Fodder\nThe Feelies\nFelt\nThe Fire Engines\nFlipper\nThe Flying Lizards\nFor Against\nFra Lippo Lippi (early work)\n\nG\n\nGang of Four\nGene Loves Jezebel\nGirls at Our Best!\nGlaxo Babies\nGreen River\nThe Gun Club\n\nH\n\nHalf Man Half Biscuit\nHeaven 17\nThe Higsons\nThe Human League\nHüsker Dü\n\nI\n\nI'm So Hollow\nIn Camera\n\nJ\n\nThe Jam\nJapan\nThe Jesus Lizard\nThe Jesus and Mary Chain\nJosef K\nJoy Division\n\nK\n\nKilling Joke\nKino\n\nL\n\nLaughing Clowns\nLiLiPUT\nThe Lords of the New Church\nLove and Rockets\nLowlife\nLudus\n\nM\n\nMolchat Doma\nMagazine\nMaximum Joy\nMeat Puppets\nThe Mekons\nMelvins\nThe Membranes\nThe Method Actors\nMidnight Oil (early work)\nMinimal Compact\nMinny Pops\nMission of Burma\nMo-dettes\nModels\nModern English\nModern Eon\nThe Monochrome Set\n\nN\n\nNaked Raygun\nThe Names\nNew Model Army\nNew Order\nNick Cave and the Bad Seeds\nThe Nightingales\n\nO\n\nThe Opposition\nOrange Juice\n\nP\n\nPalais Schaumburg\nThe Passage\nThe Passions\nPel Mel\nPere Ubu\nPhantom Tollbooth\nPigbag\nPink Military\nPloho\nThe Pogues\n≠The Police\nThe Pop Group\nPrimitive Calculators\nThe Proclaimers\nThe Psychedelic Furs\nPublic Image Ltd\nPylon\n\nR\n\nThe Raincoats\nRank and File\nRed Lorry Yellow Lorry\nRema-Rema\n≠R.E.M.\nThe Residents\nRip Rig + Panic\nRomeo Void\n\nS\n\nSad Lovers & Giants\nSavage Republic\nThe Scientists\nScratch Acid\nScritti Politti\nSection 25\nSex Gang Children\nSielun Veljet\nSimple Minds\nSiouxsie and the Banshees\nThe Sisters of Mercy\nThe Sleepers\nThe Slits\nThe Smiths\nThe Soft Boys\nThe Sound\nSouthern Death Cult\nSqueeze\nStreet eaters\nSubway Sect\nSunnyboys\nSwell Maps\n\nT\n\n≠Talking Heads\nThe Teardrop Explodes\nTelevision\nTelevision Personalities\nThe The\nTheatre of Hate\nThis Heat\nThompson Twins (early work)\nThe Three Johns\nThrobbing Gristle\nTin Huey\nTones on Tail\nTransvision Vamp\nTuxedomoon\n\nU\n\n≠U2\nUK Decay\nUltravox\n\nV\n\nThe Veils\nViolent Femmes\nVoigt/465\nVolcano Suns\n\nW\n\nThe Wake\nWall of Voodoo\nThe Wedding Present\nWhirlywirld\nWire\n\nX\n\nXero\nXTC\n\nY\nYoung Marble Giants\n\nZ\nZounds\n\nPost-punk revival bands\n\nSee also\nList of gothic rock artists\nList of new wave artists and bands\nList of punk rock bands, 0–K\nList of punk rock bands, L–Z\nList of post-hardcore bands\n\nReferences\n\nBibliography\n\n \nPost-punk\nPost punk", "title": "List of post-punk bands" } ]
[ "Yes, the Talking Heads made albums with producer Brian Eno, including 1978's More Songs About Buildings and Food and 1979's Fear of Music.", "The text does not provide information on whether Talking Heads toured with Brian Eno.", "Talking Heads collaborated with Brian Eno in the capacity of a producer for their albums. Eno's unusual style worked well with the group's artistic sensibilities and they started exploring diverse musical directions together, from post-punk to psychedelic funk to African music. For example, they worked together on the albums \"More Songs About Buildings and Food\" and \"Fear of Music\".", "Some other relevant aspects from the article include the information about the band's different musical influences, such as psychedelic funk, African music, and post-punk rock. It also mentions the band's first Billboard Top 30 hit with their cover of Al Green's \"Take Me to the River\". Additionally, there is the mention of the band members' other projects, such as the Tom Tom Club and solo albums. Another important aspect is the band's changing musical style with albums like \"Remain in Light\", which was heavily influenced by the afrobeat and featured an expanded tour group to perform the complex arrangements. Also worth mentioning is the band's collaboration with Brian Eno on the album \"My Life in the Bush of Ghosts,\" which included a range of international and post-punk musicians." ]
[ "No", "Yes", "No", "No" ]