title: Nude (art)

text: For Lynda Nead, the female nude is a matter of containing sexuality; in the case of the classical art history view represented by Kenneth Clark, this is about idealization and de-emphasis of overt sexuality, while the modern view recognizes that the human body is messy, unbounded, and problematical. If a virtuous woman is dependent and weak, as was assumed by the images in classical art, then a strong, independent woman could not be portrayed as virtuous.


title: Nude (art)

text: Although both the Academic tradition and Impressionists lost their cultural supremacy at the beginning of the twentieth century, the nude remained although transformed by the ideas of modernism. The idealized Venus was replaced by the woman intimately depicted in private settings, as in the work of Egon Schiele. The simplified modern forms of Jean Metzinger, Amedeo Modigliani, Gaston Lachaise and Aristide Maillol recall the original goddesses of fertility more than Greek goddesses.


title: Nude (art)

text: In early abstract paintings, the body could be fragmented or dismembered, as in Picasso's "Les Demoiselles d'Avignon" or his structuralist and Cubist nudes, but there are also abstracted versions of classical themes, such as Henri Matisse's dancers and bathers.


title: Nude (art)

text: Suzanne Valadon was one of relatively few female artists in the early 20th century to paint female nudes, as well as male nudes.


title: Nude (art)

text: In 1916, she painted "Nude Arranging her Hair", which depicts a woman carrying out a mundane task in a frank, un-sexualised and non-erotic way.


title: Nude (art)

text: In the post-WWII era, Abstract Expressionism moved the center of Western art from Paris to New York City. One of the primary influences in the rise of abstraction, the critic Clement Greenberg, had supported de Kooning's early abstract work. Despite Greenberg's advice, the artist, who had begun as a figurative painter, returned to the human form in early 1950 with his "Woman" series. Although having some references to the traditions of single female figures, the women were portrayed as voracious, distorted, and semi-abstract. According to the artist, he wanted to "create the angry humor of tragedy"; having the frantic look of the atomic age, a world in turmoil, a world in need of comic relief. Later, Greenberg added that "Maybe ... I was painting the woman in me. Art isn't a wholly masculine occupation, you know. I'm aware that some critics would take this to be an admission of latent homosexuality ... If I painted beautiful women, would that make me a non-homosexual? I like beautiful women. In the flesh—even the models in magazines. Women irritate me sometimes. I painted that irritation in the Woman series. That's all." Such ideas could not be expressed by pure abstraction alone.


title: Nude (art)

text: Other New York artists of this period retained the figure as their primary subject. Alice Neel painted nudes, including her own self-portrait, in the same straightforward style as clothed sitters,


title: Nude (art)

text: being primarily concerned with color and emotional content. Philip Pearlstein uses unique cropping and perspective to explore the abstract qualities of nudes. As a young artist in the 1950s, Pearlstein exhibited both abstracts and figures, but it was de Kooning that advised him to continue with figurative work.


title: Nude (art)

text: Lucian Freud was one of a small group of painters which included Francis Bacon who came to be known as "The School of London", creating figurative work in the 1970s when it was unfashionable.


title: Nude (art)

text: However, by the end of his life his works had become icons of the Postmodern era, depicting the human body without a trace of idealization, as in his series working with an obese model.


title: Nude (art)

text: One of Freud's works is entitled "Naked Portrait", which implies a realistic image of a particular unclothed woman rather than a conventional nude. In Freud's obituary in "The New York Times", it is stated: His "stark and revealing paintings of friends and intimates, splayed nude in his studio, recast the art of portraiture and offered a new approach to figurative art".


title: Nude (art)

text: Around 1970, from feminist principles, Sylvia Sleigh painted a series of works reversing stereotypical artistic themes by featuring naked men in poses usually associated with women.


title: Nude (art)

text: The paintings of Jenny Saville include family and self-portraits among other nudes; often done in extreme perspectives, attempting to balance realism with abstraction; all while expressing how a woman feels about the female nude.


title: Nude (art)

text: Lisa Yuskavage's nude figures painted in a nearly academic manner constitute a "parody of art historical nudity and the male obsession with the female form as object". John Currin is another painter whose work frequently reinterprets historic nudes. Cecily Brown's paintings combine figurative elements and abstraction in a style reminiscent of de Kooning.


title: Nude (art)

text: The end of the twentieth century saw the rise of new media and approaches to art, although they began much earlier. In particular installation art often includes images of the human body, and performance art frequently includes nudity. "Cut Piece" by Yoko Ono was first performed in 1964 (then known as a "happening"). Audience members were requested to come on stage and begin cutting away her clothing until she was nearly naked. Several contemporary performance artists such as Marina Abramović, Vanessa Beecroft and Carolee Schneemann use their own nude bodies or other performers in their work.


title: Nude (art)

text: In classical works, nude children were rarely shown except for babies and putti. Before the era of Freudian psychoanalysis, children were assumed to have no sexual feelings before puberty, so nude children were shown as symbols of pure innocence. Boys often swam naked, which was depicted in modern paintings by John Singer Sargent, George Bellows, and others. Other images were more erotic, either symbolically or explicitly.


title: Nude (art)

text: Men and women did not receive equal opportunities in artistic training from at least from the Renaissance until the middle of the nineteenth century. Women artists were not allowed access to nude models and could not participate in this part of the arts education.


title: Nude (art)

text: During this period, study of the nude figure was something all male artists were expected to go through to become an artist of worth and to be able to depict historical subjects.


title: Nude (art)

text: Academic art history tends to ignore the sexuality of the male nude, speaking instead of form and composition.


title: Nude (art)

text: For much of history, nude men represented martyrs and warriors, emphasizing an active role rather than the passive one assigned to women in art. Alice Neel and Lucian Freud painted the modern male nude in the classic reclining pose, with the genitals prominently displayed. Sylvia Sleigh painted versions of classic works with the genders reversed.


title: Nude (art)

text: Until the 1960s, art history and criticism rarely reflected anything other than the male point of view. The feminist art movement began to change this, but one of the first widely known statements of the political messages in nudity was made in 1972 by the art critic John Berger. In "Ways of Seeing", he argued that female nudes reflected and reinforced the prevailing power relationship between females portrayed in art and the predominantly male audience. A year later Laura Mulvey wrote "Visual Pleasure and Narrative Cinema", in which she applied to film theory the concept of the male gaze, asserting that all nudes are inherently voyeuristic.


title: Nude (art)

text: The feminist art movement was aimed at giving women the opportunity to have their art reach the same level of notoriety and respect that men's art received. The idea that women are intellectually inferior to men came from Aristotelian ideology and was heavily depended on during the Renaissance. It was believed by Aristotle that during the process of procreation, men were the driving force. They held all creative power while women were the receivers. Women's only role in reproduction was to provide the material and act as a vessel. This idea carried over into the image of the artist and the nude in art. The artist was seen specifically as a white male, and he was the only one who held the innate talent and creativity to be a successful professional artist. This belief system was prevalent in nude art. Women were depicted as passive, and they did not possess any control over their image. The female nude during the Renaissance was an image created by the male gaze.


title: Nude (art)

text: In Jill Fields' article "Frontiers in Feminist Art History", Fields examines the feminist art movement and its assessment of female nude imagery. She considers how the image of the female nude was created and how the feminist art history movement attempted to change the way the image of the female nude was represented. Derived from the Renaissance ideal of feminine beauty, the image of the female body was created by men and for a male audience. In paintings like Gustave Courbet's " The Origin of the World" and François Boucher's "Reclining Girl", women are depicted with open legs, implying that they are to be passive and an object to be used. In A. W. Eaton's essay "What's Wrong with the (Female) Nude? A Feminist Perspective on Art and Pornography", she discusses multiple ways in which the art of the female nude objectifies women. She considers how male nudes are both less common and represented as active and heroic, whereas female nudes are significantly more prevalent and represent women as passive, vulnerable, sexual objects. The feminist art history movement has aimed to change the way this image is perceived. The female nude has become less of an icon in Western art since the 1990s, but this decline in importance did not stop members of the feminist art movement from incorporating things like the "central core" image. This way of representing the nude female figure in art was focused on the fact that women were in control of their own image. The central image was focused on vulva-related symbols. By incorporating new images and symbols into the female nude image in Western art, the feminist art history movement continues to try and dismantle the male-dominated art world.


title: Nude (art)

text: More recent discussion of the appropriateness of certain artworks has emerged in the context of the Me Too movement.


title: Nude (art)

text: Female nudes have long been informed by the male gaze, and men's desires of the nudity of women. Feminist criticism has targeted female nudes, informed by the male gaze, for nearly a century. However, there are some artists who have turned this concept on its head, and have, as a result, distilled the criticisms embodied within the male gaze nude depictions of women. Artists have instilled the female gaze in the nudes they create. Rather than women being the object of men's desires, some artists have challenged traditional narratives of women, depicting them contrastingly as being non-sexualised.


title: Nude (art)

text: Additionally, artists have implemented the queer gaze into art, and specifically nude art, which also challenges the traditional male gaze nude artwork.


title: Nude (art)

text: The nude image in art has affected women of color in a different way than it has white women, according to Charmaine Nelson. The different depictions of the nude in art has not only instituted a system of controlling the image of women but it has put women of color in a place of other. The intersection of their identities, as Nelson asserts, creates a "doubly fetishized black female body". Women of color are not represented to the degree that white women are in nude art from the Renaissance to the 1990s, and when they are represented it is in a different way than white women. The Renaissance ideal of female beauty did not include black women. White women were represented as a sexual image, and they were the ideal sexual image for men during the Renaissance. White women, in most major works before the 20th century, did not have pubic hair. Black women normally did, and this created their image in an animalistic sexual way. While the white women's image became one of innocence and the idealized, black women were continually overtly sexualized, she adds.


title: Nude (art)

text: The nude has also been used to make a powerful social or political statement. An example is "The Barricade" (1918) by George Bellows, which depicts Belgian citizens being used as human shields by Germans in World War I. Although based upon a report of a real incident in which the victims were not nude, portraying them so in the painting emphasizes their vulnerability and universal humanity.


title: Nude (art)

text: A figure drawing is a study of the human form in its various shapes and body postures, with line, form, and composition as the primary objective, rather than the subject person. A life drawing is a work that has been drawn from an observation of a live model. Study of the human figure has traditionally been considered the best way to learning how to draw, beginning in the late Renaissance and continuing to the present.


title: Nude (art)

text: Oil paint historically has been the ideal medium for depicting the nude. By blending and layering paint, the surface can become more like skin. "Its slow drying time and various degrees of viscosity enable the artist to achieve rich and subtle blends of color and texture, which can suggest transformations from one human substance to another."


title: Nude (art)

text: Due to its durability, it is in sculpture that we see the full, nearly unbroken history of the nude from the Stone Age to the present. Figures, usually of the naked female, have been found in the Balkan region dating back to 7,000 BCE and continue to this day to be generated. In the Indian and Southeast Asian sculpture tradition nudes were frequently adorned with bracelets and jewelry that tended to "punctuate their charms and demarcate the different parts of their bodies much as developed musculature does in the male".


title: Nude (art)

text: The nude has been a subject of photography almost since its invention in the nineteenth century. Early photographers often selected poses that imitated the classical nudes of the past. Photography suffers from the problem of being too real, and for many years was not accepted by those committed to the traditional fine arts. However, many photographers have been established as fine artists including Ruth Bernhard, Anne Brigman, Imogen Cunningham, Alfred Stieglitz and Edward Weston.


title: Nude (art)

text: In the late twentieth century several new art forms emerged, including installation, performance and video art, all of which have been used to create works that explore the concept of the nude. An example is Mona Kuhn's site-specific installation "Experimental" (2018), which employs video projections, vinyl installation, and other mixed media.


title: Federal Express Flight 705

text: On April 7, 1994, Federal Express Flight 705, a McDonnell Douglas DC-10-30 cargo jet carrying electronics equipment across the United States from Memphis, Tennessee, to San Jose, California, was involved in a hijack attempt by Auburn R. Calloway, who the prosecution argued was trying to commit suicide. Calloway, a Federal Express employee, was facing possible dismissal for lying about his flight hours. He boarded the scheduled flight as a deadhead passenger carrying a guitar case concealing several hammers and a speargun. He tried to switch off the aircraft's cockpit voice recorder (CVR) before takeoff and, once airborne, kill the crew with hammers so their injuries would appear consistent with an accident rather than a hijacking. The CVR, though, was switched back on by the flight engineer, believing that he had neglected to turn it on.


title: Federal Express Flight 705

text: Calloway intended to use the speargun as a last resort. He planned to crash the aircraft hoping that he would appear to be an employee killed in an accident. He sought to let his family collect on a $2.5 million life insurance policy provided by Federal Express. Calloway's efforts to kill the crew were unsuccessful. Despite severe injuries, the crew fought back, subdued Calloway, and landed the aircraft safely.


title: Federal Express Flight 705

text: During his trial, Calloway attempted to invoke an insanity defense, but he was found guilty of multiple charges, including attempted murder, attempted air piracy, and interference with flight crew operations. He received two consecutive life sentences with no chance of parole. Calloway successfully appealed the conviction for interference, which was ruled to be a lesser offense of attempted air piracy.


title: Federal Express Flight 705

text: Three flight crew members were in the cockpit on this flight: 49-year-old Captain David G. "Dave" Sanders, who had worked for FedEx for 20 years and previously served with the U.S. Navy for nine years during the Vietnam War; 42-year-old First Officer James M. "Jim" Tucker Jr., who had worked for FedEx for 10 years and previously served with the U.S. Navy for 12 years during the Vietnam War and People Express Airlines for three years; and 39-year-old Flight Engineer Andrew H. "Andy" Peterson, who had worked for FedEx for 5 years.


title: Federal Express Flight 705

text: Also in the airplane was 42-year-old FedEx flight engineer Auburn Calloway, an alumnus of Stanford University and a former Navy pilot and martial-arts expert, who was facing possible dismissal over falsifying of his flight hours. To disguise the hijacking as an accident, so his family would benefit from his US$2.5 million (equivalent to $ million in ) life-insurance policy, Calloway intended to murder the flight crew using blunt force. To accomplish this, he brought on board two claw hammers, two club hammers, a speargun, and a knife (which was not used) concealed inside a guitar case. He also carried with him a note written to his ex-wife and "describing the author's apparent despair". Just before the flight, Calloway had transferred over US$54,000 () in securities and cashier's checks to his ex-wife.


title: Federal Express Flight 705

text: Before takeoff, as part of his plan to disguise the intended attack as an accident, Calloway attempted to disable the cockpit voice recorder (CVR) by pulling its circuit breaker to interrupt CVR power. During the standard preflight checks, Peterson, the flight engineer, noticed the pulled breaker and reset it before takeoff, reactivating the CVR. However, if Calloway had killed the crew members with the CVR still on, he would simply have had to fly for 30 minutes to erase any trace of a struggle from the CVR's 30-minute loop.


title: Federal Express Flight 705

text: 26 minutes after takeoff, as the plane was passing 19,000 feet, and the flight crew carried on a casual conversation, Calloway went into the back to get his weapons, entered the flight deck, and attacked Peterson, Tucker, and Sanders. All three members of the crew received multiple hammer blows. Both Peterson and Tucker, the first officer, suffered fractured skulls, and Peterson's temporal artery was severed. The blow to Tucker's head drilled shards of bone into his brain and initially rendered him unable to move or react, but he was still conscious. Captain Sanders reported that during the beginning of the attack, he could not discern any emotion from Calloway, just "simply a face in his eyes".


title: Federal Express Flight 705

text: When Calloway ceased his hammer attack, Peterson and Sanders began to get out of their seats to go after Calloway. Calloway left the cockpit and retrieved his speargun. He came back into the cockpit and threatened everyone to sit back down in their seats. Despite a loud ringing in his ear and being unbalanced and dazed, Peterson grabbed the gun by the spear between the barbs and the barrel. Tucker then put the DC-10 into a sharp 15-degree climb, and a lengthy struggle ensued, while Tucker, also an ex-Navy pilot, performed extreme aerial maneuvers with the aircraft. He pulled the plane into a sudden 15° climb, throwing Sanders, Peterson, and Calloway out of the cockpit and into the galley. To try to throw Calloway off balance, Tucker then turned the plane into a left roll, almost on its side. This rolled the combatants along the smoke curtain onto the left side of the galley.


title: Federal Express Flight 705

text: Eventually, Tucker had rolled the plane almost upside down at 140°, while attempting to maintain a visual reference of the environment around him through the windows. Peterson, Sanders, and Calloway were then pinned to the ceiling of the plane. Calloway managed to wrench his hammer hand free and hit Sanders in the head again. Just then, Tucker put the plane into a steep dive. This pushed the combatants back to the smoke curtain, but the wings and elevators started to flutter. At this point, Tucker could hear the wind rushing against the cockpit windows. At a speed of , the plane's elevators fluttered so much that the control surfaces became unresponsive due to the disrupted airflow. This lack of control tested the aircraft’s safety limits. Tucker also began to sense a Mach tuck effect as the airflow over the wings approached the speed of sound. Tucker realized the throttles were at full power, increasing the speed of the aircraft. Releasing his only usable hand to pull back the throttles to idle, he managed to pull the plane out of the dive as it slowed down.


title: Federal Express Flight 705

text: As the DC-10 leveled off at 5,000 feet, Calloway managed to hit Sanders again while the struggle continued, and this time the blow nearly knocked him unconscious. Sanders was losing strength, and Peterson was bleeding out from his ruptured temporal artery and was starting to go into shock. In spite of his diminishing strength, Sanders managed to grab the hammer out of Calloway's hand and attacked him with it. When the plane was completely level, Tucker alerted Memphis Center, telling them about the attack and requesting a vector back to Memphis. He requested an ambulance and "armed intervention", meaning he wanted a SWAT team to storm the plane.


title: Federal Express Flight 705

text: The flight crew eventually succeeded in restraining and disarming Calloway, although only after moments of inverted and over-speed flight beyond the designed capabilities of a DC-10. Sanders took control, and Tucker, who by then had his sense of touch severely diminished and was paralyzed on the right side of his body, went back to assist Peterson in restraining Calloway. Sanders communicated with air traffic control, preparing for an emergency landing back at Memphis International Airport. Meanwhile, Calloway started fighting with the crew again.


title: Federal Express Flight 705

text: Fully laden with fuel and cargo, the plane was approaching too fast and too high to land on the scheduled runway 9. Due to the plane's weight, speed, and height, it was at risk of breaking up upon landing under these conditions. Sanders requested by radio to land on the longer runway 36L. Ignoring warnings from the Ground Proximity Warning System and using a series of sharp turns that further tested the DC-10's safety limits, Sanders landed the jet safely on the runway at over its maximum designed landing weight. By that time, Calloway was defeated. Emergency personnel and police gained access to the plane via the escape slide and ladder. Inside, they found the interior of the galley and cockpit covered in blood. Calloway was then arrested, taken off the plane, and—along with Peterson, Tucker, and Sanders—was taken to a nearby hospital.


title: Federal Express Flight 705

text: The crew of Flight 705 survived the attack but were seriously injured. The left side of Tucker's skull was severely fractured, causing motor control problems in his right arm and right leg. Calloway had also dislocated Tucker's jaw, attempted to gouge out one of his eyes, and stabbed his right arm. Sanders suffered several deep gashes in his head, and doctors had to sew his right ear back in place. Flight engineer Peterson's skull was fractured and his temporal artery severed. The aircraft itself incurred $800,000 worth of damage.


title: Federal Express Flight 705

text: Calloway pleaded temporary insanity, but was sentenced to two consecutive life sentences (federal sentences are not subject to parole) on August 11, 1995, for attempted murder and attempted air piracy. Calloway, Federal Bureau of Prisons inmate #14601-076, is imprisoned at USP Allenwood, in Pennsylvania.


title: Federal Express Flight 705

text: On May 26, 1994, the Air Line Pilots Association awarded Dave Sanders, Jim Tucker, and Andy Peterson the Gold Medal Award for heroism, the highest award a civilian pilot can receive. As of 2004, 10 years after the incident and due to the extent and severity of their injuries, none of the crew had been recertified as medically fit to fly commercially. However, Jim Tucker returned to recreational flying in his Luscombe 8A by 2002.


title: Federal Express Flight 705

text: The McDonnell Douglas DC-10-30 aircraft involved, N306FE, is scheduled to be the final MD-10 retired by FedEx on December 31st, 2022 and remains in service as an upgraded MD-10 without the flight engineer position, although FedEx is in the process of phasing out their MD-10 aircraft in favor of the Boeing 767-300F. The plane first flew on November 5, 1985 and was delivered to FedEx on January 24, 1986.


title: Federal Express Flight 705

text: On June 7, 2022, the aircraft was involved in another incident, where the crew received a cargo fire indication and diverted to Tulsa International Airport. None of the occupants on board were injured.


title: Federal Express Flight 705

text: The attempted hijacking of Flight 705 was featured in "Fight for Your Life", a season-three (2005) episode of the Canadian TV series "Mayday" (called "Air Emergency" and "Air Disasters" in the U.S., and "Air Crash Investigation" in the UK), which included interviews with the flight crew. The dramatization was broadcast with the title "Suicide Attack" in the United Kingdom, Australia, and Asia.


title: Federal Express Flight 705

text: The sixth episode of UK TV series "Black Box" (called "Survival in the Sky" in the U.S.), "Sky Crimes", also features the attempted takeover using audio between air traffic control and the crew.


title: Federal Express Flight 705

text: The book "Hijacked: The True Story of the Heroes of Flight 705", written by Dave Hirschman, was published in 1997.


title: Gulfstream V

text: The Gulfstream V (Model GV, pronounced "G-five") is a long-range, large business jet aircraft produced by Gulfstream Aerospace, derived from the previous Gulfstream IV. It flies up to , up to and has a range. It typically accommodates four crew and 14 passengers. It first flew on November 28, 1995, and entered service in June 1997. It is used by the US military under the designation C-37A. It is followed by an improved version, the Gulfstream 550 (Model GV-SP).


title: Gulfstream V

text: In the early 1990s, the Gulfstream V (GV) was developed as a response to the Bombardier Global Express.


title: Gulfstream V

text: Capable of flying up to , it rolled out in 1995 and was Gulfstream's first ultra-long range business jet. Total production of the Gulfstream V was 193 aircraft.


title: Gulfstream V

text: By 2019, a GV was worth around $10 million: below $6 million for a fixer to p $13 million for a late model low-time aircraft.


title: Gulfstream V

text: Compared to the Gulfstream IV, the engines are changed from Rolls-Royce Tay to Rolls-Royce BR700-710A1-10 with increased thrust, higher bypass ratio, and Full Authority Digital Engine Controls (FADEC). Operating ceiling is increased from . It has thrust reversers and composite flight control surfaces. The horizontal tail area is 30% larger, wingspan is increased from , the fuselage is lengthened by forward of the main entry door, and by aft of the wing. Maximum takeoff and landing weights are increased by 15%.


title: Gulfstream V

text: The three zone cabin is similar to the G-IV, smaller than the Global Express, while its dispatch reliability, cabin noise and fuel efficiency compare favourably against its competitors of the same era.


title: Gulfstream V

text: Compared to the comparably priced Global Express, the GV offers more range and is more fuel efficient while the Bombardier offers better runway performance, a larger cabin and a softer ride.


title: Gulfstream V

text: BR710 overhaul comes at 8,000 hour or 10 years if it comes earlier and costs $1.25 million per engine.


title: Gulfstream V

text: The majority of G-Vs are operated by corporate and individual owners. Mark Cuban paid $40 million for a Gulfstream V in October 1999, earning a Guinness Record of "largest single e-commerce transaction". Steve Jobs received a Gulfstream V as compensation from Apple in 2000.


title: Gulfstream V

text: The 89th Airlift Wing's 99th Airlift Squadron, Andrews Air Force Base, Maryland, operates four C-37As. The 6th Air Mobility Wing's 310th Airlift Squadron, MacDill Air Force Base, Florida operates three C-37As. The 15th Airlift Wing's 65th Airlift Squadron, Hickam Air Force Base, Hawaii operates one C-37A. The 86th Airlift Wing's 76th Airlift Squadron, Ramstein Air Base, Germany has two C-37As. The Executive Transport Detachment Pacific, Hickam Air Force Base, Hawaii operates one C-37A. The United States Army Priority Air Transport Det. (USAPAT), Andrews AFB, MD, operates two C-37As.


title: Gulfstream V

text: On March 11, 2005, Gulfstream delivered an ultra-long-range G-V to the National Center for Atmospheric Research (NCAR). The aircraft—known as the High-performance, Instrumented Airborne Platform for Environmental Research (HIAPER), based in Boulder, Colorado, is being used by environmental and atmospheric scientists from both public and private research facilities. The GV was chosen by NCAR for its exceptionally high cruising altitude, long range, endurance, payload, reliability, and low operating costs, as well as worldwide product support. The HIAPER Gulfstream V is modified to accept wing/pylon mounted instrumentation.


title: Mishnah

text: The Mishnah or the Mishna (; , "study by repetition", from the verb "shanah" , or "to study and review", also "secondary") is the first major written collection of the Jewish oral traditions which is known as the Oral Torah. It is also the first major work of rabbinic literature. The Mishnah was redacted by Judah ha-Nasi probably in Beit Shearim or Sepphoris at the beginning of the 3rd century CE in a time when, according to the Talmud, the persecution of the Jews and the passage of time raised the possibility that the details of the oral traditions of the Pharisees from the Second Temple period (516 BCE – 70 CE) would be forgotten. Most of the Mishnah is written in Mishnaic Hebrew, but some parts are in Aramaic.


title: Mishnah

text: The Mishnah consists of six orders (', singular ' ), each containing 7–12 tractates (', singular ' ; lit. "web"), 63 in total, and further subdivided into chapters and paragraphs. The word "Mishnah" can also indicate a single paragraph of the work, i.e. the smallest unit of structure in the Mishnah. For this reason the whole work is sometimes referred to in the plural form, "".


title: Mishnah

text: The term ""Mishnah"" originally referred to a method of teaching by presenting topics in a systematic order, as contrasted with "", which followed the order of the Bible. As a written compilation, the order of the Mishnah is by subject matter and includes a much broader selection of halakhic subjects, and discusses individual subjects more thoroughly, than the "Midrash".


title: Mishnah

text: The Mishnah consists of six orders (', singular ' ), each containing 7–12 tractates (', singular ' ; lit. "web"), 63 in total. Each ' is divided into chapters (', singular ') and then paragraphs (', singular ""). In this last context, the word "mishnah" means a single paragraph of the work, i.e. the smallest unit of structure, leading to the use of the plural, ""Mishnayot"", for the whole work.


title: Mishnah

text: Because of the division into six orders, the Mishnah is sometimes called Shas (an acronym for "Shisha Sedarim" – the "six orders"), although that term is more often used for the Talmud as a whole.


title: Mishnah

text: In each order (with the exception of Zeraim), tractates are arranged from biggest (in number of chapters) to smallest. A popular mnemonic consists of the acronym "Z'MaN NaKaT."


title: Mishnah

text: The Babylonian Talmud (Hagiga 14a) states that there were either six hundred or seven hundred orders of the Mishnah. Hillel the Elder organized them into six orders to make it easier to remember. The historical accuracy of this tradition is disputed. There is also a tradition that Ezra the scribe dictated from memory not only the 24 books of the Tanakh but 60 esoteric books. It is not known whether this is a reference to the Mishnah, but there is a case for saying that the Mishnah does consist of 60 tractates. (The current total is 63, but Makkot was originally part of Sanhedrin, and Bava Kamma, Bava Metzia and Bava Batra may be regarded as subdivisions of a single tractate Nezikin.)


title: Mishnah

text: Reuvein Margolies (1889–1971) posited that there were originally seven orders of Mishnah, citing a Gaonic tradition on the existence of a seventh order containing the laws of "Sta"m" (scribal practice) and Berachot (blessings).


title: Mishnah

text: A number of important laws are not elaborated upon in the Mishnah. These include the laws of tzitzit, tefillin (phylacteries), mezuzot, the holiday of Hanukkah, and the laws of conversion to Judaism. These were later discussed in the minor tractates.


title: Mishnah

text: Nissim ben Jacob's "Hakdamah Le'mafteach Hatalmud" argued that it was unnecessary for Judah the Prince to discuss them as many of these laws were so well known. Margolies suggests that as the Mishnah was redacted after the Bar Kokhba revolt, Judah could not have included discussion of Hanukkah, which commemorates the Jewish revolt against the Seleucid Empire (the Romans would not have tolerated this overt nationalism). Similarly, there were then several decrees in place aimed at suppressing outward signs of national identity, including decrees against wearing tefillin and tzitzit; as conversion to Judaism was against Roman law, Judah would not have discussed this.


title: Mishnah

text: David Zvi Hoffmann suggests that there existed ancient texts analogous to the present-day "Shulchan Aruch" that discussed the basic laws of day to day living and it was therefore not necessary to focus on these laws in the Mishnah.


title: Mishnah

text: Rabbinic commentary, debate and analysis on the Mishnah from the next four centuries, done in the Land of Israel and in Babylonia, were eventually redacted and compiled as well. In themselves they are known as "Gemara". The books which set out the Mishnah in its original structure, together with the associated "Gemara", are known as Talmuds. Two Talmuds were compiled, the Babylonian Talmud (to which the term "Talmud" normally refers) and the Jerusalem Talmud. Unlike the Hebrew Mishnah, the "Gemara" is written primarily in Aramaic.


title: Mishnah

text: The Mishnah teaches the oral traditions by example, presenting actual cases being brought to judgment, usually along with (i) the "debate" on the matter, and (ii) the judgment that was given by a notable rabbi based on halakha, mitzvot, and spirit of the teaching ("Torah") that guided his decision.


title: Mishnah

text: In this way, the Mishnah brings to everyday reality the practice of the "mitzvot" as presented in the Torah, and aims to cover all aspects of human living, serve as an example for future judgments, and, most important, demonstrate pragmatic exercise of the Biblical laws, which was much needed since the time when the Second Temple was destroyed (70 CE). The Mishnah is thus not the development of new laws, but rather the collection of existing traditions.


title: Mishnah

text: The term "Mishnah" is related to the verb "shanah", to teach or repeat, and to the adjectives ""sheni"" and ""mishneh"", meaning "second". It is thus named for being both the one written authority (codex) secondary (only) to the Tanakh as a basis for the passing of judgment, a source and a tool for creating laws, and the first of many books to complement the Tanakh in certain aspects.


title: Mishnah

text: Before the publication of the Mishnah, Jewish scholarship and judgement were predominantly oral, as according to the Talmud, it was not permitted to write them down. The earliest recorded oral law may have been of the midrashic form, in which halakhic discussion is structured as exegetical commentary on the Torah. Rabbis expounded on and debated the Tanakh, the Hebrew Bible, without the benefit of written works (other than the Biblical books themselves), though some may have made private notes () for example of court decisions. The oral traditions were far from monolithic, and varied among various schools, the most famous of which were the House of Shammai and the House of Hillel.


title: Mishnah

text: After the First Jewish–Roman War in AD 70, with the end of the Second Temple Jewish center in Jerusalem, Jewish social and legal norms were in upheaval. The Rabbis were faced with the new reality of Judaism without a Temple (to serve as the center of teaching and study) and Judea without autonomy. It is during this period that Rabbinic discourse began to be recorded in writing. The possibility was felt that the details of the oral traditions of the Pharisees from the Second Temple period (530s BCE – 70 CE) would be forgotten, so the justification was found to have these oral laws transcribed.


title: Mishnah

text: Over time, different traditions of the Oral Law came into being, raising problems of interpretation. According to the "Mevo Hatalmud", many rulings were given in a specific context but would be taken out of it, or a ruling was revisited, but the second ruling would not become popularly known. To correct this, Judah the Prince took up the redaction of the Mishnah. If a point was of no conflict, he kept its language; where there was conflict, he reordered the opinions and ruled, and he clarified where context was not given. The idea was not to use his discretion, but rather to examine the tradition as far back as he could, and only supplement as required.


title: Mishnah

text: According to Rabbinic Judaism, the Oral Torah () was given to Moses with the Torah at Mount Sinai or Mount Horeb as an exposition to the latter. The accumulated traditions of the Oral Law, expounded by scholars in each generation from Moses onward, is considered as the necessary basis for the interpretation, and often for the reading, of the Written Law. Jews sometimes refer to this as the Masorah (Hebrew: ), roughly translated as tradition, though that word is often used in a narrower sense to mean traditions concerning the editing and reading of the Biblical text (see Masoretic Text). The resulting Jewish law and custom is called halakha.


title: Mishnah

text: While most discussions in the Mishnah concern the correct way to carry out laws recorded in the Torah, it usually presents its conclusions without explicitly linking them to any scriptural passage, though scriptural quotations do occur. For this reason it is arranged in order of topics rather than in the form of a Biblical commentary. (In a very few cases, there is no scriptural source at all and the law is described as "Halakha leMoshe miSinai", "law to Moses from Sinai".) The "Midrash halakha", by contrast, while presenting similar laws, does so in the form of a Biblical commentary and explicitly links its conclusions to details in the Biblical text. These Midrashim often predate the Mishnah.


title: Mishnah

text: The Mishnah also quotes the Torah for principles not associated with law, but just as practical advice, even at times for humor or as guidance for understanding historical debates.


title: Mishnah

text: Some Jews do not accept the codification of the oral law at all. Karaite Judaism, for example, recognises only the Tanakh as authoritative in "Halakha" (Jewish religious law) and theology. It rejects the codification of the Oral Torah in the Mishnah and Talmud and subsequent works of mainstream Rabbinic Judaism which maintain that the Talmud is an authoritative interpretation of the Torah. Karaites maintain that all of the divine commandments handed down to Moses by God were recorded in the written Torah without additional Oral Law or explanation. As a result, Karaite Jews do not accept as binding the written collections of the oral tradition in the Midrash or Talmud. The Karaites comprised a significant portion of the world Jewish population in the 10th and 11th centuries CE, and remain extant, although they currently number in the thousands.


title: Mishnah

text: The rabbis who contributed to the Mishnah are known as the "Tannaim", of whom approximately 120 are known. The period during which the Mishnah was assembled spanned about 130 years, or five generations, in the first and second centuries CE. Judah ha-Nasi is credited with the final redaction and publication of the Mishnah, although there have been a few additions since his time: those passages that cite him or his grandson, Judah II, and the end of tractate Sotah, which refers to the period after Judah's death. In addition to redacting the Mishnah, Judah and his court also ruled on which opinions should be followed, although the rulings do not always appear in the text.


title: Mishnah

text: Most of the Mishnah is related without attribution ("). This usually indicates that many sages taught so, or that Judah the Prince ruled so. The halakhic ruling usually follows that view. Sometimes, however, it appears to be the opinion of a single sage, and the view of the sages collectively (, "hachamim") is given separately.


title: Mishnah

text: As Judah the Prince went through the tractates, the Mishnah was set forth, but throughout his life some parts were updated as new information came to light. Because of the proliferation of earlier versions, it was deemed too hard to retract anything already released, and therefore a second version of certain laws were released. The Talmud refers to these differing versions as ' ("First Mishnah") and ' ("Last Mishnah"). David Zvi Hoffmann suggests that "Mishnah Rishonah" actually refers to texts from earlier Sages upon which Rebbi based his Mishnah.


title: Mishnah

text: The Talmud records a tradition that unattributed statements of the law represent the views of Rabbi Meir (Sanhedrin 86a), which supports the theory (recorded by Sherira Gaon in his famous "Iggeret") that he was the author of an earlier collection. For this reason, the few passages that actually say "this is the view of Rabbi Meir" represent cases where the author intended to present Rabbi Meir's view as a "minority opinion" not representing the accepted law.


title: Mishnah

text: There are also references to the "Mishnah of Rabbi Akiva", suggesting a still earlier collection; on the other hand, these references may simply mean his teachings in general. Another possibility is that Rabbi Akiva and Rabbi Meir established the divisions and order of subjects in the Mishnah, making them the authors of a school curriculum rather than of a book.


title: Mishnah

text: Authorities are divided on whether Rabbi Judah the Prince recorded the Mishnah in writing or established it as an oral text for memorisation. The most important early account of its composition, the "Iggeret Rav Sherira Gaon" (Epistle of Rabbi Sherira Gaon) is ambiguous on the point, although the Spanish recension leans to the theory that the Mishnah was written. However, the Talmud records that, in every study session, there was a person called the "tanna" appointed to recite the Mishnah passage under discussion. This may indicate that, even if the Mishnah was reduced to writing, it was not available on general distribution.


title: Mishnah

text: Very roughly, there are two traditions of Mishnah text. One is found in manuscripts and printed editions of the Mishnah on its own, or as part of the Jerusalem Talmud. The other is found in manuscripts and editions of the Babylonian Talmud; though there is sometimes a difference between the text of a whole paragraph printed at the beginning of a discussion (which may be edited to conform with the text of the Mishnah-only editions) and the line-by-line citations in the course of the discussion.


title: Mishnah

text: Robert Brody, in his "Mishna and Tosefta Studies" (Jerusalem 2014), warns against over-simplifying the picture by assuming that the Mishnah-only tradition is always the more authentic, or that it represents a "Palestinian" as against a "Babylonian" tradition. Manuscripts from the Cairo Geniza, or citations in other works, may support either type of reading or other readings altogether.


title: Mishnah

text: The Literature of the Jewish People in the Period of the Second Temple and the Talmud, Volume 3 The Literature of the Sages: First Part: Oral Tora, Halakha, Mishna, Tosefta, Talmud, External Tractates. "Compendia Rerum Iudaicarum ad Novum Testamentum", Ed. Shmuel Safrai, Brill, 1987,


title: Mishnah

text: The first printed edition of the Mishnah was published in Naples. There have been many subsequent editions, including the late 19th century Vilna edition, which is the basis of the editions now used by the religious public.


title: Mishnah

text: Vocalized editions were published in Italy, culminating in the edition of David ben Solomon Altaras, publ. Venice 1737. The Altaras edition was republished in Mantua in 1777, in Pisa in 1797 and 1810 and in Livorno in many editions from 1823 until 1936: reprints of the vocalized Livorno editions were published in Israel in 1913, 1962, 1968 and 1976. These editions show some textual variants by bracketing doubtful words and passages, though they do not attempt detailed textual criticism. The Livorno editions are the basis of the Sephardic tradition for recitation.


title: Mishnah

text: As well as being printed on its own, the Mishnah is included in all editions of the Babylonian and Jerusalem Talmuds. Each paragraph is printed on its own, and followed by the relevant Gemara discussion. However, that discussion itself often cites the Mishnah line by line. While the text printed in paragraph form has generally been standardized to follow the Vilna edition, the text cited line by line in the Gemara often preserves important variants, which sometimes reflect the readings of older manuscripts.


title: Mishnah

text: The nearest approach to a critical edition is that of Hanoch Albeck. There is also an edition by Yosef Qafiḥ of the Mishnah together with the commentary of Maimonides, which compares the base text used by Maimonides with the Napoli and Vilna editions and other sources.


title: Mishnah

text: The Mishnah was and still is traditionally studied through recitation (out loud). Jewish communities around the world preserved local melodies for chanting the Mishnah, and distinctive ways of pronouncing its words.


title: Mishnah

text: Many medieval manuscripts of the Mishnah are vowelized, and some of these, especially some fragments found in the Genizah, are partially annotated with Tiberian cantillation marks.


title: Mishnah

text: Today, many communities have a special tune for the Mishnaic passage "Bammeh madliqin" in the Friday night service; there may also be tunes for Mishnaic passages in other parts of the liturgy, such as the passages in the daily prayers relating to sacrifices and incense and the paragraphs recited at the end of the Musaf service on Shabbat. Otherwise, there is often a customary intonation used in the study of Mishnah or Talmud, somewhat similar to an Arabic mawwal, but this is not reduced to a precise system like that for the Biblical books. (In some traditions this intonation is the same as or similar to that used for the Passover Haggadah.) Recordings have been made for Israeli national archives, and Frank Alvarez-Pereyre has published a book-length study of the Syrian tradition of Mishnah reading on the basis of these recordings.


title: Mishnah

text: Most vowelized editions of the Mishnah today reflect standard Ashkenazic vowelization, and often contain mistakes. The Albeck edition of the Mishnah was vocalized by Hanoch Yelon, who made careful eclectic use of both medieval manuscripts and current oral traditions of pronunciation from Jewish communities all over the world. The Albeck edition includes an introduction by Yelon detailing his eclectic method.


title: Mishnah

text: Two institutes at the Hebrew University in Jerusalem have collected major oral archives which hold extensive recordings of Jews chanting the Mishnah using a variety of melodies and many different kinds of pronunciation. These institutes are the Jewish Oral Traditions Research Center and the National Voice Archives (the "Phonoteca" at the Jewish National and University Library). See below for external links.


title: Mishnah

text: The main work discussing the Mishnah is the Talmud, as outlined, the Babylonian and Jerusalem versions.


title: Mishnah

text: it also has many other goals, and its analysis here - ""Gemara"" - often entails long, tangential discussions


title: Mishnah

text: Here, then, numerous commentaries-proper on the Mishna have been produced, typically intended to allow for the study of the work without requiring direct reference to (and facility for) the "Gemara".


title: Mishnah

text: Both the Mishnah and Talmud contain little serious biographical studies of the people discussed therein, and the same tractate will conflate the points of view of many different people. Yet, sketchy biographies of the Mishnaic sages can often be constructed with historical detail from Talmudic and Midrashic sources.


title: Mishnah

text: According to the Encyclopaedia Judaica (Second Edition), it is accepted that Judah the Prince added, deleted, and rewrote his source material during the process of redacting the Mishnah. Modern authors who have provided examples of these changes include J.N. Epstein and S. Friedman.


title: Mishnah

text: Following Judah the Prince's redaction there remained a number of different versions of the Mishnah in circulation. The Mishnah used in the Babylonian rabbinic community differing markedly from that used in the Palestinian one. Indeed within these rabbinic communities themselves there are indications of different versions being used for study. These differences are shown in divergent citations of individual Mishnah passages in the Talmud Yerushalmi and the Talmud Bavli, and in variances of medieval manuscripts and early editions of the Mishnah. The best known examples of these differences is found in J.N.Epstein’s Introduction to the Text of the Mishnah (1948).


title: Mishnah

text: Epstein has also concluded that the period of the Amoraim was one of further deliberate changes to the text of the Mishnah, which he views as attempts to return the text to what was regarded as its original form. These lessened over time, as the text of the Mishnah became more and more regarded as authoritative.


title: Mishnah

text: Many modern historical scholars have focused on the timing and the formation of the Mishnah. A vital question is whether it is composed of sources which date from its editor's lifetime, and to what extent is it composed of earlier, or later sources. Are Mishnaic disputes distinguishable along theological or communal lines, and in what ways do different sections derive from different schools of thought within early Judaism? Can these early sources be identified, and if so, how? In response to these questions, modern scholars have adopted a number of different approaches.


title: Mishnah

text: A notable literary work on the composition of the Mishnah is Milton Steinberg's novel "As a Driven Leaf".


title: I Want to Know What Love Is

text: "I Want to Know What Love Is" is a power ballad by the British-American rock band Foreigner. It was released in November 1984 as the lead single from their fifth album, "Agent Provocateur". The song hit number one in both the United Kingdom and the United States and is the group's biggest hit to date. It remains one of the band's best-known songs and most enduring radio hits, charting in the top 25 in 2000, 2001, and 2002 on the "Billboard" Hot Adult Contemporary Recurrents chart. "I Want to Know What Love Is" has continued to garner critical acclaim, and is listed as one of "Rolling Stone" magazine's greatest songs of all time at number 476 in 2004 and at number 479 in 2010. The song is also featured in a number of films.


title: I Want to Know What Love Is

text: "I Want to Know What Love Is" was the first single released from Foreigner's album "Agent Provocateur" (1984). It is credited to Mick Jones, although an uncredited portion (somewhere between 5% according to Jones and 35% according to Gramm) was contributed by Lou Gramm. It was produced by Jones and Alex Sadkin. The song features backing vocals from the New Jersey Mass Choir affiliated with the Gospel Music Workshop of America, "Dreamgirls" star Jennifer Holliday, and featured keyboard work by Thompson Twins frontman Tom Bailey. The choir also appears in the song's music video.


title: I Want to Know What Love Is

text: According to Gramm, Jones was originally reluctant to let Gramm hear his initial rough version of the song. Gramm speculated that the song was emotional to Jones because it "represented things in his own life that he hadn't been able to resolve, and he wasn't too sure he wanted to have millions of people hear about it.


title: I Want to Know What Love Is

text: "Cash Box" reviewed the single, calling it "a highly dramatic and ultimately very touching song which amply displays Foreigner’s musical talents and versatility." "Cash Box" specifically praised the band's performances, especially that of lead singer Gramm, who they said "delivers a moving and personal quality which captures the essence of the lyrics. "Billboard" said that the "dramatic mood piece grows out of quiet introspection into a full-blown production number with choir."


title: I Want to Know What Love Is

text: "I Want to Know What Love Is" reached number one on the UK Singles Chart on January 15, 1985, displacing Band Aid's "Do They Know It's Christmas?", staying there for three weeks, and knocked Madonna's long-running "Like a Virgin" out of number one on the "Billboard" Hot 100 on February 2, 1985. It was Foreigner's first and only pop chart-topper in either country, although the band had four number one Mainstream Rock hits and a number one adult contemporary radio hit in the US. This was the band's third of four number one singles on the Mainstream Rock chart. The song spent five weeks at number one in Australia and also hit the top of the charts in Canada, Ireland, New Zealand, Norway and Sweden, while peaking at number two in Switzerland and South Africa.


title: I Want to Know What Love Is

text: The song has received positive retrospective reviews from critics, with Bret Adams of AllMusic writing: "It's not hard to see why it became Foreigner's first number one single. Its dreamy, hypnotic feel is due in part to Lou Gramm's soulful lead vocals and the New Jersey Mass Choir's background vocals."


title: I Want to Know What Love Is

text: The song was also issued as a 12-inch single with a longer running time of 6:23. This version contains a slightly longer intro and an extended vocal chorus/fadeout ending. The single's B-side, "Street Thunder (Marathon Theme)," is an instrumental track originally appearing on "The Official Music of the XXIII Olympiad – Los Angeles 1984" and later on the band's 2-CD compilation "Jukebox Heroes: The Foreigner Anthology" (2000).


title: I Want to Know What Love Is

text: Soon after Foreigner's single topped the charts, the New Jersey Mass Choir released its own similar-sounding version of the song on an album also titled "I Want to Know What Love Is". The choir's single peaked at number 37 on the then-Hot Black Singles chart and number 12 on the Hot Dance Music/Maxi-Singles Sales chart.


title: I Want to Know What Love Is

text: "I Want to Know What Love Is" was ranked as the number four "Billboard" Hot 100 single of 1985. It was the band's third platinum single in the US and their first and only gold single in the UK. It was certified platinum in the UK in 2020.


title: I Want to Know What Love Is

text: Originally consisting of three verses, a pre-chorus and a chorus, the song was extended with a bridge written by original songwriter Mick Jones specifically for Tina Arena's cover in 1998.


title: I Want to Know What Love Is

text: "I Want to Know What Love Is" was covered by Australian singer Tina Arena and her recording was released as a single in 1998 from her album "In Deep". Arena's version of the song was produced by Foreigner band member Mick Jones, who wrote the song. This version of the song includes a previously unrecorded bridge between the second and third choruses, specifically written for Tina Arena by Mick Jones.


title: I Want to Know What Love Is

text: "I Want to Know What Love Is" was covered by American country singer Wynonna Judd and her recording was released on August 24, 2004, from her album "What the World Needs Now Is Love" as fourth single. Wynonna's version of the song was produced by Narada Michael Walden, known for his work with Mariah Carey, Whitney Houston, Diana Ross, Aretha Franklin and George Michael, and Wynonna. This version of the song was included in a popular Brazilian soap opera, "Senhora do Destino".


title: I Want to Know What Love Is

text: In the US, the song peaked at number 14 on the Billboard Adult Contemporary chart. On the Hot Dance Club Songs of "Billboard", it debuted at number 50 and peaked at number 12. It is also her first single to chart in Sweden, where it debuted at number 67 and peaked at number 15.


title: I Want to Know What Love Is

text: "I Want to Know What Love Is" was covered by American singer Mariah Carey and released as the second single from her twelfth studio album, "Memoirs of an Imperfect Angel" (2009). The single, produced by Carey, C. "Tricky" Stewart and James "Big Jim" Wright, was sent to European radio stations on August 28 and first impacted US radio on September 14, 2009. Mick Jones said of her version: "I think she's actually retained the integrity of the song. You know, the arrangement is very similar to the original. They haven't tampered with the song too much. She's captured a certain emotional thing, a feeling."


title: I Want to Know What Love Is

text: The single was generally well received by critics; Australian magazine "Rhyme & Reason" stated that "[While Carey stayed] [...] true to the original, this piano-led remake is less an overhaul of the classic '80s hit than it is a modest but impressive update." Bill Lamb from About.com said that "Mariah Carey's new version could leave you speechless. The diversity of vocal coloring expressed in this recording is stunning. While the single 'Obsessed' remains disappointing, this single is a reminder of just how formidable Carey's talents are given a strong production and arrangement".


title: I Want to Know What Love Is

text: Writing in a "Los Angeles Times" music blog, Todd Martens said, "[T]ackling a well-known power ballad seems like a safe choice. It's a comfortable fall-back plan after "Obsessed" performed well, but did far from blockbuster numbers. It will undoubtedly be a hit, but it's giving me more reason to fear "Imperfect Angel"."


title: I Want to Know What Love Is

text: Carey filmed a music video for "I Want to Know What Love Is" in September 2009 in New York City, directed by Hype Williams.


title: I Want to Know What Love Is

text: The video features Carey singing in Yankee Stadium, intercut with shots of the audience, often accompanied by loved ones, and some glimpses into the tough times in their past, as they grow emotional from the song's performance. A gospel choir joins Carey at the center of the stadium at the video's end. Carey wears the signature curly hairstyle from the initial stages of her career circa 1990–1993, maintaining the "Memoirs" theme of the album.


title: I Want to Know What Love Is

text: The song peaked on the US "Billboard" Adult Contemporary chart at number 10 bringing Carey's total number of Top Ten hits on that chart to 20, one short of Celine Dion's record. She has since surpassed this and is now tied with Celine Dion after her single "Oh Santa!" reached number one in 2010. However, it only peaked at #60 on the US Hot 100. On the UK Singles Chart, the song debuted at number 19 on the week ending November 29, 2009, becoming her highest debuting and peaking song since 2008's "Touch My Body", which peaked at number five.


title: I Want to Know What Love Is

text: In Brazil, the song was boosted for its inclusion in popular telenovela "Viver a Vida" and stayed at number one for 27 consecutive weeks on the airplay chart, becoming the longest running number one song ever.


title: Ariel Pink

text: Ariel Marcus Rosenberg ( ; born June 24, 1978), professionally known as Ariel Pink, is an American musician, singer, and songwriter whose work draws heavily from the popular music of the 1960s–1980s. His lo-fi aesthetic and home-recorded albums proved influential to many indie musicians starting in the late 2000s. He is frequently cited as "godfather" of the hypnagogic pop and chillwave movements, and he is credited with galvanizing a larger trend involving the evocation of the media, sounds, and outmoded technologies of prior decades, as well as an equal appreciation for high and low art in independent music.


title: Ariel Pink

text: A native of Los Angeles, Pink began experimenting with recording songs on an eight-track Portastudio as a teenager. His early influences were artists such as Michael Jackson, the Cure, and R. Stevie Moore. The majority of his recorded output stems from a prolific eight-year period (1996–2003) in which he accumulated over 200 cassette tapes of material. Virtually all of his music released in the 2000s was written and recorded before 2004, the same year he debuted on Animal Collective's Paw Tracks label with "The Doldrums" (2000), followed with "House Arrest" (2002) and "Worn Copy" (2003). The albums immediately attracted a cult following.


title: Ariel Pink

text: In the 2000s, Pink's unusual sound prompted a renewed critical discussion of hauntological phenomena, for which he was a central figure. Until 2014, his records were usually credited to Ariel Pink's Haunted Graffiti, a solo project sometimes conflated with his touring band. His fame and recognition escalated following his signing to 4AD and the success of his 2010 album "Before Today", his first recorded in a professional studio. He then recorded three more albums – "Mature Themes" (2012), "Pom Pom" (2014), and "Dedicated to Bobby Jameson" (2017) – the last of which was recorded for Mexican Summer.


title: Ariel Pink

text: Throughout his career, Pink has been subject to several media controversies stemming from his occasional provocations onstage and in interviews. In 2021, he lost support from Mexican Summer following his attendance at a Donald Trump political rally. He then formed a new band, Ariel Pink's Dark Side, with whom he recorded one album, "The Key of Joy Is Disobedience" (2022).


title: Ariel Pink

text: Ariel Marcus Rosenberg was born in Los Angeles on June 24, 1978. He is the only son of Mario Z. Rosenberg and Linda Rosenberg-Kennett. Mario is a Harvard-educated gastroenterologist born to a Jewish family in Mexico City, while Linda is from New Orleans. They moved to Los Angeles after Mario completed his medical specialty work at Tulane University hospital in New Orleans. Ariel's first language was Spanish. Although his family is Jewish, with his mother having converted, he himself is not practicing. Mario and Linda divorced when Ariel was two years old.


title: Ariel Pink

text: Ariel's parents encouraged him to pursue a career in visual arts rather than music. He said that "with music I had no discernible skills," whereas with drawing, they reportedly thought he was "going to be the next Picasso,' and I believed them and I got better." According to Linda, she wanted him to pursue a career in acting: "Acting coaches would come to me and say, ‘He’s the only kid in that age group who can speak to a girl." He characterized himself as "maladjusted" as a child. Linda commented that he was "a "very difficult" guy to understand, except for the fact that his heart is pure. [...] He'd rather be left alone. That's how he always was — even as a kid, he played much better by himself."


title: Ariel Pink

text: When he was young, Rosenberg was an avid record collector and reader of music magazines, he said, and "had a gross hunger for bootlegs and unofficial rare recordings by artists I worshiped; ate them all up and adopted certain criteria for what I longed for in music." He was first drawn to music through watching MTV. When his interest intensified, he was particularly fond of Michael Jackson, and after entering junior high school, expanded his tastes to metal. Favorites included bands like Def Leppard, Metallica, Anthrax, and after that, "death rock" groups such as Bauhaus and the Cure, the latter being his favorite band of all time. Another artist he was particularly fond of was Lou Reed. He enjoyed the writings of rock critic Nick Kent and read Richie Unterberger's "Unknown Legends of Rock 'n' Roll: Psychedelic Unknowns, Mad Geniuses, Punk Pioneers, Lo-Fi Mavericks & More" (1998); later he recorded a cover version of one of the tracks included in a CD that came with the book ("Bright Lit Blue Skies").


title: Ariel Pink

text: Rosenberg was initially raised in Louisiana. He chose to live there with his mother following child custody proceedings. They lived in Pico-Robertson, and later, Bogalusa. Due to the bullying he received in junior high school, his parents sent him to live with his cousins in Mexico City for a year. There, he lost his virginity at age 13, to a prostitute named Sara, and discovered the Cure, a band he thought espoused "something unholy [...] something alive and dead at the same time." He then returned to live with his father in the Beverlywood area of Los Angeles, where he attended Beverly Hills High School, branded himself as a goth, sold off his collection of metal records, and stopped following new music. He cited Nirvana as the last group he enjoyed before this point. In his view, grunge and alternative rock bands marked the end of the forward progress of popular music. "After that, my listening was totally retro. My mind was closing itself off from the rest of the planet."


title: Ariel Pink

text: While in high school, Rosenberg began experimenting with songwriting and composing avant-garde pieces using a portable cassette recorder in his father's garage. His tools were limited to one bass guitar, an amp, and kitchen utensils. In 1996, he started what he later described as an eight-year-long "recording session" in which he "was very completely single-minded. I had tunnel vision. I was just completely [recording music] like if my life depended on it." By then, he "was very into" krautrock, and in his songs, he endeavored to obfuscate his personality while using photos that bore minimal resemblance to him as album covers. He credited his tapes to a variety of names (or "logos") including "Ariel Pink's Haunted Graffiti" and "Ariel Rosenberg's Thrash and Burn". He did not intend to release any of this music.


title: Ariel Pink

text: In 1997, Rosenberg entered the California Institute of the Arts studying fine art. He was dissatisfied that the school focused on "the art market" rather than "color theory or anything like that". He met John Maus at CalArts, and they subsequently became best friends and roommates. On one project, Rosenberg collaborated with fellow student and roommate Jeremy Albert Ringermacher, submitting a three-foot tall illustration, titled "The Last Art Piece", that realistically depicted the school's faculty, staff members, and students engaging in an orgy. The piece was allowed to be displayed, and in response, an administrative member unsuccessfully sued the university for sexual harassment.


title: Ariel Pink

text: His album "The Doldrums" (2000) was recorded during his final semester at the university. According to "LA Weekly", he was then "in the throes of a drug binge". "I'm sure those were my words," he later said. "I don’t know. It was fine. I had a typical art school experience, I suppose, if you consider getting drunk at openings, partying with your 'teachers,' and shrugging off scholastic duties as often as possible as something typical of college experience." He described the album as "the saddest record I could [have made]; it was negative not only emotionally but aesthetically." The guitar parts were played with only three strings. For final examinations, he submitted a kiosk where he sold CDs of "The Doldrums" as a criticism against the school's marketing-oriented curriculum.


title: Ariel Pink

text: Rosenberg became a devout fan of the lo-fi musician R. Stevie Moore after listening to the compilation "Everything" and subsequently began collaborating with him. He first contacted Moore in early 1999 and mailed him a CD-R of "The Doldrums". As Moore remembered, "I often received demos from taper nerds, but the Haunteds were from a surreal plane. Ariel started sending me so much material that it eventually became a big blur; I couldn’t even totally wrap my head around his dozens of masterpieces." Pink recalled: "Signing on and seeing that my first email was from him was the most exciting thing to have happened in my life up to that point."


title: Ariel Pink

text: After dropping out of CalArts, Rosenberg lived in a Hindu ashram in Crenshaw, Los Angeles, where he "brought in heroin, smoked so much pot, blasted music, lived in filth, brought all these fucking weirdos in, played and recorded music all night, and never had a problem with those people." He also attended a music school and worked as a clerk at a record store. During this period, he recorded "Scared Famous" (2001), "Fast Forward" (2001), "House Arrest" (2002), "Lover Boy" (2002), and portions of "Worn Copy" (2003). He envisioned working at a record store "for the rest of my life" before the Strokes "came out and all the sudden guitars came back [on the charts]. And then the White Stripes came out and I was like, 'Oh, shit.' I wasn't into any of that stuff, but I was like, 'Holy shit...Like in this lifetime...this is happening.'"


title: Ariel Pink

text: By the mid-2000s, Rosenberg had accumulated between 200 and 300 cassette tapes of material. In February 2004, his 16-year-old half-sister Elana suffered permanent brain damage and lost the use of her motor functions due to injuries sustained in a car accident. Asked in a 2012 interview how the experience affected him, he answered, "I have a hard time making music anymore. [...] I listen to what I made ten years ago and it’s like hearing a different person. I have no access to those impulses anymore." He stopped writing and recording music for the next several years.


title: Ariel Pink

text: In the summer of 2003, Rosenberg gave a CD-R of "Worn Copy" to the band Animal Collective after being introduced at one of their shows by a mutual friend, Beachwood Sparks drummer Jimi Hey. Unbeknownst to Rosenberg, Animal Collective had recently started their own record label, Paw Tracks. The band says in the reissued album's liner notes that it "sat on the floor of the van for a week or so [...] One day, we noticed it and randomly threw it on and were immediately blown away. It was just like 'Woah, what is this!? We knew it could have only been made by this individual, and so made it our goal to officially release his records on our new label." Several weeks later they contacted him to sign him on Paw Tracks. Rather than "Worn Copy", Rosenberg submitted what he believed to be his album with the least commercial potential, "The Doldrums". The group initially rejected the album, but eventually warmed to it, and accepted it for release.


title: Ariel Pink

text: October 2004's Paw Tracks release of "The Doldrums" was the first non-Animal Collective record the label issued and the first time his limited-edition home recordings were widely distributed. Only a small circle of his friends and family had heard his music before this point. Afterward, Pink's profile increased substantially. He embarked on concert tours to promote the releases. His original live performances (which amounted to local gigs in Los Angeles) consisted of himself singing over prerecorded tracks karaoke-style. When he became the opening act for Animal Collective in 2004, he decided to form a band. His performances were not well-received ("People boo me everywhere. They don't even hide their contempt"). He attributed that to his "not being [a] very good" musician and to his recordings' not being meant to be performed live. "The dudes in my band don't get paid, so I can't really crack the whip and make them learn the songs. They just came along so they could travel." In 2005 and 2006, Paw Tracks reissued two of his previous recordings, "Worn Copy" and "House Arrest", respectively. Altogether, the albums attracted a cult following for Pink.


title: Ariel Pink

text: Virtually all of Pink's music released in the 2000s was written and recorded before 2004. Instead of releasing new music, he spent the latter half of the decade touring and searching for another record label ("I didn't want to make any new music until I got paid for it"). Between 2006 and 2008, lesser-known labels issued four more albums, "Underground" (1999), "Lover Boy", and the compilations "Scared Famous" (2007) and "Oddities Sodomies Vol. 1" (2008).


title: Ariel Pink

text: In 2006, Pink embarked on a few supporting tours and assembled a group backed with Jimi Hey, John Maus, Gary War, and girlfriend Geneva Jacuzzi. Musician and collaborator Cole M. Greif-Neill characterized Pink's reputation "on the L.A. scene" around this time as "the lame drug guy". In 2007, Pink and Maus backed Animal Collective's Panda Bear (Noah Lennox) for his solo tour of Europe. In 2008, Pink established a more consistent touring band with keyboardist/guitarist/backing vocalist Kenny Gilmore, drummer/vocalist/guitarist Jimi Hey (later replaced by Aaron Sperske), and guitarist Cole M. Greif-Neill. Bassist Tim Koh found it "the most difficult music I've ever tried to play. Even something that sounds simple, like 'For Kate I Wait', took me months. I still don’t have it exactly."


title: Ariel Pink

text: In later years, Rosenberg said the name "Ariel Pink" was not meant as a persona or pseudonym. The "common misconception," he said, started when promoters billed his early 2000s live shows as "Ariel Pink" fronting a band called the "Haunted Graffiti". He said: "There's no Ariel Pink [...] My name's Ariel Rosenberg and I have a solo project that I called Ariel Pink's Haunted Graffiti. [...] automatically people assumed that [the band] must be the 'Haunted Graffiti'." The original liner notes to these early albums, while credited to "Ariel Pink's Haunted Graffiti", also distinctly credit "Ariel Pink" with performing, recording, or writing the music. Pink was the only member of his band to appear on all four of his albums from the 2010s.


title: Ariel Pink

text: After securing a deal with 4AD, Rosenberg and his band recorded "Before Today", his first album created in a professional studio, with a producer, and with an engineer. At the time, he called it the first official album of his discography and the first "made with any kind of thought or consciousness that I have an audience." Some of its songs were written years earlier, such as "Beverly Kills", which originally appeared on "Scared Famous". Its making was fraught with personal difficulties, with some band members briefly quitting, including Rosenberg himself. Koh called the album "a nightmare to record" and said sessions "got so bad, I quit, and Cole quit. So we ended up recording most of it again at my house just to fix all the shit that producer Sunny Levine did wrong."


title: Ariel Pink

text: Released in June 2010, the album reached number 163 on the "Billboard" 200 and received critical acclaim. "Pitchfork" highlighted the album as "Best New Music"; reviewer Mark Richardson wrote that many of the lo-fi idiosyncrasies that characterized his early recordings were eliminated and that careful attention was given to the arrangements: "It turns out that these details make a big difference, even while the album adheres to the hazy overriding aesthetic of Pink's earlier records." The album was soon featured on numerous "best of 2010" lists, and at the end of the year, "Pitchfork" crowned its lead single "Round and Round" the year's best track.


title: Ariel Pink

text: In 2011, Pink released a 16-minute standalone single, "Witchhunt Suite for WWIII", to commemorate the 10th anniversary of the September 11 attacks. It was a newly recorded version of a track, begun in 2001, that he had sold on CD-Rs during his 2007 tour. In April, he sabotaged his performance at the Coachella music festival by causing feedback with his microphone and refusing to sing; he then left the stage and apologized to the crowd. He later explained that the group had "set up in a new configuration" without consulting him first and that the "whole point of that action was not that I was unstable or anything ... I was hammering the point that I could embarrass the fuck out of them if they didn’t listen to me and that this was not a democracy, this was a police state."


title: Ariel Pink

text: Pink struggled to keep his band together and later said that Koh and Gilmore threatened to leave if he did not dismiss drummer Aaron Sperske from the line-up. In 2012, Sperske sued Pink and the band for $1 million after claiming to be "squeezed out" of an established "oral partnership". Pink responded with an announcement on Facebook that the Haunted Graffiti band was over. Afterward, he said, "I could dissolve the band in a second, and I'd do it before I’d let him do that to the [other members of the band.] I put that Facebook post up to see if it would resonate with Aaron." They reached a court settlement in 2013.


title: Ariel Pink

text: "Mature Themes", the follow-up to "Before Today", came in August 2012. Unlike "Before Today", the material on the album was newly written especially for the LP. Some critics suggested that its more flamboyant and satirical tone was meant to alienate new fans. It nonetheless had a slightly higher chart peak than "Before Today", at number 136. Pink referred to it as a "breakup album" in some interviews and denied that it was one in others. His ex-girlfriend Geneva Jacuzzi made a cameo appearance in the video for "Only in My Dreams", where she is shown evicting Pink from their apartment. During a magazine photoshoot, photographers asked him to dye his hair bright pink, something he reluctantly went along with "because I do music and I'm speaking to adolescents and I have to own that. I can't be just a grandpa and a sourpuss." He also disagreed with the manner in which 4AD marketed him and his band.


title: Ariel Pink

text: In November 2014, 4AD released "Pom Pom", which rose to number 150 on the "Billboard" 200 amid generally positive reviews. It was Pink's first album to drop "Haunted Graffiti" from its credit, and his last issued through 4AD. Most of the tracks were written with collaborators like Kim Fowley, who dictated from his hospital bed (he died of cancer in January 2015). Other songs were reworked from his earlier self-released CD-R era. The press attention Pink received upon the album's release largely focused on recent comments he had made in various interviews. In one interview, he referred to the album as his "first real record" and said he removed the Haunted Graffiti credit "to give it the feeling of an event, a little bit different from the norm."


title: Ariel Pink

text: After "Pom Pom", Pink collaborated on a variety of projects by other musicians, including Weyes Blood, Dâm-Funk, Sky Ferreira, Charli XCX, Miley Cyrus, Theophilus London, the Avalanches, Puro Instinct, Lushlife, Mild High Club and MGMT. Pink and Weyes Blood jointly recorded the EP "Myths 002". It was released in January 2017 on the Brooklyn-based label Mexican Summer.


title: Ariel Pink

text: "Dedicated to Bobby Jameson", released in September 2017, marked Pink's first solo LP on Mexican Summer. In deliberate contrast to "Pom Pom", it was recorded with a relatively small group of people at his home. The album was released to a number 193 chart peak amid generally favorable reviews. In promotional interviews, Pink intimated that his desire for attention and willingness to release albums has declined, and instead talked mostly about the musician Bobby Jameson. In November 2018, he performed among artists celebrating the tenth anniversary of Mexican Summer, where he announced on stage that he intended it to be his final show with his band.


title: Ariel Pink

text: In 2019, Mexican Summer announced that they would issue remastered and expanded editions of Pink's original Haunted Graffiti albums in addition to compilations of previously unreleased work recorded between 1999 and 2018. These remasters sought to correct various engineering mistakes from the Paw Tracks reissues, such as restoring stereo tracks that had been collapsed to mono. The label stated that they would release the albums in four quarterly installments as part of its "Ariel Archives" campaign, beginning with "Odditties Sodomies Vol. 2" and remasters of "Underground" and "Lover Boy" in October 2019. "The Doldrums", "Worn Copy", and "House Arrest" followed the next April.


title: Ariel Pink

text: Due to the COVID-19 pandemic, scheduling of the last cycle of reissues changed. In October 2020, Mexican Summer announced the final two cycles would both be released on January 29, 2021. This included reissues of "Odditties Sodomies Vol. 1" and the double album "Scared Famous/FF»", as well as "Odditties Sodomies Vol. 3" and a compilation of post-hiatus tracks from the late 2000s, "Sit n' Spin".


title: Ariel Pink

text: In a December 2020 interview, Pink intimated that he may never release another album due to contemporary social and political affairs, and wrote that he was "not thinking about making art at the moment." On January 8, 2021, after it was reported that Pink attended a rally in support of Donald Trump, Mexican Summer stated that they would "end our working relationship with Ariel Rosenberg AKA Ariel Pink moving forward." Pink subsequently commented that the lack of label support, combined with his inability to continue touring, left him "pretty much [...] destitute and on the street."


title: Ariel Pink

text: In August 2021, Pink announced through social media a new album, "The Key of Joy is Disobedience", credited to "Ariel Pink's Dark Side" and recorded with musicians Nick Noto, David Stagno, and Chloe Chaidez. The first single from the album, "Horse-Head Mother", was released digitally on February 4, 2022. Originally scheduled for release that same month, the full album was released on vinyl in a limited edition on August 12. The second digital single from the album, "Chupacabra", featuring the fictional musical group 'Vampiros' was released digitally on October 14.


title: Ariel Pink

text: In late October 2022, the album "Never Made A Demo, Ever" was released digitally via the Ariel Pink Substack website, with a running length of over an hour of newly recorded material since the completion of "The Key of Joy is Disobedience".


title: Ariel Pink

text: Pink's music encompasses a diverse selection of styles, sometimes within the same song, and espouses a postmodern take on pop music. His initial recordings blended lo-fi psychedelic pop with elements drawn from 1980s soft rock and "classic pop" from California. He likened his early records to a compendium of what he believed to be "everything good about music". Writing for Louder Than War, Maren McGlashan said that Pink typically draws from "the fuzzy glow of 1970s radio, the unapologetic weirdness of Zappa, the cool enthusiasm of New Wave and Western popular culture. At the center are the lo-fi aesthetics that have become the Haunted Graffiti speciality." Pink opined that while his own music is heavily indebted to 1960s pop, it is not classifiable in any genre.


title: Ariel Pink

text: His early recordings were amateurishly recorded on an eight-track cassette Portastudio. Since he was not a proficient instrumentalist, he usually tracked music parts one at a time in short increments. The use of cassettes lent a conspicuously lo-fi sound, which later became a deliberate aesthetic choice; he experimented with recording in professional studios and with digital audio workstations, but was dissatisfied with the results. Lyrically, he said that he is "not a poet" and that he approaches his work as "musical pieces" rather than songs, with the words usually written as an afterthought.


title: Ariel Pink

text: At the time of his Paw Tracks reissues, Pink was perceived as both an outsider and as a novelty act, as there were virtually no other contemporary indie acts with a similar retro lo-fi sound. Music critic Simon Reynolds noted that before Pink, lo-fi acts were generally "vehemently opposed to the slick, big-budget AOR and '80s rock 'n' soul that he's so inspired by." In 2014, Pink described his artistic philosophy as remaining in an era "somewhere in the forgotten ‘90s and ‘80s [...] the stuff that nobody listens to [...] and see what happens when you try to pause time and not affect it." In 2017, he reiterated that the sum of his work was "a weird art experiment" aimed at investigating "what would happen if I decided to plant myself in Cure-land" and create "the same thing over and over again forever, forever?" Fans of Pink's music came to include John Maus, Kurt Vile, Bradford Cox of Deerhunter, Christopher Owens of Girls, Alan Palomo of Neon Indian, and Beck.


title: Ariel Pink

text: R. Stevie Moore remarked that while he shared many musical approaches with Pink, "he doesn't much sound like me." In interviews in the 2000s, Pink frequently praised Moore in an attempt to bring him more critical recognition. In turn, Moore said in 2008: "I think he has great ideas and great musical talents, but he shouldn't always have to sound like the Bee Gees on Mars. We’ve talked about it at length."


title: Ariel Pink

text: During the late 2000s, Pink was referenced in early discussions of hauntology in music. The renewed discussion of hauntology, in itself, was prompted by his emergence. In an August 2009 piece for "The Wire", journalist David Keenan coined "hypnagogic pop" to describe a developing trend of 2000s lo-fi and post-noise music in which artists began to engage with elements of cultural nostalgia, childhood memory, and outmoded recording technology. Pink was among his examples. Reynolds soon adopted the term and cited Pink, along with Spencer Clark and James Ferraro, as the "godparents of hypnagogic". He also singled out Pink as the central figure in what he called the "Altered Zones Generation", an umbrella term for lo-fi, retro-inspired indie artists who were commonly featured on "Altered Zones", a sister site for "Pitchfork".


title: Ariel Pink

text: Reynolds compared Pink's influence to My Bloody Valentine's impact on the shoegaze genre. He wrote, "the sound Pink invented—’70s radio-rock and ’80s new wave as if heard through a defective transistor radio, glimmers of melody flickering in and out of the fog—was so striking it could only become a chronic influence." Such a sound was most prominently attributed to Pink following the success of 2010's "Before Today" and the convergence of chillwave, lo-fi, and the assistance of the Web in nostalgia-driven pop culture marketing. That year, "Pitchfork" writer Mark Richardson said of Pink's influence:


title: Ariel Pink

text: "Uncut"s Sam Richard profiled Pink as "a lo-fi legend" whose "ghostly pop sound" proved influential to chillwave acts such as Ducktails and Toro y Moi. Jeff Weiss of "Pitchfork" said "The Doldrums" "inspired chillwave and a lo-fi revival, as well as alter[ed] the perception of L.A. as an indie-rock backwater." "Spin" writer David Bevan credited Pink's "fascination with, and commitment to, recasting outdated, obsolescent media" with galvanizing what is "widely seen in the VHS-boosted, Polaroid-clad aesthetic embraced by a hundred blogs and apps." Sam Goldner of "Vice" posited that a direct link can be drawn between Pink's "recycling of cheesy older sounds" and vaporwave, adding that, in the early 2010s, Pink and fellow musician Grimes "together represented a massive shift in music that was about to happen" – namely "a new mindset within independent music, one that viewed 'high' and 'low' art as equal, complementary forces in a vast cultural expanse."


title: Ariel Pink

text: Pink said that he never claimed to be the "godfather" of "lo-fi", "hypnagogic pop", or "chillwave". He thought that "people are just having fun with ideas they get in their head. They find a way to frame artists in a certain way that makes them interesting." In a 2012 interview, he commented that although it was not his intention to evoke nostalgia, he was aware "that I was doing something that sounded like the trace of a memory you can't place [...] now, people take it for granted. They think this is the sound of today." He remarked in 2011, "I know I’ve left my mark already. I know when somebody’s heard my music. I can hear it in their music."


title: Ariel Pink

text: Music writer Adam Harper contested that "the pop-art pastiche of hypnagogic pop" or the "mirror-shades-cool synth groove of chillwave" could be attributed to Pink's "largely rock-based" music. He argued that instead of "the progenitor or the AZ Generation, Pink can easily be understood as the youngest member of this mid-80s Cassette Culture Generation." Among predecessors, Harper lists R. Stevie Moore and the Cleaners from Venus' Martin Newell as the most notable. He referenced a 1990s observation by music critic Richie Unterberger that compared Moore to Newell's "lo-fi, murkily recorded affairs that couldn't hide the power of the melodies, or a wit that could be both tender and savage". Harper added: "The similarities [between Pink and Newell] don't end there – both in his dress and in his music, Martin Newell adopted the (even then) retro, androgynous, psychedelic image that would mark Ariel Pink out in the 00s".


title: Ariel Pink

text: Many of Pink's remarks in interviews have incited controversy, particularly among left-leaning indie music communities. Some of his provocations included "It’s not illegal to be racist", "This gay marriage stuff pisses me off", and his expressed "love" for necrophiliacs, pedophiles, and the Westboro Baptist Church. His negative press reached a peak around the release of "Pom Pom", when detractors variously labelled him a "troll", a "beta male", and a "misogynist". Fans argued that he is simply a glib speaker.


title: Ariel Pink

text: In October 2014, Pink told the online journal "Faster Louder" that Interscope Records had contacted him about working with Madonna. He said they needed "something edgy. [...] She can't just have her Avicii, her producers or whatever, come up with a new techno jam for her to gyrate to and pretend that she's 20 years old." The article embroiled him into a minor controversy, with musician Grimes calling his comments "delusional misogyny". He denied that he was a misogynist and said that he had only repeated what he was told by an Interscope agent. John Maus addressed Pink's remarks with a lengthy analysis published on Twitter. He concluded that Pink is not a misogynist, although he is "a nymphomaniac, a little girl, a dog, etc."


title: Ariel Pink

text: Pink admitted that one of his tactics with interviewers is to talk so much that the other person has no opportunity to ask a question. He resents interviews and fame, explaining "I'd like to get by without making a fool of myself, running my mouth all the time. It's not helping me." He also believes that some publications quote him out of context for clickbait, and that generally, "the media lies to us all the time." In a 2012 interview, when asked if he interacted with his Wikipedia page, Pink responded: "I tried to intervene very early on and my moderator said 'I think you should check your sources,' and I was like 'You're right. You're right. Who knows about Ariel Pink more than you do? You're right, you're absolutely right.'"


title: Ariel Pink

text: During his early 20s, Rosenberg was married to a woman named Alisa. They divorced around 2004. From 2006 to 2012, he was in a relationship with the artist Geneva Jacuzzi. He assumed responsibility for the relationship's disintegration, and according to an interviewer, explained with "a tirade about gender politics and how everybody under 27 considers themselves bi- or transsexual." In a 2010 interview, he said he pondered gender identity "on a daily basis" and identified as being neither male nor female. Pink was also involved in a relationship with singer-songwriter Soko, who commented in a 2015 interview, "We dated a few years ago, but I think we're better off now as collaborators. I mean, he's a fucking genius and working with him is great."


title: Ariel Pink

text: As of 2012, his father Mario Rosenberg was a multi-millionaire, a wealth that Ariel stood to inherit. In 2014, Mario was one of 19 people convicted in a $154 million insurance-fraud scheme, described by authorities as "the largest medical-fraud prosecution" in US history. He pleaded no contest to the charge. According to his attorney, the plea was made due to his lack of funds to continue battling the case.


title: Ariel Pink

text: During an October 2017 performance in San Francisco, attendees were offended by Pink's on-stage physicality with then-bandmate and girlfriend Charlotte Ercoli Coe. The next day, she dismissed the resultant controversy as "the oppression olympics" and tweeted that the two were "just having fun". Following her comments, Pink wrote he was "not sensitive enough to the real plight of women these days. my behavior onstage was gross and I can't defend it." Coe later retracted her statement, alleging that she had defended Pink at his behest and that he had subjected her to physical and mental abuse throughout their relationship. Pink denied Coe's accusations and accused her of spreading claims that she knew were false or misleading, as well as attempting to blackmail him.


title: Ariel Pink

text: In 2020, Pink filed civil harassment restraining orders against Coe. The suit was dismissed, although the court did not rule on the truthfulness of Pink's or Coe's abuse allegations. A week after the courts rejected the suit, Pink stated that he was unable to afford legal representation, while his lawyer informed "Pitchfork" that they would soon file an appeal.


title: Ariel Pink

text: In 2013, Pink appeared on the satirical Fox News program "Red Eye with Greg Gutfield" discussing space robots and marijuana use in the NFL. In 2015, he said he was grateful for the bullying he experienced as a child, as it taught him to be thick skinned, and commented that "[a]nyone who is crying about police brutality or victimization as an adult needs to stop it and realize the privileges we have in this country."


title: Ariel Pink

text: During a discussion of his religious views in 2012, Pink stated that he was always "reluctant to be religious, to fully embrace the tenets of Christianity or Judaism or whatever, but I also don't fully fall in with the science crew either". When asked if he celebrated Hanukkah, he explained that he did not, except when his parents invited him to do so. In a 2010 interview with "Heeb Magazine", he remarked that people who boast of their Jewish pride are "fucking stupid". He explained: "I'm totally against all that. I think you're a man of the world. Worldly. We're all from the same DNA strand, you know. It's like potatoes are our brothers. So, so, so silly."


title: Ariel Pink

text: In a 2017 interview, Pink was asked to clarify his political leanings and answered: "I would say I'm for America in whatever capacity that comes in... If Hillary [Clinton] was going to win [the 2016 election] I would have been like, right on... As long as we are a nation that comes together then that's all I care about." Asked if he was Republican or Democrat in an April 2020 interview, he responded that he did not "believe in party lines" and merely aligned with "whoever is in charge". Following the 2020 presidential election, Pink tweeted his support for Donald Trump.


title: Ariel Pink

text: In December 2020, during an appearance on the podcast "Wrong Opinion", Pink stated that he believed the recent presidential election was tampered by the Democratic Party "in some sort of collaboration with China". He opined that Trump represented "an indictment on anything bullshit... I'm so gay for Trump, I would let him fuck me in the butt." Furthermore, he voiced skepticism of the scientific community, saying that many of their claims, including those for climate change, "probably [are] bullshit" and politically influenced, and added that he had argued with his father, a medical doctor, about the effectiveness of the COVID-19 vaccine.


title: Ariel Pink

text: In January 2021, Pink traveled to Washington D.C. and attended the Trump rally that preceded the storming of the Capitol. Pink stated that he attended the rally to "peacefully show his support for President Trump". He was not part of the group who stormed the Capitol; Pink stated on Twitter that he returned to his hotel immediately after watching the president speak. Following the controversy that ensued, Pink appeared on the Fox News program "Tucker Carlson Tonight" expressing support for president-elect Joe Biden, adding that Trump "lost [the election] fairly".