Datasets:

yep-search

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LongCacti-quac

like 0

[ "C_c6d322e2e3df4fcc85f40dfe0292ab9e_1_q#0", "C_c6d322e2e3df4fcc85f40dfe0292ab9e_1_q#1", "C_c6d322e2e3df4fcc85f40dfe0292ab9e_1_q#2", "C_c6d322e2e3df4fcc85f40dfe0292ab9e_1_q#3" ]

[ "what type of professional football career did he have?", "who did he go to after?", "did he stay with the texans for the rest of his career?", "what games did he win in?" ]

[ 0, 0, 2, 2 ]

[ 2, 2, 1, 2 ]

{ "answer_starts": [ [ 90 ], [ 181 ], [ 270 ], [ 520 ] ], "texts": [ [ "He started out with the first Baltimore Colts, who folded after his rookie season in 1950," ], [ "followed by the New York Yanks in 1951, and their successor, the Dallas Texans, in 1952." ], [ "After the Texans franchise was moved to Baltimore in 1953 and became the second Baltimore Colts, Donovan played with that team." ], [ "The Colts won back-to-back championships in 1958 and 1959." ] ] }

{ "answer_starts": [ 90, 181, 270, 520 ], "texts": [ "He started out with the first Baltimore Colts, who folded after his rookie season in 1950,", "followed by the New York Yanks in 1951, and their successor, the Dallas Texans, in 1952.", "After the Texans franchise was moved to Baltimore in 1953 and became the second Baltimore Colts, Donovan played with that team.", "The Colts won back-to-back championships in 1958 and 1959." ] }

[]

[ "Donovan had a successful professional football career, playing for several teams that eventually went out of business before joining the second Baltimore Colts. He became one of the stars in an outstanding defense and was selected to five straight Pro Bowls, from 1953 through 1957. The Colts won back-to-back championships in 1958 and 1959. He also played in one of the most important games in NFL history. He was selected to the Pro Football Hall of Fame in 1968.", "The context does not provide information on who Donovan went to after his football career with the Baltimore Colts.", "No, Donovan did not stay with the Texans for the rest of his career. After the Texans franchise moved to Baltimore in 1953 and became the second Baltimore Colts, Donovan played with that team.", "Donovan won in the back-to-back championships with the Baltimore Colts in 1958 and 1959. He also played a crucial role in the win during the 1958 title game between the Colts and the New York Giants, which went into overtime and is often referred to as the \"greatest game ever played.\"" ]

[ "Yes", "No", "Yes", "Yes" ]

[ "C_ad10bc8d3db944ac9b36e718d8ef7346_1_q#0", "C_ad10bc8d3db944ac9b36e718d8ef7346_1_q#1", "C_ad10bc8d3db944ac9b36e718d8ef7346_1_q#2", "C_ad10bc8d3db944ac9b36e718d8ef7346_1_q#3", "C_ad10bc8d3db944ac9b36e718d8ef7346_1_q#4", "C_ad10bc8d3db944ac9b36e718d8ef7346_1_q#5", "C_ad10bc8d3db944ac9b36e718d8ef7346_1_q#6", "C_ad10bc8d3db944ac9b36e718d8ef7346_1_q#7" ]

[ "When did the original line up begin playing together?", "How many members were in the new group?", "Did they record an album during this time?", "How did the albums do in the charts?", "Did they go on tour?", "When did the original lineup stop playing together?", "Did any of the original members remain in the band?", "Are there any other interesting aspects about this article?" ]

[ 0, 1, 2, 1, 2, 0, 1, 1 ]

[ 2, 2, 0, 2, 0, 2, 2, 2 ]

{ "answer_starts": [ [ 328 ], [ 555 ], [ 728 ], [ 1900 ], [ 1199 ], [ 1561 ], [ 1900 ], [ 1319 ] ], "texts": [ [ "January 1969, Relf and McCarty organised a new group" ], [ "This quintet -- Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane" ], [ "released a pair of albums on Elektra (US) and Island (UK-ILPS 9112)," ], [ "CANNOTANSWER" ], [ "). In February 1970 they embarked on a North American tour," ], [ "in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved." ], [ "CANNOTANSWER" ], [ "Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks" ] ] }

{ "answer_starts": [ 328, 555, 728, 1900, 1199, 1561, 1900, 1319 ], "texts": [ "January 1969, Relf and McCarty organised a new group", "This quintet -- Relf on guitar and vocals, McCarty on drums and vocals, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane", "released a pair of albums on Elektra (US) and Island (UK-ILPS 9112),", "CANNOTANSWER", "). In February 1970 they embarked on a North American tour,", "in the late spring of 1970 as touring began to grind on them, the original band gradually dissolved.", "CANNOTANSWER", "Because of their Yardbirds credentials, they found themselves paired with bands such as The Kinks" ] }

[]

[ "The original line-up began performing together in May 1969.", "The new group had five members.", "Yes, they recorded a pair of albums. The first one was titled \"Renaissance.\"", "The context does not provide information on how the albums performed in the charts.", "Yes, they embarked on a North American tour in February 1970.", "The original lineup began to dissolve in the late spring of 1970.", "John Hawken, the pianist, remained in the band to fulfill contractual obligations and complete the band's second album.", "One interesting aspect is that because of their Yardbirds credentials, the band found themselves paired with bands such as The Kinks during their North American tour, but their new classically oriented direction did not always go over well because audiences were expecting rock/blues-based material. This could be seen as indicative of the challenges faced by bands trying to change or evolve their sound and public perception." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes", "Yes", "No", "Yes" ]

[ "C_3e817baeffb34afc85a9704f8aa120a6_0_q#0", "C_3e817baeffb34afc85a9704f8aa120a6_0_q#1", "C_3e817baeffb34afc85a9704f8aa120a6_0_q#2", "C_3e817baeffb34afc85a9704f8aa120a6_0_q#3", "C_3e817baeffb34afc85a9704f8aa120a6_0_q#4", "C_3e817baeffb34afc85a9704f8aa120a6_0_q#5" ]

[ "What is meant by \"final activities\"?", "How did White Lion become \"officially over\"?", "Following what release was that?", "How was that album received?", "Were there any singles released from that album?", "Did the singles do well on the charts?" ]

[ 0, 0, 0, 0, 0, 1 ]

[ 2, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 1369 ], [ 1280 ], [ 1052 ], [ 1093 ], [ 1185 ], [ 2120 ] ], "texts": [ [ "With White Lion officially over the voice of the band Mike Tramp continues with his solo career releasing his latest album \"Nomad\" in 2015." ], [ "\". Following this release Tramp once again confirmed there would be no more White Lion." ], [ "acoustic folk style rock album \"Museum\"." ], [ "The album charted at Denmark's official top 40 hitlist albums' at number 3" ], [ "singles \"Trust in Yourself\" which features a music video directed by his son Dylan and \"Freedom\"." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 1369, 1280, 1052, 1093, 1185, 2120 ], "texts": [ "With White Lion officially over the voice of the band Mike Tramp continues with his solo career releasing his latest album \"Nomad\" in 2015.", "\". Following this release Tramp once again confirmed there would be no more White Lion.", "acoustic folk style rock album \"Museum\".", "The album charted at Denmark's official top 40 hitlist albums' at number 3", "singles \"Trust in Yourself\" which features a music video directed by his son Dylan and \"Freedom\".", "CANNOTANSWER" ] }

[]

[ "The text does not provide information on what is meant by \"final activities\".", "White Lion officially ended when Mike Tramp announced in several interviews while promoting his solo album that there would be no more White Lion of any kind, including the new White Lion or any possible reunions.", "Mike Tramp confirmed that there would be no more White Lion following the release of his acoustic folk style rock album \"Museum\" in August 2014.", "The album \"Museum\" was well received. It charted at number 3 on Denmark's official top 40 hitlist albums and includes the singles \"Trust in Yourself\" and \"Freedom\".", "Yes, the singles \"Trust in Yourself\" and \"Freedom\" were released from the album \"Museum\". \"Trust in Yourself\" also features a music video directed by his son Dylan.", "The text does not provide information on how the singles \"Trust in Yourself\" and \"Freedom\" from the album \"Museum\" performed on the charts." ]

[ "no", "Yes", "Yes", "Yes", "Yes", "Yes" ]

[ "C_972bd4c2fd6f4c378a23b4bac0483652_0_q#0", "C_972bd4c2fd6f4c378a23b4bac0483652_0_q#1", "C_972bd4c2fd6f4c378a23b4bac0483652_0_q#2", "C_972bd4c2fd6f4c378a23b4bac0483652_0_q#3" ]

[ "What year did Russert die?", "What was the cause of death?", "How old was he when he died?", "Was he married when he died?" ]

[ 0, 0, 0, 0 ]

[ 2, 2, 2, 0 ]

{ "answer_starts": [ [ 34 ], [ 1837 ], [ 937 ], [ 1662 ] ], "texts": [ [ "2008," ], [ "asymptomatic coronary artery disease" ], [ "58" ], [ "his wife" ] ] }

{ "answer_starts": [ 34, 1837, 937, 1662 ], "texts": [ "2008,", "asymptomatic coronary artery disease", "58", "his wife" ] }

[]

[ "Russert died in the year 2008.", "Russert died from a myocardial infarction (heart attack) and ventricular fibrillation, the immediate cause being an occlusive coronary thrombosis in the left anterior descending artery resulting from a ruptured cholesterol plaque. This was due to his history of coronary artery disease.", "Russert was 58 years old when he died.", "The text does not provide information on whether Russert was married at the time of his death." ]

[ "Yes", "Yes", "Yes", "no" ]

[ "C_3e817baeffb34afc85a9704f8aa120a6_1_q#0", "C_3e817baeffb34afc85a9704f8aa120a6_1_q#1", "C_3e817baeffb34afc85a9704f8aa120a6_1_q#2", "C_3e817baeffb34afc85a9704f8aa120a6_1_q#3", "C_3e817baeffb34afc85a9704f8aa120a6_1_q#4", "C_3e817baeffb34afc85a9704f8aa120a6_1_q#5" ]

[ "When was the return of the pride?", "was it successful?", "did they go on tour?", "what were some singles?", "did they have any problems with the album?", "did they collaborate with anyone?" ]

[ 2, 1, 0, 2, 1, 1 ]

[ 2, 2, 0, 2, 2, 2 ]

{ "answer_starts": [ [ 1839 ], [ 2411 ], [ 1982 ], [ 2264 ], [ 2411 ], [ 2411 ] ], "texts": [ [ "The new studio album entitled \"Return of the Pride\" was released on March 14, 2008" ], [ "CANNOTANSWER" ], [ "The band did a world tour to support the album." ], [ "The album featured the singles \"Dream\" and \"Live Your Life\"." ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 1839, 2411, 1982, 2264, 2411, 2411 ], "texts": [ "The new studio album entitled \"Return of the Pride\" was released on March 14, 2008", "CANNOTANSWER", "The band did a world tour to support the album.", "The album featured the singles \"Dream\" and \"Live Your Life\".", "CANNOTANSWER", "CANNOTANSWER" ] }

[]

[ "\"Return of the Pride\" was released on March 14, 2008.", "The text does not provide information on whether the album \"Return of the Pride\" was successful or not.", "Yes, White Lion went on a world tour to support the album \"Return of the Pride\".", "The singles from the album \"Return of the Pride\" were \"Dream\" and \"Live Your Life\".", "The text does not provide information on whether White Lion had any problems with the album \"Return of the Pride\".", "The text does not provide information on whether White Lion collaborated with anyone on the album \"Return of the Pride\"." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes", "Yes" ]

[ "C_bc261d6b4c954c83804e68ada9976c0e_0_q#0", "C_bc261d6b4c954c83804e68ada9976c0e_0_q#1", "C_bc261d6b4c954c83804e68ada9976c0e_0_q#2", "C_bc261d6b4c954c83804e68ada9976c0e_0_q#3", "C_bc261d6b4c954c83804e68ada9976c0e_0_q#4", "C_bc261d6b4c954c83804e68ada9976c0e_0_q#5", "C_bc261d6b4c954c83804e68ada9976c0e_0_q#6", "C_bc261d6b4c954c83804e68ada9976c0e_0_q#7" ]

[ "What are the stereotypes involved in this article?", "What kind of stereotyped characters?", "Are there any other interesting aspects about this article?", "Why is it an unsympathetic character?", "Did she have any influences in her life for her characters?", "What is your favorite part of the article?", "Did she ever return there?", "What was her early life like?" ]

[ 0, 0, 0, 0, 1, 0, 1, 1 ]

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{ "answer_starts": [ [ 0 ], [ 137 ], [ 629 ], [ 742 ], [ 2038 ], [ 1329 ], [ 2038 ], [ 2038 ] ], "texts": [ [ "Christie occasionally inserted stereotyped descriptions of characters into her work, particularly before the end of the Second World War" ], [ "(when such attitudes were more commonly expressed publicly), and particularly in regard to Italians, Jews, non-Europeans, and sometimes Americans, the last usually as impossibly naive or uninformed." ], [ "In The Hollow, published as late as 1946, one of the more unsympathetic characters is \"a Whitechapel Jewess" ], [ "dyed hair and a voice like a corncrake ... a small woman with a thick nose, henna red and a disagreeable voice\"." ], [ "CANNOTANSWER" ], [ "After four years of war-torn London, Christie hoped to return some day to Syria, which she described as \"gentle fertile country and its simple people," ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 137, 629, 742, 2038, 1329, 2038, 2038 ], "texts": [ "Christie occasionally inserted stereotyped descriptions of characters into her work, particularly before the end of the Second World War", "(when such attitudes were more commonly expressed publicly), and particularly in regard to Italians, Jews, non-Europeans, and sometimes Americans, the last usually as impossibly naive or uninformed.", "In The Hollow, published as late as 1946, one of the more unsympathetic characters is \"a Whitechapel Jewess", "dyed hair and a voice like a corncrake ... a small woman with a thick nose, henna red and a disagreeable voice\".", "CANNOTANSWER", "After four years of war-torn London, Christie hoped to return some day to Syria, which she described as \"gentle fertile country and its simple people,", "CANNOTANSWER", "CANNOTANSWER" ] }

[]

[ "The stereotypes mentioned in the article include characterising Italians, Jews, non-Europeans, and Americans in certain ways. For example, \"Hebraic men\" are initially described as having hook-noses and wearing flamboyant jewellery while a Jewish woman is described as having dyed hair, a thick nose, and a disagreeable voice. Americans are stereotyped as being naive or uninformed. There are also stereotypes about different European nationalities. The French are seen as hopeless disciplinarians, Germans are described as good and methodical, Scottish are seen as good with the young, and the Irish are described as gay but known to make trouble in the house. Meanwhile, Syrians are portrayed as having a great sense of humour and being idle, gay, and unafraid of death.", "The stereotyped characters mentioned include: \n\n1) \"Hebraic men\" who are depicted as having hook-noses and wearing flamboyant jewellery.\n2) An unsympathetic Jewish woman with a thick nose, henna red hair, and a disagreeable voice.\n3) Americans who are portrayed as being naive or uninformed.\n4) English people who are viewed as potential malefactors towards foreigners.\n5) A Swiss French nursery helper who is called incompetent and thus stereotyped as a hopeless disciplinarian.\n6) Germans who are seen as good and methodical.\n7) Irish individuals who are characterized as being gay but prone to making trouble.\n8) Scottish individuals are seen as preferable and good with young children.\n9) Syrians are generalized as having good manners, a great sense of humour, being idle and gay, and not fearing death.", "Another interesting aspect of the article is its highlighting of how attitudes in literature can mirror those present in society at the time. It points out that the stereotyped descriptions and prejudices in Agatha Christie's work were more commonly expressed publicly before the end of the Second World War. The article also brings attention to the changes in subsequent editions of Christie's work, such as the change from \"Hebraic men with hook-noses\" to \"sallow men\", showing an evolution in societal attitudes towards racial and ethnic descriptions. It's also interesting to note that Christie showed affection and humour in her portrayal of some stereotypes, like Syrians and the English. Furthermore, Christie's personal experiences, such as the problems with her Swiss French nursery helper, influenced the stereotypes she portrayed in her works.", "The character from \"The Hollow\" is described as unsympathetic likely due to the way Christie emphasizes her negative traits, such as having a disagreeable voice and dyed hair. Her harsh portrayal, using phrases like a \"Whitechapel Jewess\" and \"a voice like a corncrake,\" may convey an unfavourable or unlikable image of the character to readers, making her appear unsympathetic. It is important to note that \"unsympathetic\" refers to the lack of traits that would make readers feel emotionally connected to or supportive of the character; it does not necessarily refer to the moral stance of the character.", "According to the text, one of Agatha Christie's personal experiences influenced her work. After she had trouble with an incompetent Swiss French nursery helper for her toddler, she incorporated the experience into her work, using stereotypes to portray French characters as hopeless disciplinarians. Christie also revealed in the text that she preferred Scots as they were good with the young, suggesting that she may have had personal experiences with Scottish individuals as well that influenced her characterizations. However, the text does not provide further specific examples of her real-life influences on her characters.", "As an artificial intelligence, I don't have feelings, opinions or favorites. However, I can point out that one unique aspect of the article is the examination of how Christie used stereotypes in her character descriptions, offering a window into societal attitudes of her time. It's also interesting when the article mentions how changes were made in later editions of her works, illustrating a shift in societal perception.", "The text does not provide information on whether Agatha Christie ever returned to Syria.", "The text does not provide information on Agatha Christie's early life." ]

[ "Yes", "No", "Yes", "Yes", "No", "No", "Yes", "Yes" ]

[ "C_8decf249a7ee4c6bb84aa0f61f4f4d6c_1_q#0", "C_8decf249a7ee4c6bb84aa0f61f4f4d6c_1_q#1", "C_8decf249a7ee4c6bb84aa0f61f4f4d6c_1_q#2", "C_8decf249a7ee4c6bb84aa0f61f4f4d6c_1_q#3", "C_8decf249a7ee4c6bb84aa0f61f4f4d6c_1_q#4", "C_8decf249a7ee4c6bb84aa0f61f4f4d6c_1_q#5", "C_8decf249a7ee4c6bb84aa0f61f4f4d6c_1_q#6" ]

[ "When was the film version released?", "Wa it remde after that?", "When did it air on tv?", "Did it win any awards?", "Explain the concert aspect of Carousel?", "Was it popular?", "What else was said about it?" ]

[ 0, 0, 2, 0, 0, 0, 0 ]

[ 2, 2, 2, 2, 2, 0, 2 ]

{ "answer_starts": [ [ 0 ], [ 201 ], [ 687 ], [ 293 ], [ 826 ], [ 1296 ], [ 1455 ] ], "texts": [ [ "A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely," ], [ "The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews," ], [ "There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella." ], [ "It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared," ], [ "The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall." ], [ "Charles Isherwood of The New York Times wrote, \"this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear.\"" ], [ "It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013." ] ] }

{ "answer_starts": [ 0, 201, 687, 293, 826, 1296, 1455 ], "texts": [ "A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely,", "The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews,", "There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella.", "It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared,", "The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall.", "Charles Isherwood of The New York Times wrote, \"this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear.\"", "It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013." ] }

[]

[ "C_da71b2eacf9249bc964a5f4c145c2cf3_1_q#0", "C_da71b2eacf9249bc964a5f4c145c2cf3_1_q#1", "C_da71b2eacf9249bc964a5f4c145c2cf3_1_q#2", "C_da71b2eacf9249bc964a5f4c145c2cf3_1_q#3", "C_da71b2eacf9249bc964a5f4c145c2cf3_1_q#4", "C_da71b2eacf9249bc964a5f4c145c2cf3_1_q#5", "C_da71b2eacf9249bc964a5f4c145c2cf3_1_q#6", "C_da71b2eacf9249bc964a5f4c145c2cf3_1_q#7" ]

[ "What caused Jayan's death?", "Where was the movie set?", "Who was starring in the movie with him?", "What caused the accident?", "Was anyone else hurt?", "Did he have any family at the time of his death?", "Was there any controversy about his death?", "Anything else interesting in the article?" ]

[ 0, 0, 0, 0, 2, 2, 0, 0 ]

[ 2, 2, 2, 2, 0, 0, 0, 2 ]

{ "answer_starts": [ [ 21 ], [ 133 ], [ 1627 ], [ 605 ], [ 1549 ], [ 1418 ], [ 1516 ], [ 798 ] ], "texts": [ [ "Jayan was killed in an accident on the set of the movie Kolilakkam (English: Shockwave)." ], [ "the movie was being filmed in Sholavaram, near Madras, Tamil Nadu." ], [ "co-star Balan K. Nair," ], [ "During the re-take, the helicopter lost its balance and crashed along with Jayan who was hanging onto the landing skids, and he later succumbed to his injuries." ], [ "regarding the circumstances of his death, primarily because the pilot and his co-star Balan K. Nair, who was in the helicopter, survived with minor or no injuries." ], [ "His mother Bharathiyamma became bedridden after this incident, and she too died two years later." ], [ "Some conspiracy theories emerged regarding the circumstances of his death," ], [ "a slide was added during the theatre show of his movie Deepam, which was running in packed houses, informing his death to the viewers who witnessed it" ] ] }

{ "answer_starts": [ 21, 133, 1627, 605, 1549, 1418, 1516, 798 ], "texts": [ "Jayan was killed in an accident on the set of the movie Kolilakkam (English: Shockwave).", "the movie was being filmed in Sholavaram, near Madras, Tamil Nadu.", "co-star Balan K. Nair,", "During the re-take, the helicopter lost its balance and crashed along with Jayan who was hanging onto the landing skids, and he later succumbed to his injuries.", "regarding the circumstances of his death, primarily because the pilot and his co-star Balan K. Nair, who was in the helicopter, survived with minor or no injuries.", "His mother Bharathiyamma became bedridden after this incident, and she too died two years later.", "Some conspiracy theories emerged regarding the circumstances of his death,", "a slide was added during the theatre show of his movie Deepam, which was running in packed houses, informing his death to the viewers who witnessed it" ] }

[]

[ "Jayan's death was caused by an accident during a movie stunt, where he was boarding an airborne helicopter from a moving motorbike. During a re-take of the scene, the helicopter lost balance and crashed, with Jayan hanging onto the landing skids. He later succumbed to his injuries.", "The movie was being filmed in Sholavaram, near Madras, Tamil Nadu.", "Balan K. Nair was starring in the movie with Jayan.", "The accident was caused when the helicopter lost its balance during a re-take of a particularly dangerous stunt that involved Jayan boarding an airborne helicopter from a moving motorbike. Jayan was hanging onto the landing skids when the helicopter crashed.", "The pilot and Jayan's co-star Balan K. Nair, who were in the helicopter during the accident, survived with minor or no injuries.", "The context mentions Jayan's mother, Bharathiyamma, who was alive at the time of his death, but she became bedridden after the incident and died two years later. It does not provide information about any other family members.", "Yes, some conspiracy theories emerged regarding the circumstances of Jayan's death, primarily because the pilot and his co-star Balan K. Nair, who were in the helicopter, survived with minor or no injuries. However, it has been confirmed as a genuine accident.", "Another interesting point from the article is the reaction of Jayan's fans to his death. When his death was announced during the theatre show of his movie Deepam, which was running at the time, a large number of his fans burst into tears and ran out of the buildings, while many others continued to watch the movie, refusing to believe the news and thinking it was a promotion for an upcoming project. The police had to take huge measures to deal with the crowds while thousands paid homage to the late actor." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes", "Yes", "Yes", "Yes" ]

[ "C_da71b2eacf9249bc964a5f4c145c2cf3_0_q#0", "C_da71b2eacf9249bc964a5f4c145c2cf3_0_q#1", "C_da71b2eacf9249bc964a5f4c145c2cf3_0_q#2", "C_da71b2eacf9249bc964a5f4c145c2cf3_0_q#3", "C_da71b2eacf9249bc964a5f4c145c2cf3_0_q#4", "C_da71b2eacf9249bc964a5f4c145c2cf3_0_q#5", "C_da71b2eacf9249bc964a5f4c145c2cf3_0_q#6", "C_da71b2eacf9249bc964a5f4c145c2cf3_0_q#7" ]

[ "What prompted Nairs comeback", "Has there been any new releases of his works?", "Did he receive any awards?", "Did he leave behind any family?", "Have any other stunt actors emerged in his absence?", "Have any plans been made to memorialize his contribution to film?", "Do they have any indication why the resurgance happened when it did?", "Are those involved in the new project people who worked with him before?" ]

[ 0, 0, 0, 1, 0, 0, 0, 2 ]

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{ "answer_starts": [ [ 654 ], [ 1469 ], [ 835 ], [ 1597 ], [ 654 ], [ 1341 ], [ 152 ], [ 1597 ] ], "texts": [ [ "The \"comeback\" of Jayan and his renewed popularity lately may be taken as an affirmation that Jayan has not been replaced even nearly three decades after his death." ], [ "A documentary on Jayan's life and death Jayan - The Man behind the Legend is nearing completion for release in the near future." ], [ "best remembered as the first and best action star of Malayalam cinema, so far, besides his trademark colourful attire, risky stunts, machismo mannerisms" ], [ "CANNOTANSWER" ], [ "The \"comeback\" of Jayan and his renewed popularity lately may be taken as an affirmation that Jayan has not been replaced even nearly three decades after his death." ], [ "A film titled Avatharam presently under production, is attempting to bring back his screen persona using advanced technologies." ], [ "It was owed mostly to programs by popular mimicry stage artists in the State, whose imitations of the star's mannerisms caught on" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 654, 1469, 835, 1597, 654, 1341, 152, 1597 ], "texts": [ "The \"comeback\" of Jayan and his renewed popularity lately may be taken as an affirmation that Jayan has not been replaced even nearly three decades after his death.", "A documentary on Jayan's life and death Jayan - The Man behind the Legend is nearing completion for release in the near future.", "best remembered as the first and best action star of Malayalam cinema, so far, besides his trademark colourful attire, risky stunts, machismo mannerisms", "CANNOTANSWER", "The \"comeback\" of Jayan and his renewed popularity lately may be taken as an affirmation that Jayan has not been replaced even nearly three decades after his death.", "A film titled Avatharam presently under production, is attempting to bring back his screen persona using advanced technologies.", "It was owed mostly to programs by popular mimicry stage artists in the State, whose imitations of the star's mannerisms caught on", "CANNOTANSWER" ] }

[]

[ "The text does not provide information on what prompted Nair's comeback.", "The context suggests that a film titled \"Avatharam\" is under production, which is trying to revive Jayan's screen persona using advanced technologies. Additionally, a documentary on Jayan's life and death, \"Jayan - The Man behind the Legend,\" is nearing completion for future release.", "The text does not provide information on whether Jayan received any awards.", "The text does not provide information on whether Jayan left behind any family.", "The text does not provide information on whether any other stunt actors have emerged in Jayan's absence.", "Yes, a film titled \"Avatharam\" is currently under production aiming to revive Jayan's screen persona using advanced technologies. Additionally, a documentary on Jayan's life and death, called \"Jayan - The Man behind the Legend,\" is nearing completion for future release. These can be considered as plans to memorialize his contribution to film.", "The text indicates that the resurgence of interest in Jayan’s screen persona in the late 1990s and early 21st century was largely due to programs by popular mimicry stage artists in Kerala, whose imitations of the star's mannerisms were well-received and became commonplace in college stage events, television programs, and mimicry stage shows. This also included quotes of superhuman strength known as Jayan quotes.", "The text does not provide information on whether the people involved in the new project had previously worked with Jayan." ]

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[ "Are there any other interesting aspects about this article?", "How did the album do when released?", "Did id win any other awards?", "What other notable songs were released?", "How was it ranked?", "Any other hits released?", "Was there any scandals durig this time?" ]

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{ "answer_starts": [ [ 0 ], [ 226 ], [ 1665 ], [ 721 ], [ 1665 ], [ 1430 ], [ 1665 ] ], "texts": [ [ "All of the musicians from the live show joined Drew, Canning, Peroff and Spearin to record the band's second album, You Forgot It in People." ], [ "2002 and won the Alternative Album of the Year Juno Award in 2003." ], [ "CANNOTANSWER" ], [ "Broken Social Scene's song \"Lover's Spit\" from 2002's You Forgot It in People has been featured in director Clement Virgo's movie Lie with Me (2005)," ], [ "CANNOTANSWER" ], [ "\". \"Looks Just Like the Sun\" was featured in the 2006 film Swedish Auto." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 226, 1665, 721, 1665, 1430, 1665 ], "texts": [ "All of the musicians from the live show joined Drew, Canning, Peroff and Spearin to record the band's second album, You Forgot It in People.", "2002 and won the Alternative Album of the Year Juno Award in 2003.", "CANNOTANSWER", "Broken Social Scene's song \"Lover's Spit\" from 2002's You Forgot It in People has been featured in director Clement Virgo's movie Lie with Me (2005),", "CANNOTANSWER", "\". \"Looks Just Like the Sun\" was featured in the 2006 film Swedish Auto.", "CANNOTANSWER" ] }

[ { "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": "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" }, { "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" } ]

[ "CANNOTANSWER", "The album \"You Forgot It in People\" won the Alternative Album of the Year Juno Award in 2003 after being released in October 2002.", "The text does not provide information on any other awards won by the album \"You Forgot It in People.\"", "Besides \"Lover's Spit\", songs like \"Pacific Theme\" and \"Looks Just Like the Sun\" from the album \"You Forgot It in People\" were also mentioned in the context. \"Stars and Sons\" is another song referenced from the same album.", "The text does not provide information on any rankings for the album \"You Forgot It in People.\"", "The text does not provide information on any other hit songs released by the band.", "The text does not provide information on any scandals involving the band during this time." ]

[ "No", "Yes", "Yes", "Yes", "Yes", "No", "Yes" ]

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[ "What is Broken Social Scene?", "Was this album successful?", "Did they tour to promote this album?", "Was that met with success?", "Did they win any foreign awards with this album?", "Did they do any televised promotion for this album?", "What was said about the solo album?" ]

[ 0, 0, 0, 0, 1, 0, 0 ]

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{ "answer_starts": [ [ 0 ], [ 579 ], [ 624 ], [ 668 ], [ 2128 ], [ 1956 ], [ 1867 ] ], "texts": [ [ "Broken Social Scene released their third full-length album," ], [ "won the Alternative Album of the Year award." ], [ "In August the band went on a European tour." ], [ "Returning in September, they were last-minute replacement performers at North America's first Virgin Festival, at Toronto Islands Park" ], [ "CANNOTANSWER" ], [ "In 2009, Bruce McDonald directed a short documentary episode of IFC's The Rawside Of... that focused on the making of Brendan Canning's solo album Something for All of Us." ], [ "well as scored" ] ] }

{ "answer_starts": [ 0, 579, 624, 668, 2128, 1956, 1867 ], "texts": [ "Broken Social Scene released their third full-length album,", "won the Alternative Album of the Year award.", "In August the band went on a European tour.", "Returning in September, they were last-minute replacement performers at North America's first Virgin Festival, at Toronto Islands Park", "CANNOTANSWER", "In 2009, Bruce McDonald directed a short documentary episode of IFC's The Rawside Of... that focused on the making of Brendan Canning's solo album Something for All of Us.", "well as scored" ] }

[ { "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": "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" }, { "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" } ]

[ "Broken Social Scene is a band that released their third full-length album, also titled Broken Social Scene, in October 2005. They performed on Late Night with Conan O'Brien and at the 2006 Juno Awards, and they also appeared as special guests on The Stars and Suns Sessions, an album by Chikita Violenta. The band composed and recorded original scores for two films, and one of their members designed a T-shirt for the Yellow Bird Project.", "The context does not provide specific information on the overall success of Broken Social Scene's third album. However, it does mention that at the 2006 Juno Awards, their self-titled album won the Alternative Album of the Year award.", "Yes, Broken Social Scene went on a European tour in August following the release of their third album. They also toured in the US in November.\n", "The context does not provide information on the success of Broken Social Scene's tours to promote their third album.", "The context does not provide information on Broken Social Scene winning any foreign awards with their third album.", "Yes, as part of the promotion for their album, Broken Social Scene performed \"7/4 (Shoreline)\" on Late Night with Conan O'Brien on January 31, 2006. They also performed \"Ibi Dreams of Pavement\" at the 2006 Juno Awards.", "The text mentions that in 2009, a short documentary episode of IFC's The Rawside Of... focused on the making of Brendan Canning's solo album Something for All of Us. However, it doesn't provide any specific details or opinions about the solo album itself." ]

[ "Yes", "Yes", "Yes", "No", "Yes", "No", "No" ]

[ "C_cde65308fd4a465e8c3ca22c02ce1472_1_q#0", "C_cde65308fd4a465e8c3ca22c02ce1472_1_q#1", "C_cde65308fd4a465e8c3ca22c02ce1472_1_q#2", "C_cde65308fd4a465e8c3ca22c02ce1472_1_q#3", "C_cde65308fd4a465e8c3ca22c02ce1472_1_q#4", "C_cde65308fd4a465e8c3ca22c02ce1472_1_q#5", "C_cde65308fd4a465e8c3ca22c02ce1472_1_q#6", "C_cde65308fd4a465e8c3ca22c02ce1472_1_q#7", "C_cde65308fd4a465e8c3ca22c02ce1472_1_q#8", "C_cde65308fd4a465e8c3ca22c02ce1472_1_q#9" ]

[ "How is Swift's musical style described?", "does it mention who specifically influenced her?", "what elements stand out in Swift's musical style?", "what instruments does Swift use?", "is there more discussion about her vocal style?", "what does it mean that they don't match those of her peers?", "Has there been any other criticisms?", "What else stands out in this section about her musical style?", "What else does Swift say?", "Does she discuss further about lyrics?" ]

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{ "answer_starts": [ [ 4812 ], [ 4901 ], [ 6230 ], [ 1582 ], [ 7082 ], [ 7230 ], [ 7567 ], [ 7889 ], [ 7438 ], [ 8012 ] ], "texts": [ [ "Swift has also been influenced by many artists outside the country genre. As a pre-teen, she enjoyed bubblegum pop acts" ], [ "she enjoyed bubblegum pop acts including Hanson and Britney Spears; Swift has said she has \"unwavering devotion\" for Spears." ], [ "Swift's vocals were described by Sophie Schillaci of The Hollywood Reporter as \"sweet, but soft\"." ], [ "When Swift was about 12 years old, computer repairman and local musician Ronnie Cremer taught her how to play guitar" ], [ "The Hollywood Reporter wrote that her live vocals are \"fine\", but they do not match those of her peers." ], [ "described Swift's vocals as \"flat, thin, and sometimes as wobbly as a newborn colt\". However, Swift has received praise for refusing to correct her pitch with Auto-Tune." ], [ "writer for The Tennessean conceded in 2010 that Swift is \"not the best technical singer\", but described her as the \"best communicator that we've got\"." ], [ "She has said that she only feels nervous performing \"if I'm not sure what the audience thinks of me, like at award shows\"." ], [ "Swift characterized herself primarily as a songwriter: \"I write songs, and my voice is just a way to get those lyrics across.\"" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 4812, 4901, 6230, 1582, 7082, 7230, 7567, 7889, 7438, 8012 ], "texts": [ "Swift has also been influenced by many artists outside the country genre. As a pre-teen, she enjoyed bubblegum pop acts", "she enjoyed bubblegum pop acts including Hanson and Britney Spears; Swift has said she has \"unwavering devotion\" for Spears.", "Swift's vocals were described by Sophie Schillaci of The Hollywood Reporter as \"sweet, but soft\".", "When Swift was about 12 years old, computer repairman and local musician Ronnie Cremer taught her how to play guitar", "The Hollywood Reporter wrote that her live vocals are \"fine\", but they do not match those of her peers.", "described Swift's vocals as \"flat, thin, and sometimes as wobbly as a newborn colt\". However, Swift has received praise for refusing to correct her pitch with Auto-Tune.", "writer for The Tennessean conceded in 2010 that Swift is \"not the best technical singer\", but described her as the \"best communicator that we've got\".", "She has said that she only feels nervous performing \"if I'm not sure what the audience thinks of me, like at award shows\".", "Swift characterized herself primarily as a songwriter: \"I write songs, and my voice is just a way to get those lyrics across.\"", "CANNOTANSWER" ] }

[]

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[ "What is special about her songwriting?", "What sort of life experiences does she write about?", "Does she have a routine with songwriting?", "Why does she use third-verse point of view reversals?", "Has her songwriting style from country to pop changed?", "Are there any other interesting aspects about this article?", "Has Swift spoken of any other influences for her lyrics?", "Has she revealed the identity of any of the crushes?", "Where else has she found inspiration?", "What kind of observations?" ]

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{ "answer_starts": [ [ 0 ], [ 165 ], [ 2306 ], [ 2189 ], [ 2883 ], [ 1349 ], [ 77 ], [ 746 ], [ 599 ], [ 1879 ] ], "texts": [ [ "Swift uses her life experiences as an inspiration in her work." ], [ "Swift frequently criticizes ex-boyfriends," ], [ "According to The Village Voice, she uses third-verse point of view reversals frequently." ], [ "Rolling Stone describes Swift as \"a songwriting savant with an intuitive gift for verse-chorus-bridge architecture\"." ], [ "CANNOTANSWER" ], [ "The Guardian has praised Swift for writing about teenage years \"with a kind of wistful, sepia-toned nostalgia\"" ], [ "Swift often addresses the \"anonymous crushes of her high school years\" and celebrities." ], [ "Swift tries not to talk about song subjects specifically \"because these are real people." ], [ "The singer herself has said that not all her songs are factual and that they are sometimes based on observations." ], [ "In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions." ] ] }

{ "answer_starts": [ 0, 165, 2306, 2189, 2883, 1349, 77, 746, 599, 1879 ], "texts": [ "Swift uses her life experiences as an inspiration in her work.", "Swift frequently criticizes ex-boyfriends,", "According to The Village Voice, she uses third-verse point of view reversals frequently.", "Rolling Stone describes Swift as \"a songwriting savant with an intuitive gift for verse-chorus-bridge architecture\".", "CANNOTANSWER", "The Guardian has praised Swift for writing about teenage years \"with a kind of wistful, sepia-toned nostalgia\"", "Swift often addresses the \"anonymous crushes of her high school years\" and celebrities.", "Swift tries not to talk about song subjects specifically \"because these are real people.", "The singer herself has said that not all her songs are factual and that they are sometimes based on observations.", "In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions." ] }

[]

[ "C_0d883b82d4fd49f688fb464ba3da5d55_1_q#0", "C_0d883b82d4fd49f688fb464ba3da5d55_1_q#1", "C_0d883b82d4fd49f688fb464ba3da5d55_1_q#2", "C_0d883b82d4fd49f688fb464ba3da5d55_1_q#3", "C_0d883b82d4fd49f688fb464ba3da5d55_1_q#4", "C_0d883b82d4fd49f688fb464ba3da5d55_1_q#5", "C_0d883b82d4fd49f688fb464ba3da5d55_1_q#6", "C_0d883b82d4fd49f688fb464ba3da5d55_1_q#7" ]

[ "Where did Salk attend school?", "When did he go to school?", "What did he study?", "Did he receive any special awards?", "Did he receive a degree?", "What else did he say about school?", "What is notable during his schooling?", "Did he collaborate with anyone?" ]

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{ "answer_starts": [ [ 0 ], [ 469 ], [ 66 ], [ 2680 ], [ 1351 ], [ 2003 ], [ 615 ], [ 2680 ] ], "texts": [ [ "After City College, Salk enrolled in New York University to study medicine." ], [ "1935," ], [ "medicine." ], [ "CANNOTANSWER" ], [ "According to Salk: \"My intention was to go to medical school, and then become a medical scientist." ], [ "And, I believe that this is all linked to my original ambition, or desire, which was to be of some help to humankind," ], [ "Salk worked as a laboratory technician during the school year and as a camp counselor in the summer." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 469, 66, 2680, 1351, 2003, 615, 2680 ], "texts": [ "After City College, Salk enrolled in New York University to study medicine.", "1935,", "medicine.", "CANNOTANSWER", "According to Salk: \"My intention was to go to medical school, and then become a medical scientist.", "And, I believe that this is all linked to my original ambition, or desire, which was to be of some help to humankind,", "Salk worked as a laboratory technician during the school year and as a camp counselor in the summer.", "CANNOTANSWER" ] }

[]

[ "C_0d883b82d4fd49f688fb464ba3da5d55_0_q#0", "C_0d883b82d4fd49f688fb464ba3da5d55_0_q#1", "C_0d883b82d4fd49f688fb464ba3da5d55_0_q#2", "C_0d883b82d4fd49f688fb464ba3da5d55_0_q#3", "C_0d883b82d4fd49f688fb464ba3da5d55_0_q#4", "C_0d883b82d4fd49f688fb464ba3da5d55_0_q#5", "C_0d883b82d4fd49f688fb464ba3da5d55_0_q#6", "C_0d883b82d4fd49f688fb464ba3da5d55_0_q#7" ]

[ "How did Salk get involved in Polio research?", "Where was his lab located?", "Did anyone assist with his research?", "How did he fund his research?", "Did his research lead to a vaccine being made?", "What year was the vaccine introduced for use?", "Are there any other interesting aspects about this article?", "How long did it take Salk to finish his polio vaccine?" ]

[ 2, 2, 2, 2, 2, 2, 2, 2 ]

[ 2, 2, 2, 2, 2, 2, 0, 2 ]

{ "answer_starts": [ [ 9 ], [ 74 ], [ 1276 ], [ 1675 ], [ 1924 ], [ 1642 ], [ 2022 ], [ 1873 ] ], "texts": [ [ "Salk became ambitious for his own lab" ], [ "University of Pittsburgh," ], [ "assisted by the staff at the D.T. Watson Home for Crippled Children," ], [ "involving 100 million contributors to the March of Dimes," ], [ "Salk's inactivated polio vaccine was the first vaccine for the disease;" ], [ "1955." ], [ "It is on the World Health Organization's List of Essential Medicines, the most effective and safe medicines needed in a health system." ], [ "Salk worked incessantly for two and a half years." ] ] }

{ "answer_starts": [ 9, 74, 1276, 1675, 1924, 1642, 2022, 1873 ], "texts": [ "Salk became ambitious for his own lab", "University of Pittsburgh,", "assisted by the staff at the D.T. Watson Home for Crippled Children,", "involving 100 million contributors to the March of Dimes,", "Salk's inactivated polio vaccine was the first vaccine for the disease;", "1955.", "It is on the World Health Organization's List of Essential Medicines, the most effective and safe medicines needed in a health system.", "Salk worked incessantly for two and a half years." ] }

[]

[ "In 1948, Harry Weaver, the director of research at the National Foundation for Infantile Paralysis, contacted Salk and asked him to determine if there were more types of polio beyond the three known at the time. Weaver offered additional space, equipment and researchers. Salk eventually joined the National Foundation for Infantile Paralysis's polio project established by President Franklin D. Roosevelt.", "Salk's lab was located at the University of Pittsburgh.", "Yes, Salk's research was assisted by researchers including Julius Youngner, Byron Bennett, L. James Lewis and a secretary, Lorraine Friedman. He also got assistance from the staff at the D.T. Watson Home for Crippled Children. Additionally, Harry Weaver from the National Foundation for Infantile Paralysis provided Salk with extra workspace, equipment, and researchers.", "Salk's research was funded through grants from the Mellon family and through funding from the National Foundation for Infantile Paralysis, which increased to $67 million by 1955 due to extensive publicity and fear of polio. The foundation even allowed itself to go into debt to finance the final research required to develop the Salk vaccine.", "Yes, Salk's research led to the development of the first vaccine for polio, which came into use in 1955.", "The vaccine was introduced for use in the year 1955.", "One interesting aspect of the article is the large scale of participation in the development of the vaccine. The project involved 100 million contributors to the March of Dimes, and 7 million volunteers. Additionally, the National Foundation for Infantile Paralysis allowed itself to go into debt to finance the research. The vaccine Salk developed is now listed on the World Health Organization's List of Essential Medicines, indicating its importance in health systems worldwide.", "Salk worked incessantly for two and a half years to finish his polio vaccine." ]

[ "No", "Yes", "Yes", "No", "Yes", "Yes", "Yes", "Yes" ]

[ "C_aa49f4724631400ab4337ca8a6d39e30_0_q#0", "C_aa49f4724631400ab4337ca8a6d39e30_0_q#1", "C_aa49f4724631400ab4337ca8a6d39e30_0_q#2", "C_aa49f4724631400ab4337ca8a6d39e30_0_q#3", "C_aa49f4724631400ab4337ca8a6d39e30_0_q#4", "C_aa49f4724631400ab4337ca8a6d39e30_0_q#5", "C_aa49f4724631400ab4337ca8a6d39e30_0_q#6" ]

[ "What was Elevation?", "How was Elevation received by critics?", "Was there a tour alongside the album release?", "Did she win any awards for Elevation?", "Did it do well outside Indonesia?", "Was there a successful followup album?", "Are there any other interesting aspects about this article?" ]

[ 0, 1, 2, 2, 1, 1, 0 ]

[ 2, 2, 1, 0, 0, 2, 2 ]

{ "answer_starts": [ [ 1317 ], [ 3131 ], [ 3021 ], [ 2009 ], [ 2158 ], [ 3131 ], [ 0 ] ], "texts": [ [ "her fourth international studio album, Elevation," ], [ "CANNOTANSWER" ], [ "Anggun was also featured on Schiller's concert series, Atemlos Tour, in 14 cities in Germany during May 2010." ], [ "Prior to its official release, the album had already been certified double platinum, making it the fastest-selling album of her career in Indonesia." ], [ "In France, the album debuted at number 36 on the French Albums Chart." ], [ "CANNOTANSWER" ], [ "During 2007, Anggun participated in several environmental projects." ] ] }

{ "answer_starts": [ 1317, 3131, 3021, 2009, 2158, 3131, 0 ], "texts": [ "her fourth international studio album, Elevation,", "CANNOTANSWER", "Anggun was also featured on Schiller's concert series, Atemlos Tour, in 14 cities in Germany during May 2010.", "Prior to its official release, the album had already been certified double platinum, making it the fastest-selling album of her career in Indonesia.", "In France, the album debuted at number 36 on the French Albums Chart.", "CANNOTANSWER", "During 2007, Anggun participated in several environmental projects." ] }

[ { "text": "This is a list of Indonesian musicians and musical groups from various genres.\n\nOther name\n/rif\n\n0 - 9 \n7icons — Girlband\n\nA \nA. Rafiq — Dangdut male singer\nAcha Septriasa — Pop female singer and actress\nADA Band — Pop rock/alternative rock band\nAddie MS — Music composer, producer and conductor\nAfgan — Pop/R&B/soul male singer and actor\nAgnez Mo — Indonesian-American pop/R&B/soul singer/songwriter, dancer and actress\nAhmad Albar — Rock musician and vocalist of God Bless\nAhmad Band — Rock band whose led by Ahmad Dhani\nAhmad Dhani — Pop singer/songwriter, composer and record producer who owner of label music Republik Cinta Management\nAmara — Soul/country singer and personnel of vocal group Lingua\nAndien — Jazz female singer\nAndmesh Kamaleng — Male pop/R&B/jazz singer, songwriter and winner of the 2nd season of Rising Star Indonesia\nAnggun — Indonesian and French naturalised singer/songwriter\nAri Lasso — Pop/rock solo singer who was ex-vocalist of Dewa 19\nArmageddon Holocaust — Old school black metal band\nAshilla Zee — Pop/rock singer\nAyu Ting Ting — Dangdut female singer\nAriel - male singer, singer/songwriter, musician\n\nB \nBalawan — Jazz/rock/traditional/fusion guitarist and double neck guitar virtuoso\nBenyamin Sueb — Traditional male singer and actor of Betawi descent\nBimbo — Religious group vocals\nBing Slamet — Indonesian singer, actor, and comedian\nBlink — Pop/jazz girlband\nBroery Marantika — Tenor male singer\nBunga Citra Lestari — Pop singer and actress\nBurgerkill — Metalcore/death metal/metal core band who won 2013 Metal Hammer Golden Gods Awards in UK\n\nC \nCamelia Malik — Dangdut female singer\nCherrybelle — Pop girlband\nChrisye — Pop/soul/progressive rock male singer\nCinta Laura — Electropop female singer, dancer, and actress who had begun her debut international career (as actress) in United States\nCita Citata — Dangdut female singer and actress\nCitra Scholastika — Pop/jazz female singer and actress who was selected as runner-up of Indonesian Idol of season 6\nCJR — Pop boyband\nCokelat — Hard rock/alternative rock band who won the category of Favorite Artist (Indonesia) at the 2003 MTV Asia Awards\n\nD \nD'Cinnamons\nD'Masiv\nDanilla Riyadi — Indie singer\nDara Puspita — Indonesian flower generation girl group\nDeadsquad\nDetty Kurnia — Sundanese pop singer\nDewa 19 — Indonesian rock band\nDewa Budjana — Indonesian jazz guitarist\nDewi Lestari — Indonesian singer/songwriter and best selling author\nDewi Persik — Dangdut singer\nDewiq — Rock singer and songwriter\nDewi Sandra — Pop/R&B singer, dancer, actress and model\nDidi Kempot — Campursari singer\n\nE \nEbiet G Ade — Country/ballad/folk male singer\nEfek Rumah Kaca\nElvy Sukaesih — Dangdut female diva and known as Queen of Dangdut Indonesia\nElwin Hendrijanto — Composer, producer, and pianist\nEmilia Contessa — Dangdut/Indo pop/keroncong female singer\nEros Djarot — Pop male singer/songwriter\nErwin Gutawa — Indonesian composer, songwriter, and bassist\nEva Celia\nEvie Tamala — Dangdut female singer\n\nF \nFatin Shidqia — Indonesian Pop Singer, winner of the first season of X Factor Indonesia\nFariz RM — Indonesian Pop Music Maestro\n.Feast — Rock band\n\nG \nGesang — Keroncong musician\nGigi — Rock band\nGlenn Fredly — Pop/R&B/jazz musician\nGita Gutawa — Pop/classical female singer, she won The 6th International Nile Children Song Festival in Cairo\nGod Bless — Rock group\nGombloh — Pop singer and songwriter\nGordon Tobing — Folk singer and songwriter \nGuruh Sukarnoputra — Musician/songwriter\n\nH \nHarmony Chinese Music Group\nHarry Roesli — Avant-garde musician\nHellcrust\nHMGNC\n\nI \nIan Antono — Indonesian guitarist and songwriter\nIda Laila — Female dangdut singer\nIis Dahlia — Female dangdut singer\nIkke Nurjanah — Female dangdut singer\nIksan Skuter — Indie folk/country singer\nIndra Lesmana — Jazz musician, singer, songwriter and record producer\nIndah Dewi Pertiwi — Indonesian pop singer, dancer, model\nInul Daratista — Dangdut female singer\n Irma Pane — Pop female singer\nIrwansyah — Pop singer and actor\nIsmail Marzuki — Writer of patriotic songs\nIwa K — Male rapper\nIwan Fals — Folk/country/ballad male singer\nIsyana Sarasvati — Pop/RnB/jazz/soul female singer, pianist, and songwriter\n\nJ \nJames F. Sundah — Songwriter\nJamrud — Hard rock/heavy metal band. \nJikustik — Pop rock band\nJKT48 — Idol group, Indonesian sister band of Japanese AKB48\nJockie Soerjoprajogo — Musician, keyboarder, and songwriter\nJoy Tobing — Winner of Indonesian Idol season 1\nJ-Rocks — Rock band\nJulia Perez — Dangdut singer, actress, and model for FHM and Maxim France\n\nK \nKahitna — Pop band\nKekal — Heavy metal and electronic music band\nKerispatih — Pop band\nKeisya Levronka — Pop female singer\nKoes Plus — One of Indonesia's earliest pop band\nKoil — Industrial rock/heavy metal band\nKotak — Pop/rock band\nKrisdayanti — Pop/R&B female singer\nKilling Me Inside — Modern rock emo\n\nL\nLilis Suryani\nLingua - Indonesian vocal group\nLesti Kejora - Female dangdut singer\nLetto - Indonesian pop band\nLyodra Ginting - Indonesian pop singer\n\nM \n Mahalini — Pop Female singer\n Maliq & D'Essentials — Jazz group\n Marshanda — Pop/R&B female singer and actress\n Mansyur S. — Dangdut male singer\n Marthino Lio\n Maudy Ayunda — Female singer/songwriter and actress\n Melky Goeslaw — Pop Male Singer\n Melly Goeslaw — Pop/R&B/dance singer/songwriter, record producer\n Meriam Bellina — Pop singer and actress\n Mike Mohede — Winner of Indonesian Idol season 2\n Mocca — Retro swing/jazz band\n Mulan Jameela — Pop singer and formerly of duo Ratu\n\nN \n Nafa Urbach — Indonesian rock/dangdut singer\n Naif — Rock band\n Nasida Ria — Qasidah modern group\n Naura Ayu\n Neonomora\n Netral — Indonesian rock/punk band\n Nicky Astria — Indonesian rock singer\n Nike Ardilla — Indonesia Rock, Pop Rock, Blues, metal singer\n Niki — R&B singer, record producer\n Nidji — Pop band\n Noah — alternative pop/rock band\n Norazia — Funk/soul/pop singer\n Novita Dewi — Indonesian pop/rock/gospel singer, grand champion of Astana International Song Festival 2005 in Kazakhstan\n Nu Dimension — Indonesian boy band, 2nd runner-up of X Factor Indonesia first season\n\nO\nOnce — Pop singer\n\nP \n Padi — Alternative rock band, MTV Asia Awards 2002's winner on the category Most Favourite Indonesian Artist\n Pamungkas\n Panbers — Pop/rock/spiritual/keroncong group\n Pasto-1 — Pop/rock/R&B group\n Pee Wee Gaskins — Rock/pop-punk band\n Pinkan Mambo — Pop/R&B female singer, formerly of duo Ratu\n Prilly Latuconsina — Pop female singer and actress\n Project Pop — Indonesian comedic band \n Purgatory — Metal band\n\nR \n Radja — Pop/rock band\n Rainych — J-Pop/City Pop female singer\n Ratu — Female pop/R&B/rock duo\n RAN — Jazz/funk/hip-hop/pop group\n Rhoma Irama — Dangdut male singer/songwriter, musician, actor, politician. He recognised as The King of Dangdut Indonesia\n Rini Wulandari — Indonesian pop/RnB singer. Winner of Indonesian Idol season 4\n Rizky Febian — Male pop, RnB, soul & jazz singer, songwriter. He is the son of the comedian Sule\n Rossa — pop/R&B/soul female singer\n Ruth Sahanaya — Pop/R&B/classic female singer\n Raisa — Pop/R&B/soul/jazz female singer\n Rich Brian — Indonesian rapper/comedian\n\nS \nSajama Cut — Indie rock band\nSambaSunda — Ethnic music fusion group\nSamsons — Pop rock band\nSandhy Sondoro — Pop/adult contemporary male singer and winner of the 2009 International Contest of Young Pop Singer New Wave in Latvia\nSeringai — Rock/stoner band\nSeventeen — Pop rock band\nSheila on 7 — Pop/alternative rock band\nSherina Munaf — Female pop singer/songwriter and former most popular child star\nSheryl Sheinafia — Female pop/soul singer\nSiksakubur\nSiti Badriah — Female dangdut singer\nSlamet Abdul Sjukur — Contemporary musician\nSlank — Rock band\nSM*SH — Boyband\nSoimah Pancawati\nSore — Indonesian rock revival/psychedelic band\nSOS — Girlband\n Raden Ajeng Srimulat — Keroncong singer \nST 12 — Pop band\nStephanie Poetri\nSule — Comedian and pop singer\nSuperman Is Dead — Punk rock band\nSuper Girlies\nSuper 7 — Pop boyband \nSyahrini — Pop female singer/songwriter and actress\n\nT \nTantowi Yahya — Indonesian well-known country singer, TV presenter and member of Indonesian house of representative\nTerry Shahab — Pop female singer\nTiara Andini - Pop female singer and actress, runner up Indonesian Idol season 10\nTielman Brothers — First Indonesian band\nTika and The Dissidents - Indonesian indie pop\nTipe-X — Ska band\nTiti DJ — Pop/R&B/soul female singer, Indonesian representative at Miss World 1983\nTitiek Puspa — Pop female singer\nThe Changcuters — Garage rock/rock & roll band\nThe S.I.G.I.T. — Garage rock band\nTrees & Wild — Post-rock/folk band\nTulus — Pop/soul/jazz male singer\n\nU \nUngu — Pop/rock band\nUN1TY\n\nV \nVia Vallen — Dangdut/pop female singer \nVidi Aldiano — Pop male singer\nVina Panduwinata — Pop female singer\n\nW \nWage Rudolf Supratman — Musician/songwriter, creator of Indonesia national anthem\nWali — Pop creative band\nWaljinah — Keroncong female singer\nWeird Genius — Electro-pop group\nWest Java Syndicate — Ethnic-fusion group\nWhite Shoes & The Couples Company — Rock/pop/jazz band\n\nY \nYana Julio — Pop jazzy male artist\nYovie & Nuno — Pop band\nYuni Shara — Pop female singer\nYura Yunita — Pop female singer\n\nZ \nZeke and the Popo — Psychedelic/folkrock/ambient band\nZiva Magnolya\n\nReferences\n\n \nIndonesian musicians and musical groups", "title": "List of Indonesian musicians and musical groups" }, { "text": "This is a list of recording artists who have reached number one on the singles chart in Italy since Federazione Industria Musicale Italiana (FIMI) began reporting charts on 4 January 1997.\n\nAll acts are listed alphabetically.\nSolo artists are alphabetized by last name, Groups by group name excluding \"A\", \"An\", and \"The\".\nEach act's total of number-one singles is shown after their name.\nAll artists who are mentioned in song credits are listed here; this includes one-time pairings of otherwise solo artists and those appearing as featured. Members of a group who reached number one are excluded, unless they hit number one as a solo artist.\n\n0–9\n112 (1)\n2 Eivissa (1)\n2Pac (1)\nII Volo (1)\n883 (1)\n\nA\nGigi D'Alessio (1)\nAdele (5)\nAerosmith (1)\nAlessandra Amoroso (3)\nAlexandra Stan (1)\nAlexia (3)\nAlizée (1)\nAll Saints (1)\nTori Amos (1)\nAnastacia (3)\n Anastasio (1)\nAnggun (1)\n Anna (2)\nAqua (3)\nArisa (3)\nArtisti Uniti per l'Abruzzo (1)\nAsaf Avidan (1)\nAventura (1)\nAvicii (1)\n\nB\nBackstreet Boys (2) \nBand Aid 20 (1)\nBaby K (1)\nClaudio Baglioni (1)\n Bastard Sons of Dioniso (1)\nJ Balvin (5)\nDaniele Battaglia (1)\nLou Bega (1)\n Benji & Fede (1)\nOrietta Berti (1) \nBeyoncé (1)\nJustin Bieber (3)\nBizarrap (2)\nBlack Eyed Peas (3)\n Blackwood (1)\nBlanco (5)\nMary J. Blige (1)\nBloodhoundgang (1)\n Bloody Vinyl (1)\nBlue (1)\nBomfunk MC's (1)\nBoomdabash (1)\nBon Jovi (1)\nCarl Brave (1)\nMichele Bravi (1)\n Bresh and Shune (1)\nDescemer Bueno (1)\n Brenda (1)\nMichael Bublé (1)\n Luca Butera (1)\n\nC\nThe Calling (1)\nCamila Cabello (1)\nPedro Capó (1)\n Cara (1)\nMariah Carey (1)\nPierdavide Carone (1)\nMarco Carta (2)\n Charlie Charles (2)\nChiara (2)\nCher (1)\nChumbawamba (1)\n Cinema 2 (1)\nClean Bandit (1)\nClub Dogo (2)\nCoez (3)\nColapesce (1)\nColdplay (1)\nCoolio (1)\n\nD\nDaft Punk (2)\n Dardust (1)\nDark Polo Gang (3)\nDeborah Iurato (1)\nMiggy Dela Rosa (1)\nDepeche Mode (3)\nDes'ree (1)\nDido (2)\nDimartino (1)\nLuca Dirisio (1)\nDiodato (1)\nCeline Dion (1)\nDJ Dado (1)\nDJ Snake (1)\nDrake (1)\nDr. Dre (1)\n Drefgold (2)\n\nE\nEamon (1)\nSfera Ebbasta (25)\n Tony Effe (1)\nEiffel 65 (2)\nEl Cata (1)\nElisa (4)\nElio e le Storie Tese (1)\nElodie (1)\nEminem (3)\nErnia (1)\nEvanescence (1)\nFaith Evans (1)\n\nF\nFarruko (1)\nDani Faiv and Tha Supreme (1)\nFedez (12)\nGiusy Ferreri (5)\nTiziano Ferro (5)\nFabri Fibra (2)\nFive (1)\nLuis Fonsi (1)\nZucchero Fornaciari (1)\nLorenzo Fragola (1)\nFreshlyground (1)\nFugees (1)\n\nG\nFrancesco Gabbani (1)\nMaria Gadú (1)\nLady Gaga (1)\nGala (2)\nGente De Zona (1)\nGemitaiz (2)\n Geolier (3)\nGhali (5)\nMaître Gims (1)\nGiò Di Tonno (1)\nGiorgia (2)\nGiuliano Sangiorgi (1)\nSelena Gomez (1)\nGoo Goo Dolls (1)\nGotye (1)\nEllie Goulding (2)\nGorillaz (1)\nGreen Day (1)\nDavid Guetta (1)\n\nH\nHaiducii (1)\nGeri Halliwell (1)\nHoobastank (1)\nHozier (1)\nRocco Hunt (1)\nJames Hype (1)\n\nI\n\nEnrique Iglesias (2)\nIrama (1)\n\nJ\nJanet Jackson (1)\nJ-Ax (5)\nMichael Jackson (7)\nNicky Jam (2)\nJamelia (1)\nJamiroquai (2)\n Simone Jay (1)\nWyclef Jean (1)\nJon Bon Jovi\nLivin' Joy (1)\nVegas Jones (1)\nJovanotti (6)\nJuanes (1)\n\nK\n\n Junior K (1)\nRonan Keating (1)\nNicole Kidman (1)\nKiesza (1)\nKimbra (1)\nSean Kingston (1)\nWiz Khalifa (2)\nEmis Killa (2)\nKlingande (1)\nLenny Kravitz (1)\n\nL\nLas Ketchup (1)\n Achille Lauro (1)\nAvril Lavigne (1)\n Lazza (7)\n Luchè (1)\nLe Vibrazioni (1)\nLevante (1)\nLigabue (4)\nLilly Wood & The Prick (1)\nGusttavo Lima (1)\nLollipop (1)\nJennifer Lopez (4)\nLorde (1)\nLo Stato Sociale (1)\nLukas Graham (1)\nLucenzo (1)\nLumidee (1)\nLunapop (1)\nLykke Li (1)\nL.V. (1)\n\nM\nMØ (1)\n Mace (1)\n Machette (2)\nMadonna (12)\nMadman (2)\nMahmood (3)\nMajor Lazer (1)\nMåneskin (2)\nFiorella Mannoia (1)\nManu Chao (1)\nMarracash (2)\nLene Marlin (2)\nMarracash (1)\nEmma Marrone (4)\nRicky Martin (3)\nMaroon 5 (1)\nMattafix (1)\nAna Mena (2)\nShawn Mendes (1)\nPaolo Meneguzzi (1)\nMarco Mengoni (5)\nGeorge Michael (3)\nFrancesca Michielin (4)\nMika (2)\nRobert Miles (3)\nMina (1)\nKylie Minogue (2)\nModà (1)\nFabrizio Moro (1)\nMousse T (1)\n\nN\nGianna Nannini (1)\nNathalie (1)\nNaughty Boy (1)\n Maria Nayer (1) \nNegramaro (1)\nNeja (1)\nAnne-Marie (1)\nNoemi (2)\nNoir Desir (1)\nNovecento (1)\n Nstasia (1)\n\nO\nOasis (5)\nThe Offspring (1)\nMr. Oizo (1)\nOmi (1)\nOneRepublic (1)\nDon Omar (1)\n\nP\nFred De Palma (1)\nPanjabi MC (1)\nSean Paul (2)\nPassenger (1)\nLaura Pausini (4)\nPaola & Chiara (1)\nGuè Pequeno (5)\nKaty Perry (1)\n Pulcino Pio (1)\nPinguini Tattici Nucleari (2)\nPink (1)\nPitbull (1)\nPiero Pelù (2)\nCapo Plaza (6)\nElvis Presley (1)\nPsy (1)\nLola Ponce (1)\nPovia (1)\nCharlie Puth (2)\nPuff Daddy (1)\n\nQ\n\nQuavo (1)\nQuevedo (1)\n\nR\n\nRaf (1)\nRalphi Rosario (1)\nEros Ramazzotti (6)\nDizzee Rascal (1)\nRed Hot Chili Peppers (1)\nRegina (1)\nFrancesco Renga (2)\n Rhove (1)\nRihanna (2)\nRkomi (2)\nValeria Rossi (1)\nVasco Rossi (9)\nFabio Rovazzi (2)\nKelly Rowland (1)\nLee Ryan (1)\nNate Ruess (1)\nRvssian (1)\n\nS\nSalmo (9)\nSam Smith (1)\nSangiovanni (1)\n Mara Sattei (3)\nValerio Scanu (2)\nRobin Schulz (1)\n Shablo (1)\nShakira (6)\nEd Sheeran (3)\n Shiva (4)\n Sick Luke (1)\nShivaree (1)\nSia (1)\n Slait (1)\nSmoke City (1)\nSnow (1)\nÁlvaro Soler (2)\n Stash (1)\nBritney Spears (4)\nSpice Girls (1)\nStromae (1)\nSugarfree (1)\n\nT\n\nT-Pain (1)\nt.A.T.u. (1)\nTakagi & Ketra (2)\nTake That (1)\nTananai (1)\nMichel Teló (1)\nTha Supreme (8)\nThegiornalisti (1)\nJustin Timberlake (1)\nTimbaland (2)\nTina Turner (1)\nTi.Pi.Cal. (2)\nTiromancino (1)\nTones and I (1)\nTricarico (1)\n\nU\nU2 (8)\n Ultimo (1)\nUnderworld (1)\n Urban Strangers (1)\nMidge Ure (1)\n\nW\nAlan Walker (1)\n Michelle Weeks (1)\nWhirlpool Productions (1) \nWill.I.Am (1)\nWilly William (1)\nPharrell Williams (2)\nRobbie Williams (5)\n\nX\nX Factor Finalisti 2009 (1)\n\nY\n\nDaddy Yankee (2)\n\nZ\nChecco Zalone (1)\nZero Assoluto (2)\nRenato Zero (2)\n\nReferences\nHit Parade Archive\nItalianCharts.com — Archives from 2000 onwards\n\n*\nItalian Singles Chart", "title": "List of artists who reached number one on the Italian Singles Chart" } ]

[ "C_aa49f4724631400ab4337ca8a6d39e30_1_q#0", "C_aa49f4724631400ab4337ca8a6d39e30_1_q#1", "C_aa49f4724631400ab4337ca8a6d39e30_1_q#2", "C_aa49f4724631400ab4337ca8a6d39e30_1_q#3", "C_aa49f4724631400ab4337ca8a6d39e30_1_q#4", "C_aa49f4724631400ab4337ca8a6d39e30_1_q#5", "C_aa49f4724631400ab4337ca8a6d39e30_1_q#6" ]

[ "Where was Anggun born?", "Did she have any siblings?", "When did she start singing?", "Where was her first performance?", "Did she release any music during this time period?", "What was the critics response to that album?", "Where there any singles from her first album?" ]

[ 0, 0, 0, 1, 0, 1, 1 ]

[ 2, 0, 2, 2, 0, 2, 2 ]

{ "answer_starts": [ [ 0 ], [ 69 ], [ 372 ], [ 2701 ], [ 828 ], [ 2701 ], [ 2701 ] ], "texts": [ [ "Anggun was born and raised in Jakarta" ], [ "She is the second child" ], [ "At the age of seven, Anggun began receiving highly disciplined instruction in singing from her father." ], [ "CANNOTANSWER" ], [ "At the age of twelve, she released her first official studio album, Dunia Aku Punya (1986)." ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 69, 372, 2701, 828, 2701, 2701 ], "texts": [ "Anggun was born and raised in Jakarta", "She is the second child", "At the age of seven, Anggun began receiving highly disciplined instruction in singing from her father.", "CANNOTANSWER", "At the age of twelve, she released her first official studio album, Dunia Aku Punya (1986).", "CANNOTANSWER", "CANNOTANSWER" ] }

[ { "text": "This is a list of Indonesian musicians and musical groups from various genres.\n\nOther name\n/rif\n\n0 - 9 \n7icons — Girlband\n\nA \nA. Rafiq — Dangdut male singer\nAcha Septriasa — Pop female singer and actress\nADA Band — Pop rock/alternative rock band\nAddie MS — Music composer, producer and conductor\nAfgan — Pop/R&B/soul male singer and actor\nAgnez Mo — Indonesian-American pop/R&B/soul singer/songwriter, dancer and actress\nAhmad Albar — Rock musician and vocalist of God Bless\nAhmad Band — Rock band whose led by Ahmad Dhani\nAhmad Dhani — Pop singer/songwriter, composer and record producer who owner of label music Republik Cinta Management\nAmara — Soul/country singer and personnel of vocal group Lingua\nAndien — Jazz female singer\nAndmesh Kamaleng — Male pop/R&B/jazz singer, songwriter and winner of the 2nd season of Rising Star Indonesia\nAnggun — Indonesian and French naturalised singer/songwriter\nAri Lasso — Pop/rock solo singer who was ex-vocalist of Dewa 19\nArmageddon Holocaust — Old school black metal band\nAshilla Zee — Pop/rock singer\nAyu Ting Ting — Dangdut female singer\nAriel - male singer, singer/songwriter, musician\n\nB \nBalawan — Jazz/rock/traditional/fusion guitarist and double neck guitar virtuoso\nBenyamin Sueb — Traditional male singer and actor of Betawi descent\nBimbo — Religious group vocals\nBing Slamet — Indonesian singer, actor, and comedian\nBlink — Pop/jazz girlband\nBroery Marantika — Tenor male singer\nBunga Citra Lestari — Pop singer and actress\nBurgerkill — Metalcore/death metal/metal core band who won 2013 Metal Hammer Golden Gods Awards in UK\n\nC \nCamelia Malik — Dangdut female singer\nCherrybelle — Pop girlband\nChrisye — Pop/soul/progressive rock male singer\nCinta Laura — Electropop female singer, dancer, and actress who had begun her debut international career (as actress) in United States\nCita Citata — Dangdut female singer and actress\nCitra Scholastika — Pop/jazz female singer and actress who was selected as runner-up of Indonesian Idol of season 6\nCJR — Pop boyband\nCokelat — Hard rock/alternative rock band who won the category of Favorite Artist (Indonesia) at the 2003 MTV Asia Awards\n\nD \nD'Cinnamons\nD'Masiv\nDanilla Riyadi — Indie singer\nDara Puspita — Indonesian flower generation girl group\nDeadsquad\nDetty Kurnia — Sundanese pop singer\nDewa 19 — Indonesian rock band\nDewa Budjana — Indonesian jazz guitarist\nDewi Lestari — Indonesian singer/songwriter and best selling author\nDewi Persik — Dangdut singer\nDewiq — Rock singer and songwriter\nDewi Sandra — Pop/R&B singer, dancer, actress and model\nDidi Kempot — Campursari singer\n\nE \nEbiet G Ade — Country/ballad/folk male singer\nEfek Rumah Kaca\nElvy Sukaesih — Dangdut female diva and known as Queen of Dangdut Indonesia\nElwin Hendrijanto — Composer, producer, and pianist\nEmilia Contessa — Dangdut/Indo pop/keroncong female singer\nEros Djarot — Pop male singer/songwriter\nErwin Gutawa — Indonesian composer, songwriter, and bassist\nEva Celia\nEvie Tamala — Dangdut female singer\n\nF \nFatin Shidqia — Indonesian Pop Singer, winner of the first season of X Factor Indonesia\nFariz RM — Indonesian Pop Music Maestro\n.Feast — Rock band\n\nG \nGesang — Keroncong musician\nGigi — Rock band\nGlenn Fredly — Pop/R&B/jazz musician\nGita Gutawa — Pop/classical female singer, she won The 6th International Nile Children Song Festival in Cairo\nGod Bless — Rock group\nGombloh — Pop singer and songwriter\nGordon Tobing — Folk singer and songwriter \nGuruh Sukarnoputra — Musician/songwriter\n\nH \nHarmony Chinese Music Group\nHarry Roesli — Avant-garde musician\nHellcrust\nHMGNC\n\nI \nIan Antono — Indonesian guitarist and songwriter\nIda Laila — Female dangdut singer\nIis Dahlia — Female dangdut singer\nIkke Nurjanah — Female dangdut singer\nIksan Skuter — Indie folk/country singer\nIndra Lesmana — Jazz musician, singer, songwriter and record producer\nIndah Dewi Pertiwi — Indonesian pop singer, dancer, model\nInul Daratista — Dangdut female singer\n Irma Pane — Pop female singer\nIrwansyah — Pop singer and actor\nIsmail Marzuki — Writer of patriotic songs\nIwa K — Male rapper\nIwan Fals — Folk/country/ballad male singer\nIsyana Sarasvati — Pop/RnB/jazz/soul female singer, pianist, and songwriter\n\nJ \nJames F. Sundah — Songwriter\nJamrud — Hard rock/heavy metal band. \nJikustik — Pop rock band\nJKT48 — Idol group, Indonesian sister band of Japanese AKB48\nJockie Soerjoprajogo — Musician, keyboarder, and songwriter\nJoy Tobing — Winner of Indonesian Idol season 1\nJ-Rocks — Rock band\nJulia Perez — Dangdut singer, actress, and model for FHM and Maxim France\n\nK \nKahitna — Pop band\nKekal — Heavy metal and electronic music band\nKerispatih — Pop band\nKeisya Levronka — Pop female singer\nKoes Plus — One of Indonesia's earliest pop band\nKoil — Industrial rock/heavy metal band\nKotak — Pop/rock band\nKrisdayanti — Pop/R&B female singer\nKilling Me Inside — Modern rock emo\n\nL\nLilis Suryani\nLingua - Indonesian vocal group\nLesti Kejora - Female dangdut singer\nLetto - Indonesian pop band\nLyodra Ginting - Indonesian pop singer\n\nM \n Mahalini — Pop Female singer\n Maliq & D'Essentials — Jazz group\n Marshanda — Pop/R&B female singer and actress\n Mansyur S. — Dangdut male singer\n Marthino Lio\n Maudy Ayunda — Female singer/songwriter and actress\n Melky Goeslaw — Pop Male Singer\n Melly Goeslaw — Pop/R&B/dance singer/songwriter, record producer\n Meriam Bellina — Pop singer and actress\n Mike Mohede — Winner of Indonesian Idol season 2\n Mocca — Retro swing/jazz band\n Mulan Jameela — Pop singer and formerly of duo Ratu\n\nN \n Nafa Urbach — Indonesian rock/dangdut singer\n Naif — Rock band\n Nasida Ria — Qasidah modern group\n Naura Ayu\n Neonomora\n Netral — Indonesian rock/punk band\n Nicky Astria — Indonesian rock singer\n Nike Ardilla — Indonesia Rock, Pop Rock, Blues, metal singer\n Niki — R&B singer, record producer\n Nidji — Pop band\n Noah — alternative pop/rock band\n Norazia — Funk/soul/pop singer\n Novita Dewi — Indonesian pop/rock/gospel singer, grand champion of Astana International Song Festival 2005 in Kazakhstan\n Nu Dimension — Indonesian boy band, 2nd runner-up of X Factor Indonesia first season\n\nO\nOnce — Pop singer\n\nP \n Padi — Alternative rock band, MTV Asia Awards 2002's winner on the category Most Favourite Indonesian Artist\n Pamungkas\n Panbers — Pop/rock/spiritual/keroncong group\n Pasto-1 — Pop/rock/R&B group\n Pee Wee Gaskins — Rock/pop-punk band\n Pinkan Mambo — Pop/R&B female singer, formerly of duo Ratu\n Prilly Latuconsina — Pop female singer and actress\n Project Pop — Indonesian comedic band \n Purgatory — Metal band\n\nR \n Radja — Pop/rock band\n Rainych — J-Pop/City Pop female singer\n Ratu — Female pop/R&B/rock duo\n RAN — Jazz/funk/hip-hop/pop group\n Rhoma Irama — Dangdut male singer/songwriter, musician, actor, politician. He recognised as The King of Dangdut Indonesia\n Rini Wulandari — Indonesian pop/RnB singer. Winner of Indonesian Idol season 4\n Rizky Febian — Male pop, RnB, soul & jazz singer, songwriter. He is the son of the comedian Sule\n Rossa — pop/R&B/soul female singer\n Ruth Sahanaya — Pop/R&B/classic female singer\n Raisa — Pop/R&B/soul/jazz female singer\n Rich Brian — Indonesian rapper/comedian\n\nS \nSajama Cut — Indie rock band\nSambaSunda — Ethnic music fusion group\nSamsons — Pop rock band\nSandhy Sondoro — Pop/adult contemporary male singer and winner of the 2009 International Contest of Young Pop Singer New Wave in Latvia\nSeringai — Rock/stoner band\nSeventeen — Pop rock band\nSheila on 7 — Pop/alternative rock band\nSherina Munaf — Female pop singer/songwriter and former most popular child star\nSheryl Sheinafia — Female pop/soul singer\nSiksakubur\nSiti Badriah — Female dangdut singer\nSlamet Abdul Sjukur — Contemporary musician\nSlank — Rock band\nSM*SH — Boyband\nSoimah Pancawati\nSore — Indonesian rock revival/psychedelic band\nSOS — Girlband\n Raden Ajeng Srimulat — Keroncong singer \nST 12 — Pop band\nStephanie Poetri\nSule — Comedian and pop singer\nSuperman Is Dead — Punk rock band\nSuper Girlies\nSuper 7 — Pop boyband \nSyahrini — Pop female singer/songwriter and actress\n\nT \nTantowi Yahya — Indonesian well-known country singer, TV presenter and member of Indonesian house of representative\nTerry Shahab — Pop female singer\nTiara Andini - Pop female singer and actress, runner up Indonesian Idol season 10\nTielman Brothers — First Indonesian band\nTika and The Dissidents - Indonesian indie pop\nTipe-X — Ska band\nTiti DJ — Pop/R&B/soul female singer, Indonesian representative at Miss World 1983\nTitiek Puspa — Pop female singer\nThe Changcuters — Garage rock/rock & roll band\nThe S.I.G.I.T. — Garage rock band\nTrees & Wild — Post-rock/folk band\nTulus — Pop/soul/jazz male singer\n\nU \nUngu — Pop/rock band\nUN1TY\n\nV \nVia Vallen — Dangdut/pop female singer \nVidi Aldiano — Pop male singer\nVina Panduwinata — Pop female singer\n\nW \nWage Rudolf Supratman — Musician/songwriter, creator of Indonesia national anthem\nWali — Pop creative band\nWaljinah — Keroncong female singer\nWeird Genius — Electro-pop group\nWest Java Syndicate — Ethnic-fusion group\nWhite Shoes & The Couples Company — Rock/pop/jazz band\n\nY \nYana Julio — Pop jazzy male artist\nYovie & Nuno — Pop band\nYuni Shara — Pop female singer\nYura Yunita — Pop female singer\n\nZ \nZeke and the Popo — Psychedelic/folkrock/ambient band\nZiva Magnolya\n\nReferences\n\n \nIndonesian musicians and musical groups", "title": "List of Indonesian musicians and musical groups" }, { "text": "This is a list of recording artists who have reached number one on the singles chart in Italy since Federazione Industria Musicale Italiana (FIMI) began reporting charts on 4 January 1997.\n\nAll acts are listed alphabetically.\nSolo artists are alphabetized by last name, Groups by group name excluding \"A\", \"An\", and \"The\".\nEach act's total of number-one singles is shown after their name.\nAll artists who are mentioned in song credits are listed here; this includes one-time pairings of otherwise solo artists and those appearing as featured. Members of a group who reached number one are excluded, unless they hit number one as a solo artist.\n\n0–9\n112 (1)\n2 Eivissa (1)\n2Pac (1)\nII Volo (1)\n883 (1)\n\nA\nGigi D'Alessio (1)\nAdele (5)\nAerosmith (1)\nAlessandra Amoroso (3)\nAlexandra Stan (1)\nAlexia (3)\nAlizée (1)\nAll Saints (1)\nTori Amos (1)\nAnastacia (3)\n Anastasio (1)\nAnggun (1)\n Anna (2)\nAqua (3)\nArisa (3)\nArtisti Uniti per l'Abruzzo (1)\nAsaf Avidan (1)\nAventura (1)\nAvicii (1)\n\nB\nBackstreet Boys (2) \nBand Aid 20 (1)\nBaby K (1)\nClaudio Baglioni (1)\n Bastard Sons of Dioniso (1)\nJ Balvin (5)\nDaniele Battaglia (1)\nLou Bega (1)\n Benji & Fede (1)\nOrietta Berti (1) \nBeyoncé (1)\nJustin Bieber (3)\nBizarrap (2)\nBlack Eyed Peas (3)\n Blackwood (1)\nBlanco (5)\nMary J. Blige (1)\nBloodhoundgang (1)\n Bloody Vinyl (1)\nBlue (1)\nBomfunk MC's (1)\nBoomdabash (1)\nBon Jovi (1)\nCarl Brave (1)\nMichele Bravi (1)\n Bresh and Shune (1)\nDescemer Bueno (1)\n Brenda (1)\nMichael Bublé (1)\n Luca Butera (1)\n\nC\nThe Calling (1)\nCamila Cabello (1)\nPedro Capó (1)\n Cara (1)\nMariah Carey (1)\nPierdavide Carone (1)\nMarco Carta (2)\n Charlie Charles (2)\nChiara (2)\nCher (1)\nChumbawamba (1)\n Cinema 2 (1)\nClean Bandit (1)\nClub Dogo (2)\nCoez (3)\nColapesce (1)\nColdplay (1)\nCoolio (1)\n\nD\nDaft Punk (2)\n Dardust (1)\nDark Polo Gang (3)\nDeborah Iurato (1)\nMiggy Dela Rosa (1)\nDepeche Mode (3)\nDes'ree (1)\nDido (2)\nDimartino (1)\nLuca Dirisio (1)\nDiodato (1)\nCeline Dion (1)\nDJ Dado (1)\nDJ Snake (1)\nDrake (1)\nDr. Dre (1)\n Drefgold (2)\n\nE\nEamon (1)\nSfera Ebbasta (25)\n Tony Effe (1)\nEiffel 65 (2)\nEl Cata (1)\nElisa (4)\nElio e le Storie Tese (1)\nElodie (1)\nEminem (3)\nErnia (1)\nEvanescence (1)\nFaith Evans (1)\n\nF\nFarruko (1)\nDani Faiv and Tha Supreme (1)\nFedez (12)\nGiusy Ferreri (5)\nTiziano Ferro (5)\nFabri Fibra (2)\nFive (1)\nLuis Fonsi (1)\nZucchero Fornaciari (1)\nLorenzo Fragola (1)\nFreshlyground (1)\nFugees (1)\n\nG\nFrancesco Gabbani (1)\nMaria Gadú (1)\nLady Gaga (1)\nGala (2)\nGente De Zona (1)\nGemitaiz (2)\n Geolier (3)\nGhali (5)\nMaître Gims (1)\nGiò Di Tonno (1)\nGiorgia (2)\nGiuliano Sangiorgi (1)\nSelena Gomez (1)\nGoo Goo Dolls (1)\nGotye (1)\nEllie Goulding (2)\nGorillaz (1)\nGreen Day (1)\nDavid Guetta (1)\n\nH\nHaiducii (1)\nGeri Halliwell (1)\nHoobastank (1)\nHozier (1)\nRocco Hunt (1)\nJames Hype (1)\n\nI\n\nEnrique Iglesias (2)\nIrama (1)\n\nJ\nJanet Jackson (1)\nJ-Ax (5)\nMichael Jackson (7)\nNicky Jam (2)\nJamelia (1)\nJamiroquai (2)\n Simone Jay (1)\nWyclef Jean (1)\nJon Bon Jovi\nLivin' Joy (1)\nVegas Jones (1)\nJovanotti (6)\nJuanes (1)\n\nK\n\n Junior K (1)\nRonan Keating (1)\nNicole Kidman (1)\nKiesza (1)\nKimbra (1)\nSean Kingston (1)\nWiz Khalifa (2)\nEmis Killa (2)\nKlingande (1)\nLenny Kravitz (1)\n\nL\nLas Ketchup (1)\n Achille Lauro (1)\nAvril Lavigne (1)\n Lazza (7)\n Luchè (1)\nLe Vibrazioni (1)\nLevante (1)\nLigabue (4)\nLilly Wood & The Prick (1)\nGusttavo Lima (1)\nLollipop (1)\nJennifer Lopez (4)\nLorde (1)\nLo Stato Sociale (1)\nLukas Graham (1)\nLucenzo (1)\nLumidee (1)\nLunapop (1)\nLykke Li (1)\nL.V. (1)\n\nM\nMØ (1)\n Mace (1)\n Machette (2)\nMadonna (12)\nMadman (2)\nMahmood (3)\nMajor Lazer (1)\nMåneskin (2)\nFiorella Mannoia (1)\nManu Chao (1)\nMarracash (2)\nLene Marlin (2)\nMarracash (1)\nEmma Marrone (4)\nRicky Martin (3)\nMaroon 5 (1)\nMattafix (1)\nAna Mena (2)\nShawn Mendes (1)\nPaolo Meneguzzi (1)\nMarco Mengoni (5)\nGeorge Michael (3)\nFrancesca Michielin (4)\nMika (2)\nRobert Miles (3)\nMina (1)\nKylie Minogue (2)\nModà (1)\nFabrizio Moro (1)\nMousse T (1)\n\nN\nGianna Nannini (1)\nNathalie (1)\nNaughty Boy (1)\n Maria Nayer (1) \nNegramaro (1)\nNeja (1)\nAnne-Marie (1)\nNoemi (2)\nNoir Desir (1)\nNovecento (1)\n Nstasia (1)\n\nO\nOasis (5)\nThe Offspring (1)\nMr. Oizo (1)\nOmi (1)\nOneRepublic (1)\nDon Omar (1)\n\nP\nFred De Palma (1)\nPanjabi MC (1)\nSean Paul (2)\nPassenger (1)\nLaura Pausini (4)\nPaola & Chiara (1)\nGuè Pequeno (5)\nKaty Perry (1)\n Pulcino Pio (1)\nPinguini Tattici Nucleari (2)\nPink (1)\nPitbull (1)\nPiero Pelù (2)\nCapo Plaza (6)\nElvis Presley (1)\nPsy (1)\nLola Ponce (1)\nPovia (1)\nCharlie Puth (2)\nPuff Daddy (1)\n\nQ\n\nQuavo (1)\nQuevedo (1)\n\nR\n\nRaf (1)\nRalphi Rosario (1)\nEros Ramazzotti (6)\nDizzee Rascal (1)\nRed Hot Chili Peppers (1)\nRegina (1)\nFrancesco Renga (2)\n Rhove (1)\nRihanna (2)\nRkomi (2)\nValeria Rossi (1)\nVasco Rossi (9)\nFabio Rovazzi (2)\nKelly Rowland (1)\nLee Ryan (1)\nNate Ruess (1)\nRvssian (1)\n\nS\nSalmo (9)\nSam Smith (1)\nSangiovanni (1)\n Mara Sattei (3)\nValerio Scanu (2)\nRobin Schulz (1)\n Shablo (1)\nShakira (6)\nEd Sheeran (3)\n Shiva (4)\n Sick Luke (1)\nShivaree (1)\nSia (1)\n Slait (1)\nSmoke City (1)\nSnow (1)\nÁlvaro Soler (2)\n Stash (1)\nBritney Spears (4)\nSpice Girls (1)\nStromae (1)\nSugarfree (1)\n\nT\n\nT-Pain (1)\nt.A.T.u. (1)\nTakagi & Ketra (2)\nTake That (1)\nTananai (1)\nMichel Teló (1)\nTha Supreme (8)\nThegiornalisti (1)\nJustin Timberlake (1)\nTimbaland (2)\nTina Turner (1)\nTi.Pi.Cal. (2)\nTiromancino (1)\nTones and I (1)\nTricarico (1)\n\nU\nU2 (8)\n Ultimo (1)\nUnderworld (1)\n Urban Strangers (1)\nMidge Ure (1)\n\nW\nAlan Walker (1)\n Michelle Weeks (1)\nWhirlpool Productions (1) \nWill.I.Am (1)\nWilly William (1)\nPharrell Williams (2)\nRobbie Williams (5)\n\nX\nX Factor Finalisti 2009 (1)\n\nY\n\nDaddy Yankee (2)\n\nZ\nChecco Zalone (1)\nZero Assoluto (2)\nRenato Zero (2)\n\nReferences\nHit Parade Archive\nItalianCharts.com — Archives from 2000 onwards\n\n*\nItalian Singles Chart", "title": "List of artists who reached number one on the Italian Singles Chart" } ]

[ "Anggun was born in Jakarta.", "Yes, she did have siblings. She is the second child in her family.", "Anggun started receiving highly disciplined instruction in singing from her father at the age of seven.", "The text does not provide information on where Anggun's first performance took place.", "Yes, Anggun released music during this time period. She recorded her first children's album at the age of nine. At the age of twelve, she released her first official studio album, Dunia Aku Punya (1986). She continued to release music over the following years, including singles and studio albums.", "The text does not provide information on the critics' response to Anggun's first album.", "The text does not provide information on whether there were any singles from Anggun's first album, Dunia Aku Punya." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes", "Yes", "Yes" ]

[ "C_15a6e11fffe44c0594aa2439a1e8aaae_0_q#0", "C_15a6e11fffe44c0594aa2439a1e8aaae_0_q#1", "C_15a6e11fffe44c0594aa2439a1e8aaae_0_q#2", "C_15a6e11fffe44c0594aa2439a1e8aaae_0_q#3", "C_15a6e11fffe44c0594aa2439a1e8aaae_0_q#4", "C_15a6e11fffe44c0594aa2439a1e8aaae_0_q#5", "C_15a6e11fffe44c0594aa2439a1e8aaae_0_q#6", "C_15a6e11fffe44c0594aa2439a1e8aaae_0_q#7", "C_15a6e11fffe44c0594aa2439a1e8aaae_0_q#8" ]

[ "What television shows did appear?", "How long ws Crabble on air?", "Was the show Crabble popular?", "What other shows were Crabble in?", "What was the name of the children's television program?", "When was the Gabby Hayes Show on air?", "What other interesting aspects can you tell me about the article?", "What happened in the 1950s?", "When was he done with television?" ]

[ 0, 0, 1, 0, 0, 1, 0, 0, 2 ]

[ 2, 2, 2, 2, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 0 ], [ 80 ], [ 1903 ], [ 248 ], [ 337 ], [ 1903 ], [ 810 ], [ 953 ], [ 1349 ] ], "texts": [ [ "Crabbe starred in the television series, Captain Gallant of the Foreign Legion (1955 to 1957) as Captain Michael Gallant;" ], [ "1955 to 1957" ], [ "CANNOTANSWER" ], [ "Crabbe was featured frequently in archival footage in the children's television program, The Gabby Hayes Show." ], [ "The Gabby Hayes Show." ], [ "CANNOTANSWER" ], [ "The Buster Crabbe Show was seen weekday evenings on WOR-TV (Channel 9) in New York City from Monday March 12, 1951," ], [ "The series returned to the NYC airways on WJZ-TV (Channel 7) (now WABC) on Monday September 21, 1953, and was retitled Buster's Buddies" ], [ "Crabbe made regular television appearances, including one on an episode of the 1979 series Buck Rogers in the 25th Century," ] ] }

{ "answer_starts": [ 0, 80, 1903, 248, 337, 1903, 810, 953, 1349 ], "texts": [ "Crabbe starred in the television series, Captain Gallant of the Foreign Legion (1955 to 1957) as Captain Michael Gallant;", "1955 to 1957", "CANNOTANSWER", "Crabbe was featured frequently in archival footage in the children's television program, The Gabby Hayes Show.", "The Gabby Hayes Show.", "CANNOTANSWER", "The Buster Crabbe Show was seen weekday evenings on WOR-TV (Channel 9) in New York City from Monday March 12, 1951,", "The series returned to the NYC airways on WJZ-TV (Channel 7) (now WABC) on Monday September 21, 1953, and was retitled Buster's Buddies", "Crabbe made regular television appearances, including one on an episode of the 1979 series Buck Rogers in the 25th Century," ] }

[]

[ "Crabbe appeared in the television shows Captain Gallant of the Foreign Legion, The Gabby Hayes Show, The Buster Crabbe Show, and Buddies!. He also made an appearance on an episode of the series Buck Rogers in the 25th Century.", "Based on the information given in the context, Crabbe's television career spanned across several years, from at least 1951 with \"The Buster Crabbe Show\" to 1979 with his guest appearance on \"Buck Rogers in the 25th Century\". However, clear end and start dates aren't provided for all his shows, so an exact length for his time on air cannot be calculated.", "The context does not provide specific information on the popularity of all the shows Crabbe starred in. However, it does mention that \"Buster's Buddies!\", a show that Crabbe was part of, was not a hit and was cancelled.", "Aside from \"Captain Gallant of the Foreign Legion,\" Crabbe also starred in \"The Buster Crabbe Show\" and \"Buster's Buddies!\". He made regular television appearances, notably in an episode of the series \"Buck Rogers in the 25th Century.\" He also appeared in archival footage for \"The Gabby Hayes Show.\"", "The name of the children's television program that frequently featured Crabbe in archival footage was \"The Gabby Hayes Show.\"", "The context does not provide information on when The Gabby Hayes Show was on air.", "One interesting aspect from the article is that Crabbe's real-life son, Cullen Crabbe, appeared alongside him in the TV show \"Captain Gallant of the Foreign Legion,\" playing the character \"Cuffy Sanders\". \n\nAlso notable is that in an episode of the 1979 series \"Buck Rogers in the 25th Century\", Crabbe played a retired fighter pilot named \"Brigadier Gordon\" - a reference to Flash Gordon, another character Crabbe was famous for playing. There's a humorous moment in the episode where his character asserts he's been flying since before the character Rogers was born - a knowing wink to the audience, since Crabbe had indeed been playing characters like Flash Gordon and Buck Rogers for decades.", "In the 1950s, Crabbe starred in the television series \"Captain Gallant of the Foreign Legion\" from 1955 to 1957. Before this, he had hosted a children's film wraparound television series \"The Buster Crabbe Show\". This show aired weekday evenings on WOR-TV in New York City from Monday March 12, 1951, to Friday October 3, 1952. It returned to the airways on WJZ-TV on Monday September 21, 1953, under the new title \"Buster's Buddies!\". This version of the show included a studio audience of kids and transformed into more of a variety kids show. However, the show was not a hit and was canceled on Friday March 26, 1954.", "The context does not provide a specific date or year when Crabbe stopped appearing on television. The latest dated appearance mentioned is in 1979, when he appeared on an episode of the series \"Buck Rogers in the 25th Century.\"" ]

[ "Yes", "No", "Yes", "Yes", "Yes", "Yes", "No", "Yes", "Yes" ]

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[ "Is Born Again the name of a Black Sabbath album?", "What is a single from the album?", "How did Born Again do on the music charts?", "Why did the critics have a negative reception of the album?", "Did the band tour for this album?", "Was Ward replaced by another drummer?", "Did the band tour with any other bands?" ]

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{ "answer_starts": [ [ 653 ], [ 1686 ], [ 716 ], [ 2575 ], [ 1038 ], [ 1395 ], [ 1587 ] ], "texts": [ [ "Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album," ], [ "The band headlined the 1983 Reading Festival in England, adding the Deep Purple song \"Smoke on the Water\" to their set list." ], [ "Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S." ], [ "CANNOTANSWER" ], [ "Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band" ], [ "Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour," ], [ ") which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger." ] ] }

{ "answer_starts": [ 653, 1686, 716, 2575, 1038, 1395, 1587 ], "texts": [ "Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album,", "The band headlined the 1983 Reading Festival in England, adding the Deep Purple song \"Smoke on the Water\" to their set list.", "Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S.", "CANNOTANSWER", "Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band", "Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour,", ") which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger." ] }

[]

[ "C_f01b13d0faa241c6b1089b2eaf2f5573_0_q#0", "C_f01b13d0faa241c6b1089b2eaf2f5573_0_q#1", "C_f01b13d0faa241c6b1089b2eaf2f5573_0_q#2", "C_f01b13d0faa241c6b1089b2eaf2f5573_0_q#3", "C_f01b13d0faa241c6b1089b2eaf2f5573_0_q#4", "C_f01b13d0faa241c6b1089b2eaf2f5573_0_q#5", "C_f01b13d0faa241c6b1089b2eaf2f5573_0_q#6", "C_f01b13d0faa241c6b1089b2eaf2f5573_0_q#7" ]

[ "When did the Spice Girls become popular?", "What is girl power?", "When was Wannabe released?", "What other songs was on that record?", "Are there any other interesting aspects about this article?", "How else did they promote girl power?", "Did they tour at this time?", "How did the band start?" ]

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{ "answer_starts": [ [ 721 ], [ 104 ], [ 595 ], [ 3357 ], [ 851 ], [ 997 ], [ 3357 ], [ 3357 ] ], "texts": [ [ "the emergence of the Spice Girls in 1996 with \"Wannabe\", that the concept of \"girl power\" exploded onto the common consciousness." ], [ "The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band:" ], [ "1996" ], [ "CANNOTANSWER" ], [ "The phrase was regularly uttered by all five members" ], [ "The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore." ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 721, 104, 595, 3357, 851, 997, 3357, 3357 ], "texts": [ "the emergence of the Spice Girls in 1996 with \"Wannabe\", that the concept of \"girl power\" exploded onto the common consciousness.", "The phrase was a label for the particular facet of post classical neo-feminist empowerment embraced by the band:", "1996", "CANNOTANSWER", "The phrase was regularly uttered by all five members", "The slogan also featured on official Spice Girls merchandise and on some of the outfits the group members wore.", "CANNOTANSWER", "CANNOTANSWER" ] }

[]

[ "The Spice Girls became popular in 1996.", "\"Girl power\" is a social phenomenon and slogan that put a name to the particular facet of post classical neo-feminist empowerment embraced by the Spice Girls, which suggested that a sensual, feminine appearance and equality between the sexes need not be mutually exclusive. The phrase also emphasized the importance of strong and loyal friendship among females. The Spice Girls' version of \"girl power\" appealed to young girls, adolescents, and adult women and was marked by the consistent presentation of empowerment.", "\"Wannabe\" was released in 1996.", "The context does not provide information on what other songs were on the record with \"Wannabe\" by the Spice Girls.", "In the context, few interesting aspects include the Spice Girls being credited for reinvigorating mainstream feminism, popularly known as \"girl power\", in the 1990s. Their mantra served as a gateway to feminism for their young fans. In 2016, a global remake of the original music video for \"Wannabe\" was filmed by the United Nations' Global Goals \"#WhatIReallyReallyWant\" campaign to highlight gender inequality issues. Successful actress Blake Lively dedicated her \"Favorite Dramatic Movie Actress\" award at the 43rd People's Choice Awards in 2017 to \"girl power\" and credited the Spice Girls for introducing her to the concept.", "The Spice Girls promoted \"girl power\" not only through their music, but also by regularly uttering the phrase and delivering it with a peace sign. The slogan \"girl power\" also featured on official Spice Girls merchandise and on some of the outfits the group members wore. Their message of empowerment and importance of strong, loyal female friendships also significantly contributed to the promotion of \"girl power\".", "The context does not provide information on whether the Spice Girls toured at the time they popularized \"girl power\".", "The context does not provide information on how the Spice Girls band started." ]

[ "Yes", "Yes", "Yes", "Yes", "No", "Yes", "Yes", "Yes" ]

[ "C_f01b13d0faa241c6b1089b2eaf2f5573_1_q#0", "C_f01b13d0faa241c6b1089b2eaf2f5573_1_q#1", "C_f01b13d0faa241c6b1089b2eaf2f5573_1_q#2", "C_f01b13d0faa241c6b1089b2eaf2f5573_1_q#3", "C_f01b13d0faa241c6b1089b2eaf2f5573_1_q#4", "C_f01b13d0faa241c6b1089b2eaf2f5573_1_q#5", "C_f01b13d0faa241c6b1089b2eaf2f5573_1_q#6" ]

[ "When was the album Forever released ?", "How was the album received by the critics ?", "How well did the album do in the charts ?", "Can you name a song from the album ?", "How did the single Holler perform in the charts ?", "Did they go on any tours in that period ?", "Did they win any awards in that period ?" ]

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{ "answer_starts": [ [ 1908 ], [ 2846 ], [ 2041 ], [ 2364 ], [ 2465 ], [ 1370 ], [ 462 ] ], "texts": [ [ "In November 2000, the group released Forever." ], [ "In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies." ], [ "In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart." ], [ "The lead single from Forever, the double A-side \"Holler\"/\"Let Love Lead the Way\"," ], [ "ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside," ], [ "In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld," ], [ "group won two awards: \"Best Pop Act\" and \"Best Group\" for a second time." ] ] }

{ "answer_starts": [ 1908, 2846, 2041, 2364, 2465, 1370, 462 ], "texts": [ "In November 2000, the group released Forever.", "In total, Forever achieved only a fraction of the success of its two best-selling predecessors, selling five million copies.", "In the US, the album peaked at number thirty-nine on the Billboard 200 albums chart.", "The lead single from Forever, the double A-side \"Holler\"/\"Let Love Lead the Way\",", "ninth number one single in the UK. However the song failed to break onto the Billboard Hot 100 singles chart stateside,", "In December 1999 they performed live for a UK-only tour, Christmas in Spiceworld,", "group won two awards: \"Best Pop Act\" and \"Best Group\" for a second time." ] }

[]

[ "The album Forever was released in November 2000.", "The album Forever received a lukewarm response from critics.", "In the US, the album Forever peaked at number thirty-nine on the Billboard 200 albums chart. In the UK, the album was beaten to the number one spot by Westlife's Coast to Coast album, leaving the Spice Girls at number two. The lead single from Forever, \"Holler\"/\"Let Love Lead the Way\", became the group's ninth number one single in the UK. However, the song failed to break onto the Billboard Hot 100 singles chart stateside, instead peaking at number seven on the Bubbling Under Hot 100 Singles. \"Holler\" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000.", "Yes, one song from the album Forever is \"Holler\"/\"Let Love Lead the Way\".\n", "The single \"Holler\" became the group's ninth number one single in the UK. However, in the US, the song failed to break onto the Billboard Hot 100 singles chart, instead peaking at number seven on the Bubbling Under Hot 100 Singles. \"Holler\" did peak at number thirty-one on the Hot Dance Music/Club Play chart in 2000.", "In December 1999, the Spice Girls performed live for a UK-only tour, Christmas in Spiceworld, in London and Manchester. Beyond this, the context does not provide any further information about additional tours in that specific period.", "The Spice Girls won a Lifetime Achievement Award at the 2000 Brit Awards during that period." ]

[ "Yes", "No", "Yes", "Yes", "Yes", "Yes", "Yes" ]

[ "C_33cdd6eae6294662ac88929b38897497_0_q#0", "C_33cdd6eae6294662ac88929b38897497_0_q#1", "C_33cdd6eae6294662ac88929b38897497_0_q#2", "C_33cdd6eae6294662ac88929b38897497_0_q#3", "C_33cdd6eae6294662ac88929b38897497_0_q#4", "C_33cdd6eae6294662ac88929b38897497_0_q#5", "C_33cdd6eae6294662ac88929b38897497_0_q#6" ]

[ "what happened in 2006?", "was it successful?", "did it have any hit singles?", "did they go on tour?", "where did they tour?", "Are there any other interesting aspects about this article?", "why did they change their name?" ]

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{ "answer_starts": [ [ 68 ], [ 326 ], [ 411 ], [ 501 ], [ 1419 ], [ 609 ], [ 707 ] ], "texts": [ [ "Rhino Records released Black Sabbath: The Dio Years, a compilation of songs culled from the four Black Sabbath releases featuring Ronnie James Dio." ], [ "The Dio Years was released on 3 April 2007, reaching number 54 on the Billboard 200," ], [ "while the single \"The Devil Cried\" reached number 37 on the Mainstream Rock Tracks chart." ], [ "Pleased with the results, Iommi and Dio decided to reunite the 1981 Mob Rules era line-up for a world tour." ], [ "Heaven & Hell toured the U.S. with openers Megadeth and Machine Head," ], [ "While the line-up of Osbourne, Butler, Iommi and Ward were still officially called Black Sabbath, the new line-up opted to call themselves Heaven & Hell," ], [ "the new line-up opted to call themselves Heaven & Hell, after the album of the same name, to avoid confusion." ] ] }

{ "answer_starts": [ 68, 326, 411, 501, 1419, 609, 707 ], "texts": [ "Rhino Records released Black Sabbath: The Dio Years, a compilation of songs culled from the four Black Sabbath releases featuring Ronnie James Dio.", "The Dio Years was released on 3 April 2007, reaching number 54 on the Billboard 200,", "while the single \"The Devil Cried\" reached number 37 on the Mainstream Rock Tracks chart.", "Pleased with the results, Iommi and Dio decided to reunite the 1981 Mob Rules era line-up for a world tour.", "Heaven & Hell toured the U.S. with openers Megadeth and Machine Head,", "While the line-up of Osbourne, Butler, Iommi and Ward were still officially called Black Sabbath, the new line-up opted to call themselves Heaven & Hell,", "the new line-up opted to call themselves Heaven & Hell, after the album of the same name, to avoid confusion." ] }

[]

[ "In 2006, Ozzy Osbourne was working on new solo album material while Rhino Records released Black Sabbath: The Dio Years, a compilation of songs from the four Black Sabbath releases featuring Ronnie James Dio. For this release, Iommi, Butler, Dio, and Appice reunited to write and record three new songs as Black Sabbath.", "The context mentions that The Dio Years was released in April 2007, reached number 54 on the Billboard 200, and the single \"The Devil Cried\" reached number 37 on the Mainstream Rock Tracks chart. However, it does not specifically address how successful it was in 2006.", "Yes, the single \"The Devil Cried\" from The Dio Years reached number 37 on the Mainstream Rock Tracks chart.", "Yes, Iommi and Dio decided to reunite the 1981 Mob Rules era line-up for a world tour. The new line-up, which included Iommi, Butler, Dio and Appice, called themselves Heaven & Hell. They toured the U.S. with openers Megadeth and Machine Head and recorded a live album and DVD in New York on 30 March 2007, titled Live from Radio City Music Hall.", "The band, under the name Heaven & Hell, toured the U.S.", "Yes, there are a few interesting aspects in the article. One is that Ozzy Osbourne filed a lawsuit against Tony Iommi over the name rights to Black Sabbath, seeking 50% ownership of the trademark. However, Iommi claimed that as the only constant band member for its entire 41-year career, and because the other members had relinquished their rights to the name in the 1980s, he had more rights to the band's name. The lawsuit ended in June 2010, but the terms of the settlement have not been disclosed. Another interesting aspect is that Ronnie James Dio, part of the Dio fronted Black Sabbath incarnation and later Heaven & Hell, died in May 2010 from stomach cancer.", "The line-up of Iommi, Butler, Dio and Appice decided to call themselves Heaven & Hell, after the album of the same name, to avoid confusion with the original Black Sabbath line-up of Osbourne, Butler, Iommi, and Ward. Iommi stated that, \"it really is Black Sabbath, whatever we do... so everyone knows what they're getting [and] so people won't expect to hear 'Iron Man' and all those songs.\" They wanted to differentiate this version of the band where they would be performing the songs they did with Ronnie James Dio, not the hits commonly associated with the original Black Sabbath." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes", "Neutral", "Yes" ]

[ "C_789b98270fac4965984e009af26fd528_1_q#0", "C_789b98270fac4965984e009af26fd528_1_q#1", "C_789b98270fac4965984e009af26fd528_1_q#2", "C_789b98270fac4965984e009af26fd528_1_q#3", "C_789b98270fac4965984e009af26fd528_1_q#4", "C_789b98270fac4965984e009af26fd528_1_q#5", "C_789b98270fac4965984e009af26fd528_1_q#6", "C_789b98270fac4965984e009af26fd528_1_q#7" ]

[ "when did she die?", "how did she die?", "When was her funeral?", "Where was she buried?", "Did she outlive her spouse?", "Are there any other interesting aspects about this article?", "Why did they have to fight for space?", "what legal troubles did she have?" ]

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{ "answer_starts": [ [ 0 ], [ 113 ], [ 703 ], [ 1551 ], [ 1824 ], [ 776 ], [ 940 ], [ 529 ] ], "texts": [ [ "Winnie Madikizela-Mandela died at the Netcare Milpark Hospital in Johannesburg on 2 April 2018" ], [ "She suffered from diabetes and had recently undergone several major surgeries." ], [ "Her public funeral service was held at Orlando Stadium on 14 April 2018." ], [ "After the public service, her body was interred at a cemetery in Fourways in the north of Johannesburg during a private memorial service." ], [ "CANNOTANSWER" ], [ "Planning for Madikizela Mandela's funeral was largely handled by her daughters and Julius Malema, and the ANC reportedly had to \"fight for space\" on the programme." ], [ "At the public service, ANC and South African President Cyril Ramaphosa \"acknowledged\" that the ANC failed to stand by Madikizela-Mandela's side during her legal troubles." ], [ "saying that \"anyone who accuses Mama Winnie of any crime is guilty of treason\"." ] ] }

{ "answer_starts": [ 0, 113, 703, 1551, 1824, 776, 940, 529 ], "texts": [ "Winnie Madikizela-Mandela died at the Netcare Milpark Hospital in Johannesburg on 2 April 2018", "She suffered from diabetes and had recently undergone several major surgeries.", "Her public funeral service was held at Orlando Stadium on 14 April 2018.", "After the public service, her body was interred at a cemetery in Fourways in the north of Johannesburg during a private memorial service.", "CANNOTANSWER", "Planning for Madikizela Mandela's funeral was largely handled by her daughters and Julius Malema, and the ANC reportedly had to \"fight for space\" on the programme.", "At the public service, ANC and South African President Cyril Ramaphosa \"acknowledged\" that the ANC failed to stand by Madikizela-Mandela's side during her legal troubles.", "saying that \"anyone who accuses Mama Winnie of any crime is guilty of treason\"." ] }

[ { "text": "Winnie or Winny may refer to:\n\nPeople\n Winnie (name), various persons with the given name\n David Winnie (born 1966), Scottish former association football player and manager\n Xi Jinping (born 1953), Chinese leader\n\nEntertainment\nWinnie-the-Pooh, a fictional teddy bear created by A. A. Milne\nInternet memes of Chinese leader Xi Jinping\nWinnie Mandela (film), a 2011 Canadian film about Winnie Mandela, originally titled Winnie\nWinnie (2017 film), a South African biographical documentary film about Winnie Mandela\nthe title character of the Winnie the Witch children's picture book series by Valerie Thomas \n Gwendolyne \"Winnie\" Cooper, a character on the television show The Wonder Years\nWinnie, a character in the Hotel Transylvania movie series\n\nPlaces in the United States\nWinnie, Texas, a census-designated place\nWinnie, Virginia, an unincorporated community\n\nOther uses\nTropical Storm Winnie (disambiguation)\nWinnie (hard disk), a colloquial term for hard disk used in the past\nWinnie (website), an application that helps parents go places with their children \n Winnie, one of a pair of British cross-Channel guns in the Second World War near Dover, the other being named Pooh\n Winnipeg the Bear, known as Winnie, a Canadian black bear at the London Zoo in the 1920s\n Winnie (feline), a supposed big cat sighted in the Netherlands in 2005 \n Winny, a Japanese peer-to-peer program\n Coty Award for womenswear, popularly nicknamed Winnie\n\nSee also \n Wini (disambiguation)", "title": "Winnie" } ]

[ "Winnie Madikizela-Mandela died on 2 April 2018.", "The text does not provide specific details on the exact cause of Winnie Madikizela-Mandela's death. However, it mentions that she suffered from diabetes and had recently undergone several major surgeries.", "Her public funeral service was held at Orlando Stadium on 14 April 2018.", "She was buried at a cemetery in Fourways in the north of Johannesburg.", "The text does not provide information on whether Winnie Madikizela-Mandela outlived her spouse.", "The article also mentions the politically charged atmosphere around the time of Madikizela-Mandela's funeral, with ANC leader Jessie Duarte and the Economic Freedom Fighters leader Julius Malema making strong statements. It states that ANC and South African President Cyril Ramaphosa acknowledged the ANC's previous failure to support Madikizela-Mandela during her legal troubles. Julius Malema criticized the United Democratic Front and certain members of the ANC for distancing themselves from Madikizela-Mandela, and her daughter Zenani condemned those who had vilified her. The ANC urged restraint in response to the allegations made at the funeral.", "The ANC reportedly had to \"fight for space\" on the program for Winnie Madikizela-Mandela's funeral because the planning was largely handled by her daughters and Julius Malema. The specific reasons for this are not detailed in the text.", "The text does not provide specific information about Winnie Madikizela-Mandela's legal troubles." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes", "Yes", "No", "No" ]

[ "C_d189e6b99ea04627b701abfd791e3d8a_0_q#0", "C_d189e6b99ea04627b701abfd791e3d8a_0_q#1", "C_d189e6b99ea04627b701abfd791e3d8a_0_q#2", "C_d189e6b99ea04627b701abfd791e3d8a_0_q#3", "C_d189e6b99ea04627b701abfd791e3d8a_0_q#4", "C_d189e6b99ea04627b701abfd791e3d8a_0_q#5", "C_d189e6b99ea04627b701abfd791e3d8a_0_q#6", "C_d189e6b99ea04627b701abfd791e3d8a_0_q#7", "C_d189e6b99ea04627b701abfd791e3d8a_0_q#8", "C_d189e6b99ea04627b701abfd791e3d8a_0_q#9" ]

[ "What was her first music performance?", "Was she given any award as a singer?", "Who has she sing with?", "Who is her Manager?", "What special thing happened to her durin her music career?", "What is the name of her album", "Is there anything intresting?", "What is the name of her hit song?", "When did she start to sing?", "What is the name of her parent?" ]

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{ "answer_starts": [ [ 35 ], [ 2053 ], [ 1937 ], [ 2409 ], [ 2053 ], [ 1570 ], [ 2409 ], [ 365 ], [ 3 ], [ 9 ] ], "texts": [ [ "Summertime" ], [ "Johansson was issued a cease and desist order from the lead singer of the Los Angeles-based rock band the Singles," ], [ "Este Haim from HAIM, Holly Miranda, Kendra Morris, and Julia Haltigan." ], [ "CANNOTANSWER" ], [ "Johansson was issued a cease and desist order from the lead singer of the Los Angeles-based rock band the Singles, demanding she stop using their name." ], [ "Johansson is the first artist on the album, singing \"Bullet\"." ], [ "CANNOTANSWER" ], [ "\"What Goes Around... Comes Around\"," ], [ "2006," ], [ "Johansson" ] ] }

{ "answer_starts": [ 35, 2053, 1937, 2409, 2053, 1570, 2409, 365, 3, 9 ], "texts": [ "Summertime", "Johansson was issued a cease and desist order from the lead singer of the Los Angeles-based rock band the Singles,", "Este Haim from HAIM, Holly Miranda, Kendra Morris, and Julia Haltigan.", "CANNOTANSWER", "Johansson was issued a cease and desist order from the lead singer of the Los Angeles-based rock band the Singles, demanding she stop using their name.", "Johansson is the first artist on the album, singing \"Bullet\".", "CANNOTANSWER", "\"What Goes Around... Comes Around\",", "2006,", "Johansson" ] }

[]

[ "In 2006, Scarlett Johansson sang the track \"Summertime\" for Unexpected Dreams - Songs From the Stars, a non-profit collection of songs recorded by Hollywood actors. This is her first mentioned music performance in the provided context.", "The context does not provide information about Scarlett Johansson receiving any awards as a singer.", "Scarlett Johansson has performed with the Jesus and Mary Chain at a Coachella reunion show. She also collaborated with singer-songwriter Pete Yorn on an album, and formed a band called the Singles with Este Haim from HAIM, Holly Miranda, Kendra Morris, and Julia Haltigan. Additionally, her debut album featured David Bowie and members from the Yeah Yeah Yeahs and Celebration.", "The context does not provide information about Scarlett Johansson's music manager.", "A significant event in Scarlett Johansson's music career mentioned in the context is that she was issued a cease and desist order from the lead singer of the Los Angeles-based rock band the Singles, demanding she stop using their name for her band.", "Scarlett Johansson has released two albums: \"Anywhere I Lay My Head\" and \"Break Up,\" the latter is a collaborative album with singer-songwriter Pete Yorn.", "One interesting aspect from the provided context is that Scarlett Johansson, who is primarily known as a Hollywood actress, has a rather diverse music career. She has performed with various renowned artists, released two albums, one of which includes ten covers of Tom Waits’ songs, and even formed her own band. Her album \"Anywhere I Lay My Head\" received a mixture of reviews, some critics calling it \"a bravely eccentric selection,\" \"a brilliant album\" with \"ghostly magic\". Despite being primarily an actress, her album was named the \"23rd best album of 2008\" by NME.", "The context does not provide information about a hit song by Scarlett Johansson.", "The context mentions that Scarlett Johansson first sang the track \"Summertime\" for Unexpected Dreams - Songs From the Stars, a non-profit collection of songs recorded by Hollywood actors, in 2006.", "The context does not provide information about Scarlett Johansson's parents." ]

[ "Yes", "No", "No", "Yes", "Yes", "No", "No", "No", "Yes", "No" ]

[ "C_4805a536db9741fb856fb82950112961_1_q#0", "C_4805a536db9741fb856fb82950112961_1_q#1", "C_4805a536db9741fb856fb82950112961_1_q#2", "C_4805a536db9741fb856fb82950112961_1_q#3", "C_4805a536db9741fb856fb82950112961_1_q#4", "C_4805a536db9741fb856fb82950112961_1_q#5", "C_4805a536db9741fb856fb82950112961_1_q#6" ]

[ "What is Out of the Vein?", "When was it released?", "Did it receive any recognition?", "Did they release any singles with the album Out of the Vein?", "How well did they do?", "Was there any collaboration on Out of the Vein?", "Did they have any influences or inspiration for the album?" ]

[ 0, 0, 0, 0, 1, 0, 1 ]

[ 2, 2, 0, 0, 2, 0, 2 ]

{ "answer_starts": [ [ 779 ], [ 703 ], [ 818 ], [ 744 ], [ 2674 ], [ 1913 ], [ 2674 ] ], "texts": [ [ "album:" ], [ "2003," ], [ "Out of the Vein did not sell as well as its predecessors, with numbers estimated around 500,000 copies as of March 2007." ], [ "Two singles were released from the album:" ], [ "CANNOTANSWER" ], [ "the liner notes falsely credited guitarist Tony Fredianelli with the creative work of former guitarist Kevin Cadogan," ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 779, 703, 818, 744, 2674, 1913, 2674 ], "texts": [ "album:", "2003,", "Out of the Vein did not sell as well as its predecessors, with numbers estimated around 500,000 copies as of March 2007.", "Two singles were released from the album:", "CANNOTANSWER", "the liner notes falsely credited guitarist Tony Fredianelli with the creative work of former guitarist Kevin Cadogan,", "CANNOTANSWER" ] }

[]

[ "Out of the Vein is an album released by the band in 2003.", "The album \"Out of the Vein\" was released in 2003.", "The text does not provide information on any recognition or awards that the album \"Out of the Vein\" might have received.", "Yes, the band released two singles from the album \"Out of the Vein\": \"Blinded\" and \"Crystal Baller.\"", "The text doesn't provide specific information on how well the singles \"Blinded\" and \"Crystal Baller\" from the album \"Out of the Vein\" performed. However, it's mentioned that the album itself did not sell as well as its predecessors, with numbers estimated around 500,000 copies as of March 2007.", "The text does not provide information on any collaborations on the album \"Out of the Vein.\"", "The text does not provide information on any influences or inspiration for the album \"Out of the Vein.\"" ]

[ "Yes", "Yes", "No", "Yes", "Yes", "No", "Yes" ]

[ "C_4805a536db9741fb856fb82950112961_0_q#0", "C_4805a536db9741fb856fb82950112961_0_q#1", "C_4805a536db9741fb856fb82950112961_0_q#2", "C_4805a536db9741fb856fb82950112961_0_q#3", "C_4805a536db9741fb856fb82950112961_0_q#4", "C_4805a536db9741fb856fb82950112961_0_q#5", "C_4805a536db9741fb856fb82950112961_0_q#6", "C_4805a536db9741fb856fb82950112961_0_q#7" ]

[ "Who are Red Star and Ursa Major?", "How many songs did Ursa Major have?", "Is Red Star also an album?", "How well did it do in popularity terms?", "Did any singles release with the album Ursa Major?", "How many disks did they sell?", "Are there any other interesting aspects about this article?", "What countries did they visit?" ]

[ 0, 2, 0, 1, 0, 1, 0, 1 ]

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{ "answer_starts": [ [ 122 ], [ 0 ], [ 0 ], [ 2151 ], [ 513 ], [ 2151 ], [ 753 ], [ 2151 ] ], "texts": [ [ "Third Eye Blind's fourth studio album Ursa Major was released on August 18, 2009." ], [ "A single, \"Non-Dairy Creamer,\" was released in November 2008 and was part of the internet exclusive digital EP Red Star." ], [ "A single, \"Non-Dairy Creamer,\" was released in November 2008 and was part of the internet exclusive digital EP Red Star." ], [ "CANNOTANSWER" ], [ "The band released only one official single from the record, \"Don't Believe a Word\", on June 16, 2009;" ], [ "CANNOTANSWER" ], [ "The band toured in support of the album throughout the end of 2009." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 122, 0, 0, 2151, 513, 2151, 753, 2151 ], "texts": [ "Third Eye Blind's fourth studio album Ursa Major was released on August 18, 2009.", "A single, \"Non-Dairy Creamer,\" was released in November 2008 and was part of the internet exclusive digital EP Red Star.", "A single, \"Non-Dairy Creamer,\" was released in November 2008 and was part of the internet exclusive digital EP Red Star.", "CANNOTANSWER", "The band released only one official single from the record, \"Don't Believe a Word\", on June 16, 2009;", "CANNOTANSWER", "The band toured in support of the album throughout the end of 2009.", "CANNOTANSWER" ] }

[]

[ "Red Star is an internet exclusive digital EP which includes the single \"Non-Dairy Creamer\" released by Third Eye Blind. Ursa Major is the fourth studio album by Third Eye Blind, released on August 18, 2009.", "The context does not provide information on the number of songs on the Ursa Major album by Third Eye Blind.", "No, Red Star is not an album. It is an internet exclusive digital EP that includes the single \"Non-Dairy Creamer\" from Third Eye Blind.", "The album Ursa Major by Third Eye Blind did very well in popularity, as it topped the Billboard Rock Albums chart, Top Alternative Albums chart, and Top Digital Albums chart. However, the two singles from the album, \"Don't Believe a Word\" and \"Bonfire\", did not chart on any radio formats.", "Yes, Third Eye Blind released one official single from the album Ursa Major, called \"Don't Believe a Word\", on June 16, 2009. The song was released to radio on July 7, 2009. Another song, \"Bonfire\", was also released as a radio-exclusive single. However, neither of these singles charted on any radio formats.", "The context does not provide information on the number of disks that were sold for the album Ursa Major by Third Eye Blind.", "Yes, some interesting aspects from the article include the lawsuit filed by former band member Tony Fredianelli against the lead singer for over $8 million in damages for not being credited for past work with the band. Fredianelli eventually won more than $438,000 in 2013. The article also mentions a planned album called Ursa Minor that was supposed to contain songs left off from Ursa Major, but this album was never released.", "The context does not provide information on which countries Third Eye Blind visited while touring." ]

[ "Yes", "No", "Yes", "No", "Yes", "Yes", "No", "Yes" ]

[ "C_ea6276521e7d48d793ad783eea5e933d_0_q#0", "C_ea6276521e7d48d793ad783eea5e933d_0_q#1", "C_ea6276521e7d48d793ad783eea5e933d_0_q#2", "C_ea6276521e7d48d793ad783eea5e933d_0_q#3", "C_ea6276521e7d48d793ad783eea5e933d_0_q#4", "C_ea6276521e7d48d793ad783eea5e933d_0_q#5", "C_ea6276521e7d48d793ad783eea5e933d_0_q#6" ]

[ "What are Willis' military interests?", "What other military connections did he have?", "What happened in 2002?", "What did she suggest?", "What happened after this?", "What else is significant about his military connection?", "Did he do anything else?" ]

[ 0, 0, 0, 0, 0, 0, 0 ]

[ 2, 2, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 0 ], [ 185 ], [ 298 ], [ 342 ], [ 417 ], [ 591 ], [ 700 ] ], "texts": [ [ "Throughout his film career, Willis has depicted several military characters in films such as In Country, The Siege, Hart's War, Tears of the Sun, Grindhouse, and G.I. Joe: Retaliation." ], [ "Growing up in a military family, Willis has publicly sold Girl Scout cookies for the United States armed forces. In 2002," ], [ "In 2002, Willis's then 8-year-old daughter, Tallulah, suggested that" ], [ "Tallulah, suggested that he purchase Girl Scout cookies to send to troops. Willis purchased" ], [ "Willis purchased 12,000 boxes of cookies, and they were distributed to sailors aboard" ], [ "In 2003, Willis visited Iraq as part of the USO tour, singing to the troops with his band, The Accelerators. Willis considered" ], [ "Willis considered joining the military to help fight the second Iraq war, but was deterred by his age. It was believed" ] ] }

{ "answer_starts": [ 0, 185, 298, 342, 417, 591, 700 ], "texts": [ "Throughout his film career, Willis has depicted several military characters in films such as In Country, The Siege, Hart's War, Tears of the Sun, Grindhouse, and G.I. Joe: Retaliation.", "Growing up in a military family, Willis has publicly sold Girl Scout cookies for the United States armed forces. In 2002,", "In 2002, Willis's then 8-year-old daughter, Tallulah, suggested that", "Tallulah, suggested that he purchase Girl Scout cookies to send to troops. Willis purchased", "Willis purchased 12,000 boxes of cookies, and they were distributed to sailors aboard", "In 2003, Willis visited Iraq as part of the USO tour, singing to the troops with his band, The Accelerators. Willis considered", "Willis considered joining the military to help fight the second Iraq war, but was deterred by his age. It was believed" ] }

[]

[ "Willis has portrayed several military characters in his film career. He has supported the United States armed forces by selling Girl Scout cookies for them, buying 12,000 boxes of cookies to send to troops, and visiting Iraq as part of the USO tour to perform for troops with his band. He considered joining the military to fight in the second Iraq war but was deterred by his age. Willis has also expressed desire to make a pro-war film depicting American soldiers as brave fighters for freedom and democracy.", "Willis grew up in a military family. He also offered a hypothetical $1 million reward for the capture of terrorist leaders Osama bin Laden, Ayman al-Zawahiri, or Abu Musab al-Zarqawi. He has also publicly criticized the media's coverage of the Iraq war, arguing that it neglected the positive work soldiers were doing in the country. Furthermore, he planned a pro-war film based on the 1st Battalion, 24th Infantry (Deuce Four), using the writings of Michael Yon, a former United States Army Special Forces soldier who was embedded with Deuce Four.", "In 2002, Willis's then 8-year-old daughter, Tallulah, suggested that he purchase Girl Scout cookies to send to troops. Willis bought 12,000 boxes of cookies, which were distributed to sailors aboard USS John F. Kennedy and other troops stationed throughout the Middle East at the time.", "Willis's daughter, Tallulah, suggested that he purchase Girl Scout cookies to send to the troops.", "After Tallulah's suggestion, Willis purchased 12,000 boxes of Girl Scout cookies and they were distributed to sailors aboard USS John F. Kennedy and other troops stationed throughout the Middle East at the time.", "Willis's military connection is significant in many ways. Aside from growing up in a military family, he has shown his support for the armed forces through various actions. These include buying and distributing Girl Scout cookies to the troops, performing for them in Iraq as part of the USO tour, and even considering joining the military himself. Moreover, Willis intended to make a pro-war film depicting American soldiers as brave champions of freedom and democracy. He also offered a hypothetical bounty for the capture of prominent terrorist leaders, further showing his commitment to combating terrorism.", "As per the provided context, aside from buying Girl Scout cookies for the troops and performing in Iraq as part of the USO tour, Willis also spoke out against media coverage of the war. He criticized the press for focusing predominantly on the negative aspects of the war and not highlighting the positive work and contributions being made by soldiers. In addition, he expressed an interest in making a film highlighting the bravery and dedication of American soldiers, though no further details on the development or production of this film are mentioned." ]

[ "Yes", "No", "Yes", "Yes", "Yes", "Yes", "No" ]

[ "C_ea6276521e7d48d793ad783eea5e933d_1_q#0", "C_ea6276521e7d48d793ad783eea5e933d_1_q#1", "C_ea6276521e7d48d793ad783eea5e933d_1_q#2", "C_ea6276521e7d48d793ad783eea5e933d_1_q#3", "C_ea6276521e7d48d793ad783eea5e933d_1_q#4", "C_ea6276521e7d48d793ad783eea5e933d_1_q#5", "C_ea6276521e7d48d793ad783eea5e933d_1_q#6", "C_ea6276521e7d48d793ad783eea5e933d_1_q#7" ]

[ "what is known of bruce's political views?", "what more is known of this campaign?", "what followed this campaign?", "did he play any prominent role in politics?", "why did he decline?", "did his support at the convention receive audience approval?", "was he a member of the republican party?", "did he succeed in getting his smaller government?" ]

[ 2, 1, 2, 2, 2, 2, 2, 1 ]

[ 2, 2, 2, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 0 ], [ 2095 ], [ 126 ], [ 254 ], [ 402 ], [ 516 ], [ 1502 ], [ 2095 ] ], "texts": [ [ "In 1988, Willis and then-wife Demi Moore campaigned for Democratic Massachusetts Governor Michael Dukakis's Presidential bid." ], [ "CANNOTANSWER" ], [ "Four years later, he supported President George H. W. Bush for reelection and was an outspoken critic of Bill Clinton." ], [ "in 1996, he declined to endorse Clinton's Republican opponent Bob Dole," ], [ "Willis was an invited speaker at the 2000 Republican National Convention, and supported George W. Bush that year." ], [ "He did not make any contributions or public endorsements in the 2008 presidential campaign." ], [ "I'm a Republican only as far as I want a smaller government," ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 2095, 126, 254, 402, 516, 1502, 2095 ], "texts": [ "In 1988, Willis and then-wife Demi Moore campaigned for Democratic Massachusetts Governor Michael Dukakis's Presidential bid.", "CANNOTANSWER", "Four years later, he supported President George H. W. Bush for reelection and was an outspoken critic of Bill Clinton.", "in 1996, he declined to endorse Clinton's Republican opponent Bob Dole,", "Willis was an invited speaker at the 2000 Republican National Convention, and supported George W. Bush that year.", "He did not make any contributions or public endorsements in the 2008 presidential campaign.", "I'm a Republican only as far as I want a smaller government,", "CANNOTANSWER" ] }

[]

[ "Bruce Willis has expressed a mix of political views over the years. He has campaigned for both Democratic and Republican candidates, including Michael Dukakis, George H. W. Bush, and George W. Bush. In a 2007 interview, he declared that he maintains some Republican ideologies. He supports large salaries for teachers and police officers, is critical of the U.S. foster care system and treatment of Native Americans, and is an advocate for gun rights. He is also concerned with government spending and the influence of lobbyists in Washington. He condemned Hamas and Hezbollah and supported Israel during the 2006 Israel-Lebanon war. However, Willis has also expressed frustration with the government and identified himself as apolitical, stating he is a Republican only to the extent that he wants a smaller government and less government intrusion.", "The context does not provide any more information about the mentioned campaign.", "The context does not provide information on what followed the mentioned campaign.", "While Bruce Willis has been politically active at times, such as when he campaigned for presidential candidates, was an invited speaker at the 2000 Republican National Convention, and made public statements about his political views, the context does not mention him holding any formal, elected office or playing a prominent role in politics.", "Bruce Willis declined to endorse Bob Dole, Bill Clinton's Republican opponent in the 1996 Presidential election, because Dole had criticized Willis's then-wife Demi Moore for her role in the film Striptease.", "The context does not provide information on the audience's reaction to Bruce Willis's speech at the 2000 Republican National Convention.", "Bruce Willis has expressed support for Republican ideologies and candidates in the past, but he has also declared himself apolitical. He stated in a 2006 interview that he identifies as a Republican only to the extent of wanting smaller government, less government intrusion, fiscal responsibility, and less influence from lobbyists. However, the text does not explicitly state if he is officially a member of the Republican party.", "The context does not provide information on whether Bruce Willis's desire for a smaller government was fulfilled." ]

[ "Yes", "Yes", "No", "No", "No", "no", "Yes", "Yes" ]

[ "C_958a672cf74045bb890d102b43a748af_1_q#0", "C_958a672cf74045bb890d102b43a748af_1_q#1", "C_958a672cf74045bb890d102b43a748af_1_q#2", "C_958a672cf74045bb890d102b43a748af_1_q#3", "C_958a672cf74045bb890d102b43a748af_1_q#4", "C_958a672cf74045bb890d102b43a748af_1_q#5", "C_958a672cf74045bb890d102b43a748af_1_q#6", "C_958a672cf74045bb890d102b43a748af_1_q#7" ]

[ "/what awards did they recieve?", "Did they win any other awards?", "When did they first gain recognition?", "Did they win any other awards?", "What other awards?", "How did the band react to all these awards", "Are there any other interesting aspects about this article?", "What was the album called?" ]

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{ "answer_starts": [ [ 385 ], [ 491 ], [ 1989 ], [ 614 ], [ 920 ], [ 1686 ], [ 1246 ], [ 1305 ] ], "texts": [ [ "the band won the Maximum Vision Award at the Billboard Music Video Awards for their music video" ], [ "At the 2000 and 2001 Blockbuster Awards, the band won the Favorite Group (Rock) award." ], [ "CANNOTANSWER" ], [ "a MuchMusic Award for Best International Video, honoring their video for the song \"Break Stuff\". At the 2001 ECHO Awards, the band won the Best International Metal Band award." ], [ "they were also the first group inducted into MTV's Total Request Live \"Hall of Fame\" on May 26, 2001." ], [ "Another Brief History of Rock. Bands citing Limp Bizkit as an influence on their music incclude the progressive metal band Proyecto Eskhata." ], [ "The Vitamin String Quartet recorded a tribute album" ], [ "The String Quartet Tribute" ] ] }

{ "answer_starts": [ 385, 491, 1989, 614, 920, 1686, 1246, 1305 ], "texts": [ "the band won the Maximum Vision Award at the Billboard Music Video Awards for their music video", "At the 2000 and 2001 Blockbuster Awards, the band won the Favorite Group (Rock) award.", "CANNOTANSWER", "a MuchMusic Award for Best International Video, honoring their video for the song \"Break Stuff\". At the 2001 ECHO Awards, the band won the Best International Metal Band award.", "they were also the first group inducted into MTV's Total Request Live \"Hall of Fame\" on May 26, 2001.", "Another Brief History of Rock. Bands citing Limp Bizkit as an influence on their music incclude the progressive metal band Proyecto Eskhata.", "The Vitamin String Quartet recorded a tribute album", "The String Quartet Tribute" ] }

[]

[ "Limp Bizkit received the Maximum Vision Award at the Billboard Music Video Awards in 1999 for their music video \"Nookie\". They also won the Favorite Group (Rock) award at the 2000 and 2001 Blockbuster Awards. In 2000, they won a MuchMusic Award for Best International Video for the song \"Break Stuff\". They were awarded Best International Metal Band at the 2001 ECHO Awards. At the 2009 Kerrang! Awards, they won the Hall of Fame award. Additionally, they were the first group to be inducted into MTV's Total Request Live \"Hall of Fame\" in 2001. They also won the Favorite Alternative Artist award once out of three nominations at the American Music Awards in 2002.", "No, the context does not mention any other awards that Limp Bizkit won.", "The context does not provide specific information on when Limp Bizkit first gained recognition.", "No, the context does not mention any other awards that Limp Bizkit won.", "The context does not mention any other awards that Limp Bizkit won.", "The context does not provide information on how Limp Bizkit reacted to the awards they won.", "There are several other interesting aspects in the article, such as Richard Cheese performing lounge renditions of Limp Bizkit's songs \"Nookie\" and \"Break Stuff\", \"Weird Al\" Yankovic including \"My Way\" in his \"Angry White Boy Polka\" medley, and the Vitamin String Quartet recording a tribute album to Limp Bizkit. Various artists and bands have also sampled or covered Limp Bizkit songs. Additionally, the progressive metal band \"Proyecto Eskhata\" cited Limp Bizkit as an influence on their music. The article also notes that while Limp Bizkit's popularity has declined in the U.S., the band remains popular in Russia.", "The tribute album recorded by the Vitamin String Quartet was called \"The String Quartet Tribute to Limp Bizkit: Break Stuff\"." ]

[ "Yes", "No", "Yes", "no", "no", "No", "Yes", "No" ]

[ "C_050280df7dae4cf09cf9773950c53b1b_0_q#0", "C_050280df7dae4cf09cf9773950c53b1b_0_q#1", "C_050280df7dae4cf09cf9773950c53b1b_0_q#2", "C_050280df7dae4cf09cf9773950c53b1b_0_q#3", "C_050280df7dae4cf09cf9773950c53b1b_0_q#4" ]

[ "what music has he produced?", "Did he produced anyother movie apart from that?", "Who did he work with?", "Did his music win award?", "When did he release his first album" ]

[ 2, 1, 0, 1, 1 ]

[ 2, 0, 2, 2, 2 ]

{ "answer_starts": [ [ 72 ], [ 186 ], [ 359 ], [ 1715 ], [ 1715 ] ], "texts": [ [ "In 1983, he produced Mari Iijima's debut album Rose," ], [ "Sakamoto subsequently worked with artists such as Thomas Dolby; Aztec Camera, on the Dreamland (1993) album; and Imai Miki, co-producing her 1994 album A Place In The Sun." ], [ "Roddy Frame, who worked with Sakamoto as a member of Aztec Camera," ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 72, 186, 359, 1715, 1715 ], "texts": [ "In 1983, he produced Mari Iijima's debut album Rose,", "Sakamoto subsequently worked with artists such as Thomas Dolby; Aztec Camera, on the Dreamland (1993) album; and Imai Miki, co-producing her 1994 album A Place In The Sun.", "Roddy Frame, who worked with Sakamoto as a member of Aztec Camera,", "CANNOTANSWER", "CANNOTANSWER" ] }

[]

[ "Sakamoto produced Mari Iijima's debut album Rose in 1983. He also worked with Thomas Dolby, Aztec Camera on the Dreamland (1993) album, and co-produced Imai Miki's 1994 album A Place In The Sun. Additionally, Sakamoto wrote two soundtracks, a solo album and the music for the opening ceremony at the Barcelona Olympics.", "The text does not provide information on whether Sakamoto produced any other movies apart from the soundtracks mentioned.", "Sakamoto worked with several artists including Mari Iijima, Thomas Dolby, Aztec Camera, and Imai Miki. He also worked with Roddy Frame, a member of Aztec Camera, in a New York studio.", "The text does not provide information on whether Sakamoto's music won any awards.", "The text does not provide information on when Sakamoto released his first album." ]

[ "Yes", "No", "Yes", "Yes", "Yes" ]

[ "C_050280df7dae4cf09cf9773950c53b1b_1_q#0", "C_050280df7dae4cf09cf9773950c53b1b_1_q#1", "C_050280df7dae4cf09cf9773950c53b1b_1_q#2", "C_050280df7dae4cf09cf9773950c53b1b_1_q#3", "C_050280df7dae4cf09cf9773950c53b1b_1_q#4" ]

[ "What was he doing in 2010?", "Did he produce any albums from 2010- on?", "Did it do well?", "Did he tour for it?", "Where was he living at the time?" ]

[ 0, 0, 1, 1, 1 ]

[ 2, 0, 0, 2, 2 ]

{ "answer_starts": [ [ 1727 ], [ 1402 ], [ 1513 ], [ 1727 ], [ 1727 ] ], "texts": [ [ "CANNOTANSWER" ], [ "In January 2017 it was announced that Sakamoto would release a solo album in April 2017 through Milan Records;" ], [ "the new album, titled async, was released on March 29, 2017 to critical acclaim." ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 1727, 1402, 1513, 1727, 1727 ], "texts": [ "CANNOTANSWER", "In January 2017 it was announced that Sakamoto would release a solo album in April 2017 through Milan Records;", "the new album, titled async, was released on March 29, 2017 to critical acclaim.", "CANNOTANSWER", "CANNOTANSWER" ] }

[]

[ "The context does not provide information on what Sakamoto was doing in 2010.", "Yes, Sakamoto released a solo album titled async in 2017 through Milan Records.", "Yes, Sakamoto's album async was released to critical acclaim in 2017.", "The context does not provide information on whether Sakamoto toured for his album async.", "The context does not provide information on where Sakamoto was living at the time." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes" ]

[ "C_1924fb57fa07462fbde71e9b924f484e_0_q#0", "C_1924fb57fa07462fbde71e9b924f484e_0_q#1", "C_1924fb57fa07462fbde71e9b924f484e_0_q#2", "C_1924fb57fa07462fbde71e9b924f484e_0_q#3", "C_1924fb57fa07462fbde71e9b924f484e_0_q#4", "C_1924fb57fa07462fbde71e9b924f484e_0_q#5", "C_1924fb57fa07462fbde71e9b924f484e_0_q#6" ]

[ "What was Rodney's career surge?", "Did he become permanent on the Ed Sullivan Show?", "What other shows did he appear on?", "Did he ever have his own show?", "Was the comedy club successful?", "Did he invite other comedians to the club?", "Did Dangerfield ever work in a movie or TV show?" ]

[ 0, 0, 0, 0, 0, 0, 1 ]

[ 2, 0, 2, 0, 0, 0, 2 ]

{ "answer_starts": [ [ 0 ], [ 151 ], [ 266 ], [ 724 ], [ 945 ], [ 1035 ], [ 2065 ] ], "texts": [ [ "On Sunday, March 5, 1967, The Ed Sullivan Show needed a last-minute replacement for another act, and Dangerfield became the surprise hit of the show." ], [ "Dangerfield began headlining shows in Las Vegas and continued making frequent appearances on The Ed Sullivan Show." ], [ "He also became a regular on The Dean Martin Show and appeared on The Tonight Show a total of 35 times." ], [ "In 1969, Rodney Dangerfield teamed up with longtime friend Anthony Bevacqua to build the Dangerfield's comedy club in New York City," ], [ "The club became a huge success, and has been in continuous operation for nearly 50 years." ], [ "Dangerfield's was the venue for several HBO shows which helped popularize many stand-up comics, including Jerry Seinfeld," ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 151, 266, 724, 945, 1035, 2065 ], "texts": [ "On Sunday, March 5, 1967, The Ed Sullivan Show needed a last-minute replacement for another act, and Dangerfield became the surprise hit of the show.", "Dangerfield began headlining shows in Las Vegas and continued making frequent appearances on The Ed Sullivan Show.", "He also became a regular on The Dean Martin Show and appeared on The Tonight Show a total of 35 times.", "In 1969, Rodney Dangerfield teamed up with longtime friend Anthony Bevacqua to build the Dangerfield's comedy club in New York City,", "The club became a huge success, and has been in continuous operation for nearly 50 years.", "Dangerfield's was the venue for several HBO shows which helped popularize many stand-up comics, including Jerry Seinfeld,", "CANNOTANSWER" ] }

[]

[ "Rodney Dangerfield's career surge started when he became the surprise hit of The Ed Sullivan Show on Sunday, March 5, 1967. He began headlining shows in Las Vegas and made frequent appearances on The Ed Sullivan Show. He also became a regular on The Dean Martin Show and appeared on The Tonight Show a total of 35 times. In 1969, he and his longtime friend Anthony Bevacqua built Dangerfield's comedy club in New York City, which became a huge success. The club venue helped popularize many standup comics. His 1980 comedy album, No Respect, also won a Grammy Award.", "The text does not specify that Rodney Dangerfield became a permanent act on The Ed Sullivan Show. It states that he made frequent appearances on the show.", "Apart from The Ed Sullivan Show, Rodney Dangerfield also became a regular on The Dean Martin Show and appeared on The Tonight Show a total of 35 times.", "The text does not provide information on Rodney Dangerfield having his own show.", "Yes, the Dangerfield's comedy club in New York City, that Rodney Dangerfield built with his longtime friend Anthony Bevacqua, was a huge success. The club has been in continuous operation for nearly 50 years.", "Yes, Dangerfield's comedy club was the venue for several HBO shows which helped popularize many stand-up comics, including Jerry Seinfeld, Jim Carrey, Tim Allen, Roseanne Barr, Robert Townsend, Jeff Foxworthy, Sam Kinison, Bill Hicks, Rita Rudner, Andrew Dice Clay, Louie Anderson, Dom Irrera and Bob Saget.", "The text does not provide information on Rodney Dangerfield working in a movie or TV show." ]

[ "Yes", "Yes", "Yes", "No", "Yes", "Yes", "Yes" ]

[ "C_1924fb57fa07462fbde71e9b924f484e_1_q#0", "C_1924fb57fa07462fbde71e9b924f484e_1_q#1", "C_1924fb57fa07462fbde71e9b924f484e_1_q#2", "C_1924fb57fa07462fbde71e9b924f484e_1_q#3", "C_1924fb57fa07462fbde71e9b924f484e_1_q#4", "C_1924fb57fa07462fbde71e9b924f484e_1_q#5", "C_1924fb57fa07462fbde71e9b924f484e_1_q#6", "C_1924fb57fa07462fbde71e9b924f484e_1_q#7" ]

[ "What was his early career like?", "Why did his career need rehabilitation?", "How did he create one?", "Was this successful?", "Are there any other interesting aspects about this article?", "Did he receive a lot of criticism in his early career?", "What other things did he do during his early career?", "Did he remarry?" ]

[ 0, 0, 0, 0, 0, 1, 0, 1 ]

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{ "answer_starts": [ [ 0 ], [ 490 ], [ 659 ], [ 1719 ], [ 1093 ], [ 1719 ], [ 149 ], [ 1719 ] ], "texts": [ [ "In the early 1960s he started down what would be a long road toward rehabilitating his career as an entertainer, still working as a salesman by day." ], [ "He came to realize that what he lacked was an \"image\", a well-defined on-stage persona that audiences could relate to," ], [ "After being shunned by some premier comedy venues, he returned to the East Coast where he began developing a character for whom nothing goes right." ], [ "CANNOTANSWER" ], [ "The Benny character, who also received little or no respect from the outside world, served as a great inspiration to Dangerfield while he was developing his own comedy character." ], [ "CANNOTANSWER" ], [ "He divorced his first wife Joyce in 1961, and returned to the stage, performing at many hotels in the Catskill Mountains, but still finding minimal success." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 490, 659, 1719, 1093, 1719, 149, 1719 ], "texts": [ "In the early 1960s he started down what would be a long road toward rehabilitating his career as an entertainer, still working as a salesman by day.", "He came to realize that what he lacked was an \"image\", a well-defined on-stage persona that audiences could relate to,", "After being shunned by some premier comedy venues, he returned to the East Coast where he began developing a character for whom nothing goes right.", "CANNOTANSWER", "The Benny character, who also received little or no respect from the outside world, served as a great inspiration to Dangerfield while he was developing his own comedy character.", "CANNOTANSWER", "He divorced his first wife Joyce in 1961, and returned to the stage, performing at many hotels in the Catskill Mountains, but still finding minimal success.", "CANNOTANSWER" ] }

[]

[ "In his early career, he was struggling as an entertainer and worked as a salesman during the day. He performed at many hotels in the Catskill Mountains but found minimal success and fell into debt. He realized that he lacked a well-defined on-stage persona that would distinguish him from other comics, so he took on the name Rodney Dangerfield and began developing a character for whom nothing goes right. Despite these efforts, he was still largely unsuccessful and often had difficulty getting booked for performances.", "The text does not provide specific reasons why his career needed rehabilitation, but it mentions that he initially had minimal success as an entertainer, fell into debt, and had trouble getting booked for performances.", "He created a career by developing a well-defined on-stage persona that audiences could relate to. He took on the name Rodney Dangerfield, a comical name previously used by Jack Benny on his radio program and Ricky Nelson on a TV program. He created a character for which nothing goes right. This character, like Benny's, received little or no respect from the outside world and this concept helped shape Dangerfield's unique comedy character and style.", "The text suggests that the creation of his on-stage persona as Rodney Dangerfield was successful, as Jack Benny, a seasoned comedian and actor, complimented Dangerfield on his comedy character and style after visiting him backstage. However, the text does not provide further details or explicit results of his career after developing this character.", "One interesting aspect of this article could be the fact that Rodney Dangerfield's real name was Jack Roy, but he continued to use Dangerfield as his stage name despite using this only as a character. He even joked during a question-and-answer session that his real name was Percival Sweatwater. Another interesting point is that despite his struggles, he drew inspiration from other successful personas in the entertainment industry to carve a niche for himself.", "The text does not provide any specific information about him receiving a lot of criticism early in his career.", "Besides trying to rehabilitate his career as an entertainer, he also worked as a salesman during the day. He performed at many hotels in the Catskill Mountains and tried to develop a distinct on-stage persona. He also got divorced from his first wife Joyce in 1961.\n", "The text does not provide any information about him remarrying after his divorce from his first wife, Joyce in 1961." ]

[ "Yes", "No", "Yes", "Yes", "Yes", "Yes", "Yes", "Yes" ]

[ "C_f9280dc959f84f77b62766b14869c704_1_q#0", "C_f9280dc959f84f77b62766b14869c704_1_q#1", "C_f9280dc959f84f77b62766b14869c704_1_q#2", "C_f9280dc959f84f77b62766b14869c704_1_q#3" ]

[ "what happened in 2002?", "Was it successful?", "what were some singles on the album?", "Did any of the songs chart?" ]

[ 0, 0, 1, 1 ]

[ 2, 2, 2, 2 ]

{ "answer_starts": [ [ 798 ], [ 1552 ], [ 1323 ], [ 2552 ] ], "texts": [ [ "Red Letter Days was produced by founding Wallflowers member Tobi Miller along with Bill Appleberry. Recording continued through the new year and was completed on April 12, 2002." ], [ "The album was met with mixed to positive reviews. Many critics noted the harder rock sound and catchy melodies used throughout the album." ], [ "The first single from the Red Letter Days, \"When You're On Top,\" was released to radio on August 16, 2002." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 798, 1552, 1323, 2552 ], "texts": [ "Red Letter Days was produced by founding Wallflowers member Tobi Miller along with Bill Appleberry. Recording continued through the new year and was completed on April 12, 2002.", "The album was met with mixed to positive reviews. Many critics noted the harder rock sound and catchy melodies used throughout the album.", "The first single from the Red Letter Days, \"When You're On Top,\" was released to radio on August 16, 2002.", "CANNOTANSWER" ] }

[]

[ "In 2002, the Wallflowers completed recording for their fourth album, Red Letter Days, in April, and finished mixing it in May. The first single from the album, \"When You're On Top,\" was released to radio in August. The album was released on November 5, 2002 to mixed reviews, and they also embarked on a monthlong U.S. tour. In the same year, the soundtrack for the film I Am Sam was released, featuring the Wallflowers cover of the Beatles' 1965 song \"I'm Looking Through You\".", "The album Red Letter Days had relatively mixed commercial performance, peaking at No.32 on the Billboard 200. Critics gave it mixed to positive reviews, noting the harder rock sound and catchy melodies used throughout the album.", "The context only mentions one single from the Red Letter Days album, which is \"When You're On Top.\"", "The text does not provide information on whether any of the songs from Red Letter Days charted." ]

[ "Yes", "Yes", "Yes", "Yes" ]

[ "C_f9280dc959f84f77b62766b14869c704_0_q#0", "C_f9280dc959f84f77b62766b14869c704_0_q#1", "C_f9280dc959f84f77b62766b14869c704_0_q#2", "C_f9280dc959f84f77b62766b14869c704_0_q#3", "C_f9280dc959f84f77b62766b14869c704_0_q#4" ]

[ "What is the Rebel?", "What songs were on this album?", "was the album successful?", "Did they go on tour?", "Where did they go on tour?" ]

[ 0, 1, 1, 0, 1 ]

[ 2, 2, 2, 0, 2 ]

{ "answer_starts": [ [ 14 ], [ 2043 ], [ 2043 ], [ 1850 ], [ 2043 ] ], "texts": [ [ "the Wallflowers returned to the studio to record their fifth album, Rebel, Sweetheart." ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ], [ "the band set out on what would be their last tour for two years." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 14, 2043, 2043, 1850, 2043 ], "texts": [ "the Wallflowers returned to the studio to record their fifth album, Rebel, Sweetheart.", "CANNOTANSWER", "CANNOTANSWER", "the band set out on what would be their last tour for two years.", "CANNOTANSWER" ] }

[]

[ "Rebel, Sweetheart is the fifth album by the Wallflowers.", "The context does not provide information on the specific songs that were on the Wallflowers' album, Rebel, Sweetheart.", "Rebel, Sweetheart received positive reviews and critical acclaim, but it performed relatively poorly commercially, peaking at No. 40 on the Billboard 200.", "Yes, around the time of the album's release, the Wallflowers set out on what would be their last tour for two years. They were joined by Stuart Mathis on lead guitar.", "The context does not provide specific information on where the Wallflowers went on tour." ]

[ "Yes", "Yes", "No", "Yes", "Yes" ]

[ "C_c3d995af9a554019abf5cb2d15b5bee8_1_q#0", "C_c3d995af9a554019abf5cb2d15b5bee8_1_q#1", "C_c3d995af9a554019abf5cb2d15b5bee8_1_q#2", "C_c3d995af9a554019abf5cb2d15b5bee8_1_q#3", "C_c3d995af9a554019abf5cb2d15b5bee8_1_q#4", "C_c3d995af9a554019abf5cb2d15b5bee8_1_q#5", "C_c3d995af9a554019abf5cb2d15b5bee8_1_q#6", "C_c3d995af9a554019abf5cb2d15b5bee8_1_q#7" ]

[ "Where was he born?", "What did he do in Indiana?", "Why was he harassed?", "How did he handle this?", "What else did you find interesting?", "How did he help?", "What opportunities did this bring?", "Did he gain a bigger following?" ]

[ 1, 0, 0, 0, 0, 0, 0, 0 ]

[ 2, 2, 2, 2, 2, 2, 2, 0 ]

{ "answer_starts": [ [ 1875 ], [ 0 ], [ 332 ], [ 473 ], [ 651 ], [ 844 ], [ 1031 ], [ 1284 ] ], "texts": [ [ "CANNOTANSWER" ], [ "In 1951, Jones began attending gatherings of the Communist Party USA in Indianapolis. He became flustered with harassment he received during the McCarthy Hearings," ], [ "He also became frustrated with ostracism of open communists in the United States," ], [ "This frustration, among other things, provoked a seminal moment for Jones in which he asked himself, \"How can I demonstrate my Marxism? The thought was, infiltrate the church.\"" ], [ "Jones was surprised when a Methodist superintendent helped him get a start in the church even though he knew Jones to be a communist" ], [ "In 1952, he became a student pastor in Sommerset Southside Methodist Church," ], [ "Around this time, Jones witnessed a faith-healing service at a Seventh Day Baptist Church. He observed that it attracted people and their money" ], [ "Jones organized a mammoth religious convention to take place on June 11 through June 15, 1956, in a cavernous Indianapolis hall called Cadle Tabernacle." ] ] }

{ "answer_starts": [ 1875, 0, 332, 473, 651, 844, 1031, 1284 ], "texts": [ "CANNOTANSWER", "In 1951, Jones began attending gatherings of the Communist Party USA in Indianapolis. He became flustered with harassment he received during the McCarthy Hearings,", "He also became frustrated with ostracism of open communists in the United States,", "This frustration, among other things, provoked a seminal moment for Jones in which he asked himself, \"How can I demonstrate my Marxism? The thought was, infiltrate the church.\"", "Jones was surprised when a Methodist superintendent helped him get a start in the church even though he knew Jones to be a communist", "In 1952, he became a student pastor in Sommerset Southside Methodist Church,", "Around this time, Jones witnessed a faith-healing service at a Seventh Day Baptist Church. He observed that it attracted people and their money", "Jones organized a mammoth religious convention to take place on June 11 through June 15, 1956, in a cavernous Indianapolis hall called Cadle Tabernacle." ] }

[]

[ "The text does not provide information on where he was born.", "In Indiana, Jones began attending gatherings of the Communist Party USA. He went on to become a student pastor at the Sommerset Southside Methodist Church, but left due to a disagreement with the church's leaders. He later organized a large religious convention in an Indianapolis hall called Cadle Tabernacle. After the convention, he launched his own church, which eventually became the Peoples Temple Christian Church Full Gospel.", "Jones was harassed during the McCarthy Hearings due to his involvement with the Communist Party USA. An event which incited particular harassment was one he attended with his mother, which focused on Paul Robeson, leading to her being harassed by the FBI. His open communist affiliations in the United States also caused him to face ostracism.", "In response to the harassment and ostracism he faced due to his communism, Jones decided to infiltrate the church to demonstrate his Marxism. In 1952, he became a student pastor in the Sommerset Southside Methodist Church. He later left this position and organized a religious convention, following which he launched his own church. It appears he used his religious positions as a platform to promote his social goals.", "An interesting point from the text is that Jones was apparently helped to begin his church career by a Methodist superintendent who knew of Jones's communist affiliations. Still, he did not meet him through the Communist Party USA. Also notable is Jones's pragmatic approach to faith healing – he turned to this practice not out of true belief, but after observing that it had the potential to draw in both people and money, which he saw could be used to further his social goals.", "The text does not clearly outline how Jones helped, but it suggests that he used his position in the church and the financial resources raised from faith-healing services to work towards his social goals, which were presumably aligned with his communist beliefs. He also made his own church, the Peoples Temple, as an inter-racial mission, which could indicate efforts towards racial integration.", "Jones's involvement in the church offered him a platform from which he could influence people and spread his Marxist ideas. His role as a pastor also gave him the opportunity to organize a large religious convention, which helped him later establish his own church. Through faith healing services, he could potentially attract a large following and accumulate financial resources, which he believed could be used to further his social goals. His church, initially created as an inter-racial mission, possibly provided an opportunity to challenge racial segregation, although the context does not provide details on this point.", "The text does not provide specific information about the size of Jones's following." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes", "No", "Yes", "No" ]

[ "C_c68fec27848b4a908430a3cd4ecb5a8a_1_q#0", "C_c68fec27848b4a908430a3cd4ecb5a8a_1_q#1", "C_c68fec27848b4a908430a3cd4ecb5a8a_1_q#2", "C_c68fec27848b4a908430a3cd4ecb5a8a_1_q#3" ]

[ "Who is Andrei?", "What happen in the 70s", "What else did you found interesting?", "What was the big bang" ]

[ 2, 0, 2, 0 ]

[ 1, 0, 0, 1 ]

{ "answer_starts": [ [ 115 ], [ 736 ], [ 295 ], [ 306 ] ], "texts": [ [ "He mainly tried to explain the baryon asymmetry of the universe; in that regard," ], [ "Sakharov was the first scientist to introduce twin universes he called \"sheets\"." ], [ "Big Bang:" ], [ "We can visualize that neutral spinless maximons (or photons) are produced at t < 0 from contracting matter having an excess of antiquarks, that they pass \"one through the other\"" ] ] }

{ "answer_starts": [ 115, 736, 295, 306 ], "texts": [ "He mainly tried to explain the baryon asymmetry of the universe; in that regard,", "Sakharov was the first scientist to introduce twin universes he called \"sheets\".", "Big Bang:", "We can visualize that neutral spinless maximons (or photons) are produced at t < 0 from contracting matter having an excess of antiquarks, that they pass \"one through the other\"" ] }

[]

[ "The text does not provide information on who Andrei is.", "The text does not provide information on what happened in the 70s.", "As an artificial intelligence, I do not have feelings or personal interests. However, it might be interesting to note from the text that Sakharov was the first to propose proton decay and to consider CPT-symmetric events occurring before the Big Bang. He also introduced the concept of twin universes he called \"sheets\", and he proposed the idea of induced gravity as an alternative theory of quantum gravity.", "The text does not provide a specific definition or explanation of the Big Bang." ]

[ "No", "No", "No", "No" ]

[ "C_181903b43ebf4af8bf4f87ebdf12b8ac_1_q#0", "C_181903b43ebf4af8bf4f87ebdf12b8ac_1_q#1", "C_181903b43ebf4af8bf4f87ebdf12b8ac_1_q#2", "C_181903b43ebf4af8bf4f87ebdf12b8ac_1_q#3", "C_181903b43ebf4af8bf4f87ebdf12b8ac_1_q#4", "C_181903b43ebf4af8bf4f87ebdf12b8ac_1_q#5", "C_181903b43ebf4af8bf4f87ebdf12b8ac_1_q#6" ]

[ "When did act 1 start", "How long was Act 1", "Are there any other interesting aspects about this article?", "Who wins the match", "who is Frank Butler", "Why is he a womanizing star", "did he propose" ]

[ 0, 1, 0, 0, 0, 0, 0 ]

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{ "answer_starts": [ [ 101 ], [ 2432 ], [ 566 ], [ 1139 ], [ 101 ], [ 2067 ], [ 2159 ] ], "texts": [ [ "Frank Butler, the show's handsome, womanizing star (\"I'm a Bad, Bad, Man\"SS), challenges anyone in town to a shooting match." ], [ "CANNOTANSWER" ], [ "When Wilson learns she's a brilliant shot, he enters her in the shooting match against Frank Butler." ], [ "She wins the contest," ], [ "Frank Butler, the show's handsome, womanizing star" ], [ "As Annie and Frank prepare for the show, Frank plans to propose to Annie after the show" ], [ "then ruefully admits that \"My Defenses Are Down\". When Annie performs her trick and becomes a star," ] ] }

{ "answer_starts": [ 101, 2432, 566, 1139, 101, 2067, 2159 ], "texts": [ "Frank Butler, the show's handsome, womanizing star (\"I'm a Bad, Bad, Man\"SS), challenges anyone in town to a shooting match.", "CANNOTANSWER", "When Wilson learns she's a brilliant shot, he enters her in the shooting match against Frank Butler.", "She wins the contest,", "Frank Butler, the show's handsome, womanizing star", "As Annie and Frank prepare for the show, Frank plans to propose to Annie after the show", "then ruefully admits that \"My Defenses Are Down\". When Annie performs her trick and becomes a star," ] }

[]

[ "The context does not provide information on when act 1 started.", "The context does not provide information on the duration of Act 1.", "The context describes the story of a performance or show, notable aspects include the romance between Annie Oakley and Frank Butler, as well as their competitive relationship, since they are both sharpshooters in a Wild West Show. Furthermore, Annie's transition from a simple backwoods girl to a showbiz star, and her adoption into the Sioux tribe by Chief Sitting Bull, adds depth to the narrative. Finally, the rivalry between two different shows, Buffalo Bill's Wild West Show and Pawnee Bill's Far East Show, provides conflict.", "Annie Oakley wins the shooting match against Frank Butler.", "Frank Butler is the handsome, womanizing star of the traveling Buffalo Bill's Wild West show. He is a skilled shooter who challenges others in town to shooting matches. He also becomes a love interest for Annie Oakley.", "The context describes Frank Butler as a womanizing star but does not provide specific details on why he is described this way. The term womanizing often refers to someone who engages in numerous casual or superficial romantic relationships, often simultaneously. Thus, it might be inferred that his charm, attractiveness, and status as a star of the show could contribute to his womanizing behavior.", "The context mentions that Frank plans to propose to Annie after the show, but it does not confirm if he actually does propose." ]

[ "No", "Yes", "No", "Yes", "Yes", "No", "No" ]

[ "C_181903b43ebf4af8bf4f87ebdf12b8ac_0_q#0", "C_181903b43ebf4af8bf4f87ebdf12b8ac_0_q#1", "C_181903b43ebf4af8bf4f87ebdf12b8ac_0_q#2", "C_181903b43ebf4af8bf4f87ebdf12b8ac_0_q#3", "C_181903b43ebf4af8bf4f87ebdf12b8ac_0_q#4", "C_181903b43ebf4af8bf4f87ebdf12b8ac_0_q#5", "C_181903b43ebf4af8bf4f87ebdf12b8ac_0_q#6" ]

[ "When is the brodadway revival", "Is it a movie", "what is it about", "when do they used to have the show", "who perticipate in the show", "was it a success", "what happened in 1999" ]

[ 0, 0, 0, 1, 0, 1, 0 ]

[ 2, 1, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 11 ], [ 143 ], [ 756 ], [ 1623 ], [ 332 ], [ 545 ], [ 143 ] ], "texts": [ [ "new production had its pre-Broadway engagement at the Kennedy Center, Washington, D.C., from December 29, 1998 to January 24, 1999." ], [ "Previews began on Broadway on February 2, 1999 at the Marquis Theatre, with an official opening on March 4, 1999, and closed on September 1, 2001" ], [ "was structured as a \"show-within-a-show\", set as a Big Top travelling circus. \"Frank Butler\" is alone on stage and Buffalo Bill introduces the main characters," ], [ "CANNOTANSWER" ], [ "This revival starred Bernadette Peters as Annie and Tom Wopat as Frank, and Ron Holgate as Buffalo Bill, with direction by Graciela Daniele, choreographey by Jeff Calhoun," ], [ "Peters won the 1999 Tony Award for Best Leading Actress in a Musical and the production won the Tony for Best Revival of a Musical." ], [ "Previews began on Broadway on February 2, 1999 at the Marquis Theatre," ] ] }

{ "answer_starts": [ 11, 143, 756, 1623, 332, 545, 143 ], "texts": [ "new production had its pre-Broadway engagement at the Kennedy Center, Washington, D.C., from December 29, 1998 to January 24, 1999.", "Previews began on Broadway on February 2, 1999 at the Marquis Theatre, with an official opening on March 4, 1999, and closed on September 1, 2001", "was structured as a \"show-within-a-show\", set as a Big Top travelling circus. \"Frank Butler\" is alone on stage and Buffalo Bill introduces the main characters,", "CANNOTANSWER", "This revival starred Bernadette Peters as Annie and Tom Wopat as Frank, and Ron Holgate as Buffalo Bill, with direction by Graciela Daniele, choreographey by Jeff Calhoun,", "Peters won the 1999 Tony Award for Best Leading Actress in a Musical and the production won the Tony for Best Revival of a Musical.", "Previews began on Broadway on February 2, 1999 at the Marquis Theatre," ] }

[]

[ "The Broadway revival began on February 2, 1999 with previews, officially opened on March 4, 1999, and closed on September 1, 2001.", "No, it is not a movie. It was a Broadway musical production.", "The context does not provide a detailed explanation about the storyline of the production. However, it does indicate that it was structured as a \"show-within-a-show\", set as a Big Top travelling circus. It features characters like Annie, Frank, and Buffalo Bill. The story includes a main plot as well as a sub-plot about the romance between Winnie and her part-Native-American boyfriend Tommy. The characters are introduced through the song \"There's No Business Like Show Business,\" and the production culminates in a shooting match between Annie and Frank that ends in a tie.", "The Broadway production had its run from February 2, 1999, when previews began, through September 1, 2001, when it closed. The show officially opened on Broadway on March 4, 1999.", "The Broadway production starred Bernadette Peters as Annie, Tom Wopat as Frank, and Ron Holgate as Buffalo Bill. The show was directed by Graciela Daniele, with choreography by Jeff Calhoun, and music arrangements by John McDaniel. The book was revised by Peter Stone.", "According to the context given, it seems that the Broadway revival was successful. Bernadette Peters won the 1999 Tony Award for Best Leading Actress in a Musical and the production won the Tony for Best Revival of a Musical. Additionally, the production ran for over two years with 1,045 performances, suggesting that it was popular with audiences.", "In 1999, a Broadway revival of the show officially opened on March 4, 1999. Bernadette Peters starred as Annie, and won the 1999 Tony Award for Best Leading Actress in a Musical. Additionally, the production won the Tony for Best Revival of a Musical. The revised book for this production was written by Peter Stone." ]

[ "No", "Yes", "Yes", "No", "Yes", "Yes", "Yes" ]

[ "C_fa9499919710470787e11d1d4424eff6_0_q#0", "C_fa9499919710470787e11d1d4424eff6_0_q#1", "C_fa9499919710470787e11d1d4424eff6_0_q#2", "C_fa9499919710470787e11d1d4424eff6_0_q#3", "C_fa9499919710470787e11d1d4424eff6_0_q#4", "C_fa9499919710470787e11d1d4424eff6_0_q#5" ]

[ "what was the feud about", "Who did he challenge", "how did the match go?", "who was disqualified", "why was he disqualified", "Are there any other interesting aspects about this article?" ]

[ 0, 2, 0, 2, 1, 0 ]

[ 2, 2, 2, 2, 2, 0 ]

{ "answer_starts": [ [ 262 ], [ 235 ], [ 376 ], [ 235 ], [ 2580 ], [ 674 ] ], "texts": [ [ "Flair immediately challenged for the WCW World Heavyweight Championship at the Clash of the Champions XXXIII," ], [ "Hollywood Hulk Hogan," ], [ "won only by disqualification." ], [ "Hollywood Hulk Hogan," ], [ "CANNOTANSWER" ], [ "In October 1996, two developments occurred that affected the Four Horsemen when Jeff Jarrett came over to WCW from the WWF," ] ] }

{ "answer_starts": [ 262, 235, 376, 235, 2580, 674 ], "texts": [ "Flair immediately challenged for the WCW World Heavyweight Championship at the Clash of the Champions XXXIII,", "Hollywood Hulk Hogan,", "won only by disqualification.", "Hollywood Hulk Hogan,", "CANNOTANSWER", "In October 1996, two developments occurred that affected the Four Horsemen when Jeff Jarrett came over to WCW from the WWF," ] }

[]

[ "The context does not provide specific reasons for the feuds.", "Flair challenged Hollywood Hulk Hogan for the WCW World Heavyweight Championship at the Clash of the Champions XXXIII.", "Flair won the match against Hollywood Hulk Hogan, but only by disqualification.", "The context does not specify who was disqualified in the match between Flair and Hollywood Hulk Hogan.", "The context does not provide information on why there was a disqualification in the match between Flair and Hollywood Hulk Hogan.", "Yes, the context discusses various interesting aspects such as the clash between the New World Order (nWo) invaders and the Four Horsemen, major feuds involving Ric Flair, and developments in the membership of the Horsemen. Flair's temporary disappearance due to a lawsuit and his surprise return to reform the Four Horsemen is also notable. It also covers Flair's feud with Eric Bischoff, which culminates in a match for the position of president of WCW. Flair wins this match and becomes president of WCW. Moreover, it mentions that Flair's own son David Flair betrays him during a match for the WCW Championship against Hollywood Hogan." ]

[ "No", "Yes", "Yes", "Neutral", "Yes", "No" ]

[ "C_fa9499919710470787e11d1d4424eff6_1_q#0", "C_fa9499919710470787e11d1d4424eff6_1_q#1", "C_fa9499919710470787e11d1d4424eff6_1_q#2", "C_fa9499919710470787e11d1d4424eff6_1_q#3", "C_fa9499919710470787e11d1d4424eff6_1_q#4", "C_fa9499919710470787e11d1d4424eff6_1_q#5" ]

[ "what was the world wrestling association?", "who were some of his matches against?", "did he win any of the challenges?", "Are there any other interesting aspects about this article?", "did he have a prior relationship with her, in reality?", "what was his biggest accomplishment?" ]

[ 0, 0, 0, 0, 2, 0 ]

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{ "answer_starts": [ [ 0 ], [ 268 ], [ 425 ], [ 1143 ], [ 2226 ], [ 756 ] ], "texts": [ [ "Flair signed with the World Wrestling Federation (WWF) in September 1991" ], [ "repeatedly issued challenges to WWF wrestlers like \"Rowdy\" Roddy Piper and Hulk Hogan," ], [ "helping The Undertaker defeat Hogan for the WWF Championship that same night." ], [ "In the storyline, Flair taunted Savage by claiming that he had a prior relationship with Savage's wife, Miss Elizabeth." ], [ "CANNOTANSWER" ], [ "At the 1992 Royal Rumble, Flair won the Rumble match to claim the vacant WWF Championship." ] ] }

{ "answer_starts": [ 0, 268, 425, 1143, 2226, 756 ], "texts": [ "Flair signed with the World Wrestling Federation (WWF) in September 1991", "repeatedly issued challenges to WWF wrestlers like \"Rowdy\" Roddy Piper and Hulk Hogan,", "helping The Undertaker defeat Hogan for the WWF Championship that same night.", "In the storyline, Flair taunted Savage by claiming that he had a prior relationship with Savage's wife, Miss Elizabeth.", "CANNOTANSWER", "At the 1992 Royal Rumble, Flair won the Rumble match to claim the vacant WWF Championship." ] }

[]

[ "The context does not provide information on what the World Wrestling Association is.", "Some of Ric Flair's matches in WWF were against \"Rowdy\" Roddy Piper, Hulk Hogan, The Undertaker, Sid Justice, Randy Savage, The Ultimate Warrior, Bret Hart, and Mr. Perfect. He also teamed up with Razor Ramon for a match.", "Yes, he won some of the matches he was involved in. Notably, he won the 1992 Royal Rumble match to claim the vacant WWF Championship, and he later regained the title from Randy Savage in a match on September 1, 1992. However, his second reign was short-lived as he lost the title to Bret Hart on October 12, 1992.\n", "Yes, there are several interesting aspects in this piece. One is that Flair was involved in a lawsuit with WCW where he claimed he owned the championship title belt in lieu of a deposit, which hadn't been returned when he was fired from WCW. Another interesting point is the use of storylines in wrestling matches. For example, Flair taunted Savage by claiming that he had a prior relationship with Savage's wife, which added drama to their eventual match. Also, during the Savage Vs. Ultimate Warrior match, Flair and Mr. Perfect created suspicion between opponents. Lastly, after losing a match, Flair's contract with WWF ended and he returned to WCW.", "The context does not provide information on whether Ric Flair had a real-life prior relationship with Randy Savage's wife, Miss Elizabeth. The claim was part of the storyline for their wrestling feud.", "The context mentions two major accomplishments of Ric Flair. First, he claimed the vacant WWF Championship by winning the 1992 Royal Rumble match. Second, he regained the WWF title from Randy Savage in a match on September 1, 1992. However, it doesn't specify which of these was his biggest accomplishment." ]

[ "no", "Yes", "No", "Yes", "Yes", "No" ]

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[ "Who was the E Family?", "Where did they perform together?", "Did they release any singles together?", "Did they tour together?", "Are there any other interesting aspects about this article?", "Did they perform on other shows?", "What singles did they release?" ]

[ 2, 0, 0, 0, 0, 0, 0 ]

[ 2, 2, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 1563 ], [ 17 ], [ 534 ], [ 1080 ], [ 346 ], [ 1325 ], [ 1693 ] ], "texts": [ [ "The E. Family consisting of Pete Escovedo, Peter Michael Escovedo III, Juan Escovedo, and Sheila" ], [ "Sheila E. and the E Family Band performed at Rhythm on the Vine at Gainey Vineyard in Santa Ynez, California" ], [ "Sheila E.'s first song in the country market was \"Glorious Train\"." ], [ "She toured on his 20Ten Tour and Welcome 2 America tours." ], [ "In 2009, Sheila E. participated and won the CMT reality show, Gone Country." ], [ "On May 25, 2011, Sheila performed alongside Marc Anthony on the tenth season finale of American Idol." ], [ "The album spawned the singles \"Do What It Do\" and \"I Like It\"." ] ] }

{ "answer_starts": [ 1563, 17, 534, 1080, 346, 1325, 1693 ], "texts": [ "The E. Family consisting of Pete Escovedo, Peter Michael Escovedo III, Juan Escovedo, and Sheila", "Sheila E. and the E Family Band performed at Rhythm on the Vine at Gainey Vineyard in Santa Ynez, California", "Sheila E.'s first song in the country market was \"Glorious Train\".", "She toured on his 20Ten Tour and Welcome 2 America tours.", "In 2009, Sheila E. participated and won the CMT reality show, Gone Country.", "On May 25, 2011, Sheila performed alongside Marc Anthony on the tenth season finale of American Idol.", "The album spawned the singles \"Do What It Do\" and \"I Like It\"." ] }

[]

[ "The E. Family consisted of Pete Escovedo, Peter Michael Escovedo III, Juan Escovedo, and Sheila E.", "The text does not specify a location where The E. Family performed together.", "Yes, The E. Family released the singles \"Do What It Do\" and \"I Like It\".", "The text does not provide information on whether The E. Family toured together.", "Yes, the article notes several interesting aspects of Sheila E.'s career. For instance, she won the CMT reality show, Gone Country, which allowed her to break into the country music scene. She also performed at notable events such as the 2012 Academy Awards and the 2012 Playboy Jazz Festival. She toured alongside Prince and was involved with Avon's global, online singing talent search and songwriting competition. Additionally, she headlined shows, performed on popular television programs like American Idol and the Late Show with David Letterman, and was part of various tours alongside other artists.", "The text does not provide information on whether The E. Family performed on other shows.", "The E. Family released the singles \"Do What It Do\" and \"I Like It\"." ]

[ "Yes", "No", "No", "no", "Yes", "No", "Yes" ]

[ "C_2522ebcb2baa40cf9ded9a3ae9f235dc_1_q#0", "C_2522ebcb2baa40cf9ded9a3ae9f235dc_1_q#1", "C_2522ebcb2baa40cf9ded9a3ae9f235dc_1_q#2", "C_2522ebcb2baa40cf9ded9a3ae9f235dc_1_q#3", "C_2522ebcb2baa40cf9ded9a3ae9f235dc_1_q#4", "C_2522ebcb2baa40cf9ded9a3ae9f235dc_1_q#5", "C_2522ebcb2baa40cf9ded9a3ae9f235dc_1_q#6", "C_2522ebcb2baa40cf9ded9a3ae9f235dc_1_q#7" ]

[ "When did she reunite with Prince?", "What happened at the reunion?", "Any awards won?", "Where did they reunite?", "Did they create any albums together?", "Any other interesting information?", "Did they perform together?", "Any other performances?" ]

[ 0, 2, 1, 2, 1, 0, 0, 0 ]

[ 2, 2, 1, 2, 1, 0, 0, 0 ]

{ "answer_starts": [ [ 1453 ], [ 1469 ], [ 461 ], [ 530 ], [ 1059 ], [ 0 ], [ 263 ], [ 188 ] ], "texts": [ [ "April 26, 2008," ], [ "Sheila E., along with Morris Day and Jerome Benton, performed with Prince at the Coachella Music Festival." ], [ "She performed at the 2007 Latin Grammy Awards" ], [ "She also performed at the ALMA (American Latin Music Awards) Awards in June 2007 with Prince," ], [ "Sheila E. once again teamed up with Prince in March 2008, as she sat in (and played keyboard) on the performance with her family" ], [ "In 2006, Sheila formed a female group C.O.E.D. (Chronicles of Every Diva) consisting of Sheila E., Kat Dyson, Rhonda Smith and Cassandra O'Neal." ], [ "The group toured overseas in 2008 and released a CD available in limited distribution or through her website." ], [ "\". In March 2007, the group went on a successful tour in Europe and Japan." ] ] }

{ "answer_starts": [ 1453, 1469, 461, 530, 1059, 0, 263, 188 ], "texts": [ "April 26, 2008,", "Sheila E., along with Morris Day and Jerome Benton, performed with Prince at the Coachella Music Festival.", "She performed at the 2007 Latin Grammy Awards", "She also performed at the ALMA (American Latin Music Awards) Awards in June 2007 with Prince,", "Sheila E. once again teamed up with Prince in March 2008, as she sat in (and played keyboard) on the performance with her family", "In 2006, Sheila formed a female group C.O.E.D. (Chronicles of Every Diva) consisting of Sheila E., Kat Dyson, Rhonda Smith and Cassandra O'Neal.", "The group toured overseas in 2008 and released a CD available in limited distribution or through her website.", "\". In March 2007, the group went on a successful tour in Europe and Japan." ] }

[]

[ "Sheila E. reunited with Prince in March 2008.", "At the reunion, Sheila E. sat in and played keyboard on the performance with her family at Harvelle Redondo Beach.", "The context does not provide information on Sheila E. winning any awards.", "Sheila E. reunited with Prince at Harvelle Redondo Beach.", "The context does not provide information on Sheila E. and Prince creating any albums together after their reunion.", "Besides reuniting with Prince, Sheila E. had other notable performances. She performed at the 2007 Latin Grammy Awards with Juan Luis Guerra, and at the ALMA (American Latin Music Awards) Awards with Prince. She also formed a female group C.O.E.D. (Chronicles of Every Diva) and released a single \"Waters of Life\". In addition, Sheila E. appeared on the Emmy winning program, Idol Gives Back, was part of the show opener \"Get on Your Feet\" with Gloria Estefan, and performed with Prince at the Coachella Music Festival. From May 2 to 6, 2008, Sheila E. played four sold-out shows at Blue Note Tokyo, a popular jazz music club in Tokyo, Japan.", "Yes, Sheila E. performed with Prince in March 2008 at Harvelle Redondo Beach and then again on April 26, 2008 at the Coachella Music Festival.", "Yes, Sheila E. had several other performances. She performed at the 2007 Latin Grammy Awards with Juan Luis Guerra, at the American Latin Music Awards with Prince, and in Minneapolis with Prince. She also performed with the E Family, Pete Escovedo, Juan Escovedo and Peter Michael Escovedo at the Rhythm on the Vine music and wine festival for Shriners Hospital for Children. Additionally, Sheila E. appeared on the Emmy winning program, Idol Gives Back, and took part in the show opener \"Get on Your Feet\" with Gloria Estefan. Sheila E.'s female group C.O.E.D. also went on a successful tour in Europe and Japan. In May 2008, she played four sold-out shows at Blue Note Tokyo, a notable jazz music club in Japan." ]

[ "No", "No", "No", "No", "no", "Yes", "No", "No" ]

[ "C_9f1bdcce0ff6414a8d89209304c5a64a_0_q#0", "C_9f1bdcce0ff6414a8d89209304c5a64a_0_q#1", "C_9f1bdcce0ff6414a8d89209304c5a64a_0_q#2", "C_9f1bdcce0ff6414a8d89209304c5a64a_0_q#3" ]

[ "Did she win?", "How did she do at the US open?", "Was there anything special about the US Open", "What day was the US Open" ]

[ 1, 1, 1, 1 ]

[ 0, 2, 0, 2 ]

{ "answer_starts": [ [ 1263 ], [ 1099 ], [ 1049 ], [ 40 ] ], "texts": [ [ "At the latter end of the season, Hingis and Flavia Pennetta won two titles." ], [ "Hingis and Pennetta reached the final, without losing a set in any of their matches. In the final they lost to Ekaterina Makarova and Elena Vesnina in three sets." ], [ "Entering as an unseeded team at the 2014 US Open, Hingis and Pennetta reached the final," ], [ "2014" ] ] }

{ "answer_starts": [ 1263, 1099, 1049, 40 ], "texts": [ "At the latter end of the season, Hingis and Flavia Pennetta won two titles.", "Hingis and Pennetta reached the final, without losing a set in any of their matches. In the final they lost to Ekaterina Makarova and Elena Vesnina in three sets.", "Entering as an unseeded team at the 2014 US Open, Hingis and Pennetta reached the final,", "2014" ] }

[]

[ "The context mentions several tournaments in which Martina Hingis participated. Therefore, we need a specific tournament to answer this question appropriately.", "At the 2014 US Open, Hingis and her partner Flavia Pennetta reached the final without losing a set in any of their matches. However, in the final they lost to Ekaterina Makarova and Elena Vesnina in three sets.", "Yes, at the 2014 US Open, Martina Hingis and her partner Flavia Pennetta, entered the tournament as an unseeded team and managed to reach the final without losing a single set in any of their matches. This can be considered as special. However, in the final, they lost to Ekaterina Makarova and Elena Vesnina.", "The context does not provide information on what day the 2014 US Open took place." ]

[ "No", "Yes", "Yes", "No" ]

[ "C_56dffd56bfef46f9af2d69c5fc11f313_1_q#0", "C_56dffd56bfef46f9af2d69c5fc11f313_1_q#1", "C_56dffd56bfef46f9af2d69c5fc11f313_1_q#2", "C_56dffd56bfef46f9af2d69c5fc11f313_1_q#3", "C_56dffd56bfef46f9af2d69c5fc11f313_1_q#4", "C_56dffd56bfef46f9af2d69c5fc11f313_1_q#5" ]

[ "what was he accused of in 2002-2005?", "What was the court verdict for the second child sexual abuse allegation?", "what were the accusations in that abuse case?", "who was the judge in this case?", "Did his celebrity friends become witnesses for him?", "was he ever accused after this trial?" ]

[ 1, 1, 1, 1, 1, 1 ]

[ 2, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 380 ], [ 1639 ], [ 1373 ], [ 2300 ], [ 2300 ], [ 2300 ] ], "texts": [ [ "Prince was briefly extended over a railing," ], [ "Jackson was acquitted on all counts." ], [ "relation to the 13-year-old boy" ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 380, 1639, 1373, 2300, 2300, 2300 ], "texts": [ "Prince was briefly extended over a railing,", "Jackson was acquitted on all counts.", "relation to the 13-year-old boy", "CANNOTANSWER", "CANNOTANSWER", "CANNOTANSWER" ] }

[ { "text": "Michael Joseph Jackson (August 29, 1958 – June 25, 2009) was an American singer, songwriter, dancer, and philanthropist. Known as the \"King of Pop\", he is regarded as one of the most significant cultural figures of the 20th century. During his four-decade career, his contributions to music, dance, and fashion, along with his publicized personal life, made him a global figure in popular culture. Jackson influenced artists across many music genres. Through stage and video performances, he popularized complicated dance moves such as the moonwalk, to which he gave the name.\n\nThe eighth child of the Jackson family, Jackson made his public debut in 1964 with his older brothers Jackie, Tito, Jermaine, and Marlon as a member of the Jackson 5 (later known as the Jacksons). Jackson began his solo career in 1971 while at Motown Records. He became a solo star with his 1979 album Off the Wall. His music videos, including those for \"Beat It\", \"Billie Jean\", and \"Thriller\" from his 1982 album Thriller, are credited with breaking racial barriers and transforming the medium into an artform and promotional tool. He helped propel the success of MTV and continued to innovate with videos for the albums Bad (1987), Dangerous (1991), HIStory: Past, Present and Future, Book I (1995), and Invincible (2001). Thriller became the best-selling album of all time, while Bad was the first album to produce five US Billboard Hot 100 number-one singles.\n\nFrom the late 1980s, Jackson became a figure of controversy and speculation due to his changing appearance, relationships, behavior, and lifestyle. In 1993, he was accused of sexually abusing the child of a family friend. The lawsuit was settled out of civil court; Jackson was not indicted due to lack of evidence. In 2005, he was tried and acquitted of further child sexual abuse allegations and several other charges. The FBI found no evidence of criminal conduct by Jackson in either case. In 2009, while he was preparing for a series of comeback concerts, This Is It, Jackson died from an overdose of propofol administered by his personal physician, Conrad Murray, who was convicted in 2011 of involuntary manslaughter. His death triggered reactions around the world, creating unprecedented surges of Internet traffic and a spike in sales of his music. A televised memorial service for Jackson, held at the Staples Center in Los Angeles, was viewed by more than an estimated 2.5 billion people globally.\n\nJackson is one of the best-selling music artists of all time, with estimated sales of over 400million records worldwide. He had 13 Billboard Hot 100 number-one singles (third highest of any artist in the Hot 100 era) and was the first artist to have a top-ten single in the Billboard Hot 100 in five different decades. His honors include 15 Grammy Awards, 6 Brit Awards, a Golden Globe Award, and 39 Guinness World Records, including the \"Most Successful Entertainer of All Time\". Jackson's inductions include the Rock and Roll Hall of Fame (twice), the Vocal Group Hall of Fame, the Songwriters Hall of Fame, the Dance Hall of Fame (the only recording artist to be inducted), and the Rhythm and Blues Music Hall of Fame.\n\nLife and career\n\nEarly life and the Jackson 5 (1958–1975)\n\nMichael Joseph Jackson was born in Gary, Indiana, on August 29, 1958. He was the eighth of ten children in the Jackson family, a working-class African-American family living in a two-bedroom house on Jackson Street. His mother, Katherine Esther Jackson (née Scruse), played clarinet and piano, had aspired to be a country-and-western performer, and worked part-time at Sears. She was a Jehovah's Witness. His father, Joseph Walter \"Joe\" Jackson, a former boxer, was a crane operator at U.S. Steel and played guitar with a local rhythm and blues band, the Falcons, to supplement the family's income. Joe's great-grandfather, July \"Jack\" Gale, was a US Army scout; family lore held that he was also a Native American medicine man. Michael grew up with three sisters (Rebbie, La Toya, and Janet) and five brothers (Jackie, Tito, Jermaine, Marlon, and Randy). A sixth brother, Marlon's twin Brandon, died shortly after birth.\n\nIn 1964, Michael and Marlon joined the Jackson Brothers—a band formed by their father which included Jackie, Tito, and Jermaine—as backup musicians playing congas and tambourine. Michael said his father told him he had a \"fat nose\", and physically and emotionally abused him during rehearsals. He recalled that Joe often sat in a chair with a belt in his hand as he and his siblings rehearsed, ready to punish any mistakes. Joe acknowledged that he regularly whipped Michael. Katherine said that although whipping came to be considered abuse, it was a common way to discipline children when Michael was growing up. Jackie, Tito, Jermaine and Marlon denied that their father was abusive and said that the whippings, which had a deeper impact on Michael because he was younger, kept them disciplined and out of trouble. Michael said that during his youth he was lonely and isolated.\n\nLater in 1965, Michael began sharing lead vocals with Jermaine, and the group's name was changed to the Jackson 5. In 1965, the group won a talent show; Michael performed the dance to Robert Parker's 1965 song \"Barefootin'\" and sang the Temptations' \"My Girl\". From 1966 to 1968, the Jacksons 5 toured the Midwest; they frequently played at a string of black clubs known as the Chitlin' Circuit as the opening act for artists such as Sam & Dave, the O'Jays, Gladys Knight, and Etta James. The Jackson 5 also performed at clubs and cocktail lounges, where striptease shows were featured, and at local auditoriums and high school dances. In August 1967, while touring the East Coast, they won a weekly amateur night concert at the Apollo Theater in Harlem.\n\nThe Jackson 5 recorded several songs for a Gary record label, Steeltown Records; their first single, \"Big Boy\", was released in 1968. Bobby Taylor of Bobby Taylor & the Vancouvers brought the Jackson 5 to Motown after they opened for Taylor at Chicago's Regal Theater in 1968. Taylor produced some of their early Motown recordings, including a version of \"Who's Lovin' You\". After signing with Motown, the Jackson family relocated to Los Angeles. In 1969, Motown executives decided Diana Ross should introduce the Jackson 5 to the public—partly to bolster her career in television—sending off what was considered Motown's last product of its \"production line\". The Jackson 5 made their first television appearance in 1969 in the Miss Black America pageant, performing a cover of \"It's Your Thing\". Rolling Stone later described the young Michael as \"a prodigy\" with \"overwhelming musical gifts\" who \"quickly emerged as the main draw and lead singer\".\n\nIn January 1970, \"I Want You Back\" became the first Jackson 5 song to reach number one on the US Billboard Hot 100; it stayed there for four weeks. Three more singles with Motown topped the chart: \"ABC\", \"The Love You Save\", and \"I'll Be There\". In May 1971, the Jackson family moved into a large house at Hayvenhurst, a two-acre estate in Encino, California. During this period, Michael developed from a child performer into a teen idol. Between 1972 and 1975, he released four solo studio albums with Motown: Got to Be There (1972), Ben (1972), Music & Me (1973), and Forever, Michael (1975). \"Got to Be There\" and \"Ben\", the title tracks from his first two solo albums, sold well as singles, as did a cover of Bobby Day's \"Rockin' Robin\".\n\nMichael maintained ties to the Jackson 5. The Jackson 5 were later described as \"a cutting-edge example of black crossover artists\". They were frustrated by Motown's refusal to allow them creative input. Jackson's performance of their top five single \"Dancing Machine\" on Soul Train popularized the robot dance.\n\nMove to Epic and Off the Wall (1975–1981)\n\nThe Jackson 5 left Motown in 1975, signing with Epic Records and renaming themselves the Jacksons. Their younger brother Randy joined the band around this time; Jermaine stayed with Motown and pursued a solo career. The Jacksons continued to tour internationally, and released six more albums between 1976 and 1984. Michael, the group's main songwriter during this time, wrote songs such as \"Shake Your Body (Down to the Ground)\" (1978), \"This Place Hotel\" (1980), and \"Can You Feel It\" (1980).\n\nIn 1977, Jackson moved to New York City to star as the Scarecrow in The Wiz, a musical film directed by Sidney Lumet, alongside Diana Ross, Nipsey Russell, and Ted Ross. The film was a box-office failure. Its score was arranged by Quincy Jones, who later produced three of Jackson's solo albums. During his time in New York, Jackson frequented the Studio 54 nightclub, where he heard early hip hop; this influenced his beatboxing on future tracks such as \"Working Day and Night\". In 1978, Jackson broke his nose during a dance routine. A rhinoplasty led to breathing difficulties that later affected his career. He was referred to Steven Hoefflin, who performed Jackson's operations.\n\nJackson's fifth solo album, Off the Wall (1979), established him as a solo performer and helped him move from the bubblegum pop of his youth to more complex sounds. It produced four top 10 entries in the US: \"Off the Wall\", \"She's Out of My Life\", and the chart-topping singles \"Don't Stop 'Til You Get Enough\" and \"Rock with You\". The album reached number three on the US Billboard 200 and sold over 20million copies worldwide. In 1980, Jackson won three American Music Awards for his solo work: Favorite Soul/R&B Album, Favorite Soul/R&B Male Artist, and Favorite Soul/R&B Single for \"Don't Stop 'Til You Get Enough\". He also won a Grammy Award for Best Male R&B Vocal Performance for 1979 with \"Don't Stop 'Til You Get Enough\". In 1981, Jackson was the American Music Awards winner for Favorite Soul/R&B Album and Favorite Soul/R&B Male Artist. Jackson felt Off the Wall should have made a bigger impact, and was determined to exceed expectations with his next release. In 1980, he secured the highest royalty rate in the music industry: 37 percent of wholesale album profit.\n\nThriller and Motown 25: Yesterday, Today, Forever (1982–1983)\n\nJackson recorded with Queen's lead singer Freddie Mercury from 1981 to 1983, recording demos of \"State of Shock\", \"Victory\" and \"There Must Be More to Life Than This\". The recordings were intended for an album of duets but, according to Queen's manager Jim Beach, the relationship soured when Jackson brought a llama into the recording studio, and Jackson was upset by Mercury's drug use. \"There Must Be More to Life Than This\" was released in 2014. Jackson went on to record \"State of Shock\" with Mick Jagger for the Jacksons' album Victory (1984).\n\nIn 1982, Jackson contributed \"Someone in the Dark\" to the audiobook for the film E.T. the Extra-Terrestrial. Jackson's sixth album, Thriller, was released in late 1982. It was the best-selling album worldwide in 1983, and became the best-selling album of all time in the US and the best-selling album of all time worldwide, selling an estimated copies. It topped the Billboard 200 chart for 37 weeks and was in the top 10 of the 200 for 80 consecutive weeks. It was the first album to produce seven Billboard Hot 100 top-10 singles, including \"Billie Jean\", \"Beat It\", and \"Wanna Be Startin' Somethin'\".\n\nOn March 25, 1983, Jackson reunited with his brothers for Motown 25: Yesterday, Today, Forever, an NBC television special. The show aired on May 16 to an estimated audience of , and featured the Jacksons and other Motown stars. Jackson's solo performance of \"Billie Jean\" earned him his first Emmy Award nomination. Wearing a glove decorated with rhinestones, he debuted his moonwalk dance, which Jeffrey Daniel had taught him three years earlier, and it became his signature dance in his repertoire. Jackson had originally turned down the invitation to the show, believing he had been doing too much television. But at the request of Motown founder Berry Gordy, he performed in exchange for an opportunity to do a solo performance. Rolling Stone reporter Mikal Gilmore called the performance \"extraordinary\". Jackson's performance drew comparisons to Elvis Presley's and the Beatles' appearances on The Ed Sullivan Show. Anna Kisselgoff of The New York Times praised the perfect timing and technique involved in the dance. Gordy described being \"mesmerized\" by the performance.\n\nAt the 26th Annual Grammy Awards, Thriller won eight awards, and Jackson won an award for the E.T. the Extra-Terrestrial storybook. Winning eight Grammys in one ceremony is a record he holds with the band Santana. Jackson and Quincy Jones won the award for Producer of the Year (Non-Classical). Thriller won Album of the Year (with Jackson as the album's artist and Jones as its co-producer), and the single won Best Pop Vocal Performance (Male) award for Jackson. \"Beat It\" won Record of the Year and Best Rock Vocal Performance (Male). \"Billie Jean\" won two Grammy awards: Best R&B Song and Best R&B Vocal Performance (Male), with Jackson as songwriter and singer respectively.\n\nThriller won the Grammy for Best Engineered Recording (Non Classical), acknowledging Bruce Swedien for his work on the album. At the 11th Annual American Music Awards, Jackson won another eight awards and became the youngest artist to win the Award of Merit. He also won Favorite Male Artist, Favorite Soul/R&B Artist, and Favorite Pop/Rock Artist. \"Beat It\" won Favorite Soul/R&B Video, Favorite Pop/Rock Video and Favorite Pop/Rock Single. The album won Favorite Soul/R&B Album and Favorite Pop/Rock Album. Thrillers sales doubled after the release of an extended music video, Michael Jackson's Thriller, which sees Jackson dancing with a horde of zombies.\n\nThe success transformed Jackson into a dominant force in global pop culture. Jackson had the highest royalty rate in the music industry at that point, with about $2 for every album sold (), and was making record-breaking profits. Dolls modeled after Jackson appeared in stores in May 1984 for $12 each. In the same year, The Making of Michael Jackson's Thriller, a documentary about the music video, won a Grammy for Best Music Video (Longform). Time described Jackson's influence at that point as \"star of records, radio, rock video. A one-man rescue team for the music business. A songwriter who sets the beat for a decade. A dancer with the fanciest feet on the street. A singer who cuts across all boundaries of taste and style and color too.\" The New York Times wrote \"in the world of pop music, there is Michael Jackson and there is everybody else\".\n\nOn May 14, 1984, President Ronald Reagan gave Jackson an award recognizing his support of alcohol and drug abuse charities, and in recognition of his support for the Ad Council's and the National Highway Traffic Safety Administration's Drunk Driving Prevention campaign. Jackson allowed the campaign to use \"Beat It\" for its public service announcements.\n\nPepsi incident and other commercial activities (1984–1985)\n\nIn November 1983, Jackson and his brothers partnered with PepsiCo in a $5million promotional deal that broke records for a celebrity endorsement (). The first Pepsi campaign, which ran in the US from 1983 to 1984 and launched its \"New Generation\" theme, included tour sponsorship, public relations events, and in-store displays. Jackson helped to create the advertisement, and suggested using his song \"Billie Jean\", with revised lyrics, as its jingle.\n\nOn January 27, 1984, Michael and other members of the Jacksons filmed a Pepsi commercial overseen by Phil Dusenberry, a BBDO ad agency executive, and Alan Pottasch, Pepsi's Worldwide Creative Director, at the Shrine Auditorium in Los Angeles. During a simulated concert before a full house of fans, pyrotechnics accidentally set Jackson's hair on fire, causing second-degree burns to his scalp. Jackson underwent treatment to hide the scars and had his third rhinoplasty shortly thereafter.\n\nPepsi settled out of court, and Jackson donated the $1.5million settlement to the Brotman Medical Center in Culver City, California; its now-closed Michael Jackson Burn Center was named in his honor. Jackson signed a second agreement with Pepsi in the late 1980s for $10million. The second campaign covered 20 countries and provided financial support for Jackson's Bad album and 1987–88 world tour. Jackson had endorsements and advertising deals with other companies, such as LA Gear, Suzuki, and Sony, but none were as significant as his deals with Pepsi.\n\nThe Victory Tour of 1984 headlined the Jacksons and showcased Jackson's new solo material to more than two million Americans. It was the last tour he did with his brothers. Following controversy over the concert's ticket sales, Jackson donated his share of the proceeds, an estimated , to charity. During the last concert of the Victory Tour at the Dodger Stadium in Los Angeles, Jackson announced his split from the Jacksons during \"Shake Your Body\".\n\nHis charitable work continued with the release of \"We Are the World\" (1985), co-written with Lionel Richie, which raised money for the poor in the US and Africa. It earned $63million (), and became one of the best-selling singles of all time, with 20million copies sold. It won four Grammy Awards in 1985, including Song of the Year for Jackson and Richie as its writers. The project's creators received two special American Music Awards honors: one for the creation of the song and another for the USA for Africa idea. Jackson, Jones, and promoter Ken Kragen received special awards for their roles in the song's creation.\n\nJackson collaborated with Paul McCartney in the early 1980s, and learned that McCartney was making $40million a year from owning the rights to other artists' songs. By 1983, Jackson had begun buying publishing rights to others' songs, but he was careful with his acquisitions, only bidding on a few of the dozens that were offered to him. Jackson's early acquisitions of music catalogs and song copyrights such as the Sly Stone collection included \"Everyday People\" (1968), Len Barry's \"1–2–3\" (1965), and Dion DiMucci's \"The Wanderer\" (1961) and \"Runaround Sue\" (1961).\n\nIn 1984, Robert Holmes à Court announced he was selling the ATV Music Publishing catalog comprising the publishing rights to nearly 4,000 songs, including most of the Beatles' material. In 1981, McCartney had been offered the catalog for £20million ($40million). Jackson submitted a bid of $46million on November 20, 1984. When Jackson and McCartney were unable to make a joint purchase, McCartney did not want to be the sole owner of the Beatles' songs, and did not pursue an offer on his own. Jackson's agents were unable to come to a deal, and in May 1985 left talks after having spent more than $1million and four months of due diligence work on the negotiations.\n\nIn June 1985, Jackson and Branca learned that Charles Koppelman's and Marty Bandier's The Entertainment Company had made a tentative offer to buy ATV Music for $50million; in early August, Holmes à Court contacted Jackson and talks resumed. Jackson's increased bid of $47.5million () was accepted because he could close the deal more quickly, having already completed due diligence. Jackson agreed to visit Holmes à Court in Australia, where he would appear on the Channel Seven Perth Telethon. His purchase of ATV Music was finalized on August 10, 1985.\n\nIncreased tabloid speculation (1986–1987)\n\nJackson's skin had been medium-brown during his youth, but from the mid-1980s gradually grew paler. The change drew widespread media coverage, including speculation that he had been bleaching his skin. His dermatologist, Arnold Klein, said he observed in 1983 that Jackson had vitiligo, a condition characterized by patches of the skin losing their pigment and sensitivity to sunlight. He also identified discoid lupus erythematosus in Jackson. He diagnosed Jackson with lupus that year, and with vitiligo in 1986. Vitiligo's drastic effects on the body can cause psychological distress. Jackson used fair-colored makeup, and possibly skin-bleaching prescription creams, to cover up the uneven blotches of color caused by the illness. The creams would depigment the blotches, and, with the application of makeup, he could appear very pale. Jackson said he had not purposely bleached his skin and could not control his vitiligo, adding, \"When people make up stories that I don't want to be who I am, it hurts me.\" He became friends with Klein and Klein's assistant, Debbie Rowe. Rowe later became Jackson's second wife and the mother of his first two children.\n\nIn his 1988 autobiography and a 1993 interview, Jackson said he had had two rhinoplasty surgeries and a cleft chin surgery but no more than that. He said he lost weight in the early 1980s because of a change in diet to achieve a dancer's body. Witnesses reported that he was often dizzy, and speculated he was suffering from anorexia nervosa. Periods of weight loss became a recurring problem later in his life. After his death, Jackson's mother said that he first turned to cosmetic procedures to remedy his vitiligo, because he did not want to look like a \"spotted cow\". She said he had received more than the two cosmetic surgeries he claimed and speculated that he had become addicted to them.\n\nIn 1986, tabloids reported that Jackson slept in a hyperbaric oxygen chamber to slow aging, and pictured him lying in a glass box. The claim was untrue, and tabloids reported that he spread the story himself. They also reported that Jackson took female hormone shots to keep his voice high and facial hair wispy, proposed to Elizabeth Taylor and possibly had a shrine of her, and had cosmetic surgery on his eyes. Jackson's manager Frank DiLeo denied all of them, except for Jackson having a chamber. DiLeo added \"I don't know if he sleeps in it. I'm not for it. But Michael thinks it's something that's probably healthy for him. He's a bit of a health fanatic.\"\n\nWhen Jackson took his pet chimpanzee Bubbles to tour in Japan, the media portrayed Jackson as an aspiring Disney cartoon character who befriended animals. It was also reported that Jackson had offered to buy the bones of Joseph Merrick (the \"Elephant Man\"). In June 1987, the Chicago Tribune reported Jackson's publicist bidding $1million for the skeleton to the London Hospital Medical College on his behalf. The college maintained the skeleton was not for sale. DiLeo said Jackson had an \"absorbing interest\" in Merrick, \"purely based on his awareness of the ethical, medical and historical significance.\"\n\nIn September 1986, using the false hyperbaric chamber story, the British tabloid The Sun branded Jackson \"Wacko Jacko\", a name Jackson came to despise. The Atlantic noted that the name \"Jacko\" has racist connotations, as it originates from Jacko Macacco, a monkey used in monkey-baiting matches at the Westminster Pit in the early 1820s, and \"Jacko\" was used in Cockney slang to refer to monkeys in general.\n\nJackson worked with George Lucas and Francis Ford Coppola on the 17-minute $30million 3D film Captain EO, which ran from 1986 at Disneyland and Epcot, and later at Tokyo Disneyland and Euro Disneyland. After having been removed in the late 1990s, it returned to the theme park for several years after Jackson's death. In 1987, Jackson disassociated himself from the Jehovah's Witnesses. Katherine Jackson said this might have been because some Witnesses strongly opposed the Thriller video. Michael had denounced it in a Witness publication in 1984.\n\nBad, autobiography, and Neverland (1987–1990)\n\nJackson's first album in five years, Bad (1987), was highly anticipated, with the industry expecting another major success. It became the first album to produce five US number-one singles: \"I Just Can't Stop Loving You\", \"Bad\", \"The Way You Make Me Feel\", \"Man in the Mirror\", and \"Dirty Diana\". Another song, \"Smooth Criminal\", peaked at number seven. Bad won the 1988 Grammy for Best Engineered Recording – Non Classical and the 1990 Grammy Award for Best Music Video, Short Form for \"Leave Me Alone\". Jackson won an Award of Achievement at the American Music Awards in 1989 after Bad generated five number-one singles, became the first album to top the charts in 25 countries and the best-selling album worldwide in 1987 and 1988. By 2012, it had sold between 30 and 45million copies worldwide.\n\nThe Bad World Tour ran from September 12, 1987, to January 14, 1989. In Japan, the tour had 14 sellouts and drew 570,000 people, nearly tripling the previous record for a single tour. The 504,000 people who attended seven sold-out shows at Wembley Stadium set a new Guinness World Record.\n\nIn 1988, Jackson released his autobiography, Moonwalk, with input from Stephen Davis and Jacqueline Kennedy Onassis. It sold 200,000 copies, and reached the top of the New York Times bestsellers list. Jackson discussed his childhood, the Jackson 5, and the abuse from his father. He attributed his changing facial appearance to three plastic surgeries, puberty, weight loss, a strict vegetarian diet, a change in hairstyle, and stage lighting. In June, Jackson was honoured with the Grand Vermeil Medal of the City of Paris by the then Mayor of Paris Jacques Chirac during his stay in the city as part of the Bad World Tour. In October, Jackson released a film, Moonwalker, which featured live footage and short films starring Jackson and Joe Pesci. In the US it was released direct-to-video and became the best-selling video cassette in the country. The Recording Industry Association of America (RIAA) certified it as eight times Platinum in the US.\n\nIn March 1988, Jackson purchased of land near Santa Ynez, California, to build a new home, Neverland Ranch, at a cost of $17million (). He installed a Ferris wheel, a carousel, a movie theater and a zoo. A security staff of 40 patrolled the grounds. Shortly afterwards, he appeared in the first Western television advertisement in the Soviet Union.\n\nJackson became known as the \"King of Pop\", a nickname that Jackson's publicists embraced. When Elizabeth Taylor presented him with the Soul Train Heritage Award in 1989, she called him \"the true king of pop, rock and soul.\" President George H. W. Bush designated him the White House's \"Artist of the Decade\". From 1985 to 1990, Jackson donated $455,000 to the United Negro College Fund, and all profits from his single \"Man in the Mirror\" went to charity. His rendition of \"You Were There\" at Sammy Davis Jr.'s 60th birthday celebration won Jackson a second Emmy nomination. Jackson was the bestselling artist of the 1980s.\n\nDangerous and public social work (1991–1993)\nIn March 1991, Jackson renewed his contract with Sony for $65million (), a record-breaking deal, beating Neil Diamond's renewal contract with Columbia Records. In 1991, he released his eighth album, Dangerous, co-produced with Teddy Riley. It was certified eight times platinum in the US, and by 2018 had sold 32million copies worldwide. In the US, the first single, \"Black or White\", was the album's highest-charting song; it was number one on the Billboard Hot 100 for seven weeks and achieved similar chart performances worldwide. The second single, \"Remember the Time\" peaked at number three on the Billboard Hot 100 singles chart. At the end of 1992, Dangerous was the best-selling album of the year worldwide and \"Black or White\" the best-selling single of the year worldwide at the Billboard Music Awards. In 1993, he performed \"Remember the Time\" at the Soul Train Music Awards in a chair, saying he twisted his ankle during dance rehearsals. In the UK, \"Heal the World\" made No. 2 on the charts in 1992.\n\nJackson founded the Heal the World Foundation in 1992. The charity brought underprivileged children to Jackson's ranch to use the theme park rides, and sent millions of dollars around the globe to help children threatened by war, poverty, and disease. That July, Jackson published his second book, Dancing the Dream, a collection of poetry. The Dangerous World Tour ran between June 1992 and November 1993 and grossed (); Jackson performed for 3.5million people in 70 concerts, all of which were outside the US. Part of the proceeds went to Heal the World Foundation. Jackson sold the broadcast rights of the tour to HBO for $20million, a record-breaking deal that still stands.\n\nFollowing the death of HIV/AIDS spokesperson and friend Ryan White, Jackson pleaded with the Clinton administration at Bill Clinton's inaugural gala to give more money to HIV/AIDS charities and research and performed \"Gone Too Soon\", a song dedicated to White, and \"Heal the World\" at the gala. Jackson visited Africa in early 1992; on his first stop in Gabon he was greeted by more than 100,000 people, some of them carrying signs that read \"Welcome Home Michael\", and was awarded an Officer of the National Order of Merit from President Omar Bongo. During his trip to Ivory Coast, Jackson was crowned \"King Sani\" by a tribal chief. He thanked the dignitaries in French and English, signed documents formalizing his kingship, and sat on a golden throne while presiding over ceremonial dances.\n\nIn January 1993, Jackson performed at the Super Bowl XXVII halftime show in Pasadena, California. The NFL sought a big-name artist to keep ratings high during halftime following dwindling audience figures. It was the first Super Bowl whose half-time performance drew greater audience figures than the game. Jackson played \"Jam\", \"Billie Jean\", \"Black or White\", and \"Heal the World\". Dangerous rose 90 places in the US albums chart after the performance.\n\nJackson gave a 90-minute interview with Oprah Winfrey on February 10, 1993. He spoke of his childhood abuse at the hands of his father; he believed he had missed out on much of his childhood, and said that he often cried from loneliness. He denied tabloid rumors that he had bought the bones of the Elephant Man, slept in a hyperbaric oxygen chamber, or bleached his skin, and stated for the first time that he had vitiligo. After the interview, Dangerous re-entered the US albums chart in the top 10, more than a year after its release.\n\nIn January 1993, Jackson won three American Music Awards: Favorite Pop/Rock Album (Dangerous), Favorite Soul/R&B Single (\"Remember the Time\"), and was the first to win the International Artist Award of Excellence. In February, he won the \"Living Legend Award\" at the 35th Annual Grammy Awards in Los Angeles. He attended the award ceremony with Brooke Shields. Dangerous was nominated for Best Vocal Performance (for \"Black or White\"), Best R&B Vocal Performance (\"Jam\") and Best R&B Song (\"Jam\"), and Bruce Swedien and Teddy Riley won the Grammy for Best Engineered – Non Classical.\n\nFirst child sexual abuse accusations and first marriage (1993–1995)\n\nIn August 1993, Jackson was accused of child sexual abuse by a 13-year-old boy, Jordan Chandler, and his father, Evan Chandler. Jordan said he and Jackson had engaged in acts of kissing, masturbation and oral sex. While Jordan's mother initially told police that she did not believe Jackson had molested him, her position wavered a few days later. Evan was recorded discussing his intention to pursue charges, which Jackson used to argue that he was the victim of a jealous father trying to extort money. Jackson's older sister La Toya accused him of being a pedophile; she later retracted this, saying she had been forced into it by her abusive husband.\n\nPolice raided Jackson's home in August and found two legal large-format art books featuring young boys playing, running and swimming in various states of undress. Jackson denied knowing of the books' content and claimed if they were there someone had to send them to him and he did not open them. Jordan Chandler gave police a description of Jackson's genitals. A strip search was made, and the jurors felt the description was not a match. In January 1994, Jackson settled with the Chandlers out of court for a reported total sum of $23 million. The police never pressed criminal charges. Citing a lack of evidence without Jordan's testimony, the state closed its investigation on September 22, 1994.\n\nJackson had been taking painkillers for his reconstructive scalp surgeries, administered due to the Pepsi commercial accident in 1984, and became dependent on them to cope with the stress of the sexual abuse allegations. On November 12, 1993, Jackson canceled the remainder of the Dangerous World Tour due to health problems, stress from the allegations and painkiller addiction. He thanked close friend Elizabeth Taylor for support, encouragement and counsel. The end of the tour concluded his relationship with Pepsi Cola, which sponsored the tour.\n\nIn late 1993, Jackson proposed to Lisa Marie Presley, the daughter of Elvis Presley, over the phone. They married in La Vega, Dominican Republic, in May 1994 by civil judge Hugo Francisco Álvarez Pérez. The tabloid media speculated that the wedding was a publicity stunt to deflect away from Jackson's sexual abuse allegations and jump-start Presley's career as a singer. Their marriage ended little more than a year later, and they separated in December 1995. Presley cited \"irreconcilable differences\" when filing for divorce the next month and only sought to reclaim her maiden name as her settlement. After the divorce, Judge Pérez said, \"They lasted longer than I thought they would. I gave them a year. They lasted a year and a half.\" Presley later said she and Jackson had attempted to reconcile intermittently for four years following their divorce, and that she had travelled the world to be with him.\n\nJackson composed music for the Sega Genesis video game Sonic the Hedgehog 3 (1994), but left the project around the time the sexual abuse allegations surfaced and went uncredited. The Sega Technical Institute director Roger Hector and the Sonic co-creator Naoto Ohshima said that Jackson's involvement was terminated and his music reworked following the allegations. However, Jackson's musical director Brad Buxer and other members of Jackson's team said Jackson went uncredited because he was unhappy with how the Genesis replicated his music.\n\nHIStory, second marriage, fatherhood and Blood on the Dance Floor: HIStory in the Mix (1995–1997)\n\nIn June 1995, Jackson released the double album HIStory: Past, Present and Future, Book I. The first disc, HIStory Begins, is a greatest hits album (reissued in 2001 as Greatest Hits: HIStory, Volume I). The second disc, HIStory Continues, contains 13 original songs and two cover versions. The album debuted at number one on the charts and has been certified for eight million shipments in the US. It is the best-selling multi-disc album of all time, with 20million copies (40million units) sold worldwide. HIStory received a Grammy nomination for Album of the Year. The New York Times reviewed it as \"the testimony of a musician whose self-pity now equals his talent\".\n\nThe first single from HIStory was \"Scream/Childhood\". \"Scream\", a duet with Jackson's youngest sister Janet, protests the media's treatment of Jackson during the 1993 child abuse allegations against him. The single reached number five on the Billboard Hot 100, and received a Grammy nomination for \"Best Pop Collaboration with Vocals\". The second single, \"You Are Not Alone\", holds the Guinness world record for the first song to debut at number one on the Billboard Hot 100 chart. It received a Grammy nomination for \"Best Pop Vocal Performance\" in 1995.\n\nIn 1995 the Anti-Defamation League and other groups complained that \"Jew me, sue me, everybody do me/ Kick me, kike me, don't you black or white me\", the original lyrics of \"They Don't Care About Us\", were antisemitic. Jackson released a version with revised words.\n\nIn late 1995, Jackson was admitted to a hospital after collapsing during rehearsals for a televised performance, caused by a stress-related panic attack. In November, Jackson merged his ATV Music catalog with Sony's music publishing division, creating Sony/ATV Music Publishing. He retained ownership of half the company, earning $95million up front () as well as the rights to more songs.\n\n\"Earth Song\" was the third single released from HIStory, and topped the UK Singles Chart for six weeks over Christmas 1995. It became the 87th-bestselling single in the UK. At the 1996 Brit Awards, Jackson's performance of \"Earth Song\" was disrupted by Pulp singer Jarvis Cocker, who was protesting what Cocker saw as Jackson's \"Christ-like\" persona. Jackson said the stage invasion was \"disgusting and cowardly\".\n\nIn 1996, Jackson won a Grammy for Best Music Video, Short Form, for \"Scream\" and an American Music Award for Favorite Pop/Rock Male Artist. On July 1996, Jackson performed for Sultan Hassanal Bolkiah's fiftieth birthday at Jerudong Park Amphitheater, which was specifically built for that birthday concert. Jackson was reportedly paid $17M ($32 million in 2023 dollars). Jackson promoted HIStory with the HIStory World Tour, from September 7, 1996, to October 15, 1997. He performed 82 concerts in five continents, 35 countries and 58 cities to over 4.5million fans, his most attended tour. It grossed . During the tour, in Sydney, Australia, Jackson married Debbie Rowe, a dermatology assistant, who was six months pregnant with his first child.\n\nMichael Joseph Jackson Jr. (commonly known as Prince) was born on February 13, 1997. His sister Paris-Michael Katherine Jackson was born on April 3, 1998. Jackson and Rowe divorced in 2000, Rowe conceded custody of the children, with an $8million settlement (). In 2004, after the second child abuse allegations against Jackson, she returned to court to reclaim custody. The suit was settled in 2006.\n\nIn 1997, Jackson released Blood on the Dance Floor: HIStory in the Mix, which contained remixes of singles from HIStory and five new songs. Worldwide sales stand at copies, making it the best-selling remix album. It reached number one in the UK, as did the single \"Blood on the Dance Floor\". In the US, the album reached number 24 and was certified platinum.\n\nLabel dispute and Invincible (1997–2002)\nFrom October 1997 to September 2001, Jackson worked on his tenth solo album, Invincible, which cost to record. In June 1999, Jackson joined Luciano Pavarotti for a War Child benefit concert in Modena, Italy. The show raised a million dollars for refugees of the Kosovo War, and additional funds for the children of Guatemala. Later that month, Jackson organized a series of \"Michael Jackson & Friends\" benefit concerts in Germany and Korea. Other artists involved included Slash, The Scorpions, Boyz II Men, Luther Vandross, Mariah Carey, A. R. Rahman, Prabhu Deva Sundaram, Shobana, Andrea Bocelli, and Luciano Pavarotti. The proceeds went to the Nelson Mandela Children's Fund, the Red Cross and UNESCO. In 1999, Jackson was presented with the \"Outstanding Humanitarian Award\" at Bollywood Movie Awards in New York City where he noted Mahatma Gandhi to have been an inspiration for him. From August 1999 to 2000, he lived in New York City at 4 East 74th Street. At the turn of the century, Jackson won an American Music Award as Artist of the 1980s. In 2000, Guinness World Records recognized him for supporting 39 charities, more than any other entertainer.\n\nIn September 2001, two 30th Anniversary concerts were held at Madison Square Garden to mark Jackson's 30th year as a solo artist. Jackson performed with his brothers for the first time since 1984. The show also featured Mýa, Usher, Whitney Houston, Destiny's Child, Monica, Liza Minnelli, and Slash. The first show was marred by technical lapses, and the crowd booed a speech by Marlon Brando. Almost 30million people watched the television broadcast of the shows in November. After the September 11 attacks, Jackson helped organize the United We Stand: What More Can I Give benefit concert at RFK Stadium in Washington, D.C. on October 21, 2001. Jackson performed \"What More Can I Give\" as the finale.\n\nThe release of Invincible was preceded by a dispute between Jackson and his record label, Sony Music Entertainment. Jackson had expected the licenses to the masters of his albums to revert to him in the early 2000s, after which he would be able to promote the material however he pleased and keep the profits, but clauses in the contract set the revert date years into the future. Jackson sought an early exit from his contract. Invincible was released on October 30, 2001. It was Jackson's first full-length album in six years, and the last album of original material he released in his lifetime. It debuted at number one in 13 countries and went on to sell eightmillion copies worldwide, receiving double-platinum certification in the US.\n\nOn January 9, 2002, Jackson won his 22nd American Music Award for Artist of the Century. Later that year, an anonymous surrogate mother gave birth to his third child, Prince Michael Jackson II (nicknamed \"Blanket\"), who had been conceived by artificial insemination. On November 20, Jackson briefly held Blanket over the railing of his Berlin hotel room, four stories above ground level, prompting widespread criticism in the media. Jackson apologized for the incident, calling it \"a terrible mistake\". On January 22, promoter Marcel Avram filed a breach of contract complaint against Jackson for failing to perform two planned 1999 concerts. In March, a Santa Maria jury ordered Jackson to pay Avram $5.3million. On December 18, 2003, Jackson's attorneys dropped all appeals on the verdict and settled the lawsuit for an undisclosed amount.\n\nOn April 24, 2002, Jackson performed at Apollo Theater. The concert was a fundraiser for the Democratic National Committee and former President Bill Clinton. The money collected would be used to encourage citizens to vote. It raised $2.5million. The concert was called Michael Jackson: Live at the Apollo and was one of Jackson's final on-stage performances.\n\nIn July 2002, Jackson called Sony Music chairman Tommy Mottola \"a racist, and very, very, very devilish,\" and someone who exploits black artists for his own gain, at Al Sharpton's National Action Network in Harlem. The accusation prompted Sharpton to form a coalition investigating whether Mottola exploited black artists. Jackson charged that Mottola had called his colleague Irv Gotti a \"fat nigger\". Responding to those attacks, Sony issued a statement calling them \"ludicrous, spiteful, and hurtful\" and defended Mottola as someone who had championed Jackson's career for many years. Sony ultimately refused to renew Jackson's contract and claimed that a promotional campaign had failed because Jackson refused to tour in the US for Invincible.\n\nDocumentary, Number Ones, second child abuse allegations and acquittal (2002–2005)\n\nBeginning in May 2002, a documentary film crew led by Martin Bashir followed Jackson for several months. The documentary, broadcast in February 2003 as Living with Michael Jackson, showed Jackson holding hands and discussing sleeping arrangements with a 12-year-old boy. He said that he saw nothing wrong with having sleepovers with minors and sharing his bed and bedroom with various people, which aroused controversy. He insisted that the sleepovers were not sexual and that his words had been misunderstood.\n\nIn October 2003, Jackson received the Key to the City of Las Vegas from Mayor Oscar Goodman. On November 18, 2003, Sony released Number Ones, a greatest hits compilation. It was certified five times platinum by the RIAA, and ten times platinum in the UK, for shipments of at least 3million units.\n\nOn December 18, 2003, Santa Barbara authorities charged Jackson with seven counts of child molestation and two counts of intoxicating a minor with alcoholic drinks. Jackson denied the allegations and pleaded not guilty. The People v. Jackson trial began on January 31, 2005, in Santa Maria, California, and lasted until the end of May. Jackson found the experience stressful and it affected his health. If convicted, he would have faced up to 20 years in prison. On June 13, 2005, Jackson was acquitted on all counts. FBI files on Jackson, released in 2009, revealed the FBI's role in the 2005 trial and the 1993 allegations, and showed that the FBI found no evidence of criminal conduct on Jackson's behalf.\n\nFinal years, financial problems, Thriller 25 and This Is It (2005–2009)\n\nAfter the trial, Jackson became reclusive. In June 2005, he moved to Bahrain as a guest of Sheikh Abdullah. In early 2006, it was announced that Jackson had signed a contract with a Bahrain startup, Two Seas Records. Nothing came of the deal, and the Two Seas CEO, Guy Holmes, later said it was never finalized. Holmes also found that Jackson was on the verge of bankruptcy and was involved in 47 ongoing lawsuits. By September 2006, Jackson was no longer affiliated with Two Seas.\n\nIn April 2006, Jackson agreed to use a piece of his ATV catalog stake, then worth about $1billion, as collateral against his $270million worth of loans from Bank of America. Bank of America had sold the loans to Fortress Investments, an investment company that buys distressed loans, the year before. As part of the agreement, Fortress Investments provided Jackson a new loan of $300million with reduced interest payments (). Sony Music would have the option to buy half of his stake, or about 25% of the catalog, at a set price. Jackson's financial managers had urged him to shed part of his stake to avoid bankruptcy. The main house at Neverland Ranch was closed as a cost-cutting measure, while Jackson lived in Bahrain at the hospitality of Abdullah. At least 30 of Jackson's employees had not been paid on time and were owed $306,000 in back wages. Jackson was ordered to pay $100,000 in penalties.\n\nIn mid-2006, Jackson moved to Grouse Lodge, a residential recording studio near Rosemount, County Westmeath, Ireland. There, he began work on a new album with the American producers will.i.am and Rodney Jenkins. That November, Jackson invited an Access Hollywood camera crew into the studio in Westmeath. On November 15, Jackson briefly performed \"We Are the World\" at the World Music Awards in London, his last public performance, and accepted the Diamond Award for sales of records. He returned to the US in December, settling in Las Vegas. That month, he attended James Brown's funeral in Augusta, Georgia, where he gave a eulogy calling Brown his greatest inspiration.\n\nIn 2007, Jackson and Sony bought another music publishing company, Famous Music LLC, formerly owned by Viacom. The deal gave Jackson the rights to songs by Eminem and Beck, among others. In a brief interview, Jackson said he had no regrets about his career despite his problems and \"deliberate attempts to hurt [him]\". That March, Jackson visited a US Army post in Japan, Camp Zama, to greet more than 3,000 troops and their families. As of September, Jackson was still working on his next album, which he never completed. \n\nIn 2008, for the 25th anniversary of Thriller, Jackson and Sony released Thriller 25, with two remixes released as singles: \"The Girl Is Mine 2008\" and \"Wanna Be Startin' Somethin' 2008\". For Jackson's 50th birthday, Sony BMG released a series of greatest hits albums, King of Pop, with different tracklists for different regions. That July, Fortress Investments threatened to foreclose on Neverland Ranch, which Jackson had used as collateral for his loans. Fortress sold Jackson's debts to Colony Capital LLC. In November, Jackson transferred Neverland Ranch's title to Sycamore Valley Ranch Company LLC, a joint venture between Jackson and Colony Capital LLC. The deal earned him . In 2009, Jackson arranged to sell a collection of his memorabilia of more than 1,000 items through Julien's Auction House, but canceled the auction in April.\n\nIn March 2009, amid speculation about his finances and health, Jackson announced a series of comeback concerts, This Is It, at a press conference at the O2 Arena. The shows were to be his first major concerts since the HIStory World Tour in 1997. Jackson suggested he would retire after the shows. The initial plan was for 10 concerts in London, followed by shows in Paris, New York City and Mumbai. Randy Phillips, the president and chief executive of AEG Live, predicted the first 10 dates would earn Jackson £50million.\n\nThe London residency was increased to 50 dates after record-breaking ticket sales; more than one million were sold in less than two hours. The concerts were to run from July 13, 2009, to March 6, 2010. Jackson moved to Los Angeles, where he rehearsed in the weeks leading up to the tour under the direction of the choreographer Kenny Ortega, whom he had worked with during his previous tours. Rehearsals took place at the Forum and the Staples Center owned by AEG. By this point, Jackson's debt had grown to almost $500 million. By the time of his death, he was three or four months behind payments of his home in San Fernando Valley. The Independent reported that Jackson planned a string of further ventures designed to recoup his debts, including a world tour, a new album, films, a museum and a casino.\n\nDeath\n\nOn June 25, 2009, less than three weeks before his concert residency was due to begin in London, with all concerts sold out, Jackson died from cardiac arrest, caused by a propofol and benzodiazepine overdose. Conrad Murray, his personal physician, had given Jackson various medications to help him sleep at his rented mansion in Holmby Hills, Los Angeles. Paramedics received a 911 call at 12:22 pm Pacific time (19:22 UTC) and arrived three minutes later. Jackson was not breathing and CPR was performed. Resuscitation efforts continued en route to Ronald Reagan UCLA Medical Center, and for more than an hour after Jackson's arrival there, but were unsuccessful, and Jackson was pronounced dead at 2:26 pm Pacific time (21:26 UTC).\n\nJackson was administered propofol, lorazepam, and midazolam; his death was caused by a propofol overdose. News of his death spread quickly online, causing websites to slow down and crash from user overload, and putting unprecedented strain on services and websites including Google, AOL Instant Messenger, Twitter, and Wikipedia. Overall, web traffic rose by between 11% and 20%. MTV and BET aired marathons of Jackson's music videos, and Jackson specials aired on television stations around the world. MTV briefly returned to its original music video format, and aired hours of Jackson's music videos, with live news specials featuring reactions from MTV personalities and other celebrities.\n\nMemorial service\n\nJackson's memorial was held on July 7, 2009, at the Staples Center in Los Angeles, preceded by a private family service at Forest Lawn Memorial Park's Hall of Liberty. Over 1.6million fans applied for tickets to the memorial; the 8,750 recipients were drawn at random, and each received two tickets. The memorial service was one of the most watched events in streaming history, with an estimated US audience of 31.1million and a worldwide audience of an estimated 2.5 to 3 billion.\n\nMariah Carey, Stevie Wonder, Lionel Richie, Jennifer Hudson, and Shaheen Jafargholi performed at the memorial, and Smokey Robinson and Queen Latifah gave eulogies. Al Sharpton received a standing ovation with cheers when he told Jackson's children: \"Wasn't nothing strange about your daddy. It was strange what your daddy had to deal with. But he dealt with it anyway.\" Jackson's 11-year-old daughter Paris Katherine, speaking publicly for the first time, wept as she addressed the crowd. Lucious Smith provided a closing prayer. On September 3, 2009, the body of Jackson was entombed at Forest Lawn Memorial Park in Glendale, California.\n\nCriminal investigation and prosecution of Conrad Murray\n\nIn August 2009, the Los Angeles County Coroner ruled that Jackson's death was a homicide. Law enforcement officials charged Murray with involuntary manslaughter on February 8, 2010. In late 2011, he was found guilty of involuntary manslaughter and held without bail to await sentencing. Murray was sentenced to four years in prison.\n\nPosthumous sales\nAt the 2009 American Music Awards, Jackson won four posthumous awards, including two for his compilation album Number Ones, bringing his total American Music Awards to 26. In the year after his death, more than 16.1million copies of Jackson's albums were sold in the US alone, and 35million copies were sold worldwide, more than any other artist in 2009. He became the first artist to sell one million music downloads in a week, with 2.6million song downloads. Thriller, Number Ones and The Essential Michael Jackson became the first catalog albums to outsell any new album. Jackson also became the first artist to have four of the top-20 best-selling albums in a single year in the US.\n\nFollowing the surge in sales, in March 2010, Sony Music signed a $250million deal () with the Jackson estate to extend their distribution rights to Jackson's back catalog until at least 2017; it had been due to expire in 2015. It was the most expensive music contract for a single artist in history. They agreed to release ten albums of previously unreleased material and new collections of released work. The deal was extended in 2017. That July, a Los Angeles court awarded Quincy Jones $9.4million of disputed royalty payments for Off the Wall, Thriller, and Bad. In July 2018, Sony/ATV bought the estate's stake in EMI for $287.5million.\n\nIn 2014, Jackson became the first artist to have a top-ten single in the Billboard Hot 100 in five different decades. The following year, Thriller became the first album to be certified for 30million shipments by the Recording Industry Association of America (RIAA). A year later, it was certified 33× platinum after Soundscan added streams and audio downloads to album certifications.\n\nPosthumous releases and productions\nThe first posthumous Jackson song, \"This Is It\", co-written in the 1980s with Paul Anka, was released in October 2009. The surviving Jackson brothers reunited to record backing vocals. It was followed by a documentary film about the rehearsals for the canceled This Is It tour, Michael Jackson's This Is It, and a compilation album. Despite a limited two-week engagement, the film became the highest-grossing documentary or concert film ever, with earnings of more than worldwide. Jackson's estate received 90% of the profits. In late 2010, Sony released the first posthumous album, Michael, and the promotional single \"Breaking News\". Jackson collaborator will.i.am expressed disgust, saying that Jackson would not have approved the release.\n\nThe video game developer Ubisoft released a music game featuring Jackson for the 2010 holiday season, Michael Jackson: The Experience. It was among the first games to use Kinect and PlayStation Move, the motion-detecting camera systems for Xbox 360 and PlayStation 3. In April 2011, Mohamed Al-Fayed, the chairman of Fulham Football Club, unveiled a statue of Jackson outside the club stadium, Craven Cottage. It was moved to the National Football Museum in Manchester in May 2014, and removed from display in March 2019 following renewed sexual assault allegations.\n\nIn October 2011, the theater company Cirque du Soleil launched Michael Jackson: The Immortal World Tour, a $57-million production, in Montreal, with a permanent show resident in Las Vegas. A larger and more theatrical Cirque show, Michael Jackson: One, designed for residency at the Mandalay Bay resort in Las Vegas, opened on May 23, 2013, in a renovated theater.\n\nIn 2012, in an attempt to end a family dispute, Jackson's brother Jermaine retracted his signature on a public letter criticizing executors of Jackson's estate and his mother's advisors over the legitimacy of his brother's will. T.J. Jackson, the son of Tito Jackson, was given co-guardianship of Michael Jackson's children after false reports of Katherine Jackson going missing. Xscape, an album of unreleased material, was released on May 13, 2014. The lead single, a duet between Jackson and Justin Timberlake, \"Love Never Felt So Good\", reached number 9 on the US Billboard Hot 100, making Jackson the first artist to have a top-10 single on the chart in five different decades.\n\nLater in 2014, Queen released a duet recorded with Jackson in the 1980s. A compilation album, Scream, was released on September 29, 2017. A jukebox musical, MJ the Musical, premiered on Broadway in 2022. Myles Frost won the 2022 Tony Award for Best Actor in a Musical for his portrayal of Jackson. On November 18, 2022, a 40th-anniversary edition reissue of Thriller was released.\n\nA biographical film based on Jackson's life, Michael, is due to enter production through Lionsgate in 2023. It will be directed by Antoine Fuqua, produced by Graham King and written by John Logan. Jackson will be played by Jaafar Jackson, a son of Jackson's brother Jermaine. Deadline Hollywood reported that the film \"will not shy away from the controversies of Jackson's life\".\n\nPosthumous child sexual abuse allegations\n\nIn 2013, the choreographer Wade Robson filed a lawsuit alleging that Jackson had sexually abused him for seven years, beginning when he was seven years old (1989–1996). In 2014, a case was filed by James Safechuck, alleging sexual abuse over a four-year period from the age of ten (1988–1992). Both had testified in Jackson's defense during the 1993 allegations; Robson did so again in 2005. In 2015, Robson's case against Jackson's estate was dismissed as it had been filed too late. Safechuck's claim was also time-barred.\n\nIn 2017, it was ruled that Jackson's corporations could not be held accountable for his alleged past actions. The rulings were appealed. On October 20, 2020, Safechuck's lawsuit against Jackson's corporations was again dismissed; the judge ruled that there was no evidence that Safechuck had had a relationship with Jackson's corporation, nor was it proven that there was a special relationship between the two. On April 26, 2021, Robson's case was dismissed because of a lack of supporting evidence that the defendants exercised control over Jackson.\n\nRobson and Safechuck described their allegations against Jackson in graphic detail in the documentary Leaving Neverland, released in March 2019. Radio stations in New Zealand, Canada, the UK and the Netherlands removed Jackson's music from their playlists. Jackson's family condemned the film as a \"public lynching\", and the Jackson estate released a statement calling the film a \"tabloid character assassination [Jackson] endured in life, and now in death\". Close associates of Jackson, such as Corey Feldman, Aaron Carter, Brett Barnes, and Macaulay Culkin, said that Jackson had not molested them.\n\nDocumentaries such as Square One: Michael Jackson, Neverland Firsthand: Investigating the Michael Jackson Documentary and Michael Jackson: Chase the Truth, countered the claims suggested by Leaving Neverland. Jackson's album sales increased following the documentary screenings. Billboard senior editor Gail Mitchell said she and a colleague interviewed about thirty music executives who believed Jackson's legacy could withstand the controversy. In late 2019, some New Zealand and Canadian radio stations re-added Jackson's music to their playlists, citing \"positive listener survey results\".\n\nOn February 21, 2019, the Jackson estate sued HBO for breaching a non-disparagement clause from a 1992 contract. The suit sought to compel HBO to participate in a non-confidential arbitration that could result in $100million or more in damages rewarded to the estate. HBO said they did not breach a contract and filed an anti-SLAPP motion against the estate. In September 2019, Judge George H. Wu denied HBO's motion to dismiss the case, allowing the Jackson estate to arbitrate. HBO appealed, but in December 2020 the appeals court affirmed Wu's ruling.\n\nLegacy\n\nJackson has been referred to as the \"King of Pop\" for having transformed the art of music videos and paving the way for modern pop music. For much of Jackson's career, he had an unparalleled worldwide influence over the younger generation. His influence extended beyond the music industry; he impacted dance, led fashion trends, and raised awareness for global affairs. Jackson's music and videos fostered racial diversity in MTV's roster and steered its focus from rock to pop music and R&B, shaping the channel into a form that proved enduring.\n\nIn songs such as \"Man in the Mirror\", \"Black or White\", Heal the World, \"Earth Song\" and \"They Don't Care About Us\", Jackson's music emphasized racial integration and environmentalism and protested injustice. He is recognized as the Most Successful Entertainer of All Time by Guinness World Records. He is considered one of the most significant cultural icons of the 20th century, and his contributions to music, dance, and fashion, along with his publicized personal life, made him a global figure in popular culture for over four decades. Danyel Smith, chief content officer of Vibe Media Group and the editor-in-chief of Vibe, described Jackson as \"the greatest star\". Steve Huey of AllMusic called him \"an unstoppable juggernaut, possessed of all the skills to dominate the charts seemingly at will: an instantly identifiable voice, eye-popping dance moves, stunning musical versatility and loads of sheer star power\". BET said Jackson was \"quite simply the greatest entertainer of all time\" whose \"sound, style, movement and legacy continues to inspire artists of all genres\".\n\nIn 1984, Time pop critic Jay Cocks wrote that \"Jackson is the biggest thing since the Beatles. He is the hottest single phenomenon since Elvis Presley. He just may be the most popular black singer ever.\" He described Jackson as a \"star of records, radio, rock video. A one-man rescue team for the music business. A songwriter who sets the beat for a decade. A dancer with the fanciest feet on the street. A singer who cuts across all boundaries of taste and style, and color too.\" In 2003, The Daily Telegraph writer Tom Utley described Jackson as \"extremely important\" and a \"genius\". At Jackson's memorial service on July 7, 2009, Motown founder Berry Gordy called Jackson \"the greatest entertainer that ever lived\". In a June 28, 2009 Baltimore Sun article, Jill Rosen wrote that Jackson's legacy influenced fields including sound, dance, fashion, music videos and celebrity.\n\nPop critic Robert Christgau wrote that Jackson's work from the 1970s to the early 1990s showed \"immense originality, adaptability, and ambition\" with \"genius beats, hooks, arrangements, and vocals (though not lyrics)\", music that \"will stand forever as a reproach to the puritanical notion that pop music is slick or shallow and that's the end of it\". During the 1990s, as Jackson lost control of his \"troubling life\", his music suffered and began to shape \"an arc not merely of promise fulfilled and outlived, but of something approaching tragedy: a phenomenally ebullient child star tops himself like none before, only to transmute audibly into a lost weirdo\". In the 2000s, Christgau wrote: \"Jackson's obsession with fame, his grotesque life magnified by his grotesque wealth, are such an offense to rock aesthetes that the fact that he's a great musician is now often forgotten\".\n\nPhilanthropy and humanitarian work\n\nJackson is regarded as a prolific philanthropist and humanitarian. Jackson's early charitable work has been described by The Chronicle of Philanthropy as having \"paved the way for the current surge in celebrity philanthropy\", and by the Los Angeles Times as having \"set the standard for generosity for other entertainers\". \n\nBy some estimates, he donated over $500 million, not accounting for inflation, to various charities over the course of his life. The total monetary value of Jackson's donations may be substantially higher since Jackson often gave anonymously and without fanfare. In addition to supporting several charities established by others, in 1992 Jackson established his Heal the World Foundation, to which he donated several million dollars in revenue from his Dangerous World Tour.\n\nJackson's philanthropic activities went beyond just monetary donations. He also performed at benefit concerts, some of which he arranged. He gifted tickets for his regular concert performances to groups that assist underprivileged children. He visited sick children in hospitals around the world. He opened his own home for visits by underprivileged or sick children and provided special facilities and nurses if the children needed that level of care.\n\nJackson donated valuable, personal and professional paraphernalia for numerous charity auctions. He received various awards and accolades for his philanthropic work, including two bestowed by Presidents of the United States. The vast breadth of Jackson's philanthropic work has earned recognition in the Guinness World Records.\n\nArtistry\n\nInfluences \nJackson was influenced by musicians including James Brown, Little Richard, Jackie Wilson, Diana Ross, Fred Astaire, Sammy Davis Jr., Gene Kelly, and David Ruffin. Little Richard had a substantial influence on Jackson, but Brown was his greatest inspiration; he later said that as a small child, his mother would wake him whenever Brown appeared on television. Jackson described being \"mesmerized\".\n\nJackson's vocal technique was influenced by Diana Ross; his use of the oooh interjection from a young age was something Ross had used on many of her songs with the Supremes. She was a mother figure to him, and he often watched her rehearse. He said he had learned a lot from watching how she moved and sang, and that she had encouraged him to have confidence in himself.\n\nChoreographer David Winters, who met Jackson while choreographing the 1971 Diana Ross TV special Diana!, said that Jackson watched the musical West Side Story almost every week, and it was his favorite film; he paid tribute to it in \"Beat It\" and the \"Bad\" video.\n\nVocal style\nJackson sang from childhood, and over time his voice and vocal style changed. Between 1971 and 1975, his voice descended from boy soprano to lyric tenor. He was known for his vocal range. With the arrival of Off the Wall in the late 1970s, Jackson's abilities as a vocalist were well regarded; Rolling Stone compared his vocals to the \"breathless, dreamy stutter\" of Stevie Wonder, and wrote that \"Jackson's feathery-timbred tenor is extraordinarily beautiful. It slides smoothly into a startling falsetto that's used very daringly.\" By the time of 1982's Thriller, Rolling Stone wrote that Jackson was singing in a \"fully adult voice\" that was \"tinged by sadness\".\n\nThe turn of the 1990s saw the release of the introspective album Dangerous. The New York Times noted that on some tracks, \"he gulps for breath, his voice quivers with anxiety or drops to a desperate whisper, hissing through clenched teeth\" and he had a \"wretched tone\". When singing of brotherhood or self-esteem the musician would return to \"smooth\" vocals. Of Invincible, Rolling Stone wrote that, at 43, Jackson still performed \"exquisitely voiced rhythm tracks and vibrating vocal harmonies\". Joseph Vogel notes Jackson's ability to use non-verbal sounds to express emotion. Neil McCormick wrote that Jackson's unorthodox singing style \"was original and utterly distinctive\".\n\nMusicianship\nJackson had no formal music training and could not read or write music notation. He is credited for playing guitar, keyboard, and drums, but was not proficient in them. When composing, he recorded ideas by beatboxing and imitating instruments vocally. Describing the process, he said: \"I'll just sing the bass part into the tape recorder. I'll take that bass lick and put the chords of the melody over the bass lick and that's what inspires the melody.\" The engineer Robert Hoffman recalled Jackson singing string arrangements part by part into a cassette recorder, and dictating chords note by note by singing them to a guitarist.\n\nDance\nJackson danced from a young age as part of the Jackson 5, and incorporated dance extensively in his performances and music videos. According to Sanjoy Roy of The Guardian, Jackson would \"flick and retract his limbs like switchblades, or snap out of a tornado spin into a perfectly poised toe-stand\". The moonwalk, taught to him by Jeffrey Daniel, was Jackson's signature dance move and one of the most famous of the 20th century. Jackson is credited for coining the name \"moonwalk\"; the move was previously known as the \"backslide\". His other moves included the robot, crotch grab, and the \"anti-gravity\" lean of the \"Smooth Criminal\" video.\n\nThemes and genres\n\nJackson explored genres including pop, soul, rhythm and blues, funk, rock, disco, post-disco, dance-pop and new jack swing. Steve Huey of AllMusic wrote that Thriller refined the strengths of Off the Wall; the dance and rock tracks were more aggressive, while the pop tunes and ballads were softer and more soulful. Its tracks included the ballads \"The Lady in My Life\", \"Human Nature\", and \"The Girl Is Mine\", the funk pieces \"Billie Jean\" and \"Wanna Be Startin' Somethin'\", and the disco set \"Baby Be Mine\" and \"P.Y.T. (Pretty Young Thing)\".\n\nWith Off the Wall, Jackson's \"vocabulary of grunts, squeals, hiccups, moans, and asides\" vividly showed his maturation into an adult, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981). The album's title track suggested to the critic a parallel between Jackson and Stevie Wonder's \"oddball\" music personas: \"Since childhood his main contact with the real world has been on stage and in bed.\" With Thriller, Christopher Connelly of Rolling Stone commented that Jackson developed his long association with the subliminal theme of paranoia and darker imagery. AllMusic's Stephen Thomas Erlewine noted this on the songs \"Billie Jean\" and \"Wanna Be Startin' Somethin'\". In \"Billie Jean\", Jackson depicts an obsessive fan who alleges he has fathered her child, and in \"Wanna Be Startin' Somethin'\" he argues against gossip and the media. \"Beat It\" decried gang violence in a homage to West Side Story, and was Jackson's first successful rock cross-over piece, according to Huey. He observed that \"Thriller\" began Jackson's interest with the theme of the supernatural, a topic he revisited in subsequent years. In 1985, Jackson co-wrote the charity anthem \"We Are the World\"; humanitarian themes later became a recurring theme in his lyrics and public persona.In Bad, Jackson's concept of the predatory lover is seen on the rock song \"Dirty Diana\". The lead single \"I Just Can't Stop Loving You\" is a traditional love ballad, and \"Man in the Mirror\" is a ballad of confession and resolution. \"Smooth Criminal\" is an evocation of bloody assault, rape and likely murder. AllMusic's Stephen Thomas Erlewine states that Dangerous presents Jackson as a paradoxical person. The first half of the record is dedicated to new jack swing, including songs like \"Jam\" and \"Remember the Time\". It was the first Jackson album in which social ills became a primary theme; \"Why You Wanna Trip on Me\", for example, protests world hunger, AIDS, homelessness and drugs. Dangerous contains sexually charged songs such as \"In the Closet\". The title track continues the theme of the predatory lover and compulsive desire. The second half includes introspective, pop-gospel anthems such as \"Will You Be There\", \"Heal the World\" and \"Keep the Faith\". In the ballad \"Gone Too Soon\", Jackson gives tribute to Ryan White and the plight of those with AIDS.\n\nHIStory creates an atmosphere of paranoia. In the new jack swing-funk rock tracks \"Scream\" and \"Tabloid Junkie\", and the R&B ballad \"You Are Not Alone\", Jackson retaliates against the injustice and isolation he feels, and directs his anger at the media. In the introspective ballad \"Stranger in Moscow\", Jackson laments his \"fall from grace\"; \"Earth Song\", \"Childhood\", \"Little Susie\" and \"Smile\" are operatic pop songs. In \"D.S.\", Jackson attacks lawyer Thomas W. Sneddon Jr., who had prosecuted him in both child sexual abuse cases; he describes Sneddon as a white supremacist who wanted to \"get my ass, dead or alive\". Invincible includes urban soul tracks such as \"Cry\" and \"The Lost Children\", ballads such as \"Speechless\", \"Break of Dawn\", and \"Butterflies\", and mixes hip hop, pop, and R&B in \"2000 Watts\", \"Heartbreaker\" and \"Invincible\".\n\nMusic videos and choreography\n\nJackson released \"Thriller\", a 14-minute music video directed by John Landis, in 1983. The zombie-themed video \"defined music videos and broke racial barriers\" on MTV, which had launched two years earlier. Before Thriller, Jackson struggled to receive coverage on MTV, allegedly because he was African American. Pressure from CBS Records persuaded MTV to start showing \"Billie Jean\" and later \"Beat It\", which led to a lengthy partnership with Jackson, and helped other black music artists gain recognition. The popularity of his videos on MTV helped the relatively new channel's viewing figures, and MTV's focus shifted toward pop and R&B. His performance on Motown 25: Yesterday, Today, Forever changed the scope of live stage shows, making it acceptable for artists to lip-sync to music video on stage. The choreography in Thriller has been copied in Indian films and prisons in the Philippines. Thriller marked an increase in scale for music videos, and was named the most successful music video ever by the Guinness World Records.\n\nIn \"Bad\"'s 19-minute video—directed by Martin Scorsese—Jackson used sexual imagery and choreography, and touched his chest, torso and crotch. When asked by Winfrey in the 1993 interview about why he grabbed his crotch, he said it was spontaneously compelled by the music. Time magazine described the \"Bad\" video as \"infamous\". It featured Wesley Snipes; Jackson's later videos often featured famous cameo roles. For the \"Smooth Criminal\" video, Jackson experimented with leaning forward at a 45 degree angle, beyond the performer's center of gravity. To accomplish this live, Jackson and designers developed a special shoe to lock the performer's feet to the stage, allowing them to lean forward. They were granted for the device. The video for \"Leave Me Alone\" was not officially released in the US, but in 1989 was nominated for three Billboard Music Video Awards and won a Golden Lion Award for its special effects. It won a Grammy for Best Music Video, Short Form.\n\nHe received the MTV Video Vanguard Award in 1988; in 2001 the award was renamed in his honor. The \"Black or White\" video simultaneously premiered on November 14, 1991, in 27 countries with an estimated audience of 500million people, the largest audience ever for a music video at the time. Along with Jackson, it featured Macaulay Culkin, Peggy Lipton, and George Wendt. It helped introduce morphing to music videos. It was controversial for scenes in which Jackson rubs his crotch, vandalizes cars, and throws a garbage can through a storefront. He apologized and removed the final scene of the video.\n\n\"In the Closet\" featured Naomi Campbell in a courtship dance with Jackson. \"Remember the Time\" was set in ancient Egypt, and featured Eddie Murphy, Iman, and Magic Johnson. The video for \"Scream\", directed by Mark Romanek and production designer Tom Foden, gained a record 11 MTV Video Music Award Nominations, and won \"Best Dance Video\", \"Best Choreography\", and \"Best Art Direction\". The song and its video are Jackson's response to being accused of child molestation in 1993. A year later, it won a Grammy for Best Music Video, Short Form. It has been reported as the most expensive music video ever made, at $7million; Romanek has contradicted this. The \"Earth Song\" video was nominated for the 1997 Grammy for Best Music Video, Short Form.\n\nMichael Jackson's Ghosts, a short film written by Jackson and Stephen King and directed by Stan Winston, premiered at the 1996 Cannes Film Festival. At over 38 minutes long, it held the Guinness world record for the longest music video until 2013, when it was eclipsed by the video for the Pharrell Williams song \"Happy\". The 2001 video for \"You Rock My World\" lasts over 13 minutes, was directed by Paul Hunter, and features Chris Tucker and Marlon Brando. It won an NAACP Image Award for Outstanding Music Video in 2002.\n\nIn December 2009, the Library of Congress selected \"Thriller\" as the only music video to be preserved in the National Film Registry, as a work of \"enduring importance to American culture\". Huey wrote that Jackson transformed the music video into an artform and a promotional tool through complex story lines, dance routines, special effects and famous cameos, while breaking down racial barriers.\n\nHonors and awards\n\nJackson is one of the best-selling music artists in history, with sales estimated by various sources up to 400 million – 1 billion. He had 13 number-one singles in the US in his solo career—more than any other male artist in the Hot 100 era. He was invited and honored by a President of the United States at the White House three times. In 1984, he was honored with a \"Presidential Public Safety Commendation\" award by Ronald Reagan for his humanitarian endeavors. In 1990, he was honored as the \"Artist of the Decade\" by George H. W. Bush. In 1992, he was honored as a \"Point of Light Ambassador\" by Bush for inviting disadvantaged children to his Neverland Ranch.\n\nJackson won hundreds of awards, making him one of the most-awarded artists in popular music. His awards include 39 Guinness World Records, including the Most Successful Entertainer of All Time, 13 Grammy Awards, as well as the Grammy Legend Award and the Grammy Lifetime Achievement Award, and 26 American Music Awards, including the Artist of the Century and Artist of the 1980s. He also received the World Music Awards' Best-Selling Pop Male Artist of the Millennium and the Bambi Pop Artist of the Millennium Award. Jackson was inducted onto the Hollywood Walk of Fame in 1980 as a member of the Jacksons, and in 1984 as a solo artist. He was inducted to the Rock and Roll Hall of Fame and Vocal Group Hall of Fame as a member of the Jackson 5 in 1997 and 1999, respectively, and again as a solo artist in 2001. In 2002, he was added to the Songwriters Hall of Fame. In 2010, he was the first recording artist to be inducted into the Dance Hall of Fame, and in 2014, he was posthumously inducted into the Rhythm and Blues Music Hall of Fame. In 2021, he was among the inaugural inductees into the Black Music & Entertainment Walk of Fame.\n\nIn 1988, Fisk University honored him with an Honorary Doctorate of Humane Letters. In 1992, he was invested as a titular king of Sanwi, a traditional kingdom located in the south-east of Ivory Coast. In July 2009, the Lunar Republic Society named a crater on the Moon after Jackson. In August, for what would have been Jackson's 51st birthday, Google dedicated their Google Doodle to him. In 2012, the extinct hermit crab Mesoparapylocheles michaeljacksoni was named in his honor. In 2014, the British Council of Cultural Relations deemed Jackson's life one of the 80 most important cultural moments of the 20th century. World Vitiligo Day has been celebrated on June 25, the anniversary of Jackson's death, to raise awareness of the auto-immune disorder that Jackson suffered from.\n\nEarnings\n\nIn 1989, Jackson's annual earnings from album sales, endorsements, and concerts were estimated at $125million. Forbes placed Jackson's annual income at $35million in 1996 and $20million in 1997. Estimates of Jackson's net worth during his life range from negative $285million to positive $350million for 2002, 2003 and 2007. Forbes reported in August 2018 that Jackson's total career pretax earnings in life and death were $4.2billion. Sales of his recordings through Sony's music unit earned him an estimated $300million in royalties. He may have earned another $400million from concerts, music publishing (including his share of the Beatles catalog), endorsements, merchandising and music videos.\n\nIn 2013, the executors of Jackson's estate filed a petition in the United States Tax Court as a result of a dispute with the Internal Revenue Service (IRS) over US federal estate taxes. The executors claim that it was worth about $7million, the IRS that it was worth over $1.1billion. In February 2014, the IRS reported that Jackson's estate owed $702million; $505million in taxes, and $197million in penalties. A trial was held from February 6 to 24, 2017. In 2021, the Tax Court issued a ruling in favor of the estate, ruling that the estate's total combined value of the estate was $111.5 million and that the value of Jackson's name and likeness was $4 million (not the $61 million estimated by the IRS's outside expert witness).\n\nIn 2016, Forbes estimated annual gross earnings by the Jackson Estate at $825million, the largest ever recorded for a celebrity, mostly due to the sale of the Sony/ATV catalog. In 2018, the figure was $400million. It was the eighth year since his death that Jackson's annual earnings were reported to be over $100million, thus bringing Jackson's postmortem total to $2.4billion. Forbes has consistently recognized Jackson as one of the top-earning dead celebrities since his death, and placed him at the top spot from 2013 to 2020.\n\nDiscography\n\nGot to Be There (1972)\nBen (1972)\nMusic & Me (1973)\nForever, Michael (1975)\nOff the Wall (1979)\nThriller (1982)\nBad (1987)\nDangerous (1991)\nHIStory: Past, Present and Future, Book I (1995)\nInvincible (2001)\n\nFilmography\n\nThe Wiz (1978)\nMichael Jackson's Thriller (1983)\nCaptain EO (1986)\nMoonwalker (1988)\nMichael Jackson's Ghosts (1997)\nMen in Black II (2002)\nMiss Cast Away and the Island Girls (2004)\nMichael Jackson's This Is It (2009)\nBad 25 (2012)\nMichael Jackson's Journey from Motown to Off the Wall (2016)\n\nTours\n\nBad World Tour (1987–1989)\nDangerous World Tour (1992–1993)\nHIStory World Tour (1996–1997)\nMJ & Friends (1999)\n\nSee also\n List of dancers\n\nNotes\n\nReferences\n\nCitations\n\nPrint sources\n\nFurther reading\n\n How Michael Jackson Changed Dance History – biography.com\n\nExternal links\n\nMichael Jackson at the FBI's website\n\n \nCategory:1958 births\nCategory:2009 deaths\nCategory:20th-century American businesspeople\nCategory:20th-century American singers\nCategory:21st-century American businesspeople\nCategory:21st-century American singers\nCategory:Accidental deaths in California\nCategory:African-American businesspeople\nCategory:African-American choreographers\nCategory:African-American male dancers\nCategory:African-American male singers\nCategory:African-American record producers\nCategory:African-American rock singers\nCategory:African-American songwriters\nCategory:American beatboxers\nCategory:American child singers\nCategory:American choreographers\nCategory:American dance musicians\nCategory:American disco singers\nCategory:American expatriates in Ireland\nCategory:American funk singers\nCategory:American humanitarians\nCategory:American male dancers\nCategory:American male pop singers\nCategory:American male singers\nCategory:American male songwriters\nCategory:American manslaughter victims\nCategory:American multi-instrumentalists\nCategory:American nonprofit businesspeople\nCategory:American philanthropists\nCategory:American rhythm and blues singers\nCategory:American rock singers\nCategory:American rock songwriters\nCategory:American soul singers\nCategory:American tenors\nCategory:Boy sopranos\nCategory:Brit Award winners\nCategory:Burials at Forest Lawn Memorial Park (Glendale)\nCategory:Businesspeople from California\nCategory:Businesspeople from Indiana\nCategory:Child pop musicians\nCategory:Culture of Gary, Indiana\nCategory:Dance-pop musicians\nCategory:Dancers from California\nCategory:Dancers from Indiana\nCategory:Drug-related deaths in California\nCategory:Epic Records artists\nCategory:Former Jehovah's Witnesses\nCategory:Grammy Award winners\nCategory:Grammy Legend Award winners\nCategory:Grammy Lifetime Achievement Award winners\nCategory:History of Gary, Indiana\nMichael Jackson\nCategory:Modern dancers\nCategory:Motown artists\nCategory:MTV Europe Music Award winners\nCategory:Music video codirectors\nCategory:Musicians from Gary, Indiana\nCategory:New jack swing musicians\nCategory:People acquitted of sex crimes\nCategory:People from Santa Barbara County, California\nCategory:People from Holmby Hills, Los Angeles\nCategory:People with lupus\nCategory:People with vitiligo\nCategory:Post-disco musicians\nCategory:Presley family\nCategory:Record producers from California\nCategory:Record producers from Indiana\nCategory:Singers from California\nCategory:Singers from Indiana\nCategory:Songwriters from California\nCategory:Songwriters from Indiana\nCategory:The Jackson 5 members\nCategory:World Music Awards winners\nCategory:World record holders\nCategory:Writers from California\nCategory:Writers from Gary, Indiana", "title": "Michael Jackson" } ]

[ "He was accused of seven counts of child molestation and two counts of administering an intoxicating agent in relation to a 13-year-old boy shown in a documentary film.", "On June 13, 2005, Jackson was acquitted on all counts for the second child sexual abuse allegation.", "The accusations in that abuse case were seven counts of child molestation and two counts of administering an intoxicating agent in relation to a 13-year-old boy shown in the film.", "The context does not provide information on who the judge was in this case.", "The context does not provide information on whether Jackson's celebrity friends became witnesses for him.", "The context does not provide information on whether Jackson was ever accused after this trial." ]

[ "No", "Yes", "No", "Yes", "Yes", "Yes" ]

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[ "who were his influences?", "Are there any other interesting aspects about this article?", "did he watch anything else?", "did anything bad happen?", "did anything good happen?" ]

[ 0, 0, 1, 1, 2 ]

[ 2, 0, 0, 2, 0 ]

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{ "answer_starts": [ 0, 1486, 477, 1635, 742 ], "texts": [ "Jackson was influenced by musicians including Little Richard, James Brown, Jackie Wilson, Diana Ross, Fred Astaire, Sammy Davis Jr., Gene Kelly, David Ruffin, the Isley Brothers, and the Bee Gees.", "Jackson watched the musical West Side Story almost every week,", "watch the television", "CANNOTANSWER", "Jackson owed his vocal technique in large part to Diana Ross," ] }

[ { "text": "Michael Joseph Jackson (August 29, 1958 – June 25, 2009) was an American singer, songwriter, dancer, and philanthropist. Known as the \"King of Pop\", he is regarded as one of the most significant cultural figures of the 20th century. During his four-decade career, his contributions to music, dance, and fashion, along with his publicized personal life, made him a global figure in popular culture. Jackson influenced artists across many music genres. Through stage and video performances, he popularized complicated dance moves such as the moonwalk, to which he gave the name.\n\nThe eighth child of the Jackson family, Jackson made his public debut in 1964 with his older brothers Jackie, Tito, Jermaine, and Marlon as a member of the Jackson 5 (later known as the Jacksons). Jackson began his solo career in 1971 while at Motown Records. He became a solo star with his 1979 album Off the Wall. His music videos, including those for \"Beat It\", \"Billie Jean\", and \"Thriller\" from his 1982 album Thriller, are credited with breaking racial barriers and transforming the medium into an artform and promotional tool. He helped propel the success of MTV and continued to innovate with videos for the albums Bad (1987), Dangerous (1991), HIStory: Past, Present and Future, Book I (1995), and Invincible (2001). Thriller became the best-selling album of all time, while Bad was the first album to produce five US Billboard Hot 100 number-one singles.\n\nFrom the late 1980s, Jackson became a figure of controversy and speculation due to his changing appearance, relationships, behavior, and lifestyle. In 1993, he was accused of sexually abusing the child of a family friend. The lawsuit was settled out of civil court; Jackson was not indicted due to lack of evidence. In 2005, he was tried and acquitted of further child sexual abuse allegations and several other charges. The FBI found no evidence of criminal conduct by Jackson in either case. In 2009, while he was preparing for a series of comeback concerts, This Is It, Jackson died from an overdose of propofol administered by his personal physician, Conrad Murray, who was convicted in 2011 of involuntary manslaughter. His death triggered reactions around the world, creating unprecedented surges of Internet traffic and a spike in sales of his music. A televised memorial service for Jackson, held at the Staples Center in Los Angeles, was viewed by more than an estimated 2.5 billion people globally.\n\nJackson is one of the best-selling music artists of all time, with estimated sales of over 400million records worldwide. He had 13 Billboard Hot 100 number-one singles (third highest of any artist in the Hot 100 era) and was the first artist to have a top-ten single in the Billboard Hot 100 in five different decades. His honors include 15 Grammy Awards, 6 Brit Awards, a Golden Globe Award, and 39 Guinness World Records, including the \"Most Successful Entertainer of All Time\". Jackson's inductions include the Rock and Roll Hall of Fame (twice), the Vocal Group Hall of Fame, the Songwriters Hall of Fame, the Dance Hall of Fame (the only recording artist to be inducted), and the Rhythm and Blues Music Hall of Fame.\n\nLife and career\n\nEarly life and the Jackson 5 (1958–1975)\n\nMichael Joseph Jackson was born in Gary, Indiana, on August 29, 1958. He was the eighth of ten children in the Jackson family, a working-class African-American family living in a two-bedroom house on Jackson Street. His mother, Katherine Esther Jackson (née Scruse), played clarinet and piano, had aspired to be a country-and-western performer, and worked part-time at Sears. She was a Jehovah's Witness. His father, Joseph Walter \"Joe\" Jackson, a former boxer, was a crane operator at U.S. Steel and played guitar with a local rhythm and blues band, the Falcons, to supplement the family's income. Joe's great-grandfather, July \"Jack\" Gale, was a US Army scout; family lore held that he was also a Native American medicine man. Michael grew up with three sisters (Rebbie, La Toya, and Janet) and five brothers (Jackie, Tito, Jermaine, Marlon, and Randy). A sixth brother, Marlon's twin Brandon, died shortly after birth.\n\nIn 1964, Michael and Marlon joined the Jackson Brothers—a band formed by their father which included Jackie, Tito, and Jermaine—as backup musicians playing congas and tambourine. Michael said his father told him he had a \"fat nose\", and physically and emotionally abused him during rehearsals. He recalled that Joe often sat in a chair with a belt in his hand as he and his siblings rehearsed, ready to punish any mistakes. Joe acknowledged that he regularly whipped Michael. Katherine said that although whipping came to be considered abuse, it was a common way to discipline children when Michael was growing up. Jackie, Tito, Jermaine and Marlon denied that their father was abusive and said that the whippings, which had a deeper impact on Michael because he was younger, kept them disciplined and out of trouble. Michael said that during his youth he was lonely and isolated.\n\nLater in 1965, Michael began sharing lead vocals with Jermaine, and the group's name was changed to the Jackson 5. In 1965, the group won a talent show; Michael performed the dance to Robert Parker's 1965 song \"Barefootin'\" and sang the Temptations' \"My Girl\". From 1966 to 1968, the Jacksons 5 toured the Midwest; they frequently played at a string of black clubs known as the Chitlin' Circuit as the opening act for artists such as Sam & Dave, the O'Jays, Gladys Knight, and Etta James. The Jackson 5 also performed at clubs and cocktail lounges, where striptease shows were featured, and at local auditoriums and high school dances. In August 1967, while touring the East Coast, they won a weekly amateur night concert at the Apollo Theater in Harlem.\n\nThe Jackson 5 recorded several songs for a Gary record label, Steeltown Records; their first single, \"Big Boy\", was released in 1968. Bobby Taylor of Bobby Taylor & the Vancouvers brought the Jackson 5 to Motown after they opened for Taylor at Chicago's Regal Theater in 1968. Taylor produced some of their early Motown recordings, including a version of \"Who's Lovin' You\". After signing with Motown, the Jackson family relocated to Los Angeles. In 1969, Motown executives decided Diana Ross should introduce the Jackson 5 to the public—partly to bolster her career in television—sending off what was considered Motown's last product of its \"production line\". The Jackson 5 made their first television appearance in 1969 in the Miss Black America pageant, performing a cover of \"It's Your Thing\". Rolling Stone later described the young Michael as \"a prodigy\" with \"overwhelming musical gifts\" who \"quickly emerged as the main draw and lead singer\".\n\nIn January 1970, \"I Want You Back\" became the first Jackson 5 song to reach number one on the US Billboard Hot 100; it stayed there for four weeks. Three more singles with Motown topped the chart: \"ABC\", \"The Love You Save\", and \"I'll Be There\". In May 1971, the Jackson family moved into a large house at Hayvenhurst, a two-acre estate in Encino, California. During this period, Michael developed from a child performer into a teen idol. Between 1972 and 1975, he released four solo studio albums with Motown: Got to Be There (1972), Ben (1972), Music & Me (1973), and Forever, Michael (1975). \"Got to Be There\" and \"Ben\", the title tracks from his first two solo albums, sold well as singles, as did a cover of Bobby Day's \"Rockin' Robin\".\n\nMichael maintained ties to the Jackson 5. The Jackson 5 were later described as \"a cutting-edge example of black crossover artists\". They were frustrated by Motown's refusal to allow them creative input. Jackson's performance of their top five single \"Dancing Machine\" on Soul Train popularized the robot dance.\n\nMove to Epic and Off the Wall (1975–1981)\n\nThe Jackson 5 left Motown in 1975, signing with Epic Records and renaming themselves the Jacksons. Their younger brother Randy joined the band around this time; Jermaine stayed with Motown and pursued a solo career. The Jacksons continued to tour internationally, and released six more albums between 1976 and 1984. Michael, the group's main songwriter during this time, wrote songs such as \"Shake Your Body (Down to the Ground)\" (1978), \"This Place Hotel\" (1980), and \"Can You Feel It\" (1980).\n\nIn 1977, Jackson moved to New York City to star as the Scarecrow in The Wiz, a musical film directed by Sidney Lumet, alongside Diana Ross, Nipsey Russell, and Ted Ross. The film was a box-office failure. Its score was arranged by Quincy Jones, who later produced three of Jackson's solo albums. During his time in New York, Jackson frequented the Studio 54 nightclub, where he heard early hip hop; this influenced his beatboxing on future tracks such as \"Working Day and Night\". In 1978, Jackson broke his nose during a dance routine. A rhinoplasty led to breathing difficulties that later affected his career. He was referred to Steven Hoefflin, who performed Jackson's operations.\n\nJackson's fifth solo album, Off the Wall (1979), established him as a solo performer and helped him move from the bubblegum pop of his youth to more complex sounds. It produced four top 10 entries in the US: \"Off the Wall\", \"She's Out of My Life\", and the chart-topping singles \"Don't Stop 'Til You Get Enough\" and \"Rock with You\". The album reached number three on the US Billboard 200 and sold over 20million copies worldwide. In 1980, Jackson won three American Music Awards for his solo work: Favorite Soul/R&B Album, Favorite Soul/R&B Male Artist, and Favorite Soul/R&B Single for \"Don't Stop 'Til You Get Enough\". He also won a Grammy Award for Best Male R&B Vocal Performance for 1979 with \"Don't Stop 'Til You Get Enough\". In 1981, Jackson was the American Music Awards winner for Favorite Soul/R&B Album and Favorite Soul/R&B Male Artist. Jackson felt Off the Wall should have made a bigger impact, and was determined to exceed expectations with his next release. In 1980, he secured the highest royalty rate in the music industry: 37 percent of wholesale album profit.\n\nThriller and Motown 25: Yesterday, Today, Forever (1982–1983)\n\nJackson recorded with Queen's lead singer Freddie Mercury from 1981 to 1983, recording demos of \"State of Shock\", \"Victory\" and \"There Must Be More to Life Than This\". The recordings were intended for an album of duets but, according to Queen's manager Jim Beach, the relationship soured when Jackson brought a llama into the recording studio, and Jackson was upset by Mercury's drug use. \"There Must Be More to Life Than This\" was released in 2014. Jackson went on to record \"State of Shock\" with Mick Jagger for the Jacksons' album Victory (1984).\n\nIn 1982, Jackson contributed \"Someone in the Dark\" to the audiobook for the film E.T. the Extra-Terrestrial. Jackson's sixth album, Thriller, was released in late 1982. It was the best-selling album worldwide in 1983, and became the best-selling album of all time in the US and the best-selling album of all time worldwide, selling an estimated copies. It topped the Billboard 200 chart for 37 weeks and was in the top 10 of the 200 for 80 consecutive weeks. It was the first album to produce seven Billboard Hot 100 top-10 singles, including \"Billie Jean\", \"Beat It\", and \"Wanna Be Startin' Somethin'\".\n\nOn March 25, 1983, Jackson reunited with his brothers for Motown 25: Yesterday, Today, Forever, an NBC television special. The show aired on May 16 to an estimated audience of , and featured the Jacksons and other Motown stars. Jackson's solo performance of \"Billie Jean\" earned him his first Emmy Award nomination. Wearing a glove decorated with rhinestones, he debuted his moonwalk dance, which Jeffrey Daniel had taught him three years earlier, and it became his signature dance in his repertoire. Jackson had originally turned down the invitation to the show, believing he had been doing too much television. But at the request of Motown founder Berry Gordy, he performed in exchange for an opportunity to do a solo performance. Rolling Stone reporter Mikal Gilmore called the performance \"extraordinary\". Jackson's performance drew comparisons to Elvis Presley's and the Beatles' appearances on The Ed Sullivan Show. Anna Kisselgoff of The New York Times praised the perfect timing and technique involved in the dance. Gordy described being \"mesmerized\" by the performance.\n\nAt the 26th Annual Grammy Awards, Thriller won eight awards, and Jackson won an award for the E.T. the Extra-Terrestrial storybook. Winning eight Grammys in one ceremony is a record he holds with the band Santana. Jackson and Quincy Jones won the award for Producer of the Year (Non-Classical). Thriller won Album of the Year (with Jackson as the album's artist and Jones as its co-producer), and the single won Best Pop Vocal Performance (Male) award for Jackson. \"Beat It\" won Record of the Year and Best Rock Vocal Performance (Male). \"Billie Jean\" won two Grammy awards: Best R&B Song and Best R&B Vocal Performance (Male), with Jackson as songwriter and singer respectively.\n\nThriller won the Grammy for Best Engineered Recording (Non Classical), acknowledging Bruce Swedien for his work on the album. At the 11th Annual American Music Awards, Jackson won another eight awards and became the youngest artist to win the Award of Merit. He also won Favorite Male Artist, Favorite Soul/R&B Artist, and Favorite Pop/Rock Artist. \"Beat It\" won Favorite Soul/R&B Video, Favorite Pop/Rock Video and Favorite Pop/Rock Single. The album won Favorite Soul/R&B Album and Favorite Pop/Rock Album. Thrillers sales doubled after the release of an extended music video, Michael Jackson's Thriller, which sees Jackson dancing with a horde of zombies.\n\nThe success transformed Jackson into a dominant force in global pop culture. Jackson had the highest royalty rate in the music industry at that point, with about $2 for every album sold (), and was making record-breaking profits. Dolls modeled after Jackson appeared in stores in May 1984 for $12 each. In the same year, The Making of Michael Jackson's Thriller, a documentary about the music video, won a Grammy for Best Music Video (Longform). Time described Jackson's influence at that point as \"star of records, radio, rock video. A one-man rescue team for the music business. A songwriter who sets the beat for a decade. A dancer with the fanciest feet on the street. A singer who cuts across all boundaries of taste and style and color too.\" The New York Times wrote \"in the world of pop music, there is Michael Jackson and there is everybody else\".\n\nOn May 14, 1984, President Ronald Reagan gave Jackson an award recognizing his support of alcohol and drug abuse charities, and in recognition of his support for the Ad Council's and the National Highway Traffic Safety Administration's Drunk Driving Prevention campaign. Jackson allowed the campaign to use \"Beat It\" for its public service announcements.\n\nPepsi incident and other commercial activities (1984–1985)\n\nIn November 1983, Jackson and his brothers partnered with PepsiCo in a $5million promotional deal that broke records for a celebrity endorsement (). The first Pepsi campaign, which ran in the US from 1983 to 1984 and launched its \"New Generation\" theme, included tour sponsorship, public relations events, and in-store displays. Jackson helped to create the advertisement, and suggested using his song \"Billie Jean\", with revised lyrics, as its jingle.\n\nOn January 27, 1984, Michael and other members of the Jacksons filmed a Pepsi commercial overseen by Phil Dusenberry, a BBDO ad agency executive, and Alan Pottasch, Pepsi's Worldwide Creative Director, at the Shrine Auditorium in Los Angeles. During a simulated concert before a full house of fans, pyrotechnics accidentally set Jackson's hair on fire, causing second-degree burns to his scalp. Jackson underwent treatment to hide the scars and had his third rhinoplasty shortly thereafter.\n\nPepsi settled out of court, and Jackson donated the $1.5million settlement to the Brotman Medical Center in Culver City, California; its now-closed Michael Jackson Burn Center was named in his honor. Jackson signed a second agreement with Pepsi in the late 1980s for $10million. The second campaign covered 20 countries and provided financial support for Jackson's Bad album and 1987–88 world tour. Jackson had endorsements and advertising deals with other companies, such as LA Gear, Suzuki, and Sony, but none were as significant as his deals with Pepsi.\n\nThe Victory Tour of 1984 headlined the Jacksons and showcased Jackson's new solo material to more than two million Americans. It was the last tour he did with his brothers. Following controversy over the concert's ticket sales, Jackson donated his share of the proceeds, an estimated , to charity. During the last concert of the Victory Tour at the Dodger Stadium in Los Angeles, Jackson announced his split from the Jacksons during \"Shake Your Body\".\n\nHis charitable work continued with the release of \"We Are the World\" (1985), co-written with Lionel Richie, which raised money for the poor in the US and Africa. It earned $63million (), and became one of the best-selling singles of all time, with 20million copies sold. It won four Grammy Awards in 1985, including Song of the Year for Jackson and Richie as its writers. The project's creators received two special American Music Awards honors: one for the creation of the song and another for the USA for Africa idea. Jackson, Jones, and promoter Ken Kragen received special awards for their roles in the song's creation.\n\nJackson collaborated with Paul McCartney in the early 1980s, and learned that McCartney was making $40million a year from owning the rights to other artists' songs. By 1983, Jackson had begun buying publishing rights to others' songs, but he was careful with his acquisitions, only bidding on a few of the dozens that were offered to him. Jackson's early acquisitions of music catalogs and song copyrights such as the Sly Stone collection included \"Everyday People\" (1968), Len Barry's \"1–2–3\" (1965), and Dion DiMucci's \"The Wanderer\" (1961) and \"Runaround Sue\" (1961).\n\nIn 1984, Robert Holmes à Court announced he was selling the ATV Music Publishing catalog comprising the publishing rights to nearly 4,000 songs, including most of the Beatles' material. In 1981, McCartney had been offered the catalog for £20million ($40million). Jackson submitted a bid of $46million on November 20, 1984. When Jackson and McCartney were unable to make a joint purchase, McCartney did not want to be the sole owner of the Beatles' songs, and did not pursue an offer on his own. Jackson's agents were unable to come to a deal, and in May 1985 left talks after having spent more than $1million and four months of due diligence work on the negotiations.\n\nIn June 1985, Jackson and Branca learned that Charles Koppelman's and Marty Bandier's The Entertainment Company had made a tentative offer to buy ATV Music for $50million; in early August, Holmes à Court contacted Jackson and talks resumed. Jackson's increased bid of $47.5million () was accepted because he could close the deal more quickly, having already completed due diligence. Jackson agreed to visit Holmes à Court in Australia, where he would appear on the Channel Seven Perth Telethon. His purchase of ATV Music was finalized on August 10, 1985.\n\nIncreased tabloid speculation (1986–1987)\n\nJackson's skin had been medium-brown during his youth, but from the mid-1980s gradually grew paler. The change drew widespread media coverage, including speculation that he had been bleaching his skin. His dermatologist, Arnold Klein, said he observed in 1983 that Jackson had vitiligo, a condition characterized by patches of the skin losing their pigment and sensitivity to sunlight. He also identified discoid lupus erythematosus in Jackson. He diagnosed Jackson with lupus that year, and with vitiligo in 1986. Vitiligo's drastic effects on the body can cause psychological distress. Jackson used fair-colored makeup, and possibly skin-bleaching prescription creams, to cover up the uneven blotches of color caused by the illness. The creams would depigment the blotches, and, with the application of makeup, he could appear very pale. Jackson said he had not purposely bleached his skin and could not control his vitiligo, adding, \"When people make up stories that I don't want to be who I am, it hurts me.\" He became friends with Klein and Klein's assistant, Debbie Rowe. Rowe later became Jackson's second wife and the mother of his first two children.\n\nIn his 1988 autobiography and a 1993 interview, Jackson said he had had two rhinoplasty surgeries and a cleft chin surgery but no more than that. He said he lost weight in the early 1980s because of a change in diet to achieve a dancer's body. Witnesses reported that he was often dizzy, and speculated he was suffering from anorexia nervosa. Periods of weight loss became a recurring problem later in his life. After his death, Jackson's mother said that he first turned to cosmetic procedures to remedy his vitiligo, because he did not want to look like a \"spotted cow\". She said he had received more than the two cosmetic surgeries he claimed and speculated that he had become addicted to them.\n\nIn 1986, tabloids reported that Jackson slept in a hyperbaric oxygen chamber to slow aging, and pictured him lying in a glass box. The claim was untrue, and tabloids reported that he spread the story himself. They also reported that Jackson took female hormone shots to keep his voice high and facial hair wispy, proposed to Elizabeth Taylor and possibly had a shrine of her, and had cosmetic surgery on his eyes. Jackson's manager Frank DiLeo denied all of them, except for Jackson having a chamber. DiLeo added \"I don't know if he sleeps in it. I'm not for it. But Michael thinks it's something that's probably healthy for him. He's a bit of a health fanatic.\"\n\nWhen Jackson took his pet chimpanzee Bubbles to tour in Japan, the media portrayed Jackson as an aspiring Disney cartoon character who befriended animals. It was also reported that Jackson had offered to buy the bones of Joseph Merrick (the \"Elephant Man\"). In June 1987, the Chicago Tribune reported Jackson's publicist bidding $1million for the skeleton to the London Hospital Medical College on his behalf. The college maintained the skeleton was not for sale. DiLeo said Jackson had an \"absorbing interest\" in Merrick, \"purely based on his awareness of the ethical, medical and historical significance.\"\n\nIn September 1986, using the false hyperbaric chamber story, the British tabloid The Sun branded Jackson \"Wacko Jacko\", a name Jackson came to despise. The Atlantic noted that the name \"Jacko\" has racist connotations, as it originates from Jacko Macacco, a monkey used in monkey-baiting matches at the Westminster Pit in the early 1820s, and \"Jacko\" was used in Cockney slang to refer to monkeys in general.\n\nJackson worked with George Lucas and Francis Ford Coppola on the 17-minute $30million 3D film Captain EO, which ran from 1986 at Disneyland and Epcot, and later at Tokyo Disneyland and Euro Disneyland. After having been removed in the late 1990s, it returned to the theme park for several years after Jackson's death. In 1987, Jackson disassociated himself from the Jehovah's Witnesses. Katherine Jackson said this might have been because some Witnesses strongly opposed the Thriller video. Michael had denounced it in a Witness publication in 1984.\n\nBad, autobiography, and Neverland (1987–1990)\n\nJackson's first album in five years, Bad (1987), was highly anticipated, with the industry expecting another major success. It became the first album to produce five US number-one singles: \"I Just Can't Stop Loving You\", \"Bad\", \"The Way You Make Me Feel\", \"Man in the Mirror\", and \"Dirty Diana\". Another song, \"Smooth Criminal\", peaked at number seven. Bad won the 1988 Grammy for Best Engineered Recording – Non Classical and the 1990 Grammy Award for Best Music Video, Short Form for \"Leave Me Alone\". Jackson won an Award of Achievement at the American Music Awards in 1989 after Bad generated five number-one singles, became the first album to top the charts in 25 countries and the best-selling album worldwide in 1987 and 1988. By 2012, it had sold between 30 and 45million copies worldwide.\n\nThe Bad World Tour ran from September 12, 1987, to January 14, 1989. In Japan, the tour had 14 sellouts and drew 570,000 people, nearly tripling the previous record for a single tour. The 504,000 people who attended seven sold-out shows at Wembley Stadium set a new Guinness World Record.\n\nIn 1988, Jackson released his autobiography, Moonwalk, with input from Stephen Davis and Jacqueline Kennedy Onassis. It sold 200,000 copies, and reached the top of the New York Times bestsellers list. Jackson discussed his childhood, the Jackson 5, and the abuse from his father. He attributed his changing facial appearance to three plastic surgeries, puberty, weight loss, a strict vegetarian diet, a change in hairstyle, and stage lighting. In June, Jackson was honoured with the Grand Vermeil Medal of the City of Paris by the then Mayor of Paris Jacques Chirac during his stay in the city as part of the Bad World Tour. In October, Jackson released a film, Moonwalker, which featured live footage and short films starring Jackson and Joe Pesci. In the US it was released direct-to-video and became the best-selling video cassette in the country. The Recording Industry Association of America (RIAA) certified it as eight times Platinum in the US.\n\nIn March 1988, Jackson purchased of land near Santa Ynez, California, to build a new home, Neverland Ranch, at a cost of $17million (). He installed a Ferris wheel, a carousel, a movie theater and a zoo. A security staff of 40 patrolled the grounds. Shortly afterwards, he appeared in the first Western television advertisement in the Soviet Union.\n\nJackson became known as the \"King of Pop\", a nickname that Jackson's publicists embraced. When Elizabeth Taylor presented him with the Soul Train Heritage Award in 1989, she called him \"the true king of pop, rock and soul.\" President George H. W. Bush designated him the White House's \"Artist of the Decade\". From 1985 to 1990, Jackson donated $455,000 to the United Negro College Fund, and all profits from his single \"Man in the Mirror\" went to charity. His rendition of \"You Were There\" at Sammy Davis Jr.'s 60th birthday celebration won Jackson a second Emmy nomination. Jackson was the bestselling artist of the 1980s.\n\nDangerous and public social work (1991–1993)\nIn March 1991, Jackson renewed his contract with Sony for $65million (), a record-breaking deal, beating Neil Diamond's renewal contract with Columbia Records. In 1991, he released his eighth album, Dangerous, co-produced with Teddy Riley. It was certified eight times platinum in the US, and by 2018 had sold 32million copies worldwide. In the US, the first single, \"Black or White\", was the album's highest-charting song; it was number one on the Billboard Hot 100 for seven weeks and achieved similar chart performances worldwide. The second single, \"Remember the Time\" peaked at number three on the Billboard Hot 100 singles chart. At the end of 1992, Dangerous was the best-selling album of the year worldwide and \"Black or White\" the best-selling single of the year worldwide at the Billboard Music Awards. In 1993, he performed \"Remember the Time\" at the Soul Train Music Awards in a chair, saying he twisted his ankle during dance rehearsals. In the UK, \"Heal the World\" made No. 2 on the charts in 1992.\n\nJackson founded the Heal the World Foundation in 1992. The charity brought underprivileged children to Jackson's ranch to use the theme park rides, and sent millions of dollars around the globe to help children threatened by war, poverty, and disease. That July, Jackson published his second book, Dancing the Dream, a collection of poetry. The Dangerous World Tour ran between June 1992 and November 1993 and grossed (); Jackson performed for 3.5million people in 70 concerts, all of which were outside the US. Part of the proceeds went to Heal the World Foundation. Jackson sold the broadcast rights of the tour to HBO for $20million, a record-breaking deal that still stands.\n\nFollowing the death of HIV/AIDS spokesperson and friend Ryan White, Jackson pleaded with the Clinton administration at Bill Clinton's inaugural gala to give more money to HIV/AIDS charities and research and performed \"Gone Too Soon\", a song dedicated to White, and \"Heal the World\" at the gala. Jackson visited Africa in early 1992; on his first stop in Gabon he was greeted by more than 100,000 people, some of them carrying signs that read \"Welcome Home Michael\", and was awarded an Officer of the National Order of Merit from President Omar Bongo. During his trip to Ivory Coast, Jackson was crowned \"King Sani\" by a tribal chief. He thanked the dignitaries in French and English, signed documents formalizing his kingship, and sat on a golden throne while presiding over ceremonial dances.\n\nIn January 1993, Jackson performed at the Super Bowl XXVII halftime show in Pasadena, California. The NFL sought a big-name artist to keep ratings high during halftime following dwindling audience figures. It was the first Super Bowl whose half-time performance drew greater audience figures than the game. Jackson played \"Jam\", \"Billie Jean\", \"Black or White\", and \"Heal the World\". Dangerous rose 90 places in the US albums chart after the performance.\n\nJackson gave a 90-minute interview with Oprah Winfrey on February 10, 1993. He spoke of his childhood abuse at the hands of his father; he believed he had missed out on much of his childhood, and said that he often cried from loneliness. He denied tabloid rumors that he had bought the bones of the Elephant Man, slept in a hyperbaric oxygen chamber, or bleached his skin, and stated for the first time that he had vitiligo. After the interview, Dangerous re-entered the US albums chart in the top 10, more than a year after its release.\n\nIn January 1993, Jackson won three American Music Awards: Favorite Pop/Rock Album (Dangerous), Favorite Soul/R&B Single (\"Remember the Time\"), and was the first to win the International Artist Award of Excellence. In February, he won the \"Living Legend Award\" at the 35th Annual Grammy Awards in Los Angeles. He attended the award ceremony with Brooke Shields. Dangerous was nominated for Best Vocal Performance (for \"Black or White\"), Best R&B Vocal Performance (\"Jam\") and Best R&B Song (\"Jam\"), and Bruce Swedien and Teddy Riley won the Grammy for Best Engineered – Non Classical.\n\nFirst child sexual abuse accusations and first marriage (1993–1995)\n\nIn August 1993, Jackson was accused of child sexual abuse by a 13-year-old boy, Jordan Chandler, and his father, Evan Chandler. Jordan said he and Jackson had engaged in acts of kissing, masturbation and oral sex. While Jordan's mother initially told police that she did not believe Jackson had molested him, her position wavered a few days later. Evan was recorded discussing his intention to pursue charges, which Jackson used to argue that he was the victim of a jealous father trying to extort money. Jackson's older sister La Toya accused him of being a pedophile; she later retracted this, saying she had been forced into it by her abusive husband.\n\nPolice raided Jackson's home in August and found two legal large-format art books featuring young boys playing, running and swimming in various states of undress. Jackson denied knowing of the books' content and claimed if they were there someone had to send them to him and he did not open them. Jordan Chandler gave police a description of Jackson's genitals. A strip search was made, and the jurors felt the description was not a match. In January 1994, Jackson settled with the Chandlers out of court for a reported total sum of $23 million. The police never pressed criminal charges. Citing a lack of evidence without Jordan's testimony, the state closed its investigation on September 22, 1994.\n\nJackson had been taking painkillers for his reconstructive scalp surgeries, administered due to the Pepsi commercial accident in 1984, and became dependent on them to cope with the stress of the sexual abuse allegations. On November 12, 1993, Jackson canceled the remainder of the Dangerous World Tour due to health problems, stress from the allegations and painkiller addiction. He thanked close friend Elizabeth Taylor for support, encouragement and counsel. The end of the tour concluded his relationship with Pepsi Cola, which sponsored the tour.\n\nIn late 1993, Jackson proposed to Lisa Marie Presley, the daughter of Elvis Presley, over the phone. They married in La Vega, Dominican Republic, in May 1994 by civil judge Hugo Francisco Álvarez Pérez. The tabloid media speculated that the wedding was a publicity stunt to deflect away from Jackson's sexual abuse allegations and jump-start Presley's career as a singer. Their marriage ended little more than a year later, and they separated in December 1995. Presley cited \"irreconcilable differences\" when filing for divorce the next month and only sought to reclaim her maiden name as her settlement. After the divorce, Judge Pérez said, \"They lasted longer than I thought they would. I gave them a year. They lasted a year and a half.\" Presley later said she and Jackson had attempted to reconcile intermittently for four years following their divorce, and that she had travelled the world to be with him.\n\nJackson composed music for the Sega Genesis video game Sonic the Hedgehog 3 (1994), but left the project around the time the sexual abuse allegations surfaced and went uncredited. The Sega Technical Institute director Roger Hector and the Sonic co-creator Naoto Ohshima said that Jackson's involvement was terminated and his music reworked following the allegations. However, Jackson's musical director Brad Buxer and other members of Jackson's team said Jackson went uncredited because he was unhappy with how the Genesis replicated his music.\n\nHIStory, second marriage, fatherhood and Blood on the Dance Floor: HIStory in the Mix (1995–1997)\n\nIn June 1995, Jackson released the double album HIStory: Past, Present and Future, Book I. The first disc, HIStory Begins, is a greatest hits album (reissued in 2001 as Greatest Hits: HIStory, Volume I). The second disc, HIStory Continues, contains 13 original songs and two cover versions. The album debuted at number one on the charts and has been certified for eight million shipments in the US. It is the best-selling multi-disc album of all time, with 20million copies (40million units) sold worldwide. HIStory received a Grammy nomination for Album of the Year. The New York Times reviewed it as \"the testimony of a musician whose self-pity now equals his talent\".\n\nThe first single from HIStory was \"Scream/Childhood\". \"Scream\", a duet with Jackson's youngest sister Janet, protests the media's treatment of Jackson during the 1993 child abuse allegations against him. The single reached number five on the Billboard Hot 100, and received a Grammy nomination for \"Best Pop Collaboration with Vocals\". The second single, \"You Are Not Alone\", holds the Guinness world record for the first song to debut at number one on the Billboard Hot 100 chart. It received a Grammy nomination for \"Best Pop Vocal Performance\" in 1995.\n\nIn 1995 the Anti-Defamation League and other groups complained that \"Jew me, sue me, everybody do me/ Kick me, kike me, don't you black or white me\", the original lyrics of \"They Don't Care About Us\", were antisemitic. Jackson released a version with revised words.\n\nIn late 1995, Jackson was admitted to a hospital after collapsing during rehearsals for a televised performance, caused by a stress-related panic attack. In November, Jackson merged his ATV Music catalog with Sony's music publishing division, creating Sony/ATV Music Publishing. He retained ownership of half the company, earning $95million up front () as well as the rights to more songs.\n\n\"Earth Song\" was the third single released from HIStory, and topped the UK Singles Chart for six weeks over Christmas 1995. It became the 87th-bestselling single in the UK. At the 1996 Brit Awards, Jackson's performance of \"Earth Song\" was disrupted by Pulp singer Jarvis Cocker, who was protesting what Cocker saw as Jackson's \"Christ-like\" persona. Jackson said the stage invasion was \"disgusting and cowardly\".\n\nIn 1996, Jackson won a Grammy for Best Music Video, Short Form, for \"Scream\" and an American Music Award for Favorite Pop/Rock Male Artist. On July 1996, Jackson performed for Sultan Hassanal Bolkiah's fiftieth birthday at Jerudong Park Amphitheater, which was specifically built for that birthday concert. Jackson was reportedly paid $17M ($32 million in 2023 dollars). Jackson promoted HIStory with the HIStory World Tour, from September 7, 1996, to October 15, 1997. He performed 82 concerts in five continents, 35 countries and 58 cities to over 4.5million fans, his most attended tour. It grossed . During the tour, in Sydney, Australia, Jackson married Debbie Rowe, a dermatology assistant, who was six months pregnant with his first child.\n\nMichael Joseph Jackson Jr. (commonly known as Prince) was born on February 13, 1997. His sister Paris-Michael Katherine Jackson was born on April 3, 1998. Jackson and Rowe divorced in 2000, Rowe conceded custody of the children, with an $8million settlement (). In 2004, after the second child abuse allegations against Jackson, she returned to court to reclaim custody. The suit was settled in 2006.\n\nIn 1997, Jackson released Blood on the Dance Floor: HIStory in the Mix, which contained remixes of singles from HIStory and five new songs. Worldwide sales stand at copies, making it the best-selling remix album. It reached number one in the UK, as did the single \"Blood on the Dance Floor\". In the US, the album reached number 24 and was certified platinum.\n\nLabel dispute and Invincible (1997–2002)\nFrom October 1997 to September 2001, Jackson worked on his tenth solo album, Invincible, which cost to record. In June 1999, Jackson joined Luciano Pavarotti for a War Child benefit concert in Modena, Italy. The show raised a million dollars for refugees of the Kosovo War, and additional funds for the children of Guatemala. Later that month, Jackson organized a series of \"Michael Jackson & Friends\" benefit concerts in Germany and Korea. Other artists involved included Slash, The Scorpions, Boyz II Men, Luther Vandross, Mariah Carey, A. R. Rahman, Prabhu Deva Sundaram, Shobana, Andrea Bocelli, and Luciano Pavarotti. The proceeds went to the Nelson Mandela Children's Fund, the Red Cross and UNESCO. In 1999, Jackson was presented with the \"Outstanding Humanitarian Award\" at Bollywood Movie Awards in New York City where he noted Mahatma Gandhi to have been an inspiration for him. From August 1999 to 2000, he lived in New York City at 4 East 74th Street. At the turn of the century, Jackson won an American Music Award as Artist of the 1980s. In 2000, Guinness World Records recognized him for supporting 39 charities, more than any other entertainer.\n\nIn September 2001, two 30th Anniversary concerts were held at Madison Square Garden to mark Jackson's 30th year as a solo artist. Jackson performed with his brothers for the first time since 1984. The show also featured Mýa, Usher, Whitney Houston, Destiny's Child, Monica, Liza Minnelli, and Slash. The first show was marred by technical lapses, and the crowd booed a speech by Marlon Brando. Almost 30million people watched the television broadcast of the shows in November. After the September 11 attacks, Jackson helped organize the United We Stand: What More Can I Give benefit concert at RFK Stadium in Washington, D.C. on October 21, 2001. Jackson performed \"What More Can I Give\" as the finale.\n\nThe release of Invincible was preceded by a dispute between Jackson and his record label, Sony Music Entertainment. Jackson had expected the licenses to the masters of his albums to revert to him in the early 2000s, after which he would be able to promote the material however he pleased and keep the profits, but clauses in the contract set the revert date years into the future. Jackson sought an early exit from his contract. Invincible was released on October 30, 2001. It was Jackson's first full-length album in six years, and the last album of original material he released in his lifetime. It debuted at number one in 13 countries and went on to sell eightmillion copies worldwide, receiving double-platinum certification in the US.\n\nOn January 9, 2002, Jackson won his 22nd American Music Award for Artist of the Century. Later that year, an anonymous surrogate mother gave birth to his third child, Prince Michael Jackson II (nicknamed \"Blanket\"), who had been conceived by artificial insemination. On November 20, Jackson briefly held Blanket over the railing of his Berlin hotel room, four stories above ground level, prompting widespread criticism in the media. Jackson apologized for the incident, calling it \"a terrible mistake\". On January 22, promoter Marcel Avram filed a breach of contract complaint against Jackson for failing to perform two planned 1999 concerts. In March, a Santa Maria jury ordered Jackson to pay Avram $5.3million. On December 18, 2003, Jackson's attorneys dropped all appeals on the verdict and settled the lawsuit for an undisclosed amount.\n\nOn April 24, 2002, Jackson performed at Apollo Theater. The concert was a fundraiser for the Democratic National Committee and former President Bill Clinton. The money collected would be used to encourage citizens to vote. It raised $2.5million. The concert was called Michael Jackson: Live at the Apollo and was one of Jackson's final on-stage performances.\n\nIn July 2002, Jackson called Sony Music chairman Tommy Mottola \"a racist, and very, very, very devilish,\" and someone who exploits black artists for his own gain, at Al Sharpton's National Action Network in Harlem. The accusation prompted Sharpton to form a coalition investigating whether Mottola exploited black artists. Jackson charged that Mottola had called his colleague Irv Gotti a \"fat nigger\". Responding to those attacks, Sony issued a statement calling them \"ludicrous, spiteful, and hurtful\" and defended Mottola as someone who had championed Jackson's career for many years. Sony ultimately refused to renew Jackson's contract and claimed that a promotional campaign had failed because Jackson refused to tour in the US for Invincible.\n\nDocumentary, Number Ones, second child abuse allegations and acquittal (2002–2005)\n\nBeginning in May 2002, a documentary film crew led by Martin Bashir followed Jackson for several months. The documentary, broadcast in February 2003 as Living with Michael Jackson, showed Jackson holding hands and discussing sleeping arrangements with a 12-year-old boy. He said that he saw nothing wrong with having sleepovers with minors and sharing his bed and bedroom with various people, which aroused controversy. He insisted that the sleepovers were not sexual and that his words had been misunderstood.\n\nIn October 2003, Jackson received the Key to the City of Las Vegas from Mayor Oscar Goodman. On November 18, 2003, Sony released Number Ones, a greatest hits compilation. It was certified five times platinum by the RIAA, and ten times platinum in the UK, for shipments of at least 3million units.\n\nOn December 18, 2003, Santa Barbara authorities charged Jackson with seven counts of child molestation and two counts of intoxicating a minor with alcoholic drinks. Jackson denied the allegations and pleaded not guilty. The People v. Jackson trial began on January 31, 2005, in Santa Maria, California, and lasted until the end of May. Jackson found the experience stressful and it affected his health. If convicted, he would have faced up to 20 years in prison. On June 13, 2005, Jackson was acquitted on all counts. FBI files on Jackson, released in 2009, revealed the FBI's role in the 2005 trial and the 1993 allegations, and showed that the FBI found no evidence of criminal conduct on Jackson's behalf.\n\nFinal years, financial problems, Thriller 25 and This Is It (2005–2009)\n\nAfter the trial, Jackson became reclusive. In June 2005, he moved to Bahrain as a guest of Sheikh Abdullah. In early 2006, it was announced that Jackson had signed a contract with a Bahrain startup, Two Seas Records. Nothing came of the deal, and the Two Seas CEO, Guy Holmes, later said it was never finalized. Holmes also found that Jackson was on the verge of bankruptcy and was involved in 47 ongoing lawsuits. By September 2006, Jackson was no longer affiliated with Two Seas.\n\nIn April 2006, Jackson agreed to use a piece of his ATV catalog stake, then worth about $1billion, as collateral against his $270million worth of loans from Bank of America. Bank of America had sold the loans to Fortress Investments, an investment company that buys distressed loans, the year before. As part of the agreement, Fortress Investments provided Jackson a new loan of $300million with reduced interest payments (). Sony Music would have the option to buy half of his stake, or about 25% of the catalog, at a set price. Jackson's financial managers had urged him to shed part of his stake to avoid bankruptcy. The main house at Neverland Ranch was closed as a cost-cutting measure, while Jackson lived in Bahrain at the hospitality of Abdullah. At least 30 of Jackson's employees had not been paid on time and were owed $306,000 in back wages. Jackson was ordered to pay $100,000 in penalties.\n\nIn mid-2006, Jackson moved to Grouse Lodge, a residential recording studio near Rosemount, County Westmeath, Ireland. There, he began work on a new album with the American producers will.i.am and Rodney Jenkins. That November, Jackson invited an Access Hollywood camera crew into the studio in Westmeath. On November 15, Jackson briefly performed \"We Are the World\" at the World Music Awards in London, his last public performance, and accepted the Diamond Award for sales of records. He returned to the US in December, settling in Las Vegas. That month, he attended James Brown's funeral in Augusta, Georgia, where he gave a eulogy calling Brown his greatest inspiration.\n\nIn 2007, Jackson and Sony bought another music publishing company, Famous Music LLC, formerly owned by Viacom. The deal gave Jackson the rights to songs by Eminem and Beck, among others. In a brief interview, Jackson said he had no regrets about his career despite his problems and \"deliberate attempts to hurt [him]\". That March, Jackson visited a US Army post in Japan, Camp Zama, to greet more than 3,000 troops and their families. As of September, Jackson was still working on his next album, which he never completed. \n\nIn 2008, for the 25th anniversary of Thriller, Jackson and Sony released Thriller 25, with two remixes released as singles: \"The Girl Is Mine 2008\" and \"Wanna Be Startin' Somethin' 2008\". For Jackson's 50th birthday, Sony BMG released a series of greatest hits albums, King of Pop, with different tracklists for different regions. That July, Fortress Investments threatened to foreclose on Neverland Ranch, which Jackson had used as collateral for his loans. Fortress sold Jackson's debts to Colony Capital LLC. In November, Jackson transferred Neverland Ranch's title to Sycamore Valley Ranch Company LLC, a joint venture between Jackson and Colony Capital LLC. The deal earned him . In 2009, Jackson arranged to sell a collection of his memorabilia of more than 1,000 items through Julien's Auction House, but canceled the auction in April.\n\nIn March 2009, amid speculation about his finances and health, Jackson announced a series of comeback concerts, This Is It, at a press conference at the O2 Arena. The shows were to be his first major concerts since the HIStory World Tour in 1997. Jackson suggested he would retire after the shows. The initial plan was for 10 concerts in London, followed by shows in Paris, New York City and Mumbai. Randy Phillips, the president and chief executive of AEG Live, predicted the first 10 dates would earn Jackson £50million.\n\nThe London residency was increased to 50 dates after record-breaking ticket sales; more than one million were sold in less than two hours. The concerts were to run from July 13, 2009, to March 6, 2010. Jackson moved to Los Angeles, where he rehearsed in the weeks leading up to the tour under the direction of the choreographer Kenny Ortega, whom he had worked with during his previous tours. Rehearsals took place at the Forum and the Staples Center owned by AEG. By this point, Jackson's debt had grown to almost $500 million. By the time of his death, he was three or four months behind payments of his home in San Fernando Valley. The Independent reported that Jackson planned a string of further ventures designed to recoup his debts, including a world tour, a new album, films, a museum and a casino.\n\nDeath\n\nOn June 25, 2009, less than three weeks before his concert residency was due to begin in London, with all concerts sold out, Jackson died from cardiac arrest, caused by a propofol and benzodiazepine overdose. Conrad Murray, his personal physician, had given Jackson various medications to help him sleep at his rented mansion in Holmby Hills, Los Angeles. Paramedics received a 911 call at 12:22 pm Pacific time (19:22 UTC) and arrived three minutes later. Jackson was not breathing and CPR was performed. Resuscitation efforts continued en route to Ronald Reagan UCLA Medical Center, and for more than an hour after Jackson's arrival there, but were unsuccessful, and Jackson was pronounced dead at 2:26 pm Pacific time (21:26 UTC).\n\nJackson was administered propofol, lorazepam, and midazolam; his death was caused by a propofol overdose. News of his death spread quickly online, causing websites to slow down and crash from user overload, and putting unprecedented strain on services and websites including Google, AOL Instant Messenger, Twitter, and Wikipedia. Overall, web traffic rose by between 11% and 20%. MTV and BET aired marathons of Jackson's music videos, and Jackson specials aired on television stations around the world. MTV briefly returned to its original music video format, and aired hours of Jackson's music videos, with live news specials featuring reactions from MTV personalities and other celebrities.\n\nMemorial service\n\nJackson's memorial was held on July 7, 2009, at the Staples Center in Los Angeles, preceded by a private family service at Forest Lawn Memorial Park's Hall of Liberty. Over 1.6million fans applied for tickets to the memorial; the 8,750 recipients were drawn at random, and each received two tickets. The memorial service was one of the most watched events in streaming history, with an estimated US audience of 31.1million and a worldwide audience of an estimated 2.5 to 3 billion.\n\nMariah Carey, Stevie Wonder, Lionel Richie, Jennifer Hudson, and Shaheen Jafargholi performed at the memorial, and Smokey Robinson and Queen Latifah gave eulogies. Al Sharpton received a standing ovation with cheers when he told Jackson's children: \"Wasn't nothing strange about your daddy. It was strange what your daddy had to deal with. But he dealt with it anyway.\" Jackson's 11-year-old daughter Paris Katherine, speaking publicly for the first time, wept as she addressed the crowd. Lucious Smith provided a closing prayer. On September 3, 2009, the body of Jackson was entombed at Forest Lawn Memorial Park in Glendale, California.\n\nCriminal investigation and prosecution of Conrad Murray\n\nIn August 2009, the Los Angeles County Coroner ruled that Jackson's death was a homicide. Law enforcement officials charged Murray with involuntary manslaughter on February 8, 2010. In late 2011, he was found guilty of involuntary manslaughter and held without bail to await sentencing. Murray was sentenced to four years in prison.\n\nPosthumous sales\nAt the 2009 American Music Awards, Jackson won four posthumous awards, including two for his compilation album Number Ones, bringing his total American Music Awards to 26. In the year after his death, more than 16.1million copies of Jackson's albums were sold in the US alone, and 35million copies were sold worldwide, more than any other artist in 2009. He became the first artist to sell one million music downloads in a week, with 2.6million song downloads. Thriller, Number Ones and The Essential Michael Jackson became the first catalog albums to outsell any new album. Jackson also became the first artist to have four of the top-20 best-selling albums in a single year in the US.\n\nFollowing the surge in sales, in March 2010, Sony Music signed a $250million deal () with the Jackson estate to extend their distribution rights to Jackson's back catalog until at least 2017; it had been due to expire in 2015. It was the most expensive music contract for a single artist in history. They agreed to release ten albums of previously unreleased material and new collections of released work. The deal was extended in 2017. That July, a Los Angeles court awarded Quincy Jones $9.4million of disputed royalty payments for Off the Wall, Thriller, and Bad. In July 2018, Sony/ATV bought the estate's stake in EMI for $287.5million.\n\nIn 2014, Jackson became the first artist to have a top-ten single in the Billboard Hot 100 in five different decades. The following year, Thriller became the first album to be certified for 30million shipments by the Recording Industry Association of America (RIAA). A year later, it was certified 33× platinum after Soundscan added streams and audio downloads to album certifications.\n\nPosthumous releases and productions\nThe first posthumous Jackson song, \"This Is It\", co-written in the 1980s with Paul Anka, was released in October 2009. The surviving Jackson brothers reunited to record backing vocals. It was followed by a documentary film about the rehearsals for the canceled This Is It tour, Michael Jackson's This Is It, and a compilation album. Despite a limited two-week engagement, the film became the highest-grossing documentary or concert film ever, with earnings of more than worldwide. Jackson's estate received 90% of the profits. In late 2010, Sony released the first posthumous album, Michael, and the promotional single \"Breaking News\". Jackson collaborator will.i.am expressed disgust, saying that Jackson would not have approved the release.\n\nThe video game developer Ubisoft released a music game featuring Jackson for the 2010 holiday season, Michael Jackson: The Experience. It was among the first games to use Kinect and PlayStation Move, the motion-detecting camera systems for Xbox 360 and PlayStation 3. In April 2011, Mohamed Al-Fayed, the chairman of Fulham Football Club, unveiled a statue of Jackson outside the club stadium, Craven Cottage. It was moved to the National Football Museum in Manchester in May 2014, and removed from display in March 2019 following renewed sexual assault allegations.\n\nIn October 2011, the theater company Cirque du Soleil launched Michael Jackson: The Immortal World Tour, a $57-million production, in Montreal, with a permanent show resident in Las Vegas. A larger and more theatrical Cirque show, Michael Jackson: One, designed for residency at the Mandalay Bay resort in Las Vegas, opened on May 23, 2013, in a renovated theater.\n\nIn 2012, in an attempt to end a family dispute, Jackson's brother Jermaine retracted his signature on a public letter criticizing executors of Jackson's estate and his mother's advisors over the legitimacy of his brother's will. T.J. Jackson, the son of Tito Jackson, was given co-guardianship of Michael Jackson's children after false reports of Katherine Jackson going missing. Xscape, an album of unreleased material, was released on May 13, 2014. The lead single, a duet between Jackson and Justin Timberlake, \"Love Never Felt So Good\", reached number 9 on the US Billboard Hot 100, making Jackson the first artist to have a top-10 single on the chart in five different decades.\n\nLater in 2014, Queen released a duet recorded with Jackson in the 1980s. A compilation album, Scream, was released on September 29, 2017. A jukebox musical, MJ the Musical, premiered on Broadway in 2022. Myles Frost won the 2022 Tony Award for Best Actor in a Musical for his portrayal of Jackson. On November 18, 2022, a 40th-anniversary edition reissue of Thriller was released.\n\nA biographical film based on Jackson's life, Michael, is due to enter production through Lionsgate in 2023. It will be directed by Antoine Fuqua, produced by Graham King and written by John Logan. Jackson will be played by Jaafar Jackson, a son of Jackson's brother Jermaine. Deadline Hollywood reported that the film \"will not shy away from the controversies of Jackson's life\".\n\nPosthumous child sexual abuse allegations\n\nIn 2013, the choreographer Wade Robson filed a lawsuit alleging that Jackson had sexually abused him for seven years, beginning when he was seven years old (1989–1996). In 2014, a case was filed by James Safechuck, alleging sexual abuse over a four-year period from the age of ten (1988–1992). Both had testified in Jackson's defense during the 1993 allegations; Robson did so again in 2005. In 2015, Robson's case against Jackson's estate was dismissed as it had been filed too late. Safechuck's claim was also time-barred.\n\nIn 2017, it was ruled that Jackson's corporations could not be held accountable for his alleged past actions. The rulings were appealed. On October 20, 2020, Safechuck's lawsuit against Jackson's corporations was again dismissed; the judge ruled that there was no evidence that Safechuck had had a relationship with Jackson's corporation, nor was it proven that there was a special relationship between the two. On April 26, 2021, Robson's case was dismissed because of a lack of supporting evidence that the defendants exercised control over Jackson.\n\nRobson and Safechuck described their allegations against Jackson in graphic detail in the documentary Leaving Neverland, released in March 2019. Radio stations in New Zealand, Canada, the UK and the Netherlands removed Jackson's music from their playlists. Jackson's family condemned the film as a \"public lynching\", and the Jackson estate released a statement calling the film a \"tabloid character assassination [Jackson] endured in life, and now in death\". Close associates of Jackson, such as Corey Feldman, Aaron Carter, Brett Barnes, and Macaulay Culkin, said that Jackson had not molested them.\n\nDocumentaries such as Square One: Michael Jackson, Neverland Firsthand: Investigating the Michael Jackson Documentary and Michael Jackson: Chase the Truth, countered the claims suggested by Leaving Neverland. Jackson's album sales increased following the documentary screenings. Billboard senior editor Gail Mitchell said she and a colleague interviewed about thirty music executives who believed Jackson's legacy could withstand the controversy. In late 2019, some New Zealand and Canadian radio stations re-added Jackson's music to their playlists, citing \"positive listener survey results\".\n\nOn February 21, 2019, the Jackson estate sued HBO for breaching a non-disparagement clause from a 1992 contract. The suit sought to compel HBO to participate in a non-confidential arbitration that could result in $100million or more in damages rewarded to the estate. HBO said they did not breach a contract and filed an anti-SLAPP motion against the estate. In September 2019, Judge George H. Wu denied HBO's motion to dismiss the case, allowing the Jackson estate to arbitrate. HBO appealed, but in December 2020 the appeals court affirmed Wu's ruling.\n\nLegacy\n\nJackson has been referred to as the \"King of Pop\" for having transformed the art of music videos and paving the way for modern pop music. For much of Jackson's career, he had an unparalleled worldwide influence over the younger generation. His influence extended beyond the music industry; he impacted dance, led fashion trends, and raised awareness for global affairs. Jackson's music and videos fostered racial diversity in MTV's roster and steered its focus from rock to pop music and R&B, shaping the channel into a form that proved enduring.\n\nIn songs such as \"Man in the Mirror\", \"Black or White\", Heal the World, \"Earth Song\" and \"They Don't Care About Us\", Jackson's music emphasized racial integration and environmentalism and protested injustice. He is recognized as the Most Successful Entertainer of All Time by Guinness World Records. He is considered one of the most significant cultural icons of the 20th century, and his contributions to music, dance, and fashion, along with his publicized personal life, made him a global figure in popular culture for over four decades. Danyel Smith, chief content officer of Vibe Media Group and the editor-in-chief of Vibe, described Jackson as \"the greatest star\". Steve Huey of AllMusic called him \"an unstoppable juggernaut, possessed of all the skills to dominate the charts seemingly at will: an instantly identifiable voice, eye-popping dance moves, stunning musical versatility and loads of sheer star power\". BET said Jackson was \"quite simply the greatest entertainer of all time\" whose \"sound, style, movement and legacy continues to inspire artists of all genres\".\n\nIn 1984, Time pop critic Jay Cocks wrote that \"Jackson is the biggest thing since the Beatles. He is the hottest single phenomenon since Elvis Presley. He just may be the most popular black singer ever.\" He described Jackson as a \"star of records, radio, rock video. A one-man rescue team for the music business. A songwriter who sets the beat for a decade. A dancer with the fanciest feet on the street. A singer who cuts across all boundaries of taste and style, and color too.\" In 2003, The Daily Telegraph writer Tom Utley described Jackson as \"extremely important\" and a \"genius\". At Jackson's memorial service on July 7, 2009, Motown founder Berry Gordy called Jackson \"the greatest entertainer that ever lived\". In a June 28, 2009 Baltimore Sun article, Jill Rosen wrote that Jackson's legacy influenced fields including sound, dance, fashion, music videos and celebrity.\n\nPop critic Robert Christgau wrote that Jackson's work from the 1970s to the early 1990s showed \"immense originality, adaptability, and ambition\" with \"genius beats, hooks, arrangements, and vocals (though not lyrics)\", music that \"will stand forever as a reproach to the puritanical notion that pop music is slick or shallow and that's the end of it\". During the 1990s, as Jackson lost control of his \"troubling life\", his music suffered and began to shape \"an arc not merely of promise fulfilled and outlived, but of something approaching tragedy: a phenomenally ebullient child star tops himself like none before, only to transmute audibly into a lost weirdo\". In the 2000s, Christgau wrote: \"Jackson's obsession with fame, his grotesque life magnified by his grotesque wealth, are such an offense to rock aesthetes that the fact that he's a great musician is now often forgotten\".\n\nPhilanthropy and humanitarian work\n\nJackson is regarded as a prolific philanthropist and humanitarian. Jackson's early charitable work has been described by The Chronicle of Philanthropy as having \"paved the way for the current surge in celebrity philanthropy\", and by the Los Angeles Times as having \"set the standard for generosity for other entertainers\". \n\nBy some estimates, he donated over $500 million, not accounting for inflation, to various charities over the course of his life. The total monetary value of Jackson's donations may be substantially higher since Jackson often gave anonymously and without fanfare. In addition to supporting several charities established by others, in 1992 Jackson established his Heal the World Foundation, to which he donated several million dollars in revenue from his Dangerous World Tour.\n\nJackson's philanthropic activities went beyond just monetary donations. He also performed at benefit concerts, some of which he arranged. He gifted tickets for his regular concert performances to groups that assist underprivileged children. He visited sick children in hospitals around the world. He opened his own home for visits by underprivileged or sick children and provided special facilities and nurses if the children needed that level of care.\n\nJackson donated valuable, personal and professional paraphernalia for numerous charity auctions. He received various awards and accolades for his philanthropic work, including two bestowed by Presidents of the United States. The vast breadth of Jackson's philanthropic work has earned recognition in the Guinness World Records.\n\nArtistry\n\nInfluences \nJackson was influenced by musicians including James Brown, Little Richard, Jackie Wilson, Diana Ross, Fred Astaire, Sammy Davis Jr., Gene Kelly, and David Ruffin. Little Richard had a substantial influence on Jackson, but Brown was his greatest inspiration; he later said that as a small child, his mother would wake him whenever Brown appeared on television. Jackson described being \"mesmerized\".\n\nJackson's vocal technique was influenced by Diana Ross; his use of the oooh interjection from a young age was something Ross had used on many of her songs with the Supremes. She was a mother figure to him, and he often watched her rehearse. He said he had learned a lot from watching how she moved and sang, and that she had encouraged him to have confidence in himself.\n\nChoreographer David Winters, who met Jackson while choreographing the 1971 Diana Ross TV special Diana!, said that Jackson watched the musical West Side Story almost every week, and it was his favorite film; he paid tribute to it in \"Beat It\" and the \"Bad\" video.\n\nVocal style\nJackson sang from childhood, and over time his voice and vocal style changed. Between 1971 and 1975, his voice descended from boy soprano to lyric tenor. He was known for his vocal range. With the arrival of Off the Wall in the late 1970s, Jackson's abilities as a vocalist were well regarded; Rolling Stone compared his vocals to the \"breathless, dreamy stutter\" of Stevie Wonder, and wrote that \"Jackson's feathery-timbred tenor is extraordinarily beautiful. It slides smoothly into a startling falsetto that's used very daringly.\" By the time of 1982's Thriller, Rolling Stone wrote that Jackson was singing in a \"fully adult voice\" that was \"tinged by sadness\".\n\nThe turn of the 1990s saw the release of the introspective album Dangerous. The New York Times noted that on some tracks, \"he gulps for breath, his voice quivers with anxiety or drops to a desperate whisper, hissing through clenched teeth\" and he had a \"wretched tone\". When singing of brotherhood or self-esteem the musician would return to \"smooth\" vocals. Of Invincible, Rolling Stone wrote that, at 43, Jackson still performed \"exquisitely voiced rhythm tracks and vibrating vocal harmonies\". Joseph Vogel notes Jackson's ability to use non-verbal sounds to express emotion. Neil McCormick wrote that Jackson's unorthodox singing style \"was original and utterly distinctive\".\n\nMusicianship\nJackson had no formal music training and could not read or write music notation. He is credited for playing guitar, keyboard, and drums, but was not proficient in them. When composing, he recorded ideas by beatboxing and imitating instruments vocally. Describing the process, he said: \"I'll just sing the bass part into the tape recorder. I'll take that bass lick and put the chords of the melody over the bass lick and that's what inspires the melody.\" The engineer Robert Hoffman recalled Jackson singing string arrangements part by part into a cassette recorder, and dictating chords note by note by singing them to a guitarist.\n\nDance\nJackson danced from a young age as part of the Jackson 5, and incorporated dance extensively in his performances and music videos. According to Sanjoy Roy of The Guardian, Jackson would \"flick and retract his limbs like switchblades, or snap out of a tornado spin into a perfectly poised toe-stand\". The moonwalk, taught to him by Jeffrey Daniel, was Jackson's signature dance move and one of the most famous of the 20th century. Jackson is credited for coining the name \"moonwalk\"; the move was previously known as the \"backslide\". His other moves included the robot, crotch grab, and the \"anti-gravity\" lean of the \"Smooth Criminal\" video.\n\nThemes and genres\n\nJackson explored genres including pop, soul, rhythm and blues, funk, rock, disco, post-disco, dance-pop and new jack swing. Steve Huey of AllMusic wrote that Thriller refined the strengths of Off the Wall; the dance and rock tracks were more aggressive, while the pop tunes and ballads were softer and more soulful. Its tracks included the ballads \"The Lady in My Life\", \"Human Nature\", and \"The Girl Is Mine\", the funk pieces \"Billie Jean\" and \"Wanna Be Startin' Somethin'\", and the disco set \"Baby Be Mine\" and \"P.Y.T. (Pretty Young Thing)\".\n\nWith Off the Wall, Jackson's \"vocabulary of grunts, squeals, hiccups, moans, and asides\" vividly showed his maturation into an adult, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981). The album's title track suggested to the critic a parallel between Jackson and Stevie Wonder's \"oddball\" music personas: \"Since childhood his main contact with the real world has been on stage and in bed.\" With Thriller, Christopher Connelly of Rolling Stone commented that Jackson developed his long association with the subliminal theme of paranoia and darker imagery. AllMusic's Stephen Thomas Erlewine noted this on the songs \"Billie Jean\" and \"Wanna Be Startin' Somethin'\". In \"Billie Jean\", Jackson depicts an obsessive fan who alleges he has fathered her child, and in \"Wanna Be Startin' Somethin'\" he argues against gossip and the media. \"Beat It\" decried gang violence in a homage to West Side Story, and was Jackson's first successful rock cross-over piece, according to Huey. He observed that \"Thriller\" began Jackson's interest with the theme of the supernatural, a topic he revisited in subsequent years. In 1985, Jackson co-wrote the charity anthem \"We Are the World\"; humanitarian themes later became a recurring theme in his lyrics and public persona.In Bad, Jackson's concept of the predatory lover is seen on the rock song \"Dirty Diana\". The lead single \"I Just Can't Stop Loving You\" is a traditional love ballad, and \"Man in the Mirror\" is a ballad of confession and resolution. \"Smooth Criminal\" is an evocation of bloody assault, rape and likely murder. AllMusic's Stephen Thomas Erlewine states that Dangerous presents Jackson as a paradoxical person. The first half of the record is dedicated to new jack swing, including songs like \"Jam\" and \"Remember the Time\". It was the first Jackson album in which social ills became a primary theme; \"Why You Wanna Trip on Me\", for example, protests world hunger, AIDS, homelessness and drugs. Dangerous contains sexually charged songs such as \"In the Closet\". The title track continues the theme of the predatory lover and compulsive desire. The second half includes introspective, pop-gospel anthems such as \"Will You Be There\", \"Heal the World\" and \"Keep the Faith\". In the ballad \"Gone Too Soon\", Jackson gives tribute to Ryan White and the plight of those with AIDS.\n\nHIStory creates an atmosphere of paranoia. In the new jack swing-funk rock tracks \"Scream\" and \"Tabloid Junkie\", and the R&B ballad \"You Are Not Alone\", Jackson retaliates against the injustice and isolation he feels, and directs his anger at the media. In the introspective ballad \"Stranger in Moscow\", Jackson laments his \"fall from grace\"; \"Earth Song\", \"Childhood\", \"Little Susie\" and \"Smile\" are operatic pop songs. In \"D.S.\", Jackson attacks lawyer Thomas W. Sneddon Jr., who had prosecuted him in both child sexual abuse cases; he describes Sneddon as a white supremacist who wanted to \"get my ass, dead or alive\". Invincible includes urban soul tracks such as \"Cry\" and \"The Lost Children\", ballads such as \"Speechless\", \"Break of Dawn\", and \"Butterflies\", and mixes hip hop, pop, and R&B in \"2000 Watts\", \"Heartbreaker\" and \"Invincible\".\n\nMusic videos and choreography\n\nJackson released \"Thriller\", a 14-minute music video directed by John Landis, in 1983. The zombie-themed video \"defined music videos and broke racial barriers\" on MTV, which had launched two years earlier. Before Thriller, Jackson struggled to receive coverage on MTV, allegedly because he was African American. Pressure from CBS Records persuaded MTV to start showing \"Billie Jean\" and later \"Beat It\", which led to a lengthy partnership with Jackson, and helped other black music artists gain recognition. The popularity of his videos on MTV helped the relatively new channel's viewing figures, and MTV's focus shifted toward pop and R&B. His performance on Motown 25: Yesterday, Today, Forever changed the scope of live stage shows, making it acceptable for artists to lip-sync to music video on stage. The choreography in Thriller has been copied in Indian films and prisons in the Philippines. Thriller marked an increase in scale for music videos, and was named the most successful music video ever by the Guinness World Records.\n\nIn \"Bad\"'s 19-minute video—directed by Martin Scorsese—Jackson used sexual imagery and choreography, and touched his chest, torso and crotch. When asked by Winfrey in the 1993 interview about why he grabbed his crotch, he said it was spontaneously compelled by the music. Time magazine described the \"Bad\" video as \"infamous\". It featured Wesley Snipes; Jackson's later videos often featured famous cameo roles. For the \"Smooth Criminal\" video, Jackson experimented with leaning forward at a 45 degree angle, beyond the performer's center of gravity. To accomplish this live, Jackson and designers developed a special shoe to lock the performer's feet to the stage, allowing them to lean forward. They were granted for the device. The video for \"Leave Me Alone\" was not officially released in the US, but in 1989 was nominated for three Billboard Music Video Awards and won a Golden Lion Award for its special effects. It won a Grammy for Best Music Video, Short Form.\n\nHe received the MTV Video Vanguard Award in 1988; in 2001 the award was renamed in his honor. The \"Black or White\" video simultaneously premiered on November 14, 1991, in 27 countries with an estimated audience of 500million people, the largest audience ever for a music video at the time. Along with Jackson, it featured Macaulay Culkin, Peggy Lipton, and George Wendt. It helped introduce morphing to music videos. It was controversial for scenes in which Jackson rubs his crotch, vandalizes cars, and throws a garbage can through a storefront. He apologized and removed the final scene of the video.\n\n\"In the Closet\" featured Naomi Campbell in a courtship dance with Jackson. \"Remember the Time\" was set in ancient Egypt, and featured Eddie Murphy, Iman, and Magic Johnson. The video for \"Scream\", directed by Mark Romanek and production designer Tom Foden, gained a record 11 MTV Video Music Award Nominations, and won \"Best Dance Video\", \"Best Choreography\", and \"Best Art Direction\". The song and its video are Jackson's response to being accused of child molestation in 1993. A year later, it won a Grammy for Best Music Video, Short Form. It has been reported as the most expensive music video ever made, at $7million; Romanek has contradicted this. The \"Earth Song\" video was nominated for the 1997 Grammy for Best Music Video, Short Form.\n\nMichael Jackson's Ghosts, a short film written by Jackson and Stephen King and directed by Stan Winston, premiered at the 1996 Cannes Film Festival. At over 38 minutes long, it held the Guinness world record for the longest music video until 2013, when it was eclipsed by the video for the Pharrell Williams song \"Happy\". The 2001 video for \"You Rock My World\" lasts over 13 minutes, was directed by Paul Hunter, and features Chris Tucker and Marlon Brando. It won an NAACP Image Award for Outstanding Music Video in 2002.\n\nIn December 2009, the Library of Congress selected \"Thriller\" as the only music video to be preserved in the National Film Registry, as a work of \"enduring importance to American culture\". Huey wrote that Jackson transformed the music video into an artform and a promotional tool through complex story lines, dance routines, special effects and famous cameos, while breaking down racial barriers.\n\nHonors and awards\n\nJackson is one of the best-selling music artists in history, with sales estimated by various sources up to 400 million – 1 billion. He had 13 number-one singles in the US in his solo career—more than any other male artist in the Hot 100 era. He was invited and honored by a President of the United States at the White House three times. In 1984, he was honored with a \"Presidential Public Safety Commendation\" award by Ronald Reagan for his humanitarian endeavors. In 1990, he was honored as the \"Artist of the Decade\" by George H. W. Bush. In 1992, he was honored as a \"Point of Light Ambassador\" by Bush for inviting disadvantaged children to his Neverland Ranch.\n\nJackson won hundreds of awards, making him one of the most-awarded artists in popular music. His awards include 39 Guinness World Records, including the Most Successful Entertainer of All Time, 13 Grammy Awards, as well as the Grammy Legend Award and the Grammy Lifetime Achievement Award, and 26 American Music Awards, including the Artist of the Century and Artist of the 1980s. He also received the World Music Awards' Best-Selling Pop Male Artist of the Millennium and the Bambi Pop Artist of the Millennium Award. Jackson was inducted onto the Hollywood Walk of Fame in 1980 as a member of the Jacksons, and in 1984 as a solo artist. He was inducted to the Rock and Roll Hall of Fame and Vocal Group Hall of Fame as a member of the Jackson 5 in 1997 and 1999, respectively, and again as a solo artist in 2001. In 2002, he was added to the Songwriters Hall of Fame. In 2010, he was the first recording artist to be inducted into the Dance Hall of Fame, and in 2014, he was posthumously inducted into the Rhythm and Blues Music Hall of Fame. In 2021, he was among the inaugural inductees into the Black Music & Entertainment Walk of Fame.\n\nIn 1988, Fisk University honored him with an Honorary Doctorate of Humane Letters. In 1992, he was invested as a titular king of Sanwi, a traditional kingdom located in the south-east of Ivory Coast. In July 2009, the Lunar Republic Society named a crater on the Moon after Jackson. In August, for what would have been Jackson's 51st birthday, Google dedicated their Google Doodle to him. In 2012, the extinct hermit crab Mesoparapylocheles michaeljacksoni was named in his honor. In 2014, the British Council of Cultural Relations deemed Jackson's life one of the 80 most important cultural moments of the 20th century. World Vitiligo Day has been celebrated on June 25, the anniversary of Jackson's death, to raise awareness of the auto-immune disorder that Jackson suffered from.\n\nEarnings\n\nIn 1989, Jackson's annual earnings from album sales, endorsements, and concerts were estimated at $125million. Forbes placed Jackson's annual income at $35million in 1996 and $20million in 1997. Estimates of Jackson's net worth during his life range from negative $285million to positive $350million for 2002, 2003 and 2007. Forbes reported in August 2018 that Jackson's total career pretax earnings in life and death were $4.2billion. Sales of his recordings through Sony's music unit earned him an estimated $300million in royalties. He may have earned another $400million from concerts, music publishing (including his share of the Beatles catalog), endorsements, merchandising and music videos.\n\nIn 2013, the executors of Jackson's estate filed a petition in the United States Tax Court as a result of a dispute with the Internal Revenue Service (IRS) over US federal estate taxes. The executors claim that it was worth about $7million, the IRS that it was worth over $1.1billion. In February 2014, the IRS reported that Jackson's estate owed $702million; $505million in taxes, and $197million in penalties. A trial was held from February 6 to 24, 2017. In 2021, the Tax Court issued a ruling in favor of the estate, ruling that the estate's total combined value of the estate was $111.5 million and that the value of Jackson's name and likeness was $4 million (not the $61 million estimated by the IRS's outside expert witness).\n\nIn 2016, Forbes estimated annual gross earnings by the Jackson Estate at $825million, the largest ever recorded for a celebrity, mostly due to the sale of the Sony/ATV catalog. In 2018, the figure was $400million. It was the eighth year since his death that Jackson's annual earnings were reported to be over $100million, thus bringing Jackson's postmortem total to $2.4billion. Forbes has consistently recognized Jackson as one of the top-earning dead celebrities since his death, and placed him at the top spot from 2013 to 2020.\n\nDiscography\n\nGot to Be There (1972)\nBen (1972)\nMusic & Me (1973)\nForever, Michael (1975)\nOff the Wall (1979)\nThriller (1982)\nBad (1987)\nDangerous (1991)\nHIStory: Past, Present and Future, Book I (1995)\nInvincible (2001)\n\nFilmography\n\nThe Wiz (1978)\nMichael Jackson's Thriller (1983)\nCaptain EO (1986)\nMoonwalker (1988)\nMichael Jackson's Ghosts (1997)\nMen in Black II (2002)\nMiss Cast Away and the Island Girls (2004)\nMichael Jackson's This Is It (2009)\nBad 25 (2012)\nMichael Jackson's Journey from Motown to Off the Wall (2016)\n\nTours\n\nBad World Tour (1987–1989)\nDangerous World Tour (1992–1993)\nHIStory World Tour (1996–1997)\nMJ & Friends (1999)\n\nSee also\n List of dancers\n\nNotes\n\nReferences\n\nCitations\n\nPrint sources\n\nFurther reading\n\n How Michael Jackson Changed Dance History – biography.com\n\nExternal links\n\nMichael Jackson at the FBI's website\n\n \nCategory:1958 births\nCategory:2009 deaths\nCategory:20th-century American businesspeople\nCategory:20th-century American singers\nCategory:21st-century American businesspeople\nCategory:21st-century American singers\nCategory:Accidental deaths in California\nCategory:African-American businesspeople\nCategory:African-American choreographers\nCategory:African-American male dancers\nCategory:African-American male singers\nCategory:African-American record producers\nCategory:African-American rock singers\nCategory:African-American songwriters\nCategory:American beatboxers\nCategory:American child singers\nCategory:American choreographers\nCategory:American dance musicians\nCategory:American disco singers\nCategory:American expatriates in Ireland\nCategory:American funk singers\nCategory:American humanitarians\nCategory:American male dancers\nCategory:American male pop singers\nCategory:American male singers\nCategory:American male songwriters\nCategory:American manslaughter victims\nCategory:American multi-instrumentalists\nCategory:American nonprofit businesspeople\nCategory:American philanthropists\nCategory:American rhythm and blues singers\nCategory:American rock singers\nCategory:American rock songwriters\nCategory:American soul singers\nCategory:American tenors\nCategory:Boy sopranos\nCategory:Brit Award winners\nCategory:Burials at Forest Lawn Memorial Park (Glendale)\nCategory:Businesspeople from California\nCategory:Businesspeople from Indiana\nCategory:Child pop musicians\nCategory:Culture of Gary, Indiana\nCategory:Dance-pop musicians\nCategory:Dancers from California\nCategory:Dancers from Indiana\nCategory:Drug-related deaths in California\nCategory:Epic Records artists\nCategory:Former Jehovah's Witnesses\nCategory:Grammy Award winners\nCategory:Grammy Legend Award winners\nCategory:Grammy Lifetime Achievement Award winners\nCategory:History of Gary, Indiana\nMichael Jackson\nCategory:Modern dancers\nCategory:Motown artists\nCategory:MTV Europe Music Award winners\nCategory:Music video codirectors\nCategory:Musicians from Gary, Indiana\nCategory:New jack swing musicians\nCategory:People acquitted of sex crimes\nCategory:People from Santa Barbara County, California\nCategory:People from Holmby Hills, Los Angeles\nCategory:People with lupus\nCategory:People with vitiligo\nCategory:Post-disco musicians\nCategory:Presley family\nCategory:Record producers from California\nCategory:Record producers from Indiana\nCategory:Singers from California\nCategory:Singers from Indiana\nCategory:Songwriters from California\nCategory:Songwriters from Indiana\nCategory:The Jackson 5 members\nCategory:World Music Awards winners\nCategory:World record holders\nCategory:Writers from California\nCategory:Writers from Gary, Indiana", "title": "Michael Jackson" } ]

[ "Jackson was influenced by musicians including Little Richard, James Brown, Jackie Wilson, Diana Ross, Fred Astaire, Sammy Davis Jr., Gene Kelly, David Ruffin, the Isley Brothers, and the Bee Gees.", "The article provides interesting insights into how these influences shaped Jackson's career. For example, it talks about how James Brown inspired Jackson to become a performer and how Diana Ross influenced his vocal technique and served as a kind of mentor and mother figure to him, teaching him about performance through her own movement and singing. It also mentions how the musical West Side Story, which Jackson watched almost every week, inspired some of his own musical work, particularly the songs \"Beat It\" and \"Bad\".", "The text does not provide information on whether Jackson watched anything else other than the musical West Side Story.", "The text does not provide information on anything bad happening.", "The text discusses several positive aspects of Jackson's life, like his admiration and learning from influential musicians such as Little Richard, James Brown and Diana Ross. It talks about his passion for performing being driven from an early age by watching James Brown, how Diana Ross helped him with his vocal technique and served as a kind of mentor. But it does not mention specific good events that happened." ]

[ "Yes", "Yes", "No", "Yes", "Yes" ]

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[ "What did he do in high school?", "Did he play his second year?", "When did he play in high school?", "What did the coach do after seeing him play?", "Did he make the team?", "When did he start to play basketball in high school?", "Did he set any records?", "Are there any other interesting aspects about this article?" ]

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{ "answer_starts": [ 192, 507, 899, 1036, 1309, 1388, 1832, 1913 ], "texts": [ "His basketball success was not immediate, and in fact he was cut from the school team in his first year.", "The next year, however, he was again cut during the tryouts for the school basketball team.", "During a Press League game, the high school basketball coach saw him play.", "invited Cousy to come to practice the following day to try out for the junior varsity team.", "but failing his citizenship course made him ineligible for the first semester.", "He joined the varsity squad midway through the season, however, scoring 28 points in his first game.", "amassing more points than any other New York City high school basketball player.", "He was even named captain of the Journal-American All-Scholastic team." ] }

[ { "text": "In most cases, when a professional athlete announces retirement, he or she retires and then never returns to playing professional sports; however, in rare instances there are some athletes who came out of retirement. The following list shows such athletes in addition to any noteworthy achievements that they earned during their playing career after returning from retirement. It includes only professional athletes who announced retirement, were retired for at least one full season or year, and then returned to play their sport in at least one regular season contest. The list does not include players who sat out at least one full season due to injury and then returned to play without having ever officially announced retirement, nor does it include players whose careers were interrupted because of military service or incarceration. It also excludes free agents who were unable to find a team for at least a season and signed with a team at a later point without having ever officially announced retirement.\n\nAmerican football \n\n Maxie Baughan (1960–1970, 1974)\n Ross Brupbacher (1970-72, 1976)\n Randall Cunningham (1985–1995, 1997–2001)\n Anthony Davis (2010–14, 2016)\n Steve DeBerg (1977–1993, 1998)\n Kyle Emanuel (2015–18, 2020)\n Carl Etelman (1924–27, 1929)\n Rob Gronkowski (2010–2018, 2020–2021)\n Charles Haley (1986–96, 1998–99)\nBill Hewitt (1932–39, 1943)\n Ed \"Too Tall\" Jones (1974–78, 1980–89)\n Marshawn Lynch (2007–2015, 2017–19)\n Rueben Mayes (1986–90, 1992–93)\n Rolando McClain (2010–12, 2014–15)\n Randy Moss (1998–2010, 2012)\n Bronko Nagurski (1930–37, 1943)\n Red Pearlman (1919–1922, 1924)\n Jim Ramey (1979–1985, 1987)\n Manny Rapp (1934, 1937, 1942)\n John Riggins (1971–79, 1981–85)\n Deion Sanders (1989–2000, 2004–05)\n John Tosi (1939–1942, 1944, 1946)\n Eric Weddle (2007–2019, 2021)\n Reggie White (1984–1998, 2000)\n Ricky Williams (1999–2003, 2005–2011)\n Jason Witten (2003–2017, 2019–2020)\n\nFootball \n Zico (1971–1989, 1991–1994)\n Alan Judge (1978–1997, 2002–2004)\n Aldair (1986–2005, 2007–2008)\n Marc Overmars (1990–2004, 2008–2009)\n Roberto Carlos (1991–2012, 2015)\n Dida (1992–2010, 2012–2015)\n Paul Scholes (1993–2011, 2012–2013)\n Landon Donovan (1999–2014, 2016, 2018–2019)\n Arjen Robben (2000–2019, 2020–2021)\n Dani Osvaldo (2005–2016, 2020)\n Ben Foster (2022-2023)\n\nAustralian rules football \nGary Ablett Sr. (1982, 1984–1990, 1991–1996)\nTony Lockett (1983–1999, 2002)\nTim Watson (1977–1991, 1993–1994)\nPaul Salmon (1983–2000, 2002)\nPeter Hudson (1967–1974, 1977)\nStuart Dew (1997–2006, 2008–2009)\nJames McDonald (1997–2010, 2012)\nShane Heard (1977–1987, 1991)\nNathan Ablett (2005–2007, 2011)\nPeter McKenna (1965–1975, 1977)\nShane Mumford (2008–2017, 2019–2021)\nDermott Brereton (1982–1992, 1994–1995)\nScott Hodges (1991–1993, 1996)\nMartin Clarke (2007–2009, 2012–2014)\n\nBaseball \n\n Ed Abbaticchio (1897–1905, 1907–1910)\n Daniel Bard (2009–2013, 2020–present)\n Chief Bender (1903–1917, 1925)\n Yogi Berra (1946–1963, 1965)\n Joe Blanton (2004–2013, 2015–2017)\n Jim Bouton (1962–1970, 1978)\n Blaine Boyer (2005–11, 2014–18)\n Chris Chambliss (1971–1986, 1988)\n Ben Chapman (1930–1941, 1944–1946)\n David Cone (1986–2001, 2003)\n Tony Conigliaro (1964–1971, 1975)\n Dizzy Dean (1930–1941, 1947)\n Mike Donlin (1899–1906, 1908, 1911–1912, 1914)\n Jim Eisenreich (1982–1984, 1987–1998)\n Kevin Elster (1986–1998, 2000)\n Jackie Jensen (1950–1959, 1961)\n Jimmie Foxx (1925–1942, 1944–1945)\n Jerry Grote (1963–1978, 1981)\n Babe Herman (1926–1937, 1945)\n Gabe Kapler (1998–2006, 2008–2010)\n Marc Kroon (1995, 1997–1998, 2004)\n Minnie Miñoso (1949–1964, 1976, 1980)\n Charley O'Leary, (1904–1913, 1934)\n Jim O'Rourke (1872–1893, 1904)\n Rube Oldring (1905–1916, 1918)\n Joe Page (1944–1950, 1954)\n Satchel Paige (1926–1953, 1965)\n Troy Percival (1995–2005, 2007–2009)\n Andy Pettitte (1995–2010, 2012–2013)\n Ryne Sandberg (1981–1994, 1996–1997)\n Paul Shuey (1994–2003, 2007)\n J. T. Snow (1992–2006, 2008)\n Dave Stieb (1979–1993, 1998)\n George Strickland (1950–1957, 1959–1960)\n Salomón Torres (1993–1997, 2002–2008)\n Hal Trosky (1933–1941, 1943, 1946)\n Lloyd Waner (1927–1942, 1944)\n\nBasketball \n Jonathan Bender (1999–2006, 2009–2010)\n Bob Cousy (1950–1963, 1969–1970)\n Dave Cowens (1970–1980, 1982–83)\n Carlos Delfino (1998–2013, 2017–present)\n Richie Guerin (1956–1967, 1968–1970)\n Danny Ildefonso (1998–2015, 2023–present)\n Kevin Johnson (1987–1998, 1999–2000)\n Magic Johnson (1979–1991, 1996)\n Michael Jordan (1984–1993, 1995–1998, 2001–2003)\n George Mikan (1946–1954, 1956)\n Sidney Moncrief (1979–1989, 1990–91)\n John Salley (1986–1996, 1999–2000)\n Robert Reid (1977–1982, 1983–1991)\n Brandon Roy (2006–2011, 2012–13)\n Saulius Štombergas (1992–2007, 2009–2010)\n Rasheed Wallace (1995–2010, 2012–2013)\n Kelly Williams (2006–2019, 2021–present)\n Kevin Willis (1984–2005, 2006–07)\n\nBoxing \nJoe Louis (1934-48, 1950-51)\nMuhammad Ali (1960–1979, 1980–1981)\nSugar Ray Leonard (1977–1982, 1983–1984, 1986–1987, 1988–1991, 1996–1997)\nGeorge Foreman (1969–1977, 1987–1997)\n\nCricket \n Imran Khan (1971–1987, 1988–1992)\n Ray Illingworth\n Shahid Afridi\n Russell Sands\n\nCycling \n Lance Armstrong (1992–2005, 2009–2011)\n\nIce hockey \n\n Helmuts Balderis (1973–1985, 1989–1990, 1991–1996)\n Barry Beck (1977–1986, 1989–1990)\n Carl Brewer (1957–1965, 1967–1974, 1979–1980)\n Alexandre Daigle (1993–2000, 2002–2010)\n Ron Ellis (1964–1975, 1977–1981)\n Dominik Hasek (1980–2002, 2003–2008, 2009–2011)\n Gordie Howe (1946–1971, 1973–1980, 1997)\n Guy Lafleur (1971–1985, 1988–1991)\n Claude Lemieux (1983–2004, 2008–2009)\n Mario Lemieux (1984–1997, 2000–2006)\n Ted Lindsay (1944–1960, 1964–1965)\n Dickie Moore (1951–1963, 1964–1965, 1967–1968)\n Mark Pavelich (1980–1989, 1991)\n Jim Peplinski (1980–1989, 1995)\n Jacques Plante (1952–1965, 1968–1975)\n Gary Roberts (1985–1996, 1997–2009)\n Al Secord (1978–1990, 1994–1996)\n Steve Smith (1983–1997, 1998–2000)\n\nMixed martial arts \n Tito Ortiz (1997–2012, 2014–present)\n Randy Couture (1997–2006, 2007–2011)\n Chuck Liddell (1998–2010, 2018)\n Fedor Emelianenko (2000–2012, 2015–present)\n Georges St-Pierre (2002–2013, 2017)\n Urijah Faber (2003–2016, 2019)\n Brock Lesnar (2007–2011, 2016)\n Alexander Gustafsson (2006–2019, 2020–present)\n\nMotorsports \n Fernando Alonso (2001-2018, 2021-present)\n Neil Bonnett (1974–1990, 1993)\n Alan Jones (1975–1981, 1983, 1985–1986)\n Matt Kenseth (2000–2018, 2020)\n Niki Lauda (1971–1979, 1982–1985)\n Fred Lorenzen (1956, 1960–1967, 1970–1972)\n Felipe Massa (2002-2016, 2017)\n Michael Schumacher (1991–2006, 2010–2012)\n Ryan Dungey (2006–2017, 2022–present)\n\nRugby union \n Andy Goode (1998–2015, 2015–2016, 2020)\n Peter Rogers (1990–2004, 2007–2008)\n\nSkateboarding\n Tony Hawk (1982–2003, 2021)\n\nSwimming \n Brent Hayden (2002–12, 2019–present)\n Michael Phelps (2000–12, 2014–16)\n Dara Torres (1984–92, 2000, 2007–12)\n\nTennis \n Björn Borg (1973–1983, 1991–1993)\n Martina Hingis (1994–2002, 2006–2007, 2013–2017)\n Kim Clijsters (1997–2007, 2009–2012, 2020–2022)\n Justine Henin (1999–2008, 2010–2011)\n\nNotes\n\nReferences\n\nRetirement", "title": "List of athletes who came out of retirement" }, { "text": "This article provides two lists:\nA list of National Basketball Association players by total career regular season assists recorded\nProgressive assist leaders list\n\nAssist leaders\nThis is a list of National Basketball Association players by total career regular season assists recorded.\nStatistics accurate as of the 2022–23 NBA season.\n\nProgressive list of assists leaders\nThis is a progressive list of assists leaders showing how the record increased through the years.\nStatistics accurate as of the 2022–23 NBA season.\n\nSee also\nBasketball statistics\nNBA regular season records\n\nNotes\n\nReferences\n\nExternal links\nBasketball-Reference.com enumeration of NBA career leaders in assists\nNational Basketball Association official website enumeration of NBA career leaders in assists\n\nCategory:National Basketball Association statistical leaders", "title": "List of National Basketball Association career assists leaders" } ]

[ "In high school, Cousy played basketball but was initially cut from the team in his first year. He then joined the St. Albans Lindens of the Press League where he developed his basketball skills. He was cut again from his school's team the following year, after which he had an accident that made him play left-handed, thereby becoming ambidextrous. A coach at the Press League was impressed and invited him to the junior varsity team. Despite failing his citizenship course, making him ineligible for the first semester, he joined the varsity squad midway through the season and scored 28 points in his first game. His senior year saw him excel in basketball, leading his team to the Queens divisional championship and scoring more points than any other high school basketball player in New York. He was also made captain of the Journal-American All-Scholastic team. He then began focusing on his academics and basketball skills in preparation for college.", "The text does not provide specific information on whether he played basketball during his second year of high school.", "Cousy began playing in high school when he joined the junior varsity team after being spotted by a coach during a Press League game. He joined the varsity squad midway through the season of his junior year and continued to play on the team during his senior year.", "After seeing Cousy play in a Press League game, the high school basketball coach was impressed by his two-handed ability and invited him to come to practice the following day to try out for the junior varsity team.", "Yes, he made the junior varsity team. He did well enough in practice to become a permanent member of the squad.", "The text does not specifically state when Cousy started playing basketball in high school. However, we know that after being cut from the team in his first and second year, a high school coach saw him play in a Press League game. Impressed by him, the coach invited Cousy to try out for the junior varsity team, and he made the team. By his junior year, he joined the varsity squad midway through the season.", "In his senior year of high school, Cousy scored more points than any other New York City high school basketball player. He also led his team to the Queens divisional championship. However, the text does not state whether these achievements constituted official records.", "One interesting aspect of the article is the story of Cousy breaking his right hand after falling from a tree. This incident forced him to play basketball with his left hand, which effectively made him ambidextrous. He later described it as a fortunate event that made him more versatile on the court. Another interesting point is that despite his talent in basketball, he originally had no intention of attending college. However, his success on the court sparked a desire to improve academically and athletically for the chance to get into a good college.\n" ]

[ "Yes", "No", "Yes", "Yes", "No", "Yes", "Yes", "No" ]

[ "C_9dcad5746e944bc2af815a8d7b1dabe6_1_q#0", "C_9dcad5746e944bc2af815a8d7b1dabe6_1_q#1", "C_9dcad5746e944bc2af815a8d7b1dabe6_1_q#2", "C_9dcad5746e944bc2af815a8d7b1dabe6_1_q#3" ]

[ "What is a Storm in Heaven?", "was it an album?", "Did it have any hit singles?", "Are there any other hits?" ]

[ 0, 0, 0, 1 ]

[ 2, 0, 0, 2 ]

{ "answer_starts": [ [ 0 ], [ 232 ], [ 395 ], [ 1503 ] ], "texts": [ [ "1993's A Storm in Heaven was the band's full-length debut," ], [ "The album was a critical success," ], [ "\"Slide Away\"," ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 232, 395, 1503 ], "texts": [ "1993's A Storm in Heaven was the band's full-length debut,", "The album was a critical success,", "\"Slide Away\",", "CANNOTANSWER" ] }

[]

[ "A Storm in Heaven is the full-length debut album of the band, released in 1993.", "Yes, A Storm in Heaven was an album.", "Yes, the album had hit singles, including \"Blue\" which entered the UK Top 75 at No. 69 and reached No. 2 in the Indie charts, and \"Slide Away\" which topped the UK indie rock charts.", "The context only mentions \"Blue\" and \"Slide Away\" as singles from the album A Storm in Heaven. It doesn't provide information about any other hits from this album." ]

[ "Yes", "No", "Yes", "Yes" ]

[ "C_9dcad5746e944bc2af815a8d7b1dabe6_0_q#0", "C_9dcad5746e944bc2af815a8d7b1dabe6_0_q#1", "C_9dcad5746e944bc2af815a8d7b1dabe6_0_q#2", "C_9dcad5746e944bc2af815a8d7b1dabe6_0_q#3", "C_9dcad5746e944bc2af815a8d7b1dabe6_0_q#4" ]

[ "when was the fiirst break up", "was history a success", "what other album was released", "was it a success", "who produced the albums" ]

[ 2, 1, 2, 2, 1 ]

[ 2, 2, 2, 0, 2 ]

{ "answer_starts": [ [ 1018 ], [ 1126 ], [ 99 ], [ 948 ], [ 2320 ] ], "texts": [ [ "Ashcroft broke up the band three months later, just before the release of the third single \"History\"," ], [ "reached No. 24 in September." ], [ "second album, 1995's A Northern Soul," ], [ "ballad. The album reached the UK Top 20 upon its release in July," ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 1018, 1126, 99, 948, 2320 ], "texts": [ "Ashcroft broke up the band three months later, just before the release of the third single \"History\",", "reached No. 24 in September.", "second album, 1995's A Northern Soul,", "ballad. The album reached the UK Top 20 upon its release in July,", "CANNOTANSWER" ] }

[]

[ "The first break-up of the band occurred three months after the album \"A Northern Soul\" was released in July 1995.", "\"History\", the third single from the album \"A Northern Soul\", reached No. 24 in September, suggesting it had some level of success.", "The context mentions two albums by the band: \"A Storm in Heaven\" and \"A Northern Soul\".", "The success of the albums \"A Storm in Heaven\" and \"A Northern Soul\" is not explicitly stated in the context. However, it does mention that \"A Northern Soul\" reached the UK Top 20 upon its release.", "The context only mentions that the album \"A Northern Soul\" was produced by Owen Morris. The producer for \"A Storm in Heaven\" is not mentioned." ]

[ "Yes", "Yes", "Yes", "Yes", "No" ]

[ "C_07b7f8c7aeee43e7bc1b4b3ef1fdb120_1_q#0", "C_07b7f8c7aeee43e7bc1b4b3ef1fdb120_1_q#1", "C_07b7f8c7aeee43e7bc1b4b3ef1fdb120_1_q#2", "C_07b7f8c7aeee43e7bc1b4b3ef1fdb120_1_q#3" ]

[ "Who is Ai Weiwei", "what is Release", "when did this happen", "how much mobey did Ai invade" ]

[ 1, 0, 0, 1 ]

[ 2, 2, 2, 2 ]

{ "answer_starts": [ [ 2719 ], [ 0 ], [ 0 ], [ 2719 ] ], "texts": [ [ "CANNOTANSWER" ], [ "On 22 June 2011, the Chinese authorities released Ai from jail after almost three months' detention on charges of tax evasion." ], [ "On 22 June 2011, the Chinese authorities released Ai from jail after almost three months' detention on charges of tax evasion." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 2719, 0, 0, 2719 ], "texts": [ "CANNOTANSWER", "On 22 June 2011, the Chinese authorities released Ai from jail after almost three months' detention on charges of tax evasion.", "On 22 June 2011, the Chinese authorities released Ai from jail after almost three months' detention on charges of tax evasion.", "CANNOTANSWER" ] }

[]

[ "Ai Weiwei is a figure controlled by Beijing Fa Ke Cultural Development Ltd., a company involved in a tax evasion case. He is also known for being a vocal critic of the Chinese government. After being detained for almost three months, he was released due to his good attitude in confessing his crimes, willingness to pay back taxes, and his chronic illnesses. However, he was subject to heavy surveillance and restriction of movement until 2015. He is also referred to as \"China's most famous dissident artist\" in the Art in America magazine.", "In the context provided, \"release\" refers to the act of freeing someone from detention or imprisonment. Ai Weiwei was released from jail by Chinese authorities after being detained for almost three months on charges of tax evasion.", "Ai Weiwei was released from jail by the Chinese authorities on 22 June 2011.", "The text does not provide specific information on how much money Ai Weiwei allegedly evaded in taxes." ]

[ "Yes", "Yes", "Yes", "Yes" ]

[ "C_782ede944e9c4c3285e07c892541e814_0_q#0", "C_782ede944e9c4c3285e07c892541e814_0_q#1", "C_782ede944e9c4c3285e07c892541e814_0_q#2", "C_782ede944e9c4c3285e07c892541e814_0_q#3" ]

[ "What was the critical response to once?", "did it win any awards?", "including which critics?", "who was in once?" ]

[ 2, 2, 2, 1 ]

[ 2, 2, 2, 2 ]

{ "answer_starts": [ [ 18 ], [ 2421 ], [ 99 ], [ 2618 ] ], "texts": [ [ "extremely positive reviews from critics." ], [ "The film appeared on many North American critics' top ten lists of the best films of 2007:" ], [ "RTE's Caroline Hennessy" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 18, 2421, 99, 2618 ], "texts": [ "extremely positive reviews from critics.", "The film appeared on many North American critics' top ten lists of the best films of 2007:", "RTE's Caroline Hennessy", "CANNOTANSWER" ] }

[]

[ "The critical response to Once was extremely positive, with many high ratings and enthusiastic reviews from critics. It was given a 4 out of 5-star rating by Caroline Hennessy of RTE and Michael Dwyer of The Irish Times. In the United States, it received very high marks from critics, including a 97% \"fresh\" rating on Rotten Tomatoes and a grade of 88 (\"universal acclaim\") from Metacritic. The film was referred to as \"irresistibly appealing\", \"an unexpected treasure\", and \"the most charming thing I've seen all year\".+", "The context does not provide information on whether the film \"Once\" won any awards.", "The critics mentioned in the context who reviewed the film \"Once\" include Caroline Hennessy from RTE, Michael Dwyer from The Irish Times, Richard Roeper and guest critic Michael Phillips from Ebert & Roeper, and Amy Simmons from Time Out London.", "The context mentions two lead actors in the film \"Once\": Glen Hansard and Marketa Irglova." ]

[ "Yes", "No", "No", "No" ]

[ "C_2469cb6de0fd42de849d83539d690868_1_q#0", "C_2469cb6de0fd42de849d83539d690868_1_q#1", "C_2469cb6de0fd42de849d83539d690868_1_q#2", "C_2469cb6de0fd42de849d83539d690868_1_q#3", "C_2469cb6de0fd42de849d83539d690868_1_q#4", "C_2469cb6de0fd42de849d83539d690868_1_q#5", "C_2469cb6de0fd42de849d83539d690868_1_q#6", "C_2469cb6de0fd42de849d83539d690868_1_q#7" ]

[ "Is Hiatus the name of an album or did the band take a hiatus?", "What happened after they disbanded?", "What was the name of there third Album?", "What was a single form the Seeing Sounds album?", "What else happened with the band during this time period?", "Who left the band during the Hiatus?", "Was seeing sounds successful?", "Where there any other singles released?" ]

[ 0, 0, 2, 1, 1, 1, 1, 1 ]

[ 1, 1, 1, 1, 1, 2, 0, 0 ]

{ "answer_starts": [ [ 0 ], [ 103 ], [ 1346 ], [ 1414 ], [ 1658 ], [ 2050 ], [ 1557 ], [ 1658 ] ], "texts": [ [ "In 2005, N.E.R.D ended their contract with Virgin Records over a label dispute and the band disbanded." ], [ "While touring, the band became \"hooked\" on the energy from their fans, which led them to begin recording their third studio album," ], [ "Seeing Sounds" ], [ "Everyone Nose (All the Girls Standing in the Line for the Bathroom)\"," ], [ "A song entitled \"Soldier\" featuring Santigold and Lil Wayne was featured on the soundtrack of the teen drama 90210." ], [ "CANNOTANSWER" ], [ "The second single off the album, titled \"Spaz\", was used in a TV commercial for the Microsoft Zune." ], [ "A song entitled \"Soldier\" featuring Santigold and Lil Wayne was featured on the soundtrack of the teen drama 90210." ] ] }

{ "answer_starts": [ 0, 103, 1346, 1414, 1658, 2050, 1557, 1658 ], "texts": [ "In 2005, N.E.R.D ended their contract with Virgin Records over a label dispute and the band disbanded.", "While touring, the band became \"hooked\" on the energy from their fans, which led them to begin recording their third studio album,", "Seeing Sounds", "Everyone Nose (All the Girls Standing in the Line for the Bathroom)\",", "A song entitled \"Soldier\" featuring Santigold and Lil Wayne was featured on the soundtrack of the teen drama 90210.", "CANNOTANSWER", "The second single off the album, titled \"Spaz\", was used in a TV commercial for the Microsoft Zune.", "A song entitled \"Soldier\" featuring Santigold and Lil Wayne was featured on the soundtrack of the teen drama 90210." ] }

[]

[ "The context does not provide information on Hiatus being the name of an album or the band taking a hiatus.", "After N.E.R.D disbanded, they began recording their third studio album using their own money. They also established Star Trak Entertainment which is a subsidiary of Interscope Records. They then toured and performed at several festivals and concerts.", "The name of their third album was \"Seeing Sounds\".", "A single from the \"Seeing Sounds\" album was \"Everyone Nose (All the Girls Standing in the Line for the Bathroom)\".", "During this time period, N.E.R.D performed at a number of events including South by Southwest in Austin, Texas, the Isle of Wight festival, and the Isle of MTV 2008 in Malta. They also toured with Kanye West, Rihanna, and Lupe Fiasco as part of the Glow in the Dark Tour and with American rock band Linkin Park as part of their Projekt Revolution tour in Europe. In one of their performances, they brought the special guest Bad Brains on stage. Aside from their performances, they released singles from their album \"Seeing Sounds\" and filmed a PSA for Rock the Vote.", "The context does not provide information on anyone leaving the band during a hiatus.", "The context does not provide information on the success of the album \"Seeing Sounds\".", "Yes, in addition to \"Everyone Nose (All the Girls Standing in the Line for the Bathroom)\", another single titled \"Spaz\" was released from the \"Seeing Sounds\" album." ]

[ "No", "Yes", "Yes", "Yes", "No", "Yes", "No", "No" ]

[ "C_2469cb6de0fd42de849d83539d690868_0_q#0", "C_2469cb6de0fd42de849d83539d690868_0_q#1", "C_2469cb6de0fd42de849d83539d690868_0_q#2", "C_2469cb6de0fd42de849d83539d690868_0_q#3", "C_2469cb6de0fd42de849d83539d690868_0_q#4", "C_2469cb6de0fd42de849d83539d690868_0_q#5", "C_2469cb6de0fd42de849d83539d690868_0_q#6", "C_2469cb6de0fd42de849d83539d690868_0_q#7", "C_2469cb6de0fd42de849d83539d690868_0_q#8" ]

[ "What is Nothing?", "Who is NERD?", "What is a song off of Nothing?", "Did the song chart?", "What is the music style of the album?", "Is No one ever really dies an album?", "Did they tour to promote the album?", "Did they make any TV or radio appearances?", "Who produced the band?" ]

[ 2, 1, 0, 1, 1, 2, 1, 1, 1 ]

[ 2, 2, 2, 2, 2, 0, 1, 0, 2 ]

{ "answer_starts": [ [ 0 ], [ 772 ], [ 185 ], [ 2513 ], [ 634 ], [ 2116 ], [ 77 ], [ 602 ], [ 2221 ] ], "texts": [ [ "In 2010, N.E.R.D announced the release of their fourth studio album entitled Nothing," ], [ "Pharrell" ], [ "The first single from the album, \"Hot-n-Fun\" featuring Canadian recording artist Nelly Furtado," ], [ "CANNOTANSWER" ], [ "produced by electronic music duo Daft Punk." ], [ "N.E.R.D's fifth album, No One Ever Really Dies, was released on December 15, 2017" ], [ "No" ], [ "Late Show with David Letterman," ], [ "Columbia Records." ] ] }

{ "answer_starts": [ 0, 772, 185, 2513, 634, 2116, 77, 602, 2221 ], "texts": [ "In 2010, N.E.R.D announced the release of their fourth studio album entitled Nothing,", "Pharrell", "The first single from the album, \"Hot-n-Fun\" featuring Canadian recording artist Nelly Furtado,", "CANNOTANSWER", "produced by electronic music duo Daft Punk.", "N.E.R.D's fifth album, No One Ever Really Dies, was released on December 15, 2017", "No", "Late Show with David Letterman,", "Columbia Records." ] }

[]

[ "Nothing is the fourth studio album by N.E.R.D, released in 2010.", "N.E.R.D is a musical group. The context does not provide any further information about them.", "\"Hot-n-Fun\" is a song off of Nothing, the fourth studio album by N.E.R.D. Other songs from the album mentioned in the context are \"Party People\", \"Hypnotize U\", and \"I've Seen the Light\".", "The context does not provide information on whether any of the songs from N.E.R.D's album Nothing charted.", "The context does not provide information on the music style of N.E.R.D's album Nothing.", "Yes, No One Ever Really Dies is the fifth album by N.E.R.D, released on December 15, 2017.", "The context does not provide information on whether N.E.R.D toured to promote the album No One Ever Really Dies. However, it is mentioned that they supported Gorillaz on their 2010 'Escape to Plastic Beach' world tour, presumably in support of their album Nothing.", "Yes, N.E.R.D premiered a track from their album Nothing titled \"Hypnotize U\" on the Late Show with David Letterman and gave an interview on the show A Different Spin with Mark Hoppus.", "The context does not provide information on who produced N.E.R.D as a band. However, it is noted that the track \"Hypnotize U\" from the album Nothing was produced by the electronic music duo Daft Punk." ]

[ "Yes", "No", "Yes", "Yes", "No", "Yes", "Neutral", "Yes", "No" ]

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[ "At what point did he become interested in ballet?", "What influences did he have to get him interested in ballet?", "Are there any other interesting aspects about this article?", "Can you tell me more about his parents?", "What was Vaslav's childhood like?", "Which dance company was he with?", "Did Vaslav ever marry and have a family of his own?", "Can you tell me of other significant incidents in his life?" ]

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{ "answer_starts": [ [ 1877 ], [ 110 ], [ 1211 ], [ 389 ], [ 1341 ], [ 2521 ], [ 2521 ], [ 1925 ] ], "texts": [ [ "She persuaded a friend from the Wielki Theatre, Victor Stanislas Gillert, who was at the time teaching at the Imperial Ballet School, to help get Vaslav into the school." ], [ "Polish parents, touring dancers Tomasz Nizynski (b. 7 March 1862) and Eleonora Bereda (b. 28 December 1856)." ], [ "She suffered from depression, which may have been a genetic vulnerability shared in a different form by her son Vaslav." ], [ "Eleanora, along with her two brothers and two sisters, was orphaned while still a child." ], [ "received training from their father and appeared in an amateur Hopak production in Odessa in 1894." ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ], [ "Victor Stanislas Gillert, who was at the time teaching at the Imperial Ballet School, to help get Vaslav into the school." ] ] }

{ "answer_starts": [ 1877, 110, 1211, 389, 1341, 2521, 2521, 1925 ], "texts": [ "She persuaded a friend from the Wielki Theatre, Victor Stanislas Gillert, who was at the time teaching at the Imperial Ballet School, to help get Vaslav into the school.", "Polish parents, touring dancers Tomasz Nizynski (b. 7 March 1862) and Eleonora Bereda (b. 28 December 1856).", "She suffered from depression, which may have been a genetic vulnerability shared in a different form by her son Vaslav.", "Eleanora, along with her two brothers and two sisters, was orphaned while still a child.", "received training from their father and appeared in an amateur Hopak production in Odessa in 1894.", "CANNOTANSWER", "CANNOTANSWER", "Victor Stanislas Gillert, who was at the time teaching at the Imperial Ballet School, to help get Vaslav into the school." ] }

[]

[ "The text does not provide specific information on when Vaslav Nijinsky became interested in ballet.", "The text does not provide specific information on what influenced Vaslav Nijinsky to become interested in ballet. However, both his parents were touring dancers, his mother was a soloist at the Grand Theatre Ballet in Warsaw and his father was a premier danseur. Furthermore, his mother persuaded a friend from the Wielki Theatre to help get Vaslav into the Imperial Ballet School. These instances suggest a strong family influence in dancing or ballet.", "The text provides a number of interesting aspects about Vaslav Nijinsky's life. For instance, his parents were both professional dancers who toured with a company. Despite having difficulty speaking Polish, Nijinsky identified as Polish. His mother became a full member ballet company at age thirteen, and his father became a soloist at age eighteen, suggesting that they were extremely talented. Both of his parents taught him to dance. He and his family became itinerant dancers after Josef Setov died and their company disbanded. His parents separated when his father fell in love with another dancer. His mother succeeded in getting him into the Imperial Ballet School. His older brother seemed to have suffered some brain damage and was admitted to an asylum for the insane in 1902. These various aspects show Nijinsky's early life was filled with both talent and hardship.", "Vaslav Nijinsky's parents, Tomasz Nizynski and Eleonora Bereda, were both ethnic Poles and touring dancers. Eleonora was orphaned as a child and began earning a living as an extra in Warsaw's Grand Theatre Ballet, eventually becoming a full member of the company at age thirteen. Her talent was spotted, and she moved to Kiev as a solo dancer. Tomasz Nizynski attended the Wielki Theatre school and became a soloist there, and subsequently accepted a soloist contract with the Odessa Theatre at age 18. The couple met, married in May 1884, and settled into a career with the traveling Setov opera company, where Tomasz was premier danseur and Eleanora a soloist. Eleonora continued to dance even after having three children. The couple separated in 1897 after Tomasz fell in love with another dancer while touring in Finland. Eleonora moved to St Petersburg with her children following the separation.", "Vaslav Nijinsky's childhood was spent surrounded by the world of performance and dance. Both his parents were touring dancers and he was born while they were traveling. Despite identifying as Polish, he grew up mostly in Russia and had difficulty with the Polish language. After the company his parents worked for disbanded, his family became itinerant dancers, and he and his siblings began to perform, such as in a Christmas show at Nizhny Novgorod. His mother's separation from his father led to his relocation to St. Petersburg with his mother and siblings. His older brother, Stanislav, suffered a fall from a window when young, leading to what appeared to be some brain damage, and eventually, admission to an asylum. Vaslav and his sister, Bronia, who was just two years younger, became very close as they grew up. His mother managed to get him and his sister, Bronia, into the Imperial Ballet School in St. Petersburg, a significant institution in the world of ballet. Overall, his childhood seemed filled with movement, dance, and some notable hardships and changes.", "The text does not provide specific information on which dance company Vaslav Nijinsky was with. However, it mentions that his parents were with the Setov opera company and that they became itinerant dancers after the company disbanded. Moreover, Nijinsky's mother managed to get him into the Imperial Ballet School in St. Petersburg. The specific dance company that Nijinsky himself was associated with is not mentioned in the text.", "The text does not provide information on whether Vaslav Nijinsky married or had a family of his own.", "The text provides significant incidents primarily from Vaslav Nijinsky's early life and family background. The significant events mentioned include:\n1) His birth in Kiev to Polish parents who were touring dancers.\n2) His family becoming itinerant dancers after the death of Josef Setov disbanded the company they were originally part of.\n3) His father falling in love with another dancer and subsequently separating from his mother.\n4) His mother moving to St Petersburg with Vaslav and his siblings.\n5) His admission into the Imperial Ballet School, thanks to the help of his mother's friend from the Wielki Theatre.\n6) His older brother suffering some brain damage from a fall and being admitted to an asylum.\n\nInformation regarding significant incidents from his later life is not provided in the text." ]

[ "No", "Yes", "No", "No", "No", "Yes", "Yes", "Yes" ]

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[ "Did Vaslov go to dancing school?", "What was he rehearsing?", "Did he tour?", "Did he win awards?", "What type of job is a coryphee?", "Did he teach?", "What year did he do this?", "What was his most successful performance?", "Did he ever perform with his family?" ]

[ 0, 2, 1, 1, 1, 0, 0, 2, 1 ]

[ 1, 2, 2, 2, 2, 0, 2, 2, 2 ]

{ "answer_starts": [ [ 0 ], [ 155 ], [ 1806 ], [ 636 ], [ 1806 ], [ 399 ], [ 587 ], [ 300 ], [ 1806 ] ], "texts": [ [ "Nijinsky spent his summer after graduation rehearsing" ], [ "These performances frequently included members of the Imperial family and other nobility," ], [ "CANNOTANSWER" ], [ "September 1907, with Nijinsky employed as coryphee on a salary of 780 roubles per year." ], [ "CANNOTANSWER" ], [ "Buoyed by Nijinsky's salary, his new earnings from giving dance classes, and his sister Bronia's employment with the ballet company," ], [ "The new season at the Mariinsky theatre began in September 1907," ], [ "Each dancer who performed before the Tsar received a gold watch inscribed with the Imperial Eagle." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 155, 1806, 636, 1806, 399, 587, 300, 1806 ], "texts": [ "Nijinsky spent his summer after graduation rehearsing", "These performances frequently included members of the Imperial family and other nobility,", "CANNOTANSWER", "September 1907, with Nijinsky employed as coryphee on a salary of 780 roubles per year.", "CANNOTANSWER", "Buoyed by Nijinsky's salary, his new earnings from giving dance classes, and his sister Bronia's employment with the ballet company,", "The new season at the Mariinsky theatre began in September 1907,", "Each dancer who performed before the Tsar received a gold watch inscribed with the Imperial Eagle.", "CANNOTANSWER" ] }

[]

[ "The text does not provide information on whether Vaslov went to dancing school.", "The text does not provide specific information on what Nijinsky was rehearsing during his summer after graduation.", "The text does not provide information on whether Nijinsky went on a tour.", "The text does not provide information on whether Nijinsky won any awards.", "The text does not provide information on what type of job a coryphee is.", "Yes, Nijinsky earned money from giving dance classes.", "The text does not provide a specific year for when Nijinsky started giving dance classes.", "The text does not specify which of Nijinsky's performances was the most successful.", "The text does not provide information on whether Nijinsky ever performed with his family." ]

[ "No", "No", "Yes", "no", "Yes", "Yes", "No", "No", "Yes" ]

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[ "What was the Alternate Endings?", "was it successful?", "how many did they sell?", "did they go on tour?" ]

[ 2, 2, 1, 0 ]

[ 2, 0, 2, 0 ]

{ "answer_starts": [ [ 41 ], [ 494 ], [ 2682 ], [ 1105 ] ], "texts": [ [ "B-sides album" ], [ "topped the UK rock chart." ], [ "CANNOTANSWER" ], [ "UK tour, which began on 21 October 2008." ] ] }

{ "answer_starts": [ 41, 494, 2682, 1105 ], "texts": [ "B-sides album", "topped the UK rock chart.", "CANNOTANSWER", "UK tour, which began on 21 October 2008." ] }

[]

[ "Alternate Endings was a B-sides album released by Fightstar on 11 August 2008, which included live radio sessions, covers and a previously-unreleased track.", "The text does not provide information on whether the B-sides album, Alternate Endings, by Fightstar was successful.", "The text does not provide information on how many copies of the B-sides album, Alternate Endings, by Fightstar were sold.", "Yes, Fightstar went on a tour. The band supported Feeder for the first part of their UK tour, which began on 21 October 2008. Also, on 4 February 2009, Fightstar announced a 12-date UK tour supported by In Case of Fire and Laruso." ]

[ "Yes", "no", "Yes", "Yes" ]

[ "C_4fe3a599f1ef490b84f3b9a185e61e25_0_q#0", "C_4fe3a599f1ef490b84f3b9a185e61e25_0_q#1", "C_4fe3a599f1ef490b84f3b9a185e61e25_0_q#2", "C_4fe3a599f1ef490b84f3b9a185e61e25_0_q#3" ]

[ "What is Behind the Devil's Back?", "Was this album successful?", "Did they go on tour?", "Where did they go?" ]

[ 0, 1, 0, 1 ]

[ 2, 2, 0, 2 ]

{ "answer_starts": [ [ 1084 ], [ 1569 ], [ 1387 ], [ 1569 ] ], "texts": [ [ "On 22 July it was announced that the band would release Behind The Devil's Back on 16 October," ], [ "CANNOTANSWER" ], [ "On 10 November 2015 Simpson reunited with Busted to record new music and tour," ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 1084, 1569, 1387, 1569 ], "texts": [ "On 22 July it was announced that the band would release Behind The Devil's Back on 16 October,", "CANNOTANSWER", "On 10 November 2015 Simpson reunited with Busted to record new music and tour,", "CANNOTANSWER" ] }

[]

[ "Behind The Devil's Back is an album by the band Fightstar.", "The text does not provide information on whether the album \"Behind The Devil's Back\" was successful.", "Yes, the band went on a string of UK dates promoting the album \"Behind The Devil's Back\".", "The text mentions that the band had additional dates in Birmingham, Glasgow, and Manchester. However, it does not specify if these dates were part of the tour promoting their album \"Behind The Devil's Back\"." ]

[ "Yes", "Yes", "No", "No" ]

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[ "When did was he elected as a judge?", "How long was a a Judge there?", "What did he go on to do after losing that election?", "Did he do anything else after that?", "What was the 10 year plan?", "Are there any other interesting aspects about this article?", "What kind of accomplishments did he have?", "Where was that court building located?", "When did he accomplish that?", "Any other notable events?", "What were his duties for that?" ]

[ 0, 2, 0, 0, 0, 0, 0, 1, 2, 0, 1 ]

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{ "answer_starts": [ [ 735 ], [ 1128 ], [ 1271 ], [ 1455 ], [ 1621 ], [ 1908 ], [ 1721 ], [ 787 ], [ 1455 ], [ 2064 ], [ 2376 ] ], "texts": [ [ "Truman was elected in 1922 as County Court judge of Jackson County's eastern district--" ], [ "Truman was not re-elected in 1924, losing in a Republican wave led by President Calvin Coolidge's landslide election to a full term." ], [ "selling automobile club memberships convinced" ], [ "1926, Truman was elected presiding judge with the support of the Pendergast machine, and he was re-elected in 1930. Truman helped coordinate the Ten Year Plan," ], [ "transformed Jackson County and the Kansas City skyline with new public works projects, including an extensive series of roads" ], [ "He oversaw the dedication in the late 1920s of a series of 12 Madonna of the Trail monuments honoring pioneer women," ], [ "extensive series of roads and construction of a new Wight and Wight-designed County Court building." ], [ "Jackson County" ], [ "1926," ], [ "In 1933, Harry S. Truman was named Missouri's director for the Federal Re-Employment program (part of the Civil Works Administration" ], [ "The appointment confirmed Pendergast's control over federal patronage jobs in Missouri and marked the zenith of his power." ] ] }

{ "answer_starts": [ 735, 1128, 1271, 1455, 1621, 1908, 1721, 787, 1455, 2064, 2376 ], "texts": [ "Truman was elected in 1922 as County Court judge of Jackson County's eastern district--", "Truman was not re-elected in 1924, losing in a Republican wave led by President Calvin Coolidge's landslide election to a full term.", "selling automobile club memberships convinced", "1926, Truman was elected presiding judge with the support of the Pendergast machine, and he was re-elected in 1930. Truman helped coordinate the Ten Year Plan,", "transformed Jackson County and the Kansas City skyline with new public works projects, including an extensive series of roads", "He oversaw the dedication in the late 1920s of a series of 12 Madonna of the Trail monuments honoring pioneer women,", "extensive series of roads and construction of a new Wight and Wight-designed County Court building.", "Jackson County", "1926,", "In 1933, Harry S. Truman was named Missouri's director for the Federal Re-Employment program (part of the Civil Works Administration", "The appointment confirmed Pendergast's control over federal patronage jobs in Missouri and marked the zenith of his power." ] }

[ { "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" }, { "text": "Time is the continued sequence of existence and events that occurs in an apparently irreversible succession from the past, through the present, into the future. It is a component quantity of various measurements used to sequence events, to compare the duration of events or the intervals between them, and to quantify rates of change of quantities in material reality or in the conscious experience. Time is often referred to as a fourth dimension, along with three spatial dimensions.\n\nTime has long been an important subject of study in religion, philosophy, and science, but defining it in a manner applicable to all fields without circularity has consistently eluded scholars.\nNevertheless, diverse fields such as business, industry, sports, the sciences, and the performing arts all incorporate some notion of time into their respective measuring systems.\n\nTime in physics is operationally defined as \"what a clock reads\".\n\nThe physical nature of time is addressed by general relativity with respect to events in spacetime. Examples of events are the collision of two particles, the explosion of a supernova, or the arrival of a rocket ship. Every event can be assigned four numbers representing its time and position (the event's coordinates). However, the numerical values are different for different observers. In general relativity, the question of what time it is now only has meaning relative to a particular observer. Distance and time are intimately related, and the time required for light to travel a specific distance is the same for all observers, as first publicly demonstrated by Michelson and Morley. General relativity does not address the nature of time for extremely small intervals where quantum mechanics holds. As of 2023, there is no generally accepted theory of quantum general relativity.\n\nTime is one of the seven fundamental physical quantities in both the International System of Units (SI) and International System of Quantities. The SI base unit of time is the second, which is defined by measuring the electronic transition frequency of caesium atoms. Time is used to define other quantities, such as velocity, so defining time in terms of such quantities would result in circularity of definition. An operational definition of time, wherein one says that observing a certain number of repetitions of one or another standard cyclical event (such as the passage of a free-swinging pendulum) constitutes one standard unit such as the second, is highly useful in the conduct of both advanced experiments and everyday affairs of life. To describe observations of an event, a location (position in space) and time are typically noted.\n\nThe operational definition of time does not address what the fundamental nature of time is. It does not address why events can happen forward and backward in space, whereas events only happen in the forward progress of time. Investigations into the relationship between space and time led physicists to define the spacetime continuum. General relativity is the primary framework for understanding how spacetime works. Through advances in both theoretical and experimental investigations of spacetime, it has been shown that time can be distorted and dilated, particularly at the edges of black holes.\n\nTemporal measurement has occupied scientists and technologists and was a prime motivation in navigation and astronomy. Periodic events and periodic motion have long served as standards for units of time. Examples include the apparent motion of the sun across the sky, the phases of the moon, and the swing of a pendulum. Time is also of significant social importance, having economic value (\"time is money\") as well as personal value, due to an awareness of the limited time in each day and in human life spans.\n\nThere are many systems for determining what time it is, including the Global Positioning System, other satellite systems, Coordinated Universal Time and mean solar time. In general, the numbers obtained from different time systems differ from one another.\n\nMeasurement \n\nGenerally speaking, methods of temporal measurement, or chronometry, take two distinct forms: the calendar, a mathematical tool for organising intervals of time, and the clock, a physical mechanism that counts the passage of time. In day-to-day life, the clock is consulted for periods less than a day, whereas the calendar is consulted for periods longer than a day. Increasingly, personal electronic devices display both calendars and clocks simultaneously. The number (as on a clock dial or calendar) that marks the occurrence of a specified event as to hour or date is obtained by counting from a fiducial epoch – a central reference point.\n\nHistory of the calendar \n\nArtifacts from the Paleolithic suggest that the moon was used to reckon time as early as 6,000 years ago. Lunar calendars were among the first to appear, with years of either 12 or 13 lunar months (either 354 or 384 days). Without intercalation to add days or months to some years, seasons quickly drift in a calendar based solely on twelve lunar months. Lunisolar calendars have a thirteenth month added to some years to make up for the difference between a full year (now known to be about 365.24 days) and a year of just twelve lunar months. The numbers twelve and thirteen came to feature prominently in many cultures, at least partly due to this relationship of months to years. Other early forms of calendars originated in Mesoamerica, particularly in ancient Mayan civilization. These calendars were religiously and astronomically based, with 18 months in a year and 20 days in a month, plus five epagomenal days at the end of the year.\n\nThe reforms of Julius Caesar in 45 BC put the Roman world on a solar calendar. This Julian calendar was faulty in that its intercalation still allowed the astronomical solstices and equinoxes to advance against it by about 11 minutes per year. Pope Gregory XIII introduced a correction in 1582; the Gregorian calendar was only slowly adopted by different nations over a period of centuries, but it is now by far the most commonly used calendar around the world.\n\nDuring the French Revolution, a new clock and calendar were invented in an attempt to de-Christianize time and create a more rational system in order to replace the Gregorian calendar. The French Republican Calendar's days consisted of ten hours of a hundred minutes of a hundred seconds, which marked a deviation from the base 12 (duodecimal) system used in many other devices by many cultures. The system was abolished in 1806.\n\nHistory of other devices\n\nA large variety of devices have been invented to measure time. The study of these devices is called horology.\n\nAn Egyptian device that dates to , similar in shape to a bent T-square, measured the passage of time from the shadow cast by its crossbar on a nonlinear rule. The T was oriented eastward in the mornings. At noon, the device was turned around so that it could cast its shadow in the evening direction.\n\nA sundial uses a gnomon to cast a shadow on a set of markings calibrated to the hour. The position of the shadow marks the hour in local time. The idea to separate the day into smaller parts is credited to Egyptians because of their sundials, which operated on a duodecimal system. The importance of the number 12 is due to the number of lunar cycles in a year and the number of stars used to count the passage of night.\n\nThe most precise timekeeping device of the ancient world was the water clock, or clepsydra, one of which was found in the tomb of Egyptian pharaoh Amenhotep I. They could be used to measure the hours even at night but required manual upkeep to replenish the flow of water. The ancient Greeks and the people from Chaldea (southeastern Mesopotamia) regularly maintained timekeeping records as an essential part of their astronomical observations. Arab inventors and engineers, in particular, made improvements on the use of water clocks up to the Middle Ages. In the 11th century, Chinese inventors and engineers invented the first mechanical clocks driven by an escapement mechanism.\n\nThe hourglass uses the flow of sand to measure the flow of time. They were used in navigation. Ferdinand Magellan used 18 glasses on each ship for his circumnavigation of the globe (1522).\n\nIncense sticks and candles were, and are, commonly used to measure time in temples and churches across the globe. Waterclocks, and later, mechanical clocks, were used to mark the events of the abbeys and monasteries of the Middle Ages. Richard of Wallingford (1292–1336), abbot of St. Alban's abbey, famously built a mechanical clock as an astronomical orrery about 1330.\n\nGreat advances in accurate time-keeping were made by Galileo Galilei and especially Christiaan Huygens with the invention of pendulum-driven clocks along with the invention of the minute hand by Jost Burgi.\n\nThe English word clock probably comes from the Middle Dutch word klocke which, in turn, derives from the medieval Latin word clocca, which ultimately derives from Celtic and is cognate with French, Latin, and German words that mean bell. The passage of the hours at sea was marked by bells and denoted the time (see ship's bell). The hours were marked by bells in abbeys as well as at sea.\n\nClocks can range from watches to more exotic varieties such as the Clock of the Long Now. They can be driven by a variety of means, including gravity, springs, and various forms of electrical power, and regulated by a variety of means such as a pendulum.\n\nAlarm clocks first appeared in ancient Greece around 250 BC with a water clock that would set off a whistle. This idea was later mechanized by Levi Hutchins and Seth E. Thomas.\n\nA chronometer is a portable timekeeper that meets certain precision standards. Initially, the term was used to refer to the marine chronometer, a timepiece used to determine longitude by means of celestial navigation, a precision firstly achieved by John Harrison. More recently, the term has also been applied to the chronometer watch, a watch that meets precision standards set by the Swiss agency COSC.\n\nThe most accurate timekeeping devices are atomic clocks, which are accurate to seconds in many millions of years, and are used to calibrate other clocks and timekeeping instruments.\n\nAtomic clocks use the frequency of electronic transitions in certain atoms to measure the second. One of the atoms used is caesium, most modern atomic clocks probe caesium with microwaves to determine the frequency of these electron vibrations. Since 1967, the International System of Measurements bases its unit of time, the second, on the properties of caesium atoms. SI defines the second as 9,192,631,770 cycles of the radiation that corresponds to the transition between two electron spin energy levels of the ground state of the 133Cs atom.\n\nToday, the Global Positioning System in coordination with the Network Time Protocol can be used to synchronize timekeeping systems across the globe.\n\nIn medieval philosophical writings, the atom was a unit of time referred to as the smallest possible division of time. The earliest known occurrence in English is in Byrhtferth's Enchiridion (a science text) of 1010–1012, where it was defined as 1/564 of a momentum (1 minutes), and thus equal to 15/94 of a second. It was used in the computus, the process of calculating the date of Easter.\n\n, the smallest time interval uncertainty in direct measurements is on the order of 12 attoseconds (1.2 × 10−17 seconds), about 3.7 × 1026 Planck times.\n\nUnits \n\nThe second (s) is the SI base unit. A minute (min) is 60 seconds in length, and an hour is 60 minutes or 3600 seconds in length. A day is usually 24 hours or 86,400 seconds in length; however, the duration of a calendar day can vary due to Daylight saving time and Leap seconds.\n\nDefinitions and standards \n\nA time standard is a specification for measuring time: assigning a number or calendar date to an instant (point in time), quantifying the duration of a time interval, and establishing a chronology (ordering of events). In modern times, several time specifications have been officially recognized as standards, where formerly they were matters of custom and practice. The invention in 1955 of the caesium atomic clock has led to the replacement of older and purely astronomical time standards such as sidereal time and ephemeris time, for most practical purposes, by newer time standards based wholly or partly on atomic time using the SI second.\n\nInternational Atomic Time (TAI) is the primary international time standard from which other time standards are calculated. Universal Time (UT1) is mean solar time at 0° longitude, computed from astronomical observations. It varies from TAI because of the irregularities in Earth's rotation. Coordinated Universal Time (UTC) is an atomic time scale designed to approximate Universal Time. UTC differs from TAI by an integral number of seconds. UTC is kept within 0.9 second of UT1 by the introduction of one-second steps to UTC, the \"leap second\". The Global Positioning System broadcasts a very precise time signal based on UTC time.\n\nThe surface of the Earth is split up into a number of time zones. Standard time or civil time in a time zone deviates a fixed, round amount, usually a whole number of hours, from some form of Universal Time, usually UTC. Most time zones are exactly one hour apart, and by convention compute their local time as an offset from UTC. For example, time zones at sea are based on UTC. In many locations (but not at sea) these offsets vary twice yearly due to daylight saving time transitions.\n\nSome other time standards are used mainly for scientific work. Terrestrial Time is a theoretical ideal scale realized by TAI. Geocentric Coordinate Time and Barycentric Coordinate Time are scales defined as coordinate times in the context of the general theory of relativity. Barycentric Dynamical Time is an older relativistic scale that is still in use.\n\nPhilosophy\n\nReligion\n\nReligions which view time as cyclical \n\nAncient cultures such as Incan, Mayan, Hopi, and other Native American Tribes – plus the Babylonians, ancient Greeks, Hinduism, Buddhism, Jainism, and others – have a concept of a wheel of time: they regard time as cyclical and quantic, consisting of repeating ages that happen to every being of the Universe between birth and extinction.\n\nTime as Linear for Abrahamic Religions\n\nIn general, the Islamic and Judeo-Christian world-view regards time as linear\nand directional,\nbeginning with the act of creation by God. The traditional Christian view sees time ending, teleologically,\nwith the eschatological end of the present order of things, the \"end time\".\n\nIn the Old Testament book Ecclesiastes, traditionally ascribed to Solomon (970–928 BC), time (as the Hebrew word עידן, זמן iddan (age, as in \"Ice age\") zĕman(time) is often translated) was traditionally regarded as a medium for the passage of predestined events. (Another word, زمان\" זמן\" zamān, meant time fit for an event, and is used as the modern Arabic, Persian, and Hebrew equivalent to the English word \"time\".)\n\nTime in Greek mythology \nThe Greek language denotes two distinct principles, Chronos and Kairos. The former refers to numeric, or chronological, time. The latter, literally \"the right or opportune moment\", relates specifically to metaphysical or Divine time. In theology, Kairos is qualitative, as opposed to quantitative.\n\nIn Greek mythology, Chronos (ancient Greek: Χρόνος) is identified as the Personification of Time. His name in Greek means \"time\" and is alternatively spelled Chronus (Latin spelling) or Khronos. Chronos is usually portrayed as an old, wise man with a long, gray beard, such as \"Father Time\". Some English words whose etymological root is khronos/chronos include chronology, chronometer, chronic, anachronism, synchronise, and chronicle.\n\nTime in Kabbalah \nAccording to Kabbalists, \"time\" is a paradox and an illusion. Both the future and the past are recognised to be combined and simultaneously present.\n\nIn Western philosophy \n\nTwo contrasting viewpoints on time divide prominent philosophers. One view is that time is part of the fundamental structure of the universe – a dimension independent of events, in which events occur in sequence. Isaac Newton subscribed to this realist view, and hence it is sometimes referred to as Newtonian time.\nThe opposing view is that time does not refer to any kind of \"container\" that events and objects \"move through\", nor to any entity that \"flows\", but that it is instead part of a fundamental intellectual structure (together with space and number) within which humans sequence and compare events. This second view, in the tradition of Gottfried Leibniz and Immanuel Kant, holds that time is neither an event nor a thing, and thus is not itself measurable nor can it be travelled.\n\nFurthermore, it may be that there is a subjective component to time, but whether or not time itself is \"felt\", as a sensation, or is a judgment, is a matter of debate.\n\nIn Philosophy, time was questioned throughout the centuries; what time is and if it is real or not. Ancient Greek philosophers asked if time was linear or cyclical and if time was endless or finite. These philosophers had different ways of explaining time; for instance, ancient Indian philosophers had something called the Wheel of Time. It is believed that there was repeating ages over the lifespan of the universe. This led to beliefs like cycles of rebirth and reincarnation. The Greek philosophers believe that the universe was infinite, and was an illusion to humans. Plato believed that time was made by the Creator at the same instant as the heavens. He also says that time is a period of motion of the heavenly bodies. Aristotle believed that time correlated to movement, that time did not exist on its own but was relative to motion of objects. he also believed that time was related to the motion of celestial bodies; the reason that humans can tell time was because of orbital periods and therefore there was a duration on time.\n\nThe Vedas, the earliest texts on Indian philosophy and Hindu philosophy dating back to the late 2nd millennium BC, describe ancient Hindu cosmology, in which the universe goes through repeated cycles of creation, destruction and rebirth, with each cycle lasting 4,320 million years.\nAncient Greek philosophers, including Parmenides and Heraclitus, wrote essays on the nature of time.\nPlato, in the Timaeus, identified time with the period of motion of the heavenly bodies. Aristotle, in Book IV of his Physica defined time as 'number of movement in respect of the before and after'.\n\nIn Book 11 of his Confessions, St. Augustine of Hippo ruminates on the nature of time, asking, \"What then is time? If no one asks me, I know: if I wish to explain it to one that asketh, I know not.\" He begins to define time by what it is not rather than what it is,\nan approach similar to that taken in other negative definitions. However, Augustine ends up calling time a \"distention\" of the mind (Confessions 11.26) by which we simultaneously grasp the past in memory, the present by attention, and the future by expectation.\n\nIsaac Newton believed in absolute space and absolute time; Leibniz believed that time and space are relational.\nThe differences between Leibniz's and Newton's interpretations came to a head in the famous Leibniz–Clarke correspondence.\n\nPhilosophers in the 17th and 18th century questioned if time was real and absolute, or if it was an intellectual concept that humans use to understand and sequence events. These questions lead to realism vs anti-realism; the realists believed that time is a fundamental part of the universe, and be perceived by events happening in a sequence, in a dimension. Isaac Newton said that we are merely occupying time, he also says that humans can only understand relative time. Relative time is a measurement of objects in motion. The anti-realists believed that time is merely a convenient intellectual concept for humans to understand events. This means that time was useless unless there were objects that it could interact with, this was called relational time. René Descartes, John Locke, and David Hume said that one's mind needs to acknowledge time, in order to understand what time is. Immanuel Kant believed that we can not know what something is unless we experience it first hand.\n\nImmanuel Kant, in the Critique of Pure Reason, described time as an a priori intuition that allows us (together with the other a priori intuition, space) to comprehend sense experience.\nWith Kant, neither space nor time are conceived as substances, but rather both are elements of a systematic mental framework that necessarily structures the experiences of any rational agent, or observing subject. Kant thought of time as a fundamental part of an abstract conceptual framework, together with space and number, within which we sequence events, quantify their duration, and compare the motions of objects. In this view, time does not refer to any kind of entity that \"flows,\" that objects \"move through,\" or that is a \"container\" for events. Spatial measurements are used to quantify the extent of and distances between objects, and temporal measurements are used to quantify the durations of and between events. Time was designated by Kant as the purest possible schema of a pure concept or category.\n\nHenri Bergson believed that time was neither a real homogeneous medium nor a mental construct, but possesses what he referred to as Duration. Duration, in Bergson's view, was creativity and memory as an essential component of reality.\n\nAccording to Martin Heidegger we do not exist inside time, we are time. Hence, the relationship to the past is a present awareness of having been, which allows the past to exist in the present. The relationship to the future is the state of anticipating a potential possibility, task, or engagement. It is related to the human propensity for caring and being concerned, which causes \"being ahead of oneself\" when thinking of a pending occurrence. Therefore, this concern for a potential occurrence also allows the future to exist in the present. The present becomes an experience, which is qualitative instead of quantitative. Heidegger seems to think this is the way that a linear relationship with time, or temporal existence, is broken or transcended.\nWe are not stuck in sequential time. We are able to remember the past and project into the future – we have a kind of random access to our representation of temporal existence; we can, in our thoughts, step out of (ecstasis) sequential time.\n\nModern era philosophers asked: is time real or unreal, is time happening all at once or a duration, is time tensed or tenseless, and is there a future to be? There is a theory called the tenseless or B-theory; this theory says that any tensed terminology can be replaced with tenseless terminology. For example, \"we will win the game\" can be replaced with \"we do win the game\", taking out the future tense. On the other hand, there is a theory called the tense or A-theory; this theory says that our language has tense verbs for a reason and that the future can not be determined. There is also something called imaginary time, this was from Stephen Hawking, he says that space and imaginary time are finite but have no boundaries. Imaginary time is not real or unreal, it is something that is hard to visualize. Philosophers can agree that physical time exists outside of the human mind and is objective, and psychological time is mind-dependent and subjective.\n\nUnreality \nIn 5th century BC Greece, Antiphon the Sophist, in a fragment preserved from his chief work On Truth, held that: \"Time is not a reality (hypostasis), but a concept (noêma) or a measure (metron).\" Parmenides went further, maintaining that time, motion, and change were illusions, leading to the paradoxes of his follower Zeno. Time as an illusion is also a common theme in Buddhist thought.\n\nJ. M. E. McTaggart's 1908 The Unreality of Time argues that, since every event has the characteristic of being both present and not present (i.e., future or past), that time is a self-contradictory idea (see also The flow of time).\n\nThese arguments often center on what it means for something to be unreal. Modern physicists generally believe that time is as real as space – though others, such as Julian Barbour in his book The End of Time, argue that quantum equations of the universe take their true form when expressed in the timeless realm containing every possible now or momentary configuration of the universe, called \"platonia\" by Barbour.\n\nA modern philosophical theory called presentism views the past and the future as human-mind interpretations of movement instead of real parts of time (or \"dimensions\") which coexist with the present. This theory rejects the existence of all direct interaction with the past or the future, holding only the present as tangible. This is one of the philosophical arguments against time travel. This contrasts with eternalism (all time: present, past and future, is real) and the growing block theory (the present and the past are real, but the future is not).\n\nPhysical definition \n\nUntil Einstein's reinterpretation of the physical concepts associated with time and space in 1907, time was considered to be the same everywhere in the universe, with all observers measuring the same time interval for any event.\nNon-relativistic classical mechanics is based on this Newtonian idea of time.\n\nEinstein, in his special theory of relativity,\npostulated the constancy and finiteness of the speed of light for all observers. He showed that this postulate, together with a reasonable definition for what it means for two events to be simultaneous, requires that distances appear compressed and time intervals appear lengthened for events associated with objects in motion relative to an inertial observer.\n\nThe theory of special relativity finds a convenient formulation in Minkowski spacetime, a mathematical structure that combines three dimensions of space with a single dimension of time. In this formalism, distances in space can be measured by how long light takes to travel that distance, e.g., a light-year is a measure of distance, and a meter is now defined in terms of how far light travels in a certain amount of time. Two events in Minkowski spacetime are separated by an invariant interval, which can be either space-like, light-like, or time-like. Events that have a time-like separation cannot be simultaneous in any frame of reference, there must be a temporal component (and possibly a spatial one) to their separation. Events that have a space-like separation will be simultaneous in some frame of reference, and there is no frame of reference in which they do not have a spatial separation. Different observers may calculate different distances and different time intervals between two events, but the invariant interval between the events is independent of the observer (and his or her velocity).\n\nClassical mechanics \nIn non-relativistic classical mechanics, Newton's concept of \"relative, apparent, and common time\" can be used in the formulation of a prescription for the synchronization of clocks. Events seen by two different observers in motion relative to each other produce a mathematical concept of time that works sufficiently well for describing the everyday phenomena of most people's experience. In the late nineteenth century, physicists encountered problems with the classical understanding of time, in connection with the behavior of electricity and magnetism. Einstein resolved these problems by invoking a method of synchronizing clocks using the constant, finite speed of light as the maximum signal velocity. This led directly to the conclusion that observers in motion relative to one another measure different elapsed times for the same event.\n\nSpacetime \n\nTime has historically been closely related with space, the two together merging into spacetime in Einstein's special relativity and general relativity. According to these theories, the concept of time depends on the spatial reference frame of the observer, and the human perception, as well as the measurement by instruments such as clocks, are different for observers in relative motion. For example, if a spaceship carrying a clock flies through space at (very nearly) the speed of light, its crew does not notice a change in the speed of time on board their vessel because everything traveling at the same speed slows down at the same rate (including the clock, the crew's thought processes, and the functions of their bodies). However, to a stationary observer watching the spaceship fly by, the spaceship appears flattened in the direction it is traveling and the clock on board the spaceship appears to move very slowly.\n\nOn the other hand, the crew on board the spaceship also perceives the observer as slowed down and flattened along the spaceship's direction of travel, because both are moving at very nearly the speed of light relative to each other. Because the outside universe appears flattened to the spaceship, the crew perceives themselves as quickly traveling between regions of space that (to the stationary observer) are many light years apart. This is reconciled by the fact that the crew's perception of time is different from the stationary observer's; what seems like seconds to the crew might be hundreds of years to the stationary observer. In either case, however, causality remains unchanged: the past is the set of events that can send light signals to an entity and the future is the set of events to which an entity can send light signals.\n\nDilation \n\nEinstein showed in his thought experiments that people travelling at different speeds, while agreeing on cause and effect, measure different time separations between events, and can even observe different chronological orderings between non-causally related events. Though these effects are typically minute in the human experience, the effect becomes much more pronounced for objects moving at speeds approaching the speed of light. Subatomic particles exist for a well-known average fraction of a second in a lab relatively at rest, but when travelling close to the speed of light they are measured to travel farther and exist for much longer than when at rest. According to the special theory of relativity, in the high-speed particle's frame of reference, it exists, on the average, for a standard amount of time known as its mean lifetime, and the distance it travels in that time is zero, because its velocity is zero. Relative to a frame of reference at rest, time seems to \"slow down\" for the particle. Relative to the high-speed particle, distances seem to shorten. Einstein showed how both temporal and spatial dimensions can be altered (or \"warped\") by high-speed motion.\n\nEinstein (The Meaning of Relativity): \"Two events taking place at the points A and B of a system K are simultaneous if they appear at the same instant when observed from the middle point, M, of the interval AB. Time is then defined as the ensemble of the indications of similar clocks, at rest relative to K, which register the same simultaneously.\"\n\nEinstein wrote in his book, Relativity, that simultaneity is also relative, i.e., two events that appear simultaneous to an observer in a particular inertial reference frame need not be judged as simultaneous by a second observer in a different inertial frame of reference.\n\nRelativistic versus Newtonian \n\nThe animations visualise the different treatments of time in the Newtonian and the relativistic descriptions. At the heart of these differences are the Galilean and Lorentz transformations applicable in the Newtonian and relativistic theories, respectively.\n\nIn the figures, the vertical direction indicates time. The horizontal direction indicates distance (only one spatial dimension is taken into account), and the thick dashed curve is the spacetime trajectory (\"world line\") of the observer. The small dots indicate specific (past and future) events in spacetime.\n\nThe slope of the world line (deviation from being vertical) gives the relative velocity to the observer. In both pictures the view of spacetime changes when the observer accelerates.\n\nIn the Newtonian description these changes are such that time is absolute: the movements of the observer do not influence whether an event occurs in the 'now' (i.e., whether an event passes the horizontal line through the observer).\n\nHowever, in the relativistic description the observability of events is absolute: the movements of the observer do not influence whether an event passes the \"light cone\" of the observer. Notice that with the change from a Newtonian to a relativistic description, the concept of absolute time is no longer applicable: events move up and down in the figure depending on the acceleration of the observer.\n\nArrow \n\nTime appears to have a direction – the past lies behind, fixed and immutable, while the future lies ahead and is not necessarily fixed. Yet for the most part, the laws of physics do not specify an arrow of time, and allow any process to proceed both forward and in reverse. This is generally a consequence of time being modelled by a parameter in the system being analysed, where there is no \"proper time\": the direction of the arrow of time is sometimes arbitrary. Examples of this include the cosmological arrow of time, which points away from the Big Bang, CPT symmetry, and the radiative arrow of time, caused by light only travelling forwards in time (see light cone). In particle physics, the violation of CP symmetry implies that there should be a small counterbalancing time asymmetry to preserve CPT symmetry as stated above. The standard description of measurement in quantum mechanics is also time asymmetric (see Measurement in quantum mechanics). The second law of thermodynamics states that entropy must increase over time (see Entropy). This can be in either direction – Brian Greene theorizes that, according to the equations, the change in entropy occurs symmetrically whether going forward or backward in time. So entropy tends to increase in either direction, and our current low-entropy universe is a statistical aberration, in a similar manner as tossing a coin often enough that eventually heads will result ten times in a row. However, this theory is not supported empirically in local experiment.\n\nQuantization \n\nTime quantization is a hypothetical concept. In the modern established physical theories (the Standard Model of Particles and Interactions and General Relativity) time is not quantized.\n\nPlanck time (~ 5.4 × 10−44 seconds) is the unit of time in the system of natural units known as Planck units. Current established physical theories are believed to fail at this time scale, and many physicists expect that the Planck time might be the smallest unit of time that could ever be measured, even in principle. Tentative physical theories that describe this time scale exist; see for instance loop quantum gravity.\n\nTravel \n\nTime travel is the concept of moving backwards or forwards to different points in time, in a manner analogous to moving through space, and different from the normal \"flow\" of time to an earthbound observer. In this view, all points in time (including future times) \"persist\" in some way. Time travel has been a plot device in fiction since the 19th century. Travelling backwards or forwards in time has never been verified as a process, and doing so presents many theoretical problems and contradictive logic which to date have not been overcome. Any technological device, whether fictional or hypothetical, that is used to achieve time travel is known as a time machine.\n\nA central problem with time travel to the past is the violation of causality; should an effect precede its cause, it would give rise to the possibility of a temporal paradox. Some interpretations of time travel resolve this by accepting the possibility of travel between branch points, parallel realities, or universes.\n\nAnother solution to the problem of causality-based temporal paradoxes is that such paradoxes cannot arise simply because they have not arisen. As illustrated in numerous works of fiction, free will either ceases to exist in the past or the outcomes of such decisions are predetermined. As such, it would not be possible to enact the grandfather paradox because it is a historical fact that one's grandfather was not killed before his child (one's parent) was conceived. This view does not simply hold that history is an unchangeable constant, but that any change made by a hypothetical future time traveller would already have happened in his or her past, resulting in the reality that the traveller moves from. More elaboration on this view can be found in the Novikov self-consistency principle.\n\nPerception \n\nThe specious present refers to the time duration wherein one's perceptions are considered to be in the present. The experienced present is said to be 'specious' in that, unlike the objective present, it is an interval and not a durationless instant. The term specious present was first introduced by the psychologist E.R. Clay, and later developed by William James.\n\nBiopsychology \nThe brain's judgment of time is known to be a highly distributed system, including at least the cerebral cortex, cerebellum and basal ganglia as its components. One particular component, the suprachiasmatic nuclei, is responsible for the circadian (or daily) rhythm, while other cell clusters appear capable of shorter-range (ultradian) timekeeping.\n\nPsychoactive drugs can impair the judgment of time. Stimulants can lead both humans and rats to overestimate time intervals, while depressants can have the opposite effect. The level of activity in the brain of neurotransmitters such as dopamine and norepinephrine may be the reason for this. Such chemicals will either excite or inhibit the firing of neurons in the brain, with a greater firing rate allowing the brain to register the occurrence of more events within a given interval (speed up time) and a decreased firing rate reducing the brain's capacity to distinguish events occurring within a given interval (slow down time).\n\nMental chronometry is the use of response time in perceptual-motor tasks to infer the content, duration, and temporal sequencing of cognitive operations.\n\nEarly childhood education \nChildren's expanding cognitive abilities allow them to understand time more clearly. Two- and three-year-olds' understanding of time is mainly limited to \"now and not now\". Five- and six-year-olds can grasp the ideas of past, present, and future. Seven- to ten-year-olds can use clocks and calendars.\n\nAlterations \nIn addition to psychoactive drugs, judgments of time can be altered by temporal illusions (like the kappa effect), age, and hypnosis. The sense of time is impaired in some people with neurological diseases such as Parkinson's disease and attention deficit disorder.\n\nPsychologists assert that time seems to go faster with age, but the literature on this age-related perception of time remains controversial. Those who support this notion argue that young people, having more excitatory neurotransmitters, are able to cope with faster external events.\n\nSpatial conceptualization \nAlthough time is regarded as an abstract concept, there is increasing evidence that time is conceptualized in the mind in terms of space. That is, instead of thinking about time in a general, abstract way, humans think about time in a spatial way and mentally organize it as such. Using space to think about time allows humans to mentally organize temporal events in a specific way.\n\nThis spatial representation of time is often represented in the mind as a Mental Time Line (MTL). Using space to think about time allows humans to mentally organize temporal order. These origins are shaped by many environmental factors––for example, literacy appears to play a large role in the different types of MTLs, as reading/writing direction provides an everyday temporal orientation that differs from culture to culture. In western cultures, the MTL may unfold rightward (with the past on the left and the future on the right) since people read and write from left to right. Western calendars also continue this trend by placing the past on the left with the future progressing toward the right. Conversely, Arabic, Farsi, Urdu and Israeli-Hebrew speakers read from right to left, and their MTLs unfold leftward (past on the right with future on the left), and evidence suggests these speakers organize time events in their minds like this as well.\n\nThis linguistic evidence that abstract concepts are based in spatial concepts also reveals that the way humans mentally organize time events varies across cultures––that is, a certain specific mental organization system is not universal. So, although Western cultures typically associate past events with the left and future events with the right according to a certain MTL, this kind of horizontal, egocentric MTL is not the spatial organization of all cultures. Although most developed nations use an egocentric spatial system, there is recent evidence that some cultures use an allocentric spatialization, often based on environmental features.\n\nA recent study of the indigenous Yupno people of Papua New Guinea focused on the directional gestures used when individuals used time-related words. When speaking of the past (such as \"last year\" or \"past times\"), individuals gestured downhill, where the river of the valley flowed into the ocean. When speaking of the future, they gestured uphill, toward the source of the river. This was common regardless of which direction the person faced, revealing that the Yupno people may use an allocentric MTL, in which time flows uphill.\n\nA similar study of the Pormpuraawans, an aboriginal group in Australia, revealed a similar distinction in which when asked to organize photos of a man aging \"in order,\" individuals consistently placed the youngest photos to the east and the oldest photos to the west, regardless of which direction they faced. This directly clashed with an American group that consistently organized the photos from left to right. Therefore, this group also appears to have an allocentric MTL, but based on the cardinal directions instead of geographical features.\n\nThe wide array of distinctions in the way different groups think about time leads to the broader question that different groups may also think about other abstract concepts in different ways as well, such as causality and number.\n\nUse \n\nIn sociology and anthropology, time discipline is the general name given to social and economic rules, conventions, customs, and expectations governing the measurement of time, the social currency and awareness of time measurements, and people's expectations concerning the observance of these customs by others. Arlie Russell Hochschild and Norbert Elias have written on the use of time from a sociological perspective.\n\nThe use of time is an important issue in understanding human behavior, education, and travel behavior. Time-use research is a developing field of study. The question concerns how time is allocated across a number of activities (such as time spent at home, at work, shopping, etc.). Time use changes with technology, as the television or the Internet created new opportunities to use time in different ways. However, some aspects of time use are relatively stable over long periods of time, such as the amount of time spent traveling to work, which despite major changes in transport, has been observed to be about 20–30 minutes one-way for a large number of cities over a long period.\n\nTime management is the organization of tasks or events by first estimating how much time a task requires and when it must be completed, and adjusting events that would interfere with its completion so it is done in the appropriate amount of time. Calendars and day planners are common examples of time management tools.\n\nSequence of events \nA sequence of events, or series of events, is a sequence of items, facts, events, actions, changes, or procedural steps, arranged in time order (chronological order), often with causality relationships among the items.\nBecause of causality, cause precedes effect, or cause and effect may appear together in a single item, but effect never precedes cause. A sequence of events can be presented in text, tables, charts, or timelines. The description of the items or events may include a timestamp. A sequence of events that includes the time along with place or location information to describe a sequential path may be referred to as a world line.\n\nUses of a sequence of events include stories,\nhistorical events (chronology), directions and steps in procedures,\nand timetables for scheduling activities. A sequence of events may also be used to help describe processes in science, technology, and medicine. A sequence of events may be focused on past events (e.g., stories, history, chronology), on future events that must be in a predetermined order (e.g., plans, schedules, procedures, timetables), or focused on the observation of past events with the expectation that the events will occur in the future (e.g., processes, projections). The use of a sequence of events occurs in fields as diverse as machines (cam timer), documentaries (Seconds From Disaster), law (choice of law), finance (directional-change intrinsic time), computer simulation (discrete event simulation), and electric power transmission\n(sequence of events recorder). A specific example of a sequence of events is the timeline of the Fukushima Daiichi nuclear disaster.\n\nSee also \n List of UTC timing centers\n Time metrology\n\nOrganizations \n Antiquarian Horological Society – AHS (United Kingdom)\n Chronometrophilia (Switzerland)\n Deutsche Gesellschaft für Chronometrie – DGC (Germany)\n National Association of Watch and Clock Collectors – NAWCC (United States)\n\nMiscellaneous arts and sciences \n Date and time representation by country\n List of cycles\n Nonlinear narrative\n Philosophy of physics\n Rate (mathematics)\n\nMiscellaneous units\n Fiscal year\n Half-life\n Hexadecimal time\n Tithi\n Unix epoch\n\nReferences\n\nFurther reading \n \n Craig Callendar, Introducing Time, Icon Books, 2010, \n – Research bibliography\n \n \n \n Benjamin Gal-Or, Cosmology, Physics and Philosophy, Springer Verlag, 1981, 1983, 1987, .\n Charlie Gere, (2005) Art, Time and Technology: Histories of the Disappearing Body, Berg\n \n \n \n \n \n \n \n \n \n \n Stiegler, Bernard, Technics and Time, 1: The Fault of Epimetheus\n Roberto Mangabeira Unger and Lee Smolin, The Singular Universe and the Reality of Time, Cambridge University Press, 2014, .\n\nExternal links \n\n Different systems of measuring time\n \n Time in the Internet Encyclopedia of Philosophy, by Bradley Dowden.\n \n\n \nCategory:Main topic articles\nCategory:Concepts in aesthetics\nCategory:Concepts in epistemology\nCategory:Concepts in metaphysics\nCategory:Concepts in the philosophy of mind\nCategory:Concepts in the philosophy of science\nCategory:Ontology\nCategory:Perception\nCategory:Physical phenomena\nCategory:Reality\nCategory:Scalar physical quantities\nCategory:SI base quantities\nCategory:Spacetime", "title": "Time" }, { "text": "The Washington Post (also known as the Post and, informally, WaPo) is an American daily newspaper published in Washington, D.C. It is the most widely circulated newspaper within the Washington metropolitan area.\n\nThe Post was founded in 1877. In its early years, it went through several owners and struggled both financially and editorially. Financier Eugene Meyer purchased it out of bankruptcy in 1933 and revived its health and reputation, work continued by his successors Katharine and Phil Graham (Meyer's daughter and son-in-law), who bought out several rival publications. The Post 1971 printing of the Pentagon Papers helped spur opposition to the Vietnam War. Reporters Bob Woodward and Carl Bernstein broke the story about a break-in at the Democratic National Headquarters at the Watergate in Washington D.C. and the cover up that followed. The Watergate scandal resulted in the 1974 resignation of President Richard Nixon. In October 2013, the Graham family sold the newspaper to Nash Holdings, a holding company owned by Jeff Bezos, for $250 million.\n\n the newspaper had won the Pulitzer Prize 65 times for its work, the second-most of any publication (after The New York Times). It is considered a newspaper of record in the U.S. Post journalists have received 18 Nieman Fellowships and 368 White House News Photographers Association awards. The paper is one of the few remaining American newspapers to operate foreign bureaus.\n\nOverview\n\nThe Washington Post is regarded as one of the leading daily American newspapers along with The New York Times, the Los Angeles Times, and The Wall Street Journal. The Post has distinguished itself through its political reporting on the workings of the White House, Congress, and other aspects of the U.S. government. It is considered a newspaper of record in the U.S.\n\nThe Washington Post does not print an edition for distribution away from the East Coast. In 2009, the newspaper ceased publication of its National Weekly Edition due to shrinking circulation. The majority of its newsprint readership is in Washington D.C. and its suburbs in Maryland and Northern Virginia.\n\nThe newspaper is one of a few U.S. newspapers with foreign bureaus, which are located in Baghdad, Beijing, Beirut, Berlin, Brussels, Cairo, Dakar, Hong Kong, Islamabad, Istanbul, Jerusalem, London, Mexico City, Moscow, Nairobi, New Delhi, Rio de Janeiro, Rome, Tokyo and Toronto. In November 2009, it announced the closure of its U.S. regional bureaus in Chicago, Los Angeles and New York, as part of an increased focus on Washington political stories and local news. The newspaper has local bureaus in Maryland (Annapolis, Montgomery County, Prince George's County, and Southern Maryland) and Virginia (Alexandria, Fairfax, Loudoun County, Richmond, and Prince William County).\n\nThe Post's average printed weekday circulation is 159,040, making it the fourth largest newspaper in the country by circulation.\n\nFor many decades, the Post had its main office at 1150 15th Street NW. This real estate remained with Graham Holdings when the newspaper was sold to Jeff Bezos' Nash Holdings in 2013. Graham Holdings sold 1150 15th Street (along with 1515 L Street, 1523 L Street, and land beneath 1100 15th Street) for $159 million in November 2013. The Post continued to lease space at 1150 L Street NW. In May 2014, The Post leased the west tower of One Franklin Square, a high-rise building at 1301 K Street NW in Washington, D.C.\n\nMary Jordan was the founding editor, head of content, and moderator for Washington Post Live, The Post's editorial events business, which organizes political debates, conferences and news events for the media company, including \"The 40th Anniversary of Watergate\" in June 2012 that featured key Watergate figures including former White House counsel John Dean, Washington Post editor Ben Bradlee, and reporters Bob Woodward and Carl Bernstein, which was held at the Watergate hotel. Regular hosts include Frances Stead Sellers Lois Romano was formerly the editor of Washington Post Live.\n\nThe Post has its own exclusive zip code, 20071.\n\nPublishing service\nArc XP is a department of The Washington Post, which provides a publishing system and software for news organizations such as the Chicago Tribune and the Los Angeles Times.\n\nHistory\n\nFounding and early period\n\nThe newspaper was founded in 1877 by Stilson Hutchins (18381912), and in 1880 it added a Sunday edition, becoming the city's first newspaper to publish seven days a week.\n\nIn April 1878, about four months into publication, The Washington Post purchased The Washington Union, a competing newspaper which was founded by John Lynch in late 1877. The Union had only been in operation about six months at the time of the acquisition. The combined newspaper was published from the Globe Building as The Washington Post and Union beginning on April 15, 1878, with a circulation of 13,000. The Post and Union name was used about two weeks until April 29, 1878, returning to the original masthead the following day.\n\nIn 1889, Hutchins sold the newspaper to Frank Hatton, a former Postmaster General, and Beriah Wilkins, a former Democratic congressman from Ohio. To promote the newspaper, the new owners requested the leader of the United States Marine Band, John Philip Sousa, to compose a march for the newspaper's essay contest awards ceremony. Sousa composed \"The Washington Post\". It became the standard music to accompany the two-step, a late 19th-century dance craze, and remains one of Sousa's best-known works.\n\nIn 1893, the newspaper moved to a building at 14th and E streets NW, where it would remain until 1950. This building combined all functions of the newspaper into one headquarters – newsroom, advertising, typesetting, and printing – that ran 24 hours per day.\n\nIn 1898, during the Spanish–American War, the Post printed Clifford K. Berryman's classic illustration Remember the Maine, which became the battle-cry for American sailors during the War. In 1902, Berryman published another famous cartoon in the Post – Drawing the Line in Mississippi. This cartoon depicts President Theodore Roosevelt showing compassion for a small bear cub and inspired New York store owner Morris Michtom to create the teddy bear.\n\nWilkins acquired Hatton's share of the newspaper in 1894 at Hatton's death. After Wilkins' death in 1903, his sons John and Robert ran the Post for two years before selling it in 1905 to John Roll McLean, owner of the Cincinnati Enquirer. During the Wilson presidency, the Post was credited with the \"most famous newspaper typo\" in D.C. history according to Reason magazine; the Post intended to report that President Wilson had been \"entertaining\" his future-wife Mrs. Galt, but instead wrote that he had been \"entering\" Mrs. Galt.\n\nWhen John McLean died in 1916, he put the newspaper in trust, having little faith that his playboy son Edward \"Ned\" McLean could manage his inheritance. Ned went to court and broke the trust, but, under his management, the newspaper slumped toward ruin. He bled the paper for his lavish lifestyle and used it to promote political agendas.\n\nDuring the Red Summer of 1919 the Post supported the white mobs and even ran a front-page story which advertised the location at which white servicemen were planning to meet to carry out attacks on black Washingtonians.\n\nMeyer–Graham period\n\nIn 1929, financier Eugene Meyer, who had run the War Finance Corp. since World War I, secretly made an offer of $5 million for the Post, but he was rebuffed by Ned McLean. On June 1, 1933, Meyer bought the paper at a bankruptcy auction for $825,000 three weeks after stepping down as Chairman of the Federal Reserve. He had bid anonymously, and was prepared to go up to $2 million, far higher than the other bidders. These included William Randolph Hearst, who had long hoped to shut down the ailing Post to benefit his own Washington newspaper presence.\n\nThe Post health and reputation were restored under Meyer's ownership. In 1946, he was succeeded as publisher by his son-in-law, Philip Graham. Meyer eventually gained the last laugh over Hearst, who had owned the old Washington Times and the Herald before their 1939 merger that formed the Times-Herald. This was in turn bought by and merged into the Post in 1954. The combined paper was officially named The Washington Post and Times-Herald until 1973, although the Times-Herald portion of the nameplate became less and less prominent over time. The merger left the Post with two remaining local competitors, the Washington Star (Evening Star) and The Washington Daily News which merged in 1972, forming the Washington Star-News.\n\nAfter Phil Graham's death in 1963, control of The Washington Post Company passed to his wife Katharine Graham (19172001), who was also Eugene Meyer's daughter. Few women had run prominent national newspapers in the United States. Katharine Graham described her own anxiety and lack of confidence as she stepped into a leadership role in her autobiography. She served as publisher from 1969 to 1979.\n\nGraham took The Washington Post Company public on June 15, 1971, in the midst of the Pentagon Papers controversy. A total of 1,294,000 shares were offered to the public at $26 per share. By the end of Graham's tenure as CEO in 1991, the stock was worth $888 per share, not counting the effect of an intermediate 4:1 stock split.\n\nDuring this time, Graham also oversaw the Post company's diversification purchase of the for-profit education and training company Kaplan, Inc. for $40 million in 1984. Twenty years later, Kaplan had surpassed the Post newspaper as the company's leading contributor to income, and by 2010 Kaplan accounted for more than 60% of the entire company revenue stream.\n\nExecutive editor Ben Bradlee put the newspaper's reputation and resources behind reporters Bob Woodward and Carl Bernstein, who, in a long series of articles, chipped away at the story behind the 1972 burglary of Democratic National Committee offices in the Watergate complex in Washington. The Post dogged coverage of the story, the outcome of which ultimately played a major role in the resignation of President Richard Nixon, won the newspaper a Pulitzer Prize in 1973.\n\nIn 1972, the \"Book World\" section was introduced with Pulitzer Prize-winning critic William McPherson as its first editor. It featured Pulitzer Prize-winning critics such as Jonathan Yardley and Michael Dirda, the latter of whom established his career as a critic at the Post. In 2009, after 37 years, with great reader outcries and protest, The Washington Post Book World as a standalone insert was discontinued, the last issue being Sunday, February 15, 2009, along with a general reorganization of the paper, such as placing the Sunday editorials on the back page of the main front section rather than the \"Outlook\" section and distributing some other locally oriented \"op-ed\" letters and commentaries in other sections. However, book reviews are still published in the Outlook section on Sundays and in the Style section the rest of the week, as well as online.\n\nIn 1975, the pressmen's union went on strike. The Post hired replacement workers to replace the pressmen's union, and other unions returned to work in February 1976.\n\nDonald E. Graham, Katharine's son, succeeded her as a publisher in 1979.\n\nIn 1995, the domain name washingtonpost.com was purchased. That same year, a failed effort to create an online news repository called Digital Ink launched. The following year it was shut down and the first website was launched in June 1996.\n\nJeff Bezos era (2013–present)\n\nIn late September 2013, Jeff Bezos purchased the Washington Post and other local publications, websites, and real estate for , transferring ownership to Nash Holdings LLC, Bezos's private investment company. The paper's former parent company, which retained some other assets such as Kaplan and a group of TV stations, was renamed Graham Holdings Company shortly after the sale.\n\nNash Holdings, including the Post, is operated separately from technology company Amazon, which Bezos founded and where he is executive chairman and the largest single shareholder, with 12.7% of voting rights.\n\nBezos said he has a vision that recreates \"the 'daily ritual' of reading the Post as a bundle, not merely a series of individual stories...\" He has been described as a \"hands-off owner\", holding teleconference calls with executive editor Martin Baron every two weeks. Bezos appointed Fred Ryan (founder and CEO of Politico) to serve as publisher and chief executive officer. This signaled Bezos' intent to shift the Post to a more digital focus with a national and global readership.\n\nIn 2015 the Post moved from the building it owned at 1150 15th Street to a leased space three blocks away at One Franklin Square on K Street. Since 2014 the Post launched an online personal finance section, a blog, and a podcast with a retro theme. The Post won the 2020 Webby People's Voice Award for News & Politics in the Social and Web categories.\n\nIn 2017, the paper hired columnist Jamal Khashoggi, who was murdered by Saudi agents in Istanbul in 2018.\n\nPolitical stance\n\n1933–2000\nWhen financier Eugene Meyer bought the bankrupt Post in 1933, he assured the public he would not be beholden to any party. But as a leading Republican (it was his old friend Herbert Hoover who had made him Federal Reserve Chairman in 1930), his opposition to FDR's New Deal colored the paper's editorial stance as well as its news coverage. This included editorializing \"news\" stories written by Meyer under a pseudonym. His wife Agnes Ernst Meyer was a journalist from the other end of the spectrum politically. The Post ran many of her pieces including tributes to her personal friends John Dewey and Saul Alinsky.\n\nEugene Meyer became head of the World Bank in 1946, and he named his son-in-law Phil Graham to succeed him as Post publisher. The post-war years saw the developing friendship of Phil and Kay Graham with the Kennedys, the Bradlees and the rest of the \"Georgetown Set\" (many Harvard alumni) that would color the Post's political orientation. Kay Graham's most memorable Georgetown soirée guest list included British diplomat/communist spy Donald Maclean.\n\nThe Post is credited with coining the term \"McCarthyism\" in a 1950 editorial cartoon by Herbert Block. Depicting buckets of tar, it made fun of Sen. Joseph McCarthy's \"tarring\" tactics, i.e., smear campaigns and character assassination against those targeted by his accusations. Sen. McCarthy was attempting to do for the Senate what the House Un-American Activities Committee had been doing for years—investigating Soviet espionage in America. The HUAC made Richard Nixon nationally known for his role in the Hiss/Chambers case that exposed communist spying in the State Department. The committee had evolved from the McCormack-Dickstein Committee of the 1930s.\n\nPhil Graham's friendship with JFK remained strong until their untimely deaths in 1963. FBI Director J. Edgar Hoover reportedly told the new President Lyndon B. Johnson, \"I don't have much influence with the Post because I frankly don't read it. I view it like the Daily Worker.\"\n\nBen Bradlee became the editor-in-chief in 1968, and Kay Graham officially became the publisher in 1969, paving the way for the aggressive reporting of the Pentagon Papers and Watergate scandals. The Post strengthened public opposition to the Vietnam War in 1971 when it published the Pentagon Papers. In the mid-1970s, some conservatives referred to the Post as \"Pravda on the Potomac\" because of its perceived left-wing bias in both reporting and editorials. Since then, the appellation has been used by both liberal and conservative critics of the newspaper.\n\n2000–present\nIn the PBS documentary Buying the War, journalist Bill Moyers said in the year prior to the Iraq War there were 27 editorials supporting the Bush administration's ambitions to invade the country. National security correspondent Walter Pincus reported that he had been ordered to cease his reports that were critical of the administration. According to author and journalist Greg Mitchell: \"By the Post own admission, in the months before the war, it ran more than 140 stories on its front page promoting the war, while contrary information got lost\".\n\nOn March 23, 2007, Chris Matthews said on his television program, \"The Washington Post is not the liberal newspaper it was [...] I have been reading it for years and it is a neocon newspaper\". It has regularly published a mixture of op-ed columnists, with some of them left-leaning (including E. J. Dionne, Dana Milbank, Greg Sargent, and Eugene Robinson), and some of them right-leaning (including George Will, Marc Thiessen, Michael Gerson and Charles Krauthammer).\n\nIn November 2007, the newspaper was criticized by independent journalist Robert Parry for reporting on anti-Obama chain e-mails without sufficiently emphasizing to its readers the false nature of the anonymous claims. In 2009, Parry criticized the newspaper for its allegedly unfair reporting on liberal politicians, including Vice President Al Gore and President Barack Obama.\n\nResponding to criticism of the newspaper's coverage during the run-up to the 2008 presidential election, former Post ombudsman Deborah Howell wrote: \"The opinion pages have strong conservative voices; the editorial board includes centrists and conservatives; and there were editorials critical of Obama. Yet opinion was still weighted toward Obama.\" According to a 2009 Oxford University Press book by Richard Davis on the impact of blogs on American politics, liberal bloggers link to The Washington Post and The New York Times more often than other major newspapers; however, conservative bloggers also link predominantly to liberal newspapers.\n\nIn mid-September 2016, Matthew Ingram of Forbes joined Glenn Greenwald of The Intercept, and Trevor Timm of The Guardian in criticizing The Washington Post for \"demanding that [former National Security Agency contractor Edward] Snowden ... stand trial on espionage charges\".\n\nIn February 2017, the Post adopted the slogan \"Democracy Dies in Darkness\" for its masthead.\n\nSince 2011, the Post has been running a column called \"The Fact Checker\" that the Post describes as a \"truth squad\". The Fact Checker received a $250,000 grant from Google News Initiative/YouTube to expand production of video fact checks.\n\nPolitical endorsements\nIn the vast majority of U.S. elections, for federal, state, and local office, the Post editorial board has endorsed Democratic candidates. The paper's editorial board and endorsement decision-making are separate from newsroom operations. Until 1976, the Post did not regularly make endorsements in presidential elections. Since it endorsed Jimmy Carter in 1976, the Post has endorsed Democrats in presidential elections, and has never endorsed a Republican for president in the general election, although in the 1988 presidential election, the Post declined to endorse either Governor Michael Dukakis (the Democratic candidate) or Vice President George H. W. Bush (the Republican candidate). The Post editorial board endorsed Barack Obama in 2008 and 2012; Hillary Clinton in 2016; and Joe Biden for 2020.\n\nWhile the newspaper predominantly endorses Democrats in congressional, state, and local elections, it has occasionally endorsed Republican candidates. While the paper has not endorsed Republican candidates for governor of Virginia, it endorsed Maryland Governor Robert Ehrlich's unsuccessful bid for a second term in 2006. In 2006, it repeated its historic endorsements of every Republican incumbent for Congress in Northern Virginia. The Post editorial board endorsed Virginia's Republican U.S. Senator John Warner in his Senate reelection campaign in 1990, 1996 and 2002; the paper's most recent endorsement of a Maryland Republican for U.S. Senate was in the 1980s, when the paper endorsed Senator Charlies \"Mac\" Mathias Jr. In U.S. House of Representatives elections, moderate Republicans in Virginia and Maryland, such as Wayne Gilchrest, Thomas M. Davis, and Frank Wolf, have enjoyed the support of the Post; the Post also has endorsed some Republicans, such as Carol Schwartz, in some D.C. races.\n\nCriticism and controversies\n\n\"Jimmy's World\" fabrication\nIn September 1980, a Sunday feature story appeared on the front page of the Post titled \"Jimmy's World\" in which reporter Janet Cooke wrote a profile of the life of an eight-year-old heroin addict. Although some within the Post doubted the story's veracity, the paper's editors defended it, and assistant managing editor Bob Woodward submitted the story to the Pulitzer Prize Board at Columbia University for consideration. Cooke was awarded the Pulitzer Prize for Feature Writing on April 13, 1981. The story was subsequently found to be a complete fabrication, and the Pulitzer was returned.\n\nPrivate \"salon\" solicitation \nIn July 2009, in the midst of an intense debate over health care reform, The Politico reported that a health-care lobbyist had received an \"astonishing\" offer of access to the Post's \"health-care reporting and editorial staff.\" Post publisher Katharine Weymouth had planned a series of exclusive dinner parties or \"salons\" at her private residence, to which she had invited prominent lobbyists, trade group members, politicians, and business people. Participants were to be charged $25,000 to sponsor a single salon, and $250,000 for 11 sessions, with the events being closed to the public and to the non-Post press. Politicos revelation gained a somewhat mixed response in Washington as it gave the impression that the parties' sole purpose was to allow insiders to purchase face time with Post staff.\n\nAlmost immediately following the disclosure, Weymouth canceled the salons, saying, \"This should never have happened.\" White House counsel Gregory B. Craig reminded officials that under federal ethics rules, they need advance approval for such events. Post Executive Editor Marcus Brauchli, who was named on the flier as one of the salon's \"Hosts and Discussion Leaders\", said he was \"appalled\" by the plan, adding, \"It suggests that access to Washington Post journalists was available for purchase.\"\n\nChina Daily advertising supplements\nDating back to 2011, The Washington Post began to include \"China Watch\" advertising supplements provided by China Daily, an English language newspaper owned by the Publicity Department of the Chinese Communist Party, on the print and online editions. Although the header to the online \"China Watch\" section included the text \"A Paid Supplement to The Washington Post\", James Fallows of The Atlantic suggested that the notice was not clear enough for most readers to see. Distributed to the Post and multiple newspapers around the world, the \"China Watch\" advertising supplements range from four to eight pages and appear at least monthly. According to a 2018 report by The Guardian, \"China Watch\" uses \"a didactic, old-school approach to propaganda.\"\n\nIn 2020, a report by Freedom House titled \"Beijing's Global Megaphone\" was also critical of the Post and other newspapers for distributing \"China Watch\". In the same year, 35 Republican members of the U.S. Congress wrote a letter to the U.S. Department of Justice in February 2020 calling for an investigation of potential FARA violations by China Daily. The letter named an article that appeared in the Post, \"Education Flaws Linked to Hong Kong Unrest\", as an example of \"articles [that] serve as cover for China's atrocities, including ... its support for the crackdown in Hong Kong.\" According to The Guardian, the Post had already stopped running \"China Watch\" in 2019.\n\nEmployee relations\nIn 1986, five employees (including Newspaper Guild unit chairman Thomas R. Sherwood and assistant Maryland editor Claudia Levy) sued The Washington Post for overtime pay, stating that the newspaper had claimed that budgets did not allow for overtime wages.\n\nIn June 2018, over 400 employees of The Washington Post signed an open letter to the owner Jeff Bezos demanding \"fair wages; fair benefits for retirement, family leave and health care; and a fair amount of job security.\" The open letter was accompanied by video testimonials from employees, who alleged \"shocking pay practices\" despite record growth in subscriptions at the newspaper, with salaries rising an average of $10 per week, which the letter claimed was less than half the rate of inflation. The petition followed on a year of unsuccessful negotiations between The Washington Post Guild and upper management over pay and benefit increases.\n\nIn March 2022, reporter Paul Farhi was suspended for five days without pay after he tweeted about the publication's policy on bylines and datelines regarding Russian-based stories.\n\nFelicia Sonmez\nIn 2020, The Post suspended reporter Felicia Sonmez after she posted a series of tweets about the 2003 rape allegation against basketball star Kobe Bryant after Bryant's death. She was reinstated after over 200 Post journalists wrote an open letter criticizing the paper's decision. In July 2021, Sonmez sued The Post and several of its top editors, alleging workplace discrimination; the suit was dismissed in March 2022, with the court determining that Sonmez had failed to make plausible claims. In June 2022, Sonmez engaged in a Twitter feud with fellow Post staffers David Weigel (criticizing him over what he later described as \"an offensive joke\") and Jose A. Del Real (who accused Sonmez of \"engaging in repeated and targeted public harassment of a colleague\"). Following the feud, the newspaper suspended Weigel for a month for violating the company's social media guidelines, and the newspaper's executive editor Sally Buzbee sent out a newsroom-wide memorandum directing employees to \"Be constructive and collegial\" in their interactions with colleagues. The newspaper fired Sonmez, writing in an emailed termination letter that she had engaged in \"misconduct that includes insubordination, maligning your co-workers online and violating The Posts standards on workplace collegiality and inclusivity.\" The Post faced criticism from the Post Guild after refusing to go to arbitration over the dismissal, stating that the expiration of the Post's contract \"does not relieve the Post from its contractual obligation to arbitrate grievances filed prior to expiration.\"\n\nLawsuit by Covington Catholic High School student \nIn 2019, Covington Catholic High School student Nick Sandmann filed a defamation lawsuit against the Post, alleging that it libeled him in seven articles regarding the January 2019 Lincoln Memorial confrontation between Covington students and the Indigenous Peoples March. A federal judge dismissed the case, ruling that 30 of the 33 statements in the Post that Sandmann alleged were libelous were not, but allowed Sandmann to file an amended complaint as to three statements. After Sandmann's lawyers amended the complaint, the suit was reopened on October 28, 2019. In 2020, The Post settled the lawsuit brought by Sandmann for an undisclosed amount.\n\nControversial op-eds and columns\nSeveral Washington Post op-eds and columns have prompted criticism, including a number of comments on race by columnist Richard Cohen over the years, and a controversial 2014 column on campus sexual assault by George Will.\n\nThe Posts decision to run an op-ed by Mohammed Ali al-Houthi, a leader in Yemen's Houthi movement, was criticized by some activists on the basis that it provided a platform to an \"anti-Western and antisemitic group supported by Iran.\" The headline of a 2020 op-ed titled \"It's time to give the elites a bigger say in choosing the president\" was changed, without an editor's note, after backlash.\n\nIn 2022, actor Johnny Depp successfully sued ex-wife Amber Heard for an op-ed she wrote in The Washington Post where she described herself as a public figure representing domestic abuse two years after she had publicly accused him of domestic violence.\n\nCriticism by elected officials\nFormer president Donald Trump repeatedly spoke out against The Washington Post on his Twitter account, having \"tweeted or retweeted criticism of the paper, tying it to Amazon more than 20 times since his campaign for president\" by August 2018. In addition to often attacking the paper itself, Trump used Twitter to blast various Post journalists and columnists.\n\nDuring the 2020 Democratic Party presidential primaries, Senator Bernie Sanders repeatedly criticized The Washington Post, saying that its coverage of his campaign was slanted against him and attributing this to Jeff Bezos' purchase of the newspaper. Sanders' criticism was echoed by the socialist magazine Jacobin and the progressive journalist watchdog Fairness and Accuracy in Reporting. Washington Post executive editor Marty Baron responded by saying that Sanders' criticism was \"baseless and conspiratorial\".\n\nExecutive officers and editors\n\nMajor stockholders\n Stilson Hutchins (1877–1889)\n Frank Hatton and Beriah Wilkins (1889–1905)\n John R. McLean (1905–1916)\n Edward (Ned) McLean (1916–1933)\n Eugene Meyer (1933–1948)\n The Washington Post Company (1948–2013)\n Nash Holdings (Jeff Bezos) (2013–present)\n\nPublishers\n Stilson Hutchins (1877–1889)\n Beriah Wilkins (1889–1905)\n John R. McLean (1905–1916)\n Edward (Ned) McLean (1916–1933)\n Eugene Meyer (1933–1946)\n Philip L. Graham (1946–1961)\n John W. Sweeterman (1961–1968)\n Katharine Graham (1969–1979)\n Donald E. Graham (1979–2000)\n Boisfeuillet Jones Jr. (2000–2008)\n Katharine Weymouth (2008–2014)\n Frederick J. Ryan Jr. (2014–present)\n\nExecutive editors\n James Russell Wiggins (1955–1968)\n Ben Bradlee (1968–1991)\n Leonard Downie Jr. (1991–2008)\n Marcus Brauchli (2008–2012)\n Martin Baron (2012–2021)\nSally Buzbee (2021–present)\n\nSee also\n 1975–76 Washington Post pressmen's strike\n All the President's Men, a 1974 book by Carl Bernstein and Bob Woodward about the Watergate scandal\n All the President's Men, a 1976 film based on Bernstein's and Woodward's book\n List of prizes won by The Washington Post\n The Post, a 2017 film based on the publication of the Pentagon Papers\n The Washington Star (1852–1981)\n The Washington Times (1982–present)\n\nReferences\n\nFurther reading\n Kelly, Tom. The imperial Post: The Meyers, the Grahams, and the paper that rules Washington (Morrow, 1983)\n Lewis, Norman P. \"Morning Miracle. Inside the Washington Post: A Great Newspaper Fights for Its Life\". Journalism and Mass Communication Quarterly (2011) 88#1 pp: 219.\n Merrill, John C. and Harold A. Fisher. The world's great dailies: profiles of fifty newspapers (1980) pp 342–52\n Roberts, Chalmers McGeagh. In the shadow of power: the story of the Washington Post (Seven Locks Pr, 1989)\n\nExternal links\n\n \n \n The Washington Post Company history at Graham Holdings Company\n The Washington Post channel in Telegram\n Scott Sherman, May 2002, \"Donald Graham's Washington Post\" Columbia Journalism Review. September / October 2002.\n \n Jaffe, Harry. \"Post Watch: Family Dynasty Continues with Katharine II\", Washingtonian, February 26, 2008.\n \n\n \nCategory:1877 establishments in Washington, D.C.\nCategory:2013 mergers and acquisitions\nCategory:Daily newspapers published in the United States\nCategory:National newspapers published in the United States\nCategory:Newspapers published in Washington, D.C.\nCategory:Peabody Award winners\nCategory:Peabody Award-winning websites\nCategory:Podcasting companies\nCategory:Newspapers established in 1877\nCategory:Pulitzer Prize-winning newspapers\nCategory:Pulitzer Prize for Public Service winners\nCategory:Pulitzer Prize for National Reporting winners", "title": "The Washington Post" }, { "text": "The New York Times (the Times or NYT) is a daily newspaper based in New York City with a worldwide readership reported in 2022 to comprise 740,000 paid print subscribers, and 8.6 million paid digital subscribers. It also is a producer of popular podcasts such as The Daily. Founded in 1851, it is published by The New York Times Company. The Times has won 132 Pulitzer Prizes, the most of any newspaper, and has long been regarded as a national \"newspaper of record\". For print, it is ranked 18th in the world by circulation and 3rd in the United States. The newspaper is headquartered at The New York Times Building near Times Square, Manhattan.\n\nThe New York Times Company, which is publicly traded, has been governed by the Sulzberger family since 1896, through a dual-class share structure. A. G. Sulzberger, the paper's publisher and the company's chairman, is the fifth generation of the family to head the paper.\n\nSince the mid-1970s, The New York Times has expanded its layout and organization, adding special weekly sections on various topics supplementing the regular news, editorials, sports, and features. The institution's emphasis remains on global and U.S. hard news coverage. Since 2008, the Times has been organized into the following sections: News, Editorials/Opinions-Columns/Op-Ed, New York (metropolitan), Business, Sports, Arts, Science, Styles, Home, Travel, and other features. On Sundays, the Times is supplemented by the Sunday Review (formerly the Week in Review), The New York Times Book Review, The New York Times Magazine, and T: The New York Times Style Magazine.\n\nHistory\n\nOrigins \n\nThe New York Times was founded as the New-York Daily Times on September 18, 1851. Founded by journalist and politician Henry Jarvis Raymond and former banker George Jones, the Times was initially published by Raymond, Jones & Company. Early investors in the company included Edwin B. Morgan, Christopher Morgan, and Edward B. Wesley. Sold for a penny (), the inaugural edition attempted to address various speculations on its purpose and positions that preceded its release:\n\nIn 1852, the newspaper started a western division, The Times of California, which arrived whenever a mail boat from New York docked in California. The effort failed once local California newspapers came into prominence.\n\nOn September 14, 1857, the newspaper officially shortened its name to The New-York Times. The hyphen in the city name was dropped on December 1, 1896. On April 21, 1861, The New York Times began publishing a Sunday edition to offer daily coverage of the Civil War.\n\nThe main office of The New York Times was attacked during the New York City draft riots. The riots, sparked by the institution of a draft for the Union Army, began on July 13, 1863. On \"Newspaper Row\", across from City Hall, co-founder Henry Raymond stopped the rioters with Gatling guns, early machine guns, one of which he wielded himself. The mob diverted, instead attacking the headquarters of abolitionist publisher Horace Greeley's New York Tribune until being forced to flee by the Brooklyn City Police, who had crossed the East River to help the Manhattan authorities.\n\nIn 1869, Henry Raymond died, and George Jones took over as publisher.\n\nThe newspaper's influence grew in 1870 and 1871, when it published a series of exposés on William Tweed, leader of the city's Democratic Party — popularly known as \"Tammany Hall\" (from its early-19th-century meeting headquarters)—that led to the end of the Tweed Ring's domination of New York's City Hall. Tweed had offered The New York Times five million dollars (equivalent to  million dollars in ) to not publish the story.\n\nIn the 1880s, The New York Times gradually transitioned from supporting Republican Party candidates in its editorials to becoming more politically independent and analytical. In 1884, the paper supported Democrat Grover Cleveland (former mayor of Buffalo and governor of New York) in his first presidential campaign. While this move cost The New York Times a portion of its readership among its more Republican readers (revenue declined from $188,000 to $56,000 from 1883 to 1884), the paper eventually regained most of its lost ground within a few years.\n\nOchs Ownership \nAfter George Jones died in 1891, Charles Ransom Miller and other New York Times editors raised $1 million (equivalent to $ million in ) to buy the Times, printing it under the New York Times Publishing Company. The newspaper found itself in a financial crisis by the Panic of 1893, and by 1896, the newspaper had a circulation of less than 9,000 and was losing $1,000 a day. That year, Adolph Ochs, the publisher of the Chattanooga Times, gained a controlling interest in the company for $75,000.\n\nShortly after assuming control of the paper, Ochs coined the paper's slogan, \"All The News That's Fit To Print\". This slogan has endured, appearing in the paper since September 1896, and has been printed in a box in the upper left hand corner of the front page since early 1897. The slogan was seen as a jab at competing publications, such as Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal, which were known for a lurid, sensationalist and often inaccurate reporting of facts and opinions, described by the end of the century as \"yellow journalism\". Under Ochs' guidance, aided by Carr Van Anda, The New York Times achieved international scope, circulation, and reputation; Sunday circulation went from under 9,000 in 1896 to 780,000 in 1934. Van Anda also created the newspaper's photo library, now colloquially referred to as \"the morgue\". In 1904, during the Russo-Japanese War, The New York Times, along with The Times, received the first on-the-spot wireless telegraph transmission from a naval battle: a report of the destruction of the Russian Navy's Baltic Fleet, at the Battle of Port Arthur, from the press-boat Haimun. In 1910, the first air delivery of The New York Times to Philadelphia began. In 1919, The New York Times first trans-Atlantic delivery to London occurred by dirigible balloon. In 1920, during the 1920 Republican National Convention, a \"4 A.M. Airplane Edition\" was sent to Chicago by plane, so it could be in the hands of convention delegates by evening.\n\nIn 1920, Walter Lippmann and Charles Merz published \"A Test of the News\", about the Times coverage of the Russian Revolution. They concluded that its news stories were not based on facts, but \"were determined by the hopes of the men who made up the news organisations.\" The newspaper referred to events that had not taken place, atrocities that did not exist, and reported no fewer than 91 times that the Bolshevik regime was on the verge of collapse.\n\nLater expansion \n\nOchs died in 1935 and was succeeded as publisher by his son-in-law, Arthur Hays Sulzberger. Under his leadership, and that of his son-in-law (and successor), Orvil Dryfoos, the paper extended its breadth and reach, beginning in the 1940s. On June 22, 1941 The New York Times published an abridged English translation of the German declaration of war on the Soviet Union. The newspaper's crossword began appearing regularly in 1942, and the fashion section first appeared in 1946. The New York Times began an international edition in 1946 (the international edition stopped publishing in 1967, when The New York Times joined the owners of the New York Herald Tribune and The Washington Post to publish the International Herald Tribune in Paris).\n\nAfter only two years as publisher, Dryfoos died in 1963 and was succeeded by his brother-in-law, Arthur Ochs \"Punch\" Sulzberger, who led the Times until 1992 and continued the expansion of the paper.\n\nNew York Times v. Sullivan (1964)\n\nThe paper's involvement in a 1964 libel case helped bring one of the key United States Supreme Court decisions supporting freedom of the press, New York Times Co. v. Sullivan. In it, the United States Supreme Court established the \"actual malice\" standard for press reports about public officials or public figures to be considered defamatory or libelous. The malice standard requires the plaintiff in a defamation or libel case to prove the publisher of the statement knew the statement was false or acted in reckless disregard of its truth or falsity. Because of the high burden of proof on the plaintiff, and difficulty proving malicious intent, such cases by public figures rarely succeed.\n\nThe Pentagon Papers (1971)\n\nIn 1971, the Pentagon Papers, a secret United States Department of Defense history of the United States' political and military involvement in the Vietnam War from 1945 to 1967, were given (\"leaked\") to Neil Sheehan of The New York Times by former State Department official Daniel Ellsberg, with his friend Anthony Russo assisting in copying them. The New York Times began publishing excerpts as a series of articles on June 13. Controversy and lawsuits followed. The papers revealed, among other things, that the government had deliberately expanded its role in the war by conducting airstrikes over Laos, raids along the coast of North Vietnam, and offensive actions were taken by the U.S. Marines well before the public was told about the actions, all while President Lyndon B. Johnson had been promising not to expand the war. The document increased the credibility gap for the U.S. government, and hurt efforts by the Nixon administration to fight the ongoing war.\n\nWhen The New York Times began publishing its series, President Richard Nixon became incensed. His words to National Security Advisor Henry Kissinger included \"People have gotta be put to the torch for this sort of thing\" and \"Let's get the son-of-a-bitch in jail.\" After failing to get The New York Times to stop publishing, Attorney General John Mitchell and President Nixon obtained a federal court injunction that The New York Times cease publication of excerpts. The newspaper appealed and the case began working through the court system.\n\nOn June 18, 1971, The Washington Post began publishing its own series. Ben Bagdikian, a Post editor, had obtained portions of the papers from Ellsberg. That day the Post received a call from William Rehnquist, an assistant U.S. Attorney General for the Office of Legal Counsel, asking them to stop publishing. When the Post refused, the U.S. Justice Department sought another injunction. The U.S. District court judge refused, and the government appealed.\n\nOn June 26, 1971, the U.S. Supreme Court agreed to take both cases, merging them into New York Times Co. v. United States. On June 30, 1971, the Supreme Court held in a 6–3 decision that the injunctions were unconstitutional prior restraints and that the government had not met the burden of proof required. The justices wrote nine separate opinions, disagreeing on significant substantive issues. While it was generally seen as a victory for those who claim the First Amendment enshrines an absolute right to free speech, many felt it a lukewarm victory, offering little protection for future publishers when claims of national security were at stake.\n\nLate 1970s–1990s \nIn the 1970s, the paper introduced a number of new lifestyle sections, including Weekend and Home, with the aim of attracting more advertisers and readers. Many criticized the move for betraying the paper's mission. On September 7, 1976, the paper switched from an eight-column format to a six-column format. The overall page width stayed the same, with each column becoming wider. On September 14, 1987, the Times printed the heaviest-ever newspaper, at over and 1,612 pages.\n\nIn 1992, \"Punch\" Sulzberger stepped down as publisher; his son, Arthur Ochs Sulzberger Jr., succeeded him, first as publisher and then as chairman of the board in 1997. The Times was one of the last newspapers to adopt color photography, with the first color photograph on the front page appearing on October 16, 1997.\n\nDigital era\n\nEarly digital content \n\nThe New York Times switched to a digital production process sometime before 1980, but only began preserving the resulting digital text that year. In 1983, the Times sold the electronic rights to its articles to LexisNexis. As the online distribution of news increased in the 1990s, the Times decided not to renew the deal and in 1994 the newspaper regained electronic rights to its articles. On January 22, 1996, NYTimes.com began publishing.\n\n2000s \nIn August 2007, the paper reduced the physical size of its print edition, cutting the page width from to a . This followed similar moves by a roster of other newspapers in the previous ten years, including USA Today, The Wall Street Journal, and The Washington Post. The move resulted in a 5% reduction in news space, but (in an era of dwindling circulation and significant advertising revenue losses) also saved about $12 million a year.\n\nIn September 2008, The New York Times announced that it would be combining certain sections effective October 6, 2008, in editions printed in the New York metropolitan area. The changes folded the Metro Section into the main International / National news section and combined Sports and Business (except Saturday through Monday, while Sports continues to be printed as a standalone section). This change also included having the Metro section called New York outside of the Tri-State Area. The presses used by The New York Times can allow four sections to be printed simultaneously; as the paper includes more than four sections on all days except for Saturday, the sections were required to be printed separately in an early press run and collated together. The changes allowed The New York Times to print in four sections Monday through Wednesday, in addition to Saturday. The New York Times announcement stated that the number of news pages and employee positions would remain unchanged, with the paper realizing cost savings by cutting overtime expenses.\n\nBecause of its declining sales largely attributed to the rise of online news sources, favored especially by younger readers, and the decline of advertising revenue, the newspaper had been going through a downsizing for several years, offering buyouts to workers and cutting expenses, in common with a general trend among print news media. Following industry trends, its weekday circulation had fallen in 2009 to fewer than one million.\n\nIn 2009, the newspaper began production of local inserts in regions outside of the New York area. Beginning October 16, 2009, a two-page \"Bay Area\" insert was added to copies of the Northern California edition on Fridays and Sundays. The newspaper commenced production of a similar Friday and Sunday insert to the Chicago edition on November 20, 2009. The inserts consist of local news, policy, sports, and culture pieces, usually supported by local advertisements.\n\n2010s \nIn December 2012, the Times published \"Snow Fall\", a six-part article about the 2012 Tunnel Creek avalanche which integrated videos, photos, and interactive graphics and was hailed as a watershed moment for online journalism.\n\nIn 2013, \"How Y’all, Youse and You Guys Talk,\" an interactive quiz created by intern Josh Katz, based on the Harvard Dialect Survey, which collected responses of more than 50,000 people answering 122 questions about the way they said different things across the United States became the Times most popular piece of content of the year.\n\nIn 2016, reporters for the newspaper were reportedly the target of cybersecurity breaches. The Federal Bureau of Investigation was reportedly investigating the attacks. The cybersecurity breaches have been described as possibly being related to cyberattacks that targeted other institutions, such as the Democratic National Committee.\n\nDuring the 2016 presidential election, the Times played an important role in elevating the Hillary Clinton emails controversy into the most important subject of media coverage in the election which Clinton would lose narrowly to Donald Trump. The controversy received more media coverage than any other topic during the presidential campaign. Clinton and other observers argue that coverage of the emails controversy contributed to her loss in the election. According to a Columbia Journalism Review analysis, \"in just six days, The New York Times ran as many cover stories about Hillary Clinton's emails as they did about all policy issues combined in the 69 days leading up to the election (and that does not include the three additional articles on October 18, and November 6 and 7, or the two articles on the emails taken from John Podesta).\"\n\nIn October 2018, the Times published a 14,218-word investigation into Donald Trump's \"self-made\" fortune and tax avoidance, an 18-month project based on examination of 100,000 pages of documents. The extensive article ran as an eight-page feature in the print edition and also was adapted into a shortened 2,500 word listicle featuring its key takeaways. After the midweek front-page story, the Times also republished the piece as a 12-page \"special report\" section in the Sunday paper. During the lengthy investigation, Showtime cameras followed the Times three investigative reporters for a half-hour documentary called The Family Business: Trump and Taxes, which aired the following Sunday. The report won a Pulitzer Prize for Explanatory Reporting.\n\nIn May 2019, The New York Times announced that it would present a television news program based on news from its individual reporters stationed around the world and that it would premiere on FX and Hulu.\n\n2020s \nIn August 2021, the paper announced an effort to make 18 newsletters—from authors like Tressie McMillan Cottom, Jay Caspian Kang, Kara Swisher, Tish Harrison Warren, and John McWhorter—available only to subscribers, even though some of the most popular ones would remain free. Part of this was in response to competition from Substack.\n\nIn January 2022, the New York Times Company announced that it would acquire The Athletic, a subscription-based sports news website. The $550 million deal closed in the early 2022, and The Athletic's co-founders, Alex Mather and Adam Hansmann, would stayed with the publication, which continued to be run separately from the Times. Recode/Vox reported that this acquisition was part of an effort for the paper to get a younger, more diverse readership, as were offerings like games, cooking, and audio. The same month, the paper announced it was acquiring Wordle, a relatively new game that became popular rather quickly and that would remain free \"initially.\"\n\nIn April 2022, The New York Times published a three-part 20,000-word investigative series on Fox News host Tucker Carlson called \"American Nationalist\". The investigative series documents Carlson's rise to prominence and his rhetoric on immigration, race relations and the COVID-19 pandemic. Carlson responded by saying that he has not read \"American Nationalist\" and does not plan to. He also denied allegations from the Times about obsessing over ratings, saying that \"I've never read the ratings a single day in my life. I don't even know how. Ask anyone at Fox,\" and that \"Most of the big positions I've taken in the past five years—against the neocons, the vax and the war [in Ukraine]—have been very unpopular with our audience at first.\"\n\nIn December 2022, over 1,000 Times staffers staged a strike for the first time in over 40 years.\n\nHeadquarters building\nThe newspaper's first building was located at 113 Nassau Street in New York City. In 1854, it moved to 138 Nassau Street, and in 1858 to 41 Park Row, making it the first newspaper in New York City housed in a building built specifically for its use.\n\nThe newspaper moved its headquarters to the Times Tower, located at 1475 Broadway in 1904, in an area then called Longacre Square, that was later renamed Times Square in the newspaper's honor. The top of the building—now known as One Times Square—is the site of the New Year's Eve tradition of lowering a lighted ball, which was begun by the paper. The building is also known for its electronic news ticker—popularly known as \"The Zipper\"—where headlines crawl around the outside of the building. It is still in use, but has been operated by Dow Jones & Company since 1995. After nine years in its Times Square tower, the newspaper had an annex built at 229 West 43rd Street. After several expansions, the 43rd Street building became the newspaper's main headquarters in 1960 and the Times Tower on Broadway was sold the following year. It served as the newspaper's main printing plant until 1997, when the newspaper opened a state-of-the-art printing plant in the College Point section of Queens.\n\nA decade later, The New York Times moved its newsroom and businesses headquarters from West 43rd Street to a new tower at 620 Eighth Avenue between West 40th and 41st Streets, in Manhattan, directly across Eighth Avenue from the Port Authority Bus Terminal. The new headquarters for the newspaper, known officially as The New York Times Building but unofficially called the new \"Times Tower\" by many New Yorkers, is a skyscraper designed by Renzo Piano.\n\nGender discrimination in employment\nUntil after World War II the National Press Club's rules limited coverage of speeches by world leaders there to male reporters. When women were eventually allowed to hear the speeches directly, they were still not allowed to ask the speakers questions. Men were allowed and did ask, even though some of the women had won Pulitzer Prizes for prior work. Times reporter Maggie Hunter refused to return to the club after covering one speech on assignment. Nan Robertson's article on the Union Stock Yards, Chicago, was read aloud as anonymous by a professor, who then said: \"'It will come as a surprise to you, perhaps, that the reporter is a girl, he began... [G]asps; amazement in the ranks. 'She had used all her senses, not just her eyes, to convey the smell and feel of the stockyards. She chose a difficult subject, an offensive subject. Her imagery was strong enough to revolt you.'\" The New York Times hired Kathleen McLaughlin after ten years at the Chicago Tribune, where \"[s]he did a series on maids, going out herself to apply for housekeeping jobs.\"\n\nThe Times first general female reporter was Jane Grant, who described her experience afterward: \"In the beginning I was charged not to reveal the fact that a female had been hired\". Other reporters nicknamed her Fluff and she was subjected to considerable hazing. Because of her gender, any promotion was out of the question, according to the then-managing editor. She remained on the staff for fifteen years, interrupted by World War I.\n\nIn 1935, Anne McCormick wrote to Arthur Hays Sulzberger: \"I hope you won't expect me to revert to 'woman's-point-of-view' stuff.\" Later, she interviewed major political leaders and appears to have had easier access than her colleagues. Even witnesses of her actions were unable to explain how she gained the interviews she did. Clifton Daniel said, \"[After World War II,] I'm sure Adenauer called her up and invited her to lunch. She never had to grovel for an appointment.\"\n\nSlogan \nThe New York Times has had one slogan. Since 1896, the newspaper's slogan has been \"All the News That's Fit to Print\". In 1896, Adolph Ochs held a competition to attempt to find a replacement slogan, offering a $100 prize for the best one. Though he later announced that the original would not be changed, the prize would still be awarded. Entries included \"News, Not Nausea\"; \"In One Word: Adequate\"; \"News Without Noise\"; \"Out Heralds The Herald, Informs The World, and Extinguishes The Sun\"; \"The Public Press is a Public Trust\"; and the winner of the competition, \"All the world's news, but not a school for scandal.\" On May 10, 1960, Wright Patman asked the FTC to investigate whether The New York Times slogan was misleading or false advertising. Within 10 days, the FTC responded that it was not.\n\nAgain in 1996, a competition was held to find a new slogan, this time for NYTimes.com. Over 8,000 entries were submitted, with \"All the News That's Fit to Print\" found to be the best.\n\nMore informally, the Times has also referred been to as the Gray Lady,\n\nOrganization\n Meredith Kopit Levien has been president and chief executive officer since September 2020.\n\nNews staff \nIn addition to its New York City headquarters, the paper has newsrooms in London and Hong Kong. Its Paris newsroom, which had been the headquarters of the paper's international edition, was closed in 2016, although the city remains home to a news bureau and an advertising office. The paper also has an editing and wire service center in Gainesville, Florida.\n\n, the newspaper had six news bureaus in the New York region, 14 elsewhere in the United States, and 24 in other countries.\n\nIn 2009, Russ Stanton, editor of the Los Angeles Times, a competitor, stated that the newsroom of The New York Times was twice the size of the Los Angeles Times, which had a newsroom of 600 at the time.\n\nTo facilitate their reporting and to hasten an otherwise lengthy process of reviewing many documents during preparation for publication, their interactive news team has adapted optical character recognition technology into a proprietary tool known as Document Helper. It enables the team to accelerate the processing of documents that need to be reviewed. During March 2019, they documented that this tool enabled them to process 900 documents in less than ten minutes in preparation for reporters to review the contents.\n\nThe newspaper's editorial staff, including over 3,000 reporters and media staff, are unionized with NewsGuild. In 2021, the Times digital technology staff formed a union with NewsGuild, which the company declined to voluntarily recognize.\n\nOchs-Sulzberger family \nIn 1896, Adolph Ochs bought The New York Times, a money-losing newspaper, and formed the New York Times Company. The Ochs-Sulzberger family, one of the United States' newspaper dynasties, has owned The New York Times ever since. The publisher went public on January 14, 1969, trading at $42 a share on the American Stock Exchange. After this, the family continued to exert control through its ownership of the vast majority of Class B voting shares. Class A shareholders are permitted restrictive voting rights, while Class B shareholders are allowed open voting rights.\n\nThe Ochs-Sulzberger family trust controls roughly 88 percent of the company's class B shares. Any alteration to the dual-class structure must be ratified by six of eight directors who sit on the board of the Ochs-Sulzberger family trust. The trust board members are Daniel H. Cohen, James M. Cohen, Lynn G. Dolnick, Susan W. Dryfoos, Michael Golden, Eric M. A. Lax, Arthur O. Sulzberger Jr., and Cathy J. Sulzberger.\n\nTurner Catledge, the top editor at The New York Times from 1952 to 1968, wanted to hide the ownership influence. Arthur Sulzberger routinely wrote memos to his editor, each containing suggestions, instructions, complaints, and orders. When Catledge would receive these memos, he would erase the publisher's identity before passing them to his subordinates. Catledge thought that if he removed the publisher's name from the memos, it would protect reporters from feeling pressured by the owner.\n\nPublic editors\nThe position of public editor was established in 2003 to \"investigate matters of journalistic integrity\"; each public editor was to serve a two-year term. The post \"was established to receive reader complaints and question Times journalists on how they make decisions.\" The impetus for the creation of the public editor position was the Jayson Blair affair. Public editors were: Daniel Okrent (2003–2005), Byron Calame (2005–2007), Clark Hoyt (2007–2010) (served an extra year), Arthur S. Brisbane (2010–2012), Margaret Sullivan (2012–2016) (served a four-year term), and Elizabeth Spayd (2016–2017). In 2017, the Times eliminated the position of public editor.\n\nContent\n\nEditorial stance\n\nThe editorial pages of The New York Times are typically liberal in their position. In mid-2004, the newspaper's then public editor (ombudsman), Daniel Okrent, wrote that \"the Op-Ed page editors do an evenhanded job of representing a range of views in the essays from outsiders they publish – but you need an awfully heavy counterweight to balance a page that also bears the work of seven opinionated columnists, only two of whom could be classified as conservative (and, even then, of the conservative subspecies that supports legalization of gay unions and, in the case of William Safire, opposes some central provisions of the Patriot Act).\"\n\nThe New York Times has not endorsed a Republican Party member for president since Dwight D. Eisenhower in 1956; since 1960, it has endorsed the Democratic Party nominee in every presidential election (see New York Times presidential endorsements). The New York Times did endorse incumbent moderate Republican mayors of New York City Rudy Giuliani in 1997, and Michael Bloomberg in 2005 and 2009. The Times also endorsed Republican New York state governor George Pataki for re-election in 2002.\n\nStyle\nUnlike most U.S. daily newspapers, the Times relies on its own in-house stylebook rather than The Associated Press Stylebook. When referring to people, The New York Times generally uses honorifics rather than unadorned last names (except in the sports pages, pop culture coverage, and the Book Review and Magazine).\n\nThe New York Times printed a display advertisement on its first page on January 6, 2009, breaking tradition at the paper. The advertisement, for CBS, was in color and ran the entire width of the page. The newspaper promised it would place first-page advertisements on only the lower half of the page.\n\nIn August 2014, the Times decided to use the word \"torture\" to describe incidents in which interrogators \"inflicted pain on a prisoner in an effort to get information.\" This was a shift from the paper's previous practice of describing such practices as \"harsh\" or \"brutal\" interrogations.\n\nThe paper maintains a strict profanity policy. A 2007 review of a concert by the punk band Fucked Up, for example, completely avoided mention of the group's name. The Times has on occasion published unfiltered video content that includes profanity and slurs where it has determined that such video has news value. During the 2016 U.S. presidential election campaign, the Times did print the words \"fuck\" and \"pussy,\" among others, when reporting on the vulgar statements made by Donald Trump in a 2005 recording. Then-Times politics editor Carolyn Ryan said: \"It's a rare thing for us to use this language in our stories, even in quotes, and we discussed it at length.\" Ryan said the paper ultimately decided to publish it because of its news value and because \"[t]o leave it out or simply describe it seemed awkward and less than forthright to us, especially given that we would be running a video that showed our readers exactly what was said.\"\n\nProducts\n\nPrint newspaper \nIn the absence of a major headline, the day's most important story generally appears in the top-right column, on the main page. The typefaces used for the headlines are custom variations of Cheltenham. The running text is set at 8.7 point Imperial.\n\nThe newspaper is organized into three sections, including the magazine:\n News: Includes International, National, Washington, Business, Technology, Science, Health, Sports, The Metro Section, Education, Weather, and Obituaries.\n Opinion: Includes Editorials, Op-eds and Letters to the Editor.\n Features: Includes Arts, Movies, Theater, Travel, NYC Guide, Food, Home & Garden, Fashion & Style, Crossword, The New York Times Book Review, T: The New York Times Style Magazine, The New York Times Magazine, and Sunday Review.\n\nSome sections, such as Metro, are only found in the editions of the paper distributed in the New York–New Jersey–Connecticut tri-state area and not in the national or Washington, D.C. editions. Aside from a weekly roundup of reprints of editorial cartoons from other newspapers, The New York Times does not have its own staff editorial cartoonist, nor does it feature a comics page or Sunday comics section.\n\nFrom 1851 to 2017, The New York Times published around 60,000 print issues containing about 3.5 million pages and 15 million articles.\n\nLike most other American newspapers, The New York Times has experienced a decline in circulation. Its printed weekday circulation dropped by percent to 540,000 copies from 2005 to 2017.\n\nInternational Edition \nThe New York Times International Edition is a print version of the paper tailored for readers outside the United States. Formerly a joint venture with The Washington Post named The International Herald Tribune, The New York Times took full ownership of the paper in 2002 and has gradually integrated it more closely into its domestic operations.\n\nWebsite\nThe New York Times began publishing daily on the World Wide Web on January 22, 1996, \"offering readers around the world immediate access to most of the daily newspaper's contents.\" The website had 555 million pageviews and 15 million unique visitors in March 2005. By March 2020, this had risen to 2.5 billion pageviews and 240 million unique visitors.\n\n, nytimes.com produced 22 of the 50 most popular newspaper blogs.\n\nAs of August 2020, the company had 6.5 million paid subscribers, out of which 5.7 million were subscribed to its digital content. In the period April–June 2020, it added 669,000 new digital subscribers.\n\nFood section \nThe food section is supplemented on the web by properties for home cooks and for out-of-home dining. The New York Times Cooking (cooking.nytimes.com; also available via iOS app) provides access to more than 17,000 recipes on file , and availability of saving recipes from other sites around the web. The newspaper's restaurant search (nytimes.com/reviews/dining) allows online readers to search NYC area restaurants by cuisine, neighborhood, price, and reviewer rating. The New York Times has also published several cookbooks, including The Essential New York Times Cookbook: Classic Recipes for a New Century, published in late 2010.\n\nTimesSelect \nIn September 2005, the paper decided to begin subscription-based service for daily columns in a program known as TimesSelect, which encompassed many previously free columns. Until being discontinued two years later, TimesSelect cost $7.95 per month or $49.95 per year, though it was free for print copy subscribers and university students and faculty. To avoid this charge, bloggers often reposted TimesSelect material, and at least one site once compiled links of reprinted material.\n\nOn September 17, 2007, The New York Times announced that it would stop charging for access to parts of its Web site, effective at midnight the following day, reflecting a growing view in the industry that subscription fees cannot outweigh the potential ad revenue from increased traffic on a free site.\n\nTimes columnists including Nicholas Kristof and Thomas Friedman had criticized TimesSelect, with Friedman going so far as to say \"I hate it. It pains me enormously because it's cut me off from a lot, a lot of people, especially because I have a lot of people reading me overseas, like in India ... I feel totally cut off from my audience.\"\n\nPaywall and digital subscriptions \nIn 2007, in addition to opening almost the entire site to all readers, The New York Times news archives from 1987 to the present were made available at no charge to non-subscribers, as well as those from 1851 to 1922, which are in the public domain.\n\nFalling print advertising revenue and projections of continued decline resulted in a \"metered paywall\" being instituted in March 2011, limiting non-subscribers to a monthly allotment of 20 free on-line articles per month. This measure was regarded as modestly successful after garnering several hundred thousand subscriptions and about $100 million in revenue .\n\nBeginning in April 2012, the number of free-access articles was halved from 20 to 10 articles per month. Any reader who wanted to access more would have to pay for a digital subscription. This plan allowed free access for occasional readers. Digital subscription rates for four weeks ranged from $15 to $35 depending on the package selected, with periodic new subscriber promotions offering four-week all-digital access for as low as 99¢. Subscribers to the paper's print edition got full access without any additional fee. Some content, such as the front page and section fronts remained free, as well as the Top News page on mobile apps. In January 2013, The New York Times Public Editor Margaret M. Sullivan announced that for the first time in many decades, the paper generated more revenue through subscriptions than through advertising.\n\nIn December 2017, the number of free articles per month was reduced from 10 to 5, the first change to the metered paywall since April 2012. An executive of the New York Times Company stated that the decision was motivated by \"an all-time high\" in the demand for journalism. A digital subscription to The New York Times cost $16 a month in 2017. , The New York Times had a total of 3.5 million paid subscriptions in both print and digital versions, and about 130 million monthly readers, more than double its audience two years previously. In February 2018, the New York Times Company reported increased revenue from the digital-only subscriptions, adding 157,000 new subscribers to a total of 2.6 million digital-only subscribers. Digital advertising also saw growth during this period. At the same time, advertising for the print version of the journal fell.\n\nMobile presence\n\nApps \nIn 2008, The New York Times was made available as an app for the iPhone and iPod Touch; as well as publishing an iPad app in 2010. The app allowed users to download articles to their mobile device enabling them to read the paper even when they were unable to receive a signal. , The New York Times iPad app is ad-supported and available for free without a paid subscription, but translated into a subscription-based model in 2011.\n\nIn 2010, The New York Times editors collaborated with students and faculty from New York University's Studio 20 Journalism Masters program to launch and produce \"The Local East Village\", a hyperlocal blog designed to offer news \"by, for and about the residents of the East Village\". That same year, reCAPTCHA helped to digitize old editions of The New York Times.\n\nIn 2010, the newspaper also launched an app for Android smartphones, followed later by an app for Windows Phones.\n\nMoreover, the Times was the first newspaper to offer a video game as part of its editorial content, Food Import Folly by Persuasive Games.\n\nThe Times Reader \nThe Times Reader is a digital version of The New York Times, created via a collaboration between the newspaper and Microsoft. Times Reader takes the principles of print journalism and applies them to the technique of online reporting, using a series of technologies developed by Microsoft and their Windows Presentation Foundation team. It was announced in Seattle in April 2006, by Arthur Ochs Sulzberger Jr., Bill Gates, and Tom Bodkin.\n\nIn 2009, the Times Reader 2.0 was rewritten in Adobe AIR. In December 2013, the newspaper announced that the Times Reader app would be discontinued as of January 6, 2014, urging readers of the app to instead begin using the subscription-only Today's Paper app.\n\nPodcasts\nThe New York Times began producing podcasts in 2006. Among the early podcasts were Inside The Times and Inside The New York Times Book Review. Several of the Times' podcasts were cancelled in 2012.\n\nThe Times returned to launching new podcasts in 2016, including Modern Love with WBUR. On January 30, 2017, The New York Times launched a news podcast, The Daily. In October 2018, NYT debuted The Argument with opinion columnists Ross Douthat, Michelle Goldberg and David Leonhardt. It is a weekly discussion about a single issue explained from the left, center, and right of the political spectrum.\n\nNon-English versions\n\nChinese-language\nIn June 2012, The New York Times introduced its first official foreign-language variant, cn.nytimes.com, a Chinese-language news site viewable in both traditional and simplified Chinese characters. The project was led by Craig S. Smith on the business side and Philip P. Pan on the editorial side, with content created by staff based in Shanghai, Beijing, and Hong Kong, though the server was placed outside of China to avoid censorship issues.\n\nThe site's initial success was interrupted in October that year following the publication of an investigative article by David Barboza about the finances of Chinese Premier Wen Jiabao's family. In retaliation for the article, the Chinese government blocked access to both nytimes.com and cn.nytimes.com inside the People's Republic of China (PRC).\n\nDespite Chinese government interference, the Chinese-language operations continued to develop, briefly adding a second site, cn.nytstyle.com, iOS and Android apps, and newsletters, some of which are accessible inside the PRC. The China operations also produce print publications in Chinese. Traffic to cn.nytimes.com, meanwhile, has risen due to the widespread use of VPN technology in the PRC and to a growing Chinese audience outside mainland China. The New York Times articles are also available to users in China via the use of mirror websites, apps, domestic newspapers, and social media. The Chinese platforms now represent one of The New York Times top five digital markets globally. The editor-in-chief of the Chinese platforms is Ching-Ching Ni.\n\nThe New York Times en Español (Spanish-language) \nBetween February 2016 and September 2019, The New York Times launched a standalone Spanish-language edition, The New York Times en Español. The Spanish-language version featured increased coverage of news and events in Latin America and Spain. The expansion into Spanish language news content allowed the newspaper to expand its audience into the Spanish speaking world and increase its revenue. The Spanish-language version was seen as a way to compete with the established El País newspaper of Spain, which bills itself the \"global newspaper in Spanish.\" Its Spanish version has a team of journalists in Mexico City as well as correspondents in Venezuela, Brazil, Argentina, Miami, and Madrid, Spain. It was discontinued in September 2019, citing lack of financial success as the reason.\n\nIn March 2013, The New York Times and National Film Board of Canada announced a partnership titled A Short History of the Highrise, which will create four short documentaries for the Internet about life in high rise buildings as part of the NFB's Highrise project, utilizing images from the newspaper's photo archives for the first three films, and user-submitted images for the final film. The third project in the Short History of the Highrise series won a Peabody Award in 2013.\n\nTimesMachine\nThe TimesMachine is a Web-based archive of scanned issues of The New York Times from 1851 through 2002.\n\nUnlike The New York Times online archive, the TimesMachine presents scanned images of the actual newspaper. All non-advertising content can be displayed on a per-story basis in a separate PDF display page and saved for future reference. The archive is available to The New York Times subscribers, whether via home delivery or digital access.\n\nInterruptions\nBecause of holidays, no editions were printed on November 23, 1851; January 2, 1852; July 4, 1852; January 2, 1853; and January 1, 1854.\n\nBecause of strikes, the regular edition of The New York Times was not printed during the following periods:\n September 19, 1923, to September 26, 1923. An unauthorized local union strike prevented the publication of several New York papers, among them The New York Times. During this period \"The Combined New York Morning Newspapers,\" were published with summaries of the news.\n December 12, 1962, to March 31, 1963. Only a western edition was printed because of the 1962–63 New York City newspaper strike.\n September 17, 1965, to October 10, 1965. An international edition was printed, and a weekend edition replaced the Saturday and Sunday papers.\n August 10, 1978, to November 5, 1978. The multi-union 1978 New York City newspaper strike shut down the three major New York City newspapers. No editions of The New York Times were printed. Two months into the strike, a parody of The New York Times called Not The New York Times was distributed in the city, with contributors such as Carl Bernstein, Christopher Cerf, Tony Hendra and George Plimpton.\n\nThe newspaper's website was hacked on August 29, 2013, by the Syrian Electronic Army, a hacking group that supports the government of Syrian President Bashar al-Assad. The SEA managed to penetrate the paper's domain name registrar, Melbourne IT, and alter DNS records for The New York Times, putting some of its websites out of service for hours.\n\nControversies\n\nUkraine \nWalter Duranty, who served as its Moscow bureau chief from 1922 through 1936, has been criticized for a series of stories in 1931 on the Soviet Union and won a Pulitzer Prize for his work at that time. Criticism rose for his denial of widespread famine, known in Ukraine as the Holodomor, in the early 1930s in which he summarized Soviet propaganda, and the Times published, as fact: \"Conditions are bad, but there is no famine\".\n\nIn 2003, after the Pulitzer Board began a renewed inquiry, the Times hired Mark von Hagen, professor of Russian history at Columbia University, to review Duranty's work. Von Hagen found Duranty's reports to be unbalanced and uncritical, and that they far too often gave voice to Stalinist propaganda. In comments to the press he stated, \"For the sake of The New York Times' honor, they should take the prize away.\" The Ukrainian Weekly covered the efforts to rescind Duranty's prize. The Times has since made a public statement and the Pulitzer committee has declined to rescind the award twice, stating that \"Mr. Duranty's 1931 work, measured by today's standards for foreign reporting, falls seriously short. In that regard, the Board's view is similar to that of The New York Times itself.\"\n\nWorld War II\nJerold Auerbach, a Guggenheim Fellow and Fulbright Lecturer, wrote in Print to Fit, The New York Times, Zionism and Israel, 1896–2016 that it was of utmost importance to Adolph Ochs, the first Jewish owner of the paper, that in spite of the persecution of Jews in Germany, the Times, through its reporting, should never be classified as a \"Jewish newspaper\".\n\nAfter Ochs' death in 1935, his son-in-law Arthur Hays Sulzberger became the publisher of The New York Times and maintained the understanding that no reporting should reflect on the Times as a Jewish newspaper. Sulzberger shared Ochs' concerns about the way Jews were perceived in American society. His apprehensions about judgement were manifested positively by his strong fidelity to the United States. At the same time, within the pages of The New York Times, Sulzberger refused to bring attention to Jews, including the refusal to identify Jews as major victims of Nazi genocide. Instead, many reports of Nazi-ordered slaughter identified Jewish victims as \"persons.\" The Times even opposed the rescue of Jewish refugees.\n\nOn November 14, 2001, in The New York Times 150th-anniversary issue, in an article entitled \"Turning Away From the Holocaust,\" former executive editor Max Frankel wrote:\n And then there was failure: none greater than the staggering, staining failure of The New York Times to depict Hitler's methodical extermination of the Jews of Europe as a horror beyond all other horrors in World War II – a Nazi war within the war crying out for illumination. \nAccording to Frankel, harsh judges of The New York Times \"have blamed 'self-hating Jews' and 'anti-Zionists' among the paper's owners and staff.\" Frankel responded to this criticism by describing the fragile sensibilities of the Jewish owners of The New York Times:\n Then, too, papers owned by Jewish families, like The Times, were plainly afraid to have a society that was still widely anti-Semitic misread their passionate opposition to Hitler as a merely parochial cause. Even some leading Jewish groups hedged their appeals for rescue lest they be accused of wanting to divert wartime energies.\n\nAt The Times, the reluctance to highlight the systematic slaughter of Jews was undoubtedly influenced by the views of the publisher, Arthur Hays Sulzberger. He believed strongly and publicly that Judaism was a religion, not a race or nationality – that Jews should be separate only in the way they worshiped. He thought they needed no state or political and social institutions of their own. He went to great lengths to avoid having The Times branded a Jewish newspaper. He resented other publications for emphasizing the Jewishness of people in the news.\nIn the same article, Frankel quotes Laurel Leff, associate professor of journalism at Northeastern University, who in 2000 had described how the newspaper downplayed Nazi Germany's targeting of Jews for genocide.\nNovember 1942 was a critical month for American Jews. After several months of delay, the U.S. State Department had confirmed already published information that Germany was engaged in the systematic extermination of European Jews. Newspaper reports put the death toll at one million and described the \"most ruthless methods,\" including mass gassings at special camps.\nYet at the beginning of November 1942, Sulzberger lobbied U.S. government officials against the founding of a homeland for Jews to escape to. The Times was silent on the matter of an increase in U.S. immigration quotas to permit more Jews to enter, and \"actively supported the British Government's restriction on legal immigration to Palestine even as the persecution of Jews intensified\". Sulzberger described Jews as being of no more concern to Nazi Germany than Roman Catholic priests or Christian ministers, and that Jews certainly were not singled out for extermination.\n\nLeff's 2005 book Buried by the Times documents the paper's tendency before, during, and after World War II to place deep inside its daily editions the news stories about the ongoing persecution and extermination of Jews, while obscuring in those stories the special impact of the Nazis' crimes on Jews in particular. Leff attributes this dearth in part to the complex personal and political views of Sulzberger, concerning Jewishness, antisemitism, and Zionism.\n\nAccusations of liberal bias\nIn 2004, the newspaper's public editor Daniel Okrent said in an opinion piece that The New York Times did have a liberal bias in news coverage of certain social issues such as abortion and same-sex marriage. He stated that this bias reflected the paper's cosmopolitanism, which arose naturally from its roots as a hometown paper of New York City, writing that the coverage of the Timess Arts & Leisure; Culture; and the Sunday Times Magazine trend to the left.If you're examining the paper's coverage of these subjects from a perspective that is neither urban nor Northeastern nor culturally seen-it-all; if you are among the groups The Times treats as strange objects to be examined on a laboratory slide (devout Catholics, gun owners, Orthodox Jews, Texans); if your value system wouldn't wear well on a composite New York Times journalist, then a walk through this paper can make you feel you're traveling in a strange and forbidding world.Times public editor Arthur Brisbane wrote in 2012:When The Times covers a national presidential campaign, I have found that the lead editors and reporters are disciplined about enforcing fairness and balance, and usually succeed in doing so. Across the paper's many departments, though, so many share a kind of political and cultural progressivism — for lack of a better term — that this worldview virtually bleeds through the fabric of The Times.The New York Times public editor (ombudsman) Elizabeth Spayd wrote in 2016 that \"Conservatives and even many moderates, see in The Times a blue-state worldview\" and accuse it of harboring a liberal bias. Spayd did not analyze the substance of the claim but did opine that the Times is \"part of a fracturing media environment that reflects a fractured country. That in turn leads liberals and conservatives toward separate news sources.\" Times executive editor Dean Baquet stated that he does not believe coverage has a liberal bias:We have to be really careful that people feel like they can see themselves in The New York Times. I want us to be perceived as fair and honest to the world, not just a segment of it. It's a really difficult goal. Do we pull it off all the time? No.\n\nJayson Blair plagiarism (2003)\n\nIn May 2003, The New York Times reporter Jayson Blair was forced to resign from the newspaper after he was caught plagiarizing and fabricating elements of his stories. Some critics contended that Blair's race was a major factor in his hiring and in The New York Times initial reluctance to fire him.\n\nIraq War (2003–06) \n\nThe Times supported the 2003 invasion of Iraq. On May 26, 2004, more than a year after the war started, the newspaper asserted that some of its articles had not been as rigorous as they should have been, and were insufficiently qualified, frequently overly dependent upon information from Iraqi exiles desiring regime change.\nThe New York Times admitted \"Articles based on dire claims about Iraq tended to get prominent display, while follow-up articles that called the original ones into question were sometimes buried. In some cases, there was no follow-up at all.\" The paper said it was encouraged to report the claims by \"United States officials convinced of the need to intervene in Iraq\".\n\nThe New York Times was involved in a significant controversy regarding the allegations surrounding Iraq and weapons of mass destruction in September 2002. A front-page story authored by Judith Miller which claimed that the Iraqi government was in the process of developing nuclear weapons was published. Miller's story was cited by officials such as Condoleezza Rice, Colin Powell, and Donald Rumsfeld as part of a campaign to commission the Iraq War. One of Miller's prime sources was Ahmed Chalabi, an Iraqi expatriate who returned to Iraq after the U.S. invasion and held a number of governmental positions culminating in acting oil minister and deputy prime minister from May 2005 until May 2006. In 2005, negotiating a private severance package with Sulzberger, Miller retired after criticisms that her reporting of the lead-up to the Iraq War was factually inaccurate and overly favorable to the position of the Bush administration, for which The New York Times later apologized.\n\nIsraeli–Palestinian conflict\nA 2003 study in the Harvard International Journal of Press/Politics concluded that The New York Times reporting was more favorable to Israelis than to Palestinians. A 2002 study published in the journal Journalism examined Middle East coverage of the Second Intifada over a one-month period in The New York Times, The Washington Post and the Chicago Tribune. The study authors said that the Times was \"the most slanted in a pro-Israeli direction\" with a bias \"reflected...in its use of headlines, photographs, graphics, sourcing practices, and lead paragraphs.\"\n\nFor its coverage of the Israeli–Palestinian conflict, some (such as Ed Koch) have claimed that the paper is pro-Palestinian, while others (such as As'ad AbuKhalil) have claimed that it is pro-Israel. The Israel Lobby and U.S. Foreign Policy, by political science professors John Mearsheimer and Stephen Walt, alleges The New York Times sometimes criticizes Israeli policies but is not even-handed and is generally pro-Israel. In 2009, the Simon Wiesenthal Center criticized the newspaper for printing cartoons regarding the Israeli-Palestinian conflict that were described as \"hideously anti-Semitic\".\n\nIsraeli Prime Minister Benjamin Netanyahu rejected a proposal to write an article for the paper on grounds of lack of objectivity. A piece in which Thomas Friedman commented that praise given to Netanyahu during a speech at the U.S. Congress was \"paid for by the Israel lobby\" elicited an apology and clarification from its author.\n\nThe 1619 Project \n\nThe 1619 Project, a long-form journalism project re-evaluating slavery and its legacy in the United States led by investigative journalist Nikole Hannah-Jones, has received criticism from some historians.\n\nIn December 2019, two groups, totaling 17 Civil War historians wrote letters to The New York Times Magazine, expressing concern about what they characterized as inaccuracies and falsehoods which were fundamental to Hannah-Jones' reporting. The magazine's editor-in-chief, Jake Silverstein, responded to one of the letters in an editorial, in which he disputed the historical accuracy of some of its claims. In an article in The Atlantic, historian Sean Wilentz stated that Silverstein's editorial defending the project itself went so far as to \"dispense with a respect for basic facts\".\n\nIn September 2020, the Times updated the opening text of the project website to remove the phrase \"understanding 1619 as our true founding\" without accompanying editorial notes. Times columnist Bret Stephens wrote that the differences showed that the newspaper was backing away from some of the initiative's more controversial claims.\nThe Times defended its practices and Hannah-Jones emphasized how most of the project's content had remained unchanged—but also admitted that she was \"absolutely tortured by\" her failure to consult more expert historians before making the sweeping claims that were subsequently removed.\n\nTransgender rights and healthcare \n\nThe New York Times reporting on transgender issues has been criticized for coverage that dehumanizes and stereotypes transgender individuals. A 2012 article covering the death of a trans woman in a fire in Brooklyn was criticized by trans rights activist Janet Mock: \"I would expect the New York Times to treat any subject, regardless of their path in life, with dignity.\" She described the article's depiction as a \"demeaning, sexist portrait they painted of girls like us.\" In 2016, the Times Editorial Board voiced disapproval of the North Carolina anti-transgender bathroom bill. Media Matters criticized Times coverage of the bill as nevertheless \"fail[ing] to debunk the 'bathroom predator' myth ... choosing instead to create a false equivalency by uncritically presenting comments from both opponents and supporters of the law\". In 2022, The New York Times more frequent reporting on transgender issues was described by critics as \"misinformation,\" \"ignoring evidence,\" and \"fearmongering.\" Critics include the leading professional association on trans health care, the World Professional Association of Transgender Health.\n\nIn February 2023, almost 1,000 current and former Times writers and contributors wrote an open letter addressed to Philip B. Corbett, associate managing editor of standards, in which they accused the paper of publishing articles biased against transgender, non⁠-⁠binary, and gender-nonconforming people. Some of those articles have been referenced in amicus briefs to defend an Alabama law that criminalizes providing treatment for transgender children, the Alabama's Vulnerable Child Compassion and Protection Act. Contributors wrote in the open letter that \"the Times has in recent years treated gender diversity with an eerily familiar mix of pseudoscience and euphemistic, charged language, while publishing reporting on trans children that omits relevant information about its sources.\" The letter references, as one example, an article by Emily Bazelon that \"uncritically used the term 'patient zero' to refer to a trans child seeking gender⁠-⁠affirming care, a phrase that vilifies transness as a disease to be feared\" (referencing the term for a first-identified patient in an epidemic). Among the signatories of the letter are Cynthia Nixon, Chelsea Manning, Roxane Gay, Jia Tolentino and Sarah Schulman.\n\nA second letter was released the same day, in support of the New York Times contributors. It was co-signed by over one hundred LGBTQ and civil rights groups and activists, including GLAAD, the Human Rights Campaign, Margaret Cho, Dorian Rhea Debussy, Chris Mosier, and Nina West. The letter described the Times as platforming \"fringe theories\" and containing \"dangerous inaccuracies.\" Both letters used fact checkers to check sources for articles and op-eds and referenced to the Times history of homophobia from 1963-87 as evidence of previous bias against LGBTQ people. Support for this claim was a ban made by Arthur Ochs Sulzberger on using the word \"gay\" by anyone writing or editing at the newspaper as well as stigmatizing coverage of gay men and lesbians as well as the start of the AIDS pandemic in the 1980s.\n\nWithin a day, The New York Times issued a response, saying, \"Our journalism strives to explore, interrogate and reflect the experiences, ideas and debates in society – to help readers understand them. Our reporting did exactly that and we're proud of it.\" The next day, the Times published an op-ed piece entitled, \"In Defense of J.K. Rowling\". That same day, an internal memo was sent by the editors, saying, \"Our coverage of transgender issues, including the specific pieces singled out for attack, is important, deeply reported, and sensitively written. We do not welcome, and will not tolerate, participation by Times journalists in protests organized by advocacy groups or attacks on colleagues on social media and other public forums.\"\n\nCoverage of Orthodox Jews\n\nThe Times, beginning in 2022 and continuing into 2023, has written eighteen articles, as of March 2023, investigating New York's Orthodox Jewish community, in what Agudath Israel has called antisemitic, and the ADL have said could be a factor in rising antisemitism in New York, specifically against Orthodox Jews. Agudath Israel has started a campaign called \"Know Us\", aimed at countering the Times negative effects, and pressuring the Times to halt their campaign.\n\nReputation\nThe Times has developed a national and international \"reputation for thoroughness\". Among journalists, the paper is held in high regard; a 1999 survey of newspaper editors conducted by the Columbia Journalism Review found that the Times was the \"best\" American paper, ahead of The Washington Post, The Wall Street Journal, and Los Angeles Times. The Times also was ranked No. 1 in a 2011 \"quality\" ranking of U.S. newspapers by Daniel de Vise of The Washington Post; the objective ranking took into account the number of recent Pulitzer Prizes won, circulation, and perceived Web site quality. A 2012 report in WNYC called the Times \"the most respected newspaper in the world.\"\n\nNevertheless, like many other U.S. media sources, the Times has suffered from a decline in public perceptions of credibility in the U.S. in the early 21st century. A Pew Research Center survey in 2012 asked respondents about their views on credibility of various news organizations. Among respondents who gave a rating, 49% said that they believed \"all or most\" of the Timess reporting, while 50% disagreed. A large percentage (19%) of respondents were unable to rate believability. The Timess score was comparable to that of USA Today. Media analyst Brooke Gladstone of WNYC's On the Media, writing for The New York Times, says that the decline in U.S. public trust of the mass media can be explained (1) by the rise of the polarized Internet-driven news; (2) by a decline in trust in U.S. institutions more generally; and (3) by the fact that \"Americans say they want accuracy and impartiality, but the polls suggest that, actually, most of us are seeking affirmation.\"\n\nAwards\n\nThe New York Times has won 132 Pulitzer Prizes, more than any other newspaper. The prize is awarded for excellence in journalism in a range of categories.\n\nIt has also, , won three Peabody Awards and jointly received two. Peabody Awards are given for accomplishments in television, radio, and online media.\n\nSee also\n\n List of New York City newspapers and magazines\n List of The New York Times employees\n The New York Times Best Seller list\n The New York Times Guide to Essential Knowledge\n New York Times Index\n\nReferences\n\nNotes\n\nCitations\n\nFurther reading\n\nExternal links\n\n \n \n\n Curated collection of most pre-1923 issues at Online Books Page\n (archives)\n \n \n\n \nCategory:1851 establishments in New York (state)\nCategory:Newspapers established in 1851\nCategory:Daily newspapers published in New York City\nCategory:New York City local newspapers, in print\nCategory:Podcasting companies\nCategory:Tor onion services\nCategory:Gerald Loeb Award winners for Deadline and Beat Reporting\nCategory:National newspapers published in the United States\nCategory:Peabody Award winners\nCategory:Pulitzer Prize for Explanatory Journalism winners\nCategory:Pulitzer Prize for International Reporting winners\nCategory:Pulitzer Prize for National Reporting winners\nCategory:Pulitzer Prize-winning newspapers", "title": "The New York Times" }, { "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" } ]

[ "Truman was elected as County Court judge of Jackson County's eastern district in 1922. He was elected presiding judge in 1926.", "The text does not provide specific information on how long Truman served as a judge in Jackson County. However, it mentions that he was elected as County Court judge in 1922, was not re-elected in 1924, and then was elected again as presiding judge in 1926 and re-elected in 1930.", "After losing the re-election in 1924, Truman spent two years selling automobile club memberships before planning a run for the presiding judge position in 1926.", "Yes, after his time as presiding judge, Truman was named Missouri's director for the Federal Re-Employment program (part of the Civil Works Administration) in 1933.", "The Ten Year Plan, which Truman helped coordinate, transformed Jackson County and the Kansas City skyline with new public works projects. This included the construction of a series of roads and a new Wight and Wight-designed County Court building.", "Yes, there are several interesting aspects about the article. One of them is that Truman was a business owner before his political career, having opened a haberdashery with Jacobson in downtown Kansas City, which later went bankrupt. Another aspect is his connection with Zionism through his friend Jacobson, which played a role in the U.S. government's decision to recognize Israel. Additionally, Truman's political success is tied to his relationship with the Pendergast machine, a powerful Democratic political machine in Kansas City. Finally, his appointment as Missouri's director for the Federal Re-Employment program marked a strong political alliance with the national Democratic party and led to his avid support for the New Deal.", "Truman had several accomplishments. As a judge, he helped to coordinate the Ten Year Plan that transformed Jackson County and the Kansas City skyline with new public works projects, including constructing an extensive series of roads and a new County Court building. Moreover, he served as the president of the National Old Trails Road Association (NOTRA) and oversaw the dedication of a series of 12 \"Madonna of the Trail\" monuments, which honored pioneer women. Truman was also appointed as Missouri's director for the Federal Re-Employment program, marking his significant involvement in the New Deal.", "The text does not specify the location of the new County Court building that was constructed under the Ten Year Plan in Jackson County.", "The text does not provide specific dates for when the new County Court building was constructed under the Ten Year Plan. However, as Truman was elected presiding judge in 1926 and re-elected in 1930, the construction likely took place during this period.", "Yes, aside from Truman's involvement in the Ten Year Plan and his role as Missouri's director for the Federal Re-Employment program, another notable event was his relationship with Eddie Jacobson. This relationship later influenced Truman's stance on Zionism and played a role in the U.S. government's decision to recognize Israel. Also notable was his involvement with the National Old Trails Road Association, overseeing the installation of 12 Madonna of the Trail monuments along the trail.", "The text does not specify Truman's specific duties as president of the National Old Trails Road Association (NOTRA). However, it does mention that in this capacity, he oversaw the dedication in the late 1920s of a series of 12 Madonna of the Trail monuments honoring pioneer women, which were installed along the trail." ]

[ "Yes", "Yes", "Yes", "No", "Yes", "No", "Yes", "Yes", "Yes", "No", "No" ]

[ "C_3ce6c16c298847d0b8544cdd30a306bb_0_q#0", "C_3ce6c16c298847d0b8544cdd30a306bb_0_q#1", "C_3ce6c16c298847d0b8544cdd30a306bb_0_q#2", "C_3ce6c16c298847d0b8544cdd30a306bb_0_q#3", "C_3ce6c16c298847d0b8544cdd30a306bb_0_q#4", "C_3ce6c16c298847d0b8544cdd30a306bb_0_q#5" ]

[ "What was his highest acheivement?", "How did he get his start in his career?", "What was his first big success?", "Most noticeable aspect of international debut?", "Notable matches or countries played in?", "Highest achievement?" ]

[ 1, 1, 2, 2, 0, 1 ]

[ 2, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 1619 ], [ 0 ], [ 981 ], [ 1065 ], [ 1345 ], [ 985 ] ], "texts": [ [ "At the peak of his career, he turned down an offer of US$1 million to join a rebel West Indies team on a tour to South Africa," ], [ "Marshall made his Test debut in the Second Test at Bangalore on 15 December 1978." ], [ "but an excellent 1982 season when he took 134 wickets at under 16 apiece, including a career-best 8-71 against Worcestershire," ], [ "a career-best 8-71 against Worcestershire, saw him recalled and thereafter he remained a fixture until the end of his international career." ], [ "His most productive series in this period was the 1983/84 rubber against India," ], [ "an excellent 1982 season when he took 134 wickets at under 16 apiece, including a career-best 8-71 against Worcestershire," ] ] }

{ "answer_starts": [ 1619, 0, 981, 1065, 1345, 985 ], "texts": [ "At the peak of his career, he turned down an offer of US$1 million to join a rebel West Indies team on a tour to South Africa,", "Marshall made his Test debut in the Second Test at Bangalore on 15 December 1978.", "but an excellent 1982 season when he took 134 wickets at under 16 apiece, including a career-best 8-71 against Worcestershire,", "a career-best 8-71 against Worcestershire, saw him recalled and thereafter he remained a fixture until the end of his international career.", "His most productive series in this period was the 1983/84 rubber against India,", "an excellent 1982 season when he took 134 wickets at under 16 apiece, including a career-best 8-71 against Worcestershire," ] }

[ { "text": "Malcolm Marshall, a former right-arm fast bowler, represented the West Indies cricket team in 81 Tests between 1978 and 1992. In cricket, a five-wicket haul (also known as a \"five–for\" or \"fifer\") refers to a bowler taking five or more wickets in a single innings. This is regarded as a notable achievement, and only 41 bowlers have taken at least 15 five-wicket hauls at international level in their cricketing careers. In Test cricket, Marshall took 376 wickets, including 22 five-wicket hauls. The cricket almanack Wisden described him as \"one of the greatest fast bowlers of all time\", and named him one of their Cricketers of the Year in 1983. He was inducted into the ICC Cricket Hall of Fame as an inaugural member in January 2009. Mark Nicholas, a cricket commentator, once wrote that former Pakistan captain, Imran Khan, \"calls Malcolm the greatest of all fast bowlers\".\n\nMarshall made his Test debut in December 1978 against India at the Karnataka State Cricket Association Stadium, Bangalore. His first five-wicket haul came in March 1983 against the same team at the Queen's Park Oval, Port of Spain; he took 5 wickets for 37 runs. In December 1984, against Australia at the Adelaide Oval, he took a five-wicket haul in both innings of a Test match for the first time. He repeated this feat once more in his career, against India at the Queen's Park Oval in April 1989. Marshall's career-best bowling figures for an innings were 7 wickets for 22 runs against England at Old Trafford, Manchester, in June 1988. He took 9 wickets for 41 runs in the match; West Indies won the match by an innings and 156 runs, and he was awarded man of the match for his performance. Marshall was most successful against Australia taking seven five-wicket hauls. He took ten or more wickets in a match on four occasions.\n\nMarshall made his One Day International (ODI) debut against England at Headingley, Leeds, during the 1980 Prudential Trophy. He never took a five-wicket haul in ODIs; his career-best figures for an innings were 4 wickets for 18 runs against Australia in 1991, a match West Indies lost at the Melbourne Cricket Ground. As of 2013, Marshall is sixteenth overall among all-time combined five-wicket haul takers.\n\nKey\n\nTests\n\nNotes\n\nReferences\n\nExternal links\n \n \n\nCategory:West Indian cricket lists\nMarshall, Malcolm", "title": "List of international cricket five-wicket hauls by Malcolm Marshall" } ]

[ "The text does not provide information on Marshall's highest achievement.", "Marshall started his career with his Test debut in the Second Test at Bangalore on 15 December 1978. Despite not performing notably in the three Tests he played in that tour, he made an impression by taking 37 wickets in all first-class games. This performance compelled Hampshire to take him on as their overseas player for 1979.", "Marshall's first big success came in 1980 during the third Test at Old Trafford, where he caused an England collapse by taking out Mike Gatting, Brian Rose, and Peter Willey in a short time. In this match, Marshall took 7-24.", "The most noticeable aspect of Marshall's international debut was his immediate development of a career-long antipathy to Dilip Vengsarkar due to his aggressive appealing.", "Marshall had a notable match in 1980 during the third Test at Old Trafford where he was responsible for causing an England collapse. Also, his most productive series was the 1983/84 rubber against India, where he claimed 33 wickets and made his highest Test score of 92 at Kanpur. Moreover, he had a noteworthy performance in matches at home against Australia, where he took five in an innings twice. Hence, he had notable matches with England, India, and Australia.", "The text does not provide information on Marshall's highest achievement." ]

[ "No", "Yes", "No", "No", "Yes", "No" ]

[ "C_3ce6c16c298847d0b8544cdd30a306bb_1_q#0", "C_3ce6c16c298847d0b8544cdd30a306bb_1_q#1", "C_3ce6c16c298847d0b8544cdd30a306bb_1_q#2", "C_3ce6c16c298847d0b8544cdd30a306bb_1_q#3", "C_3ce6c16c298847d0b8544cdd30a306bb_1_q#4", "C_3ce6c16c298847d0b8544cdd30a306bb_1_q#5" ]

[ "When was Marshall born?", "Where did he grow up?", "What did his parents do?", "where did he go to school?", "Did he go to college?", "Did he work during his early years?" ]

[ 1, 2, 1, 1, 1, 1 ]

[ 2, 0, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 1625 ], [ 21 ], [ 43 ], [ 451 ], [ 1625 ], [ 1532 ] ], "texts": [ [ "CANNOTANSWER" ], [ "Bridgetown, Barbados." ], [ "His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club" ], [ "educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973." ], [ "CANNOTANSWER" ], [ "working in the storeroom at Banks Brewery" ] ] }

{ "answer_starts": [ 1625, 21, 43, 451, 1625, 1532 ], "texts": [ "CANNOTANSWER", "Bridgetown, Barbados.", "His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club", "educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973.", "CANNOTANSWER", "working in the storeroom at Banks Brewery" ] }

[ { "text": "Malcolm Marshall, a former right-arm fast bowler, represented the West Indies cricket team in 81 Tests between 1978 and 1992. In cricket, a five-wicket haul (also known as a \"five–for\" or \"fifer\") refers to a bowler taking five or more wickets in a single innings. This is regarded as a notable achievement, and only 41 bowlers have taken at least 15 five-wicket hauls at international level in their cricketing careers. In Test cricket, Marshall took 376 wickets, including 22 five-wicket hauls. The cricket almanack Wisden described him as \"one of the greatest fast bowlers of all time\", and named him one of their Cricketers of the Year in 1983. He was inducted into the ICC Cricket Hall of Fame as an inaugural member in January 2009. Mark Nicholas, a cricket commentator, once wrote that former Pakistan captain, Imran Khan, \"calls Malcolm the greatest of all fast bowlers\".\n\nMarshall made his Test debut in December 1978 against India at the Karnataka State Cricket Association Stadium, Bangalore. His first five-wicket haul came in March 1983 against the same team at the Queen's Park Oval, Port of Spain; he took 5 wickets for 37 runs. In December 1984, against Australia at the Adelaide Oval, he took a five-wicket haul in both innings of a Test match for the first time. He repeated this feat once more in his career, against India at the Queen's Park Oval in April 1989. Marshall's career-best bowling figures for an innings were 7 wickets for 22 runs against England at Old Trafford, Manchester, in June 1988. He took 9 wickets for 41 runs in the match; West Indies won the match by an innings and 156 runs, and he was awarded man of the match for his performance. Marshall was most successful against Australia taking seven five-wicket hauls. He took ten or more wickets in a match on four occasions.\n\nMarshall made his One Day International (ODI) debut against England at Headingley, Leeds, during the 1980 Prudential Trophy. He never took a five-wicket haul in ODIs; his career-best figures for an innings were 4 wickets for 18 runs against Australia in 1991, a match West Indies lost at the Melbourne Cricket Ground. As of 2013, Marshall is sixteenth overall among all-time combined five-wicket haul takers.\n\nKey\n\nTests\n\nNotes\n\nReferences\n\nExternal links\n \n \n\nCategory:West Indian cricket lists\nMarshall, Malcolm", "title": "List of international cricket five-wicket hauls by Malcolm Marshall" } ]

[ "The text does not provide information on when Marshall was born.", "Marshall grew up in the parish of Saint Michael, Barbados.", "Marshall's father, Denzil DeCoster Edghill, was a cricketer and a policeman who died in a traffic accident. The text does not provide information on what Marshall's mother, Eleanor (nee Welch), did for a living.", "Marshall was educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973.", "The text does not provide information on whether Marshall went to college.", "Yes, Marshall worked in the storeroom at Banks Brewery during his early years." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes", "Yes" ]

[ "C_ab92341da6e2412d8356f1b96ca94b64_1_q#0", "C_ab92341da6e2412d8356f1b96ca94b64_1_q#1", "C_ab92341da6e2412d8356f1b96ca94b64_1_q#2", "C_ab92341da6e2412d8356f1b96ca94b64_1_q#3", "C_ab92341da6e2412d8356f1b96ca94b64_1_q#4", "C_ab92341da6e2412d8356f1b96ca94b64_1_q#5" ]

[ "Where did this art originate?", "Did the style migrate at all?", "Did the artwork travel with the Huns?", "What did this poychrome style look like?", "What were the other styles?", "Did anything happen in 1904?" ]

[ 0, 0, 2, 1, 0, 1 ]

[ 2, 2, 1, 2, 2, 2 ]

{ "answer_starts": [ [ 1439 ], [ 113 ], [ 1296 ], [ 1691 ], [ 1418 ], [ 1691 ] ], "texts": [ [ "found in Scandinavia, north Germany and England." ], [ "so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there." ], [ "Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area." ], [ "CANNOTANSWER" ], [ "The animal style was found in Scandinavia," ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 1439, 113, 1296, 1691, 1418, 1691 ], "texts": [ "found in Scandinavia, north Germany and England.", "so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there.", "Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area.", "CANNOTANSWER", "The animal style was found in Scandinavia,", "CANNOTANSWER" ] }

[ { "text": "Viking art, also known commonly as Norse art, is a term widely accepted for the art of Scandinavian Norsemen and Viking settlements further afield—particularly in the British Isles and Iceland—during the Viking Age of the 8th-11th centuries. Viking art has many design elements in common with Celtic, Germanic, the later Romanesque and Eastern European art, sharing many influences with each of these traditions.\n\nGenerally speaking, the current knowledge of Viking art relies heavily upon more durable objects of metal and stone; wood, bone, ivory and textiles are more rarely preserved. The artistic record, therefore, as it has survived to the present day, remains significantly incomplete. Ongoing archaeological excavation and opportunistic finds, of course, may improve this situation in the future, as indeed they have in the recent past.\n\nViking art is usually divided into a sequence of roughly chronological styles, although outside Scandinavia itself local influences are often strong, and the development of styles can be less clear.\n\nHistorical context\n\nThe Vikings' regional origins lay in Scandinavia, the northernmost peninsula of continental Europe, while the term 'Viking' likely derived from their own term for coastal raiding—the activity by which many neighboring cultures became acquainted with the inhabitants of the region.\n\nViking raiders attacked wealthy targets on the north-western coasts of Europe from the late 8th until the mid-11th century CE. Pre-Christian traders and sea raiders, the Vikings first enter recorded history with their attack on the Christian monastic community on Lindisfarne Island in 793.\n\nThe Vikings initially employed their longships to invade and attack European coasts, harbors and river settlements on a seasonal basis. Subsequently, Viking activities diversified to include trading voyages to the east, west, and south of their Scandinavian homelands, with repeated and regular voyages following river systems east into Russia and the Black and Caspian Sea regions, and west to the coastlines of the British Isles, Iceland and Greenland. Evidence exists for Vikings reaching Newfoundland well before the later voyages of Christopher Columbus came to the New World.\n\nTrading and merchant activities were accompanied by settlement and colonization in many of these territories.\n\nBy material\n\nWood and organic materials\n\nWood was undoubtedly the primary material of choice for Viking artists, being relatively easy to carve, inexpensive, and abundant in northern Europe. The importance of wood as an artistic medium is underscored by chance survivals of wood artistry at the very beginning and end of the Viking period, namely, the Oseberg ship-burial carvings of the early 9th century and the carved decoration of the Urnes Stave Church from the 12th century. As summarised by James Graham-Campbell: \"These remarkable survivals allow us to form at least an impression of what we are missing from original corpus of Viking art, although wooden fragments and small-scale carvings in other materials (such as antler, amber, and walrus ivory) provide further hints. The same is inevitably true of the textile arts, although weaving and embroidery were clearly well-developed crafts.\"\n\nStone\nWith the exception of the Gotlandic picture stones prevalent in Sweden early in the Viking period, stone carving was apparently not practiced elsewhere in Scandinavia until the mid-10th century and the creation of the royal monuments at Jelling in Denmark. Subsequently, and likely influenced by the spread of Christianity, the use of carved stone for permanent memorials became more prevalent.\n\nMetal\n\nBeyond the discontinuous artifactual records of wood and stone, the reconstructed history of Viking art to date relies most on the study of decoration of ornamental metalwork from a great variety of sources. Several types of archaeological context have succeeded in preserving metal objects for present study, while the durability of precious metals, in particular, has preserved much artistic expression and endeavor.\n\nJewelry was worn by both men and women, though of different types. Married women fastened their overdresses near the shoulder with matching pairs of large brooches. Modern scholars often call them \"tortoise brooches\" because of their domed shape. The shapes and styles of women's paired brooches varied regionally, but many used openwork. Women often strung metal chains or strings of beads between the brooches or suspended ornaments from the bottom of the brooches. Men wore rings on their fingers, arms and necks, and held their cloaks closed with penannular brooches, often with extravagantly long pins. Their weapons were often richly decorated on areas such as sword hilts. The Vikings mostly used silver or bronze jewelry, the latter sometimes gilded, but a small number of large and lavish pieces or sets in solid gold have been found, probably belonging to royalty or major figures.\n\nDecorated metalwork of an everyday nature is frequently recovered from Viking period graves, on account of the widespread practice of making burials accompanied by grave goods. The deceased was dressed in their best clothing and jewelry, and was interred with weapons, tools, and household goods. Less common, but significant nonetheless, are finds of precious metal objects in the form of treasure hoards, many apparently concealed for safe-keeping by owners later unable to recover their contents, although some may have been deposited as offerings to the gods.\n\nRecently, given the increasing popularity and legality of metal-detecting, an increasing frequency of single, chance finds of metal objects and ornaments (most probably representing accidental losses) is creating a fast expanding corpus of new material for study.\n\nViking coins fit well into this latter category, but nonetheless form a separate category of Viking period artefact, their design and decoration largely independent of the developing styles characteristic of wider Viking artistic endeavor.\n\nOther sources\nA non-visual source of information for Viking art lies in skaldic verse, the complex form of oral poetry composed during the Viking Age and passed on until written down centuries later. Several verses speak of painted forms of decoration that have but rarely survived on wood and stone. The 9th-century skald poet Bragi Boddason, for example, cites four apparently unrelated scenes painted on a shield. One of these scenes depicted the god Thor's fishing expedition, which motif is also referenced in a 10th-century poem by Úlfr Uggason describing the paintings in a newly constructed hall in Iceland.\n\nOrigins and background\nA continuous artistic tradition common to most of north-western Europe and developing from the 4th century CE formed the foundations on which Viking Age art and decoration were built: from that period onwards, the output of Scandinavian artists was broadly focused on varieties of convoluted animal ornamentation used to decorate a wide variety of objects.\n\nThe art historian Bernhard Salin was the first to systematise Germanic animal ornament, dividing it into three styles (I, II, and III). The latter two were subsequently subdivided by Arwidsson into three further styles: Style C, flourishing during the 7th century and into the 8th century, before being largely replaced (especially in southern Scandinavia) by Style D. Styles C and D provided the inspiration for the initial expression of animal ornament within the Viking Age, Style E, commonly known as the Oseberg / Broa Style. Both Styles D and E developed within a broad Scandinavian context which, although in keeping with north-western European animal ornamentation generally, exhibited little influence from beyond Scandinavia .\n\nScholarship\nAlthough preliminary formulations were made in the late 19th century, the history of Viking art first achieved maturity in the early 20th century with the detailed publication of the ornate wood carvings discovered in 1904 as part of the Oserberg ship-burial by the Norwegian archaeologist Haakon Shetelig.\n\nImportantly, it was the English archaeologist David M. Wilson, working with his Danish colleague Ole Klindt-Jensen to produce the 1966 survey work Viking Art, who created foundations for the systematic characterization of the field still employed today, together with a developed chronological framework.\n\nDavid Wilson continued to produce mostly English-language studies on Viking art in subsequent years, joined over recent decades by the Norwegian art-historian Signe Horn Fuglesang with her own series of important publications. Together these scholars have combined authority with accessibility to promote the increasing understanding of Viking art as a cultural expression.\n\nStyles\n\nThe art of the Viking Age is organized into a loose sequence of stylistic phases which, despite the significant overlap in style and chronology, may be defined and distinguished on account both of formal design elements and of recurring compositions and motifs:\n Oseberg Style\n Borre Style\n Jellinge Style\n Mammen Style\n Ringerike Style\n Urnes Style\n\nUnsurprisingly, these stylistic phases appear in their purest form in Scandinavia itself; elsewhere in the Viking world, notable admixtures from external cultures and influences frequently appear. In the British Isles, for example, art historians identify distinct, 'Insular' versions of Scandinavian motifs, often directly alongside 'pure' Viking decoration.\n\nOseberg Style\n\nThe Oseberg Style characterises the initial phase in what has been considered Viking art. The Oseberg Style takes its name from the Oseberg Ship grave, a well-preserved and highly decorated longship discovered in a large burial mound at the Oseberg farm near Tønsberg in Vestfold, Norway, which also contained a number of other richly decorated wooden objects.\n\nA characteristic motif of the Oseberg Style is the so-called gripping beast. This motif is what clearly distinguishes the early Viking art from the styles that preceded it. The chief features of the gripping beast are the paws that grip the borders around it, neighbouring beasts or parts of its own body.\n\nCurrently located at the Viking Ship Museum, Bygdøy, and over 70 feet long, the Oseberg Ship held the remains of two women and many precious objects that were probably removed by robbers early before it was found. The Oseberg ship itself is decorated with a more traditional style of animal interlace that does not feature the gripping beast motif. However, five carved wooden animal-head posts were found in the ship, and the one known as the Carolingian animal-head post is decorated with gripping beasts, as are other grave goods from the ship. The Carolingian head represents a snarling beast, possibly a wolf, with surface ornamentation in the form of interwoven animals that twist and turn as they are gripping and snapping.\n\nThe Oseberg style is also characterized by traditions from the Vendel era, and it is nowadays not always accepted as an independent style.\n\nBroa style\n\nThe Broa style, named after a bridle-mount found at Broa, Halla parish, Gotland, is sometimes included with the Oseberg style, and sometimes held as its own.\n\nBorre Style\n\nThe Borre Style embraces a range of geometric interlace / knot patterns and zoomorphic (single animal) motifs, first recognised in a group of gilt-bronze harness mounts recovered from a ship grave in Borre mound cemetery near the village of Borre, Vestfold, Norway, and from which the name of the style derives. Borre Style prevailed in Scandinavia from the late 9th through to the late 10th century, a timeframe supported by dendrochronological data supplied from sites with characteristically Borre Style artifacts\n\nThe 'gripping beast' with a ribbon-shaped body continues as a characteristic of this and earlier styles. As with geometric patterning in this phase, the visual thrust of the Borre Style results from the filling of available space: ribbon animal plaits are tightly interlaced and animal bodies are arranged to create tight, closed compositions. As a result, any background is markedly absent – a characteristic of the Borre Style that contrasts strongly with the more open and fluid compositions that prevailed in the overlapping Jellinge Style.\n\nA more particular diagnostic feature of Borre Style lies in a symmetrical, double-contoured 'ring-chain' (or 'ring-braid'), whose composition consists of interlaced circles separated by transverse bars and a lozenge overlay. The Borre ring-chain occasionally terminates with an animal head in high relief, as seen on strap fittings from Borre and Gokstad.\n\nThe ridges of designs in metalwork are often nicked to imitate the filigree wire employed in the finest pieces of craftsmanship.\n\nJellinge Style\n\nThe Jellinge Style is a phase of Scandinavian animal art during the 10th century. The style is characterized by markedly stylized and often band-shaped bodies of animals. It was originally applied to a complex of objects in Jelling, Denmark, such as Gorm's Cup and Harald Bluetooth's great runestone, but more recently the style is included in the Mammen style.\n\nMammen Style\n\nThe Mammen Style takes its name from its type object, an axe recovered from a wealthy male burial marked a mound (Bjerringhø) at Mammen, in Jutland, Denmark (on the basis of dendrochronology, the wood used in construction of the grave chamber was felled in winter 970–971). Richly decorated on both sides with inlaid silver designs, the iron axe was probably a ceremonial parade weapon that was the property of a man of princely status, his burial clothes bearing elaborate embroidery and trimmed with silk and fur.\n\nOn one face, the Mammen axe features a large bird with pelleted body, crest, circular eye, and upright head and beak with lappet. A large shell-spiral marks the bird's hip, from which point its thinly elongated wings emerge: the right wing interlaces with the bird's neck, while the left wing interlaces with its body and tail. The outer wing edge displays a semi-circular nick typical of Mammen Style design. The tail is rendered as a triple tendril, the particular treatment of which on the Mammen axe – with open, hook-like ends – forming a characteristic of the Mammen Style as a whole. Complicating the design is the bird's head-lappet, interlacing twice with neck and right wing, whilst also sprouting tendrils along the blade edge. At the top, near the haft, the Mammen axe features an interlaced knot on one side, a triangular human mask (with large nose, moustache and spiral beard) on the other; the latter would prove a favoured Mammen Style motif carried over from earlier styles.\n\nOn the other side, the Mammen axe bears a spreading foliate (leaf) design, emanating from spirals at the base with thin, 'pelleted' tendrils spreading and intertwining across the axe head towards the haft.\n\nRingerike Style\n\nThe Ringerike Style receives its name from the Ringerike district north of Oslo, Norway, where the local reddish sandstone was widely employed for carving stones with designs of the style.\n\nThe type object most commonly used to define Ringerike Style is a high carved stone from Vang in Oppland. Apart from a runic memorial inscription on its right edge, the main field of the Vang Stone is filled with a balanced tendril ornament springing from two shell spirals at the base: the main stems cross twice to terminate in lobed tendrils. At the crossing, further tendrils spring from loops and pear-shaped motifs appear from the tendril centres on the upper loop. Although axial in conception, a basic asymmetry arises in the deposition of the tendrils. Surmounting the tendril pattern appears a large striding animal in double-contoured rendering with spiral hips and a lip lappet. Comparing the Vang Stone animal design with the related animal from the Mammen axe-head, the latter lacks the axiality seen in the Vang Stone and its tendrils are far less disciplined: the Mammen scroll is wavy, while the Vang scroll appears taut and evenly curved, these features marking a key difference between Mammen and Ringerike ornament. The inter-relationship between the two styles is obvious, however, when comparing the Vang Stone animal with that found on the Jelling Stone.\n\nWith regard to metalwork, Ringerike Style is best seen in two copper-gilt weather-vanes, from Källunge, Gotland and from Söderala, Hälsingland (the Söderala vane), both in Sweden. The former displays one face two axially-constructed loops in the form of snakes, which in turn sprout symmetrically-placed tendrils. The snake heads, as well as the animal and snake on the reverse, find more florid treatment than on the Vang Stone: all have lip lappets, the snakes bear pigtails, while all animals have a pear-shaped eye with the point directed towards the snout – a diagnostic feature of Ringerike Style.\n\nThe Ringerike Style evolved out of the earlier Mammen Style. It received its name from a group of runestones with animal and plant motifs in the Ringerike district north of Oslo. The most common motifs are lions, birds, band-shaped animals and spirals. Some elements appear for the first time in Scandinavian art, such as different types of crosses, palmettes and pretzel-shaped nooses that tie together two motifs. Most of the motifs have counterparts in Anglo-Saxon, Insular and Ottonian art.\n\nUrnes Style\n\nThe Urnes Style was the last phase of Scandinavian animal art during the second half of the 11th century and in the early 12th century. The Urnes Style is named after the northern gate of the Urnes stave church in Norway, but most objects in the style are runestones in Uppland, Sweden, which is why some scholars prefer to call it the Runestone style.\n\nThe style is characterized by slim and stylised animals that are interwoven into tight patterns. The animals heads are seen in profile, they have slender almond-shaped eyes and there are upwardly curled appendages on the noses and the necks.\n\nEarly Urnes Style\nThe early style has received a dating which is mainly based on runestone U 343, runestone U 344 and a silver bowl from c. 1050, which was found at Lilla Valla. The early version of this style on runestones comprises England Runestones referring to the Danegeld and Canute the Great and works by Åsmund Kåresson.\n\nMid-Urnes Style\nThe mid-Urnes Style has received a relatively firm dating based on its appearance on coins issued by Harald Hardrada (1047–1066) and by Olav Kyrre (1080–1090). Two wood carvings from Oslo have been dated to c. 1050–1100 and the Hørning plank is dated by dendrochronology to c. 1060–1070. There is, however, evidence suggesting that the mid-Urnes style was developed before 1050 in the manner it is represented by the runemasters Fot and Balli.\n\nLate Urnes Style\nThe mid-Urnes Style would stay popular side by side with the late Urnes style of the runemaster Öpir. He is famous for a style in which the animals are extremely thin and make circular patterns in open compositions. This style was not unique to Öpir and Sweden, but it also appears on a plank from Bølstad and on a chair from Trondheim, Norway.\n\nThe Jarlabanke Runestones show traits both from this late style and from the mid-Urnes style of Fot and Balli, and it was the Fot-Balli type that would mix with the Romanesque style in the 12th century.\n\nUrnes-Romanesque Style\nThe Urnes-Romanesque Style does not appear on runestones which suggests that the tradition of making runestones had died out when the mixed style made its appearance since it is well represented in Gotland and on the Swedish mainland. The Urnes-Romanesque Style can be dated independently of style thanks to representations from Oslo in the period 1100–1175, dendrochronological dating of the Lisbjerg frontal in Denmark to 1135, as well as Irish reliquaries that are dated to the second half of the 12th century.\n\nSee also\n\n Migration Period art\n Medieval art\n Celtic art\n Anglo-Saxon art\n Insular art\n Picture stone\n Runestone styles\n Interlace\n Saint Manchan's Shrine, Urnes style adapted to Ringerike style.\n\nNotes\n\nReferences\n\nBackground\n Brink, S. with Price, N. (eds) (2008). The Viking World, [Routledge Worlds], Routledge: London and New York, 2008. \n Graham-Campbell, J. (2001), The Viking World, London, 2001.\n\nGeneral Surveys\n Anker, P. (1970). The Art of Scandinavia, Volume I, London and New York, 1970.\n Fuglesang, S.H. (1996). \"Viking Art\", in Turner, J. (ed.), The Grove Dictionary of Art, Volume 32, London and New York, 1996, pp. 514–27, 531–32.\n Graham-Campbell, J. (1980). Viking Artefacts: A Select Catalogue, British Museum Publications: London, 1980. \n Graham-Campbell, James (2013). Viking Art, Thames & Hudson, 2013. \n Fred S. Kleiner, Gardner's Art Through The Ages: The Western Perspective, Volume I. (Boston, Mass.: Wadsworth Cengage Learning, 2009) \n Roesdahl, E. and Wilson, D.M. (eds) (1992). From Viking to Crusader: Scandinavia and Europe 800–1200, Copenhagen and New York, 1992. [exhibition catalogue]. \n Williams, G., Pentz, P. and Wemhoff, M. (eds), Vikings: Life and Legend, British Museum Press: London, 2014. [exhibition catalogue]. \n Wilson, D.M. & Klindt-Jensen, O. (1980). Viking Art, second edition, George Allen and Unwin, 1980.\n\nSpecialist Studies\n Arwidsson, G. (1942a). Valsgärdestudien I. Vendelstile: Email und Glas im 7.-8. Jahrhundert, [Acta Musei antiquitatum septentrionalium Regiae Universitatis Upsaliensis 2], Uppsala: Almqvist, 1942.\n Arwidsson, G. (1942b). Die Gräberfunde von Valsgärde I, Valsgärde 6, [Acta Musei antiquitatum septentrionalium Regiae Universitatis Upsaliensis 1], Uppsala: Almqvist & Wiksell, 1942.\n Bailey, R.N. (1980). Viking Age Sculpture in Northern England, Collins Archaeology: London, 1980. \n Bonde, N. and Christensen, A.E. (1993). \"Dendrochronological dating of the Viking Age ship burials at Oseberg, Gokstad and Tune, Norway\", Antiquity 67 (1993), pp. 575–83.\n Bruun, Per (1997).\"The Viking Ship,\" Journal of Coastal Research, 4 (1997): 1282–89. https://www.jstor.org/stable/4298737\n Capelle, T. (1968). Der Metallschmuck von Haithabu: Studien zur wikingischen Metallkunst, [Die Ausgrabungen in Haithabu 5], Neumunster: K. Wachholtz, 1968.\n James Curle, \"A Find of Viking Relics in the Hebrides,\" The Burlington Magazine for Connoisseurs 162 (1916): 241–43. https://www.jstor.org/stable/860122\n Fuglesang, S.H. (1980). Some Aspects of the Ringerike Style: A Phase of 11th Century Scandinavian Art, [Mediaeval Scandinavia Supplements], University Press of Southern Denmark: Odense, 1980. \n Fuglesang, S.H. (1981). \"Stylistic Groups in Late Viking and Early Romanesque Art\", Acta ad Archaeologiam et Artium Historiam Pertinentia, [Series altera in 8°] I, 1981, pp. 79–125.\n Fuglesang, S.H. (1982). \"Early Viking Art\", Acta ad Archaeologiam et Artium Historiam Pertinentia [Series altera in 8°] II, 1982, pp. 125–73.\n Fuglesang, S.H. (1991). \"The Axe-Head from Mammen and the Mammen Style\", in Iversen (1991), pp. 83–108.\n Fuglesang, S.H. (1998). \"Swedish Runestones of the Eleventh Century: Ornament and Dating\", in Düwel, K. and Nowak, S. (eds), Runeninschriften als Quellen interdisziplinärer Forschung: Abhandlungen des vierten internationalen Symposiums über Runen und Runeninschriften in Gottingen vom 4.-9. August 1995, Göttingen: Walter de Gruyter, 1998, pp. 197–218.\n Fuglesang, S.H. (2001). \"Animal Ornament: the Late Viking Period\", in Müller-Wille and Larsson (eds) (2001), pp. 157–94.\n Fuglesang, S.H. (2013). \"Copying and Creativity in Early Viking Ornament\", in Reynolds and Webster (eds) (2013), pp. 825–41.\n Hedeager, L. (2003). \"Beyond Mortality: Scandinavian Animal Styles AD 400–1200\", in Downes, J. and Ritchie, A. (eds), Sea Change: Orkney and Northern Europe in the Later Iron Age AD 300–800, Balgavies, 2003, pp. 127–36. \n Iversen, M. (ed.) (1991). Mammen: Grav, Kunst og Samfund i Vikingetid, [Jysk Arkæologisk Selskabs Skrifter XXVIII], Højbjerg, 1991. \n Kershaw, J. (2008). \"The Distribution of the 'Winchester' Style in Late Saxon England: Metalwork Finds from the Danelaw\", Anglo-Saxon Studies in Archaeology and History 15 (2008), pp. 254–69. Academic.edu\n Krafft, S. (1956). Pictorial Weavings from the Viking Age, Oslo: Dreyer, 1956.\n Lang, J.T. (1984). \"The hogback: a Viking colonial monument\", Anglo-Saxon Studies in Archaeology and History 3 (1984), pp. 85–176.\n Lang, J.T. (1988). Viking Age Decorated Wood: A Study of its Ornament and Style, Dublin: Royal Irish Academy, 1988. \n Moss, Rachel. Medieval c. 400—c. 1600: Art and Architecture of Ireland. New Haven, CT: Yale University Press, 2014. \n Müller-Wille, M. and Larsson, L.O. (eds) (2001). Tiere – Menschen – Götter: Wikingerzeitliche Kunststile und ihre Neuzeitliche Rezeption, Vandenhoeck & Ruprecht: Gottingen, 2001. \n Myhre, B. (1992). \"The Royal Cemetery at Borre, Vestfold: A Norwegian Centre in a European Periphery\", in Carter, M. (ed.), The Age of Sutton Hoo. The Seventh Century in North-West Europe, Woodbridge: Boydell, 1992.\n Owen, O. (2001). \"The strange beast that is the English Urnes Style\", in Graham-Campbell, J. et al. (eds), Vikings and the Danelaw – Selected Papers from the Proceedings of the Thirteenth Viking Congress, Oxford: Oxbow, 2001, pp. 203–22.\n Paterson, C. (2002). \"From Pendants to Brooches – The Exchange of Borre and Jelling Style Motifs across the North Sea\", Hikuin 29 (2002), pp. 267–76.\n Reynolds, A. and Webster, L. (eds) (2013), Early Medieval Art and Archaeology in the Northern World—Studies in Honour of James Graham-Campbell, Brill: Leiden and Boston, 2013. \n Richards, J.D. and Naylor, J. (2010). \"The metal detector and the Viking Age in England\", in Sheehan, J. and Corráin, D. Ó. (eds), The Viking Age. Ireland and the West. Proceedings of the Fifteenth Viking Congress, Dublin: Four Courts Press, 2010, pp. 338–52.\n Roesdahl, E. (1994). \"Dendrochronology and Viking Studies in Denmark, with a Note on the Beginning of the Viking Age\", in Abrosiani, B. and Clarke, H. (eds), Developments around the Baltic and the North Sea in the Viking Age, Stockholm: Birka Project for Riksantikvarieämbetet and Statens Historiska Museer, 1994, pp. 106–16.\n Roesdahl, E. (2010a). \"Viking Art in European Churches (Cammin – Bamberg – Prague – León)\", in Sheehan and Ó Corráin (eds) (2010), pp. 149–64.\n Roesdahl, E. (2010b). \"From Scandinavia to Spain: a Viking Age Reliquary in León and its Significance\", in Sheehan, J. and Corráin, D. Ó. (eds), The Viking Age. Ireland and the West. Proceedings of the Fifteenth Viking Congress, Dublin: Four Courts Press, 2010, pp. 353–60.\n Salin, Bernhard (1904). Die altgermanische Thieronamentik, Stockholm: Wahlström & Widstrand, 1904.\n Sheehan, J. and Ó Corráin, D. (eds) (2010). The Viking Age: Ireland and the West. Proceedings of the XVth Viking Congress, Cork, 2005., Dublin and Portland: Four Courts Press, 2010. \n Shetelig, H. (1920). Osebergfundet, Volume III, Kristiania, 1920.\n Wilson, D.M. (2001). \"The Earliest Animal Styles of the Viking Age\", in Müller-Wille and Larsson (eds) (2001), pp. 131–56.\n Wilson, D.M. (2008a). \"The Development of Viking Art\", in Brink with Price (2008), pp. 323–38.\n Wilson, D.M. (2008b). The Vikings in the Isle of Man, Aarhus: Aarhus University Press, 2008. \n\nExternal links\n British Museum: Explore / World Cultures: Vikings\n Sorabella, Jean, \"The Vikings (780–1100)\", in Heilbrunn Timeline of Art History, New York: The Metropolitan Museum of Art, 2000–. Updated October 2002.\n Age of spirituality : late antique and early Christian art, third to seventh century'' from The Metropolitan Museum of Art\n Oseberg Ship\n Oseberg Style Cart\n Examples of the Broa and Oseberg Style\n Borrehaugene\n Jane Kershaw, Viking-Age Scandinavian art styles and their appearance in the British Isles – Part 1: Early Viking-Age art styles – The Finds Research Group AD 700–1700, Datasheet 42, 2010. (Academia.edu registration required).\n Jane Kershaw, Viking-Age Scandinavian art styles and their appearance in the British Isles Part 2: Late Viking-Age art styles – The Finds Research Group AD 700–1700, Datasheet 43, 2011. (Academia.edu registration required).", "title": "Viking art" }, { "text": "Hercules' Club (also Hercules-club, Club-of-Hercules; German , ) is a Roman Empire and Migration-era artefact type.\n\nRoman-era Hercules's Clubs appear from the 2nd to the 3rd century, spread over the empire (including in Roman Britain, cf. Cool 1986), mostly made of gold, shaped like wooden clubs.\nA specimen found in Köln-Nippes bears the inscription \"DEO HER[culi]\", confirming the association with Hercules. Indeed, already Tacitus mentions a special affinity of the Germans for Hercules, stating \"they say that Hercules, too, once visited them; and when going into battle, they sing of him first of all heroes.\" This Hercules may be Tacitus' identification of Donar through interpretatio romana.\n\nThere are two basic types, the smaller type (ca. 3 cm) cast in molds, \nand the larger (ca. 5 cm) wrought from sheet metal. A type of bone pendants found in Iron Age (Biblical period) Palestine is also associated with the Club-of-Hercules jewelry of the Roman era (Platt 1978). A votive mace made of bronze found in Willingham Fen, Cambridgeshire in 1857 follows the Roman model in shape and the representation of wooden knobs on the club, but adding indigenous (Celtic) iconography by depicting animal heads, anthropomorphic figures and a wheel at the club's base.\n \nIn the 5th to 7th centuries, during the Germanic migration, the amulet type rapidly spread from the Elbe Germanic area across Europe. These Germanic \"Donar's Clubs\" were made from deer antler, bone or wood, more rarely also from bronze or precious metals. They are found exclusively in female graves, apparently worn either as a belt pendant, or as an ear pendant.\n \nThe amulet type was replaced by the Viking Age Thor's hammer pendants in the course of the Christianization of Scandinavia from the 8th to 9th century.\n\nReferences\n\nSee also\nMigration period art\nDonar's oak\nThor's hammer\n\nCategory:2nd-century establishments in the Roman Empire\nCategory:Archaeological artefact types\nCategory:Germanic archaeological artifacts\nCategory:Ancient Roman religion\nCategory:Magic (supernatural)\nCategory:Amulets\nCategory:Hercules\nCategory:Thor", "title": "Hercules' Club (amulet)" }, { "text": "Anglo-Saxon art covers art produced within the Anglo-Saxon period of English history, beginning with the Migration period style that the Anglo-Saxons brought with them from the continent in the 5th century, and ending in 1066 with the Norman Conquest of England, whose sophisticated art was influential in much of northern Europe. The two periods of outstanding achievement were the 7th and 8th centuries, with the metalwork and jewellery from Sutton Hoo and a series of magnificent illuminated manuscripts, and the final period after about 950, when there was a revival of English culture after the end of the Viking invasions. By the time of the Conquest the move to the Romanesque style is nearly complete. The important artistic centres, in so far as these can be established, were concentrated in the extremities of England, in Northumbria, especially in the early period, and Wessex and Kent near the south coast.\n\nAnglo-Saxon art survives mostly in illuminated manuscripts, Anglo-Saxon architecture, a number of very fine ivory carvings, and some works in metal and other materials. Opus Anglicanum (\"English work\") was already recognised as the finest embroidery in Europe, although only a few pieces from the Anglo-Saxon period remain – the Bayeux Tapestry is a rather different sort of embroidery, on a far larger scale. As in most of Europe at the time, metalwork was the most highly regarded form of art by the Anglo-Saxons, but hardly any survives – there was enormous plundering of Anglo-Saxon churches, monasteries and the possessions of the dispossessed nobility by the new Norman rulers in their first decades, as well as the Norsemen before them, and the English Reformation after them, and most survivals were once on the continent. Anglo-Saxon taste favoured brightness and colour, and an effort of the imagination is often needed to see the excavated and worn remains that survive as they once were.\n\nPerhaps the best known piece of Anglo-Saxon art is the Bayeux Tapestry which was commissioned by a Norman patron from English artists working in the traditional Anglo-Saxon style. Anglo-Saxon artists also worked in fresco, stone, ivory and whalebone (notably the Franks Casket), metalwork (for example the Fuller brooch), glass and enamel, many examples of which have been recovered through archaeological excavation and some of which have simply been preserved over the centuries, especially in churches on the Continent, as the Vikings, Normans and Reformation iconoclasm between them left virtually nothing in England except for books and archaeological finds.\n\nOverview\n\nMetalwork is almost the only form in which the earliest Anglo-Saxon art has survived, mostly in Germanic-style jewellery (including fittings for clothes and weapons) which was, before the Christianization of Anglo-Saxon England, commonly placed in burials. After the conversion, which took most of the 7th century, the fusion of Germanic Anglo-Saxon, Celtic and Late Antique techniques and motifs, together with the requirement for books, created the Hiberno-Saxon style, or Insular art, which is also seen in illuminated manuscripts and some carved stone and ivory, probably mostly drawing from decorative metalwork motifs, and with further influences from the British Celts of the west and the Franks. \n\nThe Kingdom of Northumbria in the far north of England was the crucible of Insular style in Britain, at centres such as Lindisfarne, founded c. 635 as an offshoot of the Irish monastery on Iona, and Monkwearmouth-Jarrow Abbey (674) which looked to the continent. At about the same time as the Insular Lindisfarne Gospels was being made in the early 8th century, the Vespasian Psalter from Canterbury in the far south, which the missionaries from Rome had made their headquarters, shows a wholly different, classically based art. These two styles mixed and developed together and by the following century the resulting Anglo-Saxon style had reached maturity.\n\nHowever Anglo-Saxon society was massively disrupted in the 9th century, especially the later half, by the Viking invasions, and the number of significant objects surviving falls considerably, and their dating becomes even vaguer than of those from a century before. Most monasteries in the north were closed for decades, if not forever, and after the Canterbury Bible of before 850, perhaps well before, \"no major illuminated manuscript is known until well on into the tenth century\". King Alfred (r. 871–899) held the Vikings back to a line running diagonally across the middle of England, above which they settled in the Danelaw, and were gradually integrated into what was now a unified Anglo-Saxon kingdom.\n\nThe final phase of Anglo-Saxon art is known as the Winchester School or style, though it was produced in many centres in the south of England, and perhaps the Midlands also. Elements of this begin to be seen from around 900, but the first major manuscripts only appear around the 930s. The style combined influences from the continental art of the Holy Roman Empire with elements of older English art, and some particular elements including a nervous agitated style of drapery, sometimes matched by figures, especially in line drawings, which are the only images in many manuscripts, and were to remain especially prominent in medieval English art.\n\nIlluminated manuscripts\n\nEarly Anglo-Saxon manuscript illumination forms part of Insular art, a combination of influences from Mediterranean, Celtic and Germanic styles that arose when the Anglo-Saxons encountered Irish missionary activity in Northumbria, at Lindisfarne and Iona in particular. At the same time the Gregorian mission from Rome and its successors imported continental manuscripts like the Italian St. Augustine Gospels, and for a considerable period the two styles appear mixed in a variety of proportions in Anglo-Saxon manuscripts. \n\nIn the Lindisfarne Gospels, of around 700–715, there are carpet pages and Insular initials of unprecedented complexity and sophistication, but the evangelist portraits, clearly following Italian models, greatly simplify them, misunderstand some details of the setting, and give them a border with interlace corners. The portrait of St Matthew is based on the same Italian model, or one extremely similar, used for the figure of Ezra that is one of the two large miniatures in the Codex Amiatinus (before 716), but the style there is very different; a far more illusionistic treatment, and an \"attempt to introduce a pure Mediterranean style into Anglo-Saxon England\", which failed, as \"perhaps too advanced\", leaving these images apparently as the only evidence.\n\nA different mixture is seen in the opening from the Stockholm Codex Aureus (mid-8th century, above left) where the evangelist portrait to the left is in a consistent adaptation of Italian style, probably closely following some lost model, though adding interlace to the chair frame, while the text page to the right is mainly in Insular style, especially in the first line, with its vigorous Celtic spirals and interlace. The following lines revert to a quieter style more typical of Frankish manuscripts of the period. Yet the same artist almost certainly produced both pages, and is very confident in both styles; the evangelist portrait of John includes roundels with Celtic spiral decoration probably drawn from the enamelled escutcheons of hanging bowls. \n\nThis is one of the so-called \"Tiberius group\" of manuscripts, which leant towards the Italian style, and appear to be associated with Kent, or perhaps the kingdom of Mercia in the heyday of the Mercian Supremacy. It is, in the usual chronology, the last English manuscript in which \"developed trumpet spiral patterns\" are found.\n\nThe 9th century, especially the latter half, has very few major survivals made in England, but was a period when Insular and Anglo-Saxon influence on Carolingian manuscripts was at its height, from scriptoria such as those at the Anglo-Saxon mission's foundation at Echternach Abbey (though the important Echternach Gospels were created in Northumbria), and the major monastery at Tours, where Alcuin of York was followed by another Anglo-Saxon abbot, between them covering the period from 796 to 834. Although Tours' own library was destroyed by Norsemen, over 60 9th century illuminated manuscripts from the scriptorium survive, in a style showing many borrowings from English models, especially in initial pages, where Insular influence remained visible in northern France until even the 12th century. The Anglo-Saxon metalwork produced in the Salzburg area of modern Austria has a manuscript counterpart in the \"Cutbercht Gospels\" in Vienna.\n\nBy the 10th century Insular elements were relegated to decorative embellishments in England, as the first phase of the \"Winchester style\" developed. The first plant ornament, with leaves and grapes, was already seen in an initial in the Leningrad Bede, which can probably be dated to 746. The other large initial in the manuscript is the first historiated initial (one containing a portrait or scene, here Christ or a saint) in the whole of Europe. The classically derived vine or plant scroll was to largely oust interlace as the dominant filler of ornamental spaces in Anglo-Saxon art, just as it did in much of Europe beginning with Carolingian art, though in England animals within the scrolls remained much more common than abroad. For some long time scrolls, especially in metal, bone or ivory, are prone to have an animal head at one end and a plant element at the other. \n\nAll these changes were not restricted to manuscripts, and may not have been driven by manuscript style, but we have a greater number of manuscripts surviving than works in other media, even if in most cases illuminations are restricted to initials and perhaps a few miniatures. Several ambitious projects of illumination are unfinished, such as the Old English Hexateuch, which has some 550 scenes in various stages of completion, giving insight into working methods. The illustrations give Old Testament scenes an entirely contemporary setting and are valuable images of Anglo-Saxon life.\n\nManuscripts from the Winchester School or style only survive from about the 930s onwards; this coincided with a wave of revival and reform within English monasticism, encouraged by King Æthelstan (r. 924/5-939) and his successors. Æthelstan promoted Dunstan (909–988), a practising illuminator, eventually to Archbishop of Canterbury, and also Æthelwold and the French-trained Norseman Oswald. Illumination in a new style appears in a manuscript of the biographies by Bede of St Cuthbert given by Æthelstan to the monastery in Chester-le-Street about 937. There is a dedication portrait of the king presenting his book to the saint, the two of them standing outside a large church. This is the first real portrait of an English king, and heavily influenced by Carolingian style, with an elegant inhabited acanthus border. However, the initials in the text combine Carolingian elements with animal forms in inventive fashion. Miniatures added in England to the continental Aethelstan Psalter begin to show Anglo-Saxon liveliness in figure drawing in compositions derived from Carolingian and Byzantine models, and over the following decades the distinctive Winchester style with agitated draperies and elaborate acanthus borders develops.\n\nThe Benedictional of St. Æthelwold is a masterpiece of the later Winchester style, which drew on Insular, Carolingian, and Byzantine art to make a heavier and more grandiose style, where the broad classicising acanthus foliage sometimes seems over-luxuriant. Anglo-Saxon illustration included many lively pen drawings, on which the Carolingian Utrecht Psalter, in Canterbury from about 1000, was highly influential; the Harley Psalter is a copy of it. The Ramsey Psalter (c. 990) contains pages in both the painted and tinted drawing styles, including the first Beatus initial with a \"lion mask\", while the Tiberius Psalter, from the last years before the Conquest, uses mainly the tinted. Anglo-Saxon culture was coming into increasing contact with, and exchanging influences with, a wider Latin Mediaeval Europe. Anglo-Saxon drawing had a great influence in Northern France throughout the 11th century, in the so-called \"Channel school\", and Insular decorative elements such as interlace remained popular into the 12th century in the Franco-Saxon style.\n\nMetalwork \n\nPagan Anglo-Saxon metalwork initially uses the Germanic Animal Style I and II decoration that would be expected from recent immigrants, but gradually develops a distinctive Anglo-Saxon character, as in the Quoit Brooch Style of the 5th century. Anglo-Saxon brooches are the most common survivals of fine metalwork from the earlier period, when they were buried as grave goods. Round disk brooches were preferred for the grandest pieces, over continental styles of fibulae and Romano-British penannular brooches, a consistent Anglo-Saxon taste throughout the period; the Kingston Brooch and Harford Farm Brooch are 7th-century examples. Decoration included cloisonné (\"cellwork\"), in gold and garnet for high-status pieces.\n\nDespite a considerable number of other finds, the discovery of the ship-burial at Sutton Hoo, probably interred in the 620s, transformed the history of Anglo-Saxon art, showing a level of sophistication and quality that was wholly unexpected at this date. The most famous finds are the helmet and matching suite of purse-lid, belt and other fittings of the king buried there, which made clear the source in Anglo-Saxon art, previously much disputed, of many elements of the style of Insular manuscripts.\n\nBy the 10th century Anglo-Saxon metalwork had a famous reputation as far afield as Italy, where English goldsmiths worked on plate for the altar of St Peter's itself, but hardly any pieces have survived the depredations of the Norman Conquest in 1066, and the English Reformation, and none of the large-scale ones, shrines, doors and statues, that we know existed, and of which a few contemporary continental examples have survived.\n\nThe references to specific works by the 11th-century monastic artist Spearhafoc, none of which have identifiably survived, are about works in precious metal, and he is one of a small number of metalwork artists from the period whose name we know and whose work is described in any way. According to several sources, including the Norman chronicler Goscelin, who knew him personally, Spearhafoc \"was outstanding in painting, gold-engraving and goldsmithery\", the painting very likely mainly in illuminated manuscripts. It was probably his artistic work which brought into contact with the royal family, and launched his rapid promotion in the church. Even the imprecise details given, mostly by Goscelin, are therefore valuable evidence of what Anglo-Saxon metalwork was like.\n\nAnglo-Saxon skill in gold-engraving, designs and figures engraved on gold objects, is mentioned by many foreign sources, and the few remaining engraved figures closely parallel the far more numerous pen-drawn figures in manuscripts, also an Anglo-Saxon speciality. Wall-paintings, which seem to have sometimes contained gold, were also apparently often made by manuscript illuminators, and Goscelin's description of his talents therefore suggests an artist skilled in all the main Anglo-Saxon media for figurative art – of which being a goldsmith was then regarded as the most prestigious branch. One 11th-century lay goldsmith was even a thegn.\n\nMany monastic artists reached senior positions; Spearhafoc's career in metalwork was paralleled in less sensational fashion by his contemporary Mannig, Abbot of Evesham (Abbot 1044–58, d. 1066), and at the end of the previous century Saint Dunstan had been a very successful Archbishop of Canterbury. Like Spearhafoc, Mannig's biography, with some precise details, is given in the chronicle maintained by his abbey. His work also had a miracle associated with it – the lay goldsmith Godric stabbed his hand with an awl during the work on the large shrine at Evesham, which was miraculously healed overnight. Spearhafoc and Mannig are the \"only two goldsmiths of whom we have extended accounts\", and the additional information given about Godric, the leader of a team brought in by Mannig for the shrine, is also unique among the surviving evidence. Some twenty years after the miracle, he joined the Abbey of Evesham, presumably in retirement, and his son later became Prior there.\n\nIn the final century of the period some large figures in precious metal are recorded; presumably these were made of thin sheets over a wooden core like the Golden Madonna of Essen, the largest example of this type of Early Medieval figure to survive from anywhere in Europe. These appear to have been life-size, or nearly so, and were mostly crucifixes, sometimes with figures of Mary and John the Evangelist on either side. Patronage by the great figures of the land, and the largest monasteries, became extravagant in this period, and the greatest late Anglo-Saxon churches must have presented a dazzling spectacle, somewhat in the style of Eastern Orthodox churches. Anglo-Saxon taste revelled in expensive materials and the effects of light on precious metals, which were also embroidered into fabrics and used on wall-paintings. Sections of decorated elements from some large looted works such as reliquaries were sawn up by Viking raiders and taken home to their wives to wear as jewellery, and a number of these survive in Scandinavian museums.\n\nWhile larger works are all lost, several small objects and fragments have survived, nearly all having been buried; in recent decades professional archaeology as well as metal-detecting and deep ploughing have greatly increased the number of objects known. Among the few unburied exceptions are the secular Fuller Brooch, and two works made in Anglo-Saxon style carried to Austria by the Anglo-Saxon mission, the Tassilo Chalice (late 8th century) and the Rupertus Cross. Especially in the 9th century, Anglo-Saxon styles, sometimes derived from manuscripts rather than metal examples, are found in a great number of smaller pieces of jewellery and other small fittings from across northern Europe.\n\nFrom England itself, the Alfred Jewel, with an enamel face, is the best known of a group of finely worked liturgical jewels, and there are a number of high quality disk brooches. The most ornate of earlier ones are colourful and complicated with inlays and filigrees, but the 9th century Pentney Hoard, discovered in 1978, contained six splendid brooches in flat silver openwork in the \"Trewhiddle style\". In these small but fully formed animals, of no recognisable species, contort themselves in foliage and tendrils that interlace, but without the emphatic geometry of the earlier \"ribbon\" style. Ædwen's brooch, an 11th-century Anglo-Scandinavian silver disk brooch, shows influence from Viking art, and a fall-off from the highest earlier standards of workmanship.\n\nIn 2009 the Staffordshire hoard, a major hoard of over 1,500 fragments of 7th and ?8th century metalwork pieces, mostly gold and military in nature, many with gold and garnet cloisonné inlays of high quality, was found by a metal-detectorist in Staffordshire, then in Mercia. Jewellery is far more often found from burials of the early pagan period, as Christianity discouraged grave-goods, even the personal possessions of the deceased. Early Anglo-Saxon jewellery includes various types of fibulae that are close to their Continental Germanic equivalents, but until Sutton Hoo rarely of outstanding quality, which is why that find transformed thinking about early Anglo-Saxon art. Objects from the Royal Anglo-Saxon tomb in Prittlewell in Essex, dating from the late 6th century and discovered in 2003, were put on display in Southend Central Museum in 2019.\n\nThe earliest Anglo-Saxon coin type, the silver sceat, forced craftsmen, no doubt asked to copy Roman and contemporary continental styles, to work outside their traditional forms and conventions in respect of the heads on the obverse, with results that are varied and often compelling. Later silver pennies, with largely linear relief heads of kings in profile on the obverse, are more uniform, as representatives of what was a stable and respected currency by contemporary European standards. A number of complete seax knives have survived with inscriptions and some decoration, and sword fittings and other military pieces are an important form of jewellery. A treatise on social status needed to say that mere ownership of a gilded sword did not make a man a ceorle, the lowest rank of free men.\n\nMonumental sculpture and wall painting\n\nApart from Anglo-Saxon architecture, which survives entirely in churches, with only a handful of largely unaltered examples, monumental stone sculpture survives in large stone crosses, an equivalent to the high crosses of the Celtic areas of Britain. Most sculpture was probably once painted, clarifying the designs, which are mostly in relatively low relief and not finished with great precision, and now almost all badly worn and weathered. Dating is usually difficult. \n\nSculpture in wood was very likely more common, but almost the only significant large survival is St Cuthbert's coffin in Durham Cathedral, probably made in 698, with numerous linear images carved or incised in a technique that is a sort of large-scale engraving. The material of the earliest recorded crosses is unknown, but may well have been wood. From various references (to its destruction by Christians) there would seem to have been a tradition of Anglo-Saxon pagan monumental sculpture, probably in wood, of which no examples remain (as opposed to later Anglo-Scandinavian pagan imagery), and with which the crosses initially competed.\n\nThe Anglo-Saxon crosses have survived less well than those in Ireland, being more subject to iconoclasm after the English Reformation. Some featured large figurative sculpture of considerable quality, as on the Ruthwell Cross and Bewcastle Cross (both probably around 800). Vine-scroll decoration and interlace are seen in alternating panels on the early Northumbrian Ruthwell, Bewcastle and Easby Crosses, though the vine-scroll is already more prominent, and has faces to itself. Later Southumbrian crosses often only use vine-scrolls. There may be inscriptions, in the runic or Roman scripts, and Latin or Old English, most famously at Ruthwell, where some of the poem the Dream of the Rood is inscribed together with Latin texts; more often donors are commemorated. It has also been suggested that as well as paint, they may have been embellished with metalwork and gems.\n\nTypically, Anglo-Saxon crosses are tall and slender compared to Irish examples, many with a nearly square section, and more space given to ornament than figures. However, there are exceptions, like the massive Sandbach Crosses from Mercia, with oblong sections mostly covered by figures on the wider faces, like some Irish crosses. The Gosforth Cross, of 930–950, is a rare example to survive complete; most survivals are only a section of the shaft, and iconoclasts were more concerned to destroy imagery than ornament. Many crosses must have just fallen over after some centuries; headpieces are the least common survivals, and the Easby Cross was repaired with lead in a way described in early documents. Like many monuments from the area of the Danelaw, the Gosforth Cross combines Christian images with those from pagan mythology; apart from a Crucifixion scene, and perhaps scenes of the Last Judgement, all the other images appear to belong to the Norse myth of Ragnarök, the destruction of the gods, a theme detected in other Christian monuments in Britain and Scandinavia, and which could be turned to Christian advantage.\n\nAnglo-Scandinavians took up Anglo-Saxon sculptural forms with great enthusiasm, and in Yorkshire alone there are fragments from more than 500 monumental sculptures of the 10th and 11th centuries. However quantity was not matched by quality, and even the products of the main city, York, are described by David M. Wilson as \"generally miserable and slipshod\". In the early stages the successive styles of Norse art appear in England, but gradually as political and cultural ties weakened the Anglo-Scandinavians fail to keep up with trends in the homeland. So elements of the Borre style are seen, for example in the \"ring-chain\" interlace on the Gosforth Cross, and then the complex animals of the Jelling style are mostly rather incompetently depicted in England, but traces of the next Mammen style are hard to detect; they are much clearer on the Isle of Man. They are \"perhaps, dimly\" evident in the cross shaft from St Oswald's Priory, Gloucester (illustrated above right). In general the traces of these styles in other media are even fainter. \n\nA uniquely Anglo-Scandinavian form is the hogback, low grave-marker shaped like a long house with a pitched roof, and sometimes muzzled bears clutching on to each end. Ornament is sometimes a crude pattern of scoring, or scale-like elements presumably representing roofing shingles, but may include interlace and images.\n\nMany fragments, parts of friezes and panels with figure and ornamental carving, have been recovered by archaeology, usually after being reused in rebuilt churches. The largest group of Anglo-Saxon sculpture is from a former abbey at Breedon-on-the-Hill in Mercia, with a number of elements of different dates, including lively narrow decorative strip friezes, many including human figures, and panels with saints and the Virgin. The most intriguing fragments are firstly a group, now at Canterbury Cathedral, from St Mary's Church, Reculver, in Kent, from a large composition with many figure scenes and groups on a curved surface, evidently of high quality, though uncertain date (perhaps early 10th century). A Sacrifice of Isaac and an Ascension can be identified, and parts of standing groups of saints, prophets or apostles.\n\nStanding equally apart from other survivals is a late slab from the Old Minster, Winchester which appears to show a section of a large frieze with the story from Germanic mythology of Sigmund, which it has been suggested may have been as long as eighty feet wide, and over four feet high. There are literary references to secular narrative tapestries, a tradition of which the Bayeux Tapestry is the only survival, and this may have been a stone equivalent, celebrating Sigmund, who was believed to be an ancestor of the intermarried royal houses of both England and Denmark, many of whom were buried in what was then the largest church in England.\n\nIt is also clear from literary sources that wall paintings were not uncommon, although not a prestigious form, and fragments of painted plaster have been found, as well as a painted face on a reused stone at Winchester, dating to before 903, and so an important early example of the Winchester figure style. A metaphor in a letter of Alcuin speaks of \"stars, like the painted ceiling of a great man's house\". However, no paintings that are at all complete have survived on either wall or panel.\n\nIvory carving\n\nAs in the rest of the Christian world, while monumental sculpture was slowly re-emerging from its virtual absence in the Early Christian period, small-scale sculpture in metalwork, ivory carving and also bone carving was more important than in later periods, and by no means a \"minor art\". Most Anglo-Saxon ivory was from marine animals, especially the walrus, imported from further north. The extraordinary early Franks Casket is carved from whalebone, which a riddle on it alludes to. It contains a unique mixture of pagan, historical and Christian scenes, evidently attempting to cover a general history of the world, and inscriptions in runes in both Latin and Old English. \n\nWe have few Anglo-Saxon panels from book-covers compared to those from Carolingian and Ottonian art but a number of figures of very high quality in high relief or fully in the round. In the last phase of Anglo-Saxon art two styles are apparent: one a heavier and formal one drawing from Carolingian and Ottonian sources, and the other the Winchester style, drawing from the Utrecht Psalter and an alternative Carolingian tradition. A very late boxwood casket, now in Cleveland, Ohio, is carved all over with scenes from the Life of Christ in a provincial but accomplished version of the Winchester style, possibly originating in the West Midlands, and is a unique survival of late Anglo-Saxon fine wood carving.\n\nTextile art\n\nThe textile arts of embroidery and \"tapestry\", Opus anglicanum, were apparently those for which Anglo-Saxon England was famous throughout Europe by the end of the period, but there are only a handful of survivals, probably partly because of the Anglo-Saxon love of using threads in precious metal, making the work valuable for scrap.\n\nThe Bayeux Tapestry is embroidered in wool on linen and shows the story of the Norman conquest of England; it is surely the best known Anglo-Saxon work of art, and though made after the Conquest was both made in England and firmly in an Anglo-Saxon tradition, points now accepted by French art-historians. Such tapestries adorned both churches and wealthy houses in England, though at 0.5 by 68.38 metres (1.6 by 224.3 ft, and apparently incomplete) the Bayeux Tapestry must be exceptionally large. Only the figures and decoration are embroidered, on a background left plain, which shows the subject very clearly and was necessary to cover very large areas. All kinds of textile arts were produced by women, both nuns and laywomen, but many were probably designed by artists in other media. Byzantine silks were available, though certainly expensive, in Anglo-Saxon England, and a number of pieces have been found used in burials and reliquaries. Probably, as in later vestments, these were often married with locally embroidered borders and panels. If we had more Anglo-Saxon survivals, Byzantine influences would no doubt be apparent.\n\nThe most highly valued embroideries were very different, fully worked in silk and gold of silver thread, and sometimes with gems of various sorts sewn in. These were used for vestments, altar-cloths and other church uses, and similar roles in the homes of the elite. Only a few pieces have survived, including three pieces at Durham placed in the coffin of St Cuthbert, probably in the 930s, after being given by King Athelstan; they were made in Winchester between 909 and 916. These are works \"of breathtaking brilliance and quality\", according to Wilson, including figures of saints, and important early examples of the Winchester style, though the origin of their style is a puzzle; they are closest to the wall-painting fragment from Winchester mentioned above, and an early example of acanthus decoration.\n\nThe earliest group of survivals, now re-arranged and with the precious metal thread mostly picked out, are bands or borders from vestments, incorporating pearls and glass beads, with various types of scroll and animal decoration. These are probably 9th century and now in a church in Maaseik in Belgium. A further style of textile is a vestment illustrated in a miniature portrait of Saint Aethelwold in his Benedictional (see above), which shows the edge of what appears to be a huge acanthus \"flower\" (a term used in several documentary records) covering the wearer's back and shoulders. Other written sources mention other large-scale compositions.\n\nOther materials\n\nAnglo-Saxon glass was mostly made in simple forms, with vessels always in a single colour, either clear, green or brown, but some fancy claw beakers decorated with large \"claw\" forms have survived, mostly broken; these forms are also found in northern continental Europe. Beads, common in early female burials, and some ecclesiastical window glass was more brightly coloured, and several monastic sites have evidence of glass production. Vessel and bead production probably continued, at a much lower level, from the Romano-British industry, but Bede records that Benedict Biscop brought glass-makers from Gaul for window glass at his monasteries. It is not clear how much Anglo-Saxon glass was imported, but canes of millefiori coloured glass almost certainly were; one of these was in the purse at Sutton Hoo. Otherwise recycling of Roman glass may have avoided the need to import raw glass; evidence for the production of this is slender. Glass is sometimes used as a substitute for garnet in jewellery, as in some pieces from Sutton Hoo. Enamel was used, most famously in the Alfred Jewel, where the image sits under carved rock crystal, both materials are extremely rare in surviving Anglo-Saxon work.\n\nThe unique decorated leather cover of the small Northumbrian St Cuthbert Gospel, the oldest Western bookbinding to survive unaltered, can be dated to 698 or shortly before. It uses incised lines, some colours, and relief decoration built up over cord and gesso or leather pieces. Larger prestige manuscripts had metalwork treasure bindings, several of which are mentioned, but there may well have been much decorated leatherwork for secular satchels, purses, belts and the like, which contemporaries did not bother to mention and which represents a gap in our knowledge for the Early Medieval period throughout Europe.\n\nAftermath\n\nRelatively little art survives from the rest of the century after 1066, or at least is confidently dated to that period. The art of Normandy was already under heavy Anglo-Saxon influence, but the period was one of massive despoliation of the churches by the small new ruling class, who had almost entirely dispossessed the old Anglo-Saxon elite. Under these circumstances little significant art was produced, but when it was, the style often showed a slow development of Anglo-Saxon styles into a fully Romanesque version. The attribution of many individual objects has jumped around across the boundary of the Norman Conquest, especially for sculpture, including ivories. A number of objects are claimed for their period by both the \"Golden Age of Anglo-Saxon Art\" and the \"English Romanesque art: 1066–1200\" exhibition catalogues, despite both being published in 1984. These include the ivory triangle mount with angels and the \"Sigurd\" stone relief fragment (discussed above), both from Winchester, and the ivory \"pen-case\" and Baptism (illustrated above), both in the British Museum.\n\nThe energy, love of complicated twining ornament, and refusal to wholly respect a dignified classical decorum that are displayed in both Insular and Winchester school art had already influenced continental style, as discussed above, where it provided an alternative to the heavy monumentality that Ottonian art displays even in small objects. This habit of mind was an essential component of both the Romanesque and Gothic styles, where forms of Anglo-Saxon invention such as the inhabited and historiated initials became more important than they ever had in Anglo-Saxon art itself, and works like the Gloucester Candlestick (c. 1110) show the process in other media.\n\nAnglo-Saxon iconographical innovations include the animal Hellmouth, the ascending Christ shown only as a pair of legs and feet disappearing at the top of the image, the horned Moses, St John the Evangelist standing at the foot of the cross and writing, and God the Father creating the world with a pair of compasses. All of these were later used across Europe. The earliest developed depiction of the Last Judgement in the West is also found on an Anglo-Saxon ivory, and a late Anglo-Saxon Gospel book may show the earliest example of Mary Magdalene at the foot of the cross in a Crucifixion.\n\nSee also \n\nMedieval art\nViking art\nMigration Period art\nList of illuminated Anglo-Saxon manuscripts\nAnglo-Saxon architecture\nAnglo-Saxon literature\nAnglo-Saxon glass\n\nNotes\n\nReferences \n \n\"Dodwell (1982)\": Dodwell, C. R., Anglo-Saxon Art, A New Perspective, 1982, Manchester UP, \n\"Dodwell (1993)\": Dodwell, C. R., The Pictorial arts of the West, 800–1200, 1993, Yale UP, \n\"Golden Age\": Backhouse, Janet, Turner, D.H., and Webster, Leslie, eds.; The Golden Age of Anglo-Saxon Art, 966–1066, 1984, British Museum Publications Ltd, \nHenderson, George. Early Medieval, 1972, rev. 1977, Penguin.\n\"History\": Historia Ecclesie Abbendonensis: The History of the Church of Abingdon, Translated by John Hudson, Oxford University Press, 2002, \nNordenfalk, Carl. Celtic and Anglo-Saxon Painting: Book illumination in the British Isles 600–800. Chatto & Windus, London (New York: George Braziller), 1977.\nSchiller, Gertrud, Iconography of Christian Art, Vol. II, 1972 (English trans from German), Lund Humphries, London, \nWilson, David M.; Anglo-Saxon: Art From The Seventh Century To The Norman Conquest, Thames and Hudson (US edn. Overlook Press), 1984.\nZarnecki, George and others; English Romanesque Art, 1066–1200, 1984, Arts Council of Great Britain,\n\nFurther reading\n Brown, Michelle, The Lindisfarne Gospels and the Early Medieval World (2010)\n Webster, Leslie, Anglo-Saxon Art, 2012, British Museum Press, \n Karkov, Catherine E., The Art of Anglo-Saxon England, 2011, Boydell Press, , \n Coatsworth, Elizabeth; Pinder, Michael, The Art of the Anglo-Saxon Goldsmith; Fine Metalwork in Anglo-Saxon England: its Practice and Practitioners, 2002, Boydell Press\n\nExternal links \n\nCorpus of Anglo-Saxon Stone Sculpture hosted by Durham University\nAn Introduction to Anglo-Saxon Manuscripts -online seminar\n\n \nCategory:English art\nCategory:Medieval art", "title": "Anglo-Saxon art" }, { "text": "Art is a diverse range of human activity, and resulting product, that involves creative or imaginative talent expressive of technical proficiency, beauty, emotional power, or conceptual ideas.\n\nThere is no generally agreed definition of what constitutes art, and its interpretation has varied greatly throughout history and across cultures. In the Western tradition, the three classical branches of visual art are painting, sculpture, and architecture. Theatre, dance, and other performing arts, as well as literature, music, film and other media such as interactive media, are included in a broader definition of the arts. Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts.\n\nThe nature of art and related concepts, such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics. The resulting artworks are studied in the professional fields of art criticism and the history of art.\n\nOverview\nIn the perspective of the history of art, artistic works have existed for almost as long as humankind: from early prehistoric art to contemporary art; however, some theorists think that the typical concept of \"artistic works\" does not fit well outside modern Western societies. One early sense of the definition of art is closely related to the older Latin meaning, which roughly translates to \"skill\" or \"craft\", as associated with words such as \"artisan\". English words derived from this meaning include artifact, artificial, artifice, medical arts, and military arts. However, there are many other colloquial uses of the word, all with some relation to its etymology.\n\nOver time, philosophers like Plato, Aristotle, Socrates and Immanuel Kant, among others, questioned the meaning of art. Several dialogues in Plato tackle questions about art: Socrates says that poetry is inspired by the muses, and is not rational. He speaks approvingly of this, and other forms of divine madness (drunkenness, eroticism, and dreaming) in the Phaedrus (265a–c), and yet in the Republic wants to outlaw Homer's great poetic art, and laughter as well. In Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. The dialogue Ion suggests that Homer's Iliad functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted.\n\nWith regards to the literary art and the musical arts, Aristotle considered epic poetry, tragedy, comedy, Dithyrambic poetry and music to be mimetic or imitative art, each varying in imitation by medium, object, and manner. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language. The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, and through drama or no drama. Aristotle believed that imitation is natural to mankind and constitutes one of mankind's advantages over animals.\n\nThe more recent and specific sense of the word art as an abbreviation for creative art or fine art emerged in the early 17th century. Fine art refers to a skill used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of more refined or finer works of art.\n\nWithin this latter sense, the word art may refer to several things: (i) a study of a creative skill, (ii) a process of using the creative skill, (iii) a product of the creative skill, or (iv) the audience's experience with the creative skill. The creative arts (art as discipline) are a collection of disciplines which produce artworks (art as objects) that are compelled by a personal drive (art as activity) and convey a message, mood, or symbolism for the perceiver to interpret (art as experience). Art is something that stimulates an individual's thoughts, emotions, beliefs, or ideas through the senses. Works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. For some scholars, such as Kant, the sciences and the arts could be distinguished by taking science as representing the domain of knowledge and the arts as representing the domain of the freedom of artistic expression.\n\nOften, if the skill is being used in a common or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are sometimes considered applied art. Some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference. However, even fine art often has goals beyond pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art; to create a sense of beauty (see aesthetics); to explore the nature of perception; for pleasure; or to generate strong emotions. The purpose may also be seemingly nonexistent.\n\nThe nature of art has been described by philosopher Richard Wollheim as \"one of the most elusive of the traditional problems of human culture\". Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Art as mimesis has deep roots in the philosophy of Aristotle. Leo Tolstoy identified art as a use of indirect means to communicate from one person to another. Benedetto Croce and R. G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator. The theory of art as form has its roots in the philosophy of Kant, and was developed in the early 20th century by Roger Fry and Clive Bell. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation. George Dickie has offered an institutional theory of art that defines a work of art as any artifact upon which a qualified person or persons acting on behalf of the social institution commonly referred to as \"the art world\" has conferred \"the status of candidate for appreciation\". Larry Shiner has described fine art as \"not an essence or a fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old.\"\n\nArt may be characterized in terms of mimesis (its representation of reality), narrative (storytelling), expression, communication of emotion, or other qualities. During the Romantic period, art came to be seen as \"a special faculty of the human mind to be classified with religion and science\".\n\nHistory\n\nA shell engraved by Homo erectus was determined to be between 430,000 and 540,000 years old. A set of eight 130,000 years old white-tailed eagle talons bear cut marks and abrasion that indicate manipulation by neanderthals, possibly for using it as jewelry. A series of tiny, drilled snail shells about 75,000 years old—were discovered in a South African cave. Containers that may have been used to hold paints have been found dating as far back as 100,000 years.\n\nThe oldest piece of art found in Europe is the Riesenhirschknochen der Einhornhöhle, dating back 51,000 years and made by Neanderthals.\n\nSculptures, cave paintings, rock paintings and petroglyphs from the Upper Paleolithic dating to roughly 40,000 years ago have been found, but the precise meaning of such art is often disputed because so little is known about the cultures that produced them.\n\nThe first undisputed sculptures and similar art pieces, like the Venus of Hohle Fels, are the numerous objects found at the Caves and Ice Age Art in the Swabian Jura UNESCO World Heritage Site, where the oldest non-stationary works of human art yet discovered were found, in the form of carved animal and humanoid figurines, in addition to the oldest musical instruments unearthed so far, with the artifacts dating between 43.000 and 35.000 BC, so being the first centre of human art.\n\nMany great traditions in art have a foundation in the art of one of the great ancient civilizations: Ancient Egypt, Mesopotamia, Persia, India, China, Ancient Greece, Rome, as well as Inca, Maya, and Olmec. Each of these centers of early civilization developed a unique and characteristic style in its art. Because of the size and duration of these civilizations, more of their art works have survived and more of their influence has been transmitted to other cultures and later times. Some also have provided the first records of how artists worked. For example, this period of Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty, and anatomically correct proportions.\n\nIn Byzantine and Medieval art of the Western Middle Ages, much art focused on the expression of subjects about biblical and religious culture, and used styles that showed the higher glory of a heavenly world, such as the use of gold in the background of paintings, or glass in mosaics or windows, which also presented figures in idealized, patterned (flat) forms. Nevertheless, a classical realist tradition persisted in small Byzantine works, and realism steadily grew in the art of Catholic Europe.\n\nRenaissance art had a greatly increased emphasis on the realistic depiction of the material world, and the place of humans in it, reflected in the corporeality of the human body, and development of a systematic method of graphical perspective to depict recession in a three-dimensional picture space.\n\nIn the east, Islamic art's rejection of iconography led to emphasis on geometric patterns, calligraphy, and architecture. Further east, religion dominated artistic styles and forms too. India and Tibet saw emphasis on painted sculptures and dance, while religious painting borrowed many conventions from sculpture and tended to bright contrasting colors with emphasis on outlines. China saw the flourishing of many art forms: jade carving, bronzework, pottery (including the stunning terracotta army of Emperor Qin), poetry, calligraphy, music, painting, drama, fiction, etc. Chinese styles vary greatly from era to era and each one is traditionally named after the ruling dynasty. So, for example, Tang dynasty paintings are monochromatic and sparse, emphasizing idealized landscapes, but Ming dynasty paintings are busy and colorful, and focus on telling stories via setting and composition. Japan names its styles after imperial dynasties too, and also saw much interplay between the styles of calligraphy and painting. Woodblock printing became important in Japan after the 17th century.\n\nThe western Age of Enlightenment in the 18th century saw artistic depictions of physical and rational certainties of the clockwork universe, as well as politically revolutionary visions of a post-monarchist world, such as Blake's portrayal of Newton as a divine geometer, or David's propagandistic paintings. This led to Romantic rejections of this in favor of pictures of the emotional side and individuality of humans, exemplified in the novels of Goethe. The late 19th century then saw a host of artistic movements, such as academic art, Symbolism, impressionism and fauvism among others.\n\nThe history of 20th-century art is a narrative of endless possibilities and the search for new standards, each being torn down in succession by the next. Thus the parameters of Impressionism, Expressionism, Fauvism, Cubism, Dadaism, Surrealism, etc. cannot be maintained very much beyond the time of their invention. Increasing global interaction during this time saw an equivalent influence of other cultures into Western art. Thus, Japanese woodblock prints (themselves influenced by Western Renaissance draftsmanship) had an immense influence on impressionism and subsequent development. Later, African sculptures were taken up by Picasso and to some extent by Matisse. Similarly, in the 19th and 20th centuries the West has had huge impacts on Eastern art with originally western ideas like Communism and Post-Modernism exerting a powerful influence.\n\nModernism, the idealistic search for truth, gave way in the latter half of the 20th century to a realization of its unattainability. Theodor W. Adorno said in 1970, \"It is now taken for granted that nothing which concerns art can be taken for granted any more: neither art itself, nor art in relationship to the whole, nor even the right of art to exist.\" Relativism was accepted as an unavoidable truth, which led to the period of contemporary art and postmodern criticism, where cultures of the world and of history are seen as changing forms, which can be appreciated and drawn from only with skepticism and irony. Furthermore, the separation of cultures is increasingly blurred and some argue it is now more appropriate to think in terms of a global culture, rather than of regional ones.\n\nIn The Origin of the Work of Art, Martin Heidegger, a German philosopher and a seminal thinker, describes the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which \"that which is\" can be revealed. Works of art are not merely representations of the way things are, but actually produce a community's shared understanding. Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently changed.\n\nHistorically, art and artistic skills and ideas have often been spread through trade. An example of this is the Silk Road, where Hellenistic, Iranian, Indian and Chinese influences could mix. Greco Buddhist art is one of the most vivid examples of this interaction. The meeting of different cultures and worldviews also influenced artistic creation. An example of this is the multicultural port metropolis of Trieste at the beginning of the 20th century, where James Joyce met writers from Central Europe and the artistic development of New York City as a cultural melting pot.\n\nForms, genres, media, and styles\n\nThe creative arts are often divided into more specific categories, typically along perceptually distinguishable categories such as media, genre, styles, and form. Art form refers to the elements of art that are independent of its interpretation or significance. It covers the methods adopted by the artist and the physical composition of the artwork, primarily non-semantic aspects of the work (i.e., figurae), such as color, contour, dimension, medium, melody, space, texture, and value. Form may also include visual design principles, such as arrangement, balance, contrast, emphasis, harmony, proportion, proximity, and rhythm.\n\nIn general there are three schools of philosophy regarding art, focusing respectively on form, content, and context. Extreme Formalism is the view that all aesthetic properties of art are formal (that is, part of the art form). Philosophers almost universally reject this view and hold that the properties and aesthetics of art extend beyond materials, techniques, and form. Unfortunately, there is little consensus on terminology for these informal properties. Some authors refer to subject matter and content—i.e., denotations and connotations—while others prefer terms like meaning and significance.\n\nExtreme Intentionalism holds that authorial intent plays a decisive role in the meaning of a work of art, conveying the content or essential main idea, while all other interpretations can be discarded. It defines the subject as the persons or idea represented, and the content as the artist's experience of that subject. For example, the composition of Napoleon I on his Imperial Throne is partly borrowed from the Statue of Zeus at Olympia. As evidenced by the title, the subject is Napoleon, and the content is Ingres's representation of Napoleon as \"Emperor-God beyond time and space\". Similarly to extreme formalism, philosophers typically reject extreme intentionalism, because art may have multiple ambiguous meanings and authorial intent may be unknowable and thus irrelevant. Its restrictive interpretation is \"socially unhealthy, philosophically unreal, and politically unwise\".\n\nFinally, the developing theory of post-structuralism studies art's significance in a cultural context, such as the ideas, emotions, and reactions prompted by a work. The cultural context often reduces to the artist's techniques and intentions, in which case analysis proceeds along lines similar to formalism and intentionalism. However, in other cases historical and material conditions may predominate, such as religious and philosophical convictions, sociopolitical and economic structures, or even climate and geography. Art criticism continues to grow and develop alongside art.\n\nSkill and craft\n\nArt can connote a sense of trained ability or mastery of a medium. Art can also refer to the developed and efficient use of a language to convey meaning with immediacy or depth. Art can be defined as an act of expressing feelings, thoughts, and observations.\n\nThere is an understanding that is reached with the material as a result of handling it, which facilitates one's thought processes.\nA common view is that the epithet art, particular in its elevated sense, requires a certain level of creative expertise by the artist, whether this be a demonstration of technical ability, an originality in stylistic approach, or a combination of these two. Traditionally skill of execution was viewed as a quality inseparable from art and thus necessary for its success; for Leonardo da Vinci, art, neither more nor less than his other endeavors, was a manifestation of skill. Rembrandt's work, now praised for its ephemeral virtues, was most admired by his contemporaries for its virtuosity. At the turn of the 20th century, the adroit performances of John Singer Sargent were alternately admired and viewed with skepticism for their manual fluency, yet at nearly the same time the artist who would become the era's most recognized and peripatetic iconoclast, Pablo Picasso, was completing a traditional academic training at which he excelled.\n\nA common contemporary criticism of some modern art occurs along the lines of objecting to the apparent lack of skill or ability required in the production of the artistic object. In conceptual art, Marcel Duchamp's Fountain is among the first examples of pieces wherein the artist used found objects (\"ready-made\") and exercised no traditionally recognised set of skills. Tracey Emin's My Bed, or Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living follow this example and also manipulate the mass media. Emin slept (and engaged in other activities) in her bed before placing the result in a gallery as work of art. Hirst came up with the conceptual design for the artwork but has left most of the eventual creation of many works to employed artisans. Hirst's celebrity is founded entirely on his ability to produce shocking concepts. The actual production in many conceptual and contemporary works of art is a matter of assembly of found objects. However, there are many modernist and contemporary artists who continue to excel in the skills of drawing and painting and in creating hands-on works of art.\n\nPurpose \n\nArt has had a great number of different functions throughout its history, making its purpose difficult to abstract or quantify to any single concept. This does not imply that the purpose of art is \"vague\", but that it has had many unique, different reasons for being created. Some of these functions of art are provided in the following outline. The different purposes of art may be grouped according to those that are non-motivated, and those that are motivated (Lévi-Strauss).\n\nNon-motivated functions \nThe non-motivated purposes of art are those that are integral to being human, transcend the individual, or do not fulfill a specific external purpose. In this sense, Art, as creativity, is something humans must do by their very nature (i.e., no other species creates art), and is therefore beyond utility.\n Basic human instinct for harmony, balance, rhythm. Art at this level is not an action or an object, but an internal appreciation of balance and harmony (beauty), and therefore an aspect of being human beyond utility.Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and rhythm, meters being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry. – Aristotle\n Experience of the mysterious. Art provides a way to experience one's self in relation to the universe. This experience may often come unmotivated, as one appreciates art, music or poetry.The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. – Albert Einstein\n Expression of the imagination. Art provides a means to express the imagination in non-grammatic ways that are not tied to the formality of spoken or written language. Unlike words, which come in sequences and each of which have a definite meaning, art provides a range of forms, symbols and ideas with meanings that are malleable.Jupiter's eagle [as an example of art] is not, like logical (aesthetic) attributes of an object, the concept of the sublimity and majesty of creation, but rather something else—something that gives the imagination an incentive to spread its flight over a whole host of kindred representations that provoke more thought than admits of expression in a concept determined by words. They furnish an aesthetic idea, which serves the above rational idea as a substitute for logical presentation, but with the proper function, however, of animating the mind by opening out for it a prospect into a field of kindred representations stretching beyond its ken. – Immanuel Kant\n Ritualistic and symbolic functions. In many cultures, art is used in rituals, performances and dances as a decoration or symbol. While these often have no specific utilitarian (motivated) purpose, anthropologists know that they often serve a purpose at the level of meaning within a particular culture. This meaning is not furnished by any one individual, but is often the result of many generations of change, and of a cosmological relationship within the culture.Most scholars who deal with rock paintings or objects recovered from prehistoric contexts that cannot be explained in utilitarian terms and are thus categorized as decorative, ritual or symbolic, are aware of the trap posed by the term 'art'. – Silva Tomaskova\n\nMotivated functions \nMotivated purposes of art refer to intentional, conscious actions on the part of the artists or creator. These may be to bring about political change, to comment on an aspect of society, to convey a specific emotion or mood, to address personal psychology, to illustrate another discipline, to (with commercial arts) sell a product, or used as a form of communication.\n Communication. Art, at its simplest, is a form of communication. As most forms of communication have an intent or goal directed toward another individual, this is a motivated purpose. Illustrative arts, such as scientific illustration, are a form of art as communication. Maps are another example. However, the content need not be scientific. Emotions, moods and feelings are also communicated through art.[Art is a set of] artefacts or images with symbolic meanings as a means of communication. – Steve Mithen\n Art as entertainment. Art may seek to bring about a particular emotion or mood, for the purpose of relaxing or entertaining the viewer. This is often the function of the art industries of motion pictures and video games.\n The Avant-Garde. Art for political change. One of the defining functions of early 20th-century art has been to use visual images to bring about political change. Art movements that had this goal—Dadaism, Surrealism, Russian constructivism, and Abstract Expressionism, among others—are collectively referred to as the avant-garde arts.By contrast, the realistic attitude, inspired by positivism, from Saint Thomas Aquinas to Anatole France, clearly seems to me to be hostile to any intellectual or moral advancement. I loathe it, for it is made up of mediocrity, hate, and dull conceit. It is this attitude which today gives birth to these ridiculous books, these insulting plays. It constantly feeds on and derives strength from the newspapers and stultifies both science and art by assiduously flattering the lowest of tastes; clarity bordering on stupidity, a dog's life. – André Breton (Surrealism)\n Art as a \"free zone\", removed from the action of the social censure. Unlike the avant-garde movements, which wanted to erase cultural differences in order to produce new universal values, contemporary art has enhanced its tolerance towards cultural differences as well as its critical and liberating functions (social inquiry, activism, subversion, deconstruction, etc.), becoming a more open place for research and experimentation.\n Art for social inquiry, subversion or anarchy. While similar to art for political change, subversive or deconstructivist art may seek to question aspects of society without any specific political goal. In this case, the function of art may be used to criticize some aspect of society. Graffiti art and other types of street art are graphics and images that are spray-painted or stencilled on publicly viewable walls, buildings, buses, trains, and bridges, usually without permission. Certain art forms, such as graffiti, may also be illegal when they break laws (in this case vandalism).\n Art for social causes. Art can be used to raise awareness for a large variety of causes. A number of art activities were aimed at raising awareness of autism, cancer, human trafficking, and a variety of other topics, such as ocean conservation, human rights in Darfur, murdered and missing Aboriginal women, elder abuse, and pollution. Trashion, using trash to make fashion, practiced by artists such as Marina DeBris is one example of using art to raise awareness about pollution.\n Art for psychological and healing purposes. Art is also used by art therapists, psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing Series, for example, is used to determine the personality and emotional functioning of a patient. The end product is not the principal goal in this case, but rather a process of healing, through creative acts, is sought. The resultant piece of artwork may also offer insight into the troubles experienced by the subject and may suggest suitable approaches to be used in more conventional forms of psychiatric therapy.\n Art for propaganda, or commercialism. Art is often used as a form of propaganda, and thus can be used to subtly influence popular conceptions or mood. In a similar way, art that tries to sell a product also influences mood and emotion. In both cases, the purpose of art here is to subtly manipulate the viewer into a particular emotional or psychological response toward a particular idea or object.\n Art as a fitness indicator. It has been argued that the ability of the human brain by far exceeds what was needed for survival in the ancestral environment. One evolutionary psychology explanation for this is that the human brain and associated traits (such as artistic ability and creativity) are the human equivalent of the peacock's tail. The purpose of the male peacock's extravagant tail has been argued to be to attract females (see also Fisherian runaway and handicap principle). According to this theory superior execution of art was evolutionarily important because it attracted mates.\n\nThe functions of art described above are not mutually exclusive, as many of them may overlap. For example, art for the purpose of entertainment may also seek to sell a product, i.e. the movie or video game.\n\nSteps\nArt can be divided into any number of steps one can make an argument for. This section divides the creative process into broad three steps, but there is no consensus on an exact number.\n\nPreparation\n\nIn the first step, the artist envisions the art in their mind. By imagining what their art would look like, the artist begins the process of bringing the art into existence. Preparation of art may involve approaching and researching the subject matter. Artistic inspiration is one of the main drivers of art, and may be considered to stem from instinct, impressions, and feelings.\n\nCreation\n\nIn the second step, the artist executes the creation of their work. The creation of a piece can be affected by factors such as the artist's mood, surroundings, and mental state. For example, The Black Paintings by Francisco de Goya, created in the elder years of his life, are thought to be so bleak because he was in isolation and because of his experience with war. He painted them directly on the walls of his apartment in Spain, and most likely never discussed them with anyone. The Beatles stated drugs such as LSD and cannabis influenced some of their greatest hits, such as Revolver. Trial and error are considered an integral part of the creation process.\n\nAppreciation\nThe last step is art appreciation, which has the sub-topic of critique. In one study, over half of visual arts student agreed that reflection is an essential step of the art process. According to education journals, the reflection of art is considered an essential part of the experience. However an important aspect of art is that others may view and appreciate it as well. While many focus on whether those viewing/listening/etc. believe the art to be good/successful or not, art has profound value beyond its commercial success as a provider of information and health in society. Art enjoyment can bring about a wide spectrum of emotion due to beauty. Some art is meant to be practical, with its analysis studious, meant to stimulate discourse.\n\nPublic access\n\nSince ancient times, much of the finest art has represented a deliberate display of wealth or power, often achieved by using massive scale and expensive materials. Much art has been commissioned by political rulers or religious establishments, with more modest versions only available to the most wealthy in society.\n\nNevertheless, there have been many periods where art of very high quality was available, in terms of ownership, across large parts of society, above all in cheap media such as pottery, which persists in the ground, and perishable media such as textiles and wood. In many different cultures, the ceramics of indigenous peoples of the Americas are found in such a wide range of graves that they were clearly not restricted to a social elite, though other forms of art may have been. Reproductive methods such as moulds made mass-production easier, and were used to bring high-quality Ancient Roman pottery and Greek Tanagra figurines to a very wide market. Cylinder seals were both artistic and practical, and very widely used by what can be loosely called the middle class in the Ancient Near East. Once coins were widely used, these also became an art form that reached the widest range of society.\n\nAnother important innovation came in the 15th century in Europe, when printmaking began with small woodcuts, mostly religious, that were often very small and hand-colored, and affordable even by peasants who glued them to the walls of their homes. Printed books were initially very expensive, but fell steadily in price until by the 19th century even the poorest could afford some with printed illustrations. Popular prints of many different sorts have decorated homes and other places for centuries.\n\nIn 1661, the city of Basel, in Switzerland, opened the first public museum of art in the world, the Kunstmuseum Basel. Today, its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600, and on the art of the 19th to 21st centuries.\n\nPublic buildings and monuments, secular and religious, by their nature normally address the whole of society, and visitors as viewers, and display to the general public has long been an important factor in their design. Egyptian temples are typical in that the most largest and most lavish decoration was placed on the parts that could be seen by the general public, rather than the areas seen only by the priests. Many areas of royal palaces, castles and the houses of the social elite were often generally accessible, and large parts of the art collections of such people could often be seen, either by anybody, or by those able to pay a small price, or those wearing the correct clothes, regardless of who they were, as at the Palace of Versailles, where the appropriate extra accessories (silver shoe buckles and a sword) could be hired from shops outside.\n\nSpecial arrangements were made to allow the public to see many royal or private collections placed in galleries, as with the Orleans Collection mostly housed in a wing of the Palais Royal in Paris, which could be visited for most of the 18th century. In Italy the art tourism of the Grand Tour became a major industry from the Renaissance onwards, and governments and cities made efforts to make their key works accessible. The British Royal Collection remains distinct, but large donations such as the Old Royal Library were made from it to the British Museum, established in 1753. The Uffizi in Florence opened entirely as a gallery in 1765, though this function had been gradually taking the building over from the original civil servants' offices for a long time before. The building now occupied by the Prado in Madrid was built before the French Revolution for the public display of parts of the royal art collection, and similar royal galleries open to the public existed in Vienna, Munich and other capitals. The opening of the Musée du Louvre during the French Revolution (in 1793) as a public museum for much of the former French royal collection certainly marked an important stage in the development of public access to art, transferring ownership to a republican state, but was a continuation of trends already well established.\n\nMost modern public museums and art education programs for children in schools can be traced back to this impulse to have art available to everyone. However, museums do not only provide availability to art, but do also influence the way art is being perceived by the audience, as studies found. Thus, the museum itself is not only a blunt stage for the presentation of art, but plays an active and vital role in the overall perception of art in modern society.\n\nMuseums in the United States tend to be gifts from the very rich to the masses. (The Metropolitan Museum of Art in New York City, for example, was created by John Taylor Johnston, a railroad executive whose personal art collection seeded the museum.) But despite all this, at least one of the important functions of art in the 21st century remains as a marker of wealth and social status.\n\nThere have been attempts by artists to create art that can not be bought by the wealthy as a status object. One of the prime original motivators of much of the art of the late 1960s and 1970s was to create art that could not be bought and sold. It is \"necessary to present something more than mere objects\" said the major post war German artist Joseph Beuys. This time period saw the rise of such things as performance art, video art, and conceptual art. The idea was that if the artwork was a performance that would leave nothing behind, or was an idea, it could not be bought and sold. \"Democratic precepts revolving around the idea that a work of art is a commodity impelled the aesthetic innovation which germinated in the mid-1960s and was reaped throughout the 1970s. Artists broadly identified under the heading of Conceptual art ... substituting performance and publishing activities for engagement with both the material and materialistic concerns of painted or sculptural form ... [have] endeavored to undermine the art object qua object.\"\nIn the decades since, these ideas have been somewhat lost as the art market has learned to sell limited edition DVDs of video works, invitations to exclusive performance art pieces, and the objects left over from conceptual pieces. Many of these performances create works that are only understood by the elite who have been educated as to why an idea or video or piece of apparent garbage may be considered art. The marker of status becomes understanding the work instead of necessarily owning it, and the artwork remains an upper-class activity. \"With the widespread use of DVD recording technology in the early 2000s, artists, and the gallery system that derives its profits from the sale of artworks, gained an important means of controlling the sale of video and computer artworks in limited editions to collectors.\"\n\nControversies\n\nArt has long been controversial, that is to say disliked by some viewers, for a wide variety of reasons, though most pre-modern controversies are dimly recorded, or completely lost to a modern view. Iconoclasm is the destruction of art that is disliked for a variety of reasons, including religious ones. Aniconism is a general dislike of either all figurative images, or often just religious ones, and has been a thread in many major religions. It has been a crucial factor in the history of Islamic art, where depictions of Muhammad remain especially controversial. Much art has been disliked purely because it depicted or otherwise stood for unpopular rulers, parties or other groups. Artistic conventions have often been conservative and taken very seriously by art critics, though often much less so by a wider public. The iconographic content of art could cause controversy, as with late medieval depictions of the new motif of the Swoon of the Virgin in scenes of the Crucifixion of Jesus. The Last Judgment by Michelangelo was controversial for various reasons, including breaches of decorum through nudity and the Apollo-like pose of Christ.\n\nThe content of much formal art through history was dictated by the patron or commissioner rather than just the artist, but with the advent of Romanticism, and economic changes in the production of art, the artists' vision became the usual determinant of the content of his art, increasing the incidence of controversies, though often reducing their significance. Strong incentives for perceived originality and publicity also encouraged artists to court controversy. Théodore Géricault's Raft of the Medusa (), was in part a political commentary on a recent event. Édouard Manet's Le Déjeuner sur l'Herbe (1863), was considered scandalous not because of the nude woman, but because she is seated next to men fully dressed in the clothing of the time, rather than in robes of the antique world. John Singer Sargent's Madame Pierre Gautreau (Madam X) (1884), caused a controversy over the reddish pink used to color the woman's ear lobe, considered far too suggestive and supposedly ruining the high-society model's reputation.\nThe gradual abandonment of naturalism and the depiction of realistic representations of the visual appearance of subjects in the 19th and 20th centuries led to a rolling controversy lasting for over a century.\n\nIn the 20th century, Pablo Picasso's Guernica (1937) used arresting cubist techniques and stark monochromatic oils, to depict the harrowing consequences of a contemporary bombing of a small, ancient Basque town. Leon Golub's Interrogation III (1981), depicts a female nude, hooded detainee strapped to a chair, her legs open to reveal her sexual organs, surrounded by two tormentors dressed in everyday clothing. Andres Serrano's Piss Christ (1989) is a photograph of a crucifix, sacred to the Christian religion and representing Christ's sacrifice and final suffering, submerged in a glass of the artist's own urine. The resulting uproar led to comments in the United States Senate about public funding of the arts.\n\nTheory\n\nBefore Modernism, aesthetics in Western art was greatly concerned with achieving the appropriate balance between different aspects of realism or truth to nature and the ideal; ideas as to what the appropriate balance is have shifted to and fro over the centuries. This concern is largely absent in other traditions of art. The aesthetic theorist John Ruskin, who championed what he saw as the naturalism of J. M. W. Turner, saw art's role as the communication by artifice of an essential truth that could only be found in nature.\n\nThe definition and evaluation of art has become especially problematic since the 20th century. Richard Wollheim distinguishes three approaches to assessing the aesthetic value of art: the Realist, whereby aesthetic quality is an absolute value independent of any human view; the Objectivist, whereby it is also an absolute value, but is dependent on general human experience; and the Relativist position, whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans.\n\nArrival of Modernism\n\nThe arrival of Modernism in the late 19th century lead to a radical break in the conception of the function of art, and then again in the late 20th century with the advent of postmodernism. Clement Greenberg's 1960 article \"Modernist Painting\" defines modern art as \"the use of characteristic methods of a discipline to criticize the discipline itself\". Greenberg originally applied this idea to the Abstract Expressionist movement and used it as a way to understand and justify flat (non-illusionistic) abstract painting:\nRealistic, naturalistic art had dissembled the medium, using art to conceal art; modernism used art to call attention to art. The limitations that constitute the medium of painting—the flat surface, the shape of the support, the properties of the pigment—were treated by the Old Masters as negative factors that could be acknowledged only implicitly or indirectly. Under Modernism these same limitations came to be regarded as positive factors, and were acknowledged openly. After Greenberg, several important art theorists emerged, such as Michael Fried, T. J. Clark, Rosalind Krauss, Linda Nochlin and Griselda Pollock among others. Though only originally intended as a way of understanding a specific set of artists, Greenberg's definition of modern art is important to many of the ideas of art within the various art movements of the 20th century and early 21st century.\n\nPop artists like Andy Warhol became both noteworthy and influential through work including and possibly critiquing popular culture, as well as the art world. Artists of the 1980s, 1990s, and 2000s expanded this technique of self-criticism beyond high art to all cultural image-making, including fashion images, comics, billboards and pornography.\n\nDuchamp once proposed that art is any activity of any kind-everything. However, the way that only certain activities are classified today as art is a social construction. There is evidence that there may be an element of truth to this. In The Invention of Art: A Cultural History, Larry Shiner examines the construction of the modern system of the arts, i.e. fine art. He finds evidence that the older system of the arts before our modern system (fine art) held art to be any skilled human activity; for example, Ancient Greek society did not possess the term art, but techne. Techne can be understood neither as art or craft, the reason being that the distinctions of art and craft are historical products that came later on in human history. Techne included painting, sculpting and music, but also cooking, medicine, horsemanship, geometry, carpentry, prophecy, and farming, etc.\n\nNew Criticism and the \"intentional fallacy\"\nFollowing Duchamp during the first half of the 20th century, a significant shift to general aesthetic theory took place which attempted to apply aesthetic theory between various forms of art, including the literary arts and the visual arts, to each other. This resulted in the rise of the New Criticism school and debate concerning the intentional fallacy. At issue was the question of whether the aesthetic intentions of the artist in creating the work of art, whatever its specific form, should be associated with the criticism and evaluation of the final product of the work of art, or, if the work of art should be evaluated on its own merits independent of the intentions of the artist.\n\nIn 1946, William K. Wimsatt and Monroe Beardsley published a classic and controversial New Critical essay entitled \"The Intentional Fallacy\", in which they argued strongly against the relevance of an author's intention, or \"intended meaning\" in the analysis of a literary work. For Wimsatt and Beardsley, the words on the page were all that mattered; importation of meanings from outside the text was considered irrelevant, and potentially distracting.\n\nIn another essay, \"The Affective Fallacy\", which served as a kind of sister essay to \"The Intentional Fallacy\" Wimsatt and Beardsley also discounted the reader's personal/emotional reaction to a literary work as a valid means of analyzing a text. This fallacy would later be repudiated by theorists from the reader-response school of literary theory. Ironically, one of the leading theorists from this school, Stanley Fish, was himself trained by New Critics. Fish criticizes Wimsatt and Beardsley in his 1970 essay \"Literature in the Reader\".\n\nAs summarized by Berys Gaut and Paisley Livingston in their essay \"The Creation of Art\": \"Structuralist and post-structuralists theorists and critics were sharply critical of many aspects of New Criticism, beginning with the emphasis on aesthetic appreciation and the so-called autonomy of art, but they reiterated the attack on biographical criticisms' assumption that the artist's activities and experience were a privileged critical topic.\" These authors contend that: \"Anti-intentionalists, such as formalists, hold that the intentions involved in the making of art are irrelevant or peripheral to correctly interpreting art. So details of the act of creating a work, though possibly of interest in themselves, have no bearing on the correct interpretation of the work.\"\n\nGaut and Livingston define the intentionalists as distinct from formalists stating that: \"Intentionalists, unlike formalists, hold that reference to intentions is essential in fixing the correct interpretation of works.\" They quote Richard Wollheim as stating that, \"The task of criticism is the reconstruction of the creative process, where the creative process must in turn be thought of as something not stopping short of, but terminating on, the work of art itself.\"\n\n\"Linguistic turn\" and its debate\nThe end of the 20th century fostered an extensive debate known as the linguistic turn controversy, or the \"innocent eye debate\" in the philosophy of art. This debate discussed the encounter of the work of art as being determined by the relative extent to which the conceptual encounter with the work of art dominates over the perceptual encounter with the work of art.\n\nDecisive for the linguistic turn debate in art history and the humanities were the works of yet another tradition, namely the structuralism of Ferdinand de Saussure and the ensuing movement of poststructuralism. In 1981, the artist Mark Tansey created a work of art titled The Innocent Eye as a criticism of the prevailing climate of disagreement in the philosophy of art during the closing decades of the 20th century. Influential theorists include Judith Butler, Luce Irigaray, Julia Kristeva, Michel Foucault and Jacques Derrida. The power of language, more specifically of certain rhetorical tropes, in art history and historical discourse was explored by Hayden White. The fact that language is a transparent medium of thought had been stressed by a very different form of philosophy of language which originated in the works of Johann Georg Hamann and Wilhelm von Humboldt. Ernst Gombrich and Nelson Goodman in his book Languages of Art: An Approach to a Theory of Symbols came to hold that the conceptual encounter with the work of art predominated exclusively over the perceptual and visual encounter with the work of art during the 1960s and 1970s. He was challenged on the basis of research done by the Nobel prize winning psychologist Roger Sperry who maintained that the human visual encounter was not limited to concepts represented in language alone (the linguistic turn) and that other forms of psychological representations of the work of art were equally defensible and demonstrable. Sperry's view eventually prevailed by the end of the 20th century with aesthetic philosophers such as Nick Zangwill strongly defending a return to moderate aesthetic formalism among other alternatives.\n\nClassification disputes\n\n Disputes as to whether or not to classify something as a work of art are referred to as classificatory disputes about art. Classificatory disputes in the 20th century have included cubist and impressionist paintings, Duchamp's Fountain, the movies, J. S. G. Boggs' superlative imitations of banknotes, conceptual art, and video games. Philosopher David Novitz has argued that disagreement about the definition of art are rarely the heart of the problem. Rather, \"the passionate concerns and interests that humans vest in their social life\" are \"so much a part of all classificatory disputes about art.\" According to Novitz, classificatory disputes are more often disputes about societal values and where society is trying to go than they are about theory proper. For example, when the Daily Mail criticized Hirst's and Emin's work by arguing \"For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all\" they are not advancing a definition or theory about art, but questioning the value of Hirst's and Emin's work. In 1998, Arthur Danto, suggested a thought experiment showing that \"the status of an artifact as work of art results from the ideas a culture applies to it, rather than its inherent physical or perceptible qualities. Cultural interpretation (an art theory of some kind) is therefore constitutive of an object's arthood.\"\n\nAnti-art is a label for art that intentionally challenges the established parameters and values of art; it is a term associated with Dadaism and attributed to Marcel Duchamp just before World War I, when he was making art from found objects. One of these, Fountain (1917), an ordinary urinal, has achieved considerable prominence and influence on art. Anti-art is a feature of work by Situationist International, the lo-fi Mail art movement, and the Young British Artists, though it is a form still rejected by the Stuckists, who describe themselves as anti-anti-art.\n\nArchitecture is often included as one of the visual arts; however, like the decorative arts, or advertising, it involves the creation of objects where the practical considerations of use are essential in a way that they usually are not in a painting, for example.\n\nValue judgment\n\nSomewhat in relation to the above, the word art is also used to apply judgments of value, as in such expressions as \"that meal was a work of art\" (the cook is an artist), or \"the art of deception\" (the highly attained level of skill of the deceiver is praised). It is this use of the word as a measure of high quality and high value that gives the term its flavor of subjectivity. Making judgments of value requires a basis for criticism. At the simplest level, a way to determine whether the impact of the object on the senses meets the criteria to be considered art is whether it is perceived to be attractive or repulsive. Though perception is always colored by experience, and is necessarily subjective, it is commonly understood that what is not somehow aesthetically satisfying cannot be art. However, \"good\" art is not always or even regularly aesthetically appealing to a majority of viewers. In other words, an artist's prime motivation need not be the pursuit of the aesthetic. Also, art often depicts terrible images made for social, moral, or thought-provoking reasons. For example, Francisco Goya's painting depicting the Spanish shootings of 3 May 1808 is a graphic depiction of a firing squad executing several pleading civilians. Yet at the same time, the horrific imagery demonstrates Goya's keen artistic ability in composition and execution and produces fitting social and political outrage. Thus, the debate continues as to what mode of aesthetic satisfaction, if any, is required to define 'art'.\n\nThe assumption of new values or the rebellion against accepted notions of what is aesthetically superior need not occur concurrently with a complete abandonment of the pursuit of what is aesthetically appealing. Indeed, the reverse is often true, that the revision of what is popularly conceived of as being aesthetically appealing allows for a re-invigoration of aesthetic sensibility, and a new appreciation for the standards of art itself. Countless schools have proposed their own ways to define quality, yet they all seem to agree in at least one point: once their aesthetic choices are accepted, the value of the work of art is determined by its capacity to transcend the limits of its chosen medium to strike some universal chord by the rarity of the skill of the artist or in its accurate reflection in what is termed the zeitgeist. Art is often intended to appeal to and connect with human emotion. It can arouse aesthetic or moral feelings, and can be understood as a way of communicating these feelings. Artists express something so that their audience is aroused to some extent, but they do not have to do so consciously. Art may be considered an exploration of the human condition; that is, what it is to be human. By extension, it has been argued by Emily L. Spratt that the development of artificial intelligence, especially in regard to its uses with images, necessitates a re-evaluation of aesthetic theory in art history today and a reconsideration of the limits of human creativity.\n\nArt and law\nAn essential legal issue are art forgeries, plagiarism, replicas and works that are strongly based on other works of art.\n\nThe trade in works of art or the export from a country may be subject to legal regulations. Internationally there are also extensive efforts to protect the works of art created. The UN, UNESCO and Blue Shield International try to ensure effective protection at the national level and to intervene directly in the event of armed conflicts or disasters. This can particularly affect museums, archives, art collections and excavation sites. This should also secure the economic basis of a country, especially because works of art are often of tourist importance. The founding president of Blue Shield International, Karl von Habsburg, explained an additional connection between the destruction of cultural property and the cause of flight during a mission in Lebanon in April 2019: “Cultural goods are part of the identity of the people who live in a certain place. If you destroy their culture, you also destroy their identity. Many people are uprooted, often no longer have any prospects and as a result flee from their homeland.” In order to preserve the diversity of cultural identity, UNESCO protects the living human treasure through the Convention for the Safeguarding of the Intangible Cultural Heritage.\n\nSee also\n\n Applied arts\n Art movement\n Artist in residence\n Artistic freedom\n Cultural tourism\n Craftivism\n Formal analysis\n History of art\n List of artistic media\n List of art techniques\n Mathematics and art\n Street art (or \"independent public art\")\n Outline of the visual arts, a guide to the subject of art presented as a tree structured list of its subtopics.\nVisual impairment in art\n\nNotes\n\nWorks cited\n\nBibliography\n Oscar Wilde, Intentions, 1891\n Katharine Everett Gilbert and Helmut Kuhn, A History of Esthetics. Edition 2, revised. Indiana: Indiana University Press, 1953.\n Stephen Davies, Definitions of Art, 1991\n Nina Felshin, ed. But is it Art?, 1995\n Catherine de Zegher (ed.). Inside the Visible. MIT Press, 1996\n Evelyn Hatcher, ed. Art as Culture: An Introduction to the Anthropology of Art, 1999\n Noel Carroll, Theories of Art Today, 2000\n John Whitehead. Grasping for the Wind, 2001\n Michael Ann Holly and Keith Moxey (eds.) Art History Aesthetics Visual Studies. New Haven: Yale University Press, 2002. \n Shiner, Larry. The Invention of Art: A Cultural History. Chicago: University of Chicago Press, 2003. \n Arthur Danto, The Abuse of Beauty: Aesthetics and the Concept of Art. 2003\n Dana Arnold and Margaret Iversen, eds. Art and Thought. London: Blackwell, 2003. \n Jean Robertson and Craig McDaniel, Themes of Contemporary Art, Visual Art after 1980, 2005\n\nFurther reading\n Antony Briant and Griselda Pollock, eds. Digital and Other Virtualities: Renegotiating the image. London and NY: I.B.Tauris, 2010. \n Augros, Robert M., Stanciu, George N. The New Story of Science: mind and the universe, Lake Bluff, Ill.: Regnery Gateway, 1984. (this book has significant material on art and science)\n Benedetto Croce. Aesthetic as Science of Expression and General Linguistic, 2002\n Botar, Oliver A.I. Technical Detours: The Early Moholy-Nagy Reconsidered. Art Gallery of The Graduate Center, The City University of New York and The Salgo Trust for Education, 2006. \n Burguete, Maria, and Lam, Lui, eds. (2011). Arts: A Science Matter. World Scientific: Singapore. \n Carol Armstrong and Catherine de Zegher, eds. Women Artists at the Millennium. Massachusetts: October Books/The MIT Press, 2006. \n \n Carl Jung, Man and His Symbols. London: Pan Books, 1978. \n E.H. Gombrich, The Story of Art. London: Phaidon Press, 1995. \n Florian Dombois, Ute Meta Bauer, Claudia Mareis and Michael Schwab, eds. Intellectual Birdhouse. Artistic Practice as Research. London: Koening Books, 2012. \n Kristine Stiles and Peter Selz, eds. Theories and Documents of Contemporary Art. Berkeley: University of California Press, 1986\n Kleiner, Gardner, Mamiya and Tansey. Art Through the Ages, Twelfth Edition (2 volumes) Wadsworth, 2004. (vol 1) and (vol 2)\n Richard Wollheim, Art and its Objects: An introduction to aesthetics. New York: Harper & Row, 1968. \n Will Gompertz. What Are You Looking At?: 150 Years of Modern Art in the Blink of an Eye. New York: Viking, 2012. \n Władysław Tatarkiewicz, A History of Six Ideas: an Essay in Aesthetics, translated from the Polish by Christopher Kasparek, The Hague, Martinus Nijhoff, 1980\n\nExternal links\n\n Art and Play from the Dictionary of the History of ideas\n In-depth directory of art\n Art and Artist Files in the Smithsonian Libraries Collection (2005) Smithsonian Digital Libraries\n Visual Arts Data Service (VADS) – online collections from UK museums, galleries, universities\n RevolutionArt – Art magazines with worldwide exhibitions, callings and competitions\n \n \n\n \nCategory:Concepts in aesthetics\nCategory:The arts\nCategory:Visual arts", "title": "Art" } ]

[ "The art originated from the Germanic peoples who had settled in various regions of the Western Roman Empire, including Italy, Spain, Gaul, western Germany, and Britain. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Insular art or the Hiberno-Saxon style, originated after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.", "The text does not provide information on whether the Germanic art styles migrated.", "The text does not provide information on whether the artwork travelled with the Huns.", "The text does not provide information on what the polychrome style looked like.", "The other styles of Germanic art mentioned in the text are the animal style, found in Scandinavia, north Germany and England, and the Insular art or the Hiberno-Saxon style, which was a fusion of animal style, Celtic, Mediterranean and other motifs and techniques.", "The text does not provide information on any events in 1904." ]

[ "No", "No", "No", "Yes", "Yes", "Yes" ]

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[ "what is their animal style", "what animal is mentoned in the articlle", "after bear what else", "how many style was classsified", "what happened in 1904", "is there any notable name" ]

[ 0, 2, 2, 0, 2, 1 ]

[ 2, 2, 2, 2, 2, 0 ]

{ "answer_starts": [ [ 130 ], [ 1412 ], [ 1215 ], [ 1574 ], [ 0 ], [ 86 ] ], "texts": [ [ "He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III." ], [ "two bears" ], [ "they tend to be described as serpents, although the heads often have characteristics of other types of animal." ], [ "about 700 localised styles develop," ], [ "The study of Northern European, or \"Germanic\", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904." ], [ "Bernhard Salin" ] ] }

{ "answer_starts": [ 130, 1412, 1215, 1574, 0, 86 ], "texts": [ "He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III.", "two bears", "they tend to be described as serpents, although the heads often have characteristics of other types of animal.", "about 700 localised styles develop,", "The study of Northern European, or \"Germanic\", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904.", "Bernhard Salin" ] }

[ { "text": "Viking art, also known commonly as Norse art, is a term widely accepted for the art of Scandinavian Norsemen and Viking settlements further afield—particularly in the British Isles and Iceland—during the Viking Age of the 8th-11th centuries. Viking art has many design elements in common with Celtic, Germanic, the later Romanesque and Eastern European art, sharing many influences with each of these traditions.\n\nGenerally speaking, the current knowledge of Viking art relies heavily upon more durable objects of metal and stone; wood, bone, ivory and textiles are more rarely preserved. The artistic record, therefore, as it has survived to the present day, remains significantly incomplete. Ongoing archaeological excavation and opportunistic finds, of course, may improve this situation in the future, as indeed they have in the recent past.\n\nViking art is usually divided into a sequence of roughly chronological styles, although outside Scandinavia itself local influences are often strong, and the development of styles can be less clear.\n\nHistorical context\n\nThe Vikings' regional origins lay in Scandinavia, the northernmost peninsula of continental Europe, while the term 'Viking' likely derived from their own term for coastal raiding—the activity by which many neighboring cultures became acquainted with the inhabitants of the region.\n\nViking raiders attacked wealthy targets on the north-western coasts of Europe from the late 8th until the mid-11th century CE. Pre-Christian traders and sea raiders, the Vikings first enter recorded history with their attack on the Christian monastic community on Lindisfarne Island in 793.\n\nThe Vikings initially employed their longships to invade and attack European coasts, harbors and river settlements on a seasonal basis. Subsequently, Viking activities diversified to include trading voyages to the east, west, and south of their Scandinavian homelands, with repeated and regular voyages following river systems east into Russia and the Black and Caspian Sea regions, and west to the coastlines of the British Isles, Iceland and Greenland. Evidence exists for Vikings reaching Newfoundland well before the later voyages of Christopher Columbus came to the New World.\n\nTrading and merchant activities were accompanied by settlement and colonization in many of these territories.\n\nBy material\n\nWood and organic materials\n\nWood was undoubtedly the primary material of choice for Viking artists, being relatively easy to carve, inexpensive, and abundant in northern Europe. The importance of wood as an artistic medium is underscored by chance survivals of wood artistry at the very beginning and end of the Viking period, namely, the Oseberg ship-burial carvings of the early 9th century and the carved decoration of the Urnes Stave Church from the 12th century. As summarised by James Graham-Campbell: \"These remarkable survivals allow us to form at least an impression of what we are missing from original corpus of Viking art, although wooden fragments and small-scale carvings in other materials (such as antler, amber, and walrus ivory) provide further hints. The same is inevitably true of the textile arts, although weaving and embroidery were clearly well-developed crafts.\"\n\nStone\nWith the exception of the Gotlandic picture stones prevalent in Sweden early in the Viking period, stone carving was apparently not practiced elsewhere in Scandinavia until the mid-10th century and the creation of the royal monuments at Jelling in Denmark. Subsequently, and likely influenced by the spread of Christianity, the use of carved stone for permanent memorials became more prevalent.\n\nMetal\n\nBeyond the discontinuous artifactual records of wood and stone, the reconstructed history of Viking art to date relies most on the study of decoration of ornamental metalwork from a great variety of sources. Several types of archaeological context have succeeded in preserving metal objects for present study, while the durability of precious metals, in particular, has preserved much artistic expression and endeavor.\n\nJewelry was worn by both men and women, though of different types. Married women fastened their overdresses near the shoulder with matching pairs of large brooches. Modern scholars often call them \"tortoise brooches\" because of their domed shape. The shapes and styles of women's paired brooches varied regionally, but many used openwork. Women often strung metal chains or strings of beads between the brooches or suspended ornaments from the bottom of the brooches. Men wore rings on their fingers, arms and necks, and held their cloaks closed with penannular brooches, often with extravagantly long pins. Their weapons were often richly decorated on areas such as sword hilts. The Vikings mostly used silver or bronze jewelry, the latter sometimes gilded, but a small number of large and lavish pieces or sets in solid gold have been found, probably belonging to royalty or major figures.\n\nDecorated metalwork of an everyday nature is frequently recovered from Viking period graves, on account of the widespread practice of making burials accompanied by grave goods. The deceased was dressed in their best clothing and jewelry, and was interred with weapons, tools, and household goods. Less common, but significant nonetheless, are finds of precious metal objects in the form of treasure hoards, many apparently concealed for safe-keeping by owners later unable to recover their contents, although some may have been deposited as offerings to the gods.\n\nRecently, given the increasing popularity and legality of metal-detecting, an increasing frequency of single, chance finds of metal objects and ornaments (most probably representing accidental losses) is creating a fast expanding corpus of new material for study.\n\nViking coins fit well into this latter category, but nonetheless form a separate category of Viking period artefact, their design and decoration largely independent of the developing styles characteristic of wider Viking artistic endeavor.\n\nOther sources\nA non-visual source of information for Viking art lies in skaldic verse, the complex form of oral poetry composed during the Viking Age and passed on until written down centuries later. Several verses speak of painted forms of decoration that have but rarely survived on wood and stone. The 9th-century skald poet Bragi Boddason, for example, cites four apparently unrelated scenes painted on a shield. One of these scenes depicted the god Thor's fishing expedition, which motif is also referenced in a 10th-century poem by Úlfr Uggason describing the paintings in a newly constructed hall in Iceland.\n\nOrigins and background\nA continuous artistic tradition common to most of north-western Europe and developing from the 4th century CE formed the foundations on which Viking Age art and decoration were built: from that period onwards, the output of Scandinavian artists was broadly focused on varieties of convoluted animal ornamentation used to decorate a wide variety of objects.\n\nThe art historian Bernhard Salin was the first to systematise Germanic animal ornament, dividing it into three styles (I, II, and III). The latter two were subsequently subdivided by Arwidsson into three further styles: Style C, flourishing during the 7th century and into the 8th century, before being largely replaced (especially in southern Scandinavia) by Style D. Styles C and D provided the inspiration for the initial expression of animal ornament within the Viking Age, Style E, commonly known as the Oseberg / Broa Style. Both Styles D and E developed within a broad Scandinavian context which, although in keeping with north-western European animal ornamentation generally, exhibited little influence from beyond Scandinavia .\n\nScholarship\nAlthough preliminary formulations were made in the late 19th century, the history of Viking art first achieved maturity in the early 20th century with the detailed publication of the ornate wood carvings discovered in 1904 as part of the Oserberg ship-burial by the Norwegian archaeologist Haakon Shetelig.\n\nImportantly, it was the English archaeologist David M. Wilson, working with his Danish colleague Ole Klindt-Jensen to produce the 1966 survey work Viking Art, who created foundations for the systematic characterization of the field still employed today, together with a developed chronological framework.\n\nDavid Wilson continued to produce mostly English-language studies on Viking art in subsequent years, joined over recent decades by the Norwegian art-historian Signe Horn Fuglesang with her own series of important publications. Together these scholars have combined authority with accessibility to promote the increasing understanding of Viking art as a cultural expression.\n\nStyles\n\nThe art of the Viking Age is organized into a loose sequence of stylistic phases which, despite the significant overlap in style and chronology, may be defined and distinguished on account both of formal design elements and of recurring compositions and motifs:\n Oseberg Style\n Borre Style\n Jellinge Style\n Mammen Style\n Ringerike Style\n Urnes Style\n\nUnsurprisingly, these stylistic phases appear in their purest form in Scandinavia itself; elsewhere in the Viking world, notable admixtures from external cultures and influences frequently appear. In the British Isles, for example, art historians identify distinct, 'Insular' versions of Scandinavian motifs, often directly alongside 'pure' Viking decoration.\n\nOseberg Style\n\nThe Oseberg Style characterises the initial phase in what has been considered Viking art. The Oseberg Style takes its name from the Oseberg Ship grave, a well-preserved and highly decorated longship discovered in a large burial mound at the Oseberg farm near Tønsberg in Vestfold, Norway, which also contained a number of other richly decorated wooden objects.\n\nA characteristic motif of the Oseberg Style is the so-called gripping beast. This motif is what clearly distinguishes the early Viking art from the styles that preceded it. The chief features of the gripping beast are the paws that grip the borders around it, neighbouring beasts or parts of its own body.\n\nCurrently located at the Viking Ship Museum, Bygdøy, and over 70 feet long, the Oseberg Ship held the remains of two women and many precious objects that were probably removed by robbers early before it was found. The Oseberg ship itself is decorated with a more traditional style of animal interlace that does not feature the gripping beast motif. However, five carved wooden animal-head posts were found in the ship, and the one known as the Carolingian animal-head post is decorated with gripping beasts, as are other grave goods from the ship. The Carolingian head represents a snarling beast, possibly a wolf, with surface ornamentation in the form of interwoven animals that twist and turn as they are gripping and snapping.\n\nThe Oseberg style is also characterized by traditions from the Vendel era, and it is nowadays not always accepted as an independent style.\n\nBroa style\n\nThe Broa style, named after a bridle-mount found at Broa, Halla parish, Gotland, is sometimes included with the Oseberg style, and sometimes held as its own.\n\nBorre Style\n\nThe Borre Style embraces a range of geometric interlace / knot patterns and zoomorphic (single animal) motifs, first recognised in a group of gilt-bronze harness mounts recovered from a ship grave in Borre mound cemetery near the village of Borre, Vestfold, Norway, and from which the name of the style derives. Borre Style prevailed in Scandinavia from the late 9th through to the late 10th century, a timeframe supported by dendrochronological data supplied from sites with characteristically Borre Style artifacts\n\nThe 'gripping beast' with a ribbon-shaped body continues as a characteristic of this and earlier styles. As with geometric patterning in this phase, the visual thrust of the Borre Style results from the filling of available space: ribbon animal plaits are tightly interlaced and animal bodies are arranged to create tight, closed compositions. As a result, any background is markedly absent – a characteristic of the Borre Style that contrasts strongly with the more open and fluid compositions that prevailed in the overlapping Jellinge Style.\n\nA more particular diagnostic feature of Borre Style lies in a symmetrical, double-contoured 'ring-chain' (or 'ring-braid'), whose composition consists of interlaced circles separated by transverse bars and a lozenge overlay. The Borre ring-chain occasionally terminates with an animal head in high relief, as seen on strap fittings from Borre and Gokstad.\n\nThe ridges of designs in metalwork are often nicked to imitate the filigree wire employed in the finest pieces of craftsmanship.\n\nJellinge Style\n\nThe Jellinge Style is a phase of Scandinavian animal art during the 10th century. The style is characterized by markedly stylized and often band-shaped bodies of animals. It was originally applied to a complex of objects in Jelling, Denmark, such as Gorm's Cup and Harald Bluetooth's great runestone, but more recently the style is included in the Mammen style.\n\nMammen Style\n\nThe Mammen Style takes its name from its type object, an axe recovered from a wealthy male burial marked a mound (Bjerringhø) at Mammen, in Jutland, Denmark (on the basis of dendrochronology, the wood used in construction of the grave chamber was felled in winter 970–971). Richly decorated on both sides with inlaid silver designs, the iron axe was probably a ceremonial parade weapon that was the property of a man of princely status, his burial clothes bearing elaborate embroidery and trimmed with silk and fur.\n\nOn one face, the Mammen axe features a large bird with pelleted body, crest, circular eye, and upright head and beak with lappet. A large shell-spiral marks the bird's hip, from which point its thinly elongated wings emerge: the right wing interlaces with the bird's neck, while the left wing interlaces with its body and tail. The outer wing edge displays a semi-circular nick typical of Mammen Style design. The tail is rendered as a triple tendril, the particular treatment of which on the Mammen axe – with open, hook-like ends – forming a characteristic of the Mammen Style as a whole. Complicating the design is the bird's head-lappet, interlacing twice with neck and right wing, whilst also sprouting tendrils along the blade edge. At the top, near the haft, the Mammen axe features an interlaced knot on one side, a triangular human mask (with large nose, moustache and spiral beard) on the other; the latter would prove a favoured Mammen Style motif carried over from earlier styles.\n\nOn the other side, the Mammen axe bears a spreading foliate (leaf) design, emanating from spirals at the base with thin, 'pelleted' tendrils spreading and intertwining across the axe head towards the haft.\n\nRingerike Style\n\nThe Ringerike Style receives its name from the Ringerike district north of Oslo, Norway, where the local reddish sandstone was widely employed for carving stones with designs of the style.\n\nThe type object most commonly used to define Ringerike Style is a high carved stone from Vang in Oppland. Apart from a runic memorial inscription on its right edge, the main field of the Vang Stone is filled with a balanced tendril ornament springing from two shell spirals at the base: the main stems cross twice to terminate in lobed tendrils. At the crossing, further tendrils spring from loops and pear-shaped motifs appear from the tendril centres on the upper loop. Although axial in conception, a basic asymmetry arises in the deposition of the tendrils. Surmounting the tendril pattern appears a large striding animal in double-contoured rendering with spiral hips and a lip lappet. Comparing the Vang Stone animal design with the related animal from the Mammen axe-head, the latter lacks the axiality seen in the Vang Stone and its tendrils are far less disciplined: the Mammen scroll is wavy, while the Vang scroll appears taut and evenly curved, these features marking a key difference between Mammen and Ringerike ornament. The inter-relationship between the two styles is obvious, however, when comparing the Vang Stone animal with that found on the Jelling Stone.\n\nWith regard to metalwork, Ringerike Style is best seen in two copper-gilt weather-vanes, from Källunge, Gotland and from Söderala, Hälsingland (the Söderala vane), both in Sweden. The former displays one face two axially-constructed loops in the form of snakes, which in turn sprout symmetrically-placed tendrils. The snake heads, as well as the animal and snake on the reverse, find more florid treatment than on the Vang Stone: all have lip lappets, the snakes bear pigtails, while all animals have a pear-shaped eye with the point directed towards the snout – a diagnostic feature of Ringerike Style.\n\nThe Ringerike Style evolved out of the earlier Mammen Style. It received its name from a group of runestones with animal and plant motifs in the Ringerike district north of Oslo. The most common motifs are lions, birds, band-shaped animals and spirals. Some elements appear for the first time in Scandinavian art, such as different types of crosses, palmettes and pretzel-shaped nooses that tie together two motifs. Most of the motifs have counterparts in Anglo-Saxon, Insular and Ottonian art.\n\nUrnes Style\n\nThe Urnes Style was the last phase of Scandinavian animal art during the second half of the 11th century and in the early 12th century. The Urnes Style is named after the northern gate of the Urnes stave church in Norway, but most objects in the style are runestones in Uppland, Sweden, which is why some scholars prefer to call it the Runestone style.\n\nThe style is characterized by slim and stylised animals that are interwoven into tight patterns. The animals heads are seen in profile, they have slender almond-shaped eyes and there are upwardly curled appendages on the noses and the necks.\n\nEarly Urnes Style\nThe early style has received a dating which is mainly based on runestone U 343, runestone U 344 and a silver bowl from c. 1050, which was found at Lilla Valla. The early version of this style on runestones comprises England Runestones referring to the Danegeld and Canute the Great and works by Åsmund Kåresson.\n\nMid-Urnes Style\nThe mid-Urnes Style has received a relatively firm dating based on its appearance on coins issued by Harald Hardrada (1047–1066) and by Olav Kyrre (1080–1090). Two wood carvings from Oslo have been dated to c. 1050–1100 and the Hørning plank is dated by dendrochronology to c. 1060–1070. There is, however, evidence suggesting that the mid-Urnes style was developed before 1050 in the manner it is represented by the runemasters Fot and Balli.\n\nLate Urnes Style\nThe mid-Urnes Style would stay popular side by side with the late Urnes style of the runemaster Öpir. He is famous for a style in which the animals are extremely thin and make circular patterns in open compositions. This style was not unique to Öpir and Sweden, but it also appears on a plank from Bølstad and on a chair from Trondheim, Norway.\n\nThe Jarlabanke Runestones show traits both from this late style and from the mid-Urnes style of Fot and Balli, and it was the Fot-Balli type that would mix with the Romanesque style in the 12th century.\n\nUrnes-Romanesque Style\nThe Urnes-Romanesque Style does not appear on runestones which suggests that the tradition of making runestones had died out when the mixed style made its appearance since it is well represented in Gotland and on the Swedish mainland. The Urnes-Romanesque Style can be dated independently of style thanks to representations from Oslo in the period 1100–1175, dendrochronological dating of the Lisbjerg frontal in Denmark to 1135, as well as Irish reliquaries that are dated to the second half of the 12th century.\n\nSee also\n\n Migration Period art\n Medieval art\n Celtic art\n Anglo-Saxon art\n Insular art\n Picture stone\n Runestone styles\n Interlace\n Saint Manchan's Shrine, Urnes style adapted to Ringerike style.\n\nNotes\n\nReferences\n\nBackground\n Brink, S. with Price, N. (eds) (2008). The Viking World, [Routledge Worlds], Routledge: London and New York, 2008. \n Graham-Campbell, J. (2001), The Viking World, London, 2001.\n\nGeneral Surveys\n Anker, P. (1970). The Art of Scandinavia, Volume I, London and New York, 1970.\n Fuglesang, S.H. (1996). \"Viking Art\", in Turner, J. (ed.), The Grove Dictionary of Art, Volume 32, London and New York, 1996, pp. 514–27, 531–32.\n Graham-Campbell, J. (1980). Viking Artefacts: A Select Catalogue, British Museum Publications: London, 1980. \n Graham-Campbell, James (2013). Viking Art, Thames & Hudson, 2013. \n Fred S. Kleiner, Gardner's Art Through The Ages: The Western Perspective, Volume I. (Boston, Mass.: Wadsworth Cengage Learning, 2009) \n Roesdahl, E. and Wilson, D.M. (eds) (1992). From Viking to Crusader: Scandinavia and Europe 800–1200, Copenhagen and New York, 1992. [exhibition catalogue]. \n Williams, G., Pentz, P. and Wemhoff, M. (eds), Vikings: Life and Legend, British Museum Press: London, 2014. [exhibition catalogue]. \n Wilson, D.M. & Klindt-Jensen, O. (1980). Viking Art, second edition, George Allen and Unwin, 1980.\n\nSpecialist Studies\n Arwidsson, G. (1942a). Valsgärdestudien I. Vendelstile: Email und Glas im 7.-8. Jahrhundert, [Acta Musei antiquitatum septentrionalium Regiae Universitatis Upsaliensis 2], Uppsala: Almqvist, 1942.\n Arwidsson, G. (1942b). Die Gräberfunde von Valsgärde I, Valsgärde 6, [Acta Musei antiquitatum septentrionalium Regiae Universitatis Upsaliensis 1], Uppsala: Almqvist & Wiksell, 1942.\n Bailey, R.N. (1980). Viking Age Sculpture in Northern England, Collins Archaeology: London, 1980. \n Bonde, N. and Christensen, A.E. (1993). \"Dendrochronological dating of the Viking Age ship burials at Oseberg, Gokstad and Tune, Norway\", Antiquity 67 (1993), pp. 575–83.\n Bruun, Per (1997).\"The Viking Ship,\" Journal of Coastal Research, 4 (1997): 1282–89. https://www.jstor.org/stable/4298737\n Capelle, T. (1968). Der Metallschmuck von Haithabu: Studien zur wikingischen Metallkunst, [Die Ausgrabungen in Haithabu 5], Neumunster: K. Wachholtz, 1968.\n James Curle, \"A Find of Viking Relics in the Hebrides,\" The Burlington Magazine for Connoisseurs 162 (1916): 241–43. https://www.jstor.org/stable/860122\n Fuglesang, S.H. (1980). Some Aspects of the Ringerike Style: A Phase of 11th Century Scandinavian Art, [Mediaeval Scandinavia Supplements], University Press of Southern Denmark: Odense, 1980. \n Fuglesang, S.H. (1981). \"Stylistic Groups in Late Viking and Early Romanesque Art\", Acta ad Archaeologiam et Artium Historiam Pertinentia, [Series altera in 8°] I, 1981, pp. 79–125.\n Fuglesang, S.H. (1982). \"Early Viking Art\", Acta ad Archaeologiam et Artium Historiam Pertinentia [Series altera in 8°] II, 1982, pp. 125–73.\n Fuglesang, S.H. (1991). \"The Axe-Head from Mammen and the Mammen Style\", in Iversen (1991), pp. 83–108.\n Fuglesang, S.H. (1998). \"Swedish Runestones of the Eleventh Century: Ornament and Dating\", in Düwel, K. and Nowak, S. (eds), Runeninschriften als Quellen interdisziplinärer Forschung: Abhandlungen des vierten internationalen Symposiums über Runen und Runeninschriften in Gottingen vom 4.-9. August 1995, Göttingen: Walter de Gruyter, 1998, pp. 197–218.\n Fuglesang, S.H. (2001). \"Animal Ornament: the Late Viking Period\", in Müller-Wille and Larsson (eds) (2001), pp. 157–94.\n Fuglesang, S.H. (2013). \"Copying and Creativity in Early Viking Ornament\", in Reynolds and Webster (eds) (2013), pp. 825–41.\n Hedeager, L. (2003). \"Beyond Mortality: Scandinavian Animal Styles AD 400–1200\", in Downes, J. and Ritchie, A. (eds), Sea Change: Orkney and Northern Europe in the Later Iron Age AD 300–800, Balgavies, 2003, pp. 127–36. \n Iversen, M. (ed.) (1991). Mammen: Grav, Kunst og Samfund i Vikingetid, [Jysk Arkæologisk Selskabs Skrifter XXVIII], Højbjerg, 1991. \n Kershaw, J. (2008). \"The Distribution of the 'Winchester' Style in Late Saxon England: Metalwork Finds from the Danelaw\", Anglo-Saxon Studies in Archaeology and History 15 (2008), pp. 254–69. Academic.edu\n Krafft, S. (1956). Pictorial Weavings from the Viking Age, Oslo: Dreyer, 1956.\n Lang, J.T. (1984). \"The hogback: a Viking colonial monument\", Anglo-Saxon Studies in Archaeology and History 3 (1984), pp. 85–176.\n Lang, J.T. (1988). Viking Age Decorated Wood: A Study of its Ornament and Style, Dublin: Royal Irish Academy, 1988. \n Moss, Rachel. Medieval c. 400—c. 1600: Art and Architecture of Ireland. New Haven, CT: Yale University Press, 2014. \n Müller-Wille, M. and Larsson, L.O. (eds) (2001). Tiere – Menschen – Götter: Wikingerzeitliche Kunststile und ihre Neuzeitliche Rezeption, Vandenhoeck & Ruprecht: Gottingen, 2001. \n Myhre, B. (1992). \"The Royal Cemetery at Borre, Vestfold: A Norwegian Centre in a European Periphery\", in Carter, M. (ed.), The Age of Sutton Hoo. The Seventh Century in North-West Europe, Woodbridge: Boydell, 1992.\n Owen, O. (2001). \"The strange beast that is the English Urnes Style\", in Graham-Campbell, J. et al. (eds), Vikings and the Danelaw – Selected Papers from the Proceedings of the Thirteenth Viking Congress, Oxford: Oxbow, 2001, pp. 203–22.\n Paterson, C. (2002). \"From Pendants to Brooches – The Exchange of Borre and Jelling Style Motifs across the North Sea\", Hikuin 29 (2002), pp. 267–76.\n Reynolds, A. and Webster, L. (eds) (2013), Early Medieval Art and Archaeology in the Northern World—Studies in Honour of James Graham-Campbell, Brill: Leiden and Boston, 2013. \n Richards, J.D. and Naylor, J. (2010). \"The metal detector and the Viking Age in England\", in Sheehan, J. and Corráin, D. Ó. (eds), The Viking Age. Ireland and the West. Proceedings of the Fifteenth Viking Congress, Dublin: Four Courts Press, 2010, pp. 338–52.\n Roesdahl, E. (1994). \"Dendrochronology and Viking Studies in Denmark, with a Note on the Beginning of the Viking Age\", in Abrosiani, B. and Clarke, H. (eds), Developments around the Baltic and the North Sea in the Viking Age, Stockholm: Birka Project for Riksantikvarieämbetet and Statens Historiska Museer, 1994, pp. 106–16.\n Roesdahl, E. (2010a). \"Viking Art in European Churches (Cammin – Bamberg – Prague – León)\", in Sheehan and Ó Corráin (eds) (2010), pp. 149–64.\n Roesdahl, E. (2010b). \"From Scandinavia to Spain: a Viking Age Reliquary in León and its Significance\", in Sheehan, J. and Corráin, D. Ó. (eds), The Viking Age. Ireland and the West. Proceedings of the Fifteenth Viking Congress, Dublin: Four Courts Press, 2010, pp. 353–60.\n Salin, Bernhard (1904). Die altgermanische Thieronamentik, Stockholm: Wahlström & Widstrand, 1904.\n Sheehan, J. and Ó Corráin, D. (eds) (2010). The Viking Age: Ireland and the West. Proceedings of the XVth Viking Congress, Cork, 2005., Dublin and Portland: Four Courts Press, 2010. \n Shetelig, H. (1920). Osebergfundet, Volume III, Kristiania, 1920.\n Wilson, D.M. (2001). \"The Earliest Animal Styles of the Viking Age\", in Müller-Wille and Larsson (eds) (2001), pp. 131–56.\n Wilson, D.M. (2008a). \"The Development of Viking Art\", in Brink with Price (2008), pp. 323–38.\n Wilson, D.M. (2008b). The Vikings in the Isle of Man, Aarhus: Aarhus University Press, 2008. \n\nExternal links\n British Museum: Explore / World Cultures: Vikings\n Sorabella, Jean, \"The Vikings (780–1100)\", in Heilbrunn Timeline of Art History, New York: The Metropolitan Museum of Art, 2000–. Updated October 2002.\n Age of spirituality : late antique and early Christian art, third to seventh century'' from The Metropolitan Museum of Art\n Oseberg Ship\n Oseberg Style Cart\n Examples of the Broa and Oseberg Style\n Borrehaugene\n Jane Kershaw, Viking-Age Scandinavian art styles and their appearance in the British Isles – Part 1: Early Viking-Age art styles – The Finds Research Group AD 700–1700, Datasheet 42, 2010. (Academia.edu registration required).\n Jane Kershaw, Viking-Age Scandinavian art styles and their appearance in the British Isles Part 2: Late Viking-Age art styles – The Finds Research Group AD 700–1700, Datasheet 43, 2011. (Academia.edu registration required).", "title": "Viking art" }, { "text": "Hercules' Club (also Hercules-club, Club-of-Hercules; German , ) is a Roman Empire and Migration-era artefact type.\n\nRoman-era Hercules's Clubs appear from the 2nd to the 3rd century, spread over the empire (including in Roman Britain, cf. Cool 1986), mostly made of gold, shaped like wooden clubs.\nA specimen found in Köln-Nippes bears the inscription \"DEO HER[culi]\", confirming the association with Hercules. Indeed, already Tacitus mentions a special affinity of the Germans for Hercules, stating \"they say that Hercules, too, once visited them; and when going into battle, they sing of him first of all heroes.\" This Hercules may be Tacitus' identification of Donar through interpretatio romana.\n\nThere are two basic types, the smaller type (ca. 3 cm) cast in molds, \nand the larger (ca. 5 cm) wrought from sheet metal. A type of bone pendants found in Iron Age (Biblical period) Palestine is also associated with the Club-of-Hercules jewelry of the Roman era (Platt 1978). A votive mace made of bronze found in Willingham Fen, Cambridgeshire in 1857 follows the Roman model in shape and the representation of wooden knobs on the club, but adding indigenous (Celtic) iconography by depicting animal heads, anthropomorphic figures and a wheel at the club's base.\n \nIn the 5th to 7th centuries, during the Germanic migration, the amulet type rapidly spread from the Elbe Germanic area across Europe. These Germanic \"Donar's Clubs\" were made from deer antler, bone or wood, more rarely also from bronze or precious metals. They are found exclusively in female graves, apparently worn either as a belt pendant, or as an ear pendant.\n \nThe amulet type was replaced by the Viking Age Thor's hammer pendants in the course of the Christianization of Scandinavia from the 8th to 9th century.\n\nReferences\n\nSee also\nMigration period art\nDonar's oak\nThor's hammer\n\nCategory:2nd-century establishments in the Roman Empire\nCategory:Archaeological artefact types\nCategory:Germanic archaeological artifacts\nCategory:Ancient Roman religion\nCategory:Magic (supernatural)\nCategory:Amulets\nCategory:Hercules\nCategory:Thor", "title": "Hercules' Club (amulet)" }, { "text": "Anglo-Saxon art covers art produced within the Anglo-Saxon period of English history, beginning with the Migration period style that the Anglo-Saxons brought with them from the continent in the 5th century, and ending in 1066 with the Norman Conquest of England, whose sophisticated art was influential in much of northern Europe. The two periods of outstanding achievement were the 7th and 8th centuries, with the metalwork and jewellery from Sutton Hoo and a series of magnificent illuminated manuscripts, and the final period after about 950, when there was a revival of English culture after the end of the Viking invasions. By the time of the Conquest the move to the Romanesque style is nearly complete. The important artistic centres, in so far as these can be established, were concentrated in the extremities of England, in Northumbria, especially in the early period, and Wessex and Kent near the south coast.\n\nAnglo-Saxon art survives mostly in illuminated manuscripts, Anglo-Saxon architecture, a number of very fine ivory carvings, and some works in metal and other materials. Opus Anglicanum (\"English work\") was already recognised as the finest embroidery in Europe, although only a few pieces from the Anglo-Saxon period remain – the Bayeux Tapestry is a rather different sort of embroidery, on a far larger scale. As in most of Europe at the time, metalwork was the most highly regarded form of art by the Anglo-Saxons, but hardly any survives – there was enormous plundering of Anglo-Saxon churches, monasteries and the possessions of the dispossessed nobility by the new Norman rulers in their first decades, as well as the Norsemen before them, and the English Reformation after them, and most survivals were once on the continent. Anglo-Saxon taste favoured brightness and colour, and an effort of the imagination is often needed to see the excavated and worn remains that survive as they once were.\n\nPerhaps the best known piece of Anglo-Saxon art is the Bayeux Tapestry which was commissioned by a Norman patron from English artists working in the traditional Anglo-Saxon style. Anglo-Saxon artists also worked in fresco, stone, ivory and whalebone (notably the Franks Casket), metalwork (for example the Fuller brooch), glass and enamel, many examples of which have been recovered through archaeological excavation and some of which have simply been preserved over the centuries, especially in churches on the Continent, as the Vikings, Normans and Reformation iconoclasm between them left virtually nothing in England except for books and archaeological finds.\n\nOverview\n\nMetalwork is almost the only form in which the earliest Anglo-Saxon art has survived, mostly in Germanic-style jewellery (including fittings for clothes and weapons) which was, before the Christianization of Anglo-Saxon England, commonly placed in burials. After the conversion, which took most of the 7th century, the fusion of Germanic Anglo-Saxon, Celtic and Late Antique techniques and motifs, together with the requirement for books, created the Hiberno-Saxon style, or Insular art, which is also seen in illuminated manuscripts and some carved stone and ivory, probably mostly drawing from decorative metalwork motifs, and with further influences from the British Celts of the west and the Franks. \n\nThe Kingdom of Northumbria in the far north of England was the crucible of Insular style in Britain, at centres such as Lindisfarne, founded c. 635 as an offshoot of the Irish monastery on Iona, and Monkwearmouth-Jarrow Abbey (674) which looked to the continent. At about the same time as the Insular Lindisfarne Gospels was being made in the early 8th century, the Vespasian Psalter from Canterbury in the far south, which the missionaries from Rome had made their headquarters, shows a wholly different, classically based art. These two styles mixed and developed together and by the following century the resulting Anglo-Saxon style had reached maturity.\n\nHowever Anglo-Saxon society was massively disrupted in the 9th century, especially the later half, by the Viking invasions, and the number of significant objects surviving falls considerably, and their dating becomes even vaguer than of those from a century before. Most monasteries in the north were closed for decades, if not forever, and after the Canterbury Bible of before 850, perhaps well before, \"no major illuminated manuscript is known until well on into the tenth century\". King Alfred (r. 871–899) held the Vikings back to a line running diagonally across the middle of England, above which they settled in the Danelaw, and were gradually integrated into what was now a unified Anglo-Saxon kingdom.\n\nThe final phase of Anglo-Saxon art is known as the Winchester School or style, though it was produced in many centres in the south of England, and perhaps the Midlands also. Elements of this begin to be seen from around 900, but the first major manuscripts only appear around the 930s. The style combined influences from the continental art of the Holy Roman Empire with elements of older English art, and some particular elements including a nervous agitated style of drapery, sometimes matched by figures, especially in line drawings, which are the only images in many manuscripts, and were to remain especially prominent in medieval English art.\n\nIlluminated manuscripts\n\nEarly Anglo-Saxon manuscript illumination forms part of Insular art, a combination of influences from Mediterranean, Celtic and Germanic styles that arose when the Anglo-Saxons encountered Irish missionary activity in Northumbria, at Lindisfarne and Iona in particular. At the same time the Gregorian mission from Rome and its successors imported continental manuscripts like the Italian St. Augustine Gospels, and for a considerable period the two styles appear mixed in a variety of proportions in Anglo-Saxon manuscripts. \n\nIn the Lindisfarne Gospels, of around 700–715, there are carpet pages and Insular initials of unprecedented complexity and sophistication, but the evangelist portraits, clearly following Italian models, greatly simplify them, misunderstand some details of the setting, and give them a border with interlace corners. The portrait of St Matthew is based on the same Italian model, or one extremely similar, used for the figure of Ezra that is one of the two large miniatures in the Codex Amiatinus (before 716), but the style there is very different; a far more illusionistic treatment, and an \"attempt to introduce a pure Mediterranean style into Anglo-Saxon England\", which failed, as \"perhaps too advanced\", leaving these images apparently as the only evidence.\n\nA different mixture is seen in the opening from the Stockholm Codex Aureus (mid-8th century, above left) where the evangelist portrait to the left is in a consistent adaptation of Italian style, probably closely following some lost model, though adding interlace to the chair frame, while the text page to the right is mainly in Insular style, especially in the first line, with its vigorous Celtic spirals and interlace. The following lines revert to a quieter style more typical of Frankish manuscripts of the period. Yet the same artist almost certainly produced both pages, and is very confident in both styles; the evangelist portrait of John includes roundels with Celtic spiral decoration probably drawn from the enamelled escutcheons of hanging bowls. \n\nThis is one of the so-called \"Tiberius group\" of manuscripts, which leant towards the Italian style, and appear to be associated with Kent, or perhaps the kingdom of Mercia in the heyday of the Mercian Supremacy. It is, in the usual chronology, the last English manuscript in which \"developed trumpet spiral patterns\" are found.\n\nThe 9th century, especially the latter half, has very few major survivals made in England, but was a period when Insular and Anglo-Saxon influence on Carolingian manuscripts was at its height, from scriptoria such as those at the Anglo-Saxon mission's foundation at Echternach Abbey (though the important Echternach Gospels were created in Northumbria), and the major monastery at Tours, where Alcuin of York was followed by another Anglo-Saxon abbot, between them covering the period from 796 to 834. Although Tours' own library was destroyed by Norsemen, over 60 9th century illuminated manuscripts from the scriptorium survive, in a style showing many borrowings from English models, especially in initial pages, where Insular influence remained visible in northern France until even the 12th century. The Anglo-Saxon metalwork produced in the Salzburg area of modern Austria has a manuscript counterpart in the \"Cutbercht Gospels\" in Vienna.\n\nBy the 10th century Insular elements were relegated to decorative embellishments in England, as the first phase of the \"Winchester style\" developed. The first plant ornament, with leaves and grapes, was already seen in an initial in the Leningrad Bede, which can probably be dated to 746. The other large initial in the manuscript is the first historiated initial (one containing a portrait or scene, here Christ or a saint) in the whole of Europe. The classically derived vine or plant scroll was to largely oust interlace as the dominant filler of ornamental spaces in Anglo-Saxon art, just as it did in much of Europe beginning with Carolingian art, though in England animals within the scrolls remained much more common than abroad. For some long time scrolls, especially in metal, bone or ivory, are prone to have an animal head at one end and a plant element at the other. \n\nAll these changes were not restricted to manuscripts, and may not have been driven by manuscript style, but we have a greater number of manuscripts surviving than works in other media, even if in most cases illuminations are restricted to initials and perhaps a few miniatures. Several ambitious projects of illumination are unfinished, such as the Old English Hexateuch, which has some 550 scenes in various stages of completion, giving insight into working methods. The illustrations give Old Testament scenes an entirely contemporary setting and are valuable images of Anglo-Saxon life.\n\nManuscripts from the Winchester School or style only survive from about the 930s onwards; this coincided with a wave of revival and reform within English monasticism, encouraged by King Æthelstan (r. 924/5-939) and his successors. Æthelstan promoted Dunstan (909–988), a practising illuminator, eventually to Archbishop of Canterbury, and also Æthelwold and the French-trained Norseman Oswald. Illumination in a new style appears in a manuscript of the biographies by Bede of St Cuthbert given by Æthelstan to the monastery in Chester-le-Street about 937. There is a dedication portrait of the king presenting his book to the saint, the two of them standing outside a large church. This is the first real portrait of an English king, and heavily influenced by Carolingian style, with an elegant inhabited acanthus border. However, the initials in the text combine Carolingian elements with animal forms in inventive fashion. Miniatures added in England to the continental Aethelstan Psalter begin to show Anglo-Saxon liveliness in figure drawing in compositions derived from Carolingian and Byzantine models, and over the following decades the distinctive Winchester style with agitated draperies and elaborate acanthus borders develops.\n\nThe Benedictional of St. Æthelwold is a masterpiece of the later Winchester style, which drew on Insular, Carolingian, and Byzantine art to make a heavier and more grandiose style, where the broad classicising acanthus foliage sometimes seems over-luxuriant. Anglo-Saxon illustration included many lively pen drawings, on which the Carolingian Utrecht Psalter, in Canterbury from about 1000, was highly influential; the Harley Psalter is a copy of it. The Ramsey Psalter (c. 990) contains pages in both the painted and tinted drawing styles, including the first Beatus initial with a \"lion mask\", while the Tiberius Psalter, from the last years before the Conquest, uses mainly the tinted. Anglo-Saxon culture was coming into increasing contact with, and exchanging influences with, a wider Latin Mediaeval Europe. Anglo-Saxon drawing had a great influence in Northern France throughout the 11th century, in the so-called \"Channel school\", and Insular decorative elements such as interlace remained popular into the 12th century in the Franco-Saxon style.\n\nMetalwork \n\nPagan Anglo-Saxon metalwork initially uses the Germanic Animal Style I and II decoration that would be expected from recent immigrants, but gradually develops a distinctive Anglo-Saxon character, as in the Quoit Brooch Style of the 5th century. Anglo-Saxon brooches are the most common survivals of fine metalwork from the earlier period, when they were buried as grave goods. Round disk brooches were preferred for the grandest pieces, over continental styles of fibulae and Romano-British penannular brooches, a consistent Anglo-Saxon taste throughout the period; the Kingston Brooch and Harford Farm Brooch are 7th-century examples. Decoration included cloisonné (\"cellwork\"), in gold and garnet for high-status pieces.\n\nDespite a considerable number of other finds, the discovery of the ship-burial at Sutton Hoo, probably interred in the 620s, transformed the history of Anglo-Saxon art, showing a level of sophistication and quality that was wholly unexpected at this date. The most famous finds are the helmet and matching suite of purse-lid, belt and other fittings of the king buried there, which made clear the source in Anglo-Saxon art, previously much disputed, of many elements of the style of Insular manuscripts.\n\nBy the 10th century Anglo-Saxon metalwork had a famous reputation as far afield as Italy, where English goldsmiths worked on plate for the altar of St Peter's itself, but hardly any pieces have survived the depredations of the Norman Conquest in 1066, and the English Reformation, and none of the large-scale ones, shrines, doors and statues, that we know existed, and of which a few contemporary continental examples have survived.\n\nThe references to specific works by the 11th-century monastic artist Spearhafoc, none of which have identifiably survived, are about works in precious metal, and he is one of a small number of metalwork artists from the period whose name we know and whose work is described in any way. According to several sources, including the Norman chronicler Goscelin, who knew him personally, Spearhafoc \"was outstanding in painting, gold-engraving and goldsmithery\", the painting very likely mainly in illuminated manuscripts. It was probably his artistic work which brought into contact with the royal family, and launched his rapid promotion in the church. Even the imprecise details given, mostly by Goscelin, are therefore valuable evidence of what Anglo-Saxon metalwork was like.\n\nAnglo-Saxon skill in gold-engraving, designs and figures engraved on gold objects, is mentioned by many foreign sources, and the few remaining engraved figures closely parallel the far more numerous pen-drawn figures in manuscripts, also an Anglo-Saxon speciality. Wall-paintings, which seem to have sometimes contained gold, were also apparently often made by manuscript illuminators, and Goscelin's description of his talents therefore suggests an artist skilled in all the main Anglo-Saxon media for figurative art – of which being a goldsmith was then regarded as the most prestigious branch. One 11th-century lay goldsmith was even a thegn.\n\nMany monastic artists reached senior positions; Spearhafoc's career in metalwork was paralleled in less sensational fashion by his contemporary Mannig, Abbot of Evesham (Abbot 1044–58, d. 1066), and at the end of the previous century Saint Dunstan had been a very successful Archbishop of Canterbury. Like Spearhafoc, Mannig's biography, with some precise details, is given in the chronicle maintained by his abbey. His work also had a miracle associated with it – the lay goldsmith Godric stabbed his hand with an awl during the work on the large shrine at Evesham, which was miraculously healed overnight. Spearhafoc and Mannig are the \"only two goldsmiths of whom we have extended accounts\", and the additional information given about Godric, the leader of a team brought in by Mannig for the shrine, is also unique among the surviving evidence. Some twenty years after the miracle, he joined the Abbey of Evesham, presumably in retirement, and his son later became Prior there.\n\nIn the final century of the period some large figures in precious metal are recorded; presumably these were made of thin sheets over a wooden core like the Golden Madonna of Essen, the largest example of this type of Early Medieval figure to survive from anywhere in Europe. These appear to have been life-size, or nearly so, and were mostly crucifixes, sometimes with figures of Mary and John the Evangelist on either side. Patronage by the great figures of the land, and the largest monasteries, became extravagant in this period, and the greatest late Anglo-Saxon churches must have presented a dazzling spectacle, somewhat in the style of Eastern Orthodox churches. Anglo-Saxon taste revelled in expensive materials and the effects of light on precious metals, which were also embroidered into fabrics and used on wall-paintings. Sections of decorated elements from some large looted works such as reliquaries were sawn up by Viking raiders and taken home to their wives to wear as jewellery, and a number of these survive in Scandinavian museums.\n\nWhile larger works are all lost, several small objects and fragments have survived, nearly all having been buried; in recent decades professional archaeology as well as metal-detecting and deep ploughing have greatly increased the number of objects known. Among the few unburied exceptions are the secular Fuller Brooch, and two works made in Anglo-Saxon style carried to Austria by the Anglo-Saxon mission, the Tassilo Chalice (late 8th century) and the Rupertus Cross. Especially in the 9th century, Anglo-Saxon styles, sometimes derived from manuscripts rather than metal examples, are found in a great number of smaller pieces of jewellery and other small fittings from across northern Europe.\n\nFrom England itself, the Alfred Jewel, with an enamel face, is the best known of a group of finely worked liturgical jewels, and there are a number of high quality disk brooches. The most ornate of earlier ones are colourful and complicated with inlays and filigrees, but the 9th century Pentney Hoard, discovered in 1978, contained six splendid brooches in flat silver openwork in the \"Trewhiddle style\". In these small but fully formed animals, of no recognisable species, contort themselves in foliage and tendrils that interlace, but without the emphatic geometry of the earlier \"ribbon\" style. Ædwen's brooch, an 11th-century Anglo-Scandinavian silver disk brooch, shows influence from Viking art, and a fall-off from the highest earlier standards of workmanship.\n\nIn 2009 the Staffordshire hoard, a major hoard of over 1,500 fragments of 7th and ?8th century metalwork pieces, mostly gold and military in nature, many with gold and garnet cloisonné inlays of high quality, was found by a metal-detectorist in Staffordshire, then in Mercia. Jewellery is far more often found from burials of the early pagan period, as Christianity discouraged grave-goods, even the personal possessions of the deceased. Early Anglo-Saxon jewellery includes various types of fibulae that are close to their Continental Germanic equivalents, but until Sutton Hoo rarely of outstanding quality, which is why that find transformed thinking about early Anglo-Saxon art. Objects from the Royal Anglo-Saxon tomb in Prittlewell in Essex, dating from the late 6th century and discovered in 2003, were put on display in Southend Central Museum in 2019.\n\nThe earliest Anglo-Saxon coin type, the silver sceat, forced craftsmen, no doubt asked to copy Roman and contemporary continental styles, to work outside their traditional forms and conventions in respect of the heads on the obverse, with results that are varied and often compelling. Later silver pennies, with largely linear relief heads of kings in profile on the obverse, are more uniform, as representatives of what was a stable and respected currency by contemporary European standards. A number of complete seax knives have survived with inscriptions and some decoration, and sword fittings and other military pieces are an important form of jewellery. A treatise on social status needed to say that mere ownership of a gilded sword did not make a man a ceorle, the lowest rank of free men.\n\nMonumental sculpture and wall painting\n\nApart from Anglo-Saxon architecture, which survives entirely in churches, with only a handful of largely unaltered examples, monumental stone sculpture survives in large stone crosses, an equivalent to the high crosses of the Celtic areas of Britain. Most sculpture was probably once painted, clarifying the designs, which are mostly in relatively low relief and not finished with great precision, and now almost all badly worn and weathered. Dating is usually difficult. \n\nSculpture in wood was very likely more common, but almost the only significant large survival is St Cuthbert's coffin in Durham Cathedral, probably made in 698, with numerous linear images carved or incised in a technique that is a sort of large-scale engraving. The material of the earliest recorded crosses is unknown, but may well have been wood. From various references (to its destruction by Christians) there would seem to have been a tradition of Anglo-Saxon pagan monumental sculpture, probably in wood, of which no examples remain (as opposed to later Anglo-Scandinavian pagan imagery), and with which the crosses initially competed.\n\nThe Anglo-Saxon crosses have survived less well than those in Ireland, being more subject to iconoclasm after the English Reformation. Some featured large figurative sculpture of considerable quality, as on the Ruthwell Cross and Bewcastle Cross (both probably around 800). Vine-scroll decoration and interlace are seen in alternating panels on the early Northumbrian Ruthwell, Bewcastle and Easby Crosses, though the vine-scroll is already more prominent, and has faces to itself. Later Southumbrian crosses often only use vine-scrolls. There may be inscriptions, in the runic or Roman scripts, and Latin or Old English, most famously at Ruthwell, where some of the poem the Dream of the Rood is inscribed together with Latin texts; more often donors are commemorated. It has also been suggested that as well as paint, they may have been embellished with metalwork and gems.\n\nTypically, Anglo-Saxon crosses are tall and slender compared to Irish examples, many with a nearly square section, and more space given to ornament than figures. However, there are exceptions, like the massive Sandbach Crosses from Mercia, with oblong sections mostly covered by figures on the wider faces, like some Irish crosses. The Gosforth Cross, of 930–950, is a rare example to survive complete; most survivals are only a section of the shaft, and iconoclasts were more concerned to destroy imagery than ornament. Many crosses must have just fallen over after some centuries; headpieces are the least common survivals, and the Easby Cross was repaired with lead in a way described in early documents. Like many monuments from the area of the Danelaw, the Gosforth Cross combines Christian images with those from pagan mythology; apart from a Crucifixion scene, and perhaps scenes of the Last Judgement, all the other images appear to belong to the Norse myth of Ragnarök, the destruction of the gods, a theme detected in other Christian monuments in Britain and Scandinavia, and which could be turned to Christian advantage.\n\nAnglo-Scandinavians took up Anglo-Saxon sculptural forms with great enthusiasm, and in Yorkshire alone there are fragments from more than 500 monumental sculptures of the 10th and 11th centuries. However quantity was not matched by quality, and even the products of the main city, York, are described by David M. Wilson as \"generally miserable and slipshod\". In the early stages the successive styles of Norse art appear in England, but gradually as political and cultural ties weakened the Anglo-Scandinavians fail to keep up with trends in the homeland. So elements of the Borre style are seen, for example in the \"ring-chain\" interlace on the Gosforth Cross, and then the complex animals of the Jelling style are mostly rather incompetently depicted in England, but traces of the next Mammen style are hard to detect; they are much clearer on the Isle of Man. They are \"perhaps, dimly\" evident in the cross shaft from St Oswald's Priory, Gloucester (illustrated above right). In general the traces of these styles in other media are even fainter. \n\nA uniquely Anglo-Scandinavian form is the hogback, low grave-marker shaped like a long house with a pitched roof, and sometimes muzzled bears clutching on to each end. Ornament is sometimes a crude pattern of scoring, or scale-like elements presumably representing roofing shingles, but may include interlace and images.\n\nMany fragments, parts of friezes and panels with figure and ornamental carving, have been recovered by archaeology, usually after being reused in rebuilt churches. The largest group of Anglo-Saxon sculpture is from a former abbey at Breedon-on-the-Hill in Mercia, with a number of elements of different dates, including lively narrow decorative strip friezes, many including human figures, and panels with saints and the Virgin. The most intriguing fragments are firstly a group, now at Canterbury Cathedral, from St Mary's Church, Reculver, in Kent, from a large composition with many figure scenes and groups on a curved surface, evidently of high quality, though uncertain date (perhaps early 10th century). A Sacrifice of Isaac and an Ascension can be identified, and parts of standing groups of saints, prophets or apostles.\n\nStanding equally apart from other survivals is a late slab from the Old Minster, Winchester which appears to show a section of a large frieze with the story from Germanic mythology of Sigmund, which it has been suggested may have been as long as eighty feet wide, and over four feet high. There are literary references to secular narrative tapestries, a tradition of which the Bayeux Tapestry is the only survival, and this may have been a stone equivalent, celebrating Sigmund, who was believed to be an ancestor of the intermarried royal houses of both England and Denmark, many of whom were buried in what was then the largest church in England.\n\nIt is also clear from literary sources that wall paintings were not uncommon, although not a prestigious form, and fragments of painted plaster have been found, as well as a painted face on a reused stone at Winchester, dating to before 903, and so an important early example of the Winchester figure style. A metaphor in a letter of Alcuin speaks of \"stars, like the painted ceiling of a great man's house\". However, no paintings that are at all complete have survived on either wall or panel.\n\nIvory carving\n\nAs in the rest of the Christian world, while monumental sculpture was slowly re-emerging from its virtual absence in the Early Christian period, small-scale sculpture in metalwork, ivory carving and also bone carving was more important than in later periods, and by no means a \"minor art\". Most Anglo-Saxon ivory was from marine animals, especially the walrus, imported from further north. The extraordinary early Franks Casket is carved from whalebone, which a riddle on it alludes to. It contains a unique mixture of pagan, historical and Christian scenes, evidently attempting to cover a general history of the world, and inscriptions in runes in both Latin and Old English. \n\nWe have few Anglo-Saxon panels from book-covers compared to those from Carolingian and Ottonian art but a number of figures of very high quality in high relief or fully in the round. In the last phase of Anglo-Saxon art two styles are apparent: one a heavier and formal one drawing from Carolingian and Ottonian sources, and the other the Winchester style, drawing from the Utrecht Psalter and an alternative Carolingian tradition. A very late boxwood casket, now in Cleveland, Ohio, is carved all over with scenes from the Life of Christ in a provincial but accomplished version of the Winchester style, possibly originating in the West Midlands, and is a unique survival of late Anglo-Saxon fine wood carving.\n\nTextile art\n\nThe textile arts of embroidery and \"tapestry\", Opus anglicanum, were apparently those for which Anglo-Saxon England was famous throughout Europe by the end of the period, but there are only a handful of survivals, probably partly because of the Anglo-Saxon love of using threads in precious metal, making the work valuable for scrap.\n\nThe Bayeux Tapestry is embroidered in wool on linen and shows the story of the Norman conquest of England; it is surely the best known Anglo-Saxon work of art, and though made after the Conquest was both made in England and firmly in an Anglo-Saxon tradition, points now accepted by French art-historians. Such tapestries adorned both churches and wealthy houses in England, though at 0.5 by 68.38 metres (1.6 by 224.3 ft, and apparently incomplete) the Bayeux Tapestry must be exceptionally large. Only the figures and decoration are embroidered, on a background left plain, which shows the subject very clearly and was necessary to cover very large areas. All kinds of textile arts were produced by women, both nuns and laywomen, but many were probably designed by artists in other media. Byzantine silks were available, though certainly expensive, in Anglo-Saxon England, and a number of pieces have been found used in burials and reliquaries. Probably, as in later vestments, these were often married with locally embroidered borders and panels. If we had more Anglo-Saxon survivals, Byzantine influences would no doubt be apparent.\n\nThe most highly valued embroideries were very different, fully worked in silk and gold of silver thread, and sometimes with gems of various sorts sewn in. These were used for vestments, altar-cloths and other church uses, and similar roles in the homes of the elite. Only a few pieces have survived, including three pieces at Durham placed in the coffin of St Cuthbert, probably in the 930s, after being given by King Athelstan; they were made in Winchester between 909 and 916. These are works \"of breathtaking brilliance and quality\", according to Wilson, including figures of saints, and important early examples of the Winchester style, though the origin of their style is a puzzle; they are closest to the wall-painting fragment from Winchester mentioned above, and an early example of acanthus decoration.\n\nThe earliest group of survivals, now re-arranged and with the precious metal thread mostly picked out, are bands or borders from vestments, incorporating pearls and glass beads, with various types of scroll and animal decoration. These are probably 9th century and now in a church in Maaseik in Belgium. A further style of textile is a vestment illustrated in a miniature portrait of Saint Aethelwold in his Benedictional (see above), which shows the edge of what appears to be a huge acanthus \"flower\" (a term used in several documentary records) covering the wearer's back and shoulders. Other written sources mention other large-scale compositions.\n\nOther materials\n\nAnglo-Saxon glass was mostly made in simple forms, with vessels always in a single colour, either clear, green or brown, but some fancy claw beakers decorated with large \"claw\" forms have survived, mostly broken; these forms are also found in northern continental Europe. Beads, common in early female burials, and some ecclesiastical window glass was more brightly coloured, and several monastic sites have evidence of glass production. Vessel and bead production probably continued, at a much lower level, from the Romano-British industry, but Bede records that Benedict Biscop brought glass-makers from Gaul for window glass at his monasteries. It is not clear how much Anglo-Saxon glass was imported, but canes of millefiori coloured glass almost certainly were; one of these was in the purse at Sutton Hoo. Otherwise recycling of Roman glass may have avoided the need to import raw glass; evidence for the production of this is slender. Glass is sometimes used as a substitute for garnet in jewellery, as in some pieces from Sutton Hoo. Enamel was used, most famously in the Alfred Jewel, where the image sits under carved rock crystal, both materials are extremely rare in surviving Anglo-Saxon work.\n\nThe unique decorated leather cover of the small Northumbrian St Cuthbert Gospel, the oldest Western bookbinding to survive unaltered, can be dated to 698 or shortly before. It uses incised lines, some colours, and relief decoration built up over cord and gesso or leather pieces. Larger prestige manuscripts had metalwork treasure bindings, several of which are mentioned, but there may well have been much decorated leatherwork for secular satchels, purses, belts and the like, which contemporaries did not bother to mention and which represents a gap in our knowledge for the Early Medieval period throughout Europe.\n\nAftermath\n\nRelatively little art survives from the rest of the century after 1066, or at least is confidently dated to that period. The art of Normandy was already under heavy Anglo-Saxon influence, but the period was one of massive despoliation of the churches by the small new ruling class, who had almost entirely dispossessed the old Anglo-Saxon elite. Under these circumstances little significant art was produced, but when it was, the style often showed a slow development of Anglo-Saxon styles into a fully Romanesque version. The attribution of many individual objects has jumped around across the boundary of the Norman Conquest, especially for sculpture, including ivories. A number of objects are claimed for their period by both the \"Golden Age of Anglo-Saxon Art\" and the \"English Romanesque art: 1066–1200\" exhibition catalogues, despite both being published in 1984. These include the ivory triangle mount with angels and the \"Sigurd\" stone relief fragment (discussed above), both from Winchester, and the ivory \"pen-case\" and Baptism (illustrated above), both in the British Museum.\n\nThe energy, love of complicated twining ornament, and refusal to wholly respect a dignified classical decorum that are displayed in both Insular and Winchester school art had already influenced continental style, as discussed above, where it provided an alternative to the heavy monumentality that Ottonian art displays even in small objects. This habit of mind was an essential component of both the Romanesque and Gothic styles, where forms of Anglo-Saxon invention such as the inhabited and historiated initials became more important than they ever had in Anglo-Saxon art itself, and works like the Gloucester Candlestick (c. 1110) show the process in other media.\n\nAnglo-Saxon iconographical innovations include the animal Hellmouth, the ascending Christ shown only as a pair of legs and feet disappearing at the top of the image, the horned Moses, St John the Evangelist standing at the foot of the cross and writing, and God the Father creating the world with a pair of compasses. All of these were later used across Europe. The earliest developed depiction of the Last Judgement in the West is also found on an Anglo-Saxon ivory, and a late Anglo-Saxon Gospel book may show the earliest example of Mary Magdalene at the foot of the cross in a Crucifixion.\n\nSee also \n\nMedieval art\nViking art\nMigration Period art\nList of illuminated Anglo-Saxon manuscripts\nAnglo-Saxon architecture\nAnglo-Saxon literature\nAnglo-Saxon glass\n\nNotes\n\nReferences \n \n\"Dodwell (1982)\": Dodwell, C. R., Anglo-Saxon Art, A New Perspective, 1982, Manchester UP, \n\"Dodwell (1993)\": Dodwell, C. R., The Pictorial arts of the West, 800–1200, 1993, Yale UP, \n\"Golden Age\": Backhouse, Janet, Turner, D.H., and Webster, Leslie, eds.; The Golden Age of Anglo-Saxon Art, 966–1066, 1984, British Museum Publications Ltd, \nHenderson, George. Early Medieval, 1972, rev. 1977, Penguin.\n\"History\": Historia Ecclesie Abbendonensis: The History of the Church of Abingdon, Translated by John Hudson, Oxford University Press, 2002, \nNordenfalk, Carl. Celtic and Anglo-Saxon Painting: Book illumination in the British Isles 600–800. Chatto & Windus, London (New York: George Braziller), 1977.\nSchiller, Gertrud, Iconography of Christian Art, Vol. II, 1972 (English trans from German), Lund Humphries, London, \nWilson, David M.; Anglo-Saxon: Art From The Seventh Century To The Norman Conquest, Thames and Hudson (US edn. Overlook Press), 1984.\nZarnecki, George and others; English Romanesque Art, 1066–1200, 1984, Arts Council of Great Britain,\n\nFurther reading\n Brown, Michelle, The Lindisfarne Gospels and the Early Medieval World (2010)\n Webster, Leslie, Anglo-Saxon Art, 2012, British Museum Press, \n Karkov, Catherine E., The Art of Anglo-Saxon England, 2011, Boydell Press, , \n Coatsworth, Elizabeth; Pinder, Michael, The Art of the Anglo-Saxon Goldsmith; Fine Metalwork in Anglo-Saxon England: its Practice and Practitioners, 2002, Boydell Press\n\nExternal links \n\nCorpus of Anglo-Saxon Stone Sculpture hosted by Durham University\nAn Introduction to Anglo-Saxon Manuscripts -online seminar\n\n \nCategory:English art\nCategory:Medieval art", "title": "Anglo-Saxon art" }, { "text": "Art is a diverse range of human activity, and resulting product, that involves creative or imaginative talent expressive of technical proficiency, beauty, emotional power, or conceptual ideas.\n\nThere is no generally agreed definition of what constitutes art, and its interpretation has varied greatly throughout history and across cultures. In the Western tradition, the three classical branches of visual art are painting, sculpture, and architecture. Theatre, dance, and other performing arts, as well as literature, music, film and other media such as interactive media, are included in a broader definition of the arts. Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts.\n\nThe nature of art and related concepts, such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics. The resulting artworks are studied in the professional fields of art criticism and the history of art.\n\nOverview\nIn the perspective of the history of art, artistic works have existed for almost as long as humankind: from early prehistoric art to contemporary art; however, some theorists think that the typical concept of \"artistic works\" does not fit well outside modern Western societies. One early sense of the definition of art is closely related to the older Latin meaning, which roughly translates to \"skill\" or \"craft\", as associated with words such as \"artisan\". English words derived from this meaning include artifact, artificial, artifice, medical arts, and military arts. However, there are many other colloquial uses of the word, all with some relation to its etymology.\n\nOver time, philosophers like Plato, Aristotle, Socrates and Immanuel Kant, among others, questioned the meaning of art. Several dialogues in Plato tackle questions about art: Socrates says that poetry is inspired by the muses, and is not rational. He speaks approvingly of this, and other forms of divine madness (drunkenness, eroticism, and dreaming) in the Phaedrus (265a–c), and yet in the Republic wants to outlaw Homer's great poetic art, and laughter as well. In Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. The dialogue Ion suggests that Homer's Iliad functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted.\n\nWith regards to the literary art and the musical arts, Aristotle considered epic poetry, tragedy, comedy, Dithyrambic poetry and music to be mimetic or imitative art, each varying in imitation by medium, object, and manner. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language. The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, and through drama or no drama. Aristotle believed that imitation is natural to mankind and constitutes one of mankind's advantages over animals.\n\nThe more recent and specific sense of the word art as an abbreviation for creative art or fine art emerged in the early 17th century. Fine art refers to a skill used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of more refined or finer works of art.\n\nWithin this latter sense, the word art may refer to several things: (i) a study of a creative skill, (ii) a process of using the creative skill, (iii) a product of the creative skill, or (iv) the audience's experience with the creative skill. The creative arts (art as discipline) are a collection of disciplines which produce artworks (art as objects) that are compelled by a personal drive (art as activity) and convey a message, mood, or symbolism for the perceiver to interpret (art as experience). Art is something that stimulates an individual's thoughts, emotions, beliefs, or ideas through the senses. Works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. For some scholars, such as Kant, the sciences and the arts could be distinguished by taking science as representing the domain of knowledge and the arts as representing the domain of the freedom of artistic expression.\n\nOften, if the skill is being used in a common or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are sometimes considered applied art. Some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference. However, even fine art often has goals beyond pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art; to create a sense of beauty (see aesthetics); to explore the nature of perception; for pleasure; or to generate strong emotions. The purpose may also be seemingly nonexistent.\n\nThe nature of art has been described by philosopher Richard Wollheim as \"one of the most elusive of the traditional problems of human culture\". Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Art as mimesis has deep roots in the philosophy of Aristotle. Leo Tolstoy identified art as a use of indirect means to communicate from one person to another. Benedetto Croce and R. G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator. The theory of art as form has its roots in the philosophy of Kant, and was developed in the early 20th century by Roger Fry and Clive Bell. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation. George Dickie has offered an institutional theory of art that defines a work of art as any artifact upon which a qualified person or persons acting on behalf of the social institution commonly referred to as \"the art world\" has conferred \"the status of candidate for appreciation\". Larry Shiner has described fine art as \"not an essence or a fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old.\"\n\nArt may be characterized in terms of mimesis (its representation of reality), narrative (storytelling), expression, communication of emotion, or other qualities. During the Romantic period, art came to be seen as \"a special faculty of the human mind to be classified with religion and science\".\n\nHistory\n\nA shell engraved by Homo erectus was determined to be between 430,000 and 540,000 years old. A set of eight 130,000 years old white-tailed eagle talons bear cut marks and abrasion that indicate manipulation by neanderthals, possibly for using it as jewelry. A series of tiny, drilled snail shells about 75,000 years old—were discovered in a South African cave. Containers that may have been used to hold paints have been found dating as far back as 100,000 years.\n\nThe oldest piece of art found in Europe is the Riesenhirschknochen der Einhornhöhle, dating back 51,000 years and made by Neanderthals.\n\nSculptures, cave paintings, rock paintings and petroglyphs from the Upper Paleolithic dating to roughly 40,000 years ago have been found, but the precise meaning of such art is often disputed because so little is known about the cultures that produced them.\n\nThe first undisputed sculptures and similar art pieces, like the Venus of Hohle Fels, are the numerous objects found at the Caves and Ice Age Art in the Swabian Jura UNESCO World Heritage Site, where the oldest non-stationary works of human art yet discovered were found, in the form of carved animal and humanoid figurines, in addition to the oldest musical instruments unearthed so far, with the artifacts dating between 43.000 and 35.000 BC, so being the first centre of human art.\n\nMany great traditions in art have a foundation in the art of one of the great ancient civilizations: Ancient Egypt, Mesopotamia, Persia, India, China, Ancient Greece, Rome, as well as Inca, Maya, and Olmec. Each of these centers of early civilization developed a unique and characteristic style in its art. Because of the size and duration of these civilizations, more of their art works have survived and more of their influence has been transmitted to other cultures and later times. Some also have provided the first records of how artists worked. For example, this period of Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty, and anatomically correct proportions.\n\nIn Byzantine and Medieval art of the Western Middle Ages, much art focused on the expression of subjects about biblical and religious culture, and used styles that showed the higher glory of a heavenly world, such as the use of gold in the background of paintings, or glass in mosaics or windows, which also presented figures in idealized, patterned (flat) forms. Nevertheless, a classical realist tradition persisted in small Byzantine works, and realism steadily grew in the art of Catholic Europe.\n\nRenaissance art had a greatly increased emphasis on the realistic depiction of the material world, and the place of humans in it, reflected in the corporeality of the human body, and development of a systematic method of graphical perspective to depict recession in a three-dimensional picture space.\n\nIn the east, Islamic art's rejection of iconography led to emphasis on geometric patterns, calligraphy, and architecture. Further east, religion dominated artistic styles and forms too. India and Tibet saw emphasis on painted sculptures and dance, while religious painting borrowed many conventions from sculpture and tended to bright contrasting colors with emphasis on outlines. China saw the flourishing of many art forms: jade carving, bronzework, pottery (including the stunning terracotta army of Emperor Qin), poetry, calligraphy, music, painting, drama, fiction, etc. Chinese styles vary greatly from era to era and each one is traditionally named after the ruling dynasty. So, for example, Tang dynasty paintings are monochromatic and sparse, emphasizing idealized landscapes, but Ming dynasty paintings are busy and colorful, and focus on telling stories via setting and composition. Japan names its styles after imperial dynasties too, and also saw much interplay between the styles of calligraphy and painting. Woodblock printing became important in Japan after the 17th century.\n\nThe western Age of Enlightenment in the 18th century saw artistic depictions of physical and rational certainties of the clockwork universe, as well as politically revolutionary visions of a post-monarchist world, such as Blake's portrayal of Newton as a divine geometer, or David's propagandistic paintings. This led to Romantic rejections of this in favor of pictures of the emotional side and individuality of humans, exemplified in the novels of Goethe. The late 19th century then saw a host of artistic movements, such as academic art, Symbolism, impressionism and fauvism among others.\n\nThe history of 20th-century art is a narrative of endless possibilities and the search for new standards, each being torn down in succession by the next. Thus the parameters of Impressionism, Expressionism, Fauvism, Cubism, Dadaism, Surrealism, etc. cannot be maintained very much beyond the time of their invention. Increasing global interaction during this time saw an equivalent influence of other cultures into Western art. Thus, Japanese woodblock prints (themselves influenced by Western Renaissance draftsmanship) had an immense influence on impressionism and subsequent development. Later, African sculptures were taken up by Picasso and to some extent by Matisse. Similarly, in the 19th and 20th centuries the West has had huge impacts on Eastern art with originally western ideas like Communism and Post-Modernism exerting a powerful influence.\n\nModernism, the idealistic search for truth, gave way in the latter half of the 20th century to a realization of its unattainability. Theodor W. Adorno said in 1970, \"It is now taken for granted that nothing which concerns art can be taken for granted any more: neither art itself, nor art in relationship to the whole, nor even the right of art to exist.\" Relativism was accepted as an unavoidable truth, which led to the period of contemporary art and postmodern criticism, where cultures of the world and of history are seen as changing forms, which can be appreciated and drawn from only with skepticism and irony. Furthermore, the separation of cultures is increasingly blurred and some argue it is now more appropriate to think in terms of a global culture, rather than of regional ones.\n\nIn The Origin of the Work of Art, Martin Heidegger, a German philosopher and a seminal thinker, describes the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which \"that which is\" can be revealed. Works of art are not merely representations of the way things are, but actually produce a community's shared understanding. Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently changed.\n\nHistorically, art and artistic skills and ideas have often been spread through trade. An example of this is the Silk Road, where Hellenistic, Iranian, Indian and Chinese influences could mix. Greco Buddhist art is one of the most vivid examples of this interaction. The meeting of different cultures and worldviews also influenced artistic creation. An example of this is the multicultural port metropolis of Trieste at the beginning of the 20th century, where James Joyce met writers from Central Europe and the artistic development of New York City as a cultural melting pot.\n\nForms, genres, media, and styles\n\nThe creative arts are often divided into more specific categories, typically along perceptually distinguishable categories such as media, genre, styles, and form. Art form refers to the elements of art that are independent of its interpretation or significance. It covers the methods adopted by the artist and the physical composition of the artwork, primarily non-semantic aspects of the work (i.e., figurae), such as color, contour, dimension, medium, melody, space, texture, and value. Form may also include visual design principles, such as arrangement, balance, contrast, emphasis, harmony, proportion, proximity, and rhythm.\n\nIn general there are three schools of philosophy regarding art, focusing respectively on form, content, and context. Extreme Formalism is the view that all aesthetic properties of art are formal (that is, part of the art form). Philosophers almost universally reject this view and hold that the properties and aesthetics of art extend beyond materials, techniques, and form. Unfortunately, there is little consensus on terminology for these informal properties. Some authors refer to subject matter and content—i.e., denotations and connotations—while others prefer terms like meaning and significance.\n\nExtreme Intentionalism holds that authorial intent plays a decisive role in the meaning of a work of art, conveying the content or essential main idea, while all other interpretations can be discarded. It defines the subject as the persons or idea represented, and the content as the artist's experience of that subject. For example, the composition of Napoleon I on his Imperial Throne is partly borrowed from the Statue of Zeus at Olympia. As evidenced by the title, the subject is Napoleon, and the content is Ingres's representation of Napoleon as \"Emperor-God beyond time and space\". Similarly to extreme formalism, philosophers typically reject extreme intentionalism, because art may have multiple ambiguous meanings and authorial intent may be unknowable and thus irrelevant. Its restrictive interpretation is \"socially unhealthy, philosophically unreal, and politically unwise\".\n\nFinally, the developing theory of post-structuralism studies art's significance in a cultural context, such as the ideas, emotions, and reactions prompted by a work. The cultural context often reduces to the artist's techniques and intentions, in which case analysis proceeds along lines similar to formalism and intentionalism. However, in other cases historical and material conditions may predominate, such as religious and philosophical convictions, sociopolitical and economic structures, or even climate and geography. Art criticism continues to grow and develop alongside art.\n\nSkill and craft\n\nArt can connote a sense of trained ability or mastery of a medium. Art can also refer to the developed and efficient use of a language to convey meaning with immediacy or depth. Art can be defined as an act of expressing feelings, thoughts, and observations.\n\nThere is an understanding that is reached with the material as a result of handling it, which facilitates one's thought processes.\nA common view is that the epithet art, particular in its elevated sense, requires a certain level of creative expertise by the artist, whether this be a demonstration of technical ability, an originality in stylistic approach, or a combination of these two. Traditionally skill of execution was viewed as a quality inseparable from art and thus necessary for its success; for Leonardo da Vinci, art, neither more nor less than his other endeavors, was a manifestation of skill. Rembrandt's work, now praised for its ephemeral virtues, was most admired by his contemporaries for its virtuosity. At the turn of the 20th century, the adroit performances of John Singer Sargent were alternately admired and viewed with skepticism for their manual fluency, yet at nearly the same time the artist who would become the era's most recognized and peripatetic iconoclast, Pablo Picasso, was completing a traditional academic training at which he excelled.\n\nA common contemporary criticism of some modern art occurs along the lines of objecting to the apparent lack of skill or ability required in the production of the artistic object. In conceptual art, Marcel Duchamp's Fountain is among the first examples of pieces wherein the artist used found objects (\"ready-made\") and exercised no traditionally recognised set of skills. Tracey Emin's My Bed, or Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living follow this example and also manipulate the mass media. Emin slept (and engaged in other activities) in her bed before placing the result in a gallery as work of art. Hirst came up with the conceptual design for the artwork but has left most of the eventual creation of many works to employed artisans. Hirst's celebrity is founded entirely on his ability to produce shocking concepts. The actual production in many conceptual and contemporary works of art is a matter of assembly of found objects. However, there are many modernist and contemporary artists who continue to excel in the skills of drawing and painting and in creating hands-on works of art.\n\nPurpose \n\nArt has had a great number of different functions throughout its history, making its purpose difficult to abstract or quantify to any single concept. This does not imply that the purpose of art is \"vague\", but that it has had many unique, different reasons for being created. Some of these functions of art are provided in the following outline. The different purposes of art may be grouped according to those that are non-motivated, and those that are motivated (Lévi-Strauss).\n\nNon-motivated functions \nThe non-motivated purposes of art are those that are integral to being human, transcend the individual, or do not fulfill a specific external purpose. In this sense, Art, as creativity, is something humans must do by their very nature (i.e., no other species creates art), and is therefore beyond utility.\n Basic human instinct for harmony, balance, rhythm. Art at this level is not an action or an object, but an internal appreciation of balance and harmony (beauty), and therefore an aspect of being human beyond utility.Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and rhythm, meters being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry. – Aristotle\n Experience of the mysterious. Art provides a way to experience one's self in relation to the universe. This experience may often come unmotivated, as one appreciates art, music or poetry.The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. – Albert Einstein\n Expression of the imagination. Art provides a means to express the imagination in non-grammatic ways that are not tied to the formality of spoken or written language. Unlike words, which come in sequences and each of which have a definite meaning, art provides a range of forms, symbols and ideas with meanings that are malleable.Jupiter's eagle [as an example of art] is not, like logical (aesthetic) attributes of an object, the concept of the sublimity and majesty of creation, but rather something else—something that gives the imagination an incentive to spread its flight over a whole host of kindred representations that provoke more thought than admits of expression in a concept determined by words. They furnish an aesthetic idea, which serves the above rational idea as a substitute for logical presentation, but with the proper function, however, of animating the mind by opening out for it a prospect into a field of kindred representations stretching beyond its ken. – Immanuel Kant\n Ritualistic and symbolic functions. In many cultures, art is used in rituals, performances and dances as a decoration or symbol. While these often have no specific utilitarian (motivated) purpose, anthropologists know that they often serve a purpose at the level of meaning within a particular culture. This meaning is not furnished by any one individual, but is often the result of many generations of change, and of a cosmological relationship within the culture.Most scholars who deal with rock paintings or objects recovered from prehistoric contexts that cannot be explained in utilitarian terms and are thus categorized as decorative, ritual or symbolic, are aware of the trap posed by the term 'art'. – Silva Tomaskova\n\nMotivated functions \nMotivated purposes of art refer to intentional, conscious actions on the part of the artists or creator. These may be to bring about political change, to comment on an aspect of society, to convey a specific emotion or mood, to address personal psychology, to illustrate another discipline, to (with commercial arts) sell a product, or used as a form of communication.\n Communication. Art, at its simplest, is a form of communication. As most forms of communication have an intent or goal directed toward another individual, this is a motivated purpose. Illustrative arts, such as scientific illustration, are a form of art as communication. Maps are another example. However, the content need not be scientific. Emotions, moods and feelings are also communicated through art.[Art is a set of] artefacts or images with symbolic meanings as a means of communication. – Steve Mithen\n Art as entertainment. Art may seek to bring about a particular emotion or mood, for the purpose of relaxing or entertaining the viewer. This is often the function of the art industries of motion pictures and video games.\n The Avant-Garde. Art for political change. One of the defining functions of early 20th-century art has been to use visual images to bring about political change. Art movements that had this goal—Dadaism, Surrealism, Russian constructivism, and Abstract Expressionism, among others—are collectively referred to as the avant-garde arts.By contrast, the realistic attitude, inspired by positivism, from Saint Thomas Aquinas to Anatole France, clearly seems to me to be hostile to any intellectual or moral advancement. I loathe it, for it is made up of mediocrity, hate, and dull conceit. It is this attitude which today gives birth to these ridiculous books, these insulting plays. It constantly feeds on and derives strength from the newspapers and stultifies both science and art by assiduously flattering the lowest of tastes; clarity bordering on stupidity, a dog's life. – André Breton (Surrealism)\n Art as a \"free zone\", removed from the action of the social censure. Unlike the avant-garde movements, which wanted to erase cultural differences in order to produce new universal values, contemporary art has enhanced its tolerance towards cultural differences as well as its critical and liberating functions (social inquiry, activism, subversion, deconstruction, etc.), becoming a more open place for research and experimentation.\n Art for social inquiry, subversion or anarchy. While similar to art for political change, subversive or deconstructivist art may seek to question aspects of society without any specific political goal. In this case, the function of art may be used to criticize some aspect of society. Graffiti art and other types of street art are graphics and images that are spray-painted or stencilled on publicly viewable walls, buildings, buses, trains, and bridges, usually without permission. Certain art forms, such as graffiti, may also be illegal when they break laws (in this case vandalism).\n Art for social causes. Art can be used to raise awareness for a large variety of causes. A number of art activities were aimed at raising awareness of autism, cancer, human trafficking, and a variety of other topics, such as ocean conservation, human rights in Darfur, murdered and missing Aboriginal women, elder abuse, and pollution. Trashion, using trash to make fashion, practiced by artists such as Marina DeBris is one example of using art to raise awareness about pollution.\n Art for psychological and healing purposes. Art is also used by art therapists, psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing Series, for example, is used to determine the personality and emotional functioning of a patient. The end product is not the principal goal in this case, but rather a process of healing, through creative acts, is sought. The resultant piece of artwork may also offer insight into the troubles experienced by the subject and may suggest suitable approaches to be used in more conventional forms of psychiatric therapy.\n Art for propaganda, or commercialism. Art is often used as a form of propaganda, and thus can be used to subtly influence popular conceptions or mood. In a similar way, art that tries to sell a product also influences mood and emotion. In both cases, the purpose of art here is to subtly manipulate the viewer into a particular emotional or psychological response toward a particular idea or object.\n Art as a fitness indicator. It has been argued that the ability of the human brain by far exceeds what was needed for survival in the ancestral environment. One evolutionary psychology explanation for this is that the human brain and associated traits (such as artistic ability and creativity) are the human equivalent of the peacock's tail. The purpose of the male peacock's extravagant tail has been argued to be to attract females (see also Fisherian runaway and handicap principle). According to this theory superior execution of art was evolutionarily important because it attracted mates.\n\nThe functions of art described above are not mutually exclusive, as many of them may overlap. For example, art for the purpose of entertainment may also seek to sell a product, i.e. the movie or video game.\n\nSteps\nArt can be divided into any number of steps one can make an argument for. This section divides the creative process into broad three steps, but there is no consensus on an exact number.\n\nPreparation\n\nIn the first step, the artist envisions the art in their mind. By imagining what their art would look like, the artist begins the process of bringing the art into existence. Preparation of art may involve approaching and researching the subject matter. Artistic inspiration is one of the main drivers of art, and may be considered to stem from instinct, impressions, and feelings.\n\nCreation\n\nIn the second step, the artist executes the creation of their work. The creation of a piece can be affected by factors such as the artist's mood, surroundings, and mental state. For example, The Black Paintings by Francisco de Goya, created in the elder years of his life, are thought to be so bleak because he was in isolation and because of his experience with war. He painted them directly on the walls of his apartment in Spain, and most likely never discussed them with anyone. The Beatles stated drugs such as LSD and cannabis influenced some of their greatest hits, such as Revolver. Trial and error are considered an integral part of the creation process.\n\nAppreciation\nThe last step is art appreciation, which has the sub-topic of critique. In one study, over half of visual arts student agreed that reflection is an essential step of the art process. According to education journals, the reflection of art is considered an essential part of the experience. However an important aspect of art is that others may view and appreciate it as well. While many focus on whether those viewing/listening/etc. believe the art to be good/successful or not, art has profound value beyond its commercial success as a provider of information and health in society. Art enjoyment can bring about a wide spectrum of emotion due to beauty. Some art is meant to be practical, with its analysis studious, meant to stimulate discourse.\n\nPublic access\n\nSince ancient times, much of the finest art has represented a deliberate display of wealth or power, often achieved by using massive scale and expensive materials. Much art has been commissioned by political rulers or religious establishments, with more modest versions only available to the most wealthy in society.\n\nNevertheless, there have been many periods where art of very high quality was available, in terms of ownership, across large parts of society, above all in cheap media such as pottery, which persists in the ground, and perishable media such as textiles and wood. In many different cultures, the ceramics of indigenous peoples of the Americas are found in such a wide range of graves that they were clearly not restricted to a social elite, though other forms of art may have been. Reproductive methods such as moulds made mass-production easier, and were used to bring high-quality Ancient Roman pottery and Greek Tanagra figurines to a very wide market. Cylinder seals were both artistic and practical, and very widely used by what can be loosely called the middle class in the Ancient Near East. Once coins were widely used, these also became an art form that reached the widest range of society.\n\nAnother important innovation came in the 15th century in Europe, when printmaking began with small woodcuts, mostly religious, that were often very small and hand-colored, and affordable even by peasants who glued them to the walls of their homes. Printed books were initially very expensive, but fell steadily in price until by the 19th century even the poorest could afford some with printed illustrations. Popular prints of many different sorts have decorated homes and other places for centuries.\n\nIn 1661, the city of Basel, in Switzerland, opened the first public museum of art in the world, the Kunstmuseum Basel. Today, its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600, and on the art of the 19th to 21st centuries.\n\nPublic buildings and monuments, secular and religious, by their nature normally address the whole of society, and visitors as viewers, and display to the general public has long been an important factor in their design. Egyptian temples are typical in that the most largest and most lavish decoration was placed on the parts that could be seen by the general public, rather than the areas seen only by the priests. Many areas of royal palaces, castles and the houses of the social elite were often generally accessible, and large parts of the art collections of such people could often be seen, either by anybody, or by those able to pay a small price, or those wearing the correct clothes, regardless of who they were, as at the Palace of Versailles, where the appropriate extra accessories (silver shoe buckles and a sword) could be hired from shops outside.\n\nSpecial arrangements were made to allow the public to see many royal or private collections placed in galleries, as with the Orleans Collection mostly housed in a wing of the Palais Royal in Paris, which could be visited for most of the 18th century. In Italy the art tourism of the Grand Tour became a major industry from the Renaissance onwards, and governments and cities made efforts to make their key works accessible. The British Royal Collection remains distinct, but large donations such as the Old Royal Library were made from it to the British Museum, established in 1753. The Uffizi in Florence opened entirely as a gallery in 1765, though this function had been gradually taking the building over from the original civil servants' offices for a long time before. The building now occupied by the Prado in Madrid was built before the French Revolution for the public display of parts of the royal art collection, and similar royal galleries open to the public existed in Vienna, Munich and other capitals. The opening of the Musée du Louvre during the French Revolution (in 1793) as a public museum for much of the former French royal collection certainly marked an important stage in the development of public access to art, transferring ownership to a republican state, but was a continuation of trends already well established.\n\nMost modern public museums and art education programs for children in schools can be traced back to this impulse to have art available to everyone. However, museums do not only provide availability to art, but do also influence the way art is being perceived by the audience, as studies found. Thus, the museum itself is not only a blunt stage for the presentation of art, but plays an active and vital role in the overall perception of art in modern society.\n\nMuseums in the United States tend to be gifts from the very rich to the masses. (The Metropolitan Museum of Art in New York City, for example, was created by John Taylor Johnston, a railroad executive whose personal art collection seeded the museum.) But despite all this, at least one of the important functions of art in the 21st century remains as a marker of wealth and social status.\n\nThere have been attempts by artists to create art that can not be bought by the wealthy as a status object. One of the prime original motivators of much of the art of the late 1960s and 1970s was to create art that could not be bought and sold. It is \"necessary to present something more than mere objects\" said the major post war German artist Joseph Beuys. This time period saw the rise of such things as performance art, video art, and conceptual art. The idea was that if the artwork was a performance that would leave nothing behind, or was an idea, it could not be bought and sold. \"Democratic precepts revolving around the idea that a work of art is a commodity impelled the aesthetic innovation which germinated in the mid-1960s and was reaped throughout the 1970s. Artists broadly identified under the heading of Conceptual art ... substituting performance and publishing activities for engagement with both the material and materialistic concerns of painted or sculptural form ... [have] endeavored to undermine the art object qua object.\"\nIn the decades since, these ideas have been somewhat lost as the art market has learned to sell limited edition DVDs of video works, invitations to exclusive performance art pieces, and the objects left over from conceptual pieces. Many of these performances create works that are only understood by the elite who have been educated as to why an idea or video or piece of apparent garbage may be considered art. The marker of status becomes understanding the work instead of necessarily owning it, and the artwork remains an upper-class activity. \"With the widespread use of DVD recording technology in the early 2000s, artists, and the gallery system that derives its profits from the sale of artworks, gained an important means of controlling the sale of video and computer artworks in limited editions to collectors.\"\n\nControversies\n\nArt has long been controversial, that is to say disliked by some viewers, for a wide variety of reasons, though most pre-modern controversies are dimly recorded, or completely lost to a modern view. Iconoclasm is the destruction of art that is disliked for a variety of reasons, including religious ones. Aniconism is a general dislike of either all figurative images, or often just religious ones, and has been a thread in many major religions. It has been a crucial factor in the history of Islamic art, where depictions of Muhammad remain especially controversial. Much art has been disliked purely because it depicted or otherwise stood for unpopular rulers, parties or other groups. Artistic conventions have often been conservative and taken very seriously by art critics, though often much less so by a wider public. The iconographic content of art could cause controversy, as with late medieval depictions of the new motif of the Swoon of the Virgin in scenes of the Crucifixion of Jesus. The Last Judgment by Michelangelo was controversial for various reasons, including breaches of decorum through nudity and the Apollo-like pose of Christ.\n\nThe content of much formal art through history was dictated by the patron or commissioner rather than just the artist, but with the advent of Romanticism, and economic changes in the production of art, the artists' vision became the usual determinant of the content of his art, increasing the incidence of controversies, though often reducing their significance. Strong incentives for perceived originality and publicity also encouraged artists to court controversy. Théodore Géricault's Raft of the Medusa (), was in part a political commentary on a recent event. Édouard Manet's Le Déjeuner sur l'Herbe (1863), was considered scandalous not because of the nude woman, but because she is seated next to men fully dressed in the clothing of the time, rather than in robes of the antique world. John Singer Sargent's Madame Pierre Gautreau (Madam X) (1884), caused a controversy over the reddish pink used to color the woman's ear lobe, considered far too suggestive and supposedly ruining the high-society model's reputation.\nThe gradual abandonment of naturalism and the depiction of realistic representations of the visual appearance of subjects in the 19th and 20th centuries led to a rolling controversy lasting for over a century.\n\nIn the 20th century, Pablo Picasso's Guernica (1937) used arresting cubist techniques and stark monochromatic oils, to depict the harrowing consequences of a contemporary bombing of a small, ancient Basque town. Leon Golub's Interrogation III (1981), depicts a female nude, hooded detainee strapped to a chair, her legs open to reveal her sexual organs, surrounded by two tormentors dressed in everyday clothing. Andres Serrano's Piss Christ (1989) is a photograph of a crucifix, sacred to the Christian religion and representing Christ's sacrifice and final suffering, submerged in a glass of the artist's own urine. The resulting uproar led to comments in the United States Senate about public funding of the arts.\n\nTheory\n\nBefore Modernism, aesthetics in Western art was greatly concerned with achieving the appropriate balance between different aspects of realism or truth to nature and the ideal; ideas as to what the appropriate balance is have shifted to and fro over the centuries. This concern is largely absent in other traditions of art. The aesthetic theorist John Ruskin, who championed what he saw as the naturalism of J. M. W. Turner, saw art's role as the communication by artifice of an essential truth that could only be found in nature.\n\nThe definition and evaluation of art has become especially problematic since the 20th century. Richard Wollheim distinguishes three approaches to assessing the aesthetic value of art: the Realist, whereby aesthetic quality is an absolute value independent of any human view; the Objectivist, whereby it is also an absolute value, but is dependent on general human experience; and the Relativist position, whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans.\n\nArrival of Modernism\n\nThe arrival of Modernism in the late 19th century lead to a radical break in the conception of the function of art, and then again in the late 20th century with the advent of postmodernism. Clement Greenberg's 1960 article \"Modernist Painting\" defines modern art as \"the use of characteristic methods of a discipline to criticize the discipline itself\". Greenberg originally applied this idea to the Abstract Expressionist movement and used it as a way to understand and justify flat (non-illusionistic) abstract painting:\nRealistic, naturalistic art had dissembled the medium, using art to conceal art; modernism used art to call attention to art. The limitations that constitute the medium of painting—the flat surface, the shape of the support, the properties of the pigment—were treated by the Old Masters as negative factors that could be acknowledged only implicitly or indirectly. Under Modernism these same limitations came to be regarded as positive factors, and were acknowledged openly. After Greenberg, several important art theorists emerged, such as Michael Fried, T. J. Clark, Rosalind Krauss, Linda Nochlin and Griselda Pollock among others. Though only originally intended as a way of understanding a specific set of artists, Greenberg's definition of modern art is important to many of the ideas of art within the various art movements of the 20th century and early 21st century.\n\nPop artists like Andy Warhol became both noteworthy and influential through work including and possibly critiquing popular culture, as well as the art world. Artists of the 1980s, 1990s, and 2000s expanded this technique of self-criticism beyond high art to all cultural image-making, including fashion images, comics, billboards and pornography.\n\nDuchamp once proposed that art is any activity of any kind-everything. However, the way that only certain activities are classified today as art is a social construction. There is evidence that there may be an element of truth to this. In The Invention of Art: A Cultural History, Larry Shiner examines the construction of the modern system of the arts, i.e. fine art. He finds evidence that the older system of the arts before our modern system (fine art) held art to be any skilled human activity; for example, Ancient Greek society did not possess the term art, but techne. Techne can be understood neither as art or craft, the reason being that the distinctions of art and craft are historical products that came later on in human history. Techne included painting, sculpting and music, but also cooking, medicine, horsemanship, geometry, carpentry, prophecy, and farming, etc.\n\nNew Criticism and the \"intentional fallacy\"\nFollowing Duchamp during the first half of the 20th century, a significant shift to general aesthetic theory took place which attempted to apply aesthetic theory between various forms of art, including the literary arts and the visual arts, to each other. This resulted in the rise of the New Criticism school and debate concerning the intentional fallacy. At issue was the question of whether the aesthetic intentions of the artist in creating the work of art, whatever its specific form, should be associated with the criticism and evaluation of the final product of the work of art, or, if the work of art should be evaluated on its own merits independent of the intentions of the artist.\n\nIn 1946, William K. Wimsatt and Monroe Beardsley published a classic and controversial New Critical essay entitled \"The Intentional Fallacy\", in which they argued strongly against the relevance of an author's intention, or \"intended meaning\" in the analysis of a literary work. For Wimsatt and Beardsley, the words on the page were all that mattered; importation of meanings from outside the text was considered irrelevant, and potentially distracting.\n\nIn another essay, \"The Affective Fallacy\", which served as a kind of sister essay to \"The Intentional Fallacy\" Wimsatt and Beardsley also discounted the reader's personal/emotional reaction to a literary work as a valid means of analyzing a text. This fallacy would later be repudiated by theorists from the reader-response school of literary theory. Ironically, one of the leading theorists from this school, Stanley Fish, was himself trained by New Critics. Fish criticizes Wimsatt and Beardsley in his 1970 essay \"Literature in the Reader\".\n\nAs summarized by Berys Gaut and Paisley Livingston in their essay \"The Creation of Art\": \"Structuralist and post-structuralists theorists and critics were sharply critical of many aspects of New Criticism, beginning with the emphasis on aesthetic appreciation and the so-called autonomy of art, but they reiterated the attack on biographical criticisms' assumption that the artist's activities and experience were a privileged critical topic.\" These authors contend that: \"Anti-intentionalists, such as formalists, hold that the intentions involved in the making of art are irrelevant or peripheral to correctly interpreting art. So details of the act of creating a work, though possibly of interest in themselves, have no bearing on the correct interpretation of the work.\"\n\nGaut and Livingston define the intentionalists as distinct from formalists stating that: \"Intentionalists, unlike formalists, hold that reference to intentions is essential in fixing the correct interpretation of works.\" They quote Richard Wollheim as stating that, \"The task of criticism is the reconstruction of the creative process, where the creative process must in turn be thought of as something not stopping short of, but terminating on, the work of art itself.\"\n\n\"Linguistic turn\" and its debate\nThe end of the 20th century fostered an extensive debate known as the linguistic turn controversy, or the \"innocent eye debate\" in the philosophy of art. This debate discussed the encounter of the work of art as being determined by the relative extent to which the conceptual encounter with the work of art dominates over the perceptual encounter with the work of art.\n\nDecisive for the linguistic turn debate in art history and the humanities were the works of yet another tradition, namely the structuralism of Ferdinand de Saussure and the ensuing movement of poststructuralism. In 1981, the artist Mark Tansey created a work of art titled The Innocent Eye as a criticism of the prevailing climate of disagreement in the philosophy of art during the closing decades of the 20th century. Influential theorists include Judith Butler, Luce Irigaray, Julia Kristeva, Michel Foucault and Jacques Derrida. The power of language, more specifically of certain rhetorical tropes, in art history and historical discourse was explored by Hayden White. The fact that language is a transparent medium of thought had been stressed by a very different form of philosophy of language which originated in the works of Johann Georg Hamann and Wilhelm von Humboldt. Ernst Gombrich and Nelson Goodman in his book Languages of Art: An Approach to a Theory of Symbols came to hold that the conceptual encounter with the work of art predominated exclusively over the perceptual and visual encounter with the work of art during the 1960s and 1970s. He was challenged on the basis of research done by the Nobel prize winning psychologist Roger Sperry who maintained that the human visual encounter was not limited to concepts represented in language alone (the linguistic turn) and that other forms of psychological representations of the work of art were equally defensible and demonstrable. Sperry's view eventually prevailed by the end of the 20th century with aesthetic philosophers such as Nick Zangwill strongly defending a return to moderate aesthetic formalism among other alternatives.\n\nClassification disputes\n\n Disputes as to whether or not to classify something as a work of art are referred to as classificatory disputes about art. Classificatory disputes in the 20th century have included cubist and impressionist paintings, Duchamp's Fountain, the movies, J. S. G. Boggs' superlative imitations of banknotes, conceptual art, and video games. Philosopher David Novitz has argued that disagreement about the definition of art are rarely the heart of the problem. Rather, \"the passionate concerns and interests that humans vest in their social life\" are \"so much a part of all classificatory disputes about art.\" According to Novitz, classificatory disputes are more often disputes about societal values and where society is trying to go than they are about theory proper. For example, when the Daily Mail criticized Hirst's and Emin's work by arguing \"For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all\" they are not advancing a definition or theory about art, but questioning the value of Hirst's and Emin's work. In 1998, Arthur Danto, suggested a thought experiment showing that \"the status of an artifact as work of art results from the ideas a culture applies to it, rather than its inherent physical or perceptible qualities. Cultural interpretation (an art theory of some kind) is therefore constitutive of an object's arthood.\"\n\nAnti-art is a label for art that intentionally challenges the established parameters and values of art; it is a term associated with Dadaism and attributed to Marcel Duchamp just before World War I, when he was making art from found objects. One of these, Fountain (1917), an ordinary urinal, has achieved considerable prominence and influence on art. Anti-art is a feature of work by Situationist International, the lo-fi Mail art movement, and the Young British Artists, though it is a form still rejected by the Stuckists, who describe themselves as anti-anti-art.\n\nArchitecture is often included as one of the visual arts; however, like the decorative arts, or advertising, it involves the creation of objects where the practical considerations of use are essential in a way that they usually are not in a painting, for example.\n\nValue judgment\n\nSomewhat in relation to the above, the word art is also used to apply judgments of value, as in such expressions as \"that meal was a work of art\" (the cook is an artist), or \"the art of deception\" (the highly attained level of skill of the deceiver is praised). It is this use of the word as a measure of high quality and high value that gives the term its flavor of subjectivity. Making judgments of value requires a basis for criticism. At the simplest level, a way to determine whether the impact of the object on the senses meets the criteria to be considered art is whether it is perceived to be attractive or repulsive. Though perception is always colored by experience, and is necessarily subjective, it is commonly understood that what is not somehow aesthetically satisfying cannot be art. However, \"good\" art is not always or even regularly aesthetically appealing to a majority of viewers. In other words, an artist's prime motivation need not be the pursuit of the aesthetic. Also, art often depicts terrible images made for social, moral, or thought-provoking reasons. For example, Francisco Goya's painting depicting the Spanish shootings of 3 May 1808 is a graphic depiction of a firing squad executing several pleading civilians. Yet at the same time, the horrific imagery demonstrates Goya's keen artistic ability in composition and execution and produces fitting social and political outrage. Thus, the debate continues as to what mode of aesthetic satisfaction, if any, is required to define 'art'.\n\nThe assumption of new values or the rebellion against accepted notions of what is aesthetically superior need not occur concurrently with a complete abandonment of the pursuit of what is aesthetically appealing. Indeed, the reverse is often true, that the revision of what is popularly conceived of as being aesthetically appealing allows for a re-invigoration of aesthetic sensibility, and a new appreciation for the standards of art itself. Countless schools have proposed their own ways to define quality, yet they all seem to agree in at least one point: once their aesthetic choices are accepted, the value of the work of art is determined by its capacity to transcend the limits of its chosen medium to strike some universal chord by the rarity of the skill of the artist or in its accurate reflection in what is termed the zeitgeist. Art is often intended to appeal to and connect with human emotion. It can arouse aesthetic or moral feelings, and can be understood as a way of communicating these feelings. Artists express something so that their audience is aroused to some extent, but they do not have to do so consciously. Art may be considered an exploration of the human condition; that is, what it is to be human. By extension, it has been argued by Emily L. Spratt that the development of artificial intelligence, especially in regard to its uses with images, necessitates a re-evaluation of aesthetic theory in art history today and a reconsideration of the limits of human creativity.\n\nArt and law\nAn essential legal issue are art forgeries, plagiarism, replicas and works that are strongly based on other works of art.\n\nThe trade in works of art or the export from a country may be subject to legal regulations. Internationally there are also extensive efforts to protect the works of art created. The UN, UNESCO and Blue Shield International try to ensure effective protection at the national level and to intervene directly in the event of armed conflicts or disasters. This can particularly affect museums, archives, art collections and excavation sites. This should also secure the economic basis of a country, especially because works of art are often of tourist importance. The founding president of Blue Shield International, Karl von Habsburg, explained an additional connection between the destruction of cultural property and the cause of flight during a mission in Lebanon in April 2019: “Cultural goods are part of the identity of the people who live in a certain place. If you destroy their culture, you also destroy their identity. Many people are uprooted, often no longer have any prospects and as a result flee from their homeland.” In order to preserve the diversity of cultural identity, UNESCO protects the living human treasure through the Convention for the Safeguarding of the Intangible Cultural Heritage.\n\nSee also\n\n Applied arts\n Art movement\n Artist in residence\n Artistic freedom\n Cultural tourism\n Craftivism\n Formal analysis\n History of art\n List of artistic media\n List of art techniques\n Mathematics and art\n Street art (or \"independent public art\")\n Outline of the visual arts, a guide to the subject of art presented as a tree structured list of its subtopics.\nVisual impairment in art\n\nNotes\n\nWorks cited\n\nBibliography\n Oscar Wilde, Intentions, 1891\n Katharine Everett Gilbert and Helmut Kuhn, A History of Esthetics. Edition 2, revised. Indiana: Indiana University Press, 1953.\n Stephen Davies, Definitions of Art, 1991\n Nina Felshin, ed. But is it Art?, 1995\n Catherine de Zegher (ed.). Inside the Visible. MIT Press, 1996\n Evelyn Hatcher, ed. Art as Culture: An Introduction to the Anthropology of Art, 1999\n Noel Carroll, Theories of Art Today, 2000\n John Whitehead. Grasping for the Wind, 2001\n Michael Ann Holly and Keith Moxey (eds.) Art History Aesthetics Visual Studies. New Haven: Yale University Press, 2002. \n Shiner, Larry. The Invention of Art: A Cultural History. Chicago: University of Chicago Press, 2003. \n Arthur Danto, The Abuse of Beauty: Aesthetics and the Concept of Art. 2003\n Dana Arnold and Margaret Iversen, eds. Art and Thought. London: Blackwell, 2003. \n Jean Robertson and Craig McDaniel, Themes of Contemporary Art, Visual Art after 1980, 2005\n\nFurther reading\n Antony Briant and Griselda Pollock, eds. Digital and Other Virtualities: Renegotiating the image. London and NY: I.B.Tauris, 2010. \n Augros, Robert M., Stanciu, George N. The New Story of Science: mind and the universe, Lake Bluff, Ill.: Regnery Gateway, 1984. (this book has significant material on art and science)\n Benedetto Croce. Aesthetic as Science of Expression and General Linguistic, 2002\n Botar, Oliver A.I. Technical Detours: The Early Moholy-Nagy Reconsidered. Art Gallery of The Graduate Center, The City University of New York and The Salgo Trust for Education, 2006. \n Burguete, Maria, and Lam, Lui, eds. (2011). Arts: A Science Matter. World Scientific: Singapore. \n Carol Armstrong and Catherine de Zegher, eds. Women Artists at the Millennium. Massachusetts: October Books/The MIT Press, 2006. \n \n Carl Jung, Man and His Symbols. London: Pan Books, 1978. \n E.H. Gombrich, The Story of Art. London: Phaidon Press, 1995. \n Florian Dombois, Ute Meta Bauer, Claudia Mareis and Michael Schwab, eds. Intellectual Birdhouse. Artistic Practice as Research. London: Koening Books, 2012. \n Kristine Stiles and Peter Selz, eds. Theories and Documents of Contemporary Art. Berkeley: University of California Press, 1986\n Kleiner, Gardner, Mamiya and Tansey. Art Through the Ages, Twelfth Edition (2 volumes) Wadsworth, 2004. (vol 1) and (vol 2)\n Richard Wollheim, Art and its Objects: An introduction to aesthetics. New York: Harper & Row, 1968. \n Will Gompertz. What Are You Looking At?: 150 Years of Modern Art in the Blink of an Eye. New York: Viking, 2012. \n Władysław Tatarkiewicz, A History of Six Ideas: an Essay in Aesthetics, translated from the Polish by Christopher Kasparek, The Hague, Martinus Nijhoff, 1980\n\nExternal links\n\n Art and Play from the Dictionary of the History of ideas\n In-depth directory of art\n Art and Artist Files in the Smithsonian Libraries Collection (2005) Smithsonian Digital Libraries\n Visual Arts Data Service (VADS) – online collections from UK museums, galleries, universities\n RevolutionArt – Art magazines with worldwide exhibitions, callings and competitions\n \n \n\n \nCategory:Concepts in aesthetics\nCategory:The arts\nCategory:Visual arts", "title": "Art" } ]

[ "The Northern European or \"Germanic\" animal style, according to Bernhard Salin, can be divided into three phases: Style I, Style II, and Style III. Style I is characterized by animals whose bodies are divided into sections and typically appear at the fringes of designs with the main emphasis on abstract patterns. Style II's animals are whole beasts but their bodies are elongated into \"ribbons\" which intertwined into symmetrical shapes with little naturalism. The animal becomes a part of ornamental patterns, typically using interlace. Style III is found mainly in Scandinavia, and may also be called Viking art.", "The article mentions bears as an example of animals depicted in Salin's Style II of Northern European or \"Germanic\" animal art.", "The article does not specify any other animals after mentioning bears.", "Bernhard Salin classified the Northern European, or \"Germanic\", zoomorphic decoration into three styles: Style I, Style II, and Style III.", "In 1904, Bernhard Salin published a work pioneering the study of Northern European, or \"Germanic\", zoomorphic decoration.", "Yes, the notable name mentioned in the context is Bernhard Salin, who pioneered the study of Northern European, or \"Germanic\", zoomorphic decoration. His work, published in 1904, classified the animal art of the period roughly from 400 to 900 into three phases: Styles I, II, and III." ]

[ "Yes", "Yes", "No", "No", "Yes", "Yes" ]

[ "C_a9b96a021b774af3a303077bcfe676dd_0_q#0", "C_a9b96a021b774af3a303077bcfe676dd_0_q#1", "C_a9b96a021b774af3a303077bcfe676dd_0_q#2", "C_a9b96a021b774af3a303077bcfe676dd_0_q#3", "C_a9b96a021b774af3a303077bcfe676dd_0_q#4", "C_a9b96a021b774af3a303077bcfe676dd_0_q#5" ]

[ "When did the Hellenistic period take place?", "Where were the Illyrians located?", "Did the Illyrians have a Ruler/King/President?", "Were they peaceful or warlike?", "Were there any other wars fought?", "What happened after these wars?" ]

[ 0, 0, 0, 0, 0, 0 ]

[ 2, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 55 ], [ 19 ], [ 71 ], [ 875 ], [ 1226 ], [ 1396 ] ], "texts": [ [ "4th century BC." ], [ "Greco-Roman historiography" ], [ "The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis." ], [ "After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria." ], [ "In the Illyrian Wars of 229 BC, 219 BC and 168 BC Rome overran the Illyrian settlements and suppressed the piracy that had made the Adriatic unsafe for Italian commerce." ], [ "There were three campaigns," ] ] }

{ "answer_starts": [ 55, 19, 71, 875, 1226, 1396 ], "texts": [ "4th century BC.", "Greco-Roman historiography", "The Illyrians formed several kingdoms in the central Balkans, and the first known Illyrian king was Bardyllis.", "After Philip II of Macedon defeated Bardylis (358 BC), the Grabaei under Grabos became the strongest state in Illyria.", "In the Illyrian Wars of 229 BC, 219 BC and 168 BC Rome overran the Illyrian settlements and suppressed the piracy that had made the Adriatic unsafe for Italian commerce.", "There were three campaigns," ] }

[ { "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" } ]

[ "CANNOTANSWER", "The Illyrians were located in the central Balkans.", "Yes, the Illyrians had rulers. Bardyllis was the first known Illyrian king, and Queen Teuta is also mentioned as a ruler who waged wars against the Romans.", "The Illyrians were warlike. They formed several kingdoms that were often at war with ancient Macedonia, and Illyrian pirates were a significant danger to neighbouring peoples. Queen Teuta of Illyria was noted for having waged wars against the Romans.", "Yes, apart from the wars with ancient Macedonia and the Romans, the text also mentions the Illyrian Wars of 229 BC, 219 BC, and 168 BC in which Rome overran the Illyrian settlements. Also, Philip II of Macedon fought several battles against the Illyrians, defeating Bardylis, the Grabaei, the Ardiaei, the Triballi, and Pleurias. An Illyrian revolt was also crushed under Augustus.", "After these wars, the Roman Republic subdued the Illyrians during the 2nd century BC. An Illyrian revolt was crushed under Augustus, resulting in the division of Illyria into the provinces of Pannonia in the north and Dalmatia in the south." ]

[ "No", "No", "Yes", "Yes", "Yes", "No" ]

[ "C_a9b96a021b774af3a303077bcfe676dd_1_q#0", "C_a9b96a021b774af3a303077bcfe676dd_1_q#1", "C_a9b96a021b774af3a303077bcfe676dd_1_q#2", "C_a9b96a021b774af3a303077bcfe676dd_1_q#3", "C_a9b96a021b774af3a303077bcfe676dd_1_q#4", "C_a9b96a021b774af3a303077bcfe676dd_1_q#5", "C_a9b96a021b774af3a303077bcfe676dd_1_q#6" ]

[ "Are there any other interesting aspects about this article?", "What scholarship?", "Did this influence anything?", "Where did they orginate?", "Was it a mix blood line?", "Where were they located?", "Where did the majority settle?" ]

[ 0, 1, 0, 0, 0, 0, 0 ]

[ 0, 2, 0, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 177 ], [ 26 ], [ 544 ], [ 1212 ], [ 2715 ], [ 1320 ], [ 2150 ] ], "texts": [ [ "Modern scholarship is unable to refer to the Illyrians as a unique and compact people" ], [ "post-modernism, scholars" ], [ "The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements" ], [ "had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe." ], [ "The impetus behind the emergence of larger regional groups, such as \"Iapodes\", \"Liburnians\", \"Pannonians\" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'." ], [ "there was a gradual Illyrianization of the western Balkans" ], [ "Bosnia, western Serbia and a part of Dalmatia," ] ] }

{ "answer_starts": [ 177, 26, 544, 1212, 2715, 1320, 2150 ], "texts": [ "Modern scholarship is unable to refer to the Illyrians as a unique and compact people", "post-modernism, scholars", "The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements", "had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe.", "The impetus behind the emergence of larger regional groups, such as \"Iapodes\", \"Liburnians\", \"Pannonians\" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'.", "there was a gradual Illyrianization of the western Balkans", "Bosnia, western Serbia and a part of Dalmatia," ] }

[ { "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" } ]

[ "CANNOTANSWER", "The scholarship mentioned in the context refers to academic research and studies done on the ethnogenesis of the Illyrians, an ancient people who lived in the western part of the Balkan Peninsula. This includes work by archaeologists, anthropologists, and other scholars who have various theories about the origins and development of the Illyrians, such as the \"autochthonous theory\" by Alojz Benac and B. Covic.", "The scholarly investigation into the Illyrians' ethnogenesis has influenced the understanding of their genesis and ethnic identity. For example, the emergence of the \"autochthonous theory\" posits their origins in the western Balkans without early Iron Age migration from northern Europe. Yet, there is no clear influence mentioned in aspects beyond academic understanding, such as contemporary culture, policy or other fields.", "Based on the given context, some scholars, such as Alojz Benac and B. Covic, following the \"Kurgan hypothesis\", argue that the 'proto-Illyrians' originated as nomadic Indo-Europeans from the steppe who arrived during the Bronze Age. However, their specific place of origin is contested and not definitively stated in the context provided. The historic Illyrians, as understood traditionally, are associated with the western Balkans region.", "According to the text, the Illyrians were not a single, compact ethnicity but were rather a collection of ill-defined communities without common origins. They never merged into a single ethnic entity. Therefore, it may be inferred that there may have been a mixture of various communities or bloodlines within what is commonly referred to as the 'Illyrians.' However, the text does not provide explicit details about the exact nature of this potential mixture.", "The Illyrians, as referenced in the text, were associated with the western Balkans region. This includes present-day areas such as Bosnia, western Serbia, parts of Dalmatia, and northern Albania (the Mat river basin). The text also mentions Illyrian tribes living in present-day Slovenia and Croatia. However, it should be noted that the term \"Illyrian\" was used by Greeks and Romans to denote various diverse communities beyond Epirus and Macedonia, and is not an indication of a single, united ethnic group.", "The text does not provide a specific location where the majority of Illyrians settled. It only mentions that they were associated with the western Balkans, which includes locations like Bosnia, western Serbia, parts of Dalmatia, and northern Albania. There were also Illyrian tribes in present-day Slovenia and Croatia. However, as the term \"Illyrian\" was used by the Greeks and Romans as an exonym to denote diverse communities, the data about their major settlement areas might be inconsistent and varied." ]

[ "No", "No", "Yes", "Yes", "Yes", "Yes", "Neutral" ]

[ "C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#0", "C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#1", "C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#2", "C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#3", "C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#4", "C_d0366c5804654a7ab9cd04ea0ccaa6fa_1_q#5" ]

[ "Where did Badfinger get their start?", "When did the band first get together?", "Did they know each other before they became a band or did they meet during band auditions or what?", "How did they get their big break in the music business?", "When did they first tour outside of the UK?", "did they lose any members before they got their break, or did the original band stay together?" ]

[ 0, 2, 1, 0, 2, 2 ]

[ 0, 2, 2, 0, 2, 1 ]

{ "answer_starts": [ [ 0 ], [ 20 ], [ 2462 ], [ 1207 ], [ 2462 ], [ 944 ] ], "texts": [ [ "The Iveys formed in 1961 in" ], [ "1961 in Swansea, Wales" ], [ "CANNOTANSWER" ], [ "The group performed a wide range of cover tunes on the London circuit," ], [ "CANNOTANSWER" ], [ "the entire group moved into Collins' home at 7 Park Avenue," ] ] }

{ "answer_starts": [ 0, 20, 2462, 1207, 2462, 944 ], "texts": [ "The Iveys formed in 1961 in", "1961 in Swansea, Wales", "CANNOTANSWER", "The group performed a wide range of cover tunes on the London circuit,", "CANNOTANSWER", "the entire group moved into Collins' home at 7 Park Avenue," ] }

[]

[ "The text does not provide information on where Badfinger got their start.", "The band first got together in 1961.", "The text does not provide information on how the members of the band first met.", "The group secured concerts around Swansea area, opening for prominent British groups such as the Spencer Davis Group, The Who, The Moody Blues and The Yardbirds, which garnered the interest of record labels. They also signed a five-year contract with Bill Collins, who became their manager. Ray Davies of The Kinks also auditioned them and recorded three of their songs. These events played a significant role in their big break in the music business.", "The text does not provide information on when the band first toured outside of the UK.", "In August 1967, Dai Jenkins, a member of the original band, was asked to leave the group and was replaced by Tom Evans. This happened before the band began performing as The Iveys across the United Kingdom throughout the rest of the decade." ]

[ "No", "Yes", "Yes", "No", "Yes", "No" ]

[ "C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#0", "C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#1", "C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#2", "C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#3", "C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#4", "C_d0366c5804654a7ab9cd04ea0ccaa6fa_0_q#5" ]

[ "When did the signing happen?", "Who was Stan Polley?", "What prompted this?", "Were they happy with this partnership?", "What else did you find interesting?", "Was Stan sued for their downfall?" ]

[ 1, 1, 1, 1, 2, 1 ]

[ 2, 2, 2, 2, 1, 2 ]

{ "answer_starts": [ [ 127 ], [ 110 ], [ 0 ], [ 861 ], [ 1284 ], [ 2209 ] ], "texts": [ [ "signed Badfinger to a business management contract in November 1970." ], [ "Stan Polley, who signed Badfinger to a business management contract" ], [ "In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley," ], [ "Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall." ], [ "). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)\"." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 127, 110, 0, 861, 1284, 2209 ], "texts": [ "signed Badfinger to a business management contract in November 1970.", "Stan Polley, who signed Badfinger to a business management contract", "In April 1970, while in the US scouting prospects for a tour, Collins was introduced to New York businessman, Stan Polley,", "Although Polley's professional reputation was admired, his dubious financial practices eventually contributed to the band's downfall.", "). Net corporation profit, $24,569. Management commission, $75,744 (Stan Polley)\".", "CANNOTANSWER" ] }

[]

[ "The signing to a business management contract happened in November 1970.", "Stan Polley was a New York businessman who signed Badfinger to a business management contract and established Badfinger Enterprises, Inc.. He controlled various contracts of the band, dictating that receipts of touring, recording, publishing and even songwriter performance royalties would go into holding companies under his control. He also managed other artists like Al Kooper, of Blood, Sweat & Tears, and Lou Christie.", "The context does not provide specific information on what prompted Stan Polley to sign Badfinger to a business management contract and establish Badfinger Enterprises, Inc.", "Various members of Badfinger later complained about the salary arrangement under the contract with Stan Polley, stating it was inadequate in comparison to their gross earnings. So, they were not completely happy with the partnership.", "Another interesting thing noted in the context is the comparison between Badfinger and The Beatles. Badfinger was often compared to The Beatles, with media and critics noting the striking similarity between their voices. This comparison was persistent throughout Badfinger's career.", "The context does not provide information on whether Stan Polley was sued for Badfinger's downfall." ]

[ "Yes", "Yes", "No", "Yes", "No", "Yes" ]

[ "C_d1cabf7093574c9d806bafea85be652b_1_q#0", "C_d1cabf7093574c9d806bafea85be652b_1_q#1", "C_d1cabf7093574c9d806bafea85be652b_1_q#2", "C_d1cabf7093574c9d806bafea85be652b_1_q#3", "C_d1cabf7093574c9d806bafea85be652b_1_q#4", "C_d1cabf7093574c9d806bafea85be652b_1_q#5" ]

[ "what was smith's record deal?", "what were those details?", "what albums did she put out?", "Are there any other interesting aspects about this article?", "did she perform with him after all?", "what did she do insteaD?" ]

[ 0, 0, 1, 2, 2, 2 ]

[ 2, 2, 2, 0, 1, 2 ]

{ "answer_starts": [ [ 408 ], [ 891 ], [ 191 ], [ 1734 ], [ 1850 ], [ 2014 ] ], "texts": [ [ "Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal." ], [ "In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group" ], [ "Though she did not sign with Syco, Cowell's record label, she did record a duet of \"Walking in the Air\" with Johnston, which appeared on his debut album, One Voice," ], [ "In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him." ], [ "In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church." ], [ "\"In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that.\"" ] ] }

{ "answer_starts": [ 408, 891, 191, 1734, 1850, 2014 ], "texts": [ "Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal.", "In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group", "Though she did not sign with Syco, Cowell's record label, she did record a duet of \"Walking in the Air\" with Johnston, which appeared on his debut album, One Voice,", "In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him.", "In an interview with the Metro, Smith talked about her future plans, insisting that she did not wish to be dubbed as the next Charlotte Church.", "\"In the papers, it sounded like I was snobby when I said 'I don't want to be like Charlotte Church', but I didn't mean it like that.\"" ] }

[]

[ "Smith signed a £2.3 million, multi-album deal with Universal Music Group.", "The specific details of Smith's record deal are not provided in the context.", "The context does not provide information on what albums Smith put out.", "Some interesting aspects from the article include that Smith performed a duet of \"Walking in the Air\" which was featured on Johnston's debut album, One Voice, prior to signing her record deal. She also signed her contract at the Royal Albert Hall, where she performed with Katherine Jenkins, who later acted as a mentor to Smith. Furthermore, there were plans for Smith to perform with Placido Domingo, as suggested by him, and she expressed her desires to appear in films, revealing her interest in acting.", "The context does not provide information on whether Smith performed with Placido Domingo.", "The context does not provide information on what Smith did instead of performing with Placido Domingo." ]

[ "No", "No", "no", "Yes", "No", "No" ]

[ "C_d1cabf7093574c9d806bafea85be652b_0_q#0", "C_d1cabf7093574c9d806bafea85be652b_0_q#1", "C_d1cabf7093574c9d806bafea85be652b_0_q#2", "C_d1cabf7093574c9d806bafea85be652b_0_q#3", "C_d1cabf7093574c9d806bafea85be652b_0_q#4" ]

[ "What was Wonderland?", "When was the album released?", "What did people think or say about the album?", "What else did others think?", "What songs or hit singles did the album have?" ]

[ 0, 2, 0, 0, 0 ]

[ 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 245 ], [ 342 ], [ 501 ], [ 1109 ], [ 1630 ] ], "texts": [ [ "details about the album were released, including its name, Wonderland," ], [ "30 November." ], [ "said Smith had \"matured as an artist since the first album and I have no doubt that once again, people will be astonished and moved by her performances\"." ], [ "Paul Callan, reviewing the album for the Daily Express, described it as \"a joy\"." ], [ "\"Adiemus\", \"Barcarolle\", \"Merry Christmas," ] ] }

{ "answer_starts": [ 245, 342, 501, 1109, 1630 ], "texts": [ "details about the album were released, including its name, Wonderland,", "30 November.", "said Smith had \"matured as an artist since the first album and I have no doubt that once again, people will be astonished and moved by her performances\".", "Paul Callan, reviewing the album for the Daily Express, described it as \"a joy\".", "\"Adiemus\", \"Barcarolle\", \"Merry Christmas," ] }

[]

[ "Wonderland was the second album of Smith, released on 30 November. It was recorded at Sarm Studios in Notting Hill, London, and is loosely based on Lewis Carroll's Alice in Wonderland.", "The album Wonderland was released on 30 November.", "Wonderland was generally well received by critics. Paul Callan, reviewing the album for the Daily Express, described it as \"a joy,\" praising Smith's \"control, tone and warmth.\" He compared it positively to other Christmas albums. On the other hand, Andy Gill, reviewing for The Independent, had some criticisms. He said the influence of Alice in Wonderland was often hard to perceive and that Smith had \"sweetened the classical elements\". However, he also praised the arrangements of several songs, while noting that some tracks lacked \"emotional weight.\" He gave the album a rating of 3 out of 5. Despite this, the album did not perform as well as Smith's previous one, Faryl, in terms of sales.", "Cohen, the producer of both Faryl and Wonderland, said Smith had \"matured as an artist since the first album and [he had] no doubt that once again, people will be astonished and moved by her performances\". Despite the positive reviews, the album did not perform as well on the charts as Smith's previous work, Faryl. Wonderland entered the British album charts at number 56 for the week ending 12 December and then dropped to number 92 the following week before dropping out of the top 100.", "The context does not provide specific information on any hit singles or included songs from the album \"Wonderland.\"" ]

[ "Yes", "Yes", "No", "Yes", "no" ]

[ "C_e27fa2123565461580f1ec274da842df_1_q#0", "C_e27fa2123565461580f1ec274da842df_1_q#1", "C_e27fa2123565461580f1ec274da842df_1_q#2", "C_e27fa2123565461580f1ec274da842df_1_q#3", "C_e27fa2123565461580f1ec274da842df_1_q#4", "C_e27fa2123565461580f1ec274da842df_1_q#5", "C_e27fa2123565461580f1ec274da842df_1_q#6", "C_e27fa2123565461580f1ec274da842df_1_q#7" ]

[ "When did Tristan change his name?", "Why did he change his name?", "Are there any other interesting aspects about this article?", "Did he have any other names?", "Did he ever have any issues because of his name?", "Did anyone else use his name after he used it?", "What else is important about his name?", "Did his name have any other meanings?" ]

[ 2, 0, 0, 2, 1, 1, 2, 2 ]

[ 2, 2, 0, 0, 2, 0, 2, 0 ]

{ "answer_starts": [ [ 227 ], [ 447 ], [ 470 ], [ 767 ], [ 1633 ], [ 1344 ], [ 1070 ], [ 1462 ] ], "texts": [ [ "in summer of 1915, he was signing his pieces with the name Tristan." ], [ "Vinea also stated that Tzara wanted to keep Tristan as his adopted first name," ], [ "Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the \"infamous pun\" Triste Ane Tzara (French for \"Sad Donkey Tzara\")." ], [ "the variations Tristan Tara and Tr. Tzara, in 1913-1914 (" ], [ "CANNOTANSWER" ], [ "Samy Rosenstock legally adopted his new name in 1925," ], [ "Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning \"sad in the country\";" ], [ "The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara" ] ] }

{ "answer_starts": [ 227, 447, 470, 767, 1633, 1344, 1070, 1462 ], "texts": [ "in summer of 1915, he was signing his pieces with the name Tristan.", "Vinea also stated that Tzara wanted to keep Tristan as his adopted first name,", "Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the \"infamous pun\" Triste Ane Tzara (French for \"Sad Donkey Tzara\").", "the variations Tristan Tara and Tr. Tzara, in 1913-1914 (", "CANNOTANSWER", "Samy Rosenstock legally adopted his new name in 1925,", "Tzara himself had explained his chosen name was a pun in Romanian, trist in tara, meaning \"sad in the country\";", "The French pronunciation of his name has become commonplace in Romania, where it replaces its more natural reading as tara" ] }

[]

[ "Samy Rosenstock legally adopted his new name in 1925.", "The text does not provide a specific reason why Samy Rosenstock changed his name.", "The article discusses the various pseudonyms Samy Rosenstock used over the years before legally changing his name. He used pseudonyms such as S. Samyro, Tristan Ruia, and Tristan, before settling on Tristan Tzara. There also seems to be some controversy or uncertainty about who came up with the \"Tzara\" part of his pseudonym, with Ion Vinea claiming responsibility. His chosen name is also reportedly a pun in Romanian, meaning \"sad in the country\".", "Yes, aside from his birth name Samy Rosenstock, he used several pseudonyms including S. Samyro, Tristan Ruia, and Tristan. He eventually chose Tristan Tzara as his legal name.", "The text does not provide any information about Samy Rosenstock having any issues because of his name.", "The text does not provide any information about anyone else using Samy Rosenstock's name after he used it.", "As mentioned in the text, there's some debate about who came up with the \"Tzara\" part of his pseudonym, with both Tzara himself and Ion Vinea, a collaborator and later rival of his, claiming responsibility. Tzara's chosen name, \"Tristan Tzara,\" is also a pun in Romanian, meaning \"sad in the country\". Interestingly, even though he probably started using the name Tristan Tzara as early as 1913-1914, he only legally adopted this name in 1925.", "According to the text, Tzara's chosen name \"Tristan Tzara\" is a pun in Romanian, meaning \"sad in the country\". There's also a mention of an \"infamous pun\" in French related to his name, \"Triste Ane Tzara,\" which translates to \"Sad Donkey Tzara\"." ]

[ "No", "no", "Yes", "Yes", "Yes", "No", "Yes", "No" ]

[ "C_e27fa2123565461580f1ec274da842df_0_q#0", "C_e27fa2123565461580f1ec274da842df_0_q#1", "C_e27fa2123565461580f1ec274da842df_0_q#2", "C_e27fa2123565461580f1ec274da842df_0_q#3", "C_e27fa2123565461580f1ec274da842df_0_q#4", "C_e27fa2123565461580f1ec274da842df_0_q#5", "C_e27fa2123565461580f1ec274da842df_0_q#6", "C_e27fa2123565461580f1ec274da842df_0_q#7" ]

[ "Where was he born?", "where did he go to school?", "what did he study in school?", "Did he have any jobs in his early years?", "What is Simbolul", "Are there any other interesting aspects about this article?", "what kind of things did Simbolul feature?", "Did he have any siblings?" ]

[ 1, 0, 1, 2, 0, 2, 0, 1 ]

[ 2, 2, 2, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 0 ], [ 473 ], [ 2770 ], [ 760 ], [ 1753 ], [ 1051 ], [ 1076 ], [ 2770 ] ], "texts": [ [ "Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia." ], [ "He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school." ], [ "CANNOTANSWER" ], [ "In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul." ], [ "Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period." ], [ "Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement." ], [ "the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 473, 2770, 760, 1753, 1051, 1076, 2770 ], "texts": [ "Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia.", "He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school.", "CANNOTANSWER", "In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul.", "Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period.", "Despite their young age, the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement.", "the three editors were able to attract collaborations from established Symbolist authors, active within Romania's own Symbolist movement.", "CANNOTANSWER" ] }

[]

[ "Tzara was born in Moinesti, Bacau County, in the historical region of Western Moldavia.", "Tzara moved to Bucharest at the age of eleven and attended the Schemitz-Tierin boarding school. It is also believed that he completed his secondary education at a state-run high school, identified as either the Saint Sava National College or Sfantul Gheorghe High School.", "The text does not provide information on what Tzara studied in school.", "The text does not provide information on any jobs Tzara may have had in his early years.", "Simbolul is a magazine that Tzara, alongside his friends Vinea and Marcel Janco, edited starting in October 1912 when Tzara was aged sixteen. The magazine attracted collaborations from established Symbolist authors and played an important part in shaping Romanian literature of the period. It ceased print in December 1912.", "Yes, the article mentions that Tzara, Janco, and Vinea were able to attract collaborations from various established authors who were active in Romania's Symbolist movement despite their young age. Also interesting is the fact that Tzara wasn't a full citizen of Romania until after 1918 due to discriminatory laws. The magazine they edited, Simbolul, is highlighted as a significant influence on Romania's modern literature. The collaboration among these young editors reportedly represented an early instance of literature becoming \"an interface between arts.\"", "Simbolul featured works from established Symbolist authors like N. Davidescu, Alfred Hefter-Hidalgo, Emil Isac, Claudia Millian, among others. Also, it printed a poem by Alexandru Macedonski, a leading figure in Romanian Symbolism. Besides, Simbolul also included illustrations by Adrian Maniu, Claudia Millian, and Iosif Iser.", "The text does not provide information on whether Tzara had any siblings." ]

[ "Yes", "Yes", "Yes", "no", "Yes", "Yes", "Yes", "Yes" ]

[ "C_ebaf51b477a74a4884cb659b07039674_1_q#0", "C_ebaf51b477a74a4884cb659b07039674_1_q#1", "C_ebaf51b477a74a4884cb659b07039674_1_q#2", "C_ebaf51b477a74a4884cb659b07039674_1_q#3", "C_ebaf51b477a74a4884cb659b07039674_1_q#4", "C_ebaf51b477a74a4884cb659b07039674_1_q#5", "C_ebaf51b477a74a4884cb659b07039674_1_q#6", "C_ebaf51b477a74a4884cb659b07039674_1_q#7", "C_ebaf51b477a74a4884cb659b07039674_1_q#8" ]

[ "What is 'The New Fellas'?", "Can you tell me something interesting about the album?", "What were some songs from the album?", "Was there any other hit songs on the album?", "Did they do a tour for the album?", "Who did they tour with?", "Are they still married?", "Did anything else of interest happen in 2005-2006?", "How well did the album do?" ]

[ 0, 0, 0, 2, 0, 2, 1, 1, 1 ]

[ 2, 2, 2, 2, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 464 ], [ 504 ], [ 1200 ], [ 2981 ], [ 2034 ], [ 2555 ], [ 3018 ], [ 2894 ], [ 2951 ] ], "texts": [ [ "The New Fellas, the band's second album release," ], [ "release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios." ], [ "One song, \"Haunted\"," ], [ "Hey Scenesters a single of the year." ], [ "The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland." ], [ "A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme." ], [ "CANNOTANSWER" ], [ "In their year-end issue, the NME made The New Fellas the No. 11 album" ], [ "No. 11" ] ] }

{ "answer_starts": [ 464, 504, 1200, 2981, 2034, 2555, 3018, 2894, 2951 ], "texts": [ "The New Fellas, the band's second album release,", "release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios.", "One song, \"Haunted\",", "Hey Scenesters a single of the year.", "The extensive New Fellas world tour took in several UK tours, Europe, United States, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland.", "A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme.", "CANNOTANSWER", "In their year-end issue, the NME made The New Fellas the No. 11 album", "No. 11" ] }

[]

[ "'The New Fellas' is the second album released by the band the Cribs.", "The band recorded 'The New Fellas' with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice, in London at his own West Heath Studios. In an effort to achieve sounds similar to those heard on the Orange Juice records, the album was comparatively unpolished sonically. One track, \"Haunted\", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach. Despite being leaked onto the internet several months before its official release, the record went on to be certified Silver by the BPI and was voted the fans' favorite record in a NME poll.", "Some songs from 'The New Fellas' album include \"Hey Scenesters!\", which was the first release from the record, \"Haunted\", \"Mirror Kissers\", and \"Martell\". The non-album track \"You're Gonna Lose Us\", produced by Bernard Butler, was also released during this period and was paired with \"The Wrong Way To Be\" as a AA side.", "The text does not provide information on any other hit songs from 'The New Fellas' album by the Cribs.", "Yes, the Cribs carried out an extensive world tour for 'The New Fellas' album, traveling in the UK, Europe, the United States, Canada, Japan, Australia, and Scandinavia, and making their first trip to Iceland. They appeared at various festivals during this time, including main stage performances at Reading and Leeds Festivals, headlining the tent at T in the Park, as well as the Fuji Rock festival in Japan. They also embarked on an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand.", "For 'The New Fellas' tour, the Cribs performed with Death Cab for Cutie and Franz Ferdinand during their USA arena tour. In Europe, they toured with ex Pavement member Stephen Malkmus and The Jicks.", "The text does not provide information on the current marital status of Gary from the Cribs and Joanna Bolme.", "The text does not provide information on any other events of interest that happened in 2005-2006 relating to the Cribs.", "'The New Fellas' album by the Cribs did quite well. The first release from the album, \"Hey Scenesters!\" reached no. 27 in the UK charts, starting their run of 7 consecutive top 40 singles. The album itself, which was leaked onto the internet several months prior to its official release date, has gone on to be certified Silver by the BPI. In a poll held by the NME, it was voted the overall fans' favorite record. Its release was followed by an extensive world tour. However, it's worth noting that the leak of the album onto the internet hampered its first week sales." ]

[ "Yes", "Yes", "Yes", "no", "Yes", "Yes", "Yes", "No", "No" ]

[ "C_ebaf51b477a74a4884cb659b07039674_0_q#0", "C_ebaf51b477a74a4884cb659b07039674_0_q#1", "C_ebaf51b477a74a4884cb659b07039674_0_q#2", "C_ebaf51b477a74a4884cb659b07039674_0_q#3", "C_ebaf51b477a74a4884cb659b07039674_0_q#4", "C_ebaf51b477a74a4884cb659b07039674_0_q#5", "C_ebaf51b477a74a4884cb659b07039674_0_q#6", "C_ebaf51b477a74a4884cb659b07039674_0_q#7" ]

[ "What is Payola?", "How well did it do?", "What songs are included in Payola?", "Any other songs?", "Did they have any other albums?", "What is their most famous song?", "Can you tell me some more interesting information?", "Did they do anything else in the UK?" ]

[ 0, 2, 0, 0, 2, 1, 2, 0 ]

[ 2, 2, 2, 0, 0, 2, 0, 0 ]

{ "answer_starts": [ [ 0 ], [ 2043 ], [ 191 ], [ 360 ], [ 1662 ], [ 244 ], [ 1850 ], [ 951 ] ], "texts": [ [ "On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola," ], [ "CANNOTANSWER" ], [ "The 22 track album saw the first official release of \"Leather Jacket Love Song\" - recorded at sessions in early 2010," ], [ "A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities." ], [ "2014 began quietly, as the band began writing sessions for their next studio album." ], [ "\"Leather Jacket Love Song\" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr." ], [ "Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival" ], [ "Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London)," ] ] }

{ "answer_starts": [ 0, 2043, 191, 360, 1662, 244, 1850, 951 ], "texts": [ "On 20 November 2012 the Cribs announced details of their first 'Best Of' compilation, Payola,", "CANNOTANSWER", "The 22 track album saw the first official release of \"Leather Jacket Love Song\" - recorded at sessions in early 2010,", "A special 40-track 'Anthology Edition' was released with an additional 18 track disc containing B-sides and rarities.", "2014 began quietly, as the band began writing sessions for their next studio album.", "\"Leather Jacket Love Song\" - recorded at sessions in early 2010, it is the final Cribs song to feature Johnny Marr.", "Later in the year, the Cribs returned to the UK for some UK festival slots, including headlining Truck Festival and Tramlines Festival", "Over the summer, the Cribs played numerous festivals in the UK and Europe, including headline slots at Y Not Festival and a show at the Olympic Park (London)," ] }

[]

[ "C_d2a529a2f8c64de493485f0cf0bcaa76_1_q#0", "C_d2a529a2f8c64de493485f0cf0bcaa76_1_q#1", "C_d2a529a2f8c64de493485f0cf0bcaa76_1_q#2", "C_d2a529a2f8c64de493485f0cf0bcaa76_1_q#3" ]

[ "What was Lew Grade up to in 1962?", "Was he responsible for any hit TV shows?", "Were there any notable specials?", "What programs did not have an exclusively British cast?" ]

[ 0, 0, 0, 2 ]

[ 2, 0, 2, 2 ]

{ "answer_starts": [ [ 3407 ], [ 4088 ], [ 4493 ], [ 4749 ] ], "texts": [ [ "Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director" ], [ "These series included The Saint (1962-69), which was sold to over 80 countries, and two featuring Patrick McGoohan: Danger Man (1960-68) and The Prisoner (1967-68)." ], [ "it was those series which used an exclusively British cast, such as The Saint (and The Avengers, made by another ITV contractor), which were more successful in the United States." ], [ "AP Films produced the children's marionette puppet (\"Supermarionation\") series during the 1960s, Thunderbirds (1965-66)," ] ] }

{ "answer_starts": [ 3407, 4088, 4493, 4749 ], "texts": [ "Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director", "These series included The Saint (1962-69), which was sold to over 80 countries, and two featuring Patrick McGoohan: Danger Man (1960-68) and The Prisoner (1967-68).", "it was those series which used an exclusively British cast, such as The Saint (and The Avengers, made by another ITV contractor), which were more successful in the United States.", "AP Films produced the children's marionette puppet (\"Supermarionation\") series during the 1960s, Thunderbirds (1965-66)," ] }

[]

[ "In 1962, Lew Grade became the managing director of ATV after contriving to have the board oust Val Parnell. Furthermore, AP Films, co-founded by Gerry Anderson, became a subsidiary of ITC, a company Grade was involved with.", "Yes, Lew Grade was responsible for many hit TV shows through his involvement with ITC and ATV, including The Saint, Danger Man, and The Prisoner. Additionally, he was integral in the production of successful children's marionette puppet (\"Supermarionation\") series during the 1960s, including Thunderbirds and Captain Scarlet and the Mysterons.", "There were notable series but the text does not provide information on any specific notable specials that were produced or organised by Lew Grade.", "Several of Lew Grade's series did not have an exclusively British cast. Programs that featured American actors in lead roles included series like The Baron and Man in a Suitcase." ]

[ "Yes", "Yes", "No", "No" ]

[ "C_d2a529a2f8c64de493485f0cf0bcaa76_0_q#0", "C_d2a529a2f8c64de493485f0cf0bcaa76_0_q#1", "C_d2a529a2f8c64de493485f0cf0bcaa76_0_q#2", "C_d2a529a2f8c64de493485f0cf0bcaa76_0_q#3" ]

[ "What shows did they produce", "Did they produce anything else", "What other shows did they make", "Did any of their shows win awards" ]

[ 0, 0, 0, 1 ]

[ 2, 0, 0, 2 ]

{ "answer_starts": [ [ 517 ], [ 755 ], [ 828 ], [ 2417 ] ], "texts": [ [ "these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States." ], [ "action shows The Protectors (1972-74) and The Persuaders! (1971-72)," ], [ "the live action science fiction shows UFO (1969-71) and Space: 1999 (1975-77)" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 517, 755, 828, 2417 ], "texts": [ "these included The Julie Andrews Hour (1972-1973), which aired for only one season on the ABC Television Network in the United States.", "action shows The Protectors (1972-74) and The Persuaders! (1971-72),", "the live action science fiction shows UFO (1969-71) and Space: 1999 (1975-77)", "CANNOTANSWER" ] }

[]

[ "The shows mentioned in the text that were produced include The Julie Andrews Hour (1972-1973), The Protectors (1972-74), The Persuaders! (1971-72), UFO (1969-71), Space: 1999 (1975-77), and The Muppet Show.", "The context also mentions that they produced the mini-series Jesus of Nazareth (1977) and hosted a live broadcast of Tosca, starring Maria Callas, from La Scala opera house in Milan, Italy.", "The context provided does not mention any other shows produced by them.", "Yes, The Julie Andrews Hour received seven Emmy Awards, including the title Best Variety Series." ]

[ "Yes", "No", "no", "No" ]

[ "C_c4e4f91533b2443fa73aff85521d0ec5_1_q#0", "C_c4e4f91533b2443fa73aff85521d0ec5_1_q#1", "C_c4e4f91533b2443fa73aff85521d0ec5_1_q#2", "C_c4e4f91533b2443fa73aff85521d0ec5_1_q#3", "C_c4e4f91533b2443fa73aff85521d0ec5_1_q#4" ]

[ "What was her record deal?", "Was this a hit?", "did she have any other record deals?", "What happened after it was finalized?", "Are there any other interesting aspects about this article?" ]

[ 0, 2, 2, 1, 2 ]

[ 2, 0, 0, 2, 0 ]

{ "answer_starts": [ [ 191 ], [ 356 ], [ 408 ], [ 891 ], [ 1734 ] ], "texts": [ [ "Though she did not sign with Syco, Cowell's record label, she did record a duet of \"Walking in the Air\"" ], [ "and was tipped as a potential Christmas number-one." ], [ "Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal." ], [ "In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group" ], [ "In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him." ] ] }

{ "answer_starts": [ 191, 356, 408, 891, 1734 ], "texts": [ "Though she did not sign with Syco, Cowell's record label, she did record a duet of \"Walking in the Air\"", "and was tipped as a potential Christmas number-one.", "Before the release of One Voice, it was revealed that Smith and her father, Tony Smith, were finalising the details of her record deal.", "In December 2008 the Daily Mail reported that Smith had signed a PS2.3 million, multi-album deal with Universal Music Group", "In January 2009 plans were released for Smith to perform with Placido Domingo, an idea originally suggested by him." ] }

[]

[ "Smith signed a PS2.3 million, multi-album deal with Universal Music Group.", "The text does not provide information on whether Smith's multi-album deal with Universal Music Group was a hit.", "The text does not provide information on any other record deals that Smith may have had.", "After her record deal was finalized, Smith signed the contract at the Royal Albert Hall and then performed with Katherine Jenkins. By 2009, Jenkins was acting as a mentor to Smith.", "Some other interesting aspects from this article include Smith's desire to not only continue her music career but also to branch out into acting. Smith expressed that she did not wish to be dubbed as the next Charlotte Church. Another interesting fact is that plans were made for her to perform with Placido Domingo, an idea suggested by him. Also, before her deal with Universal, there were talks of Simon Cowell potentially signing Smith and other finalists from Britain's Got Talent." ]

[ "No", "No", "no", "Yes", "Yes" ]

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[ "What the biggest success of the 1980s?", "Can you explain that better?", "What successes did they have though?", "Did they win?", "Did they go back in any other years after?", "How did they do that time around?", "Was that the last time they were there?", "Are there any other interesting aspects about this article?" ]

[ 2, 2, 0, 0, 0, 2, 2, 0 ]

[ 2, 2, 2, 1, 0, 2, 2, 2 ]

{ "answer_starts": [ [ 203 ], [ 34 ], [ 1164 ], [ 1392 ], [ 1512 ], [ 1599 ], [ 1812 ], [ 625 ] ], "texts": [ [ "But in 1983, profiting from a late run which left those clubs in their wake, that is precisely what McLean's largely home-grown side did." ], [ "few believed that McLean and United were potential Premier Division champions, Alex Ferguson's Aberdeen at that time were an emerging force" ], [ "Following his team's League success in 1983, Dundee United made their debut in the European Cup." ], [ "McLean inspired United to the semi-finals of that year's competition, a penalty-kick denying them a place in the final." ], [ "Three years later McLean took the team to a European final, this time in the UEFA Cup," ], [ "although they were beaten by IFK Gothenburg of Sweden." ], [ "and taking the team to a further five Scottish Cup finals, but without winning the trophy." ], [ "one of his main problems with the job offer was Rangers' policy of not signing Roman Catholics, a policy McLean found a ridiculous restriction" ] ] }

{ "answer_starts": [ 203, 34, 1164, 1392, 1512, 1599, 1812, 625 ], "texts": [ "But in 1983, profiting from a late run which left those clubs in their wake, that is precisely what McLean's largely home-grown side did.", "few believed that McLean and United were potential Premier Division champions, Alex Ferguson's Aberdeen at that time were an emerging force", "Following his team's League success in 1983, Dundee United made their debut in the European Cup.", "McLean inspired United to the semi-finals of that year's competition, a penalty-kick denying them a place in the final.", "Three years later McLean took the team to a European final, this time in the UEFA Cup,", "although they were beaten by IFK Gothenburg of Sweden.", "and taking the team to a further five Scottish Cup finals, but without winning the trophy.", "one of his main problems with the job offer was Rangers' policy of not signing Roman Catholics, a policy McLean found a ridiculous restriction" ] }

[]

[ "McLean's biggest success of the 1980s was leading his team, Dundee United, to the semi-finals of the European Cup and also to the final of the UEFA Cup.", "In the context given, the peak achievements for McLean in the 1980s were guiding his team, Dundee United, to significant stages in prestigious European football competitions. First, his team made an impressive run in the European Cup reaching the semi-finals. Also noteworthy was leading Dundee United to the final of the UEFA Cup. These achievements on the European stage were among the most significant of McLean's career in that decade.", "In the 1980s, under McLean's management, Dundee United won the Premier Division championship in 1983. They also had a successful European campaign, reaching the semi-finals of the European Cup and the final of the UEFA Cup. They continually placed high in domestic football, finishing outside the top four clubs only once. Additionally, they reached five Scottish Cup finals, although they did not win the trophy.", "Dundee United won the Premier Division championship in 1983 under McLean's management. However, while they reached the semi-finals of the European Cup and the final of the UEFA Cup, it is not indicated in the context that they won these European competitions. Also, even though they made it to five Scottish Cup finals, they did not win the trophy.", "The text does not provide information on whether Dundee United participated in the European Cup or UEFA Cup in years following the 1980s.", "The text does not provide detailed information on how Dundee United performed in the European Cup or UEFA Cup beyond their runs to the semi-finals and final, respectively, in the 1980s.", "The text does not provide information on whether those were the last times Dundee United reached the semi-finals of the European Cup or the final of the UEFA Cup.", "The context highlights several interesting aspects about the career of the manager McLean and Dundee United. One such aspect is how McLean built his team primarily with home-grown players, and they still managed to win the Premier Division in 1983. Also interesting is that McLean was offered the managerial position at Rangers and Newcastle United, but he turned them down. His refusal of the Rangers position, in particular, is notable due to his disagreement with the club's policy of not signing Roman Catholics. Another point of interest is McLean's innovative counter-attacking and pressuring style tactics that yielded successful results in the European campaign. Finally, the consistent high performance of Dundee United under McLean's management, finishing outside the top four clubs only once, testifies to his ability as a manager." ]

[ "Yes", "No", "Yes", "No", "No", "No", "No", "Yes" ]

[ "C_e23d3e73411842f49937f27ba3aa0993_1_q#0", "C_e23d3e73411842f49937f27ba3aa0993_1_q#1", "C_e23d3e73411842f49937f27ba3aa0993_1_q#2", "C_e23d3e73411842f49937f27ba3aa0993_1_q#3", "C_e23d3e73411842f49937f27ba3aa0993_1_q#4", "C_e23d3e73411842f49937f27ba3aa0993_1_q#5", "C_e23d3e73411842f49937f27ba3aa0993_1_q#6", "C_e23d3e73411842f49937f27ba3aa0993_1_q#7", "C_e23d3e73411842f49937f27ba3aa0993_1_q#8" ]

[ "What does version 1 mean in this context?", "Did he enter another sports?", "Did he recover from the injury?", "Are there any other interesting aspects about this article?", "Did the feud go to court?", "Did he fight any one else?", "Afterwards, did he fight Kane?", "Then did he try another fighter?", "Did he have to defend it against other players later?" ]

[ 1, 1, 1, 0, 2, 0, 0, 0, 1 ]

[ 2, 1, 2, 0, 1, 0, 0, 0, 2 ]

{ "answer_starts": [ [ 2210 ], [ 2131 ], [ 2210 ], [ 1281 ], [ 1370 ], [ 1920 ], [ 1974 ], [ 1020 ], [ 2210 ] ], "texts": [ [ "CANNOTANSWER" ], [ "Hardy then spent almost a year off from wrestling due to a severe knee injury." ], [ "CANNOTANSWER" ], [ "After dropping the Cruiserweight Championship, Hardy briefly feuded with Eddie Guerrero," ], [ "but was unsuccessful in capturing Guerrero's United States Championship or Tag Team Championship." ], [ "2004, Hardy saved Lita from getting attacked by Kane." ], [ "Hardy defeated Kane at Vengeance, but lost a match against Kane at SummerSlam." ], [ "At WrestleMania XIX, he successfully defended it against Rey Mysterio." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 2210, 2131, 2210, 1281, 1370, 1920, 1974, 1020, 2210 ], "texts": [ "CANNOTANSWER", "Hardy then spent almost a year off from wrestling due to a severe knee injury.", "CANNOTANSWER", "After dropping the Cruiserweight Championship, Hardy briefly feuded with Eddie Guerrero,", "but was unsuccessful in capturing Guerrero's United States Championship or Tag Team Championship.", "2004, Hardy saved Lita from getting attacked by Kane.", "Hardy defeated Kane at Vengeance, but lost a match against Kane at SummerSlam.", "At WrestleMania XIX, he successfully defended it against Rey Mysterio.", "CANNOTANSWER" ] }

[]

[ "In this context, \"Version 1\" is a nickname that Matt Hardy began using for himself after he joined the SmackDown! roster.", "No, the text does not indicate that Matt Hardy entered another sport. He continued his career in professional wrestling.", "The text does not provide information on whether Matt Hardy recovered from his knee injury.", "The article discusses several interesting aspects of Matt Hardy's career in professional wrestling. These include his transition to the SmackDown! roster where he began calling himself \"Matt Hardy: Version 1\", his successful efforts to make weight in order to win the Cruiserweight Championship, the expansion of his faction Mattitude, and his storyline with his then girlfriend Lita which included a feigned proposal and saving her from an attack. Another interesting point is his rivalry with Kane, which resulted in Hardy's severe knee injury.", "The text does not provide any information about legal action or court cases connected to the feud between Matt Hardy and other wrestlers.", "Yes, in addition to his matches with Jeff and Kane, Matt Hardy also had matches with Rob Van Dam, The Undertaker, Billy Kidman, Rey Mysterio, Eddie Guerrero, and Christian.", "Yes, after his various matches, Hardy fought with Kane. In fact, he defeated Kane at a wrestling event called Vengeance, but later lost a match against Kane at another event called SummerSlam.", "After his matches with Kane, the text does not specify if Matt Hardy fought with another wrestler.", "After winning the Cruiserweight Championship, Matt Hardy successfully defended the title against Rey Mysterio at WrestleMania XIX. He later lost the championship to Mysterio on the June 5 edition of SmackDown. The text does not provide further information regarding him defending any other titles." ]

[ "No", "No", "Yes", "Yes", "No", "No", "Yes", "no", "Yes" ]

[ "C_e23d3e73411842f49937f27ba3aa0993_0_q#0", "C_e23d3e73411842f49937f27ba3aa0993_0_q#1", "C_e23d3e73411842f49937f27ba3aa0993_0_q#2", "C_e23d3e73411842f49937f27ba3aa0993_0_q#3", "C_e23d3e73411842f49937f27ba3aa0993_0_q#4", "C_e23d3e73411842f49937f27ba3aa0993_0_q#5", "C_e23d3e73411842f49937f27ba3aa0993_0_q#6", "C_e23d3e73411842f49937f27ba3aa0993_0_q#7" ]

[ "Who did he fight?", "Who won that match?", "Was there anything else significant about that particular match?", "Are there any other interesting aspects about this article?", "Who else did he fight in 2011?", "Can you tell me anything about that fight?", "How did they betray Fortune?", "Did he fight anyone else in TNA?" ]

[ 0, 2, 2, 0, 0, 1, 1, 0 ]

[ 2, 2, 2, 2, 2, 2, 2, 2 ]

{ "answer_starts": [ [ 143 ], [ 193 ], [ 193 ], [ 686 ], [ 873 ], [ 801 ], [ 1939 ], [ 962 ] ], "texts": [ [ "He was the surprise opponent for Rob Van Dam," ], [ "defeated him to prevent Van Dam from receiving a match" ], [ "defeated him to prevent Van Dam from receiving a match for the TNA World Heavyweight Championship," ], [ "On February 13 at Against All Odds, Rob Van Dam defeated Hardy in a rematch." ], [ "On March 13 at Victory Road Hardy was defeated by Flair's previous protege, A.J. Styles." ], [ "Hardy, along with the rest of Immortal and Ric Flair, betrayed Fortune." ], [ "CANNOTANSWER" ], [ "On April 17 at Lockdown, Immortal, represented by Hardy, Abyss, Bully Ray and Ric Flair," ] ] }

{ "answer_starts": [ 143, 193, 193, 686, 873, 801, 1939, 962 ], "texts": [ "He was the surprise opponent for Rob Van Dam,", "defeated him to prevent Van Dam from receiving a match", "defeated him to prevent Van Dam from receiving a match for the TNA World Heavyweight Championship,", "On February 13 at Against All Odds, Rob Van Dam defeated Hardy in a rematch.", "On March 13 at Victory Road Hardy was defeated by Flair's previous protege, A.J. Styles.", "Hardy, along with the rest of Immortal and Ric Flair, betrayed Fortune.", "CANNOTANSWER", "On April 17 at Lockdown, Immortal, represented by Hardy, Abyss, Bully Ray and Ric Flair," ] }

[]

[ "Hardy fought against several people. He fought against Rob Van Dam, Mr. Anderson, James Storm, Kazarian, Robert Roode, Christopher Daniels, and Sting. He also faced off against Beer Money, Inc. (James Storm and Robert Roode) in a tag team match.", "The text mentions several matches. In his debut match against Rob Van Dam, Hardy won. In the tag team match against Anderson and Van Dam, Hardy's team won. Rob Van Dam won in their rematch. A.J Styles defeated Hardy at Victory Road. At Lockdown, Fortune's team was victorious against Immortal. Sting beat Hardy in the TNA World Heavyweight Championship match. In the TNA World Tag Team Championship match against Beer Money, Inc. (James Storm and Robert Roode), Hardy's tag team lost.", "The text mentions several significant details about various matches. For the TNA World Heavyweight Championship match where Hardy lost to Sting, it was Hardy's first World Title match in TNA. In the TNA World Tag Team Championship match against Beer Money, Inc., Hardy introduced the returning Chris Harris, Storm's old tag team partner, as his partner for the title match.", "The text reveals a few other interesting aspects. For instance, Hardy, along with the rest of Immortal and Ric Flair, betrayed their ally group, Fortune. Additionally, Hardy was suspended and then released from TNA following a DUI arrest on August 20. Furthermore, his brother Jeff was also competing in TNA and held the World Heavyweight Championship at one point.", "In 2011, Hardy fought against multiple individuals such as Rob Van Dam, Mr. Anderson, A.J. Styles, Sting, and tag teams like Fortune (represented by James Storm, Kazarian, Robert Roode and the replacement of an injured A.J Styles, Christopher Daniels) and Beer Money, Inc. (James Storm and Robert Roode). He also had a conflict with Ric Flair, another member of Immortal.", "The text mentions multiple fights involving Hardy in 2011. For instance, on his debut for TNA at the Genesis pay-per-view, Hardy was pitted against Rob Van Dam and defeated him. Hardy's fights often involved high stake titles like the TNA World Heavyweight Championship and the TNA World Tag Team Championship. In one notable tag team match, Hardy and his brother Jeff reunited and won against Anderson and Van Dam, thanks to an interference from Beer Money, Inc. However, Hardy lost a match to A.J. Styles at Victory Road. In the Lethal Lockdown match involving members of Immortal and Fortune, Fortune's team emerged victorious. Hardy also unsuccessfully challenged Sting for the TNA World Heavyweight Championship. Despite these various fights and rivalries, Hardy's TNA career ended on a sour note when he was released from the company following a DUI arrest.", "The text does not provide specific details on how Hardy, along with the rest of Immortal and Ric Flair, betrayed Fortune.", "Based on the given text, Hardy fought with a number of individuals in TNA including Rob Van Dam, Mr. Anderson, Ric Flair's protege A.J. Styles, Sting, and tag teams like Fortune and Beer Money, Inc. It doesn't mention him fighting with any other individuals." ]

[ "Yes", "No", "No", "No", "Yes", "No", "Yes", "No" ]

[ "C_bfefac3abbbc49ed8aed3b22f3d39535_0_q#0", "C_bfefac3abbbc49ed8aed3b22f3d39535_0_q#1", "C_bfefac3abbbc49ed8aed3b22f3d39535_0_q#2", "C_bfefac3abbbc49ed8aed3b22f3d39535_0_q#3" ]

[ "who were the other candidates?", "What party was he running with?", "what is the most interesting thing about Erdogan and the General Elections?", "Did his party win in 2002?" ]

[ 1, 1, 2, 1 ]

[ 2, 2, 2, 2 ]

{ "answer_starts": [ [ 3180 ], [ 9 ], [ 70 ], [ 3180 ] ], "texts": [ [ "CANNOTANSWER" ], [ "Erdogan established the Justice and Development Party (AKP)." ], [ "The elections of 2002 were the first elections in which Erdogan participated as a party leader." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 3180, 9, 70, 3180 ], "texts": [ "CANNOTANSWER", "Erdogan established the Justice and Development Party (AKP).", "The elections of 2002 were the first elections in which Erdogan participated as a party leader.", "CANNOTANSWER" ] }

[ { "text": "This is a list of international presidential trips made by Recep Tayyip Erdoğan, the 12th and current President of Turkey, since he assumed the presidency on August 28, 2014.\n\nAs of , Recep Tayyip Erdoğan has made 184 trips to 84 countries.\nThe number of visits per country where he travelled are:\n 1 visit to Afghanistan, Angola, Argentina, Bahrain, Belarus, Bulgaria, Chad, Chile, Colombia, Côte d'Ivoire, Croatia, Cuba, Democratic Republic of the Congo, Djibouti, Ecuador, Equatorial Guinea, Estonia, Ethiopia, Gambia, Ghana, Greece, Guinea, India, Indonesia, Jordan, Kenya, Kyrgyzstan, Latvia, Madagascar, Malaysia, Mali, Mauritania, Mexico, Moldova, Montenegro, Mozambique, Paraguay, Peru, Romania, Slovakia, Slovenia, South Africa, South Korea, Spain, Sudan, Switzerland, Tajikistan, Tanzania, Togo, Uganda, United Arab Emirates, Vatican City, Venezuela, Zambia\n 2 visits to Albania, Hungary, Italy, Japan, Kazakhstan, Nigeria, Poland, Serbia, Somalia, Tunisia\n 3 visits to Algeria, Iran, Turkmenistan, United Kingdom, Uzbekistan\n 4 visits to Bosnia and Herzegovina, China, France, Germany, Kuwait, Pakistan, Senegal, Ukraine\n 5 visits to Northern Cyprus\n 6 visits to Saudi Arabia\n 7 visits to Belgium, Qatar\n 10 visits to United States\n 12 visits to Azerbaijan\n 13 visits to Russia\n\nSummary\n\n2014\n\n2015\n\n2016\n\n2017\n\n2018\n\n2019\n\n2020\n\n2021\n\n2022\n\nMultilateral meetings \nMultilateral meetings of the following intergovernmental organizations are scheduled to take place during Erdogan's term in office as president.\n\nSee also\nList of international prime ministerial trips made by Recep Tayyip Erdoğan\nList of international presidential trips made by Abdullah Gül\nForeign relations of Turkey\n\nReferences\n\nCategory:Recep Tayyip Erdoğan\nCategory:State visits by Turkish presidents\nCategory:Lists of 21st-century trips\nCategory:21st century in international relations\nCategory:State visits by Turkish leaders\nTrips\nCategory:Diplomatic visits by heads of state", "title": "List of international presidential trips made by Recep Tayyip Erdoğan" }, { "text": "In the run up to the 2023 Turkish presidential and parliamentary elections, held on 14 May 2023, various organizations carry out opinion polling to gauge voting intention in Turkey. Results of such polls are displayed in this article. These polls only include Turkish voters nationwide and do not take into account Turkish expatriates voting abroad. The date range for these opinion polls are from the previous general election, held on 24 June 2018, to the present day.\n\nRecep Tayyip Erdoğan\nRecep Tayyip Erdoğan is the current president of Turkey and the leader of Justice and Development Party (AKP).\n\nGraphical summary\n\n2022\n\n2021\n\n2020\n\n2019\n\n2018\n\nEkrem İmamoğlu\nEkrem İmamoğlu is the current mayor of İstanbul and a potential presidential candidate of Republican People's Party (CHP).\n\nGraphical summary\n\nMansur Yavaş\nMansur Yavaş is the current mayor of Ankara and a potential presidential candidate of Republican People's Party (CHP).\n\nGraphical summary\n\nKemal Kılıçdaroğlu\nKemal Kılıçdaroğlu is the president of, and a potential presidential candidate of Republican People's Party (CHP).\n\nMeral Akşener\nMeral Akşener is the president of, and a presidential candidate of Good Party (İYİ). She was previously member of MHP, and a former Minister of the Interior.\n\nDevlet Bahçeli\nDevlet Bahçeli is the president of Nationalist Movement Party (MHP).\n\nSelahattin Demirtaş\nSelahattin Demirtaş is the former co-chairperson and presidential candidate of Peoples' Democratic Party (HDP). He is currently incarcerated.\n\nAli Babacan\nAli Babacan is the leader of Democracy and Progress Party (DEVA). He was previously a member of AKP. He was a former Minister of Foreign Affairs, and of Customs and Trade.\n\nAhmet Davutoğlu\nAhmet Davutoğlu is the leader of Future Party (GP). He was previously a member of AKP. He was formerly the Prime Minister of Turkey.\n\nMuharrem İnce\nMuharrem İnce is the chairperson of Homeland Party. He was a member of Republican People's Party (CHP), and he was CHP's previous presidential candidate.\n\nTemel Karamollaoğlu\nTemel Karamollaoğlu is the leader and presidential candidate of Felicity Party.\n\nOthers\n\nReferences\n\nCategory:2023 Turkish general election\n2023 leadership", "title": "Leadership approval polling for the 2023 Turkish general election" }, { "text": "The 500 Most Influential Muslims (also known as The Muslim 500) is an annual publication first published in 2009, which ranks the most influential Muslims in the world.\n\nThe publication is compiled by the Royal Islamic Strategic Studies Centre in Amman, Jordan. The report is issued annually in cooperation with Prince Al-Waleed Bin Talal Center for Muslim-Christian Understanding at Georgetown University in the United States.\n\nQatar's Emir Tamim bin Hamid Al-Thani took first place in the 2022 edition. He was followed by King Salman of Saudi Arabia Iranian Supreme Leader Ali Khamenei and Turkey's President Recep Tayyip Erdoğan. King Abdullah II of Jordan, Pakistani scholar Muhammad Taqi Usmani, King Mohammed VI of Morocco, President of the UAE Mohammed bin Zayed Al Nahyan, and Iranian cleric Ali al-Sistani are also among the top 9 in the list.\n\nCritics have noted that its top 50 list gives more weight to political leaders, who due to the nature of political systems in Middle East enjoy considerable clout and influence in the regional politics. As such the influence of individuals listed in the top 50 owes much to the fact of their existence in the political spectrum.\n\nOverview\nThe publication highlights people who are influential as Muslims. That is people whose influence is derived from their practice of Islam or from the fact that they are Muslim. The influence can be of a religious scholar directly addressing Muslims and influencing their beliefs, ideas and behaviour, or it can be of a ruler shaping the socio-economic factors within which people live their lives, or of artists shaping popular culture. The first two examples also point to the fact that the lists, and especially the Top 50, are dominated by religious scholars and heads of state. Their dominant and lasting influence cannot be denied, especially the rulers, who in many cases also appoint religious scholars to their respective positions.\n\nNominations are evaluated on the basis of the influence that particular Muslims have had within the Muslim community and the manner in which their influence has benefited the Muslim community, both within the Islamic world and in terms of representing Islam to non-Muslims. \"Influential\" for the purposes of the book is defined as \"any person who has the power (be it cultural, ideological, financial, political or otherwise) to make a change that will have a significant impact on the Muslim World\".\n\nThe publication defines eligible entries with the following: \"Traditional Islam (96% of the world's Muslims): Also known as Orthodox Islam, this ideology is not politicized and largely based on consensus of correct opinion—thus including the Sunni, Shi'a, and Ibadi branches of practice (and their subgroups) within the fold of Islam, and not groups such as the Druze or the Ahmadiyya, among others.\"\n\nThe book starts with an overall top 50, ranked the most influential Muslims in the world. The remaining 450 most prominent Muslims is broken down into 15 categories without ranking, of scholarly, political, administrative, lineage, preachers and spiritual guides, women, youth, philanthropy/charity, development, science and technology, arts and culture, Qu'ran reciters, media, radicals, international Islamic networks and issues of the day. Each year the biographies are updated.\n\nThe publication also gives an insight into the different ways that Muslims impact the world and also shows the diversity of how people are living as Muslims today. The book's appendices comprehensively list populations of Muslims in nations worldwide, and its introduction gives a snapshot view of different ideological movements within the Muslim world, breaking down clearly distinctions between traditional Islam and recent radical innovations.\n\nPublications\n\n2009 edition\nIn 2009, the book was edited by Professors John L. Esposito and Ibrahim Kalin at Georgetown University in Washington.\n\nThe 500 most influential Muslims were chosen largely in terms of their overt influence. The top 50 is dominated by religious scholars and either heads of state, which automatically gives them an advantage when it comes to influence, or they have inherited their position. Lineage is a significant factor – it has its own category – and the predisposition to include children of important people reveals a mindset that indicates achievement is an optional extra. The top 50 fits into six broad categories as follows: 12 are political leaders (kings, generals, presidents), four are spiritual leaders (Sufi shaykhs), 14 are national or international religious authorities, three are \"preachers\", six are high-level scholars, 11 are leaders of movements or organizations.\n\nThe book has given the first place to King Abdullah bin Abdulaziz of Saudi Arabia. Second place went to Ayatollah Syed Ali Khamenei, the spiritual leader of Iran. King Mohammed VI of Morocco found third place and King Abdullah II Al-Hussain of Jordan occupied fourth place. Fifth place went to Turkey's Prime Minister Recep Tayyip Erdoğan.\n\nThe first solely religious leader is Iraq's Ayatollah Ali al-Sistani in seventh place. Fethullah Gülen came 13th. The heads of Hezbollah; Seyyed Hassan Nasrallah listed 17th and Hamas Khaled Mashaal listed 34th.\n\nThe highest-ranking American (and highest-ranking convert) at 38th place was Sheikh Hamza Yusuf Hanson, founder of the Zaytuna Institute in Berkeley, California. Right after him comes the highest-ranking European, Sheikh Mustafa Cerić, grand mufti of Bosnia and Herzegovina.\n\nIn total 72 Americans are among the 500, a disproportionately strong showing. Timothy Winter (Abdal Hakim Murad) was the highest ranked British Muslim, in an unspecified position between 51st and 60th, considerably higher than the three other British people who made the list – the Conservative Party chairman Baroness Sayeeda Warsi; the UK's first Muslim life peer, Lord Nazir Ahmed; and Dr Anas Al Shaikh Ali, director of the International Institute of Islamic Thought.\n\nThe women featured had a separate section from the men. There were only three women listed in the top 50. Sheikha Munira al-Qubaysi (number 21), an educator of girls and women; Queen Rania of Jordan (number 37), who promotes global education; and Sheikha Mozah bint Nasser Al Missned of Qatar (number 38), who is chairwoman of the Qatar Foundation for Education, Science and Community Development.\n\nThe listing also includes an extensive Arts and Culture Section. The general Arts and Culture Section included the names of singers Salif Keita, Youssou N'Dour, Raihan, Yusuf Islam and Sami Yusuf, Dawud Wharnsby; musician A. R. Rahman (India); film stars Aamir Khan and Shahrukh Khan; comedian Azhar Usman and martial artist Ma Yue. All the Qāriʾs (Quran reciters) listed in the book are from Saudi Arabia.\n\nForeign Policy magazine's Marc Lynch stated, \"Esposito and Kalin's methodology seems strange. Any list in which the Sultan of Oman (Qaboos bin Said al Said, who was sixth) outranks, say, Turkish preacher Fethullah Gülen (placed 13th) or the Aga Khan (Aga Khan IV, who was placed 20th) seems odd to this observer...\"\n\n2011 edition\nIn 2011, achievements of a lifetime were given more weight than achievements within the current year. which meant that the lists of names were going to change gradually, rather than dramatically, year-on-year. The Arab Spring had no impact on Saudi King Abdullah of Saudi Arabia's influence, it had boosted King Mohammed VI of Morocco's influence, who moved up to second place, and it had no effect on Turkish Prime Minister Recep Tayyip Erdoğan who came in third place.\n\nErdoğan was expected by many to receive the top spot in light of the Arab Spring. Erdoğan was credited with Turkey's \"Muslim democracy\", and was seen as the leader of a country that, as the Brookings Institution said, \"played the 'most constructive' role in the Arab events.\"\n\nEmir of Qatar Sheikh Hamad bin Khalifa Al Thani influence rose during the Arab Spring, moving him to sixth place. He had driven much of the Arab Spring through the coverage given by Al Jazeera, given financial support to protesters and political support to Libya, making him arguably the biggest enabler of the Arab Spring.\n\n2012 edition\nIn 2012, the edition was published by S. Abdallah Schleifer, Professor Emeritus and Senior Fellow Kamal Adham Center for Television & Digital Journalism, The American University in Cairo.\n\nThere were more Muslims from America than any other country again with 41 spots on the 500 list. Countries with the next highest number of names were Egypt, Pakistan, Saudi Arabia, and the United Kingdom, with 25 Muslims each, followed by Indonesia, with 24. It lists the winners according to 13 categories, including spiritual guides, Quran reciters, scholars, politicians, celebrities, sports figures, radicals, and media leaders.\n\nFor the fourth year running, Saudi King Abdullah bin Abdulaziz topped the list. He was followed by Turkish Prime Minister Recep Tayyip Erdoğan at second place. Erdoğan's advance gave him advantage over Moroccan King Mohammed VI who took the third place. Fourth place went to Dr Mohammed Badie, whose name appeared in the top 10 for the first time. He was followed by Qatari Emir Sheikh Hamad bin Khalifa Al Thani who took the fifth place. Sheikh Al-Azhar Dr. Ahmad el-Tayeb and prominent Islamic scholar Dr. Yusuf al-Qaradawi who is President of Global Association of Muslim Scholars, also made it to the top 10 ranks.\n\n2013/2014 edition\nIn 2013, the list was edited once again by Professor Emeritus S. Abdallah Schleifer of the American University in Cairo.\n\nThe top of the list went to Sheikh Ahmed el-Tayeb, the Grand Sheikh of the Al Azhar University for the prominent role played by him in Egypt's troubled democratic transition. His astute decision making over the past couple of years has preserved the traditional approach of Al-Azhar which faced threats from Islamists and Salafis in the years that have followed Mubarak's fall. His public support of General Abdel Fattah el-Sisi's coup also gave it a strong religious grounding that was necessary for it to achieve the legitimacy needed to prevent a civil war, effectively making him a \"king-maker\" and cementing his place at the top of the list. He was followed on the listing by Saudi King Abdullah bin Abdul-Aziz Al-Saud and Iranian Grand Leader Ayatollah Sayyid Ali Khamenei.\n\nReflective of the wider trajectory of the Arab Spring, this year's list showed a decline in influence from Muslim Brotherhood associated figures Dr Mohammed Badie, Sheikh Yusuf al Qaradawi and ousted Egyptian President Mohamed Morsi. Coup kingpin General Abdel Fattah el-Sisi who was previously unlisted now ranks at 29.\n\nThe US dominates the list again with 41 inclusions including Muhammad Ali, Dr Mehmet Oz, Rep. Keith Ellison, Yasiin Bey (Mos Def), and Fareed Zakaria. Representing the UK are Mo Farah, Yusuf Islam, Riz Khan, Baroness Sayeeda Warsi, Cambridge's Dr Timothy Winter and 18 others.\n\n2014/2015 edition\nIn 2014, the chief editor of the list was again Professor S Abdallah Schleifer. The top spot went back to Saudi King Abdullah bin Abdul Aziz al-Saud, due to his being the \"absolute monarch of the most powerful Arab nation.\" The list accords him the place in light of Saudi Arabia being home to Islam's two holy cities of Makkah and Madinah, which millions of Muslims visit throughout the year, as well as the kingdom's oil exports. Rounding out the top three are Dr Muhammad Ahmed al-Tayeb, grand sheikh of Al-Azhar University and grand imam of Al-Azhar mosque, and Iran's Supreme Leader Ali Khamenei. The top nine are all political leaders and royals, including Morocco's King Mohammed VI and Turkish President Recep Tayyip Erdogan.\n\nThe top 50 fit into six broad categories: 12 are political leaders (kings, generals, presidents), four are spiritual leaders (Sufi shaykhs), 14 are national or international religious authorities, three are \"preachers\", six are high-level scholars, 11 are leaders of movements or organizations. In total 72 Americans are among the 500 most influential Muslims, a disproportionately strong showing, but only one among the top 50, Sheikh Hamza Yusuf Hanson of Zaytuna Institute listed at number 38.\n\n2016 edition\nIn 2015, the top 50 was again dominated by religious scholars and heads of state. The top five, was King Abdullah of Jordan; Ahmed el-Tayeb, the grand sheikh of Egypt's Al-Azhar University; King Salman of Saudi Arabia; Iran's supreme leader Ayatollah Ali Khamenei; and King Mohammed VI of Morocco. Turkish President Recep Tayyip Erdogan came in at Number eight, but surprisingly Syrian President Bashar al-Assad did not make the Top 50 this year or last, though he is still listed in the 500. The prime minister of Iraq did not make the list, but Iraq's Grand Ayatollah Sayyid Ali Hussein Sistani did, coming in at number nine.\n\nThere were 32 newcomers to the 2016 list. 22 Indians featured on the list. As in past years, there continued to be more Muslims from the United States than any other country. Since at least 2012, the U.S. has outpaced nations with a far larger Muslim population, with at least 40 notable people of influence, with Pakistan (33), Saudi Arabia (32), Egypt (27) and the UK (27).\n\n2017 edition \n\nIn 2017, the top five were Sheikh Ahmad al-Tayyeb of Egypt; King Abdullah II of Jordan of Jordan; King Salman of Saudi Arabia; Ayatollah Ali Khamenei of Iran; King Mohammed VI of Morocco.\n\n2018 edition\n\nIn 2018, the top five were Sheikh Ahmad Muhammad Al-Tayeeb of Egypt; King Salman bin Abdul-Aziz Al-Saud of Saudi Arabia; King Abdullah II Ibn Al-Hussein of Jordan; Ayatollah Hajj Sayyid Ali Khamenei of Iran; President Recep Tayyip Erdoğan of Turkey.\n\n2019 edition\n\nIn 2019, the top five were President Recep Tayyip Erdoğan of Turkey; King Salman bin Abdul-Aziz Al-Saud of Saudi Arabia; King Abdullah II Ibn Al-Hussein of Jordan; Ayatollah Hajj Sayyid Ali Khamenei of Iran; King Mohammad VI of Morocco.\n\n2020 edition\nIn 2020, the top five were Sheikh Mufti Muhammad Taqi Usmani of Pakistan, President Recep Tayyip Erdoğan of Turkey; King Salman bin Abdulaziz Al Saud of Saudi Arabia; Ayatollah Hajj Sayyid Ali Khamenei of Iran; King Abdullah II Ibn Al-Hussein of Jordan.\n\nThe Woman of the Year was Rashida Tlaib of the United States and the Man of the Year was Imran Khan of Pakistan.\n\n2021 edition\nIn 2021, the top five were President Recep Tayyip Erdoğan president of Turkey; King Salman bin Abdulaziz Al Saud of Saudi Arabia; Ayatollah Hajj Sayyid Ali Khamenei of Iran; King Abdullah II Ibn Al-Hussein of Jordan.\n\nThe Woman of the Year was Bilkis Bano of India and the Man of the Year was Ilham Tohti of China.\n\n2022 edition\nIn 2022, the top five were Sheikh Tamim bin Hamad Al-Thani of Qatar; King Salman bin Abdulaziz Al Saud of Saudi Arabia; Ayatollah Hajj Sayyid Ali Khamenei of Iran; President Recep Tayyib Erdoğan of Turkey.\n\nThe Woman of the Year was President Samia Suluhu Hassan of Tanzania and the Man of the Year was Uğur Şahin of Germany.\n\n2023 edition\nIn 2023, the top five were Salman bin Abdul-Aziz Al-Saud King of Saudi Arabia, Custodian of the Two Holy Mosques, Sayyid Ali Khamenei Supreme Leader of Iran, Sheikh Tamim bin Hamid Al-Thani Emir of Qatar\n\nThe Woman of the Year was Aisha Abdurrahman Bewley and the Man of the Year was Mahmood Madani President of Jamiat Ulama-i-Hind from india.\n\nCurrent top Nine\n\nSee also\nThe Muslim 100\nThe 100: A Ranking of the Most Influential Persons in History\nForbes list of The World's Most Powerful People\nWho's Who\n\nReferences\n\nExternal links\n\nThe 500 Most Influential Muslims 2009 on Google Books\n\nA Defense of the Powerful: The Muslim 500. The Islamic Monthly. June 18, 2012\nList of “Most Influential Muslims” Illustrates the Problem – and Presents Opportunities. American Islamic Forum for Democracy. November 30, 2012\n\nCategory:2009 non-fiction books\nCategory:International biographical dictionaries\nMuslim 500", "title": "The 500 Most Influential Muslims" }, { "text": "A Fairer World Is Possible () is a non-fiction book by Turkish president Recep Tayyip Erdogan which was published in seven languages in 2021.\n\nTopic \nThe book, which sets out with the doctrine \"The world is bigger than 5\", states that the global politics should not rest on a small minority of countries. The book touches on the duties of the United Nations for a sustainable and fair world.\n\nIn the book, global problems such as injustice, corruption, the refugee crisis, the world's spectacle of what is happening in the Middle East, international terrorism and Islamophobia are addressed.\n\nReferences \n\n \nCategory:Turkish books", "title": "A Fairer World Is Possible" } ]

[ "The context does not provide information on who the other candidates were in the elections mentioned.", "He was running with the Justice and Development Party (AKP).", "The most interesting thing about Erdogan and the General Elections is that he is the only prime minister in Turkey's history to win three consecutive general elections, each time receiving more votes than the previous election.", "Yes, his party, the Justice and Development Party (AKP), won the election in 2002, receiving 34.3% of the national vote and forming the new government." ]

[ "Yes", "No", "No", "No" ]

[ "C_bfefac3abbbc49ed8aed3b22f3d39535_1_q#0", "C_bfefac3abbbc49ed8aed3b22f3d39535_1_q#1", "C_bfefac3abbbc49ed8aed3b22f3d39535_1_q#2", "C_bfefac3abbbc49ed8aed3b22f3d39535_1_q#3" ]

[ "Where was Erdogan born?", "Who were his parents?", "Where did he go to school?", "Did he attend anywhere else/" ]

[ 0, 0, 0, 0 ]

[ 2, 2, 2, 2 ]

{ "answer_starts": [ [ 0 ], [ 118 ], [ 1307 ], [ 1439 ] ], "texts": [ [ "Erdogan was born in 1954 in the Kasimpasa neighborhood of Istanbul," ], [ "His parents are Ahmet Erdogan and Tenzile Erdogan." ], [ "Erdogan graduated from Kasimpasa Piyale primary school in 1965, and Imam Hatip school, a religious vocational high school, in 1973." ], [ "He received his high school diploma from Eyup High School." ] ] }

{ "answer_starts": [ 0, 118, 1307, 1439 ], "texts": [ "Erdogan was born in 1954 in the Kasimpasa neighborhood of Istanbul,", "His parents are Ahmet Erdogan and Tenzile Erdogan.", "Erdogan graduated from Kasimpasa Piyale primary school in 1965, and Imam Hatip school, a religious vocational high school, in 1973.", "He received his high school diploma from Eyup High School." ] }

[ { "text": "This is a list of international presidential trips made by Recep Tayyip Erdoğan, the 12th and current President of Turkey, since he assumed the presidency on August 28, 2014.\n\nAs of , Recep Tayyip Erdoğan has made 184 trips to 84 countries.\nThe number of visits per country where he travelled are:\n 1 visit to Afghanistan, Angola, Argentina, Bahrain, Belarus, Bulgaria, Chad, Chile, Colombia, Côte d'Ivoire, Croatia, Cuba, Democratic Republic of the Congo, Djibouti, Ecuador, Equatorial Guinea, Estonia, Ethiopia, Gambia, Ghana, Greece, Guinea, India, Indonesia, Jordan, Kenya, Kyrgyzstan, Latvia, Madagascar, Malaysia, Mali, Mauritania, Mexico, Moldova, Montenegro, Mozambique, Paraguay, Peru, Romania, Slovakia, Slovenia, South Africa, South Korea, Spain, Sudan, Switzerland, Tajikistan, Tanzania, Togo, Uganda, United Arab Emirates, Vatican City, Venezuela, Zambia\n 2 visits to Albania, Hungary, Italy, Japan, Kazakhstan, Nigeria, Poland, Serbia, Somalia, Tunisia\n 3 visits to Algeria, Iran, Turkmenistan, United Kingdom, Uzbekistan\n 4 visits to Bosnia and Herzegovina, China, France, Germany, Kuwait, Pakistan, Senegal, Ukraine\n 5 visits to Northern Cyprus\n 6 visits to Saudi Arabia\n 7 visits to Belgium, Qatar\n 10 visits to United States\n 12 visits to Azerbaijan\n 13 visits to Russia\n\nSummary\n\n2014\n\n2015\n\n2016\n\n2017\n\n2018\n\n2019\n\n2020\n\n2021\n\n2022\n\nMultilateral meetings \nMultilateral meetings of the following intergovernmental organizations are scheduled to take place during Erdogan's term in office as president.\n\nSee also\nList of international prime ministerial trips made by Recep Tayyip Erdoğan\nList of international presidential trips made by Abdullah Gül\nForeign relations of Turkey\n\nReferences\n\nCategory:Recep Tayyip Erdoğan\nCategory:State visits by Turkish presidents\nCategory:Lists of 21st-century trips\nCategory:21st century in international relations\nCategory:State visits by Turkish leaders\nTrips\nCategory:Diplomatic visits by heads of state", "title": "List of international presidential trips made by Recep Tayyip Erdoğan" }, { "text": "In the run up to the 2023 Turkish presidential and parliamentary elections, held on 14 May 2023, various organizations carry out opinion polling to gauge voting intention in Turkey. Results of such polls are displayed in this article. These polls only include Turkish voters nationwide and do not take into account Turkish expatriates voting abroad. The date range for these opinion polls are from the previous general election, held on 24 June 2018, to the present day.\n\nRecep Tayyip Erdoğan\nRecep Tayyip Erdoğan is the current president of Turkey and the leader of Justice and Development Party (AKP).\n\nGraphical summary\n\n2022\n\n2021\n\n2020\n\n2019\n\n2018\n\nEkrem İmamoğlu\nEkrem İmamoğlu is the current mayor of İstanbul and a potential presidential candidate of Republican People's Party (CHP).\n\nGraphical summary\n\nMansur Yavaş\nMansur Yavaş is the current mayor of Ankara and a potential presidential candidate of Republican People's Party (CHP).\n\nGraphical summary\n\nKemal Kılıçdaroğlu\nKemal Kılıçdaroğlu is the president of, and a potential presidential candidate of Republican People's Party (CHP).\n\nMeral Akşener\nMeral Akşener is the president of, and a presidential candidate of Good Party (İYİ). She was previously member of MHP, and a former Minister of the Interior.\n\nDevlet Bahçeli\nDevlet Bahçeli is the president of Nationalist Movement Party (MHP).\n\nSelahattin Demirtaş\nSelahattin Demirtaş is the former co-chairperson and presidential candidate of Peoples' Democratic Party (HDP). He is currently incarcerated.\n\nAli Babacan\nAli Babacan is the leader of Democracy and Progress Party (DEVA). He was previously a member of AKP. He was a former Minister of Foreign Affairs, and of Customs and Trade.\n\nAhmet Davutoğlu\nAhmet Davutoğlu is the leader of Future Party (GP). He was previously a member of AKP. He was formerly the Prime Minister of Turkey.\n\nMuharrem İnce\nMuharrem İnce is the chairperson of Homeland Party. He was a member of Republican People's Party (CHP), and he was CHP's previous presidential candidate.\n\nTemel Karamollaoğlu\nTemel Karamollaoğlu is the leader and presidential candidate of Felicity Party.\n\nOthers\n\nReferences\n\nCategory:2023 Turkish general election\n2023 leadership", "title": "Leadership approval polling for the 2023 Turkish general election" }, { "text": "The 500 Most Influential Muslims (also known as The Muslim 500) is an annual publication first published in 2009, which ranks the most influential Muslims in the world.\n\nThe publication is compiled by the Royal Islamic Strategic Studies Centre in Amman, Jordan. The report is issued annually in cooperation with Prince Al-Waleed Bin Talal Center for Muslim-Christian Understanding at Georgetown University in the United States.\n\nQatar's Emir Tamim bin Hamid Al-Thani took first place in the 2022 edition. He was followed by King Salman of Saudi Arabia Iranian Supreme Leader Ali Khamenei and Turkey's President Recep Tayyip Erdoğan. King Abdullah II of Jordan, Pakistani scholar Muhammad Taqi Usmani, King Mohammed VI of Morocco, President of the UAE Mohammed bin Zayed Al Nahyan, and Iranian cleric Ali al-Sistani are also among the top 9 in the list.\n\nCritics have noted that its top 50 list gives more weight to political leaders, who due to the nature of political systems in Middle East enjoy considerable clout and influence in the regional politics. As such the influence of individuals listed in the top 50 owes much to the fact of their existence in the political spectrum.\n\nOverview\nThe publication highlights people who are influential as Muslims. That is people whose influence is derived from their practice of Islam or from the fact that they are Muslim. The influence can be of a religious scholar directly addressing Muslims and influencing their beliefs, ideas and behaviour, or it can be of a ruler shaping the socio-economic factors within which people live their lives, or of artists shaping popular culture. The first two examples also point to the fact that the lists, and especially the Top 50, are dominated by religious scholars and heads of state. Their dominant and lasting influence cannot be denied, especially the rulers, who in many cases also appoint religious scholars to their respective positions.\n\nNominations are evaluated on the basis of the influence that particular Muslims have had within the Muslim community and the manner in which their influence has benefited the Muslim community, both within the Islamic world and in terms of representing Islam to non-Muslims. \"Influential\" for the purposes of the book is defined as \"any person who has the power (be it cultural, ideological, financial, political or otherwise) to make a change that will have a significant impact on the Muslim World\".\n\nThe publication defines eligible entries with the following: \"Traditional Islam (96% of the world's Muslims): Also known as Orthodox Islam, this ideology is not politicized and largely based on consensus of correct opinion—thus including the Sunni, Shi'a, and Ibadi branches of practice (and their subgroups) within the fold of Islam, and not groups such as the Druze or the Ahmadiyya, among others.\"\n\nThe book starts with an overall top 50, ranked the most influential Muslims in the world. The remaining 450 most prominent Muslims is broken down into 15 categories without ranking, of scholarly, political, administrative, lineage, preachers and spiritual guides, women, youth, philanthropy/charity, development, science and technology, arts and culture, Qu'ran reciters, media, radicals, international Islamic networks and issues of the day. Each year the biographies are updated.\n\nThe publication also gives an insight into the different ways that Muslims impact the world and also shows the diversity of how people are living as Muslims today. The book's appendices comprehensively list populations of Muslims in nations worldwide, and its introduction gives a snapshot view of different ideological movements within the Muslim world, breaking down clearly distinctions between traditional Islam and recent radical innovations.\n\nPublications\n\n2009 edition\nIn 2009, the book was edited by Professors John L. Esposito and Ibrahim Kalin at Georgetown University in Washington.\n\nThe 500 most influential Muslims were chosen largely in terms of their overt influence. The top 50 is dominated by religious scholars and either heads of state, which automatically gives them an advantage when it comes to influence, or they have inherited their position. Lineage is a significant factor – it has its own category – and the predisposition to include children of important people reveals a mindset that indicates achievement is an optional extra. The top 50 fits into six broad categories as follows: 12 are political leaders (kings, generals, presidents), four are spiritual leaders (Sufi shaykhs), 14 are national or international religious authorities, three are \"preachers\", six are high-level scholars, 11 are leaders of movements or organizations.\n\nThe book has given the first place to King Abdullah bin Abdulaziz of Saudi Arabia. Second place went to Ayatollah Syed Ali Khamenei, the spiritual leader of Iran. King Mohammed VI of Morocco found third place and King Abdullah II Al-Hussain of Jordan occupied fourth place. Fifth place went to Turkey's Prime Minister Recep Tayyip Erdoğan.\n\nThe first solely religious leader is Iraq's Ayatollah Ali al-Sistani in seventh place. Fethullah Gülen came 13th. The heads of Hezbollah; Seyyed Hassan Nasrallah listed 17th and Hamas Khaled Mashaal listed 34th.\n\nThe highest-ranking American (and highest-ranking convert) at 38th place was Sheikh Hamza Yusuf Hanson, founder of the Zaytuna Institute in Berkeley, California. Right after him comes the highest-ranking European, Sheikh Mustafa Cerić, grand mufti of Bosnia and Herzegovina.\n\nIn total 72 Americans are among the 500, a disproportionately strong showing. Timothy Winter (Abdal Hakim Murad) was the highest ranked British Muslim, in an unspecified position between 51st and 60th, considerably higher than the three other British people who made the list – the Conservative Party chairman Baroness Sayeeda Warsi; the UK's first Muslim life peer, Lord Nazir Ahmed; and Dr Anas Al Shaikh Ali, director of the International Institute of Islamic Thought.\n\nThe women featured had a separate section from the men. There were only three women listed in the top 50. Sheikha Munira al-Qubaysi (number 21), an educator of girls and women; Queen Rania of Jordan (number 37), who promotes global education; and Sheikha Mozah bint Nasser Al Missned of Qatar (number 38), who is chairwoman of the Qatar Foundation for Education, Science and Community Development.\n\nThe listing also includes an extensive Arts and Culture Section. The general Arts and Culture Section included the names of singers Salif Keita, Youssou N'Dour, Raihan, Yusuf Islam and Sami Yusuf, Dawud Wharnsby; musician A. R. Rahman (India); film stars Aamir Khan and Shahrukh Khan; comedian Azhar Usman and martial artist Ma Yue. All the Qāriʾs (Quran reciters) listed in the book are from Saudi Arabia.\n\nForeign Policy magazine's Marc Lynch stated, \"Esposito and Kalin's methodology seems strange. Any list in which the Sultan of Oman (Qaboos bin Said al Said, who was sixth) outranks, say, Turkish preacher Fethullah Gülen (placed 13th) or the Aga Khan (Aga Khan IV, who was placed 20th) seems odd to this observer...\"\n\n2011 edition\nIn 2011, achievements of a lifetime were given more weight than achievements within the current year. which meant that the lists of names were going to change gradually, rather than dramatically, year-on-year. The Arab Spring had no impact on Saudi King Abdullah of Saudi Arabia's influence, it had boosted King Mohammed VI of Morocco's influence, who moved up to second place, and it had no effect on Turkish Prime Minister Recep Tayyip Erdoğan who came in third place.\n\nErdoğan was expected by many to receive the top spot in light of the Arab Spring. Erdoğan was credited with Turkey's \"Muslim democracy\", and was seen as the leader of a country that, as the Brookings Institution said, \"played the 'most constructive' role in the Arab events.\"\n\nEmir of Qatar Sheikh Hamad bin Khalifa Al Thani influence rose during the Arab Spring, moving him to sixth place. He had driven much of the Arab Spring through the coverage given by Al Jazeera, given financial support to protesters and political support to Libya, making him arguably the biggest enabler of the Arab Spring.\n\n2012 edition\nIn 2012, the edition was published by S. Abdallah Schleifer, Professor Emeritus and Senior Fellow Kamal Adham Center for Television & Digital Journalism, The American University in Cairo.\n\nThere were more Muslims from America than any other country again with 41 spots on the 500 list. Countries with the next highest number of names were Egypt, Pakistan, Saudi Arabia, and the United Kingdom, with 25 Muslims each, followed by Indonesia, with 24. It lists the winners according to 13 categories, including spiritual guides, Quran reciters, scholars, politicians, celebrities, sports figures, radicals, and media leaders.\n\nFor the fourth year running, Saudi King Abdullah bin Abdulaziz topped the list. He was followed by Turkish Prime Minister Recep Tayyip Erdoğan at second place. Erdoğan's advance gave him advantage over Moroccan King Mohammed VI who took the third place. Fourth place went to Dr Mohammed Badie, whose name appeared in the top 10 for the first time. He was followed by Qatari Emir Sheikh Hamad bin Khalifa Al Thani who took the fifth place. Sheikh Al-Azhar Dr. Ahmad el-Tayeb and prominent Islamic scholar Dr. Yusuf al-Qaradawi who is President of Global Association of Muslim Scholars, also made it to the top 10 ranks.\n\n2013/2014 edition\nIn 2013, the list was edited once again by Professor Emeritus S. Abdallah Schleifer of the American University in Cairo.\n\nThe top of the list went to Sheikh Ahmed el-Tayeb, the Grand Sheikh of the Al Azhar University for the prominent role played by him in Egypt's troubled democratic transition. His astute decision making over the past couple of years has preserved the traditional approach of Al-Azhar which faced threats from Islamists and Salafis in the years that have followed Mubarak's fall. His public support of General Abdel Fattah el-Sisi's coup also gave it a strong religious grounding that was necessary for it to achieve the legitimacy needed to prevent a civil war, effectively making him a \"king-maker\" and cementing his place at the top of the list. He was followed on the listing by Saudi King Abdullah bin Abdul-Aziz Al-Saud and Iranian Grand Leader Ayatollah Sayyid Ali Khamenei.\n\nReflective of the wider trajectory of the Arab Spring, this year's list showed a decline in influence from Muslim Brotherhood associated figures Dr Mohammed Badie, Sheikh Yusuf al Qaradawi and ousted Egyptian President Mohamed Morsi. Coup kingpin General Abdel Fattah el-Sisi who was previously unlisted now ranks at 29.\n\nThe US dominates the list again with 41 inclusions including Muhammad Ali, Dr Mehmet Oz, Rep. Keith Ellison, Yasiin Bey (Mos Def), and Fareed Zakaria. Representing the UK are Mo Farah, Yusuf Islam, Riz Khan, Baroness Sayeeda Warsi, Cambridge's Dr Timothy Winter and 18 others.\n\n2014/2015 edition\nIn 2014, the chief editor of the list was again Professor S Abdallah Schleifer. The top spot went back to Saudi King Abdullah bin Abdul Aziz al-Saud, due to his being the \"absolute monarch of the most powerful Arab nation.\" The list accords him the place in light of Saudi Arabia being home to Islam's two holy cities of Makkah and Madinah, which millions of Muslims visit throughout the year, as well as the kingdom's oil exports. Rounding out the top three are Dr Muhammad Ahmed al-Tayeb, grand sheikh of Al-Azhar University and grand imam of Al-Azhar mosque, and Iran's Supreme Leader Ali Khamenei. The top nine are all political leaders and royals, including Morocco's King Mohammed VI and Turkish President Recep Tayyip Erdogan.\n\nThe top 50 fit into six broad categories: 12 are political leaders (kings, generals, presidents), four are spiritual leaders (Sufi shaykhs), 14 are national or international religious authorities, three are \"preachers\", six are high-level scholars, 11 are leaders of movements or organizations. In total 72 Americans are among the 500 most influential Muslims, a disproportionately strong showing, but only one among the top 50, Sheikh Hamza Yusuf Hanson of Zaytuna Institute listed at number 38.\n\n2016 edition\nIn 2015, the top 50 was again dominated by religious scholars and heads of state. The top five, was King Abdullah of Jordan; Ahmed el-Tayeb, the grand sheikh of Egypt's Al-Azhar University; King Salman of Saudi Arabia; Iran's supreme leader Ayatollah Ali Khamenei; and King Mohammed VI of Morocco. Turkish President Recep Tayyip Erdogan came in at Number eight, but surprisingly Syrian President Bashar al-Assad did not make the Top 50 this year or last, though he is still listed in the 500. The prime minister of Iraq did not make the list, but Iraq's Grand Ayatollah Sayyid Ali Hussein Sistani did, coming in at number nine.\n\nThere were 32 newcomers to the 2016 list. 22 Indians featured on the list. As in past years, there continued to be more Muslims from the United States than any other country. Since at least 2012, the U.S. has outpaced nations with a far larger Muslim population, with at least 40 notable people of influence, with Pakistan (33), Saudi Arabia (32), Egypt (27) and the UK (27).\n\n2017 edition \n\nIn 2017, the top five were Sheikh Ahmad al-Tayyeb of Egypt; King Abdullah II of Jordan of Jordan; King Salman of Saudi Arabia; Ayatollah Ali Khamenei of Iran; King Mohammed VI of Morocco.\n\n2018 edition\n\nIn 2018, the top five were Sheikh Ahmad Muhammad Al-Tayeeb of Egypt; King Salman bin Abdul-Aziz Al-Saud of Saudi Arabia; King Abdullah II Ibn Al-Hussein of Jordan; Ayatollah Hajj Sayyid Ali Khamenei of Iran; President Recep Tayyip Erdoğan of Turkey.\n\n2019 edition\n\nIn 2019, the top five were President Recep Tayyip Erdoğan of Turkey; King Salman bin Abdul-Aziz Al-Saud of Saudi Arabia; King Abdullah II Ibn Al-Hussein of Jordan; Ayatollah Hajj Sayyid Ali Khamenei of Iran; King Mohammad VI of Morocco.\n\n2020 edition\nIn 2020, the top five were Sheikh Mufti Muhammad Taqi Usmani of Pakistan, President Recep Tayyip Erdoğan of Turkey; King Salman bin Abdulaziz Al Saud of Saudi Arabia; Ayatollah Hajj Sayyid Ali Khamenei of Iran; King Abdullah II Ibn Al-Hussein of Jordan.\n\nThe Woman of the Year was Rashida Tlaib of the United States and the Man of the Year was Imran Khan of Pakistan.\n\n2021 edition\nIn 2021, the top five were President Recep Tayyip Erdoğan president of Turkey; King Salman bin Abdulaziz Al Saud of Saudi Arabia; Ayatollah Hajj Sayyid Ali Khamenei of Iran; King Abdullah II Ibn Al-Hussein of Jordan.\n\nThe Woman of the Year was Bilkis Bano of India and the Man of the Year was Ilham Tohti of China.\n\n2022 edition\nIn 2022, the top five were Sheikh Tamim bin Hamad Al-Thani of Qatar; King Salman bin Abdulaziz Al Saud of Saudi Arabia; Ayatollah Hajj Sayyid Ali Khamenei of Iran; President Recep Tayyib Erdoğan of Turkey.\n\nThe Woman of the Year was President Samia Suluhu Hassan of Tanzania and the Man of the Year was Uğur Şahin of Germany.\n\n2023 edition\nIn 2023, the top five were Salman bin Abdul-Aziz Al-Saud King of Saudi Arabia, Custodian of the Two Holy Mosques, Sayyid Ali Khamenei Supreme Leader of Iran, Sheikh Tamim bin Hamid Al-Thani Emir of Qatar\n\nThe Woman of the Year was Aisha Abdurrahman Bewley and the Man of the Year was Mahmood Madani President of Jamiat Ulama-i-Hind from india.\n\nCurrent top Nine\n\nSee also\nThe Muslim 100\nThe 100: A Ranking of the Most Influential Persons in History\nForbes list of The World's Most Powerful People\nWho's Who\n\nReferences\n\nExternal links\n\nThe 500 Most Influential Muslims 2009 on Google Books\n\nA Defense of the Powerful: The Muslim 500. The Islamic Monthly. June 18, 2012\nList of “Most Influential Muslims” Illustrates the Problem – and Presents Opportunities. American Islamic Forum for Democracy. November 30, 2012\n\nCategory:2009 non-fiction books\nCategory:International biographical dictionaries\nMuslim 500", "title": "The 500 Most Influential Muslims" }, { "text": "A Fairer World Is Possible () is a non-fiction book by Turkish president Recep Tayyip Erdogan which was published in seven languages in 2021.\n\nTopic \nThe book, which sets out with the doctrine \"The world is bigger than 5\", states that the global politics should not rest on a small minority of countries. The book touches on the duties of the United Nations for a sustainable and fair world.\n\nIn the book, global problems such as injustice, corruption, the refugee crisis, the world's spectacle of what is happening in the Middle East, international terrorism and Islamophobia are addressed.\n\nReferences \n\n \nCategory:Turkish books", "title": "A Fairer World Is Possible" } ]

[ "Erdogan was born in the Kasimpasa neighborhood of Istanbul.", "His parents are Ahmet Erdogan and Tenzile Erdogan.", "Erdogan graduated from Kasimpasa Piyale primary school in 1965, and Imam Hatip school, a religious vocational high school, in 1973. He received his high school diploma from Eyup High School. He also studied Business Administration at the Aksaray School of Economics and Commercial Sciences, which is now known as Marmara University's Faculty of Economics and Administrative Sciences.", "Based on the provided text, no other educational institutions are mentioned apart from Kasimpasa Piyale primary school, Imam Hatip school, Eyup High School, and the Aksaray School of Economics and Commercial Sciences (now part of Marmara University)." ]

[ "Yes", "Yes", "No", "No" ]

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[ "What is Vital?", "When was Vital released?", "What was a song from the album?", "What type of music is it?", "Did they tour with Vital?", "What is Devotion?", "Was it well-received?", "Did any of their songs chart?", "Did they write their own songs?" ]

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{ "answer_starts": [ [ 833 ], [ 1045 ], [ 1102 ], [ 892 ], [ 983 ], [ 1533 ], [ 1479 ], [ 1118 ], [ 1599 ] ], "texts": [ [ "announced that the title of the new record would be Vital," ], [ "Vital was to be released on October 16." ], [ "opening track, \"Self-Starter\",'" ], [ "calling the record \"their most aggressive to date\"" ], [ "On July 31, the band announced on their official website that Vital was to be released on October 16." ], [ "rework of Vital, Devotion which was released on October 15, 2013." ], [ "three new and previously unreleased tracks" ], [ "Self-Starter\",' was streamed on Billboard.com for free listening" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 833, 1045, 1102, 892, 983, 1533, 1479, 1118, 1599 ], "texts": [ "announced that the title of the new record would be Vital,", "Vital was to be released on October 16.", "opening track, \"Self-Starter\",'", "calling the record \"their most aggressive to date\"", "On July 31, the band announced on their official website that Vital was to be released on October 16.", "rework of Vital, Devotion which was released on October 15, 2013.", "three new and previously unreleased tracks", "Self-Starter\",' was streamed on Billboard.com for free listening", "CANNOTANSWER" ] }

[]

[ "Vital is the title of a new record by the band.", "Vital was released on October 16.", "A song from the album Vital is \"Self-Starter\".", "The text does not provide information on what type of music is on the album Vital.", "The text does not provide information on whether the band toured with the album Vital.", "Devotion is a rework of the band's album Vital.", "The text does not provide information on how the album Devotion was received.", "The text does not provide information on whether any of the band's songs charted.", "The text suggests that the band writes their own songs, as it mentions that they had \"begun work on their next album\" and that a few songs had been written, including one influenced by events in Egypt." ]

[ "Yes", "no", "Yes", "No", "No", "Yes", "No", "No", "No" ]

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[ "What first happened in 2001 to Yes?", "Did magnification do well on the charts?", "Where any of its singles a success?", "Did they tour with the Magnification album?", "Who were the members of the group at the time of Magnification?", "Did they have any other tours?", "What came after the Full CIrcle tour?", "Were there anymore tours?" ]

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{ "answer_starts": [ [ 9 ], [ 239 ], [ 1747 ], [ 334 ], [ 1747 ], [ 757 ], [ 1275 ], [ 1505 ] ], "texts": [ [ "Yes released their nineteenth studio album Magnification." ], [ "The record was not a chart success; it peaked at number 71 in the UK and number 186 in the US." ], [ "CANNOTANSWER" ], [ "The Yes Symphonic Tour ran from July to December 2001" ], [ "CANNOTANSWER" ], [ "their Full Circle Tour" ], [ "A 35th anniversary tour followed in 2004" ], [ "a show celebrating Horn's career, performing three Yes songs." ] ] }

{ "answer_starts": [ 9, 239, 1747, 334, 1747, 757, 1275, 1505 ], "texts": [ "Yes released their nineteenth studio album Magnification.", "The record was not a chart success; it peaked at number 71 in the UK and number 186 in the US.", "CANNOTANSWER", "The Yes Symphonic Tour ran from July to December 2001", "CANNOTANSWER", "their Full Circle Tour", "A 35th anniversary tour followed in 2004", "a show celebrating Horn's career, performing three Yes songs." ] }

[ { "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 2001, Yes released their nineteenth studio album Magnification. This was also the first time the band used an orchestra since 1970.", "No, the album Magnification was not a success on the charts; it peaked at number 71 in the UK and number 186 in the US.", "The context does not provide information on the success of any singles from the album Magnification.", "Yes, they did tour with the Magnification album. The Yes Symphonic Tour ran from July to December 2001 and featured the band performing on stage with an orchestra and American keyboardist Tom Brislin.", "The context does not provide specific information on who the members of Yes were at the time of the Magnification album.", "Yes, after their Yes Symphonic Tour, the band embarked on the Full Circle Tour in 2002-2003 following Wakeman's announcement of his return. They also had a 35th anniversary tour in 2004.", "After the Full Circle Tour, the triple compilation album The Ultimate Yes: 35th Anniversary Collection was released in July 2003. This was followed by the premiere of the film Yesspeak in January 2004, and then a 35th anniversary tour in 2004.", "Yes, after the Full Circle Tour in 2002-2003 and the release of The Ultimate Yes: 35th Anniversary Collection in 2003, they went on a 35th anniversary tour in 2004." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes", "Yes", "Yes", "No" ]

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[ "What caused the drama?", "What happened in 1980?", "Who were they replaced with?", "How did the album Drama do on the charts?", "Did its members form any other bands?", "Was there another band formed as well?", "Did they release any singles?", "Did they release any compilation albums?" ]

[ 0, 0, 0, 1, 0, 0, 1, 0 ]

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{ "answer_starts": [ [ 1199 ], [ 1464 ], [ 1789 ], [ 2850 ], [ 1892 ], [ 2096 ], [ 2850 ], [ 1568 ] ], "texts": [ [ "After the Drama tour," ], [ "Downes and Howe opted not to continue with the group and went their own separate ways in December 1980." ], [ "An announcement came from the group's management in March 1981 confirming that Yes no longer existed." ], [ "CANNOTANSWER" ], [ "Downes and Howe later reunited to form Asia" ], [ "initially recording sessions with Jimmy Page for a proposed band called XYZ (short for \"ex-Yes-and-Zeppelin\") in the spring of 1981." ], [ "CANNOTANSWER" ], [ "A live compilation album of Yes performances from 1976 to 1978, mixed in mid-1979 and originally intended for release in late 1979," ] ] }

{ "answer_starts": [ 1199, 1464, 1789, 2850, 1892, 2096, 2850, 1568 ], "texts": [ "After the Drama tour,", "Downes and Howe opted not to continue with the group and went their own separate ways in December 1980.", "An announcement came from the group's management in March 1981 confirming that Yes no longer existed.", "CANNOTANSWER", "Downes and Howe later reunited to form Asia", "initially recording sessions with Jimmy Page for a proposed band called XYZ (short for \"ex-Yes-and-Zeppelin\") in the spring of 1981.", "CANNOTANSWER", "A live compilation album of Yes performances from 1976 to 1978, mixed in mid-1979 and originally intended for release in late 1979," ] }

[ { "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 what caused the drama.", "In 1980, pop duo the Buggles, consisting of keyboardist Geoff Downes and singer Trevor Horn, joined the band Yes upon invitation from member Squire. Together, they recorded the Drama album, which released in August of the same year. The new sound was harder and heavier than previous Yes recordings. Despite substantial radio airplay and high chart positions, the album did not certify Gold in the U.S. The band's 1980 tour received a mixed reaction but they did notably perform a record 16 consecutive sold out concerts at Madison Square Garden. By the end of the year, the band had split up with Horn, White, Squire, Downes, and Howe all leaving for various reasons. A live compilation album of Yes performances, Yesshows, was released, which was mixed in mid-1979 and originally intended for release in late 1979.", "The context does not provide information on who replaced the departing members of the band Yes in 1980.", "The Drama album peaked at number 2 in the UK and number 18 in the US. However, it did not get certified Gold by the RIAA, making it the first Yes album since 1971 not to do so.", "Yes, following the split of Yes, Downes and Howe reunited to form Asia with former King Crimson bassist and vocalist John Wetton, and drummer Carl Palmer from Emerson, Lake, and Palmer. On the other hand, Squire and White collaborated with Jimmy Page to record sessions for a proposed band called XYZ in the spring of 1981. However, XYZ did not materialize due to Robert Plant's lack of enthusiasm, who was slated to be the vocalist.", "Yes, after Yes split up, Squire and White collaborated with Jimmy Page for a proposed band called XYZ (short for \"ex-Yes-and-Zeppelin\") in the spring of 1981. The intention was for former bandmate Robert Plant to be the vocalist, but this plan fell through due to Plant's ongoing grieving for recently deceased Led Zeppelin drummer John Bonham. Although the group was short-lived and only produced a few demo tracks, elements from these would later surface in Page's band the Firm and on future Yes tracks \"Mind Drive\" and \"Can You Imagine?\".", "Yes, in late 1981, Squire and White released \"Run with the Fox\", a Christmas single with Squire on vocals, which received radio airplay during the Christmas periods through the 1980s and early 1990s.", "Yes, after the band Yes split up, two compilation albums were released. The first one was a live compilation of Yes performances from 1976 to 1978, which was called Yesshows. It was mixed in mid-1979 and originally intended for release in late 1979. Yesshows peaked at number 22 in the UK charts and number 43 in the US. The second compilation album, Classic Yes, was released in November 1981." ]

[ "No", "Yes", "No", "No", "Yes", "Yes", "No", "Yes" ]

[ "C_635d42bce5154500bde4338454ff4ee2_0_q#0", "C_635d42bce5154500bde4338454ff4ee2_0_q#1", "C_635d42bce5154500bde4338454ff4ee2_0_q#2", "C_635d42bce5154500bde4338454ff4ee2_0_q#3", "C_635d42bce5154500bde4338454ff4ee2_0_q#4", "C_635d42bce5154500bde4338454ff4ee2_0_q#5", "C_635d42bce5154500bde4338454ff4ee2_0_q#6", "C_635d42bce5154500bde4338454ff4ee2_0_q#7" ]

[ "Did they release any christian albums?", "Do they identify as christian?", "Why are they classified as a christian band?", "Are they well received as a christian band?", "What else does the media say about the band?", "Do they sing about christian things?", "anything else interesting?", "Where have they been played on?" ]

[ 1, 0, 2, 1, 0, 1, 0, 1 ]

[ 0, 0, 1, 0, 1, 0, 0, 2 ]

{ "answer_starts": [ [ 1006 ], [ 518 ], [ 0 ], [ 1132 ], [ 753 ], [ 606 ], [ 704 ], [ 2404 ] ], "texts": [ [ "their songs have been included on Christian rock compilation CDs and DVDs." ], [ "I definitely don't classify us as a Christian band." ], [ "Over the years, many fans, critics, and other members of the media have consistently characterized Anberlin as a Christian band." ], [ "Anberlin has also been repeatedly featured in Christian rock magazine HM (Hard Music, which was originally the fanzine Heaven's Metal)." ], [ "multiple sources list the band as part of the Christian rock genre, and some Anberlin song lyrics do contain Christian references." ], [ "\"[My faith] affects every single aspect of my life, but I'm not a preacher, I'm an entertainer.\"" ], [ "Despite these statements and others of the like, multiple sources list the band as part of the Christian rock genre, and some Anberlin song lyrics do contain Christian references." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 1006, 518, 0, 1132, 753, 606, 704, 2404 ], "texts": [ "their songs have been included on Christian rock compilation CDs and DVDs.", "I definitely don't classify us as a Christian band.", "Over the years, many fans, critics, and other members of the media have consistently characterized Anberlin as a Christian band.", "Anberlin has also been repeatedly featured in Christian rock magazine HM (Hard Music, which was originally the fanzine Heaven's Metal).", "multiple sources list the band as part of the Christian rock genre, and some Anberlin song lyrics do contain Christian references.", "\"[My faith] affects every single aspect of my life, but I'm not a preacher, I'm an entertainer.\"", "Despite these statements and others of the like, multiple sources list the band as part of the Christian rock genre, and some Anberlin song lyrics do contain Christian references.", "CANNOTANSWER" ] }

[]

[ "C_1a2d69d190844813a25a154298f9ff5e_1_q#0", "C_1a2d69d190844813a25a154298f9ff5e_1_q#1", "C_1a2d69d190844813a25a154298f9ff5e_1_q#2", "C_1a2d69d190844813a25a154298f9ff5e_1_q#3" ]

[ "how is the song composed?", "how is the song structured?", "what is an interesting feature regarding the structure of the song?", "what chords?" ]

[ 0, 0, 0, 0 ]

[ 2, 2, 2, 1 ]

{ "answer_starts": [ [ 662 ], [ 2986 ], [ 4366 ], [ 5238 ] ], "texts": [ [ "The Beatles first taped 25 takes of the song at EMI's Abbey Road Studios in London over two nights," ], [ "Everett writes that the song's \"most commented-on feature\" is its considerable length, at 7:11." ], [ "Hey Jude\" begins with McCartney singing lead vocals and playing the piano. The patterns he plays are based on three chords:" ], [ "').\" At the end of each bridge, McCartney sings a brief phrase (\"Na-na-na na ...\")," ] ] }

{ "answer_starts": [ 662, 2986, 4366, 5238 ], "texts": [ "The Beatles first taped 25 takes of the song at EMI's Abbey Road Studios in London over two nights,", "Everett writes that the song's \"most commented-on feature\" is its considerable length, at 7:11.", "Hey Jude\" begins with McCartney singing lead vocals and playing the piano. The patterns he plays are based on three chords:", "').\" At the end of each bridge, McCartney sings a brief phrase (\"Na-na-na na ...\")," ] }

[ { "text": "This list is of Billboard magazine's Top Hot 100 songs of 1968. The Top 100, as revealed in the edition of Billboard dated January 11, 1969 is based on Hot 100 charts from the issue dates of January 6 through December 14, 1968.\n\nSee also\n1968 in music\nList of Billboard Hot 100 number-one singles of 1968\nList of Billboard Hot 100 top-ten singles in 1968\n\nReferences\n\nCategory:1968 record charts\nCategory:Billboard charts", "title": "Billboard Year-End Hot 100 singles of 1968" }, { "text": "The following lists the number one singles on the Australian Singles Chart during the 1960s.\n\nThe source for this decade is the \"Kent Music Report\". These charts were calculated in the 1990s in retrospect, by David Kent, using archival data.\n\n1960\n\nOther hits\nSongs peaking at number two included \"Running Bear\" by Johnny Preston, \"If I Had a Girl\" by Rod Lauren, \"What in the World's Come Over You\" by Jack Scott, \"Mule Skinner Blues\" by The Fendermen, \"Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini\" by Brian Hyland, \"I Found a New Love\" / \"Defenceless\" by Lonnie Lee, \"Please Don't Tease\" by Cliff Richard and The Shadows, \"Peter Gunn\" by Duane Eddy and The Rebels, and \"North to Alaska\" by Johnny Horton.\n\nOther hits (with their peak positions noted) were \"Teen Angel\" by Mark Dinning (3), \"Little Boy Lost\" by Johnny Ashcroft (3), \"Cathy's Clown\" by The Everly Brothers (3), \"What a Mouth (What a North and South)\" by Tommy Steele (3), \"When Will I Be Loved\" / \"Be-Bop-A-Lula\" by The Everly Brothers (3), \"Let's Think About Living by Bob Luman (3), \"My Heart Has a Mind of Its Own\" / \"Malaguena\" by Connie Francis (3), \"In The Mood\" by Ernie Fields (4), \"Handy Man\" by Jimmy Jones (4), \"Sink the Bismark\" by Johnny Horton (4), \"A Kookie Little Paradise\" by Jo Ann Campbell (4), \"Volare\" / \"I'd Do it Again\" by Bobby Rydell (4), \"Yes Sir That's My Baby\" by Col Joye & The Joy Boys (5), \"Greenfields\" by The Brothers Four (5), and \"I'm Sorry by Brenda Lee (6).\n\nHits by Australasian artists included \"(Making Love on A) Moonlit Night\" by Col Joye, \"Turn the Lights Out, Johnny\" / \"Koala Bear\" by Johnny Devlin and The Devils with The Delltones, and \"Do You Love Me\"/\"Whiplash\" by Rob E.G.\n\n1961\n\nOther hits\nSongs peaking at number two included \"Calcutta\" by Lawrence Welk, \"Wheels\" by The String-A-Longs, \"Theme From Exodus\" by Ferrante & Teicher, \"A Hundred Pounds of Clay\" by Gene McDaniels, \"Hats Off to Larry\" by Del Shannon, \"Together\" by Connie Francis, and \"(Marie's the Name) His Latest Flame\" / \"Little Sister\" by Elvis Presley.\n\nOther hits (with their peak positions noted) were \"Sway\" by Bobby Rydell (3), \"Calendar Girl\" by Neil Sedaka (3), \"Good Time Baby\" / Cherié by Bobby Rydell (3), \"Little Devil\" by Neil Sedaka (3), \"Baby Face\" and \"Take Good Care of My Baby\" by Bobby Vee (3), \"Hit The Road Jack\" by Ray Charles (3), \"Corrine, Corrina\" by Ray Peterson (4), \"Will You Love Me Tomorrow\" by The Shirelles (4), \"Blue Moon\" by The Marcels (4), \"Moody River\" by Pat Boone (4), \"Smoky Mokes\" by The Joy Boys (4), \"Where the Boys Are\" by Connie Francis (5), \"Running Scared\" / \"Love Hurts\" by Roy Orbison (5), \"You're Sixteen\" by Johnny Burnette (6), and \"I've Told Every Little Star\" by Linda Scott (6).\n\nHits by Australasian artists included \t\n\"Ready for You\" / \"Save the Last Dance for Me\" by Johnny O'Keefe, \"Six White Boomers\" by Rolf Harris, \"Got a Zack in the Back of Me Pocket\" by Johnny Devlin and The Bricks with The Deeners, and \"Goin' Steady\" / \"Naughty Girls\" Col Joye and The Joy Boys.\n\n1962\n\nOther hits\nSongs peaking at number two included \"Big Bad John\" by Jimmy Dean, \"When the Girl in Your Arms Is the Girl in Your Heart\" by Cliff Richard, \"Run to Him\" / \"Walkin with My Angel\" by Bobby Vee, \"Chip Chip\" by Gene McDaniels, \"Dream Baby (How Long Must I Dream)\" / \"The Actress\" by Roy Orbison, \"Wonderful Land\" / \"Stars Fell on Stockton\" by The Shadows, \"Si Senoe (I Theenk?)\" by Rob E.G., \"Silver Threads and Golden Needles\" by The Springfields, \"Alley Cat\" by Bent Fabric, \"Telstar\" by The Tornados, and \"The Cha-Cha-Cha\" by Bobby Rydell.\n\nOther hits (with their peak positions noted) were \"Runaround Sue' by Dion DiMucci (3), \"Tower of Strength\" by Gene McDaniels (3), \"The Twist\" by Chubby Checker (3), \"A Little Bitty Tear\" by Burl Ives (3), \"(The Man Who Shot) Liberty Valance\" by Gene Pitney (3), \"Do You Want To Dance\" / \"I'm Looking Out the Window\" by Cliff Richard (3), 'Happy Birthday Sweet Sixteen\" by Neil Sedaka (4), \"Have You Ever Been to See Kings Cross\" by Frankie Davidson and The Sapphires (4), \"She's Not You\" / \"Just Tell Her Jim Said Hello\" by Elvis Presley (5), \"Today's Teardrops\" by Col Joye and The Joy Boys (5), \"Sing!\" / \"To Love\" by Johnny O'Keefe (6), and \"The Young Ones\" by Cliff Richard and The Shadows (6).\n\nHits by Australasian artists included \"Southern 'Rora\" by The Joy Boys, \"You're Driving Me Mad\" by Judy Stone, and \"Get A Little Dirt On Your Hands\" by The Delltones\n\n1963\n\nOther hits\nSongs peaking at number two included \"The Night Has a Thousand Eyes\" by Bobby Vee, \"Rhythm of the Rain\" by The Cascades, \"Foot Tapper\" by The Shadows, \"(You're the) Devil in Disguise\" by Elvis Presley, \"If I Had a Hammer\" by Trini Lopez, \"Washington Square\" by The Village Stompers, and \"Hootenanny Hoot\" by Sheb Wooley.\n\nOther hits (with their peak positions noted) were \"Blame It on the Bossa Nova\" by Eydie Gormé (3), \"Summer Holiday\" / \"Dancing Shoes\" by Cliff Richard and The Shadows (3), \"How Do You Do It?\" by Gerry and the Pacemakers (3), \"Falling\" / \"Distant Drums\" by Roy Orbison (3), \"Atlantis\" by \"I Want You to Want Me\" by The Shadows (3), \"Wipe Out\" / \"Surfer Joe\" by The Surfaris (3), \"She Loves You\" / \"I'll Get You\" by The Beatles (3), \"Come a Little Bit Closer\" by The Delltones (4), \t\n\"Jezebel\" / \"Stage to Cimarron\" by Rob E.G. (4), \"Blue Velvet\" by Bobby Vinton (4), \"Little Band of Gold\" by James Gilreath (5), \"María Elena\" by Los Indios Tabajaras (5), \"Ruby Baby\" by Dion DiMucci (6), and \"I Like It\" by Gerry and the Pacemakers (6).\n\nHits by Australasian artists included \"(And Her Name is) Scarlet\" by The De Kroo Brothers, and \"Proud of You\" by Jay Justin.\n\n1964\n\nOther hits\nSongs peaking at number two included \"Secret Love\" by Kathy Kirby, \"A World Without Love\" by Peter & Gordon, \"My Boy Lollipop\" by Millie, \"Wishin' and Hopin'\" by Dusty Springfield, \"The House of the Rising Sun\" by The Animals, \"Do Wah Diddy Diddy\" by Manfred Mann, \"William Tell Overture\" by Sounds Incorporated, and \"When You Walk in the Room\" by The Searchers.\n\nOther hits (with their peak positions noted) were \"Dominique\" by The Singing Nun (3), \"Twenty Four Hours from Tulsa\" by Gene Pitney (3), \"Don't Talk to Him' by Cliff Richard (3), \"Glad All Over\" by The Dave Clark Five (3), \"Diane\" by The Bachelors (3), \"Suspicion\" by Terry Stafford (3), \"Poison Ivy\" / Broken Things\" by Billy Thorpe and the Aztecs (3), \"Rag Doll\" by The Four Seasons (3), \"Such a Night\" by Elvis Presley (3), \"You Don't Own Me\" by Lesley Gore (4), \"Needles and Pins\" by The Searchers (4), \"Bits and Pieces\" / \"All of the Time\" by The Dave Clark Five (4), \"Viva Las Vegas\" / \"What'd I Say\" by Elvis Presley (4), Twist and Shout EP by The Beatles (5), \"Hangin' Five\" by The Delltones (5), \"Hello, Dolly!\" by Louis Armstrong (5), and \"It Hurts to Be in Love\" by Gene Pitney (6).\n\nHits by Australasian artists included \"The Crusher\" by The Atlantics, \"When You're Not to Wear\" by Rob E.G., \"She Wears My Ring\" / \"Let's Love Tonight\" by Johnny O'Keefe, \"Mashed Potato\" / \"Don't Cha Know\" by Billy Thorpe and the Aztecs, and \"4,003,221 Tears From Now\" by Judy Stone.\n\n1965\n\nOther hits\nSongs peaking at number two included \"Little Red Rooster\", \"The Last Time\" / \"Play With Fire\", and \"Get Off of My Cloud\" by The Rolling Stones, \"Over the Rainbow\" / \"That I Love\", and \"Twilight Time\" / \"My Girl Josephine\" by Billy Thorpe and the Aztecs, \"Ferry Cross the Mersey\" by Gerry and the Pacemakers, \"A World of Our Own\" by The Seekers, \"Mission Bell\" by P. J. Proby, \"Il Slienzio\" by Nini Rosso, \"Eve of Destruction\" by Barry McGuire, \"What's New Pussycat?\" by Tom Jones, \"Sing C'est La Vie\" by Sonny & Cher, and \"Yesterday\" / \"Act Naturally\" by The Beatles.\n\nOther hits (with their peak positions noted) were \"Leader of the Pack\" by The Shangri-Las (3), \"Do What You Do Do Well\" by Ned Miller (3), \"It's Not Unusual\" by Tom Jones (3), \"Can't You Hear My Heartbeat\" / \"Silhouettes\" by Herman's Hermits (3), \"Paper Tiger\" by Sue Thompson (3), \"Mr. Tambourine Man\" by The Byrds (3), \"She's So Fine\" / \"The Old Oak Tree\" by The Easybeats (3), \"Fool, Fool, Fool\" by Ray Brown & the Whispers (3), \"Unchained Melody\" by The Righteous Brothers (3), \"I Got You Babe\" by Sonny & Cher (3), \"Tell Him I'm Not Home\" / \"Call on Me\" by Normie Rowe (3), \"Ringo\" by Lorne Greene (4), \"Goldfinger\" by Shirley Bassey (4), \"The Hucklebuck\" by Brendan Bowyer (4), \"If You Gotta Go, Go Now\" by Manfred Mann (4), \"You've Lost That Lovin' Feelin'\" by The Righteous Brothers (5), \"Heart of Stone\" / \"Heart of Stone\" by The Rolling Stones (5), \"It Ain't Necessarily So\" by Normie Rowe (5), \"Walk Away (Warum Nur Warum)\" by Matt Monro (6), \"Goodbye\" by Roy Orbison (6), and \"Like a Rolling Stone\" by Bob Dylan (7).\n\nHits by Australasian artists included \"Velvet Waters\" by Tony Worsley, \"Wedding Ring\" by The Easybeats, \"Morning Town Ride\" by The Seekers, and \"Rockin' Robin\" / \"Baby What's Wrong\" by The Henchmen.\n\n1966\n\nOther hits\nSongs peaking at number two included \"My Generation\" by The Who, \"Barbara Ann\" by The Beach Boys, \"As Tears Go By\" / \"19th Nervous Breakdown\" by The Rolling Stones, \"Michelle\" by The Overlanders, \"Elusive Butterfly\" by Bob Lind, \"You Don't Have to Say You Love Me\" by Dusty Springfield, \"Tar and Cement\" by Verdelle Smith, \"Bus Stop\" by The Hollies, \"Somewhere, My Love\" (Theme from Doctor Zhivago) by The Ray Coniff Signers, \"Step Back\" / \"Cara-Lyn\" by Johnny Young and Kompany, and \"Needle in a Haystack\" / \"I Won't Be the Same Without Her\" by The Twilights.\n\nOther hits (with their peak positions noted) were \"Love Letter\" / \"\nDancing in the Street\" by Billy Thorpe and the Aztecs (3), \"The Sound of Silence\" by Simon & Garfunkel (3), \"Listen People\" by Herman's Hermits (3), \"Come and See Her\" / \"I Can See\" by The Easybeats (3), \"Pretty Flamingo\" by Manfred Mann (3), \"Born a Woman\" by Judy Stone (3), \"Black Is Black\" by Los Bravos (3), \"Women (Make You Feel Alright)\" / \"In My Book\" by The Easybeats (4), \"A Must to Avoid\" by Herman's Hermits (4), \"Tennessee Waltz Song\" / \"I Am What I Am\" by Ray Brown & the Whispers (4), \"Someday, One Day\" by The Seekers (4), \"Monday, Monday\" by The Mamas & the Papas (4), \"Sunshine Superman\" by Donovan (4), \"They're Coming to Take Me Away, Ha-Haaa!\" by Napoleon XIV (4), \"I'm a Man\" by The Yardbirds (5), \"The Pied Piper\" by Crispian St. Peters (5), \"Second Hand Rose\" by Barbra Streisand (6), \"Li'l Red Riding Hood\" by Sam the Sham and The Phorahs (6), and \"You Can't Hurry Love\" by The Supremes (6).\n\nHits by Australasian artists included \"Pride and Joy\" / \"The Stones I Throw\" by Normie Rowe and The Playboys, \"Ever Lovin' Man\" and \"The Loved One\" by The Loved Ones, \"Someday\" by Tony Barber, and \"Let the Little Girl Dance\" / \"Answer Me\" by Grantley Dee.\n\n1967\n\nOther hits\nSongs peaking at number two included \"When I Was Young\" by Eric Burdon and The Animals, \"Puppet on a String\" by Sandie Shaw, \"San Francisco (Be Sure to Wear Flowers in Your Hair)\" by Scott McKenzie, \"Itchycoo Park\" by Small Faces, and \"Massachusetts\" by Bee Gees.\n\nOther hits (with their peak positions noted) were \"The Happening\" by The Supremes (3), \"It's Not Easy\" by Normie Rowe (3), \"Let's Spend The Night Together\" / \"Ruby Tuesday\" by The Rolling Stones (3), \"Release Me\" by Engelbert Humperdinck (3), \"Dedicated to the One I Love\" by The Mamas & the Papas (3), \"Groovin'\" by The Young Rascals (3), The Monkees Volume 1 EP by The Monkees (3), \"The Two of Us\" by Jackie Trent and Tony Hatch (3), \"When Will I Be Loved?\" / \"Kiss Me Now\" by Johnny Young and Kompany (4), \"Happy Jack\" by The Who (4), \"A Little Bit Me, a Little Bit You\" / \"The Girl I Knew Somewhere\" by The Monkees (4), \"Waterloo Sunset\" by The Kinks (4), \"In the Chapel in the Moonlight\" by Dean Martin (4), \"The Letter\" by The Box Tops (4), \"Pamela Pamela\" by Wayne Fontana (5), \"There's a Kind of Hush\" by Herman's Hermits (5), \"Silence Is Golden\" by The Tremeloes (5), \"Lightning's Girl\" by Nancy Sinatra (5), \"Gimme Some Lovin'\" by The Spencer Davis Group (6), and \"To Love Somebody\" by Bee Gees (6).\n\nHits by Australasian artists included \"Living in a Child's Dream\" by The Masters Apprentices, \"What's Wrong with the Way I Live\" / \"9.50\" by The Twilights, \"Woman You're Breaking Me\" by The Groop, \"Heaven and Hell\" / \"Pretty Girl\" by The Easybeats, and \"What Am I Doing Here With You?\" by Bev Harrell.\n\n1968\n\nOther hits\nSongs peaking at number two included \"Daydream Believer\" / \"Goin' Down\" by The Monkees, \"Green Tambourine\" by The Lemon Pipers, \"Simon Says\" by 1910 Fruitgum Company, \"Delilah\" by Tom Jones, \"Young Girl\" by Gary Puckett & The Union Gap, \"Jumpin' Jack Flash\" by The Rolling Stones, \"Do It Again\" by The Beach Boys, \"Those Were The Days\" by Mary Hopkin, and \"Little Arrows\" by Leapy Lee.\n\nOther hits (with their peak positions noted) were \"Tin Soldier\" by Small Faces (3), \"Bottle of Wine\" by The Fireballs (3), Magical Mystery Tour (EP) by The Beatles (3), \"The Good, the Bad and the Ugly\" by Hugo Montenegro (3), \"The Son of Hickory Holler's Tramp\" by O.C. Smith (3), \"Indian Lake\" by The Cowsills (3), \"I've Gotta Get a Message to You\" / \"Kitty Can\" by Bee Gees (3), \"The Ballad of Bonnie and Clyde\" by Georgie Fame (4), \"Gimme Little Sign\" by Brenton Wood (4), \"Hold Me Tight\" by Johnny Nash (4), \"Congratulations\" by Cliff Richard (5), \"Hurdy Gurdy Man\" by Donovan (5), \"Lazy Sunday\" by Small Faces (5), \"Woman, Woman\" by Gary Puckett & The Union Gap (6), \"The Legend of Xanadu\" by Dave Dee, Dozy, Beaky, Mick & Tich (6), and \"Underneath the Arches\" / \"I Don't Want to Love You\" by John Farnham (6).\n\nHits by Australasian artists included \"If I Only Had Time\" by John Rowles, \"Cathy Come Home\" / \"The Way They Play\" by The Twilights, \"My Prayer\" by The Vibrants, \"Soothe Me\" by The Groove, and \"Words\" / \"Sinking Ships\" by The Bee Gees.\n\n1969\n\nOther hits\nSongs peaking at number two included \"Love Child\" by Diana Ross and The Supremes, \"Going Up the Country\" by Canned Heat, \"Build Me Up Buttercup\" by The Foundations, \"If I Can Dream\" / \"Edge of Reality\" by Elvis Presley, \"Dizzy\" by Tommy Roe, \"Goodbye\" by Mary Hopkin, and \"In the Year 2525\" by Zager and Evans.\n\nOther hits (with their peak positions noted) were \"Crimson and Clover\" by Tommy James and the Shondells (3), \"Gitarzan\" by Ray Stevens (3), \"Bad Moon Rising\" by Creedence Clearwater Revival (3), \"My Sentimental Friend\" by Herman's Hermits (3), \"A Boy Named Sue\" by Johnny Cash (3), \"Something in the Air\" by Thunderclap Newman (3), \"Sweet Caroline\" by Neil Diamond (3), \"Star-Crossed Lovers\" by Neil Sedaka (4), \"Aquarius/Let the Sunshine In\" by The 5th Dimension (4), \"One\" by Johnny Farnham (4), \"Indian Giver\" by 1910 Fruitgum Company (5), \"Proud Mary\" by Credence Clearwater Revival (5), \"Dear Prudence\" by Doug Parkinson (5), \"Spinning Wheel\" by Blood, Sweat & Tears (5), \"All Along the Watchtower\" by The Jimi Hendrix Experience (6), \"Give Peace a Chance\" by The Plastic Ono Band (6), \"Sugar, Sugar\" by The Archies (6).\n\nHits by Australasian artists included \"Saved by the Bell\" by Robin Gibb, \"Don't Forget to Remember\" by The Bee Gees, \"La La\" by The Flying Circus, \"Try to Remember\" by New World, and \"Such a Lovely Way\" by The Groop.\n\nSee also\nMusic of Australia\nList of UK Singles Chart number ones of the 1960s\nList of Billboard number-one singles\nLists of UK Singles Chart number ones\n\nReferences\n\nDavid Kent's Australian Chart Book: based on the Kent Music Report\nAustralian Record Industry Association (ARIA) official site\nOzNet Music Chart\n\n1960s\nNumber-one singles\nAustralia Singles", "title": "List of number-one singles in Australia during the 1960s" }, { "text": "These are the number-one singles of 1968 according to the Top 100 Singles chart in Cashbox magazine.\n\nSee also \n1968 in music\nList of Hot 100 number-one singles of 1968 (U.S.)\n\nReferences \nhttp://members.aol.com/_ht_a/randypny2/cashbox/1968.html\nhttps://web.archive.org/web/20101121003349/http://cashboxmagazine.com/archives/60s_files/1968.html\nhttp://musicseek.info/no1hits/1968.htm\n\n1968\nCategory:1968 record charts\nCategory:1968 in American music", "title": "List of Cash Box Top 100 number-one singles of 1968" }, { "text": "This is a list of the weekly Canadian RPM magazine number one Top Singles chart of 1968.\n\nTop singles chart of 1968\n\nSee also\n1968 in music\n\nList of Billboard Hot 100 number ones of 1968 (United States)\nList of Cashbox Top 100 number-one singles of 1968\n\nReferences\n\nNotes\n\nCitations\n\nExternal links\n Read about RPM Magazine at the AV Trust\n Search RPM charts here at Library and Archives Canada\nRPM Magazine from Canada years 1964–1999 at American Radio History\n\nCategory:1968 in Canadian music\nCanada Singles\n1968", "title": "List of number-one singles of 1968 (Canada)" }, { "text": "These hits topped the Dutch Top 40 in 1968.\n\nSee also\n1968 in music\n\nReferences\n\nCategory:1968 in the Netherlands\nCategory:1968 record charts\n1968", "title": "List of Dutch Top 40 number-one singles of 1968" }, { "text": "This is a list of the German Media Control Top100 Singles Chart number-ones of 1968.\n\nSee also\nList of number-one hits (Germany)\n\nReferences\n Ehnert, Günter (1999). HIT BILANZ Deutsche Chart Singles 1956-1980. \n German Singles Chart Archives from 1956\n Media Control Chart Archives from 1960\n\nCategory:1968 in West Germany\nCategory:1968 record charts\n1968", "title": "List of number-one hits of 1968 (Germany)" }, { "text": "This is a list of singles which topped the Irish Singles Chart in 1968.\n\nPrior to 1992, the Irish singles chart was compiled from trade shipments from the labels to record stores, rather than on consumer sales. The chart release day changed from Thursday to Saturday at the beginning of February.\n\nSee also\n1968 in music\nIrish Singles Chart\nList of artists who reached number one in Ireland\n\nCategory:1968 in Irish music\nCategory:1968 record charts\n1968", "title": "List of number-one singles of 1968 (Ireland)" }, { "text": "This is a list of Number 1 hit singles in 1968 in New Zealand, starting with the first chart dated, 19 January 1968.\n\nChart\n\nExternal links\n The Official NZ Music Chart, RIANZ website\n\nCategory:1968 in New Zealand\nCategory:1968 record charts\n1968\nCategory:1960s in New Zealand music", "title": "List of number-one singles in 1968 (New Zealand)" }, { "text": "This list shows the songs which have been number one on the official chart list (VG-lista) in Norway. The single list started in 1958, and the albums list in 1967. The show is broadcast every Wednesday by NRK P3, one of Norwegian Broadcasting Corporation's three nationwide analogue radio channels.\n\nThis page shows all the number-ones from 1995 to 2019. For earlier lists, see pages for 1958, 1959, 1960, 1961, 1962, 1963 and 1964 to 1994. For after 2020, see List of number-one singles of the 2020s (Norway).\n\n1995–2008\n\n2009\n\n2010\n\n2011\n\n2012\n\n2013\n\n2014\n\n2015\n\n2016\n\n2017\n\n2018\n\n2019\n\nSee also\nList of number-one albums in Norway\n\nReferences\n\nExternal links\n VG-lista official chart website\n Topplista website\n Podcasts of the latest radioshows", "title": "List of number-one songs in Norway" }, { "text": "This is a list of the Spanish Singles number-ones of 1968.\n\nChart history\n\nSee also\n1968 in music\nList of number-one hits (Spain)\n\nReferences\n\n1968\nSpain Singles\nNumber-one singles", "title": "List of number-one singles of 1968 (Spain)" }, { "text": "This is a list of singles that reached number one on the Swiss Hitparade from 1968 through 1979.\n\nNumber-one singles\n\nSee also\n1968 in music\n1969 in music\n1970s in music\n\nReferences\n\nSwitzerland\nSwitzerland\nNumber-one hits\n1968-1979", "title": "List of number-one singles from 1968 to 1979 (Switzerland)" }, { "text": "The UK Singles Chart is the official chart for the United Kingdom of singles. The chart is compiled by The Official Chart Company and the beginning of an \"official\" singles chart is generally regarded as February 1969 when the British Market Research Bureau (BMRB) was formed to compile the chart in a joint venture between the BBC and Record Retailer. Charts were used to measure the popularity of music and, initially, were based on sheet music. In 1952, NME imitated an American idea from Billboard magazine and began compiling a chart based on physical sales of the release. Rival publications such as Record Mirror, Melody Maker and Disc began to compile their own charts in the mid-to-late 1950s. Trade paper Record Retailer compiled their first chart in March 1960.\n\nNo single chart was universally followed during this period. Retrospectively, the Guinness Book of British Hit Singles and The Official Chart Company have chosen canonical sources for the era: NME (November 1952 – March 1960) and Record Retailer (March 1960 – February 1969). These choices have not been universally welcomed, particularly that of Record Retailer during the 1960s, when charts like NME had a significantly wider circulation and following. The BBC's Pick of the Pops circumvented the lack of an official chart by aggregating the aforementioned publications to create their own chart.\n\nNotable omissions from the canon are The Rolling Stones' \"19th Nervous Breakdown\" and The Beatles' \"Please Please Me\" which both reached number one on the NME, Disc, and Melody Maker charts, topped the BBC's Pick of the Pops aggregated chart and - in the case of \"19th Nervous Breakdown\" - was announced as number one on Top of the Pops; however, in failing to top the Record Retailer chart, they are not generally regarded as number-one singles.\n\nMain charts\n\nNew Musical Express (NME)\n\nThe New Musical Express (NME) chart was the first in the United Kingdom to gauge the popularity of recorded music by sales; previously, sheet music sales charts had been compiled. NMEs co-founder Percy Dickins imitated the chart produced by American Billboard magazine and began to compile Britain's first hit parade in 1952. For the first chart, Dickins telephoned a sample of around 20 shops asking for a list of the 10 best-selling songs. These results were then aggregated to give a Top 12 chart (with 15 entries due to tied positions) that was published in NME on 14 November 1952. Other periodicals produced their own charts and The Official Charts Company and Guinness' British Hit Singles & Albums regard NME as the canonical British singles chart until 10 March 1960. After this Record Retailer is regarded as the canonical source until February 1969, when the British Market Research Bureau (BMRB) was formed. However, during the 1960s NME had the biggest circulation of charts in the decade and was the most widely followed.\n\nAfter 1969, NME continued to compile charts in the 1970s and 1980s and ended its time as the longest running independently compiled in May 1988.\n\nRecord Mirror\n\nRecord Mirror compiled its own record chart from 1955 until 1962 which was used by many national newspapers. It formed as the first rival to the existing chart published by NME. The Mirrors chart was based on the postal returns from record stores that were financed by the newspaper—rival chart, NME, was based on a telephone poll. Its first chart was a Top 10 published on 22 January 1955 using figures from 24 shops. The chart was expanded from a Top 10 to a Top 20 on 8 October 1955. In the early 1960s some national newspapers switched to using a chart compiled by Melody Maker and, ultimately, the cost of collecting sales figures by post led to the chart's demise. On 24 March 1962, the paper stopped compiling its own chart and started publishing Record Retailers Top 50.\n\nMelody Maker\n\nMelody Maker compiled its own chart from 1956 until 1988 which was used by many national newspapers. It was the third periodical to compile a chart and rivaled existing compilers NME and Record Mirror. Melody Makers chart, like NMEs, was based on a telephone poll of record stores. Melody Maker compiled a Top 20 for its first chart using figures from 19 shops on 7 April 1956. During the 1950s, sample sizes ranged from around 14–33 shops and on 30 July 1960 the phoning of record shops was supplemented with postal returns; the first chart to use this method sampled 38 stores from 110 returns. On 26 August 1967, Disc, owned by the same company as Melody Maker, stopped compiling their own chart and started using the Melody Maker chart. In its 9 February 1963 edition, Melody Maker disclosed that it received chart returns from 245 retailers and that its chart was audited by auditors supplied by Middlesex County Council.\n\nDisc & Music Echo\n\nDisc compiled its own chart from 1958 until 1967, the Disc which was used by many national newspapers. It formed as a rival to the existing charts published by NME, Record Mirror, and Melody Maker. Discs chart, like two of its rivals, was based on a telephone poll of record stores. On 1 February 1958 Disc compiled its first chart which was a Top 20 using figures from 20 shops. Throughout the 1950s Discs sample sizes remained below 40 shops and in the early 1960s the sample size was increased to approximately 50 and compiled by Fred Zebadee; other rival charts had increased their samples to around 100 but this was too expensive for Disc. On 23 April 1966 the publication Mersey Beat (which ran its own chart) was incorporated into Disc which became Disc and Music Echo. On 26 August 1967, Disc, who was then owned by the same company as Melody Maker, stopped compiling their own chart and started using the Melody Maker chart.\n\nRecord Retailer\n\nRecord Retailer was a trade paper that began compiling a record chart in March 1960. Although prior to 1969 there was no official singles chart, Record Retailer is considered by The Official Charts Company to be the canonical source from 10 March 1960 until 15 February 1969 when Retailer and the BBC jointly commissioned the BMRB to compile the charts. The choice to use Record Retailer as the canonical source for the 1960s has been contentious because NME had the biggest circulation of periodicals in the decade and was more widely followed. One source explains that the reason for using the Record Retailer chart for the 1960s was that it was \"the only chart to have as many as 50 positions for almost the entire decade\". The sample size of Record Retailer in the early 1960s was around 30 stores whereas NME and Melody Maker were sampling over 100 stores. In 1969, the first BMRB chart was compiled using postal returns of sales logs from 250 record shops.\n\nOther charts\n\nBBC's Pick of the Pops\nThe BBC first aired Pick of the Pops on its Light Programme radio station on 4 October 1955. Initially airing popular songs, it developed an aggregated chart from March 1958. Using the NME, Melody Maker, Disc and Record Mirror charts the BBC cumulated them by totalling points gained in the four charts (1 point for a number one, 2 for a number two, etc.) to give a form of chart average – however, this method was prone to tied positions. Record Retailer was included in the average from 31 March 1962 after Record Mirror had ceased compiling their chart.\n\nRadio Luxembourg\nIn the 1930s, Radio Luxembourg pioneered the United States style of commercial broadcasting in Britain. During the World War II the station broadcast Nazi propaganda and was then used United States troops until September 1946 with English-sponsored programming resuming at the end of the year. In 1946, the Music Publishers' Association began compiling sheet music popularity charts and in 1948 British radio listeners heard their first chart show based on sales of sheet music with Radio Luxembourg broadcasting them during a Top Twenty programme on Sunday evenings.\n\nWhen programme administrator Derek Johnson heard about NMEs chart in the 1950s, he passed them on to disc jockeys at Radio Luxembourg who aired a chart rundown each night. The NME chart was used by Radio Luxembourg from January 1960 to 1967 and is said to have given \"the chart acceptance and credence\".\n\nBig L's Fab 40\n\nWonderful Radio London, also known as Big L, was a pirate radio station that operated from the MV Galaxy of the coast of Essex. Founded and financially backed by American Don Pierson the station introduced contemporary hit radio, popular in the United States, to the UK. The Fab 40 was the weekly playlist and was broadcast each Sunday as a chart based entirely on airplay. The station closed on 14 August 1967 when the Marine Broadcasting Offences Act came into effect, Later, rivals to the official chart would factor airplay into their charts.\n\nMersey Beat\n\nMersey Beat was founded initially as a regional bi-weekly publication on 13 July 1961. In 1963 it began compiling a Top 20 chart based on around 10 stores and became a national paper. The charts and paper became weekly on 24 April 1964 and, following an investment in September 1964 by Brian Epstein, expanded the chart and sample size to become the first publication to announce a Top 100 on 3 December 1964. On 6 March 1965 the paper was rebranded Music Echo & Mersey Beat, which later that year became Music Echo, and by 16 April 1966 the chart was no longer published—the following week the newspaper was incorporated into Disc becoming Disc and Music Echo.\n\nTop Pops\n\nTop Pops was founded initially as a monthly publication in May 1967. In May 1968 it began compiling a chart based on the telephone sample of 12 W H Smith & Son stores. The charts and paper became weekly the following month. Rebranded Music Now by 1970, the chart and paper ceased publication the following year.\n\nComparison of chart number-ones (1952–1969)\n\nThe canonical sources referred to above are NME for number ones 1–97 and Record Retailer for number ones 97–265\nEdit by chart considered the canonical source: NME •\nRecord Retailer\n\nNotes\n\nReferences\nFootnotes\n\nSources\n\nCategory:Lists of number-one songs in the United Kingdom\nCategory:1950s in British music\nCategory:1960s in British music", "title": "List of UK charts and number-one singles (1952–1969)" }, { "text": "A single is a type of music release defined by the British Official Charts Company (OCC) as having no more than four tracks and not lasting longer than 25 minutes. On 31 May 2011, a retrospective record chart was broadcast on BBC Radio 2 that listed the 60 biggest-selling singles in the United Kingdom during the 1960s. The programme, entitled The Top 60 Best Selling Records of the 60s, was hosted by British DJ Tony Blackburn. The chart was compiled by the OCC, and was based on sales of singles from 1 January 1960 to 31 December 1969.\n\nThe most represented act in the chart is the Beatles, who feature on the list with 18 releases, seven of which are in the top twenty. Similarly, the most represented record label is Parlophone, who released music from the Beatles between 1962 and 1968 in the UK. The most represented act after the Beatles is the Rolling Stones, who have five singles in the list. The highest-placed solo female artist on the list is Cilla Black at number 27, with her 1964 single \"Anyone Who Had a Heart\", which was also distributed by Parlophone. Of the 60 discs in the chart, more than half (44) are by British acts.\n\nDuring the 1960s, sales of singles in the UK were monitored by several magazines, including New Musical Express (NME), Record Retailer, Melody Maker and Disc. Before 1969, no officially recognised singles chart was published in the UK. Until 10 March 1960, chart compilers used the weekly chart listed by NME, after which they moved to the singles list published by Record Retailer, despite NME having the wider circulation and higher readership. During the start of the decade, Record Retailer was sampling roughly 30 stores; NME and Melody Maker had a sample size of more than one hundred. One source explains that the reason for using the Record Retailer chart for the early 1960s was that it was \"the only chart to have as many as 50 positions for almost the entire decade\". On 15 February 1969, Record Retailer and the BBC jointly commissioned the British Market Research Bureau (BMRB) to record sales of singles in what officially became the UK Singles Chart. The BMRB compiled the chart by using hand-written and post-submitted data from approximately 250 record stores.\n\nBetween 1960 and 1969, fourteen singles sold more than one million copies in the UK, of which the biggest-selling was \"She Loves You\" by the Beatles. Released on 23 August 1963, the single spent six non-consecutive weeks at number one and sold more than 1.89 million copies, approximately 140,000 more than its nearest rival, \"I Want to Hold Your Hand\", also by the Beatles. The biggest-selling record not to top the UK Singles Chart was Acker Bilk's 1961 instrumental \"Stranger on the Shore\" – it sold more than 1.13 million copies and peaked at number two, being kept off the top by \"The Young Ones\" by Cliff Richard and the Shadows, another million-seller.\n\nSingles\n\nReferences\nGeneral (chart positions)\n\nSpecific\n\nCategory:1960s in British music\n1960s\n1960s", "title": "List of best-selling singles of the 1960s in the United Kingdom" } ]

[ "\"Hey Jude\" begins with McCartney singing lead vocals and playing the piano. The patterns he plays are based on three chords: F, C, and B (I, V and IV). The second verse of the song adds accompaniment from acoustic guitar and tambourine. A brief vocal phrase is sung at the end of each bridge, supported by an electric guitar fill, before a piano fill leads to the next verse. This verse-bridge pattern persists for approximately three minutes, after which the band leads into a four-minute-long coda, consisting of nineteen rounds of the song's double plagal cadence. During this coda, the band repeats the phrase \"Na-na-na na\" followed by the words \"hey Jude\" until the song gradually fades out. McCartney ad-libs his vocal performance during this coda.", "The song \"Hey Jude\" begins with McCartney playing the piano and singing vocals, with patterns based on three chords. The structure includes a verse-bridge that persists for roughly three minutes. This is followed by a four-minute-long coda consisting of nineteen rounds of the song's double plagal cadence. During the coda, the phrase \"Na-na-na na\" followed by \"hey Jude\" is repeatedly sung by the band until the song finally fades out. Throughout this part of the song, McCartney ad-libs his vocal performance. This unusual combination forms a \"binary form that combines a fully developed, hymn-like song together with an extended, mantra-like jam on a simple chord progression\".", "Musicologist Alan Pollack comments on an interesting feature regarding the structure of \"Hey Jude\", stating that the song uses a \"binary form that combines a fully developed, hymn-like song together with an extended, mantra-like jam on a simple chord progression\". This unusual merger of two different forms creates a distinct structure. This is particularly seen in its four-minute-long coda consisting of nineteen rounds of the song's double plagal cadence, during which McCartney ad-libs his vocal performance. The song's considerable length, at 7:11, is another feature that has received significant commentary.", "The patterns played during the \"Hey Jude\" are based on three chords: F, C, and B (I, V and IV). For the coda, the C chord is replaced by E." ]

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[ "Was photography a hobby or career for Eakins?", "What did Eakins typically photograph?", "Did Eakins paint the things he photographed?", "What else did he use the photographs for?", "Were there other things he used those photographs for?", "Did he use them for anything other than anatomy and motion studies?", "What school were the photographs displayed at?", "Is there anything else of note about his affiliation with the University of Pennsylvania in Philadelphia?", "Did Eakins ever attend the University of Pennsylvania in Philadelphia?", "Are any of his photographs or other art still displayed at the University?" ]

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{ "answer_starts": [ [ 0 ], [ 681 ], [ 1409 ], [ 315 ], [ 2196 ], [ 2254 ], [ 574 ], [ 489 ], [ 3053 ], [ 3053 ] ], "texts": [ [ "Eakins has been credited with having \"introduced the camera to the American art studio\"." ], [ "usually involving the nude figure," ], [ "Some figures appear to be detailed transcriptions and tracings from the photographs by some device" ], [ "photographic motion studies" ], [ "show real human anatomy from several specific angles," ], [ "were often hung and displayed for study at the school." ], [ "University of Pennsylvania in Philadelphia." ], [ "Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia." ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 681, 1409, 315, 2196, 2254, 574, 489, 3053, 3053 ], "texts": [ "Eakins has been credited with having \"introduced the camera to the American art studio\".", "usually involving the nude figure,", "Some figures appear to be detailed transcriptions and tracings from the photographs by some device", "photographic motion studies", "show real human anatomy from several specific angles,", "were often hung and displayed for study at the school.", "University of Pennsylvania in Philadelphia.", "Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia.", "CANNOTANSWER", "CANNOTANSWER" ] }

[ { "text": "This is a list of professionally authenticated paintings, drawings, and sculptures by Thomas Eakins (1844–1916). As there is no catalogue raisonné of Eakins' works, this is an aggregation of existing published catalogs.\n\nBackground \n\nDuring his lifetime, Thomas Eakins sold few paintings. On his death, ownership of his unsold works passed to his widow, Susan Macdowell Eakins, who kept them in their Philadelphia home. She dedicated the remaining years of her life to burnishing his legacy. In this, she was quite successful; in the period between Thomas Eakins' death and her own, she donated many of the strongest remaining pictures to museums around the world. The Philadelphia Museum of Art benefited particularly from these donations.\n\nAfter Susan Macdowell Eakins' death in 1938, her executors emptied the house of anything which could be sold at auction. When former Eakins student Charles Bregler arrived at the house after it had been stripped he was horrified at what he found, describing it as the \"most tragic and pitiful sight I ever saw. Every room was cluttered with debris as all the contents of the various drawers, closets etc were thrown upon the floor as they removed the furniture. All the life casts were smashed... I never want to see anything like this again.\" The number of works lost or destroyed at this time will never be known.\n\nBregler carefully collected what was left. Most of what remained were drawings and other preparatory studies. He was highly secretive about the contents of his collection and rarely allowed anyone to see it. After Bregler's death, ownership of the collection passed to his second wife, Mary Louise Picozzi Bregler, who was even more guarded as to its contents. In 1986, shortly before her death, Mary Bregler agreed to sell the works to the Pennsylvania Academy of the Fine Arts.\n\nHistoriography \n\nIn the early 1930s, Susan Macdowell Eakins invited art historian Lloyd Goodrich into her home. Goodrich inventoried the collection in the house, interviewed Eakins' surviving associates, and studied Eakins' personal notes. In 1933, Goodrich published Thomas Eakins: His Life and Works. Though it was incomplete, un-illustrated, and did not include Eakins' photographs, Goodrich's book was the first definitive study of Eakins and the first attempt to catalog his artistic output.\n\nIn the 1970s, Gordon Hendricks published two Eakins catalogs. The Photographs of Thomas Eakins (1972; ) is a fully illustrated catalog of photographs by Thomas Eakins and his associates. Because Eakins did not keep detailed records of his photographs, nor did he sign, title, or date them, many of the dates and photographers listed in the catalog are educated guesses on Hendricks' part. It is difficult to know who took a particular photograph because Eakins often had his students use it. Hence, the attribution on many of these photographs is \"Circle of Eakins\" to indicate that a photograph was taken either by Eakins or one of his associates. The Life and Work of Thomas Eakins (1974; ) included a checklist of Eakins' works, a number of which had not been included in the 1933 Goodrich catalog.\n\nIn the 1980s, Lloyd Goodrich returned to the subject of Thomas Eakins. He began writing a three-volume book, Thomas Eakins. The first two volumes, published in 1982, were biographic in nature. Goodrich was unable to complete the third volume, a Thomas Eakins catalogue raisonné, before he died in 1987. He donated his papers to the Philadelphia Museum of Art, in the hopes that the curators there would finish the catalogue raisonné. This has not happened.\n\nUntil 1986, the Charles Bregler collection was effectively unknown to art historians. A few of the works in the Bregler collection were included in the 1933 Goodrich catalog, but after that they effectively disappeared from the scholarly community. A proper inventory became possible only after their 1986 sale to the Pennsylvania Academy of Fine Arts. In 1997, art historian Kathleen Foster published a definitive catalog of the Bregler collection, Thomas Eakins Rediscovered. ()\n\nList organization \n\nPaintings, drawings, and sculptures are listed, where possible, by their Goodrich catalog number supplemented with modifications from Goodrich's notes for his never-completed Eakins catalogue raisonné. The Goodrich catalog can be subdivided into three parts:\n\n Juvenalia – Goodrich classified several early works by Thomas Eakins (works made prior to Eakins' arrival in Paris) as juvenalia, and prefaced with a \"J\". Though mentioned throughout the Eakins literature, the catalog itself was not published. However, the list is accessible in the Goodrich papers in the Philadelphia archives.\n 1933 catalog works – \"G\" followed by a number indicates it is from Goodrich's 1933 Eakins catalog.\n 1980s catalog works – \"G\" followed by a number and then a letter indicates a work that was not included in the 1933 Goodrich catalog, but was included in his two volume Thomas Eakins, or in notes for the third volume, the never-finished catalog.\n\nWorks in the Charles Bregler collection at the Pennsylvania Academy of the Fine Arts are listed according to their number in Thomas Eakins Rediscovered.\n\nGoodrich catalogue of Eakins' paintings and sculptures \n{| class=\"wikitable sortable plainrowheaders\" style=\"width: 100%\"\n|-\n! scope=\"col\" | Title\n! scope=\"col\" | Catalog #\n! scope=\"col\" | Image\n! scope=\"col\" | Format\n! scope=\"col\" | Year\n! scope=\"col\" | Dimensions (inches)\n! scope=\"col\" | Collection\n! scope=\"col\" | Notes\n|-\n! scope=\"row\" | Map of Switzerland\n| J1\n| \n| Pen, ink, and watercolor on paper\n| c. 1856–1857\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| \n|-\n! scope=\"row\" | Map of France, Spain, Portugal, and Italy\n| J2\n| \n| Pen, ink, and watercolor on paper\n| c. 1856–1857\n| 16 × 20\n| Collection of Mr. and Mrs. Francis Walters\n|\n|-\n! scope=\"row\" | Spanish Scene: Peasant Crossing a Stream\n| J3\n| \n| Pencil and chalk on paper\n| March 1858\n| 10 1/16 × 14 7/16\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Spanish Scene: Peasants and Travellers Among Ruins\n| J4\n| \n| Pencil and ink on paper\n| 1858\n| 11½ × 16 15/16\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Camel and Rider\n| J5\n| \n| Pencil and ink on paper\n| 1858\n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Perspective of a Lathe\n| J6\n| \n| Pencil and ink on paper\n| 1860\n| 16 5/16 × 22\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Drawing of Gears\n| J7\n| \n| Pen, ink, and pencil on paper\n| c. 1860\n| 11 7/16 × 16⅞\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Visiting Card with Landscape\n| J8\n| \n| \n| c. late 1850s\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Machinery\n| J9\n|\n| \n| c. 1860\n| \n| \n| \n|-\n! scope=\"row\" | The Icosahedron\n| J10\n| \n| \n| c. 1860\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | \"Freedom\"\n| J11\n| \n| \n| c. 1860\n|\n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| A drawing after the Statue of Freedom by Thomas Crawford\n|-\n! scope=\"row\" | Nude woman, seated, wearing a mask\n| 1\n| \n| Charcoal on paper\n| c. 1863–1866\n| 24¼ × 18⅝ inches\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude woman, back turned\n| 2\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude boy\n| 3\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude man, seated\n| 4\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude woman reclining, back turned\n| 5\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude woman, reclining, seen from the front\n| 6\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Head, bust and arm of a child\n| 7\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Arm resting on the back of a chair\n| 8\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude man with a beard, seated on the floor\n| 9\n| \n| Charcoal on paper\n| 1869\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| On the reverse is the middle section of a nude man.\n|-\n! scope=\"row\" | Nude man standing\n| 10\n|\n| Charcoal on paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Legs of a seated model\n| 11\n| \n| Charcoal on paper\n| \n| \n| Newark Museum, Newark, New Jersey\n|\n|-\n! scope=\"row\" | Legs of a standing model\n| 12\n|\n| Charcoal on paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Head and bust of an Arab man with a turban\n| 13\n| \n| Charcoal on paper\n| 1866–1867\n| \n| Fine Arts Museums of San Francisco, San Francisco\n|\n|-\n! scope=\"row\" | Torso and arm of a nude man\n| 14\n|\n| Charcoal on paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Nude woman reclining on a couch\n| 15\n| \n| Charcoal on paper\n| 1863–1866\n| \n| Fogg Art Museum, Cambridge, Massachusetts\n|\n|-\n! scope=\"row\" | Nude woman reclining, wearing a mask\n| 16\n|\n| Charcoal on paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Nude woman standing\n| 17\n|\n| Charcoal on paper\n| 1876\n| \n| \n| \n|-\n! scope=\"row\" | Nude man seated\n| 18\n| \n| Charcoal on paper\n| c. 1869\n|\n| \n| Double sided with \"Head of a Warrior\".Auctioned at Christie's NY, December 8, 2008; sold for $50,000\n|-\n! scope=\"row\" | Illustrated letter to his Mother, Nov. 8–9, 1866\n| 18A\n| \n| \n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Antique study, female head\n| 19\n|\n| Oil on heavy paper\n| c. 1867–1869\n|\n| \n| Lost\n|-\n! scope=\"row\" | Antique study, male roman head\n| 20\n|\n| Oil on canvas\n| c. 1867–1869\n| \n| \n| Lost\n|-\n! scope=\"row\" | Study of a leg\n| 21\n| \n| Oil on heavy paper\n| c. 1867–1869\n| \n| Joslyn Art Museum, Omaha, Nebraska\n|\n|-\n! scope=\"row\" | Study of a ram's head\n| 22\n|\n| Oil on canvas\n| c. 1867–1869\n| \n| \n| Lost\n|-\n! scope=\"row\" | Study of a girl's head\n| 23\n| \n| Oil on canvas\n| c. 1868–1869\n| \n|\n| Private collection\n|-\n! scope=\"row\" | Study of a girl's head\n| 24\n| \n| Oil on canvas\n| c. 1867–1874\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Study of a girl's head\n| 25\n| \n| Oil on canvas\n| c. 1867–1869\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Strong Man\n| 26\n| \n| Oil on canvas\n| c. 1867–1869\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Study\n|-\n! scope=\"row\" | Bust of a Man (Study of a Nude Man)\n| 27\n| \n| Oil on canvas\n| c. 1867–1869\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study of a student's head\n| 28\n| \n| Oil on canvas mounted on cardboard\n| c. 1867–1878\n| \n| \n| Thought to have been lost.Auctioned at Sotheby's NY, May 2001; sold for $46,750.\n|-\n! scope=\"row\" | Study of a student's head\n| 29\n| \n| Oil on canvas mounted on cardboard\n| c. 1867–1879\n| \n| Collection of William E. Stokes\n|\n|-\n! scope=\"row\" | Female Model(formerly called A Negress)\n| 30\n| \n| Oil on canvas\n| \n| \n| M. H. de Young Memorial Museum, San Francisco, California\n|\n|-\n! scope=\"row\" | Scene in a Cathedral\n| 31\n| \n| Oil on canvas\n| \n| \n| \n|Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, December 1, 2010; sold for $18,750.\n|-\n! scope=\"row\" | Carmelita Requena\n| 32\n| \n| Oil on canvas\n| 1869\n| \n| Metropolitan Museum of Art, New York City, New York\n|\n|-\n! scope=\"row\" | A Street Scene in Seville\n| 33\n| \n| Oil on canvas\n| 1870\n| \n| Collection of Erving and Joyce Wolf\n|\n|-\n! scope=\"row\" | A Spanish Woman (Also known as \"Dolores\")\n| 34\n| \n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Francis Eakins\n| 35\n| \n| Oil on canvas\n| Late 1870/Early 1871\n| \n| Nelson-Atkins Museum of Art, Kansas City, Missouri\n|\n|-\n! scope=\"row\" | At the Piano\n| 36\n| \n| Oil on canvas\n| Late 1870/Early 1871\n| \n| Blanton Museum of Art, Austin, Texas\n|\n|-\n! scope=\"row\" | Home Scene\n| 37\n| \n| Oil on canvas\n| Late 1870/Early 1871\n| \n| Brooklyn Museum of Art, New York City\n|\n|-\n! scope=\"row\" | Benjamin Eakins\n| 38\n| \n| Watercolor on paper\n| c. 1870\n| \n| Private collection\n|\n|-\n! scope=\"row\" | Margaret in Skating Costume\n| 39\n| \n| Oil on canvas\n| 1871\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Margaret (study)\n| 40\n| \n| Oil on canvas\n| c. 1871\n|\n| \n| Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY, May 19, 2010, Lot 109.\n|-\n! scope=\"row\" | Margaret (sketch)\n| 41\n| \n| Oil on canvas\n| c. 1871\n| \n| Mitchell Museum at Cedarhurst, Mount Vernon, Illinois\n|\n|-\n! scope=\"row\" | Hiawatha\n| 42\n|\n| Watercolor on paper\n| \n| \n| \n| No longer exists.\n|-\n! scope=\"row\" | Hiawatha\n| 43\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Study for Hiawatha watercolor. Described erroneously as unfinished.\n|-\n! scope=\"row\" | Max Schmitt in a Single Scull\n| 44\n| \n| Oil on canvas\n| 1871\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Drawing of the Girard Avenue Bridge\n| 44A\n| \n| Drawing\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Double sided: reverse side depicts the sketch for an oar.\n|-\n! scope=\"row\" | Portrait of M.H. Messchert\n| 44B\n|\n| Painting\n| \n| \n| \n| \n|-\n! scope=\"row\" | Kathrin (Girl with a cat)\n| 45\n| \n| Oil on canvas\n| 1872\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Study for Kathrin\n| 45A\n| \n| Drawing\n| \n| \n| \n| \n|-\n! scope=\"row\" | Elizabeth Crowell and her Dog\n| 46\n| \n| Oil on canvas\n| Early 1870s\n| \n| San Diego Museum of Art, San Diego, California\n|\n|-\n! scope=\"row\" | Mrs. James W. Crowell\n| 47\n| \n| Oil on canvas\n| Early 1870s\n| \n| \n| \n|-\n! scope=\"row\" | Grouse\n| 48\n| \n| Oil on canvas\n| 1872\n| \n| Mint Museum of Art, Charlotte, North Carolina\n|\n|-\n! scope=\"row\" | The Pair-Oared Shell\n| 49\n| \n| Oil on canvas\n| 1872\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Perspective Drawing for The Pair-Oared Shell\n| 50\n| \n| Pencil and ink on paper mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Perspective Drawing for The Pair-Oared Shell\n| 51\n| \n| Pencil, ink, and watercolor on paper mounted on cardboard\n| 1872\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Biglin Brothers Turning the Stake\n| 52\n| \n| Oil on canvas\n| 1873\n| \n| Cleveland Museum of Art, Cleveland, Ohio\n|\n|-\n! scope=\"row\" | Perspective Drawing for the Biglin Brothers Turning the Stake\n| 52A\n| \n| Drawing\n| \n| \n| Cleveland Museum of Art, Cleveland, Ohio\n|\n|-\n! scope=\"row\" | Perspective Drawing for the Biglin Brothers Turning the Stake\n| 53\n| \n| Pencil and ink on paper mounted on cardboard\n| 1873\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | The Pair-Oared Race – John and Barney Biglin Turning the Stake\n| 54\n|\n| Watercolor\n| 1874\n| \n| \n| Lost\n|-\n! scope=\"row\" | A Rower\n| 55\n|\n| Watercolor\n| \n| \n| \n| Given to Jean-Léon Gérôme by Thomas Eakins. \"Present location unknown\"\n|-\n! scope=\"row\" | John Biglin (also known as \"The Sculler\")\n| 56\n| \n| Watercolor\n| 1874\n| 16⅞ × 23 15/16\n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | John Biglin in a Single Scull\n| 57\n| \n| Watercolor on paper\n| 1873 or early 1874\n| 19 5/16 × 24⅞ \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Perspective Drawing for John Biglin in a Single Scull\n| 58\n| \n| Pencil and ink on paper mounted on cardboard\n| c. 1874\n| 27⅜ × 45¼\n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | John Biglin in a Single Scull\n| 59\n| \n| Oil on canvas\n| 1873–1874\n| 24⅜ × 16\n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | John Biglin in a Single Scull\n| 60\n|\n| Watercolor\n| 1873–1874\n| \n|\n| Given to Jean-Léon Gérôme by Thomas Eakins.\n|-\n! scope=\"row\" | The Biglin Brothers Racing\n| 61\n| \n| Oil on canvas\n| Probably 1873\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Perspective Drawing for the Biglin Brothers Racing\n| 62\n| \n| Pencil and ink on paper mounted on cardboard\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Oarsmen on the Schuylkill\n| 63\n| \n| Oil on canvas\n| c. 1873\n| \n| Private Collection. \n| Deaccessioned from Brooklyn Museum of Art.\n|-\n! scope=\"row\" | Oarsman in a Single Scull (also known as \"Sketch of Max Schmitt in a Single Scull\")\n| 64\n| \n| Oil on canvas\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Oarsmen\n| 65\n| \n| Oil on canvas\n| Probably c. 1873\n| \n| Portland Art Museum, Portland, Oregon\n|\n|-\n! scope=\"row\" | The Schreiber Brothers\n| 66\n| \n| Oil on canvas\n| 1874\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Perspective Drawing\n| 67\n| \n| Pencil and ink on paper mounted on cardboard\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Artist and His Father Hunting Reed Birds\n| 68\n| \n| Oil on canvas\n| c. 1874\n| \n| Virginia Museum of Fine Arts, Richmond, Virginia\n|\n|-\n! scope=\"row\" | Perspective Drawing for the Artist and His Father Hunting Reed Birds\n| 69\n| \n| Pencil and ink on paper mounted on cardboard\n| \n| \n| \n| \n|-\n! scope=\"row\" | Pushing for the Rail\n| 70\n| \n| Oil on canvas\n| 1874\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Whistling for Plover\n| 71\n| \n| Watercolor on paper\n| 1874\n| \n| Brooklyn Museum of Art, New York\n|\n|-\n! scope=\"row\" | Whistling for Plover\n| 72\n|\n| Oil\n| \n| \n| \n| \n|-\n! scope=\"row\" | Sketch for Hunting\n| 73\n| \n| Oil on canvas mounted on cardboard\n| c. 1874\n| \n| Collection of Jamie Wyeth\n|\n|-\n| Studies of Game-Birds (Also known as \"Plover\")\n| 74\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Virginia Museum of Fine Arts, Richmond, Virginia\n|\n|-\n! scope=\"row\" | Landscape with a Dog\n| 75\n| \n| Oil on canvas\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sailboats Racing on the Delaware\n| 76\n| \n| Oil on canvas\n| 1874\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sailing\n| 77\n| \n| Oil on canvas\n| c. 1874\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Starting Out After Rail\n| 78\n| \n| Oil on canvas\n| 1874\n| \n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | Starting Out After Rail\n| 79\n| \n| Watercolor\n| 1874\n| \n| Wichita Art Museum, Wichita, Kansas\n|\n|-\n! scope=\"row\" | Ships and Sailboats on the Delaware (also known as \"Becalmed\")\n| 80\n| \n| Oil on canvas\n| 1874\n| \n| Wadsworth Atheneum, Hartford, Connecticut\n|\n|-\n! scope=\"row\" | Study for Ships and Sailboats on the Delaware\n| 81\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Ships and Sailboats on the Delaware\n| 82\n| \n| Oil on canvas\n| 1874\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Drifting\n| 83\n| \n| Watercolor\n| c. 1874\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. Benjamin Eakins\n| 84\n| \n| Oil on canvas\n| c. 1874\n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Portrait of Professor Benjamin H. Rand\n| 85\n| \n| Oil on canvas\n| 1874\n| \n| Crystal Bridges Museum of American Art, Bentonville, Arkansas\n| Deaccessioned from Thomas Jefferson University, Philadelphia, Pennsylvania, April 2007 (after 130 years in the collection).\n|-\n! scope=\"row\" | Baseball Players Practicing\n| 86\n| \n| Watercolor on paper\n| 1875\n| \n| Rhode Island School of Design Museum, Providence, Rhode Island\n|\n|-\n! scope=\"row\" | Perspective drawing for Baseball Players practicing\n| 86A\n| \n| Drawing\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Elizabeth at the Piano\n| 87\n| \n| Oil on canvas\n| 1875\n| \n| Addison Gallery of American Art, Andover, Massachusetts\n|\n|-\n! scope=\"row\" | The Gross Clinic\n| 88\n| \n| Oil on canvas\n| 1875\n| \n| Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for the Gross Clinic\n| 89\n| \n| Oil on canvas\n| 1875\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Dr. Gross (Study for \"The Gross Clinic)\n| 90\n| \n| Oil on canvas\n| 1875\n| \n| Worcester Art Museum, Worcester, Massachusetts\n|\n|-\n! scope=\"row\" | Black and White version\n| 91\n| \n| India ink on cardboard\n| 1875\n| \n| Metropolitan Museum of Art, New York\n| Drawn after the painting, to be photographed and reproduced as a collotype.\n|-\n! scope=\"row\" | Drawing of Two Heads\n| 92\n| \n| \"India ink on paper, with pen and brush\"\n| 1876\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Robert C.V. Meyers\n| 93\n| \n| Oil on brown paper\n| 1875\n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | The Zither Player\n| 94\n| \n| Watercolor on paper\n| 1876\n| \n| Art Institute of Chicago, Chicago, Illinois\n|\n|-\n! scope=\"row\" | J. Harry Lewis\n| 95\n| \n| Oil on canvas\n| 1876\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Chess Players\n| 96\n| \n| Wood\n| 1876\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Perspective Drawing for the Chess Players\n| 97\n| \n| Pencil and ink on paper\n| 1875–1876\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | M. Gardel\n| 98\n| \n| Oil on paper mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Baby at Play\n| 99\n| \n| Oil on canvas\n| 1876\n| \n| National Gallery of Art, Washington, DC.\n|\n|-\n! scope=\"row\" | Studies of a Baby\n| 100\n| \n| Oil on canvas\n| \n| \n| Duke-Semans Fine Arts Foundation (in the care of the Nasher Museum of Art, Durham, North Carolina)\n| Double sided.\n|-\n! scope=\"row\" | Dr. John H. Brinton\n| 101\n| \n| Oil on canvas\n| 1876\n|\n|The National Museum of Health and Medicine of the Armed Forces Institute of Pathology, Washington, D.C. On long-term loan to the National Gallery of Art\n| Dr. Brinton was a close friend of Eakins's, and succeeded Dr. Samuel D. Gross as chair of surgery at Jefferson Medical College.(See G-126 for Eakins's portrait of Mrs. Brinton.)\n|-\n! scope=\"row\" | Mrs. Samuel Hall Williams (Portrait of Abbie Williams)\n| 102\n| \n| Wood\n| c. 1876\n| \n|\n| Deaccessioned from the Art Institute of Chicago.Auctioned at Christie's NY, September 27, 2011; sold for $134,500.\n|-\n! scope=\"row\" | Columbus in Prison\n| 103\n| \n| Oil on canvas\n| c. 1876\n| \n| Kennedy Galleries, New York\n|\n|-\n! scope=\"row\" | Sketch for the Surrender of General Lee to General Grant at Appomattox\n| 103A\n| \n| Oil on canvas\n| \n| \n|\n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, September 27, 2011; sold for $32,500.\n|-\n! scope=\"row\" | Sketch for the Surrender of General Lee to General Grant at Appomattox\n| 103B\n| \n| Oil on canvas\n| \n| \n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | Will Schuster and Blackman Going Shooting\n| 104\n| \n| Oil on canvas\n| 1876\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Perspective Drawing for Will Schuster and Blackman Going Shooting\n| 104A\n| \n| Drawing\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Rail Shooting\n| 105\n| \n| Oil on canvas\n| \n| \n| \n| \"Present whereabouts or existence unknown\"\n|-\n! scope=\"row\" | In Grandmother's Time\n| 106\n| \n| Oil on canvas\n| 1876\n| \n| Smith College Museum of Art, Northampton, Massachusetts\n|\n|-\n! scope=\"row\" | In Grandmother's Time\n| 106A\n| \n| Oil on wood\n| \n| \n| \n| Originally double sided with G-106B until the two images were split\n|-\n! scope=\"row\" | Landscape\n| 106B\n| \n| Oil on wood\n| \n| \n| \n| Originally double sided with G-106A until the two images were splitDeassessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 23, 2016, Lot 57.<ref>Landscape, from Christie's NY.</ref>\n|-\n! scope=\"row\" | Archbishop James Frederick Wood\n| 107\n| \n| Oil on canvas\n| 1877\n| \n| Crystal Bridges Museum of American Art, Bentonville, Arkansas\n| Deaccessioned from St. Charles Borromeo Seminary, Wynnewood, Pennsylvania, 2015.\n|-\n! scope=\"row\" | Study for the portrait of James Frederick Wood\n| 108\n| \n| Oil on canvas\n| 1876\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Scenes in a Cathedral\n| 108A, 108B, 108C, 108D, 108E, 108F, 108G, 108H, 108I\n| \n| Drawings\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | William Rush and His Model\n| 109\n| \n| Oil on canvas\n| 1876–1877\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Studies for \"William Rush\"\n| 109A, 109B, 109C, 109D, 109E, 109F, 109G, 109H,\n| \n| Drawings\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Study for William Rush and His Model (Yale), G-111\n| 110\n| \n| Oil on cardboard,\n| c. 1877\n| 8¼ × 10½\n| Farnsworth Art Museum, Rockland, Maine\n|\n|-\n! scope=\"row\" | William Rush and His Model (Yale)\n| 111\n| \n| Oil on canvas\n| 1876\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Interior of Rush's Shop\n| 112\n| \n| Oil on canvas\n| 1876–1877\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Model (Nude: Study)Study for William Rush and His Model (Yale), G-111\n| 113\n| \n| Oil on canvas\n| 1876\n| \n| Art Institute of Chicago, Chicago, Illinois\n|\n|-\n! scope=\"row\" | Seventy Years Ago\n| 114\n| \n| Watercolor on paper\n| 1877\n| \n| Princeton University Art Museum, Princeton, New Jersey\n|\n|-\n! scope=\"row\" | Sketch for Seventy Years Ago\n| 115\n| \n| Oil on canvas\n| \n| \n| Seattle Art Museum, Seattle, Washington\n|\n|-\n! scope=\"row\" | Young Girl Meditating\n| 116\n| \n| Watercolor on paper\n| 1877\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for Young Girl Meditating\n| 117\n| \n| Oil on canvas\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for Young Girl Meditating\n| 117A\n| \n| Oil on canvas\n| 1877\n| \n| Collection of Martin Perez.\n|\n|-\n! scope=\"row\" | In Washington (Lafayette Park, Washington, D.C.)\n| 118\n| \n| Wood\n| 1877\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Painted from a window of the White House, as Eakins waited for President Rutherford B. Hayes to sit for a portrait.\n|-\n! scope=\"row\" | The Courtship\n| 119\n| \n| Oil on canvas\n| c. 1878\n| \n| M. H. de Young Memorial Museum, San Francisco, California\n|\n|-\n! scope=\"row\" | Study for The Courtship\n| 120\n| \n| Oil on canvas\n| 1877-1878\n| 14 × 17\n|\n| Auctioned at Christie's NY, June 3, 1983; sold for $80,000.Ex collection: Gulf States Paper Corporation, Tuscaloosa, Alabama (1983-2013).Auctioned at Christie's New York, September 25, 2013; sold for $32,500.\n|-\n! scope=\"row\" | The Spinner (sketch for The Courtship)\n| 121\n| \n| Oil on canvas\n| c. 1878\n| \n| Worcester Art Museum, Worcester, Massachusetts\n|\n|-\n! scope=\"row\" | The Spinner (sketch for The Courtship)\n| 122\n| \n| Wood\n| \n| \n| Private collection.\n| The reverse side has a sketch of Dr. Andrews.\n|-\n! scope=\"row\" | The Young Man (sketch for The Courtship)\n| 123\n|\n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Anna Williams\n| 123A\n| \n| \n| \n| \n| \n| \n|-\n! scope=\"row\" | Study for Anna Williams\n| 123B\n| \n| \n| \n| \n| \n| \n|-\n! scope=\"row\" | Negro Boy Dancing (also known as \"The Dancing Lesson\")\n| 124\n| \n| Watercolor on paper\n| 1878\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Drawing for the Negro Boy dancing\n| 124A\n| \n| Drawing\n| 1878\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for Negro Boy Dancing\n| 125\n| \n| Oil on canvas\n| \n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n| Study for Negro Boy Dancing\n|125A\n| \n| \n| \n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. John H. Brinton\n| 126\n| \n| Oil on canvas\n| 1878\n| \n| Collection of Mrs. Rodolphe Meyer de Schauensee\n|Depicts Sarah (Ward) Brinton, wife of John H. Brinton (See G-101).\n|-\n! scope=\"row\" | The Spelling Bee at Angel's\n| 127\n| \n| \n| 1878\n| \n|\n| Published in Scribner's Magazine, November 1878\n|-\n! scope=\"row\" | Thar's a New Game Down in Frisco\n| 127A\n| \n| Oil on canvas\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| Study for the central standing figure in the Spelling Bee at Angel's. \n|-\n! scope=\"row\" | The Spelling Bee at Angel's\n| 128\n| \n| \n| 1878\n| \n|\n| Published in Scribner's Magazine, November 1878\n|-\n! scope=\"row\" | Mr. Neelus Peeler's Conditions\n| 129\n| \n| Black ink and Chinese white on paper\n| 1879\n| \n| Brooklyn Museum of Art, New York\n| Published in Scribner's Magazine, June 1879\n|-\n! scope=\"row\" | Perspective drawing for Mr. Neelus Peeler's Conditions\n| 129A\n| \n| Drawing\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Sketch for Mr. Neelus Peeler's Conditions\n| 130\n| \n| Wood\n| \n| \n| New Britain Museum of American Art, New Britain, Connecticut\n|Double sided. Often incorrectly referred to as \"The Timer\"\n|-\n! scope=\"row\" | Four anatomical drawings\n| 130A, 130B, 130C, 130D\n| \n| Drawings\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | A Quiet Moment\n| 131\n|\n| Oil on canvas\n| 1879\n| \n| \n| Lost\n|-\n! scope=\"row\" | Sewing\n| 132\n| \n| Oil on wood\n| c. 1879\n| \n| New Britain Museum of American Art, New Britain, Connecticut\n| Reverse side contains the sketch of an interior.\n|-\n! scope=\"row\" | Study of a Woman Knitting\n| 132A\n| \n| Oil\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | The Fairman Rogers Four-in-Hand\n| 133\n| \n| Oil on canvas\n| 1879–1880\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketches for the Fairman Rogers Four-in-Hand\n| 134\n| \n| Oil on wood\n| 1879\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided: one side depicts the coach being driven across the picture; the other side is a study of Mrs. Rogers.\n|-\n! scope=\"row\" | Landscape sketch for the Fairman Rogers Four-in-Hand\n| 135\n| Reverse of G135 as it appeared in 1933.\n| Oil on wood\n| \n| \n| \n| Originally composed of five or six sketches, which were later split.\n|-\n! scope=\"row\" | Study of the Delaware River\n| 135A\n| \n| Oil\n| \n| \n| \n| Originally part of G-135 until they were split.\n|-\n! scope=\"row\" | Study of a Man's Head for Mending the Net\n| 135B\n| \n| Oil\n| \n| \n| Private Collection.\n| Originally part of G-135 until they were split.Auctioned at Christie's NY, May 19, 2005, Lot 1520; sold for $38,400.\n|-\n! scope=\"row\" | Study of a Woman's Head for Mending the Net\n| 135C\n| \n| Oil\n| \n| \n| \n| Originally part of G-135 until they were split.\n|-\n! scope=\"row\" | Landscape sketch for the Fairman Rogers Four-in-Hand\n| 136\n| \n| Oil on wood\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided: one side is a study in Fairmount park. The other is a color note.\n|-\n! scope=\"row\" | Study of Horse for The Fairman Rogers Four-in-Hand\n| 137\n| \n| Oil on wood\n| 1879\n| \n| \n| Originally double sided with 137A until the two images were splitDeaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY (in a lot with G-137A, G-199A & G-201A), May 21, 2009; the lot sold for $119,500.\n|-\n! scope=\"row\" | Study of Horses for The Fairman Rogers Four-in-Hand\n| 137A\n| \n| Oil on canvas\n| 1879\n| \n| \n| Originally double sided with 137 until the two images were splitDeaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY (in a lot with G-137, G-199A & G-201A), May 21, 2009; the lot sold for $119,500. \n|-\n! scope=\"row\" | Fan\n| 137B\n| \n| \n| \n| \n| \n| Sold at auction, January 24, 1994, for $160,000.\n|-\n! scope=\"row\" | General George Cadwalader\n| 138\n| \n| Oil on canvas\n| 1880\n| \n| Butler Institute of American Art, Youngstown, Ohio\n|\n|-\n! scope=\"row\" | General George Cadwalader\n| 139\n| \n| Oil on canvas\n| 1880\n| \n| \n| Painted posthumously from a carte-de-visite.Deassessioned from the collection of the Mutual Assurance Company of Philadelphia.\nOffered for auction at Sotheby's New York, November 13, 2017. Unsold.\n|-\n! scope=\"row\" | Retrospection\n| 140\n| \n| Oil on wood\n| 1880\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Retrospection (Watercolor)\n| 141\n| \n| Watercolor on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Walter MacDowell\n| 141A\n| \n| Oil\n| \n| \n|Private collection\n|\n|-\n! scope=\"row\" | The Crucifixion\n| 142\n| \n| Oil on canvas\n| 1880\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for the Crucifixion\n| 143\n| \n| Oil on canvas\n| 1880\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | J. Laurie Wallace posing\n| 143A\n| \n| Oil\n| \n| \n|Private collection\n| Auctioned at Sotheby's NY, December 3, 1987; sold for $160,000.\n|-\n! scope=\"row\" | Spinning\n| 144\n| \n| Watercolor on paper\n| 1881\n| \n| Collection of Mrs. John Randolph Garrett Sr.\n|\n|-\n! scope=\"row\" | Drawing for Spinning\n| 144A\n|\n| Drawing\n| \n| \n| \n| \n|-\n! scope=\"row\" | Sketch for Spinning\n| 145\n| \n| Oil on wood\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Spinning (also called \"Homespun\")\n| 146\n| \n| Watercolor on paper\n| 1881\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for Spinning\n| 147\n| \n| Oil on wood\n| \n| \n| Yale University Art Gallery, New Haven, Connecticut\n| Double sided – the reverse side also contains a sketch for Spinning\n|-\n! scope=\"row\" | The Pathetic Song\n| 148\n| \n| Oil on canvas\n| 1881\n| \n| Corcoran Museum of Art, Washington, DC.\n|\n|-\n! scope=\"row\" | Sketch for the Pathetic Song\n| 149\n| \n| Oil on wood\n| 1881\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, DC.\n|\n|-\n! scope=\"row\" | The Pathetic Song\n| 149A\n| \n| Watercolor\n| \n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Rail Shooting\n| 150\n| \n| Drawing\n| 1881\n| \n| Yale University Art Gallery, New Haven, Connecticut\n| Published in Scribner's Magazine, July 1881\n|-\n! scope=\"row\" | A Pusher (also known as \"Poleman in the Ma'sh)\n| 151\n| \n| Drawing\n| 1881\n| 11 × 5⅞\n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Drawing for William Rush Carving The Allegorical Figure Of The Schuylkill\n| 151A\n| \n| Drawing\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| \n|-\n! scope=\"row\" | Shad-Fishing at Gloucester on the Delaware River (also called \"Taking up the Net\")\n| 152\n| \n| Oil on canvas\n| 1881\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Shad-Fishing at Gloucester on the Delaware River (also called \"Taking up the Net\")\n| 153\n| \n| Watercolor on paper\n| 1881\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Shad-Fishing at Gloucester on the Delaware River\n| 154\n| \n| Oil\n| 1881\n| \n| Ball State University Art Museum, Muncie, Indiana\n|\n|-\n! scope=\"row\" | Mending the Net\n| 155\n| \n| Oil on canvas\n| 1881\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Drawing for Mending the Net\n| 155A\n|\n| Drawing\n| \n| \n| \n| \n|-\n! scope=\"row\" | A Fisherman\n| 156\n| \n| Oil on cardboard\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Tree\n| 157\n| \n| Oil on wood\n| \n| \n| \n| Originally double sided with G-157A until the two images were split.Auctioned at Christie's New York, May 21, 2008, Lot 90; sold for $23,750.\n|-\n! scope=\"row\" | Mending the Net: Study of the Tree\n| 157A\n|\n| Oil on wood\n| \n| \n| \n| Originally double sided with G-157 until the two images were split.\n|-\n! scope=\"row\" | Mending the Net\n| 158\n| \n| Watercolor on paper\n| 1882\n| \n| \n| Auctioned at Christie's NY, June 5, 1997; sold for $1,400,000.\n|-\n! scope=\"row\" | Drawing the Seine\n| 159\n| \n| Watercolor on paper\n| 1882\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Hauling the Seine\n| 160\n| \n| Oil on canvas\n| 1882\n| \n| Princeton University Art Museum, Princeton, New Jersey\n|\n|-\n! scope=\"row\" | \"The Meadows, Gloucester, New Jersey\"\n| 161\n| \n| Oil on canvas\n| c. 1882\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | \"Sketch for The Meadows, Gloucester, New Jersey\"\n| 162\n|\n| Oil on wood\n| \n| \n| \n| Originally double sided with G-162A until the two images were split.\n|-\n! scope=\"row\" | Study\n| 162A\n|\n| Oil\n| \n| \n| \n| Originally double sided with G-162 until the two images were split.\n|-\n! scope=\"row\" | In the Country\n| 163\n| \n| Oil on canvas\n| c. 1882\n| 10¼ × 14\n| Private collection\n| Auctioned at Sotheby's NY, November 29, 1990; sold for $30,000.\n|-\n! scope=\"row\" | Near the Sea (Also known as \"Landscape study\")\n| 164\n|\n| Oil on canvas\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n| \n|-\n! scope=\"row\" | Untitled landscape sketch\n| 165\n| \n| Oil on wood\n| \n| \n| \n| Originally double sided with G-165A until the two images were split.\n|-\n! scope=\"row\" | Study of a horse\n| 165A\n|\n| Oil\n| \n|\n| \n| Originally double sided with G-165 until the two images were split.\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 166\n| \n| Oil on canvas\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Delaware River Scene\n| 167\n| \n| Oil on canvas\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 168\n|\n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Untitled landscape sketch\n| 169\n| \n| Oil on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 170\n| \n| Oil on paper\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 171\n|\n| Oil on paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Untitled landscape sketch\n| 172\n| \n| Oil on canvas\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 173\n| \n| Oil on canvas\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 174\n|\n| Oil on canvas\n| \n| \n| University at Buffalo, The State University of New York art gallery, Buffalo, New York\n| \n|-\n! scope=\"row\" | Untitled landscape sketch\n| 175\n| \n| Oil on cardboard\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 176\n|\n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Untitled landscape sketch\n| 177\n|\n| Oil on cardboard\n| \n| \n| \n| \n|-\n! scope=\"row\" | The Brinton House\n| 177A\n| \n| Oil\n| 1878\n| \n|\n| Subject is the William Brinton 1704 House in Birmingham Township, Chester County, Pennsylvania.Painted for Eakins's friend Dr. John H. Brinton (See G-101).\n|-\n! scope=\"row\" | Study for Old Man in Taking The Count\n| 178\n| \n| Oil on canvas\n| c. 1898\n| 13¼ × 10\n|\n| Auctioned at Christie's New York, May 24, 2007; sold for $78,000.Auctioned at Freeman's Philadelphia, December 6, 2015; sold for $46,875.\n|-\n! scope=\"row\" | Untitled sketch\n| 179\n|\n| Oil on canvas mounted on cardboard\n| \n| \n| \n| \n|-\n! scope=\"row\" | Untitled sketch (\"Girl in Shade\")\n| 180\n|\n| Oil on cardboard\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n| \n|-\n! scope=\"row\" | Untitled sketch\n| 181\n|\n| Oil on wood\n| \n| \n| \n| \n|-\n! scope=\"row\" | Boatman (Study of a Groom)\n| 182\n| \n| Oil on wood\n| c. 1879\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided: one side is a study for the left leader horse in \"The Fairman Rogers Four-In-Hand.\" The reverse side is the Study of a Groom.\n|-\n! scope=\"row\" | Untitled sketch\n| 183\n| \n| Oil on cardboard\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Untitled sketch\n| 184\n| \n| Oil on heavy paper mounted on cardboard\n| \n| \n| La Salle University Art Gallery, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study of Three Balls of Wool and a Rosebush\n| 185\n|\n| Oil on canvas\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n| \n|-\n! scope=\"row\" | Two Cylinders and a Ball\n| 185A\n| \n| Oil\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n|\n|-\n! scope=\"row\" | Untitled sketch\n| 186\n|\n| Oil on heavy paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Study of a woman seated\n| 187\n|\n| Oil on canvas mounted on cardboard\n| \n| \n| \n| Auctioned at Doyle's NY, November 28, 2007; unsold.\n|-\n! scope=\"row\" | Street Scene\n| 187A\n| \n| Oil\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | The Writing Master\n| 188\n| \n| oil on canvas\n| 1882\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for the Writing Master\n| 189\n| \n| Oil on wood\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided – one side is a sketch for \"The Writing Master.\" The other side is Sketch of a Man and Study of Drapery\n|-\n! scope=\"row\" | The Swimming Hole\n| 190\n| \n| Oil on canvas\n| 1884–1885\n| \n| Amon Carter Museum, Fort Worth, Texas\n|\n|-\n! scope=\"row\" | Study for the Swimming Hole\n| 191\n| \n| Oil on wood\n| 1884\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, DC.\n|\n|-\n! scope=\"row\" | Sketch of the landscape for the Swimming Hole\n| 192\n| \n| Oil on wood\n| \n| \n| Collection of Mr. I David Orr\n|\n|-\n! scope=\"row\" | Sketches for the Swimming Hole\n| 193\n| \n| Oil on cardboard\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich IIBolger, plates 17–18\n| Double-sided, both sides are studies for \"The Swimming Hole\"\n|-\n! scope=\"row\" | Sketches for the Swimming Hole\n| 194\n| \n| Oil on cardboard\n| \n| \n| Amon Carter Museum, Fort Worth, Texas\n| Double-sided, both sides are studies for \"The Swimming Hole\"\n|-\n! scope=\"row\" | Study for The Swimming Hole\n| 195\n| \n| Oil on cardboard\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich IIBolger, plate 19\n| Double-sided, obverse side contains study of the fisherman's hand from \"Mending the Net\"\n|-\n! scope=\"row\" | Arcadia\n| 196\n| \n| Oil on canvas\n| 1883\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for Arcadia\n| 197\n| \n| Oil on wood\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, PennsylvaniaFoster, #251\n|\n|-\n! scope=\"row\" | Youth Playing Pipes\n| 198\n| \n| Oil on wood\n| \n| \n| Carnegie Museum of Art, Pittsburgh, Pennsylvania\n| J. Laurie Wallace posed as the model.\n|-\n! scope=\"row\" | Boy Reclining\n| 199\n| \n| Oil on wood\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, DC.\n| Originally double sided with G-199A until the two images were split.\n|-\n! scope=\"row\" | Study of a Horse\n| 199A\n| \n| Drawing\n| \n| \n|\n| Originally double sided with G-199 until the two images were split.Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY (in a lot with G-137, G-137A & G-201A), May 21, 2009; the lot sold for $119,500.\n|-\n! scope=\"row\" | An Arcadian\n| 200\n| \n| Oil on canvas\n| c. 1883\n| \n| \n| \n|-\n! scope=\"row\" | Study for An Arcadian\n| 201\n| \n| Oil on wood\n| \n| \n| \n| Originally double sided with G-201A until the two images were split.Deassessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 23, 2016, Lot 56.\n|-\n! scope=\"row\" | Studies of a horse\n| 201A\n| \n| Drawing\n| \n| \n| \n| Originally double sided with G-201 until the two images were split.Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY (in a lot with G-137, G-137A & G-199A), 2009; the lot sold for $119,500.\n|-\n! scope=\"row\" | Weda Cook and Statue\n| 201B\n|\n| Oil\n| \n| \n| \n| See G-267A for a related study.\n|-\n! scope=\"row\" | A Woman's Back: Study\n| 202\n| \n| Oil on wood\n| 1879\n| \n| Collection of Mr. and Mrs. Daniel Dietrich IIGoodrich, 1982, volume I, page 177\n|\n|-\n! scope=\"row\" | Female Nude\n| 203\n| \n| Oil on canvas\n| Probably early 1880s\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| \n|-\n! scope=\"row\" | Female Nude\n| 204\n| \n| Oil on canvas\n| Probably early 1880s\n| \n| Nelson-Atkins Museum of Art, Kansas City, Missouri\n|\n|-\n! scope=\"row\" | Female Nude\n| 205\n| \n| Watercolor on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for female nude\n| 205A\n| \n| Oil\n| \n| \n|\n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY, September 29, 2010; sold for $50,000.\n|-\n! scope=\"row\" | J. Laurie Wallace\n| 206\n| \n| Oil on canvas\n| c. 1883\n| \n| Joslyn Art Museum, Omaha, Nebraska\n|\n|-\n! scope=\"row\" | Drawing for J. Laurie Wallace\n| 206A\n|\n| Drawing\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n| \n|-\n! scope=\"row\" | Professionals at Rehearsal\n| 207\n| \n| Oil on canvas\n| c. 1883\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n|Perspective Study Of Boy Viewing an Object\n|207A\n| \n| \n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n|Perspective drawing of a table\n|207B\n| \n| \n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n|Perspective drawing of two tables\n|207C\n| \n| \n| \n| \n| \n|\n|-\n! scope=\"row\" | In the Studio\n| 208\n| \n| Oil on canvas\n| 1884\n| \n| The Hyde Collection, Glens Falls, New York\n|\n|-\n! scope=\"row\" | In the Studio\n| 209\n| \n| Watercolor on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Unfinished\n|-\n! scope=\"row\" | A.B. Frost\n| 210\n| \n| Oil on canvas\n| c. 1884\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for A.B. Frost\n| 210A\n| \n| Oil on cardboard\n| \n| \n| Detroit Institute of Arts, Detroit, Michigan\n|\n|-\n! scope=\"row\" | The Veteran\n| 211\n| \n| Oil on canvas\n| c. 1886\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Mrs. William Shaw Ward\n| 212\n| \n| Oil on canvas\n| \n| \n| \n| Auctioned at Sothebys NY, December 2, 2010; sold for $242,500.\n|-\n! scope=\"row\" | The Artist's Wife and His Setter Dog\n| 213\n| \n| Oil on canvas\n| 1885\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Professor George F. Barker\n| 214\n| Barker's portrait as it appeared originally.\n| Oil on canvas\n| 1886\n| \n| Mitchell Museum at Cedarhurst, Mount Vernon, Illinois\n| Originally 3/4-length and 60×40 inches, cut down to head-and-bust and 24×20 inches.\n|-\n! scope=\"row\" | Sketch for Professor George F. Barker\n| 215\n| \n| Oil on cardboard\n| 1886\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Doubled sided – one side is a sketch for Professor George F. Barker. The other side depicts seated figures.\n|-\n! scope=\"row\" | Professor William D. Marks\n| 216\n| \n| Oil on canvas\n| 1886\n| \n| Washington University Gallery of Art, St. Louis, Missouri\n|\n|-\n! scope=\"row\" | Professor William D. Marks (unfinished)\n| 217\n| \n| Oil on canvas\n| c. 1886\n| 76 × 54\n| Iris & B. Gerald Cantor Center for Visual Arts, Stanford, California\n|\n|-\n! scope=\"row\" | Miss Sophie Brooks\n| 217A\n|\n| Oil\n| \n| \n| \n| \n|-\n! scope=\"row\" | Frank McDowell\n| 218\n| \n| Oil on canvas\n| c. 1886\n| \n| Virginia Museum of Fine Arts,Richmond, Virginia\n| Auctioned at Christie's NY, December 9, 1983; sold for $80,000.\n|-\n! scope=\"row\" | Frank MacDowell (unfinished)\n| 219\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Portrait of Walt Whitman\n| 220\n| \n| Oil on canvas\n| 1887–1888\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for Walt Whitman\n| 221\n| \n| Oil on wood\n| Probably 1887\n| \n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | Mrs. Letitia Wilson Jordan\n| 222\n| \n| Oil on canvas\n| 1888\n| \n| Brooklyn Museum of Art, New York City\n|\n|-\n! scope=\"row\" | Sketch for Mrs. Letitia Wilson Jordan Bacon\n| 223\n| \n| Oil on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Cowboys in the Badlands\n| 224\n| \n| Oil on canvas\n| 1888\n| \n| Anschutz collection, Denver, Colorado\n| Auctioned at Christie's NY, May 22, 2003; sold for $5,383,500.Set a record for an Eakins painting at auction.\n|-\n! scope=\"row\" | Sketches for Cowboys in the Badlands\n| 225\n| \n| Oil on cardboard\n| \n| \n| Albright-Knox Art Gallery, Buffalo, New York\n| Originally part of the same work with G-225A and G-225B.\n|-\n! scope=\"row\" | Sketch of a saddle\n| 225A\n| \n| Oil on canvas on cardboard\n| 1887\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Originally part of the same work with G-225 and G-225B.\n|-\n! scope=\"row\" | Study of a stirrup\n| 225B\n| \n| \n| \n| \n| \n| Originally part of the same work with G-225 and G-225A.\n|-\n! scope=\"row\" | Sketch for Cowboys in the Badlands\n| 226\n| \n| Oil on canvas\n| \n| \n| Denver Art Museum, Denver, Colorado\n| Deaccessioned by the Philadelphia Museum of Art, April 2008, to fund the co-purchase (with PAFA) of The Gross Clinic.\n|-\n! scope=\"row\" | The Bad Lands\n| 227\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for Cowboys in the Badlands\n| 227A\n| \n| Oil on canvas\n| \n| 10⅜ × 13½\n| \n| Auctioned at Sothebys NY, October 17, 1980; sold for $8,000.\n|-\n! scope=\"row\" | Landscape sketch for Cowboys in the Badlands\n| 228\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Originally double sided with G-228A.\n|-\n! scope=\"row\" | Landscape sketch for Cowboys in the Badlands\n| 228A\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Originally double sided with G-228.\n|-\n! scope=\"row\" | Cowboy Riding\n| 229\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Denver Art Museum, Denver, Colorado\n| Deaccessioned from the Philadelphia Museum of Art, April 2008, to fund the co-purchase (with PAFA) of The Gross Clinic.\n|-\n! scope=\"row\" | Cowboy (sketches)\n| 230\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| \n| Edward Boulton posed as the model for the cowboy.\n|-\n! scope=\"row\" | Cowboy Riding\n| 230A\n| \n| Oil on canvas\n| \n| 10¼ × 14¼\n| \n| Auctioned at Freeman's Philadelphia, June 22, 2003; sold for $12,000.\n|-\n! scope=\"row\" | Cowboy (sketch)\n| 231\n|\n| Oil on canvas mounted on cardboard\n| \n| \n| \n| \n|-\n! scope=\"row\" | Edward W. Boulton\n| 232\n| \n| \n| c. 1888\n| \n| \n| Destroyed by vandalism – \"The portrait of [Edward W.] Boulton by Eakins was lent to the University Club for an exhibit, and a waiter ran amuck and slashed it up.\"\n|-\n! scope=\"row\" | Douglass M. Hall\n| 233\n| \n| Oil on canvas\n| c. 1888\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Used as cover image for the album \"Kapitulation\" by the German indie rock band Tocotronic.\n|-\n! scope=\"row\" | Girl in a Big Hat (Portrait of Lillian Hammitt)\n| 234\n| \n| Oil on canvas\n| c. 1888\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Hammitt paraded through the streets in a bathing suit and claimed to be Mrs. Thomas Eakins. She was committed to a mental hospital.\n|-\n! scope=\"row\" | The Agnew Clinic\n| 235\n| \n| Oil on canvas\n| 1889\n| \n| University of Pennsylvania School of Medicine, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Drawing of David Hayes Agnew\n| 235A\n| \n| Ink and pencil on paper\n| c. 1889\n| 9 9/16 x 6 1/16\n| Philadelphia Museum of Art\n|\n|-\n! scope=\"row\" | Sketch for the Agnew Clinic\n| 236\n| \n| Oil on canvas mounted on cardboard\n| \n| \n|Virginia Museum of Fine Arts,Richmond, Virginia\n|\n|-\n! scope=\"row\" | Study of Dr. D. Hayes Agnew\n| 237\n| \n| Oil on canvas\n| 1889\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Samuel Murray\n| 238\n| \n| Oil on canvas\n| 1889\n| \n| Mitchell Museum at Cedarhurst, Mount Vernon, Illinois\n|\n|-\n! scope=\"row\" | Dr. Horatio C. Wood\n| 239\n| \n| Oil on canvas\n| c. 1889\n| \n| Detroit Institute of Arts, Detroit, Michigan\n|\n|-\n! scope=\"row\" | Professor George W. Fetter\n| 240\n| \n| Oil on canvas\n| 1890\n| \n| Collection of the School District of Philadelphia, Philadelphia, Pennsylvania\n|Rediscovered in 2004 by janitors in the boiler room of a Philadelphia school. Currently in an undisclosed location.\n|-\n! scope=\"row\" | Drawing for Professor George W. Fetter\n| 241\n|\n| Black ink on white tile\n| \n| \n| \n| \n|-\n! scope=\"row\" | Portrait of Talcott Williams\n| 242\n| \n| Oil on canvas\n| c. 1890\n| \n| National Portrait Gallery, Washington, D.C.\n|\n|-\n! scope=\"row\" | The Bohemian: Portrait of Franklin Louis Schenk\n| 243\n| \n| Oil on canvas\n| c. 1890\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | F.L. Schenk\n| 244\n| \n| Oil on canvas\n| c. 1890\n| \n| Delaware Art Museum, Wilmington, Delaware\n|\n|-\n! scope=\"row\" | F.L. Schenk\n| 245\n|\n| Oil on cardboard\n| c. 1890\n| \n| Private collection\n| \n|-\n! scope=\"row\" | The Father of F.L. Schenk\n| 246\n| \n| Oil on canvas\n| c. 1890\n| \n| Collection of Nelson C. White\n|\n|-\n! scope=\"row\" | Head of a Cowboy\n| 247\n| \n| Oil on canvas\n| c. 1890\n| \n| Mead Art Museum, Amherst, Massachusetts\n|\n|-\n! scope=\"row\" | Home Ranch\n| 248\n| \n| Oil on canvas\n| c. 1890\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Cowboy Singing\n| 249\n| \n| Watercolor on paper\n| c. 1890\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Cowboy Singing\n| 250\n| \n| Oil on canvas\n| c. 1890\n| \n| Jointly owned by Anschutz collection and Denver Art Museum, Denver, Colorado\n| Deaccessioned from the Philadelphia Museum of Art, April 2008, to fund (with PAFA) the co-purchase of \"The Gross Clinic.\"\n|-\n! scope=\"row\" | Thomas B. Harned\n| 251\n| \n| Oil on canvas\n| c. 1890\n| 24 x 20\n| Collection of Dr. and Mrs. Herbert S. Harned, Jr. On long-term loan to the Ackland Art Museum, Chapel Hill, North Carolina\n|\n|-\n! scope=\"row\" | Dr. Joseph Leidy II (also known as \"Portrait of Man with Red Necktie\")\n| 252\n| \n| Oil on canvas\n| 1890\n| 50 x 36\n| \n|Deassessioned from Newark Museum, Newark, New Jersey.Auctioned at Sotheby's New York, 19 May 2021. Sold for $362,800.\n|-\n! scope=\"row\" | Dr. Joseph Leidy II (unfinished)\n| 253\n|\n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | William H. Macdowell\n| 254\n| \n| Oil on canvas\n| c. 1890\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Phidias Studying for the Frieze of the Parthenon\n| 255\n| \n| Oil on wood\n| c. 1890\n| \n| Collection of the Eakins Press Foundation\n| Originally double sided with G-255A until the two images were split.\n|-\n! scope=\"row\" | Two Nude Youths on Prancing Horses\n| 255A\n| \n| Oil on wood\n| c. 1890\n| \n| \n| Originally double sided with G-255 until the two images were split.\n|-\n! scope=\"row\" | The Red Shawl\n| 256\n| \n| Oil on canvas\n| c. 1890\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Francis J. Ziegler (also known as \"The Critic\")\n| 257\n| \n| Oil on canvas\n| c. 1890\n| \n| Fogg Art Museum, Cambridge, Massachusetts\n|\n|-\n! scope=\"row\" | The Art Student: Portrait of James Wright\n| 258\n| \n| Oil on canvas\n| c. 1890\n| \n| Crystal Bridges Museum of American Art, Bentonville, Arkansas\n| Ex collection: Maloogian Collection, on loan to Detroit Institute of Arts, Detroit, Michigan\n|-\n! scope=\"row\" | The Black Fan\n| 259\n| \n| Oil on canvas\n| c. 1891\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | William H. Macdowell\n| 260\n| \n| Oil on canvas\n| c. 1891\n| \n| Taubman Museum of Art, Roanoke, Virginia\n|\n|-\n! scope=\"row\" | William H. Macdowell (study)\n| 261\n| \n| Oil on canvas\n| c. 1891\n| \n| Randolph-Macon Woman's College Art Gallery, Lynchburg, Virginia\n|\n|-\n! scope=\"row\" | Portrait of William H. MacDowell\n| 262\n| \n| Paper on a stretcher\n| \n| \n| Baltimore Museum of Art, Baltimore, Maryland\n| Unfinished\n|-\n! scope=\"row\" | Study for William H. MacDowell\n| 262A\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Miss Amelia Van Buren\n| 263\n| \n| Oil on canvas\n| c. 1891\n| \n| The Phillips Collection, Washington, D.C.\n|\n|-\n! scope=\"row\" | Professor Henry A. Rowland\n| 264\n| \n| Oil on canvas\n| 1897\n| \n| Addison Gallery of American Art, Andover, Massachusetts\n|\n|-\n! scope=\"row\" | Sketch for Professor Henry A. Rowland\n| 265\n| \n| Oil on canvas\n| \n| \n| Addison Gallery of American Art, Andover, Massachusetts\n|\n|-\n! scope=\"row\" | The Concert Singer\n| 266\n| \n| Oil on canvas\n| 1890–1892\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for the Concert Singer\n| 267\n| \n| Oil on canvas mounted on wood\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for Weda Cook and Statue\n| 267A\n| \n| Oil on canvas\n| \n| \n| Blanton Museum of Art, Austin, Texas\n| Also known as \"The Opera Singer.\" On the reverse is \"Woman on balcony waving white handkerchief.\"\n|-\n! scope=\"row\" | Joshua Ballinger Lippincott\n| 268\n| \n| Oil on canvas\n| 1892\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for Joshua Ballinger Lippincott\n| 268A\n| \n| Oil\n| 1892\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Miss Blanche Hurlburt\n| 269\n| \n| Oil on canvas\n| c. 1892\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Dr. Jacob M. Da Costa\n| 270\n| \n| Oil on canvas\n| 1893\n| \n| Pennsylvania HospitalKirkpatrick, 384\n|\n|-\n! scope=\"row\" | Jacob M. Da Costa\n| 270A\n|\n| Oil on canvas\n| \n| \n|\n| Destroyed by Thomas Eakins after DaCosta rejected it.\n|-\n! scope=\"row\" | Sketch for Dr. Jacob M. Da Costa\n| 271\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Girl with Puff Sleeves\n| 272\n| \n| Oil on canvas\n| \n| \n| \n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY, September 29, 2010; sold for $18,750.\n|-\n! scope=\"row\" | Frank Hamilton Cushing\n| 273\n| \n| Oil on canvas\n| Late 1894 or 1895\n| \n| Gilcrease Museum, Tulsa, Oklahoma\n|\n|-\n! scope=\"row\" | Study for Frank Hamilton Cushing\n| 274\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. Frank Hamilton Cushing\n| 275\n| \n| Oil on canvas\n| c. 1894 or 1895\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study of James MacAlister (also known as \"Man in the Red Necktie\")\n| 276\n| \n| Oil on canvas mounted on cardboard\n| ca. 1895\n| \n| Metropolitan Museum of Art, New York\n| Originally double sided with G-276A until the two images were split.\n|-\n! scope=\"row\" | Study for William L. MacLean\n| 276A\n| \n| Oil on canvas mounted on cardboard\n| ca. 1895\n| \n| \n| Originally double sided with G-276 until the two images were split.\n|-\n! scope=\"row\" | Weda Cook\n| 277\n| \n| Oil on canvas\n| c. 1895\n| \n| Columbus Museum of Art, Columbus, Ohio\n|\n|-\n! scope=\"row\" | The Pianist (Stanley Addicks)\n| 278\n| \n| Oil on canvas\n| c. 1895\n| \n| Indianapolis Museum of Art, Indianapolis, Indiana\n|\n|-\n! scope=\"row\" | Katherine Maud Cook\n| 279\n| \n| Oil on canvas\n| 1895\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Riter Fitzgerald\n| 280\n| \n| Oil on canvas\n| 1895\n| \n| Art Institute of Chicago, Chicago, Illinois\n|\n|-\n! scope=\"row\" | Sketch for Riter Fitzgerald\n| 281\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| The Huntington Library, San Marino, California\n|\n|-\n! scope=\"row\" | Sketch for Riter Fitzgerald\n| 282\n| \n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Study for Mrs. Hubbard\n| 283\n| \n| Oil on canvas mounted on cardboard\n| c. 1895\n| \n| Sewell C. Biggs Museum of American Art, Dover, Delaware\n| Study for now-destroyed portrait of Mrs. Hubbard.Auctioned at Sotheby's NY, March 11, 1999; sold for $34,500.\n|-\n! scope=\"row\" | John McLure Hamilton\n| 284\n| \n| Oil on canvas\n| 1895\n| \n| Wadsworth Atheneum, Hartford, Connecticut\n|\n|-\n! scope=\"row\" | Sketch for John McLure Hamilton\n| 285\n| \n| Oil on canvas mounted on cardboard\n| \n| 14⅝ × 10⅝\n| Georgia Museum of Art, Athens, Georgia\n|\n|-\n! scope=\"row\" | Mrs. Charles L. Leonard\n| 286\n| \n| Oil on cardboard\n| 1895\n| \n| Thomas Colville Fine Art\n| Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 3, 2011; sold for $25,000.\n|-\n! scope=\"row\" | Miss Gertrude Murray\n| 287\n| \n| Oil on canvas\n| 1895\n| \n| Dallas Museum of Art, Dallas, Texas\n|\n|-\n! scope=\"row\" | Charles Linford\n| 288\n| \n| Oil on canvas\n| c. 1895\n| \n| \n| Ex collection: IBM.Auctioned at Sotheby's NY, Mat 25, 1995; sold for $80,000.\n|-\n! scope=\"row\" | Captain Joseph Lapsley Wilson\n| 289\n| \n| Oil on canvas\n| c. 1895\n| 30 × 22\n| Collection of the First Troop Philadelphia City Cavalry\n|\n|-\n! scope=\"row\" | Sketch for Captain Joseph Lapsley Wilson\n| 290\n|\n| Oil on canvas mounted on cardboard\n| c. 1895\n| 7¾ × 5¼\n| \n| Auctioned at Christie's NY, June 3, 1983; sold for $9000.Ex collection: Gulf States Paper Corporation, Tuscaloosa, Alabama (1983-2013).Auctioned at Christie's New York, September 25, 2013, Lot 196, Unsold.\n|-\n! scope=\"row\" | The Cello Player\n| 291\n| \n| Oil on canvas\n| 1896\n| \n| Private collection\n| Deaccessioned from the Pennsylvania Academy of the Fine Arts, 2007, to fund the co-purchase (with PMA) of \"The Gross Clinic.\"\n|-\n! scope=\"row\" | Sketch for the Cello Player\n| 292\n| \n| Oil on canvas\n| 1896\n| \n| Heckscher Museum of Art, Huntington, New York\n|\n|-\n! scope=\"row\" | Mrs. James Mapes Dodge\n| 293\n| \n| Oil on canvas\n| 1896\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Harrison S. Morris\n| 294\n| \n| Oil on canvas\n| 1896\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for Harrison S. Morris\n| 295\n| \n| Oil on canvas mounted on cardboard\n| \n| \n|Newark Museum, Newark, New Jersey\n|\n|-\n! scope=\"row\" | Professor William Woolsey Johnson\n| 295A\n| \n| Oil on canvas\n| c. 1896\n| \n| M. H. de Young Memorial Museum, San Francisco, California\n|\n|-\n! scope=\"row\" | Dr. Charles Lester Leonard\n| 296\n| \n| Oil on canvas\n| 1897\n| \n| Collection of the University of Pennsylvania School of Medicine, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Jennie Dean Kershaw (Mrs. Samuel Murray)\n| 297\n| \n| Oil on canvas\n| c. 1897\n| \n| Sheldon Museum of Art, Lincoln, Nebraska\n|\n|-\n! scope=\"row\" | Mrs. Samuel Murray (unfinished)\n| 298\n| \n| Oil on canvas\n| \n| \n| Baltimore Museum of Art, Baltimore, Maryland\n|\n|-\n! scope=\"row\" | Miss Lucy Lewis\n| 299\n| \n| Oil on canvas\n| c. 1897\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Miss Anna Lewis\n| 300\n| \n| Oil on canvas\n| c. 1898\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | William H. MacDowell with a Hat\n| 301\n| \n| Oil on canvas\n| c. 1898\n| \n| Taubman Museum of Art, Roanoke, Virginia\n|\n|-\n! scope=\"row\" | General E. Burd Grubb\n| 302\n| \n| Oil on canvas\n| Probably 1898\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Taking the Count\n| 303\n| \n| Oil on canvas\n| 1898\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Sketch for Taking the Count\n| 304\n| \n| Oil on canvas mounted on cardboard\n| 1898\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Sketch for Taking the Count\n| 305\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | The Referee, H. Walter Schlichter\n| 306\n| \n| Oil on canvas\n| 1898\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Maybelle\n| 307\n| \n| Oil on canvas\n| 1898\n| \n| Frye Art Museum, Seattle, Washington\n|\n|-\n! scope=\"row\" | Sketch for Maybelle\n| 308\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| \n| \n|-\n! scope=\"row\" | John N. Fort\n| 309\n| \n| Oil on canvas\n| 1898\n| \n| Williams College Museum of Art, Williamstown, Massachusetts\n|\n|-\n! scope=\"row\" | Salutat\n| 310\n| \n| Oil on canvas\n| 1898\n| \n| Addison Gallery of American Art, Phillips Academy\n|\n|-\n! scope=\"row\" | Study for Salutat\n| 311\n| \n| Oil on canvas\n| 1898\n| \n| Carnegie Museum of Art, Pittsburgh, Pennsylvania\n|\n|-\n! scope=\"row\" | Between Rounds\n| 312\n| \n| Oil on canvas\n| 1898–1899\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for Between Rounds\n| 313\n| \n| Oil on cardboard\n| \n|\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Double sided – one side is a study for \"Between Rounds;\" the other side is a landscape sketch.\n|-\n! scope=\"row\" | Billy Smith (sketch)\n| 314\n| \n| Oil on canvas\n| c. 1898\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Billy Smith (study)\n| 315\n| \n| Oil on canvas\n| 1898\n| \n| Wichita Art Museum, Wichita, Kansas\n|\n|-\n! scope=\"row\" | The Timer\n| 316\n| \n| Oil on canvas\n| 1898\n| \n| New Britain Museum of American Art, New Britain, Connecticut\n|\n|-\n! scope=\"row\" | Wrestlers\n| 317\n| \n| Oil on canvas\n| 1899\n| \n| Los Angeles County Museum of Art, Los Angeles County, California\n|\n|-\n! scope=\"row\" | Study for Wrestlers\n| 318\n| \n| Oil on canvas\n| \n| \n| Los Angeles County Museum of Art, Los Angeles County, California\n|\n|-\n! scope=\"row\" | Wrestlers (unfinished)\n| 319\n| \n| Oil on canvas\n| 1899\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Fairman Rogers Four-in-Hand (black & white)\n| 320\n| \n| Oil on canvas\n| 1899\n| \n| St. Louis Art Museum, St. Louis, Missouri\n| Black & white version of the 1879–80 original. Painted to be photographed as an illustration for Fairman Rogers, A Manual of Coaching (Philadelphia, 1900).\n|-\n! scope=\"row\" | T. Ellwood Potts\n| 321\n|\n|\n| 1890–1900\n| \n| \n| \n|-\n! scope=\"row\" | Mrs. T Ellwood Potts\n| 322\n|\n| \n| c. 1890–1900\n| \n| \n| \n|-\n! scope=\"row\" | Addie: A Woman in Black (Portrait of Miss Mary Adeline Williams)\n| 323\n| \n| Oil on canvas\n| c. 1899\n| \n| Art Institute of Chicago, Chicago, Illinois\n| In Eakins Revealed (pp. 369–371), author Henry Adams claims that Mary Adeline \"Addie\" Williams, an Eakins family friend, was the nude model for G-451 William Rush and his Model, and related studies G-445, G-446, G-447, G-452, G-453 and G-454.\n|-\n! scope=\"row\" | Benjamin Eakins\n| 324\n| \n| Oil on canvas\n| c. 1899\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Mrs. Thomas Eakins\n| 325\n| \n| Oil on canvas\n| c. 1899\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. William H. Green\n| 326\n| \n| Oil on canvas\n| 1899\n| \n| Driscoll Babcock Galleries\n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY, September 29, 2010; sold for $31,250.\n|-\n! scope=\"row\" | The Dean's Roll Call\n| 327\n| \n| Oil on canvas\n| 1899\n| \n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | Louis Husson\n| 328\n| \n| Oil on canvas\n| 1899\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | David Wilson Jordan\n| 329\n| \n| Oil on canvas\n| 1899\n| \n| The Huntington Library, San Marino, California\n|\n|-\n! scope=\"row\" | Study for David Wilson Jordan\n| 329A\n|\n| Oil\n| \n| \n| \n| \n|-\n! scope=\"row\" | William Merritt Chase\n| 330\n| \n| Oil on canvas\n| c. 1899\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, DC.\n|\n|-\n! scope=\"row\" | The Thinker: Portrait of Louis N. Kenton\n| 331\n| \n| Oil on canvas\n| 1900\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for The Thinker\n| 332\n| \n| Oil on cardboard mounted on wood\n| \n| \n| Farnsworth Art Museum, Rockland, Maine\n| Originally double sided with G-365A until the two images were split.\n|-\n! scope=\"row\" | Addie (also known as \"Portrait of Mary Adeline Williams\")\n| 333\n| \n| Oil on canvas\n| 1900\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Mrs. Mary Arthur\n| 334\n| \n| Oil on canvas\n| 1900\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Robert M. Lindsay\n| 335\n| \n| Oil on canvas\n| 1900\n| \n| Detroit Institute of Arts, Detroit, Michigan\n|\n|-\n! scope=\"row\" | Sketch for Robert M. Lindsay\n| 336\n| \n| Oil on wood\n| \n| \n| Detroit Institute of Arts, Detroit, Michigan\n|\n|-\n! scope=\"row\" | Frank Jay St. John\n| 337\n| \n| Oil on canvas\n| 1900\n| \n| M. H. de Young Memorial Museum, San Francisco, California\n|\n|-\n! scope=\"row\" | Antiquated Music: Portrait of Sarah Sagehorn Frishmuth\n| 338\n| \n| Oil on canvas\n| 1900\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Mrs. Joseph H. Drexel\n| 339\n| \n| Oil on canvas unstretched\n| 1900\n| \n| \n|Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, May 18, 2011; sold for $68,500.\n|-\n! scope=\"row\" | Sketch for Mrs. Joseph H. Drexel\n| 340\n|\n| Oil on cardboard\n| c. 1900\n| \n| \n| \n|-\n! scope=\"row\" | Dr. Daniel Garrison Brinton\n| 340A\n| \n| Oil\n| \n| \n| Collection of the American Philosophical Society.\n|\n|-\n! scope=\"row\" | Clara J. Mather\n| 341\n| \n| Oil on canvas\n| c. 1900\n| \n| Musée d'Orsay, Paris, France\n|\n|-\n! scope=\"row\" | A Woman in Black (Portrait of Clara J. Mather)\n| 342\n|\n| Oil on wood\n| \n| \n| \n| \n|-\n! scope=\"row\" | Elizabeth R. Coffin\n| 343\n| \n| Oil on canvas\n| c. 1900\n| \n| Coffin School collection, Egan Institute of Maritime Studies, Nantucket, Massachusetts\n|\n|-\n! scope=\"row\" | Dr. Edward J. Nolan\n| 344\n| \n| Oil on canvas\n| c. 1900\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Henry O. Tanner\n| 345\n| \n| Oil on canvas\n| c. 1900\n| \n| The Hyde Collection, Glens Falls, New York\n|\n|-\n! scope=\"row\" | Honorable John A. Thorton\n| 346\n| \n| Oil on canvas\n| \n| \n| Schwarz Gallery, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Monsignor James P. Turner\n| 347\n| \n| Oil on canvas\n| c. 1900\n| \n| \n| Eakins later painted a full-length portrait of Monsignor Turner (G-438); sketch (G-439).Deassessioned from St. Charles Borromeo Seminary, Wynnewood, Pennsylvania2014 put up for sale, see Paintings of noted artists, including Eakins, to be sold by seminaryAuctioned at Christie's NY, November 19, 2015; sold for $221,000.\n|-\n! scope=\"row\" | Portrait of Leslie W. Miller\n| 348\n| \n| Oil on canvas\n| 1901\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for Professor Leslie W. Miller\n| 349\n| \n| Oil on cardboard\n| c. 1892–1894\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided: one side depicts Leslie W. Miller. The reverse depicts Thomas Eakins' dog, Harry.\n|-\n! scope=\"row\" | Signature for 'Leslie W. Miller'\n| 349A\n| \n| Drawing\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. Leslie W. Miller\n| 350\n|\n| Oil on canvas\n| 1901\n| \n| \n| \n|-\n! scope=\"row\" | Mrs. Elizabeth Duane Gillespie\n| 351\n| \n| Oil on canvas\n| 1901\n| \n| Collection of the Philadelphia Museum of Art, gift of the Women's Committee\n|\n|-\n! scope=\"row\" | Sketch for Mrs. Elizabeth Duane Gillespie\n| 352\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | George Morris\n| 353\n|\n| Oil on canvas\n| 1901\n| \n| \n| \n|-\n! scope=\"row\" | Reverend Philip R. McDevitt\n| 354\n| \n| Oil on canvas\n| 1901\n| \n| Snite Museum of Art, Notre Dame, Indiana\n|\n|-\n! scope=\"row\" | Charles F. Haseltine\n| 355\n| \n| Oil on canvas\n| c. 1901\n| \n| Montclair Art Museum, Montclair, New Jersey\n|\n|-\n! scope=\"row\" | Elbridge Ayer Burbank\n| 356\n|\n| \n| c. 1901\n| \n| \n| \n|-\n! scope=\"row\" | Alfred F. Watch\n| 357\n|\n| \n| c. 1901\n| \n| \n| \n|-\n! scope=\"row\" | Self-Portrait\n| 358\n| \n| Oil on canvas\n| 1902\n| \n| National Academy of Design, New York\n|\n|-\n! scope=\"row\" | Self-portrait\n| 358A\n| \n| Oil on canvas\n| c. 1902\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Colonel Alfred Reynolds\n| 359\n| \n| Oil on canvas\n| 1902\n| \n| Taubman Museum of Art, Roanoke, Virginia\n|\n|-\n! scope=\"row\" | Signora Gomez D'Arza\n| 360\n| \n| Oil on canvas\n| 1902\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | His Eminence Sebastiano Cardinal Martinelli\n| 361\n| \n| Oil on canvas\n| 1901–02\n| \n| Hammer Museum, Los Angeles\n|\n|-\n! scope=\"row\" | Perspective drawing for his Eminence Sebastiano Cardinal Martinelli\n| 361A\n|\n| Drawing\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n| \n|-\n! scope=\"row\" | Perspective drawing for his Eminence Sebastiano Cardinal Martinelli\n| 361B\n|\n| Drawing\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n| \n|-\n! scope=\"row\" | Very Reverend John J. Fedigan\n| 362\n| \n| Oil on canvas\n| 1902\n| \n| Collection of the Augustinian Province of St. Thomas of Villanova. On permanent loan to Villanova University, Villanova, Pennsylvania\n| \n|-\n! scope=\"row\" | Sketch for the Very Reverend John J. Fedigan\n| 363\n| \n| Oil on canvas\n| \n| \n| \n|Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, September 27, 2011; sold for $10,625.\n|-\n! scope=\"row\" | The Translator\n| 364\n| \n| Oil on canvas\n| 1902\n| \n| \n| Deassessioned from St. Charles Borromeo Seminary, Wynnewood, Pennsylvania\n|-\n! scope=\"row\" | Monsignor James F. Loughlin\n| 365\n| \n| Oil on canvas\n| 1902\n| \n| \n| Deassessioned from St. Charles Borromeo Seminary, Wynnewood, Pennsylvania\n|-\n! scope=\"row\" | Study for Monsignor James F. Loughlin\n| 365A\n| \n| Oil on cardboard mounted on wood\n| \n| \n| \n| Originally double sided with G-332 until the two images were split.Auctioned at Bonham's San Francisco, November 29, 2005; sold for $15,000.\n|-\n! scope=\"row\" | John Seely Hart\n| 366\n| \n| Oil on canvas\n| 1902\n| \n| Collection of the School District of Philadelphia, Philadelphia, Pennsylvania\n| Dr. Hart (1810–1877) was principal of Philadelphia's Central High School when Eakins was a student. Eakins painted the posthumous portrait from a photograph.Rediscovered in 2004 by janitors in the boiler room of a Philadelphia school, it is currently in an undisclosed location.\n|-\n! scope=\"row\" | Charles E. Dana\n| 367\n| \n| Oil on canvas\n| c. 1902\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Young Man (Kern Dodge)\n| 368\n| \n| Oil on canvas\n| c. 1902\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Miss Mary Perkins (unfinished)\n| 369\n| \n| Oil on canvas\n| c. 1902\n| \n| \n| \n|-\n! scope=\"row\" | Girl with a Fan\n| 370\n| \n| Oil on canvas\n| c. 1902\n| \n| Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Adam S. Bare\n| 371\n| \n| Oil on canvas\n| 1903\n| \n| \n| \n|-\n! scope=\"row\" | Walter Copeland Bryant\n| 372\n|\n| Oil on canvas\n| 1903\n| \n| Collection of the Brockton Public Library, Brockton, Massachusetts\n| \n|-\n! scope=\"row\" | Dr. Matthew H. Cryer\n| 373\n| \n| Oil on canvas\n| 1903\n| \n| Private collection\n|\n|-\n! scope=\"row\" | Archbishop William Henry Elder\n| 374\n| \n| Oil on canvas\n| 1903\n| 66 3/16 × 45 3/16\n| Cincinnati Art Museum, Cincinnati, Ohio\n|\n|-\n! scope=\"row\" | Mother Patricia Waldron\n| 375\n| \n| Sketch. Oil on canvas mounted on cardboard\n| 1903\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Study for completed portrait, G-487 (lost, probably destroyed). See below. \n|-\n! scope=\"row\" | Bishop Edmond F. Prendergast\n| 376\n|\n| Oil on canvas\n| \n| \n|\n| Lost, possibly destroyed: \"Murray told Eakins biographer Lloyd Goodrich that he had it 'from a reliable source' that the painting, which Murray considered 'superb' was somehow disposed of.\"\n|-\n! scope=\"row\" | James A. Flaherty\n| 377\n| \n| Oil on canvas\n| 1903\n| \n| \n| Deassessioned from St. Charles Borromeo Seminary, Wynnewood, PennsylvaniaAuctioned at Christie's NY, May 19, 2016; sold for $185,000.\n|-\n! scope=\"row\" | William B. Kurtz\n| 378\n| \n| Oil on canvas\n| 1903\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| 2015 bequest of Daniel W. Dietrich II.Goodrich, 1982, volume II, page 207\n|-\n! scope=\"row\" | Miss Alice Kurtz\n| 379\n| \n| Oil on canvas\n| 1903\n| \n| Fogg Art Museum, Cambridge, Massachusetts\n|\n|-\n! scope=\"row\" | Mrs. Mary Hallock Greenewalt\n| 380\n| \n| Oil on canvas\n| 1903\n| \n| Wichita Art Museum, Wichita, Kansas\n|\n|-\n! scope=\"row\" | Dr. Frank Lindsay Greenewalt\n| 381\n| \n| Oil on canvas\n| 1903\n| \n|Private collection, Delaware\n|\n|-\n! scope=\"row\" | Dr. Frank Lindsay Greenewalt\n| 381A\n|\n| Oil\n| \n| \n| \n| \n|-\n! scope=\"row\" | Mrs. Anna A. Kershaw\n| 382\n| \n| Oil on canvas\n| 1903\n| \n| \n| Deaccessioned from Sheldon Museum of Art, Lincoln, Nebraska.Auctioned at Sotheby's NY, December 5, 2015; sold for $187,500.\n|-\n! scope=\"row\" | Ruth (Portrait of Ruth Harding)\n| 383\n| \n| Oil on canvas\n| 1903\n| \n| White House Art Collection, Washington, D.C.\n|\n|-\n! scope=\"row\" | An Actress: Portrait of Suzanne Santje\n| 384\n| \n| Oil on canvas\n| 1903\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for An Actress\n| 385\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| \n|Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, December 1, 2010; sold for $100,900.\n|-\n! scope=\"row\" | Miss Betty Reynolds\n| 386\n| \n| Oil on canvas\n| c. 1903\n| \n| \n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's New York, March 1, 2012; sold for $22,500.\n|-\n! scope=\"row\" | The Oboe Player\n| 387\n| \n| Oil on canvas\n| 1903\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Rear-Admiral Charles D. Sigsbee\n| 388\n| \n| Oil on canvas\n| 1903\n| \n| \n| Auctioned at Sotheby's NY, May 22, 2008; sold for $1,945,000.\n|-\n! scope=\"row\" | Mrs. M.S. Stokes\n| 389\n| \n| Oil on canvas\n| 1903\n| \n| Arkell Museum, Canajoharie, New York\n|\n|-\n! scope=\"row\" | Mrs. Richard Day\n| 390\n| \n| Oil on canvas\n| c. 1903\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mother (Portrait of Annie Williams Gandy)\n| 391\n| \n| Oil on canvas\n| c. 1903\n| \n| Smithsonian American Art Museum\n| Donated to the Smithsonian by Annie Gandy's daughters, Lucy Rodman and Helen Gandy.\n|-\n! scope=\"row\" | Mrs. Helen MacKnight (also known as \"The Lady in Grey\" and \"Portrait of a Mother\")\n| 392\n| \n| Oil on canvas\n| c. 1903\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Francesco Romano\n| 393\n| \n| \n| c. 1903\n| \n| \n| Auctioned at Christie's NY, May 26, 1994; sold for $80,000.Auctioned at Sotheby's NY, November 29, 2012; sold for $146,500.\n|-\n! scope=\"row\" | Robert C. Ogden\n| 394\n| \n| Oil on canvas\n| 1904\n| \n| \n|Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, May 20, 2009; sold for $338,500.Rosenzweig, 20\n|-\n! scope=\"row\" | Study for Robert C. Ogden\n| 394A\n| \n| Oil\n| \n| \n| \n| Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 3, 2011; sold for $32,500.\n|-\n! scope=\"row\" | J. Carroll Beckwith\n| 395\n| \n| Oil on canvas\n| 1904\n| \n| San Diego Museum of Art, San Diego, California\n|\n|-\n! scope=\"row\" | Charles Percival Buck\n| 396\n| \n| Oil on canvas\n| 1904\n| \n| Princeton University Art Museum, Princeton, New Jersey\n|\n|-\n! scope=\"row\" | Mrs. James G. Carville (Portrait of Harriet Husson Carville)\n| 397\n| \n| Oil on canvas\n| 1904\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. Kern Dodge\n| 398\n| \n| Oil on canvas\n| 1904\n| \n| Private Collection. Los Angeles\n|\n|-\n! scope=\"row\" | Mrs. Kern Dodge\n| 399\n|\n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Miss Beatrice Fenton (also known as \"The Coral Necklace\")\n| 400\n| \n| Oil on canvas\n| 1904\n| \n| Butler Institute of American Art, Youngstown, Ohio\n|\n|-\n! scope=\"row\" | William R. Hallowell\n| 401\n| \n| Oil on canvas\n| 1904\n| \n| \n| \n|-\n! scope=\"row\" | Music\n| 402\n| \n| Oil on canvas\n| 1904\n| \n| Albright-Knox Art Gallery, Buffalo, New York\n|\n|-\n! scope=\"row\" | Sketch for Music\n| 403\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Violinist\n| 404\n| \n| Oil on canvas\n| 1904\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Samuel Myers\n| 405\n| \n| Oil on canvas\n| 1904\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Frank B.A. Linton\n| 406\n| \n| Oil on canvas\n| 1904\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. Edith Mahon\n| 407\n| \n| Oil on canvas\n| 1904\n| \n| Smith College Museum of Art, Northampton, Massachusetts\n|\n|-\n! scope=\"row\" | Rear-Admiral George W. Melville\n| 408\n| \n| Oil on canvas\n| 1904\n|\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Eakins painted a later portrait of Melville, see G-420.\n|-\n! scope=\"row\" | William Murray\n| 409\n| \n| Oil on canvas\n| c. 1904\n| \n| \n| \n|-\n! scope=\"row\" | Mrs. Matilda Searight\n| 410\n| \n| Oil on canvas\n| 1904\n| \n| La Salle University Art Gallery, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Edward Taylor Snow\n| 411\n| \n| Oil on canvas\n| 1904\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | B.J. Blommers\n| 412\n| \n| \n| 1904\n| \n| Toledo Museum of Art, Toledo, Ohio\n|\n|-\n! scope=\"row\" | Mrs. B.J. Blommers\n| 413\n|\n| \n| 1904\n| \n| \n| \n|-\n! scope=\"row\" | Charles P. Gruppe\n| 414\n| \n| Oil on canvas\n| 1904\n| 22\" × 18\"\n| Private Collection. New York City\n|\n|-\n! scope=\"row\" | A. Bryan Wall\n| 414A\n| \n| Oil\n| \n| \n| Bowdoin College Museum of Art, Brunswick, Maine\n|\n|-\n! scope=\"row\" | Joseph R. Woodwell\n| 415\n| \n| Oil on canvas\n| 1904\n| \n| Carnegie Museum of Art, Pittsburgh, Pennsylvania\n|\n|-\n! scope=\"row\" | William H. MacDowell\n| 416\n| \n| Oil on canvas\n| c. 1904\n| \n| Memorial Art Gallery, University of Rochester, New York\n|\n|-\n! scope=\"row\" | Walter MacDowell\n| 417\n| \n| Oil on canvas\n| c. 1904\n| \n| Taubman Museum of Art, Roanoke, Virginia\n|\n|-\n! scope=\"row\" | William H. Lippincott\n| 418\n|\n| \n| Late 1904 or early 1905\n| \n| \n| \n|-\n! scope=\"row\" | Edward W. Redfield\n| 419\n| \n| Oil on canvas\n| 1905\n| \n| National Academy of Design, New York\n|\n|-\n! scope=\"row\" | Rear-Admiral George W. Melville\n| 420\n| \n| Oil on canvas\n| 1905\n| \n| National Gallery of Art, Washington, D.C.\n| Eakins painted an earlier portrait of Melville, see G-408.\n|-\n! scope=\"row\" | Mrs. George Morris\n| 421\n|\n| Oil on canvas\n| 1905\n| \n| \n| \n|-\n! scope=\"row\" | Professor William Smith Forbes\n| 422\n| \n| Oil on canvas\n| 1905\n| \n| Private collection\n| Deaccessioned from Thomas Jefferson University, Philadelphia, Pennsylvania in 2007.\n|-\n! scope=\"row\" | Charles L. Fussell\n| 423\n| \n| Oil on canvas\n| c. 1905\n| \n| Montclair Art Museum, Montclair, New Jersey\n|\n|-\n! scope=\"row\" | Study for Charles L. Fussell\n| 423A\n| \n| Oil on board\n| c. 1905\n| \n| \n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 1, 2012; sold for $27,500.\n|-\n! scope=\"row\" | Miss Florence Einstein\n| 424\n| \n| Oil on canvas\n| 1905\n| \n| Currier Museum of Art, Manchester, New Hampshire\n|\n|-\n! scope=\"row\" | Monsignor Diomede Falconio\n| 425\n| \n| Oil on canvas\n| 1905\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | John B. Gest\n| 426\n| \n| Oil on canvas\n| 1905\n| \n| Museum of Fine Arts, Houston, Houston, Texas\n|\n|-\n! scope=\"row\" | Asbury.W. Lee\n| 427\n| \n| Oil on canvas\n| 1905\n| \n| Reynolda House Museum of American Art, Winston-Salem, North Carolina\n|\n|-\n! scope=\"row\" | Miss Elizabeth L. Burton\n| 428\n| \n| Oil on canvas\n| c. 1905\n| \n| Minneapolis Institute of Arts, Minneapolis, Minnesota\n|\n|-\n! scope=\"row\" | Dr. Thomas H. Fenton\n| 429\n| \n| Oil on canvas\n| c. 1905\n| \n| Delaware Art Museum, Wilmington, Delaware\n|\n|-\n! scope=\"row\" | Mrs. Louis Husson (Annie C. Lochrey)\n| 430\n| \n| Oil on canvas\n| c. 1905\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Maurice Feeley\n| 431\n| \n| Oil on canvas\n| c. 1905\n| \n| \n|Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 3, 2011; sold for $27,500\n|-\n! scope=\"row\" | Genjiro Yeto\n| 432\n|\n| \n| 1906\n| \n| \n| \n|-\n! scope=\"row\" | A Singer: Portrait of Mrs. W.H. Bowden\n| 433\n| \n| Oil on canvas\n| 1906\n| \n| Princeton University Art Museum, Princeton, New Jersey\n|\n|-\n! scope=\"row\" | A Singer: Portrait of Mrs. Leigo\n| 434\n| \n| Oil on canvas\n| c. 1906\n| \n| Berry-Hill Galleries, New York\n|\n|-\n! scope=\"row\" | Richard Wood\n| 435\n|\n| Oil on canvas\n| 1906\n| \n| \n| \n|-\n! scope=\"row\" | Master Alfred Douty\n| 436\n| \n| Oil on canvas\n| 1906\n| \n| Santa Barbara Museum of Art, Santa Barbara, California\n|\n|-\n! scope=\"row\" | A Little Girl\n| 437\n| \n| Oil on canvas\n| c. 1906\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Monsignor James P. Turner\n| 438\n| \n| Oil on canvas\n| c. 1906\n| \n| Nelson-Atkins Museum of Art, Kansas City, Missouri\n| Eakins painted an earlier head-and-bust portrait of Monsignor Turner (c. 1900), G-347. \n|-\n! scope=\"row\" | Sketches\n| 439\n| \n| Oil on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided: one side is a sketch for Monsignor James P. Turner.The reverse is a sketch for William Rush and His Model (Honolulu), G-451. Related to G-454.\n|-\n! scope=\"row\" | Thomas J. Eagan\n| 440\n| \n| Oil on canvas\n| 1907\n| \n| Terra Museum, Chicago, Illinois\n| Auctioned at Christie's NY, May 21, 1998; sold for $240,000.\n|-\n! scope=\"row\" | Dr. Albert C. Getchell\n| 441\n| \n| Oil on canvas\n| 1907\n| \n| North Carolina Museum of Art, Raleigh, North Carolina\n|\n|-\n! scope=\"row\" | Dr. William Thomson\n| 442\n| \n| Oil on canvas\n| 1907\n| \n| Mütter Museum, College of Physicians of Philadelphia, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Dr. William Thomson (unfinished)\n| 443\n| \n| Oil on canvas\n| \n| \n| National Gallery of Art, Washington, D.C.Myers, 83–84\n|\n|-\n! scope=\"row\" | Major Manuel Waldteufel\n| 444\n| \n| Oil on canvas\n| 1907\n| \n| Hirschl and Adler Galleries, New York\n| Deaccessioned from French Benevolent Society of Philadelphia, 2003.Auctioned at Christie's NY, May 21, 2008; sold for $289,000.\n|-\n! scope=\"row\" | William Rush and His Model (Brooklyn)\n| 445\n| \n| Oil on canvas\n| 1908\n| \n| Brooklyn Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for William Rush and His Model (Brooklyn), G-445\n| 446\n| \n| Oil on wood\n| 1908\n| 8¾ × 10\n| \n| \n|-\n! scope=\"row\" | Sketch for William Rush and His Model (Brooklyn), G-445\n| 447\n| \n| Oil on wood\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Studies of Rush\n| 448\n|\n| Oil on wood\n| \n| \n| \n| Originally a collage with G-448A and G-448B until the images were split.\n|-\n! scope=\"row\" | Study of Rush\n| 448A\n|\n| Oil on wood\n| \n| \n| \n| Originally a collage with G-448 and G-448B until the images were split.\n|-\n! scope=\"row\" | Study of Rush\n| 448B\n|\n| Oil on wood\n| \n| \n| \n| Originally a collage with G-448 and G-448A until the images were split.\n|-\n! scope=\"row\" | Study of RushStudy for William Rush and His Model (Brooklyn), G-445.\n| 449\n| \n| Oil on canvas\n| \n| \n| \n| Auctioned at Heritage Dallas, November 9, 2009; sold for $100,380.\n|-\n! scope=\"row\" | Study for The Chaperone (formerly called The Negress)Study for William Rush and His Model (Brooklyn), G-445.\n| 450\n| \n| Oil on canvas\n| c. 1908\n| \n| National Gallery of Art, Washington, DC\n|\n|-\n! scope=\"row\" | William Rush and His Model (Honolulu)\n| 451\n| \n| Oil on canvas\n| 1907–1908\n| \n| Honolulu Museum of Art, Honolulu, Hawaii\n| In Eakins Revealed (pp. 369–371), author Henry Adams claims that Mary Adeline \"Addie\" Williams (G-323), an Eakins family friend, was the nude model for William Rush and his Model.Related studies: G-445, G-446, G-447, G-452, G-453 and G-454.\n|-\n! scope=\"row\" | The ModelStudy for William Rush and His Model (Honolulu), G-451\n| 452\n| \n| Oil on canvas\n| \n| \n| Crystal Bridges Museum of American Art, Bentonville, Arkansas\n|Auctioned at Sotheby's New York, May 22, 2008, sold for $1,273,000.\n|-\n! scope=\"row\" | William Rush and His Model\n| 453\n| \n| Oil on canvas\n| 1908\n| \n| Smithsonian American Art Museum, Washington, D.C.\n|\n|-\n! scope=\"row\" | Study for \"William Rush's Model\"\n| 454\n| \n| Oil on canvas\n| c. 1908\n| \n| \n| Related to G-439.Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's New York, May 20, 2009; sold for $122,500.Offered at auctioned by Sotheby's New York, May 23, 2017, Lot 77, estimate: $80,000-120,000. Unsold.\n|-\n! scope=\"row\" | Miss Eleanor S.F. Pue\n| 455\n| \n| Oil on canvas\n| 1907\n| \n| \n| Deaccessioned from Virginia Museum of Fine Arts. Auctioned at Freeman's, Philadelphia, December 3, 2017, sold for $40,000.\n|-\n! scope=\"row\" | Miss Rebecca MacDowell\n| 456\n| \n| Oil on canvas\n| c. 1908\n| \n| \n| Offered for auction at Bonham's, New York, November 28, 2012, Lot 82, estimate: $70,000-90,000. Unsold.\n|-\n! scope=\"row\" | The Old-Fashioned Dress: Portrait of Miss Helen Parker\n| 457\n| \n| Oil on canvas\n| c. 1908\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for the Old-Fashioned Dress\n| 458\n| \n| Oil on cardboard\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Study for the Old-Fashioned Dress\n| 459\n| \n| Oil on canvas\n| 1908\n| \n| Collection of Mr. and Mrs. Daniel Dietrich IISewell, 1982, 131\n|\n|-\n! scope=\"row\" | Mrs. Lucy Langdon W. Wilson\n| 460\n| \n| Oil on canvas\n| 1908\n| \n| \n| Auctioned at Sotheby's NY, December 3, 1998; sold for $60,000.\n|-\n! scope=\"row\" | Mrs. Lucy Langdon W. Wilson (second version)\n| 461\n|\n| Oil on canvas\n| Early 1909\n| \n| \n| \n|-\n! scope=\"row\" | Dr. William P. Wilson\n| 462\n|\n| Oil on canvas\n| 1909\n| \n| \n| \n|-\n! scope=\"row\" | Dr. Henry Beates Jr.\n| 463\n|\n| Oil on canvas\n| 1909\n| \n| \n| \n|-\n! scope=\"row\" | Henry Beates\n| 464\n|\n| Oil on canvas\n| c. 1909\n| \n| \n| \n|-\n! scope=\"row\" | Edward A. Schmidt\n| 465\n|\n| Oil on canvas\n| c. 1909\n| \n| \n| \n|-\n! scope=\"row\" | Reverend Cornelius J. O'Neill\n| 466\n|\n| Oil on canvas\n| c. 1909\n| \n| \n| \n|-\n! scope=\"row\" | John J. Borie\n| 467\n| \n| Oil on canvas\n| 1896-98\n| \n| Hood Museum of Art, Dartmouth College,Hanover, New Hampshire\n|\n|-\n! scope=\"row\" | Mrs. Nicholas Douty\n| 468\n| \n| Oil on canvas\n| 1910\n| \n| Cummer Gallery of Art, Jacksonville, Florida\n|\n|-\n! scope=\"row\" | Dr. Gilbert Lafayette Parker\n| 469\n| \n| Oil on canvas\n| 1910\n| \n| \n| Auctioned at Sotheby's NY, May 29, 1986; sold for $125,000.Auctioned at Christie's NY, May 23, 2017, Lot 59, estimate: $80,000-120,000, Unsold.\n|-\n! scope=\"row\" | Mrs. Gilbert Parker\n| 470\n| \n| Oil on canvas\n| 1910\n| \n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | Gilbert Sunderland Parker\n| 471\n|\n| Oil on canvas\n| 1910\n| \n| \n| \n|-\n! scope=\"row\" | Ernest Lee Parker\n| 472\n| \n| Oil on canvas\n| 1910\n| \n| \n| Deaccessioned from the Westmoreland Museum of American Art.Auctioned at Christie's NY, December 5, 2002; sold for $101,575.\n|-\n! scope=\"row\" | President Rutherford B. Hayes\n| 473\n| \n| Oil on canvas\n| 1912 or 1913\n| \n| Philipse Manor Hall, Yonkers, New York\n|\n|-\n! scope=\"row\" | Dr. Edward Anthony Spitzka\n| 474\n| \n| Oil on canvas\n| c. 1913\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Eakins' last painting.This originally showed a full length Dr. Spitzka holding the cast of a brain. Sometime after it was cataloged in the 1933 Goodrich catalog (measuring 84×43½ inches), someone cut away the rest of the painting, leaving only the head and bust (30½×25? inches).\n|-\n! scope=\"row\" | President Rutherford B. Hayes\n| 475\n|\n| \n| 1877\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | James L. Wood\n| 476\n|\n| \n| c. 1890\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | William Rudolf O'Donovan\n| 477\n|\n| \n| 1891 or early 1892\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Miss Emily Sartain\n| 478\n| \n| \n| Sometime in the 1890s\n| \n| \n| Thought to have been lost (\"Probably no longer in existence\".) Later rediscovered. Passed down through the Sartain family to the Babcock Galleries, and was sold to Rita and Daniel Fraad in 1957.Auctioned at Sotheby's NY, December 1, 2004; sold for $170,000.\n|-\n! scope=\"row\" | Miss Emily Sartain\n| 479\n| \n|\n| Sometime in the 1890s\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Dr. Hugh A. Clarke\n| 480\n| \n|\n| c. 1893\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | James MacAlister\n| 481\n|\n| \n| c. 1893\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Circus People\n| 482\n|\n| \n| Before 1876\n| \n| \n| Sketch. \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Stewart Culin\n| 483\n|\n| \n| c. 1899\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Dr. George B. Wood\n| 484\n|\n| \n| c. 1900\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Dr. Patrick J. Garvey\n| 485\n| \n| Oil on canvas\n| 1902\n| \n| \n| Thought to have been destroyed, rediscovered in 1959.Deassessioned from St. Charles Borromeo Seminary, Wynnewood, Pennsylvania, 2014.Offered for auction at Christie's New York, November 21, 2017, Lot 91, estimate: $70,000-100,000. Unsold.\n|-\n! scope=\"row\" | Right Reverend Denis J. Dougherty\n| 486\n| \n| \n| 1903\n| \n|Private Collection\n| Related to a full-length portrait of Rev. Denis J. Dougherty (c. 1906), G-438. The subject later became a Cardinal and Archbishop of Philadelphia\n|-\n! scope=\"row\" | Mother Patricia Waldron\n| 487\n|\n| \n| 1903\n| \n| \n| \"Probably no longer in existence\" – loaned by the Sisters of Mercy to William Antrim, who had been commissioned to paint a new portrait of Waldron. Antrim stored the portrait in the attic of his studio. The portrait was lost when the building was demolished. For sketch, see above, G-375.\n|-\n! scope=\"row\" | Mrs. Margaret Jane Gish\n| 488\n|\n| \n| c. 1903\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Robert C. Ogden\n| 489\n|\n| \n| \n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Dr. J. William White\n| 490\n|\n| \n| 1904\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Adolphie Borie\n| 491\n|\n| \n| c. 1910\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Mrs. Charles Lester Leonard\n| 492\n|\n| \n| 1895\n| \n| \n| No longer in existence\n|-\n! scope=\"row\" | Mrs. Hubbard\n| 493\n|\n| \n| c. 1895\n| \n| \n| No longer in existence\n|-\n! scope=\"row\" | Mrs. McKeever\n| 494\n|\n| \n| 1898\n| \n| \n| No longer in existence\n|-\n! scope=\"row\" | Bishop Edmond F. Prendergast\n| 495\n|\n| Oil on canvas\n| c. 1903\n| \n|\n| No longer in existence\n|-\n! scope=\"row\" | Frank W. Stokes\n| 496\n|\n| \n| 1903\n| \n|\n| No longer in existence\n|-\n! scope=\"row\" | Edward S. Buckley\n| 497\n|\n| \n| 1906\n| \n|\n| No longer in existence. According to Buckley's daughter: \"It was so unsatisfactory that we destroyed it, not wishing his descendants to think of their grandfather as resembling the portrait.\"\n|-\n! scope=\"row\" | Studies for William Rush and His Model| 498\n| \n| Sculpture, pigmented wax\n| 1876–1877\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Five studies\n|-\n! scope=\"row\" | The Mare \"Josephine\"\n| 499\n|\n| Sculpture, bronze\n| 1878,cast 1930\n| Height: 22.125 in (56.2 cm)\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Quarter-size model.Josephine was the lead horse in The Fairman Rogers Four-in-Hand (G-133). Eakins and his students created a life-size plaster model of her in 1878. Following her natural death, 1881, the carcass was dissected and used to create plaster écorché models for teaching equine anatomy.\n|-\n! scope=\"row\" | Horse Skeleton\n| 500\n| \n| Sculpture, painted plaster\n| 1878\n| 11.25 x 14.375 x 2.125 in (28.5 x 36.3 x 5.3 cm) \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Eighth-size model.A plaster cast is at the University of Michigan Museum of Art. A 1930 bronze cast is at the Butler Institute of American Art.\n|-\n! scope=\"row\" | The Mare \"Josephine\": Écorché\n| 501\n| \n| Sculpture, painted plaster\n| 1882\n| 22 x 24 x 4 in(55.88 x 60.96 x 10.16 cm)\n| National Gallery of Art, Washington, D.C.\n| Quarter-size model.An edition of 10 bronze casts was made of this in 1979. These are at the Hood Museum of Art, Harvard Art Museums, Brandywine River Museum, Crystal Bridges Museum of American Art, and elsewhere. A painted plaster relief is at the University of Michigan Museum of Art.\n|-\n! scope=\"row\" | The Mare \"Josephine\": Écorché\n| 502\n|\n| Sculpture, painted plaster\n| 1882\n| 22.25 x 31 x 3 in (56.52 x 78.74 x 7.62 cm)\n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| Quarter-size model.A 1930 bronze cast is at the Philadelphia Museum of Art.\n|-\n! scope=\"row\" | Four models of horses for The Fairman Rogers Four-in-Hand| 503\n|\n| Sculpture, bronze with marble bases\n| 1879,cast 1946\n| Lengths: 11.75 in (29.8 cm)11.875 in (30.2 cm)11.938 in (30.3 cm)12.25 in (31.1 cm)\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Eighth-size models.\n|-\n! scope=\"row\" | Spinning\n| 504\n| \n| Sculpture, painted plaster\n| late-1882/ early-1883\n| 21 x 17.375 x 4.25 in (53.24 x 44.133 x 10.8 cm)\n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| PAFA also owns an 1886 bronze cast.An 1886 bronze cast is at the Philadelphia Museum of Art.\n|-\n! scope=\"row\" | Knitting\n| 505\n| \n| Sculpture, painted plaster\n| 1881\n| 20.75 x 17.25 x 4.5 in (52.7 x 43.82 x 11.43 cm)\n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| PAFA also owns an 1886 bronze cast.An 1886 bronze cast is at the Philadelphia Museum of Art.\n|-\n! scope=\"row\" | Arcadia\n| 506\n| \n| Sculpture, painted plaster\n| 1883\n| 11.875 x 24.25 x 2.375 in (29.9 x 61.3 x 5.7 cm)\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Plaster casts are at the Philadelphia Museum of Art, Yale University Art Gallery, and elsewhere. A 1930 bronze cast is in the collection of Jamie Wyeth.\n|-\n! scope=\"row\" | An Arcadian\n| 507\n| \n| Sculpture, painted plaster\n| 1883\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| Susan Macdowell Eakins posed as the model.\n|-\n! scope=\"row\" | The Youth Playing the Pipes\n| 508\n| \n| Sculpture, painted plaster\n| 1883\n| 20.125 x 11.5 x 1.75 in (51 x 29.1 x 4.2 cm)\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Plaster casts are at the Pennsylvania Academy of the Fine Arts, and elsewhere. A 1930 bronze cast is at the Hirshhorn Museum and Sculpture Garden.\n|-\n! scope=\"row\" | Abraham Lincoln's horse\n| 509\n| \n| Sculpture\n| 1893–1894\n| \n| Soldiers' and Sailors' Memorial Arch, Prospect Park, Brooklyn, New York City\n| William Rudolf O'Donovan modeled the figure of Abraham Lincoln.Originally paired with G-509A in the 1933 Goodrich catalog.\n|-\n! scope=\"row\" | General Grant's Horse\n| 509A\n| Full-size plaster model of Clinker.\n| Sculpture, bronze\n| 1892\n| \n| Soldiers' and Sailors' Memorial Arch, Prospect Park, Brooklyn, New York City\n| William Rudolf O'Donovan modeled the figure of Ulysses S. Grant.Originally listed as G-509 in the 1933 Goodrich catalog.\n|-\n! scope=\"row\" | Clinker\n| 510\n|\n| Sculpture, bronze\n| 1892, cast 1930\n| 6.25 x 6.25 x 2 in (15.8 x 15.8 x 4.9 cm)\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Sixteenth-size model.\n|-\n! scope=\"row\" | Clinker\n| 511\n| \n| Sculpture, painted plaster\n| 1892\n| 25.34 x 25.34 x 4.5 in (65.4 x 65.4 x 11.4 cm)\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Quarter-size model.A 1930 bronze cast is also at the Philadelphia Museum of Art.\n|-\n! scope=\"row\" | Billy\n| 512\n|\n| Sculpture, plaster\n| c. 1892–1893\n| \n| \n| \n|-\n! scope=\"row\" | The American Army Crossing the Delaware\n| 513\n|\n| Sculpture, bronze relief\n| c. 1893\n| \n| New Jersey State Museum, Trenton, New Jersey\n| \n|-\n! scope=\"row\" | The Opening of the Fight, The Battle of Trenton\n| 514\n|\n| Sculpture, bronze relief\n| c. 1893\n| \n| New Jersey State Museum, Trenton, New Jersey\n| \n|-\n! scope=\"row\" | Man on Horseback: Relief\n| 514A\n| \n| \n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| \n|-\n! scope=\"row\" | Mrs. Mary Hallock Greenewalt\n| 515\n| \n| Sculpture, bronze relief\n| 1905\n| \n| Delaware Art Museum, Wilmington, Delaware\n|\n|}\n\nSee also\n Conservation-restoration of Thomas Eakins' The Gross Clinic\n\n Notes \n\n References \n\n Berger, Martin A. Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. Berkeley: University Of California Press, 2000. \n Bolger, Doreen; Cash, Sarah; et al. Thomas Eakins and the Swimming Picture. Amon Carter Museum, 1996. \n Braddock, Alan C. Thomas Eakins and the Cultures of Modernity. University of California Press, 2009. \n Cooper, Helen A. Thomas Eakins: The Rowing Pictures. Yale University Art Gallery, 1996. \n Foster, Kathleen A. Thomas Eakins Rediscovered: Charles Bregler's Thomas Eakins Collection at the Pennsylvania Academy of the Fine Arts. Yale University Press, 1997. .\n Goodrich, Lloyd. Thomas Eakins: His Life and Works. William Edwin Rudge Printing House. New York, 1933. Catalogue of Works. Pages 161–209.\n Hendricks, Gordon. The Life and Works of Thomas Eakins. New York: Grossman Publishers, 1974. \n Hendricks, Gordon. The Photographs of Thomas Eakins. New York: Grossman Publishers, 1972. \n Homer, William Innes. The Paris Letters of Thomas Eakins. Princeton University Press, 2009. \n Homer, William Innes. Thomas Eakins: His Life and His Art. Abbeville Press, 1992. \n Homer, William Innes. Eakins at Avondale and Thomas Eakins: A Personal Collection. Science Press, 1980. Library of Congress catalogue no. 79-57527\n Hoopes, Donelson F. Eakins Watercolors. Watson-Guptill Publications, 1971. Reprinted 1985. \n Johns, Elizabeth. Thomas Eakins: The Heroism of Modern Life. Princeton University Press, 1991. .\n Myers, Jane E. Eakins and the Medical Milieu: The Physicians' Portraits. Master's Thesis, December 1982.\n Milroy, Elizabeth Lamotte Cates. Thomas Eakins Artistic Training, 1860–1870. Phd Dissertation, University of Pennsylvania, 1986\n Rosenzweig, Phlyllis D. Thomas Eakins Collection of the Hirshhorn Museum and Sculpture Garden. Washington DC: Smithsonian Institution Press, 1977.\n Siegl, Theodor. The Thomas Eakins Collection. Philadelphia Museum of Art, 1978. \n Sewell, Darrel. Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982. \n Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001. .\n Wilmerding, John. Thomas Eakins. Washington, DC: Smithsonian Institution Press, 1993. \n Wilmerding, John. Compass and Clock: Defining Moments in American Culture : 1800, 1850, 1900.'' Harry N. Abrams, 1999.\n\nExternal links \n Thomas Cowperthwait Eakins Virtual Gallery\n CGFA – Thomas Eakins paintings\n Smithsonian Catalog of Eakins' works\n Artcyclopedia entry for Thomas Eakins\n\nCategory:Lists of works of art\n*", "title": "List of works by Thomas Eakins" }, { "text": "Please add names of notable painters with a Wikipedia page, in precise English alphabetical order, using U.S. spelling conventions. Country and regional names refer to where painters worked for long periods, not to personal allegiances.\n\n Aileen Eagleton (1902–1984), English painter\n Thomas Eakins (1844–1916), American realist painter, photographer, sculptor and fine arts educator\n Ralph Earl (1751–1801), American portrait painter\n Augustus Earle (1793–1838), English traveling artist\n Alfred East (1849–1913), English painter\n Christoffer Wilhelm Eckersberg (1783–1853), Danish painter\n Otto Eckmann (1865–1902), German painter and graphic artist\n Don Eddy (born 1944), American painter and photo-realist\n Albert Edelfelt (1854–1905), Finnish painter\n Denis Eden (1878–1949), English painter and illustrator\n Ursula Edgcumbe (1900–1985), English sculptor and painter\n Edith Edmonds (1874–1951), English still-life and landscape painter\n Robert Edmonstone (1794–1834), Scottish painter and draftsman\n May de Montravel Edwardes (1887–1967), English painter and miniaturist\n Helen Edwards (1882–1963), English landscape painter\n John Uzzell Edwards (1934–2014), Welsh painter\n Gerbrand van den Eeckhout (1621–1674), Dutch painter\n Camilo Egas (1889–1962), Ecuadorian/American painter and teacher\n Maude Kaufman Eggemeyer (1877–1959) American painter\n Albin Egger-Lienz (1868–1926), Austrian painter of rustic and historical paintings\n József Egry (1883–1951), Hungarian painter\n Ei-Q (瑛九, 1911–1960), Japanese artist, photographer and engraver\n Louis Eilshemius (1864–1941), American painter\n Einar Hakonarson (born 1945), Icelandic painter\n Eishōsai Chōki (栄松斎長喜, fl. 1786–1808), Japanese woodblock print designer\n Ib Eisner (1925–2003), Danish artist\n Eizan Kikukawa (菊川英山, 1787–1867) Japanese woodblock print designer\n Bouchta El Hayani (born 1952), Moroccan painter\n Mildred Eldridge (1909–1991), English painter, muralist and illustrator\n Ken Elias (born 1944), Welsh artist\n Pieter Janssens Elinga (1623–1682), Dutch painter\n Harold Elliott (1890–1968), Canadian painter\n Clifford Ellis (1907–1985), English painter, print-maker and art teacher\n Adam Elsheimer (1578–1610), German artist of cabinet paintings\n Arthur Webster Emerson, American painter\n Tracey Emin (born 1963), English painter, draftsman and sculptor\n Paul Emmert (1826–1867), Swiss/American artist and print-maker\n Lydia Field Emmet (1866–1952), American portrait painter\n Rosalie Emslie (1891–1977), English landscape and portrait painter\n Cornelis Engebrechtsz (1462–1527), Dutch painter\n Florence Engelbach (1872–1951), English portrait and landscape painter\n Grace English (1891–1956), English painter and etcher\n Ron English (born 1948), American artist of brand imagery\n Carlos Enríquez Gómez (1900–1957), Cuban painter, illustrator and writer\n James Ensor (1860–1949), Belgian painter and print-maker\n Ben Enwonwu (1921–1994), Nigerian painter and sculptor\n Sir Jacob Epstein (1880–1959), American/English sculptor\n Sven Erixson (1899–1970), Swedish painter and sculptor\n Hans Erni (born 1909), Swiss graphic designer, painter and engraver\n Max Ernst (1891–1976), German painter, sculptor, graphic artist, and poet\n Rodolfo Escalera (1929–2000), Mexican artist and plate collector\n M. C. Escher (1898–1972), Dutch graphic artist\n Andrey Esionov (born 1963), Russian painter and graphic artist\n Robert Lee Eskridge (1891–1975), American genre painter, muralist and illustrator\n Jacob Esselens (1626–1687), Dutch landscape painter\n Richard Estes (born 1936), American artist and photo-realist painter\n Bracha L. Ettinger (born 1948), Israeli/French painter and writer\n William Etty (1787–1849), English history painter\n Bernard Walter Evans (1843–1922), British landscape painter\n Cerith Wyn Evans (born 1958), Welsh artist, sculptor and film-maker\n Dulah Marie Evans (1875–1951), American painter, print-maker and etcher\n Vincent Evans (1896–1976), Welsh painter, print-maker and art teacher\n Eamon Everall (born 1948), English artist and educator\n Allaert van Everdingen (1621–1675) Dutch painter and print-maker\n Caesar van Everdingen (1617–1678), Dutch portrait and history painter\n Philip Evergood (1901–1971), American artist, sculptor and writer\n Mikhail Evstafiev (born 1963), Soviet/Russian artist, photographer and writer\n Peter Maxwell Ewart (1918–2001), Canadian painter\n Julius Exner (1863–1939), Danish genre painter\n Barthélemy d'Eyck (1420–after 1470), Netherlandish/French artist and manuscript illuminator\n Hubert van Eyck (1385–1426), Netherlandish painter\n Jan van Eyck (1390–1441), Netherlandish painter\n John Eyre (1771–1812), Australian painter and engraver\n Annabel Eyres (born 1965), English print-maker and painter\n Carl Eytel (1862–1925), German/American landscape painter and illustrator\n\nReferences\nReferences can be found under each entry.\n\nE", "title": "List of painters by name beginning with \"E\"" }, { "text": "This is a list by date of birth of historically recognized American fine artists known for the creation of artworks that are primarily visual in nature, including traditional media such as painting, sculpture, photography, and printmaking.\n\nBorn before 1800\n John White (c. 1540–c. 1606), artist-illustrator, surveyor\n Jacob Gerritse Strycker (1615–1687), artist, possibly of the Rembrandt studios\n Thomas Smith (died c. 1691), painter\n John Smybert (1688–1751), painter\n Robert Feke (ca. 1705/1707–1750), painter\n Joseph Badger (c. 1707/8–1765), painter\n Jeremiah Theus (1716–1774), painter\n Patience Wright (1725–1786), sculptor\n John Hesselius (1728–1778), painter \n John Singleton Copley (c. 1738–1815), painter\n Benjamin West (1738–1820), painter\n Charles Willson Peale (1741–1827), painter\n Henry Benbridge (1743–1812), painter\n James Peale (1749–1831), painter\n Ralph Earl (1751–1801), painter\n Gilbert Charles Stuart (1755–1828), painter\n William Rush (1756–1833), sculptor\n John Trumbull (1756–1843), painter\n Mather Brown (1761–1831), painter\n James Earl (1761–1796), painter\n Edward Savage (1761–1817), painter\n John Brewster Jr. (1766–1854), painter\n Ruth Henshaw Bascom (1772–1848), folk art portraitist\n William Jennys (1774–1859), primitive portrait painter\n Raphaelle Peale (1774–1825), painter\n Cephas Thompson (1775–1856), portrait painter\n Jacob Eichholtz (1776–1842), portrait painter\n John Vanderlyn (1776–1852), painter\n Rembrandt Peale (1778–1860), painter\n Washington Allston (1779–1843), painter\n Edward Hicks (1780–1849), painter\n John Wesley Jarvis (c. 1781–1839), painter\n Thomas Sully (1783–1872), painter\n Solomon Willard (1783–1861), stone carver\n Bass Otis (1784–1861), painter\n Rubens Peale (1784–1865), painter\n John James Audubon (1785–1851), painter of birds and nature\n Charles Bird King (1785–1862), portrait painter\n James Frothingham (1786–1864), painter\n John Lewis Krimmel (1786–1821), America's first genre painter\n Hannah Cohoon (1788–1864), painter\n Sarah Goodridge (1788–1853), painter of miniatures\n Matthew Harris Jouett (1788–1827), portrait artist\n William Edward West (1788–1859), portrait painter\n Hezekiah Augur (1791–1858), sculptor and inventor\n Samuel F. B. Morse (1791–1872), painter, inventor\n Alvan Fisher (1792–1863), painter\n Susanna Paine (1792–1862), portrait artist\n James Bowman (c. 1793–1842), painter\n Thomas Doughty (1793–1856), painter\n Amasa Hewins (1795–1855), painter\n George Catlin (1796–1872), painter\n Asher Durand (1796–1886), painter\n John Neagle (1796–1865), painter\n Elizabeth Goodridge (1798–1882), painter of miniatures\n Titian Peale (1799–1885), painter\n\nBorn 1800–1809\n1800\n Francis Alexander (1800–1881), painter\n\n1801\n Thomas Cole (1801–1848), painter\n Henry Inman (1801–1846), painter\n John Quidor (1801–1881), painter\n\n1803\n Robert Walter Weir (1803–1889), painter\n\n1804\n Fitz Hugh Lane (1804–1865), painter\n\n1805\n Horatio Greenough (1805–1852), sculptor\n Hiram Powers (1805–1873), sculptor\n\n1806\n Peter Rindisbacher (1806–1834), watercolorist, illustrator\n\n1807\n William Sidney Mount (1807–1868), painter\n\n1808\n Seth Eastman (1808–1875), painter, illustrator\n\n1809\n Moses Billings (1809–1884), portrait painter\n James Guy Evans (1809/1810–1859), painter\n George Winter, English-born portrait painter noted for his pictures of Potawatomi and Miami figures\n\nBorn 1810–1819\n1811\n George Caleb Bingham (1811–1879), painter\n John William Casilear (1811–1893), painter\n William Page (1811–1885), painter\n\n1812\n Jane Stuart (1812–1888), portrait painter\n\n1813\n Joseph Goodhue Chandler (1813–1884), portrait painter\n Nathaniel Currier (1813–1888), lithographer\n George Peter Alexander Healy (1813–1894), portrait painter\n Asahel Lynde Powers (1813–1843), portrait painter\n William Ranney (1813–1857), painter\n\n1814\n Edward Bailey (1814–1903), American/Hawaiian painter\n\n1815\n Joseph Horace Eaton (1815–1896), New Mexico landscapes\n\n1816\n Daniel DeWitt Tompkins Davie (1816–1877), photographer\n George Whiting Flagg (1816–1898), painter\n John Frederick Kensett (1816–1872), painter\n Emanuel Gottlieb Leutze (1816–1868), painter\n\n1817\n Benjamin Champney (1817–1907), painter\n Peter F. Rothermel (1817–1895), painter\n\n1819\n Richard Saltonstall Greenough (1819–1904), sculptor\n Martin Johnson Heade (1819–1904), painter\n James Augustus Suydam (1819–1865), painter\n\nBorn 1820–1829\n\n1820\n Aramenta Dianthe Vail (1820–1888), painter\n John E. Weyss (1820–1903), artist and cartographer\n Worthington Whittredge (1820–1910), painter\n\n1821\n Robert Duncanson (c. 1821–1872), painter, muralist\n Persis Goodale Thurston Taylor (1821–1906), Hawaiian-born painter and sketch artist\n\n1822\n Mathew Brady (1822–1896), photographer\n\n1823\n Daniel Folger Bigelow (1823–1910), painter\n Jasper Francis Cropsey (1823–1900), painter\n Sanford Robinson Gifford (1823–1880), painter\n William Hart (1823–1894), painter\n Thomas Waterman Wood (1823–1903), painter\n\n1824\n William Morris Hunt (1824–1879), painter\n James Merritt Ives (1824–1895), lithographer\n Eastman Johnson (1824–1906), painter\n\n1825\n Benjamin Paul Akers (1825–1861), sculptor\n Vincent Colyer (1825–1888), painter\n Jacob Guptil Fletcher (1825–1889), painter\n George Inness (1825–1894), painter\n William Henry Rinehart (1825–1874), sculptor\n\n1826\n Frederic Edwin Church (1826–1900), painter\n\n1827\n David Johnson (1827–1908), painter\n Francis Blackwell Mayer (1827–1899), painter\n Candace Wheeler (1827–1923), interior and textile design\n\n1828\n Edward Mitchell Bannister (1828–1901), painter\n James McDougal Hart (1828–1901), painter\n Jervis McEntee (1828–1891), painter\n\n1829\n Albert Fitch Bellows (1829–1883), painter\n Thomas Hill (1829–1908)\n Edward Moran (1829–1901), painter\n\nBorn 1830–1839\n1830\n Albert Bierstadt (1830–1902), painter\n Sylvester Phelps Hodgdon (1830–1906), painter\n Eadweard Muybridge (1830–1904), photographer\n Granville Perkins (1830–1895), painter, engraver\n John Quincy Adams Ward (1830–1910), sculptor\n\n1831\n Cornelia Adele Strong Fassett (1831–1898), political portrait painter\n Hermann Ottomar Herzog (1831–1932), painter\n\n1832\n Samuel Colman (1832–1920), painter, interior designer\n Daniel Charles Grose (1832–1900), painter\n William Savage (1832–1908), painter\n\n1833\n Margarete Garvin Gillin (1833–1915), painter\n Hugo Wilhelm Arthur Nahl (1833–1889), painter, daguerreotyper, engraver, portraitist\n William Trost Richards (1833–1905), painter\n\n1834\n Dwight Benton (1834–1903), painter\n Caspar Buberl (1834–1899), sculptor\n James McNeill Whistler (1834–1903), painter, printmaker\n\n1835\n William Stanley Haseltine (1835–1900), painter\n John LaFarge (1835–1910), painter, stained-glass window designer\n Edmund Darch Lewis (1835–1910), painter\n Adah Isaacs Menken (1835–1868), actress, painter and poet\n\n1836\n Winslow Homer (1836–1910), painter, illustrator, printmaker\n Alexander Helwig Wyant (1836–1892), painter\n\n1837\n Robert Wilson Andrews (1837–1922)\n Alfred Thompson Bricher (1837–1908), painter\n Elizabeth Jane Gardner (1837–1922), salon painter\n Thomas Moran (1837–1926), painter\n\n1838\n Caroline Morgan Clowes (1838–1904), painter\n\n1839\n Robert Crannell Minor (1839–1904), painter\n Henry Bacon (1839–1912), painter\n Arthur Quartley (1839–1886), painter\n Robert Wylie (1839–1877), painter\n\nBorn 1840–1849\n1840\n Abigail May Alcott Nieriker (1840–1879), artist\n Caroline Shawk Brooks (1840–1913), sculptor\n Robert Swain Gifford (1840–1905), painter\n Thomas Hovenden (1840–1895), painter\n Thomas Nast (1840–1902), caricaturist, cartoonist, illustrator\n Claude Monet (1840–1926), painter\n\n1841\n John Joseph Enneking (1841–1916), painter\n Edward Lamson Henry (1841–1919), painter\n Theodore Otto Langerfeldt (1841–1906), painter\n John Ferguson Weir (1841–1926), painter, sculptor\n\n1842\n Willis Seaver Adams (1842–1921), painter\n Conrad Wise Chapman (1842–1910), war painter\n Preston Powers (1842–1904), sculptor\n\n1843\n Alexander Wilson Drake (1843–1916), painter, wood engraver\n George Albert Frost (1843–1907), painter\n William Henry Jackson (1843–1942), painter, photographer\n\n1844\n Mary Cassatt (1844–1926), painter, printmaker\n Thomas Eakins (1844–1916), painter, photographer, sculptor\n Moses Jacob Ezekiel (1844–1917), sculptor\n Henry Farrer (1844–1903), painter, printmaker\n Carl Gutherz (1844–1907), symbolist\n Olin Levi Warner (1844–1896), sculptor\n\n1845\n Edmonia Lewis (1845–1911), sculptor\n\n1846\n Alexander Milne Calder (1846–1923), sculptor\n Francis Davis Millet (1846–1912), painter\n Julian Scott (1846–1901), painter and Civil War artist\n\n1847\n Ralph Albert Blakelock (1847–1919), painter\n Frederick Arthur Bridgman (1847–1928), painter\n Frederick Dielman (1847–1935), painter\n Irene E. Parmelee (1847–1934), portrait artist\n Vinnie Ream (1847–1914), sculptor\n Albert Pinkham Ryder (1847–1917), painter\n T C Steele (1847–1926), painter\n\n1848\n Frank Duveneck (1848–1919), painter\n William Harnett (1848–1892), painter\n Lilla Cabot Perry (1848–1933), painter\n Augustus Saint-Gaudens (1848–1907), sculptor\n Louis Comfort Tiffany (1848–1933), artist and designer\n Charles Henry Francis Turner (1848–1908), painter\n\n1849\n George Newell Bowers (1849–1909), painter\n William Merritt Chase (1849–1916), painter\n Frank C. Penfold (1849–1921), painter\n Jacob Riis (1849–1914), photographer\n Abbott Handerson Thayer (1849–1921), painter\n Dwight William Tryon (1849–1925), painter\n Rufus Fairchild Zogbaum (1849–1925), illustrator, painter\n\nBorn 1850–1859\n1850\n Daniel Chester French (1850–1931), sculptor\n Paul E. Harney (1850–1915), artist\n George Hitchcock (1850–1913), painter\n Robert Koehler (1850–1917), painter\n Alfred Lambourne (1850–1926), painter\n\n1851\n J. Ottis Adams (1851–1927), painter\n Thomas Pollock Anshutz (1851–1912), painter\n Thomas Dewing (1851–1938), painter\n Arthur Burdett Frost (1851–1928), illustrator, graphic artist, comics writer, painter\n\n1852\n Edwin Austin Abbey (1852–1911), illustrator, painter\n James Carroll Beckwith (1852–1917), painter\n Charles Graham (1852–1911), illustrator, painter\n Alfred Richard Gurrey, Sr. (1852–1944), landscape painter\n Gertrude Käsebier (1852–1934), photographer\n Theodore Robinson (1852–1896), painter\n J. Alden Weir (1852–1919), painter\n\n1853\n William Turner Dannat (1853–1929), painter\n T. Alexander Harrison (1853–1930), painter\n John Francis Murphy (1853–1921), painter\n Howard Pyle (1853–1911), illustrator\n Henry Fitch Taylor (1853–1925), painter\n John Henry Twachtman (1853–1902), painter\n\n1854\n William Henry Chandler (1854–1928), painter in pastels\n Hugo Anton Fisher (1854–1916), painter\n William Forsyth (1854–1935), painter\n Herbjørn Gausta (1854–1924), landscape artist\n L. Birge Harrison (1854–1929), painter\n George Inness, Jr. (1854–1926), painter\n Leonard Ochtman (1854–1935), painter\n John Frederick Peto (1854–1907), painter\n\n1855\n Cecilia Beaux (1855–1942), painter\n Jacob Fjelde (1855–1896), Norwegian-born American sculptor\n Claudine Raguet Hirst (1855–1942), still life painter\n James Edward Kelly (1855–1933), sculptor, illustrator\n Charles Henry Niehaus (1855–1935), sculptor\n Julius LeBlanc Stewart (1855–1919), painter\n\n1856\n Robert C. Barnfield (1856–1893), painter\n Colin Campbell Cooper (1856–1937), painter\n Kenyon Cox (1856–1919), painter\n Charles Harold Davis (1856–1933), painter\n John Haberle (1856–1933), painter\n Anna Elizabeth Klumpke (1856–1942), painter\n John Singer Sargent (1856–1925), portrait artist\n\n1857\n Lucy Angeline Bacon (1857–1932), painter\n Alice Pike Barney (1857–1931), painter\n Bruce Crane (1857–1937), painter\n Edward Wilson Currier (1857–1918), painter\n Arthur Wesley Dow (1857–1922), painter, printmaker\n Charles Warren Eaton (1857–1937), painter\n Emma B. King (1857–1933), impressionist\n Florence MacKubin (1857–1918), portrait painter\n George E. Ohr (1857–1918), ceramic potter\n Edward Clark Potter (1857–1923), sculptor\n Frank Raubicheck (1857–1952), painter\n John Vanderpoel (1857–1911), painter, graphics\n Mary Rogers Williams (1857–1907), painter\n\n1858\n Herbert Adams (1858–1945), sculptor\n Joseph DeCamp (1858–1923), painter\n Francis Edwin Elwell (1858–1922), sculptor\n Frederick Gottwald (1858–1941), painter\n Charles S. Kaelin (1858–1929, painter\n Willard Metcalf (1858–1925), painter\n Henry Siddons Mowbray (1858–1928), painter\n Edward Otho Cresap Ord, II (1858–1923), painter and poet\n Maurice Prendergast (1858–1924), painter\n Henry Ward Ranger (1858–1916), painter\n William B. T. Trego (1858–1909), painter\n\n1859\n William Bliss Baker (1859–1886), painter\n George Elbert Burr (1859–1939), painter, printmaker\n Walter Leighton Clark (1859–1935), painter, sculptor\n Childe Hassam (1859–1935), painter, printmaker\n Joseph Henry Sharp (1859–1953), painter\n Henry Ossawa Tanner (1859–1937), painter\n\nBorn 1860–1869\n1860\n William Jacob Baer (1860–1941), painter\n Carl Eytel (1862–1925), landscape painter, illustrator\n John Kane (1860–1934), painter\n Dodge MacKnight (1860–1950), painter\n Arthur Frank Mathews (1860–1945), painter\n Grandma Moses (1860–1961), painter\n Iris Nampeyo (c. 1860–1942), potter, ceramic artist\n Anna M. Sands (1860–1927/1940), painter\n Lorado Taft (1860–1936), sculptor\n\n1861\n Dennis Miller Bunker (1861–1890), painter\n Theodore Earl Butler (1861–1936), painter\n Charles Courtney Curran (1861–1942), painter\n D. Howard Hitchcock (1861–1943), painter\n Florence Koehler (1861–1944)\n Wilton Lockwood (1861–1914), artist\n Clara Weaver Parrish (1861–1925), painter, printmaker, stained glass designer\n Frederic Remington (1861–1909), painter, sculptor, illustrator\n Frank Rinehart (1861–1928), photographer, illustrator\n Douglas Tilden (1861–1935), sculptor\n\n1862\n Adam Emory Albright (1862–1957), painter of figures in landscapes\n Frank Weston Benson (1862–1951), painter, printmaker\n Charles Grafly (1862–1929), sculptor\n Alice De Wolf Kellogg (1862–1900), painter\n Hudson Mindell Kitchell (1862–1944), luminescent and tonalist landscapes\n Albert Pike Lucas (1862–1945), landscape, figure, and portrait\n Adolfo Müller-Ury (1862–1947), painter\n Mina Fonda Ochtman (1862–1924), painter\n Robert Reid (1862–1929), painter and muralist\n Edmund C. Tarbell (1862–1938), painter\n\n1863\n George Gray Barnard (1863–1938), sculptor\n Arthur B. Davies (1863–1928), painter, printmaker\n Frederick William MacMonnies (1863–1937), sculptor\n Verner Moore White (1863–1923), painter\n Jessie Willcox Smith (1863–1935), Illustrator\n\n1864\n Charles Basing (1864–1933), artist\n George Henry Bogert (1864–1944), painter\n Henry Golden Dearth (1864–1918), painter\n Louis Eilshemius (1864–1941), painter\n William Frederic Ritschel (1864–1949), German American painter\n Charles Marion Russell (1864–1926), painter, sculptor\n Alfred Stieglitz (1864–1946), photographer\n Svend Rasmussen Svendsen (1864–1945), Norwegian American impressionist artist\n Charles Herbert Woodbury (1864–1940), painter\n\n1865\n George Bridgman (1865–1943), painter\n Herbert A. Collins (1865–1937), landscape and portrait painter\n Thomas Cromwell Corner (1865–1938), portrait painter\n Leon Dabo (1865–1960), painter\n Frank Vincent DuMond (1865–1951), painter\n Robert Henri (1865–1929), painter\n Adelaide Alsop Robineau (1865–1929), painter and potter\n\n1866\n Karl Albert Buehr (1866–1952), painter\n E. Irving Couse (1866–1935), painter, illustrator\n Helen Thomas Dranga (1866–1940), painter\n Jenny Eakin Delony (1866–1949), painter\n Emil Fuchs (1866–1929), Austrian-born painter, emigrated to US in 1915\n Arvid Nyholm (1866–1927), Swedish-American portrait and landscape artist\n Theodore Scott-Dabo (1866–1928), painter\n Henry Otto Wix (1866–1922), German-born American painter\n Art Young (1866–1943), cartoonist\n\n1867\n Reynolds Beal (1867–1951), painter\n Oscar Florianus Bluemner (1867–1938), painter\n Gutzon Borglum (1867–1941), sculptor\n Harry Buckwalter (1867–1930), photographer, filmmaker\n Wickliffe Covington (1867–1938), painter\n Henry Brown Fuller (1867–1934), painter\n Charles Dana Gibson (1867–1944), graphic artist\n George Luks (1867–1933), painter\n Jerome Myers (1867–1940), painter\n Bela Lyon Pratt (1867–1917), sculptor\n William Sommer (1867–1949), painter\n Allen Butler Talcott (1867–1908), painter\n Frank Lloyd Wright (1867–1959), architect, innovator\n\n1868\n Solon Borglum (1868–1922), sculptor\n Merton Clivette (1868–1931), painter\n Edward S. Curtis (1868–1952), photographer\n Nellie Huntington Gere (1868–1949), painter and illustrator\n Alfred Henry Maurer (1868–1932), painter\n Bert Geer Phillips (1868–1956), painter\n Anne Louise Gregory Ritter (1868–1929), painter and ceramicist\n Anna Woodward (1868–1935), painter\n\n1869\n Kate Carew (1869–1961), caricaturist\n Percy Gray (1869–1952), painter\n Mary Sheppard Greene (1869–1958), painter and illustrator\n Charles Hopkinson (1869–1962), painter\n Wilson Irvine (1869–1936), painter\n Xavier Timoteo Martinez (1869–1943), painter\n William McGregor Paxton (1869–1941), painter\n Edward Willis Redfield (1869–1965), painter\n Janet Scudder (1869–1940), sculptor\n Harriet \"Hattie\" Elizabeth Wilcox (1869–1943), ceramics artist\n\nBorn 1870–1879\n1870\n Thomas P. Barnett (1870–1929), painter\n Anna Richards Brewster (1870–1952), painter\n Alexander Stirling Calder (1870–1945), sculptor\n William Glackens (1870–1938), painter\n John Marin (1870–1953), painter, printmaker\n John T. McCutcheon (1870–1949), political cartoonist\n Maxfield Parrish (1870–1966), painter, illustrator\n Augustus Vincent Tack (1870–1949), painter\n Frederick Weygold (1870–1941), painter and photographer\n Adolph Alexander Weinman (1870–1952), sculptor\n Samuel Washington Weis (1870–1956), painter\n Enid Yandell (1870–1934), sculptor\n\n1871\n Edith Woodman Burroughs (1871–1916), sculptor\n Angel De Cora (1871–1919), painter, illustrator\n Margaret Fernie Eaton (1871–1953), artist, book plate illustrator\n Lyonel Feininger (1871–1956), printmaker\n Elizabeth Shippen Green (1871–1954), illustrator\n Albert Herter (1871–1950), artist and painter\n Granville Redmond (1871–1935), painter\n John French Sloan (1871–1951), painter\n Edward Charles Volkert (1871–1935), painter\n Clark Voorhees (1871–1933), painter\n\n1872\n Charles Avery Aiken (1872–1965), painter, watercolorist\n Robert Winthrop Chanler (1872–1930), muralist\n Charles Webster Hawthorne (1872–1930), painter\n Edna Boies Hopkins (1872–1937), woodblock print artist\n Frederick Dana Marsh (1872–1961), illustrator\n George L. Viavant (1872–1925), acquascape artist\n Bessie Potter Vonnoh (1872–1955), sculptor\n\n1873\n Jane Emmet de Glehn (1873–1961)\n Albert Henry Krehbiel (1873–1945), painter, muralist\n Ernest Lawson (1873–1939), painter\n Paul Mersereau (born 1873), painter\n Arthur Putnam (1873–1930), sculptor\n Juliet Thompson (1873–1956), painter\n Cordelia Wilson (1873–1953), painter\n\n1874\n John Wolcott Adams (1874–1925), drawing\n Ernest L. Blumenschein (1874–1960), painter\n Franklin Booth (1874–1948), illustrator\n Romaine Brooks (1874–1970), painter\n Ira J. Deen (1874–1952), artist\n Harold Heartt Foley (1874–1923), painter, collagist, and illustrator\n Arnold Friedman (1874–1946), painter\n Frederick Carl Frieseke (1874–1939), painter\n Charles R. Knight (1874–1953), dinosaur artist\n Violet Oakley (1874–1961), muralist\n Rose O'Neill (1874–1944), first comic strip artist\n Hans K. Schuler (1874–1951), sculptor\n\n1875\n Ethel Blanchard Collver (1875–1955), Impressionist artist and teacher\n Alice Cooper (1875–1937), sculptor\n Maynard Dixon (1875–1946), painter\n Dulah Marie Evans (1875–1951), painter, illustrator, printmaker, photographer, etcher\n Charles Keck (1875–1951), sculptor\n Marion Wachtel (1875–1951), painter\n Gertrude Vanderbilt Whitney (1875–1942), sculptor\n\n1876\n Alson S. Clark (1876–1949), painter\n Edith Dimock (1876–1955), painter\n Eulabee Dix (1878–1961), water colour portrait miniatures\n James Earle Fraser (1876–1953), sculptor\n Cornelia Ellis Hildebrandt (1876–1962), painter of miniatures\n Anna Hyatt Huntington (1876–1973), sculptor\n Kenneth Hayes Miller (1876–1952), painter\n Frederick Pawla (1876–1964), painter and muralist\n Boardman Robinson (1876–1952), Canadian American painter\n Paul R. Schumann (1876–1946), impressionist seascapes\n Everett Shinn (1876–1953), painter and illustrator\n Walter Ufer (1876–1936), printer, illustrator\n Bessie Wheeler (born 1876), painter\n\n1877\n Eda Nemoede Casterton (1877–1969), painter\n Rinaldo Cuneo (1877–1939), painter\n Rudolph Dirks (1877–1968), cartoonist\n Paul Dougherty (1877–1947), painter\n Katherine S. Dreier (1877–1952), painter\n James Montgomery Flagg (1877–1960), illustrator, painter\n Edmund Greacen (1877–1949), painter\n Marsden Hartley (1877–1943), painter\n William Penhallow Henderson (1877–1943), painter and architect\n Walt Kuhn (1877–1949), painter\n Mary Elizabeth Price (1877–1965)\n Joseph Stella (1877–1946), painter\n Maurice Sterne (1877/78–1957), sculptor\n Mahonri Young (1877–1957), sculptor\n\n1878\n Robert Ingersoll Aitken (1878–1949), sculptor\n Abastenia St. Leger Eberle (1878–1942), sculptor\n Wilhelmina Weber Furlong (1878–1962), still life painter\n E. William Gollings (1878–1932), western painter\n Anna Coleman Ladd (1878–1939), sculptor\n Gus Mager (1878–1956), cartoonist, illustrator, painter\n Abraham Walkowitz (1878–1965), painter\n\n1879\n Gifford Beal (1879–1956), painter\n Helena Smith Dayton (1879–1960), painter and sculptor\n Julian Martinez (1879–1943), potter, ceramist\n Charles Cary Rumsey (1879–1922), sculptor\n George Demont Otis (1879–1962), landscape artist\n Arthur Prince Spear (born 1879), imaginary and fantasy painter\n William Starkweather (1879–1969), impressionist painter\n Edward Steichen (1879–1973), photographer, painter\n Gunnar Widforss (1879–1934), painter specializing in National Park landscapes\n\nBorn 1880–1889\n1880\n Wilford Conrow (1880–1957), portrait painting\n Arthur Dove (1880–1946), painter\n Rufus J. Dryer (1880-1937), painter\n Sir Jacob Epstein (1880–1959), sculptor\n George Herriman (1880–1944), cartoonist\n Hans Hofmann (1880–1966), painter\n Jonas Lie (1880–1940), painter\n\n1881\n Gustave Baumann (1881–1971), printmaker, painter\n Chester Beach (1881–1956), sculptor\n Patrick Henry Bruce (1881–1936), painter\n Agnes Lawrence Pelton (1881–1961), modernist painter\n Allen Tupper True (1881–1955), painter, illustrator, muralist\n Max Weber (1881–1961), painter\n\n1882\n George Bellows (1882–1925), painter, illustrator, printmaker\n Albert Bloch (1882–1961), painter\n Arthur B. Carles (1882–1952), painter\n John Covert (1882–1960), painter\n Edward Hopper (1882–1967), painter, printmaker\n Rockwell Kent (1882–1971), painter, illustrator\n Gaston Lachaise (1882–1935), sculptor\n Harry Mathes (1882–1969), painter\n Elie Nadelman (1882–1946), sculptor\n Julian Onderdonk (1882–1922), painter\n James Sessions (born 9/20/1882), artist\n Walter Pach (1883–1958), painter\n N.C. Wyeth (1882–1945), illustrator\n\n1883\n Johann Berthelsen (1883–1972), painter\n Edward William Carlson (1883–1932), miniature portraitist\n Henry B. Christian (1883–1953), painter\n Imogen Cunningham (1883–1976), photographer\n Jo Davidson (1883–1952), sculptor\n Charles Demuth (1883–1935), painter\n Rube Goldberg (1883–1970), cartoonist, inventor\n Donna N. Schuster (1883–1953), painter\n Charles Sheeler (1883–1965), painter\n Eugene Speicher (1883–1962), painter\n\n1884\n Walter Emerson Baum (1884–1956), painter and art school founder\n Bessie Marsh Brewer (1884–1952), painter, printmaker\n Jose de Creeft (1884–1982), sculptor\n Guy Pène du Bois (1884–1958), painter\n Harvey Dunn (1884–1952), painter\n Samuel Halpert (1884–1930), painter\n William Victor Higgins (1884–1949), painter\n Leon Kroll (1884–1974), painter\n Robert Minor (1884–1952), political cartoonist\n Horatio Nelson Poole (1884–1949), painter and printmaker\n\n1885\n Milton Avery (1885–1965), painter, printmaker\n Oscar Cesare (1885–1948), illustrator, cartoonist, painter\n Fred Ellis (1885–1965), political cartoonist\n E. Charlton Fortune (1885–1969), impressionist painter\n Paul Manship (1885–1966), sculptor\n Josephine Paddock (1885–1964)\n Jules Pascin (born Bulgaria 1885–1930), painter\n Sophy Regensburg (1885–1974), naïve painter\n Elizabeth Sparhawk-Jones (1885–1968), painter\n Ralph Ward Stackpole (1885–1973), sculptor\n John Storrs (1885–1956), sculptor\n E. Oscar Thalinger (1885-1965), painter\n Nina B. Ward (1885–1944), painter\n\n1886\n Pauline Boumphrey (1886–1959), sculptor\n Paul Burlin (1886–1969), painter\n Elias Goldberg (1886–1978), painter\n John R. Grabach (1886–1981), painter\n John D. Graham (1886–1961), painter\n Aldro Hibbard (1886–1972), painter\n Frederick Kann (1886–1965), painter\n Charles James Martin (1886–1955), painter\n Morgan Russell (1886–1953), painter\n Joseph Tepper (1886–1977), portrait painter and artist\n Edward Weston (1886–1958), photographer\n Mary Agnes Yerkes (1886–1989), painter\n\n1887\n Sam Charles (1887–1949), painter\n Andrew Dasburg (1887–1979), painter\n Manierre Dawson (1887–1969), painter\n Marcel Duchamp (1887–1968), painter, sculptor\n Louis Grell (1887–1960), painter, muralist\n Maria Martinez (1887–1980), potter, ceramist\n Georgia O'Keeffe (1887–1986), painter\n John C. Poole (1887–1926), etcher and wood engraver\n Claggett Wilson (1887–1952), painter\n Marguerite Zorach (née Thompson) (1887–1968)\n William Zorach (1887–1966), sculptor\n\n1888\n Josef Albers (1888–1976), painter\n William Spencer Bagdatopoulos (1888–1965), painter and commercial artist\n Arnold Franz Brasz (1888–1966), painter, sculptor, and printmaker\n Augustus Dunbier (1888–1977), painter\n Gerald Murphy (1888–1967), painter\n William Robert Pearmain (1888–1912), painter\n Horace Pippin (1888–1946), painter\n Ruth Faison Shaw (1888–1969), painter\n\n1889\n Maurice Becker (1889–1975), political cartoonist, illustrator\n Thomas Hart Benton (1889–1975), painter, muralist, printmaker\n James Daugherty (1889–1974), painter, illustrator\n Laura Gardin Fraser (1889–1966), sculptor\n Gleb Ilyin (1889–1968), portraiture and landscapes\n Geneva Mercer (1889–1984), sculptor\n Robert William Wood (1889–1979), painter\n\nBorn 1890–1899\n1890\n Grace Albee (1890–1985), printmaker\n Theresa Bernstein (1890–2002), artist, painter, writer\n Gerald Curtis Delano (1890–1972), painter\n Leo Friedlander (1890–1966), sculptor\n Frances Cranmer Greenman (1890–1981), portrait painter\n Frederick Kiesler (1890–1965), sculptor, designer\n Robert Laurent (1890–1970), sculptor\n Stanton Macdonald-Wright (1890–1973), painter\n Jan Matulka (1890–1972), painter\n Man Ray (1890–1976), photographer, dadaist\n Paul Strand (1890–1976), photographer\n Mark Tobey (1890–1976), painter\n\n1891\n Mabel Alvarez (1891–1985), painter\n George Ault (1891–1948), painter\n McClelland Barclay (1891–1942), illustrator, pin-up artist\n Francis Focer Brown (1891–1971), painter\n Arthur N. Christie (1891–1980), painter\n Edwin Dickinson (1891–1978), painter\n Robert Lee Eskridge (1891–1975), painter\n Genevieve Springston Lynch (1891–1960)\n Justin McCarthy (1891–1977), self-taught artist\n Alma Woodsey Thomas (1891–1978), painter\n Jennings Tofel (1891–1959)\n Grant Wood (1891–1942), painter\n\n1892\n Ralph Pallen Coleman (1892–1968), painter and illustrator\n Hugo Gellert (1892–1985), illustrator and muralist\n Naomi Polk (1892–1984), American artist, watercolors and poet\n Augusta Savage (1892–1962), sculptor, teacher\n Vaclav Vytlacil (1892–1984), painter, teacher\n John Ellsworth Weis (1892–1962), painter\n Winslow Wilson (1892–1974), painter, teacher\n\n1893\n Charles E. Burchfield (1893–1967), painter\n Rene Paul Chambellan (1893–1955), sculptor\n Pál Fried (1893–1976), oil painter, dancers, nudes, and portraits\n Wanda Gág (1893–1946), printmaker, illustrator\n George Albert Gale (1893–1951), nautical themed artist\n R. H. Ives Gammell (1893–1981), painter\n Yasuo Kuniyoshi (1893–1953), painter\n Bernard E. Peters (1893-1949), painter\n Abraham Rattner (1893–1978), painter\n\n1894\n Marjorie Acker (1894–1985), painter\n Stuart Davis (1894–1964), painter\n Ernest Fiene (1894–1965), lithographer, printmaker\n Otto Kuhler (1894–1977), painter\n Lucile Lloyd (1894–1941), muralist\n Bashka Paeff (1894–1979), sculptor\n Norman Rockwell (1894–1978), painter, illustrator\n Amanda Snyder (1894–1980), painter, printmaker\n James Thurber (1894–1961), cartoonist\n\n1895\n Talbert Abrams (1895–1990), photographer\n Frederick Cornelius Alston (1895–1987), painter\n Peggy Bacon (1895–1987), printmaker, painter, illustrator\n Lucile Blanch (1895–1981), painter\n Adolf Dehn (1895–1968), lithographer, illustrator\n Buckminster Fuller (1895–1983), architect, visionary\n Harry Gottlieb (1895–1993), painter, illustrator\n Regina Olson Hughes (1895–1993), botanical illustrator\n Millie Rose Lalk (1895–1943), painter\n Dorothea Lange (1895–1965), photographer\n John Allen Wyeth (1895–1981), painter\n\n1896\n Arnold Blanch (1896–1968), painter, printmaker\n Allyn Cox (1896–1982), painter, muralist\n John Russell Fulton (1896–1979), painter, illustrator\n Morris Kantor (1896–1974), painter\n Barbara Latham (1896–1989), painter, printmaker, illustrator\n Eve Ryder (1896-1984), painter\n Charmion von Wiegand (1896–1983), painter\n\n1897\n James Billmyer (1897–1989), painter, illustrator\n Charles Ragland Bunnell (1897–1968), painter\n John Steuart Curry (1897–1946), painter, muralist, printmaker\n William Gropper (1897–1977), cartoonist, painter, muralist, printmaker\n Theodore Lukits (1897–1992), painter, muralist, illustrator, teacher\n Caroline Mytinger (1897–1980), painter\n Reuben Nakian (1897–1986), sculptor\n Dudley Pratt (1897–1975), sculptor\n Matthew E. Ziegler (1897-1981), painter, muralist\n\n1898\n Berenice Abbott (1898–1991), photographer\n Samuel Adler (1898–1979), artist\n Dewey Albinson (1898–1971), artist\n Robert Brackman (1898–1980), painter\n Alexander Calder (1898–1976), sculptor\n Aaron Douglas (1899–1979), painter\n Elsie Driggs (1898–1992), painter\n Lorser Feitelson (1898–1978), painter\n Hyman William Katz (1898–1988), painter, printmaker\n Reginald Marsh (1898–1954), painter, printmaker\n John McLaughlin (1898–1976), painter\n Kay Sage (1898–1963), painter\n Ben Shahn (1898–1969), painter, printmaker, graphic artist\n\n1899\n Eugène Berman (1899–1972), painter\n Francis Chapin (1899–1965), painter\n Gladys Emerson Cook (1899-1976), painter, illustrator\n De Hirsh Margules (1899–1965), painter\n Louise Nevelson (1899–1988), assemblage artist, sculptor\n Moses Soyer (1899–1974), painter\n Raphael Soyer (1899–1987), painter\n Bradley Walker Tomlin (1899–1955), painter\n\nSee also \n\n American art\n Native American artists\n African American art\n Sculpture of the United States\n Feminist art movement\n Hudson River School\n Luminism\n American Impressionism\n Ashcan School\n Precisionism\n American scene painting\n Regionalism\n WPA Federal Art Project\n Northwest School\n Abstract expressionism\n Pop art\n Happenings\n Fluxus\n Intermedia\n Hard-edge painting\n Minimalism\n Post-painterly abstraction\n Color field painting\n Post-minimalism\n Process art\n Site-specific art\n Earth art\n Lyrical abstraction\n Photorealism\n Conceptual art\n Postmodernism\n\n1900 and before\nCategory:American artists\nAmerican artists before 1900", "title": "List of American artists before 1900" }, { "text": "The following is a list of notable people presently or previously associated with the city of Philadelphia, Pennsylvania:\n\nAcademia\n\nJoseph Addison Alexander (1809–1860), former clergyman and biblical scholar\nE. Digby Baltzell (1915–1996), former sociologist, author, and professor at the University of Pennsylvania\nEllen Bass (born 1947), professor, poet, and author\nLeon Bass (1925–2015), former educator and Benjamin Franklin High School principal\nAaron Beck (1921–2021), former psychiatrist, inventor of cognitive therapy, and Penn School of Medicine professor\nAlgernon Sydney Biddle (1847–1891), former lawyer and Penn Law School professor\nRay Birdwhistell (1918–1994), former anthropologist, University of Pennsylvania professor, and inventor of kinesics\nAtherton Blight (1834–1909), former lawyer, businessperson, author, diarist, philanthropist, and Art Club of Philadelphia founding member\nAlfred Bloom, linguist, professor, and Swarthmore College president\nFrancis Bohlen (1868–1942), former Penn Law School professor\nDerek Bok (born 1930), lawyer, former Harvard Law School dean, and former Harvard University president\nLisa Bowleg, George Washington University social psychology professor\nRuby Chappelle Boyd (born 1919), former librarian\nDavid D. Burns (born 1942), psychiatrist, author, Penn School of Medicine psychiatry professor\nNoam Chomsky (born 1928), linguist, Far-left political activist, anarchist, and professor\nGordon Clark (1902–1985), former Christian theologian and professor\nC. Everett Coop (1916–2013), former U.S. Surgeon General\nLeda Cosmides (born 1957), psychologist, helped develop evolutionary psychology field\nPhilip D. Curtin (1922–2009), former Africa historian on Atlantic slave trade\n Steven Drizin, lawyer and professor\nDrew Gilpin Faust (born 1947), historian, University of Pennsylvania administrator, and Harvard University president\nR. Buckminster Fuller (1895–1983), former architect, systems theorist, author, University of Pennsylvania design professor\nAndrew Gelman (born 1965), Columbia University professor, statistics and political science\nGaylord P. Harnwell (1903–1982), former University of Pennsylvania professor and president\nEarl G. Harrison (1899–1955), former Penn Law School dean and former INS commissioner\nMarc Lamont Hill (born 1978), professor, journalist, activist, and BET News correspondent\nAgnes Irwin (1841–1914), former Agnes Irwin School founder and first dean of Radcliffe College\nSeymour S. Kety (1915–2000), former neuroscientist and schizophrenia researcher\nLawrence Klein (1920–2013), former economist, Nobel laureate, University of Pennsylvania economics professor\nByard Lancaster (1942–2012), former avant-garde jazz saxophonist and flutist\nAlain LeRoy Locke (1885–1954), former writer, philosopher, educator, and first African-American Rhodes Scholar\nMargaret Mead (1901–1978), former cultural anthropologist and author\nWilliam Augustus Muhlenberg (1796–1877), considered father of parochial schools\nJohn Pittenger (1930–2009), former lawyer, academic, and former Pennsylvania House of Representatives member\nPhilip Rieff (1922–2006), former sociologist, cultural critic, and University of Pennsylvania professor\nLouis B. Schwartz (1913–2003), former University of Pennsylvania Law School law professor\nDora Adele Shoemaker (1873-1962), educator, writer\nJacob Soll (born 1968), historian and MacArthur Fellow\nLawrence H. Summers (born 1954), economist, former U.S. Secretary of the Treasury and Harvard University president\nHoward M. Temin (1934–1994), former Nobel Prize co-laureate in physiology or medicine\nCornelius Van Til (1895–1987), former Christian theologian, professor, originator of modern presuppositional apologetics\nLawrence Venuti (born 1953), translation theorist and translation historian\nAndrew Weil (born 1942), celebrity doctor and alternative medicine advocate\nGayraud Wilmore (1921–2020), former writer, historian, ethicist, educator, and theologian\nWalter E. Williams (1936–2020), former economist, commentator, and academic\nHarris Wofford (1926–2019), former Peace Corps director, Bryn Mawr College president, U.S. Senator appointee\n Bernard Wolfman (1924–2011), former University of Pennsylvania Law School law professor and dean\nJosh Wurman (born 1960), meteorologist on Storm Chasers\n\nArt and architecture\n\nJulian Abele (1881–1950), former architect who contributed to the design of over 400 buildings\nRobb Armstrong (born 1962), African American cartoonist, creator of Jump Start\nEdmund Bacon (1910–2005), urban planner, architect, educator, and author\nBill Bamberger (born 1956), documentary photographer and photojournalist\nAlbert C. Barnes (1872–1951), former creator of the Barnes Collection of Art and Argyrol inventor\nCecilia Beaux (1855–1942), former portrait painter\nWilliam Bell (1830–1910), photographer\nAlexander Calder (1898–1976), former sculptor\nAlexander Milne Calder (1846–1923), former sculptor\nAlexander Stirling Calder (1870–1945), former sculptor\nMary Cassatt (1844–1926), former impressionist painter and printmaker\nFlorence Van Leer Earle Coates (1850–1927), former poet\nRobert Crumb (born 1943), underground comics artist, writer\nHeather Dewey-Hagborg (born 1982), information artist and bio-hacker\nThomas Eakins (1844–1916), former realist painter, photographer, sculptor, Pennsylvania Academy of Fine Arts professor\nFrank Heyling Furness (1839–1912), former architect who designed over 600 buildings\nSonia Gechtoff (1926–2018), former abstract expressionist painter\nGinger Gilmour (born 1949), sculptor and first wife of Pink Floyd guitarist David Gilmour\nPhoebe Gloeckner (born 1960), cartoonist, illustrator, painter, novelist\nElizabeth Shippen Green (1871–1954), former children's books illustrator\nDonelson Hoopes (1932–2006), former art historian\nIan Hornak (1944–2002), former draughtsman, painter, and printmaker\nAmy Ignatow (born 1977), illustrator, cartoonist, and author\nLouis Kahn (1901–1974), former architect\nBil Keane (1922–2011), former cartoonist, The Family Circus\nWalt Kelly (1913–1973), former cartoonist, Pogo\nHenry P. McIlhenny (1910–1986), former art and antique connoisseur, philanthropist, curator, and Philadelphia Museum of Art chairman\nJohn Moran (1831–1902), former photographer and artist \nAlice Neel (1900–1984), former painter\nAlbert Newsam (1809–1864), born deaf and former artist\nLinda Nochlin (1931–2017), former feminist art historian and Bryn Mawr College professor\nMartin Nodell (1915–2006), former comic book artist and creator of the original Green Lantern\nCharles Willson Peale (1741–1827), former artist and progenitor of the Peale family of American artists\nWilliam H. Rau (1855–1920), former photographer]\nSeymour Remenick (1923–1999), former artist\n Elizabeth Wentworth Roberts (1871–1927), former painter and founder of Concord Art Association\nCarolee Schneemann (1939–2019), former visual experimental artist on sexuality and gender\nMary B. Schuenemann (1898–1992), former painter\nDenise Scott Brown (born 1931), architect, planner, writer, and educator\nSarai Sherman (1922–2013), former painter and sculptor\nGrover Simcox (1867–1966), former illustrator, naturalist, and polymath\nJessie Wilcox Smith (1863–1935), former illustrator\nWilli Smith (1948–1987), former fashion designer\nZoe Strauss (born 1970), photographer\nWilliam Strickland (1788–1854), former architect and civil engineer \nThomas Sully (1783–1872), former portrait painter of national political leaders\nHenry Ossawa Tanner (1859–1937), one of first African-American painters\nDaniel Traub (born 1971), photographer and filmmaker\nHorace Trumbauer (1868–1938), former architect\nRobert Venturi (1925–2018), former architect\nThomas Ustick Walter (1804–1887), former architect and American Institute of Architects co-founder and president\nAndrew Wyeth (1917–2009), former visual artist\nJamie Wyeth (born 1946), painter \nN.C. Wyeth (1882–1945), former artist and illustrator\nLily Yeh (born 1941), artist\n\nBusiness\n\nFrank Baldino Jr. (1953–2010), former pharmacologist, scientist, and Cephalon co-founder\nJohn C. Bogle (1929–2019), former investor, money manager, and Vanguard founder\nAmar Bose (1929–2013), former founder and chairman, Bose\nDavid L. Cohen (born 1955), senior executive vice president and chief lobbyist for Comcast, former chief of staff to Philadelphia Mayor, U.S. ambassador to Canada nominee\nPat Croce (born 1954), entrepreneur, Philadelphia 76ers executive and part-owner, author, and television personality\nGeorge Dashnau (1923–2001), former advertising executive who started first mail order delivery service to supply human skulls\nCharles Henry Davis (1865–1951), former businessperson, civil engineer, philanthropist; founded World Peace Movement\nWarren Lyford DeLano (1972–2009), former advocate for increased open sourcing and PyMol creator\nGeorge H. Earle Jr. (1856–1928), former attorney \nMaria Anna Fisher (1819–1911), former African American baker, entrepreneur, and philanthropist\nKenneth Frazier (born 1954), Merck & Co. chief executive officer\nA. O. Granger (Arthur Otis Granger; 1846–1914), former industrialist and soldier\nAlbert M. Greenfield (1887–1967), former local realty magnate, philanthropist, and political activist\nSolomon R. Guggenheim (1861–1949), former Yukon Gold Company founder and philanthropist who established Solomon R. Guggenheim Foundation and Solomon R. Guggenheim Museum\nRichard Hayne (born 1947), Urban Outfitters founder and chief executive officer\nMichael Johns (born 1964), healthcare executive and former White House presidential speechwriter\nEldridge R. Johnson (1867–1945), former Victor Talking Machine Company founder\nTom Knox, UnitedHealthcare of Pennsylvania chief executive officer and former Philadelphia mayoral candidate\nJohn Leamy (1757–1839), former Spanish Empire trade pioneer\nJ. Howard Marshall (1905–1995), former oil businessman, Koch Industries stakeholder, husband of Anna Nicole Smith\nGeorge Meade (1741–1808), former merchant\nRichard W. Meade (1778–1828), former merchant and art collector\nSamuel Meeker (1763–1831), former merchant \nJim Murray, Ronald McDonald House Charities co-founder and former Philadelphia Eagles general manager\nJoel Myers (born 1939), AccuWeather founder, chairman, and chief executive officer\nPat Olivieri (1910–1970), former founder of Pat's King of Steaks and reputed creator of the cheesesteak\nWilliam S. Paley (1901–1990), former CBS chief executive\nRandal Pinkett (born 1971), entrepreneur and The Apprentice 4 winner\nFelix Rappaport (1952–2018), former Foxwoods Resort and Casino chief executive officer\nLynda Resnick (born 1943), co-owner of Roll International, which owns POM Wonderful, FIJI Water, and Teleflora\nBrian L. Roberts (born 1959), Comcast Corporation chairman and chief executive officer\nMichael G. Rubin (born 1972), Kynetic founder and chief executive officer, Philadelphia 76ers part owner, and GSI Commerce founder and former chief executive officer\nStephen A. Schwarzman (born 1947), The Blackstone Group founder and chief executive officer\nEd Snider (1933–2016), former Comcast Spectacor chairman\nJustus Strawbridge (1838–1911), former department store founder\nBrian Tierney (born 1957), The Philadelphia Inquirer publisher\nJohn Wanamaker (1838–1922), former department store founder\nWalter E. Williams (1936–2020), former economist, commentator, and academic\nJames Hood Wright (1836–1894), former banker, financier, and corporate director, associate of J. P. Morgan and Thomas Edison\nWilliam Wrigley Jr. (1861–1932), former Wm. Wrigley Jr. Company founder\n\nCriminals\nSydney Biddle Barrows (born 1952), escort service proprietor known as \"The Mayflower Madam\"\nAntuan Bronshtein, convicted murderer, reputed Russian Mafia associate\nAngelo Bruno (1910–1980), former Philadelphia crime family boss\nLegs Diamond (1897–1931), former nemesis of mobster Dutch Schultz known as the \"clay pigeon of the underworld\"\nIra Einhorn (1940–2020), former environmental and anti-war activist, convicted murderer, and speaker at first Earth Day event in Philadelphia\nMary Jane Fonder (1942–2018), former convicted murderer of Rhonda Smith\nKermit Gosnell (born 1941), convicted of 21 felony counts of illegal late-term abortion\nGary Heidnik (1943–1999), former convicted murderer\nPhilip Leonetti (born 1953), underboss of Philadelphia crime family and government informant\nNicodemo Scarfo (1929–2017), former mafioso and head of Scarfo crime family\n\nFilm, television, and theater\n\nA–K\n\nJoe Augustyn, writer and producer\nKevin Bacon (born 1958), actor and half of The Bacon Brothers\nJim Bailey (1938–2015), former singer, film, television, and stage actor\nChuck Barris (1929–2017), former actor, composer, writer, director, producer, and game show host\nEthel Barrymore (1879–1959), former actress\nJohn Barrymore (1882–1942), former actor\nLionel Barrymore (1878–1954), former actor, Mr. Potter in Frank Capra's It's a Wonderful Life\nEddie Barth (1931–2010), former actor and voiceover artist\nJules Bass (born 1935), director and composer\nLaurie Beechman (1953–1998), former Broadway singer and actress\nWillam Belli (born 1982), actor, drag queen, model, and recording artist\nMaria Bello (born 1967), actress and writer\nEd Bernard (born 1939), actor\nJohn Biddle (1925–2008), former yachting cinematographer and lecturer\nEdward Binns (1916–1990), former actor\nJoey Bishop (1918–2007), former entertainer\nDanny Bonaduce (born 1959), actor\nDavid Boreanaz (born 1969), actor\nJim Boyd (1933–2013), former actor\nPeter Boyle (1935–2006), former actor\nEl Brendel (1890–1964), former vaudeville comedian and actor\nDavid Brenner (1936–2014), former stand-up comedian, actor, and author\nRichard Brooks (1912–1992), former screenwriter, film director, novelist, and film producer\nQuinta Brunson, (born 1989), creator Abbott Elementary \nMatt Bush (born 1986), actor, Adventureland\nEugene Byrd, (born 1975), actor \nMichael Callan (1935-2022), former actor\nGia Marie Carangi (1960–1986), former supermodel\nJoan Carroll (born 1932), coloratura soprano\nDick Clark (1929–2012), former host, American Bandstand and Dick Clark's New Year's Rockin' Eve, game show host, and producer\nBessie Clayton (1875–1948), former Broadway, vaudeville, and burlesque specialty dancer and choreographer\nImogene Coca (1908–2001), former actress and comedian\nNathan Cook (1950–1988), former actor\nBradley Cooper (born 1975), actor\nBill Cosby (born 1937), comedian, actor, and author\nDavid Crane (born 1957), writer and producer \nBroderick Crawford (1911–1986), former actor\nSusan Webb Cushman (1822–1859), former stage actress\nBlythe Danner (born 1943), actress\nMildred Davis (1901–1969), former actress\nBruce Davison (born 1946), actor\nJohn de Lancie (born 1948), actor\nFrancis De Sales (1912–1988), former actor\nKim Delaney (born 1961), actress\nKat Dennings (born 1986), actress\nCurly Joe DeRita (1909–1993), former comedian, actor, and member of The Three Stooges\nJohn Doman (born 1945), actor, The Wire\nMike Douglas (1920–2006), former singer and television talk show host\nGary Dourdan (born 1966), actor\nRel Dowdell, filmmaker\nJa'net Dubois (c. 1932–2020), former actress and singer\nCheryl Dunye (born 1966), director, writer, and producer\nKevin Eubanks (born 1957), musician and leader of The Tonight Show Band\nLola Falana (born 1942), dancer and actress\nNorman Fell (1924–1998), former actor\nTina Fey (born 1970), actress and comedian\nW. C. Fields (1880–1946), former actor and comedian\nMademoiselle Fifi (1890-1982), former dancer \nLarry Fine (1902–1975), former comedian, actor, and member of The Three Stooges\nLinda Fiorentino (c. 1958), actress\nKate Flannery (born 1964), actress\nJeremy Gable (born 1982), playwright and game designer\nJohn Gallaudet (August 23, 1903 - November 5, 1983), former actor\nRalph Garman (born 1964), actor and radio personality\nJanet Gaynor (1906–1984), former actress\nRichard Gere (born 1949), actor\nTodd Glass (born 1964), comedian\nAdam F. Goldberg (born 1976), television and film producer\nRobert X. Golphin (born 1982), actor and filmmaker\nKate Gosselin (born 1975), reality television personality, Jon and Kate Plus Eight\nBruce Graham (1925–2010), former playwright\nSeth Green (born 1974), actor\nGrayson Hall (1922–1985), former television, film, and stage actress\nChief Halftown (1917–2003), former children's television personality\nVeronica Hamel (born 1943), actress and model\nKevin Hart (born 1979), comedian and actor\nRodney Harvey (1967-1998), former actor\nSherman Hemsley (1938–2012), former actor\nEmmaline Henry (1928–1979), former actress, I Dream of Jeannie\nMarc Lamont Hill (born 1978), television host\nTigre Hill, producer and director\nPaul Hipp (born 1963), actor, musician, and producer\nWendell Holland (born 1984), Survivor: Ghost Island winner\nBillie Holiday (1915–1959), former singer\nKevin Hooks (born 1958), actor and director\nAbby Huntsman (born 1986), co-host of The View\nMark Indelicato (born 1994), actor, singer (Justin Suarez on Ugly Betty)\nAbbi Jacobson (born 1984), actress, comedian, and co-creator of Broad City\nBarry Jenner (1941–2016), former actor\nAleeza Ben Shalom, matchmaker, relationship coach, and author\nClark Johnson (born 1954), actor and director\nNicole Kassell (born 1972), director and writer\nGeorge Kelly (1887–1974), former playwright, screenwriter, director, and actor\nGrace Kelly (1929–1982), former actress and Princess of Monaco\nMichael Kelly (born 1969), actor\nIrvin Kershner (1923–2010), former director, The Empire Strikes Back\nTaylor Kinney (born 1981), actor, Vampire Diaries and Chicago Fire\nJack Klugman (1922–2012), former actor, The Odd Couple, Quincy, M.E., and You Again?\n\nL-Z\n\nPatti LaBelle (born 1944), R&B and soul musician, actress, and entrepreneur\nMichael Landon (1936–1991), former actor, producer, and director\nMario Lanza (1921–1959), former singer and actor\nStan Lathan (born 1945), film producer, television producer, and director\nAndrew Lawrence (born 1988), actor\nJoey Lawrence (born 1976), actor\nMatthew Lawrence (born 1980), actor\nRaw Leiba (born 1975), actor, stuntman, and sports model\nAaron Levinson, producer, musician\nBrooke Lewis (born 1975), actress, producer and television personality\nShari Lewis (1933–1998), former children's television personality \nGene London (1931–2020), former artist and local children's television personality\nLisa Lopes (1971–2002), former rapper, singer, songwriter, record producer, and dancer\nSidney Lumet (1924–2011), former film director\nDavid Lynch (born 1946), film director\nJeanette MacDonald (1903–1965), former actress and singer\nStephen Macht (born 1942), actor\nAbby Mann (1927–2008), former film writer and producer\nMelanie Mayron (born 1952), actress\nAdam Mazer, writer and Emmy winner\nBob McAllister (1935–1998), former children's television personality\nAndrea McArdle (born 1963), singer, actress, Broadway's original Annie\nJoan McCracken (1917–1961), former dancer and actress\nPaul McCrane (born 1961), actor and musician\nRob McElhenney (born 1977), actor and creator of It's Always Sunny in Philadelphia\nAndrew Repasky McElhinney (born 1978), film director, writer, Museum of Modern Art artist\nAdam McKay (born 1968), director and writer\nMary Lou Metzger (born 1950), singer, The Lawrence Welk Show\nDavid Mirkin (born 1955), writer and director\nSilas Weir Mitchell (born 1969), actor\nKatherine Moennig (born 1977), actress\nKelly Monaco (born 1976), model and actress\nNatalie Nevins (1925–2010), former singer, The Lawrence Welk Show\nJ. J. North (born 1964), actress\nClifford Odets (1906–1963), former playwright, director, and screenwriter\nLeslie Odom Jr. (born 1981), actor and singer\nAna Ortiz (born 1971), actress, Hilda Suarez on Ugly Betty\nDaphne Oz (born 1986), author, television host on The Chew\nHolly Robinson Peete (born 1964), actress\nLisa Peluso (born 1964), actress, Saturday Night Fever\nGervase Peterson (born 1969), contestant, original season of Survivor\nTeddy Pendergrass (1950–2010), former R&B and soul musician, lead singer for Harold Melvin & the Blue Notes\nRobert Picardo (born 1953), actor\nNoam Pitlik (1932–1999), former actor, television director, and producer\nJack Polito (born 1941), animator\nJon Polito (1950–2016), former actor, Miller's Crossing\nJoe Renzetti, musician, Oscar-winning film composer, The Buddy Holly Story\nAdele Ritchie (1874–1930), former singer\nMatt Robinson (1937–2002), former Sesame Street actor\nJames Rolfe (born 1980), creator and star of Angry Video Game Nerd internet series and film director\nLisa Roma (1892–1965), former operatic soprano and music educator\nJ. D. Roth (born 1968), actor and game show host\nBob Saget (1956–2022), former actor, comedian, and game show host\nMathew St. Patrick (born 1968), actor\nDiane Salinger (born 1951), actress\nCamillia Sanes, actress, The Shield\nJessica Savitch (1947–1983), former local and national news broadcaster, NBC\nBill Scott (1920–1985), former voice actor, voice of Bullwinkle J. Moose, Mr. Peabody, and Dudley Do-Right\nVivienne Segal (1897–1992), former actress\nSusan Seidelman (born 1952), film director, television director, Desperately Seeking Susan and Sex and the City\nCraig Shoemaker (born 1962), stand-up comedian and film and television producer\nJimmy Shubert, stand-up comedian\nM. Night Shyamalan (born 1970), film director, The Sixth Sense and Signs\nPenny Singleton (1908–2003), former radio, film, and voice actress\nJack Thomas Smith (born 1969), horror filmmaker\nToukie Smith (born 1952), model and actress\nWill Smith (born 1968), actor, hip-hop recording artist, half of the duo DJ Jazzy Jeff & The Fresh Prince, record producer, four time Grammy-winner\nDavid Smyrl (1935–2016), former actor and television writer, Sesame Street \nHarry Snodgrass (born 1963), sound designer, supervisor, and editor, Alien 3, Napoleon Dynamite, Hot Shots! Part Deux, Robin Hood Men in Tights\nTom Snyder (1936–2007), former news and entertainment personality, NBC\nSally Starr (1923–2013), former children's television personality\nJoey Stefano (1968–1994), former dancer, actor, and gay porn star\nParker Stevenson (born 1952), actor\nCharles Stone III (born 1966), film director and creator of Budweiser's \"Whassup?\" advertising campaign\nHolland Taylor (born 1943), actress\nTeller (born 1948), magician and half of Penn & Teller\nFrank Tinney (1878–1940), former vaudeville comedian \nPaul F. Tompkins (born 1968), actor and comedian\nJean Vander Pyl (1919–1999), former actress, voice of Wilma Flintstone and Rosie the Robot Maid\nTom Verica (born 1964), actor\nNancy Walker (1922–1992), former actress and director\nBrendan Walter (born 1986), actor, director, and guitarist\nBruce Walsh, playwright\nJeff Ward (born 1986), actor\nWee Willie Webber (1929–2010), former local radio and television personality\nJohn Sylvester White (1919–1988), former television actor\nKaren Malina White (born 1965), actress\nNafessa Williams, actress\nKenya D. Williamson, actress and screenwriter\nThomas F. Wilson (born 1959), actor and stand-up comic\nDanny Woodburn (born 1964), actor and comedian\nEd Wynn (1886–1966), former actor and comedian, Uncle Albert in Walt Disney's Mary Poppins\nJohn Zacherle (1918–2016), former actor, producer, and television horror host\n\nHistorical figures\n\nDavid Hayes Agnew (1818–1892), former surgeon and teacher\nRobert Aitken (1734–1802), former publisher of first Bible in North America\nLouisa May Alcott (1832–1888), novelist\nAndrew Allen (1740–1825), former delegate to Continental Congress\nHarrison Allen (1841–1897), former anatomist and physician\nJoseph Anderson (1757–1837), former United States Senator\nMary Stevens Beall (1854–1917), historian, writer, librarian\nCharles John Biddle (1819–1873), former U.S. House of Representatives member\nEdward Biddle (1738–1779), American Founding Father, soldier, lawyer, statesman, and delegate to Continental Congress\nFrancis Biddle (1886–1968), former U.S. Solicitor General, U.S. Attorney General, and Nuremberg trials principal judge\nNicholas Biddle (1786–1844), former financier and Second Bank of the United States president\nNicholas Biddle (1750–1778), Continental Navy original captain\nRichard Biddle (1796–1847), former U.S. House of Representatives member\nJohn C. Bowers (1811–1873), former entrepreneur, organist, and vestryman, and founding member of first Grand United Order of Odd Fellows\nThomas Bowers (c. 1823–1885), former concert artist\nEd Bradley (1941–2006), former CBS News radio journalist and television journalist\nHenry \"Box\" Brown (c.1815–1897), abolitionist who escaped to freedom by arranging to have himself mailed in crate to abolitionists in Philadelphia\nWilliam C. Bullitt, Jr. (1891–1967), former diplomat who conducted special mission to negotiate with Vladimir Lenin on behalf of the Paris Peace Conference and first U.S. ambassador to Soviet Union and U.S. ambassador to France during World War II. \nBebe Moore Campbell (1950–2006), former author, journalist, and teacher\nSamuel Carpenter (1649–1714), first Pennsylvania Treasurer and deputy governor to William Penn\nOctavius Valentine Catto (1839–1871), former educator, civil rights activist, and baseball player\nEmilie Davis (1839–1889), former writer who kept American Civil War diary\nEmma V. Day (1853–1895), former missionary to Liberia\nMarguerite de Angeli (1889–1987), former author and illustrator\nBranson DeCou (1892-1941), photographer and traveler\nHarriet Schneider French (1824–1906), former physician and temperance movement activist\nHenry George (1839–1897), former political economist and author, inspired economic philosophy known as Georgism\nT. Adelaide Goodno (1858-1931), social reformer\nCharlotte Forten Grimké (1837–1914), former abolitionist, poet, and educator\nBenjamin Guggenheim (1865–1912), former businessman who died aboard the RMS Titanic\nJohn von Sonnentag de Havilland (1826–1886), former American officer of arms in England\nA. Leon Higginbotham Jr. (1928–1998), former Kerner Commission commissioner, U.S. Court of Appeals for the Third Circuit judge, and Presidential Medal of Freedom recipient\nAntonija Höffern (1803–1871), Slovenian noblewoman and educator, first Slovenian woman to immigrate to the United States\nJohn A. Hostetler (1918–2001), former author, educator, and Amish and Hutterite scholar\nRebecca Jones (1739-1818), former Quaker minister and educator\nGrace Kelly (1929–1982), former princess of Monaco and actress\nGeorge Lippard (1822–1854), former novelist, journalist, playwright, social activist, and labor organizer\nAlain LeRoy Locke (1885–1954), former writer, Harlem Renaissance figure, and first African American Rhodes Scholar\nHenry C. McCook (1837–1911), former entomologist, clergyman, author, and Philadelphia city flag designer\nJoseph McKenna (1843–1926), former U.S. Supreme Court associate justice, U.S. Attorney General, and U.S. House of Representatives member\nThomas Mifflin (1744–1800), Continental Army major general, fifth president of U.S. Congress, first Pennsylvania governor, and Founding Father\nAnna Balmer Myers (1884–1972), former author\nRobert N. C. Nix Jr. (1928–2003), former chief justice, Supreme Court of Pennsylvania\nGeorge W. Pepper (1867–1961), former attorney and U.S. Senator\nWilliam Pepper (1843–1898), former Free Library of Philadelphia founder and University of Pennsylvania provost\nPhilip Syng Physick (1768–1837), former physician known as father of American surgery\nMarcus Aurelius Root (1808–1888), leading daguerreotypist and author\nBetsy Ross (1752–1836), sewed first American flag known as the Betsy Ross flag\nBenjamin Rush (1746–1813), former physician, politician, social reformer, humanitarian, educator, and Founding Father who signed the Declaration of Independence\nPeggy Shippen (1760–1804), former to American Revolution traitor Benedict Arnold and highest-paid spy in the American Revolution\nLeon Sullivan (1922–2001), former Baptist minister and social activist\nManuel Torres (1762–1822), first Colombian ambassador to the U.S.\nThomas Truxton (1755–1822), former American naval officer who rose to commodore\nFrank J. Webb (1828–c. 1894), former novelist, poet, essayist, and writer\n\nMedia and literature\n\nIsaac Ashmead (1790–1870), former printer who served in the War of 1812\nIsaac Asimov (1920–1992), former science fiction author\nTony Auth (1942–2014), former editorial cartoonist and Pulitzer Prize and Herblock Prize winner \nDoug Banks (1958–2016), former nationally syndicated morning radio host\nLeslie Esdaile Banks (1959–2011), former author\nDonald Barthelme (1931–1989), former author\nStan and Jan Berenstain (1923–2005), former children's writing and illustration couple\nEvelyn Berckman (1900–1978), former author\nBen Bova (1932–2020), former science fiction author\nMary D. R. Boyd (1809–1893), former children's book author\nEd Bradley (1941–2006), former journalist, 60 Minutes\nTony Bruno (born 1952), sports radio talk show host\nMaxwell Struthers Burt (1882–1954), former novelist, poet, and author\nNathaniel Burt (1913–2003), former novelist, poet, composer, and author\nFrancesca Anna Canfield (1803–1833), former linguist and writer\nAngelo Cataldi (born 1951), sports radio host\nRenee Chenault-Fattah (born 1957), WCAU-TV news anchor and wife of U.S. Representative Chaka Fattah\nMary M. Cohen (1854–1911), former social economist, journalist, belletrist, and educator\nMichael Connelly (born 1956), author\nBenjamin De Casseres (1873–1945), former journalist, critic, essayist, and poet\nJoseph Dennie (1768–1812), former essaysist, The Lay Preacher, and The Port Folio founding editor\nPete Dexter (born 1943), journalist, novelist, and National Book Award-winner\nCatharine H. Esling (1812–1897), former hymn writer and poet\nCourtney Friel (born 1980), KTLA-TV news anchor and reporter \nCharles Fuller (born 1939), playwright, Pulitzer Prize for Drama recipient, and Tony Award for Best Revival of a Play winner\nJim Gardner (born 1948), WPVI-TV news anchor\nMike Golic (born 1962), ESPN radio and television personality, former Philadelphia Eagles professional football player\nDavid Goodis (1917–1967), former author\nTerry Gross (born 1951), radio host and co-executive producer, Fresh Air\nJohn Harvey (born 1951), radio and television personality\nAries Keck, author and radio reporter\nSuzy Kolber (born 1964), television sportscaster\nAndrea Kremer (born 1959), television sportscaster\nBob Lassiter (1945–2006), former left-wing radio host\nMark Levin (born 1957), lawyer, author, and radio personality\nRachel Levin (born 1995), YouTuber, and beauty guru\nJonathan Maberry (born 1958), suspense author, anthology editor, comic book writer, magazine feature writer, playwright, content creator, writing teacher and lecturer\nMichelle Malkin (born 1970), political commentator\nChris Matthews (born 1945), NBC and MSNBC journalist and talk show host\nEdith May (1827–1903), former writer and poet\nBrian McDonough, medical editor, author, and physician\nJim McKay (1921–2008), former ABC sports journalist\nChris McKendry (born 1968), ESPN SportsCenter anchor\nLarry Mendte (born 1957), KYW-TV news anchor\nJames A. Michener (1907–1997), former author\nAubertine Woodward Moore (1841–1929), former musician, writer, musical critic, translator, and lecturer\nChristopher Morley (1890–1957), former novelist, short-story writer, and poet\nWesley Morris (born 1975), film critic and podcast host\nThom Nickels, author and journalist\nJoe Queenan (born 1950), author and humorist\nMatthew Quick (born 1973), author, The Silver Linings Playbook\nEdgar Allan Poe (1809–1849), former novelist and short-story writer\nChaim Potok (1929–2002), former novelist and author, The Chosen and The Promise\nRichard P. Powell (1908–1999), former novelist\nBeasley Reece (born 1954), KYW-TV sports journalist and former professional football player, Philadelphia Eagles\nDave Roberts (born 1936), WPVI-TV meteorologist and former co-host, AM Philadelphia\nLisa Scottoline (born 1955), author and attorney\nPeter Shellem (1960–2009), former Patriot News journalist who obtained release of five wrongfully convicted innocent people\nVai Sikahema (born 1962), WCAU-TV sports journalist and former professional football player, Philadelphia Eagles\nMichael Smerconish (born 1962), WPHT-AM radio talk show host, Philadelphia Daily News columnist, and MSNBC political analyst\nAnna Bustill Smith (1862–1945), author, genealogist, and suffragist\nStephen A. Smith (born 1967), ESPN radio and television personality, former Philadelphia Inquirer sports columnist\nArthur R. G. Solmssen (1928–2018), former attorney and novelist\nKristie Lu Stout (born 1974), journalist\nDuane Swierczynski (born 1972), author and former Philadelphia City Paper editor\nOmar Tyree (born 1969), author\nJeannette Walworth (1835–1918), former novelist and journalist\nUkee Washington (born 1958), KYW-TV news anchor\nJesse Watters (born 1978), political commentator and author\nJennifer Weiner (born 1970), author \nKristen Welker (born 1976), television journalist and NBC News White House correspondent\nWalt Whitman (1819–1892), former poet, essayist, and journalist\nWilliam Wharton (1925–2008), former author, Birdy\n\nMilitary figures\n\nHenry Harley \"Hap\" Arnold (1886–1950), former U.S. Army general, Air Force general, and World War I hero known as father of the U.S. Air Force\nAlbert Blithe (1923–1967), former U.S. Army paratrooper featured in Band of Brothers\nLouis H. Carpenter (1839–1916), former Brigadier General, Medal of Honor recipient and veteran, Civil War, American Indian War, and Spanish–American War\nGeorge F. Good Jr. (1901–1991), former U.S. Marine Corps lieutenant general, commanded Marine defense battalions during World War II\nWilliam Guarnere (1923–2014), former U.S. Army staff sergeant featured in Band of Brothers\nAlexander Haig (1924–2010), former U.S. military officer, diplomat, U.S. Secretary of State\nEdward Heffron (1923–2013), former U.S. Army Private featured in Band of Brothers'\nJohn Lawson (1837–1919), former U.S. Navy sailor and Medal of Honor recipient\nGeorge B. McClellan (1826–1885), former Union Army general and presidential candidate\nH. R. McMaster (born 1962), major general and presidential chief of staff\nJohn J. McVeigh (1921–1944), former Medal of Honor recipient for actions during Battle for Brest \nGeorge Gordon Meade (1815–1872), former Union army general and victor at the Battle of Gettysburg\nThomas H. Neill (1826–1885), former Union Army general\nJohn C. Pemberton (1814–1881), former Commander of Confederate defenders at Siege of Vicksburg\nCharles Sutherland (1831–1895), former Surgeon General of U.S. Army\n\nMusic\n\nAndrew Adgate (1762–1793), former musician, founder of music schools, and choir director\nAl Alberts (1922–2009), former singer, The Four Aces\nMarian Anderson (1897–1993), former opera singer and contralto\nFrankie Avalon (born 1940), singer and actor\nBaauer (born 1989), DJ and producer\nRachel Bagby, author, composer, singer, and composer\nBahamadia (born 1966), rapper known as Bahamadia\nPearl Bailey (1918–1990), former singer, dancer, and actress\nCharli Baltimore (born 1974), hip hop artist\nSamuel Barber (1910–1981), former composer, pianist, conductor, baritone, music educator, and composer\nLen Barry (1942–2020), former recording star, vocalist, songwriter, lyricist, record producer, author, and poet\nToni Basil (born 1943), singer, \"Mickey\"\nDiane Meredith Belcher (born 1960), concert organist, teacher, and church musician\nSteve Berlin, (born 1955), keyboardist and saxophone player, Los Lobos\nEmile Berliner (1851–1929), former inventor of the flat disc record, the gramophone, founder of Victor Talking Machine Company, and Gramophone Company\nFrankie Beverly (born 1946), R&B singer and musician, founder and lead singer of Maze featuring Frankie Beverly\nCharlie Biddle (1926–2003), former jazz bassist\nBilal (born 1979), neo-soul singer and musician\nCindy Birdsong (born 1939), founding member, Labelle, and replacement member, Diana Ross & the Supremes\nJoe Bonsall (born 1948), country music singer and member of The Oak Ridge Boys\nDante Bucci (1980–2014), former handpan musician\nLil Dicky (born 1988), rapper known as \"Lil Dicky\"\nSolomon Burke (c. 1936 or 1940–2010), former R&B singer\nUri Caine (born 1956), composer, arranger, and jazz pianist \nCassidy (born 1982), rapper\nSarah Chang (born 1980), child prodigy violinist with major orchestras\nChubby Checker (born 1941), singer\nNoam Chomsky (born 1928), progressive activist\nStanley Clarke (born 1951), bassist\nAlice Cohen (born 1958), singer and songwriter known as Alice Desoto\nJohn Coltrane (1926–1967), former jazz saxophonist\nNorman Connors (born 1947), singer \nTommy Conwell (born 1962), guitarist, songwriter, and performer\nCool C (born 1969), rapper\nJim Croce (1943–1973), former singer\nJames Darren (born 1936), singer and actor\nRick DeJesus (born 1983), lead singer, Adelitas Way\nJames DePreist (1936–2013), former orchestra conductor\nDieselboy (born 1972), drum and bass DJ and producer\nFred Diodati, lead singer, The Four Aces\nDiplo (born 1978), DJ and producer\nBill Doggett (1916–1996), former jazz and R&B organist and pianist\nGail Ann Dorsey (born 1962), bassist\nCharles Earland (1941–1999), former organist\nNathan East (born 1955), jazz, R&B, rock bass player, and vocalist\nKevin Eubanks (born 1957), jazz guitarist\nRobin Eubanks (born 1955), jazz trombonist\nDuane Eubanks (born 1969), jazz trumpeter\nEve (born 1978), rapper and actress\nFabian (born 1943), singer and actor\nNick Falcon (born 1968), guitarist, composer, lyricist, and singer\nSheila Ferguson (born 1947), singer, The Three Degrees\nWilhelmenia Fernandez (born 1949), opera singer and soprano\nRachelle Ferrell (born 1961), jazz vocalist\nEddie Fisher (1928–2010), former singer and actor\nSam Fogarino (born 1968), rock music drummer, Interpol\nFreeway (born 1978), rapper\nKenny Gamble (born 1943), producer and co-founder, Philadelphia International Records\nMelody Gardot (born 1985), jazz singer\nStan Getz (1927–1991), former jazz saxophonist\nBenny Golson (born 1929), jazz saxophonist\nCharlie Gracie (born 1936), rock singer\nGogi Grant (1924–2016), former singer, \"The Wayward Wind\"\nAnthony Green (born 1982), singer, Saosin and Circa Survive\nVivian Green (born 1979), R&B singer\nDaryl Hall (born 1946), singer and half of Hall & Oates duo\nJoseph Hallman (born 1979), composer, arranger, singer, and producer\nRufus Harley (1936–2006), former jazz musician and first jazz musician to use Great Highland bagpipe as primary instrument\nRobert Hazard (1948–2008), former new wave musician and composer\nAlbert Heath (born 1935), jazz drummer\nJimmy Heath (1926–2020), former jazz saxophonist\nPercy Heath (1923–2005), former jazz bassist\nLeon Huff (born 1942), producer and co-founder, Philadelphia International Records\nPhyllis Hyman (1949–1995), former R&B and jazz vocalist\nDJ Jazzy Jeff (born 1965), hip-hop DJ, neo-soul producer, and half DJ Jazzy Jeff & the Fresh Prince duo\nJoan Jett (born 1958), rock musician\nPhilly Joe Jones (1923–1985), former jazz drummer\nKitty Kallen (1921–2016), former pop singer\nJason Karaban, singer and songwriter\nTom Keifer (born 1961), glam metal vocalist, Cinderella\nKeith (born 1949), singer who wrote \"98.6\"\nBill Kenny (1914–1978), former singer \nKhia (born 1977), rapper\nKing Britt (born 1968), house DJ and producer\nKurupt (born 1972), rapper\nPatti LaBelle (born 1944), R&B & soul singer and actress\nMario Lanza (1921–1959), former operatic singer\nLil Uzi Vert (born 1995), rapper and hip hop artist\nLynda Laurence (born 1949), part of Stevie Wonder's backup group The Third Generation and part of The Supremes\nAmos Lee (born 1977), folk and blues singer\nLisa \"Left Eye\" Lopes (1971–2002), former member, TLC\nMonie Love (born 1970), rapper and radio personality\nLeonard MacClain (1899–1967), former theatre organist\nAl Martino (1927–2009), former singer and actor, Johnny Fontane in The GodfatherPat Martino (1944–2021), former jazz guitarist\nBarbara Mason (born 1947), R&B singer and composer\nChristian McBride (born 1972), jazz bassist\nMarian Anderson (1897–1993), former gospel singer\nMarshmello (born 1992), DJ and producer\nMeek Mill (born 1987), rapper\nLizzy McAlpine (born 1999), singer and songwriter.\nMs. Jade (born 1979), hip hop artist\nLee Morgan (1938–1972), former jazz trumpeter and composer\nJames Mtume (1946-2022), former R&B and jazz musician and founder of Mtume\nMusiq Soulchild (born 1977), R&B and neo-soul singer\nJames E. Myers (1919–2001), former songwriter, actor, and co-writer of \"Rock Around the Clock\"\nMarc Nelson (born 1971), R&B singer, Boyz II Men and Az Yet\nLobo Nocho (1919–1997), jazz singer\nJohn Oates (born 1948), singer and half of Hall & Oates duo\nMaurie Orodenker (1908–1993), former journalist, music critic, and advertising agency executive who coined the term \"rock and roll\"\nHugh Panaro (born 1964), tenor singer, Broadway and opera\nBilly Paul (1934–2016), former Grammy Award-winning soul singer\nVinnie Paz (born 1977), rapper, founder of Jedi Mind Tricks and Army of the Pharaohs\nPeedi Peedi (born 1977), rapper\nTeddy Pendergrass (1950–2010), former R&B singer, Harold Melvin & the Blue Notes\nChristina Perri (born 1986), singer\nVincent Persichetti (1915–1987), former composer and music educator\nPink (born 1979), R&B and rock music singer\nFayette Pinkney (1948–2009), former singer, The Three Degrees\nTrudy Pitts (1932–2010), former jazz keyboardist\nPrincess Superstar (born 1971), hip hop performer\nQuestlove (born 1971), drummer, producer, DJ, writer, journalist, and photographer\nSun Ra (1914–1993), former jazz pianist and band leader\nDanny Rapp (1941–1983), former singer, Danny & the Juniors\nJoe Renzetti, guitarist and Oscar Award winner\nRes, R&B singer\nRJD2 (born 1976), producer\nPaul Robeson (1898–1976), former singer, activist, attorney, and All-American collegiate athlete\nPnB Rock (1991–2022) rapper\nJack Rose (1971–2009), former guitarist\nTodd Rundgren (born 1948), musician, singer, songwriter, and producer\nBobby Rydell (born 1942–2022), former singer and actor\nSantigold (born 1976), punk singer\nJohn Sebastian (1914–1980), former classical harmonica player and composer\nDanny Sembello (1963-2015), R&B singer, songwriter, record producer, and multi-instrumentalist\nMichael Sembello (born 1954), R&B singer, guitarist, keyboardist, and songwriter\nSchoolly D (born 1962), rapper\nJill Scott (born 1972), R&B and neo-soul singer\nShirley Scott (1934–2002), former organist \nMusiq Soulchild (born 1977), R&B and neo-soul singer\nDee Dee Sharp (born 1945), singer and actress\nGene Shay (1935–2020), former folk music musician\nOscar Shumsky (1917–2000), former violinist and conductor\nBeanie Sigel (born 1974), rapper\nBunny Sigler (1941–2017), former R&B singer, multi-instrumentalist, composer, and producer\nSteady B (born 1969), rapper\nJazmine Sullivan (born 1987), R&B and soul vocalist, 12-time Grammy Award nominee, and two-time BET Award-winner\nWilliam Takacs (born 1973), trumpet player\nTammi Terrell (1945–1970), former soul, R&B, and Motown singer\nRussell Thompkins Jr. (born 1951), soul and R&B singer \nTariq \"Black Thought\" Trotter (born 1973), lead MC and co-founder, The Roots\nRobbie Tronco, DJ\nIra Tucker (1925–2008), former lead singer, The Dixie Hummingbirds\nMcCoy Tyner (1938–2020), former jazz pianist and composer, John Coltrane quartet \nCharlie Ventura (born 1916), tenor saxophonist and band leader \nKurt Vile (born 1980), guitarist and vocalist\nLee Ving (born 1950), singer and songwriter, frontman of hardcore punk band Fear\nJohannes von Trapp (born 1939), singer and member of Trapp Family\nEvan Sewell Wallace (1982–2017), former singer, songwriter, and rapper known as \"E-Dubble\"\nClara Ward (1924–1973), former gospel singer\nGrover Washington Jr. (1943–1999), former jazz saxophonist and founder of smooth jazz genre\nCrystal Waters (born 1961), dance and house music singer\nEthel Waters (1896–1977), former blues singer and actress\nAndré Watts (born 1946), pianist\nPamela Williams (born 1963), jazz saxophonist\nJosh Wink (born 1970), DJ and electronic music producer\nKaren Young (1951–1991), former disco singer\nDalex (Born 1990),Singer \n\nPolitics\n\nLeon Abbett (1836–1894), former New Jersey governor\nLynne Abraham (born 1941), Philadelphia district attorney\nWilliam Allen (1704–1780), former Philadelphia mayor\nChris Bartlett (born 1966), LGBT activist\nRaj Bhakta (born 1975), Congressional candidate and contestant, The Apprentice Season 2Michael J. Bradley (1897–1979), former U.S. House of Representatives member\nWinfield S. Braddock (1848–1920), former Wisconsin State Assembly member\nBob Brady (born 1945), member, U.S. House of Representatives, Philadelphia mayoral candidate, NBC Universal and Independence Blue Cross lobbyist\nRaymond J. Broderick (1914–2000), former U.S. federal judge\nWilliam T. Cahill (1912–1996), former New Jersey governor\nAshton Carter (born 1954), physicist, Harvard University professor, and U.S. Secretary of Defense\nAugusta Clark (1932–2013), former librarian, politician, lawyer, and second African-American woman to serve on Philadelphia City Council\nJoseph S. Clark (1901–1990), former Philadelphia mayor and U.S. Senator\nMark B. Cohen (born 1949), member, Pennsylvania House of Representatives, Democratic leader of Pennsylvania House, and chairman, House Labor Relations Committee\nHenry Conner (1837–died), former member, Wisconsin State Senate\nGeorge M. Dallas (1792–1864), former U.S. vice president\nRichardson Dilworth (1898–1974), former attorney, Philadelphia district attorney, and Philadelphia mayor\nDwight E. Evans (born 1954), member, Pennsylvania House of Representatives and former Philadelphia mayoral candidate\nGeorge H. Earle Sr. (1823–1907), founder of the Republican Party, abolitionist, and lawyer who represented fugitive slaves\nChaka Fattah (born 1956), member, U.S. House of Representatives and former Philadelphia mayoral candidate\nDouglas J. Feith (born 1953), Undersecretary of Defense and Iraq policy adviser\nTom Feeney (born 1958), Florida politician\nJames Forten (1766–1842), former African-American businessman, abolitionist leader, and sailmaker\nBenjamin Franklin (1706–1790), Founding Father, polymath, writer, scientist, inventor, statesman, diplomat, printer, publisher, political philosopher\nShirley Franklin (born 1945), former Atlanta major\nMifflin Wistar Gibbs (1823–1915), former lawyer, judge, diplomat, and banker\nW. Wilson Goode (born 1938), former Philadelphia mayor\nW. Wilson Goode Jr. (born 1965), former Philadelphia City Council at-large member\nOscar Goodman (born 1939), attorney and former Las Vegas mayor\nJames P. Gourley, former Pennsylvania House of Representatives member\nWilliam H. Gray (1941–2013), former Baptist minister, former U.S. House of Representatives member, and former United Negro College Fund president\nWilliam J. Green III (born 1938), former Philadelphia major and U.S. House of Representatives member\nSimon Guggenheim (1867–1941), former U.S. Senator and philanthropist\nAlexander Haig (1924–2010), former U.S. Secretary of State and White House Chief of Staff\nRichard Helms (1913–2002), former Central Intelligence Agency director\nCharles W. Heyl (1857–1936), former businessman, fire chief, and politician\nMichael Johns (born 1964), former White House presidential speechwriter\nJoseph L. Kun (1882–1961), former judge, Philadelphia Court of Common Pleas\nGeorge Landenberger (1879–1936), former American Samoa governor\nFrank J. Larkin (born 1955), U.S. Senate sergeant at arms\nJohn J. McCloy (1895–1989), former Chase Manhattan Bank and Ford Foundation chairman, Assistant U.S. Secretary of War during World War II, and Allies' high commissioner of Germany\nRobert F. McDonnell (born 1954), former Virginia governor\nKatie McGinty (born 1963), U.S. Senate nominee, chair, Council on Environmental Quality, and former chief of staff to Pennsylvania governor Tom Wolf\nJ. Whyatt Mondesire (1949–2015), former president, NAACP Philadelphia chapter\nCecil B. Moore (1915–1979), former Philadelphia city council member and civil rights activist\nPatrick Murphy (born 1973), former member, U.S. House of Representatives\nBenjamin Netanyahu (born 1949), former Prime Minister of Israel\nRobert N.C. Nix Sr. (1898–1987), former member, U.S. House of Representatives\nMichael A. Nutter (born 1957), former Philadelphia mayor and member, Philadelphia City Council\nDennis M. O'Brien (born 1952), former member, Pennsylvania House of Representatives and Pennsylvania House of Representatives speaker\nTony J. Payton Jr. (born 1981), former member, Pennsylvania House of Representatives\nBoies Penrose (1860–1921), former U.S. Senator and party boss\nHarriet Forten Purvis (1810–1875), abolitionist leader\nCharles H. Ramsey (born 1950), former Philadelphia police commissioner\nSamuel J. Randall (1828–1890), former U.S. House of Representatives member and Speaker of the House\nEd Rendell (born 1944), former Pennsylvania governor, Philadelphia mayor, and Philadelphia district attorney\nFrank Rizzo (1920–1991), former Philadelphia mayor and police commissioner\nJohn Robbins (1808–1880), former U.S. House of Representatives member\nAllyson Schwartz (born 1948), member, U.S. House of Representatives\nThomas Smith (born 1805), former Indiana Supreme Court justice, Pennsylvania General Assembly member, and writer \nArlen Specter (1930–2012), former U.S. Senator and Philadelphia district attorney\nBen Stahl (1915–1998), former labor leader and activist\nJohn F. Street (born 1943), former Philadelphia mayor\nMilton Street (born 1941), entrepreneur, former Pennsylvania state legislator, and Philadelphia City Council candidate\nNorman Sussman (1905–1969), former Wisconsin state senator\nJoel Barlow Sutherland (1792–1861), former member, U.S. House of Representatives\nAl Taubenberger (born 1953), former Philadelphia mayoral candidate\nJohn Timoney (1948–2016), former Philadelphia police commissioner and Miami police chief\nGregory Tony (born 1978), Sheriff of Broward County, Florida\nC. Delores Tucker (1927–2005), former civil rights activist and Pennsylvania Secretary of State\nAnna C. Verna (1931–2021), former Philadelphia City Council member and president\nCharles A. Waters (1892–1972), Pennsylvania Auditor General, State Treasurer, and president judge of the Philadelphia County Court of Common Pleas\nR. Seth Williams (born 1967), Philadelphia district attorney\nFernando Wood (1812–1881), former Mayor of New York\n\nSports\n\nChris Achuff (born 1975), defensive line coach, Syracuse University\nJohn Abadie (1854–1905), former professional baseball player, Brooklyn Atlantics and Philadelphia Athletics\nCal Abrams (1924–1997), former professional baseball player, Baltimore Orioles, Brooklyn Dodgers, Chicago White Sox, Cincinnati Reds, and Pittsburgh Pirates\nChris Albright (born 1979), MLS defender, FC Cincinnati\nDick Allen (1942–2020), former professional baseball player, Chicago White Sox, Oakland Athletics, Los Angeles Dodgers, Philadelphia Phillies, and St. Louis Cardinals, National League Rookie of the Year, and seven-time All-Star\nDoug Allison (1846–1916), first professional baseball player ever to use a baseball glove\nEddie Alvarez (born 1984), mixed martial artist, ONE Championship\nRubén Amaro Jr. (born 1965), former professional baseball player, general manager, and coach\nPaul Arizin (1928–2006), former professional basketball player, Camden Bullets and Philadelphia Warriors\nCharles Barkley (born 1963), former Philadelphia 76ers professional basketball player, NBA MVP, 11-time All-Star, and Naismith Memorial Basketball Hall of Fame member\nDeion Barnes (born 1993), former professional football player, Kansas City Chiefs and New York Jets\nReds Bassman (1913–2010), former professional football player, Philadelphia Eagles\nBert Bell (1895–1959), founder of Philadelphia Eagles football team and former NFL commissioner\nBarney Berlinger (1908–2002), former 1928 Summer Olympics decathlete\nMohini Bhardwaj (born 1978), former 2004 Summer Olympics gymnast\nTyrell Biggs (born 1960), former boxer, 1984 Summer Olympics gold medalist\nEd Blaney (born 1951), retired professional soccer player\nAudrey Bleiler (1933–1975), former All-American Girls Professional Baseball League player, South Bend Blue Sox\n Chaim Bloom (born 1983), Boston Red Sox chief baseball officer\nThomas Brennan (1922–2003), former professional hockey player, Boston Bruins \nCharles Brewer (born 1969), former boxer and IBF super middleweight champion \nDerek Bryant (born 1971) former heavyweight boxer\nKobe Bryant (1978–2020), former professional basketball player and five-time NBA Finals champion\nMichael Brooks (1958–2016), former professional basketball player\nRoy Campanella (1921–1993), former professional baseball player, three-time National League Most Valuable Player\nWilt Chamberlain (1936–1999), former professional basketball player and two-time NBA champion\nBen Clime (1891–1973), former professional football player\nRandall \"Tex\" Cobb (born 1950), former boxer and actor\nTim Cooney (born 1990), professional baseball player\nDon Cohan (1930–2018), 1972 Olympic bronze medalist, sailing\nBrian Cohen (born 1976), professional boxer\nJulia Cohen (born 1989) professional tennis player\nSteve Coleman (born 1950), former professional football player\nBobby Convey (born 1983), professional soccer player for the San Jose Earthquakes and the U.S. Men's National Soccer team\nTyrone Crawley (1958–2021), former boxer\nFran Crippen (1984–2010), former professional swimmer\nMaddy Crippen (born 1980), swimmer in 2000 Olympics \nRay Culp (born 1941), Phillies right-handed pitcher and runner-up to Dick Allen for National League Rookie of the Year\nSteve Cunningham (born 1976), boxer and cruiserweight champion\nBrandon Davies (born 1991), American-born Ugandan professional basketball player\nMatthew \"Super\" DeLisi (born 2000), esports player\nOllie Dobbins (born 1941), football player\nBuster Drayton (born 1952), former boxer and light middleweight (super welterweight) champion\nJon Drummond (born 1968), former track and field athlete, 1996 and 2000 Olympic medalist\nDave Dunaway (1945–2001), former professional football player\nAngelo Dundee (1921–2012), former boxing trainer\nFred Dunlap (1859–1902), former professional baseball player\nJohn Edelman (born 1935), former professional baseball player \nGary Emanuel (born 1958), defensive line coach, Atlanta Falcons\nJulius Erving (born 1950), Philadelphia 76ers 11-time All-Star, 2-time NBA champion, two-time ABA champion, Naismith Memorial Basketball Hall of Fame member\nJahri Evans (born 1983), former professional football player\n D'or Fischer (born 1981), Israeli-American basketball player, Israeli National League\n Craig Fitzgerald, professional football coach\nJoe Flacco (born 1985), professional football player\nFrancine Fournier (born 1972), professional wrestling valet, Extreme Championship Wrestling\nJoe Frazier (1944–2011), former boxer, 1964 Olympic gold medalist and former world heavyweight champion\nMarvis Frazier (born 1960), boxer\nHarry Fritz (1890–1974), former baseball player\nJim \"Sandman\" Fullington (born 1963), former professional wrestler, Extreme Championship Wrestling and WWE\nMark Gerban (born 1979), first world champion rower, Palestine\nEddie George (born 1973), former professional football player and Heisman Trophy winner\nKerry Getz (born 1975), professional skateboarder\nJoey Giardello (1930–2008), former professional boxer and middleweight champion\nTom Gola (1933–2014), former professional basketball player, La Salle University men's basketball head coach, and Philadelphia mayoral candidate\nBrent Grimes (born 1983), former professional football player\nRandy Grossman (born 1952), former professional football player and four-time Super Bowl Champion\nMark Gubicza (born 1962), former professional baseball player \nDrew Gulak (born 1987), professional wrestler\nMatt Guokas (born 1944), former professional basketball player and coach\nBrendan Hansen (born 1981), Olympic swimmer\nEric Harding (born 1972), boxer\nMarvin Harrison (born 1972), former professional football player\nKirk Hershey (1918–1979), former professional football player\nBill Holland (1907–1984), 1949 Indianapolis 500 winner and three-time second-place finisher \nBernard Hopkins (1965), former boxer and world middleweight champion\nDemetrius Hopkins (1980), boxer \nAllen Iverson (born 1975), Philadelphia 76ers professional basketball player, 11-time All-Star, NBA MVP, Naismith Memorial Basketball Hall of Fame member\nMichael Iaconelli (born 1972) professional bass angler and winner of 2003 Bassmaster Classic\nReggie Jackson (born 1946), former Hall of Fame baseball player\nJudith Jamison (born 1943), dancer; choreographer, and artistic director, Alvin Ailey American Dance Theater\nJoe Judge (born 1981), professional football head coach, New York Giants\n Gabe Kapler (born 1976), professional baseball player and manager\nJohn B. Kelly Sr. (1889–1960), former triple Olympic gold medal winner, rowing\nJohn B. Kelly Jr. (1927–1985), former champion rower\nFlorian Kempf (born 1956), former football player\nMatt Kilroy (1866–1940), former professional baseball player\nSam Kimber (1854–1925), former professional baseball player\nBart King (1873–1965), former cricket bowler\nKenny Koplove (born 1993), former baseball player\nMike Koplove (born 1976), former professional baseball pitcher\nJulian Krinsky, tennis player\nRick Lackman (1910–1990), former professional football player\nDave LaCrosse (born 1955), former professional player\nSonny Liston (c.1930–c. 1970), former boxer and world heavyweight champion\nTommy Loughran (1902–1982), former boxer and light heavyweight champion\nHarry Luff (1856-1916), Major League Baseball player\nJohn Macionis (1916–2012), former Olympic swimmer, 1936 silver medalist\nBrooke Makler (1951–2010), former Olympic fencer\nPaul Makler Jr. (born 1946), former Olympic fencer\nPaul Makler Sr. (1920–2022), former Olympic fencer \nDonovan McNabb (born 1976), former professional football player, Philadelphia Eagles \nDick McBride (1847–1916), former baseball player and manager\nJohn McDermott (1891–1971), former professional golfer\nBenny McLaughlin (1928–2012), former professional soccer player and member, U.S. Soccer Hall of Fame\nJake Metz (born 1991), football player\nLevi Meyerle (1849–1921), former professional baseball player\nNate Miller (born 1963), former boxer and cruiserweight champion\nAlvin Mitchell (born 1943), former football player\nTony Morgano (1913–1984), former boxer\nWillie Mosconi (1913–1993), former professional billiards player\nMatthew Saad Muhammad (1954–2014), former boxer and light heavyweight champion\nBrowning Nagle (born 1968), former professional football player\nJim O'Brien (born 1952), NBA coach\nVince Papale (born 1946), former professional football player, inspiration for the movie InvincibleKyle Pitts (born 2000), professional football player, Atlanta Falcons\nMike Powell (born 1963), former track and field athlete, 1988 and 1992 Olympic silver medalist and current long jump world record holder\nZahir Raheem (born 1976), boxer and 1996 Olympian\nJack Ramsay (1925–2014), former basketball coach, Saint Joseph's College men's team, NBA coach, general manager, television commentator, and Hall of Famer\nMerrill Reese (born 1942), Philadelphia Eagles radio broadcaster\nDavid Reid (born 1973), former boxer, 1996 Olympic gold medalist, light middleweight\nStevie Richards (born 1971), professional wrestler, Extreme Championship Wrestling and WWE\nRobin Roberts (1926–2010), former Phillies right-handed pitcher, Cy Young Award recipient, and member of the Baseball Hall of Fame\nIvan Robinson (born 1971), boxer\nAllen Rosenberg (1931–2013), former rower and rowing coach\nMike Schmidt (born 1949), former Phillies Golden Glove third baseman and member of Baseball Hall of Fame\nVic Seixas (born 1923), former tennis player\nKirk Shelmerdine (b 1958), former NASCAR driver and crew chief\nEd Sheridan (born 1957), retired professional soccer player\nSteve Slaton (born 1986), NFL player\nGunboat Smith (1887–1974), former boxer turned actor and boxing referee\nFrank Spellman (1922–2017), former Olympic champion weightlifter\nDavid Starr (born 1991), professional wrestler\nHarry Stovey (1856–1937), former professional baseball player\nJoe Sugden (1870–1959), former professional baseball player\nEric Tangradi (born 1989), professional hockey player\nMeldrick Taylor (born 1966), former boxer, 1984 Olympic gold medalist, welterweight and junior welterweight champion\nAaron Torres (born 1978), boxer and contestant on The Contender 2Najai Turpin (1981–2005), former boxer and contestant on The ContenderHarp Vaughan (1903–1978), former professional football player\nIosif Vitebskiy (born 1938), former Soviet/Ukrainian Olympic medalist and world champion fencer and fencing coach\nJohn Waerig (born 1976), former professional football player\nSteve Wagner (born 1967), former Olympic field hockey player\nBobby \"Boogaloo\" Watts (born 1949), former boxer\nCharles Way (born 1972), former professional football player\nReece Whitley (born 2000), swimmer and former Sports Illustrated Kid of the Year\nErik Williams (born 1968), former professional football player, Dallas Cowboys\nIke Williams (1923–1994), former boxer and lightweight champion\nJoe Williams (born 1942) former football player\nStevie Williams (born 1979), professional skateboarder\nBrad Wanamaker (born 1989), professional basketball player, Boston Celtics\nNed Williamson (1857–1894), former professional baseball player\nGeorge Winslow (born 1963), former professional football player\nJimmy Young (1948–2005), former boxer\n\nPhiladelphia native basketball players\nRyan Arcidiacono (born 1994), professional basketball player, New York Knicks \nMike Bantom (born 1951), former professional basketball player, Indiana Pacers, New York Nets, Philadelphia 76ers, Phoenix Suns, and Seattle Seahawks\nGene Banks (born 1959), former professional basketball player, Chicago Bulls and San Antonio Spurs\nJoe \"Jellybean\" Bryant, former professional basketball player, Houston Rockets, Philadelphia 76ers, and San Diego Clippers\nKobe Bryant (1978–2020), former professional basketball player, Los Angeles Lakers\nRasual Butler (1979–2018), former professional basketball player\nTony Carr (born 1997), basketball player in the Israeli Premier Basketball League\nFred Carter (born 1945), NBA \nWilt Chamberlain (1936–1999), former professional basketball player\nDionte Christmas (born 1986), NBA \nBryan Cohen (born 1989), American-Israeli - Israel Basketball Premier League \nMardy Collins (born 1984), NBA \nDallas Comegys (born 1964), NBA \nMark Davis (born 1960), NBL (Australia) – Adelaide 36ers\nWayne Ellington (born 1987), NBA \nTyreke Evans (born 1989), NBA \nD'or Fischer (born 1981), American-Israeli\nEddie Griffin (1982–2007), former professional basketball player\nGerald Henderson Jr. (born 1987), NBA \nRondae Hollis-Jefferson (born 1995), professional basketball player\nDe'Andre Hunter (born 1997), current NBA player for the Atlanta Hawks\nMarc Jackson (born 1975), NBA \nAmile Jefferson (born 1993), NBA G League \nWali Jones (born 1942), NBA\nBo Kimble (born 1966), NBA\nRed Klotz (1920–2014), former American Basketball League basketball player \n Howard Lassoff (1955–2013), former American-Israeli basketball player\n Ryan Lexer (born 1976), American-Israeli former basketball player, Israeli Basketball Premier League\nKyle Lowry (born 1986), NBA \nAaron McKie (born 1972), NBA \nCuttino Mobley (born 1975), NBA \nEarl Monroe (born 1944), NBA \nMarcus Morris (born 1989), NBA\nMarkieff Morris (born 1989), NBA \nRonald \"Flip\" Murray (born 1979), NBA\nJameer Nelson (born 1982), NBA\nAaron Owens (born 1974), \nRed Rosan (1911–1976), former American Basketball League professional basketball player \nMalik Rose (born 1974), NBA \nJohn Salmons (born 1979), NBA\nArt Spector (1920–1987), former professional basketball player \nDawn Staley (born 1970), WNBA\nDion Waiters (born 1991), NBA \nRasheed Wallace (born 1974), NBA \nHakim Warrick (born 1982), NBA\nMike Watkins (born 1995), professional basketball player, Antwerp Giants in the BNXT League\nMaurice Watson (born 1993), Maccabi Rishon LeZion of the Israeli Basketball Premier League\nMaalik Wayns (born 1991), NBA \nAlvin Williams (born 1974), NBA\nKhalif Wyatt (born 1991), NBA G League\n\nOther\n\nRichard Allen (1760–1831), former African Methodist Episcopal Church bishop and abolitionist\nGloria Allred (born 1941), women's rights attorney\nHart O. Berg (1865–1941), former engineer and businessman\nAnna Pierce Hobbs Bixby (c. 1810–c. 1870), former midwife, frontier doctor, dentist, herbologist, and scientist who discovered cause of milk sickness\nGuion Bluford (born 1942), astronaut and first African-American in space\nFrank Erdman Boston (1890-1960), former physician\nStanley Branche (1933–1992), former civil rights activist and Philadelphia night club owner\nPete Conrad (1930–1999), former astronaut, third man to walk on the Moon with Apollo 12\nPercy Crawford (1902–1960), former clergyman and religious broadcaster\nWilbur Davenport (1920–2003), former engineer and scientist\nSteve DeAngelo (born 1958), social activist\nAnthony F. DePalma (1904–2005), orthopedic surgeon and medical school professor\nKatherine Drexel (1858–1955), former Roman Catholic saint\nWilliam Duane (1872–1935), former physicist\nDaniel Faulkner (1955–1981), former Philadelphia police officer killed in the line of duty; Mumia Abu-Jamal was convicted of his murder\nChristopher Ferguson (born 1961), former astronaut\nJacquelyn Frazier-Lyde (born 1961), Philadelphia municipal court judge and boxer\nBarbara Harris (1930–2020), former Anglican Communion bishop\nPaul B. Higginbotham (born 1954), judge, Wisconsin Court of Appeals\nGino Jennings (born 1963), religious leader, \nRuth Malcomson (1906–1988), former Miss America\nJames Martin (born 1960), Jesuit priest, writer, and commentator on modern Catholicism\nSeamus McCaffrey (born 1950), former justice, Supreme Court of Pennsylvania and presiding judge, \"Eagles Court\"\nCarol McCain (c. 1938), ex-wife of U.S. presidential candidate John McCain\nSilas Weir Mitchell (1829–1914), former physician, scientist, novelist, and poet considered father of neurology\nBawa Muhaiyaddeen (?–1986), Sufi mystic\n Clarence Charles Newcomer (1923–2005), former U.S. district judge, U.S. District Court for Eastern District of Pennsylvania \nJohn Joseph O'Connor (1920–2000), former Roman Catholic cardinal and archbishop, Archdiocese of New York\nGeorge A. Palmer (1895–1981), former clergyman and religious broadcaster\nDavid L. Reich (born 1960), academic anesthesiologist, professor, Mount Sinai Hospital president\nMarjorie Rendell (born 1947), former judge, U.S. Court of Appeals for the Third Circuit and First Lady of Pennsylvania\nAmber Rose (born 1983), model and actress\nCharles Sanna (1917–2019), former Swiss Miss creator), director\nSamuel Gilbert Scott (c. 1813–1841), former daredevil\nLester Shubin (1925–2009), former inventor, Kevlar bulletproof vest\nNancy Spungen (1958–1978), girlfriend of Sex Pistols bassist Sid Vicious\nMichael Tollin, film producer\nFloyd W. Tomkins (1850–1932), former Church of the Holy Trinity, Philadelphia rector\nWalter E. Williams (1936–2020), former economist, commentator, and academic\nJeremiah Wright (born 1941), former pastor Trinity United Church of Christ \nJoshua Wurman (born 1960), meteorologist and VORTEX2 leader\n\nReferencesReferences are on the article pages if not listed here.''\n\nExternal links\n\n \nPhiladelphia\nPeople\nPeople", "title": "List of people from Philadelphia" }, { "text": "Visual art of the United States or American art is visual art made in the United States or by U.S. artists. Before colonization, there were many flourishing traditions of Native American art, and where the Spanish colonized Spanish Colonial architecture and the accompanying styles in other media were quickly in place. Early colonial art on the East Coast initially relied on artists from Europe, with John White (1540-c. 1593) the earliest example. In the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English styles and similar craftsmen were also established in the major cities, but in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.\n\nBut in the later 18th century two U.S. artists, Benjamin West and John Singleton Copley, became the most successful painters in London of history painting, then regarded as the highest form of art, giving the first sign of an emerging force in Western art. American artists who remained at home became increasingly skilled, although there was little awareness of them in Europe. In the early 19th century the infrastructure to train artists began to be established, and from 1820 the Hudson River School began to produce Romantic landscape painting that were original and matched the huge scale of U.S. landscapes. The American Revolution produced a demand for patriotic art, especially history painting, while other artists recorded the frontier country. A parallel development taking shape in rural U.S. was the American craft movement, which began as a reaction to the industrial revolution.\n\nAfter 1850 Academic art in the European style flourished, and as richer Americans became very wealthy, the flow of European art, new and old, to the US began; this has continued ever since. Museums began to be opened to display much of this. Developments in modern art in Europe came to the U.S. from exhibitions in New York City such as the Armory Show in 1913. After World War II, New York replaced Paris as the center of the art world. Since then many U.S. movements have shaped Modern and Postmodern art. Art in the United States today covers a huge range of styles.\n\nBeginnings\n\nOne of the first painters to visit British America was John White (c. 1540 – c. 1606), who made important watercolor records of Native American life on the Eastern seaboard (now in the British Museum). White first visited America as the artist and map-maker for an expedition of exploration, and in the early years of the Colonial period most other artists trained in Western styles were officers in the army and navy, whose training included sketching landscapes. Eventually the English settlements grew large enough to support professional artists, mostly portrait-painters, often largely self-taught.\n\nAmong the earliest was John Smybert (1688–1751), a trained artist from London who emigrated in 1728 intending to be a professor of fine art, but instead became a portrait painter and printseller in Boston. His friend Peter Pelham was a painter and printmaker. Both needed other sources of income and had shops. Meanwhile, the Spanish territories later to be American could see mostly religious art in the late Baroque style, mostly by native artists, and Native American cultures continued to produce art in their various traditions.\n\nEighteenth century\n\nAfter the Declaration of Independence in 1776, which marked the official beginning of the American national identity, the new nation needed a history, and part of that history would be expressed visually. Most of early American art (from the late 18th century through the early 19th century) consists of history painting and especially portraits. As in Colonial America, many of the painters who specialized in portraits were essentially self-taught; notable among them are Joseph Badger, John Brewster Jr., and William Jennys. The young nation's artists generally emulated the style of British art, which they knew through prints and the paintings of English-trained immigrants such as John Smibert (1688–1751) and John Wollaston (active 1742–1775).\n\nRobert Feke (1707–1752), an untrained painter of the colonial period, achieved a sophisticated style based on Smibert's example. Charles Willson Peale, who gained much of his earliest art training by studying Smibert's copies of European paintings, painted portraits of many of the important figures of the American Revolution. Peale's younger brother James Peale and six of Peale's nieces and sons— Anna Claypoole Peale, Sarah Miriam Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale and Titian Peale—were also artists. Painters such as Gilbert Stuart made portraits of the newly elected government officials, which became iconic after being reproduced on various U.S. Postage stamps of the 19th century and early 20th century.\n\nJohn Singleton Copley painted emblematic portraits for the increasingly prosperous merchant class, including a portrait of Paul Revere (ca. 1768–1770). The original version of his most famous painting, Watson and the Shark (1778), is in the collection of The National Gallery of Art while there is another version in the Boston Museum of Fine Arts and a third version in the Detroit Institute of Arts. Benjamin West painted portraits as well as history paintings of the French and Indian War. West also worked in London where many American artists studied under him, including Washington Allston, Ralph Earl, James Earl, Samuel Morse, Charles Willson Peale, Rembrandt Peale, Gilbert Stuart, John Trumbull, Mather Brown, Edward Savage and Thomas Sully. John Trumbull painted large battle scenes of the Revolutionary War.\nWhen landscape was painted it was most often done to show how much property a subject owned, or as a picturesque background for a portrait.\n\nSelection of works by early American artists\n\nNineteenth century\n\nThe first well-known U.S. school of painting—the Hudson River School—appeared in 1820. Thomas Cole pioneered the movement which included Albert Bierstadt, Frederic Edwin Church, Thomas Doughty and several others. As with music and literature, this development was delayed until artists perceived that the New World offered subjects unique to itself; in this case the westward expansion of settlement brought the transcendent beauty of frontier landscapes to painters' attention.\n\nThe Hudson River painters' directness and simplicity of vision influenced and inspired such later artists as John Kensett and the Luminists; as well as George Inness and the tonalists (which included Albert Pinkham Ryder and Ralph Blakelock among others), and Winslow Homer (1836–1910), who depicted the rural U.S.—the sea, the mountains, and the people who lived near them.\n\nThe Hudson River School landscape painter Robert S. Duncanson was one of the first important African American painters. John James Audubon, an ornithologist whose paintings documented birds, was one of the most important naturalist artists in the early U.S. His major work, a set of colored prints entitled The Birds of America (1827–1839), is considered one of the finest ornithological works ever completed. Edward Hicks was a U.S. folk painter and distinguished minister of the Society of Friends. He became a Quaker icon because of his paintings.\n\nPaintings of the Great West, many of which emphasized the sheer size of the land and the cultures of the native people living on it, became a distinct genre as well. George Catlin depicted the West and its people as honestly as possible. George Caleb Bingham, and later Frederic Remington, Charles M. Russell, the photographer Edward S. Curtis, and others recorded the U.S. Western heritage and the Old American West through their art.\n\nHistory painting was a less popular genre in U.S. art during the 19th century, although Washington Crossing the Delaware, painted by the German-born Emanuel Leutze, is among the best-known U.S. paintings. The historical and military paintings of William B. T. Trego were widely published after his death (according to Edwin A. Peeples, \"There is probably not an American History book which doesn't have (a) Trego picture in it\").\n\nPortrait painters in the U.S. in the 19th century included untrained limners such as Ammi Phillips, and painters schooled in the European tradition, such as Thomas Sully and G.P.A. Healy. Middle-class city life found its painter in Thomas Eakins (1844–1916), an uncompromising realist whose unflinching honesty undercut the genteel preference for romantic sentimentalism. As a result, he was not notably successful in his lifetime, although he has since been recognized as one of the most significant U.S. artists. One of his students was Henry Ossawa Tanner, the first African-American painter to achieve international acclaim.\n\nA trompe-l'œil style of still-life painting, originating mainly in Philadelphia, included Raphaelle Peale (one of several artists of the Peale family), William Michael Harnett, and John F. Peto.\n\nThe most successful U.S. sculptor of his era, Hiram Powers, left the U.S. in his early thirties to spend the rest of his life in Europe, where he adopted a conventional style for his idealized female nudes such as Eve Tempted. Several important painters who are considered American spent much of their lives in Europe, notably Mary Cassatt, James McNeill Whistler, and John Singer Sargent, all of whom were influenced by French Impressionism. Theodore Robinson visited France in 1887, befriended Monet, and became one of the first U.S. painters to adopt the new technique. In the last decades of the century American Impressionism, as practiced by artists such as Childe Hassam and Frank W. Benson, became a popular style.\n\nSelection of notable 19th-century works\n\nTwentieth century\n\nControversy soon became a way of life for American artists. In fact, much of American painting and sculpture since 1900 has been a series of revolts against tradition. \"To hell with the artistic values,\" announced Robert Henri (1865–1929). He was the leader of what critics called the Ashcan school of painting, after the group's portrayals of the squalid aspects of city life.\n\nAmerican realism became the new direction for American visual artists at the turn of the 20th century. The Ashcan painters George Bellows, Everett Shinn, George Benjamin Luks, William Glackens, and John Sloan were among those who developed socially conscious imagery in their works. The photographer Alfred Stieglitz (1864–1946) led the Photo-Secession movement, which created pathways for photography as an emerging art form.\n\nSoon the Ashcan school artists gave way to modernists arriving from Europe—the cubists and abstract painters promoted by Stieglitz at his 291 Gallery in New York City. John Marin, Marsden Hartley, Alfred Henry Maurer, Arthur B. Carles, Arthur Dove, Henrietta Shore, Stuart Davis, Wilhelmina Weber, Stanton Macdonald-Wright, Morgan Russell, Patrick Henry Bruce, Andrew Dasburg, Georgia O'Keeffe, and Gerald Murphy were some important early American modernist painters. Early modernist sculptors in America include William Zorach, Elie Nadelman, and Paul Manship. Florine Stettheimer developed an extremely personal faux-naif style.\n\nAfter World War I many American artists rejected the modern trends emanating from the Armory Show and European influences such as those from the School of Paris. Instead they chose to adopt various—in some cases academic—styles of realism in depicting American urban and rural scenes. Grant Wood, Reginald Marsh, Guy Pène du Bois, and Charles Sheeler exemplify the realist tendency in different ways. Sheeler and the modernists Charles Demuth and Ralston Crawford were referred to as Precisionists for their sharply defined renderings of machines and architectural forms. Edward Hopper, who studied under Henri, developed an individual style of realism by concentrating on light and form, and avoiding overt social content.\n\nThe American Southwest\n\nFollowing the first World War, the completion of the Santa Fe Railroad enabled American settlers to travel across the west, as far as the California coast. New artists' colonies started growing up around Santa Fe and Taos, the artists' primary subject matter being the native people and landscapes of the Southwest.\n\nImages of the Southwest became a popular form of advertising, used most significantly by the Santa Fe Railroad to entice settlers to come west and enjoy the \"unsullied landscapes.\" Walter Ufer, Bert Geer Phillips, E. Irving Couse, William Henry Jackson, Marsden Hartley, Andrew Dasburg, and Georgia O'Keeffe were some of the more prolific artists of the Southwest. Georgia O'Keeffe, who was born in the late 19th century, became known for her paintings featuring flowers, bones, and landscapes of New Mexico as seen in Ram's Head White Hollyhock and Little Hills. O'Keeffe visited the Southwest in 1929 and moved there permanently in 1949; she lived and painted there until she died in 1986.\n\nHarlem Renaissance (1920s-1930s)\n\nThe Harlem Renaissance was another significant development in American art. In the 1920s and 30s a new generation of educated and politically astute African-American men and women emerged who sponsored literary societies and art and industrial exhibitions to combat racist stereotypes. The movement, which showcased the range of talents within African-American communities, included artists from across America, but was centered in Harlem. The work of the Harlem painter and graphic artist Aaron Douglas and the photographer James VanDerZee became emblematic of the movement. Artists associated with the Harlem Renaissance include Romare Bearden, Jacob Lawrence, Charles Alston, Augusta Savage, Archibald Motley, Lois Mailou Jones, Palmer Hayden and Sargent Johnson.\n\nNew Deal art (1930s)\n\nWhen the Great Depression worsened, president Roosevelt's New Deal created several public arts programs. The purpose of the programs was to give work to artists and decorate public buildings, usually with a national theme. The first of these projects, the Public Works of Art Project (PWAP), was created after successful lobbying by the unemployed artists of the Artists Union. The PWAP lasted less than one year, and produced nearly 15,000 works of art. It was followed by the Federal Art Project of the Works Progress Administration (FAP/WPA) in 1935, which funded some of the most well-known American artists.\n\nThe style of much of the public art commissioned by the WPA was influenced by the work of Diego Rivera and other artists of the contemporary Mexican muralism movement. Several separate and related movements began and developed during the Great Depression including American scene painting, Regionalism, and Social Realism. Thomas Hart Benton, John Steuart Curry, Grant Wood, Maxine Albro, Ben Shahn, Joseph Stella, Reginald Marsh, Isaac Soyer, Raphael Soyer, Spencer Baird Nichols and Jack Levine were some of the best-known artists.\n\nNot all of the artists who emerged in the years between the wars were Regionalists or Social Realists; Milton Avery's paintings, often nearly abstract, had a significant influence on several of the younger artists who would soon become known as Abstract Expressionists. Joseph Cornell, inspired by Surrealism, created boxed assemblages incorporating found objects and collage.\n\nAbstract expressionism\n\nIn the years after World War II, a group of New York artists formed the first American movement to exert major influence internationally: abstract expressionism.\nThis term, which had first been used in 1919 in Berlin, was used again in 1946 by Robert Coates in The New York Times, and was taken up by the two major art critics of that time, Harold Rosenberg and Clement Greenberg. It has always been criticized as too large and paradoxical, yet the common definition implies the use of abstract art to express feelings, emotions, what is within the artist, and not what stands without.\n\nThe first generation of abstract expressionists included Jackson Pollock, Willem de Kooning, Mark Rothko, Franz Kline, Arshile Gorky, Robert Motherwell, Clyfford Still, Barnett Newman, Adolph Gottlieb, Phillip Guston, Ad Reinhardt, James Brooks, Richard Pousette-Dart, William Baziotes, Mark Tobey, Bradley Walker Tomlin, Theodoros Stamos, Jack Tworkov, Wilhelmina Weber Furlong, David Smith, and Hans Hofmann, among others. Milton Avery, Lee Krasner, Louise Bourgeois, Alexander Calder, Tony Smith, Morris Graves and others were also related, important and influential artists during that period.\n\nThough the numerous artists encompassed by this label had widely different styles, contemporary critics found several common points between them. Gorky, Pollock, de Kooning, Kline, Hofmann, Motherwell, Gottlieb, Rothko, Still, Guston, and others were an American painters associated with the abstract expressionist movement and in most cases Action painting (as seen in Kline's Painting Number 2, 1954); as part of the New York School in the 1940s and 1950s.\n\nMany first generation abstract expressionists were influenced both by the Cubists' works (which they knew from photographs in art reviews and by seeing the works at the 291 Gallery or the Armory Show), by the European Surrealists, and by Pablo Picasso, Joan Miró and Henri Matisse as well as the Americans Milton Avery, John D. Graham, and Hans Hofmann. Most of them abandoned formal composition and representation of real objects. Often the abstract expressionists decided to try instinctual, intuitive, spontaneous arrangements of space, line, shape and color. Abstract Expressionism can be characterized by two major elements: the large size of the canvases used (partially inspired by Mexican frescoes and the works they made for the WPA in the 1930s), and the strong and unusual use of brushstrokes and experimental paint application with a new understanding of process.\n\nColor Field painting\n\nThe emphasis and intensification of color and large open expanses of surface were two of the principles applied to the movement called Color Field painting. Ad Reinhardt, Adolph Gottlieb, Mark Rothko, Clyfford Still and Barnett Newman were categorized as such. Another movement was called Action Painting, characterized by spontaneous reaction, powerful brushstrokes, dripped and splashed paint and the strong physical movements used in the production of a painting. Jackson Pollock is an example of an Action Painter: his creative process, incorporating thrown and dripped paint from a stick or poured directly from the can, revolutionized painting methods.\n\nWillem de Kooning famously said about Pollock \"he broke the ice for the rest of us.\" Ironically Pollock's large repetitious expanses of linear fields are characteristic of Color Field painting as well, as art critic Michael Fried wrote in his essay for the catalog of Three American painters: Kenneth Noland, Jules Olitski, Frank Stella at the Fogg Art Museum in 1965.\nDespite the disagreements between art critics, Abstract Expressionism marks a turning-point in the history of American art: the 1940s and 1950s saw international attention shift from European (Parisian) art, to American (New York) art.\n\nColor field painting continued as a movement in the 1960s, as Morris Louis, Jules Olitski, Kenneth Noland, Gene Davis, Helen Frankenthaler, and others sought to make paintings which would eliminate superfluous rhetoric with repetition, stripes and large, flat areas of color.\n\nAfter abstract expressionism\n\nDuring the 1950s abstract painting in America evolved into movements such as Neo-Dada, Post painterly abstraction, Op Art, hard-edge painting, Minimal art, Shaped canvas painting, Lyrical Abstraction, and the continuation of Abstract expressionism. As a response to the tendency toward abstraction imagery emerged through various new movements like Pop Art, the Bay Area Figurative Movement and later in the 1970s Neo-expressionism.\n\nLyrical Abstraction along with the Fluxus movement and Postminimalism (a term first coined by Robert Pincus-Witten in the pages of Artforum in 1969) sought to expand the boundaries of abstract painting and Minimalism by focusing on process, new materials and new ways of expression. Postminimalism often incorporating industrial materials, raw materials, fabrications, found objects, installation, serial repetition, and often with references to Dada and Surrealism is best exemplified in the sculptures of Eva Hesse.\n\nLyrical Abstraction, Conceptual Art, Postminimalism, Earth Art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstract Expressionism, Color Field Painting, Hard-edge painting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.\n\nLyrical Abstraction shares similarities with Color Field Painting and Abstract Expressionism, especially in the freewheeling usage of paint texture and surface. Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in Abstract Expressionism and Color Field Painting. However the styles are markedly different.\n\nDuring the 1960s, 1970s and 1980s painters as powerful and influential as Adolph Gottlieb, Phillip Guston, Lee Krasner, Cy Twombly, Robert Rauschenberg, Jasper Johns, Richard Diebenkorn, Josef Albers, Elmer Bischoff, Agnes Martin, Al Held, Sam Francis, Kenneth Noland, Jules Olitski, Ellsworth Kelly, Morris Louis, Gene Davis, Frank Stella, Joan Mitchell, Friedel Dzubas, Paul Jenkins and younger artists like Brice Marden, Robert Mangold, Sam Gilliam, Sean Scully, Elizabeth Murray, Walter Darby Bannard, Larry Zox, Ronnie Landfield, Ronald Davis, Dan Christensen, Susan Rothenberg, Ross Bleckner, Richard Tuttle, Julian Schnabel, Peter Halley, Jean-Michel Basquiat, Eric Fischl and dozens of others produced vital and influential paintings.\n\nOther modern American movements\n\nMembers of the next artistic generation favored a different form of abstraction: works of mixed media. Among them were Robert Rauschenberg (1925–2008) and Jasper Johns (1930- ), who used photos, newsprint, and discarded objects in their compositions. Pop artists, such as Andy Warhol (1928–1987), Larry Rivers (1923–2002), and Roy Lichtenstein (1923–1997), reproduced, with satiric care, everyday objects and images of American popular culture—Coca-Cola bottles, soup cans, comic strips.\n\nRealism has also been continually popular in the United States, despite modernism's impact; the realist tendency is evident in the city scenes of Edward Hopper, the rural imagery of Andrew Wyeth, and the illustrations of Norman Rockwell. In certain places Abstract Expressionism never caught on; for example, in Chicago, the dominant art style was grotesque, symbolic realism, as exemplified by the Chicago Imagists Cosmo Campoli (1923–1997), Jim Nutt (1938- ), Ed Paschke (1939–2004), and Nancy Spero (1926–2009).\n\nContemporary art into the 21st century\n\nAt the beginning of the 21st century, contemporary art in the United States in general continues in several contiguous modes, characterized by the idea of Cultural pluralism. The \"crisis\" in painting and current art and current art criticism today is brought about by pluralism. There is no consensus, nor need there be, as to a representative style of the age. There is an anything goes attitude that prevails; an \"everything going on\" syndrome; with no firm and clear direction and yet with every lane on the artistic superhighway filled to capacity. Consequently, magnificent and important works of art continue to be made in the United States albeit in a wide variety of styles and aesthetic temperaments, the marketplace being left to judge merit.\n\nHard-edge painting, Geometric abstraction, Appropriation, Hyperrealism, Photorealism, Expressionism, Minimalism, Lyrical Abstraction, Pop art, Op art, Abstract Expressionism, Color Field painting, Monochrome painting, Neo-expressionism, Collage, Intermedia painting, Assemblage painting, Digital painting, Postmodern painting, Neo-Dada painting, Shaped canvas painting, environmental mural painting, Graffiti, traditional figure painting, Landscape painting, Portrait painting, are a few continuing and current directions in painting at the beginning of the 21st century.\n\nNotable figures\n\nA few American artists of note include: Ansel Adams, John James Audubon, Milton Avery, Jean-Michel Basquiat, Thomas Hart Benton, Albert Bierstadt, Alexander Calder, Mary Cassatt, Frederic Edwin Church, Chuck Close, Thomas Cole, Robert Crumb, Edward S. Curtis, Richard Diebenkorn, Thomas Eakins, Jules Feiffer, Lyonel Feininger, Helen Frankenthaler, Arshile Gorky, Keith Haring, Marsden Hartley, Al Hirschfeld, Hans Hofmann, Winslow Homer, Edward Hopper, Jasper Johns, Georgia O'Keeffe, Jack Kirby, Franz Kline, Willem de Kooning, Lee Krasner, Dorothea Lange, Roy Lichtenstein, Morris Louis, John Marin, Agnes Martin, Joan Mitchell, Grandma Moses, Robert Motherwell, Nampeyo, Kenneth Noland, Jackson Pollock, Man Ray, Robert Rauschenberg, Frederic Remington, Norman Rockwell, Mark Rothko, Albert Pinkham Ryder, John Singer Sargent, Cindy Sherman, David Smith, Frank Stella, Clyfford Still, Gilbert Stuart, Louis Comfort Tiffany, Cy Twombly, Andy Warhol, Grant Wood, Frank Lloyd Wright, and Andrew Wyeth.\n\nSee also\n\nAesthetics\nArchitecture of United States\nArt education in the United States\nCinema of the United States\nHistory of painting\nLedger art\nModern art museums in the United States\nMuseums of American art\nNational Museum of the American Indian\nNative American museums in New York\nPhotography in the United States of America\nSculpture of the United States\nSynchromism\nTimeline of Native American art history\nTimeline of 20th century printmaking in America\nVisual arts of Chicago\nWestern painting\nAustralian art\nMinimal art\n\nReferences\n\nSources\n\nAvery, Kevin J. Late Eighteenth-Century American Drawings. The Metropolitan Museum Of Art. 2000-2011 The Metropolitan Museum Of Art\nBernet, Claus; Nothnagle, Alan L.: Christliche Kunst aus den USA, Norderstedt 2015, .\nMayer, Lance and Myers, Gay. American Painters on Technique: The Colonial Period to 1860. Los Angeles: Getty Publications, 2011. \nMayer, Lance and Myers, Gay. American Painters on Technique: 1860-1945. Los Angeles: Getty Publications, 2013. \nPohl, Frances K. Framing America. A Social History of American Art. New York: Thames & Hudson, 2002 (pages 74–84, 118–122, 366–365, 385, 343–344, 350–351)\n\nExternal links\nAmerican Paintings in The Metropolitan Museum of Art, a fully digitized 3 volume exhibition catalog\nInquiring Eye: American Painting, teaching resource on history of American painting\n\nCategory:Articles containing video clips", "title": "Visual art of the United States" } ]

[ "The text does not provide specific information on whether photography was a hobby or a career for Eakins.", "Eakins typically photographed figure studies, both clothed and nude, and portraits. He also conducted photographic motion studies, often involving the nude figure.", "Yes, Eakins used his photographs as a basis for several of his paintings. For example, some paintings such as \"Mending the Net\" and \"Arcadia\" are known to have been derived at least in part from his photographs. He also used photographs, wax figures and oil sketches to achieve the final effect he desired on his paintings.", "Eakins used his photographs for detailed transcriptions and tracings, which he then covered up with oil paint. He used his photographs as a means of studying real human anatomy from several specific angles, often displaying them at school for study purposes. Furthermore, he relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach in his painting \"A May Morning in the Park\".", "The text does not provide any additional information about other uses of his photographs by Eakins.", "The text does not provide any additional information about Eakins using his photographs for anything other than anatomy and motion studies, and as a basis for his paintings.", "The text does not specify at which school Eakins' photographs were displayed for study.", "Yes, the text mentions that Eakins worked briefly alongside Eadweard Muybridge in Muybridge's photographic studio at the University of Pennsylvania in Philadelphia in the mid-1880s.", "The text does not provide information on whether Eakins attended the University of Pennsylvania in Philadelphia.", "The text does not provide information on whether any of Eakins' photographs or other art are still displayed at the University of Pennsylvania." ]

[ "No", "Yes", "Yes", "Yes", "no", "No", "No", "Yes", "Yes", "Yes" ]

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[ "When did Thomas Eakin's early career start?", "What kind of works did Eakins produce in his early career?", "What was his most popular early career work?", "What is a Single Scull?", "Why was this a popular painting?", "What other works did he create in his early career?", "What were some of the titles of this series?", "What did the critics think of his early works?", "Was Eakins married?", "Did Eakins do any artwork with Cromwell as the subject?", "Are there any other interesting aspects about this article?" ]

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{ "answer_starts": [ [ 194 ], [ 0 ], [ 148 ], [ 395 ], [ 245 ], [ 1219 ], [ 1414 ], [ 1038 ], [ 1827 ], [ 1494 ], [ 1683 ] ], "texts": [ [ "1871;" ], [ "Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all," ], [ "most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling)." ], [ "Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat." ], [ "Both his subject and his technique drew attention. His selection of a contemporary sport was \"a shock to the artistic conventionalities of the city\"." ], [ "At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors," ], [ "Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874)," ], [ "Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes." ], [ "In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879." ], [ "Elizabeth Crowell and her Dog (1874)," ], [ "in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten." ] ] }

{ "answer_starts": [ 194, 0, 148, 395, 245, 1219, 1414, 1038, 1827, 1494, 1683 ], "texts": [ "1871;", "Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,", "most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling).", "Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.", "Both his subject and his technique drew attention. His selection of a contemporary sport was \"a shock to the artistic conventionalities of the city\".", "At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors,", "Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874),", "Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.", "In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.", "Elizabeth Crowell and her Dog (1874),", "in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten." ] }

[ { "text": "This is a list of professionally authenticated paintings, drawings, and sculptures by Thomas Eakins (1844–1916). As there is no catalogue raisonné of Eakins' works, this is an aggregation of existing published catalogs.\n\nBackground \n\nDuring his lifetime, Thomas Eakins sold few paintings. On his death, ownership of his unsold works passed to his widow, Susan Macdowell Eakins, who kept them in their Philadelphia home. She dedicated the remaining years of her life to burnishing his legacy. In this, she was quite successful; in the period between Thomas Eakins' death and her own, she donated many of the strongest remaining pictures to museums around the world. The Philadelphia Museum of Art benefited particularly from these donations.\n\nAfter Susan Macdowell Eakins' death in 1938, her executors emptied the house of anything which could be sold at auction. When former Eakins student Charles Bregler arrived at the house after it had been stripped he was horrified at what he found, describing it as the \"most tragic and pitiful sight I ever saw. Every room was cluttered with debris as all the contents of the various drawers, closets etc were thrown upon the floor as they removed the furniture. All the life casts were smashed... I never want to see anything like this again.\" The number of works lost or destroyed at this time will never be known.\n\nBregler carefully collected what was left. Most of what remained were drawings and other preparatory studies. He was highly secretive about the contents of his collection and rarely allowed anyone to see it. After Bregler's death, ownership of the collection passed to his second wife, Mary Louise Picozzi Bregler, who was even more guarded as to its contents. In 1986, shortly before her death, Mary Bregler agreed to sell the works to the Pennsylvania Academy of the Fine Arts.\n\nHistoriography \n\nIn the early 1930s, Susan Macdowell Eakins invited art historian Lloyd Goodrich into her home. Goodrich inventoried the collection in the house, interviewed Eakins' surviving associates, and studied Eakins' personal notes. In 1933, Goodrich published Thomas Eakins: His Life and Works. Though it was incomplete, un-illustrated, and did not include Eakins' photographs, Goodrich's book was the first definitive study of Eakins and the first attempt to catalog his artistic output.\n\nIn the 1970s, Gordon Hendricks published two Eakins catalogs. The Photographs of Thomas Eakins (1972; ) is a fully illustrated catalog of photographs by Thomas Eakins and his associates. Because Eakins did not keep detailed records of his photographs, nor did he sign, title, or date them, many of the dates and photographers listed in the catalog are educated guesses on Hendricks' part. It is difficult to know who took a particular photograph because Eakins often had his students use it. Hence, the attribution on many of these photographs is \"Circle of Eakins\" to indicate that a photograph was taken either by Eakins or one of his associates. The Life and Work of Thomas Eakins (1974; ) included a checklist of Eakins' works, a number of which had not been included in the 1933 Goodrich catalog.\n\nIn the 1980s, Lloyd Goodrich returned to the subject of Thomas Eakins. He began writing a three-volume book, Thomas Eakins. The first two volumes, published in 1982, were biographic in nature. Goodrich was unable to complete the third volume, a Thomas Eakins catalogue raisonné, before he died in 1987. He donated his papers to the Philadelphia Museum of Art, in the hopes that the curators there would finish the catalogue raisonné. This has not happened.\n\nUntil 1986, the Charles Bregler collection was effectively unknown to art historians. A few of the works in the Bregler collection were included in the 1933 Goodrich catalog, but after that they effectively disappeared from the scholarly community. A proper inventory became possible only after their 1986 sale to the Pennsylvania Academy of Fine Arts. In 1997, art historian Kathleen Foster published a definitive catalog of the Bregler collection, Thomas Eakins Rediscovered. ()\n\nList organization \n\nPaintings, drawings, and sculptures are listed, where possible, by their Goodrich catalog number supplemented with modifications from Goodrich's notes for his never-completed Eakins catalogue raisonné. The Goodrich catalog can be subdivided into three parts:\n\n Juvenalia – Goodrich classified several early works by Thomas Eakins (works made prior to Eakins' arrival in Paris) as juvenalia, and prefaced with a \"J\". Though mentioned throughout the Eakins literature, the catalog itself was not published. However, the list is accessible in the Goodrich papers in the Philadelphia archives.\n 1933 catalog works – \"G\" followed by a number indicates it is from Goodrich's 1933 Eakins catalog.\n 1980s catalog works – \"G\" followed by a number and then a letter indicates a work that was not included in the 1933 Goodrich catalog, but was included in his two volume Thomas Eakins, or in notes for the third volume, the never-finished catalog.\n\nWorks in the Charles Bregler collection at the Pennsylvania Academy of the Fine Arts are listed according to their number in Thomas Eakins Rediscovered.\n\nGoodrich catalogue of Eakins' paintings and sculptures \n{| class=\"wikitable sortable plainrowheaders\" style=\"width: 100%\"\n|-\n! scope=\"col\" | Title\n! scope=\"col\" | Catalog #\n! scope=\"col\" | Image\n! scope=\"col\" | Format\n! scope=\"col\" | Year\n! scope=\"col\" | Dimensions (inches)\n! scope=\"col\" | Collection\n! scope=\"col\" | Notes\n|-\n! scope=\"row\" | Map of Switzerland\n| J1\n| \n| Pen, ink, and watercolor on paper\n| c. 1856–1857\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| \n|-\n! scope=\"row\" | Map of France, Spain, Portugal, and Italy\n| J2\n| \n| Pen, ink, and watercolor on paper\n| c. 1856–1857\n| 16 × 20\n| Collection of Mr. and Mrs. Francis Walters\n|\n|-\n! scope=\"row\" | Spanish Scene: Peasant Crossing a Stream\n| J3\n| \n| Pencil and chalk on paper\n| March 1858\n| 10 1/16 × 14 7/16\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Spanish Scene: Peasants and Travellers Among Ruins\n| J4\n| \n| Pencil and ink on paper\n| 1858\n| 11½ × 16 15/16\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Camel and Rider\n| J5\n| \n| Pencil and ink on paper\n| 1858\n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Perspective of a Lathe\n| J6\n| \n| Pencil and ink on paper\n| 1860\n| 16 5/16 × 22\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Drawing of Gears\n| J7\n| \n| Pen, ink, and pencil on paper\n| c. 1860\n| 11 7/16 × 16⅞\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Visiting Card with Landscape\n| J8\n| \n| \n| c. late 1850s\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Machinery\n| J9\n|\n| \n| c. 1860\n| \n| \n| \n|-\n! scope=\"row\" | The Icosahedron\n| J10\n| \n| \n| c. 1860\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | \"Freedom\"\n| J11\n| \n| \n| c. 1860\n|\n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| A drawing after the Statue of Freedom by Thomas Crawford\n|-\n! scope=\"row\" | Nude woman, seated, wearing a mask\n| 1\n| \n| Charcoal on paper\n| c. 1863–1866\n| 24¼ × 18⅝ inches\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude woman, back turned\n| 2\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude boy\n| 3\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude man, seated\n| 4\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude woman reclining, back turned\n| 5\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude woman, reclining, seen from the front\n| 6\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Head, bust and arm of a child\n| 7\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Arm resting on the back of a chair\n| 8\n| \n| Charcoal on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Nude man with a beard, seated on the floor\n| 9\n| \n| Charcoal on paper\n| 1869\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| On the reverse is the middle section of a nude man.\n|-\n! scope=\"row\" | Nude man standing\n| 10\n|\n| Charcoal on paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Legs of a seated model\n| 11\n| \n| Charcoal on paper\n| \n| \n| Newark Museum, Newark, New Jersey\n|\n|-\n! scope=\"row\" | Legs of a standing model\n| 12\n|\n| Charcoal on paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Head and bust of an Arab man with a turban\n| 13\n| \n| Charcoal on paper\n| 1866–1867\n| \n| Fine Arts Museums of San Francisco, San Francisco\n|\n|-\n! scope=\"row\" | Torso and arm of a nude man\n| 14\n|\n| Charcoal on paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Nude woman reclining on a couch\n| 15\n| \n| Charcoal on paper\n| 1863–1866\n| \n| Fogg Art Museum, Cambridge, Massachusetts\n|\n|-\n! scope=\"row\" | Nude woman reclining, wearing a mask\n| 16\n|\n| Charcoal on paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Nude woman standing\n| 17\n|\n| Charcoal on paper\n| 1876\n| \n| \n| \n|-\n! scope=\"row\" | Nude man seated\n| 18\n| \n| Charcoal on paper\n| c. 1869\n|\n| \n| Double sided with \"Head of a Warrior\".Auctioned at Christie's NY, December 8, 2008; sold for $50,000\n|-\n! scope=\"row\" | Illustrated letter to his Mother, Nov. 8–9, 1866\n| 18A\n| \n| \n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Antique study, female head\n| 19\n|\n| Oil on heavy paper\n| c. 1867–1869\n|\n| \n| Lost\n|-\n! scope=\"row\" | Antique study, male roman head\n| 20\n|\n| Oil on canvas\n| c. 1867–1869\n| \n| \n| Lost\n|-\n! scope=\"row\" | Study of a leg\n| 21\n| \n| Oil on heavy paper\n| c. 1867–1869\n| \n| Joslyn Art Museum, Omaha, Nebraska\n|\n|-\n! scope=\"row\" | Study of a ram's head\n| 22\n|\n| Oil on canvas\n| c. 1867–1869\n| \n| \n| Lost\n|-\n! scope=\"row\" | Study of a girl's head\n| 23\n| \n| Oil on canvas\n| c. 1868–1869\n| \n|\n| Private collection\n|-\n! scope=\"row\" | Study of a girl's head\n| 24\n| \n| Oil on canvas\n| c. 1867–1874\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Study of a girl's head\n| 25\n| \n| Oil on canvas\n| c. 1867–1869\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Strong Man\n| 26\n| \n| Oil on canvas\n| c. 1867–1869\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Study\n|-\n! scope=\"row\" | Bust of a Man (Study of a Nude Man)\n| 27\n| \n| Oil on canvas\n| c. 1867–1869\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study of a student's head\n| 28\n| \n| Oil on canvas mounted on cardboard\n| c. 1867–1878\n| \n| \n| Thought to have been lost.Auctioned at Sotheby's NY, May 2001; sold for $46,750.\n|-\n! scope=\"row\" | Study of a student's head\n| 29\n| \n| Oil on canvas mounted on cardboard\n| c. 1867–1879\n| \n| Collection of William E. Stokes\n|\n|-\n! scope=\"row\" | Female Model(formerly called A Negress)\n| 30\n| \n| Oil on canvas\n| \n| \n| M. H. de Young Memorial Museum, San Francisco, California\n|\n|-\n! scope=\"row\" | Scene in a Cathedral\n| 31\n| \n| Oil on canvas\n| \n| \n| \n|Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, December 1, 2010; sold for $18,750.\n|-\n! scope=\"row\" | Carmelita Requena\n| 32\n| \n| Oil on canvas\n| 1869\n| \n| Metropolitan Museum of Art, New York City, New York\n|\n|-\n! scope=\"row\" | A Street Scene in Seville\n| 33\n| \n| Oil on canvas\n| 1870\n| \n| Collection of Erving and Joyce Wolf\n|\n|-\n! scope=\"row\" | A Spanish Woman (Also known as \"Dolores\")\n| 34\n| \n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Francis Eakins\n| 35\n| \n| Oil on canvas\n| Late 1870/Early 1871\n| \n| Nelson-Atkins Museum of Art, Kansas City, Missouri\n|\n|-\n! scope=\"row\" | At the Piano\n| 36\n| \n| Oil on canvas\n| Late 1870/Early 1871\n| \n| Blanton Museum of Art, Austin, Texas\n|\n|-\n! scope=\"row\" | Home Scene\n| 37\n| \n| Oil on canvas\n| Late 1870/Early 1871\n| \n| Brooklyn Museum of Art, New York City\n|\n|-\n! scope=\"row\" | Benjamin Eakins\n| 38\n| \n| Watercolor on paper\n| c. 1870\n| \n| Private collection\n|\n|-\n! scope=\"row\" | Margaret in Skating Costume\n| 39\n| \n| Oil on canvas\n| 1871\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Margaret (study)\n| 40\n| \n| Oil on canvas\n| c. 1871\n|\n| \n| Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY, May 19, 2010, Lot 109.\n|-\n! scope=\"row\" | Margaret (sketch)\n| 41\n| \n| Oil on canvas\n| c. 1871\n| \n| Mitchell Museum at Cedarhurst, Mount Vernon, Illinois\n|\n|-\n! scope=\"row\" | Hiawatha\n| 42\n|\n| Watercolor on paper\n| \n| \n| \n| No longer exists.\n|-\n! scope=\"row\" | Hiawatha\n| 43\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Study for Hiawatha watercolor. Described erroneously as unfinished.\n|-\n! scope=\"row\" | Max Schmitt in a Single Scull\n| 44\n| \n| Oil on canvas\n| 1871\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Drawing of the Girard Avenue Bridge\n| 44A\n| \n| Drawing\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Double sided: reverse side depicts the sketch for an oar.\n|-\n! scope=\"row\" | Portrait of M.H. Messchert\n| 44B\n|\n| Painting\n| \n| \n| \n| \n|-\n! scope=\"row\" | Kathrin (Girl with a cat)\n| 45\n| \n| Oil on canvas\n| 1872\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Study for Kathrin\n| 45A\n| \n| Drawing\n| \n| \n| \n| \n|-\n! scope=\"row\" | Elizabeth Crowell and her Dog\n| 46\n| \n| Oil on canvas\n| Early 1870s\n| \n| San Diego Museum of Art, San Diego, California\n|\n|-\n! scope=\"row\" | Mrs. James W. Crowell\n| 47\n| \n| Oil on canvas\n| Early 1870s\n| \n| \n| \n|-\n! scope=\"row\" | Grouse\n| 48\n| \n| Oil on canvas\n| 1872\n| \n| Mint Museum of Art, Charlotte, North Carolina\n|\n|-\n! scope=\"row\" | The Pair-Oared Shell\n| 49\n| \n| Oil on canvas\n| 1872\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Perspective Drawing for The Pair-Oared Shell\n| 50\n| \n| Pencil and ink on paper mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Perspective Drawing for The Pair-Oared Shell\n| 51\n| \n| Pencil, ink, and watercolor on paper mounted on cardboard\n| 1872\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Biglin Brothers Turning the Stake\n| 52\n| \n| Oil on canvas\n| 1873\n| \n| Cleveland Museum of Art, Cleveland, Ohio\n|\n|-\n! scope=\"row\" | Perspective Drawing for the Biglin Brothers Turning the Stake\n| 52A\n| \n| Drawing\n| \n| \n| Cleveland Museum of Art, Cleveland, Ohio\n|\n|-\n! scope=\"row\" | Perspective Drawing for the Biglin Brothers Turning the Stake\n| 53\n| \n| Pencil and ink on paper mounted on cardboard\n| 1873\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | The Pair-Oared Race – John and Barney Biglin Turning the Stake\n| 54\n|\n| Watercolor\n| 1874\n| \n| \n| Lost\n|-\n! scope=\"row\" | A Rower\n| 55\n|\n| Watercolor\n| \n| \n| \n| Given to Jean-Léon Gérôme by Thomas Eakins. \"Present location unknown\"\n|-\n! scope=\"row\" | John Biglin (also known as \"The Sculler\")\n| 56\n| \n| Watercolor\n| 1874\n| 16⅞ × 23 15/16\n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | John Biglin in a Single Scull\n| 57\n| \n| Watercolor on paper\n| 1873 or early 1874\n| 19 5/16 × 24⅞ \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Perspective Drawing for John Biglin in a Single Scull\n| 58\n| \n| Pencil and ink on paper mounted on cardboard\n| c. 1874\n| 27⅜ × 45¼\n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | John Biglin in a Single Scull\n| 59\n| \n| Oil on canvas\n| 1873–1874\n| 24⅜ × 16\n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | John Biglin in a Single Scull\n| 60\n|\n| Watercolor\n| 1873–1874\n| \n|\n| Given to Jean-Léon Gérôme by Thomas Eakins.\n|-\n! scope=\"row\" | The Biglin Brothers Racing\n| 61\n| \n| Oil on canvas\n| Probably 1873\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Perspective Drawing for the Biglin Brothers Racing\n| 62\n| \n| Pencil and ink on paper mounted on cardboard\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Oarsmen on the Schuylkill\n| 63\n| \n| Oil on canvas\n| c. 1873\n| \n| Private Collection. \n| Deaccessioned from Brooklyn Museum of Art.\n|-\n! scope=\"row\" | Oarsman in a Single Scull (also known as \"Sketch of Max Schmitt in a Single Scull\")\n| 64\n| \n| Oil on canvas\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Oarsmen\n| 65\n| \n| Oil on canvas\n| Probably c. 1873\n| \n| Portland Art Museum, Portland, Oregon\n|\n|-\n! scope=\"row\" | The Schreiber Brothers\n| 66\n| \n| Oil on canvas\n| 1874\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Perspective Drawing\n| 67\n| \n| Pencil and ink on paper mounted on cardboard\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Artist and His Father Hunting Reed Birds\n| 68\n| \n| Oil on canvas\n| c. 1874\n| \n| Virginia Museum of Fine Arts, Richmond, Virginia\n|\n|-\n! scope=\"row\" | Perspective Drawing for the Artist and His Father Hunting Reed Birds\n| 69\n| \n| Pencil and ink on paper mounted on cardboard\n| \n| \n| \n| \n|-\n! scope=\"row\" | Pushing for the Rail\n| 70\n| \n| Oil on canvas\n| 1874\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Whistling for Plover\n| 71\n| \n| Watercolor on paper\n| 1874\n| \n| Brooklyn Museum of Art, New York\n|\n|-\n! scope=\"row\" | Whistling for Plover\n| 72\n|\n| Oil\n| \n| \n| \n| \n|-\n! scope=\"row\" | Sketch for Hunting\n| 73\n| \n| Oil on canvas mounted on cardboard\n| c. 1874\n| \n| Collection of Jamie Wyeth\n|\n|-\n| Studies of Game-Birds (Also known as \"Plover\")\n| 74\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Virginia Museum of Fine Arts, Richmond, Virginia\n|\n|-\n! scope=\"row\" | Landscape with a Dog\n| 75\n| \n| Oil on canvas\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sailboats Racing on the Delaware\n| 76\n| \n| Oil on canvas\n| 1874\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sailing\n| 77\n| \n| Oil on canvas\n| c. 1874\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Starting Out After Rail\n| 78\n| \n| Oil on canvas\n| 1874\n| \n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | Starting Out After Rail\n| 79\n| \n| Watercolor\n| 1874\n| \n| Wichita Art Museum, Wichita, Kansas\n|\n|-\n! scope=\"row\" | Ships and Sailboats on the Delaware (also known as \"Becalmed\")\n| 80\n| \n| Oil on canvas\n| 1874\n| \n| Wadsworth Atheneum, Hartford, Connecticut\n|\n|-\n! scope=\"row\" | Study for Ships and Sailboats on the Delaware\n| 81\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Ships and Sailboats on the Delaware\n| 82\n| \n| Oil on canvas\n| 1874\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Drifting\n| 83\n| \n| Watercolor\n| c. 1874\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. Benjamin Eakins\n| 84\n| \n| Oil on canvas\n| c. 1874\n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Portrait of Professor Benjamin H. Rand\n| 85\n| \n| Oil on canvas\n| 1874\n| \n| Crystal Bridges Museum of American Art, Bentonville, Arkansas\n| Deaccessioned from Thomas Jefferson University, Philadelphia, Pennsylvania, April 2007 (after 130 years in the collection).\n|-\n! scope=\"row\" | Baseball Players Practicing\n| 86\n| \n| Watercolor on paper\n| 1875\n| \n| Rhode Island School of Design Museum, Providence, Rhode Island\n|\n|-\n! scope=\"row\" | Perspective drawing for Baseball Players practicing\n| 86A\n| \n| Drawing\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Elizabeth at the Piano\n| 87\n| \n| Oil on canvas\n| 1875\n| \n| Addison Gallery of American Art, Andover, Massachusetts\n|\n|-\n! scope=\"row\" | The Gross Clinic\n| 88\n| \n| Oil on canvas\n| 1875\n| \n| Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for the Gross Clinic\n| 89\n| \n| Oil on canvas\n| 1875\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Dr. Gross (Study for \"The Gross Clinic)\n| 90\n| \n| Oil on canvas\n| 1875\n| \n| Worcester Art Museum, Worcester, Massachusetts\n|\n|-\n! scope=\"row\" | Black and White version\n| 91\n| \n| India ink on cardboard\n| 1875\n| \n| Metropolitan Museum of Art, New York\n| Drawn after the painting, to be photographed and reproduced as a collotype.\n|-\n! scope=\"row\" | Drawing of Two Heads\n| 92\n| \n| \"India ink on paper, with pen and brush\"\n| 1876\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Robert C.V. Meyers\n| 93\n| \n| Oil on brown paper\n| 1875\n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | The Zither Player\n| 94\n| \n| Watercolor on paper\n| 1876\n| \n| Art Institute of Chicago, Chicago, Illinois\n|\n|-\n! scope=\"row\" | J. Harry Lewis\n| 95\n| \n| Oil on canvas\n| 1876\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Chess Players\n| 96\n| \n| Wood\n| 1876\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Perspective Drawing for the Chess Players\n| 97\n| \n| Pencil and ink on paper\n| 1875–1876\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | M. Gardel\n| 98\n| \n| Oil on paper mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Baby at Play\n| 99\n| \n| Oil on canvas\n| 1876\n| \n| National Gallery of Art, Washington, DC.\n|\n|-\n! scope=\"row\" | Studies of a Baby\n| 100\n| \n| Oil on canvas\n| \n| \n| Duke-Semans Fine Arts Foundation (in the care of the Nasher Museum of Art, Durham, North Carolina)\n| Double sided.\n|-\n! scope=\"row\" | Dr. John H. Brinton\n| 101\n| \n| Oil on canvas\n| 1876\n|\n|The National Museum of Health and Medicine of the Armed Forces Institute of Pathology, Washington, D.C. On long-term loan to the National Gallery of Art\n| Dr. Brinton was a close friend of Eakins's, and succeeded Dr. Samuel D. Gross as chair of surgery at Jefferson Medical College.(See G-126 for Eakins's portrait of Mrs. Brinton.)\n|-\n! scope=\"row\" | Mrs. Samuel Hall Williams (Portrait of Abbie Williams)\n| 102\n| \n| Wood\n| c. 1876\n| \n|\n| Deaccessioned from the Art Institute of Chicago.Auctioned at Christie's NY, September 27, 2011; sold for $134,500.\n|-\n! scope=\"row\" | Columbus in Prison\n| 103\n| \n| Oil on canvas\n| c. 1876\n| \n| Kennedy Galleries, New York\n|\n|-\n! scope=\"row\" | Sketch for the Surrender of General Lee to General Grant at Appomattox\n| 103A\n| \n| Oil on canvas\n| \n| \n|\n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, September 27, 2011; sold for $32,500.\n|-\n! scope=\"row\" | Sketch for the Surrender of General Lee to General Grant at Appomattox\n| 103B\n| \n| Oil on canvas\n| \n| \n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | Will Schuster and Blackman Going Shooting\n| 104\n| \n| Oil on canvas\n| 1876\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Perspective Drawing for Will Schuster and Blackman Going Shooting\n| 104A\n| \n| Drawing\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Rail Shooting\n| 105\n| \n| Oil on canvas\n| \n| \n| \n| \"Present whereabouts or existence unknown\"\n|-\n! scope=\"row\" | In Grandmother's Time\n| 106\n| \n| Oil on canvas\n| 1876\n| \n| Smith College Museum of Art, Northampton, Massachusetts\n|\n|-\n! scope=\"row\" | In Grandmother's Time\n| 106A\n| \n| Oil on wood\n| \n| \n| \n| Originally double sided with G-106B until the two images were split\n|-\n! scope=\"row\" | Landscape\n| 106B\n| \n| Oil on wood\n| \n| \n| \n| Originally double sided with G-106A until the two images were splitDeassessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 23, 2016, Lot 57.<ref>Landscape, from Christie's NY.</ref>\n|-\n! scope=\"row\" | Archbishop James Frederick Wood\n| 107\n| \n| Oil on canvas\n| 1877\n| \n| Crystal Bridges Museum of American Art, Bentonville, Arkansas\n| Deaccessioned from St. Charles Borromeo Seminary, Wynnewood, Pennsylvania, 2015.\n|-\n! scope=\"row\" | Study for the portrait of James Frederick Wood\n| 108\n| \n| Oil on canvas\n| 1876\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Scenes in a Cathedral\n| 108A, 108B, 108C, 108D, 108E, 108F, 108G, 108H, 108I\n| \n| Drawings\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | William Rush and His Model\n| 109\n| \n| Oil on canvas\n| 1876–1877\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Studies for \"William Rush\"\n| 109A, 109B, 109C, 109D, 109E, 109F, 109G, 109H,\n| \n| Drawings\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Study for William Rush and His Model (Yale), G-111\n| 110\n| \n| Oil on cardboard,\n| c. 1877\n| 8¼ × 10½\n| Farnsworth Art Museum, Rockland, Maine\n|\n|-\n! scope=\"row\" | William Rush and His Model (Yale)\n| 111\n| \n| Oil on canvas\n| 1876\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Interior of Rush's Shop\n| 112\n| \n| Oil on canvas\n| 1876–1877\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Model (Nude: Study)Study for William Rush and His Model (Yale), G-111\n| 113\n| \n| Oil on canvas\n| 1876\n| \n| Art Institute of Chicago, Chicago, Illinois\n|\n|-\n! scope=\"row\" | Seventy Years Ago\n| 114\n| \n| Watercolor on paper\n| 1877\n| \n| Princeton University Art Museum, Princeton, New Jersey\n|\n|-\n! scope=\"row\" | Sketch for Seventy Years Ago\n| 115\n| \n| Oil on canvas\n| \n| \n| Seattle Art Museum, Seattle, Washington\n|\n|-\n! scope=\"row\" | Young Girl Meditating\n| 116\n| \n| Watercolor on paper\n| 1877\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for Young Girl Meditating\n| 117\n| \n| Oil on canvas\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for Young Girl Meditating\n| 117A\n| \n| Oil on canvas\n| 1877\n| \n| Collection of Martin Perez.\n|\n|-\n! scope=\"row\" | In Washington (Lafayette Park, Washington, D.C.)\n| 118\n| \n| Wood\n| 1877\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Painted from a window of the White House, as Eakins waited for President Rutherford B. Hayes to sit for a portrait.\n|-\n! scope=\"row\" | The Courtship\n| 119\n| \n| Oil on canvas\n| c. 1878\n| \n| M. H. de Young Memorial Museum, San Francisco, California\n|\n|-\n! scope=\"row\" | Study for The Courtship\n| 120\n| \n| Oil on canvas\n| 1877-1878\n| 14 × 17\n|\n| Auctioned at Christie's NY, June 3, 1983; sold for $80,000.Ex collection: Gulf States Paper Corporation, Tuscaloosa, Alabama (1983-2013).Auctioned at Christie's New York, September 25, 2013; sold for $32,500.\n|-\n! scope=\"row\" | The Spinner (sketch for The Courtship)\n| 121\n| \n| Oil on canvas\n| c. 1878\n| \n| Worcester Art Museum, Worcester, Massachusetts\n|\n|-\n! scope=\"row\" | The Spinner (sketch for The Courtship)\n| 122\n| \n| Wood\n| \n| \n| Private collection.\n| The reverse side has a sketch of Dr. Andrews.\n|-\n! scope=\"row\" | The Young Man (sketch for The Courtship)\n| 123\n|\n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Anna Williams\n| 123A\n| \n| \n| \n| \n| \n| \n|-\n! scope=\"row\" | Study for Anna Williams\n| 123B\n| \n| \n| \n| \n| \n| \n|-\n! scope=\"row\" | Negro Boy Dancing (also known as \"The Dancing Lesson\")\n| 124\n| \n| Watercolor on paper\n| 1878\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Drawing for the Negro Boy dancing\n| 124A\n| \n| Drawing\n| 1878\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for Negro Boy Dancing\n| 125\n| \n| Oil on canvas\n| \n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n| Study for Negro Boy Dancing\n|125A\n| \n| \n| \n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. John H. Brinton\n| 126\n| \n| Oil on canvas\n| 1878\n| \n| Collection of Mrs. Rodolphe Meyer de Schauensee\n|Depicts Sarah (Ward) Brinton, wife of John H. Brinton (See G-101).\n|-\n! scope=\"row\" | The Spelling Bee at Angel's\n| 127\n| \n| \n| 1878\n| \n|\n| Published in Scribner's Magazine, November 1878\n|-\n! scope=\"row\" | Thar's a New Game Down in Frisco\n| 127A\n| \n| Oil on canvas\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| Study for the central standing figure in the Spelling Bee at Angel's. \n|-\n! scope=\"row\" | The Spelling Bee at Angel's\n| 128\n| \n| \n| 1878\n| \n|\n| Published in Scribner's Magazine, November 1878\n|-\n! scope=\"row\" | Mr. Neelus Peeler's Conditions\n| 129\n| \n| Black ink and Chinese white on paper\n| 1879\n| \n| Brooklyn Museum of Art, New York\n| Published in Scribner's Magazine, June 1879\n|-\n! scope=\"row\" | Perspective drawing for Mr. Neelus Peeler's Conditions\n| 129A\n| \n| Drawing\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Sketch for Mr. Neelus Peeler's Conditions\n| 130\n| \n| Wood\n| \n| \n| New Britain Museum of American Art, New Britain, Connecticut\n|Double sided. Often incorrectly referred to as \"The Timer\"\n|-\n! scope=\"row\" | Four anatomical drawings\n| 130A, 130B, 130C, 130D\n| \n| Drawings\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | A Quiet Moment\n| 131\n|\n| Oil on canvas\n| 1879\n| \n| \n| Lost\n|-\n! scope=\"row\" | Sewing\n| 132\n| \n| Oil on wood\n| c. 1879\n| \n| New Britain Museum of American Art, New Britain, Connecticut\n| Reverse side contains the sketch of an interior.\n|-\n! scope=\"row\" | Study of a Woman Knitting\n| 132A\n| \n| Oil\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | The Fairman Rogers Four-in-Hand\n| 133\n| \n| Oil on canvas\n| 1879–1880\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketches for the Fairman Rogers Four-in-Hand\n| 134\n| \n| Oil on wood\n| 1879\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided: one side depicts the coach being driven across the picture; the other side is a study of Mrs. Rogers.\n|-\n! scope=\"row\" | Landscape sketch for the Fairman Rogers Four-in-Hand\n| 135\n| Reverse of G135 as it appeared in 1933.\n| Oil on wood\n| \n| \n| \n| Originally composed of five or six sketches, which were later split.\n|-\n! scope=\"row\" | Study of the Delaware River\n| 135A\n| \n| Oil\n| \n| \n| \n| Originally part of G-135 until they were split.\n|-\n! scope=\"row\" | Study of a Man's Head for Mending the Net\n| 135B\n| \n| Oil\n| \n| \n| Private Collection.\n| Originally part of G-135 until they were split.Auctioned at Christie's NY, May 19, 2005, Lot 1520; sold for $38,400.\n|-\n! scope=\"row\" | Study of a Woman's Head for Mending the Net\n| 135C\n| \n| Oil\n| \n| \n| \n| Originally part of G-135 until they were split.\n|-\n! scope=\"row\" | Landscape sketch for the Fairman Rogers Four-in-Hand\n| 136\n| \n| Oil on wood\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided: one side is a study in Fairmount park. The other is a color note.\n|-\n! scope=\"row\" | Study of Horse for The Fairman Rogers Four-in-Hand\n| 137\n| \n| Oil on wood\n| 1879\n| \n| \n| Originally double sided with 137A until the two images were splitDeaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY (in a lot with G-137A, G-199A & G-201A), May 21, 2009; the lot sold for $119,500.\n|-\n! scope=\"row\" | Study of Horses for The Fairman Rogers Four-in-Hand\n| 137A\n| \n| Oil on canvas\n| 1879\n| \n| \n| Originally double sided with 137 until the two images were splitDeaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY (in a lot with G-137, G-199A & G-201A), May 21, 2009; the lot sold for $119,500. \n|-\n! scope=\"row\" | Fan\n| 137B\n| \n| \n| \n| \n| \n| Sold at auction, January 24, 1994, for $160,000.\n|-\n! scope=\"row\" | General George Cadwalader\n| 138\n| \n| Oil on canvas\n| 1880\n| \n| Butler Institute of American Art, Youngstown, Ohio\n|\n|-\n! scope=\"row\" | General George Cadwalader\n| 139\n| \n| Oil on canvas\n| 1880\n| \n| \n| Painted posthumously from a carte-de-visite.Deassessioned from the collection of the Mutual Assurance Company of Philadelphia.\nOffered for auction at Sotheby's New York, November 13, 2017. Unsold.\n|-\n! scope=\"row\" | Retrospection\n| 140\n| \n| Oil on wood\n| 1880\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Retrospection (Watercolor)\n| 141\n| \n| Watercolor on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Walter MacDowell\n| 141A\n| \n| Oil\n| \n| \n|Private collection\n|\n|-\n! scope=\"row\" | The Crucifixion\n| 142\n| \n| Oil on canvas\n| 1880\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for the Crucifixion\n| 143\n| \n| Oil on canvas\n| 1880\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | J. Laurie Wallace posing\n| 143A\n| \n| Oil\n| \n| \n|Private collection\n| Auctioned at Sotheby's NY, December 3, 1987; sold for $160,000.\n|-\n! scope=\"row\" | Spinning\n| 144\n| \n| Watercolor on paper\n| 1881\n| \n| Collection of Mrs. John Randolph Garrett Sr.\n|\n|-\n! scope=\"row\" | Drawing for Spinning\n| 144A\n|\n| Drawing\n| \n| \n| \n| \n|-\n! scope=\"row\" | Sketch for Spinning\n| 145\n| \n| Oil on wood\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Spinning (also called \"Homespun\")\n| 146\n| \n| Watercolor on paper\n| 1881\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for Spinning\n| 147\n| \n| Oil on wood\n| \n| \n| Yale University Art Gallery, New Haven, Connecticut\n| Double sided – the reverse side also contains a sketch for Spinning\n|-\n! scope=\"row\" | The Pathetic Song\n| 148\n| \n| Oil on canvas\n| 1881\n| \n| Corcoran Museum of Art, Washington, DC.\n|\n|-\n! scope=\"row\" | Sketch for the Pathetic Song\n| 149\n| \n| Oil on wood\n| 1881\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, DC.\n|\n|-\n! scope=\"row\" | The Pathetic Song\n| 149A\n| \n| Watercolor\n| \n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Rail Shooting\n| 150\n| \n| Drawing\n| 1881\n| \n| Yale University Art Gallery, New Haven, Connecticut\n| Published in Scribner's Magazine, July 1881\n|-\n! scope=\"row\" | A Pusher (also known as \"Poleman in the Ma'sh)\n| 151\n| \n| Drawing\n| 1881\n| 11 × 5⅞\n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Drawing for William Rush Carving The Allegorical Figure Of The Schuylkill\n| 151A\n| \n| Drawing\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| \n|-\n! scope=\"row\" | Shad-Fishing at Gloucester on the Delaware River (also called \"Taking up the Net\")\n| 152\n| \n| Oil on canvas\n| 1881\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Shad-Fishing at Gloucester on the Delaware River (also called \"Taking up the Net\")\n| 153\n| \n| Watercolor on paper\n| 1881\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Shad-Fishing at Gloucester on the Delaware River\n| 154\n| \n| Oil\n| 1881\n| \n| Ball State University Art Museum, Muncie, Indiana\n|\n|-\n! scope=\"row\" | Mending the Net\n| 155\n| \n| Oil on canvas\n| 1881\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Drawing for Mending the Net\n| 155A\n|\n| Drawing\n| \n| \n| \n| \n|-\n! scope=\"row\" | A Fisherman\n| 156\n| \n| Oil on cardboard\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Tree\n| 157\n| \n| Oil on wood\n| \n| \n| \n| Originally double sided with G-157A until the two images were split.Auctioned at Christie's New York, May 21, 2008, Lot 90; sold for $23,750.\n|-\n! scope=\"row\" | Mending the Net: Study of the Tree\n| 157A\n|\n| Oil on wood\n| \n| \n| \n| Originally double sided with G-157 until the two images were split.\n|-\n! scope=\"row\" | Mending the Net\n| 158\n| \n| Watercolor on paper\n| 1882\n| \n| \n| Auctioned at Christie's NY, June 5, 1997; sold for $1,400,000.\n|-\n! scope=\"row\" | Drawing the Seine\n| 159\n| \n| Watercolor on paper\n| 1882\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Hauling the Seine\n| 160\n| \n| Oil on canvas\n| 1882\n| \n| Princeton University Art Museum, Princeton, New Jersey\n|\n|-\n! scope=\"row\" | \"The Meadows, Gloucester, New Jersey\"\n| 161\n| \n| Oil on canvas\n| c. 1882\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | \"Sketch for The Meadows, Gloucester, New Jersey\"\n| 162\n|\n| Oil on wood\n| \n| \n| \n| Originally double sided with G-162A until the two images were split.\n|-\n! scope=\"row\" | Study\n| 162A\n|\n| Oil\n| \n| \n| \n| Originally double sided with G-162 until the two images were split.\n|-\n! scope=\"row\" | In the Country\n| 163\n| \n| Oil on canvas\n| c. 1882\n| 10¼ × 14\n| Private collection\n| Auctioned at Sotheby's NY, November 29, 1990; sold for $30,000.\n|-\n! scope=\"row\" | Near the Sea (Also known as \"Landscape study\")\n| 164\n|\n| Oil on canvas\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n| \n|-\n! scope=\"row\" | Untitled landscape sketch\n| 165\n| \n| Oil on wood\n| \n| \n| \n| Originally double sided with G-165A until the two images were split.\n|-\n! scope=\"row\" | Study of a horse\n| 165A\n|\n| Oil\n| \n|\n| \n| Originally double sided with G-165 until the two images were split.\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 166\n| \n| Oil on canvas\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Delaware River Scene\n| 167\n| \n| Oil on canvas\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 168\n|\n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Untitled landscape sketch\n| 169\n| \n| Oil on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 170\n| \n| Oil on paper\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 171\n|\n| Oil on paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Untitled landscape sketch\n| 172\n| \n| Oil on canvas\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 173\n| \n| Oil on canvas\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 174\n|\n| Oil on canvas\n| \n| \n| University at Buffalo, The State University of New York art gallery, Buffalo, New York\n| \n|-\n! scope=\"row\" | Untitled landscape sketch\n| 175\n| \n| Oil on cardboard\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Untitled landscape sketch\n| 176\n|\n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Untitled landscape sketch\n| 177\n|\n| Oil on cardboard\n| \n| \n| \n| \n|-\n! scope=\"row\" | The Brinton House\n| 177A\n| \n| Oil\n| 1878\n| \n|\n| Subject is the William Brinton 1704 House in Birmingham Township, Chester County, Pennsylvania.Painted for Eakins's friend Dr. John H. Brinton (See G-101).\n|-\n! scope=\"row\" | Study for Old Man in Taking The Count\n| 178\n| \n| Oil on canvas\n| c. 1898\n| 13¼ × 10\n|\n| Auctioned at Christie's New York, May 24, 2007; sold for $78,000.Auctioned at Freeman's Philadelphia, December 6, 2015; sold for $46,875.\n|-\n! scope=\"row\" | Untitled sketch\n| 179\n|\n| Oil on canvas mounted on cardboard\n| \n| \n| \n| \n|-\n! scope=\"row\" | Untitled sketch (\"Girl in Shade\")\n| 180\n|\n| Oil on cardboard\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n| \n|-\n! scope=\"row\" | Untitled sketch\n| 181\n|\n| Oil on wood\n| \n| \n| \n| \n|-\n! scope=\"row\" | Boatman (Study of a Groom)\n| 182\n| \n| Oil on wood\n| c. 1879\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided: one side is a study for the left leader horse in \"The Fairman Rogers Four-In-Hand.\" The reverse side is the Study of a Groom.\n|-\n! scope=\"row\" | Untitled sketch\n| 183\n| \n| Oil on cardboard\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Untitled sketch\n| 184\n| \n| Oil on heavy paper mounted on cardboard\n| \n| \n| La Salle University Art Gallery, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study of Three Balls of Wool and a Rosebush\n| 185\n|\n| Oil on canvas\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n| \n|-\n! scope=\"row\" | Two Cylinders and a Ball\n| 185A\n| \n| Oil\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n|\n|-\n! scope=\"row\" | Untitled sketch\n| 186\n|\n| Oil on heavy paper\n| \n| \n| \n| \n|-\n! scope=\"row\" | Study of a woman seated\n| 187\n|\n| Oil on canvas mounted on cardboard\n| \n| \n| \n| Auctioned at Doyle's NY, November 28, 2007; unsold.\n|-\n! scope=\"row\" | Street Scene\n| 187A\n| \n| Oil\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | The Writing Master\n| 188\n| \n| oil on canvas\n| 1882\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for the Writing Master\n| 189\n| \n| Oil on wood\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided – one side is a sketch for \"The Writing Master.\" The other side is Sketch of a Man and Study of Drapery\n|-\n! scope=\"row\" | The Swimming Hole\n| 190\n| \n| Oil on canvas\n| 1884–1885\n| \n| Amon Carter Museum, Fort Worth, Texas\n|\n|-\n! scope=\"row\" | Study for the Swimming Hole\n| 191\n| \n| Oil on wood\n| 1884\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, DC.\n|\n|-\n! scope=\"row\" | Sketch of the landscape for the Swimming Hole\n| 192\n| \n| Oil on wood\n| \n| \n| Collection of Mr. I David Orr\n|\n|-\n! scope=\"row\" | Sketches for the Swimming Hole\n| 193\n| \n| Oil on cardboard\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich IIBolger, plates 17–18\n| Double-sided, both sides are studies for \"The Swimming Hole\"\n|-\n! scope=\"row\" | Sketches for the Swimming Hole\n| 194\n| \n| Oil on cardboard\n| \n| \n| Amon Carter Museum, Fort Worth, Texas\n| Double-sided, both sides are studies for \"The Swimming Hole\"\n|-\n! scope=\"row\" | Study for The Swimming Hole\n| 195\n| \n| Oil on cardboard\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich IIBolger, plate 19\n| Double-sided, obverse side contains study of the fisherman's hand from \"Mending the Net\"\n|-\n! scope=\"row\" | Arcadia\n| 196\n| \n| Oil on canvas\n| 1883\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for Arcadia\n| 197\n| \n| Oil on wood\n| \n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, PennsylvaniaFoster, #251\n|\n|-\n! scope=\"row\" | Youth Playing Pipes\n| 198\n| \n| Oil on wood\n| \n| \n| Carnegie Museum of Art, Pittsburgh, Pennsylvania\n| J. Laurie Wallace posed as the model.\n|-\n! scope=\"row\" | Boy Reclining\n| 199\n| \n| Oil on wood\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, DC.\n| Originally double sided with G-199A until the two images were split.\n|-\n! scope=\"row\" | Study of a Horse\n| 199A\n| \n| Drawing\n| \n| \n|\n| Originally double sided with G-199 until the two images were split.Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY (in a lot with G-137, G-137A & G-201A), May 21, 2009; the lot sold for $119,500.\n|-\n! scope=\"row\" | An Arcadian\n| 200\n| \n| Oil on canvas\n| c. 1883\n| \n| \n| \n|-\n! scope=\"row\" | Study for An Arcadian\n| 201\n| \n| Oil on wood\n| \n| \n| \n| Originally double sided with G-201A until the two images were split.Deassessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 23, 2016, Lot 56.\n|-\n! scope=\"row\" | Studies of a horse\n| 201A\n| \n| Drawing\n| \n| \n| \n| Originally double sided with G-201 until the two images were split.Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY (in a lot with G-137, G-137A & G-199A), 2009; the lot sold for $119,500.\n|-\n! scope=\"row\" | Weda Cook and Statue\n| 201B\n|\n| Oil\n| \n| \n| \n| See G-267A for a related study.\n|-\n! scope=\"row\" | A Woman's Back: Study\n| 202\n| \n| Oil on wood\n| 1879\n| \n| Collection of Mr. and Mrs. Daniel Dietrich IIGoodrich, 1982, volume I, page 177\n|\n|-\n! scope=\"row\" | Female Nude\n| 203\n| \n| Oil on canvas\n| Probably early 1880s\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| \n|-\n! scope=\"row\" | Female Nude\n| 204\n| \n| Oil on canvas\n| Probably early 1880s\n| \n| Nelson-Atkins Museum of Art, Kansas City, Missouri\n|\n|-\n! scope=\"row\" | Female Nude\n| 205\n| \n| Watercolor on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for female nude\n| 205A\n| \n| Oil\n| \n| \n|\n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY, September 29, 2010; sold for $50,000.\n|-\n! scope=\"row\" | J. Laurie Wallace\n| 206\n| \n| Oil on canvas\n| c. 1883\n| \n| Joslyn Art Museum, Omaha, Nebraska\n|\n|-\n! scope=\"row\" | Drawing for J. Laurie Wallace\n| 206A\n|\n| Drawing\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n| \n|-\n! scope=\"row\" | Professionals at Rehearsal\n| 207\n| \n| Oil on canvas\n| c. 1883\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n|Perspective Study Of Boy Viewing an Object\n|207A\n| \n| \n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n|Perspective drawing of a table\n|207B\n| \n| \n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n|Perspective drawing of two tables\n|207C\n| \n| \n| \n| \n| \n|\n|-\n! scope=\"row\" | In the Studio\n| 208\n| \n| Oil on canvas\n| 1884\n| \n| The Hyde Collection, Glens Falls, New York\n|\n|-\n! scope=\"row\" | In the Studio\n| 209\n| \n| Watercolor on paper\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Unfinished\n|-\n! scope=\"row\" | A.B. Frost\n| 210\n| \n| Oil on canvas\n| c. 1884\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for A.B. Frost\n| 210A\n| \n| Oil on cardboard\n| \n| \n| Detroit Institute of Arts, Detroit, Michigan\n|\n|-\n! scope=\"row\" | The Veteran\n| 211\n| \n| Oil on canvas\n| c. 1886\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Mrs. William Shaw Ward\n| 212\n| \n| Oil on canvas\n| \n| \n| \n| Auctioned at Sothebys NY, December 2, 2010; sold for $242,500.\n|-\n! scope=\"row\" | The Artist's Wife and His Setter Dog\n| 213\n| \n| Oil on canvas\n| 1885\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Professor George F. Barker\n| 214\n| Barker's portrait as it appeared originally.\n| Oil on canvas\n| 1886\n| \n| Mitchell Museum at Cedarhurst, Mount Vernon, Illinois\n| Originally 3/4-length and 60×40 inches, cut down to head-and-bust and 24×20 inches.\n|-\n! scope=\"row\" | Sketch for Professor George F. Barker\n| 215\n| \n| Oil on cardboard\n| 1886\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Doubled sided – one side is a sketch for Professor George F. Barker. The other side depicts seated figures.\n|-\n! scope=\"row\" | Professor William D. Marks\n| 216\n| \n| Oil on canvas\n| 1886\n| \n| Washington University Gallery of Art, St. Louis, Missouri\n|\n|-\n! scope=\"row\" | Professor William D. Marks (unfinished)\n| 217\n| \n| Oil on canvas\n| c. 1886\n| 76 × 54\n| Iris & B. Gerald Cantor Center for Visual Arts, Stanford, California\n|\n|-\n! scope=\"row\" | Miss Sophie Brooks\n| 217A\n|\n| Oil\n| \n| \n| \n| \n|-\n! scope=\"row\" | Frank McDowell\n| 218\n| \n| Oil on canvas\n| c. 1886\n| \n| Virginia Museum of Fine Arts,Richmond, Virginia\n| Auctioned at Christie's NY, December 9, 1983; sold for $80,000.\n|-\n! scope=\"row\" | Frank MacDowell (unfinished)\n| 219\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Portrait of Walt Whitman\n| 220\n| \n| Oil on canvas\n| 1887–1888\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for Walt Whitman\n| 221\n| \n| Oil on wood\n| Probably 1887\n| \n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | Mrs. Letitia Wilson Jordan\n| 222\n| \n| Oil on canvas\n| 1888\n| \n| Brooklyn Museum of Art, New York City\n|\n|-\n! scope=\"row\" | Sketch for Mrs. Letitia Wilson Jordan Bacon\n| 223\n| \n| Oil on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Cowboys in the Badlands\n| 224\n| \n| Oil on canvas\n| 1888\n| \n| Anschutz collection, Denver, Colorado\n| Auctioned at Christie's NY, May 22, 2003; sold for $5,383,500.Set a record for an Eakins painting at auction.\n|-\n! scope=\"row\" | Sketches for Cowboys in the Badlands\n| 225\n| \n| Oil on cardboard\n| \n| \n| Albright-Knox Art Gallery, Buffalo, New York\n| Originally part of the same work with G-225A and G-225B.\n|-\n! scope=\"row\" | Sketch of a saddle\n| 225A\n| \n| Oil on canvas on cardboard\n| 1887\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Originally part of the same work with G-225 and G-225B.\n|-\n! scope=\"row\" | Study of a stirrup\n| 225B\n| \n| \n| \n| \n| \n| Originally part of the same work with G-225 and G-225A.\n|-\n! scope=\"row\" | Sketch for Cowboys in the Badlands\n| 226\n| \n| Oil on canvas\n| \n| \n| Denver Art Museum, Denver, Colorado\n| Deaccessioned by the Philadelphia Museum of Art, April 2008, to fund the co-purchase (with PAFA) of The Gross Clinic.\n|-\n! scope=\"row\" | The Bad Lands\n| 227\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for Cowboys in the Badlands\n| 227A\n| \n| Oil on canvas\n| \n| 10⅜ × 13½\n| \n| Auctioned at Sothebys NY, October 17, 1980; sold for $8,000.\n|-\n! scope=\"row\" | Landscape sketch for Cowboys in the Badlands\n| 228\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Originally double sided with G-228A.\n|-\n! scope=\"row\" | Landscape sketch for Cowboys in the Badlands\n| 228A\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Originally double sided with G-228.\n|-\n! scope=\"row\" | Cowboy Riding\n| 229\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Denver Art Museum, Denver, Colorado\n| Deaccessioned from the Philadelphia Museum of Art, April 2008, to fund the co-purchase (with PAFA) of The Gross Clinic.\n|-\n! scope=\"row\" | Cowboy (sketches)\n| 230\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| \n| Edward Boulton posed as the model for the cowboy.\n|-\n! scope=\"row\" | Cowboy Riding\n| 230A\n| \n| Oil on canvas\n| \n| 10¼ × 14¼\n| \n| Auctioned at Freeman's Philadelphia, June 22, 2003; sold for $12,000.\n|-\n! scope=\"row\" | Cowboy (sketch)\n| 231\n|\n| Oil on canvas mounted on cardboard\n| \n| \n| \n| \n|-\n! scope=\"row\" | Edward W. Boulton\n| 232\n| \n| \n| c. 1888\n| \n| \n| Destroyed by vandalism – \"The portrait of [Edward W.] Boulton by Eakins was lent to the University Club for an exhibit, and a waiter ran amuck and slashed it up.\"\n|-\n! scope=\"row\" | Douglass M. Hall\n| 233\n| \n| Oil on canvas\n| c. 1888\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Used as cover image for the album \"Kapitulation\" by the German indie rock band Tocotronic.\n|-\n! scope=\"row\" | Girl in a Big Hat (Portrait of Lillian Hammitt)\n| 234\n| \n| Oil on canvas\n| c. 1888\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Hammitt paraded through the streets in a bathing suit and claimed to be Mrs. Thomas Eakins. She was committed to a mental hospital.\n|-\n! scope=\"row\" | The Agnew Clinic\n| 235\n| \n| Oil on canvas\n| 1889\n| \n| University of Pennsylvania School of Medicine, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Drawing of David Hayes Agnew\n| 235A\n| \n| Ink and pencil on paper\n| c. 1889\n| 9 9/16 x 6 1/16\n| Philadelphia Museum of Art\n|\n|-\n! scope=\"row\" | Sketch for the Agnew Clinic\n| 236\n| \n| Oil on canvas mounted on cardboard\n| \n| \n|Virginia Museum of Fine Arts,Richmond, Virginia\n|\n|-\n! scope=\"row\" | Study of Dr. D. Hayes Agnew\n| 237\n| \n| Oil on canvas\n| 1889\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Samuel Murray\n| 238\n| \n| Oil on canvas\n| 1889\n| \n| Mitchell Museum at Cedarhurst, Mount Vernon, Illinois\n|\n|-\n! scope=\"row\" | Dr. Horatio C. Wood\n| 239\n| \n| Oil on canvas\n| c. 1889\n| \n| Detroit Institute of Arts, Detroit, Michigan\n|\n|-\n! scope=\"row\" | Professor George W. Fetter\n| 240\n| \n| Oil on canvas\n| 1890\n| \n| Collection of the School District of Philadelphia, Philadelphia, Pennsylvania\n|Rediscovered in 2004 by janitors in the boiler room of a Philadelphia school. Currently in an undisclosed location.\n|-\n! scope=\"row\" | Drawing for Professor George W. Fetter\n| 241\n|\n| Black ink on white tile\n| \n| \n| \n| \n|-\n! scope=\"row\" | Portrait of Talcott Williams\n| 242\n| \n| Oil on canvas\n| c. 1890\n| \n| National Portrait Gallery, Washington, D.C.\n|\n|-\n! scope=\"row\" | The Bohemian: Portrait of Franklin Louis Schenk\n| 243\n| \n| Oil on canvas\n| c. 1890\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | F.L. Schenk\n| 244\n| \n| Oil on canvas\n| c. 1890\n| \n| Delaware Art Museum, Wilmington, Delaware\n|\n|-\n! scope=\"row\" | F.L. Schenk\n| 245\n|\n| Oil on cardboard\n| c. 1890\n| \n| Private collection\n| \n|-\n! scope=\"row\" | The Father of F.L. Schenk\n| 246\n| \n| Oil on canvas\n| c. 1890\n| \n| Collection of Nelson C. White\n|\n|-\n! scope=\"row\" | Head of a Cowboy\n| 247\n| \n| Oil on canvas\n| c. 1890\n| \n| Mead Art Museum, Amherst, Massachusetts\n|\n|-\n! scope=\"row\" | Home Ranch\n| 248\n| \n| Oil on canvas\n| c. 1890\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Cowboy Singing\n| 249\n| \n| Watercolor on paper\n| c. 1890\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Cowboy Singing\n| 250\n| \n| Oil on canvas\n| c. 1890\n| \n| Jointly owned by Anschutz collection and Denver Art Museum, Denver, Colorado\n| Deaccessioned from the Philadelphia Museum of Art, April 2008, to fund (with PAFA) the co-purchase of \"The Gross Clinic.\"\n|-\n! scope=\"row\" | Thomas B. Harned\n| 251\n| \n| Oil on canvas\n| c. 1890\n| 24 x 20\n| Collection of Dr. and Mrs. Herbert S. Harned, Jr. On long-term loan to the Ackland Art Museum, Chapel Hill, North Carolina\n|\n|-\n! scope=\"row\" | Dr. Joseph Leidy II (also known as \"Portrait of Man with Red Necktie\")\n| 252\n| \n| Oil on canvas\n| 1890\n| 50 x 36\n| \n|Deassessioned from Newark Museum, Newark, New Jersey.Auctioned at Sotheby's New York, 19 May 2021. Sold for $362,800.\n|-\n! scope=\"row\" | Dr. Joseph Leidy II (unfinished)\n| 253\n|\n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | William H. Macdowell\n| 254\n| \n| Oil on canvas\n| c. 1890\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Phidias Studying for the Frieze of the Parthenon\n| 255\n| \n| Oil on wood\n| c. 1890\n| \n| Collection of the Eakins Press Foundation\n| Originally double sided with G-255A until the two images were split.\n|-\n! scope=\"row\" | Two Nude Youths on Prancing Horses\n| 255A\n| \n| Oil on wood\n| c. 1890\n| \n| \n| Originally double sided with G-255 until the two images were split.\n|-\n! scope=\"row\" | The Red Shawl\n| 256\n| \n| Oil on canvas\n| c. 1890\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Francis J. Ziegler (also known as \"The Critic\")\n| 257\n| \n| Oil on canvas\n| c. 1890\n| \n| Fogg Art Museum, Cambridge, Massachusetts\n|\n|-\n! scope=\"row\" | The Art Student: Portrait of James Wright\n| 258\n| \n| Oil on canvas\n| c. 1890\n| \n| Crystal Bridges Museum of American Art, Bentonville, Arkansas\n| Ex collection: Maloogian Collection, on loan to Detroit Institute of Arts, Detroit, Michigan\n|-\n! scope=\"row\" | The Black Fan\n| 259\n| \n| Oil on canvas\n| c. 1891\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | William H. Macdowell\n| 260\n| \n| Oil on canvas\n| c. 1891\n| \n| Taubman Museum of Art, Roanoke, Virginia\n|\n|-\n! scope=\"row\" | William H. Macdowell (study)\n| 261\n| \n| Oil on canvas\n| c. 1891\n| \n| Randolph-Macon Woman's College Art Gallery, Lynchburg, Virginia\n|\n|-\n! scope=\"row\" | Portrait of William H. MacDowell\n| 262\n| \n| Paper on a stretcher\n| \n| \n| Baltimore Museum of Art, Baltimore, Maryland\n| Unfinished\n|-\n! scope=\"row\" | Study for William H. MacDowell\n| 262A\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Miss Amelia Van Buren\n| 263\n| \n| Oil on canvas\n| c. 1891\n| \n| The Phillips Collection, Washington, D.C.\n|\n|-\n! scope=\"row\" | Professor Henry A. Rowland\n| 264\n| \n| Oil on canvas\n| 1897\n| \n| Addison Gallery of American Art, Andover, Massachusetts\n|\n|-\n! scope=\"row\" | Sketch for Professor Henry A. Rowland\n| 265\n| \n| Oil on canvas\n| \n| \n| Addison Gallery of American Art, Andover, Massachusetts\n|\n|-\n! scope=\"row\" | The Concert Singer\n| 266\n| \n| Oil on canvas\n| 1890–1892\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for the Concert Singer\n| 267\n| \n| Oil on canvas mounted on wood\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for Weda Cook and Statue\n| 267A\n| \n| Oil on canvas\n| \n| \n| Blanton Museum of Art, Austin, Texas\n| Also known as \"The Opera Singer.\" On the reverse is \"Woman on balcony waving white handkerchief.\"\n|-\n! scope=\"row\" | Joshua Ballinger Lippincott\n| 268\n| \n| Oil on canvas\n| 1892\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for Joshua Ballinger Lippincott\n| 268A\n| \n| Oil\n| 1892\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Miss Blanche Hurlburt\n| 269\n| \n| Oil on canvas\n| c. 1892\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Dr. Jacob M. Da Costa\n| 270\n| \n| Oil on canvas\n| 1893\n| \n| Pennsylvania HospitalKirkpatrick, 384\n|\n|-\n! scope=\"row\" | Jacob M. Da Costa\n| 270A\n|\n| Oil on canvas\n| \n| \n|\n| Destroyed by Thomas Eakins after DaCosta rejected it.\n|-\n! scope=\"row\" | Sketch for Dr. Jacob M. Da Costa\n| 271\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Girl with Puff Sleeves\n| 272\n| \n| Oil on canvas\n| \n| \n| \n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY, September 29, 2010; sold for $18,750.\n|-\n! scope=\"row\" | Frank Hamilton Cushing\n| 273\n| \n| Oil on canvas\n| Late 1894 or 1895\n| \n| Gilcrease Museum, Tulsa, Oklahoma\n|\n|-\n! scope=\"row\" | Study for Frank Hamilton Cushing\n| 274\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. Frank Hamilton Cushing\n| 275\n| \n| Oil on canvas\n| c. 1894 or 1895\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study of James MacAlister (also known as \"Man in the Red Necktie\")\n| 276\n| \n| Oil on canvas mounted on cardboard\n| ca. 1895\n| \n| Metropolitan Museum of Art, New York\n| Originally double sided with G-276A until the two images were split.\n|-\n! scope=\"row\" | Study for William L. MacLean\n| 276A\n| \n| Oil on canvas mounted on cardboard\n| ca. 1895\n| \n| \n| Originally double sided with G-276 until the two images were split.\n|-\n! scope=\"row\" | Weda Cook\n| 277\n| \n| Oil on canvas\n| c. 1895\n| \n| Columbus Museum of Art, Columbus, Ohio\n|\n|-\n! scope=\"row\" | The Pianist (Stanley Addicks)\n| 278\n| \n| Oil on canvas\n| c. 1895\n| \n| Indianapolis Museum of Art, Indianapolis, Indiana\n|\n|-\n! scope=\"row\" | Katherine Maud Cook\n| 279\n| \n| Oil on canvas\n| 1895\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Riter Fitzgerald\n| 280\n| \n| Oil on canvas\n| 1895\n| \n| Art Institute of Chicago, Chicago, Illinois\n|\n|-\n! scope=\"row\" | Sketch for Riter Fitzgerald\n| 281\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| The Huntington Library, San Marino, California\n|\n|-\n! scope=\"row\" | Sketch for Riter Fitzgerald\n| 282\n| \n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Study for Mrs. Hubbard\n| 283\n| \n| Oil on canvas mounted on cardboard\n| c. 1895\n| \n| Sewell C. Biggs Museum of American Art, Dover, Delaware\n| Study for now-destroyed portrait of Mrs. Hubbard.Auctioned at Sotheby's NY, March 11, 1999; sold for $34,500.\n|-\n! scope=\"row\" | John McLure Hamilton\n| 284\n| \n| Oil on canvas\n| 1895\n| \n| Wadsworth Atheneum, Hartford, Connecticut\n|\n|-\n! scope=\"row\" | Sketch for John McLure Hamilton\n| 285\n| \n| Oil on canvas mounted on cardboard\n| \n| 14⅝ × 10⅝\n| Georgia Museum of Art, Athens, Georgia\n|\n|-\n! scope=\"row\" | Mrs. Charles L. Leonard\n| 286\n| \n| Oil on cardboard\n| 1895\n| \n| Thomas Colville Fine Art\n| Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 3, 2011; sold for $25,000.\n|-\n! scope=\"row\" | Miss Gertrude Murray\n| 287\n| \n| Oil on canvas\n| 1895\n| \n| Dallas Museum of Art, Dallas, Texas\n|\n|-\n! scope=\"row\" | Charles Linford\n| 288\n| \n| Oil on canvas\n| c. 1895\n| \n| \n| Ex collection: IBM.Auctioned at Sotheby's NY, Mat 25, 1995; sold for $80,000.\n|-\n! scope=\"row\" | Captain Joseph Lapsley Wilson\n| 289\n| \n| Oil on canvas\n| c. 1895\n| 30 × 22\n| Collection of the First Troop Philadelphia City Cavalry\n|\n|-\n! scope=\"row\" | Sketch for Captain Joseph Lapsley Wilson\n| 290\n|\n| Oil on canvas mounted on cardboard\n| c. 1895\n| 7¾ × 5¼\n| \n| Auctioned at Christie's NY, June 3, 1983; sold for $9000.Ex collection: Gulf States Paper Corporation, Tuscaloosa, Alabama (1983-2013).Auctioned at Christie's New York, September 25, 2013, Lot 196, Unsold.\n|-\n! scope=\"row\" | The Cello Player\n| 291\n| \n| Oil on canvas\n| 1896\n| \n| Private collection\n| Deaccessioned from the Pennsylvania Academy of the Fine Arts, 2007, to fund the co-purchase (with PMA) of \"The Gross Clinic.\"\n|-\n! scope=\"row\" | Sketch for the Cello Player\n| 292\n| \n| Oil on canvas\n| 1896\n| \n| Heckscher Museum of Art, Huntington, New York\n|\n|-\n! scope=\"row\" | Mrs. James Mapes Dodge\n| 293\n| \n| Oil on canvas\n| 1896\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Harrison S. Morris\n| 294\n| \n| Oil on canvas\n| 1896\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for Harrison S. Morris\n| 295\n| \n| Oil on canvas mounted on cardboard\n| \n| \n|Newark Museum, Newark, New Jersey\n|\n|-\n! scope=\"row\" | Professor William Woolsey Johnson\n| 295A\n| \n| Oil on canvas\n| c. 1896\n| \n| M. H. de Young Memorial Museum, San Francisco, California\n|\n|-\n! scope=\"row\" | Dr. Charles Lester Leonard\n| 296\n| \n| Oil on canvas\n| 1897\n| \n| Collection of the University of Pennsylvania School of Medicine, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Jennie Dean Kershaw (Mrs. Samuel Murray)\n| 297\n| \n| Oil on canvas\n| c. 1897\n| \n| Sheldon Museum of Art, Lincoln, Nebraska\n|\n|-\n! scope=\"row\" | Mrs. Samuel Murray (unfinished)\n| 298\n| \n| Oil on canvas\n| \n| \n| Baltimore Museum of Art, Baltimore, Maryland\n|\n|-\n! scope=\"row\" | Miss Lucy Lewis\n| 299\n| \n| Oil on canvas\n| c. 1897\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Miss Anna Lewis\n| 300\n| \n| Oil on canvas\n| c. 1898\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | William H. MacDowell with a Hat\n| 301\n| \n| Oil on canvas\n| c. 1898\n| \n| Taubman Museum of Art, Roanoke, Virginia\n|\n|-\n! scope=\"row\" | General E. Burd Grubb\n| 302\n| \n| Oil on canvas\n| Probably 1898\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Taking the Count\n| 303\n| \n| Oil on canvas\n| 1898\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Sketch for Taking the Count\n| 304\n| \n| Oil on canvas mounted on cardboard\n| 1898\n| \n| Yale University Art Gallery, New Haven, Connecticut\n|\n|-\n! scope=\"row\" | Sketch for Taking the Count\n| 305\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | The Referee, H. Walter Schlichter\n| 306\n| \n| Oil on canvas\n| 1898\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Maybelle\n| 307\n| \n| Oil on canvas\n| 1898\n| \n| Frye Art Museum, Seattle, Washington\n|\n|-\n! scope=\"row\" | Sketch for Maybelle\n| 308\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| \n| \n|-\n! scope=\"row\" | John N. Fort\n| 309\n| \n| Oil on canvas\n| 1898\n| \n| Williams College Museum of Art, Williamstown, Massachusetts\n|\n|-\n! scope=\"row\" | Salutat\n| 310\n| \n| Oil on canvas\n| 1898\n| \n| Addison Gallery of American Art, Phillips Academy\n|\n|-\n! scope=\"row\" | Study for Salutat\n| 311\n| \n| Oil on canvas\n| 1898\n| \n| Carnegie Museum of Art, Pittsburgh, Pennsylvania\n|\n|-\n! scope=\"row\" | Between Rounds\n| 312\n| \n| Oil on canvas\n| 1898–1899\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for Between Rounds\n| 313\n| \n| Oil on cardboard\n| \n|\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Double sided – one side is a study for \"Between Rounds;\" the other side is a landscape sketch.\n|-\n! scope=\"row\" | Billy Smith (sketch)\n| 314\n| \n| Oil on canvas\n| c. 1898\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Billy Smith (study)\n| 315\n| \n| Oil on canvas\n| 1898\n| \n| Wichita Art Museum, Wichita, Kansas\n|\n|-\n! scope=\"row\" | The Timer\n| 316\n| \n| Oil on canvas\n| 1898\n| \n| New Britain Museum of American Art, New Britain, Connecticut\n|\n|-\n! scope=\"row\" | Wrestlers\n| 317\n| \n| Oil on canvas\n| 1899\n| \n| Los Angeles County Museum of Art, Los Angeles County, California\n|\n|-\n! scope=\"row\" | Study for Wrestlers\n| 318\n| \n| Oil on canvas\n| \n| \n| Los Angeles County Museum of Art, Los Angeles County, California\n|\n|-\n! scope=\"row\" | Wrestlers (unfinished)\n| 319\n| \n| Oil on canvas\n| 1899\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Fairman Rogers Four-in-Hand (black & white)\n| 320\n| \n| Oil on canvas\n| 1899\n| \n| St. Louis Art Museum, St. Louis, Missouri\n| Black & white version of the 1879–80 original. Painted to be photographed as an illustration for Fairman Rogers, A Manual of Coaching (Philadelphia, 1900).\n|-\n! scope=\"row\" | T. Ellwood Potts\n| 321\n|\n|\n| 1890–1900\n| \n| \n| \n|-\n! scope=\"row\" | Mrs. T Ellwood Potts\n| 322\n|\n| \n| c. 1890–1900\n| \n| \n| \n|-\n! scope=\"row\" | Addie: A Woman in Black (Portrait of Miss Mary Adeline Williams)\n| 323\n| \n| Oil on canvas\n| c. 1899\n| \n| Art Institute of Chicago, Chicago, Illinois\n| In Eakins Revealed (pp. 369–371), author Henry Adams claims that Mary Adeline \"Addie\" Williams, an Eakins family friend, was the nude model for G-451 William Rush and his Model, and related studies G-445, G-446, G-447, G-452, G-453 and G-454.\n|-\n! scope=\"row\" | Benjamin Eakins\n| 324\n| \n| Oil on canvas\n| c. 1899\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Mrs. Thomas Eakins\n| 325\n| \n| Oil on canvas\n| c. 1899\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. William H. Green\n| 326\n| \n| Oil on canvas\n| 1899\n| \n| Driscoll Babcock Galleries\n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Sotheby's NY, September 29, 2010; sold for $31,250.\n|-\n! scope=\"row\" | The Dean's Roll Call\n| 327\n| \n| Oil on canvas\n| 1899\n| \n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | Louis Husson\n| 328\n| \n| Oil on canvas\n| 1899\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | David Wilson Jordan\n| 329\n| \n| Oil on canvas\n| 1899\n| \n| The Huntington Library, San Marino, California\n|\n|-\n! scope=\"row\" | Study for David Wilson Jordan\n| 329A\n|\n| Oil\n| \n| \n| \n| \n|-\n! scope=\"row\" | William Merritt Chase\n| 330\n| \n| Oil on canvas\n| c. 1899\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, DC.\n|\n|-\n! scope=\"row\" | The Thinker: Portrait of Louis N. Kenton\n| 331\n| \n| Oil on canvas\n| 1900\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for The Thinker\n| 332\n| \n| Oil on cardboard mounted on wood\n| \n| \n| Farnsworth Art Museum, Rockland, Maine\n| Originally double sided with G-365A until the two images were split.\n|-\n! scope=\"row\" | Addie (also known as \"Portrait of Mary Adeline Williams\")\n| 333\n| \n| Oil on canvas\n| 1900\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Mrs. Mary Arthur\n| 334\n| \n| Oil on canvas\n| 1900\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | Robert M. Lindsay\n| 335\n| \n| Oil on canvas\n| 1900\n| \n| Detroit Institute of Arts, Detroit, Michigan\n|\n|-\n! scope=\"row\" | Sketch for Robert M. Lindsay\n| 336\n| \n| Oil on wood\n| \n| \n| Detroit Institute of Arts, Detroit, Michigan\n|\n|-\n! scope=\"row\" | Frank Jay St. John\n| 337\n| \n| Oil on canvas\n| 1900\n| \n| M. H. de Young Memorial Museum, San Francisco, California\n|\n|-\n! scope=\"row\" | Antiquated Music: Portrait of Sarah Sagehorn Frishmuth\n| 338\n| \n| Oil on canvas\n| 1900\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Mrs. Joseph H. Drexel\n| 339\n| \n| Oil on canvas unstretched\n| 1900\n| \n| \n|Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, May 18, 2011; sold for $68,500.\n|-\n! scope=\"row\" | Sketch for Mrs. Joseph H. Drexel\n| 340\n|\n| Oil on cardboard\n| c. 1900\n| \n| \n| \n|-\n! scope=\"row\" | Dr. Daniel Garrison Brinton\n| 340A\n| \n| Oil\n| \n| \n| Collection of the American Philosophical Society.\n|\n|-\n! scope=\"row\" | Clara J. Mather\n| 341\n| \n| Oil on canvas\n| c. 1900\n| \n| Musée d'Orsay, Paris, France\n|\n|-\n! scope=\"row\" | A Woman in Black (Portrait of Clara J. Mather)\n| 342\n|\n| Oil on wood\n| \n| \n| \n| \n|-\n! scope=\"row\" | Elizabeth R. Coffin\n| 343\n| \n| Oil on canvas\n| c. 1900\n| \n| Coffin School collection, Egan Institute of Maritime Studies, Nantucket, Massachusetts\n|\n|-\n! scope=\"row\" | Dr. Edward J. Nolan\n| 344\n| \n| Oil on canvas\n| c. 1900\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Henry O. Tanner\n| 345\n| \n| Oil on canvas\n| c. 1900\n| \n| The Hyde Collection, Glens Falls, New York\n|\n|-\n! scope=\"row\" | Honorable John A. Thorton\n| 346\n| \n| Oil on canvas\n| \n| \n| Schwarz Gallery, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Monsignor James P. Turner\n| 347\n| \n| Oil on canvas\n| c. 1900\n| \n| \n| Eakins later painted a full-length portrait of Monsignor Turner (G-438); sketch (G-439).Deassessioned from St. Charles Borromeo Seminary, Wynnewood, Pennsylvania2014 put up for sale, see Paintings of noted artists, including Eakins, to be sold by seminaryAuctioned at Christie's NY, November 19, 2015; sold for $221,000.\n|-\n! scope=\"row\" | Portrait of Leslie W. Miller\n| 348\n| \n| Oil on canvas\n| 1901\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for Professor Leslie W. Miller\n| 349\n| \n| Oil on cardboard\n| c. 1892–1894\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided: one side depicts Leslie W. Miller. The reverse depicts Thomas Eakins' dog, Harry.\n|-\n! scope=\"row\" | Signature for 'Leslie W. Miller'\n| 349A\n| \n| Drawing\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. Leslie W. Miller\n| 350\n|\n| Oil on canvas\n| 1901\n| \n| \n| \n|-\n! scope=\"row\" | Mrs. Elizabeth Duane Gillespie\n| 351\n| \n| Oil on canvas\n| 1901\n| \n| Collection of the Philadelphia Museum of Art, gift of the Women's Committee\n|\n|-\n! scope=\"row\" | Sketch for Mrs. Elizabeth Duane Gillespie\n| 352\n| \n| Oil on canvas\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | George Morris\n| 353\n|\n| Oil on canvas\n| 1901\n| \n| \n| \n|-\n! scope=\"row\" | Reverend Philip R. McDevitt\n| 354\n| \n| Oil on canvas\n| 1901\n| \n| Snite Museum of Art, Notre Dame, Indiana\n|\n|-\n! scope=\"row\" | Charles F. Haseltine\n| 355\n| \n| Oil on canvas\n| c. 1901\n| \n| Montclair Art Museum, Montclair, New Jersey\n|\n|-\n! scope=\"row\" | Elbridge Ayer Burbank\n| 356\n|\n| \n| c. 1901\n| \n| \n| \n|-\n! scope=\"row\" | Alfred F. Watch\n| 357\n|\n| \n| c. 1901\n| \n| \n| \n|-\n! scope=\"row\" | Self-Portrait\n| 358\n| \n| Oil on canvas\n| 1902\n| \n| National Academy of Design, New York\n|\n|-\n! scope=\"row\" | Self-portrait\n| 358A\n| \n| Oil on canvas\n| c. 1902\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Colonel Alfred Reynolds\n| 359\n| \n| Oil on canvas\n| 1902\n| \n| Taubman Museum of Art, Roanoke, Virginia\n|\n|-\n! scope=\"row\" | Signora Gomez D'Arza\n| 360\n| \n| Oil on canvas\n| 1902\n| \n| Metropolitan Museum of Art, New York\n|\n|-\n! scope=\"row\" | His Eminence Sebastiano Cardinal Martinelli\n| 361\n| \n| Oil on canvas\n| 1901–02\n| \n| Hammer Museum, Los Angeles\n|\n|-\n! scope=\"row\" | Perspective drawing for his Eminence Sebastiano Cardinal Martinelli\n| 361A\n|\n| Drawing\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n| \n|-\n! scope=\"row\" | Perspective drawing for his Eminence Sebastiano Cardinal Martinelli\n| 361B\n|\n| Drawing\n| \n| \n| Joslyn Art Museum, Omaha, Nebraska\n| \n|-\n! scope=\"row\" | Very Reverend John J. Fedigan\n| 362\n| \n| Oil on canvas\n| 1902\n| \n| Collection of the Augustinian Province of St. Thomas of Villanova. On permanent loan to Villanova University, Villanova, Pennsylvania\n| \n|-\n! scope=\"row\" | Sketch for the Very Reverend John J. Fedigan\n| 363\n| \n| Oil on canvas\n| \n| \n| \n|Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, September 27, 2011; sold for $10,625.\n|-\n! scope=\"row\" | The Translator\n| 364\n| \n| Oil on canvas\n| 1902\n| \n| \n| Deassessioned from St. Charles Borromeo Seminary, Wynnewood, Pennsylvania\n|-\n! scope=\"row\" | Monsignor James F. Loughlin\n| 365\n| \n| Oil on canvas\n| 1902\n| \n| \n| Deassessioned from St. Charles Borromeo Seminary, Wynnewood, Pennsylvania\n|-\n! scope=\"row\" | Study for Monsignor James F. Loughlin\n| 365A\n| \n| Oil on cardboard mounted on wood\n| \n| \n| \n| Originally double sided with G-332 until the two images were split.Auctioned at Bonham's San Francisco, November 29, 2005; sold for $15,000.\n|-\n! scope=\"row\" | John Seely Hart\n| 366\n| \n| Oil on canvas\n| 1902\n| \n| Collection of the School District of Philadelphia, Philadelphia, Pennsylvania\n| Dr. Hart (1810–1877) was principal of Philadelphia's Central High School when Eakins was a student. Eakins painted the posthumous portrait from a photograph.Rediscovered in 2004 by janitors in the boiler room of a Philadelphia school, it is currently in an undisclosed location.\n|-\n! scope=\"row\" | Charles E. Dana\n| 367\n| \n| Oil on canvas\n| c. 1902\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Young Man (Kern Dodge)\n| 368\n| \n| Oil on canvas\n| c. 1902\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Miss Mary Perkins (unfinished)\n| 369\n| \n| Oil on canvas\n| c. 1902\n| \n| \n| \n|-\n! scope=\"row\" | Girl with a Fan\n| 370\n| \n| Oil on canvas\n| c. 1902\n| \n| Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Adam S. Bare\n| 371\n| \n| Oil on canvas\n| 1903\n| \n| \n| \n|-\n! scope=\"row\" | Walter Copeland Bryant\n| 372\n|\n| Oil on canvas\n| 1903\n| \n| Collection of the Brockton Public Library, Brockton, Massachusetts\n| \n|-\n! scope=\"row\" | Dr. Matthew H. Cryer\n| 373\n| \n| Oil on canvas\n| 1903\n| \n| Private collection\n|\n|-\n! scope=\"row\" | Archbishop William Henry Elder\n| 374\n| \n| Oil on canvas\n| 1903\n| 66 3/16 × 45 3/16\n| Cincinnati Art Museum, Cincinnati, Ohio\n|\n|-\n! scope=\"row\" | Mother Patricia Waldron\n| 375\n| \n| Sketch. Oil on canvas mounted on cardboard\n| 1903\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Study for completed portrait, G-487 (lost, probably destroyed). See below. \n|-\n! scope=\"row\" | Bishop Edmond F. Prendergast\n| 376\n|\n| Oil on canvas\n| \n| \n|\n| Lost, possibly destroyed: \"Murray told Eakins biographer Lloyd Goodrich that he had it 'from a reliable source' that the painting, which Murray considered 'superb' was somehow disposed of.\"\n|-\n! scope=\"row\" | James A. Flaherty\n| 377\n| \n| Oil on canvas\n| 1903\n| \n| \n| Deassessioned from St. Charles Borromeo Seminary, Wynnewood, PennsylvaniaAuctioned at Christie's NY, May 19, 2016; sold for $185,000.\n|-\n! scope=\"row\" | William B. Kurtz\n| 378\n| \n| Oil on canvas\n| 1903\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| 2015 bequest of Daniel W. Dietrich II.Goodrich, 1982, volume II, page 207\n|-\n! scope=\"row\" | Miss Alice Kurtz\n| 379\n| \n| Oil on canvas\n| 1903\n| \n| Fogg Art Museum, Cambridge, Massachusetts\n|\n|-\n! scope=\"row\" | Mrs. Mary Hallock Greenewalt\n| 380\n| \n| Oil on canvas\n| 1903\n| \n| Wichita Art Museum, Wichita, Kansas\n|\n|-\n! scope=\"row\" | Dr. Frank Lindsay Greenewalt\n| 381\n| \n| Oil on canvas\n| 1903\n| \n|Private collection, Delaware\n|\n|-\n! scope=\"row\" | Dr. Frank Lindsay Greenewalt\n| 381A\n|\n| Oil\n| \n| \n| \n| \n|-\n! scope=\"row\" | Mrs. Anna A. Kershaw\n| 382\n| \n| Oil on canvas\n| 1903\n| \n| \n| Deaccessioned from Sheldon Museum of Art, Lincoln, Nebraska.Auctioned at Sotheby's NY, December 5, 2015; sold for $187,500.\n|-\n! scope=\"row\" | Ruth (Portrait of Ruth Harding)\n| 383\n| \n| Oil on canvas\n| 1903\n| \n| White House Art Collection, Washington, D.C.\n|\n|-\n! scope=\"row\" | An Actress: Portrait of Suzanne Santje\n| 384\n| \n| Oil on canvas\n| 1903\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Study for An Actress\n| 385\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| \n|Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, December 1, 2010; sold for $100,900.\n|-\n! scope=\"row\" | Miss Betty Reynolds\n| 386\n| \n| Oil on canvas\n| c. 1903\n| \n| \n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's New York, March 1, 2012; sold for $22,500.\n|-\n! scope=\"row\" | The Oboe Player\n| 387\n| \n| Oil on canvas\n| 1903\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Rear-Admiral Charles D. Sigsbee\n| 388\n| \n| Oil on canvas\n| 1903\n| \n| \n| Auctioned at Sotheby's NY, May 22, 2008; sold for $1,945,000.\n|-\n! scope=\"row\" | Mrs. M.S. Stokes\n| 389\n| \n| Oil on canvas\n| 1903\n| \n| Arkell Museum, Canajoharie, New York\n|\n|-\n! scope=\"row\" | Mrs. Richard Day\n| 390\n| \n| Oil on canvas\n| c. 1903\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mother (Portrait of Annie Williams Gandy)\n| 391\n| \n| Oil on canvas\n| c. 1903\n| \n| Smithsonian American Art Museum\n| Donated to the Smithsonian by Annie Gandy's daughters, Lucy Rodman and Helen Gandy.\n|-\n! scope=\"row\" | Mrs. Helen MacKnight (also known as \"The Lady in Grey\" and \"Portrait of a Mother\")\n| 392\n| \n| Oil on canvas\n| c. 1903\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Francesco Romano\n| 393\n| \n| \n| c. 1903\n| \n| \n| Auctioned at Christie's NY, May 26, 1994; sold for $80,000.Auctioned at Sotheby's NY, November 29, 2012; sold for $146,500.\n|-\n! scope=\"row\" | Robert C. Ogden\n| 394\n| \n| Oil on canvas\n| 1904\n| \n| \n|Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, May 20, 2009; sold for $338,500.Rosenzweig, 20\n|-\n! scope=\"row\" | Study for Robert C. Ogden\n| 394A\n| \n| Oil\n| \n| \n| \n| Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 3, 2011; sold for $32,500.\n|-\n! scope=\"row\" | J. Carroll Beckwith\n| 395\n| \n| Oil on canvas\n| 1904\n| \n| San Diego Museum of Art, San Diego, California\n|\n|-\n! scope=\"row\" | Charles Percival Buck\n| 396\n| \n| Oil on canvas\n| 1904\n| \n| Princeton University Art Museum, Princeton, New Jersey\n|\n|-\n! scope=\"row\" | Mrs. James G. Carville (Portrait of Harriet Husson Carville)\n| 397\n| \n| Oil on canvas\n| 1904\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. Kern Dodge\n| 398\n| \n| Oil on canvas\n| 1904\n| \n| Private Collection. Los Angeles\n|\n|-\n! scope=\"row\" | Mrs. Kern Dodge\n| 399\n|\n| Oil on canvas\n| \n| \n| \n| \n|-\n! scope=\"row\" | Miss Beatrice Fenton (also known as \"The Coral Necklace\")\n| 400\n| \n| Oil on canvas\n| 1904\n| \n| Butler Institute of American Art, Youngstown, Ohio\n|\n|-\n! scope=\"row\" | William R. Hallowell\n| 401\n| \n| Oil on canvas\n| 1904\n| \n| \n| \n|-\n! scope=\"row\" | Music\n| 402\n| \n| Oil on canvas\n| 1904\n| \n| Albright-Knox Art Gallery, Buffalo, New York\n|\n|-\n! scope=\"row\" | Sketch for Music\n| 403\n| \n| Oil on canvas mounted on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | The Violinist\n| 404\n| \n| Oil on canvas\n| 1904\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Samuel Myers\n| 405\n| \n| Oil on canvas\n| 1904\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Frank B.A. Linton\n| 406\n| \n| Oil on canvas\n| 1904\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Mrs. Edith Mahon\n| 407\n| \n| Oil on canvas\n| 1904\n| \n| Smith College Museum of Art, Northampton, Massachusetts\n|\n|-\n! scope=\"row\" | Rear-Admiral George W. Melville\n| 408\n| \n| Oil on canvas\n| 1904\n|\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Eakins painted a later portrait of Melville, see G-420.\n|-\n! scope=\"row\" | William Murray\n| 409\n| \n| Oil on canvas\n| c. 1904\n| \n| \n| \n|-\n! scope=\"row\" | Mrs. Matilda Searight\n| 410\n| \n| Oil on canvas\n| 1904\n| \n| La Salle University Art Gallery, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Edward Taylor Snow\n| 411\n| \n| Oil on canvas\n| 1904\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | B.J. Blommers\n| 412\n| \n| \n| 1904\n| \n| Toledo Museum of Art, Toledo, Ohio\n|\n|-\n! scope=\"row\" | Mrs. B.J. Blommers\n| 413\n|\n| \n| 1904\n| \n| \n| \n|-\n! scope=\"row\" | Charles P. Gruppe\n| 414\n| \n| Oil on canvas\n| 1904\n| 22\" × 18\"\n| Private Collection. New York City\n|\n|-\n! scope=\"row\" | A. Bryan Wall\n| 414A\n| \n| Oil\n| \n| \n| Bowdoin College Museum of Art, Brunswick, Maine\n|\n|-\n! scope=\"row\" | Joseph R. Woodwell\n| 415\n| \n| Oil on canvas\n| 1904\n| \n| Carnegie Museum of Art, Pittsburgh, Pennsylvania\n|\n|-\n! scope=\"row\" | William H. MacDowell\n| 416\n| \n| Oil on canvas\n| c. 1904\n| \n| Memorial Art Gallery, University of Rochester, New York\n|\n|-\n! scope=\"row\" | Walter MacDowell\n| 417\n| \n| Oil on canvas\n| c. 1904\n| \n| Taubman Museum of Art, Roanoke, Virginia\n|\n|-\n! scope=\"row\" | William H. Lippincott\n| 418\n|\n| \n| Late 1904 or early 1905\n| \n| \n| \n|-\n! scope=\"row\" | Edward W. Redfield\n| 419\n| \n| Oil on canvas\n| 1905\n| \n| National Academy of Design, New York\n|\n|-\n! scope=\"row\" | Rear-Admiral George W. Melville\n| 420\n| \n| Oil on canvas\n| 1905\n| \n| National Gallery of Art, Washington, D.C.\n| Eakins painted an earlier portrait of Melville, see G-408.\n|-\n! scope=\"row\" | Mrs. George Morris\n| 421\n|\n| Oil on canvas\n| 1905\n| \n| \n| \n|-\n! scope=\"row\" | Professor William Smith Forbes\n| 422\n| \n| Oil on canvas\n| 1905\n| \n| Private collection\n| Deaccessioned from Thomas Jefferson University, Philadelphia, Pennsylvania in 2007.\n|-\n! scope=\"row\" | Charles L. Fussell\n| 423\n| \n| Oil on canvas\n| c. 1905\n| \n| Montclair Art Museum, Montclair, New Jersey\n|\n|-\n! scope=\"row\" | Study for Charles L. Fussell\n| 423A\n| \n| Oil on board\n| c. 1905\n| \n| \n| Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 1, 2012; sold for $27,500.\n|-\n! scope=\"row\" | Miss Florence Einstein\n| 424\n| \n| Oil on canvas\n| 1905\n| \n| Currier Museum of Art, Manchester, New Hampshire\n|\n|-\n! scope=\"row\" | Monsignor Diomede Falconio\n| 425\n| \n| Oil on canvas\n| 1905\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | John B. Gest\n| 426\n| \n| Oil on canvas\n| 1905\n| \n| Museum of Fine Arts, Houston, Houston, Texas\n|\n|-\n! scope=\"row\" | Asbury.W. Lee\n| 427\n| \n| Oil on canvas\n| 1905\n| \n| Reynolda House Museum of American Art, Winston-Salem, North Carolina\n|\n|-\n! scope=\"row\" | Miss Elizabeth L. Burton\n| 428\n| \n| Oil on canvas\n| c. 1905\n| \n| Minneapolis Institute of Arts, Minneapolis, Minnesota\n|\n|-\n! scope=\"row\" | Dr. Thomas H. Fenton\n| 429\n| \n| Oil on canvas\n| c. 1905\n| \n| Delaware Art Museum, Wilmington, Delaware\n|\n|-\n! scope=\"row\" | Mrs. Louis Husson (Annie C. Lochrey)\n| 430\n| \n| Oil on canvas\n| c. 1905\n| \n| National Gallery of Art, Washington, D.C.\n|\n|-\n! scope=\"row\" | Maurice Feeley\n| 431\n| \n| Oil on canvas\n| c. 1905\n| \n| \n|Deaccessioned from the Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's NY, March 3, 2011; sold for $27,500\n|-\n! scope=\"row\" | Genjiro Yeto\n| 432\n|\n| \n| 1906\n| \n| \n| \n|-\n! scope=\"row\" | A Singer: Portrait of Mrs. W.H. Bowden\n| 433\n| \n| Oil on canvas\n| 1906\n| \n| Princeton University Art Museum, Princeton, New Jersey\n|\n|-\n! scope=\"row\" | A Singer: Portrait of Mrs. Leigo\n| 434\n| \n| Oil on canvas\n| c. 1906\n| \n| Berry-Hill Galleries, New York\n|\n|-\n! scope=\"row\" | Richard Wood\n| 435\n|\n| Oil on canvas\n| 1906\n| \n| \n| \n|-\n! scope=\"row\" | Master Alfred Douty\n| 436\n| \n| Oil on canvas\n| 1906\n| \n| Santa Barbara Museum of Art, Santa Barbara, California\n|\n|-\n! scope=\"row\" | A Little Girl\n| 437\n| \n| Oil on canvas\n| c. 1906\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Monsignor James P. Turner\n| 438\n| \n| Oil on canvas\n| c. 1906\n| \n| Nelson-Atkins Museum of Art, Kansas City, Missouri\n| Eakins painted an earlier head-and-bust portrait of Monsignor Turner (c. 1900), G-347. \n|-\n! scope=\"row\" | Sketches\n| 439\n| \n| Oil on cardboard\n| \n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Double sided: one side is a sketch for Monsignor James P. Turner.The reverse is a sketch for William Rush and His Model (Honolulu), G-451. Related to G-454.\n|-\n! scope=\"row\" | Thomas J. Eagan\n| 440\n| \n| Oil on canvas\n| 1907\n| \n| Terra Museum, Chicago, Illinois\n| Auctioned at Christie's NY, May 21, 1998; sold for $240,000.\n|-\n! scope=\"row\" | Dr. Albert C. Getchell\n| 441\n| \n| Oil on canvas\n| 1907\n| \n| North Carolina Museum of Art, Raleigh, North Carolina\n|\n|-\n! scope=\"row\" | Dr. William Thomson\n| 442\n| \n| Oil on canvas\n| 1907\n| \n| Mütter Museum, College of Physicians of Philadelphia, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Dr. William Thomson (unfinished)\n| 443\n| \n| Oil on canvas\n| \n| \n| National Gallery of Art, Washington, D.C.Myers, 83–84\n|\n|-\n! scope=\"row\" | Major Manuel Waldteufel\n| 444\n| \n| Oil on canvas\n| 1907\n| \n| Hirschl and Adler Galleries, New York\n| Deaccessioned from French Benevolent Society of Philadelphia, 2003.Auctioned at Christie's NY, May 21, 2008; sold for $289,000.\n|-\n! scope=\"row\" | William Rush and His Model (Brooklyn)\n| 445\n| \n| Oil on canvas\n| 1908\n| \n| Brooklyn Museum of Art, New York\n|\n|-\n! scope=\"row\" | Sketch for William Rush and His Model (Brooklyn), G-445\n| 446\n| \n| Oil on wood\n| 1908\n| 8¾ × 10\n| \n| \n|-\n! scope=\"row\" | Sketch for William Rush and His Model (Brooklyn), G-445\n| 447\n| \n| Oil on wood\n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n|\n|-\n! scope=\"row\" | Studies of Rush\n| 448\n|\n| Oil on wood\n| \n| \n| \n| Originally a collage with G-448A and G-448B until the images were split.\n|-\n! scope=\"row\" | Study of Rush\n| 448A\n|\n| Oil on wood\n| \n| \n| \n| Originally a collage with G-448 and G-448B until the images were split.\n|-\n! scope=\"row\" | Study of Rush\n| 448B\n|\n| Oil on wood\n| \n| \n| \n| Originally a collage with G-448 and G-448A until the images were split.\n|-\n! scope=\"row\" | Study of RushStudy for William Rush and His Model (Brooklyn), G-445.\n| 449\n| \n| Oil on canvas\n| \n| \n| \n| Auctioned at Heritage Dallas, November 9, 2009; sold for $100,380.\n|-\n! scope=\"row\" | Study for The Chaperone (formerly called The Negress)Study for William Rush and His Model (Brooklyn), G-445.\n| 450\n| \n| Oil on canvas\n| c. 1908\n| \n| National Gallery of Art, Washington, DC\n|\n|-\n! scope=\"row\" | William Rush and His Model (Honolulu)\n| 451\n| \n| Oil on canvas\n| 1907–1908\n| \n| Honolulu Museum of Art, Honolulu, Hawaii\n| In Eakins Revealed (pp. 369–371), author Henry Adams claims that Mary Adeline \"Addie\" Williams (G-323), an Eakins family friend, was the nude model for William Rush and his Model.Related studies: G-445, G-446, G-447, G-452, G-453 and G-454.\n|-\n! scope=\"row\" | The ModelStudy for William Rush and His Model (Honolulu), G-451\n| 452\n| \n| Oil on canvas\n| \n| \n| Crystal Bridges Museum of American Art, Bentonville, Arkansas\n|Auctioned at Sotheby's New York, May 22, 2008, sold for $1,273,000.\n|-\n! scope=\"row\" | William Rush and His Model\n| 453\n| \n| Oil on canvas\n| 1908\n| \n| Smithsonian American Art Museum, Washington, D.C.\n|\n|-\n! scope=\"row\" | Study for \"William Rush's Model\"\n| 454\n| \n| Oil on canvas\n| c. 1908\n| \n| \n| Related to G-439.Deaccessioned from Hirshhorn Museum and Sculpture Garden.Auctioned at Christie's New York, May 20, 2009; sold for $122,500.Offered at auctioned by Sotheby's New York, May 23, 2017, Lot 77, estimate: $80,000-120,000. Unsold.\n|-\n! scope=\"row\" | Miss Eleanor S.F. Pue\n| 455\n| \n| Oil on canvas\n| 1907\n| \n| \n| Deaccessioned from Virginia Museum of Fine Arts. Auctioned at Freeman's, Philadelphia, December 3, 2017, sold for $40,000.\n|-\n! scope=\"row\" | Miss Rebecca MacDowell\n| 456\n| \n| Oil on canvas\n| c. 1908\n| \n| \n| Offered for auction at Bonham's, New York, November 28, 2012, Lot 82, estimate: $70,000-90,000. Unsold.\n|-\n! scope=\"row\" | The Old-Fashioned Dress: Portrait of Miss Helen Parker\n| 457\n| \n| Oil on canvas\n| c. 1908\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n|\n|-\n! scope=\"row\" | Sketch for the Old-Fashioned Dress\n| 458\n| \n| Oil on cardboard\n| \n| \n| Collection of Mr. and Mrs. Daniel Dietrich II\n|\n|-\n! scope=\"row\" | Study for the Old-Fashioned Dress\n| 459\n| \n| Oil on canvas\n| 1908\n| \n| Collection of Mr. and Mrs. Daniel Dietrich IISewell, 1982, 131\n|\n|-\n! scope=\"row\" | Mrs. Lucy Langdon W. Wilson\n| 460\n| \n| Oil on canvas\n| 1908\n| \n| \n| Auctioned at Sotheby's NY, December 3, 1998; sold for $60,000.\n|-\n! scope=\"row\" | Mrs. Lucy Langdon W. Wilson (second version)\n| 461\n|\n| Oil on canvas\n| Early 1909\n| \n| \n| \n|-\n! scope=\"row\" | Dr. William P. Wilson\n| 462\n|\n| Oil on canvas\n| 1909\n| \n| \n| \n|-\n! scope=\"row\" | Dr. Henry Beates Jr.\n| 463\n|\n| Oil on canvas\n| 1909\n| \n| \n| \n|-\n! scope=\"row\" | Henry Beates\n| 464\n|\n| Oil on canvas\n| c. 1909\n| \n| \n| \n|-\n! scope=\"row\" | Edward A. Schmidt\n| 465\n|\n| Oil on canvas\n| c. 1909\n| \n| \n| \n|-\n! scope=\"row\" | Reverend Cornelius J. O'Neill\n| 466\n|\n| Oil on canvas\n| c. 1909\n| \n| \n| \n|-\n! scope=\"row\" | John J. Borie\n| 467\n| \n| Oil on canvas\n| 1896-98\n| \n| Hood Museum of Art, Dartmouth College,Hanover, New Hampshire\n|\n|-\n! scope=\"row\" | Mrs. Nicholas Douty\n| 468\n| \n| Oil on canvas\n| 1910\n| \n| Cummer Gallery of Art, Jacksonville, Florida\n|\n|-\n! scope=\"row\" | Dr. Gilbert Lafayette Parker\n| 469\n| \n| Oil on canvas\n| 1910\n| \n| \n| Auctioned at Sotheby's NY, May 29, 1986; sold for $125,000.Auctioned at Christie's NY, May 23, 2017, Lot 59, estimate: $80,000-120,000, Unsold.\n|-\n! scope=\"row\" | Mrs. Gilbert Parker\n| 470\n| \n| Oil on canvas\n| 1910\n| \n| Museum of Fine Arts, Boston, Boston, Massachusetts\n|\n|-\n! scope=\"row\" | Gilbert Sunderland Parker\n| 471\n|\n| Oil on canvas\n| 1910\n| \n| \n| \n|-\n! scope=\"row\" | Ernest Lee Parker\n| 472\n| \n| Oil on canvas\n| 1910\n| \n| \n| Deaccessioned from the Westmoreland Museum of American Art.Auctioned at Christie's NY, December 5, 2002; sold for $101,575.\n|-\n! scope=\"row\" | President Rutherford B. Hayes\n| 473\n| \n| Oil on canvas\n| 1912 or 1913\n| \n| Philipse Manor Hall, Yonkers, New York\n|\n|-\n! scope=\"row\" | Dr. Edward Anthony Spitzka\n| 474\n| \n| Oil on canvas\n| c. 1913\n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Eakins' last painting.This originally showed a full length Dr. Spitzka holding the cast of a brain. Sometime after it was cataloged in the 1933 Goodrich catalog (measuring 84×43½ inches), someone cut away the rest of the painting, leaving only the head and bust (30½×25? inches).\n|-\n! scope=\"row\" | President Rutherford B. Hayes\n| 475\n|\n| \n| 1877\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | James L. Wood\n| 476\n|\n| \n| c. 1890\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | William Rudolf O'Donovan\n| 477\n|\n| \n| 1891 or early 1892\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Miss Emily Sartain\n| 478\n| \n| \n| Sometime in the 1890s\n| \n| \n| Thought to have been lost (\"Probably no longer in existence\".) Later rediscovered. Passed down through the Sartain family to the Babcock Galleries, and was sold to Rita and Daniel Fraad in 1957.Auctioned at Sotheby's NY, December 1, 2004; sold for $170,000.\n|-\n! scope=\"row\" | Miss Emily Sartain\n| 479\n| \n|\n| Sometime in the 1890s\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Dr. Hugh A. Clarke\n| 480\n| \n|\n| c. 1893\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | James MacAlister\n| 481\n|\n| \n| c. 1893\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Circus People\n| 482\n|\n| \n| Before 1876\n| \n| \n| Sketch. \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Stewart Culin\n| 483\n|\n| \n| c. 1899\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Dr. George B. Wood\n| 484\n|\n| \n| c. 1900\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Dr. Patrick J. Garvey\n| 485\n| \n| Oil on canvas\n| 1902\n| \n| \n| Thought to have been destroyed, rediscovered in 1959.Deassessioned from St. Charles Borromeo Seminary, Wynnewood, Pennsylvania, 2014.Offered for auction at Christie's New York, November 21, 2017, Lot 91, estimate: $70,000-100,000. Unsold.\n|-\n! scope=\"row\" | Right Reverend Denis J. Dougherty\n| 486\n| \n| \n| 1903\n| \n|Private Collection\n| Related to a full-length portrait of Rev. Denis J. Dougherty (c. 1906), G-438. The subject later became a Cardinal and Archbishop of Philadelphia\n|-\n! scope=\"row\" | Mother Patricia Waldron\n| 487\n|\n| \n| 1903\n| \n| \n| \"Probably no longer in existence\" – loaned by the Sisters of Mercy to William Antrim, who had been commissioned to paint a new portrait of Waldron. Antrim stored the portrait in the attic of his studio. The portrait was lost when the building was demolished. For sketch, see above, G-375.\n|-\n! scope=\"row\" | Mrs. Margaret Jane Gish\n| 488\n|\n| \n| c. 1903\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Robert C. Ogden\n| 489\n|\n| \n| \n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Dr. J. William White\n| 490\n|\n| \n| 1904\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Adolphie Borie\n| 491\n|\n| \n| c. 1910\n| \n| \n| \"Probably no longer in existence\"\n|-\n! scope=\"row\" | Mrs. Charles Lester Leonard\n| 492\n|\n| \n| 1895\n| \n| \n| No longer in existence\n|-\n! scope=\"row\" | Mrs. Hubbard\n| 493\n|\n| \n| c. 1895\n| \n| \n| No longer in existence\n|-\n! scope=\"row\" | Mrs. McKeever\n| 494\n|\n| \n| 1898\n| \n| \n| No longer in existence\n|-\n! scope=\"row\" | Bishop Edmond F. Prendergast\n| 495\n|\n| Oil on canvas\n| c. 1903\n| \n|\n| No longer in existence\n|-\n! scope=\"row\" | Frank W. Stokes\n| 496\n|\n| \n| 1903\n| \n|\n| No longer in existence\n|-\n! scope=\"row\" | Edward S. Buckley\n| 497\n|\n| \n| 1906\n| \n|\n| No longer in existence. According to Buckley's daughter: \"It was so unsatisfactory that we destroyed it, not wishing his descendants to think of their grandfather as resembling the portrait.\"\n|-\n! scope=\"row\" | Studies for William Rush and His Model| 498\n| \n| Sculpture, pigmented wax\n| 1876–1877\n| \n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Five studies\n|-\n! scope=\"row\" | The Mare \"Josephine\"\n| 499\n|\n| Sculpture, bronze\n| 1878,cast 1930\n| Height: 22.125 in (56.2 cm)\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Quarter-size model.Josephine was the lead horse in The Fairman Rogers Four-in-Hand (G-133). Eakins and his students created a life-size plaster model of her in 1878. Following her natural death, 1881, the carcass was dissected and used to create plaster écorché models for teaching equine anatomy.\n|-\n! scope=\"row\" | Horse Skeleton\n| 500\n| \n| Sculpture, painted plaster\n| 1878\n| 11.25 x 14.375 x 2.125 in (28.5 x 36.3 x 5.3 cm) \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Eighth-size model.A plaster cast is at the University of Michigan Museum of Art. A 1930 bronze cast is at the Butler Institute of American Art.\n|-\n! scope=\"row\" | The Mare \"Josephine\": Écorché\n| 501\n| \n| Sculpture, painted plaster\n| 1882\n| 22 x 24 x 4 in(55.88 x 60.96 x 10.16 cm)\n| National Gallery of Art, Washington, D.C.\n| Quarter-size model.An edition of 10 bronze casts was made of this in 1979. These are at the Hood Museum of Art, Harvard Art Museums, Brandywine River Museum, Crystal Bridges Museum of American Art, and elsewhere. A painted plaster relief is at the University of Michigan Museum of Art.\n|-\n! scope=\"row\" | The Mare \"Josephine\": Écorché\n| 502\n|\n| Sculpture, painted plaster\n| 1882\n| 22.25 x 31 x 3 in (56.52 x 78.74 x 7.62 cm)\n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| Quarter-size model.A 1930 bronze cast is at the Philadelphia Museum of Art.\n|-\n! scope=\"row\" | Four models of horses for The Fairman Rogers Four-in-Hand| 503\n|\n| Sculpture, bronze with marble bases\n| 1879,cast 1946\n| Lengths: 11.75 in (29.8 cm)11.875 in (30.2 cm)11.938 in (30.3 cm)12.25 in (31.1 cm)\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Eighth-size models.\n|-\n! scope=\"row\" | Spinning\n| 504\n| \n| Sculpture, painted plaster\n| late-1882/ early-1883\n| 21 x 17.375 x 4.25 in (53.24 x 44.133 x 10.8 cm)\n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| PAFA also owns an 1886 bronze cast.An 1886 bronze cast is at the Philadelphia Museum of Art.\n|-\n! scope=\"row\" | Knitting\n| 505\n| \n| Sculpture, painted plaster\n| 1881\n| 20.75 x 17.25 x 4.5 in (52.7 x 43.82 x 11.43 cm)\n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| PAFA also owns an 1886 bronze cast.An 1886 bronze cast is at the Philadelphia Museum of Art.\n|-\n! scope=\"row\" | Arcadia\n| 506\n| \n| Sculpture, painted plaster\n| 1883\n| 11.875 x 24.25 x 2.375 in (29.9 x 61.3 x 5.7 cm)\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Plaster casts are at the Philadelphia Museum of Art, Yale University Art Gallery, and elsewhere. A 1930 bronze cast is in the collection of Jamie Wyeth.\n|-\n! scope=\"row\" | An Arcadian\n| 507\n| \n| Sculpture, painted plaster\n| 1883\n| \n| Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania\n| Susan Macdowell Eakins posed as the model.\n|-\n! scope=\"row\" | The Youth Playing the Pipes\n| 508\n| \n| Sculpture, painted plaster\n| 1883\n| 20.125 x 11.5 x 1.75 in (51 x 29.1 x 4.2 cm)\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Plaster casts are at the Pennsylvania Academy of the Fine Arts, and elsewhere. A 1930 bronze cast is at the Hirshhorn Museum and Sculpture Garden.\n|-\n! scope=\"row\" | Abraham Lincoln's horse\n| 509\n| \n| Sculpture\n| 1893–1894\n| \n| Soldiers' and Sailors' Memorial Arch, Prospect Park, Brooklyn, New York City\n| William Rudolf O'Donovan modeled the figure of Abraham Lincoln.Originally paired with G-509A in the 1933 Goodrich catalog.\n|-\n! scope=\"row\" | General Grant's Horse\n| 509A\n| Full-size plaster model of Clinker.\n| Sculpture, bronze\n| 1892\n| \n| Soldiers' and Sailors' Memorial Arch, Prospect Park, Brooklyn, New York City\n| William Rudolf O'Donovan modeled the figure of Ulysses S. Grant.Originally listed as G-509 in the 1933 Goodrich catalog.\n|-\n! scope=\"row\" | Clinker\n| 510\n|\n| Sculpture, bronze\n| 1892, cast 1930\n| 6.25 x 6.25 x 2 in (15.8 x 15.8 x 4.9 cm)\n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| Sixteenth-size model.\n|-\n! scope=\"row\" | Clinker\n| 511\n| \n| Sculpture, painted plaster\n| 1892\n| 25.34 x 25.34 x 4.5 in (65.4 x 65.4 x 11.4 cm)\n| Philadelphia Museum of Art, Philadelphia, Pennsylvania\n| Quarter-size model.A 1930 bronze cast is also at the Philadelphia Museum of Art.\n|-\n! scope=\"row\" | Billy\n| 512\n|\n| Sculpture, plaster\n| c. 1892–1893\n| \n| \n| \n|-\n! scope=\"row\" | The American Army Crossing the Delaware\n| 513\n|\n| Sculpture, bronze relief\n| c. 1893\n| \n| New Jersey State Museum, Trenton, New Jersey\n| \n|-\n! scope=\"row\" | The Opening of the Fight, The Battle of Trenton\n| 514\n|\n| Sculpture, bronze relief\n| c. 1893\n| \n| New Jersey State Museum, Trenton, New Jersey\n| \n|-\n! scope=\"row\" | Man on Horseback: Relief\n| 514A\n| \n| \n| \n| \n| Hirshhorn Museum and Sculpture Garden, Washington, D.C.\n| \n|-\n! scope=\"row\" | Mrs. Mary Hallock Greenewalt\n| 515\n| \n| Sculpture, bronze relief\n| 1905\n| \n| Delaware Art Museum, Wilmington, Delaware\n|\n|}\n\nSee also\n Conservation-restoration of Thomas Eakins' The Gross Clinic\n\n Notes \n\n References \n\n Berger, Martin A. Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. Berkeley: University Of California Press, 2000. \n Bolger, Doreen; Cash, Sarah; et al. Thomas Eakins and the Swimming Picture. Amon Carter Museum, 1996. \n Braddock, Alan C. Thomas Eakins and the Cultures of Modernity. University of California Press, 2009. \n Cooper, Helen A. Thomas Eakins: The Rowing Pictures. Yale University Art Gallery, 1996. \n Foster, Kathleen A. Thomas Eakins Rediscovered: Charles Bregler's Thomas Eakins Collection at the Pennsylvania Academy of the Fine Arts. Yale University Press, 1997. .\n Goodrich, Lloyd. Thomas Eakins: His Life and Works. William Edwin Rudge Printing House. New York, 1933. Catalogue of Works. Pages 161–209.\n Hendricks, Gordon. The Life and Works of Thomas Eakins. New York: Grossman Publishers, 1974. \n Hendricks, Gordon. The Photographs of Thomas Eakins. New York: Grossman Publishers, 1972. \n Homer, William Innes. The Paris Letters of Thomas Eakins. Princeton University Press, 2009. \n Homer, William Innes. Thomas Eakins: His Life and His Art. Abbeville Press, 1992. \n Homer, William Innes. Eakins at Avondale and Thomas Eakins: A Personal Collection. Science Press, 1980. Library of Congress catalogue no. 79-57527\n Hoopes, Donelson F. Eakins Watercolors. Watson-Guptill Publications, 1971. Reprinted 1985. \n Johns, Elizabeth. Thomas Eakins: The Heroism of Modern Life. Princeton University Press, 1991. .\n Myers, Jane E. Eakins and the Medical Milieu: The Physicians' Portraits. Master's Thesis, December 1982.\n Milroy, Elizabeth Lamotte Cates. Thomas Eakins Artistic Training, 1860–1870. Phd Dissertation, University of Pennsylvania, 1986\n Rosenzweig, Phlyllis D. Thomas Eakins Collection of the Hirshhorn Museum and Sculpture Garden. Washington DC: Smithsonian Institution Press, 1977.\n Siegl, Theodor. The Thomas Eakins Collection. Philadelphia Museum of Art, 1978. \n Sewell, Darrel. Thomas Eakins: Artist of Philadelphia. Philadelphia Museum of Art, 1982. \n Sewell, Darrel; et al. Thomas Eakins. Yale University Press, 2001. .\n Wilmerding, John. Thomas Eakins. Washington, DC: Smithsonian Institution Press, 1993. \n Wilmerding, John. Compass and Clock: Defining Moments in American Culture : 1800, 1850, 1900.'' Harry N. Abrams, 1999.\n\nExternal links \n Thomas Cowperthwait Eakins Virtual Gallery\n CGFA – Thomas Eakins paintings\n Smithsonian Catalog of Eakins' works\n Artcyclopedia entry for Thomas Eakins\n\nCategory:Lists of works of art\n*", "title": "List of works by Thomas Eakins" }, { "text": "Please add names of notable painters with a Wikipedia page, in precise English alphabetical order, using U.S. spelling conventions. Country and regional names refer to where painters worked for long periods, not to personal allegiances.\n\n Aileen Eagleton (1902–1984), English painter\n Thomas Eakins (1844–1916), American realist painter, photographer, sculptor and fine arts educator\n Ralph Earl (1751–1801), American portrait painter\n Augustus Earle (1793–1838), English traveling artist\n Alfred East (1849–1913), English painter\n Christoffer Wilhelm Eckersberg (1783–1853), Danish painter\n Otto Eckmann (1865–1902), German painter and graphic artist\n Don Eddy (born 1944), American painter and photo-realist\n Albert Edelfelt (1854–1905), Finnish painter\n Denis Eden (1878–1949), English painter and illustrator\n Ursula Edgcumbe (1900–1985), English sculptor and painter\n Edith Edmonds (1874–1951), English still-life and landscape painter\n Robert Edmonstone (1794–1834), Scottish painter and draftsman\n May de Montravel Edwardes (1887–1967), English painter and miniaturist\n Helen Edwards (1882–1963), English landscape painter\n John Uzzell Edwards (1934–2014), Welsh painter\n Gerbrand van den Eeckhout (1621–1674), Dutch painter\n Camilo Egas (1889–1962), Ecuadorian/American painter and teacher\n Maude Kaufman Eggemeyer (1877–1959) American painter\n Albin Egger-Lienz (1868–1926), Austrian painter of rustic and historical paintings\n József Egry (1883–1951), Hungarian painter\n Ei-Q (瑛九, 1911–1960), Japanese artist, photographer and engraver\n Louis Eilshemius (1864–1941), American painter\n Einar Hakonarson (born 1945), Icelandic painter\n Eishōsai Chōki (栄松斎長喜, fl. 1786–1808), Japanese woodblock print designer\n Ib Eisner (1925–2003), Danish artist\n Eizan Kikukawa (菊川英山, 1787–1867) Japanese woodblock print designer\n Bouchta El Hayani (born 1952), Moroccan painter\n Mildred Eldridge (1909–1991), English painter, muralist and illustrator\n Ken Elias (born 1944), Welsh artist\n Pieter Janssens Elinga (1623–1682), Dutch painter\n Harold Elliott (1890–1968), Canadian painter\n Clifford Ellis (1907–1985), English painter, print-maker and art teacher\n Adam Elsheimer (1578–1610), German artist of cabinet paintings\n Arthur Webster Emerson, American painter\n Tracey Emin (born 1963), English painter, draftsman and sculptor\n Paul Emmert (1826–1867), Swiss/American artist and print-maker\n Lydia Field Emmet (1866–1952), American portrait painter\n Rosalie Emslie (1891–1977), English landscape and portrait painter\n Cornelis Engebrechtsz (1462–1527), Dutch painter\n Florence Engelbach (1872–1951), English portrait and landscape painter\n Grace English (1891–1956), English painter and etcher\n Ron English (born 1948), American artist of brand imagery\n Carlos Enríquez Gómez (1900–1957), Cuban painter, illustrator and writer\n James Ensor (1860–1949), Belgian painter and print-maker\n Ben Enwonwu (1921–1994), Nigerian painter and sculptor\n Sir Jacob Epstein (1880–1959), American/English sculptor\n Sven Erixson (1899–1970), Swedish painter and sculptor\n Hans Erni (born 1909), Swiss graphic designer, painter and engraver\n Max Ernst (1891–1976), German painter, sculptor, graphic artist, and poet\n Rodolfo Escalera (1929–2000), Mexican artist and plate collector\n M. C. Escher (1898–1972), Dutch graphic artist\n Andrey Esionov (born 1963), Russian painter and graphic artist\n Robert Lee Eskridge (1891–1975), American genre painter, muralist and illustrator\n Jacob Esselens (1626–1687), Dutch landscape painter\n Richard Estes (born 1936), American artist and photo-realist painter\n Bracha L. Ettinger (born 1948), Israeli/French painter and writer\n William Etty (1787–1849), English history painter\n Bernard Walter Evans (1843–1922), British landscape painter\n Cerith Wyn Evans (born 1958), Welsh artist, sculptor and film-maker\n Dulah Marie Evans (1875–1951), American painter, print-maker and etcher\n Vincent Evans (1896–1976), Welsh painter, print-maker and art teacher\n Eamon Everall (born 1948), English artist and educator\n Allaert van Everdingen (1621–1675) Dutch painter and print-maker\n Caesar van Everdingen (1617–1678), Dutch portrait and history painter\n Philip Evergood (1901–1971), American artist, sculptor and writer\n Mikhail Evstafiev (born 1963), Soviet/Russian artist, photographer and writer\n Peter Maxwell Ewart (1918–2001), Canadian painter\n Julius Exner (1863–1939), Danish genre painter\n Barthélemy d'Eyck (1420–after 1470), Netherlandish/French artist and manuscript illuminator\n Hubert van Eyck (1385–1426), Netherlandish painter\n Jan van Eyck (1390–1441), Netherlandish painter\n John Eyre (1771–1812), Australian painter and engraver\n Annabel Eyres (born 1965), English print-maker and painter\n Carl Eytel (1862–1925), German/American landscape painter and illustrator\n\nReferences\nReferences can be found under each entry.\n\nE", "title": "List of painters by name beginning with \"E\"" }, { "text": "This is a list by date of birth of historically recognized American fine artists known for the creation of artworks that are primarily visual in nature, including traditional media such as painting, sculpture, photography, and printmaking.\n\nBorn before 1800\n John White (c. 1540–c. 1606), artist-illustrator, surveyor\n Jacob Gerritse Strycker (1615–1687), artist, possibly of the Rembrandt studios\n Thomas Smith (died c. 1691), painter\n John Smybert (1688–1751), painter\n Robert Feke (ca. 1705/1707–1750), painter\n Joseph Badger (c. 1707/8–1765), painter\n Jeremiah Theus (1716–1774), painter\n Patience Wright (1725–1786), sculptor\n John Hesselius (1728–1778), painter \n John Singleton Copley (c. 1738–1815), painter\n Benjamin West (1738–1820), painter\n Charles Willson Peale (1741–1827), painter\n Henry Benbridge (1743–1812), painter\n James Peale (1749–1831), painter\n Ralph Earl (1751–1801), painter\n Gilbert Charles Stuart (1755–1828), painter\n William Rush (1756–1833), sculptor\n John Trumbull (1756–1843), painter\n Mather Brown (1761–1831), painter\n James Earl (1761–1796), painter\n Edward Savage (1761–1817), painter\n John Brewster Jr. (1766–1854), painter\n Ruth Henshaw Bascom (1772–1848), folk art portraitist\n William Jennys (1774–1859), primitive portrait painter\n Raphaelle Peale (1774–1825), painter\n Cephas Thompson (1775–1856), portrait painter\n Jacob Eichholtz (1776–1842), portrait painter\n John Vanderlyn (1776–1852), painter\n Rembrandt Peale (1778–1860), painter\n Washington Allston (1779–1843), painter\n Edward Hicks (1780–1849), painter\n John Wesley Jarvis (c. 1781–1839), painter\n Thomas Sully (1783–1872), painter\n Solomon Willard (1783–1861), stone carver\n Bass Otis (1784–1861), painter\n Rubens Peale (1784–1865), painter\n John James Audubon (1785–1851), painter of birds and nature\n Charles Bird King (1785–1862), portrait painter\n James Frothingham (1786–1864), painter\n John Lewis Krimmel (1786–1821), America's first genre painter\n Hannah Cohoon (1788–1864), painter\n Sarah Goodridge (1788–1853), painter of miniatures\n Matthew Harris Jouett (1788–1827), portrait artist\n William Edward West (1788–1859), portrait painter\n Hezekiah Augur (1791–1858), sculptor and inventor\n Samuel F. B. Morse (1791–1872), painter, inventor\n Alvan Fisher (1792–1863), painter\n Susanna Paine (1792–1862), portrait artist\n James Bowman (c. 1793–1842), painter\n Thomas Doughty (1793–1856), painter\n Amasa Hewins (1795–1855), painter\n George Catlin (1796–1872), painter\n Asher Durand (1796–1886), painter\n John Neagle (1796–1865), painter\n Elizabeth Goodridge (1798–1882), painter of miniatures\n Titian Peale (1799–1885), painter\n\nBorn 1800–1809\n1800\n Francis Alexander (1800–1881), painter\n\n1801\n Thomas Cole (1801–1848), painter\n Henry Inman (1801–1846), painter\n John Quidor (1801–1881), painter\n\n1803\n Robert Walter Weir (1803–1889), painter\n\n1804\n Fitz Hugh Lane (1804–1865), painter\n\n1805\n Horatio Greenough (1805–1852), sculptor\n Hiram Powers (1805–1873), sculptor\n\n1806\n Peter Rindisbacher (1806–1834), watercolorist, illustrator\n\n1807\n William Sidney Mount (1807–1868), painter\n\n1808\n Seth Eastman (1808–1875), painter, illustrator\n\n1809\n Moses Billings (1809–1884), portrait painter\n James Guy Evans (1809/1810–1859), painter\n George Winter, English-born portrait painter noted for his pictures of Potawatomi and Miami figures\n\nBorn 1810–1819\n1811\n George Caleb Bingham (1811–1879), painter\n John William Casilear (1811–1893), painter\n William Page (1811–1885), painter\n\n1812\n Jane Stuart (1812–1888), portrait painter\n\n1813\n Joseph Goodhue Chandler (1813–1884), portrait painter\n Nathaniel Currier (1813–1888), lithographer\n George Peter Alexander Healy (1813–1894), portrait painter\n Asahel Lynde Powers (1813–1843), portrait painter\n William Ranney (1813–1857), painter\n\n1814\n Edward Bailey (1814–1903), American/Hawaiian painter\n\n1815\n Joseph Horace Eaton (1815–1896), New Mexico landscapes\n\n1816\n Daniel DeWitt Tompkins Davie (1816–1877), photographer\n George Whiting Flagg (1816–1898), painter\n John Frederick Kensett (1816–1872), painter\n Emanuel Gottlieb Leutze (1816–1868), painter\n\n1817\n Benjamin Champney (1817–1907), painter\n Peter F. Rothermel (1817–1895), painter\n\n1819\n Richard Saltonstall Greenough (1819–1904), sculptor\n Martin Johnson Heade (1819–1904), painter\n James Augustus Suydam (1819–1865), painter\n\nBorn 1820–1829\n\n1820\n Aramenta Dianthe Vail (1820–1888), painter\n John E. Weyss (1820–1903), artist and cartographer\n Worthington Whittredge (1820–1910), painter\n\n1821\n Robert Duncanson (c. 1821–1872), painter, muralist\n Persis Goodale Thurston Taylor (1821–1906), Hawaiian-born painter and sketch artist\n\n1822\n Mathew Brady (1822–1896), photographer\n\n1823\n Daniel Folger Bigelow (1823–1910), painter\n Jasper Francis Cropsey (1823–1900), painter\n Sanford Robinson Gifford (1823–1880), painter\n William Hart (1823–1894), painter\n Thomas Waterman Wood (1823–1903), painter\n\n1824\n William Morris Hunt (1824–1879), painter\n James Merritt Ives (1824–1895), lithographer\n Eastman Johnson (1824–1906), painter\n\n1825\n Benjamin Paul Akers (1825–1861), sculptor\n Vincent Colyer (1825–1888), painter\n Jacob Guptil Fletcher (1825–1889), painter\n George Inness (1825–1894), painter\n William Henry Rinehart (1825–1874), sculptor\n\n1826\n Frederic Edwin Church (1826–1900), painter\n\n1827\n David Johnson (1827–1908), painter\n Francis Blackwell Mayer (1827–1899), painter\n Candace Wheeler (1827–1923), interior and textile design\n\n1828\n Edward Mitchell Bannister (1828–1901), painter\n James McDougal Hart (1828–1901), painter\n Jervis McEntee (1828–1891), painter\n\n1829\n Albert Fitch Bellows (1829–1883), painter\n Thomas Hill (1829–1908)\n Edward Moran (1829–1901), painter\n\nBorn 1830–1839\n1830\n Albert Bierstadt (1830–1902), painter\n Sylvester Phelps Hodgdon (1830–1906), painter\n Eadweard Muybridge (1830–1904), photographer\n Granville Perkins (1830–1895), painter, engraver\n John Quincy Adams Ward (1830–1910), sculptor\n\n1831\n Cornelia Adele Strong Fassett (1831–1898), political portrait painter\n Hermann Ottomar Herzog (1831–1932), painter\n\n1832\n Samuel Colman (1832–1920), painter, interior designer\n Daniel Charles Grose (1832–1900), painter\n William Savage (1832–1908), painter\n\n1833\n Margarete Garvin Gillin (1833–1915), painter\n Hugo Wilhelm Arthur Nahl (1833–1889), painter, daguerreotyper, engraver, portraitist\n William Trost Richards (1833–1905), painter\n\n1834\n Dwight Benton (1834–1903), painter\n Caspar Buberl (1834–1899), sculptor\n James McNeill Whistler (1834–1903), painter, printmaker\n\n1835\n William Stanley Haseltine (1835–1900), painter\n John LaFarge (1835–1910), painter, stained-glass window designer\n Edmund Darch Lewis (1835–1910), painter\n Adah Isaacs Menken (1835–1868), actress, painter and poet\n\n1836\n Winslow Homer (1836–1910), painter, illustrator, printmaker\n Alexander Helwig Wyant (1836–1892), painter\n\n1837\n Robert Wilson Andrews (1837–1922)\n Alfred Thompson Bricher (1837–1908), painter\n Elizabeth Jane Gardner (1837–1922), salon painter\n Thomas Moran (1837–1926), painter\n\n1838\n Caroline Morgan Clowes (1838–1904), painter\n\n1839\n Robert Crannell Minor (1839–1904), painter\n Henry Bacon (1839–1912), painter\n Arthur Quartley (1839–1886), painter\n Robert Wylie (1839–1877), painter\n\nBorn 1840–1849\n1840\n Abigail May Alcott Nieriker (1840–1879), artist\n Caroline Shawk Brooks (1840–1913), sculptor\n Robert Swain Gifford (1840–1905), painter\n Thomas Hovenden (1840–1895), painter\n Thomas Nast (1840–1902), caricaturist, cartoonist, illustrator\n Claude Monet (1840–1926), painter\n\n1841\n John Joseph Enneking (1841–1916), painter\n Edward Lamson Henry (1841–1919), painter\n Theodore Otto Langerfeldt (1841–1906), painter\n John Ferguson Weir (1841–1926), painter, sculptor\n\n1842\n Willis Seaver Adams (1842–1921), painter\n Conrad Wise Chapman (1842–1910), war painter\n Preston Powers (1842–1904), sculptor\n\n1843\n Alexander Wilson Drake (1843–1916), painter, wood engraver\n George Albert Frost (1843–1907), painter\n William Henry Jackson (1843–1942), painter, photographer\n\n1844\n Mary Cassatt (1844–1926), painter, printmaker\n Thomas Eakins (1844–1916), painter, photographer, sculptor\n Moses Jacob Ezekiel (1844–1917), sculptor\n Henry Farrer (1844–1903), painter, printmaker\n Carl Gutherz (1844–1907), symbolist\n Olin Levi Warner (1844–1896), sculptor\n\n1845\n Edmonia Lewis (1845–1911), sculptor\n\n1846\n Alexander Milne Calder (1846–1923), sculptor\n Francis Davis Millet (1846–1912), painter\n Julian Scott (1846–1901), painter and Civil War artist\n\n1847\n Ralph Albert Blakelock (1847–1919), painter\n Frederick Arthur Bridgman (1847–1928), painter\n Frederick Dielman (1847–1935), painter\n Irene E. Parmelee (1847–1934), portrait artist\n Vinnie Ream (1847–1914), sculptor\n Albert Pinkham Ryder (1847–1917), painter\n T C Steele (1847–1926), painter\n\n1848\n Frank Duveneck (1848–1919), painter\n William Harnett (1848–1892), painter\n Lilla Cabot Perry (1848–1933), painter\n Augustus Saint-Gaudens (1848–1907), sculptor\n Louis Comfort Tiffany (1848–1933), artist and designer\n Charles Henry Francis Turner (1848–1908), painter\n\n1849\n George Newell Bowers (1849–1909), painter\n William Merritt Chase (1849–1916), painter\n Frank C. Penfold (1849–1921), painter\n Jacob Riis (1849–1914), photographer\n Abbott Handerson Thayer (1849–1921), painter\n Dwight William Tryon (1849–1925), painter\n Rufus Fairchild Zogbaum (1849–1925), illustrator, painter\n\nBorn 1850–1859\n1850\n Daniel Chester French (1850–1931), sculptor\n Paul E. Harney (1850–1915), artist\n George Hitchcock (1850–1913), painter\n Robert Koehler (1850–1917), painter\n Alfred Lambourne (1850–1926), painter\n\n1851\n J. Ottis Adams (1851–1927), painter\n Thomas Pollock Anshutz (1851–1912), painter\n Thomas Dewing (1851–1938), painter\n Arthur Burdett Frost (1851–1928), illustrator, graphic artist, comics writer, painter\n\n1852\n Edwin Austin Abbey (1852–1911), illustrator, painter\n James Carroll Beckwith (1852–1917), painter\n Charles Graham (1852–1911), illustrator, painter\n Alfred Richard Gurrey, Sr. (1852–1944), landscape painter\n Gertrude Käsebier (1852–1934), photographer\n Theodore Robinson (1852–1896), painter\n J. Alden Weir (1852–1919), painter\n\n1853\n William Turner Dannat (1853–1929), painter\n T. Alexander Harrison (1853–1930), painter\n John Francis Murphy (1853–1921), painter\n Howard Pyle (1853–1911), illustrator\n Henry Fitch Taylor (1853–1925), painter\n John Henry Twachtman (1853–1902), painter\n\n1854\n William Henry Chandler (1854–1928), painter in pastels\n Hugo Anton Fisher (1854–1916), painter\n William Forsyth (1854–1935), painter\n Herbjørn Gausta (1854–1924), landscape artist\n L. Birge Harrison (1854–1929), painter\n George Inness, Jr. (1854–1926), painter\n Leonard Ochtman (1854–1935), painter\n John Frederick Peto (1854–1907), painter\n\n1855\n Cecilia Beaux (1855–1942), painter\n Jacob Fjelde (1855–1896), Norwegian-born American sculptor\n Claudine Raguet Hirst (1855–1942), still life painter\n James Edward Kelly (1855–1933), sculptor, illustrator\n Charles Henry Niehaus (1855–1935), sculptor\n Julius LeBlanc Stewart (1855–1919), painter\n\n1856\n Robert C. Barnfield (1856–1893), painter\n Colin Campbell Cooper (1856–1937), painter\n Kenyon Cox (1856–1919), painter\n Charles Harold Davis (1856–1933), painter\n John Haberle (1856–1933), painter\n Anna Elizabeth Klumpke (1856–1942), painter\n John Singer Sargent (1856–1925), portrait artist\n\n1857\n Lucy Angeline Bacon (1857–1932), painter\n Alice Pike Barney (1857–1931), painter\n Bruce Crane (1857–1937), painter\n Edward Wilson Currier (1857–1918), painter\n Arthur Wesley Dow (1857–1922), painter, printmaker\n Charles Warren Eaton (1857–1937), painter\n Emma B. King (1857–1933), impressionist\n Florence MacKubin (1857–1918), portrait painter\n George E. Ohr (1857–1918), ceramic potter\n Edward Clark Potter (1857–1923), sculptor\n Frank Raubicheck (1857–1952), painter\n John Vanderpoel (1857–1911), painter, graphics\n Mary Rogers Williams (1857–1907), painter\n\n1858\n Herbert Adams (1858–1945), sculptor\n Joseph DeCamp (1858–1923), painter\n Francis Edwin Elwell (1858–1922), sculptor\n Frederick Gottwald (1858–1941), painter\n Charles S. Kaelin (1858–1929, painter\n Willard Metcalf (1858–1925), painter\n Henry Siddons Mowbray (1858–1928), painter\n Edward Otho Cresap Ord, II (1858–1923), painter and poet\n Maurice Prendergast (1858–1924), painter\n Henry Ward Ranger (1858–1916), painter\n William B. T. Trego (1858–1909), painter\n\n1859\n William Bliss Baker (1859–1886), painter\n George Elbert Burr (1859–1939), painter, printmaker\n Walter Leighton Clark (1859–1935), painter, sculptor\n Childe Hassam (1859–1935), painter, printmaker\n Joseph Henry Sharp (1859–1953), painter\n Henry Ossawa Tanner (1859–1937), painter\n\nBorn 1860–1869\n1860\n William Jacob Baer (1860–1941), painter\n Carl Eytel (1862–1925), landscape painter, illustrator\n John Kane (1860–1934), painter\n Dodge MacKnight (1860–1950), painter\n Arthur Frank Mathews (1860–1945), painter\n Grandma Moses (1860–1961), painter\n Iris Nampeyo (c. 1860–1942), potter, ceramic artist\n Anna M. Sands (1860–1927/1940), painter\n Lorado Taft (1860–1936), sculptor\n\n1861\n Dennis Miller Bunker (1861–1890), painter\n Theodore Earl Butler (1861–1936), painter\n Charles Courtney Curran (1861–1942), painter\n D. Howard Hitchcock (1861–1943), painter\n Florence Koehler (1861–1944)\n Wilton Lockwood (1861–1914), artist\n Clara Weaver Parrish (1861–1925), painter, printmaker, stained glass designer\n Frederic Remington (1861–1909), painter, sculptor, illustrator\n Frank Rinehart (1861–1928), photographer, illustrator\n Douglas Tilden (1861–1935), sculptor\n\n1862\n Adam Emory Albright (1862–1957), painter of figures in landscapes\n Frank Weston Benson (1862–1951), painter, printmaker\n Charles Grafly (1862–1929), sculptor\n Alice De Wolf Kellogg (1862–1900), painter\n Hudson Mindell Kitchell (1862–1944), luminescent and tonalist landscapes\n Albert Pike Lucas (1862–1945), landscape, figure, and portrait\n Adolfo Müller-Ury (1862–1947), painter\n Mina Fonda Ochtman (1862–1924), painter\n Robert Reid (1862–1929), painter and muralist\n Edmund C. Tarbell (1862–1938), painter\n\n1863\n George Gray Barnard (1863–1938), sculptor\n Arthur B. Davies (1863–1928), painter, printmaker\n Frederick William MacMonnies (1863–1937), sculptor\n Verner Moore White (1863–1923), painter\n Jessie Willcox Smith (1863–1935), Illustrator\n\n1864\n Charles Basing (1864–1933), artist\n George Henry Bogert (1864–1944), painter\n Henry Golden Dearth (1864–1918), painter\n Louis Eilshemius (1864–1941), painter\n William Frederic Ritschel (1864–1949), German American painter\n Charles Marion Russell (1864–1926), painter, sculptor\n Alfred Stieglitz (1864–1946), photographer\n Svend Rasmussen Svendsen (1864–1945), Norwegian American impressionist artist\n Charles Herbert Woodbury (1864–1940), painter\n\n1865\n George Bridgman (1865–1943), painter\n Herbert A. Collins (1865–1937), landscape and portrait painter\n Thomas Cromwell Corner (1865–1938), portrait painter\n Leon Dabo (1865–1960), painter\n Frank Vincent DuMond (1865–1951), painter\n Robert Henri (1865–1929), painter\n Adelaide Alsop Robineau (1865–1929), painter and potter\n\n1866\n Karl Albert Buehr (1866–1952), painter\n E. Irving Couse (1866–1935), painter, illustrator\n Helen Thomas Dranga (1866–1940), painter\n Jenny Eakin Delony (1866–1949), painter\n Emil Fuchs (1866–1929), Austrian-born painter, emigrated to US in 1915\n Arvid Nyholm (1866–1927), Swedish-American portrait and landscape artist\n Theodore Scott-Dabo (1866–1928), painter\n Henry Otto Wix (1866–1922), German-born American painter\n Art Young (1866–1943), cartoonist\n\n1867\n Reynolds Beal (1867–1951), painter\n Oscar Florianus Bluemner (1867–1938), painter\n Gutzon Borglum (1867–1941), sculptor\n Harry Buckwalter (1867–1930), photographer, filmmaker\n Wickliffe Covington (1867–1938), painter\n Henry Brown Fuller (1867–1934), painter\n Charles Dana Gibson (1867–1944), graphic artist\n George Luks (1867–1933), painter\n Jerome Myers (1867–1940), painter\n Bela Lyon Pratt (1867–1917), sculptor\n William Sommer (1867–1949), painter\n Allen Butler Talcott (1867–1908), painter\n Frank Lloyd Wright (1867–1959), architect, innovator\n\n1868\n Solon Borglum (1868–1922), sculptor\n Merton Clivette (1868–1931), painter\n Edward S. Curtis (1868–1952), photographer\n Nellie Huntington Gere (1868–1949), painter and illustrator\n Alfred Henry Maurer (1868–1932), painter\n Bert Geer Phillips (1868–1956), painter\n Anne Louise Gregory Ritter (1868–1929), painter and ceramicist\n Anna Woodward (1868–1935), painter\n\n1869\n Kate Carew (1869–1961), caricaturist\n Percy Gray (1869–1952), painter\n Mary Sheppard Greene (1869–1958), painter and illustrator\n Charles Hopkinson (1869–1962), painter\n Wilson Irvine (1869–1936), painter\n Xavier Timoteo Martinez (1869–1943), painter\n William McGregor Paxton (1869–1941), painter\n Edward Willis Redfield (1869–1965), painter\n Janet Scudder (1869–1940), sculptor\n Harriet \"Hattie\" Elizabeth Wilcox (1869–1943), ceramics artist\n\nBorn 1870–1879\n1870\n Thomas P. Barnett (1870–1929), painter\n Anna Richards Brewster (1870–1952), painter\n Alexander Stirling Calder (1870–1945), sculptor\n William Glackens (1870–1938), painter\n John Marin (1870–1953), painter, printmaker\n John T. McCutcheon (1870–1949), political cartoonist\n Maxfield Parrish (1870–1966), painter, illustrator\n Augustus Vincent Tack (1870–1949), painter\n Frederick Weygold (1870–1941), painter and photographer\n Adolph Alexander Weinman (1870–1952), sculptor\n Samuel Washington Weis (1870–1956), painter\n Enid Yandell (1870–1934), sculptor\n\n1871\n Edith Woodman Burroughs (1871–1916), sculptor\n Angel De Cora (1871–1919), painter, illustrator\n Margaret Fernie Eaton (1871–1953), artist, book plate illustrator\n Lyonel Feininger (1871–1956), printmaker\n Elizabeth Shippen Green (1871–1954), illustrator\n Albert Herter (1871–1950), artist and painter\n Granville Redmond (1871–1935), painter\n John French Sloan (1871–1951), painter\n Edward Charles Volkert (1871–1935), painter\n Clark Voorhees (1871–1933), painter\n\n1872\n Charles Avery Aiken (1872–1965), painter, watercolorist\n Robert Winthrop Chanler (1872–1930), muralist\n Charles Webster Hawthorne (1872–1930), painter\n Edna Boies Hopkins (1872–1937), woodblock print artist\n Frederick Dana Marsh (1872–1961), illustrator\n George L. Viavant (1872–1925), acquascape artist\n Bessie Potter Vonnoh (1872–1955), sculptor\n\n1873\n Jane Emmet de Glehn (1873–1961)\n Albert Henry Krehbiel (1873–1945), painter, muralist\n Ernest Lawson (1873–1939), painter\n Paul Mersereau (born 1873), painter\n Arthur Putnam (1873–1930), sculptor\n Juliet Thompson (1873–1956), painter\n Cordelia Wilson (1873–1953), painter\n\n1874\n John Wolcott Adams (1874–1925), drawing\n Ernest L. Blumenschein (1874–1960), painter\n Franklin Booth (1874–1948), illustrator\n Romaine Brooks (1874–1970), painter\n Ira J. Deen (1874–1952), artist\n Harold Heartt Foley (1874–1923), painter, collagist, and illustrator\n Arnold Friedman (1874–1946), painter\n Frederick Carl Frieseke (1874–1939), painter\n Charles R. Knight (1874–1953), dinosaur artist\n Violet Oakley (1874–1961), muralist\n Rose O'Neill (1874–1944), first comic strip artist\n Hans K. Schuler (1874–1951), sculptor\n\n1875\n Ethel Blanchard Collver (1875–1955), Impressionist artist and teacher\n Alice Cooper (1875–1937), sculptor\n Maynard Dixon (1875–1946), painter\n Dulah Marie Evans (1875–1951), painter, illustrator, printmaker, photographer, etcher\n Charles Keck (1875–1951), sculptor\n Marion Wachtel (1875–1951), painter\n Gertrude Vanderbilt Whitney (1875–1942), sculptor\n\n1876\n Alson S. Clark (1876–1949), painter\n Edith Dimock (1876–1955), painter\n Eulabee Dix (1878–1961), water colour portrait miniatures\n James Earle Fraser (1876–1953), sculptor\n Cornelia Ellis Hildebrandt (1876–1962), painter of miniatures\n Anna Hyatt Huntington (1876–1973), sculptor\n Kenneth Hayes Miller (1876–1952), painter\n Frederick Pawla (1876–1964), painter and muralist\n Boardman Robinson (1876–1952), Canadian American painter\n Paul R. Schumann (1876–1946), impressionist seascapes\n Everett Shinn (1876–1953), painter and illustrator\n Walter Ufer (1876–1936), printer, illustrator\n Bessie Wheeler (born 1876), painter\n\n1877\n Eda Nemoede Casterton (1877–1969), painter\n Rinaldo Cuneo (1877–1939), painter\n Rudolph Dirks (1877–1968), cartoonist\n Paul Dougherty (1877–1947), painter\n Katherine S. Dreier (1877–1952), painter\n James Montgomery Flagg (1877–1960), illustrator, painter\n Edmund Greacen (1877–1949), painter\n Marsden Hartley (1877–1943), painter\n William Penhallow Henderson (1877–1943), painter and architect\n Walt Kuhn (1877–1949), painter\n Mary Elizabeth Price (1877–1965)\n Joseph Stella (1877–1946), painter\n Maurice Sterne (1877/78–1957), sculptor\n Mahonri Young (1877–1957), sculptor\n\n1878\n Robert Ingersoll Aitken (1878–1949), sculptor\n Abastenia St. Leger Eberle (1878–1942), sculptor\n Wilhelmina Weber Furlong (1878–1962), still life painter\n E. William Gollings (1878–1932), western painter\n Anna Coleman Ladd (1878–1939), sculptor\n Gus Mager (1878–1956), cartoonist, illustrator, painter\n Abraham Walkowitz (1878–1965), painter\n\n1879\n Gifford Beal (1879–1956), painter\n Helena Smith Dayton (1879–1960), painter and sculptor\n Julian Martinez (1879–1943), potter, ceramist\n Charles Cary Rumsey (1879–1922), sculptor\n George Demont Otis (1879–1962), landscape artist\n Arthur Prince Spear (born 1879), imaginary and fantasy painter\n William Starkweather (1879–1969), impressionist painter\n Edward Steichen (1879–1973), photographer, painter\n Gunnar Widforss (1879–1934), painter specializing in National Park landscapes\n\nBorn 1880–1889\n1880\n Wilford Conrow (1880–1957), portrait painting\n Arthur Dove (1880–1946), painter\n Rufus J. Dryer (1880-1937), painter\n Sir Jacob Epstein (1880–1959), sculptor\n George Herriman (1880–1944), cartoonist\n Hans Hofmann (1880–1966), painter\n Jonas Lie (1880–1940), painter\n\n1881\n Gustave Baumann (1881–1971), printmaker, painter\n Chester Beach (1881–1956), sculptor\n Patrick Henry Bruce (1881–1936), painter\n Agnes Lawrence Pelton (1881–1961), modernist painter\n Allen Tupper True (1881–1955), painter, illustrator, muralist\n Max Weber (1881–1961), painter\n\n1882\n George Bellows (1882–1925), painter, illustrator, printmaker\n Albert Bloch (1882–1961), painter\n Arthur B. Carles (1882–1952), painter\n John Covert (1882–1960), painter\n Edward Hopper (1882–1967), painter, printmaker\n Rockwell Kent (1882–1971), painter, illustrator\n Gaston Lachaise (1882–1935), sculptor\n Harry Mathes (1882–1969), painter\n Elie Nadelman (1882–1946), sculptor\n Julian Onderdonk (1882–1922), painter\n James Sessions (born 9/20/1882), artist\n Walter Pach (1883–1958), painter\n N.C. Wyeth (1882–1945), illustrator\n\n1883\n Johann Berthelsen (1883–1972), painter\n Edward William Carlson (1883–1932), miniature portraitist\n Henry B. Christian (1883–1953), painter\n Imogen Cunningham (1883–1976), photographer\n Jo Davidson (1883–1952), sculptor\n Charles Demuth (1883–1935), painter\n Rube Goldberg (1883–1970), cartoonist, inventor\n Donna N. Schuster (1883–1953), painter\n Charles Sheeler (1883–1965), painter\n Eugene Speicher (1883–1962), painter\n\n1884\n Walter Emerson Baum (1884–1956), painter and art school founder\n Bessie Marsh Brewer (1884–1952), painter, printmaker\n Jose de Creeft (1884–1982), sculptor\n Guy Pène du Bois (1884–1958), painter\n Harvey Dunn (1884–1952), painter\n Samuel Halpert (1884–1930), painter\n William Victor Higgins (1884–1949), painter\n Leon Kroll (1884–1974), painter\n Robert Minor (1884–1952), political cartoonist\n Horatio Nelson Poole (1884–1949), painter and printmaker\n\n1885\n Milton Avery (1885–1965), painter, printmaker\n Oscar Cesare (1885–1948), illustrator, cartoonist, painter\n Fred Ellis (1885–1965), political cartoonist\n E. Charlton Fortune (1885–1969), impressionist painter\n Paul Manship (1885–1966), sculptor\n Josephine Paddock (1885–1964)\n Jules Pascin (born Bulgaria 1885–1930), painter\n Sophy Regensburg (1885–1974), naïve painter\n Elizabeth Sparhawk-Jones (1885–1968), painter\n Ralph Ward Stackpole (1885–1973), sculptor\n John Storrs (1885–1956), sculptor\n E. Oscar Thalinger (1885-1965), painter\n Nina B. Ward (1885–1944), painter\n\n1886\n Pauline Boumphrey (1886–1959), sculptor\n Paul Burlin (1886–1969), painter\n Elias Goldberg (1886–1978), painter\n John R. Grabach (1886–1981), painter\n John D. Graham (1886–1961), painter\n Aldro Hibbard (1886–1972), painter\n Frederick Kann (1886–1965), painter\n Charles James Martin (1886–1955), painter\n Morgan Russell (1886–1953), painter\n Joseph Tepper (1886–1977), portrait painter and artist\n Edward Weston (1886–1958), photographer\n Mary Agnes Yerkes (1886–1989), painter\n\n1887\n Sam Charles (1887–1949), painter\n Andrew Dasburg (1887–1979), painter\n Manierre Dawson (1887–1969), painter\n Marcel Duchamp (1887–1968), painter, sculptor\n Louis Grell (1887–1960), painter, muralist\n Maria Martinez (1887–1980), potter, ceramist\n Georgia O'Keeffe (1887–1986), painter\n John C. Poole (1887–1926), etcher and wood engraver\n Claggett Wilson (1887–1952), painter\n Marguerite Zorach (née Thompson) (1887–1968)\n William Zorach (1887–1966), sculptor\n\n1888\n Josef Albers (1888–1976), painter\n William Spencer Bagdatopoulos (1888–1965), painter and commercial artist\n Arnold Franz Brasz (1888–1966), painter, sculptor, and printmaker\n Augustus Dunbier (1888–1977), painter\n Gerald Murphy (1888–1967), painter\n William Robert Pearmain (1888–1912), painter\n Horace Pippin (1888–1946), painter\n Ruth Faison Shaw (1888–1969), painter\n\n1889\n Maurice Becker (1889–1975), political cartoonist, illustrator\n Thomas Hart Benton (1889–1975), painter, muralist, printmaker\n James Daugherty (1889–1974), painter, illustrator\n Laura Gardin Fraser (1889–1966), sculptor\n Gleb Ilyin (1889–1968), portraiture and landscapes\n Geneva Mercer (1889–1984), sculptor\n Robert William Wood (1889–1979), painter\n\nBorn 1890–1899\n1890\n Grace Albee (1890–1985), printmaker\n Theresa Bernstein (1890–2002), artist, painter, writer\n Gerald Curtis Delano (1890–1972), painter\n Leo Friedlander (1890–1966), sculptor\n Frances Cranmer Greenman (1890–1981), portrait painter\n Frederick Kiesler (1890–1965), sculptor, designer\n Robert Laurent (1890–1970), sculptor\n Stanton Macdonald-Wright (1890–1973), painter\n Jan Matulka (1890–1972), painter\n Man Ray (1890–1976), photographer, dadaist\n Paul Strand (1890–1976), photographer\n Mark Tobey (1890–1976), painter\n\n1891\n Mabel Alvarez (1891–1985), painter\n George Ault (1891–1948), painter\n McClelland Barclay (1891–1942), illustrator, pin-up artist\n Francis Focer Brown (1891–1971), painter\n Arthur N. Christie (1891–1980), painter\n Edwin Dickinson (1891–1978), painter\n Robert Lee Eskridge (1891–1975), painter\n Genevieve Springston Lynch (1891–1960)\n Justin McCarthy (1891–1977), self-taught artist\n Alma Woodsey Thomas (1891–1978), painter\n Jennings Tofel (1891–1959)\n Grant Wood (1891–1942), painter\n\n1892\n Ralph Pallen Coleman (1892–1968), painter and illustrator\n Hugo Gellert (1892–1985), illustrator and muralist\n Naomi Polk (1892–1984), American artist, watercolors and poet\n Augusta Savage (1892–1962), sculptor, teacher\n Vaclav Vytlacil (1892–1984), painter, teacher\n John Ellsworth Weis (1892–1962), painter\n Winslow Wilson (1892–1974), painter, teacher\n\n1893\n Charles E. Burchfield (1893–1967), painter\n Rene Paul Chambellan (1893–1955), sculptor\n Pál Fried (1893–1976), oil painter, dancers, nudes, and portraits\n Wanda Gág (1893–1946), printmaker, illustrator\n George Albert Gale (1893–1951), nautical themed artist\n R. H. Ives Gammell (1893–1981), painter\n Yasuo Kuniyoshi (1893–1953), painter\n Bernard E. Peters (1893-1949), painter\n Abraham Rattner (1893–1978), painter\n\n1894\n Marjorie Acker (1894–1985), painter\n Stuart Davis (1894–1964), painter\n Ernest Fiene (1894–1965), lithographer, printmaker\n Otto Kuhler (1894–1977), painter\n Lucile Lloyd (1894–1941), muralist\n Bashka Paeff (1894–1979), sculptor\n Norman Rockwell (1894–1978), painter, illustrator\n Amanda Snyder (1894–1980), painter, printmaker\n James Thurber (1894–1961), cartoonist\n\n1895\n Talbert Abrams (1895–1990), photographer\n Frederick Cornelius Alston (1895–1987), painter\n Peggy Bacon (1895–1987), printmaker, painter, illustrator\n Lucile Blanch (1895–1981), painter\n Adolf Dehn (1895–1968), lithographer, illustrator\n Buckminster Fuller (1895–1983), architect, visionary\n Harry Gottlieb (1895–1993), painter, illustrator\n Regina Olson Hughes (1895–1993), botanical illustrator\n Millie Rose Lalk (1895–1943), painter\n Dorothea Lange (1895–1965), photographer\n John Allen Wyeth (1895–1981), painter\n\n1896\n Arnold Blanch (1896–1968), painter, printmaker\n Allyn Cox (1896–1982), painter, muralist\n John Russell Fulton (1896–1979), painter, illustrator\n Morris Kantor (1896–1974), painter\n Barbara Latham (1896–1989), painter, printmaker, illustrator\n Eve Ryder (1896-1984), painter\n Charmion von Wiegand (1896–1983), painter\n\n1897\n James Billmyer (1897–1989), painter, illustrator\n Charles Ragland Bunnell (1897–1968), painter\n John Steuart Curry (1897–1946), painter, muralist, printmaker\n William Gropper (1897–1977), cartoonist, painter, muralist, printmaker\n Theodore Lukits (1897–1992), painter, muralist, illustrator, teacher\n Caroline Mytinger (1897–1980), painter\n Reuben Nakian (1897–1986), sculptor\n Dudley Pratt (1897–1975), sculptor\n Matthew E. Ziegler (1897-1981), painter, muralist\n\n1898\n Berenice Abbott (1898–1991), photographer\n Samuel Adler (1898–1979), artist\n Dewey Albinson (1898–1971), artist\n Robert Brackman (1898–1980), painter\n Alexander Calder (1898–1976), sculptor\n Aaron Douglas (1899–1979), painter\n Elsie Driggs (1898–1992), painter\n Lorser Feitelson (1898–1978), painter\n Hyman William Katz (1898–1988), painter, printmaker\n Reginald Marsh (1898–1954), painter, printmaker\n John McLaughlin (1898–1976), painter\n Kay Sage (1898–1963), painter\n Ben Shahn (1898–1969), painter, printmaker, graphic artist\n\n1899\n Eugène Berman (1899–1972), painter\n Francis Chapin (1899–1965), painter\n Gladys Emerson Cook (1899-1976), painter, illustrator\n De Hirsh Margules (1899–1965), painter\n Louise Nevelson (1899–1988), assemblage artist, sculptor\n Moses Soyer (1899–1974), painter\n Raphael Soyer (1899–1987), painter\n Bradley Walker Tomlin (1899–1955), painter\n\nSee also \n\n American art\n Native American artists\n African American art\n Sculpture of the United States\n Feminist art movement\n Hudson River School\n Luminism\n American Impressionism\n Ashcan School\n Precisionism\n American scene painting\n Regionalism\n WPA Federal Art Project\n Northwest School\n Abstract expressionism\n Pop art\n Happenings\n Fluxus\n Intermedia\n Hard-edge painting\n Minimalism\n Post-painterly abstraction\n Color field painting\n Post-minimalism\n Process art\n Site-specific art\n Earth art\n Lyrical abstraction\n Photorealism\n Conceptual art\n Postmodernism\n\n1900 and before\nCategory:American artists\nAmerican artists before 1900", "title": "List of American artists before 1900" }, { "text": "The following is a list of notable people presently or previously associated with the city of Philadelphia, Pennsylvania:\n\nAcademia\n\nJoseph Addison Alexander (1809–1860), former clergyman and biblical scholar\nE. Digby Baltzell (1915–1996), former sociologist, author, and professor at the University of Pennsylvania\nEllen Bass (born 1947), professor, poet, and author\nLeon Bass (1925–2015), former educator and Benjamin Franklin High School principal\nAaron Beck (1921–2021), former psychiatrist, inventor of cognitive therapy, and Penn School of Medicine professor\nAlgernon Sydney Biddle (1847–1891), former lawyer and Penn Law School professor\nRay Birdwhistell (1918–1994), former anthropologist, University of Pennsylvania professor, and inventor of kinesics\nAtherton Blight (1834–1909), former lawyer, businessperson, author, diarist, philanthropist, and Art Club of Philadelphia founding member\nAlfred Bloom, linguist, professor, and Swarthmore College president\nFrancis Bohlen (1868–1942), former Penn Law School professor\nDerek Bok (born 1930), lawyer, former Harvard Law School dean, and former Harvard University president\nLisa Bowleg, George Washington University social psychology professor\nRuby Chappelle Boyd (born 1919), former librarian\nDavid D. Burns (born 1942), psychiatrist, author, Penn School of Medicine psychiatry professor\nNoam Chomsky (born 1928), linguist, Far-left political activist, anarchist, and professor\nGordon Clark (1902–1985), former Christian theologian and professor\nC. Everett Coop (1916–2013), former U.S. Surgeon General\nLeda Cosmides (born 1957), psychologist, helped develop evolutionary psychology field\nPhilip D. Curtin (1922–2009), former Africa historian on Atlantic slave trade\n Steven Drizin, lawyer and professor\nDrew Gilpin Faust (born 1947), historian, University of Pennsylvania administrator, and Harvard University president\nR. Buckminster Fuller (1895–1983), former architect, systems theorist, author, University of Pennsylvania design professor\nAndrew Gelman (born 1965), Columbia University professor, statistics and political science\nGaylord P. Harnwell (1903–1982), former University of Pennsylvania professor and president\nEarl G. Harrison (1899–1955), former Penn Law School dean and former INS commissioner\nMarc Lamont Hill (born 1978), professor, journalist, activist, and BET News correspondent\nAgnes Irwin (1841–1914), former Agnes Irwin School founder and first dean of Radcliffe College\nSeymour S. Kety (1915–2000), former neuroscientist and schizophrenia researcher\nLawrence Klein (1920–2013), former economist, Nobel laureate, University of Pennsylvania economics professor\nByard Lancaster (1942–2012), former avant-garde jazz saxophonist and flutist\nAlain LeRoy Locke (1885–1954), former writer, philosopher, educator, and first African-American Rhodes Scholar\nMargaret Mead (1901–1978), former cultural anthropologist and author\nWilliam Augustus Muhlenberg (1796–1877), considered father of parochial schools\nJohn Pittenger (1930–2009), former lawyer, academic, and former Pennsylvania House of Representatives member\nPhilip Rieff (1922–2006), former sociologist, cultural critic, and University of Pennsylvania professor\nLouis B. Schwartz (1913–2003), former University of Pennsylvania Law School law professor\nDora Adele Shoemaker (1873-1962), educator, writer\nJacob Soll (born 1968), historian and MacArthur Fellow\nLawrence H. Summers (born 1954), economist, former U.S. Secretary of the Treasury and Harvard University president\nHoward M. Temin (1934–1994), former Nobel Prize co-laureate in physiology or medicine\nCornelius Van Til (1895–1987), former Christian theologian, professor, originator of modern presuppositional apologetics\nLawrence Venuti (born 1953), translation theorist and translation historian\nAndrew Weil (born 1942), celebrity doctor and alternative medicine advocate\nGayraud Wilmore (1921–2020), former writer, historian, ethicist, educator, and theologian\nWalter E. Williams (1936–2020), former economist, commentator, and academic\nHarris Wofford (1926–2019), former Peace Corps director, Bryn Mawr College president, U.S. Senator appointee\n Bernard Wolfman (1924–2011), former University of Pennsylvania Law School law professor and dean\nJosh Wurman (born 1960), meteorologist on Storm Chasers\n\nArt and architecture\n\nJulian Abele (1881–1950), former architect who contributed to the design of over 400 buildings\nRobb Armstrong (born 1962), African American cartoonist, creator of Jump Start\nEdmund Bacon (1910–2005), urban planner, architect, educator, and author\nBill Bamberger (born 1956), documentary photographer and photojournalist\nAlbert C. Barnes (1872–1951), former creator of the Barnes Collection of Art and Argyrol inventor\nCecilia Beaux (1855–1942), former portrait painter\nWilliam Bell (1830–1910), photographer\nAlexander Calder (1898–1976), former sculptor\nAlexander Milne Calder (1846–1923), former sculptor\nAlexander Stirling Calder (1870–1945), former sculptor\nMary Cassatt (1844–1926), former impressionist painter and printmaker\nFlorence Van Leer Earle Coates (1850–1927), former poet\nRobert Crumb (born 1943), underground comics artist, writer\nHeather Dewey-Hagborg (born 1982), information artist and bio-hacker\nThomas Eakins (1844–1916), former realist painter, photographer, sculptor, Pennsylvania Academy of Fine Arts professor\nFrank Heyling Furness (1839–1912), former architect who designed over 600 buildings\nSonia Gechtoff (1926–2018), former abstract expressionist painter\nGinger Gilmour (born 1949), sculptor and first wife of Pink Floyd guitarist David Gilmour\nPhoebe Gloeckner (born 1960), cartoonist, illustrator, painter, novelist\nElizabeth Shippen Green (1871–1954), former children's books illustrator\nDonelson Hoopes (1932–2006), former art historian\nIan Hornak (1944–2002), former draughtsman, painter, and printmaker\nAmy Ignatow (born 1977), illustrator, cartoonist, and author\nLouis Kahn (1901–1974), former architect\nBil Keane (1922–2011), former cartoonist, The Family Circus\nWalt Kelly (1913–1973), former cartoonist, Pogo\nHenry P. McIlhenny (1910–1986), former art and antique connoisseur, philanthropist, curator, and Philadelphia Museum of Art chairman\nJohn Moran (1831–1902), former photographer and artist \nAlice Neel (1900–1984), former painter\nAlbert Newsam (1809–1864), born deaf and former artist\nLinda Nochlin (1931–2017), former feminist art historian and Bryn Mawr College professor\nMartin Nodell (1915–2006), former comic book artist and creator of the original Green Lantern\nCharles Willson Peale (1741–1827), former artist and progenitor of the Peale family of American artists\nWilliam H. Rau (1855–1920), former photographer]\nSeymour Remenick (1923–1999), former artist\n Elizabeth Wentworth Roberts (1871–1927), former painter and founder of Concord Art Association\nCarolee Schneemann (1939–2019), former visual experimental artist on sexuality and gender\nMary B. Schuenemann (1898–1992), former painter\nDenise Scott Brown (born 1931), architect, planner, writer, and educator\nSarai Sherman (1922–2013), former painter and sculptor\nGrover Simcox (1867–1966), former illustrator, naturalist, and polymath\nJessie Wilcox Smith (1863–1935), former illustrator\nWilli Smith (1948–1987), former fashion designer\nZoe Strauss (born 1970), photographer\nWilliam Strickland (1788–1854), former architect and civil engineer \nThomas Sully (1783–1872), former portrait painter of national political leaders\nHenry Ossawa Tanner (1859–1937), one of first African-American painters\nDaniel Traub (born 1971), photographer and filmmaker\nHorace Trumbauer (1868–1938), former architect\nRobert Venturi (1925–2018), former architect\nThomas Ustick Walter (1804–1887), former architect and American Institute of Architects co-founder and president\nAndrew Wyeth (1917–2009), former visual artist\nJamie Wyeth (born 1946), painter \nN.C. Wyeth (1882–1945), former artist and illustrator\nLily Yeh (born 1941), artist\n\nBusiness\n\nFrank Baldino Jr. (1953–2010), former pharmacologist, scientist, and Cephalon co-founder\nJohn C. Bogle (1929–2019), former investor, money manager, and Vanguard founder\nAmar Bose (1929–2013), former founder and chairman, Bose\nDavid L. Cohen (born 1955), senior executive vice president and chief lobbyist for Comcast, former chief of staff to Philadelphia Mayor, U.S. ambassador to Canada nominee\nPat Croce (born 1954), entrepreneur, Philadelphia 76ers executive and part-owner, author, and television personality\nGeorge Dashnau (1923–2001), former advertising executive who started first mail order delivery service to supply human skulls\nCharles Henry Davis (1865–1951), former businessperson, civil engineer, philanthropist; founded World Peace Movement\nWarren Lyford DeLano (1972–2009), former advocate for increased open sourcing and PyMol creator\nGeorge H. Earle Jr. (1856–1928), former attorney \nMaria Anna Fisher (1819–1911), former African American baker, entrepreneur, and philanthropist\nKenneth Frazier (born 1954), Merck & Co. chief executive officer\nA. O. Granger (Arthur Otis Granger; 1846–1914), former industrialist and soldier\nAlbert M. Greenfield (1887–1967), former local realty magnate, philanthropist, and political activist\nSolomon R. Guggenheim (1861–1949), former Yukon Gold Company founder and philanthropist who established Solomon R. Guggenheim Foundation and Solomon R. Guggenheim Museum\nRichard Hayne (born 1947), Urban Outfitters founder and chief executive officer\nMichael Johns (born 1964), healthcare executive and former White House presidential speechwriter\nEldridge R. Johnson (1867–1945), former Victor Talking Machine Company founder\nTom Knox, UnitedHealthcare of Pennsylvania chief executive officer and former Philadelphia mayoral candidate\nJohn Leamy (1757–1839), former Spanish Empire trade pioneer\nJ. Howard Marshall (1905–1995), former oil businessman, Koch Industries stakeholder, husband of Anna Nicole Smith\nGeorge Meade (1741–1808), former merchant\nRichard W. Meade (1778–1828), former merchant and art collector\nSamuel Meeker (1763–1831), former merchant \nJim Murray, Ronald McDonald House Charities co-founder and former Philadelphia Eagles general manager\nJoel Myers (born 1939), AccuWeather founder, chairman, and chief executive officer\nPat Olivieri (1910–1970), former founder of Pat's King of Steaks and reputed creator of the cheesesteak\nWilliam S. Paley (1901–1990), former CBS chief executive\nRandal Pinkett (born 1971), entrepreneur and The Apprentice 4 winner\nFelix Rappaport (1952–2018), former Foxwoods Resort and Casino chief executive officer\nLynda Resnick (born 1943), co-owner of Roll International, which owns POM Wonderful, FIJI Water, and Teleflora\nBrian L. Roberts (born 1959), Comcast Corporation chairman and chief executive officer\nMichael G. Rubin (born 1972), Kynetic founder and chief executive officer, Philadelphia 76ers part owner, and GSI Commerce founder and former chief executive officer\nStephen A. Schwarzman (born 1947), The Blackstone Group founder and chief executive officer\nEd Snider (1933–2016), former Comcast Spectacor chairman\nJustus Strawbridge (1838–1911), former department store founder\nBrian Tierney (born 1957), The Philadelphia Inquirer publisher\nJohn Wanamaker (1838–1922), former department store founder\nWalter E. Williams (1936–2020), former economist, commentator, and academic\nJames Hood Wright (1836–1894), former banker, financier, and corporate director, associate of J. P. Morgan and Thomas Edison\nWilliam Wrigley Jr. (1861–1932), former Wm. Wrigley Jr. Company founder\n\nCriminals\nSydney Biddle Barrows (born 1952), escort service proprietor known as \"The Mayflower Madam\"\nAntuan Bronshtein, convicted murderer, reputed Russian Mafia associate\nAngelo Bruno (1910–1980), former Philadelphia crime family boss\nLegs Diamond (1897–1931), former nemesis of mobster Dutch Schultz known as the \"clay pigeon of the underworld\"\nIra Einhorn (1940–2020), former environmental and anti-war activist, convicted murderer, and speaker at first Earth Day event in Philadelphia\nMary Jane Fonder (1942–2018), former convicted murderer of Rhonda Smith\nKermit Gosnell (born 1941), convicted of 21 felony counts of illegal late-term abortion\nGary Heidnik (1943–1999), former convicted murderer\nPhilip Leonetti (born 1953), underboss of Philadelphia crime family and government informant\nNicodemo Scarfo (1929–2017), former mafioso and head of Scarfo crime family\n\nFilm, television, and theater\n\nA–K\n\nJoe Augustyn, writer and producer\nKevin Bacon (born 1958), actor and half of The Bacon Brothers\nJim Bailey (1938–2015), former singer, film, television, and stage actor\nChuck Barris (1929–2017), former actor, composer, writer, director, producer, and game show host\nEthel Barrymore (1879–1959), former actress\nJohn Barrymore (1882–1942), former actor\nLionel Barrymore (1878–1954), former actor, Mr. Potter in Frank Capra's It's a Wonderful Life\nEddie Barth (1931–2010), former actor and voiceover artist\nJules Bass (born 1935), director and composer\nLaurie Beechman (1953–1998), former Broadway singer and actress\nWillam Belli (born 1982), actor, drag queen, model, and recording artist\nMaria Bello (born 1967), actress and writer\nEd Bernard (born 1939), actor\nJohn Biddle (1925–2008), former yachting cinematographer and lecturer\nEdward Binns (1916–1990), former actor\nJoey Bishop (1918–2007), former entertainer\nDanny Bonaduce (born 1959), actor\nDavid Boreanaz (born 1969), actor\nJim Boyd (1933–2013), former actor\nPeter Boyle (1935–2006), former actor\nEl Brendel (1890–1964), former vaudeville comedian and actor\nDavid Brenner (1936–2014), former stand-up comedian, actor, and author\nRichard Brooks (1912–1992), former screenwriter, film director, novelist, and film producer\nQuinta Brunson, (born 1989), creator Abbott Elementary \nMatt Bush (born 1986), actor, Adventureland\nEugene Byrd, (born 1975), actor \nMichael Callan (1935-2022), former actor\nGia Marie Carangi (1960–1986), former supermodel\nJoan Carroll (born 1932), coloratura soprano\nDick Clark (1929–2012), former host, American Bandstand and Dick Clark's New Year's Rockin' Eve, game show host, and producer\nBessie Clayton (1875–1948), former Broadway, vaudeville, and burlesque specialty dancer and choreographer\nImogene Coca (1908–2001), former actress and comedian\nNathan Cook (1950–1988), former actor\nBradley Cooper (born 1975), actor\nBill Cosby (born 1937), comedian, actor, and author\nDavid Crane (born 1957), writer and producer \nBroderick Crawford (1911–1986), former actor\nSusan Webb Cushman (1822–1859), former stage actress\nBlythe Danner (born 1943), actress\nMildred Davis (1901–1969), former actress\nBruce Davison (born 1946), actor\nJohn de Lancie (born 1948), actor\nFrancis De Sales (1912–1988), former actor\nKim Delaney (born 1961), actress\nKat Dennings (born 1986), actress\nCurly Joe DeRita (1909–1993), former comedian, actor, and member of The Three Stooges\nJohn Doman (born 1945), actor, The Wire\nMike Douglas (1920–2006), former singer and television talk show host\nGary Dourdan (born 1966), actor\nRel Dowdell, filmmaker\nJa'net Dubois (c. 1932–2020), former actress and singer\nCheryl Dunye (born 1966), director, writer, and producer\nKevin Eubanks (born 1957), musician and leader of The Tonight Show Band\nLola Falana (born 1942), dancer and actress\nNorman Fell (1924–1998), former actor\nTina Fey (born 1970), actress and comedian\nW. C. Fields (1880–1946), former actor and comedian\nMademoiselle Fifi (1890-1982), former dancer \nLarry Fine (1902–1975), former comedian, actor, and member of The Three Stooges\nLinda Fiorentino (c. 1958), actress\nKate Flannery (born 1964), actress\nJeremy Gable (born 1982), playwright and game designer\nJohn Gallaudet (August 23, 1903 - November 5, 1983), former actor\nRalph Garman (born 1964), actor and radio personality\nJanet Gaynor (1906–1984), former actress\nRichard Gere (born 1949), actor\nTodd Glass (born 1964), comedian\nAdam F. Goldberg (born 1976), television and film producer\nRobert X. Golphin (born 1982), actor and filmmaker\nKate Gosselin (born 1975), reality television personality, Jon and Kate Plus Eight\nBruce Graham (1925–2010), former playwright\nSeth Green (born 1974), actor\nGrayson Hall (1922–1985), former television, film, and stage actress\nChief Halftown (1917–2003), former children's television personality\nVeronica Hamel (born 1943), actress and model\nKevin Hart (born 1979), comedian and actor\nRodney Harvey (1967-1998), former actor\nSherman Hemsley (1938–2012), former actor\nEmmaline Henry (1928–1979), former actress, I Dream of Jeannie\nMarc Lamont Hill (born 1978), television host\nTigre Hill, producer and director\nPaul Hipp (born 1963), actor, musician, and producer\nWendell Holland (born 1984), Survivor: Ghost Island winner\nBillie Holiday (1915–1959), former singer\nKevin Hooks (born 1958), actor and director\nAbby Huntsman (born 1986), co-host of The View\nMark Indelicato (born 1994), actor, singer (Justin Suarez on Ugly Betty)\nAbbi Jacobson (born 1984), actress, comedian, and co-creator of Broad City\nBarry Jenner (1941–2016), former actor\nAleeza Ben Shalom, matchmaker, relationship coach, and author\nClark Johnson (born 1954), actor and director\nNicole Kassell (born 1972), director and writer\nGeorge Kelly (1887–1974), former playwright, screenwriter, director, and actor\nGrace Kelly (1929–1982), former actress and Princess of Monaco\nMichael Kelly (born 1969), actor\nIrvin Kershner (1923–2010), former director, The Empire Strikes Back\nTaylor Kinney (born 1981), actor, Vampire Diaries and Chicago Fire\nJack Klugman (1922–2012), former actor, The Odd Couple, Quincy, M.E., and You Again?\n\nL-Z\n\nPatti LaBelle (born 1944), R&B and soul musician, actress, and entrepreneur\nMichael Landon (1936–1991), former actor, producer, and director\nMario Lanza (1921–1959), former singer and actor\nStan Lathan (born 1945), film producer, television producer, and director\nAndrew Lawrence (born 1988), actor\nJoey Lawrence (born 1976), actor\nMatthew Lawrence (born 1980), actor\nRaw Leiba (born 1975), actor, stuntman, and sports model\nAaron Levinson, producer, musician\nBrooke Lewis (born 1975), actress, producer and television personality\nShari Lewis (1933–1998), former children's television personality \nGene London (1931–2020), former artist and local children's television personality\nLisa Lopes (1971–2002), former rapper, singer, songwriter, record producer, and dancer\nSidney Lumet (1924–2011), former film director\nDavid Lynch (born 1946), film director\nJeanette MacDonald (1903–1965), former actress and singer\nStephen Macht (born 1942), actor\nAbby Mann (1927–2008), former film writer and producer\nMelanie Mayron (born 1952), actress\nAdam Mazer, writer and Emmy winner\nBob McAllister (1935–1998), former children's television personality\nAndrea McArdle (born 1963), singer, actress, Broadway's original Annie\nJoan McCracken (1917–1961), former dancer and actress\nPaul McCrane (born 1961), actor and musician\nRob McElhenney (born 1977), actor and creator of It's Always Sunny in Philadelphia\nAndrew Repasky McElhinney (born 1978), film director, writer, Museum of Modern Art artist\nAdam McKay (born 1968), director and writer\nMary Lou Metzger (born 1950), singer, The Lawrence Welk Show\nDavid Mirkin (born 1955), writer and director\nSilas Weir Mitchell (born 1969), actor\nKatherine Moennig (born 1977), actress\nKelly Monaco (born 1976), model and actress\nNatalie Nevins (1925–2010), former singer, The Lawrence Welk Show\nJ. J. North (born 1964), actress\nClifford Odets (1906–1963), former playwright, director, and screenwriter\nLeslie Odom Jr. (born 1981), actor and singer\nAna Ortiz (born 1971), actress, Hilda Suarez on Ugly Betty\nDaphne Oz (born 1986), author, television host on The Chew\nHolly Robinson Peete (born 1964), actress\nLisa Peluso (born 1964), actress, Saturday Night Fever\nGervase Peterson (born 1969), contestant, original season of Survivor\nTeddy Pendergrass (1950–2010), former R&B and soul musician, lead singer for Harold Melvin & the Blue Notes\nRobert Picardo (born 1953), actor\nNoam Pitlik (1932–1999), former actor, television director, and producer\nJack Polito (born 1941), animator\nJon Polito (1950–2016), former actor, Miller's Crossing\nJoe Renzetti, musician, Oscar-winning film composer, The Buddy Holly Story\nAdele Ritchie (1874–1930), former singer\nMatt Robinson (1937–2002), former Sesame Street actor\nJames Rolfe (born 1980), creator and star of Angry Video Game Nerd internet series and film director\nLisa Roma (1892–1965), former operatic soprano and music educator\nJ. D. Roth (born 1968), actor and game show host\nBob Saget (1956–2022), former actor, comedian, and game show host\nMathew St. Patrick (born 1968), actor\nDiane Salinger (born 1951), actress\nCamillia Sanes, actress, The Shield\nJessica Savitch (1947–1983), former local and national news broadcaster, NBC\nBill Scott (1920–1985), former voice actor, voice of Bullwinkle J. Moose, Mr. Peabody, and Dudley Do-Right\nVivienne Segal (1897–1992), former actress\nSusan Seidelman (born 1952), film director, television director, Desperately Seeking Susan and Sex and the City\nCraig Shoemaker (born 1962), stand-up comedian and film and television producer\nJimmy Shubert, stand-up comedian\nM. Night Shyamalan (born 1970), film director, The Sixth Sense and Signs\nPenny Singleton (1908–2003), former radio, film, and voice actress\nJack Thomas Smith (born 1969), horror filmmaker\nToukie Smith (born 1952), model and actress\nWill Smith (born 1968), actor, hip-hop recording artist, half of the duo DJ Jazzy Jeff & The Fresh Prince, record producer, four time Grammy-winner\nDavid Smyrl (1935–2016), former actor and television writer, Sesame Street \nHarry Snodgrass (born 1963), sound designer, supervisor, and editor, Alien 3, Napoleon Dynamite, Hot Shots! Part Deux, Robin Hood Men in Tights\nTom Snyder (1936–2007), former news and entertainment personality, NBC\nSally Starr (1923–2013), former children's television personality\nJoey Stefano (1968–1994), former dancer, actor, and gay porn star\nParker Stevenson (born 1952), actor\nCharles Stone III (born 1966), film director and creator of Budweiser's \"Whassup?\" advertising campaign\nHolland Taylor (born 1943), actress\nTeller (born 1948), magician and half of Penn & Teller\nFrank Tinney (1878–1940), former vaudeville comedian \nPaul F. Tompkins (born 1968), actor and comedian\nJean Vander Pyl (1919–1999), former actress, voice of Wilma Flintstone and Rosie the Robot Maid\nTom Verica (born 1964), actor\nNancy Walker (1922–1992), former actress and director\nBrendan Walter (born 1986), actor, director, and guitarist\nBruce Walsh, playwright\nJeff Ward (born 1986), actor\nWee Willie Webber (1929–2010), former local radio and television personality\nJohn Sylvester White (1919–1988), former television actor\nKaren Malina White (born 1965), actress\nNafessa Williams, actress\nKenya D. Williamson, actress and screenwriter\nThomas F. Wilson (born 1959), actor and stand-up comic\nDanny Woodburn (born 1964), actor and comedian\nEd Wynn (1886–1966), former actor and comedian, Uncle Albert in Walt Disney's Mary Poppins\nJohn Zacherle (1918–2016), former actor, producer, and television horror host\n\nHistorical figures\n\nDavid Hayes Agnew (1818–1892), former surgeon and teacher\nRobert Aitken (1734–1802), former publisher of first Bible in North America\nLouisa May Alcott (1832–1888), novelist\nAndrew Allen (1740–1825), former delegate to Continental Congress\nHarrison Allen (1841–1897), former anatomist and physician\nJoseph Anderson (1757–1837), former United States Senator\nMary Stevens Beall (1854–1917), historian, writer, librarian\nCharles John Biddle (1819–1873), former U.S. House of Representatives member\nEdward Biddle (1738–1779), American Founding Father, soldier, lawyer, statesman, and delegate to Continental Congress\nFrancis Biddle (1886–1968), former U.S. Solicitor General, U.S. Attorney General, and Nuremberg trials principal judge\nNicholas Biddle (1786–1844), former financier and Second Bank of the United States president\nNicholas Biddle (1750–1778), Continental Navy original captain\nRichard Biddle (1796–1847), former U.S. House of Representatives member\nJohn C. Bowers (1811–1873), former entrepreneur, organist, and vestryman, and founding member of first Grand United Order of Odd Fellows\nThomas Bowers (c. 1823–1885), former concert artist\nEd Bradley (1941–2006), former CBS News radio journalist and television journalist\nHenry \"Box\" Brown (c.1815–1897), abolitionist who escaped to freedom by arranging to have himself mailed in crate to abolitionists in Philadelphia\nWilliam C. Bullitt, Jr. (1891–1967), former diplomat who conducted special mission to negotiate with Vladimir Lenin on behalf of the Paris Peace Conference and first U.S. ambassador to Soviet Union and U.S. ambassador to France during World War II. \nBebe Moore Campbell (1950–2006), former author, journalist, and teacher\nSamuel Carpenter (1649–1714), first Pennsylvania Treasurer and deputy governor to William Penn\nOctavius Valentine Catto (1839–1871), former educator, civil rights activist, and baseball player\nEmilie Davis (1839–1889), former writer who kept American Civil War diary\nEmma V. Day (1853–1895), former missionary to Liberia\nMarguerite de Angeli (1889–1987), former author and illustrator\nBranson DeCou (1892-1941), photographer and traveler\nHarriet Schneider French (1824–1906), former physician and temperance movement activist\nHenry George (1839–1897), former political economist and author, inspired economic philosophy known as Georgism\nT. Adelaide Goodno (1858-1931), social reformer\nCharlotte Forten Grimké (1837–1914), former abolitionist, poet, and educator\nBenjamin Guggenheim (1865–1912), former businessman who died aboard the RMS Titanic\nJohn von Sonnentag de Havilland (1826–1886), former American officer of arms in England\nA. Leon Higginbotham Jr. (1928–1998), former Kerner Commission commissioner, U.S. Court of Appeals for the Third Circuit judge, and Presidential Medal of Freedom recipient\nAntonija Höffern (1803–1871), Slovenian noblewoman and educator, first Slovenian woman to immigrate to the United States\nJohn A. Hostetler (1918–2001), former author, educator, and Amish and Hutterite scholar\nRebecca Jones (1739-1818), former Quaker minister and educator\nGrace Kelly (1929–1982), former princess of Monaco and actress\nGeorge Lippard (1822–1854), former novelist, journalist, playwright, social activist, and labor organizer\nAlain LeRoy Locke (1885–1954), former writer, Harlem Renaissance figure, and first African American Rhodes Scholar\nHenry C. McCook (1837–1911), former entomologist, clergyman, author, and Philadelphia city flag designer\nJoseph McKenna (1843–1926), former U.S. Supreme Court associate justice, U.S. Attorney General, and U.S. House of Representatives member\nThomas Mifflin (1744–1800), Continental Army major general, fifth president of U.S. Congress, first Pennsylvania governor, and Founding Father\nAnna Balmer Myers (1884–1972), former author\nRobert N. C. Nix Jr. (1928–2003), former chief justice, Supreme Court of Pennsylvania\nGeorge W. Pepper (1867–1961), former attorney and U.S. Senator\nWilliam Pepper (1843–1898), former Free Library of Philadelphia founder and University of Pennsylvania provost\nPhilip Syng Physick (1768–1837), former physician known as father of American surgery\nMarcus Aurelius Root (1808–1888), leading daguerreotypist and author\nBetsy Ross (1752–1836), sewed first American flag known as the Betsy Ross flag\nBenjamin Rush (1746–1813), former physician, politician, social reformer, humanitarian, educator, and Founding Father who signed the Declaration of Independence\nPeggy Shippen (1760–1804), former to American Revolution traitor Benedict Arnold and highest-paid spy in the American Revolution\nLeon Sullivan (1922–2001), former Baptist minister and social activist\nManuel Torres (1762–1822), first Colombian ambassador to the U.S.\nThomas Truxton (1755–1822), former American naval officer who rose to commodore\nFrank J. Webb (1828–c. 1894), former novelist, poet, essayist, and writer\n\nMedia and literature\n\nIsaac Ashmead (1790–1870), former printer who served in the War of 1812\nIsaac Asimov (1920–1992), former science fiction author\nTony Auth (1942–2014), former editorial cartoonist and Pulitzer Prize and Herblock Prize winner \nDoug Banks (1958–2016), former nationally syndicated morning radio host\nLeslie Esdaile Banks (1959–2011), former author\nDonald Barthelme (1931–1989), former author\nStan and Jan Berenstain (1923–2005), former children's writing and illustration couple\nEvelyn Berckman (1900–1978), former author\nBen Bova (1932–2020), former science fiction author\nMary D. R. Boyd (1809–1893), former children's book author\nEd Bradley (1941–2006), former journalist, 60 Minutes\nTony Bruno (born 1952), sports radio talk show host\nMaxwell Struthers Burt (1882–1954), former novelist, poet, and author\nNathaniel Burt (1913–2003), former novelist, poet, composer, and author\nFrancesca Anna Canfield (1803–1833), former linguist and writer\nAngelo Cataldi (born 1951), sports radio host\nRenee Chenault-Fattah (born 1957), WCAU-TV news anchor and wife of U.S. Representative Chaka Fattah\nMary M. Cohen (1854–1911), former social economist, journalist, belletrist, and educator\nMichael Connelly (born 1956), author\nBenjamin De Casseres (1873–1945), former journalist, critic, essayist, and poet\nJoseph Dennie (1768–1812), former essaysist, The Lay Preacher, and The Port Folio founding editor\nPete Dexter (born 1943), journalist, novelist, and National Book Award-winner\nCatharine H. Esling (1812–1897), former hymn writer and poet\nCourtney Friel (born 1980), KTLA-TV news anchor and reporter \nCharles Fuller (born 1939), playwright, Pulitzer Prize for Drama recipient, and Tony Award for Best Revival of a Play winner\nJim Gardner (born 1948), WPVI-TV news anchor\nMike Golic (born 1962), ESPN radio and television personality, former Philadelphia Eagles professional football player\nDavid Goodis (1917–1967), former author\nTerry Gross (born 1951), radio host and co-executive producer, Fresh Air\nJohn Harvey (born 1951), radio and television personality\nAries Keck, author and radio reporter\nSuzy Kolber (born 1964), television sportscaster\nAndrea Kremer (born 1959), television sportscaster\nBob Lassiter (1945–2006), former left-wing radio host\nMark Levin (born 1957), lawyer, author, and radio personality\nRachel Levin (born 1995), YouTuber, and beauty guru\nJonathan Maberry (born 1958), suspense author, anthology editor, comic book writer, magazine feature writer, playwright, content creator, writing teacher and lecturer\nMichelle Malkin (born 1970), political commentator\nChris Matthews (born 1945), NBC and MSNBC journalist and talk show host\nEdith May (1827–1903), former writer and poet\nBrian McDonough, medical editor, author, and physician\nJim McKay (1921–2008), former ABC sports journalist\nChris McKendry (born 1968), ESPN SportsCenter anchor\nLarry Mendte (born 1957), KYW-TV news anchor\nJames A. Michener (1907–1997), former author\nAubertine Woodward Moore (1841–1929), former musician, writer, musical critic, translator, and lecturer\nChristopher Morley (1890–1957), former novelist, short-story writer, and poet\nWesley Morris (born 1975), film critic and podcast host\nThom Nickels, author and journalist\nJoe Queenan (born 1950), author and humorist\nMatthew Quick (born 1973), author, The Silver Linings Playbook\nEdgar Allan Poe (1809–1849), former novelist and short-story writer\nChaim Potok (1929–2002), former novelist and author, The Chosen and The Promise\nRichard P. Powell (1908–1999), former novelist\nBeasley Reece (born 1954), KYW-TV sports journalist and former professional football player, Philadelphia Eagles\nDave Roberts (born 1936), WPVI-TV meteorologist and former co-host, AM Philadelphia\nLisa Scottoline (born 1955), author and attorney\nPeter Shellem (1960–2009), former Patriot News journalist who obtained release of five wrongfully convicted innocent people\nVai Sikahema (born 1962), WCAU-TV sports journalist and former professional football player, Philadelphia Eagles\nMichael Smerconish (born 1962), WPHT-AM radio talk show host, Philadelphia Daily News columnist, and MSNBC political analyst\nAnna Bustill Smith (1862–1945), author, genealogist, and suffragist\nStephen A. Smith (born 1967), ESPN radio and television personality, former Philadelphia Inquirer sports columnist\nArthur R. G. Solmssen (1928–2018), former attorney and novelist\nKristie Lu Stout (born 1974), journalist\nDuane Swierczynski (born 1972), author and former Philadelphia City Paper editor\nOmar Tyree (born 1969), author\nJeannette Walworth (1835–1918), former novelist and journalist\nUkee Washington (born 1958), KYW-TV news anchor\nJesse Watters (born 1978), political commentator and author\nJennifer Weiner (born 1970), author \nKristen Welker (born 1976), television journalist and NBC News White House correspondent\nWalt Whitman (1819–1892), former poet, essayist, and journalist\nWilliam Wharton (1925–2008), former author, Birdy\n\nMilitary figures\n\nHenry Harley \"Hap\" Arnold (1886–1950), former U.S. Army general, Air Force general, and World War I hero known as father of the U.S. Air Force\nAlbert Blithe (1923–1967), former U.S. Army paratrooper featured in Band of Brothers\nLouis H. Carpenter (1839–1916), former Brigadier General, Medal of Honor recipient and veteran, Civil War, American Indian War, and Spanish–American War\nGeorge F. Good Jr. (1901–1991), former U.S. Marine Corps lieutenant general, commanded Marine defense battalions during World War II\nWilliam Guarnere (1923–2014), former U.S. Army staff sergeant featured in Band of Brothers\nAlexander Haig (1924–2010), former U.S. military officer, diplomat, U.S. Secretary of State\nEdward Heffron (1923–2013), former U.S. Army Private featured in Band of Brothers'\nJohn Lawson (1837–1919), former U.S. Navy sailor and Medal of Honor recipient\nGeorge B. McClellan (1826–1885), former Union Army general and presidential candidate\nH. R. McMaster (born 1962), major general and presidential chief of staff\nJohn J. McVeigh (1921–1944), former Medal of Honor recipient for actions during Battle for Brest \nGeorge Gordon Meade (1815–1872), former Union army general and victor at the Battle of Gettysburg\nThomas H. Neill (1826–1885), former Union Army general\nJohn C. Pemberton (1814–1881), former Commander of Confederate defenders at Siege of Vicksburg\nCharles Sutherland (1831–1895), former Surgeon General of U.S. Army\n\nMusic\n\nAndrew Adgate (1762–1793), former musician, founder of music schools, and choir director\nAl Alberts (1922–2009), former singer, The Four Aces\nMarian Anderson (1897–1993), former opera singer and contralto\nFrankie Avalon (born 1940), singer and actor\nBaauer (born 1989), DJ and producer\nRachel Bagby, author, composer, singer, and composer\nBahamadia (born 1966), rapper known as Bahamadia\nPearl Bailey (1918–1990), former singer, dancer, and actress\nCharli Baltimore (born 1974), hip hop artist\nSamuel Barber (1910–1981), former composer, pianist, conductor, baritone, music educator, and composer\nLen Barry (1942–2020), former recording star, vocalist, songwriter, lyricist, record producer, author, and poet\nToni Basil (born 1943), singer, \"Mickey\"\nDiane Meredith Belcher (born 1960), concert organist, teacher, and church musician\nSteve Berlin, (born 1955), keyboardist and saxophone player, Los Lobos\nEmile Berliner (1851–1929), former inventor of the flat disc record, the gramophone, founder of Victor Talking Machine Company, and Gramophone Company\nFrankie Beverly (born 1946), R&B singer and musician, founder and lead singer of Maze featuring Frankie Beverly\nCharlie Biddle (1926–2003), former jazz bassist\nBilal (born 1979), neo-soul singer and musician\nCindy Birdsong (born 1939), founding member, Labelle, and replacement member, Diana Ross & the Supremes\nJoe Bonsall (born 1948), country music singer and member of The Oak Ridge Boys\nDante Bucci (1980–2014), former handpan musician\nLil Dicky (born 1988), rapper known as \"Lil Dicky\"\nSolomon Burke (c. 1936 or 1940–2010), former R&B singer\nUri Caine (born 1956), composer, arranger, and jazz pianist \nCassidy (born 1982), rapper\nSarah Chang (born 1980), child prodigy violinist with major orchestras\nChubby Checker (born 1941), singer\nNoam Chomsky (born 1928), progressive activist\nStanley Clarke (born 1951), bassist\nAlice Cohen (born 1958), singer and songwriter known as Alice Desoto\nJohn Coltrane (1926–1967), former jazz saxophonist\nNorman Connors (born 1947), singer \nTommy Conwell (born 1962), guitarist, songwriter, and performer\nCool C (born 1969), rapper\nJim Croce (1943–1973), former singer\nJames Darren (born 1936), singer and actor\nRick DeJesus (born 1983), lead singer, Adelitas Way\nJames DePreist (1936–2013), former orchestra conductor\nDieselboy (born 1972), drum and bass DJ and producer\nFred Diodati, lead singer, The Four Aces\nDiplo (born 1978), DJ and producer\nBill Doggett (1916–1996), former jazz and R&B organist and pianist\nGail Ann Dorsey (born 1962), bassist\nCharles Earland (1941–1999), former organist\nNathan East (born 1955), jazz, R&B, rock bass player, and vocalist\nKevin Eubanks (born 1957), jazz guitarist\nRobin Eubanks (born 1955), jazz trombonist\nDuane Eubanks (born 1969), jazz trumpeter\nEve (born 1978), rapper and actress\nFabian (born 1943), singer and actor\nNick Falcon (born 1968), guitarist, composer, lyricist, and singer\nSheila Ferguson (born 1947), singer, The Three Degrees\nWilhelmenia Fernandez (born 1949), opera singer and soprano\nRachelle Ferrell (born 1961), jazz vocalist\nEddie Fisher (1928–2010), former singer and actor\nSam Fogarino (born 1968), rock music drummer, Interpol\nFreeway (born 1978), rapper\nKenny Gamble (born 1943), producer and co-founder, Philadelphia International Records\nMelody Gardot (born 1985), jazz singer\nStan Getz (1927–1991), former jazz saxophonist\nBenny Golson (born 1929), jazz saxophonist\nCharlie Gracie (born 1936), rock singer\nGogi Grant (1924–2016), former singer, \"The Wayward Wind\"\nAnthony Green (born 1982), singer, Saosin and Circa Survive\nVivian Green (born 1979), R&B singer\nDaryl Hall (born 1946), singer and half of Hall & Oates duo\nJoseph Hallman (born 1979), composer, arranger, singer, and producer\nRufus Harley (1936–2006), former jazz musician and first jazz musician to use Great Highland bagpipe as primary instrument\nRobert Hazard (1948–2008), former new wave musician and composer\nAlbert Heath (born 1935), jazz drummer\nJimmy Heath (1926–2020), former jazz saxophonist\nPercy Heath (1923–2005), former jazz bassist\nLeon Huff (born 1942), producer and co-founder, Philadelphia International Records\nPhyllis Hyman (1949–1995), former R&B and jazz vocalist\nDJ Jazzy Jeff (born 1965), hip-hop DJ, neo-soul producer, and half DJ Jazzy Jeff & the Fresh Prince duo\nJoan Jett (born 1958), rock musician\nPhilly Joe Jones (1923–1985), former jazz drummer\nKitty Kallen (1921–2016), former pop singer\nJason Karaban, singer and songwriter\nTom Keifer (born 1961), glam metal vocalist, Cinderella\nKeith (born 1949), singer who wrote \"98.6\"\nBill Kenny (1914–1978), former singer \nKhia (born 1977), rapper\nKing Britt (born 1968), house DJ and producer\nKurupt (born 1972), rapper\nPatti LaBelle (born 1944), R&B & soul singer and actress\nMario Lanza (1921–1959), former operatic singer\nLil Uzi Vert (born 1995), rapper and hip hop artist\nLynda Laurence (born 1949), part of Stevie Wonder's backup group The Third Generation and part of The Supremes\nAmos Lee (born 1977), folk and blues singer\nLisa \"Left Eye\" Lopes (1971–2002), former member, TLC\nMonie Love (born 1970), rapper and radio personality\nLeonard MacClain (1899–1967), former theatre organist\nAl Martino (1927–2009), former singer and actor, Johnny Fontane in The GodfatherPat Martino (1944–2021), former jazz guitarist\nBarbara Mason (born 1947), R&B singer and composer\nChristian McBride (born 1972), jazz bassist\nMarian Anderson (1897–1993), former gospel singer\nMarshmello (born 1992), DJ and producer\nMeek Mill (born 1987), rapper\nLizzy McAlpine (born 1999), singer and songwriter.\nMs. Jade (born 1979), hip hop artist\nLee Morgan (1938–1972), former jazz trumpeter and composer\nJames Mtume (1946-2022), former R&B and jazz musician and founder of Mtume\nMusiq Soulchild (born 1977), R&B and neo-soul singer\nJames E. Myers (1919–2001), former songwriter, actor, and co-writer of \"Rock Around the Clock\"\nMarc Nelson (born 1971), R&B singer, Boyz II Men and Az Yet\nLobo Nocho (1919–1997), jazz singer\nJohn Oates (born 1948), singer and half of Hall & Oates duo\nMaurie Orodenker (1908–1993), former journalist, music critic, and advertising agency executive who coined the term \"rock and roll\"\nHugh Panaro (born 1964), tenor singer, Broadway and opera\nBilly Paul (1934–2016), former Grammy Award-winning soul singer\nVinnie Paz (born 1977), rapper, founder of Jedi Mind Tricks and Army of the Pharaohs\nPeedi Peedi (born 1977), rapper\nTeddy Pendergrass (1950–2010), former R&B singer, Harold Melvin & the Blue Notes\nChristina Perri (born 1986), singer\nVincent Persichetti (1915–1987), former composer and music educator\nPink (born 1979), R&B and rock music singer\nFayette Pinkney (1948–2009), former singer, The Three Degrees\nTrudy Pitts (1932–2010), former jazz keyboardist\nPrincess Superstar (born 1971), hip hop performer\nQuestlove (born 1971), drummer, producer, DJ, writer, journalist, and photographer\nSun Ra (1914–1993), former jazz pianist and band leader\nDanny Rapp (1941–1983), former singer, Danny & the Juniors\nJoe Renzetti, guitarist and Oscar Award winner\nRes, R&B singer\nRJD2 (born 1976), producer\nPaul Robeson (1898–1976), former singer, activist, attorney, and All-American collegiate athlete\nPnB Rock (1991–2022) rapper\nJack Rose (1971–2009), former guitarist\nTodd Rundgren (born 1948), musician, singer, songwriter, and producer\nBobby Rydell (born 1942–2022), former singer and actor\nSantigold (born 1976), punk singer\nJohn Sebastian (1914–1980), former classical harmonica player and composer\nDanny Sembello (1963-2015), R&B singer, songwriter, record producer, and multi-instrumentalist\nMichael Sembello (born 1954), R&B singer, guitarist, keyboardist, and songwriter\nSchoolly D (born 1962), rapper\nJill Scott (born 1972), R&B and neo-soul singer\nShirley Scott (1934–2002), former organist \nMusiq Soulchild (born 1977), R&B and neo-soul singer\nDee Dee Sharp (born 1945), singer and actress\nGene Shay (1935–2020), former folk music musician\nOscar Shumsky (1917–2000), former violinist and conductor\nBeanie Sigel (born 1974), rapper\nBunny Sigler (1941–2017), former R&B singer, multi-instrumentalist, composer, and producer\nSteady B (born 1969), rapper\nJazmine Sullivan (born 1987), R&B and soul vocalist, 12-time Grammy Award nominee, and two-time BET Award-winner\nWilliam Takacs (born 1973), trumpet player\nTammi Terrell (1945–1970), former soul, R&B, and Motown singer\nRussell Thompkins Jr. (born 1951), soul and R&B singer \nTariq \"Black Thought\" Trotter (born 1973), lead MC and co-founder, The Roots\nRobbie Tronco, DJ\nIra Tucker (1925–2008), former lead singer, The Dixie Hummingbirds\nMcCoy Tyner (1938–2020), former jazz pianist and composer, John Coltrane quartet \nCharlie Ventura (born 1916), tenor saxophonist and band leader \nKurt Vile (born 1980), guitarist and vocalist\nLee Ving (born 1950), singer and songwriter, frontman of hardcore punk band Fear\nJohannes von Trapp (born 1939), singer and member of Trapp Family\nEvan Sewell Wallace (1982–2017), former singer, songwriter, and rapper known as \"E-Dubble\"\nClara Ward (1924–1973), former gospel singer\nGrover Washington Jr. (1943–1999), former jazz saxophonist and founder of smooth jazz genre\nCrystal Waters (born 1961), dance and house music singer\nEthel Waters (1896–1977), former blues singer and actress\nAndré Watts (born 1946), pianist\nPamela Williams (born 1963), jazz saxophonist\nJosh Wink (born 1970), DJ and electronic music producer\nKaren Young (1951–1991), former disco singer\nDalex (Born 1990),Singer \n\nPolitics\n\nLeon Abbett (1836–1894), former New Jersey governor\nLynne Abraham (born 1941), Philadelphia district attorney\nWilliam Allen (1704–1780), former Philadelphia mayor\nChris Bartlett (born 1966), LGBT activist\nRaj Bhakta (born 1975), Congressional candidate and contestant, The Apprentice Season 2Michael J. Bradley (1897–1979), former U.S. House of Representatives member\nWinfield S. Braddock (1848–1920), former Wisconsin State Assembly member\nBob Brady (born 1945), member, U.S. House of Representatives, Philadelphia mayoral candidate, NBC Universal and Independence Blue Cross lobbyist\nRaymond J. Broderick (1914–2000), former U.S. federal judge\nWilliam T. Cahill (1912–1996), former New Jersey governor\nAshton Carter (born 1954), physicist, Harvard University professor, and U.S. Secretary of Defense\nAugusta Clark (1932–2013), former librarian, politician, lawyer, and second African-American woman to serve on Philadelphia City Council\nJoseph S. Clark (1901–1990), former Philadelphia mayor and U.S. Senator\nMark B. Cohen (born 1949), member, Pennsylvania House of Representatives, Democratic leader of Pennsylvania House, and chairman, House Labor Relations Committee\nHenry Conner (1837–died), former member, Wisconsin State Senate\nGeorge M. Dallas (1792–1864), former U.S. vice president\nRichardson Dilworth (1898–1974), former attorney, Philadelphia district attorney, and Philadelphia mayor\nDwight E. Evans (born 1954), member, Pennsylvania House of Representatives and former Philadelphia mayoral candidate\nGeorge H. Earle Sr. (1823–1907), founder of the Republican Party, abolitionist, and lawyer who represented fugitive slaves\nChaka Fattah (born 1956), member, U.S. House of Representatives and former Philadelphia mayoral candidate\nDouglas J. Feith (born 1953), Undersecretary of Defense and Iraq policy adviser\nTom Feeney (born 1958), Florida politician\nJames Forten (1766–1842), former African-American businessman, abolitionist leader, and sailmaker\nBenjamin Franklin (1706–1790), Founding Father, polymath, writer, scientist, inventor, statesman, diplomat, printer, publisher, political philosopher\nShirley Franklin (born 1945), former Atlanta major\nMifflin Wistar Gibbs (1823–1915), former lawyer, judge, diplomat, and banker\nW. Wilson Goode (born 1938), former Philadelphia mayor\nW. Wilson Goode Jr. (born 1965), former Philadelphia City Council at-large member\nOscar Goodman (born 1939), attorney and former Las Vegas mayor\nJames P. Gourley, former Pennsylvania House of Representatives member\nWilliam H. Gray (1941–2013), former Baptist minister, former U.S. House of Representatives member, and former United Negro College Fund president\nWilliam J. Green III (born 1938), former Philadelphia major and U.S. House of Representatives member\nSimon Guggenheim (1867–1941), former U.S. Senator and philanthropist\nAlexander Haig (1924–2010), former U.S. Secretary of State and White House Chief of Staff\nRichard Helms (1913–2002), former Central Intelligence Agency director\nCharles W. Heyl (1857–1936), former businessman, fire chief, and politician\nMichael Johns (born 1964), former White House presidential speechwriter\nJoseph L. Kun (1882–1961), former judge, Philadelphia Court of Common Pleas\nGeorge Landenberger (1879–1936), former American Samoa governor\nFrank J. Larkin (born 1955), U.S. Senate sergeant at arms\nJohn J. McCloy (1895–1989), former Chase Manhattan Bank and Ford Foundation chairman, Assistant U.S. Secretary of War during World War II, and Allies' high commissioner of Germany\nRobert F. McDonnell (born 1954), former Virginia governor\nKatie McGinty (born 1963), U.S. Senate nominee, chair, Council on Environmental Quality, and former chief of staff to Pennsylvania governor Tom Wolf\nJ. Whyatt Mondesire (1949–2015), former president, NAACP Philadelphia chapter\nCecil B. Moore (1915–1979), former Philadelphia city council member and civil rights activist\nPatrick Murphy (born 1973), former member, U.S. House of Representatives\nBenjamin Netanyahu (born 1949), former Prime Minister of Israel\nRobert N.C. Nix Sr. (1898–1987), former member, U.S. House of Representatives\nMichael A. Nutter (born 1957), former Philadelphia mayor and member, Philadelphia City Council\nDennis M. O'Brien (born 1952), former member, Pennsylvania House of Representatives and Pennsylvania House of Representatives speaker\nTony J. Payton Jr. (born 1981), former member, Pennsylvania House of Representatives\nBoies Penrose (1860–1921), former U.S. Senator and party boss\nHarriet Forten Purvis (1810–1875), abolitionist leader\nCharles H. Ramsey (born 1950), former Philadelphia police commissioner\nSamuel J. Randall (1828–1890), former U.S. House of Representatives member and Speaker of the House\nEd Rendell (born 1944), former Pennsylvania governor, Philadelphia mayor, and Philadelphia district attorney\nFrank Rizzo (1920–1991), former Philadelphia mayor and police commissioner\nJohn Robbins (1808–1880), former U.S. House of Representatives member\nAllyson Schwartz (born 1948), member, U.S. House of Representatives\nThomas Smith (born 1805), former Indiana Supreme Court justice, Pennsylvania General Assembly member, and writer \nArlen Specter (1930–2012), former U.S. Senator and Philadelphia district attorney\nBen Stahl (1915–1998), former labor leader and activist\nJohn F. Street (born 1943), former Philadelphia mayor\nMilton Street (born 1941), entrepreneur, former Pennsylvania state legislator, and Philadelphia City Council candidate\nNorman Sussman (1905–1969), former Wisconsin state senator\nJoel Barlow Sutherland (1792–1861), former member, U.S. House of Representatives\nAl Taubenberger (born 1953), former Philadelphia mayoral candidate\nJohn Timoney (1948–2016), former Philadelphia police commissioner and Miami police chief\nGregory Tony (born 1978), Sheriff of Broward County, Florida\nC. Delores Tucker (1927–2005), former civil rights activist and Pennsylvania Secretary of State\nAnna C. Verna (1931–2021), former Philadelphia City Council member and president\nCharles A. Waters (1892–1972), Pennsylvania Auditor General, State Treasurer, and president judge of the Philadelphia County Court of Common Pleas\nR. Seth Williams (born 1967), Philadelphia district attorney\nFernando Wood (1812–1881), former Mayor of New York\n\nSports\n\nChris Achuff (born 1975), defensive line coach, Syracuse University\nJohn Abadie (1854–1905), former professional baseball player, Brooklyn Atlantics and Philadelphia Athletics\nCal Abrams (1924–1997), former professional baseball player, Baltimore Orioles, Brooklyn Dodgers, Chicago White Sox, Cincinnati Reds, and Pittsburgh Pirates\nChris Albright (born 1979), MLS defender, FC Cincinnati\nDick Allen (1942–2020), former professional baseball player, Chicago White Sox, Oakland Athletics, Los Angeles Dodgers, Philadelphia Phillies, and St. Louis Cardinals, National League Rookie of the Year, and seven-time All-Star\nDoug Allison (1846–1916), first professional baseball player ever to use a baseball glove\nEddie Alvarez (born 1984), mixed martial artist, ONE Championship\nRubén Amaro Jr. (born 1965), former professional baseball player, general manager, and coach\nPaul Arizin (1928–2006), former professional basketball player, Camden Bullets and Philadelphia Warriors\nCharles Barkley (born 1963), former Philadelphia 76ers professional basketball player, NBA MVP, 11-time All-Star, and Naismith Memorial Basketball Hall of Fame member\nDeion Barnes (born 1993), former professional football player, Kansas City Chiefs and New York Jets\nReds Bassman (1913–2010), former professional football player, Philadelphia Eagles\nBert Bell (1895–1959), founder of Philadelphia Eagles football team and former NFL commissioner\nBarney Berlinger (1908–2002), former 1928 Summer Olympics decathlete\nMohini Bhardwaj (born 1978), former 2004 Summer Olympics gymnast\nTyrell Biggs (born 1960), former boxer, 1984 Summer Olympics gold medalist\nEd Blaney (born 1951), retired professional soccer player\nAudrey Bleiler (1933–1975), former All-American Girls Professional Baseball League player, South Bend Blue Sox\n Chaim Bloom (born 1983), Boston Red Sox chief baseball officer\nThomas Brennan (1922–2003), former professional hockey player, Boston Bruins \nCharles Brewer (born 1969), former boxer and IBF super middleweight champion \nDerek Bryant (born 1971) former heavyweight boxer\nKobe Bryant (1978–2020), former professional basketball player and five-time NBA Finals champion\nMichael Brooks (1958–2016), former professional basketball player\nRoy Campanella (1921–1993), former professional baseball player, three-time National League Most Valuable Player\nWilt Chamberlain (1936–1999), former professional basketball player and two-time NBA champion\nBen Clime (1891–1973), former professional football player\nRandall \"Tex\" Cobb (born 1950), former boxer and actor\nTim Cooney (born 1990), professional baseball player\nDon Cohan (1930–2018), 1972 Olympic bronze medalist, sailing\nBrian Cohen (born 1976), professional boxer\nJulia Cohen (born 1989) professional tennis player\nSteve Coleman (born 1950), former professional football player\nBobby Convey (born 1983), professional soccer player for the San Jose Earthquakes and the U.S. Men's National Soccer team\nTyrone Crawley (1958–2021), former boxer\nFran Crippen (1984–2010), former professional swimmer\nMaddy Crippen (born 1980), swimmer in 2000 Olympics \nRay Culp (born 1941), Phillies right-handed pitcher and runner-up to Dick Allen for National League Rookie of the Year\nSteve Cunningham (born 1976), boxer and cruiserweight champion\nBrandon Davies (born 1991), American-born Ugandan professional basketball player\nMatthew \"Super\" DeLisi (born 2000), esports player\nOllie Dobbins (born 1941), football player\nBuster Drayton (born 1952), former boxer and light middleweight (super welterweight) champion\nJon Drummond (born 1968), former track and field athlete, 1996 and 2000 Olympic medalist\nDave Dunaway (1945–2001), former professional football player\nAngelo Dundee (1921–2012), former boxing trainer\nFred Dunlap (1859–1902), former professional baseball player\nJohn Edelman (born 1935), former professional baseball player \nGary Emanuel (born 1958), defensive line coach, Atlanta Falcons\nJulius Erving (born 1950), Philadelphia 76ers 11-time All-Star, 2-time NBA champion, two-time ABA champion, Naismith Memorial Basketball Hall of Fame member\nJahri Evans (born 1983), former professional football player\n D'or Fischer (born 1981), Israeli-American basketball player, Israeli National League\n Craig Fitzgerald, professional football coach\nJoe Flacco (born 1985), professional football player\nFrancine Fournier (born 1972), professional wrestling valet, Extreme Championship Wrestling\nJoe Frazier (1944–2011), former boxer, 1964 Olympic gold medalist and former world heavyweight champion\nMarvis Frazier (born 1960), boxer\nHarry Fritz (1890–1974), former baseball player\nJim \"Sandman\" Fullington (born 1963), former professional wrestler, Extreme Championship Wrestling and WWE\nMark Gerban (born 1979), first world champion rower, Palestine\nEddie George (born 1973), former professional football player and Heisman Trophy winner\nKerry Getz (born 1975), professional skateboarder\nJoey Giardello (1930–2008), former professional boxer and middleweight champion\nTom Gola (1933–2014), former professional basketball player, La Salle University men's basketball head coach, and Philadelphia mayoral candidate\nBrent Grimes (born 1983), former professional football player\nRandy Grossman (born 1952), former professional football player and four-time Super Bowl Champion\nMark Gubicza (born 1962), former professional baseball player \nDrew Gulak (born 1987), professional wrestler\nMatt Guokas (born 1944), former professional basketball player and coach\nBrendan Hansen (born 1981), Olympic swimmer\nEric Harding (born 1972), boxer\nMarvin Harrison (born 1972), former professional football player\nKirk Hershey (1918–1979), former professional football player\nBill Holland (1907–1984), 1949 Indianapolis 500 winner and three-time second-place finisher \nBernard Hopkins (1965), former boxer and world middleweight champion\nDemetrius Hopkins (1980), boxer \nAllen Iverson (born 1975), Philadelphia 76ers professional basketball player, 11-time All-Star, NBA MVP, Naismith Memorial Basketball Hall of Fame member\nMichael Iaconelli (born 1972) professional bass angler and winner of 2003 Bassmaster Classic\nReggie Jackson (born 1946), former Hall of Fame baseball player\nJudith Jamison (born 1943), dancer; choreographer, and artistic director, Alvin Ailey American Dance Theater\nJoe Judge (born 1981), professional football head coach, New York Giants\n Gabe Kapler (born 1976), professional baseball player and manager\nJohn B. Kelly Sr. (1889–1960), former triple Olympic gold medal winner, rowing\nJohn B. Kelly Jr. (1927–1985), former champion rower\nFlorian Kempf (born 1956), former football player\nMatt Kilroy (1866–1940), former professional baseball player\nSam Kimber (1854–1925), former professional baseball player\nBart King (1873–1965), former cricket bowler\nKenny Koplove (born 1993), former baseball player\nMike Koplove (born 1976), former professional baseball pitcher\nJulian Krinsky, tennis player\nRick Lackman (1910–1990), former professional football player\nDave LaCrosse (born 1955), former professional player\nSonny Liston (c.1930–c. 1970), former boxer and world heavyweight champion\nTommy Loughran (1902–1982), former boxer and light heavyweight champion\nHarry Luff (1856-1916), Major League Baseball player\nJohn Macionis (1916–2012), former Olympic swimmer, 1936 silver medalist\nBrooke Makler (1951–2010), former Olympic fencer\nPaul Makler Jr. (born 1946), former Olympic fencer\nPaul Makler Sr. (1920–2022), former Olympic fencer \nDonovan McNabb (born 1976), former professional football player, Philadelphia Eagles \nDick McBride (1847–1916), former baseball player and manager\nJohn McDermott (1891–1971), former professional golfer\nBenny McLaughlin (1928–2012), former professional soccer player and member, U.S. Soccer Hall of Fame\nJake Metz (born 1991), football player\nLevi Meyerle (1849–1921), former professional baseball player\nNate Miller (born 1963), former boxer and cruiserweight champion\nAlvin Mitchell (born 1943), former football player\nTony Morgano (1913–1984), former boxer\nWillie Mosconi (1913–1993), former professional billiards player\nMatthew Saad Muhammad (1954–2014), former boxer and light heavyweight champion\nBrowning Nagle (born 1968), former professional football player\nJim O'Brien (born 1952), NBA coach\nVince Papale (born 1946), former professional football player, inspiration for the movie InvincibleKyle Pitts (born 2000), professional football player, Atlanta Falcons\nMike Powell (born 1963), former track and field athlete, 1988 and 1992 Olympic silver medalist and current long jump world record holder\nZahir Raheem (born 1976), boxer and 1996 Olympian\nJack Ramsay (1925–2014), former basketball coach, Saint Joseph's College men's team, NBA coach, general manager, television commentator, and Hall of Famer\nMerrill Reese (born 1942), Philadelphia Eagles radio broadcaster\nDavid Reid (born 1973), former boxer, 1996 Olympic gold medalist, light middleweight\nStevie Richards (born 1971), professional wrestler, Extreme Championship Wrestling and WWE\nRobin Roberts (1926–2010), former Phillies right-handed pitcher, Cy Young Award recipient, and member of the Baseball Hall of Fame\nIvan Robinson (born 1971), boxer\nAllen Rosenberg (1931–2013), former rower and rowing coach\nMike Schmidt (born 1949), former Phillies Golden Glove third baseman and member of Baseball Hall of Fame\nVic Seixas (born 1923), former tennis player\nKirk Shelmerdine (b 1958), former NASCAR driver and crew chief\nEd Sheridan (born 1957), retired professional soccer player\nSteve Slaton (born 1986), NFL player\nGunboat Smith (1887–1974), former boxer turned actor and boxing referee\nFrank Spellman (1922–2017), former Olympic champion weightlifter\nDavid Starr (born 1991), professional wrestler\nHarry Stovey (1856–1937), former professional baseball player\nJoe Sugden (1870–1959), former professional baseball player\nEric Tangradi (born 1989), professional hockey player\nMeldrick Taylor (born 1966), former boxer, 1984 Olympic gold medalist, welterweight and junior welterweight champion\nAaron Torres (born 1978), boxer and contestant on The Contender 2Najai Turpin (1981–2005), former boxer and contestant on The ContenderHarp Vaughan (1903–1978), former professional football player\nIosif Vitebskiy (born 1938), former Soviet/Ukrainian Olympic medalist and world champion fencer and fencing coach\nJohn Waerig (born 1976), former professional football player\nSteve Wagner (born 1967), former Olympic field hockey player\nBobby \"Boogaloo\" Watts (born 1949), former boxer\nCharles Way (born 1972), former professional football player\nReece Whitley (born 2000), swimmer and former Sports Illustrated Kid of the Year\nErik Williams (born 1968), former professional football player, Dallas Cowboys\nIke Williams (1923–1994), former boxer and lightweight champion\nJoe Williams (born 1942) former football player\nStevie Williams (born 1979), professional skateboarder\nBrad Wanamaker (born 1989), professional basketball player, Boston Celtics\nNed Williamson (1857–1894), former professional baseball player\nGeorge Winslow (born 1963), former professional football player\nJimmy Young (1948–2005), former boxer\n\nPhiladelphia native basketball players\nRyan Arcidiacono (born 1994), professional basketball player, New York Knicks \nMike Bantom (born 1951), former professional basketball player, Indiana Pacers, New York Nets, Philadelphia 76ers, Phoenix Suns, and Seattle Seahawks\nGene Banks (born 1959), former professional basketball player, Chicago Bulls and San Antonio Spurs\nJoe \"Jellybean\" Bryant, former professional basketball player, Houston Rockets, Philadelphia 76ers, and San Diego Clippers\nKobe Bryant (1978–2020), former professional basketball player, Los Angeles Lakers\nRasual Butler (1979–2018), former professional basketball player\nTony Carr (born 1997), basketball player in the Israeli Premier Basketball League\nFred Carter (born 1945), NBA \nWilt Chamberlain (1936–1999), former professional basketball player\nDionte Christmas (born 1986), NBA \nBryan Cohen (born 1989), American-Israeli - Israel Basketball Premier League \nMardy Collins (born 1984), NBA \nDallas Comegys (born 1964), NBA \nMark Davis (born 1960), NBL (Australia) – Adelaide 36ers\nWayne Ellington (born 1987), NBA \nTyreke Evans (born 1989), NBA \nD'or Fischer (born 1981), American-Israeli\nEddie Griffin (1982–2007), former professional basketball player\nGerald Henderson Jr. (born 1987), NBA \nRondae Hollis-Jefferson (born 1995), professional basketball player\nDe'Andre Hunter (born 1997), current NBA player for the Atlanta Hawks\nMarc Jackson (born 1975), NBA \nAmile Jefferson (born 1993), NBA G League \nWali Jones (born 1942), NBA\nBo Kimble (born 1966), NBA\nRed Klotz (1920–2014), former American Basketball League basketball player \n Howard Lassoff (1955–2013), former American-Israeli basketball player\n Ryan Lexer (born 1976), American-Israeli former basketball player, Israeli Basketball Premier League\nKyle Lowry (born 1986), NBA \nAaron McKie (born 1972), NBA \nCuttino Mobley (born 1975), NBA \nEarl Monroe (born 1944), NBA \nMarcus Morris (born 1989), NBA\nMarkieff Morris (born 1989), NBA \nRonald \"Flip\" Murray (born 1979), NBA\nJameer Nelson (born 1982), NBA\nAaron Owens (born 1974), \nRed Rosan (1911–1976), former American Basketball League professional basketball player \nMalik Rose (born 1974), NBA \nJohn Salmons (born 1979), NBA\nArt Spector (1920–1987), former professional basketball player \nDawn Staley (born 1970), WNBA\nDion Waiters (born 1991), NBA \nRasheed Wallace (born 1974), NBA \nHakim Warrick (born 1982), NBA\nMike Watkins (born 1995), professional basketball player, Antwerp Giants in the BNXT League\nMaurice Watson (born 1993), Maccabi Rishon LeZion of the Israeli Basketball Premier League\nMaalik Wayns (born 1991), NBA \nAlvin Williams (born 1974), NBA\nKhalif Wyatt (born 1991), NBA G League\n\nOther\n\nRichard Allen (1760–1831), former African Methodist Episcopal Church bishop and abolitionist\nGloria Allred (born 1941), women's rights attorney\nHart O. Berg (1865–1941), former engineer and businessman\nAnna Pierce Hobbs Bixby (c. 1810–c. 1870), former midwife, frontier doctor, dentist, herbologist, and scientist who discovered cause of milk sickness\nGuion Bluford (born 1942), astronaut and first African-American in space\nFrank Erdman Boston (1890-1960), former physician\nStanley Branche (1933–1992), former civil rights activist and Philadelphia night club owner\nPete Conrad (1930–1999), former astronaut, third man to walk on the Moon with Apollo 12\nPercy Crawford (1902–1960), former clergyman and religious broadcaster\nWilbur Davenport (1920–2003), former engineer and scientist\nSteve DeAngelo (born 1958), social activist\nAnthony F. DePalma (1904–2005), orthopedic surgeon and medical school professor\nKatherine Drexel (1858–1955), former Roman Catholic saint\nWilliam Duane (1872–1935), former physicist\nDaniel Faulkner (1955–1981), former Philadelphia police officer killed in the line of duty; Mumia Abu-Jamal was convicted of his murder\nChristopher Ferguson (born 1961), former astronaut\nJacquelyn Frazier-Lyde (born 1961), Philadelphia municipal court judge and boxer\nBarbara Harris (1930–2020), former Anglican Communion bishop\nPaul B. Higginbotham (born 1954), judge, Wisconsin Court of Appeals\nGino Jennings (born 1963), religious leader, \nRuth Malcomson (1906–1988), former Miss America\nJames Martin (born 1960), Jesuit priest, writer, and commentator on modern Catholicism\nSeamus McCaffrey (born 1950), former justice, Supreme Court of Pennsylvania and presiding judge, \"Eagles Court\"\nCarol McCain (c. 1938), ex-wife of U.S. presidential candidate John McCain\nSilas Weir Mitchell (1829–1914), former physician, scientist, novelist, and poet considered father of neurology\nBawa Muhaiyaddeen (?–1986), Sufi mystic\n Clarence Charles Newcomer (1923–2005), former U.S. district judge, U.S. District Court for Eastern District of Pennsylvania \nJohn Joseph O'Connor (1920–2000), former Roman Catholic cardinal and archbishop, Archdiocese of New York\nGeorge A. Palmer (1895–1981), former clergyman and religious broadcaster\nDavid L. Reich (born 1960), academic anesthesiologist, professor, Mount Sinai Hospital president\nMarjorie Rendell (born 1947), former judge, U.S. Court of Appeals for the Third Circuit and First Lady of Pennsylvania\nAmber Rose (born 1983), model and actress\nCharles Sanna (1917–2019), former Swiss Miss creator), director\nSamuel Gilbert Scott (c. 1813–1841), former daredevil\nLester Shubin (1925–2009), former inventor, Kevlar bulletproof vest\nNancy Spungen (1958–1978), girlfriend of Sex Pistols bassist Sid Vicious\nMichael Tollin, film producer\nFloyd W. Tomkins (1850–1932), former Church of the Holy Trinity, Philadelphia rector\nWalter E. Williams (1936–2020), former economist, commentator, and academic\nJeremiah Wright (born 1941), former pastor Trinity United Church of Christ \nJoshua Wurman (born 1960), meteorologist and VORTEX2 leader\n\nReferencesReferences are on the article pages if not listed here.''\n\nExternal links\n\n \nPhiladelphia\nPeople\nPeople", "title": "List of people from Philadelphia" }, { "text": "Visual art of the United States or American art is visual art made in the United States or by U.S. artists. Before colonization, there were many flourishing traditions of Native American art, and where the Spanish colonized Spanish Colonial architecture and the accompanying styles in other media were quickly in place. Early colonial art on the East Coast initially relied on artists from Europe, with John White (1540-c. 1593) the earliest example. In the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English styles and similar craftsmen were also established in the major cities, but in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.\n\nBut in the later 18th century two U.S. artists, Benjamin West and John Singleton Copley, became the most successful painters in London of history painting, then regarded as the highest form of art, giving the first sign of an emerging force in Western art. American artists who remained at home became increasingly skilled, although there was little awareness of them in Europe. In the early 19th century the infrastructure to train artists began to be established, and from 1820 the Hudson River School began to produce Romantic landscape painting that were original and matched the huge scale of U.S. landscapes. The American Revolution produced a demand for patriotic art, especially history painting, while other artists recorded the frontier country. A parallel development taking shape in rural U.S. was the American craft movement, which began as a reaction to the industrial revolution.\n\nAfter 1850 Academic art in the European style flourished, and as richer Americans became very wealthy, the flow of European art, new and old, to the US began; this has continued ever since. Museums began to be opened to display much of this. Developments in modern art in Europe came to the U.S. from exhibitions in New York City such as the Armory Show in 1913. After World War II, New York replaced Paris as the center of the art world. Since then many U.S. movements have shaped Modern and Postmodern art. Art in the United States today covers a huge range of styles.\n\nBeginnings\n\nOne of the first painters to visit British America was John White (c. 1540 – c. 1606), who made important watercolor records of Native American life on the Eastern seaboard (now in the British Museum). White first visited America as the artist and map-maker for an expedition of exploration, and in the early years of the Colonial period most other artists trained in Western styles were officers in the army and navy, whose training included sketching landscapes. Eventually the English settlements grew large enough to support professional artists, mostly portrait-painters, often largely self-taught.\n\nAmong the earliest was John Smybert (1688–1751), a trained artist from London who emigrated in 1728 intending to be a professor of fine art, but instead became a portrait painter and printseller in Boston. His friend Peter Pelham was a painter and printmaker. Both needed other sources of income and had shops. Meanwhile, the Spanish territories later to be American could see mostly religious art in the late Baroque style, mostly by native artists, and Native American cultures continued to produce art in their various traditions.\n\nEighteenth century\n\nAfter the Declaration of Independence in 1776, which marked the official beginning of the American national identity, the new nation needed a history, and part of that history would be expressed visually. Most of early American art (from the late 18th century through the early 19th century) consists of history painting and especially portraits. As in Colonial America, many of the painters who specialized in portraits were essentially self-taught; notable among them are Joseph Badger, John Brewster Jr., and William Jennys. The young nation's artists generally emulated the style of British art, which they knew through prints and the paintings of English-trained immigrants such as John Smibert (1688–1751) and John Wollaston (active 1742–1775).\n\nRobert Feke (1707–1752), an untrained painter of the colonial period, achieved a sophisticated style based on Smibert's example. Charles Willson Peale, who gained much of his earliest art training by studying Smibert's copies of European paintings, painted portraits of many of the important figures of the American Revolution. Peale's younger brother James Peale and six of Peale's nieces and sons— Anna Claypoole Peale, Sarah Miriam Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale and Titian Peale—were also artists. Painters such as Gilbert Stuart made portraits of the newly elected government officials, which became iconic after being reproduced on various U.S. Postage stamps of the 19th century and early 20th century.\n\nJohn Singleton Copley painted emblematic portraits for the increasingly prosperous merchant class, including a portrait of Paul Revere (ca. 1768–1770). The original version of his most famous painting, Watson and the Shark (1778), is in the collection of The National Gallery of Art while there is another version in the Boston Museum of Fine Arts and a third version in the Detroit Institute of Arts. Benjamin West painted portraits as well as history paintings of the French and Indian War. West also worked in London where many American artists studied under him, including Washington Allston, Ralph Earl, James Earl, Samuel Morse, Charles Willson Peale, Rembrandt Peale, Gilbert Stuart, John Trumbull, Mather Brown, Edward Savage and Thomas Sully. John Trumbull painted large battle scenes of the Revolutionary War.\nWhen landscape was painted it was most often done to show how much property a subject owned, or as a picturesque background for a portrait.\n\nSelection of works by early American artists\n\nNineteenth century\n\nThe first well-known U.S. school of painting—the Hudson River School—appeared in 1820. Thomas Cole pioneered the movement which included Albert Bierstadt, Frederic Edwin Church, Thomas Doughty and several others. As with music and literature, this development was delayed until artists perceived that the New World offered subjects unique to itself; in this case the westward expansion of settlement brought the transcendent beauty of frontier landscapes to painters' attention.\n\nThe Hudson River painters' directness and simplicity of vision influenced and inspired such later artists as John Kensett and the Luminists; as well as George Inness and the tonalists (which included Albert Pinkham Ryder and Ralph Blakelock among others), and Winslow Homer (1836–1910), who depicted the rural U.S.—the sea, the mountains, and the people who lived near them.\n\nThe Hudson River School landscape painter Robert S. Duncanson was one of the first important African American painters. John James Audubon, an ornithologist whose paintings documented birds, was one of the most important naturalist artists in the early U.S. His major work, a set of colored prints entitled The Birds of America (1827–1839), is considered one of the finest ornithological works ever completed. Edward Hicks was a U.S. folk painter and distinguished minister of the Society of Friends. He became a Quaker icon because of his paintings.\n\nPaintings of the Great West, many of which emphasized the sheer size of the land and the cultures of the native people living on it, became a distinct genre as well. George Catlin depicted the West and its people as honestly as possible. George Caleb Bingham, and later Frederic Remington, Charles M. Russell, the photographer Edward S. Curtis, and others recorded the U.S. Western heritage and the Old American West through their art.\n\nHistory painting was a less popular genre in U.S. art during the 19th century, although Washington Crossing the Delaware, painted by the German-born Emanuel Leutze, is among the best-known U.S. paintings. The historical and military paintings of William B. T. Trego were widely published after his death (according to Edwin A. Peeples, \"There is probably not an American History book which doesn't have (a) Trego picture in it\").\n\nPortrait painters in the U.S. in the 19th century included untrained limners such as Ammi Phillips, and painters schooled in the European tradition, such as Thomas Sully and G.P.A. Healy. Middle-class city life found its painter in Thomas Eakins (1844–1916), an uncompromising realist whose unflinching honesty undercut the genteel preference for romantic sentimentalism. As a result, he was not notably successful in his lifetime, although he has since been recognized as one of the most significant U.S. artists. One of his students was Henry Ossawa Tanner, the first African-American painter to achieve international acclaim.\n\nA trompe-l'œil style of still-life painting, originating mainly in Philadelphia, included Raphaelle Peale (one of several artists of the Peale family), William Michael Harnett, and John F. Peto.\n\nThe most successful U.S. sculptor of his era, Hiram Powers, left the U.S. in his early thirties to spend the rest of his life in Europe, where he adopted a conventional style for his idealized female nudes such as Eve Tempted. Several important painters who are considered American spent much of their lives in Europe, notably Mary Cassatt, James McNeill Whistler, and John Singer Sargent, all of whom were influenced by French Impressionism. Theodore Robinson visited France in 1887, befriended Monet, and became one of the first U.S. painters to adopt the new technique. In the last decades of the century American Impressionism, as practiced by artists such as Childe Hassam and Frank W. Benson, became a popular style.\n\nSelection of notable 19th-century works\n\nTwentieth century\n\nControversy soon became a way of life for American artists. In fact, much of American painting and sculpture since 1900 has been a series of revolts against tradition. \"To hell with the artistic values,\" announced Robert Henri (1865–1929). He was the leader of what critics called the Ashcan school of painting, after the group's portrayals of the squalid aspects of city life.\n\nAmerican realism became the new direction for American visual artists at the turn of the 20th century. The Ashcan painters George Bellows, Everett Shinn, George Benjamin Luks, William Glackens, and John Sloan were among those who developed socially conscious imagery in their works. The photographer Alfred Stieglitz (1864–1946) led the Photo-Secession movement, which created pathways for photography as an emerging art form.\n\nSoon the Ashcan school artists gave way to modernists arriving from Europe—the cubists and abstract painters promoted by Stieglitz at his 291 Gallery in New York City. John Marin, Marsden Hartley, Alfred Henry Maurer, Arthur B. Carles, Arthur Dove, Henrietta Shore, Stuart Davis, Wilhelmina Weber, Stanton Macdonald-Wright, Morgan Russell, Patrick Henry Bruce, Andrew Dasburg, Georgia O'Keeffe, and Gerald Murphy were some important early American modernist painters. Early modernist sculptors in America include William Zorach, Elie Nadelman, and Paul Manship. Florine Stettheimer developed an extremely personal faux-naif style.\n\nAfter World War I many American artists rejected the modern trends emanating from the Armory Show and European influences such as those from the School of Paris. Instead they chose to adopt various—in some cases academic—styles of realism in depicting American urban and rural scenes. Grant Wood, Reginald Marsh, Guy Pène du Bois, and Charles Sheeler exemplify the realist tendency in different ways. Sheeler and the modernists Charles Demuth and Ralston Crawford were referred to as Precisionists for their sharply defined renderings of machines and architectural forms. Edward Hopper, who studied under Henri, developed an individual style of realism by concentrating on light and form, and avoiding overt social content.\n\nThe American Southwest\n\nFollowing the first World War, the completion of the Santa Fe Railroad enabled American settlers to travel across the west, as far as the California coast. New artists' colonies started growing up around Santa Fe and Taos, the artists' primary subject matter being the native people and landscapes of the Southwest.\n\nImages of the Southwest became a popular form of advertising, used most significantly by the Santa Fe Railroad to entice settlers to come west and enjoy the \"unsullied landscapes.\" Walter Ufer, Bert Geer Phillips, E. Irving Couse, William Henry Jackson, Marsden Hartley, Andrew Dasburg, and Georgia O'Keeffe were some of the more prolific artists of the Southwest. Georgia O'Keeffe, who was born in the late 19th century, became known for her paintings featuring flowers, bones, and landscapes of New Mexico as seen in Ram's Head White Hollyhock and Little Hills. O'Keeffe visited the Southwest in 1929 and moved there permanently in 1949; she lived and painted there until she died in 1986.\n\nHarlem Renaissance (1920s-1930s)\n\nThe Harlem Renaissance was another significant development in American art. In the 1920s and 30s a new generation of educated and politically astute African-American men and women emerged who sponsored literary societies and art and industrial exhibitions to combat racist stereotypes. The movement, which showcased the range of talents within African-American communities, included artists from across America, but was centered in Harlem. The work of the Harlem painter and graphic artist Aaron Douglas and the photographer James VanDerZee became emblematic of the movement. Artists associated with the Harlem Renaissance include Romare Bearden, Jacob Lawrence, Charles Alston, Augusta Savage, Archibald Motley, Lois Mailou Jones, Palmer Hayden and Sargent Johnson.\n\nNew Deal art (1930s)\n\nWhen the Great Depression worsened, president Roosevelt's New Deal created several public arts programs. The purpose of the programs was to give work to artists and decorate public buildings, usually with a national theme. The first of these projects, the Public Works of Art Project (PWAP), was created after successful lobbying by the unemployed artists of the Artists Union. The PWAP lasted less than one year, and produced nearly 15,000 works of art. It was followed by the Federal Art Project of the Works Progress Administration (FAP/WPA) in 1935, which funded some of the most well-known American artists.\n\nThe style of much of the public art commissioned by the WPA was influenced by the work of Diego Rivera and other artists of the contemporary Mexican muralism movement. Several separate and related movements began and developed during the Great Depression including American scene painting, Regionalism, and Social Realism. Thomas Hart Benton, John Steuart Curry, Grant Wood, Maxine Albro, Ben Shahn, Joseph Stella, Reginald Marsh, Isaac Soyer, Raphael Soyer, Spencer Baird Nichols and Jack Levine were some of the best-known artists.\n\nNot all of the artists who emerged in the years between the wars were Regionalists or Social Realists; Milton Avery's paintings, often nearly abstract, had a significant influence on several of the younger artists who would soon become known as Abstract Expressionists. Joseph Cornell, inspired by Surrealism, created boxed assemblages incorporating found objects and collage.\n\nAbstract expressionism\n\nIn the years after World War II, a group of New York artists formed the first American movement to exert major influence internationally: abstract expressionism.\nThis term, which had first been used in 1919 in Berlin, was used again in 1946 by Robert Coates in The New York Times, and was taken up by the two major art critics of that time, Harold Rosenberg and Clement Greenberg. It has always been criticized as too large and paradoxical, yet the common definition implies the use of abstract art to express feelings, emotions, what is within the artist, and not what stands without.\n\nThe first generation of abstract expressionists included Jackson Pollock, Willem de Kooning, Mark Rothko, Franz Kline, Arshile Gorky, Robert Motherwell, Clyfford Still, Barnett Newman, Adolph Gottlieb, Phillip Guston, Ad Reinhardt, James Brooks, Richard Pousette-Dart, William Baziotes, Mark Tobey, Bradley Walker Tomlin, Theodoros Stamos, Jack Tworkov, Wilhelmina Weber Furlong, David Smith, and Hans Hofmann, among others. Milton Avery, Lee Krasner, Louise Bourgeois, Alexander Calder, Tony Smith, Morris Graves and others were also related, important and influential artists during that period.\n\nThough the numerous artists encompassed by this label had widely different styles, contemporary critics found several common points between them. Gorky, Pollock, de Kooning, Kline, Hofmann, Motherwell, Gottlieb, Rothko, Still, Guston, and others were an American painters associated with the abstract expressionist movement and in most cases Action painting (as seen in Kline's Painting Number 2, 1954); as part of the New York School in the 1940s and 1950s.\n\nMany first generation abstract expressionists were influenced both by the Cubists' works (which they knew from photographs in art reviews and by seeing the works at the 291 Gallery or the Armory Show), by the European Surrealists, and by Pablo Picasso, Joan Miró and Henri Matisse as well as the Americans Milton Avery, John D. Graham, and Hans Hofmann. Most of them abandoned formal composition and representation of real objects. Often the abstract expressionists decided to try instinctual, intuitive, spontaneous arrangements of space, line, shape and color. Abstract Expressionism can be characterized by two major elements: the large size of the canvases used (partially inspired by Mexican frescoes and the works they made for the WPA in the 1930s), and the strong and unusual use of brushstrokes and experimental paint application with a new understanding of process.\n\nColor Field painting\n\nThe emphasis and intensification of color and large open expanses of surface were two of the principles applied to the movement called Color Field painting. Ad Reinhardt, Adolph Gottlieb, Mark Rothko, Clyfford Still and Barnett Newman were categorized as such. Another movement was called Action Painting, characterized by spontaneous reaction, powerful brushstrokes, dripped and splashed paint and the strong physical movements used in the production of a painting. Jackson Pollock is an example of an Action Painter: his creative process, incorporating thrown and dripped paint from a stick or poured directly from the can, revolutionized painting methods.\n\nWillem de Kooning famously said about Pollock \"he broke the ice for the rest of us.\" Ironically Pollock's large repetitious expanses of linear fields are characteristic of Color Field painting as well, as art critic Michael Fried wrote in his essay for the catalog of Three American painters: Kenneth Noland, Jules Olitski, Frank Stella at the Fogg Art Museum in 1965.\nDespite the disagreements between art critics, Abstract Expressionism marks a turning-point in the history of American art: the 1940s and 1950s saw international attention shift from European (Parisian) art, to American (New York) art.\n\nColor field painting continued as a movement in the 1960s, as Morris Louis, Jules Olitski, Kenneth Noland, Gene Davis, Helen Frankenthaler, and others sought to make paintings which would eliminate superfluous rhetoric with repetition, stripes and large, flat areas of color.\n\nAfter abstract expressionism\n\nDuring the 1950s abstract painting in America evolved into movements such as Neo-Dada, Post painterly abstraction, Op Art, hard-edge painting, Minimal art, Shaped canvas painting, Lyrical Abstraction, and the continuation of Abstract expressionism. As a response to the tendency toward abstraction imagery emerged through various new movements like Pop Art, the Bay Area Figurative Movement and later in the 1970s Neo-expressionism.\n\nLyrical Abstraction along with the Fluxus movement and Postminimalism (a term first coined by Robert Pincus-Witten in the pages of Artforum in 1969) sought to expand the boundaries of abstract painting and Minimalism by focusing on process, new materials and new ways of expression. Postminimalism often incorporating industrial materials, raw materials, fabrications, found objects, installation, serial repetition, and often with references to Dada and Surrealism is best exemplified in the sculptures of Eva Hesse.\n\nLyrical Abstraction, Conceptual Art, Postminimalism, Earth Art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstract Expressionism, Color Field Painting, Hard-edge painting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.\n\nLyrical Abstraction shares similarities with Color Field Painting and Abstract Expressionism, especially in the freewheeling usage of paint texture and surface. Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in Abstract Expressionism and Color Field Painting. However the styles are markedly different.\n\nDuring the 1960s, 1970s and 1980s painters as powerful and influential as Adolph Gottlieb, Phillip Guston, Lee Krasner, Cy Twombly, Robert Rauschenberg, Jasper Johns, Richard Diebenkorn, Josef Albers, Elmer Bischoff, Agnes Martin, Al Held, Sam Francis, Kenneth Noland, Jules Olitski, Ellsworth Kelly, Morris Louis, Gene Davis, Frank Stella, Joan Mitchell, Friedel Dzubas, Paul Jenkins and younger artists like Brice Marden, Robert Mangold, Sam Gilliam, Sean Scully, Elizabeth Murray, Walter Darby Bannard, Larry Zox, Ronnie Landfield, Ronald Davis, Dan Christensen, Susan Rothenberg, Ross Bleckner, Richard Tuttle, Julian Schnabel, Peter Halley, Jean-Michel Basquiat, Eric Fischl and dozens of others produced vital and influential paintings.\n\nOther modern American movements\n\nMembers of the next artistic generation favored a different form of abstraction: works of mixed media. Among them were Robert Rauschenberg (1925–2008) and Jasper Johns (1930- ), who used photos, newsprint, and discarded objects in their compositions. Pop artists, such as Andy Warhol (1928–1987), Larry Rivers (1923–2002), and Roy Lichtenstein (1923–1997), reproduced, with satiric care, everyday objects and images of American popular culture—Coca-Cola bottles, soup cans, comic strips.\n\nRealism has also been continually popular in the United States, despite modernism's impact; the realist tendency is evident in the city scenes of Edward Hopper, the rural imagery of Andrew Wyeth, and the illustrations of Norman Rockwell. In certain places Abstract Expressionism never caught on; for example, in Chicago, the dominant art style was grotesque, symbolic realism, as exemplified by the Chicago Imagists Cosmo Campoli (1923–1997), Jim Nutt (1938- ), Ed Paschke (1939–2004), and Nancy Spero (1926–2009).\n\nContemporary art into the 21st century\n\nAt the beginning of the 21st century, contemporary art in the United States in general continues in several contiguous modes, characterized by the idea of Cultural pluralism. The \"crisis\" in painting and current art and current art criticism today is brought about by pluralism. There is no consensus, nor need there be, as to a representative style of the age. There is an anything goes attitude that prevails; an \"everything going on\" syndrome; with no firm and clear direction and yet with every lane on the artistic superhighway filled to capacity. Consequently, magnificent and important works of art continue to be made in the United States albeit in a wide variety of styles and aesthetic temperaments, the marketplace being left to judge merit.\n\nHard-edge painting, Geometric abstraction, Appropriation, Hyperrealism, Photorealism, Expressionism, Minimalism, Lyrical Abstraction, Pop art, Op art, Abstract Expressionism, Color Field painting, Monochrome painting, Neo-expressionism, Collage, Intermedia painting, Assemblage painting, Digital painting, Postmodern painting, Neo-Dada painting, Shaped canvas painting, environmental mural painting, Graffiti, traditional figure painting, Landscape painting, Portrait painting, are a few continuing and current directions in painting at the beginning of the 21st century.\n\nNotable figures\n\nA few American artists of note include: Ansel Adams, John James Audubon, Milton Avery, Jean-Michel Basquiat, Thomas Hart Benton, Albert Bierstadt, Alexander Calder, Mary Cassatt, Frederic Edwin Church, Chuck Close, Thomas Cole, Robert Crumb, Edward S. Curtis, Richard Diebenkorn, Thomas Eakins, Jules Feiffer, Lyonel Feininger, Helen Frankenthaler, Arshile Gorky, Keith Haring, Marsden Hartley, Al Hirschfeld, Hans Hofmann, Winslow Homer, Edward Hopper, Jasper Johns, Georgia O'Keeffe, Jack Kirby, Franz Kline, Willem de Kooning, Lee Krasner, Dorothea Lange, Roy Lichtenstein, Morris Louis, John Marin, Agnes Martin, Joan Mitchell, Grandma Moses, Robert Motherwell, Nampeyo, Kenneth Noland, Jackson Pollock, Man Ray, Robert Rauschenberg, Frederic Remington, Norman Rockwell, Mark Rothko, Albert Pinkham Ryder, John Singer Sargent, Cindy Sherman, David Smith, Frank Stella, Clyfford Still, Gilbert Stuart, Louis Comfort Tiffany, Cy Twombly, Andy Warhol, Grant Wood, Frank Lloyd Wright, and Andrew Wyeth.\n\nSee also\n\nAesthetics\nArchitecture of United States\nArt education in the United States\nCinema of the United States\nHistory of painting\nLedger art\nModern art museums in the United States\nMuseums of American art\nNational Museum of the American Indian\nNative American museums in New York\nPhotography in the United States of America\nSculpture of the United States\nSynchromism\nTimeline of Native American art history\nTimeline of 20th century printmaking in America\nVisual arts of Chicago\nWestern painting\nAustralian art\nMinimal art\n\nReferences\n\nSources\n\nAvery, Kevin J. Late Eighteenth-Century American Drawings. The Metropolitan Museum Of Art. 2000-2011 The Metropolitan Museum Of Art\nBernet, Claus; Nothnagle, Alan L.: Christliche Kunst aus den USA, Norderstedt 2015, .\nMayer, Lance and Myers, Gay. American Painters on Technique: The Colonial Period to 1860. Los Angeles: Getty Publications, 2011. \nMayer, Lance and Myers, Gay. American Painters on Technique: 1860-1945. Los Angeles: Getty Publications, 2013. \nPohl, Frances K. Framing America. A Social History of American Art. New York: Thames & Hudson, 2002 (pages 74–84, 118–122, 366–365, 385, 343–344, 350–351)\n\nExternal links\nAmerican Paintings in The Metropolitan Museum of Art, a fully digitized 3 volume exhibition catalog\nInquiring Eye: American Painting, teaching resource on history of American painting\n\nCategory:Articles containing video clips", "title": "Visual art of the United States" } ]

[ "The text does not provide information on when Thomas Eakin's early career started.", "In his early career, Eakins produced a large group of rowing scenes, including oil paintings and watercolors. His first and most famous work from this period is Max Schmitt in a Single Scull. Additionally, he produced a series of domestic Victorian interiors, featuring his family members and friends as the subjects. His first large scale portrait was Kathrin, painted in 1872.", "Eakins' most famous early career work is Max Schmitt in a Single Scull, which is also known as The Champion Single Sculling.", "The text does not provide information on what a Single Scull is.", "The text does not provide specific reasons why Max Schmitt in a Single Scull was a popular painting, but it mentions that both Eakins' subject of a contemporary sport and his technique drew attention, and it was viewed as a completely original conception, true to Eakins' firsthand experience. Additionally, it posed a shock to the artistic conventionalities of the city, indicating possible intrigue or interest from audiences.", "Besides the rowing scenes, Eakins also created a series of domestic Victorian interiors featuring his family members and friends as the subjects. Some of these works include Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874). In 1872, he painted his first large scale portrait, Kathrin.", "The titles of some of the works in Eakins' series of domestic Victorian interiors include Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874).", "Most critics judged Eakins' early rowing pictures as successful and auspicious. However, the text does not provide information on what critics thought about his series of domestic Victorian interiors.", "The text does not provide information on whether Eakins was married. It does mention that he was engaged to Kathrin Crowell, who died of meningitis in 1879, five years after their engagement.", "Yes, Eakins painted a portrait titled Kathrin, in which the subject, Kathrin Crowell, is depicted in dim light, playing with a kitten. He also painted a piece titled Elizabeth Crowell and her Dog in 1874.", "The text also highlights that Eakins' selection of a contemporary sport as his subject was \"a shock to the artistic conventionalities of the city\". Furthermore, it shows how Eakins' academic training in Paris played an important role in his artwork, as evident in the preparatory process of his painting Max Schmitt in a Single Scull. It involved critical observation of the subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Despite his early success with the rowing scenes, Eakins did not revisit the subject further in his career." ]

[ "No", "Yes", "Yes", "No", "Yes", "Yes", "Yes", "Yes", "Yes", "Yes", "No" ]

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[ "when was he born?", "where did he grow up?", "what high school did he go to?", "what was he like in high school?", "what did he do in chicago?", "did he go to college?" ]

[ 1, 2, 1, 1, 1, 1 ]

[ 2, 2, 2, 2, 2, 1 ]

{ "answer_starts": [ [ 1624 ], [ 253 ], [ 786 ], [ 324 ], [ 1624 ], [ 954 ] ], "texts": [ [ "CANNOTANSWER" ], [ "The family moved to Racine, Wisconsin, where Ben attended high school." ], [ "Racine High School" ], [ "When Hecht was in his early teens, he would spend the summers with an uncle in Chicago." ], [ "CANNOTANSWER" ], [ "He found work as a reporter," ] ] }

{ "answer_starts": [ 1624, 253, 786, 324, 1624, 954 ], "texts": [ "CANNOTANSWER", "The family moved to Racine, Wisconsin, where Ben attended high school.", "Racine High School", "When Hecht was in his early teens, he would spend the summers with an uncle in Chicago.", "CANNOTANSWER", "He found work as a reporter," ] }

[]

[ "The text does not provide information on when Hecht was born.", "He grew up in Racine, Wisconsin.", "He went to Racine High School.", "The text does not provide specific information on what Hecht was like in high school.", "In Chicago, Hecht started a career in journalism and worked as a reporter for the Chicago Journal, and later with the Chicago Daily News.", "The text does not provide information on whether Hecht went to college." ]

[ "Yes", "Yes", "Yes", "No", "No", "no" ]

[ "C_c4c0b91d1e9e49fab02f495cc00aca5b_0_q#0", "C_c4c0b91d1e9e49fab02f495cc00aca5b_0_q#1", "C_c4c0b91d1e9e49fab02f495cc00aca5b_0_q#2", "C_c4c0b91d1e9e49fab02f495cc00aca5b_0_q#3", "C_c4c0b91d1e9e49fab02f495cc00aca5b_0_q#4", "C_c4c0b91d1e9e49fab02f495cc00aca5b_0_q#5", "C_c4c0b91d1e9e49fab02f495cc00aca5b_0_q#6" ]

[ "How did Hecht do as a journalist?", "Was he a good correspondent?", "What else did he do as a journalist?", "Was his column successful?", "Did he ever receive any awards for any of his columns?", "Are there any other interesting aspects about this article?", "Did he do anything else in Chicago?" ]

[ 0, 0, 0, 0, 1, 0, 0 ]

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{ "answer_starts": [ [ 0 ], [ 130 ], [ 264 ], [ 419 ], [ 2025 ], [ 1005 ], [ 1211 ] ], "texts": [ [ "From 1918 to 1919, Hecht served as war correspondent in Berlin for the Chicago Daily News." ], [ "\"Besides being a war reporter, he was noted for being a tough crime reporter while also becoming known in Chicago literary circles.\"" ], [ "In 1921, Hecht inaugurated a Daily News column called, One Thousand and One Afternoons in Chicago." ], [ "His editor, Henry Justin Smith, later said it represented a new concept in journalism:" ], [ "CANNOTANSWER" ], [ "While at the Chicago Daily News, Hecht famously broke the 1921 \"Ragged Stranger Murder Case\" story, about the murder of Carl Wanderer's wife," ], [ "In Chicago, he also met and befriended Maxwell Bodenheim, an American poet and novelist, later known as the King of Greenwich Village Bohemians," ] ] }

{ "answer_starts": [ 0, 130, 264, 419, 2025, 1005, 1211 ], "texts": [ "From 1918 to 1919, Hecht served as war correspondent in Berlin for the Chicago Daily News.", "\"Besides being a war reporter, he was noted for being a tough crime reporter while also becoming known in Chicago literary circles.\"", "In 1921, Hecht inaugurated a Daily News column called, One Thousand and One Afternoons in Chicago.", "His editor, Henry Justin Smith, later said it represented a new concept in journalism:", "CANNOTANSWER", "While at the Chicago Daily News, Hecht famously broke the 1921 \"Ragged Stranger Murder Case\" story, about the murder of Carl Wanderer's wife,", "In Chicago, he also met and befriended Maxwell Bodenheim, an American poet and novelist, later known as the King of Greenwich Village Bohemians," ] }

[]

[ "Hecht was noted for being a tough crime reporter and a war reporter. His column for the Chicago Daily News, One Thousand and One Afternoons in Chicago, was enormously influential and represented a new concept in journalism focusing on the city life. He famously broke the \"Ragged Stranger Murder Case\" story, which made a significant impact. His work demonstrated that under the edge of everyday news, there exists the stuff of literature found in urban life.", "Yes, the text suggests that Hecht was a good correspondent. He served as a war correspondent in Berlin for the Chicago Daily News and was noted for being a tough crime reporter. His work was influential and introduced a new concept in journalism.", "In addition to serving as a war correspondent, Hecht was noted for being a tough crime reporter. He had a column in the Chicago Daily News called One Thousand and One Afternoons in Chicago, through which he sought to showcase that the stuff of literature could be found in city life, a concept that his editor said was new in journalism. He also famously broke the \"Ragged Stranger Murder Case\" story.", "Yes, Hecht's column, One Thousand and One Afternoons in Chicago, was successful. According to the text, it was enormously influential. The column represented a new concept in journalism focused on the nuanced stories of urban life.", "The text does not provide information on whether Hecht received any awards for his columns.", "Yes, the text mentions that Hecht became friends with Maxwell Bodenheim, an American poet and novelist known as the King of Greenwich Village Bohemians. After his influential column came to an end, Hecht continued his writing career, producing novels, plays, screenplays, and memoirs. Hecht reflected on his time as a journalist in Chicago, describing how he immerse himself in various aspects of city life which had provided inspiration for his writings.", "While in Chicago, Hecht was involved in a range of activities. He was a crime reporter, a columnist for the Chicago Daily News, and a war reporter. He also famously broke a significant murder story. Additionally, he met Maxwell Bodenheim, a national poet and novelist, and the two became life-long friends. Apart from his journalistic work, Hecht also produced novels, plays, screenplays, memoirs while in the city." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes", "No", "Yes" ]

[ "C_92fd405b993c4df5be53b7fd992c74e9_0_q#0", "C_92fd405b993c4df5be53b7fd992c74e9_0_q#1", "C_92fd405b993c4df5be53b7fd992c74e9_0_q#2", "C_92fd405b993c4df5be53b7fd992c74e9_0_q#3", "C_92fd405b993c4df5be53b7fd992c74e9_0_q#4", "C_92fd405b993c4df5be53b7fd992c74e9_0_q#5", "C_92fd405b993c4df5be53b7fd992c74e9_0_q#6", "C_92fd405b993c4df5be53b7fd992c74e9_0_q#7", "C_92fd405b993c4df5be53b7fd992c74e9_0_q#8" ]

[ "What happened with Taylor Hicks in American Idol?", "Who was in the finals with him?", "Who was part of the jury?", "Did he do any music after American Idol?", "Does Taylor Hicks have any famous albums or songs?", "Is there anything else interesting about Taylor Hicks?", "What about his carrer after winning American Idol?", "Did he promote other brands?", "Does Taylor Hicks have a lot of fans?" ]

[ 0, 2, 2, 1, 2, 2, 2, 2, 1 ]

[ 2, 2, 2, 2, 2, 0, 2, 0, 2 ]

{ "answer_starts": [ [ 870 ], [ 391 ], [ 78 ], [ 1546 ], [ 1546 ], [ 1447 ], [ 1320 ], [ 1334 ], [ 1546 ] ], "texts": [ [ "Hicks was named the new American Idol on May 24, 2006," ], [ "Hicks along with Katharine McPhee and Elliott Yamin, were announced as the Top 3 finalists." ], [ "Hicks passed the audition with the approval of judges Randy Jackson and Paula Abdul, but not Simon Cowell," ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ], [ "He was also named Hottest Bachelor by People magazine for 2006," ], [ "In June 2006, Ford Motor Company, the show's major sponsor, signed Hicks to promote Ford's \"Drive on Us\" year-end sales event." ], [ "Ford Motor Company, the show's major sponsor, signed Hicks to promote Ford's \"Drive on Us\" year-end sales event." ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 870, 391, 78, 1546, 1546, 1447, 1320, 1334, 1546 ], "texts": [ "Hicks was named the new American Idol on May 24, 2006,", "Hicks along with Katharine McPhee and Elliott Yamin, were announced as the Top 3 finalists.", "Hicks passed the audition with the approval of judges Randy Jackson and Paula Abdul, but not Simon Cowell,", "CANNOTANSWER", "CANNOTANSWER", "He was also named Hottest Bachelor by People magazine for 2006,", "In June 2006, Ford Motor Company, the show's major sponsor, signed Hicks to promote Ford's \"Drive on Us\" year-end sales event.", "Ford Motor Company, the show's major sponsor, signed Hicks to promote Ford's \"Drive on Us\" year-end sales event.", "CANNOTANSWER" ] }

[ { "text": "This is a list of songs that have peaked at number one on the Billboard Hot 100 and the magazine's national singles charts that preceded it. Introduced in 1958, the Hot 100 is the pre-eminent singles chart in the United States, currently monitoring the most popular singles in terms of popular radio play, single purchases and online streaming.\n\nPreface\nThe following year-by-year, week-by-week listings are based on statistics accrued by Billboard magazine before and after the inception of its Hot 100 popularity chart in August 1958.\n\nAll data is pooled from record purchases and radio/jukebox play within the United States. Later charts also include digital single sales, online streaming, and YouTube hits.\n\nPre-Hot 100 era\n\nHot 100 era\n\nSources\nThe following sources apply to all \"by year\" pages linked above:\nFred Bronson's Billboard Book of Number 1 Hits, 5th Edition ()\nJoel Whitburn's Top Pop Singles 1955-2008, 12 Edition ()\nJoel Whitburn Presents the Billboard Pop Charts, 1955-1959 ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Sixties ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Seventies ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Eighties ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Nineties ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The 2000s ()\nAdditional information obtained can be verified within Billboard's online archive services and print editions of the magazine.\n\nSee also \n List of Billboard Hot 100 top-ten singles\n List of number-one adult contemporary hits (United States)\n List of number-one country hits (United States)\n List of number-one dance hits (United States)\n List of number-one dance airplay hits (U.S.)\n List of Billboard Mainstream Rock number-one songs of the 1980s\n List of number-one alternative hits (United States)\n List of number-one rhythm and blues hits (United States)\n List of artists who reached number one in the United States\n Billboard Year-End\n\nNumber-one hits (United States)", "title": "List of Billboard number-one singles" }, { "text": "This is a list of recording artists who have reached number one on Billboard magazine's weekly singles chart(s). This list spans from the issue dated January 1, 1955 to the present. Prior to the creation of the Billboard Hot 100, Billboard published four weekly singles charts: \"Best Sellers in Stores\", \"Most Played by Jockeys\", \"Most Played in Jukeboxes\" and \"The Top 100\" (an early version of the Hot 100). The Hot 100 began with the issue dated August 4, 1958, and is currently the standard music popularity chart in the United States.\n\nList inclusions\nAll acts are listed alphabetically, solo artists by last name, groups by group name excluding \"A\", \"An\", and \"The\".\nEach act's total of number-one hits is shown after their name.\nAll artists who are officially namechecked in song credits are listed here; this includes one-time pairings of otherwise solo artists and those appearing as \"featuring\". Exceptions to this rule:\n Paul McCartney's hits with Wings are credited to \"Wings\" even though many of them were released as \"Paul McCartney & Wings\". McCartney's total is only from hits not attributed to Wings nor the Beatles. If entries from The Beatles, Wings and McCartney were combined, his total of number one hits would be 29, making him the most successful artist in the history of the chart.\n Diana Ross, as some number-one hits credited to \"Diana Ross and the Supremes\", are attributed to The Supremes only. If Ross's solo entries here were combined with those of The Supremes, it would bring her total of number one hits to 18, making her the female artist with the second most total number one hits, after only Mariah Carey with 19.\n \"That's What Friends Are For\" charted as \"Dionne & Friends\". Each vocalist on the recording (Dionne Warwick, Elton John, Gladys Knight and Stevie Wonder) are given individual credit for a number-one song.\n Both Wham! and George Michael get one credit for \"Careless Whisper\". Technically the song is a solo recording and was released as such in many parts of the world except the U.S., where it charted as \"Wham! featuring George Michael\".\n \"We Are the World\" is credited to \"USA for Africa\", and not the individual artists who participated in the recording.\nDouble A-sides are counted as one number-one single.\nArtists associated with a group who reached number one, yet have their own solo page in Wikipedia, are not listed here unless they hit number one as a solo artist.\nArtists who hit number one prior to the start of the Hot 100 are included here.\nA song that topped multiple pre-Hot 100 charts is counted only once towards the artist's total.\nThe ° symbol indicates that all or part of an artist's total includes number-ones occurring on any of the pre-Hot 100 chart(s) listed above (January 1, 1955 through July 28, 1958).\n\n0-9\n112 (1)\n21 Savage (2)\n24kGoldn (1)\n50 Cent (4)\n6ix9ine (1)\n98 Degrees (1)\n\nA\n\nB\n\nC\n\nD\n\nE\n\nF\n\nG\n\nH\n\nI\nBilly Idol (1)\nEnrique Iglesias (2)\nJames Ingram (2)\nINXS (1)\n\nJ\n\nK\n\nL\n\nM\n\nN\n\nO\n\nP\n\nQ\nQuavo (1)\nQueen (2)\nQuestion Mark & the Mysterians (1)\n\nR\n\nS\n\nT\n\nU–V\n\nW\n\nX–Z\n\nSee also\nList of number-one hits (United States)\nList of best-selling music artists\nList of artists who reached number one on the UK Singles Chart\nList of Billboard Hot 100 number-ones by British artists\n\nReferences\n\nExternal links\nFred Bronson's Billboard Book of Number 1 Hits, 5th Edition ()\nJoel Whitburn's Top Pop Singles 1955-2008, 12 Edition ()\nJoel Whitburn Presents the Billboard Pop Charts, 1955-1959 ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Sixties ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Seventies ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Eighties ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Nineties ()\nAdditional information obtained can be verified within Billboard's online archive services and print editions of the magazine.", "title": "List of artists who reached number one in the United States" }, { "text": "This is a comprehensive listing that highlights significant achievements and milestones based upon the Billboard Hot 100 chart. It spans the period from the issue dated January 1, 1955 to present. The Billboard Hot 100 began with the issue dated August 4, 1958, and is currently the standard popular music chart in the United States.\n\nPrior to the creation of the Hot 100, Billboard published four singles charts: \"Best Sellers in Stores\", \"Most Played by Jockeys\", \"Most Played in Jukeboxes\" and \"The Top 100\". These charts, which ranged from 20 to 100 slots, were phased out at different times between 1957 and 1958. Though technically not part of the Hot 100 chart history, select data from these charts are included for computational purposes, and to avoid unenlightening or misleading characterizations.\n\nAll items listed below are from the Hot 100 era, unless otherwise noted (pre-Hot 100 charts).\n\nAll-time achievements \nIn 2008, for the 50th anniversary of the Hot 100, Billboard magazine compiled a ranking of the 100 best-performing songs on the chart over the 50 years, along with the best-performing artists. In 2013, Billboard revised the rankings for the chart's 55th anniversary edition. In 2015, Billboard revised the rankings again. In 2018, the rankings were revised again for the Billboard chart's 60th anniversary. In 2021, Billboard revised the rankings again upon the ascendance of \"Blinding Lights\" to the top spot on the list. Shown below are the top 10 songs and top 10 artists over the 63-year period of the Hot 100, through November 2021. Also shown are the artists placing the most songs on the overall \"all-time\" top 100 song list.\n\nTop 10 songs of all time (1958–2021) \n\nSource:\n\nTop 10 artists of all time (1958–2021) \n\nSource:\n\nArtists with the most all-time top 100 songs (1958–2021)\n\nSongs milestones\n\nMost weeks at number one \n\nPre-Hot 100 notes:\n In 1956, Elvis Presley's \"Hound Dog\" / \"Don't Be Cruel\" was number 1 on the \"Best Sellers in Stores\" and \"Most Played in Jukeboxes\" charts for 11 weeks.\n In 1955, The McGuire Sisters' \"Sincerely\" was number 1 on the \"Most Played by Jockeys\" chart for 10 weeks.\n In 1955, Pérez Prado's \"Cherry Pink and Apple Blossom White\" was number 1 on the \"Best Sellers in Stores\" chart for 10 weeks.\n\nAdditional notes:\n Before the use of Nielsen SoundScan and Nielsen Broadcast Data Systems to compile the Hot 100 in late 1991, the most number of weeks a single spent at number one on the Hot 100 was 10. This occurred twice, with Debby Boone's \"You Light Up My Life\" in 1977, and Olivia Newton-John's \"Physical\" in 1981–82. Five additional singles managed nine weeks at number one during the first 34 years of the chart (1958–1992). In October 1992, the first single to top the Hot 100 for more than 10 weeks was Boyz II Men's \"End of the Road\", which accumulated 13 weeks at number one by November that year.\n\nSource:\n\nMost weeks at number two (without hitting number one) \n\nNote: Four songs managed more than 10 weeks apiece at number two, but peaked at number one, thus making them ineligible to be listed above: The Kid Laroi and Justin Bieber's \"Stay\" (2021–22 for a record 14 weeks), Whitney Houston's \"Exhale (Shoop Shoop)\" (1995–96 for 11 weeks), Olivia Rodrigo's \"Good 4 U\" (2021 for 11 weeks), and SZA's \"Kill Bill\" (2023 for 11 weeks).\n\nMost total weeks in the top two\n\nMost total weeks in the top three\n\nMost total weeks in the top five\n\nMost total weeks in the top ten\n\nMost total weeks on the Hot 100\n\nBiggest jump to number one \n\nChanges in when the eligibility of a single first begins, as well as more accurate digital download totals, have made abrupt chart jumps more commonplace. From 1955 to 2001, under Billboards previous methodologies, only two singles ascended directly to No. 1 from a previous position beneath the Top 20: The Beatles' \"Can't Buy Me Love\", which jumped from No. 27 to the top slot in April 1964, and Brandy and Monica's \"The Boy Is Mine\" which jumped from No. 23 to No. 1 in June 1998.\n\nBiggest single-week upward movements \n\nUnder Billboards previous methodologies, jumps of this magnitude were rare. One exception was Jeannie C. Riley's \"Harper Valley PTA,\" which advanced 74 slots in August 1968; this upward acceleration went unmatched for 30 years, but has been surpassed over a dozen times since 2006. Changes in when the eligibility of a single first begins, as well as more accurate digital download totals, have made abrupt chart jumps more commonplace.\n\nLongest climbs to number one \n\n† – Non-consecutive weeks on the Hot 100 before it was ranked number one\nNote: Ariana Grande was added to the artist credits on \"Die for You\" the week the song reached number one, as a remix of the song featuring Grande had been released and counted for the first time.\n\nBiggest drop from number one \nThis list does not include a record which has dropped from number 1 off the Hot 100 altogether; see the Holiday songs section below.\n\nBiggest single-week downward movements \n\nSource:\n\nBiggest drops off the Hot 100\n\nNon-holiday songs \n\nBelow are songs not connected to Christmas or the holiday season. (A special section for the holiday songs is below, as a few of those songs set higher records for dropping off the Hot 100 in early 2019 and 2020.)\n\n†† – \"Purple Rain\" and \"When Doves Cry\" reappeared on the Hot 100 for two weeks in 2016, and the above reflects their re-entries only. When the songs originally charted in 1984, their chart positions in their final week on the Hot 100 were well below the top 10.\n\nPrior to 2008, the biggest drop off the Hot 100 was \"Nights in White Satin\" by The Moody Blues, which ranked at No. 17 in its final week on the chart in December 1972. This high drop-off position was matched in January 1975 by \"Junior's Farm\" by Paul McCartney and Wings. The record descent held for over three decades. Each song above dropped off the Hot 100 upon four or fewer weeks; \"Nights in White Satin\" and \"Junior's Farm\" dropped off after 18 and 12 weeks, respectively.\n\nSource:\n\nHoliday songs \nDuring November and December beginning some time in the 2010s, these songs have regularly appeared on the Hot 100, generally departing from the chart once the holiday season ends in January. More recently, they have reached into the top ten, and in 2019, for only the second time ever on the Hot 100 (the first since 1958), made it to number one. This has led to all-time records for dropping off the Hot 100, including from number one, as the songs depart regardless of their final chart positions during the season. Only the highest drop-off position per song is listed and its most recent date if achieved more than once, like \"All I Want for Christmas Is You\", which first dropped off the Hot 100 from number one on January 11, 2020, and did so again in 2022 and 2023.\n\n\"Billboard Hot 100\"\n\nSongs hitting number one for different artists \n \"Go Away Little Girl\" – Steve Lawrence (1963) and Donny Osmond (1971)\n \"The Loco-Motion\" – Little Eva (1962) and Grand Funk (1974)\n \"Please Mr. Postman\" – The Marvelettes (1961) and The Carpenters (1975)\n \"Venus\" – Shocking Blue (1970) and Bananarama (1986)\n \"Lean on Me\" – Bill Withers (1972) and Club Nouveau (1987)\n \"You Keep Me Hangin' On\" – The Supremes (1966) and Kim Wilde (1987)\n \"When a Man Loves a Woman\" – Percy Sledge (1966) and Michael Bolton (1991)\n \"I'll Be There\" – The Jackson 5 (1970) and Mariah Carey (1992)\n \"Lady Marmalade\" – Labelle (1975) and Christina Aguilera / Lil' Kim / Mýa / Pink (2001)\n\nSource:\n\nNon-English language number-ones \n \"Nel Blu Dipinto Di Blu (Volare)\" – Domenico Modugno (Italian – August 18, 1958 for five non-consecutive weeks)\n \"Sukiyaki\" – Kyu Sakamoto (Japanese – June 15, 1963 for three weeks)\n \"Dominique\" – The Singing Nun (French – December 7, 1963 for four weeks)\n \"Rock Me Amadeus\" – Falco (English/German – March 29, 1986 for three weeks)\n \"La Bamba\" – Los Lobos (Spanish – August 29, 1987 for three weeks)\n \"Macarena (Bayside Boys Mix)\" – Los del Río (English/Spanish – August 3, 1996 for fourteen weeks)\n \"Despacito\" – Luis Fonsi and Daddy Yankee featuring Justin Bieber (English/Spanish – May 27, 2017 for sixteen weeks)\n \"Life Goes On\" – BTS (Korean/English – December 5, 2020 for one week)\n \"Like Crazy\" – Jimin (Korean/English – April 8, 2023 for one week)\n\nInstrumental number-ones \n\n \"The Happy Organ\" – Dave \"Baby\" Cortez (May 11, 1959 for one week)\n \"Sleep Walk\" – Santo & Johnny (September 21, 1959 for two weeks)\n \"Theme from A Summer Place\" – Percy Faith (February 22, 1960 for nine weeks)\n \"Wonderland by Night\" – Bert Kaempfert (January 9, 1961 for three weeks)\n \"Calcutta\" – Lawrence Welk (February 13, 1961 for two weeks)\n \"Stranger on the Shore\" – Mr. Acker Bilk (May 26, 1962 for one week)\n \"The Stripper\" – David Rose (July 7, 1962 for one week)\n \"Telstar\" – The Tornados (December 22, 1962 for three weeks)\n \"Love Is Blue\" – Paul Mauriat (February 10, 1968 for five weeks)\n \"Grazing in the Grass\" – Hugh Masekela (July 20, 1968 for two weeks)\n \"Love Theme from Romeo and Juliet\" – Henry Mancini (June 28, 1969 for two weeks)\n \"Frankenstein\" – The Edgar Winter Group (May 26, 1973 for one week)\n \"Love's Theme\" – Love Unlimited Orchestra (February 9, 1974 for one week)\n \"TSOP (The Sound of Philadelphia)\"† – MFSB and The Three Degrees (April 20, 1974 for two weeks)\n \"Pick Up the Pieces\"† – Average White Band (February 22, 1975 for one week)\n \"The Hustle\"† – Van McCoy and the Soul City Symphony (July 26, 1975 for one week)\n \"Fly, Robin, Fly\"† – Silver Convention (November 29, 1975 for three weeks)\n \"Theme from S.W.A.T.\" – Rhythm Heritage (February 28, 1976 for one week)\n \"A Fifth of Beethoven\" – Walter Murphy and the Big Apple Band (October 9, 1976 for one week)\n \"Gonna Fly Now\"† – Bill Conti (July 2, 1977 for one week)\n \"Star Wars Theme/Cantina Band\" – Meco (October 1, 1977 for two weeks)\n \"Rise\" – Herb Alpert (October 20, 1979 for two weeks)\n \"Chariots of Fire\" – Vangelis (May 8, 1982 for one week)\n \"Miami Vice Theme\" – Jan Hammer (November 9, 1985 for one week)\n \"Harlem Shake\"† – Baauer (March 2, 2013 for five weeks)\n\n† – Contains vocal part, but is considered an instrumental. See for more.\n\nArtist achievements\n\nMost number-one singles \n\n† – The biggest number-one listed by each artist reflects its overall performance on the Hot 100, as calculated by Billboard, and may not necessarily be the single which spent the most weeks at No. 1 for the artist, such as Madonna's \"Like a Virgin\" (six weeks at No. 1, compared to seven for \"Take a Bow\"), Mariah Carey's \"We Belong Together\" (fourteen weeks at No. 1, compared to sixteen for her duet with Boyz II Men, \"One Sweet Day\"), Janet Jackson's \"Miss You Much\" (four weeks at No. 1, compared to eight for \"That's the Way Love Goes\") and Michael Jackson's duet with Paul McCartney, \"Say Say Say\" (six weeks at No. 1, compared to seven for both his solo singles \"Billie Jean\" and \"Black or White\").\n\n‡ – Pre-Hot 100 charts and Hot 100.\n Billboard now credits the dual No. 1 Presley single \"Don't Be Cruel\"/\"Hound Dog\" as a single chart entity, and credits Presley with 17 number one singles. \"Don't Be Cruel\"/\"Hound Dog\" spent 11 weeks at No. 1, \"Hound Dog\" for 6 weeks, \"Don't Be Cruel\" for 5 weeks. Many chart statisticians however, such as Joel Whitburn, still list Presley as having 18 number ones.\n\n If counting Drake's uncredited feature on Travis Scott's \"Sicko Mode\", then he would be listed with 12 total number ones.\n\nMost cumulative weeks at number one \n\n† – Pre-Hot 100 charts and Hot 100. Presley is sometimes credited with an \"80th week\" that occurred when \"All Shook Up\" spent a ninth week on top of the \"Most Played in Jukeboxes\" chart. Although Billboards chart statistician Joel Whitburn still counts this 80th week based on preexisting research, Billboard magazine itself has since revised its methodology and officially credits Presley with 79 weeks. Much of Presley's total factors in pre-Hot 100 data. If counting from the August 1958 Hot 100 inception, Presley totaled 22 weeks at No. 1.\n\n Note: For singer Fergie, if Black Eyed Peas is included, this would put Fergie on the list with 34 weeks at No. 1.\n Note: For singer Michael Jackson, if The Jackson 5, which would also be later known as The Jacksons, is included, this would give Michael Jackson 47 cumulative weeks at No. 1.\n Note: For singer Beyoncé, if Destiny's Child is included, this would give Beyoncé 61 cumulative weeks at No. 1.\n Note: For singer Diana Ross, if The Supremes are included, this would give Diana Ross 42 cumulative weeks at No. 1.\n Note: For each of the Beatles:\n If John Lennon's total weeks were to include the Beatles, this would give John Lennon 65 cumulative weeks at No. 1.\n If Paul McCartney's total weeks were to include the Beatles, as well as Wings, this would give Paul McCartney 89 cumulative weeks at No. 1.\n If George Harrison's total weeks were to include the Beatles, this would give George Harrison 65 cumulative weeks at No. 1.\n If Ringo Starr's total weeks were to include the Beatles, this would give Ringo Starr 61 cumulative weeks at No. 1.\nNote: For rapper Drake, if the track \"Sicko Mode\" is included, this would give him 55 weeks at No. 1.\n\nMost consecutive number-one singles \n\n Houston's \"Thinking About You\" is not counted as interrupting the streak, as it never appeared on the Hot 100, due to not being released to Pop radio. Likewise, Perry's \"Not Like the Movies\" and \"Circle the Drain\" were only promotional singles, not radio singles.\n With the streak spanning from her debut single \"Vision of Love\" until \"Emotions,\" Mariah Carey became the first artist in Hot 100 history to have their first 5 solo singles reach No. 1 on the chart.\n\nSources:\n\nMost consecutive weeks simultaneously topping the Hot 100 and Billboard 200 \n\nSources:\n\nMost consecutive years charting a number-one single \n\n† – Pre-Hot 100 charts and Hot 100.\n\nSource:\n\nMost number-one singles in a calendar year \n\n† – Pre-Hot 100 charts.\nChart notes: If counting Presley's dual hit song \"Don't Be Cruel/Hound Dog\" separately, then Elvis has 5 for 1956. Some Presley songs included here charted No. 1 on Cashbox, but not on the Billboard Top 100, the precursor to the Billboard Hot 100.\n\nIf counting Drake's feature on Travis Scott's \"Sicko Mode\", he would be included on the list with 4 for 2018 (\"God's Plan\", \"Nice for What\", and \"In My Feelings\")\n\nSources:\n\nMost number-two singles \n\n If Drake's appearance on \"BedRock\" as a member of Young Money is counted, he would be listed with a total of 10 singles.\n If Michael Jackson's time with The Jackson 5 and his uncredited appearance on \"Somebody's Watching Me\" are counted, he would appear on the list with 6 singles.\n If Paul McCartney's time with The Beatles is counted, he would appear on the list with 5 singles.\nSource:\n\nMost top five singles\n\nMost top 10 singles \n\n† – All but one of Mariah Carey's top 10 singles also reached the top 5, the exception being \"Obsessed\", which peaked at No. 7.\n\nMost cumulative weeks in the top 10 \n\n† – Rihanna is the youngest (23) soloist to earn at least 200 weeks in the top 10. Justin Bieber is the youngest male (25) soloist to do so.\n\nMost consecutive weeks in the top 10 \n\nSource:\n\nMost number-one debuts \n\n Note: If Young Thug's uncredited appearance on the track \"This Is America\" is included, this would put him on the list with 3 debuts at No. 1.\n\nSince 2009, at least one song has debuted at number one per year. 2020 holds the record for most debuts at number one in a calendar year, with twelve.\nSource:\n\nMost top 10 debuts\n\nMost top 40 entries\n\nMost Hot 100 entries \n\n† – Elvis Presley's career predated the inception of the Hot 100 by two years. He has charted 150 singles on Billboard if tracking his entire career.\n\n‡ – YoungBoy Never Broke Again (age 23 years, 198 days) is the youngest soloist to accumulate at least 100 entries on the Hot 100.\n\nMost consecutive weeks on Hot 100 \n\n After his 188-week streak spanning from February 3, 2018–September 4, 2021, Drake was only off the Hot 100 for a single week before beginning a new streak of 32 weeks, stretching between the debut of 21 songs from Certified Lover Boy on September 18, 2021 up until April 30, 2022, when \"P Power\" spent its final week on the chart. Had he remained on the Hot 100 for that single week, he would have logged 221 consecutive weeks on the chart, making it the 3rd longest streak of all time.\n\n Prior to her 154-week streak spanning from September 23, 2017–August 22, 2020, Halsey produced a 55-week streak stretching between the debut of \"Closer\" on August 20, 2016 up until September 9, 2017, when \"Now or Never\" spent its final week on the chart. Halsey was only off the Hot 100 for a single week before beginning her new streak on September 23, 2017. Had she remained on the Hot 100 for that single week, she would have logged 210 consecutive weeks on the chart, making it the 4th longest streak of all time.\n\n After his 142-week streak spanning from July 17, 2010–March 30, 2013, Chris Brown was only off the Hot 100 for two weeks before beginning a new streak of 161 weeks spanning from April 20, 2013–May 14, 2016. Had he remained on the Hot 100 for those two weeks, he would have logged 305 consecutive weeks on the chart, making it the 3rd longest streak of all time.\n\nSource:\n\nSelf-replacement at number one \n\n The Beatles† – \"I Want to Hold Your Hand\" → \"She Loves You\" (March 21, 1964); \"She Loves You\" → \"Can't Buy Me Love\" (April 4, 1964)\n Boyz II Men – \"I'll Make Love to You\" → \"On Bended Knee\" (December 3, 1994)\n Puff Daddy – \"I'll Be Missing You\" (Puff Daddy and Faith Evans featuring 112) → \"Mo Money Mo Problems\" (The Notorious B.I.G. featuring Puff Daddy and Mase) (August 30, 1997)\n Ja Rule – \"Always on Time\" (Ja Rule featuring Ashanti) → \"Ain't It Funny\" (Jennifer Lopez featuring Ja Rule) (March 9, 2002)\n Nelly – \"Hot in Herre\" → \"Dilemma\" (Nelly featuring Kelly Rowland) (August 17, 2002)\n OutKast – \"Hey Ya!\" → \"The Way You Move\" (OutKast featuring Sleepy Brown) (February 14, 2004)\n Usher – \"Yeah!\" (Usher featuring Lil Jon and Ludacris) → \"Burn\" (May 22, 2004); \"Burn\" → \"Confessions Part II\" (July 24, 2004)\n T.I. – \"Whatever You Like\" → \"Live Your Life\" (T.I. featuring Rihanna) (October 18, 2008); \"Whatever You Like\" → \"Live Your Life\" (November 15, 2008)\n The Black Eyed Peas – \"Boom Boom Pow\" → \"I Gotta Feeling\" (July 11, 2009)\n Taylor Swift – \"Shake It Off\" → \"Blank Space\" (November 29, 2014)\n The Weeknd – \"Can't Feel My Face\" → \"The Hills\" (October 3, 2015)\n Justin Bieber – \"Sorry\" → \"Love Yourself\" (February 13, 2016); \"I'm the One\" (DJ Khaled featuring Justin Bieber, Quavo, Chance the Rapper and Lil Wayne) → \"Despacito\" (Luis Fonsi and Daddy Yankee featuring Justin Bieber) (May 27, 2017)\n Drake – \"God's Plan\" → \"Nice for What\" (April 21, 2018); \"Nice for What\" → \"In My Feelings\" (July 21, 2018)\nBTS‡ – \"Butter\" → \"Permission to Dance\" (July 24, 2021); \"Permission to Dance\" → \"Butter\" (July 31, 2021)\n\n† – The Beatles are the only act in history to have three consecutive, self-replacing No. 1s.\n\n‡ – BTS are the only act in history to replace themselves at No. 1 two weeks in a row.\n\nSource:\n\nMost top positions simultaneously occupied \n\n Prior to 2000, only the Beatles, the Bee Gees and Puff Daddy had weeks where they simultaneously occupied the top two positions. The Beatles had also simultaneously occupied the top three, four and five positions during various weeks in early 1964. Since 2000, numerous recording acts have simultaneously occupied the top two, including Usher, Mariah Carey, the Black Eyed Peas, the Weeknd, Justin Bieber and Drake. On February 23, 2019, Ariana Grande became the first act since the Beatles and first solo artist to simultaneously occupy the top three.\n\nMost simultaneous entries in the top 10 \n\n Only the Beatles and the Bee Gees managed at least three simultaneous top ten singles before the use of Nielsen SoundScan and Nielsen Broadcast Data Systems to compile the Hot 100 in late 1991. The first to achieve three since then was Ashanti in March 2002.\n\nPosthumous number-ones \n Otis Redding (d. December 10, 1967) – \"(Sittin' On) The Dock of the Bay\" (March 16, 1968)\n Janis Joplin (d. October 4, 1970) – \"Me and Bobby McGee\" (March 20, 1971)\n Jim Croce (d. September 20, 1973) – \"Time in a Bottle\" (December 29, 1973)\n John Lennon (d. December 8, 1980) – \"(Just Like) Starting Over\" (December 27, 1980)\n The Notorious B.I.G. (d. March 9, 1997) – \"Hypnotize\" (May 3, 1997) and \"Mo Money Mo Problems\" (August 30, 1997)\n Soulja Slim (d. November 26, 2003) – \"Slow Motion\" (Juvenile featuring Soulja Slim) (August 7, 2004)\n Static Major (d. February 25, 2008) – \"Lollipop\" (Lil Wayne featuring Static Major) (May 3, 2008)\n XXXTentacion (d. June 18, 2018) – \"Sad!\" (June 30, 2018)\n\nSource:\n\nAge records \n Louis Armstrong (age ) is the oldest artist to top the Hot 100. He set that record with \"Hello, Dolly!\" on May 9, 1964.\n Mariah Carey (age ) is the oldest female artist to top the Hot 100. She set the record on December 17, 2022, when \"All I Want for Christmas Is You\" reached number one for its fourth consecutive run on the Hot 100 and its ninth overall week. While Carey is the oldest female artist, she recorded \"All I Want for Christmas Is You\" almost three decades earlier in 1994, when she was 25. Cher previously held the record (age ), when \"Believe\" spent four weeks at number one, from March 13 to April 3, 1999.\n Michael Jackson (age ) is the youngest artist to top the Hot 100. He achieved the record, as part of the Jackson 5, with \"I Want You Back\" on January 31, 1970.\n Stevie Wonder (age ) is the youngest solo artist to top the Hot 100. He set the record with \"Fingertips Pt. 2\" on August 10, 1963.\n Little Peggy March (age ) is the youngest female artist to top the Hot 100. The song which established this record for her was \"I Will Follow Him\", which reached No. 1 on April 27, 1963.\n Olivia Rodrigo (age ) is the youngest solo artist to debut at number one on the Hot 100. She set the record with \"Drivers License\" on January 23, 2021.\n Justin Bieber (age ) is the youngest male solo artist to debut atop the Hot 100. He set the record with \"What Do You Mean?\" on September 19, 2015.\n Rihanna (age ) is the youngest artist to collect 10 chart-toppers on the Hot 100. She set the record with \"S&M\" on April 11, 2011.\n Fred Stobaugh (age ) is the oldest living artist to chart on the Hot 100. He was featured on the Green Shoe Studio song \"Oh Sweet Lorraine\", which ranked at No. 42 on September 14, 2013. The previous record was held by Tony Bennett, who was old when his song \"Body and Soul\", a duet with Amy Winehouse, ranked at No. 87 on October 1, 2011.\n French-born Jordy Lemoine (age ) is the youngest artist to chart on the Hot 100. He established the record when his song \"Dur dur d'être bébé! (It's Tough to Be a Baby)\", where he is credited simply as Jordy, entered the chart on June 19, 1993.\n\nGap records \n The longest gap between No. 1 hits on the Hot 100 for an artist is by Cher. Her single \"Believe\" hit No. 1 on March 13, 1999, her first time on top since \"Dark Lady\" on March 23, 1974.\n The record for the longest wait from an artist's Hot 100 debut entry to its first No. 1 belongs to Santana, with 30 years between the time the band first cracked the Hot 100 with \"Jingo\" (October 25, 1969) and the first of 12 weeks at No. 1 with \"Smooth,\" featuring Rob Thomas (October 23, 1999).\n The record for most Hot 100 entries before a No. 1 is held by Future, whose feature on Drake's \"Way 2 Sexy\" alongside Young Thug scored him his first No. 1 single on his 126th chart entry.\n When \"4th Dimension\" by Kids See Ghosts featuring Louis Prima debuted at No. 42 for the week of June 23, 2018, Prima became the artist with the longest overall span of singles on the Hot 100 – on account of his single \"Wonderland by Night\" which last appeared at No. 89 on the Hot 100, dated February 13, 1961.\nBobby Helms holds the longest wait for an artist's first top 10: 60 years, four months and two weeks. His song \"Dreams\" debuted on the third Hot 100 ever (dated August 18, 1958), and \"Jingle Bell Rock\" reached the top 10 on the chart dated January 5, 2019.\nNat King Cole's \"The Christmas Song (Merry Christmas to You)\" holds the record for the longest trip to the Hot 100's top 10: 62 years and 26 days. It first appeared on the Hot 100 dated December 12, 1960 and reached the top 10 on the chart dated January 7, 2023 peaking at No. 7. Cole additionally holds the record for the longest break between Hot 100 top 10s, with a span of 59 years, six months, and one week. His single \"Those Lazy-Hazy-Crazy Days of Summer\" reached No. 6 in June 1963, and his return to the top 10 with \"The Christmas Song (Merry Christmas to You)\" reached No. 9 on the chart dated January 7, 2023. \nMariah Carey holds the record gap between first and most recent No. 1 on the Hot 100 over the longest period of time: 29 years, four months and two weeks, dating to her first week at No. 1 on the chart dated August 4, 1990, with \"Vision of Love\" to her most recent No. 1, \"All I Want for Christmas Is You\", which reached number one on the chart dated December 21, 2019. \"All I Want for Christmas Is You\" also has the longest span from a song's first week at No. 1 on the Hot 100 to its latest: three years and two weeks (Dec. 21, 2019–Jan. 7, 2023).\n Lady Gaga holds the record for the longest span of No. 1 debuts with nine years, three months, and one week. She surpassed Justin Bieber, who held the record previously with four years and five months.\n BTS holds the record for the shortest span to accumulate three No. 1 debuts, with four months and four days.\n\nAlbum achievements\n\nMost number-one singles from one album \n\nSource:\n\n Saturday Night Fever generated number-one singles for two different artists: \"How Deep Is Your Love\", \"Stayin' Alive\" and \"Night Fever\" by the Bee Gees; and \"If I Can't Have You\" by Yvonne Elliman. A Fifth Of Beethoven by Walter Murphy, You Should Be Dancing and Jive Talkin' by the Bee Gees all reached No. 1 but are from earlier albums, so these aren't generated from \"Saturday Night Fever\".\n Katy Perry's Teenage Dream: The Complete Confection was a reissue of the Teenage Dream album, and featured an additional single, \"Part of Me\", which peaked at number one on the Billboard Hot 100. This brings her actual total to six. However, this does not count since the single comes from a reissue of the album and not the original release.\n\nMost top ten songs from one album \n\n† – Michael Jackson, Bruce Springsteen, and Janet Jackson jointly hold the record for most top 10 officially-released singles from one album with seven (from Thriller, Born in the U.S.A., and Janet Jackson's Rhythm Nation 1814, respectively).\n\nSource:\n\nOther album achievements \n Janet Jackson's Janet Jackson's Rhythm Nation 1814 has the most top 5 singles, with 7.\n Janet Jackson has the most albums with five or more Top 10 hits. Those albums are Control, Janet Jackson's Rhythm Nation 1814, and janet. Drake tied this record in 2022 with Scorpion, Certified Lover Boy, and Her Loss.\n Morgan Wallen's One Thing at a Time placed all 36 of its songs simultaneously on the Billboard Hot 100 on the week of March 18, 2023, with 27 debuts joining nine previously-charting songs. Previously, Drake's Scorpion placed a record-breaking all 25 songs listed in the Billboard Hot 100 at the same time, on the July 14, 2018 chart, while he still had two more songs entered, eclipsing his previous record of 22 from his album More Life about one year earlier, on April 8, 2017, and 18 from his album Views two years earlier, on May 21, 2016.\n Taylor Swift's Midnights became the first album to have 10 of its tracks occupy the entire top 10, as well as having 10 track debuts in the top 10 on the November 5, 2022 chart, eclipsing Drake's Certified Lover Boy, which saw 9 of its tracks debut in the top 10 and occupy 9 of the top 10 slots on the chart on the September 18, 2021 chart.\n\nNOTE: Numbers listed here are, per Billboards rules, over one release.\n\nProducer achievements\n\nProducers with the most number-one singles \n\n† – Pre-Hot 100 charts and Hot 100\n\nSource:\n\nSongwriter achievements\n\nSongwriters with the most number-one singles \n\nSource:\n\nMost number-one singles in a calendar year \n\n† – Chronologically sequential, replacing each other at No. 1\n†† – Holds all-time record of writing the most consecutively charted (self-replacing) No. 1 songs on the Hot 100, with 4.\n††† – Hold all-time record of writing the most consecutive No. 1 A-side singles, with 6. Record includes these five 1965 A-sides and \"We Can Work It Out\", which hit No. 1 in January 1966.\n\nSource:\n\nSelected additional Hot 100 achievements \n\n The first No. 1 song on the Hot 100 was \"Poor Little Fool\" by Ricky Nelson (August 4, 1958).\n The shortest No. 1 song of all time is \"Stay\" by Maurice Williams And The Zodiacs (November 21, 1960). It is 1 minute and 38 seconds long.\nThe longest No. 1 song of all time is \"All Too Well (Taylor's Version)\" by Taylor Swift (November 27, 2021). It is 10 minutes and 13 seconds long.\n The No. 1 song with the longest title contains 41 words and topped the charts for Stars on 45 in June 1981. Though DJs announced it as the Stars on 45 Medley, its official title is \"Medley: Intro 'Venus' / Sugar Sugar / No Reply / I'll Be Back / Drive My Car / Do You Want to Know a Secret / We Can Work It Out / I Should Have Known Better / Nowhere Man / You're Going to Lose That Girl / Stars on 45.\"\n The No. 1 song in the first week Billboard incorporated sales and airplay data from Nielsen SoundScan and Nielsen Broadcast Data Systems was \"Set Adrift on Memory Bliss\" by P.M. Dawn (November 30, 1991).\n On September 2, 1995, \"You Are Not Alone\" by Michael Jackson became the first song to debut at No. 1. The rest of that year saw three additional number-one debuts, including two by Mariah Carey. The four number-one debuts in 1995 would hold as the most in one calendar year until 2018, when it was matched. This record was topped in 2020, when 12 songs debuted at number one. A total of 66 number-one debuts have occurred through the chart dated April 8, 2023.\n The No. 1 song in the first week Billboard allowed songs without a commercial single release to chart on the Hot 100 was \"I'm Your Angel\" by R. Kelly and Céline Dion (December 5, 1998). Though the song was making its first appearance on the Hot 100 that week, Billboard did not consider it a debut at No. 1, since it appeared on unpublished test charts prior to the allowance of airplay-only songs on the main chart. \"I'm Your Angel\" also entered the Hot 100 Singles Sales chart that week at No. 1, so it would have been ineligible to chart on the Hot 100 before then.\n The first \"airplay-only\" song to reach No. 1 (no points from a commercial single release) was \"Try Again\" by Aaliyah (June 17, 2000).\n \"We Don't Talk About Bruno\", by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz, and the cast of Encanto, set the record for the most credited artists on a No. 1 song (February 5, 2022).\n Morgan Wallen holds the record for the most entries in the Hot 100 during a one-week period, with 36 on the March 18, 2023 chart. The Beatles had long held this record, occupying 14 positions on the Hot 100 dated April 11, 1964, a feat unmatched for nearly 51 years. On March 7, 2015, Drake tied the Beatles mark, and he equaled it again on October 17 that year. Justin Bieber then reset the record to 17 on December 5, 2015, before Drake reclaimed the record with 20 on May 21, 2016, broke his own record with 24 on the April 8, 2017 chart, and broke it again with 27 on July 14, 2018.\nThe Beatles are the only artists to simultaneously hold the top 2 spots on the Billboard Hot 100 singles chart and Billboard 200 albums chart. They achieved this feat for nine consecutive weeks, from February 29, 1964, to April 25, 1964. For the first five weeks of that run, through March 28, 1964, \"I Want to Hold Your Hand\" and \"She Loves You\" were the No. 1 and No. 2 singles (which swapped positions during March 1964), while Meet the Beatles! and Introducing... The Beatles held the top 2 spots on the albums charts. For the remaining weeks of the run, \"Can't Buy Me Love\" and their cover of \"Twist and Shout\" were the No. 1 and No. 2 singles, while Meet the Beatles! and Introducing... The Beatles continued their reign as the top 2 albums.\n On February 23, 2019, Ariana Grande became the first act since the Beatles and first solo artist to simultaneously occupy the top three.\n Barry Gibb, Robin Gibb, John Lennon, Paul McCartney, Ariana Grande, Drake, and Taylor Swift hold the record of writing all of the top-three singles for one week. The Gibbs co-wrote the top 3 singles for the week of March 18, 1978 – No. 1 \"Night Fever\" and No. 2 \"Stayin' Alive\" for the Bee Gees, and No. 3 \"Emotion\" for Samantha Sang. Lennon and McCartney co-wrote the top 3 singles for the week of March 14, 1964 – No. 1 \"I Want to Hold Your Hand\", No. 2 \"She Loves You\", and No. 3 \"Please Please Me\", all for The Beatles. They continued this record the following week of March 21, 1964, when \"She Loves You\" switched places with \"I Want to Hold Your Hand\". Grande wrote the top 3 singles for the week of February 23, 2019 – No. 1 \"7 Rings\", No. 2 \"Break Up with Your Girlfriend, I'm Bored\", and No. 3 \"Thank U, Next\", all for herself. Drake wrote the top 3 singles for the week of March 20, 2021, and the top 5 singles for the week of September 18, 2021, both times all for himself. Swift wrote the entire top 10 songs for the week of November 5, 2022.\n Justin Bieber is the first artist in history to achieve new No. 1 songs in consecutive weeks on the Hot 100. On the chart dated May 27, 2017, Luis Fonsi & Daddy Yankee's \"Despacito\" dethroned DJ Khaled's \"I'm the One\" which debuted at No. 1 a week prior, both songs on which he is a featured artist.\nThe Black Eyed Peas hold the record for the longest uninterrupted time at No. 1 on the Hot 100, a total of 26 consecutive weeks from April to October 2009. \"Boom Boom Pow\" spent the first 12 weeks on top, with \"I Gotta Feeling\" taking over for the remaining 14 weeks. Prior to August 2009, Usher held this record, spending 19 consecutive weeks on top of the chart in 2004 with \"Yeah!\" (12 weeks at No. 1) and \"Burn\" (first 7 of its 8 total weeks at No. 1).\n On December 4, 2010, Rihanna's \"Only Girl (In the World)\" reached the top spot two weeks after \"What's My Name?\", becoming the first time in Hot 100 history that an album's lead single hit No. 1 after the second single did.\nOn the chart dated January 28, 2017, Ed Sheeran became the first artist to debut more than one song in the top 10 for the same week: \"Shape of You\" debuted at No. 1, while \"Castle on the Hill\" entered at No. 6.\n\n Justin Bieber became the first artist to have seven songs from a debut album chart on the Hot 100, following the release of his debut seven-track EP My World on December 5, 2009.\nDrake is the first artist to have a number-one debut replace another number-one debut. He did this April 21, 2018, when \"Nice For What\" replaced \"God's Plan\" at the summit, after the latter had spent eleven weeks on top.\n Ariana Grande is the only artist to have the lead single from each of her first six albums debut in the Hot 100's top 10.\n Ariana Grande is the first artist whose first five number-one songs all debuted at the top spot. She achieved this with the songs \"Thank U, Next\", \"7 Rings\", \"Stuck With U\", \"Rain On Me\", and \"Positions\" on the charts dated November 17, 2018, February 2, 2019, May 23, 2020, June 6, 2020, and November 6, 2020, respectively.\n In the list of August 17, 2019, Tool's \"Fear Inoculum\" broke the record of longest song to enter the Hot 100, with 10 minutes and 21 seconds and peaking at number 93.\n Creedence Clearwater Revival is the artist with the most songs to peak at No. 2 without achieving a No. 1 hit, with five (\"Proud Mary\", \"Bad Moon Rising\", \"Green River\", \"Travelin' Band/Who'll Stop the Rain\", \"Lookin' Out My Back Door/Long as I Can See the Light\"). Groups En Vogue and Blood, Sweat & Tears tie for second, with three each. All three of Blood, Sweat & Tears' No. 2 singles were released consecutively, making them the only act to achieve this feat.\n\n Taylor Swift is the first act to simultaneously debut two songs in the top-four and three songs in the top-six of the chart. She achieved it when \"Cardigan\", \"The 1\" and \"Exile\", debuted at numbers one, four and six, respectively, on the chart dated August 8, 2020.\n Ariana Grande is the first artist in history to debut three songs at No. 1 on the Hot 100 in a single calendar year. \"Stuck With U\", \"Rain On Me\", and \"Positions\" all debuted at number one in 2020.\n Taylor Swift is the first act in history to simultaneously debut at No. 1 on both the Billboard 200 and Billboard Hot 100 charts. She achieved it when her eighth studio album, Folklore, debuted atop the Billboard 200 in the same week as its lead single \"Cardigan\" debuted atop the Hot 100, on the charts dated August 8, 2020. She is also the first act in history to achieve the said record a total of four times. Her second time was with her ninth studio album, Evermore, and its lead single \"Willow\" (December 26, 2020); the third with Red (Taylor's Version) and \"All Too Well (Taylor's Version)\" (November 27, 2021); and the fourth with Midnights and its lead single, \"Anti-Hero\" (November 5, 2022).\n Morgan Wallen holds the record for the most new entries on a Hot 100 chart by any artist, with 27 on March 18, 2023.\n The Weeknd's 2019 song \"Blinding Lights\" holds the record for the highest re-entry in the charts history, after falling off the chart dated January 2, 2021 and re-entering the top ten at number 3 the following week.\n The chart dated March 20, 2021, marked the first time that the top four songs were all simultaneous debuts on the Hot 100. It was also the first time that the top three were all simultaneous debuts, with Drake carrying those three songs (\"What's Next\", \"Wants and Needs\" and \"Lemon Pepper Freestyle\") to become the first artist to debut in positions one, two and three on the same chart. (Debuting at number four was \"Leave the Door Open\" by Silk Sonic). On September 18, 2021, this record was broken when the top five songs were all Hot 100 debuts; all five were by Drake (\"Way 2 Sexy\", \"Girls Want Girls\", \"Fair Trade\", \"Champagne Poetry\", and \"Knife Talk\").\n Olivia Rodrigo is the first artist in history to debut their first two and first three singles inside the top 10 of the Hot 100. She achieved it with \"Drivers License\", \"Deja Vu\", and \"Good 4 U\".\n Sour (2021) by Olivia Rodrigo is the first debut album in history to score two number-one debuts on the Hot 100, doing so with \"Drivers License\" and \"Good 4 U\".\nThe chart dated May 29, 2021, marked the first time five songs simultaneously debuted inside the top 10 of the Hot 100. It was achieved by Olivia Rodrigo's \"Good 4 U\", J. Cole's \"My Life\", \"Amari\", \"Pride is the Devil\" and \"95 South\", which debuted at numbers 1, 2, 5, 7 and 8, respectively.\n\n \"As It Was\" by Harry Styles became the first song ever to have five separate runs at No. 1 on the Hot 100.\n On chart dated November 5, 2022, Taylor Swift became the first act to simultaneously occupy all of the top-10 positions, doing so with tracks from her tenth studio album Midnights. Male artists were absent from the top 10 for the first time ever; Swift and Lana Del Rey were the only artists present in the region. It also marked the least amount of artists present in the top 10 (two).\n\nSee also \n List of Billboard number-one singles\n List of artists who reached number one in the United States\n\nNotes\n\nReferences\n\nAdditional sources \n Fred Bronson's Billboard Book of Number 1 Hits, 5th Edition ()\n Christopher G. Feldman, The Billboard Book of No. 2 Singles ()\n Joel Whitburn's Top Pop Singles 1955–2008 ()\n Joel Whitburn Presents the Billboard Pop Charts, 1955–1959 ()\n Joel Whitburn Presents the Billboard Hot 100 Charts: The Sixties ()\n Joel Whitburn Presents the Billboard Hot 100 Charts: The Seventies ()\n Joel Whitburn Presents the Billboard Hot 100 Charts: The Eighties ()\n Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties ()\n Joel Whitburn Presents the Billboard Hot 100 Charts: The 2000s ()\n Additional information obtained can be verified within Billboards online archive services and print editions of the magazine.\n\nHot 100\nBillboard Hot 100", "title": "List of Billboard Hot 100 chart achievements and milestones" }, { "text": "A combined 273 artists have won the television series Idols, a reality singing competition adapted in forty-six regions. The series, originally created by British television executive Simon Fuller as Pop Idol, aims to find the most outstanding independent solo singer. Through mass auditions, a group of semi-finalists is selected by a panel of judges based on their performances. The finalists are then selected amongst a group of semi-finalists by the television audiences and the judges (through wildcard rounds), with the finalist receiving the most votes by the television audiences in their weekly performance being declared the winner.\n\nEach winner is given a recording contract, a monetary prize, and a title as that nation's Idol, SuperStar or Star. The first winner of the format was Will Young of the United Kingdom in 2002. Two winners of the series were also able to win for another regional title: Kurt Nilsen of Norway also won World Idol in 2003, and Hady Mirza of Singapore also won Asian Idol in 2007. In addition, Jason Hartman and Sasha-Lee Davids of South Africa were the only two finalists to be declared as co-winners of the format.\n\nWinning the Idols series provides a unique opportunity for the winning artist(s) to launch or further their music careers, due to the surrounding publicity and the recording contract offerings. However, only a few of them have managed to further their international careers. The most notable winner of the series was Kelly Clarkson of the United States, who has sold over 70 million records worldwide. Other notable winning artists who also have managed to chart internationally include Agnes Carlsson of Sweden, Alexander Klaws of Germany, Kurt Nilsen of Norway, Guy Sebastian of Australia, Carrie Underwood of the United States, and Young of the United Kingdom.\n\nWinners\n\nNational versions\n\nMultinational versions\n\nJunior competitions\n\nWinner competitions\n\nNotes\n\n Citizens of Macedonia were eligible to participate in the first season.\n Citizens of Hong Kong, Macau, and Taiwan are eligible to participate throughout the series.\n Citizens of Wallonia and Québec were eligible to participate in the first season.\n Citizens of Austria and Switzerland are eligible to participate throughout the series.\n Citizens of Cyprus were eligible to participate in Super Idol.\n Citizens of Moldova were eligible to participate in SuperStar România.\n Citizens of Belarus and Ukraine were eligible to participate in the first and second season.\n Citizens of Puerto Rico were eligible to participate in the eighth season.\n Countries whose citizens were eligible to participate include all the member states of the Arab League.\n Countries whose citizens were eligible to participate include: Botswana, Burundi, Comoros, Djibouti, Ethiopia, Eritrea, Kenya, Lesotho, Madagascar, Malawi, Mauritius, Mozambique, Namibia, Réunion (a part of France), Rwanda, Seychelles, Somalia, Swaziland, Tanzania, Uganda, Zambia and Zimbabwe.\n Countries whose citizens were eligible to participate include all of the Latin American countries, with the exception of Brazil.\n Countries whose citizens were eligible to participate include: Benin, Burkina Faso, Cape Verde, Côte d'Ivoire, Gambia, Ghana, Guinea, Guinea-Bissau, Liberia, Mali, Mauritania, Niger, Nigeria, Saint Helena, Senegal, Sierra Leone and Togo.\n Winners of Indian Idol, Indonesian Idol, Malaysian Idol, Philippine Idol, Singapore Idol, SuperStar KZ, and Vietnam Idol participated in Asian Idol, in which the winner was determined the greatest percentage of votes.\n Winners of inaugural seasons of American Idol, Australian Idol, Canadian Idol, Deutschland sucht den Superstar, Idool, Idols (Dutch version), Idols (South African version), Idol (Polish version), Idol (Norwegian version), Pop Idol, and SuperStar (Arab version) participated in World Idol, in which the winner was determined by the most collective points given by each of the other participating countries (similar to the Eurovision Song Contest).\n\nReferences\n\n \nCategory:Idols (TV series) winners\nCategory:Non-British television series based on British television series\nCategory:Television shows remade overseas", "title": "List of Idols winners" } ]

[ "Taylor Hicks auditioned for American Idol in Las Vegas, Nevada, on October 10, 2005. Despite Simon Cowell's negative feedback, Hicks passed the audition with the approval of judges Randy Jackson and Paula Abdul. He later became one of the Top 3 finalists, along with Katharine McPhee and Elliott Yamin. On May 24, 2006, Hicks was named the new American Idol, winning the title over McPhee, with over 63.4 million votes cast in total. Hicks was the oldest contestant at age 29 to win American Idol, and he was also the first male contestant to win the competition without ever being in the bottom two or three. He was the first Caucasian male winner as well.", "The finalists along with Taylor Hicks were Katharine McPhee and Elliott Yamin.", "The judges were Randy Jackson, Paula Abdul, and Simon Cowell.", "The text does not provide information on whether Taylor Hicks produced any music after his American Idol win.", "The text does not provide information on any famous albums or songs by Taylor Hicks.", "Yes, in addition to his notable accomplishments on American Idol, Taylor Hicks was signed by Ford Motor Company to promote Ford's \"Drive on Us\" year-end sales event in June 2006. He was also named as the Hottest Bachelor by People magazine for 2006, appearing on the magazine's cover. Moreover, two days in May were dedicated to him: \"Taylor Hicks Day\" proclaimed by his home city where he was given the key to the city, and another \"Taylor Hicks Day\" proclaimed by Governor Bob Riley.", "The text does not provide information on Taylor Hicks's career after winning American Idol.", "The text only mentions that Taylor Hicks was signed by Ford Motor Company to promote Ford's \"Drive on Us\" year-end sales event in June 2006 after his American Idol win. There is no information on whether he promoted other brands.", "The text does not provide specific information about the size of Taylor Hicks's fanbase. However, he won the American Idol title in 2006 with over 63.4 million votes cast in total, which suggests that he had a significant number of fans at that time." ]

[ "Yes", "Yes", "Yes", "Yes", "Yes", "Yes", "no", "No", "No" ]

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[ "What is TOki Wartooth", "Are there any other interesting aspects about this article?", "Why do they tend to die?", "Did they win any awards?", "Did the release any hits?", "Can you tell me more about Toki Warooths band experience?", "When did he join?" ]

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{ "answer_starts": [ 584, 1560, 1396, 1699, 1699, 95, 1699 ], "texts": [ "Toki is the only Dethklok member with no prior band experience,", "Any living thing that gets close to Toki - with the exception of Dr. Rockso and his bandmates - tends to die after a brief period of time.", "A recurring plot point", "CANNOTANSWER", "CANNOTANSWER", "Toki Wartooth is Dethklok's rhythm guitarist.", "CANNOTANSWER" ] }

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[ "Toki Wartooth is Dethklok's rhythm guitarist. He is a native of \"an abandoned town near Lillehammer\", Norway, and was forced to perform manual labor by his abusive parents. He has a distinct accent and often inappropriately pluralizes words. Despite having no prior band experience and not being with the band in its initial form, he replaced the violent Magnus Hammersmith. His character is generally childlike, innocent, and good-natured. He is a Type 2 diabetic and requires insulin shots.", "Yes, there are several interesting aspects in the article. One is that despite his innocent and boyish nature, Toki Wartooth is often seen as an \"angel of death\" because people he grows fond of tend to die. His hobbies include building model planes, and he has action figures, stuffed animals, and wall posters in his bedroom. In addition, his Swedish bandmate Skwisgaar is described as having a pompous attitude and Toki's guitar playing style is likened to that of Iron Maiden. Finally, he uses a distinct Gibson Flying V guitar, but switched to the Brendon Small \"Snow Falcon\" V for the fourth season of their show.", "The text does not provide a specific reason why people Toki grows fond of tend to die. It is described as a recurring plot point, and the Tribunal refers to him as an \"angel of death\".", "The text does not provide information on whether Toki Wartooth or Dethklok have won any awards.", "The text does not provide information on whether Toki Wartooth or Dethklok have released any hit songs.", "Toki Wartooth is the only member of Dethklok with no prior band experience before joining this band. Additionally, he wasn't a part of the band in its initial form. He joined the band as a replacement for the violent and egomaniacal Magnus Hammersmith. His guitar playing style has been compared to that of Iron Maiden.", "The text does not provide specific information on when Toki Wartooth joined Dethklok." ]

[ "Yes", "No", "Yes", "Yes", "Yes", "No", "Yes" ]

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[ "Who is Nathan?", "How long was he with the band?", "What important role did he play in the story?", "Does he leave the band?", "Is there an example of his emotional stablity?", "What other role does Nathan play with the group?", "Is he related to anyone in the band?" ]

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{ "answer_starts": [ 26, 1279, 636, 2078, 700, 1389, 2078 ], "texts": [ "Nathan Explosion is the frontman, lead vocalist", "first episode", "Nathan is slightly more sensible than the rest of the band, and a great deal more emotionally stable,", "CANNOTANSWER", "a great deal more emotionally stable, though he is still incompetent at most things in life such as the use of a grocery store or reading a cooking recipe.", "In the episode \"Fatherklok\", it was revealed that Nathan enjoys an excellent relationship with his father.", "CANNOTANSWER" ] }

[]

[ "Nathan Explosion is the frontman, lead vocalist and \"lyrical visionary\" of the band Dethklok. He is a tall, bulky figure, with long black hair, black nails, and green eyes, and speaks with a death growl even when not singing. Nathan is known for using violent imagery or plot elements when writing and composing song material for Dethklok. He is depicted as slightly more sensible and emotionally stable than the rest of the band, though still incompetent at many everyday tasks. However, he does have certain skills and knowledge in areas such as contract negotiation, rock culture, and French language. Nathan was raised in New Port Richey, Florida and describes his ethnicity as \"White/Native American\". He has a close relationship with his father.", "The text does not provide information on how long Nathan Explosion was with the band Dethklok.", "Nathan Explosion played the critical role of the frontman and lead vocalist of the band Dethklok in the story. He was also the lead songwriting force in the band, often using violent imagery or plot elements when writing and composing song material. Despite his incompetency in many everyday tasks, Nathan is depicted as being slightly more sensible and emotionally stable than the rest of the band. He also sometimes acts in a parental manner towards other band members and is the only one who maintains a close relationship with his father.", "The text does not provide information on whether Nathan Explosion leaves the band Dethklok.", "One example of Nathan Explosion's emotional stability can be seen in his interactions with his bandmates and his family. For instance, he sometimes acts in a parental manner towards Toki, and in one episode, he tells Murderface not to interfere with Skwisgaar's father issues. Additionally, he has a strong and positive relationship with his own father, which is unique amongst the band members. These examples show his emotional stability in comparison to the other members of Dethklok.", "Apart from being the frontman and lead vocalist of Dethklok, Nathan Explosion is also the band's \"lyrical visionary\". He is in charge of writing and composing song material for the band, often using violent imagery or plot elements in his work. As well as this, Nathan sometimes acts in a parental manner towards other band members and is generally depicted as being more sensible and emotionally stable than the rest of the band.", "The text does not provide information on Nathan Explosion being related to anyone else in the band Dethklok." ]

[ "Yes", "no", "Yes", "Yes", "Yes", "No", "Yes" ]

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[ "Where does Cronkite get his start in jounalism?", "What year did he work at WKY?", "Are there any other interesting aspects about this article?", "what made his name be noticed before the job offer?", "Did he accept the job offer?", "Did Cronkite reject the offer after that?", "Did the wedge cause any issues in the future?", "Did he cover any controversial topics?" ]

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{ "answer_starts": [ [ 150 ], [ 2601 ], [ 731 ], [ 572 ], [ 1158 ], [ 1344 ], [ 2601 ], [ 2480 ] ], "texts": [ [ "He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma." ], [ "CANNOTANSWER" ], [ "With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents," ], [ "In Kansas City, he joined the United Press in 1937. He became one of the top American reporters in World War II, covering battles in North Africa and Europe." ], [ "He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 per week;" ], [ "Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years." ], [ "CANNOTANSWER" ], [ "After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948." ] ] }

{ "answer_starts": [ 150, 2601, 731, 572, 1158, 1344, 2601, 2480 ], "texts": [ "He entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma.", "CANNOTANSWER", "With his name now established, he received a job offer from Edward R. Murrow at CBS News to join the Murrow Boys team of war correspondents,", "In Kansas City, he joined the United Press in 1937. He became one of the top American reporters in World War II, covering battles in North Africa and Europe.", "He initially accepted the offer. When he informed his boss Harrison Salisbury, UP countered with a raise of $17.50 per week;", "Cronkite ultimately accepted the UP offer, a move which angered Murrow and drove a wedge between them that would last for years.", "CANNOTANSWER", "After the war, he covered the Nuremberg trials and served as the United Press main reporter in Moscow from 1946 to 1948." ] }

[]

[ "Cronkite got his start in journalism from a series of newspaper reporting jobs covering news and sports. He subsequently entered broadcasting as a radio announcer for WKY in Oklahoma City, Oklahoma.", "The context does not provide a specific year when Cronkite worked at WKY.", "Other interesting aspects mentioned in the article include Cronkite's significant role as a war correspondent during World War II, where he traveled on military aircraft and ships, even once operating a machine gun on a German fighter. He reported on the Battle of the Bulge and the Nuremberg trials, and served as the main United Press reporter in Moscow from 1946 to 1948. An interesting anecdote about competition among journalists is mentioned, regarding how he was flown off the USS Texas in order to beat a rival correspondent in issuing the first uncensored news reports about Operation Torch. Lastly, the article reveals interesting details about the journalism industry at the time, such as the practice of not using real names on air for fear of losing listeners should the announcer change stations.", "Cronkite's name became established due to his reputation as one of the top American reporters in World War II, where he covered battles in North Africa and Europe.", "Initially, Cronkite accepted the job offer from Edward R. Murrow at CBS News, but later decided to accept a counter offer from his boss at United Press instead. This decision drove a wedge between Cronkite and Murrow lasting for many years.", "Yes, Cronkite ultimately accepted a counter offer from United Press and rejected the job offer from CBS News and Edward R. Murrow.", "The context does not provide any information about whether the wedge between Cronkite and Murrow caused any issues in the future.", "The context does not provide any information about Cronkite covering any controversial topics." ]

[ "Yes", "Yes", "No", "Yes", "Yes", "Yes", "Yes", "No" ]

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[ "How did the band come to be?", "What year did the band form?", "When did they release their first album?", "Are there any other interesting aspects about this article?", "Why did they decide to use a different name?", "Did they have a band manager?", "Did anything else significant happen during this period?", "What happened when the press noticed them?" ]

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{ "answer_starts": [ [ 142 ], [ 542 ], [ 1847 ], [ 668 ], [ 715 ], [ 2285 ], [ 1495 ], [ 1560 ] ], "texts": [ [ "Pecknold and Skjelset bonded over a mutual appreciation of Bob Dylan and Neil Young and began making music together." ], [ "Pecknold played bass for Seattle's Dolour on a US tour in 2005, shortly before forming the first incarnation of Fleet Foxes." ], [ "the band set about making their first album in early 2007," ], [ "Originally going by the name \"The Pineapples" ], [ "a name clash with another local band prompted a change" ], [ "CANNOTANSWER" ], [ "By late 2006 the Seattle press began to take notice of the band;" ], [ "Tom Scanlon of the Seattle Times stated that he was impressed with the band's lyrics and musical maturity." ] ] }

{ "answer_starts": [ 142, 542, 1847, 668, 715, 2285, 1495, 1560 ], "texts": [ "Pecknold and Skjelset bonded over a mutual appreciation of Bob Dylan and Neil Young and began making music together.", "Pecknold played bass for Seattle's Dolour on a US tour in 2005, shortly before forming the first incarnation of Fleet Foxes.", "the band set about making their first album in early 2007,", "Originally going by the name \"The Pineapples", "a name clash with another local band prompted a change", "CANNOTANSWER", "By late 2006 the Seattle press began to take notice of the band;", "Tom Scanlon of the Seattle Times stated that he was impressed with the band's lyrics and musical maturity." ] }

[]

[ "Robin Pecknold and Skyler Skjelset became close friends in high school, bonding over their love for Bob Dylan and Neil Young's music and started to create music together. Pecknold initially played bass for another band before forming the first version of Fleet Foxes, originally called \"The Pineapples\". After a name clash with another band, they changed their name to Fleet Foxes. Pecknold and Skjelset were the primary members, with Pecknold as the principal songwriter and vocalist, and Skjelset on lead guitar. The group then expanded to include Casey Wescott, Bryn Lumsden, and Nicholas Peterson. They caught the attention of a local producer, Phil Ek, who helped them record their first demo in 2006. Later that year, Craig Curran replaced Lumsden and they began to gain local press attention. At the start of 2007, they began work on their first album.", "The text does not provide a specific year when the band Fleet Foxes was formed.", "The text does not provide information on when Fleet Foxes released their first album.", "Yes, the article reveals interesting aspects about the band's early days, including the fact that Robin Pecknold and Skyler Skjelset were high school friends who bonded over shared music tastes. They were influenced by their parents' musical preferences and the local music scene. Initially, they operated under the name \"The Pineapples\" before a name clash with another band prompted them to change to \"Fleet Foxes\". Recording their first album posed financial challenges, leading to the majority of their tracks being recorded in band members' apartments and Pecknold's parents' basement.", "The original band name was \"The Pineapples\", but they had to change it due to a name clash with another local band. They then chose the name \"Fleet Foxes\".", "The text does not provide information on whether Fleet Foxes had a band manager.", "During this period, a few significant things happened. The band first formed and went through a name change from \"The Pineapples\" to \"Fleet Foxes\". They also caught the attention of Seattle producer Phil Ek, who helped them record their first demo. They started to gain attention in the local press and made some lineup changes, with Bryn Lumsden being replaced on bass by Craig Curran. They began to make their first album, and despite financial difficulties that limited studio time, they managed to record most of the tracks in various locations including band members' apartments and the basement of Pecknold's parents' house.", "By late 2006, the Seattle press began to take notice of Fleet Foxes. Tom Scanlon of the Seattle Times expressed his impressions of the band, praising the band's lyrics and musical maturity." ]

[ "Yes", "No", "no", "Yes", "Yes", "Yes", "Yes", "Yes" ]

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[ "Did he do any independent music?", "was it a success?", "Did he do any other music?", "Was the demo ever released?", "Did he ever do any tours?", "Did he release any other music?", "Did he do albums with them?", "Are there any other interesting aspects about this article?", "Why does he allow this?" ]

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{ "answer_starts": [ [ 110 ], [ 1597 ], [ 212 ], [ 369 ], [ 212 ], [ 764 ], [ 1597 ], [ 1266 ], [ 1225 ] ], "texts": [ [ "In 1997, he independently recorded In Your Time," ], [ "CANNOTANSWER" ], [ "In 2000, he moved to pursue a music career in Nashville, Tennessee, where he worked with Nashville veterans Billy Earl McClelland and Percy Sledge to record a three-track demo" ], [ "a three-track demo but was unable to find a label that would sign him." ], [ "In 2000, he moved to pursue a music career in Nashville, Tennessee," ], [ "Hicks has performed with the likes of Widespread Panic, James Brown, Tom Petty, Jackson Browne, Drive-By Truckers, Robert Randolph, Snoop Dogg and Keb Mo." ], [ "CANNOTANSWER" ], [ "Hicks has allowed audience members to record his concerts for personal, non-commercial use," ], [ "he had never held a recording contract." ] ] }

{ "answer_starts": [ 110, 1597, 212, 369, 212, 764, 1597, 1266, 1225 ], "texts": [ "In 1997, he independently recorded In Your Time,", "CANNOTANSWER", "In 2000, he moved to pursue a music career in Nashville, Tennessee, where he worked with Nashville veterans Billy Earl McClelland and Percy Sledge to record a three-track demo", "a three-track demo but was unable to find a label that would sign him.", "In 2000, he moved to pursue a music career in Nashville, Tennessee,", "Hicks has performed with the likes of Widespread Panic, James Brown, Tom Petty, Jackson Browne, Drive-By Truckers, Robert Randolph, Snoop Dogg and Keb Mo.", "CANNOTANSWER", "Hicks has allowed audience members to record his concerts for personal, non-commercial use,", "he had never held a recording contract." ] }

[ { "text": "This is a list of songs that have peaked at number one on the Billboard Hot 100 and the magazine's national singles charts that preceded it. Introduced in 1958, the Hot 100 is the pre-eminent singles chart in the United States, currently monitoring the most popular singles in terms of popular radio play, single purchases and online streaming.\n\nPreface\nThe following year-by-year, week-by-week listings are based on statistics accrued by Billboard magazine before and after the inception of its Hot 100 popularity chart in August 1958.\n\nAll data is pooled from record purchases and radio/jukebox play within the United States. Later charts also include digital single sales, online streaming, and YouTube hits.\n\nPre-Hot 100 era\n\nHot 100 era\n\nSources\nThe following sources apply to all \"by year\" pages linked above:\nFred Bronson's Billboard Book of Number 1 Hits, 5th Edition ()\nJoel Whitburn's Top Pop Singles 1955-2008, 12 Edition ()\nJoel Whitburn Presents the Billboard Pop Charts, 1955-1959 ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Sixties ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Seventies ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Eighties ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Nineties ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The 2000s ()\nAdditional information obtained can be verified within Billboard's online archive services and print editions of the magazine.\n\nSee also \n List of Billboard Hot 100 top-ten singles\n List of number-one adult contemporary hits (United States)\n List of number-one country hits (United States)\n List of number-one dance hits (United States)\n List of number-one dance airplay hits (U.S.)\n List of Billboard Mainstream Rock number-one songs of the 1980s\n List of number-one alternative hits (United States)\n List of number-one rhythm and blues hits (United States)\n List of artists who reached number one in the United States\n Billboard Year-End\n\nNumber-one hits (United States)", "title": "List of Billboard number-one singles" }, { "text": "This is a list of recording artists who have reached number one on Billboard magazine's weekly singles chart(s). This list spans from the issue dated January 1, 1955 to the present. Prior to the creation of the Billboard Hot 100, Billboard published four weekly singles charts: \"Best Sellers in Stores\", \"Most Played by Jockeys\", \"Most Played in Jukeboxes\" and \"The Top 100\" (an early version of the Hot 100). The Hot 100 began with the issue dated August 4, 1958, and is currently the standard music popularity chart in the United States.\n\nList inclusions\nAll acts are listed alphabetically, solo artists by last name, groups by group name excluding \"A\", \"An\", and \"The\".\nEach act's total of number-one hits is shown after their name.\nAll artists who are officially namechecked in song credits are listed here; this includes one-time pairings of otherwise solo artists and those appearing as \"featuring\". Exceptions to this rule:\n Paul McCartney's hits with Wings are credited to \"Wings\" even though many of them were released as \"Paul McCartney & Wings\". McCartney's total is only from hits not attributed to Wings nor the Beatles. If entries from The Beatles, Wings and McCartney were combined, his total of number one hits would be 29, making him the most successful artist in the history of the chart.\n Diana Ross, as some number-one hits credited to \"Diana Ross and the Supremes\", are attributed to The Supremes only. If Ross's solo entries here were combined with those of The Supremes, it would bring her total of number one hits to 18, making her the female artist with the second most total number one hits, after only Mariah Carey with 19.\n \"That's What Friends Are For\" charted as \"Dionne & Friends\". Each vocalist on the recording (Dionne Warwick, Elton John, Gladys Knight and Stevie Wonder) are given individual credit for a number-one song.\n Both Wham! and George Michael get one credit for \"Careless Whisper\". Technically the song is a solo recording and was released as such in many parts of the world except the U.S., where it charted as \"Wham! featuring George Michael\".\n \"We Are the World\" is credited to \"USA for Africa\", and not the individual artists who participated in the recording.\nDouble A-sides are counted as one number-one single.\nArtists associated with a group who reached number one, yet have their own solo page in Wikipedia, are not listed here unless they hit number one as a solo artist.\nArtists who hit number one prior to the start of the Hot 100 are included here.\nA song that topped multiple pre-Hot 100 charts is counted only once towards the artist's total.\nThe ° symbol indicates that all or part of an artist's total includes number-ones occurring on any of the pre-Hot 100 chart(s) listed above (January 1, 1955 through July 28, 1958).\n\n0-9\n112 (1)\n21 Savage (2)\n24kGoldn (1)\n50 Cent (4)\n6ix9ine (1)\n98 Degrees (1)\n\nA\n\nB\n\nC\n\nD\n\nE\n\nF\n\nG\n\nH\n\nI\nBilly Idol (1)\nEnrique Iglesias (2)\nJames Ingram (2)\nINXS (1)\n\nJ\n\nK\n\nL\n\nM\n\nN\n\nO\n\nP\n\nQ\nQuavo (1)\nQueen (2)\nQuestion Mark & the Mysterians (1)\n\nR\n\nS\n\nT\n\nU–V\n\nW\n\nX–Z\n\nSee also\nList of number-one hits (United States)\nList of best-selling music artists\nList of artists who reached number one on the UK Singles Chart\nList of Billboard Hot 100 number-ones by British artists\n\nReferences\n\nExternal links\nFred Bronson's Billboard Book of Number 1 Hits, 5th Edition ()\nJoel Whitburn's Top Pop Singles 1955-2008, 12 Edition ()\nJoel Whitburn Presents the Billboard Pop Charts, 1955-1959 ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Sixties ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Seventies ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Eighties ()\nJoel Whitburn Presents the Billboard Hot 100 Charts: The Nineties ()\nAdditional information obtained can be verified within Billboard's online archive services and print editions of the magazine.", "title": "List of artists who reached number one in the United States" }, { "text": "This is a comprehensive listing that highlights significant achievements and milestones based upon the Billboard Hot 100 chart. It spans the period from the issue dated January 1, 1955 to present. The Billboard Hot 100 began with the issue dated August 4, 1958, and is currently the standard popular music chart in the United States.\n\nPrior to the creation of the Hot 100, Billboard published four singles charts: \"Best Sellers in Stores\", \"Most Played by Jockeys\", \"Most Played in Jukeboxes\" and \"The Top 100\". These charts, which ranged from 20 to 100 slots, were phased out at different times between 1957 and 1958. Though technically not part of the Hot 100 chart history, select data from these charts are included for computational purposes, and to avoid unenlightening or misleading characterizations.\n\nAll items listed below are from the Hot 100 era, unless otherwise noted (pre-Hot 100 charts).\n\nAll-time achievements \nIn 2008, for the 50th anniversary of the Hot 100, Billboard magazine compiled a ranking of the 100 best-performing songs on the chart over the 50 years, along with the best-performing artists. In 2013, Billboard revised the rankings for the chart's 55th anniversary edition. In 2015, Billboard revised the rankings again. In 2018, the rankings were revised again for the Billboard chart's 60th anniversary. In 2021, Billboard revised the rankings again upon the ascendance of \"Blinding Lights\" to the top spot on the list. Shown below are the top 10 songs and top 10 artists over the 63-year period of the Hot 100, through November 2021. Also shown are the artists placing the most songs on the overall \"all-time\" top 100 song list.\n\nTop 10 songs of all time (1958–2021) \n\nSource:\n\nTop 10 artists of all time (1958–2021) \n\nSource:\n\nArtists with the most all-time top 100 songs (1958–2021)\n\nSongs milestones\n\nMost weeks at number one \n\nPre-Hot 100 notes:\n In 1956, Elvis Presley's \"Hound Dog\" / \"Don't Be Cruel\" was number 1 on the \"Best Sellers in Stores\" and \"Most Played in Jukeboxes\" charts for 11 weeks.\n In 1955, The McGuire Sisters' \"Sincerely\" was number 1 on the \"Most Played by Jockeys\" chart for 10 weeks.\n In 1955, Pérez Prado's \"Cherry Pink and Apple Blossom White\" was number 1 on the \"Best Sellers in Stores\" chart for 10 weeks.\n\nAdditional notes:\n Before the use of Nielsen SoundScan and Nielsen Broadcast Data Systems to compile the Hot 100 in late 1991, the most number of weeks a single spent at number one on the Hot 100 was 10. This occurred twice, with Debby Boone's \"You Light Up My Life\" in 1977, and Olivia Newton-John's \"Physical\" in 1981–82. Five additional singles managed nine weeks at number one during the first 34 years of the chart (1958–1992). In October 1992, the first single to top the Hot 100 for more than 10 weeks was Boyz II Men's \"End of the Road\", which accumulated 13 weeks at number one by November that year.\n\nSource:\n\nMost weeks at number two (without hitting number one) \n\nNote: Four songs managed more than 10 weeks apiece at number two, but peaked at number one, thus making them ineligible to be listed above: The Kid Laroi and Justin Bieber's \"Stay\" (2021–22 for a record 14 weeks), Whitney Houston's \"Exhale (Shoop Shoop)\" (1995–96 for 11 weeks), Olivia Rodrigo's \"Good 4 U\" (2021 for 11 weeks), and SZA's \"Kill Bill\" (2023 for 11 weeks).\n\nMost total weeks in the top two\n\nMost total weeks in the top three\n\nMost total weeks in the top five\n\nMost total weeks in the top ten\n\nMost total weeks on the Hot 100\n\nBiggest jump to number one \n\nChanges in when the eligibility of a single first begins, as well as more accurate digital download totals, have made abrupt chart jumps more commonplace. From 1955 to 2001, under Billboards previous methodologies, only two singles ascended directly to No. 1 from a previous position beneath the Top 20: The Beatles' \"Can't Buy Me Love\", which jumped from No. 27 to the top slot in April 1964, and Brandy and Monica's \"The Boy Is Mine\" which jumped from No. 23 to No. 1 in June 1998.\n\nBiggest single-week upward movements \n\nUnder Billboards previous methodologies, jumps of this magnitude were rare. One exception was Jeannie C. Riley's \"Harper Valley PTA,\" which advanced 74 slots in August 1968; this upward acceleration went unmatched for 30 years, but has been surpassed over a dozen times since 2006. Changes in when the eligibility of a single first begins, as well as more accurate digital download totals, have made abrupt chart jumps more commonplace.\n\nLongest climbs to number one \n\n† – Non-consecutive weeks on the Hot 100 before it was ranked number one\nNote: Ariana Grande was added to the artist credits on \"Die for You\" the week the song reached number one, as a remix of the song featuring Grande had been released and counted for the first time.\n\nBiggest drop from number one \nThis list does not include a record which has dropped from number 1 off the Hot 100 altogether; see the Holiday songs section below.\n\nBiggest single-week downward movements \n\nSource:\n\nBiggest drops off the Hot 100\n\nNon-holiday songs \n\nBelow are songs not connected to Christmas or the holiday season. (A special section for the holiday songs is below, as a few of those songs set higher records for dropping off the Hot 100 in early 2019 and 2020.)\n\n†† – \"Purple Rain\" and \"When Doves Cry\" reappeared on the Hot 100 for two weeks in 2016, and the above reflects their re-entries only. When the songs originally charted in 1984, their chart positions in their final week on the Hot 100 were well below the top 10.\n\nPrior to 2008, the biggest drop off the Hot 100 was \"Nights in White Satin\" by The Moody Blues, which ranked at No. 17 in its final week on the chart in December 1972. This high drop-off position was matched in January 1975 by \"Junior's Farm\" by Paul McCartney and Wings. The record descent held for over three decades. Each song above dropped off the Hot 100 upon four or fewer weeks; \"Nights in White Satin\" and \"Junior's Farm\" dropped off after 18 and 12 weeks, respectively.\n\nSource:\n\nHoliday songs \nDuring November and December beginning some time in the 2010s, these songs have regularly appeared on the Hot 100, generally departing from the chart once the holiday season ends in January. More recently, they have reached into the top ten, and in 2019, for only the second time ever on the Hot 100 (the first since 1958), made it to number one. This has led to all-time records for dropping off the Hot 100, including from number one, as the songs depart regardless of their final chart positions during the season. Only the highest drop-off position per song is listed and its most recent date if achieved more than once, like \"All I Want for Christmas Is You\", which first dropped off the Hot 100 from number one on January 11, 2020, and did so again in 2022 and 2023.\n\n\"Billboard Hot 100\"\n\nSongs hitting number one for different artists \n \"Go Away Little Girl\" – Steve Lawrence (1963) and Donny Osmond (1971)\n \"The Loco-Motion\" – Little Eva (1962) and Grand Funk (1974)\n \"Please Mr. Postman\" – The Marvelettes (1961) and The Carpenters (1975)\n \"Venus\" – Shocking Blue (1970) and Bananarama (1986)\n \"Lean on Me\" – Bill Withers (1972) and Club Nouveau (1987)\n \"You Keep Me Hangin' On\" – The Supremes (1966) and Kim Wilde (1987)\n \"When a Man Loves a Woman\" – Percy Sledge (1966) and Michael Bolton (1991)\n \"I'll Be There\" – The Jackson 5 (1970) and Mariah Carey (1992)\n \"Lady Marmalade\" – Labelle (1975) and Christina Aguilera / Lil' Kim / Mýa / Pink (2001)\n\nSource:\n\nNon-English language number-ones \n \"Nel Blu Dipinto Di Blu (Volare)\" – Domenico Modugno (Italian – August 18, 1958 for five non-consecutive weeks)\n \"Sukiyaki\" – Kyu Sakamoto (Japanese – June 15, 1963 for three weeks)\n \"Dominique\" – The Singing Nun (French – December 7, 1963 for four weeks)\n \"Rock Me Amadeus\" – Falco (English/German – March 29, 1986 for three weeks)\n \"La Bamba\" – Los Lobos (Spanish – August 29, 1987 for three weeks)\n \"Macarena (Bayside Boys Mix)\" – Los del Río (English/Spanish – August 3, 1996 for fourteen weeks)\n \"Despacito\" – Luis Fonsi and Daddy Yankee featuring Justin Bieber (English/Spanish – May 27, 2017 for sixteen weeks)\n \"Life Goes On\" – BTS (Korean/English – December 5, 2020 for one week)\n \"Like Crazy\" – Jimin (Korean/English – April 8, 2023 for one week)\n\nInstrumental number-ones \n\n \"The Happy Organ\" – Dave \"Baby\" Cortez (May 11, 1959 for one week)\n \"Sleep Walk\" – Santo & Johnny (September 21, 1959 for two weeks)\n \"Theme from A Summer Place\" – Percy Faith (February 22, 1960 for nine weeks)\n \"Wonderland by Night\" – Bert Kaempfert (January 9, 1961 for three weeks)\n \"Calcutta\" – Lawrence Welk (February 13, 1961 for two weeks)\n \"Stranger on the Shore\" – Mr. Acker Bilk (May 26, 1962 for one week)\n \"The Stripper\" – David Rose (July 7, 1962 for one week)\n \"Telstar\" – The Tornados (December 22, 1962 for three weeks)\n \"Love Is Blue\" – Paul Mauriat (February 10, 1968 for five weeks)\n \"Grazing in the Grass\" – Hugh Masekela (July 20, 1968 for two weeks)\n \"Love Theme from Romeo and Juliet\" – Henry Mancini (June 28, 1969 for two weeks)\n \"Frankenstein\" – The Edgar Winter Group (May 26, 1973 for one week)\n \"Love's Theme\" – Love Unlimited Orchestra (February 9, 1974 for one week)\n \"TSOP (The Sound of Philadelphia)\"† – MFSB and The Three Degrees (April 20, 1974 for two weeks)\n \"Pick Up the Pieces\"† – Average White Band (February 22, 1975 for one week)\n \"The Hustle\"† – Van McCoy and the Soul City Symphony (July 26, 1975 for one week)\n \"Fly, Robin, Fly\"† – Silver Convention (November 29, 1975 for three weeks)\n \"Theme from S.W.A.T.\" – Rhythm Heritage (February 28, 1976 for one week)\n \"A Fifth of Beethoven\" – Walter Murphy and the Big Apple Band (October 9, 1976 for one week)\n \"Gonna Fly Now\"† – Bill Conti (July 2, 1977 for one week)\n \"Star Wars Theme/Cantina Band\" – Meco (October 1, 1977 for two weeks)\n \"Rise\" – Herb Alpert (October 20, 1979 for two weeks)\n \"Chariots of Fire\" – Vangelis (May 8, 1982 for one week)\n \"Miami Vice Theme\" – Jan Hammer (November 9, 1985 for one week)\n \"Harlem Shake\"† – Baauer (March 2, 2013 for five weeks)\n\n† – Contains vocal part, but is considered an instrumental. See for more.\n\nArtist achievements\n\nMost number-one singles \n\n† – The biggest number-one listed by each artist reflects its overall performance on the Hot 100, as calculated by Billboard, and may not necessarily be the single which spent the most weeks at No. 1 for the artist, such as Madonna's \"Like a Virgin\" (six weeks at No. 1, compared to seven for \"Take a Bow\"), Mariah Carey's \"We Belong Together\" (fourteen weeks at No. 1, compared to sixteen for her duet with Boyz II Men, \"One Sweet Day\"), Janet Jackson's \"Miss You Much\" (four weeks at No. 1, compared to eight for \"That's the Way Love Goes\") and Michael Jackson's duet with Paul McCartney, \"Say Say Say\" (six weeks at No. 1, compared to seven for both his solo singles \"Billie Jean\" and \"Black or White\").\n\n‡ – Pre-Hot 100 charts and Hot 100.\n Billboard now credits the dual No. 1 Presley single \"Don't Be Cruel\"/\"Hound Dog\" as a single chart entity, and credits Presley with 17 number one singles. \"Don't Be Cruel\"/\"Hound Dog\" spent 11 weeks at No. 1, \"Hound Dog\" for 6 weeks, \"Don't Be Cruel\" for 5 weeks. Many chart statisticians however, such as Joel Whitburn, still list Presley as having 18 number ones.\n\n If counting Drake's uncredited feature on Travis Scott's \"Sicko Mode\", then he would be listed with 12 total number ones.\n\nMost cumulative weeks at number one \n\n† – Pre-Hot 100 charts and Hot 100. Presley is sometimes credited with an \"80th week\" that occurred when \"All Shook Up\" spent a ninth week on top of the \"Most Played in Jukeboxes\" chart. Although Billboards chart statistician Joel Whitburn still counts this 80th week based on preexisting research, Billboard magazine itself has since revised its methodology and officially credits Presley with 79 weeks. Much of Presley's total factors in pre-Hot 100 data. If counting from the August 1958 Hot 100 inception, Presley totaled 22 weeks at No. 1.\n\n Note: For singer Fergie, if Black Eyed Peas is included, this would put Fergie on the list with 34 weeks at No. 1.\n Note: For singer Michael Jackson, if The Jackson 5, which would also be later known as The Jacksons, is included, this would give Michael Jackson 47 cumulative weeks at No. 1.\n Note: For singer Beyoncé, if Destiny's Child is included, this would give Beyoncé 61 cumulative weeks at No. 1.\n Note: For singer Diana Ross, if The Supremes are included, this would give Diana Ross 42 cumulative weeks at No. 1.\n Note: For each of the Beatles:\n If John Lennon's total weeks were to include the Beatles, this would give John Lennon 65 cumulative weeks at No. 1.\n If Paul McCartney's total weeks were to include the Beatles, as well as Wings, this would give Paul McCartney 89 cumulative weeks at No. 1.\n If George Harrison's total weeks were to include the Beatles, this would give George Harrison 65 cumulative weeks at No. 1.\n If Ringo Starr's total weeks were to include the Beatles, this would give Ringo Starr 61 cumulative weeks at No. 1.\nNote: For rapper Drake, if the track \"Sicko Mode\" is included, this would give him 55 weeks at No. 1.\n\nMost consecutive number-one singles \n\n Houston's \"Thinking About You\" is not counted as interrupting the streak, as it never appeared on the Hot 100, due to not being released to Pop radio. Likewise, Perry's \"Not Like the Movies\" and \"Circle the Drain\" were only promotional singles, not radio singles.\n With the streak spanning from her debut single \"Vision of Love\" until \"Emotions,\" Mariah Carey became the first artist in Hot 100 history to have their first 5 solo singles reach No. 1 on the chart.\n\nSources:\n\nMost consecutive weeks simultaneously topping the Hot 100 and Billboard 200 \n\nSources:\n\nMost consecutive years charting a number-one single \n\n† – Pre-Hot 100 charts and Hot 100.\n\nSource:\n\nMost number-one singles in a calendar year \n\n† – Pre-Hot 100 charts.\nChart notes: If counting Presley's dual hit song \"Don't Be Cruel/Hound Dog\" separately, then Elvis has 5 for 1956. Some Presley songs included here charted No. 1 on Cashbox, but not on the Billboard Top 100, the precursor to the Billboard Hot 100.\n\nIf counting Drake's feature on Travis Scott's \"Sicko Mode\", he would be included on the list with 4 for 2018 (\"God's Plan\", \"Nice for What\", and \"In My Feelings\")\n\nSources:\n\nMost number-two singles \n\n If Drake's appearance on \"BedRock\" as a member of Young Money is counted, he would be listed with a total of 10 singles.\n If Michael Jackson's time with The Jackson 5 and his uncredited appearance on \"Somebody's Watching Me\" are counted, he would appear on the list with 6 singles.\n If Paul McCartney's time with The Beatles is counted, he would appear on the list with 5 singles.\nSource:\n\nMost top five singles\n\nMost top 10 singles \n\n† – All but one of Mariah Carey's top 10 singles also reached the top 5, the exception being \"Obsessed\", which peaked at No. 7.\n\nMost cumulative weeks in the top 10 \n\n† – Rihanna is the youngest (23) soloist to earn at least 200 weeks in the top 10. Justin Bieber is the youngest male (25) soloist to do so.\n\nMost consecutive weeks in the top 10 \n\nSource:\n\nMost number-one debuts \n\n Note: If Young Thug's uncredited appearance on the track \"This Is America\" is included, this would put him on the list with 3 debuts at No. 1.\n\nSince 2009, at least one song has debuted at number one per year. 2020 holds the record for most debuts at number one in a calendar year, with twelve.\nSource:\n\nMost top 10 debuts\n\nMost top 40 entries\n\nMost Hot 100 entries \n\n† – Elvis Presley's career predated the inception of the Hot 100 by two years. He has charted 150 singles on Billboard if tracking his entire career.\n\n‡ – YoungBoy Never Broke Again (age 23 years, 198 days) is the youngest soloist to accumulate at least 100 entries on the Hot 100.\n\nMost consecutive weeks on Hot 100 \n\n After his 188-week streak spanning from February 3, 2018–September 4, 2021, Drake was only off the Hot 100 for a single week before beginning a new streak of 32 weeks, stretching between the debut of 21 songs from Certified Lover Boy on September 18, 2021 up until April 30, 2022, when \"P Power\" spent its final week on the chart. Had he remained on the Hot 100 for that single week, he would have logged 221 consecutive weeks on the chart, making it the 3rd longest streak of all time.\n\n Prior to her 154-week streak spanning from September 23, 2017–August 22, 2020, Halsey produced a 55-week streak stretching between the debut of \"Closer\" on August 20, 2016 up until September 9, 2017, when \"Now or Never\" spent its final week on the chart. Halsey was only off the Hot 100 for a single week before beginning her new streak on September 23, 2017. Had she remained on the Hot 100 for that single week, she would have logged 210 consecutive weeks on the chart, making it the 4th longest streak of all time.\n\n After his 142-week streak spanning from July 17, 2010–March 30, 2013, Chris Brown was only off the Hot 100 for two weeks before beginning a new streak of 161 weeks spanning from April 20, 2013–May 14, 2016. Had he remained on the Hot 100 for those two weeks, he would have logged 305 consecutive weeks on the chart, making it the 3rd longest streak of all time.\n\nSource:\n\nSelf-replacement at number one \n\n The Beatles† – \"I Want to Hold Your Hand\" → \"She Loves You\" (March 21, 1964); \"She Loves You\" → \"Can't Buy Me Love\" (April 4, 1964)\n Boyz II Men – \"I'll Make Love to You\" → \"On Bended Knee\" (December 3, 1994)\n Puff Daddy – \"I'll Be Missing You\" (Puff Daddy and Faith Evans featuring 112) → \"Mo Money Mo Problems\" (The Notorious B.I.G. featuring Puff Daddy and Mase) (August 30, 1997)\n Ja Rule – \"Always on Time\" (Ja Rule featuring Ashanti) → \"Ain't It Funny\" (Jennifer Lopez featuring Ja Rule) (March 9, 2002)\n Nelly – \"Hot in Herre\" → \"Dilemma\" (Nelly featuring Kelly Rowland) (August 17, 2002)\n OutKast – \"Hey Ya!\" → \"The Way You Move\" (OutKast featuring Sleepy Brown) (February 14, 2004)\n Usher – \"Yeah!\" (Usher featuring Lil Jon and Ludacris) → \"Burn\" (May 22, 2004); \"Burn\" → \"Confessions Part II\" (July 24, 2004)\n T.I. – \"Whatever You Like\" → \"Live Your Life\" (T.I. featuring Rihanna) (October 18, 2008); \"Whatever You Like\" → \"Live Your Life\" (November 15, 2008)\n The Black Eyed Peas – \"Boom Boom Pow\" → \"I Gotta Feeling\" (July 11, 2009)\n Taylor Swift – \"Shake It Off\" → \"Blank Space\" (November 29, 2014)\n The Weeknd – \"Can't Feel My Face\" → \"The Hills\" (October 3, 2015)\n Justin Bieber – \"Sorry\" → \"Love Yourself\" (February 13, 2016); \"I'm the One\" (DJ Khaled featuring Justin Bieber, Quavo, Chance the Rapper and Lil Wayne) → \"Despacito\" (Luis Fonsi and Daddy Yankee featuring Justin Bieber) (May 27, 2017)\n Drake – \"God's Plan\" → \"Nice for What\" (April 21, 2018); \"Nice for What\" → \"In My Feelings\" (July 21, 2018)\nBTS‡ – \"Butter\" → \"Permission to Dance\" (July 24, 2021); \"Permission to Dance\" → \"Butter\" (July 31, 2021)\n\n† – The Beatles are the only act in history to have three consecutive, self-replacing No. 1s.\n\n‡ – BTS are the only act in history to replace themselves at No. 1 two weeks in a row.\n\nSource:\n\nMost top positions simultaneously occupied \n\n Prior to 2000, only the Beatles, the Bee Gees and Puff Daddy had weeks where they simultaneously occupied the top two positions. The Beatles had also simultaneously occupied the top three, four and five positions during various weeks in early 1964. Since 2000, numerous recording acts have simultaneously occupied the top two, including Usher, Mariah Carey, the Black Eyed Peas, the Weeknd, Justin Bieber and Drake. On February 23, 2019, Ariana Grande became the first act since the Beatles and first solo artist to simultaneously occupy the top three.\n\nMost simultaneous entries in the top 10 \n\n Only the Beatles and the Bee Gees managed at least three simultaneous top ten singles before the use of Nielsen SoundScan and Nielsen Broadcast Data Systems to compile the Hot 100 in late 1991. The first to achieve three since then was Ashanti in March 2002.\n\nPosthumous number-ones \n Otis Redding (d. December 10, 1967) – \"(Sittin' On) The Dock of the Bay\" (March 16, 1968)\n Janis Joplin (d. October 4, 1970) – \"Me and Bobby McGee\" (March 20, 1971)\n Jim Croce (d. September 20, 1973) – \"Time in a Bottle\" (December 29, 1973)\n John Lennon (d. December 8, 1980) – \"(Just Like) Starting Over\" (December 27, 1980)\n The Notorious B.I.G. (d. March 9, 1997) – \"Hypnotize\" (May 3, 1997) and \"Mo Money Mo Problems\" (August 30, 1997)\n Soulja Slim (d. November 26, 2003) – \"Slow Motion\" (Juvenile featuring Soulja Slim) (August 7, 2004)\n Static Major (d. February 25, 2008) – \"Lollipop\" (Lil Wayne featuring Static Major) (May 3, 2008)\n XXXTentacion (d. June 18, 2018) – \"Sad!\" (June 30, 2018)\n\nSource:\n\nAge records \n Louis Armstrong (age ) is the oldest artist to top the Hot 100. He set that record with \"Hello, Dolly!\" on May 9, 1964.\n Mariah Carey (age ) is the oldest female artist to top the Hot 100. She set the record on December 17, 2022, when \"All I Want for Christmas Is You\" reached number one for its fourth consecutive run on the Hot 100 and its ninth overall week. While Carey is the oldest female artist, she recorded \"All I Want for Christmas Is You\" almost three decades earlier in 1994, when she was 25. Cher previously held the record (age ), when \"Believe\" spent four weeks at number one, from March 13 to April 3, 1999.\n Michael Jackson (age ) is the youngest artist to top the Hot 100. He achieved the record, as part of the Jackson 5, with \"I Want You Back\" on January 31, 1970.\n Stevie Wonder (age ) is the youngest solo artist to top the Hot 100. He set the record with \"Fingertips Pt. 2\" on August 10, 1963.\n Little Peggy March (age ) is the youngest female artist to top the Hot 100. The song which established this record for her was \"I Will Follow Him\", which reached No. 1 on April 27, 1963.\n Olivia Rodrigo (age ) is the youngest solo artist to debut at number one on the Hot 100. She set the record with \"Drivers License\" on January 23, 2021.\n Justin Bieber (age ) is the youngest male solo artist to debut atop the Hot 100. He set the record with \"What Do You Mean?\" on September 19, 2015.\n Rihanna (age ) is the youngest artist to collect 10 chart-toppers on the Hot 100. She set the record with \"S&M\" on April 11, 2011.\n Fred Stobaugh (age ) is the oldest living artist to chart on the Hot 100. He was featured on the Green Shoe Studio song \"Oh Sweet Lorraine\", which ranked at No. 42 on September 14, 2013. The previous record was held by Tony Bennett, who was old when his song \"Body and Soul\", a duet with Amy Winehouse, ranked at No. 87 on October 1, 2011.\n French-born Jordy Lemoine (age ) is the youngest artist to chart on the Hot 100. He established the record when his song \"Dur dur d'être bébé! (It's Tough to Be a Baby)\", where he is credited simply as Jordy, entered the chart on June 19, 1993.\n\nGap records \n The longest gap between No. 1 hits on the Hot 100 for an artist is by Cher. Her single \"Believe\" hit No. 1 on March 13, 1999, her first time on top since \"Dark Lady\" on March 23, 1974.\n The record for the longest wait from an artist's Hot 100 debut entry to its first No. 1 belongs to Santana, with 30 years between the time the band first cracked the Hot 100 with \"Jingo\" (October 25, 1969) and the first of 12 weeks at No. 1 with \"Smooth,\" featuring Rob Thomas (October 23, 1999).\n The record for most Hot 100 entries before a No. 1 is held by Future, whose feature on Drake's \"Way 2 Sexy\" alongside Young Thug scored him his first No. 1 single on his 126th chart entry.\n When \"4th Dimension\" by Kids See Ghosts featuring Louis Prima debuted at No. 42 for the week of June 23, 2018, Prima became the artist with the longest overall span of singles on the Hot 100 – on account of his single \"Wonderland by Night\" which last appeared at No. 89 on the Hot 100, dated February 13, 1961.\nBobby Helms holds the longest wait for an artist's first top 10: 60 years, four months and two weeks. His song \"Dreams\" debuted on the third Hot 100 ever (dated August 18, 1958), and \"Jingle Bell Rock\" reached the top 10 on the chart dated January 5, 2019.\nNat King Cole's \"The Christmas Song (Merry Christmas to You)\" holds the record for the longest trip to the Hot 100's top 10: 62 years and 26 days. It first appeared on the Hot 100 dated December 12, 1960 and reached the top 10 on the chart dated January 7, 2023 peaking at No. 7. Cole additionally holds the record for the longest break between Hot 100 top 10s, with a span of 59 years, six months, and one week. His single \"Those Lazy-Hazy-Crazy Days of Summer\" reached No. 6 in June 1963, and his return to the top 10 with \"The Christmas Song (Merry Christmas to You)\" reached No. 9 on the chart dated January 7, 2023. \nMariah Carey holds the record gap between first and most recent No. 1 on the Hot 100 over the longest period of time: 29 years, four months and two weeks, dating to her first week at No. 1 on the chart dated August 4, 1990, with \"Vision of Love\" to her most recent No. 1, \"All I Want for Christmas Is You\", which reached number one on the chart dated December 21, 2019. \"All I Want for Christmas Is You\" also has the longest span from a song's first week at No. 1 on the Hot 100 to its latest: three years and two weeks (Dec. 21, 2019–Jan. 7, 2023).\n Lady Gaga holds the record for the longest span of No. 1 debuts with nine years, three months, and one week. She surpassed Justin Bieber, who held the record previously with four years and five months.\n BTS holds the record for the shortest span to accumulate three No. 1 debuts, with four months and four days.\n\nAlbum achievements\n\nMost number-one singles from one album \n\nSource:\n\n Saturday Night Fever generated number-one singles for two different artists: \"How Deep Is Your Love\", \"Stayin' Alive\" and \"Night Fever\" by the Bee Gees; and \"If I Can't Have You\" by Yvonne Elliman. A Fifth Of Beethoven by Walter Murphy, You Should Be Dancing and Jive Talkin' by the Bee Gees all reached No. 1 but are from earlier albums, so these aren't generated from \"Saturday Night Fever\".\n Katy Perry's Teenage Dream: The Complete Confection was a reissue of the Teenage Dream album, and featured an additional single, \"Part of Me\", which peaked at number one on the Billboard Hot 100. This brings her actual total to six. However, this does not count since the single comes from a reissue of the album and not the original release.\n\nMost top ten songs from one album \n\n† – Michael Jackson, Bruce Springsteen, and Janet Jackson jointly hold the record for most top 10 officially-released singles from one album with seven (from Thriller, Born in the U.S.A., and Janet Jackson's Rhythm Nation 1814, respectively).\n\nSource:\n\nOther album achievements \n Janet Jackson's Janet Jackson's Rhythm Nation 1814 has the most top 5 singles, with 7.\n Janet Jackson has the most albums with five or more Top 10 hits. Those albums are Control, Janet Jackson's Rhythm Nation 1814, and janet. Drake tied this record in 2022 with Scorpion, Certified Lover Boy, and Her Loss.\n Morgan Wallen's One Thing at a Time placed all 36 of its songs simultaneously on the Billboard Hot 100 on the week of March 18, 2023, with 27 debuts joining nine previously-charting songs. Previously, Drake's Scorpion placed a record-breaking all 25 songs listed in the Billboard Hot 100 at the same time, on the July 14, 2018 chart, while he still had two more songs entered, eclipsing his previous record of 22 from his album More Life about one year earlier, on April 8, 2017, and 18 from his album Views two years earlier, on May 21, 2016.\n Taylor Swift's Midnights became the first album to have 10 of its tracks occupy the entire top 10, as well as having 10 track debuts in the top 10 on the November 5, 2022 chart, eclipsing Drake's Certified Lover Boy, which saw 9 of its tracks debut in the top 10 and occupy 9 of the top 10 slots on the chart on the September 18, 2021 chart.\n\nNOTE: Numbers listed here are, per Billboards rules, over one release.\n\nProducer achievements\n\nProducers with the most number-one singles \n\n† – Pre-Hot 100 charts and Hot 100\n\nSource:\n\nSongwriter achievements\n\nSongwriters with the most number-one singles \n\nSource:\n\nMost number-one singles in a calendar year \n\n† – Chronologically sequential, replacing each other at No. 1\n†† – Holds all-time record of writing the most consecutively charted (self-replacing) No. 1 songs on the Hot 100, with 4.\n††† – Hold all-time record of writing the most consecutive No. 1 A-side singles, with 6. Record includes these five 1965 A-sides and \"We Can Work It Out\", which hit No. 1 in January 1966.\n\nSource:\n\nSelected additional Hot 100 achievements \n\n The first No. 1 song on the Hot 100 was \"Poor Little Fool\" by Ricky Nelson (August 4, 1958).\n The shortest No. 1 song of all time is \"Stay\" by Maurice Williams And The Zodiacs (November 21, 1960). It is 1 minute and 38 seconds long.\nThe longest No. 1 song of all time is \"All Too Well (Taylor's Version)\" by Taylor Swift (November 27, 2021). It is 10 minutes and 13 seconds long.\n The No. 1 song with the longest title contains 41 words and topped the charts for Stars on 45 in June 1981. Though DJs announced it as the Stars on 45 Medley, its official title is \"Medley: Intro 'Venus' / Sugar Sugar / No Reply / I'll Be Back / Drive My Car / Do You Want to Know a Secret / We Can Work It Out / I Should Have Known Better / Nowhere Man / You're Going to Lose That Girl / Stars on 45.\"\n The No. 1 song in the first week Billboard incorporated sales and airplay data from Nielsen SoundScan and Nielsen Broadcast Data Systems was \"Set Adrift on Memory Bliss\" by P.M. Dawn (November 30, 1991).\n On September 2, 1995, \"You Are Not Alone\" by Michael Jackson became the first song to debut at No. 1. The rest of that year saw three additional number-one debuts, including two by Mariah Carey. The four number-one debuts in 1995 would hold as the most in one calendar year until 2018, when it was matched. This record was topped in 2020, when 12 songs debuted at number one. A total of 66 number-one debuts have occurred through the chart dated April 8, 2023.\n The No. 1 song in the first week Billboard allowed songs without a commercial single release to chart on the Hot 100 was \"I'm Your Angel\" by R. Kelly and Céline Dion (December 5, 1998). Though the song was making its first appearance on the Hot 100 that week, Billboard did not consider it a debut at No. 1, since it appeared on unpublished test charts prior to the allowance of airplay-only songs on the main chart. \"I'm Your Angel\" also entered the Hot 100 Singles Sales chart that week at No. 1, so it would have been ineligible to chart on the Hot 100 before then.\n The first \"airplay-only\" song to reach No. 1 (no points from a commercial single release) was \"Try Again\" by Aaliyah (June 17, 2000).\n \"We Don't Talk About Bruno\", by Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz, and the cast of Encanto, set the record for the most credited artists on a No. 1 song (February 5, 2022).\n Morgan Wallen holds the record for the most entries in the Hot 100 during a one-week period, with 36 on the March 18, 2023 chart. The Beatles had long held this record, occupying 14 positions on the Hot 100 dated April 11, 1964, a feat unmatched for nearly 51 years. On March 7, 2015, Drake tied the Beatles mark, and he equaled it again on October 17 that year. Justin Bieber then reset the record to 17 on December 5, 2015, before Drake reclaimed the record with 20 on May 21, 2016, broke his own record with 24 on the April 8, 2017 chart, and broke it again with 27 on July 14, 2018.\nThe Beatles are the only artists to simultaneously hold the top 2 spots on the Billboard Hot 100 singles chart and Billboard 200 albums chart. They achieved this feat for nine consecutive weeks, from February 29, 1964, to April 25, 1964. For the first five weeks of that run, through March 28, 1964, \"I Want to Hold Your Hand\" and \"She Loves You\" were the No. 1 and No. 2 singles (which swapped positions during March 1964), while Meet the Beatles! and Introducing... The Beatles held the top 2 spots on the albums charts. For the remaining weeks of the run, \"Can't Buy Me Love\" and their cover of \"Twist and Shout\" were the No. 1 and No. 2 singles, while Meet the Beatles! and Introducing... The Beatles continued their reign as the top 2 albums.\n On February 23, 2019, Ariana Grande became the first act since the Beatles and first solo artist to simultaneously occupy the top three.\n Barry Gibb, Robin Gibb, John Lennon, Paul McCartney, Ariana Grande, Drake, and Taylor Swift hold the record of writing all of the top-three singles for one week. The Gibbs co-wrote the top 3 singles for the week of March 18, 1978 – No. 1 \"Night Fever\" and No. 2 \"Stayin' Alive\" for the Bee Gees, and No. 3 \"Emotion\" for Samantha Sang. Lennon and McCartney co-wrote the top 3 singles for the week of March 14, 1964 – No. 1 \"I Want to Hold Your Hand\", No. 2 \"She Loves You\", and No. 3 \"Please Please Me\", all for The Beatles. They continued this record the following week of March 21, 1964, when \"She Loves You\" switched places with \"I Want to Hold Your Hand\". Grande wrote the top 3 singles for the week of February 23, 2019 – No. 1 \"7 Rings\", No. 2 \"Break Up with Your Girlfriend, I'm Bored\", and No. 3 \"Thank U, Next\", all for herself. Drake wrote the top 3 singles for the week of March 20, 2021, and the top 5 singles for the week of September 18, 2021, both times all for himself. Swift wrote the entire top 10 songs for the week of November 5, 2022.\n Justin Bieber is the first artist in history to achieve new No. 1 songs in consecutive weeks on the Hot 100. On the chart dated May 27, 2017, Luis Fonsi & Daddy Yankee's \"Despacito\" dethroned DJ Khaled's \"I'm the One\" which debuted at No. 1 a week prior, both songs on which he is a featured artist.\nThe Black Eyed Peas hold the record for the longest uninterrupted time at No. 1 on the Hot 100, a total of 26 consecutive weeks from April to October 2009. \"Boom Boom Pow\" spent the first 12 weeks on top, with \"I Gotta Feeling\" taking over for the remaining 14 weeks. Prior to August 2009, Usher held this record, spending 19 consecutive weeks on top of the chart in 2004 with \"Yeah!\" (12 weeks at No. 1) and \"Burn\" (first 7 of its 8 total weeks at No. 1).\n On December 4, 2010, Rihanna's \"Only Girl (In the World)\" reached the top spot two weeks after \"What's My Name?\", becoming the first time in Hot 100 history that an album's lead single hit No. 1 after the second single did.\nOn the chart dated January 28, 2017, Ed Sheeran became the first artist to debut more than one song in the top 10 for the same week: \"Shape of You\" debuted at No. 1, while \"Castle on the Hill\" entered at No. 6.\n\n Justin Bieber became the first artist to have seven songs from a debut album chart on the Hot 100, following the release of his debut seven-track EP My World on December 5, 2009.\nDrake is the first artist to have a number-one debut replace another number-one debut. He did this April 21, 2018, when \"Nice For What\" replaced \"God's Plan\" at the summit, after the latter had spent eleven weeks on top.\n Ariana Grande is the only artist to have the lead single from each of her first six albums debut in the Hot 100's top 10.\n Ariana Grande is the first artist whose first five number-one songs all debuted at the top spot. She achieved this with the songs \"Thank U, Next\", \"7 Rings\", \"Stuck With U\", \"Rain On Me\", and \"Positions\" on the charts dated November 17, 2018, February 2, 2019, May 23, 2020, June 6, 2020, and November 6, 2020, respectively.\n In the list of August 17, 2019, Tool's \"Fear Inoculum\" broke the record of longest song to enter the Hot 100, with 10 minutes and 21 seconds and peaking at number 93.\n Creedence Clearwater Revival is the artist with the most songs to peak at No. 2 without achieving a No. 1 hit, with five (\"Proud Mary\", \"Bad Moon Rising\", \"Green River\", \"Travelin' Band/Who'll Stop the Rain\", \"Lookin' Out My Back Door/Long as I Can See the Light\"). Groups En Vogue and Blood, Sweat & Tears tie for second, with three each. All three of Blood, Sweat & Tears' No. 2 singles were released consecutively, making them the only act to achieve this feat.\n\n Taylor Swift is the first act to simultaneously debut two songs in the top-four and three songs in the top-six of the chart. She achieved it when \"Cardigan\", \"The 1\" and \"Exile\", debuted at numbers one, four and six, respectively, on the chart dated August 8, 2020.\n Ariana Grande is the first artist in history to debut three songs at No. 1 on the Hot 100 in a single calendar year. \"Stuck With U\", \"Rain On Me\", and \"Positions\" all debuted at number one in 2020.\n Taylor Swift is the first act in history to simultaneously debut at No. 1 on both the Billboard 200 and Billboard Hot 100 charts. She achieved it when her eighth studio album, Folklore, debuted atop the Billboard 200 in the same week as its lead single \"Cardigan\" debuted atop the Hot 100, on the charts dated August 8, 2020. She is also the first act in history to achieve the said record a total of four times. Her second time was with her ninth studio album, Evermore, and its lead single \"Willow\" (December 26, 2020); the third with Red (Taylor's Version) and \"All Too Well (Taylor's Version)\" (November 27, 2021); and the fourth with Midnights and its lead single, \"Anti-Hero\" (November 5, 2022).\n Morgan Wallen holds the record for the most new entries on a Hot 100 chart by any artist, with 27 on March 18, 2023.\n The Weeknd's 2019 song \"Blinding Lights\" holds the record for the highest re-entry in the charts history, after falling off the chart dated January 2, 2021 and re-entering the top ten at number 3 the following week.\n The chart dated March 20, 2021, marked the first time that the top four songs were all simultaneous debuts on the Hot 100. It was also the first time that the top three were all simultaneous debuts, with Drake carrying those three songs (\"What's Next\", \"Wants and Needs\" and \"Lemon Pepper Freestyle\") to become the first artist to debut in positions one, two and three on the same chart. (Debuting at number four was \"Leave the Door Open\" by Silk Sonic). On September 18, 2021, this record was broken when the top five songs were all Hot 100 debuts; all five were by Drake (\"Way 2 Sexy\", \"Girls Want Girls\", \"Fair Trade\", \"Champagne Poetry\", and \"Knife Talk\").\n Olivia Rodrigo is the first artist in history to debut their first two and first three singles inside the top 10 of the Hot 100. She achieved it with \"Drivers License\", \"Deja Vu\", and \"Good 4 U\".\n Sour (2021) by Olivia Rodrigo is the first debut album in history to score two number-one debuts on the Hot 100, doing so with \"Drivers License\" and \"Good 4 U\".\nThe chart dated May 29, 2021, marked the first time five songs simultaneously debuted inside the top 10 of the Hot 100. It was achieved by Olivia Rodrigo's \"Good 4 U\", J. Cole's \"My Life\", \"Amari\", \"Pride is the Devil\" and \"95 South\", which debuted at numbers 1, 2, 5, 7 and 8, respectively.\n\n \"As It Was\" by Harry Styles became the first song ever to have five separate runs at No. 1 on the Hot 100.\n On chart dated November 5, 2022, Taylor Swift became the first act to simultaneously occupy all of the top-10 positions, doing so with tracks from her tenth studio album Midnights. Male artists were absent from the top 10 for the first time ever; Swift and Lana Del Rey were the only artists present in the region. It also marked the least amount of artists present in the top 10 (two).\n\nSee also \n List of Billboard number-one singles\n List of artists who reached number one in the United States\n\nNotes\n\nReferences\n\nAdditional sources \n Fred Bronson's Billboard Book of Number 1 Hits, 5th Edition ()\n Christopher G. Feldman, The Billboard Book of No. 2 Singles ()\n Joel Whitburn's Top Pop Singles 1955–2008 ()\n Joel Whitburn Presents the Billboard Pop Charts, 1955–1959 ()\n Joel Whitburn Presents the Billboard Hot 100 Charts: The Sixties ()\n Joel Whitburn Presents the Billboard Hot 100 Charts: The Seventies ()\n Joel Whitburn Presents the Billboard Hot 100 Charts: The Eighties ()\n Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties ()\n Joel Whitburn Presents the Billboard Hot 100 Charts: The 2000s ()\n Additional information obtained can be verified within Billboards online archive services and print editions of the magazine.\n\nHot 100\nBillboard Hot 100", "title": "List of Billboard Hot 100 chart achievements and milestones" }, { "text": "A combined 273 artists have won the television series Idols, a reality singing competition adapted in forty-six regions. The series, originally created by British television executive Simon Fuller as Pop Idol, aims to find the most outstanding independent solo singer. Through mass auditions, a group of semi-finalists is selected by a panel of judges based on their performances. The finalists are then selected amongst a group of semi-finalists by the television audiences and the judges (through wildcard rounds), with the finalist receiving the most votes by the television audiences in their weekly performance being declared the winner.\n\nEach winner is given a recording contract, a monetary prize, and a title as that nation's Idol, SuperStar or Star. The first winner of the format was Will Young of the United Kingdom in 2002. Two winners of the series were also able to win for another regional title: Kurt Nilsen of Norway also won World Idol in 2003, and Hady Mirza of Singapore also won Asian Idol in 2007. In addition, Jason Hartman and Sasha-Lee Davids of South Africa were the only two finalists to be declared as co-winners of the format.\n\nWinning the Idols series provides a unique opportunity for the winning artist(s) to launch or further their music careers, due to the surrounding publicity and the recording contract offerings. However, only a few of them have managed to further their international careers. The most notable winner of the series was Kelly Clarkson of the United States, who has sold over 70 million records worldwide. Other notable winning artists who also have managed to chart internationally include Agnes Carlsson of Sweden, Alexander Klaws of Germany, Kurt Nilsen of Norway, Guy Sebastian of Australia, Carrie Underwood of the United States, and Young of the United Kingdom.\n\nWinners\n\nNational versions\n\nMultinational versions\n\nJunior competitions\n\nWinner competitions\n\nNotes\n\n Citizens of Macedonia were eligible to participate in the first season.\n Citizens of Hong Kong, Macau, and Taiwan are eligible to participate throughout the series.\n Citizens of Wallonia and Québec were eligible to participate in the first season.\n Citizens of Austria and Switzerland are eligible to participate throughout the series.\n Citizens of Cyprus were eligible to participate in Super Idol.\n Citizens of Moldova were eligible to participate in SuperStar România.\n Citizens of Belarus and Ukraine were eligible to participate in the first and second season.\n Citizens of Puerto Rico were eligible to participate in the eighth season.\n Countries whose citizens were eligible to participate include all the member states of the Arab League.\n Countries whose citizens were eligible to participate include: Botswana, Burundi, Comoros, Djibouti, Ethiopia, Eritrea, Kenya, Lesotho, Madagascar, Malawi, Mauritius, Mozambique, Namibia, Réunion (a part of France), Rwanda, Seychelles, Somalia, Swaziland, Tanzania, Uganda, Zambia and Zimbabwe.\n Countries whose citizens were eligible to participate include all of the Latin American countries, with the exception of Brazil.\n Countries whose citizens were eligible to participate include: Benin, Burkina Faso, Cape Verde, Côte d'Ivoire, Gambia, Ghana, Guinea, Guinea-Bissau, Liberia, Mali, Mauritania, Niger, Nigeria, Saint Helena, Senegal, Sierra Leone and Togo.\n Winners of Indian Idol, Indonesian Idol, Malaysian Idol, Philippine Idol, Singapore Idol, SuperStar KZ, and Vietnam Idol participated in Asian Idol, in which the winner was determined the greatest percentage of votes.\n Winners of inaugural seasons of American Idol, Australian Idol, Canadian Idol, Deutschland sucht den Superstar, Idool, Idols (Dutch version), Idols (South African version), Idol (Polish version), Idol (Norwegian version), Pop Idol, and SuperStar (Arab version) participated in World Idol, in which the winner was determined by the most collective points given by each of the other participating countries (similar to the Eurovision Song Contest).\n\nReferences\n\n \nCategory:Idols (TV series) winners\nCategory:Non-British television series based on British television series\nCategory:Television shows remade overseas", "title": "List of Idols winners" } ]

[ "Yes, Hicks independently recorded an album called In Your Time in 1997.", "The text does not provide information on whether his independently recorded album In Your Time was a success.", "Yes, aside from his independently recorded album In Your Time, Hicks also recorded, produced, and released a second album, Under the Radar, in 2005. He also recorded a three-track demo in Nashville, Tennessee, and has performed with numerous artists including Widespread Panic, James Brown, Tom Petty, and others.", "The text does not provide information on whether the three-track demo that Hicks recorded in Nashville, Tennessee, was ever released.", "The text does not provide information on whether Hicks ever went on any music tours.", "Yes, apart from his independently recorded album In Your Time, Hicks also recorded, produced, and released a second album, Under the Radar, in 2005.", "The text does not provide information on whether Hicks recorded any albums with the artists he performed with such as Widespread Panic, James Brown, Tom Petty, and others.", "Some interesting aspects from the article include the fact that Hicks moved to Nashville to pursue a music career but left after just a year due to what he called the \"oversaturation of the market\". Hicks also performed in the infield of Talladega Superspeedway during a NASCAR race weekend in 2004. Another notable aspect is that, despite releasing two albums prior to appearing on American Idol, Hicks did not violate their requirements for contestants, as he had never held a recording contract. Lastly, Hicks allows audience members to record his concerts for personal, non-commercial use and has also authorized the Internet Archive to create a section for fans to upload and share their recordings.", "The text does not provide information as to why Hicks allows audience members to record his concerts for personal, non-commercial use, or why he authorized the Internet Archive to create a section for fans to upload and share their recordings." ]

[ "Yes", "Yes", "Yes", "No", "no", "No", "Yes", "Yes", "No" ]

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[ "How did he get the CBS anchor job?", "Was he well received?", "Are there any other interesting aspects about this article?", "What was another of his most famous stories?", "Tell me more of his coverage of the assasination", "Did he win any awards?", "What else did he cover at CBS?", "What other stories?", "DId he cover any contraversial topics?" ]

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{ "answer_starts": [ [ 0 ], [ 358 ], [ 1335 ], [ 733 ], [ 2362 ], [ 2362 ], [ 2149 ], [ 1335 ], [ 2362 ] ], "texts": [ [ "On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast," ], [ "Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news." ], [ "In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings" ], [ "A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963." ], [ "CANNOTANSWER" ], [ "CANNOTANSWER" ], [ "Day 50 of the Iran hostage crisis," ], [ "In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions," ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 0, 358, 1335, 733, 2362, 2362, 2149, 1335, 2362 ], "texts": [ "On April 16, 1962, Cronkite succeeded Douglas Edwards as anchorman of the CBS's nightly feature newscast,", "Cronkite's tenure as anchor of the CBS Evening News made him an icon in television news.", "In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions, Cronkite received the best ratings", "A key moment for Cronkite came during his coverage of John F. Kennedy's assassination on November 22, 1963.", "CANNOTANSWER", "CANNOTANSWER", "Day 50 of the Iran hostage crisis,", "In 1969, during the Apollo 11 (with co-host and former astronaut Wally Schirra) and Apollo 13 moon missions,", "CANNOTANSWER" ] }

[]

[ "Walter Cronkite succeeded Douglas Edwards as the anchor of CBS's nightly feature newscast on April 16, 1962.", "The text does not provide specific information on Walter Cronkite's initial reception as the anchor of CBS's nightly feature newscast.", "Yes, there are several interesting points. The text notes that Walter Cronkite became the anchor of American network television's first nightly half-hour news program. He became an icon in television news during his tenure as anchor of the CBS Evening News. Cronkite also competed with NBC's anchor team and eventually surpassed their viewership. During his coverage of the Apollo 11 and Apollo 13 moon missions, Cronkite made CBS the most-watched television network for the missions. Notably, he would end the CBS Evening News with the phrase \"...And that's the way it is,\" and during the Iran hostage crisis, he would include the length of the hostages' captivity in the show's closing.", "Other than Apollo missions, one of Cronkite's most notable stories mentioned in the passage is his coverage of John F. Kennedy's assassination on November 22, 1963.", "The text does not provide further information regarding Walter Cronkite's coverage of John F. Kennedy's assassination.", "The text does not provide information on any awards that Walter Cronkite may have won.", "In addition to the Apollo 11 and Apollo 13 moon missions and the assassination of John F. Kennedy, the text does not provide further information on what else Walter Cronkite covered at CBS.", "The text does not provide further information on other stories covered by Walter Cronkite at CBS.", "The text does not provide specific information on whether Walter Cronkite covered any controversial topics." ]

[ "Yes", "No", "Yes", "Yes", "Yes", "Yes", "No", "No", "Yes" ]

[ "C_f186ea00520f45f08e0023b6ca702bf5_0_q#0", "C_f186ea00520f45f08e0023b6ca702bf5_0_q#1", "C_f186ea00520f45f08e0023b6ca702bf5_0_q#2", "C_f186ea00520f45f08e0023b6ca702bf5_0_q#3", "C_f186ea00520f45f08e0023b6ca702bf5_0_q#4", "C_f186ea00520f45f08e0023b6ca702bf5_0_q#5", "C_f186ea00520f45f08e0023b6ca702bf5_0_q#6", "C_f186ea00520f45f08e0023b6ca702bf5_0_q#7", "C_f186ea00520f45f08e0023b6ca702bf5_0_q#8", "C_f186ea00520f45f08e0023b6ca702bf5_0_q#9", "C_f186ea00520f45f08e0023b6ca702bf5_0_q#10" ]

[ "Are there any other interesting aspects about this article?", "Was he a teacher", "What was one of his quotes?", "What else was he known for?", "Did he have any lectures?", "What else was Swami recognized for?", "Was he a success with his outcomes", "Can you tell me anything you found interesting", "What country was he in", "What was he philosophy", "Did he have any other philosophies" ]

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{ "answer_starts": [ [ 1140 ], [ 0 ], [ 1870 ], [ 1340 ], [ 0 ], [ 1464 ], [ 1870 ], [ 847 ], [ 1870 ], [ 478 ], [ 602 ] ], "texts": [ [ "Vivekananda linked morality with control of the mind, seeing truth, purity and unselfishness as traits which strengthened it." ], [ "Vivekananda propagated that the essence of Hinduism was best expressed in Adi Shankara's Advaita Vedanta philosophy." ], [ "CANNOTANSWER" ], [ "). Vivekananda supported brahmacharya (celibacy), believing it the source of his physical and mental stamina and eloquence." ], [ "Vivekananda propagated that the essence of Hinduism was best expressed in Adi Shankara's Advaita Vedanta philosophy." ], [ "He emphasised that success was an outcome of focused thought and action;" ], [ "CANNOTANSWER" ], [ "Nationalism was a prominent theme in Vivekananda's thought. He believed that a country's future depends on its people," ], [ "CANNOTANSWER" ], [ "Each soul is potentially divine. The goal is to manifest this Divinity within by controlling nature, external and internal." ], [ "Do this either by work, or worship, or mental discipline, or philosophy--by one, or more, or all of these--and be free." ] ] }

{ "answer_starts": [ 1140, 0, 1870, 1340, 0, 1464, 1870, 847, 1870, 478, 602 ], "texts": [ "Vivekananda linked morality with control of the mind, seeing truth, purity and unselfishness as traits which strengthened it.", "Vivekananda propagated that the essence of Hinduism was best expressed in Adi Shankara's Advaita Vedanta philosophy.", "CANNOTANSWER", "). Vivekananda supported brahmacharya (celibacy), believing it the source of his physical and mental stamina and eloquence.", "Vivekananda propagated that the essence of Hinduism was best expressed in Adi Shankara's Advaita Vedanta philosophy.", "He emphasised that success was an outcome of focused thought and action;", "CANNOTANSWER", "Nationalism was a prominent theme in Vivekananda's thought. He believed that a country's future depends on its people,", "CANNOTANSWER", "Each soul is potentially divine. The goal is to manifest this Divinity within by controlling nature, external and internal.", "Do this either by work, or worship, or mental discipline, or philosophy--by one, or more, or all of these--and be free." ] }

[]

[ "CANNOTANSWER", "The text does not provide specific information on Vivekananda being a teacher.", "One of Vivekananda's quotes, as mentioned in the text, is: \"Take up one idea. Make that one idea your life - think of it, dream of it, live on that idea. Let the brain, muscles, nerves, every part of your body, be full of that idea, and just leave every other idea alone. This is the way to success, that is the way great spiritual giants are produced.\"", "Apart from his spiritual philosophies, Vivekananda was known for his emphasis on nationalism. He believed that a country's future depended on its people. His teachings were largely focused on human development, and he wanted to bring noble ideas to even the poorest of people. Vivekananda also linked morality with the control of the mind and championed traits like truth, purity, and unselfishness. Additionally, he supported brahmacharya (celibacy), viewing it as a source of physical and mental stamina and eloquence. He also believed that focused thought and action were keys to success.", "Yes, Vivekananda did give lectures. The text mentions his lectures on Raja Yoga.", "Swami Vivekananda, based on the given text, was recognized for his propagation of the Advaita Vedanta philosophy as the essence of Hinduism. He is also recognized for his modern and universalistic interpretation of Vedanta. In addition to his spiritual and philosophical teachings, he was known for his emphasis on nationalism, human development, truth, purity, unselfishness, and brahmacharya (or celibacy). He believed that success was a result of focused thought and action.", "The text does not provide specific information on whether Vivekananda was successful with his outcomes.", "CANNOTANSWER", "The text does not provide specific information on which country Vivekananda was in.", "Swami Vivekananda propagated the Advaita Vedanta philosophy as the essence of Hinduism, a belief he shared with Adi Shankara. However, in contrast to this non-dualistic doctrine, Vivekananda, inspired by Ramakrishna, also espoused the belief that the Absolute is both immanent and transcendent. His interpretation of Vedanta was universal and modern: he believed that each soul is potentially divine and that the goal of religion is to manifest this divinity within oneself by controlling nature, both external and internal, through methods such as work, worship, mental discipline, or philosophy. He asserted that doctrines, dogmas, rituals, books, temples, and forms are secondary details in the practice of religion.", "Based on the given text, Vivekananda primarily propagated the Advaita Vedanta philosophy as the essence of Hinduism, but also believed in the immanence and transcendence of the Absolute, a contrast from Advaita Vedanta. Additionally, he linked morality with control of the mind and highlighted truth, purity, and unselfishness as important traits. He also supported brahmacharya (celibacy) and focused thought and action as keys to success. He believed that each soul is potentially divine and that the goal of religion is not about doctrines, dogmas or rituals, but about manifesting this divinity within oneself. These can be seen as philosophies that he upheld." ]

[ "No", "No", "No", "Yes", "No", "Yes", "Yes", "no", "Yes", "Yes", "Yes" ]

[ "C_f186ea00520f45f08e0023b6ca702bf5_1_q#0", "C_f186ea00520f45f08e0023b6ca702bf5_1_q#1", "C_f186ea00520f45f08e0023b6ca702bf5_1_q#2", "C_f186ea00520f45f08e0023b6ca702bf5_1_q#3", "C_f186ea00520f45f08e0023b6ca702bf5_1_q#4", "C_f186ea00520f45f08e0023b6ca702bf5_1_q#5", "C_f186ea00520f45f08e0023b6ca702bf5_1_q#6", "C_f186ea00520f45f08e0023b6ca702bf5_1_q#7", "C_f186ea00520f45f08e0023b6ca702bf5_1_q#8", "C_f186ea00520f45f08e0023b6ca702bf5_1_q#9", "C_f186ea00520f45f08e0023b6ca702bf5_1_q#10" ]

[ "Why did he go back to India", "What is the notable lecture", "Does he do something specific to help poverty in India", "Please tell me something else", "What is the name of the institution in Chicgao", "Is there a notable thing done by Research Institute of Science", "What do disciples do", "When did he leave India a second time", "What is the first thing he did when he returned to India", "Besides caste system, what is another social issue", "Does it list any notable achievemnts in science (besides setting up a University)" ]

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{ "answer_starts": [ [ 256 ], [ 682 ], [ 861 ], [ 1616 ], [ 1844 ], [ 2227 ], [ 740 ], [ 1807 ], [ 682 ], [ 770 ], [ 611 ] ], "texts": [ [ "travelled from Colombo to Pamban, Rameswaram, Ramnad, Madurai, Kumbakonam and Madras, delivering lectures." ], [ "repeatedly addressed social issues: uplifting the people, eliminating the caste system, promoting science and industrialisation, addressing widespread poverty and ending colonial rule. These" ], [ "rule. These lectures, published as Lectures from Colombo to Almora, demonstrate his nationalistic fervour and spiritual ideology." ], [ "Vivekananda earlier inspired Jamshedji Tata to set up a research and educational institution when they travelled together from Yokohama to Chicago on Vivekananda's" ], [ "Research Institute of Science; Vivekananda" ], [ "the math and trained disciples for several months." ], [ "eliminating the caste system," ], [ "1893." ], [ "repeatedly addressed social issues:" ], [ "promoting science and industrialisation," ], [ "Vivekananda spoke about India's great spiritual heritage; in" ] ] }

{ "answer_starts": [ 256, 682, 861, 1616, 1844, 2227, 740, 1807, 682, 770, 611 ], "texts": [ "travelled from Colombo to Pamban, Rameswaram, Ramnad, Madurai, Kumbakonam and Madras, delivering lectures.", "repeatedly addressed social issues: uplifting the people, eliminating the caste system, promoting science and industrialisation, addressing widespread poverty and ending colonial rule. These", "rule. These lectures, published as Lectures from Colombo to Almora, demonstrate his nationalistic fervour and spiritual ideology.", "Vivekananda earlier inspired Jamshedji Tata to set up a research and educational institution when they travelled together from Yokohama to Chicago on Vivekananda's", "Research Institute of Science; Vivekananda", "the math and trained disciples for several months.", "eliminating the caste system,", "1893.", "repeatedly addressed social issues:", "promoting science and industrialisation,", "Vivekananda spoke about India's great spiritual heritage; in" ] }

[]

[ "C_4ab5ae95189b4e7897c18f48a3daef10_0_q#0", "C_4ab5ae95189b4e7897c18f48a3daef10_0_q#1", "C_4ab5ae95189b4e7897c18f48a3daef10_0_q#2", "C_4ab5ae95189b4e7897c18f48a3daef10_0_q#3", "C_4ab5ae95189b4e7897c18f48a3daef10_0_q#4", "C_4ab5ae95189b4e7897c18f48a3daef10_0_q#5" ]

[ "when did he retire?", "Did he continue writing?", "What films?", "Did he continue to act", "What other films besides these", "Were any of these movies popular" ]

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{ "answer_starts": [ [ 169 ], [ 349 ], [ 495 ], [ 786 ], [ 918 ], [ 2783 ] ], "texts": [ [ "frustrated with Benchley's film career taking precedence over his theatre column, appointed Wolcott Gibbs to take over in his stead." ], [ "Benchley signed with Paramount Pictures for another series of one-reel shorts, all filmed at Paramount's Long Island studio in Astoria, New York." ], [ "Most of them were adapted from his old essays (\"Take the Witness!,\" with Benchley fantasizing about conquering a tough cross-examination, was filmed as The Witness; \"The Real Public Enemies,\"" ], [ "In 1940 Benchley appeared in Alfred Hitchcock's Foreign Correspondent for which he is also credited as one of the dialogue writers." ], [ "In 1941 Benchley received two more feature-length roles: Walt Disney's The Reluctant Dragon," ], [ "CANNOTANSWER" ] ] }

{ "answer_starts": [ 169, 349, 495, 786, 918, 2783 ], "texts": [ "frustrated with Benchley's film career taking precedence over his theatre column, appointed Wolcott Gibbs to take over in his stead.", "Benchley signed with Paramount Pictures for another series of one-reel shorts, all filmed at Paramount's Long Island studio in Astoria, New York.", "Most of them were adapted from his old essays (\"Take the Witness!,\" with Benchley fantasizing about conquering a tough cross-examination, was filmed as The Witness; \"The Real Public Enemies,\"", "In 1940 Benchley appeared in Alfred Hitchcock's Foreign Correspondent for which he is also credited as one of the dialogue writers.", "In 1941 Benchley received two more feature-length roles: Walt Disney's The Reluctant Dragon,", "CANNOTANSWER" ] }

[]

[ "The text does not provide a specific date or year when Benchley retired.", "No, Benchley gave up writing for good in 1943.", "Benchley appeared in several films including Alfred Hitchcock's \"Foreign Correspondent\", Walt Disney's \"The Reluctant Dragon\", \"Nice Girl?\" with Deanna Durbin, \"You'll Never Get Rich\", \"The Sky's the Limit\", \"National Barn Dance\", and \"Road to Utopia\". He also created short films from his old essays, such as \"The Witness\" and \"Crime Control\".", "Yes, Benchley continued to act after giving up writing in 1943. He took roles in films like \"The Sky's the Limit\" (1943), the rustic musical \"National Barn Dance\", and the comedy \"Road to Utopia\" in 1945, indicating that he continued to act at least into the mid-1940s.", "The text does not provide information on any other films that Benchley appeared in besides those mentioned.", "The text does not provide information on the popularity of the films Benchley appeared in." ]

[ "no", "No", "Yes", "Yes", "no", "Yes" ]

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[ "How did he begin work as an musician?", "What else was he known for", "What year was that", "Are there any other interesting aspects about this article?" ]

[ 0, 0, 0, 0 ]

[ 2, 2, 2, 0 ]

{ "answer_starts": [ [ 0 ], [ 921 ], [ 742 ], [ 1621 ] ], "texts": [ [ "Following his tour of duty in the United States Army, Bacharach spent the next three years as a pianist" ], [ "He then became part-time music director for Dietrich, the German actress and singer" ], [ "In 1956," ], [ "Their working relationship ceased by the early 1960s," ] ] }

{ "answer_starts": [ 0, 921, 742, 1621 ], "texts": [ "Following his tour of duty in the United States Army, Bacharach spent the next three years as a pianist", "He then became part-time music director for Dietrich, the German actress and singer", "In 1956,", "Their working relationship ceased by the early 1960s," ] }

[]

[ "After his tour of duty in the United States Army, Bacharach began his career as a musician by working as a pianist and conductor for popular singer Vic Damone.", "Bacharach was also known for working as an arranger and conductor for Marlene Dietrich's nightclub shows. He toured worldwide off and on with her until the early 1960s. His collaboration with Dietrich led to his first major recognition as a conductor and arranger. When he wasn't touring, he wrote songs. He also worked in a similar capacity for other singers such as Polly Bergen, Steve Lawrence, the Ames Brothers, and Paula Stewart.", "Bacharach began his work with Marlene Dietrich in 1956.", "Interesting aspects from the context could include the fact that Bacharach, beyond being a talented pianist and conductor, also enjoyed touring in certain countries because of the musicians and public attitudes there. These countries included Russia, Poland, Edinburgh, Paris, Scandinavian countries, and Israel. The appreciation and reverence for music in these places resonated with him. Also notable is Marlene Dietrich's high praise for Bacharach in her autobiography, not only as a professional collaborator, but also as a person, noting his qualities as a man. Lastly, it's interesting that Paula Stewart, for whom Bacharach worked as a conductor, later became his first wife." ]

[ "Yes", "Yes", "Yes", "No" ]